Thesis (Ph. D.)--Universität Rostock, 1913. / Cover title. Includes bibliographical references.

No description available.

The type of alienation discussed in this thesis is not related to the famous Verfrenidungseffekt attempted by Brecht, where the audiences are prevented from identifying with the characters of the drama in the hope that the public will reflect on the ideas presented more rationally and objectively. "Alienation" in this thesis is a psychological force which acts divisively between the characters in the drama and thus contributes to the development of a tragic situation.

Originally presented as the author's Thesis (doctoral--Friedrich-Wilhelms-Universität, Bonn, 1991). / Includes indexes. Includes bibliographical references (p. [237]-242).

Inaug.-Diss.--Leipzig. / Vita. Bibliographical footnotes.

Inaug.-Diss.--Kiel. / Lebenslauf. Includes bibliographical references.

General problems concerning Shakespeare's ethical stance are related to the role of the commentator in his drama. A survey of Elizabethan and Jacobean drama indicates that there was a development from formal choric devices toward commentating characters who are absorbed into the dramatic structure. Factors which may have influenced Shakespeare's use of the commentating figure are suggested. After a preliminary study of Shakespeare's methods of presenting commentary in his history plays, the thesis concentrates on the varied ways in which Shakespeare develops the role of the commentator in his major tragedies. The conclusion relates the problems which Shakespeare examines by means of this distinctive feature of his tragic vision to the work of other major Renaissance writers. / Thesis / Doctor of Philosophy (PhD)

The aim of this study is to show what was Rotrou's conception of the tragic, which is concomitantly to point out in what ways it differed from the conception of tragedy held by his precursors, such as Hardy, and his contemporaries.

No description available.

This study challenges Charles Lamb's 1811 essay "On the Tragedies of Shakespeare, Considered with Reference to their Fitness for Stage Representation," which argues that Shakespeare's plays are better suited for reading than stage production. Each of the four chapters considers a specific argument Lamb raises against the theatre and the particular Shakespearean tragedy used to illustrate his point. The Hamlet chapter examines the supposed concessions involved in the actor/audience relationship. The Macbeth chapter challenges Lamb's Platonic view of Shakespearean characterization. The Othello chapter considers whether some characters and images, while acceptable to the reader's imagination, are improper on stage. Finally, the King Lear chapter considers the portrayal of the mind in the theatre, employing semiotic principles to examine the actor's expressive resources.