O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

This dissertation describes a method for constructing a religious environmental ethic modeled on the spiritual practice of lectio divina, or devotional reading. Lectio divina is an explicitly religious way of reading, distinguished from other modes of reading not by what is read--even sacred scriptures can be read for mastery of content, for entertainment, etc.--but by how it is read. In lectio divina, the reader engages the text with a willingness to be transformed by an encounter with the sacred, mediated somehow by the text. This vulnerability is inherent in a religious reading, as is the intimacy implicit in the repeated engagement with the text that is central to the practice of lectio divina. The emphasis on vulnerability and intimacy marks this religious approach to environmental ethics as a form of virtue ethics. Consistent with the traditional insight conveyed by the two-books metaphor, whereby Christians believed God was revealed both in the Book of Scripture and the Book of Nature, I map the classic stages of lectio divina onto a reading not of scripture but of the natural world. Paying attention requires careful observation, the naming and description of relevant details, and awareness and articulation of emotional responses as one repeatedly visits natural settings. Pondering requires a willingness to enter deeply into the religious, scientific, and other sources that help us understand the natural world and our place within it, as well as a willingness to reflect critically upon those sources. Responding calls upon readers of nature to take definite actions that flow out of the previous stages of paying attention and pondering, utilizing knowledge born of familiarity to address environmental challenges while also protecting natural settings in which the unnamable sacred can be encountered. Surrendering involves acknowledging human limits of understanding, will, and action, and nonetheless finding rest and restoration by trusting in some force beyond the merely human. I illustrate this argument with interpretations of literary works by Terry Tempest Williams, thereby asserting the relevance of religiosity to human transformation and to efforts to imaginatively embody human-land relationships that further human and ecological flourishing.

Thesis (Ph. D.)--University of Chicago, The Divinity School, August, 2001. / Includes bibliographical references. Also available on the Internet.

The Winter’s Tale (1611) and The Tempest (1611) are two of Shakespeare’s romances, written under the patronage of James I of England. While Shakespeare’s history plays have received extensive critical attention regarding their political commentaries, these have not. History raises political questions by nature; however, it is also important to look at the political dimensions of Shakespeare’s fictional rulers. The Winter’s Tale’s Leontes, and The Tempest’s Prospero, because of their invented natures, allow the playwright to explore contemporary political crises or questions with more freedom than history allows. Shakespeare’s political exploration of these men involves assessing their fitness to rule, comparing their transformations to texts concerning kingship, such James’s political treatises. These texts raise the possibility that Shakespeare is similarly investigating a model of the ideal king. Looking at the elements of power, knowledge, and patriarchy, my thesis focuses on what Shakespeare is suggesting about ideal rule and the ruler.

The aim of this work is to investigate the possibility that Francis Bacon was a contributor in the writing of three Shakespeare plays: The Comedy of Errors, Love’s Labour’s Lost, and The Tempest. In order to proceed, I develop a new Rare Collocation Profiling (RCP) method using Chadwick–Healey’s Early English Books Online (EEBO) database to identify those collocations in a target text that are rare. I then list the probable sources of a target and the writers who possibly borrowed from it. In this way, I obtain a DNA-type profile in relation to the target text for all frequently occurring writers that are returned by the searches. However, while collocation analysis is traditionally confined to a database of known dramatists, I widen the search to include all fully searchable texts in EEBO. My test case is the long poem A Funeral Elegye (1612), and my method supports Brian Vickers’ conclusion that John Ford is a better authorial candidate than William Shakespeare. I also analyse two previously unattributed pamphlets: the Gesta Grayorum (1688), an account of the 1594–5 Gray’s Inn revels; and the True Declaration (1610), a Virginia Company propaganda pamphlet, and I conclude from my method that Francis Bacon is the only candidate for having compiled the former and that he was a major contributor to the latter. Two of the Shakespeare plays, The Comedy of Errors and Love’s Labour’s Lost have previously been associated with the 1594–5 Gray’s Inn revels. I analyse the three volumes of Nelson and Elliott’s Records of Early English Drama: Inns of Court (NE) to find that the number of professional companies that played at the Inns of Court (one of which is Gray’s Inn) before 1606 has been overestimated. A document shows that Shakespeare’s company, the Lord Chamberlain’s Men, were playing at Greenwich on 28 December 1594 when, as the Gesta Grayorum reports, The Comedy of Errors was performed at Gray’s Inn, and the circumstances do not allow Shakespeare to have been present. The evidence suggests that the play was first enacted by Inns of Court players rather than the Lord Chamberlain’s Men. Inns of Court plays were often based on translations of classical works and usually commented on the succession question. I argue that The Comedy of Errors displays both of these characteristics and so was likely written with the revels in mind. Also, due to certain rare parallels between Francis Bacon’s speeches at the revels and Love’s Labour’s Lost, I claim that the play was intended for performance there but cancelled. Referring to the results of RCP, I suggest that Francis Bacon not only compiled the Gesta Grayorum but also contributed to the writing of these two plays. I also show that my new method identifies two non-members of the Inns of Court, Thomas Heywood and Thomas Dekker, as later revisers of these plays. In the final chapters, I improve on the dating evidence for The Tempest by showing that Caliban’s speech on edible items relies on knowledge of the Bermudan cahow, a bird whose behaviour was unknown in England before September 1610. The application of RCP to The Tempest confirms that William Strachey’s ‘True Reportory’, a 20,000-word secret report sent back from the Virginia colony to the London Virginia Company, was beyond reasonable doubt a source for the play. RCP also reveals Francis Bacon as a contributor to the writing of the play. I also apply the new method to the Virginia Company’s True Declaration, a pamphlet that almost certainly relied on ‘True Reportory’, and reveal Bacon as a contributor. This means that he must have inspected Strachey’s ‘True Reportory’, a source for The Tempest. I give strong reasons why Shakespeare would have been prohibited from gaining access to Strachey’s restricted company report. Finally, I suggest that The Tempest was used as a political tool to promote England’s influence in the New World, and although Strachey’s ‘True Reportory’ could not have been released for inspection, the Virginia Company must have cooperated in supplying information for the writing of the play.

This thesis considers The Winter's Tale and The Tempest as William Shakespeare's last great plays which foster re-enchantment for an age suffering spiritual disenchantment. Chapter 1 identifies a critical context for studying these between theological studies of the arts and literary-critical studies of Shakespeare and religion. Section 1 surveys David Brown's work on religious enchantment and imagination through the arts. Section 2 takes in literary criticism's turn to Shakespeare and religion. Section 3 explores recent theological studies of theatre and Shakespeare. Section 4 revives overlooked criticism from religious poets of the past. Chapter 2 introduces a progression of theoretical constructs that revitalize these plays as spiritually re-enchanting. Section 1 looks at affect theory as a means to understand the body-spirit relationship in the context of performance. Section 2 draws on Scott Crider's reading of The Winter's Tale as the performance of a complete ethical rhetoric demanding both theatrical and mythical interpretations. Section 3 expands T. G. Bishop's study of the theatre of wonder as Shakespeare's affective convergence of reason and emotion. Section 4 builds on the preceding sections to re-establish Renaissance alchemy as the most directive evidence for reading these plays as spiritually re-enchanting. Chapter 3 is my reading of The Winter's Tale. I argue that a wondrous, alchemical reading of the play suggests Hermione dies and is bodily resurrected in the last scene. Paulina's alchemical art is cryptic, but the resolution is a corporate miracle that re-enchants the audience through the awakening of faith. Chapter 4 is my reading of The Tempest. I identify Prospero as an all-powerful and benevolent alchemist who, instead of imposing vengeance on everyone within his control, at the end relinquishes his potent art in exchange for the less certain but greater spiritual enchantment of redemption through the free and loving act of forgiveness.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-11-01T12:41:06Z No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-15T13:21:13Z (GMT) No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-15T13:23:13Z (GMT) No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) / Made available in DSpace on 2016-12-15T13:23:13Z (GMT). No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) Previous issue date: 1999-12-20 / Estudo sobre as formas imperativas da Linguagem racionalizadas pelo reino do discurso do poder, matéria fônica que ora se assenta no álibi das necessidades recortada pela ideologia, ora recorre à fundação simbólica da língua enquanto dádiva que tenciona dois mundos antagônicos sob a orientação de uma lógica das equivalências de transmissão de valores alheios. Este estudo busca verificar o resgate do mito da língua como legado na peça A tempestade, de Shakespeare, para explicitar o engendramento das relações econômicas que perpassam essa ou aquela fronteira da língua expressada na obra, bem como as transposições de linguagem operada. Condicionantes de mudanças anunciadas pelos mecanismos que caracterizam a modernidade dos tempos das navegações marítimas, que perpassam passado e presente até a atualidade dos modos de produção e acumulação econômica. / Study on imperative forms of language rationalized by the realm of speech of power, phonemic matter that stands on an alibi of necessities shaped by ideology. Sometimes it goes further to a symbolic foundation of language as a gift, which establishes a tension between two opposites worlds under an orientation of the logic of equivalencies of transmission of someone else’s values. This study intends to verify the rescue of the myth of language as a heritage in the play The Tempest of Shakespeare, to make explicit the relationship within economic matters, which goes trough it, or even that frontier of language expressed in the play, as well as the transpositions of the language worked out. Conditions of changes announced by the mechanisms that characterize the modern times of maritime navigations, that pervade past and present to the present modes of economic production and accumulation.

O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-16T14:47:41Z No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:17:29Z (GMT) No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:24:24Z (GMT) No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) / Made available in DSpace on 2016-07-13T14:24:24Z (GMT). No. of bitstreams: 1 laraenealvestolentinosilva.pdf: 902484 bytes, checksum: 2c58e7db8c52e3eeeeec4030c3fef33e (MD5) Previous issue date: 1999-12-20 / Estudo sobre as formas imperativas da Linguagem racionalizadas pelo reino do discurso do poder, matéria fônica que ora se assenta no álibi das necessidades recortada pela ideologia, ora recorre à fundação simbólica da língua enquanto dádiva que tenciona dois mundos antagônicos sob a orientação de uma lógica das equivalências de transmissão de valores alheios. Este estudo busca verificar o resgate do mito da língua como legado na peça A tempestade, de Shakespeare, para explicitar o engendramento das relações econômicas que perpassam essa ou aquela fronteira da língua expressada na obra, bem como as transposições de linguagem operada. Condicionantes de mudanças anunciadas pelos mecanismos que caracterizam a modernidade dos tempos das navegações marítimas, que perpassam passado e presente até a atualidade dos modos de produção e acumulação econômica. / Study on imperative forms of language rationalized by the realm of speech of power, phonemic matter that stands on an alibi of necessities shaped by ideology. Sometimes it goes further to a symbolic foundation of language as a gift, which establishes a tension between two opposites worlds under an orientation of the logic of equivalencies of transmission of someone else’s values. This study intends to verify the rescue of the myth of language as a heritage in the play The Tempest of Shakespeare, to make explicit the relationship within economic matters, which goes trough it, or even that frontier of language expressed in the play, as well as the transpositions of the language worked out. Conditions of changes announced by the mechanisms that characterize the modern times of maritime navigations, that pervade past and present to the present modes of economic production and accumulation.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2016-08-04T18:39:27Z No. of bitstreams: 1 daianapereiraneto.pdf: 1071648 bytes, checksum: 152571cc6485ecff067705b4a15e758c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-08-05T11:49:43Z (GMT) No. of bitstreams: 1 daianapereiraneto.pdf: 1071648 bytes, checksum: 152571cc6485ecff067705b4a15e758c (MD5) / Made available in DSpace on 2016-08-05T11:49:43Z (GMT). No. of bitstreams: 1 daianapereiraneto.pdf: 1071648 bytes, checksum: 152571cc6485ecff067705b4a15e758c (MD5) Previous issue date: 2013-08-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo dessa dissertação é historiar o uso das personagens Próspero, Ariel e Caliban, provenientes da penúltima peça de Shakespeare, A Tempestade, na América Latina, desde o final do século XIX até fins do século XX. Para alcançar tal objetivo o trabalho foi dividido em quatro capítulos. O primeiro busca analisar as características mais marcantes da peça A Tempestade, bem como seu autor, Willian Shakespeare. O segundo capítulo analisa a interpretação de três autores: Paul Groussac, Rubén Darío e José Enrique Rodó. Esses autores foram os primeiros a utilizar as personagens em solo americano a partir da Guerra Hispano-Americana de 1898. O terceiro capítulo tem como objetivo compreender a diferença no uso das metáforas shakespearianas nas décadas de 1960 e 1970. Elencamos novamente três autores para historiar essa nova percepção: George Lamming, Aimé Césaire e Roberto Fernández Retamar. O quarto e último capítulo analisa a obra O Espelho de Próspero, do historiador norte-americano Richard Morse / This essay aims to record the use of the characters Próspero, Ariel and Caliban, from the penultimate Shakespeare’s play, The Tempest, in Latin America, during the century XIX and XX century. In order to achieve this aim, it was divided in four chapters. The first one intends to approach the main characteristics of The Tempest, and of its author, Willian Shakespeare. The second one analyses three authors’ interpretations: Paul Groussac, Rubén Darío and José Enrique Rodó. These thinkers are chronolycaly the first to use the characters on American land, which is marked by the Hispano-American War of 1898. The third chapter aims to understand the differences in the use of the Shakespearians metaphors in the 1960’s and 1970’s. Again, it selects three authors to record this new perception: George Lamming, Aimé Césaire and Roberto Fernández Retamar. The fourth and last chapter analyses the essay O Espelho de Próspero, by the North American historian Richard Morse.