Thesis (M.A.)--University of Hong Kong, 1987. / Also available in print.

Thesis (Ph. D.)--Catholic University of America. / "List of references": p. 142-158.

These scripts are the attempt to take three of Shakespeare's plays, Coriolanus, All's Well that Ends Well, and Much Ado About Nothing, and adapt them to create a type of video game called a visual novel.

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-11-20Bitstream added on 2014-06-13T19:55:18Z : No. of bitstreams: 1 luciosobrinho_a_me_assis.pdf: 1799076 bytes, checksum: 4ecdc97c4449c94e1fc85112e51b8c36 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Enquanto um ser sobrenatural fia numa roca uma linha transparente e frágil, um poderoso samurai, com um punho cerrado sobre sua espada, percebe que seu destino está sendo desenrolado e partir-se-á como os fios de uma teia de aranha. Outro samurai, não tão jovem, mas com a espada em riste, derrama seu sangue em terra familiar. Um menino e uma menina vestem máscaras demoníacas para sobreviver em um mundo que não admite doçura. São esses alguns dos personagens e dos temas presentes na obra de Akira Kurosawa, motivos sinistros e dolorosos demais para serem tocados pela mente comum, mas que são tomados corajosamente pelo gênio brilhante e sensível, que transforma tudo em beleza e arte. O objetivo deste ensaio é comentar o casamento da beleza e do sofrimento em seus filmes, onde também comparecem os seguintes convidados: a vida do próprio diretor, a literatura que o influenciou, a pintura e a música que admirou e que inseriu em seus filmes e, como parte essencial de qualquer trabalho científico, como Fritjoff Capra disse em O Tao da Física, minha vida também comparece aqui, como é inevitável, já que sou eu o fotógrafo deste casamento. / While a white phantom of old-man or woman devily spins a translucent and frail thread on a distaff, a powerful samurai, with a fist strongly shut upon his sword, realizes that his destiny is being unwrapped there, and knows that will be torn as easily as a thread of a spider-web. Another samurai, not so young, but with his sword still ready, suffers the bleeding of his life in the land of his owns. A boy and a girl have to dress masks of demons in order to survive in a world that doesnþt allow sweetness at all. These are some of the characters and themes often found in the works of Akira Kurosawa; sinister and painful motives, usually refused by common peopleþs minds, but courageously taken by the brilliant and sensitive genius, who turns everything of these into art and beauty. This is what we search in this essay: the wedding of beauty and suffering in his movies, where it comes too the following guests: his own life, the books he read, the paintings he admired, the music he liked to put on his films, and, as an essential part of a scientific work, like Fritjoff Capra said in The Tao of Phisics, here comes my life too, as it is inevitable, being a photographer of this wedding as I am.

abstract: This dissertation considers why several characters on the Early Modern Stage choose to remain silent when speech seems warranted. By examining the circumstances and effects of self-silencing on both the character and his/her community, I argue that silencing is an exercise of power that simultaneously subjectifies the silent one and compels the community (textual or theatrical) to ethical self-examination. This argument engages primarily with social philosophers Pierre Bourdieu, Alain Badiou, and Emmanual Levinas, considering their sometimes contradictory ideas about the ontology and representation of the subject and the construction of community. Set alongside the Early Modern plays of William Shakespeare, Ben Jonson and Thomas Kyd, these theories reveal a rich functionality of self-silencing in the contexts of gender relations, aberrant sociality, and ethical crisis. This multi-faceted functionality creates a singular subject, establishes a space for the simultaneous existence of the subject and his/her community, offers an opportunity for empathetic mirroring and/or insight, and thereby leads to social unification. Silence is, in its effects, creative: it engenders empathy and ethical self- and social-reflection. / Dissertation/Thesis / Ph.D. English 2011

The thesis Love as Will to Dialogue in William Shakespeare's Tragedies deals with the analysis of selected characters' dialogues found in six William Shakespeare's tragedies. The aim of the thesis is to prove the given assumption of tragic ending caused by emotionally related characters and their mutual lack of communication in each play. The thesis is formally divided into theory and practical analysis. The theory is focused on definition of two major terms dialogue and love, from the view of linguistics, psychology, psychology of communication and philosophy. Following practical analysis offers detailed study of selected dialogues. The last part of the thesis summarizes the main implications found in analysis and proposes possible benefits of the work.

Early Modern Players of Folly Thesis Abstract This thesis examines the ways in which folly is used in early modern literature. It asks: how is it that such an ephemeral concept proliferated and endured in the culture of early modern Europe? My understanding of early modern folly as a discursive phenomenon that was used as a way of questioning the knowledge of the ostensibly reasonable world is illustrated by case studies of four characters-four players of folly. Dedicated a chapter each, they are Till Eulenspiegel, the great German jester; Pomet Trpeza, a typically Ragusan wit of Marin Držić's Dundo Maroje; Brother Jan Paleček, a Bohemian representative of holy folly; and Sir John Falstaff, the embodiment of folly in Shakespeare's 1 and 2 Henry IV. Although they emerge from different cultural, linguistic and generic traditions, they nonetheless share a propensity for employing folly in ways that uncover possibilities for new understandings and challenge rigid certainties of the world around them. Early modernity, the era that produced the works I explore, has become associated with shifts and instabilities. In this Age of Discovery, man was compelled to understand afresh a suddenly unfamiliar world. However, where man and his reason reign, folly gladly follows. I read each of my four players of folly as...

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-08-24T17:07:15Z No. of bitstreams: 1 Texto final - completo.pdf: 2350639 bytes, checksum: 1f5031a1807d2b7934e86d95eeba1201 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-08-27T20:18:30Z (GMT) No. of bitstreams: 1 Texto final - completo.pdf: 2350639 bytes, checksum: 1f5031a1807d2b7934e86d95eeba1201 (MD5) / Made available in DSpace on 2018-08-27T20:18:30Z (GMT). No. of bitstreams: 1 Texto final - completo.pdf: 2350639 bytes, checksum: 1f5031a1807d2b7934e86d95eeba1201 (MD5) / CAPES / A dissertação intitulada Ali é o leste e Julieta é o Sol: Romeu e Julieta renascem em anime na Terra do Sol Nascente se insere no campo dos Estudos de Tradução e toma como objeto de pesquisa o texto dramático Romeu e Julieta (1594) escrito por William Shakespeare e sua tradução em anime, Romeo x Juliet, escrito por Reiko Yoshida, dirigido por Fumitoshi Oizaki, desenhado por Hiroki Harada e lançado no Japão em 2007. Entendendo a tradução como atividade cultural e criativa e o tradutor como sujeito cultural que sempre dialogará com seu contexto ao produzir sua obra, a pesquisa analisa de que forma os tradutores de Romeo x Juliet transformam o texto shakespeariano e criam um novo texto considerando as idiossincrasias do formato de chegada e a rede de expectativas do público-alvo, estabelecendo, ao mesmo tempo variados diálogos não apenas com Romeu e Julieta, mas também com diversas outras peças shakespearianas. A fim de conduzir tal discussão, nos concentramos, em um primeiro momento, no texto de partida e seu contexto de produção a partir das reflexões de Vivien Kogut (2003), Anthony Burgess (1996), Barbara Heliodora (2008), Marjorie Garber (2004) e David Benvington (2004). Em seguida, abordamos o universo dos mangás e animes, suas histórias, características e convenções com base nas considerações de Timothy Craig (2000), Afonso Moliné (2004), Paul Gravett (2006), Cristiane Sato (2007) Robin Brenner (2007) e Kinko Ito (2008). Por fim, nos dedicamos à análise dos aspectos selecionados em Romeo x Juliet e para isso utilizamos reflexões de pesquisadores como Gilles Poitras (2001), Dani Cavallaro (2010a; 2010b), Robert Stam (2006) Tiphanie Samoyault(2008) e Cristina Carneiro Rodrigues (2000). / The dissertation entitled Ali é o leste e Julieta é o Sol‟: Romeu e Julieta renascem em anime na Terra do Sol Nascente is within the field of Translation Studies and comprises, as its research objects, the dramatic text Romeo and Juliet (1594), by William Shakespeare and its translation into the anime Romeo x Juliet, written by Reiko Yoshida, directed by Fumitoshi Oizaki, designed by Hiroki Harada, and released in Japan in 2007. This research aims at analyzing how the translators transform the Shakespearean text into a new one considering the particularities of the final format as well as the target audience expectations, while establishing a variety of dialogues not only with Romeo and Juliet but also with other Shakespearean plays. Therefore, it is of great importance here to understand the translation process as a cultural and creative activity and the translator as a singular individual who will always establish connections with his context to produce his work. To unfold this discussion, we focus at first on the source text and its context of production along with the reflections developed by Vivien Kogut (2003), Anthony Burgess (1996), Barbara Heliodora (2008), Marjorie Garber (2004) and David Benvington (2004). Then, we approach the world of manga and anime, their history, features, and conventions based on considerations by Timothy Craig (2000), Alfonso Moliné (2004), Paul Gravett (2006), Cristiane Sato (2007) Robin Brenner (2007) and Kinko Ito (2008). Finally, we develop an analysis of selected aspects from Romeo x Juliet based on the works of researchers such as Gilles Poitras (2001), Dani Cavallaro (2010a; 2010b), Robert Stam (2006) Tiphanie Samoyault (2008) and Cristina Carneiro Rodrigues (2000).

O presente trabalho tem por objetivo verificar se o conhecimento da linguagem artística pode ser um pressuposto para o conhecimento jusfilosófico, aclarando a compreensão de conceitos ou noções trabalhadas no bojo das teorias e sobrepujando o mero diálogo entre essas duas esferas. Isto porque a logopatia [ou conhecimento racional e afetivo], pelo seu próprio conceito, significaria o conhecimento universal tanto do ponto de vista do sujeito cognoscente [em razão do pensamento complexo do Homem que não é só sapiens, mas também é demens] quanto do próprio objeto cognoscível [em razão de considerá-lo à luz dos inúmeros fatores que sobre ele incidem, variáveis ou não, que também se traduzem por outros objetos cognoscíveis]. Se a postura logopática enseja uma universalidade que é própria da Filosofia, parece de todo óbvio que o conhecimento interdisciplinar entre Arte e Direito é uma necessidade para a própria produção jusfilosófica. Para ratificar a hipótese, elegeu-se o tema do poder, com suas inúmeras teorias críticas - especialmente as concepções de Michel Foucault, Niklas Luhmann, Pierre Bordieu, Tércio Sampaio Ferraz Jr. e Mara Regina de Oliveira - e a peça shakespeariana A Tempestade para viabilização da análise interdisciplinar. E diante desse método e dessa hipótese, não haveria pergunta melhor para definir o problema desta pesquisa que não a seguinte: É possível fazer uso da linguagem literária shakespeariana para abordar o tema do poder que surge formulado na linguagem jusfilosófica? / The present work aims to verify if the knowledge of the language arts could be a precondition for the jusphilosofical knowledge, clarifying the understanding of concepts or theorical notions and overcoming the mere dialogue between these two spheres. That is because logopathy [or rational knowledge and affective], by its very concept, it would mean universal knowledge both from the standpoint of the knowing subject [because of the complex thought of man who is not just sapiens, but is also demens] and the knowable object itself [due to consider the numerous factors bearing upon it, variable or not, wich also are other knowable objects]. If the logopathical posture gives rise a universality that is characteristic of philosophy, it appears obvious that the interdisciplinarity between art and law is a necessity for the jusphilosophical production itself. To confirm the hypothesis, it was elected the theme of \"power\", with its many critical theories - especially the ideas of Michel Foucault, Niklas Luhmann, Pierre Bourdieu, Tertius Sampaio Ferraz Jr. and Mara Regina de Oliveira - and Shakespeare\'s play The Tempest in order to enable the interdisciplinary analysis. And before that method and that hypothesis, there would be no better question to define the problem of this research than the following: Is it possible to make use of Shakespearean literary language to treat the issue of power that comes formulated in the jusphilosophical language?

Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-01-18T15:07:31Z No. of bitstreams: 2 Dissertação - Gisele Dionísio da Silva - 2004.pdf: 1799485 bytes, checksum: 3e662865e0b575be943c34f6957d69a0 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-01-18T15:09:09Z (GMT) No. of bitstreams: 2 Dissertação - Gisele Dionísio da Silva - 2004.pdf: 1799485 bytes, checksum: 3e662865e0b575be943c34f6957d69a0 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-18T15:09:09Z (GMT). No. of bitstreams: 2 Dissertação - Gisele Dionísio da Silva - 2004.pdf: 1799485 bytes, checksum: 3e662865e0b575be943c34f6957d69a0 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2004-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present assignment aims to investigate how the post-structuralist concept of language calls into question and redefines traditional notions relating to sign, text, reading and translation. Based mainly on the discussions brought about by French philosopher Jacques Derrida's deconstruction, this work intends to verify how the demystification of the idea of a stable and transcendent origin allows for a reconsideration of the conventional status attributed to the supposed 'original' text and the translation, in which both are inserted in an endless chain of intertextuality. Supported by the notion of difference as a basic and inevitable part of all human activities and relations, deconstruction sees in translation the status of a text in its own right, different from the 'original', to be carried out by a translator who's no longer mechanical and intelectually limited, but by a person sociohistorically, culturally and ideologically defined by his/her community. In order to detect the translator's authorship responsibility in his/her work – surrounded by interferences arising from his/her subjectivity and the coercions imposed by the context in which he/she lives –, four Portuguese translations of five poems from the Sonnets, written by the English poet and playwright William Shakespeare, will be examined. The lyrical work in question is of extreme interest due to the many controversies which have surrounded it since its publication in 1609, all of which have been invariably silenced by various critics because they refer to Shakespeare's sexuality and integrity as a national cultural property. Moreover, considering the fact that the Sonnets are the focus of very little critical reflexion in the Brazilian literary scenario, it becomes important to investigate whether the piece's sexual implications has played a major role in its timid reception in our territory. The translations selected for analysis are signed by Péricles Eugênio da Silva Ramos, Jerônimo de Aquino, Oscar Mendes and Jorge Wanderley. It is relevant to observe how translators in Brazil have come to terms with the polemic aspects of this poetic sequence, by shaping their texts with certain choices that allow for a vision of their concepts on language, literariness, poetry and translation. / O presente trabalho visa investigar como o pensamento pós-estruturalista sobre a linguagem questiona e redefine noções tradicionais referentes a signo, texto, leitura e tradução. Com base em especial nas reflexões trazidas à tona pela desconstrução do filósofo francês Jacques Derrida, busca-se averiguar como a desmitificação da idéia de uma origem fixa e transcendental permite reconsiderar o status convencionalmente atribuído ao texto dito 'original' e à tradução, inserindo-os ambos em uma cadeia de intertextualidade infinita. Apoiada na diferença como traço fundamental e inevitável de todas as atividades e relações humanas, a desconstrução enxerga na tradução a condição de um texto em seu próprio direito, diferente do 'original', a ser realizado por um tradutor não mais mecânico e intelectualmente limitado, mas por um sujeito definido sociohistórica, cultural e ideologicamente pela comunidade que integra. Com o intuito de detectar a responsabilidade autoral do tradutor em sua produção – norteada por interferências oriundas de sua subjetividade e das coerções impostas pelo contexto em que vive –, serão analisadas quatro traduções em língua portuguesa de cinco poemas dos Sonetos do dramaturgo e poeta inglês William Shakespeare. A obra lírica em questão é de extremo interesse devido às diversas controvérsias que a norteiam desde a época de sua publicação em 1609, controvérsias essas que têm sido invariavelmente silenciadas por muitos críticos, por remeterem à sexualidade de Shakespeare e à sua integridade como propriedade cultural nacional. Além disso, visto que os Sonetos desfrutam de pouca reflexão crítica dentro do panorama literário brasileiro, torna-se importante investigar se as implicações sexuais da obra em pauta desempenharam papel central na sua tímida recepção em nosso território. As traduções selecionadas para análise são assinadas por Péricles Eugênio da Silva Ramos, Jerônimo de Aquino, Oscar Mendes e Jorge Wanderley. É relevante observar como os tradutores no Brasil têm se deparado com os aspectos polêmicos desta seqüência poética, construindo seus textos com base em determinadas escolhas que deixam entrever suas concepções em torno de linguagem, literariedade, poesia e tradução.