This study addresses the role of the possible or virtual in Shakespearean drama. It argues that the possible component constitutes an integral part of Shakespearean drama, and that they are as important as the actual events or component. To underscore its paramount importance, the study stresses two aspects of the possible in Shakespearean drama: its potentiality and its cognitive function. Potentiality highlights the power of the virtual in opening up different meanings and interpretations, suggesting alternative possibilities and creating new storylines out of the original ones. The cognitive function of the virtual or possible underlines its role in rendering the actual events and happenings more intelligible, probable and comprehensible. The study builds on the theoretical framework of possible worlds theory as well as Classical and Renaissance rhetoric; it argues that Shakespeare’s familiarity with and employment of these notions can be attributed to his rhetorical training, which formed an essential part of Elizabethan education. The study deals with the drama both as a fictional story and as theatre. On the level of theatre, it demonstrates that, despite its materiality, theatre must stimulate an imaginary virtual reality if the physical events and happenings onstage are to be fully meaningful. On the level of the fictional story, it shows that virtual or possible events form the beliefs and intentions of characters. They help to set the conflict on track and help the audience to access the characters’ inwardness. Although the possible is thought of as an ontological category, the study highlights its cognitive dimension, and argues that features of the possible even shape our image of the actual past. It addresses this question in relation to the representation of history in Shakespeare’s history plays. Finally, it deals with counterfactual statements in Shakespeare and uses a multidisciplinary approach to study their significance.

This thesis analyzes the Shakespearean villains, particularly Richard III, Iago, Shylock, Caliban, Edmund, Angelo and Macbeth. It explores the idea of evil as it was understood in Shakespeare's time and concentrates on language and strategy of these villains.

acase@tulane.edu / Scenic Design and Technical Direction concept and production process for Tulane University's Julius Caesar in 2016 / 1 / Mihai Razvan Plaiasu

Thesis (Ph. D.)--Ohio State University, 1974. / Includes vita. Includes bibliographical references (leaves 257-260). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 247-250).

Adaptation has been an important part of the appreciation and study of Shakespeares plays from the beginning. As was usual for playwrights of his time, Shakespeare adapted the majority of his writings from other literary and/or historical works; and in the centuries since, other writers have used his texts as inspiration for their own. Examining adaptations of literary works in relation to their original source texts, to their performance/printing history, to each other, and to the world(s) of authors and readers allows us to explore the relationships of textual worlds to the actual worlds in which those texts are produced and read/seen/listened to, and the intertextual relationships between the worlds of the original work and an adaptation of that work into a new text. As Shakespeares best-known and most written-about text, indeed one of the worlds most studied texts, Hamlet has inspired countless interpretations and adaptations by artists and writers the world over. These adaptations are worthy of study in their own right, both as transformations of Shakespeares original text and as distinct literary works themselves. At the same time, Hamlet is itself an adaptation, what William F. Hansen describes as a revision of a dramatic treatment...of a retelling...of a literary treatment...of a Scandinavian legend (67). This dissertation examines Shakespeares Hamlet as an adaptation of its historical and literary source texts, alongside a representative sample of texts, in English, French, and Spanish, which use Hamlet as their source texts. The theoretical basis for this study is possible/fictional-worlds theory, as outlined in Lubomr Doleels Heterocosmica, especially the taxonomy of adaptations presented in its closing chapter. A similar taxonomy of adaptations put forth by Douglas Lanier in Shakespeare and Modern Popular Culture is also used. The dissertation begins with an overview of possible/fictional-worlds theory and its use in the study of adaptations. It then discusses the source texts of Hamlet and the use Shakespeare made of them in his play. This is followed by a comparison of four translations in French and Spanish, as well as texts which present counterparts of the plot and/or characters of the play.

Texte remanié de: Dissertation--Englische Philologie--Berlin--Freie Universität, 2004. / Bibliogr. p. 261-285.

Diss.--Frankfurt, 1998--Johann Wolfgang Goethe-Univ. / Bibliogr. p. 203-213.

Texte remanié de: Thesis Ph. D.--University of Kent, GB. / Notes bibliogr.

Diss.--Kiel.--Univ., 1993. / Bibliogr. p. 173-178.