181 |
Application and Implication of Frye's Green World Theory to "Measure for Measure"Macphedran, John D. January 1966 (has links)
No description available.
|
182 |
Blood and Milk: The Masculinity of Motherhood in Shakespeare's TragediesXaver, Savannah January 2016 (has links)
No description available.
|
183 |
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare FilmsCollins, Jennifer Rebecca 28 July 2011 (has links)
No description available.
|
184 |
Syphilis : the specter of sex and death in english Renaissance dramaSpates, William H. 01 April 2000 (has links)
No description available.
|
185 |
Macbeth, segundo o Théâtre du Soleil: e a banalidade do humano no mundo contemporâneo / Macbeth, according to Théâtre du Soleil: the banality of humanity in the contemporary worldBodstein, Érika 18 December 2017 (has links)
Este trabalho tem por objeto de estudo a peça Macbeth une Tragédie de William Shakespeare comme elle est actuellement jouée au Théâtre du Soleil (2006), texto traduzido, adaptado e encenado por Ariane Mnouchkine, e investiga o processo criativo do Théâtre du Soleil no decurso da montagem, e os diversos elementos que compõem o espetáculo em cena, analizando a atualidade e a pertinência política do texto shakespeareano, e da encenação mnouchkiniana, na contemporaneirdade, e sua inserção no contexto histórico da prestigiosa companhia francesa, que se mantém como um coletivo de teatro, ativo e criativo, desde a sua fundação, em 1964. A dissertação propõe reflexões sobre o conceito arendtiano de banalidade do mal, e sua aplicação à encenação contemporânea de Macbeth, pelo Théâtre du Soleil. / This work aims to study the adaptation of the play Macbeth une Tragédie de William Shakespeare comme elle est actuellement jouée au Théâtre du Soleil (2006), translated and directed by Ariane Mnouchkine. It also investigates Théâtre du Soleils creative process during rehearsals, as well as the many elements which constitute the staging of the theatrical piece. This is achieved through the analysis of Shakespeares original play, its current political relevance and Mnouchkines stage version in our times. The piece is also considered with regards to the prestigious French companys history, a remarkably active and creative theatre group since its 1964 foundation. The dissertation finally reflects upon Théâtre du Soleils Macbeth contemporary stage version through Hannah Arendts concept of the banality of evil.
|
186 |
Ferdinand... they should have called you Caliban : En intertextuell karaktärsanalys av huvudpersonerna i John Fowles roman The Collector och William Shakespeares pjäs The Tempest / Ferdinand... they should have called you Caliban : An Intertextual Character Analysis of the Main Characters in John Fowles’s Novel The Collector and William Shakespeare’s Play The TempestHolmberg, Amanda January 2019 (has links)
This essay analyses the two main characters in John Fowles’s novel The Collector and the three characters Miranda, Ferdinand and Caliban in William Shakespeare’s play The Tempest, as well as the intertextual connection between them. The essay is based off the idea of intertextuality, which refers to a connection between texts. To study this connection, a comparative method is used. The character analysis is grounded upon Shlomith Rimmon- Kenan’s model for characterization. The essay concludes that the main characteristics of the characters in The Tempest are mirrored in the corresponding characters in The Collector. Miranda is kindhearted, empathic, brave, naïve, romanticizing, innocent and superior. Ferdinand and Caliban are both present in Clegg’s character, in which the former side is naïve, romanticizing, civilized, in control of his sexual urge and honorable; while the latter side is inhuman, a villain, violent, uncivilized, not in control of his sexual urge, incapable of change and does not show any remorse. The comparison of the two works also sheds light on the slave-motif that is present in The Collector, both in the inner struggle between Clegg’s two alter egon, as well as in his relationship with Miranda. / Denna uppsats analyserar de två huvudkaraktärerna i John Fowles roman The Collector och de tre karaktärerna Miranda, Ferdinand och Caliban i William Shakespeares pjäs The Tempest samt den intertextuella kopplingen dem emellan. Uppsatsen utgår från begreppet intertextualitet som indikerar ett samband mellan texter. För att undersöka detta samband används en komparativ metod. I botten för karaktärsanalysen ligger Shlomith Rimmon- Kenans modell för karakterisering. Uppsatsen visar att huvuddragen hos karaktärerna i The Tempest speglas i karaktärernas motparter i The Collector. Miranda är godhjärtad, empatisk, modig, naiv, romantiserande, oskuldsfull och överlägsen. Ferdinand och Caliban kommer båda till uttryck i Cleggs karaktär, där den förra sidan är naiv, romantiserande, civiliserad, i kontroll över sin sexuella drift och hederlig; medan den senare sidan är omänsklig, en skurk, våldsam, ociviliserad, inte kan kontrollera sin sexuella drift, oförmögen att förändras och inte visar någon ånger. Jämförelsen mellan verken bidrar även till att belysa det slavmotiv som förekommer i The Collector och tar uttryck dels i den inre kamp som pågår mellan Cleggs två alteregon samt i hans relation med Miranda.
|
187 |
Tragic hero to antichrist : Macbeth, the Oedipus Tyrannus of the English Renaissance /McFall, Edwin K. January 2005 (has links)
Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 613-655).
|
188 |
Não se pode amar e ser feliz ao mesmo tempo: casamento e tragédia em Otelo, de William Shakespeare, e A mulher sem pecado, de Nelson RodriguesAna Claudia de Lemos Monteiro 25 March 2009 (has links)
Este trabalho realiza uma leitura comparativa entre as peças Otelo, de William Shakespeare, e A mulher sem pecado, de Nelson Rodrigues. A hipótese que se investiga é a de o casamento ser um cenário profícuo para a precipitação da tragédia, na medida em que o relacionamento conjugal pode se constituir em lugar de choque entre o discurso de auto-definição do indivíduo e discursos outros, circulantes no social, veiculadores de preconceitos patriarcais, sobretudo a misoginia, incorporados pelo próprio indivíduo como verdades. Reproduz-se, assim, no casamento, o conflito definidor por excelência da tragédia, a saber, a tensão entre o indivíduo e uma potência superior a ele, que pode estar incorporada à sua própria subjetividade, no caso da tragédia moderna / This dissertation will provide a comparative reading of William Shakespeares Othello and Nelson Rodriguess A mulher sem pecado. The hypothesis to be investigated is that marriage constitutes a profitable scenario for the emergency of tragedy, as we think of marriage as a possible site of tension between individual discourse and the confluence of other discourses that circulate in society, introducing patriarchal prejudice misogyny in particular which is incorporated by the individual as absolute truth. It would be thus reproduced in marriage the conflict that defines tragedy, that is, the tension between the individual and some power superior to it, which may be embodied in its own subjectivity if we consider modern tragedy
|
189 |
Não se pode amar e ser feliz ao mesmo tempo: casamento e tragédia em Otelo, de William Shakespeare, e A mulher sem pecado, de Nelson RodriguesAna Claudia de Lemos Monteiro 25 March 2009 (has links)
Este trabalho realiza uma leitura comparativa entre as peças Otelo, de William Shakespeare, e A mulher sem pecado, de Nelson Rodrigues. A hipótese que se investiga é a de o casamento ser um cenário profícuo para a precipitação da tragédia, na medida em que o relacionamento conjugal pode se constituir em lugar de choque entre o discurso de auto-definição do indivíduo e discursos outros, circulantes no social, veiculadores de preconceitos patriarcais, sobretudo a misoginia, incorporados pelo próprio indivíduo como verdades. Reproduz-se, assim, no casamento, o conflito definidor por excelência da tragédia, a saber, a tensão entre o indivíduo e uma potência superior a ele, que pode estar incorporada à sua própria subjetividade, no caso da tragédia moderna / This dissertation will provide a comparative reading of William Shakespeares Othello and Nelson Rodriguess A mulher sem pecado. The hypothesis to be investigated is that marriage constitutes a profitable scenario for the emergency of tragedy, as we think of marriage as a possible site of tension between individual discourse and the confluence of other discourses that circulate in society, introducing patriarchal prejudice misogyny in particular which is incorporated by the individual as absolute truth. It would be thus reproduced in marriage the conflict that defines tragedy, that is, the tension between the individual and some power superior to it, which may be embodied in its own subjectivity if we consider modern tragedy
|
190 |
Politická rétorika v Shakespearových hrách / Political Rhetoric in Shakespeare's DramaMalá, Anna January 2019 (has links)
Political Rhetoric in Shakespeare's Drama Bc. Anna Malá MA Thesis Abstract This thesis focuses on political rhetoric in William Shakespeare's plays. It approaches History plays, Roman plays, and Tragedies in order to compare whether the rhetoric used differs among the genre in connection to the state system which it presents - Republic or Monarchy, with the intention to describe the difference. The main criteria for this description are the imagery and rhetorical strategies used in specific situation both by the ruler and by some of the subjects concerning the ruler.
|
Page generated in 0.0526 seconds