Submitted by Marco Antônio de Ramos Chagas (mchagas@ufv.br) on 2017-09-11T12:37:12Z No. of bitstreams: 1 texto completo.pdf: 1626592 bytes, checksum: 69b34a8438d7230ddf4adba746581743 (MD5) / Made available in DSpace on 2017-09-11T12:37:12Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1626592 bytes, checksum: 69b34a8438d7230ddf4adba746581743 (MD5) Previous issue date: 2017-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação propõe um estudo comparativo entre a peça inglesa Macbeth (1605-06), de William Shakespeare, e a adaptação sul-africana uMabatha (1969), de Welcome Msomi. Esta pesquisa é embasada pelos Estudos Comparados e pela Teoria da Adaptação através dos trabalhos de Linda Hutcheon (2013), Robert Stam (2008), Julie Sanders (2006), Daniel Fischlin e Mark Fortier (2000), e visa analisar as diferenças e similaridades da obra de Msomi em relação à obra shakespeariana, bem como as estratégias utilizadas pelo autor para criar a sua adaptação Zulu. São observadas, ainda, através da transposição cultural, as particularidades da peça sul- africana que a tornam uma obra singular como, por exemplo, a origem do autor, o período político em que a África do Sul estava imersa quando Msomi criou sua obra e, principalmente, qual peça shakespeariana ele escolheu para adaptar. Após uma profunda análise e discussão, foi possível perceber que a relação intertextual entre as obras é parte de um processo natural da constituição da Literatura. Verificamos, também, que este intercâmbio de ideias e inspirações está presente, também, nas relações entre as artes de modo geral e que, de forma alguma, este processo deve ser visto como algo negativo, legando às obras posteriores a conotação de “cópias” das obras-fonte. Detectamos, da mesma maneira, que não existe um texto “puro”, sem interferências textuais de outras obras, e que isso não retira em nada a originalidade de um texto, pois cada autor é único, e ainda que se trate de uma obra adaptada, há sempre a forma particular de o autor interpretar e trazer à vida a sua própria arte. É isso o que vemos em uMabatha. / This dissertation proposes a comparative study between the English play Macbeth (1605-06) by William Shakespeare and the South African adaptation uMabatha (1969), by Welcome Msomi. This research is based on Comparative Studies and Theory of Adaptation through the work of Linda Hutcheon (2013), Robert Stam (2008), Julie Sanders (2006), Daniel Fischlin and Mark Fortier (2000), and aims to analyze the differences and similarities of Msomi's work in relation to the Shakespearean work and the strategies used by the author to create his Zulu adaptation. It is observed yet, through the cultural transposition, the particularities of the South African play which make it a singular work, such as the origin of the author, the political period in which South Africa was immersed when Msomi created her work and, mainly, which play written by Shakespeare he chose to adapt. Upon a deep analysis and discussion, we perceive that the intertextual relation between the works is part of a natural process of the constitution of Literature. We verified also that this exchange of ideas and inspirations is also present in the relations between the arts in general and that in no way can this process be seen as negative, bequeathing the subsequent works the connotation of "copies" of the source works. We also find that there is no "pure" text without textual interferences from other works, and that this does not remove the originality of a text, since each author is unique, and even if it is an adapted work, there is always a particular way in which the author interprets and brings to life his art - and this is what we see in uMabatha.

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This study is concerned with the artistic use of classical rhetorical figures in Shakespeare's I Henry IV.After the Introduction, Chapter II examines the history of rhetoric, focusing on the use of the rhetorical figures in Ancient Greece, Ancient Rome, and Medieval Europe. Chapter III investigates rhetorical principles and uses of the rhetorical figures during the English Renaissance and examines the probable influence of rhetoric and the figures on William Shakespeare. Chapter IV discusses themes, characterization, structure, and language in I Henry IV and presents the contribution of the rhetorical figures to the drama's action and characterization. Chapter V considers the contribution of the figures to the major themes of I Henry IV and concludes that the figures, when used with other artistic elements, enhance meaning.

The following psychological interpretation of Shakespeare's The Tempest is unique to articles on the same subject which have appeared in literary journals because it applies a purely Jungian reading to the characters in the play. Here each character is shown to represent one of the archetypes which Jung described in his book Archetypes ~ the Collective Unconscious. In giving the play a psychological interpretation, the action must be seen to occur inside Prospera's own unconscious mind. He is experiencing a psychic transformation or what Jung called the individuation process, where a person becomes "a separate, indivisible unity or whole" and where the conscious and unconscious are united.

This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.

La presente investigación analiza el episodio correspondiente al relato del naufragio y las peripecias de Pedro Serrano, el cual se encuentra ubicado en el capítulo VIII del Libro I, de la primera parte de los Comentarios Reales (1609) del Inca Garcilaso. En este estudio se propone que el episodio de Pedro Serrano se inserta dentro del discurso del Inca Garcilaso para responder a los siguientes objetivos específicos. En primer lugar, para realizar una inversión de la categoría de lo salvaje; en segundo lugar, para representar una alegoría del encuentro entre conquistadores y americanos y; finalmente, para proponer una alternativa de conciliación posible entre ambos mundos, el europeo y el americano. Se comienza indagando una aproximación metodológica para el estudio de este episodio donde se recoge el debate en torno a la naturaleza histórica y literaria del mismo. A continuación, se analiza el contexto en que se enmarca el episodio y se establece su clasificación como fábula historial. La definición de este concepto se fundamenta en la influencia neoplatónica que recibe el Inca, principalmente, por el poeta judío Judá Abravanel y por Marsilio Ficino; asimismo, se teoriza este concepto según lo planteado por Carmela Zanelli sobre las propuestas de Efraín Kristal. Finalmente, se analizan los múltiples niveles de significación contenidos en el episodio de Pedro Serrano, examinando los elementos que componen las distintas metáforas presentes en la fábula historial con la finalidad de desentrañar la verdad teologal que contiene.

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This paper presents a detailed comparative analysis of four important settings of Ophelia's song texts from Shakespeare's Hamlet composed by Brahms, Strauss, Chausson, and Pasatieri. Each of the first three represents a different facet of song composition during the period 1873-1919. The "Five Songs of Ophelia" by Brahms recall the simplicity of Volkslied. Strauss's "Drei Lieder der Ophelia" assume a more complex and formal demeanor, while Chausson's setting, "Chanson d'Ophelie," demonstrates French preoccupation with setting the natural speech rhythms of language. Pasatieri's "Ophelia's Lament," from 1975, uses operatic gestures within the context of piano-accompanied song. An interview with Pasatieri which defines this song as monodrama is transcribed in the appendix.

LD2668 .T4 1954 R67 / Master of Science

The study described in this dissertation was conducted during a three week period and encompassed four senior high school English classes. The data derived from the study were elicited from a pre test of knowledge and a pre treatment attitude survey; a post test of knowledge and a post treatment attitude survey and a delayed post test of knowledge. The four groups of students were given the following treatments within the Shakespearean drama unit on Hamlet: (1) Group I - Students in this group were shown four teaching films on Hamlet and read the play aloud in class with students taking parts. (2) Group 2 - Students listened to a taped recording of the play and followed along with their books. (3) Group 3 - Students in this group listened to the taped recording of the play and were shown the four teaching films. (4) Group 4 - Students in this group, which was the control group, read the play aloud in class with students taking parts. The research questions which guided the research and were addressed through the statistical analysis were as follows: (1) What significant knowledge differences, if any, exist between and among the groups receiving the non-print media treatments and that group which did not? (2) Is there a difference in appreciation (attitudes) of Shakespearean drama between the groups which received the non-print media treatments and the group which did not? The statistical analysis of the data revealed that although all groups improved on the knowledge post test, groups 1 and 2 improved the most. Attitude scores also increased for group 1. Interestingly, the difference between pre treatment and post treatment attitude scores for group 2 was negligible, and for groups 3 and 4 decreased. The following conclusions were then drawn from the statistical analysis: (1) The use of non-print media does improve knowledge of and attitude about Shakespearean drama. (2) The use of non-print media should be limited, for example, to either taped recording or film for optimum results.