Inaug.-diss.--Breslau. / Cover title. Lebenslauf. p. [84]. "Hilfsmittel": p. [83].

Texte remanié de: Dissertation--Neuere Philologie--Frankfurt am Main--Johann Wolfgang Goethe-Universität, 2005. / Bibliogr. p. 287-307.

My Home is a collection of the first six short stories in an on-going short story collection. The collection, set in a small southern town, mixes the real with the whimsical. The stories feature many of the local townspeople, but they mostly revolve around the character of Kyd Smylie. The critical introduction focuses on the linked story collection, influence of fairy tales, the story-telling tradition, surreal elements, and the importance of family which influences the stories of the collection.

Indiana University-Purdue University Indianapolis (IUPUI) / The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. Other candidates have been proposed, namely Thomas Dekker, Thomas Heywood, William Shakespeare, and John Webster. Past attribution studies have mainly focused on Shakespeare due to the fourth addition, the Painter’s Scene, which has been perceived to exhibit Shakespearean quality. John Nance’s lexical study of the fourth addition makes a most compelling case: Shakespeare’s hand is almost certainly present. Warren Stevenson, Hugh Craig, Brian Vickers, and Douglas Bruster have also supported an attribution to Shakespeare; however, their research errs in assuming a single author wrote all five of the additions. This assumption is disproven by Gary Taylor’s work on the first addition, which is the first to identify Heywood, not Shakespeare, as its likely author. Taylor’s conclusion emphasizes that the additions could embody revisions by more than one playwright, such as in the case of Sir Thomas More. Therefore, the authorship of the other additions must remain conjectural until further study. My thesis is the first to independently explore the third addition’s authorship, and based on lexical evidence, the following analysis disproves claims of Shakespeare’s presence within the third addition.

During the height of the English Renaissance, the revenge tragedies The Spanish Tragedy and Hamlet were introduced to the English literary canon. In this essay, I will focus on the similarities that the protagonists, Hamlet and Hieronimo, share as prototypical avengers. Although Hamlet’s contribution to the genre should not be discredited, I will argue that the similar characterisation of Hieronimo in The Spanish Tragedy, portrays the same depth and entitlement to the acclaim as a prototypical avenger as Hamlet. Even though their portrayal may differ in tone, their shared commonality attributes equal complexity to both characters. I will compare and analyse the two plays in order to demonstrate that both characters should be considered prototypical avengers. The essay concludes that a reluctance to revenge and a tendency to contemplate the morality of the action is prominently shared by both prototypical avengers. Although critics generally infer Hieronimo is a less complex character in comparison with Hamlet, this essay will show how both avengers deserve equal credit. This essay illustrates this statement by juxtaposing their equal need to find justification before taking revenge, use of suicide to emphasise their moral dilemma, and comment on the tragic consequences of revenge.

Thesis (Ph. D.)--Rutgers University, 2007. / "Graduate Program in English, Literatures in." Includes bibliographical references (p. 199-213).

No nascimento da modernidade houve um grande crescimento produtivo, o que levou ao incremento das instituições mediadoras da vida social. Os efeitos disso na esfera do discurso e da formação do sujeito se manifestaram também no teatro, na formação dos personagens. A passagem de uma mentalidade mítica para uma racionalista marcou os sujeitos, muitas vezes, de forma trágica, dilacerados entre demandas desencontradas e discursos opostos. A subjetividade se tornou o campo desse tipo de batalha. Um exemplo privilegiado desse momento é The Spanish Tragedy, de Thomas Kyd. Tragédia inaugural do teatro elisabetano, Kyd foi o primeiro autor a concentrar a maioria de seus monólogos em um único personagem, contrastando com peças anteriores, como Gorboduc, em que os monólogos eram mais distribuídos. Isso possibilitou uma concentração de tensão e um desenvolvimento dramatúrgico que influenciou gerações, inclusive um jovem dramaturgo iniciante chamado William Shakespeare. Não é apenas uma coincidência que Kyd tenha inaugurado com sua peça um gênero, as tragédias de vingança, que criou uma longa linhagem, cujo representante mais ilustre é Hamlet. Mas esse desenvolvimento concentrado, que permitiu um crescendo ao longo da peça, se olhado de perto, apresenta uma outra dimensão. A fatura linguística dos monólogos traz materiais das mais diversas fontes. Se estão presentes recursos linguísticos da literatura clássica e da retórica da corte, também aparece uma dicção provinda da burguesia, seja das controvérsias religiosas, seja dos livros de cortesão, que discutiam o comportamento adequado em sociedade. Temos, portanto, recursos textuais provenientes dos atores sociais que tencionavam a época: aristocracia decadente e burguesia ascendente. Vistos em sequência, os monólogos apresentam uma transição das formas mais tradicionais e conservadoras de discurso para as mais modernas. Dessa forma, o desenvolvimento do personagem e a estrutura dramatúrgica construída em torno dele se tornam um espelho de sua época. A mesma tensão que vemos no grande quadro da história, se fecharmos o foco sobre o personagem e, mais ainda, sobre sua interioridade, nos monólogos, reaparece nas suas formas de discurso. Ao fazer um panorama histórico, uma descrição da evolução do personagem e um exame detalhado de momentos-chave de seus monólogos, esperamos demonstrar esses nexos. / In the birth of modernity, there was a great productive growth, which led to the increase of institutions mediating social life. The effects of this situation in the sphere of social discourse and in the formation of the subjects also manifested themselves in the theater, in the formation of the characters. The transition from a mythical mentality to a rationalist one marked the subjects, often tragically, torn between disjointed demands and opposed discourses. Subjectivity became the battlefield of this type of struggle. A prime example of this moment is The Spanish Tragedy, by Thomas Kyd. Kyd was the first author to concentrate most of his monologues on a single character, contrasting with earlier plays such as Gorboduc, where the monologues were more widely distributed. This enabled a concentration of tension and a dramaturgical development that influenced generations, including a young beginner playwright named William Shakespeare. It is not only a coincidence that Kyd inaugurated, with his play, a genre, the revenge tragedy, which created a long lineage, the most illustrious representative being Hamlet. But this concentrated development, which allowed a crescendo throughout the play, if looked closely, presents another dimension. The linguistic making of the monologues brings materials from the most diverse sources. If linguistic resources of classical literature and court rhetoric are present, there is also a diction from the bourgeoisie, whether from the religious controversies or from the court books, which discussed proper behavior in society. Therefore, we have textual resources coming from the social actors who confronted each other in that era: decadent aristocracy and rising bourgeoisie. Viewed in a sequence, the monologues show a transition from the more traditional and conservative forms of discourse to the more modern ones. In this way, the development of the character and the dramatic structure built around him become a mirror of his time. The same tension that we see in the great picture of history, if we close the focus on the character, even more, on his interiority, in the monologues, reappears in his forms of discourse. Making a historical overview, a description of the development of the character and a detailed examination of moments of his monologues, we hope to demonstrate these links.

No nascimento da modernidade houve um grande crescimento produtivo, o que levou ao incremento das instituições mediadoras da vida social. Os efeitos disso na esfera do discurso e da formação do sujeito se manifestaram também no teatro, na formação dos personagens. A passagem de uma mentalidade mítica para uma racionalista marcou os sujeitos, muitas vezes, de forma trágica, dilacerados entre demandas desencontradas e discursos opostos. A subjetividade se tornou o campo desse tipo de batalha. Um exemplo privilegiado desse momento é The Spanish Tragedy, de Thomas Kyd. Tragédia inaugural do teatro elisabetano, Kyd foi o primeiro autor a concentrar a maioria de seus monólogos em um único personagem, contrastando com peças anteriores, como Gorboduc, em que os monólogos eram mais distribuídos. Isso possibilitou uma concentração de tensão e um desenvolvimento dramatúrgico que influenciou gerações, inclusive um jovem dramaturgo iniciante chamado William Shakespeare. Não é apenas uma coincidência que Kyd tenha inaugurado com sua peça um gênero, as tragédias de vingança, que criou uma longa linhagem, cujo representante mais ilustre é Hamlet. Mas esse desenvolvimento concentrado, que permitiu um crescendo ao longo da peça, se olhado de perto, apresenta uma outra dimensão. A fatura linguística dos monólogos traz materiais das mais diversas fontes. Se estão presentes recursos linguísticos da literatura clássica e da retórica da corte, também aparece uma dicção provinda da burguesia, seja das controvérsias religiosas, seja dos livros de cortesão, que discutiam o comportamento adequado em sociedade. Temos, portanto, recursos textuais provenientes dos atores sociais que tencionavam a época: aristocracia decadente e burguesia ascendente. Vistos em sequência, os monólogos apresentam uma transição das formas mais tradicionais e conservadoras de discurso para as mais modernas. Dessa forma, o desenvolvimento do personagem e a estrutura dramatúrgica construída em torno dele se tornam um espelho de sua época. A mesma tensão que vemos no grande quadro da história, se fecharmos o foco sobre o personagem e, mais ainda, sobre sua interioridade, nos monólogos, reaparece nas suas formas de discurso. Ao fazer um panorama histórico, uma descrição da evolução do personagem e um exame detalhado de momentos-chave de seus monólogos, esperamos demonstrar esses nexos. / In the birth of modernity, there was a great productive growth, which led to the increase of institutions mediating social life. The effects of this situation in the sphere of social discourse and in the formation of the subjects also manifested themselves in the theater, in the formation of the characters. The transition from a mythical mentality to a rationalist one marked the subjects, often tragically, torn between disjointed demands and opposed discourses. Subjectivity became the battlefield of this type of struggle. A prime example of this moment is The Spanish Tragedy, by Thomas Kyd. Kyd was the first author to concentrate most of his monologues on a single character, contrasting with earlier plays such as Gorboduc, where the monologues were more widely distributed. This enabled a concentration of tension and a dramaturgical development that influenced generations, including a young beginner playwright named William Shakespeare. It is not only a coincidence that Kyd inaugurated, with his play, a genre, the revenge tragedy, which created a long lineage, the most illustrious representative being Hamlet. But this concentrated development, which allowed a crescendo throughout the play, if looked closely, presents another dimension. The linguistic making of the monologues brings materials from the most diverse sources. If linguistic resources of classical literature and court rhetoric are present, there is also a diction from the bourgeoisie, whether from the religious controversies or from the court books, which discussed proper behavior in society. Therefore, we have textual resources coming from the social actors who confronted each other in that era: decadent aristocracy and rising bourgeoisie. Viewed in a sequence, the monologues show a transition from the more traditional and conservative forms of discourse to the more modern ones. In this way, the development of the character and the dramatic structure built around him become a mirror of his time. The same tension that we see in the great picture of history, if we close the focus on the character, even more, on his interiority, in the monologues, reappears in his forms of discourse. Making a historical overview, a description of the development of the character and a detailed examination of moments of his monologues, we hope to demonstrate these links.

Thesis (Ph. D.)--Université d'Aix-Marseille I, 1976. / Includes indexes. Includes bibliographical references (v. 2, p. 858-924).

If Shakespeare contributed the additions to the 1602 edition of Thomas Kyd's The Spanish tragedy, he did so at the time he was writing Hamlet. The additions were written anonymously, but contemporary references to playwrights and their works, publication records, and documented theatrical transactions have provoked the authorship controversy for centuries. Recent studies have attempted "fingerprinting” and "DNA" analysis of verbal structures to solve the case once and for all, but this study moves beyond the (impossible) task of trying to "prove" that Shakespeare wrote the additions and instead seeks to recreate a hypothetical scenario to show why and how Shakespeare may have written them. Using the loose structure of a modern recreation of a cold-case crime, this study contextualizes the additions and the authorship controversy they have inspired, situating the case in its earlier manifestations and in present-day criticism. It will be shown why Shakespeare would have been the ideal candidate to revise The Spanish tragedy: he was familiar with Kyd's work, was known for revitalizing older works, knew the players, and was a writer for hire. It will be argued that the publisher of the additions, Thomas Pavier, followed Shakespeare throughout his career and saw a marketing opportunity to capitalize on three trends: title pages that advertised newness, nostalgia for old texts, and a market for Shakespearean language. This essay will trace the hypothetical steps to see how Shakespeare's additions might have been written, dispersed, rehearsed, acted, and printed. Ultimately, the additions will be situated as a hypothetical middle step between Kyd’s Ur-Hamlet, The Spanish tragedy, and Shakespeare's Hamlet. / text