O foco dessa dissertação é analisar o papel, as características, e a presença dos bobos ao longo da história, focando em sua constante aparição no teatro. Os personagens principais da minha análise serão o Bobo, na peça Rei Lear de William Shakespeare, e Vladimir e Estragon, na peça Esperando Godot de Samuel Beckett. Na análise desses personagens, discuto semelhanças entre os autores, que já foram notadas por críticos como Martin Esslin, Jan Kott, e Northrop Frye, e mostro como os personagens de Beckett são similares aos bobos de Shakespeare. Bobos, no teatro, frequentemente agem como mediadores entre o palco e a plateia, guiando os espectadores e falando verdades. O Bobo de Lear diz verdades criticando seu mestre e o lembrando das decisões erradas que ele tomou; os personagens em Esperando Godot dizem verdades sobre a falta de sentido de nossas vidas e, mais importante, nos mostram essa falta de sentido no decorrer da peça. Em relação à linguagem, o uso dela pelos bobos é diferente do uso dos outros personagens porque eles a manipulam para criar desentendimentos e jogos de palavras. No teatro de Shakespeare, a principal razão para esse uso peculiar da linguagem é que os bobos querem mostrar sua sagacidade; no teatro de Beckett, eles usam uma linguagem sem sentido para mostrar que ela está quebrada e que tentativas de comunicação são inúteis. Através das ações e diálogos dos bobos de Beckett em Esperando Godot, podemos ver que a vida é absurda e que vivemos em um mundo cheio de incertezas. Apesar de personagens bobos geralmente serem vistos como superficiais e insignificantes, especialmente nas peças de Shakespeare, eles são extremamente importantes no teatro e têm uma maneira única de interagir com os outros personagens e com o público. / The focus of this thesis is to analyze the role, characteristics, and presence of fools throughout history, focusing on their recurrence in the theater. The characters I will focus on are Lear's Fool in William Shakespeare's King Lear, and Vladimir and Estragon in Samuel Beckett's Waiting for Godot, discussing similarities between the two authors, which have been mentioned by critics such as Martin Esslin, Jan Kott and Northrop Frye, and showing how Beckett's characters are similar to Shakespearean fools. Fools in the theater often act as mediators between the stage and the audience, guiding spectators and telling truths. Lear's Fool tells truths by criticizing his master and reminding him of the wrong decisions he has made; the characters in Waiting for Godot tell truths about the meaninglessness of life and, most importantly, show us this meaninglessness throughout the play. The use of language by fools is different from that of other characters because they manipulate it to create misunderstandings and word games. In Shakespeare's theater, the main reason for this peculiar use of language is that fools want to show their wit; in Beckett's theater, the characters use nonsensical language to show that language has broken down and that attempts at communication are pointless. Through the actions and dialogues of Beckett's fools in Waiting for Godot, we can see that life is absurd and that we live in a world full of uncertainties. In spite of the fact that fool characters are often seen as shallow and insignificant, especially in Shakespeare's theater, they are of extreme importance in the theater and have a unique manner of interacting with other characters and with the audience.

Orientador: Cláudia Valladão de Mattos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1 Paes_LucianaLourenco_M.pdf: 6480106 bytes, checksum: 311dc7804c3dc4fd9387ec6cc4c1d3bd (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com outras obras do artista e de seus contemporâneos, com a noção de "teatral" em pintura e com o contexto da pesquisa psiquiátrica na França na primeira metade do séc. XIX / Abstract: The present paper intends to analyze the representations of Ophelia¿s death in the production of the French painter Eugène Delacroix (1798-1863), reflecting on its relationship with the visual tradition of Venus and the feminine suicide, with other works by the artist and his contemporaries, with the notion of "theatrical" in painting and with the context of psychiatric research in the first half of nineteenth-century France / Mestrado / Historia da Arte / Mestra em História

Orientador: Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T11:25:45Z (GMT). No. of bitstreams: 1 Turatti_RicardoAmarante_M.pdf: 1344043 bytes, checksum: 5993031e08f090e5471817aba05c9db0 (MD5) Previous issue date: 2014 / Resumo: A pesquisa pretende estudar parte do processo de constituição identitária da América, principalmente no que se refere à identificação do continente com uma obra produzida em um contexto europeu. A obra em questão é a peça A Tempestade, de William Shakespeare. Enquanto a peça foi escrita na Inglaterra do século XVII, suas ressignificações ligadas à América datam do final do século XIX e início do XX, e demonstram uma constante renovação das metáforas contidas na obra original. Tendo como eixo principal a leitura realizada sobre as personagens Ariel e Calibã, as interpretações da peça representam a adoção de modelos para o continente americano, obedecendo a uma dinâmica de intercâmbio América - Europa. Os modelos acabam servindo para a formação de utopias, projetos políticos e para a construção de uma identidade americana, assim como apresentam indícios para o estabelecimento de outra construção: a de termos generalizantes como América Latina, Iberoamerica e Anglo-América. Busca-se, portanto, por meio da leitura da peça e de suas interpretações, realizar uma análise histórica sobre a formação de um discurso identitário e cultural para os países americanos / Abstract: The research intends to study part of the process of identity constitution in America, with the primary focus in the identification of the continent with work produced in a european context. The work in question is the play The Tempest, by William Shakespeare. The play was written in XVIIth century England, but its re-significations linked to America date from late XIXth and early XXth, demonstrating a constante renovation of the metaphors contained in the original work. The interpretations of the play center on the caracthers Ariel and Caliban, representing the adotion of models for the american continent, following a exchange dynamic between America and Europe. The models are used for the formation of utopias, political projects and for the constrution of an american identity, presenting indications for the establishment of another constrution: the formation of generalizing terms as Latin America, Ibero America and Anglo America. The intention is, therefore, by reading the play and its interpretations, realize a historical analysis about the formation of an identity and cultural discourse for the american countries / Mestrado / Historia Cultural / Mestre em História

No description available.

In this study, I analyze the significance of Shakespearean intertextuality in the major works of Thomas Wolfe featuring protagonist Eugene Gant: Look Homeward, Angel and Of Time and the River. Specifically, I explore Gant's habits and preferences as a reader by examining the narrative arising from the protagonist's perspectives of Shakespeare's The Merchant of Venice, Hamlet, and King Lear. I examine the significance of parallel reading habits of Wolfe the author and Gant the character. I also scrutinize the plurality of Gant's methods of cognition as a reader who interprets texts, communicates his connections with texts, and wars with texts. Further, I assess the cumulative effect of Wolfe's having blurred the boundaries between fiction and reality, between the novel and drama. I assert, then, that Wolfe, by incorporating a Shakespearean intertext, reveals aspects indicative of postmodernism.

This thesis resulted from an examination of the influence of witchcraft superstitions upon Elizabethan-era dramas.

This dissertation examines representations of legal, theological, and medical modes of case thinking and case narration in the novella collections of four early modern authors: Giovanni Boccaccio (1313-1375), Marguerite de Navarre (1492-1549), Matteo Bandello (c.1485-1562), and Miguel de Cervantes (1547-1616). It further investigates how these collections perform and problematize practices of narrating and interpreting cases while framing such practices within the context of the navigation of daily news. Indeed, keen observers of the capacity of informal and formal networks to circulate information and opinions in unpredictable ways and on scales unprecedented, these authors also used the novella genre—and the polysemy of the term “novella”—to intervene in contemporary debates on the value of novelty and on the merits of popularizing expert knowledge. I argue that the early modern novella’s role as a literary mediator between professional forms of the case and popular forms of the news report was instrumental to its durable transnational European success. Over the course of this dissertation, I show how these collections depict the art of storytelling qua case narration as an essential ethical component of professional casuistries and of everyday information exchanges. I draw attention to specific professional inflections of the case-novella-news nexus, in order to highlight how each author conceives—and makes the case for—the indispensability of storytelling to spiritual and civic life. I demonstrate that a juridical approach to cases and novelty takes precedence in Boccaccio’s Decameron. I show that, in contrast, Marguerite de Navarre’s Heptaméron relies on distinctly theological conceptions of cases and news. I proceed to compare the type of moral casuistry found in the Heptaméron to that found in Matteo Bandello’s Novelle. Finally, I investigate the consequences of Cervantes’ predilection for a medical approach to case analysis, novelty, and news in his Novelas ejemplares. The broader ambition of this investigation is twofold: first, to contribute a literary and historical perspective to contemporary methodological debates on the value of case thinking in the human sciences and in the liberal professions, and second, to pave the way for an exploration of the casuistical foundations of modern journalism at a time when its epistemological and ethical priorities are sorely in need of being reassessed.

It has been the purpose of this study to make a comparative analysis of the most significant characters in two selections of dramatic literature: Gordon Bottomley’s King Lear’s Wife and William Shakespeare’s King Lear. The significant characters are Goneril and Regan, the “evil influence” in both plays; the two Lears, the “neutral influence” in both plays; and Hygd and Cordelia in King Lear’s Wife and King Lear, respectively. Hygd and Cordelia are the “honorable influence” in the stories. It has been the further purpose of this thesis to delete from both plays all subplots which do not directly pertain to the Lear story and to include both plays in this volume for the use of presentation before an audience. The edited version of both plays uses Bottomley’s King Lear’s Wife as a prologue to Shakespeare’s King Lear. It is hoped that the total effect will give a new significance to the motives of Lear’s daughters and to the character of King Lear Goneril and Regan are given justification, through Bottomley’s play, for their evil actions in Shakespeare’s play.

‘The Ophelia Versions: Representations of a Dramatic Type from 1600-1633’ interrogates early modern drama’s use of the Ophelia type, which is defined in reference to Hamlet’s Ophelia and the behavioural patterns she exhibits: abandonment, derangement and suicide. Chapter one investigates Shakespeare’s Ophelia in Hamlet, finding that Ophelia is strongly identified with the ballad corpus. I argue that the popular ballad medium that Shakespeare imports into the play via Ophelia is a subversive force that contends with and destabilizes the linear trajectory of Hamlet’s revenge tragedy narrative. The alternative space of Ophelia’s ballad narrative is, however, shut down by her suicide which, I argue, is influenced by the models of classical theatre. This ending conspires with the repressive legal and social restrictions placed upon early modern unmarried women and sets up a dangerous precedent by killing off the unassimilated abandoned woman. Chapter two argues that Shakespeare and Fletcher’s The Two Noble Kinsmen amplifies Ophelia’s folk and ballad associations in their portrayal of the Jailer’s Daughter. Her comedic marital ending is enabled by a collaborative, communal, folk-cure. The play nevertheless registers a proto-feminist awareness of the peculiar losses suffered by early modern women in marriage and this knowledge deeply troubles the Jailer’s Daughter’s happy ending. Chapter three explores the role of Lucibella in The Tragedy of Hoffman arguing that the play is a direct response to Hamlet’s treatment of revenge and that Lucibella is caught up in an authorial project of disambiguation which attempts to return the revenge plot to its morality roots. Chapters four and five explore the narratives of Aspatia in The Maid’s Tragedy and Penthea in The Broken Heart, finding in their very conformism to the behaviours prescribed for them, both by the Ophelia type itself and by early modern society in general, a radical protest against the limitations and repressions of those roles. This thesis is consistently invested in the competing dialectics and authorities of oral and textual mediums in these plays. The Ophelia type, perhaps because of Hamlet’s Ophelia’s identification with the ballad corpus, proves an interesting gauge of each play’s engagement with emergent notions of textual authority in the early modern period.

This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter. The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible. The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories. / African Languages / D. Litt. et Phil. (African Languages)