Thesis (M.A.)--Acadia University, 2000. / Includes bibliographical references (leaves 115-119). Also available on the Internet via the World Wide Web.

Thesis (B.A.)--Haverford College, Dept. of English, 2005. / Includes bibliographical references.

Abstract of Thesis--Universitatea "Babeș-Bolyai, Cluj-Napoca. / Summary in English. Includes bibliographical references (p. 241-[257]) and index.

This MA thesis focuses on four different Czech translations of William Shakespeare's narrative poem A Lover's Complaint (Antonín Klášterský 1923, Jarmila Urbánková 1997, Jiří Josek 2008, Martin Hilský 2009). The first part of the thesis characterizes the development of and changes in the Anglo-Saxon critical reception of this much-neglected work from its first publication up until the present day. Further, it shows the interdependence between the position of A Lover's Complaint in Shakespeare's canon and the interpretation of the poem's meaning. The second part focuses on the Czech critical reception and compares it to the Anglo-Saxon one. This part also introduces the four translators with respect to their literary and translation activities and describes the poetic and translation norms prevalent at the time of their careers. In the third (the empirical) part, the focus is on formal and semantic analysis of the source text, as well as of the individual translations. On the basis of these analyses it is examined to what extent the translations correspond to the source text; what shifts, losses or enrichments occur as a result of each translation. The individual translation methods are compared and contrasted. The ultimate objective is to describe the poetics of each translation and its...

O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

It seems obvious that Shakespeare was interested in Hotspur as something more than a strictly historical character. The firey character found in I Henry IV is no longer recognized as the Ill-fated rebel from Holinshed and Daniel. Holinshed offers only a spark which Shakespeare uses to build a very real flame. The events leading up to the rebellion and the rebellion itself are historical, but the name of Hotspur in Holinshed is no more outstanding than that of Worcester, Glendower, or any of the other rebels. In Shakespeare's drama no other rebel character even approaches the development of Hotspur.

Thesis (M.A.)--University of Nevada, Reno, 2006. / "May, 2006." Includes bibliographical references (leaves 53-55). Online version available on the World Wide Web.

No description available.

In this thesis, I will apply Michel Foucault¡¦s knowledge/power theory to discuss gender politics in two Renaissance plays ¡V Ben Jonson¡¦s Epicoene or The Silent Woman and William Shakespeare¡¦s The Taming of the Shrew. The first chapter aims to delineate Foucault¡¦s discursive discipline and its exertion in Renaissance male-female relations. According Foucault, discourses are functional and regulative: they powerfully frame sciences and knowledges that have effects upon our souls and actions. Thus, ¡¥truth¡¦, or the so-called ¡¥self-evident¡¦ and ¡¥commonsensical¡¦ empowers articulators to discipline and control others. Gender discourses in the name of masculine or feminine ¡¥nature¡¦ are similarly little more than instrument of domination. Precisely, the phallo-centrical discourse of Renaissance age empowers contemporary men by subjecting, or explicitly formulating and shaping the ¡¥feminine nature¡¦ of obedient silence. The patriarchal assessment codifies two genders -- one subordinate to the other -- as a key element in its patriarchal view of the social order, and buttressed its gendered division of power. In other words, what lies beneath the discourse is patriarchal consideration for male domination. As long as contemporary women keep silent, the normative power would enable their fathers and husbands to regulate ¡¥womanly conducts¡¦ of all occasions. Then, I would examine how Morose and Epicoene wield disciplinary power by setting up certain ¡¥behavior norms¡¦ in Epicoene. Morose¡¦s ¡¥truth¡¦ of having his family members hold their tongue and make signs has been internalized by Mute: Mute is hence drilled to self-discipline himself to answer the family head¡¦s questions in rigidly prescribed signs or gestures. Mute reifies the formidable outcome of silent conformity to ¡¥reality¡¦: he takes for granted the ¡¥natural¡¦ routine of body language. However, Morose¡¦s wife Epicoene keeps correcting Morose¡¦s mistakes to reinforce her version of ¡¥right¡¦ and ¡¥wrong¡¦. In order to rehabilitate Morose, Epicoene and other characters further label his insanity in public. The conclusion they draw results from the same complicity to put badness to Morose¡¦s ¡¥crazy¡¦ will to discourses and goodness to the ¡¥reasonable¡¦ tolerance of their opinions. In The Taming of the Shrew, Katherina is frightening to the Renaissance males equally because of her undisciplined behavior, or her automatic discourse and self-assertion. The male characters in the play try their best to eschew from Katherina so as to defend themselves against the fear that they will not be capable of keeping ¡¥domestic order¡¦. In one word, talkative women as Katherina are frightening to Renaissance men because of their threat to the original ¡¥orders¡¦. Petruchio hence invalidates Katherina¡¦s judgments ever since they first meet: the purpose of his deliberate pretense of misunderstanding her words is to grant her discourses no influence on him since disciplinary power lies in influencing others¡¦ deeds. He vanquishes resistance from Kate by making her conformable to his ¡¥knowledge¡¦¡Xfemale obedience to male domination. Katherina¡¦s new identity is thus constructed according to Petruchio¡¦s ¡¥rules¡¦: by labeling goodness to female obedience and badness to female transgression, he thus produces another Kate obedient to his intentions. From this aspect, the gender politics between Petruchio and Katherina is essentially a battle for discourse; disciplinary power lies in voicing and reinforcing particular ¡¥truths¡¦. In one word, systematic knowledges are never power-free, but quite the contrary.

Diss.--Bonn.