This research focuses on how Young Adult (YA) novelists adapt Shakespeare’s plays to address the concerns of a contemporary teenage audience. Through the qualitative method of content analysis, I examined adaptations of the three most commonly read texts in the high school curriculum: Romeo and Juliet, Macbeth, and Hamlet. The research looked for various patterns in the adaptations and analyzed the choices made by the authors in aligning their texts to or deviating from the original plays. A final chapter addresses practical classroom application in using adaptations to teach the plays to high school students. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

O presente trabalho tem por objetivo verificar se o conhecimento da linguagem artística pode ser um pressuposto para o conhecimento jusfilosófico, aclarando a compreensão de conceitos ou noções trabalhadas no bojo das teorias e sobrepujando o mero diálogo entre essas duas esferas. Isto porque a logopatia [ou conhecimento racional e afetivo], pelo seu próprio conceito, significaria o conhecimento universal tanto do ponto de vista do sujeito cognoscente [em razão do pensamento complexo do Homem que não é só sapiens, mas também é demens] quanto do próprio objeto cognoscível [em razão de considerá-lo à luz dos inúmeros fatores que sobre ele incidem, variáveis ou não, que também se traduzem por outros objetos cognoscíveis]. Se a postura logopática enseja uma universalidade que é própria da Filosofia, parece de todo óbvio que o conhecimento interdisciplinar entre Arte e Direito é uma necessidade para a própria produção jusfilosófica. Para ratificar a hipótese, elegeu-se o tema do poder, com suas inúmeras teorias críticas - especialmente as concepções de Michel Foucault, Niklas Luhmann, Pierre Bordieu, Tércio Sampaio Ferraz Jr. e Mara Regina de Oliveira - e a peça shakespeariana A Tempestade para viabilização da análise interdisciplinar. E diante desse método e dessa hipótese, não haveria pergunta melhor para definir o problema desta pesquisa que não a seguinte: É possível fazer uso da linguagem literária shakespeariana para abordar o tema do poder que surge formulado na linguagem jusfilosófica? / The present work aims to verify if the knowledge of the language arts could be a precondition for the jusphilosofical knowledge, clarifying the understanding of concepts or theorical notions and overcoming the mere dialogue between these two spheres. That is because logopathy [or rational knowledge and affective], by its very concept, it would mean universal knowledge both from the standpoint of the knowing subject [because of the complex thought of man who is not just sapiens, but is also demens] and the knowable object itself [due to consider the numerous factors bearing upon it, variable or not, wich also are other knowable objects]. If the logopathical posture gives rise a universality that is characteristic of philosophy, it appears obvious that the interdisciplinarity between art and law is a necessity for the jusphilosophical production itself. To confirm the hypothesis, it was elected the theme of \"power\", with its many critical theories - especially the ideas of Michel Foucault, Niklas Luhmann, Pierre Bourdieu, Tertius Sampaio Ferraz Jr. and Mara Regina de Oliveira - and Shakespeare\'s play The Tempest in order to enable the interdisciplinary analysis. And before that method and that hypothesis, there would be no better question to define the problem of this research than the following: Is it possible to make use of Shakespearean literary language to treat the issue of power that comes formulated in the jusphilosophical language?

Esta dissertação se propõe a apresentar um estudo comparativo de traduções da obra Romeu e Julieta, de William Shakespeare, no que diz respeito à polissemia, entendida como uma condensação de significados em um só significante e que constitui uma fonte potencial de inequivalência na tradução. Nesta obra, é representada pelas expressões de duplo sentido com conotação obscena, aqui, denominadas jogos de linguagem. A análise se sustenta nos pressupostos teóricos da tradução, com base nos estudos das teóricas Rosa Rabadán e Hurtado Albir, compreendida como um processo interpretativo e comunicativo através do qual um texto fonte não é apenas traduzido à língua alvo, como também inserido em um novo contexto sócio-cultural, tendo em vista sua finalidade específica e seu público alvo. O objetivo é estudar a tradução da polissemia nesta obra, através da comparação e da análise das soluções encontradas em três de suas traduções para o português: Beatriz Viégas-Faria (1998), Bárbara Heliodora (2004) e Elvio Funck (2011). A metodologia consiste, primeiramente, no levantamento e na análise em inglês de passagens com jogos de linguagem que evidenciem a polissemia, aqui delimitadas às falas do personagem Mercúcio. Em segundo lugar, a metodologia consiste na comparação das diferentes soluções oferecidas pelos tradutores à questão da potencial inequivalência que os jogos de linguagem possam representar. A partir dessa comparação e da análise dos jogos de linguagem, espero evidenciar que a tradução dos jogos de linguagem requer um tratamento cuidadoso no que diz respeito à reprodução de sua função comunicativa da comicidade através da exploração do tema da sexualidade. Portanto, a análise do tratamento dado à polissemia pelos tradutores permitirá, também, conhecer seus efeitos na produção de textos da língua alvo e refletir sobre a melhor maneira de reproduzi-los, de modo a propor estratégias para enfrentar esse tipo de problema de tradução que também levem em conta a necessidade de uma adaptação ao contexto social ou à cultura em que serão inseridos e à finalidade de cada tradução. / This thesis proposes a comparative study of different translations of Romeo and Juliet by William Shakespeare concerning the polysemy, defined as a condensation of more than one signified in the same signifier and potential source of equivalence in translation represented in this literary work specifically by double meaning expressions with obscene connotation named jogos de linguagem (language games). The analysis is based on theoretical assumptions of translation that define it as an interpretative and communicative process based on the studies of Rosa Rabadán and Hurtado Albir in which the text of a source language is not only translated into the target language, but also inserted in a new social and cultural context considering its specific purpose and its target audience. It aims at studying the translation of polysemy in this literary work through the comparison and analysis of three of its translations into Portuguese. They are Beatriz Viégas-Faria’s translation, published in 1998, Bárbara Heliodora’s translation, published in 2004, and Elvio Funck’s translation, published in 2011. Firstly, the methodology consists of researching and analyzing some passages with double meaning expressions that display examples of polysemy in the source text, focused on Mercúcio’s speech as a matter of time and organization. Secondly, it consists of comparing different solutions of translation concerning matters of potential non-equivalence the jogos de linguagem may represent. Through this analysis and comparison, I hope to evince that the translation of the jogos de linguagem requires a careful treatment concerning the reproduction of the communicative function of comicality through the exploration of sexuality. Therefore the analysis of the translators’ treatment of polysemy will also allow us to know its effects in the production of texts of the target language and to reflect on the best way of reproducing them in order to propose strategies to solve this kind of translation problem considering the necessity of an adjustment towards the social and cultural context in which they are inserted and the purpose of each translation.

Speech acts described as forms of “complaint”—lamentations, accusations, supplications—permeate early modern theatrical tragedy. “Shakespeare and the Drama of Complaint” explores and theorizes the largely unexamined relationship between complaint and tragedy in light of the fact that in the early modern period, “complaining” was cultural shorthand for ineffective, effeminate, and shameful responses to loss and injury. Focusing on familiar Shakespearean tragedies such as Richard III, Richard II, Hamlet, and King Lear, as well as contemporaneous plays by other writers, including Thomas Kyd’s Spanish Tragedy, Christopher Marlowe’s Tamburlaine, and Francis Beaumont and John Fletcher’s Maid’s Tragedy, I argue that complaint was at the very heart of the way the genre of tragedy was conceptualized in the late sixteenth and early seventeenth centuries. As I show, speeches and scenes of complaint were central to the construction of tragic plots and characters, and to the genre’s didactic and affective objectives. But the intersection of tragedy with complaint is more than simply formal and stylistic. I argue that through its engagement with a dazzling array of rhetorical modes and literary forms of complaint, tragedy recuperates “complaining” as a valuable mode of social expression and action. The first half of “Shakespeare and the Drama of Complaint” focuses on plays that attribute ethical value and political efficacy to complaining—to articulating individual and collective grief and grievance, alone and in community with others. Its first chapter explores the ethical dimensions of the existential complaints of the characters of King Lear in relation to what I call the “complaint-shaming” rife in Stoic and Calvinist moral philosophy. My second chapter, picking up on Lear’s notion of complaining as an act of bearing witness to the suffering of others, looks at the plays of Shakespeare’s first tetralogy, and particularly Richard III, as unconventional revenge tragedies in which reiterated speech acts of complaint are politically powerful and efficacious. The second half of the project pivots to plays that take up the interpellative and affective force of complaint within their narratives in order to reflect on the particular agency, and social value, of tragedy itself: my third chapter reads Hamlet as a meditation on how the structure of complaint, incorporated into tragic narrative, might strike theatrical audiences’ consciences, while my final chapter, on Richard II, shows how performances of complaint, even if they do nothing else, might move audiences to tears. As a staging ground for complaint, the early modern theater and its tragic shows oriented audiences to respond to and participate in social modes of complaining—and taught them to be more sophisticated spectators and consumers of tragedy.

Theater of Enigma in Shakespeare’s England demonstrates the cognitive, affective, and social import of enigmatic theatrical moments. While the presence of other playgoers obviously shapes the experience of attending a play, I argue that deliberately induced moments of audience ignorance are occasions for audience members to be especially aware of their relations to others who may or may not share their bafflement. I explore the character of states of knowing and not-knowing among audience members and the relations that obtain among playgoers who inhabit these states. Further, I trace the range of performance techniques whereby playgoers are positioned in a cognitive no-man's land, lying somewhere between full understanding and utter ignorance—techniques that I collectively term “enigmatic theater.” I argue that moments of enigmatic theater were a dynamic agent in the formation of collectives in early modern playhouses. I use here the term “collective” to denote the temporary, occasional, and fleeting quality of these groupings, which occur during performance but are dissipated afterwards. Sometimes, this collective resembles what Victor Turner terms communitas, in which the normal societal divisions are suspended and the playgoers become a unified collectivity. At other times, however, plays solicit the formation of multiple collectives defined by their differing degrees of knowledge about a seeming enigma. In either case, I show that a core achievement of early modern theater of enigma was to link issues of knowledge with issues of belonging—even when that pleasurable sense of belonging is as transient as the occasion of performance.

Lam Wai-yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 108-114). / Abstracts in English and Chinese. / Abstract --- p.i / 論中文摘要 --- p.iii / Acknowledgements --- p.iv / Prologue： Childhood and Adolescence as Plurality of Cultural Constructs --- p.1 / Chapter Chapter one： --- """Childhood hath Saved me!"": Idealization of Children" --- p.19 / Chapter Chapter two： --- Growing Up in Shakespeare: Nostalgia for Origin --- p.44 / Chapter Chapter Three： --- """I am not that I play"": Androgyny and Cross-dressing as an Initiation Process" --- p.72 / Epilogue： Reaching Young Adulthood: Courtship and Marriage as a Rite of Maturation --- p.103 / Works Cited --- p.108

周閩. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 149-158). / Abstract in Chinese and English. / Zhou Min. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 1.1 --- 硏究對象和主要內容 --- p.1 / Chapter 1.2 --- 莎士比亞十四行詩的漢譯本 --- p.3 / Chapter 1.3 --- 文獻回顧 --- p.9 / Chapter 1.4 --- 硏究方法和理論 --- p.12 / Chapter 第二章 --- 十四行詩的起源與發展 --- p.15 / Chapter 2.1 --- 十四行詩的起源與彼得拉克體十四行詩 --- p.17 / Chapter 2.1.1 --- 十四行詩的起源 --- p.17 / Chapter 2.1.2 --- 彼得拉克與意體十四行 詩 --- p.19 / Chapter 2.2 --- 英國的十四行詩風潮與斯賓塞體十四行詩 --- p.23 / Chapter 2.2.1 --- 伊麗莎白時代的十四行詩風潮 --- p.23 / Chapter 2.2.2 --- 斯賓塞體十四行詩 --- p.26 / Chapter 2.3 --- 莎士比亞十四行詩：繼承與創新 --- p.29 / Chapter 2.4 --- 十四行詩在中國的早期譯介 --- p.34 / Chapter 第三章 --- 莎士比亞十四行詩的形、音、意及其漢譯 --- p.42 / Chapter 3.1 --- 莎士比亞十四行詩的形式及其漢譯 --- p.45 / Chapter 3.1.1 --- 莎士比亞十四行詩的韻式 --- p.47 / Chapter 3.1.2 --- 莎士比亞十四行詩的節 奏 --- p.59 / Chapter 3.2 --- 莎士比亞十四行詩的音樂效果及其漢譯 --- p.68 / Chapter 3.2.1 --- 聲音音色與音樂效果 --- p.70 / Chapter 3.2.2 --- 聲音模式與音樂效果 --- p.76 / Chapter 3.2.3 --- 聲音運動與音樂效果 --- p.82 / Chapter 3.3 --- 莎士比亞十四行詩的意象及其漢譯 --- p.84 / Chapter 3.3.1 --- 莎士比亞十四行詩的“意´ح與“象´ح --- p.86 / Chapter 3.3. 2 --- 莎士比亞十四行詩意象漢譯的特殊問題 --- p.101 / Chapter 第四章 --- 個別譯本評析 --- p.109 / Chapter 4.1 --- 梁宗岱與《莎士比亞十四行詩》 --- p.109 / Chapter 4.2 --- 屠岸與《莎士比亞十四行詩集》 --- p.118 / Chapter 4.3 --- 辜正坤與《莎士比亞十四行詩集》 --- p.125 / Chapter 4.4 --- 梁實秋與《十四行詩》 --- p.133 / Chapter 第五章 --- 結語 --- p.141 / 參考書目 --- p.149

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2018. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / O objetivo deste estudo é realizar uma tradução comentada de sonetos de Shakespeare para o português brasileiro. Foram incluídos dezoito sonetos e o processo de sua tradução foi comentado, usando-se como referência as ideias de Octavio Paz sobre poesia, poemas e tradução. Foi feito um breve estudo da história e da forma do soneto inglês, utilizado por Shakespeare, e um levantamento de traduções anteriores. Foi feita também uma analogia entre a métrica utilizada nas traduções, o decassílabo heroico com a tônica auxiliar na segunda sílaba métrica e o compasso quaternário, na música. / This study aims to perform a commented translation of some of Shakespeare’s sonnets to Brazilian Portuguese. Eighteen sonnets were included, and their translation process was commented, using as reference the ideas of Octavio Paz about poetry, poems and translation. A brief study was conducted as to the history and form of the English sonnet, used by Shakespeare, and previous translations were raised. Also, an analogy was made between the metrics used in the translation, ten-syllable verses, with an ictus on the second, sixth and tenth poetic syllables, and the quaternary compass, in music.

Natalie Schmidt Ferreira

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