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301	Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia” Gonzalez, Shelly S 25 March 2014 (has links) The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.” English Literature English Literature Poetry Literary Analysis Anti-Romance Romance William Shakespeare Shakespeare John Keats Keats Keats's Letters King Lear Lamia Sir Philip Sidney Sidney Aesthetic Development Poetic Development Renaissance Romantic Era Drama Classic Literature Intertextuality Literary Influence Literary Development Genre Literary Sources Literary Origins Tradition Experiment Pastoral Anti-Pastoral English Language and Literature Literature in English, British Isles
302	Correspondencias Tempestuosas: Tres Ensayos para Acompañar a Sycorax y Calibán vidales, santiago 29 August 2014 (has links) William Shakespeare’s (1564-1616) theatrical work The Tempest was first performed in 1611 at the court of James I. Since the XVII century until today this work of art has travelled the world and has been (re)interpreted from the perspective of multiple ideologies. This thesis seeks to understand the representations and uses that Caliban has had in different spaces and historical moments. The anti-colonial interpretations of Roberto Fernández Retamar authorize us to read metaphorically the current socio-political situation of Latin immigrants in the United States through the perspective of The Tempest. The first chapter of this thesis studies and critically analyzes the way in which the character Caliban is negatively constructed. This chapter concludes that many of the critics that are cited base their interpretations of Caliban not necessarily on textual evidence but rather on their own colonial and oppressive ideologies. To illustrate this tension I present a detailed analysis of the supposed rape of Miranda by Caliban, I analyze Caliban’s poetic voice and give historical context of the theatrical work’s production and its critical reception by the European literary tradition. The second chapter seeks to present an ideological and analytic counterpoint to this European tradition. This chapter presents the anti-colonial project of Roberto Fernández Retamar who throughout his many essays on Caliban turned this character into a symbol of Latin-American and revolutionary identity. In this section I study the evolution of Fernández Retamar’s thinking through his many essays on Caliban. To understand the importance of his literary reinterpretation I analyze the Cuban historical context of the 60’s and 70’s while paying particular attention to the controversies surrounding the “Padilla affair”. The third chapter applies a metaphorical historic reading of contemporary Latin communities in the United States using the characters of The Tempest. This chapter seeks to centralize the importance of the feminine voice in this theatrical work by combating the supposed silence of Sycorax, Caliban’s mother. In this section I do a detailed textual study to demonstrate that Sycorax, even though she has no lines of her own, is an important character in the play and can be seen as a correction to a long masculinist trajectory that has silenced the importance of women in colonial literature. This last chapter seeks to synthesize the analyzing and theorizing of literature, the studying of social movements in Massachusetts and the political and social status of Latin people using Sycorax + Caliban as an identity metaphor. William Shakespeare The Tempest Caliban Sycorax Roberto Fernández Retamar the “Padilla affair” anti-colonial literature social movements immigration reform. American Studies Comparative Literature English Language and Literature Ethnic Studies Feminist, Gender, and Sexuality Studies Latin American Languages and Societies Latin American Literature
303	The Aesthetics of Sin: Beauty and Depravity in Early Modern English Literature Jeffrey, Anthony Cole 12 1900 (has links) This dissertation argues that early modern writers such as William Shakespeare, Thomas Middleton, George Herbert, John Milton, and Andrew Marvell played a critical role in the transition from the Neoplatonic philosophy of beauty to Enlightenment aesthetics. I demonstrate how the Protestant Reformation, with its special emphasis on the depravity of human nature, prompted writers to critique models of aesthetic judgment and experience that depended on high faith in human goodness and rationality. These writers in turn used their literary works to popularize skepticism about the human mind's ability to perceive and appreciate beauty accurately. In doing so, early modern writers helped create an intellectual culture in which aesthetics would emerge as a distinct branch of philosophy. Early Modern Renaissance Aesthetics Theology Beauty Sin Depravity Calvinism Protestant religion Reformation John Calvin William Shakespeare Thomas Middleton George Herbert John Donne John Milton Andrew Marvell Aesthetics in literature Sin in literature Aesthetics, Modern -- 16th century Aesthetics, Modern -- 17th century sixteenth century (dates CE) seventeenth century (dates CE)
304	The Ophelia versions : representations of a dramatic type, 1600-1633 Benson, Fiona January 2008 (has links) ‘The Ophelia Versions: Representations of a Dramatic Type from 1600-1633’ interrogates early modern drama’s use of the Ophelia type, which is defined in reference to Hamlet’s Ophelia and the behavioural patterns she exhibits: abandonment, derangement and suicide. Chapter one investigates Shakespeare’s Ophelia in Hamlet, finding that Ophelia is strongly identified with the ballad corpus. I argue that the popular ballad medium that Shakespeare imports into the play via Ophelia is a subversive force that contends with and destabilizes the linear trajectory of Hamlet’s revenge tragedy narrative. The alternative space of Ophelia’s ballad narrative is, however, shut down by her suicide which, I argue, is influenced by the models of classical theatre. This ending conspires with the repressive legal and social restrictions placed upon early modern unmarried women and sets up a dangerous precedent by killing off the unassimilated abandoned woman. Chapter two argues that Shakespeare and Fletcher’s The Two Noble Kinsmen amplifies Ophelia’s folk and ballad associations in their portrayal of the Jailer’s Daughter. Her comedic marital ending is enabled by a collaborative, communal, folk-cure. The play nevertheless registers a proto-feminist awareness of the peculiar losses suffered by early modern women in marriage and this knowledge deeply troubles the Jailer’s Daughter’s happy ending. Chapter three explores the role of Lucibella in The Tragedy of Hoffman arguing that the play is a direct response to Hamlet’s treatment of revenge and that Lucibella is caught up in an authorial project of disambiguation which attempts to return the revenge plot to its morality roots. Chapters four and five explore the narratives of Aspatia in The Maid’s Tragedy and Penthea in The Broken Heart, finding in their very conformism to the behaviours prescribed for them, both by the Ophelia type itself and by early modern society in general, a radical protest against the limitations and repressions of those roles. This thesis is consistently invested in the competing dialectics and authorities of oral and textual mediums in these plays. The Ophelia type, perhaps because of Hamlet’s Ophelia’s identification with the ballad corpus, proves an interesting gauge of each play’s engagement with emergent notions of textual authority in the early modern period. 820.9003
305	Cooks, cooking, and food on the early modern stage Templeman, Sally Jane January 2013 (has links) This project aims to take the investigation of food in early modern drama, in itself a relatively new field, in a new direction. It does this by shifting the critical focus from food-based metaphors to food-based properties and food-producing cook characters. This shift reveals exciting, unexpected, and hitherto unnoticed contexts. In The Taming of the Shrew and Titus Andronicus, which were written during William Shakespeare’s inn-yard playhouse period, the playwright exploits these exceptionally aromatic venues in order to trigger site-specific responses to food-based scenes in these plays. Ben Jonson’s Bartholomew Fair brings fair-appropriate gingerbread properties onstage. When we look beneath the surface of this food effect to its bread and wine ingredients, however, it reveals a subtext that satirizes the theory of transubstantiation. Jonson expands on this theme by using Ursula’s cooking fire (a property staged in Jonson’s representation of Smithfield’s Bartholomew Fair) to engage with the prison narrative of Anne Askew, who was burned to death in front of Bartholomew Priory on the historic Smithfield for denying the doctrine of transubstantiation. This thesis also investigates water, which, for early moderns, was a complex and quasi-mystical liquid: it was a primary element, it washed sin from the world during the Great Flood, it was a marker of status, it was a medicine, and it was a cookery ingredient. Christopher Marlowe not only uses dirty water to humiliate his doomed monarch in Edward II, but he also uses it to apportion blame to the king for his own downfall. In Timon of Athens, Shakespeare draws on the theory of the elements to cast Timon as a man of water, who, Jesus-like, breaks up and divides (or splashes around) his body at his “last” supper. Fully-fledged cook characters were a relative rarity on the early modern stage. This project looks at two exceptions: Furnace in Philip Massinger’s A New Way to Pay Old Debts and the unnamed master cook in John Fletcher’s The Tragedy of Rollo, Duke of Normandy. Both playwrights use their respective gastronomic geniuses to demonstrate the danger that lower-order expertise poses to the upper classes when society is in flux. Finally, this project demonstrates that a link existed between ornate domestic food effects and alchemy. It shows how Philip Massinger’s The Great Duke of Florence and Thomas Middleton’s Women, Beware Women use food properties associated with alchemy to satirize notions of perfection in their play-worlds. 822.009
306	Confronting eternity : strange (im)mortalities, and states of undying in popular fiction. Bacon, Edwin Bruce January 2014 (has links) When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities. I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series Immortality Undeath Undying Magic Science Pseudoscience Life Death Eternity God Alchemy Phoenix Popular Fiction Pop Culture William Shakespeare Hamlet Doctor Who The Doctor The Master Buffy the Vampire Slayer Gulliver's Travels Struldbrugg Jonathan Swift Sherlock Holmes Moriarty Arthur Conan Doyle Merlin The Once and Future King T.H. White The Mask Batman The Joker Scream Ghostface Saw The Jigsaw Killer Hanz Lungwitz Breaking Bad Walter White Heroes Sylar A Portrait of the Artist as a Young Man James Joyce The Picture of Dorian Gray Oscar Wilde Emily Dickinson Georg Wilhelm Friedrich Hegel Roger Ebert Judith Butler J.R.R Tolkien Dylan Thomas Robert Louis Stevenson
307	THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE Avila, Alex 01 June 2016 (has links) The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun. Bronx St. Mary's Housing Multi-media Avila Alex Avila Production 4e CSUSB San Bernardino New York City Bx Hip Hop Spanglish Spanish Ebonics Garifuna Honduras African Jazz Funk Blues poetry violence history anthropology mambo merengue ragtime W. E. B. Du Bios community Puerto Rican Lenape Native American Latino Jonas Bronck P.S. 5 Elementary school Black boy black people black Cabell Calloway Cab Calloway immigrants lyrical poem didactic poem spoken word 3rd avenue the hub rolex wolverine yankee fitted black linguistic African diaspora allegorical Boricuas trickster Griot William Shakespeare Dewitt Clinton High School Port Morris heroine crack cocaine preacher drugs violence God reflection facebooking youtubing unemployment Ajax toothbrush Multifarious Prose Performance Multifarious Prose Performance coined ATLANTIC Ocean east coast west coast Carter Harrison Nommo The drama of Nommo the Bronx tale Young Visionaries Youth Actio Poetry

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