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121	As representações de A morte de Ofélia na obra de Eugène Delacroix / The death of Ophelia representations in Eugène Delacroix's work Paes, Luciana Lourenço, 1984- 11 October 2014 (has links) Orientador: Cláudia Valladão de Mattos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1 Paes_LucianaLourenco_M.pdf: 6480106 bytes, checksum: 311dc7804c3dc4fd9387ec6cc4c1d3bd (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com outras obras do artista e de seus contemporâneos, com a noção de "teatral" em pintura e com o contexto da pesquisa psiquiátrica na França na primeira metade do séc. XIX / Abstract: The present paper intends to analyze the representations of Ophelia¿s death in the production of the French painter Eugène Delacroix (1798-1863), reflecting on its relationship with the visual tradition of Venus and the feminine suicide, with other works by the artist and his contemporaries, with the notion of "theatrical" in painting and with the context of psychiatric research in the first half of nineteenth-century France / Mestrado / Historia da Arte / Mestra em História Delacroix, Eugene, 1798-1863 Shakespeare, William, 1564-1616. Hamlet Ofelia (Personagem ficticio) Pintura - Séc. XIX Teatro - Séc. XIX Ofelia (Fictitious character) Painting - 19th century Theatre - 19th century
122	Le schème d’établissement des Iroquoiens du Saint-Laurent : le cas du site Irving dans la région de Saint-Anicet, au Sylvicole supérieur récent Thibodeau, Marie-Ève 03 1900 (has links) Ce mémoire a pour but de documenter et de comprendre le schème d’établissement des Iroquoiens du Saint-Laurent qui ont séjourné sur le site Irving à la fin du Sylvicole supérieur. La recherche a donc été organisée en trois volets. La première interrogation portait sur la compréhension du schème d’établissement à l’échelle du site. Pour atteindre l’objectif, une analyse de l’assemblage culturel du site a été effectuée et l’emplacement du site a été étudié. Le deuxième volet portait sur des relations possibles entre deux villages iroquoiens contemporains de la région, Droulers et Mailhot-Curran, et le site Irving. Des comparaisons morpho-stylistiques de la céramique ont donc été faites entre les trois sites. Finalement, le troisième volet de recherche était d’évaluer le type d’établissement du site Irving. Des comparatifs entre sites iroquoiens du Sylvicole supérieur récent ont donc été effectués. Nous avons répertorié divers types de sites documentés tels que des villages, des hameaux, des hameaux saisonniers et des camps spécialisés. Nous sommes venus à la conclusion que le site Irving est un hameau saisonnier horticole qui était probablement rattaché à un village environnant, possiblement celui de Mailhot-Curran. / The purpose of this thesis is to document and understand the settlements pattern of the St. Lawrence Iroquoians with a particular focus on those living at the Irving site during the Terminal late Woodland period. The research is comprised of three parts. The first research objective was to document the settlement pattern characteristics at the Irving site. In order to achieve this objective, an analysis of the site's cultural materials was carried out in reference to the site’s size and location. The second research topic focused on the possible relationships between two contemporary archaeological villages in the region, Droulers and Mailhot-Curran, and the Irving site, in which a morpho-stylistic comparison of the ceramics was conducted between these three sites. Finally, the third research topic focused on identifying the type of settlement site of the Irving site. Comparisons between Iroquoians sites of the Terminal late Woodland period and Irving were therefore carried out. In exploring various types of sites documented elsewhere, such as villages, hamlets, seasonal hamlets and specialized camps. We came to the conclusion that the Irving site appears to be have been a seasonal horticultural hamlet that was probably associated with a nearby village, possibly Mailhot-Curran. Archéologie Sylvicole supérieur Iroquoiens du Saint-Laurent Schème d’établissement Irving Saint-Anicet Types d’occupation Hameau Maison-longue Mobilité Archeology Terminal late Woodland St. Lawrence Iroquoians Settlement Pattern Irving site Types of occupation Hamlet Longhouse Mobility Archaeology / Archéologie (UMI : 0324)
123	Shakespeare in China Sun, Yanna 22 August 2008 (has links) (PDF) Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese. Shakespeare in China: reception translation Shakespeare in China: Aufnahme ddc:820 rvk:HI 3375
124	Shakespeare in China Sun, Yanna 22 August 2008 (has links) Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese. info:eu-repo/classification/ddc/820 ddc:820
125	Korespondence V+W I. - III. jako teatrologický pramen / Correspondence V+W I. - III. As theatrological source Bělohoubková, Klára January 2015 (has links) No description available.
126	Playing dead : living death in early modern drama Alsop, James January 2014 (has links) This thesis looks at occurrences of "living death" – a liminal state that exists between life and death, and which may be approached from either side – in early modern English drama. Today, reference to the living dead brings to mind zombies and their ilk, creatures which entered the English language and imagination centuries after the time of the great early modern playwrights. Yet, I argue, many post-Reformation writers were imagining states between life and death in ways more complex than existing critical discussions of “ghosts” have tended to perceive. My approach to the subject is broadly historicist, but informed throughout by ideas of stagecraft and performance. In addition to presenting fresh interpretations of well-known plays such as Thomas Middleton’s The Maiden’s Tragedy (1611) and John Webster’s The White Devil (1612), I also endeavour to shed new light on various non-canon works such as the anonymous The Tragedy of Locrine (c.1591), John Marston's Antonio's Revenge (c.1602), and Anthony Munday's mayoral pageants Chruso-thriambos (1611) and Chrysanaleia (1616), works which have received little in the way of serious scholarly attention or, in the case of Antonio's Revenge, been much maligned by critics. These dramatic works depict a whole host of the living dead, including not only ghosts and spirits but also resurrected Lord Mayors, corpses which continue to “perform” after death, and characters who anticipate their deaths or define themselves through last dying speeches. By exploring the significance of these characters, I demonstrate that the concept of living death is vital to our understanding of deeper thematic and symbolic meanings in a wide range of dramatic works. 822.009
127	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir 10 July 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy
128	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir January 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy
129	Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production Brinkman, Eric M. January 2020 (has links) No description available. Theater Literature African American Studies Black Studies British and Irish Literature Comparative Literature Film Studies Fine Arts Gender Studies History Pedagogy Performing Arts Theater History Theater Studies Womens Studies Shakespeare affect sexuality gender performance Theatre drama queer theory critical race theory blackness transgender theory intersectional pedagogy Shakespeare plays Hamlet Titus Andronicus Othello Twelfth Night Romeo and Juliet
130	Tintamaresken- en folklig verfremdung! Björnsson, Hillevi January 2014 (has links) I en iterativ process i ett utforskande arbete undersöker jag om tintamaresken kan användas i fler sammanhang än inom den folkliga komiken. Genom litteraturstudium hittar jag en väg från den svenska bondkomiken till fjärmningseffekter i internationella teatertraditioner. Med hjälp av laborationer och kontrollexperiment prövar jag förhållningssättet och gestaltningar tillsammans med tintamaresken. Arbetet leder fram till begrepp och metoder man kan använda för att arbeta med tintamaresken i framförallt episk men också dramatisk teater. tintamaresk Tintamaresque tintamareskteater tintamarre bondkomik commedia dell arte fysisk teater dramapedagogik narren clown bouffon mask kuliss brecht verfremdung lecoq grotesken bachtin kasperteater shakespeare hamlet gestaltning sotie sottie episkteater amatörteater karneval mälhammar oreglia uno myggan ericson maskerad dödsdans dansemacabre danse macabre mumin moomin emond Arts Konst

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