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.

Orientador: Ernesto Giovanni Boccara / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T04:28:36Z (GMT). No. of bitstreams: 1 Marin_Ronaldo_D.pdf: 1759806 bytes, checksum: 4040f21951cd0004d27c71eb28c42277 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa tem por finalidade avaliar a possibilidade de que as peças de William Shakespeare tenham sido compostas em estreita relação com o desenvolvimento e prática dos atores da companhia da qual ele era sócio e para a qual escreveu a maioria de suas peças, a saber, a Companhia Chamberlain's Men que após a morte da Rainha Elizabeth I passou a ser denominada King's Men. A origem de Shakespeare, diversa dos autores populares da época, formados nas universidades e conhecidos como os "university wits" fez com que ele fosse um autor muito mais próximo dos atores, do que se costumava ver, o que lhe permitiu um aproveitamento muito mais amplo das características destes artistas para fazer com que seus personagens alcançassem um nível de realidade e verdade comportamental, raramente vista antes dele. Consequentemente, em função de sua origem, defendemos também que a obra dramática de Shakespeare só atinge sua plenitude quando efetivamente encenada e colocada no palco através da energia viva e presente do ator. Sendo que, se nos limitarmos apenas a sua leitura, apesar de experimentarmos algum deleite, sem os efeitos da ação dramática, a obra fica diminuída, sendo menos eficiente no que tange ao envolvimento profundo e completo dos sentidos. Por último, este trabalho defende também, que por estarem tão fundamentalmente envolvidos em todo o processo relativo a sua obra, são os atores, os verdadeiros e naturais herdeiros de Shakespeare, devendo-se recorrer a eles - à sua arte e seu talento - sempre que a necessária decodificação da obra se apresente, pois trata-se em última análise, como toda a ação dramática, da "fisicalidade" do ator e não de divagações filosóficas / Abstract: The purpose of this research was to evaluate the possibility that William Shakespeare's plays were composed in close relation with the development and practice of the players of the company where he was a partner and for which he wrote most of his plays, namely The Chamberlain's Men that after Queen Elizabeth's death became The King's Men. The origin of Shakespeare, unlike the popular authors of his time who graduated from universities and were known as the "university wits", made him an author much closer to the actors than were these other authors, allowing him to make more profound use of the characteristics of these artists, reaching a level of reality and a behavioral truth rarely seen before. Consequently, because of its origin, we also argue that Shakespeare's dramatic work reaches its fullness only when staged and placed on stage through the living energy of the actor. If we are limited only to the reading, despite experiencing some delight, without the effects of the dramatic action the work becomes diminished, being less efficient regarding the deep and full involvement of the senses. Finally, it is also argued that, because they are so fundamentally involved in the process regarding his work, the actors are Shakespeare's true and natural heirs, and one must resort to them - their art and talent - whenever decoding his work. Ultimately it is, as with every dramatic action, the "physicality" of the actor and all the human essence that matters more than the philosophical ramblings / Doutorado / Artes Visuais / Doutor em Artes

Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T20:39:07Z (GMT). No. of bitstreams: 1 Marin_Ronaldo_M.pdf: 2887638 bytes, checksum: efc217a82532ac587bc849ffd20cab1f (MD5) Previous issue date: 2005 / Resumo: Neste trabalho procuramos demonstrar a existência de uma base fisiológica para a divisão triádica da semiótica estabelecida por Charles Sanders Peirce e que, o reconhecimento dessas bases pode apontar para o estabelecimento de uma teoria semiótica da criatividade. Assim, esta dissertação propõe que a estrutura triádica da semiótica deriva da própria estrutura evolutiva do cérebro humano. Utilizando-se a abordagem primeiramente proposta por Paul MacLean, de que o cérebro humano é produto de um processo evolutivo através do qual são mantidas e aperfeiçoadas suas estruturas básicas fundamentais, o que nos permite dividi-lo em arquiocórtex, paliocórtex e neocórtex, procuramos demonstrar a existência de uma relação direta entre tais estruturas e as categorias universais estabelecidas por Peirce. Sendo assim, são analisadas as possíveis relações entre a Primeiridade, a Secundidade e a Terceiridade com, respectivamente, o que foi denominado por MacLean de cérebro ¿reptiliano¿, cérebro ¿límbico¿ e cérebro ¿mamífero superior¿. Tais relações demonstram que a estrutura triádica encontrada por Peirce, baseado em suas categorias universais, não poderia ser diferente, pois é inerente a um aparato cognitivo de estrutura também triádica: o cérebro humano. Depois de explicitada, a base fisiológica da estrutura triádica da semiótica, tomamo-la como paradigma para a elaboração de nova abordagem para os processos criativos, assumindo que os mesmos decorrem da maior ou menor sensibilidade do indivíduo por uma ou outra categoria de percepção da realidade subjetiva ou objetiva ou mesmo pelo conjunto delas. Para demonstrar tal abordagem, analisamos a obra de alguns artistas a partir desse ponto de vista, estabelecendo assim, subsídios para uma teoria semiótica da criatividade / Abstract: This work aim to demonstrate that there is a physiologic base for the triadic division of Peircean semiotic and, if we accept this, we can point to the establishment of new semiotic theory for the creativity. This paper come to prop that the semiotic¿s triadic frame derives from the own human brain¿s evolutionary structure. Using the approach propose first of all by Paul McLean were the human brain is a product of an evolutionary process that keeps and increase it own fundamentals structure ¿ which permits its approach as arquiocortex, paliocortex and neocortex ¿ we try to demonstrate that its possible a straight relationship between such structures and the Peirce¿s universal categories. Thus the work brings out the possible relationship of Firstness, Secondness and Thirdness with respectively, what was named by MacLean as reptilian-brain, limbic-brain and high-mammalian-brain. Such relationship shows us that triadic frame founded by Peirce couldn¿t be different since it is inherent to a cognitive apparatus, which also owns an inner ternary structure: the human-brain. Finally, we use the physiologics bases of the semiotic¿s triadic frame as a paradigm for a new approach for the creative process, proposing they arose from the minor or mayor sensibility the individual has about one or another categories of reality¿s perception ¿ that can be objective, subjective or both. For this demonstration we analyze the work of few artists from this point of view, offering thus dates for a semiotic theory of creativity / Mestrado / Mestre em Artes

Orientador: Neyde Veneziano / Dissertação (mestrado) - Universidade Estadual de Campinas, Intituto de Artes / Made available in DSpace on 2018-07-21T02:36:24Z (GMT). No. of bitstreams: 1 Rocha_VeronicaFabriniM.deAlmeida_M.pdf: 7359547 bytes, checksum: 546d80d744e0ef8e06dbaf1755609c46 (MD5) Previous issue date: 1996 / Resumo: Esta dissertação tem como objetivo tecer uma reflexão sobre a encenação teatral, a partir de uma perspectiva nascida e apoiada no trabalho prático. Neste sentido, procuramos, num primeiro momento, debater questões de grande interesse para o estudo da encenação, tais como: a polissemia do signo teatral, a especificidade da construção dramatúrgica e a aparente oposição entre texto e cena. A partir do diálogo entre três poéticas, a de Antonin Artaud, a de Bertolt Brecht e a de Peter Brook, buscamos detectar as possibilidades espetaculares no texto OTELO, de William Shakespeare. Visando fomentar o fluxo vital entre teoria e prática, realizamos a encenação de OTEW, documentada em nossa dissertação sob a forma de texto espetacular / Abstract: Not informed. / Mestrado / Mestre em Artes

Orientador: Larissa de Oliveira Neves Catalão / Dissertação (mestrado) - Universidade Estadual de Campínas, Instituto de Artes / Made available in DSpace on 2018-08-21T05:43:43Z (GMT). No. of bitstreams: 1 Faria_LuisRobertoArthurde_M.pdf: 1461767 bytes, checksum: 746701090695830a5124a8d4f29d90d8 (MD5) Previous issue date: 2012 / Resumo: A presente dissertação apresenta dois objetos de análise: uma discussão sobre a arte na contemporaneidade, por meio do estudo de conceitos da Semiótica e da Teoria da Recepção, relacionando-os à dramaturgia produzida nos dias de hoje; e a produção de um exercício de dramaturgia sob a forma de transcriação enquanto operação intersemiótica. Esse exercício tem como base o texto de Shakespeare "Noite de Reis", no qual buscamos elementos que, nas entrelinhas, procurassem identificar questões relacionadas à nossa contemporaneidade. Por se tratar de um exercício de dramaturgia, demos o nome a esta tarefa de "Caderno de Dramaturgia". Pensadores como Peirce, Umberto Eco, Deleuze e Guattari, Walter Benjamin, Wolfgang Iser, além de artistas como Haroldo de Campos e Júlio Plaza, bem como críticos da obra de Shakespeare como Harold Bloom, Jan Kott e René Girard contribuem para formar o nosso quadro conceitual de referências / Abstract: This dissertation presents two objects of analysis: a discussion on contemporary art, through the study of concepts of Semiotics and Reception Theory, relating them to the drama produced today, and the production of an exercise in playwriting in the form of intersemiotic transcreation. This exercise is based on the comedy "Twelfth Night", by Shakespeare, in which elements that we read between the lines suggest issues of our times. Since it is an exercise in drama, we have called this task "Drama Notebook." Philosophers such as Peirce, Umberto Eco, Deleuze and Guattari, Walter Benjamin, Wolfgang Iser, and artists such as Haroldo de Campos and Julio Plaza, and Shakespeare critics as Harold Bloom, Jan Kott and Rene Girard contributed to form our conceptual framework of references / Mestrado / Artes Cenicas / Mestre em Artes

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica / En términos generales, este trabajo presenta el estudio y análisis comparativo entre la obra Invitación a la Muerte del mexicano Xavier Villaurrutia y la tragedia clásica de William Shakespeare Hamlet, con el cual se pretende demostrar cómo Villaurrutia realiza una reelaboración surrealista de la obra renacentista, a partir de la recepción del os movimientos europeos de vanguardia de la primera mitad del siglo XX por parte de los artistas y escritores latinoamericanos con el fin de renovar la producción literaria de la época. Villaurrutia, particularmente, innovará en la producción dramática de México con el teatro experimental, el neopsicologismo y una poética surrealista fuertemente influenciada por el trabajo del artista y escritor francés Jean Cocteau, la que no solo encontramos en su obra dramática, sino también poética. Con estos nuevos recursos estéticos, el autor mexicano escribirá Invitación a la muerte, cuyo argumento es elaborado a partir de la tragedia Hamlet, donde Villaurrutia encuentra motivos que le permiten trabajar su drama desde una estética surrealista; entre ellos encontramos el motivo de la muerte, el sueño, la soledad, el amor, la locura y búsqueda por la verdad.

M.A. (English) / This study applies st Thomas Aquinas's principles of love to William Shakespeare's Hamlet in order to establish the moral bases of the causes and effects of the actions of the characters in the play. The dissertation is divided into two parts comprising six chapters. The first part, chapter one, establishes the availability of st Thomas's precepts in the English Renaissance. The second part, comprising chapters two to six, applies st Thomas's principles relating to charitable and concupiscent love to the characters in the play. st Thomas's philosophy exerted a pervasive influence in the Middle Ages and the Renaissance, and was accessible to educated circles in England. In view of this influence, it is possible that Shakespeare was influenced by Thomist thought when he wrote Hamlet. In this study, the characters are grouped in terms of the Thomist principles of love that they exemplify in Hamlet, with Horatio providing a moral norm, Claudius being the epitome of evil, and the central character, Hamlet, being a source of moral ambiguity. The cast of supporting characters reflects the nuances of good and evil in the play. The study concludes that, while Shakespeare's characters are governed by established Thomist principles, the translation of moral abstracts into practice elicits moral dilemmas that are difficult to resolve.

The thesis is an attempt to understand tragic guilt. My starting point is a comparison of Sophocles' Oedipus at Colonus with Shakespeare's Macbeth. The question of "guilt" is treated very differently in these two plays. Oedipus' guilt is a result of an action which is discovered, not chosen. He is the victim of a curse which lies upon his family and thus his own guilt is an ambiguous thing. He suffers against a background of a Law which demands punishment and a promise from a god that he shall be "saved". Oedipus at Colonus begins, as does Oedipus Rex, after the decisive act of murder and incest has been committed. But Macbeth begins before anything has been done; Macbeth is presented with a possibility and he chooses to believe that he can make it a reality. We are allowed to see the moment at which guilt appears in the individual. Macbeth becomes guilty before the very image of himself murdering Duncan. In Greek tragedy the guilt is often blood-guilt, a curse which descends from one member of a family to another and may devastate an entire house. But in Macbeth the guilt begins in the desires of one man. Macbeth is left with a personal despair which is different from the suffering that Oedipus undergoes. In the novels of Thomas Hardy, the perspective on guilt has shifted from the privacy that surrounds Macbeth at his death to the social world of nineteenth century England. Michael Henchard is perhaps closest to Macbeth in that he is destroyed more by the forces in his own personality than by the pressures of external society. But with Tess we have a heroine who is "pure", a woman who is defeated more as a result of the failings in a society than by any personal faults. There is little feeling of her having any particular "guilt". Jude Fawley's particular "tragedy" also must be seen in terms of the society that moves around him, its laws and conventions. The guilt is never entirely his own, nor is he simply an innocent victim. The presence of a definite society is hardly felt at all in the two novels of Conrad. Jim is a "romantic", a young man barely past adolescence who is obsessed with a concept of honour which he feels he has betrayed in a moment of cowardice. But he seems to become guilty in a deeper sense because of this obsession; he betrays others by choosing to live in an imaginary world of romantic achievement. Nostromo is also obsessed with a dream: to be a Man of the People. If Conrad's characters become guilty, it is because of their intense egoism, their inability to escape their passion for an idea. In Arthur Miller's The Crucible the guilt of an individual seems less important than the guilt present in a society. That guilt is an illusion based on a fear of not conforming to a rigorous law. We are left with the tragedy of a society which must find a victim to appease its own feeling of guilt. John Proctor is one of the chosen victims; a man who must die to save his integrity. But his death is the result of a web of guilt spread through an entire society. / Arts, Faculty of / English, Department of / Graduate

Since F.S. Boas coined the term in 1896, All's Well That Ends Well, Troilus and Cressida, and Measure For Measure have been generally accepted as "problem plays," and many critics have offered biographical, thematic, and formal explanations of why these plays are so "dark." In this thesis, I accept that these plays are "problems" and I propose a rhetorical explanation for dissatisfaction with them, especially with their endings. Drawing on Kenneth Burke's philosophy of literary form and his anthropology of man as the symbol-using animal, I show that in these plays Shakespeare frustrates the expectations of an audience for a definite ending through death or marriage which would define the "terms" characterized in each play; secondly, he provides no scapegoat whose victimage would allow the audience to recognize an order clearly proposed for its acceptance; finally, he supplies no symbol of order which credibly demonstrates its power to establish a renewed society. As rhetoric, these plays show an intense "dancing of attitudes" toward symbols of order and toward conventional forms which would provide a clear sense of an ending. As such, they show what Burke calls "self-interference" on the part of the playwright — a deliberate balancing of arguments for the sake of "quizzicality" toward language as symbolic action. According to this analysis, the problem plays remain problems for an audience which seeks identification with symbols of order; they are, however, a tribute to the agile mind of a master rhetorician. / Arts, Faculty of / English, Department of / Graduate

William Shakespeare's play, The Taming of the Shrew has a varied and interesting stage history. Beginning with Fletcher's The Tamer Tarn'd (1633), a sequel to Shakespeare, there have been many adaptations of the plot in farce, opera and poetic drama, including an American musical comedy. This thesis will follow the stage history of The Taming of the Shrew, focussing on the dramatic development and treatment of the heroine, Katherine. Shakespeare's shrew, Katherine, is much more than a traditional shrew stereotype. Her dramatic presentation in language and action has enough depth and subtlety to provoke much conflicting criticism and interpretation. What motivates her anger? Why is she physically abusive? Is she subdued, tamed or reeducated? Enough clues are present in the play to provide for interesting debate. The first part of the thesis is concerned with examining Shakespeare's dramatic concept of the shrew to establish the scope and range of Katherine's personality and her response to Petruchio's taming tricks. In later versions of the play, the character of Katherine receives a variety of dramatic treatments. Some playwrights reduce Katherine's dramatic function to a mere outline. Others accentuate her physically abusive and sharp-tongued qualities. Yet another variation is a softening of the shrewish disposition to allow for a sentimental treatment of shrew conditioning. The dramatic vigour of the shrew character is constant, but variations in plot, language and thematic idea result in very different and entertaining shrew types. This stage history of The Taming of the Shrew as it relates to the heroine, Katherine, includes an analysis of the following plays. The Tamer Tarn'd (1633), a sequel by John Fletcher serves to comment on Shakespeare's Kate by direct allusion and by dramatic contrast. Sauny the Scot (1667) is a bastardised Restoration version in which the shrew is a farcical stereotype who must suffer extensive physical humiliation for her excessive displays of nastiness. Catherine and Petruohio (1756) is David Garrick's miniature version of Shakespeare which stresses the farce, simplifying the play and the dramatic impact of Catherine. John Tobin's The Honeymoon (1805) is a poetic attempt to re-create The Shrew. The heroine in this play suffers the sin of pride, but is won over to domesticity and humility by love and rural surroundings provided by a gentle tamer. The thesis also considers the nineteenth century attempts to revive the Shakespeare original which struggled unsuccessfully with the popularity of the Garrick version. Some of the musical adaptations of The Shrew provide a rich variety of shrew heroines in very different settings. Included are a ballad opera, A Cure for a Scold (1735), a German opera by Hermann Goetz, The Taming of the Shrew (1878), and a modern musical comedy version, Kiss Me Kate (1948). These adaptations and variant versions provide a veritable school of Katherines. The streak of genius in Shakespeare's dramatic idea of a shrew, who, even in the realm of farce is seen as a human being with the capacity to feel, change and grow, becomes very strongly apparent as Shakespeare's Kate is measured against the shrew heroines in these derivative plays. The contrasting shrew types, though interesting and pleasing in their own way, never quite acquire the stature, poise, wit, intelligence and humour which characterise Shakespeare's attractive Kate. For Kate's civilising and learning encounter with Petruchio is not the brutalising, punitive or subjugating ritual of tradition; amidst the slapstick of farce, Kate, with her Petruchio, provides a unique variation of the shrew heroine. She is not conquered. She changes herself. This is her distinction and her strength and the mark of Shakespeare's human touch. / Arts, Faculty of / English, Department of / Graduate