O texto da tragédia grega Édipo Rei de Sófocles, do século V a.C., permite até os dias de hoje inúmeros estudos sobre seu mito, face a tamanha riqueza existente em seu mitologema. Pressuposto a tantas pesquisas existentes, elaboramos uma visão inerente aos estudos realizados, compondo uma dissertação comparativa, revisitando o texto de Sófocles e incluindo uma nova ótica sobre a tragédia do rei de Tebas. Porém, antes de mergulharmos na essência do mito, procuramos entender a tragédia grega e seu período de existência. Da mesma forma, investigamos o homem Sófocles, artista e poeta na sociedade em que viveu, e suas relações sociais e políticas com seu amigo e estrategista Péricles. Ponto imprescindível da dissertação é a constatação de que Sófocles fundiu em um só personagem feminino a figura das duas esposas de Laio, condensadas em Jocasta. Tornada mãe e esposa de Édipo, o personagem de Jocasta aumentou profundamente o efeito dramático desejado pelo autor grego, criando um dos maiores textos trágicos da antiguidade que chegaram até hoje. Sem perder a essência do texto sofocliano, decodificamos o mito em suas diversas vertentes, situamos as condições sociais nas relações da mulher no século V a.C., e, assim, estabelecemos as relações que envolveram Édipo e Jocasta no conjunto poético da tragédia reelaborada por Sófocles. / The text of the Greek tragedy Oedipus Rex, by Sophocles, 5th century BC, allows us, until the present days, to make innumerous studies about its myth, due to the immense richness of its mythologem. Considering so many existing researches, we have elaborated a vision inherent to the studies already done, writing a comparative dissertation, revisiting Sophoclestext and throwing some new light upon the tragedy of the King of Thebes. However, before plunging into the essence of the myth, we have tried to understand the Greek tragedy and its existing context. In the same way, we have investigated the man Sophocles, artist and poet in the society he lived in, and his social and political relationship with his friend and strategist Pericles. The essential point of the dissertation is the thesis that Sophocles has melted, in a single feminine character, the profiles of the two wives of Laius, condensed in Jocasta. Transformed into mother and wife of Edipo, the character Jocasta deeply increased the dramatic effect desired by the Greek author, creating one of the greatest tragic text of antiquity that have arrived to present days. Without losing the essence of the sophoclean text, we have decoded the myth in its various aspects, contextualized the social conditions of the womens relations in the 5th century BC, and, finally, we have established the relations that involved Edipo and Jocasta in the poetic set of the tragedy re-elaborated by Sophocles.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 174-181).

O texto da tragédia grega Édipo Rei de Sófocles, do século V a.C., permite até os dias de hoje inúmeros estudos sobre seu mito, face a tamanha riqueza existente em seu mitologema. Pressuposto a tantas pesquisas existentes, elaboramos uma visão inerente aos estudos realizados, compondo uma dissertação comparativa, revisitando o texto de Sófocles e incluindo uma nova ótica sobre a tragédia do rei de Tebas. Porém, antes de mergulharmos na essência do mito, procuramos entender a tragédia grega e seu período de existência. Da mesma forma, investigamos o homem Sófocles, artista e poeta na sociedade em que viveu, e suas relações sociais e políticas com seu amigo e estrategista Péricles. Ponto imprescindível da dissertação é a constatação de que Sófocles fundiu em um só personagem feminino a figura das duas esposas de Laio, condensadas em Jocasta. Tornada mãe e esposa de Édipo, o personagem de Jocasta aumentou profundamente o efeito dramático desejado pelo autor grego, criando um dos maiores textos trágicos da antiguidade que chegaram até hoje. Sem perder a essência do texto sofocliano, decodificamos o mito em suas diversas vertentes, situamos as condições sociais nas relações da mulher no século V a.C., e, assim, estabelecemos as relações que envolveram Édipo e Jocasta no conjunto poético da tragédia reelaborada por Sófocles. / The text of the Greek tragedy Oedipus Rex, by Sophocles, 5th century BC, allows us, until the present days, to make innumerous studies about its myth, due to the immense richness of its mythologem. Considering so many existing researches, we have elaborated a vision inherent to the studies already done, writing a comparative dissertation, revisiting Sophoclestext and throwing some new light upon the tragedy of the King of Thebes. However, before plunging into the essence of the myth, we have tried to understand the Greek tragedy and its existing context. In the same way, we have investigated the man Sophocles, artist and poet in the society he lived in, and his social and political relationship with his friend and strategist Pericles. The essential point of the dissertation is the thesis that Sophocles has melted, in a single feminine character, the profiles of the two wives of Laius, condensed in Jocasta. Transformed into mother and wife of Edipo, the character Jocasta deeply increased the dramatic effect desired by the Greek author, creating one of the greatest tragic text of antiquity that have arrived to present days. Without losing the essence of the sophoclean text, we have decoded the myth in its various aspects, contextualized the social conditions of the womens relations in the 5th century BC, and, finally, we have established the relations that involved Edipo and Jocasta in the poetic set of the tragedy re-elaborated by Sophocles.

Within this thesis I aim to prove that working outside my personal artistic comfort zone has ultimately been beneficial to all my work as a theatre artist. Specifically, I explore the greater merit of choosing to wrestle with a project that, from the beginning, felt far beyond my capabilities and scope as a director. This thesis explores the many challenges I faced and skills I developed during the process of directing my first Shakespearean play. Throughout my analysis of the production process I explore many of the areas where my theatrical view was clearly expanded. I spend less time, discussing the strengths that I believe I do have as a theater director and how those tools helped to keep me grounded in those moments when I felt like I was the wrong director for the project. I have been told that one of my greatest strengths as a director is my ability and desire to collaborate. I hold my collaborators’ ideas and insights in the highest regard. I sincerely believe that for each project, the right people are in the right room at the right time and that it takes a good listener and a sense of clarity and direction to achieve something beautiful and meaningful, together. I am able to rally a group of artists around one common cause. Part of this skill is that I am committed to working in great detail with each individual within a group. Regardless of the size of the cast, one of my strengths as a director is that I am able to help actors find a level of integrity and depth in their work that often translates to actors who deliver proud and confident performances. In the end, even though Pericles is not contemporary edgy fare, it is quite a compelling and twisted tale. Although, I have certainly been attracted to the odd and macabre, Pericles is more than that. It is also spiritual and aims to heal the human soul. I found this cause a worthy one and one worth the time and efforts of our talented and dedicated artistic team.

Early modern literature and politics alike are littered with the language of the classical elements. In particular, elemental language comes to the fore in William Shakespeare and John Fletcher's plays produced in the mid-portion of King James's reign. In this thesis, I argue that Shakespeare and Fletcher to use the language of air, water, and fire, in Pericles, Two Noble Kinsmen, and Bonduca, to mediate contemporary political concerns plaguing English earth. This elemental language shows how Shakespeare and Fletcher voiced the British people's wavering hopes and fears concerning James's hopes for imperial expansion and his concurrent inability to maintain his realm's lands, finances, unity, and national image. Although recent scholars have begun to focus on how elemental language often functions to elevate authorial status and to personify emotions, there is little recognition of how early modern playwrights use elemental language to speak to Jacobean political concerns. Understanding the political underpinnings of elemental language allows for a better understanding of the discursive relationship between monarch, playwright, and subjects. / Master of Arts / This thesis explores how playwrights William Shakespeare and John Fletcher use the language of the classical elements, water, fire, earth, and air, to express early modern people's hopes and fears regarding the trajectory of the British nation. In particular, I analyze how Shakespeare and Fletcher use elemental language in their plays, Pericles, Two Noble Kinsmen, and Bonduca, to mediate fears of national degradation drawing from King James's imperial ambitions and mismanagement of the nation's natural and financial resources. I suggest that much like the people of today, early modern peoples also measured the success of their nation in terms of the well-being and stability of its elemental environment.

Η διατήρηση της ισορροπίας ανάμεσα στην ιδιωτική και τη δημόσια σφαίρα είναι ένα αρκετά δύσκολο εγχείρημα για ένα άτομο, ιδίως όταν μια ερωτική ιστορία ταράξει τη ζωή και την καθημερινότητά του. Η ερωτική ζωή ενός ατόμου αποτελεί ενδεικτικό στοιχείο του ήθους του όχι μόνο στα όρια της προσωπικής ζωής αλλά και της δημόσιας σφαίρας. Αντικείμενο της παρούσας μελέτης είναι οι κοινωνικές διαστάσεις που λαμβάνει ο έρωτας και ο γάμος τόσο στα Γαμικά Παραγγέλματα και τον Ερωτικό, όσο και στους Βίους του Περικλή και του Αντωνίου του Πλουτάρχου. Η αλληλεξάρτηση ατόμου-κοινωνίας όταν εμφανίζονται ο έρωτας και ο γάμος αφενός και αφετέρου οι αντιλήψεις της κοινωνίας που συνδέονται με αυτό το δίπολο κατέχουν εξέχουσα θέση στα υπό εξέταση κείμενα. / The conservation of the equilibrium amongst of personal and public domain is harsh for the individual especially when a love story discomfit his daily routine. The love life of an individual is one of the major element to illustrate his ethos, not only in the shade of private life but also in this of public domain. This research project will examine the social aspects which love and marriage take place in Plutarch’s Gamika Pareggelmata, Erotikos, Life of Pericles and Antonius. Following this, the interrelationship of individual-society when love and marriage appear. Thus, society’s beliefs which are connected with the particular dipole and the importance of this in the under advisement passages.

No description available.

The goal of this thesis on roman and greek reformers was to create a methodical summary of the most important constitutional reforms in ancient Rome and Greece. It is mostly focussed on the history of ancient Rome or Roman reformers, respectively. I call these reforms constitutional for their undoubted life-changing impact on the society as a whole - some of the reforms changed the ancient societies for the upcoming decades and even centuries, some changed them, as I believe, forever. For example a struggle between Lucius Cornelius Sulla and Gaius Marius had a far- reaching impact on Rome as too much of "unbreakable" rules were broken - which, of course, led to another and another heavy and unprecedented interventions which ultimately led to the fall of the republic and the beginning of the new, Imperial, era. Main sources of this thesis are the texts of ancient authors, such as Plutarch Suetonius and Appian, as it was one of my goals to use primary literature as much as possible.

<div>When, each holiday season, William Shakespeare’s newest plays were presented for King James I of England and his court, they shared the stage with propagandistic performances and ceremonies intended to glorify the monarch and legitimate his political ideals. Between 1608 and 1613, however, the King’s son, Prince Henry Frederick, sought to use the court stage to advance his own, oppositional ideology. By examining the entertainments through which James and Henry openly competed to control this crucial mythmaking mechanism, the present investigation recreates the increasingly unstable conditions surrounding and transforming each of Shakespeare’s last plays as they were first performed at court. I demonstrate that, once read in their original courtly contexts, these plays speak directly to each stage of that escalating rivalry and interrogate the power of ceremonial display, the relationship between fiction and statecraft, and the destabilization of monarchically imposed meaning, just as they would have then.<br></div>