This thesis attempts to expose stereotypologies of black African skin as performed on the Shakespearean stage and before the Shakespearean camera. My research engages with a number of Tudor/Stuart travel narratives and plays containing imperialistic denigrations of Negritude. To accompany these early revelations of the 'unknown' black Other, I effect a close performative and historical consideration of Shakespeare's Othello (1602). By critiquing the repetitive containment of the character of Othello, the Moor, by successive theatrical ideologies, I work towards a full analysis of his twentieth-century representation on film. Here, through positioning myself within contextual, postcolonial, and methodological discourses surrounding representations of Othello by Orson Welles (1952), Stuart Burge (1965), and five other directors from 1981 to the present day, I confirm and analyse the politicisation of both genuine and masked blackness. In asserting that Welles's ninety-minute statement is powerfully emancipated from white ideological constraint, I nonetheless conclude that the Elizabethan and Jacobean tropes employed in dramatic formulations of black skin retain powerful visual significance within the contemporary film industries that interpret Shakespeare's Moor of Venice.

This thesis attempts to provide an historicised account of excuse-making strategies in sixteenth- and seventeenth-century literature. This issue is considered, broadly, in the light of the pervasive influence of rhetoric in early modem culture at large, and specifically, as an aspect of the rhetorical construction of moral ambiguity in Shakespearean drama. Its chief concern is with the intractable ambiguity of 'favourable interpretations' or 'charitable constructions' of actions or events, the apparent desirability of which seems beyond doubt. Chapter I uses the 'generosity' often regarded as Shakespeare's own trademark as a way into exploring the aims of the thesis. Its central section focuses more closely on the ambiguity inherent in a 'female rhetoric' of mitigation, apology and extenuation. Where these chapters concentrate on 'covert' excuse-making strategies. Chapter V, by contrast, begins with an exploration of the early modern transformation (or domestication) of classical, female orators into decent, modest, seventeenth-century women. The thesis concludes with an account of Shakespeare's suppliant women, a group of petitioners who are repeatedly represented 'between men'. The persistence of this pattern, I argue, stresses the extent to which excuse-making is gendered, and might be read, as well, as the playwright's own attempt to 'contain' the radical moral ambiguity (radical because as difficult to condone as to condemn) generated by such 'female' excuse-making.

"His criticism may be considered as general or occasional. In his general precepts, which depend upon the nature of things and the structure of the human mind, he may doubtlessly be safely recommended to the confidence of the reader: but his occasional and particular positions were sometimes interested, sometimes negligent, and sometimes capricious." With certain qualifications, it would be the opinion of those critics who share a great admiration of the man that this statement might well have been made of Johnson himself. There are those, however, whose esteem of Johnson is perhaps not so great. One thus finds Alan Tate writing: "One is constantly impressed by Johnson's consistency of point of view, over the long pull of his self-dedication to letters. There is seldom either consistency or precision in his particular judgements and definitions -- a defect that perhaps accounts negatively for his greatness as a critic: the perpetual reformulation of his standards, with his eye on the poetry, has done much to keep eighteenth century verse alive in our day. His theories (if his ideas ever reach that level of logical abstraction) are perhaps too simple for our taste and too improvised; but his reading is disciplined and acute." Tate is eager to perpetuate the notion of Johnson as a critic with a massive common sense and little more, an imputation which Johnson would not only resent, but dismiss as short-sighted. Intro., p. 1.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

Este trabalho trata do processo de transcrição da Suíte 20 de J. J Froberger para violão solo. O objetivo geral é descrever o processo de transcrição com base em modelos de transcrição dos séculos XVII e XXI. A partir destas análises foi construído um referencial teórico para aplicação na transcrição da Suíte 20. A identificação dos elementos típicos do chamado stile brisé a partir do referencial foi essencial para o processo de transcrição da suíte 20, que se utilizou de vários procedimentos similares. No anexo deste artigo consta uma edição comparativa da versão original da Suíte 20 com a transcrição, bem como outra edição com a parte do violão solo e sugestões de execução.

The master thesis deals with the piano sketch Macbeth and the Witches written by Bedřich Smetana. First of all, the reader is familiarized with the biography of B. Smetana, where the deciding moment for writing this music piece is captured. The inspiration by William Shakespeare is put to a broader context with Smetana's work. The original drama is compared with Smetana's music. The sketch has been revised four times since its creation, in 1912 by Jindřich Káan z Albestů, in 1924 by Roman Veselý, in 1961 by Václav Štěpán and in 1981 by Jan Novotný. The last two revisions were compared in detail and many differences were found in the marking of the tempo, the notation, pedalization, dynamics and fingering, last but not least mistakes were found, so their removal was suggested. In the ending of the thesis, there are recommendations concerning the practising of the piece from my own professional experience.

Submitted by Reginaldo Soares de Freitas (reginaldo.freitas@ufv.br) on 2017-05-02T17:05:21Z No. of bitstreams: 1 texto completo.pdf: 1020908 bytes, checksum: d873a067d1c12e4ccbb8eda9b72f6a3e (MD5) / Made available in DSpace on 2017-05-02T17:05:21Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1020908 bytes, checksum: d873a067d1c12e4ccbb8eda9b72f6a3e (MD5) Previous issue date: 2016-11-25 / Este estudo discute o percurso intertextual das comédias A megera domada e Muito Barulho por nada, de William Shakespeare, adaptadas para os cordéis de Marco Haurélio e José Santos, respectivamente. A pesquisa busca mostrar como o texto fonte ganha novas feições cada vez que é reinterpretado e recriado. As mudanças ocorridas nesse processo de transculturação ocorrem desde o plano da linguagem à inserção de elementos da cultura popular nordestina ao texto adaptado. O principal objetivo dessa pesquisa é refletir sobre esse processo, classificado por Linda Hutcheon (2011) como indigenização, ocorrido na adaptação das peças para o cordel. Além disso, a recriação dramática feita pelos cordelistas assume importantes funções sociais no contexto da cultura, dentre elas o estabelecimento da relação entre uma arte erudita e uma arte popular brasileira, ou seja, a partir das raízes das manifestações artísticas populares, a arte erudita é recriada. Este processo de adaptação se mostra também pertinente no que se refere ao acesso à leitura de textos literários e à formação de leitores. Para alcançar tais objetivos, foram utilizadas as teorias da Adaptação de Linda Hutcheon e Robert Stam, além dos estudos de Bakhtin e Julia Kristeva e o debate sobre cultura pautado nos estudos de Raymond Wiliams, Terry Eagleton e Alfredo Bosi. Por fim, sobre o cordel, foram agregadas as pesquisa de Márcia Abreu e Sylvia Nemer. / This study discusses the intertextual path of the comedies The Taming of the Shrew and Much Ado About Nothing, by William Shakespeare, adapted to cordels by Marco Haurélio and José Santos, respectively. The research aims at showing how the source text gains new characteristics each time it is reinterpreted and recreated. The changes which occurred in this transculturation process occurred from the language plan to the insertion of Northeastern popular culture elements in the adapted text. This research’s main goal is to reflect upon this process, classified by Linda Hutcheon (2011) as indigenization, which occurred in the plays adaptation to cordel. Besides this, the drama recreation done by cordelists assume important social functions in culture context, such as the establishment of a relation between an erudite art and a popular Brazilian one, in other words, from the roots of popular artistic manifestations, the erudite art is recreated. This adaptation process also shows itself pertinent concerning the access to reading of literary texts and to readers’ formation. In order to achieve such goals, Linda Hutcheon’s and Robert Stam’s theories were used, besides the studies by Bakhtin and Julia Kristeva and the debate about culture lined by Raymond Williams, Terry Eagleton and Alfredo Bosi’s studies. Finally, about cordel, Márcia Abreu’s and Sylvia Nemer’s researches were aggregated to the research as well.

Esta dissertação analisa a construção dos solilóquios em três das principais tragédias de Shakespeare, a saber, Macbeth, Hamlet e Othello, e sua relação com a formação da consciência na construção da identidade do indivíduo, um conceito que ocorre a partir do início da Idade Moderna. A pesquisa se apoia na teoria psicanalítica freudiana e na análise da linguagem e do discurso elaborada por Foucault. Os solilóquios correspondem ao diálogo que as personagens travam consigo mesmas em momentos quando somente a plateia, ou o leitor, podem escutá-los ou lê-los. Diferentemente do monólogo – que passa pelo crivo da razão, por ser dirigido a um ou mais interlocutores em cena – o solilóquio é mais espirituoso, flui mais livremente e expressa a fala interior e os pensamentos e sentimentos mais profundos das personagens. No solilóquio inexistem o processo de censura ou a necessidade de corresponder às expectativas de outrem. Ele prende a atenção do público e pressupõe a sua conivência para com os argumentos apresentados. Minha hipótese é que no drama Shakespeariano os solilóquios têm a função de acomodar o indivíduo com a sua própria consciência, num tempo em que este não consegue mais se ver como membro de uma comunidade, que pensa e age publicamente, como ocorria na antiguidade, ou de acordo com os preceitos religiosos e morais rigorosos da Idade Média. Apresento este trabalho como um estudo sobre o momento histórico e estético em que o indivíduo moderno passa a se constituir conceitualmente. Os principais temas de fundo na dissertação são a questão da justiça e da ética frente à desgraça; e a questão do mal e de como lidar com ele. A discussão será feita a partir do questionamento das dicotomias e dos estereótipos que operam nessas três tragédias Shakespearianas. A linguagem e o conteúdo dos solilóquios serão analisados sob um enfoque filosófico e psicanalítico. / This thesis aims at analysing the appearance and construction of soliloquies in three major Shakespearean tragedies, Macbeth, Hamlet and Othello. The focus of the research lies on the relationship involving the plays and the concept of individual identity that originates at the dawn of the Modern Age. The research is grounded on Freudian psychoanalytical theory and on the analysis of language and discourse proposed by Michel Foucault. Soliloquies correspond to the inner dialogue that characters have with themselves when no one else is present and only the audience, or the reader, can hear or read them. Differently from the monologue, which is always addressed to one or more people present at the scene, soliloquies are usually witty, and express the inner speech and deepest thoughts and feelings of a character. This happens because with soliloquies there is no process of censorship, or the need to correspond to the expectation of other characters. My hypothesis is that soliloquies originate in and are related to the need of individuals to express themselves according to their own conscience, not only as members of a community who act and think publicly, as was the case in ancient times, or according to the religious precepts and strict moral codes of the Middle Ages. I hope that this work can contribute to illustrate the moment in which the concept of individuality starts to be put to use. Some of the themes discussed in the thesis address the questions of justice and ethics in face of disgrace, the origin of evil and how it is addressed. The themes are dealt with in the analysis of the dichotomies and stereotypes that operate in those Shakespearean tragedies. The language and content of the soliloquies will be analysed through a philosophical and psychoanalytical approach.

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.

The second edition of Shakespeare's sonnets, titled Poems: Written by Wil. Shake-Speare, Gent, and published by stationer John Benson in 1640, was a text typical of its time. In an effort to update the old-fashioned sonnet sequence in which its contents had first reached print, the compiler or editor of the Bensonian version rearranged the poems from the earlier quarto text, adding titles and other texts thought to have been written by or about the sonnets' author. The immediate reception of the 1640 Poems was a quiet one, but the volume's contents and structure served as the foundation for more than half of the editions of Shakespeare's sonnets produced in the eighteenth century. In part due to the textual instability created by the presence of two disparate arrangements of the collection, Shakespeare's sonnets served only as supplements to the preferred Shakespearean canon from 1709 to 1790. When, at the end of the century, the sonnets finally entered the canon in Edmond Malone's groundbreaking edition of the plays and poems together, Benson's version was quickly overshadowed by the earlier text, which was preferred as both more authorial and, due to Malone's careful critical readings, autobiographical. In contrast to the many scholars since Malone who have overlooked or denigrated the Poems of 1640, this thesis studies the second edition of Shakespeare's sonnets within the framework of the early modern culture that produced it, arguing that Benson's edition provides valuable evidence about the editorial habits and literary preferences of the individuals and culture for which it was originally intended.