Dans ses œuvres dramatiques, Shakespeare fait la part belle aux mots étrange(r)s, qu’il s’agisse de mots isolés, de phrases ou encore de scènes entières en langue étrangère. L’hétérolinguisme (Rainier Grutman) shakespearien se manifeste également par la présence dans ses pièces de variétés sociales ou régionales de l’anglais. Son importance est cependant moins quantitative que qualitative. En effet, les mots étrangers de Shakespeare font presque toujours l’objet d’une mise en scène, à une époque où la langue anglaise était elle-même en pleine quête identitaire. Leur rôle n’est jamais purement ornemental : ils déstabilisent et inquiètent la langue qui les accueille tout en entretenant avec elle une relation souvent ludique, comme en témoignent les nombreux jeux de mots interlinguistiques inventés par Shakespeare. Par ailleurs, la cohabitation des langues dans certaines de ses pièces entraîne parfois des opérations de traduction plus ou moins hasardeuses, qui font elles aussi l’objet d’une véritable mise en scène. En nous donnant à entendre les fréquents « dérapages » de la traduction, Shakespeare nous fait voir l’envers de la langue, qui court toujours le risque de devenir à son tour étrangère. La traduction des textes hétérolingues du dramaturge eux-mêmes n’est pas moins problématique. L’épreuve de l’« étranger au carré » lance en effet au traducteur un certain nombre de défis que cette thèse a pour vocation d’explorer. Néanmoins, si la pluralité des langues est d’ordinaire vécue comme une malédiction pour la traduction, elle représente également une chance pour la langue traduisante : contrainte de se « déprovincialiser », elle « se met à proliférer », selon les mots respectifs de Ricœur et de Berman. / If we understand “strange” in the former sense of “foreign, alien” as well as “unusual or surprising”, « strange words » play a significant role in Shakespeare’s drama, whether they take the form of single words, whole sentences or even entire scenes written in a foreign language. Shakespearian heterolingualism (Rainier Grutman) also encompasses social or regional varieties of English in the plays. Its importance, however, has less to do with quantity than quality. Indeed, Shakespeare’s “strange words” are highly theatrical and often take centre stage, in an age when the English language itself was beginning to define its identity. Their role is rarely ornamental—they destabilise and unsettle their host language even as they playfully interact with it, as is demonstrated by the many interlingual puns concocted by Shakespeare. Moreover, the cohabitation of languages in some of Shakespeare’s plays can sometimes lead to questionable acts of translation. As Shakespeare stages the frequent “slips” of translation, he unveils the other side of the English language, which always runs the risk of becoming foreign in its turn. The translation of Shakespeare’s heterolingual texts themselves is no less problematic. The trial of the doubly foreign presents the translator with a number of challenges that this thesis proposes to explore. Nevertheless, if the plurality of languages is usually perceived as a curse when it comes to translation, it also opens up opportunities for the translating language: forcefully “de-provincialised” (Ricoeur), the mother tongue begins to thrive.

L’émergence d’un « ‘esprit’ capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l’usure et de l’intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l’époque, et plus particulièrement chez les grands dramaturges qui ont marqué l’imaginaire collectif en mettant en scène des personnages avares. À partir d’un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l’Occident chrétien, l’appréhension nouvelle de l’argent comme objet et comme signe permet de construire une véritable figure moderne de l’avarice. Shylock, Volpone et Harpagon sont suspendus entre un or quasi divin, et l’univers plus ou moins connu de l’argent, qu’ils pensent maîtriser grâce à leur trésor. S’ils s’intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » (Simmel) suscitée par l’économie de l’usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L’analyse finale de ces dénouements permet de comprendre le travail de chaque auteur sur la forme et la fonction du comique, à travers le texte, les genres, ou une esthétique de l’espace. Elle montre que chacun s’attache à valoriser l’apport de son art au public dans une période de crise socio-économique. / The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis.

This thesis is the first sustained analysis of the relationship between Elizabethan theatre and the judicial practice of burning at the stake. Focusing on a five-year window of theatrical output (1587-1592), it argues that polemical literary presentations of burning are the key to understanding the stage's negotiation of this most particular form of judicial violence. Unlike other forms of penal violence, burning at the stake was not staged, and only fourteen incidences of the punishment are recorded in Elizabethan England. Its strong literary presence in Protestant historiography is therefore central to this study. Part I explores the tragic and overtly theatrical rhetoric that the widely available Acts and Monuments built around the burning of heretics in the reformation, and argues that the narrative of this drama of injustice intervened in the development of judicial semiotics over the late-sixteenth century. By the time that Tamburlaine was first performed, burning at the stake was a pressing polemical issue, and it haunts early commercial theatre. Elizabethan historiography of the stake was deeply influential in Elizabethan theatre. In Part II, I argue that Marlovian fire spectacles evoke tableaux from the Acts and Monuments to encourage partisan spectatorship, informed by the rhetoric of martyrdom. Dido's self-immolation courts this rhetoric by dismissing the sword from her death, while Tamburlaine's book burning is condemned through its emphatically papist undertones. These plays court the stake through spectacles utilizing its rhetoric. In Part III, I show that characters historically destined to face the stake required thorough criminalization to justify their sentence. Alice Arden is distinguished from female martyrs celebrated for their domestic defiance, while Jeanne d'Arc's historical heresy is forcefully rewritten as witchcraft and whoredom to condemn 1 Henry VI's Joan la Pucelle. Both women are punished offstage, and the plays focus instead on the necessary task of justifying the sentence of burning. Though rare in practice, burning at the stake was a polemical issue in Elizabethan England. Despite the stake's lack of imitation in the theatre, I argue that widely available Protestant historiography - propaganda at the heart of debates about burning and religious violence - affected both how plays were written, and how they could be viewed.

Made available in DSpace on 2015-03-26T13:44:33Z (GMT). No. of bitstreams: 1 texto completo.pdf: 531169 bytes, checksum: e0d729debd3fc44b346508e20fed716b (MD5) Previous issue date: 2014-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to analyze in a comparative way the tragedy King Lear, by William Shakespeare, and its adaptation The History of King Lear, by the Irish poet Nahum Tate. In order to make this comparative study practicable, it ́s necessary to understand conceptions of tragedy, since conceptions from the Ancient Greece to the Shakespearean tragedy, the social and historical contexts of the Elizabethan era (when the Shakespearean dramaturgy came to light and was developed) and the Restoration era (when Tate ́s adaptation was written) and theories about literary adaptation, having in mind that adaptations are based in a context and the tastes of the audience in a specific time. The theoreticians who guided our work are Gerard Genette (2006), Julie Sanders (2006), Linda Hutcheon (2006), Aristotle (1995), Friedrich Nietzsche (2007), Anatol Rosenfeld (1993), Albin Leski (2006), A.C. Bradley (1992), Frank Kermode (2006), Bárbara Heliodora (2001), Marjorie Garber (2004), Marlene Soares dos Santos (2008), James Black (1975), and others. / O presente trabalho faz um estudo comparativo entre a tragédia Rei Lear, de William Shakespeare, e sua adaptação intitulada The History of King Lear, do poeta irlandês Nahum Tate. Para viabilizar este estudo comparativo, faz-se necessário compreender concepções de tragédia, desde a Antiguidade Clássica até a tragédia concebida por Shakespeare, os contextos sócio-históricos das eras elisabetana (período em que a dramaturgia shakespeariana surgiu e desenvolveu-se) e da Restauração (período em que a adaptação de Tate foi escrita) e teorias de adaptação literária, tendo em vista que adaptações são escritas à luz de determinado contexto e dos gostos do público-leitor de seu tempo. Os teóricos norteadores deste trabalho são Gerard Genette (2006), Julie Sanders (2006), Linda Hutcheon (2006), Aristóteles (1995), Friedrich Nietzsche (2007), Anatol Rosenfeld (1993), Albin Leski (2006), A.C. Bradley (1992), Frank Kermode (2006), Bárbara Heliodora (2001), Marjorie Garber (2004), Marlene Soares dos Santos (2008), James Black (1975), entre outros.

Esta dissertação apresenta uma tradução comentada de parte do livro The Unfortunate Traveller: or, The Life of Jack Wilton, escrito por Thomas Nashe em 1594 e discute os desafios de traduzir pela primeira vez para o português esse romance picaresco escrito durante o período elisabetano. As alterações estruturais, lexicais e semânticas ocorridas na língua inglesa durante esses anos e as diferenças culturais entre a Inglaterra do século XVI e o Brasil da atualidade são algumas das dificuldades enfrentadas no processo tradutório dessa obra. O primeiro capítulo apresentará uma leitura crítica da obra, do autor e uma contextualização do romance picaresco. No segundo capítulo haverá uma explanação das duas teorias de tradução usadas nesta dissertação: as tendências deformadoras propostas por Antoine Berman (1985), que propõem identificar as variações encontradas nas traduções em relação ao texto original; e o modelo descritivo das Modalidades de Tradução elaboradas pelo Prof. Dr. Francis H. Aubert (1998, 2006), derivado do modelo pedagógico dos procedimentos técnicos da tradução (Vinay & Darbelnet, 1958, 1977). No terceiro capítulo usaremos essas duas teorias como ferramentas para análise das escolhas tradutórias adotadas e suas implicações na escrita do texto na língua de chegada. O quarto capítulo trará a tradução de 50% do livro ao lado do texto original em inglês com notas e comentários no rodapé. / This work presents an annotated translation of a part of the book The Unfortunate Traveller: or, The Life of Jack Wilton, written by Thomas Nashe in 1594 and discusses the challenges of translating for the first time into Portuguese this picaresque novel written during the Elizabethan period. Structural, lexical and semantic changes in the English language over the years and the cultural differences between the sixteenth-century England and contemporary Brazil are some of the difficulties in the translation process of this work. The first chapter will present a critical reading of the work and the author. In the second chapter there will be an explanation of the two translation theories used in this dissertation: the comparative method of deforming tendencies proposed by Antoine Berman (1985), which proposes to identify the variations found in translations from the original text. And the second, the The translation modalities descriptive model developed by Francis H. Aubert (1998, 2006), derived from the pedagogical model of the technical procedures of translation (Vinay & Darbelnet, 1958, 1977). In the third chapter these two theories will be used as tools to analyze the translation choices and its implications in writing the text in the target language. The fourth chapter will bring the translation of 50% of the book side by side with the original text in English with notes and comments in footnotes.

Mary Woodbery / Caption title / Typescript / M.A. Florida State College for Women 1908

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This thesis examines artistic and literary images of murderous women in popular print published in sixteenth and seventeenth-century England. The construction of murderous women in criminal narratives, published between 1558 and 1625 in pamphlet, ballad, and play form, is examined in the context of contemporary historical records and cultural discourse. Chapter One features a literature review of the topic in recent scholarship. Chapter Two, comprised of two subsections, discusses representations of early modern women in contemporary literature and criminal archives. The subsections in Chapter Two examine early modern treatises, sermons, and essays concerning the nature of women, the roles and responsibilities of wives and mothers, and debates about marriage, as well as a review of women tried for murder in the Middlesex assize courts between 1558 and 1625. Chapter Three, comprised of four subsections, engages in critical readings of approximately 52 pamphlets, ballads, and plays published in the same period. Individual subsections discuss how traitorous wives, murderous mothers, women who murder in their communities, and punishment and redemption are represented in the narratives. Woodcut illustrations printed in these texts are also examined, and their iconographic contributions to the construction of bad women is discussed. Women who murder in these texts are represented as consummately evil creatures capable of inflicting terrible harm to their families and communities, and are consistently discovered, captured, and executed by their communities for their heinous crimes. Murderous women in early modern popular literature also provided a means for contemporary men and women to explore, confront, and share in the depths of sin, while anticipating their own spiritual salvation. Pamphlets, plays, and broadsides related bawdy, graphic, and violent stories that allow modern readers a glimpse of the popular culture and mental world of Renaissance England.

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In locating the idea of nostalgia in early modern English drama, ‘A Rhetoric of Nostalgia on the English Stage, 1587-1605’ recovers an influential and under-examined political discourse in Elizabethan drama. Recognizing how deeply Renaissance culture was invested in conceptualizing the past as past and in privileging the cultural practices and processes of memory, this thesis asserts nostalgia’s embeddedness within that culture and its consequently powerful rhetorical role on the English Renaissance stage. The introduction situates Elizabethan nostalgia alongside nostalgia’s postmodern conceptualizations. It identifies how my definition of early modern nostalgia both depends on and diverges from contemporary arguments about nostalgia, as it questions nostalgia’s perceived conservatism and asserts its radicalizing potential. I define a rhetoric of nostalgia with regard to classical and Renaissance ideas of rhetoric and locate it within a body of sixteenth-century political discourses. In the ensuing chapters, my analyses of Shakespeare’s drama formulate case studies reached, in each instance, through an exploration of the plays’ socio-political context. Chapter Two’s analysis of The First Part of the Contention contextualizes Shakespeare’s development of a rhetoric of nostalgia and investigates connections between rhetorical form and nostalgia. I demonstrate the cultural currency of the play’s nostalgic proverbial discourse through a discussion of Protestant writers interested in mocking the idea of a preferable Catholic past. Chapter Three argues that Richard II’s nostalgic discourse of lost hospitality functions as a political rhetoric evocative of the socio-economic problems of the mid-1590s and of the changing landscape of English tradition instigated by the Reformation. In Chapter Four, Julius Caesar and Ben Jonson’s Sejanus constitute a final analysis of the relationship between a rhetoric of nostalgia and politics by examining the rise of Tacitism. The plays’ nostalgic language stimulates an awareness to the myriad ways in which rhetoric questions politics in both dramas.