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[en] A THING SUCH AS THOU: THE REPRESENTATION OF BLACK CHARACTERS IN BRAZILIAN TRANSLATIONS OF WILLIAM SHAKESPEARE / [pt] A THING SUCH AS THOU: A REPRESENTAÇÃO DOS PERSONAGENS NEGROS NAS TRADUÇÕES DAS OBRAS DE WILLIAM SHAKESPEARE PARA O PORTUGUÊS DO BRASILMARCIA PAREDES NUNES 09 October 2007 (has links)
[pt] O objetivo desta dissertação é analisar o tratamento dado
pelas traduções
brasileiras aos personagens negros na obra de William
Shakespeare: o Príncipe de
Marrocos em O mercador de Veneza, Aarão em Tito Andrônico
e Otelo na
tragédia homônima. O estudo parte dos pressupostos de que
o preconceito racial é
uma construção ideológica que se dá pela via do discurso e
de que a tradução,
como uma modalidade discursiva, pode desempenhar um papel
na reprodução de
ideologias. O estudo desenvolveu-se em três etapas: (i)
identificação de
ocorrências de discurso racista no texto-fonte; (ii)
localização, nos textos-alvo, das
traduções de cada possível afirmação racista previamente
identificada; (iii) análise
das soluções tradutórias observadas e os efeitos gerais
que estas provocaram nos
diferentes produtos finais, a fim de verificar em que
medida as versões acabam
por reconstruir, intensificar ou atenuar o preconceito
percebido na obra original. O
corpus de análise é constituído por The Merchant of
Venice, juntamente com três
traduções brasileiras, feitas por Carlos Alberto Nunes,
Cunha Medeiros/Oscar
Mendes, e Barbara Heliodora; Titus Andronicus, e as
versões brasileiras realizadas
pelos mesmos tradutores; e Othello, nas traduções de
Onestaldo de Pennafort,
Carlos Alberto Nunes, Cunha Medeiros/Oscar Mendes,
Péricles Eugênio da Silva
Ramos, Barbara Heliodora, Beatriz Viegas-Faria e Jean
Melville. / [en] The purpose of this thesis is to examine how Brazilian
translations deal with
Shakespeare`s black male characters: The Prince of Morocco
in The Merchant of
Venice, Aaron in Titus Andronicus and Othello. The study
is based on the
assumption that racial prejudice is an ideological
construct, mediated by language,
and that translation as a discursive mode may play an
important role in the
reproduction of ideology. The research was conducted in
three steps: (i)
identification of instances of racist discourse in the
source text; (ii) identification
in the target text of the translated instances of such
racist discourse; (iii) analysis
of these translations and the general effect they may have
on the different end
products, so as to verify whether the Brazilian versions
reconstruct, intensify or
mitigate the prejudice identified in the original work.
The plays examined were
The Merchant of Venice, and three Brazilian translations
by Carlos Alberto
Nunes, Cunha Medeiros/Oscar Mendes, and Barbara Heliodora;
Titus Andronicus,
in renderings by these same translators; and Othello, as
translated by Onestaldo de
Pennafort, Carlos Alberto Nunes, Cunha Medeiros/Oscar
Mendes, Péricles
Eugênio da Silva Ramos, Barbara Heliodora, Beatriz Viegas-
Faria, and Jean
Melville.
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Non verba sed vim kritisch-exegetische Untersuchungen zu den Fragmenten archaischer römischer Tragiker /Lennartz, Klaus. January 1994 (has links)
Revision of the author's Thesis (Universität zu Köln, 1993). / Includes bibliographical references and index.
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Non verba sed vim kritisch-exegetische Untersuchungen zu den Fragmenten archaischer römischer Tragiker /Lennartz, Klaus. January 1994 (has links)
Revision of the author's Thesis (Universität zu Köln, 1993). / Includes bibliographical references and index.
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Aaron, Othello, and Caliban: Shakespeare's Presentation of Ethnic Minorities in Titus Andronicus, Othello, and The TempestMcGrath, Alyssa F. 30 April 2013 (has links)
No description available.
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A skopos-based analysis of Breytenbach’s Titus AndronicusGreen, Benjamin Stephen 03 1900 (has links)
Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Breyten Breytenbach's Afrikaans translation of William Shakespeare's Titus Andronicus is
a little known member of the corpus of Afrikaans Shakespeare plays. Published without
annotations in South Africa in 1970 and performed in Cape Town in the same year, it has
never been performed again and the text has attracted no academic review or led to any
subsequent editions. However, situated in 1970 in the heyday of the Apartheid regime, the
play's production broke attendance records in Cape Town and was accompanied by
substantial public controversy.
In this thesis, the author analyses Breytenbach's translation in order to determine whether
the translator had an ideological agenda in performing the translation. The analysis is
based on a preliminary discussion of culture and ideology in translation, and then uses the
Skopostheorie methodology of Hans J. Vermeer (as developed by Christiane Nord) to
assess the translation situation and the target text. The target text has been analysed on
both a socio-political and microstructural level.
The summary outcome of the analysis is that the translator may possibly have tried to
promote an anti-Apartheid ideology by translating the play. The outcome is based on
several contextual factors such as the socio-political situation in South Africa in which the
translated play was published and performed, the translator's stated opposition to the
Apartheid system, the choice of Titus Andronicus for translation and production, and to a
lesser extent the level of public controversy that accompanied the target text's production
in the theatre. / AFRIKAANSE OPSOMMING: Breyten Breytenbach se Afrikaanse vertaling van William Shakespeare se Titus
Andronicus is 'n min bekende eksemplaar van die versameling Shakespeare toneelstukke
in Afrikaans. Dit is sonder enige annotasies in 1970 in Suid-Afrika uitgegee, en is dieselfde
jaar in Kaapstad opgevoer. Sedertdien is dit nooit weer opgevoer nie, en die teks het geen
akademiese kritiek ontlok nie. Die teks is ook nooit weer herdruk nie. Maar in 1970, tydens
die toppunt van die Apartheidregime, het hierdie toneelstuk se opvoering
bywoningsrekords oortref en dit is deur aansienlike openbare omstredenheid gekenmerk.
In dié tesis ontleed die skrywer Breytenbach se vertaling om te bepaal of die vertaler 'n
ideologiese agenda in die vertaling van die toneelstuk gehad het. Die ontleding word op 'n
voorlopige bespreking van kultuur en ideologie in die vertaalproses gegrond, en maak dan
gebruik van die Skopostheorie van Hans J. Vermeer (soos verwerk deur Christiane Nord)
om die omstandighede ten tyde van die vertaalproses sowel as die doelteks self te
ontleed. Die doelteks is op sowel sosiaalpolitiese as mikrostrukturele vlak ontleed.
Die samevattende uitkoms van die ontleding is dat die vertaler moontlik 'n anti-Apartheid
ideologie probeer bevorder het deur hierdie toneelstuk te vertaal. Hierdie uitkoms is
gegrond op verskeie samehangende faktore, soos die sosiaalpolitiese omstandighede in
Suid-Afrika waarin die toneelstuk uitgegee en opgevoer is, die vertaler se vermelde
teenkanting teen die Apartheidstelsel, die keuse van Titus Andronicus vir vertaling en
opvoering, en tot 'n mindere mate die vlak van openbare omstredenheid wat gepaard
gegaan het met die doelteks se opvoering in die teater.
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The reception of the Categories of Aristotle, c. 80 BC to AD 220Griffin, Michael J. January 2009 (has links)
This thesis focuses on the ancient reception of the Categories of Aristotle, a work which served continuously, from late antiquity into the early modern period (Frede 1987), as the student’s introduction to philosophy. There had previously been no comprehensive study of the reception of the Categories during the age of the first philosophical commentaries (c. 80 BC to AD 220). In this study, I have collected, assigned, and analyzed the relevant fragments of commentary belonging to this period, including some that were previously undocumented or inexplicit in the source texts, and sought to establish and characterize the influence of the early commentators’ activity on the subsequent Peripatetic tradition. In particular, I trace the early evolution of criticism and defense of the text through competing accounts of its aim (skopos), which would ultimately lead Stoic and Platonic philosophers to a partial acceptance of the Categories and frame its role in the later Neo-Platonic curriculum.
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The Hybrid Hero in Early Modern English Literature: A Synthesis of Classical and Contemplative HeroismPonce, Timothy Matthew 12 1900 (has links)
In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.
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'Piteous overthrows' : pity and identity in early modern English literatureJohnson, Toria Anne January 2013 (has links)
This thesis traces the use of pity in early modern English literature, highlighting in particular the ways in which the emotion prompted personal anxieties and threatened Burckhardtian notions of the self-contained, autonomous individual, even as it acted as a central, crucial component of personal identity. The first chapter considers pity in medieval drama, and ultimately argues that the institutional changes that took place during the Reformation ushered in a new era, in which people felt themselves to be subjected to interpersonal emotions – pity especially – in new, overwhelming, and difficult ways. The remaining three chapters examine how pity complicates questions of personal identity in Renaissance literature. Chapter Two discusses the masculine bid for pity in courtly lyric poetry, including Philip Sidney's Astrophil and Stella and Barnabe Barnes's Parthenophil and Parthenophe, and considers the undercurrents of vulnerability and violation that emerge in the wake of unanswered emotional appeals. This chapter also examines these themes in Spenser's The Faerie Queene and Sidney's Arcadia. Chapter Three also picks up the element of violation, extending it to the pitiable presentation of sexual aggression in Lucrece narratives. Chapter Four explores the recognition of suffering and vulnerability across species boundaries, highlighting the use of pity to define humanity against the rest of the animal kingdom, and focusing in particular on how these questions are handled by Shakespeare in The Tempest and Ben Jonson, in Bartholomew Fair. This work represents the first extended study of pity in early modern English literature, and suggests that the emotion had a constitutive role in personal subjectivity, in addition to structuring various forms of social relation. Ultimately, the thesis contends that the early modern English interest in pity indicates a central worry about vulnerability, but also, crucially, a belief in the necessity of recognising shared, human weakness.
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Inclusive Shakespeare: An Intersectional Analysis of Contemporary ProductionBrinkman, Eric M. January 2020 (has links)
No description available.
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Cooks, cooking, and food on the early modern stageTempleman, 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.
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