Thesis (Ph.D.)--Boston University / The purpose of this study was to examine the development of Elizabethan consort music from its weal origin as presented in two manuscripts from the period. The following conditions governed the selection of the manuscripts: (1) they should contain a representative number of composers from the period; (2) they should picture, as clearly as possible, the evolution of Elizabethan instrumental ensemble music; and (3) they should contain a sufficient number of works in one instrumental form so that a valid analysis of that form could be concluded. The two manuscripts chosen on the basis of the forementioned conditions were British Museum Additional Manuscript 31,390 and Bodleian Library Manuscripts D. 212-216. Together they contained almost two hundred vocal and instrumental compositions by both Continental and English composers from the sixteenth and early seventeenth centuries. Approximately half the contents of the two sources were In Nominee, an English instrumental form based on a cantus firmus from the Benedictus of Taverner's "Missa Gloria tibi Trinitas" [TRUNCATED]

During the Elizabethan period, certain stereotypes existed concerning women. Seven tragedies were examined to discover the role played by those stereotypes in the dramas. These include "The Spanish Tragedy," "Edward II," "Bussy D'Ambois," "The Changeling," "A Woman Killed with Kindness," "Othello," and "The Duchess of Malfi." Female stereotyping was found to be used in three important ways: in characterization, in motivation, and as a substitute for motivation. Some of the plays rely on stereotyping as a substitute for motivation while others use stereotyping only for characterization or subtly blend the existence of stereotyping into the overall plot. A heavy reliance on stereotype for motivation seems to reflect a lack of skill rather than an attempt to perpetuate those stereotypes.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudo da Linguagem / Made available in DSpace on 2018-08-14T02:37:41Z (GMT). No. of bitstreams: 1 Giammarco_ThaisMaria_M.pdf: 836335 bytes, checksum: b775f67546a5b131746e2e35237bd2f3 (MD5) Previous issue date: 2009 / Resumo: Frente à escassez de traduções da obra de Christopher Marlowe para o português, este trabalho tem o objetivo de apresentar uma proposta de tradução da peça Dido, Queen of Carthage, do dramaturgo elisabetano. O primeiro capítulo traz uma breve análise da obra, comparando-a com os dois principais textos que serviram como base para sua composição, a saber, a Eneida, de Virgílio, e As Heróides, de Ovídio, e, à luz do conceito latino de imitatio, defende a originalidade do texto, em detrimento de um caráter tradutório que lhe atribuem alguns críticos, ratificando, dessa maneira, a validade da empresa a que se propõe este trabalho. No segundo capítulo, faz-se uma distinção entre os sistemas poéticos do português e do inglês, bem como uma exposição das dificuldades de tradução que um texto deste tipo acarreta, seguida de uma apresentação das estratégias empregadas na resolução de tais dificuldades, ilustradas por exemplos extraídos da tradução. O terceiro capítulo compõe-se do texto traduzido, interpolado com o original e acrescido de notas de rodapé / Abstract: Due to the lack of works by Christopher Marlowe translated into Portuguese, this paper aims at presenting a translation proposal to the Elizabethan playwright's Dido, Queen of Carthage. Its first chapter brings a brief analysis of the play, comparing it to two of the principal texts that served as bases for its composition, namely, Virgil's epic Aeneis, and Ovid's Heroides, and, based on the latin concept of imitatio, supports the originality of the text, in opposition to a translation work status attributed to it by some critics, thus confirming the validity of this translation. In the second chapter, there is a distinction between the poetic systems of Portuguese and English, as well as an exposition of the difficulties involved in the translation process of a text such as this one, followed by a presentation of the strategies used to solve these difficulties, illustrated by parts of the translation. The third chapter is composed by the translated text into Portuguese, intertwined with the original text in English, furnished with footnotes / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária