The study described in this dissertation was conducted during a three week period and encompassed four senior high school English classes. The data derived from the study were elicited from a pre test of knowledge and a pre treatment attitude survey; a post test of knowledge and a post treatment attitude survey and a delayed post test of knowledge. The four groups of students were given the following treatments within the Shakespearean drama unit on Hamlet: (1) Group I - Students in this group were shown four teaching films on Hamlet and read the play aloud in class with students taking parts. (2) Group 2 - Students listened to a taped recording of the play and followed along with their books. (3) Group 3 - Students in this group listened to the taped recording of the play and were shown the four teaching films. (4) Group 4 - Students in this group, which was the control group, read the play aloud in class with students taking parts. The research questions which guided the research and were addressed through the statistical analysis were as follows: (1) What significant knowledge differences, if any, exist between and among the groups receiving the non-print media treatments and that group which did not? (2) Is there a difference in appreciation (attitudes) of Shakespearean drama between the groups which received the non-print media treatments and the group which did not? The statistical analysis of the data revealed that although all groups improved on the knowledge post test, groups 1 and 2 improved the most. Attitude scores also increased for group 1. Interestingly, the difference between pre treatment and post treatment attitude scores for group 2 was negligible, and for groups 3 and 4 decreased. The following conclusions were then drawn from the statistical analysis: (1) The use of non-print media does improve knowledge of and attitude about Shakespearean drama. (2) The use of non-print media should be limited, for example, to either taped recording or film for optimum results.

The study is an examination of the quest motif as it occurs in the Tarot and two dramatic works, King Lear and Marlowe's Dr. Faustus. The development of the quester is traced from his naivete, through a series of trials, to the consummation of his quest.The hero's quest is essentially to achieve an integration of polar opposites: light and dark, good and evil, the conscious and unconscious. Both the Fool of the Tarot and Lear seem to achieve that harmony, and, thus, I treat the Tarot and King Lear in separate sections of the first chapter. I begin with the Tarot also because of its enormous suggestiveness for elucidating the quests of Lear and Faustus. The archetypal nature of the quest is ultimately what unites the three works, and the Tarot provides a repository for the symbols and primordial images that inform quest literature.The second chapter deals with Dr. Faustus. Unlike the Fool and Lear, Faustus never seems to attain the hero's vision of light and harmony (however, the conclusion is ambiguous); indeed, he inverts the quest to its diabolical opposite and becomes the trickster in league with the demonic forces that form the negative corollary to the hero. Faustus' quest is the coexisting opposite of Lear's and the Fool's, and, as such, is the other pole that must be seen to experience the whole.

This study is concerned with the dramaturgic use of the fools of five of Shakespeare's plays. After the Introduction, Chapter II investigates the fool as a historical figure and establishes his credibility. Chapter III examines the comic methods and techniques of the fools. Chapter IV is an investigation of the use of the fool in his capacity as choric voice to present a particular viewpoint on the play. Chapter V is a study of how the fool fits into the action as a character, and Chapter VI investigates the ways in which he may be used in structural duties. The study concludes that the Shakespearean fool is an effective device due to his historical credibility and his recognized position as an entertainer.

The object of this paper is to effect a comparison between the early Shakespearean songs and their more recent settings and to discuss in detail differences in style and technique, with emphasis upon textual and melodic characteristics.

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

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.

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.