Staging Shakespeare: (dis)solutions in intermedial processes
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Tese |
Idioma: | eng |
Título da fonte: | Repositório Institucional da UFMG |
Texto Completo: | http://hdl.handle.net/1843/30087 |
Resumo: | Multiple theoretical contributions in media studies may generate conflicts that impair the understanding of key concepts. In order to mitigate these conflicts, this dissertation proposes an analogical approach inspired by nature, in which processes related to chemical “solutions” illustrate media dynamics. “Solvents” represent the materiality of the medium; “solutes” are connected to the human cognition. The result is an Art Solution. The configurations of solute and solvent, i.e. the possible variations and referential levels of their elements, are the entropy of an Art solution. As an artistic alchemist, Shakespeare provides material to illustrate my analogy concerning the internal dynamics of media manifestations (entropic remediations), and the interactions among hypotextual and hypertextual elements (palimpsestic entropy). An overview of the “Bard’s” legacy, from sources to contemporary derivations, reveals recurrent elements that touch on human nature. The political content of Coriolanus and the gender conflict in Much Ado About Nothing support this point. By (re)mediating Shakespeare, the arts channel human essence, either in simple configurations or in complex mediatic manifestations. A hybrid solvent, broadcast theater exemplifies the entropic peak in Shakespearean hypertexts. The introduction and analysis of its productions of Coriolanus and Much Ado About Nothing in comparison to other screen adaptations attest these entropic movements in solvent and solute. Ultimately, we learn that man-made phenomena are closely related to natural phenomena, sharing even future projections. Also, despite technological improvements, human societies are still moved by the same dynamics of power, supporting Shakespeare’s topicality. |
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Thaïs Flores Nogueira Dinizhttp://lattes.cnpq.br/2891259327805135Thaïs Flores Nogueira DinizThomas LaBorie BurnsMiriam de Paiva VieiraMaria Clara Versiani GaleryCélia Maria Arns de Mirandahttp://lattes.cnpq.br/8091945427514670Flávia Rodrigues Monteiro2019-09-23T12:41:59Z2019-09-23T12:41:59Z2019-04-29http://hdl.handle.net/1843/30087Multiple theoretical contributions in media studies may generate conflicts that impair the understanding of key concepts. In order to mitigate these conflicts, this dissertation proposes an analogical approach inspired by nature, in which processes related to chemical “solutions” illustrate media dynamics. “Solvents” represent the materiality of the medium; “solutes” are connected to the human cognition. The result is an Art Solution. The configurations of solute and solvent, i.e. the possible variations and referential levels of their elements, are the entropy of an Art solution. As an artistic alchemist, Shakespeare provides material to illustrate my analogy concerning the internal dynamics of media manifestations (entropic remediations), and the interactions among hypotextual and hypertextual elements (palimpsestic entropy). An overview of the “Bard’s” legacy, from sources to contemporary derivations, reveals recurrent elements that touch on human nature. The political content of Coriolanus and the gender conflict in Much Ado About Nothing support this point. By (re)mediating Shakespeare, the arts channel human essence, either in simple configurations or in complex mediatic manifestations. A hybrid solvent, broadcast theater exemplifies the entropic peak in Shakespearean hypertexts. The introduction and analysis of its productions of Coriolanus and Much Ado About Nothing in comparison to other screen adaptations attest these entropic movements in solvent and solute. Ultimately, we learn that man-made phenomena are closely related to natural phenomena, sharing even future projections. Also, despite technological improvements, human societies are still moved by the same dynamics of power, supporting Shakespeare’s topicality.Múltiplas contribuições teóricas em estudos de mídia podem gerar conflitos que dificultam a compreensão de conceitos-chave. A fim de mitigar esses conflitos, esta tese propõe uma abordagem analógica inspirada na natureza, na qual processos relacionados a “soluções” químicas ilustram dinâmicas midiáticas. “Solventes” representam a materialidade da mídia; “solutos” estão ligados à cognição humana. O resultado é uma Solução Artística. Configurações de soluto e solvente, isto é, as possíveis variações e níveis referenciais de seus elementos, são a entropiade uma Solução Artística. Como um alquimista da arte, o Shakespeare fornece material para ilustrar minha analogia sobre a dinâmica interna das manifestações midiáticas (remediações entrópicas)e as interações entre elementos hipotextuais e hipertextuais (entropia palimpséstica). Uma visão geral do legado do “Bardo”,das fontes às derivações contemporâneas, revela elementos recorrentes que lidam com a natureza humana. O teor político de Coriolano e o conflito de gênero em Muito Barulho por Nada apoiam esse argumento.Ao (re)mediarShakespeare, as artes canalizam a essência humana, seja em configurações simples ou em manifestações midiáticas complexas.Um solvente híbrido, o broadcast theater exemplifica o ápice entrópiconos hipertextos shakespeareanos. A apresentação e análise de suas produções de Coriolanoe Muito Barulho por Nada em comparação com outras adaptações fílmicas atestam esses movimentos entrópicos em solvente e soluto. Em última análise, aprendemos que fenômenos produzidos pelo homem estão intimamente ligados aos fenômenos naturais, compartilhando até mesmo projeções futuras.Além disso, apesar da evolução tecnológica, as sociedades humanas ainda são movidas pelas mesmas dinâmicas de poder, dando apoio à atualidade de Shakespeare.engUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em Estudos LiteráriosUFMGBrasilFALE - FACULDADE DE LETRASShakespeare, William, 1564-1616. – Muito barulho por nada – Crítica e interpretaçãoShakespeare, William, 1564-1616. – Coriolano – Crítica e interpretaçãoShakespeare, William, 1564-1616 – Adaptações para o cinemaLiteratura inglesa – Adaptações para o cinemaIntermidialidadeArte e literaturaEntropiaShakespeareintermedialitybroadcast theatersolutionsentropyreceptionStaging Shakespeare: (dis)solutions in intermedial processesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALSTAGING SHAKESPEARE - FLÁVIA MONTEIRO.pdfSTAGING SHAKESPEARE - FLÁVIA MONTEIRO.pdfapplication/pdf2476808https://repositorio.ufmg.br/bitstream/1843/30087/1/STAGING%20SHAKESPEARE%20-%20FL%c3%81VIA%20MONTEIRO.pdf309aefd314ce46e90309d99533d71c71MD51LICENSElicense.txtlicense.txttext/plain; charset=utf-82119https://repositorio.ufmg.br/bitstream/1843/30087/2/license.txt34badce4be7e31e3adb4575ae96af679MD52TEXTSTAGING SHAKESPEARE - FLÁVIA MONTEIRO.pdf.txtSTAGING SHAKESPEARE - FLÁVIA MONTEIRO.pdf.txtExtracted texttext/plain607067https://repositorio.ufmg.br/bitstream/1843/30087/3/STAGING%20SHAKESPEARE%20-%20FL%c3%81VIA%20MONTEIRO.pdf.txt58c716a4ed7bf3a39186ff9c7c253a72MD531843/300872019-11-14 12:22:45.844oai:repositorio.ufmg.br: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Repositório de PublicaçõesPUBhttps://repositorio.ufmg.br/oaiopendoar:2019-11-14T15:22:45Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.pt_BR.fl_str_mv |
Staging Shakespeare: (dis)solutions in intermedial processes |
title |
Staging Shakespeare: (dis)solutions in intermedial processes |
spellingShingle |
Staging Shakespeare: (dis)solutions in intermedial processes Flávia Rodrigues Monteiro Shakespeare intermediality broadcast theater solutions entropy reception Shakespeare, William, 1564-1616. – Muito barulho por nada – Crítica e interpretação Shakespeare, William, 1564-1616. – Coriolano – Crítica e interpretação Shakespeare, William, 1564-1616 – Adaptações para o cinema Literatura inglesa – Adaptações para o cinema Intermidialidade Arte e literatura Entropia |
title_short |
Staging Shakespeare: (dis)solutions in intermedial processes |
title_full |
Staging Shakespeare: (dis)solutions in intermedial processes |
title_fullStr |
Staging Shakespeare: (dis)solutions in intermedial processes |
title_full_unstemmed |
Staging Shakespeare: (dis)solutions in intermedial processes |
title_sort |
Staging Shakespeare: (dis)solutions in intermedial processes |
author |
Flávia Rodrigues Monteiro |
author_facet |
Flávia Rodrigues Monteiro |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Thaïs Flores Nogueira Diniz |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/2891259327805135 |
dc.contributor.referee1.fl_str_mv |
Thaïs Flores Nogueira Diniz |
dc.contributor.referee2.fl_str_mv |
Thomas LaBorie Burns |
dc.contributor.referee3.fl_str_mv |
Miriam de Paiva Vieira |
dc.contributor.referee4.fl_str_mv |
Maria Clara Versiani Galery |
dc.contributor.referee5.fl_str_mv |
Célia Maria Arns de Miranda |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/8091945427514670 |
dc.contributor.author.fl_str_mv |
Flávia Rodrigues Monteiro |
contributor_str_mv |
Thaïs Flores Nogueira Diniz Thaïs Flores Nogueira Diniz Thomas LaBorie Burns Miriam de Paiva Vieira Maria Clara Versiani Galery Célia Maria Arns de Miranda |
dc.subject.por.fl_str_mv |
Shakespeare intermediality broadcast theater solutions entropy reception |
topic |
Shakespeare intermediality broadcast theater solutions entropy reception Shakespeare, William, 1564-1616. – Muito barulho por nada – Crítica e interpretação Shakespeare, William, 1564-1616. – Coriolano – Crítica e interpretação Shakespeare, William, 1564-1616 – Adaptações para o cinema Literatura inglesa – Adaptações para o cinema Intermidialidade Arte e literatura Entropia |
dc.subject.other.pt_BR.fl_str_mv |
Shakespeare, William, 1564-1616. – Muito barulho por nada – Crítica e interpretação Shakespeare, William, 1564-1616. – Coriolano – Crítica e interpretação Shakespeare, William, 1564-1616 – Adaptações para o cinema Literatura inglesa – Adaptações para o cinema Intermidialidade Arte e literatura Entropia |
description |
Multiple theoretical contributions in media studies may generate conflicts that impair the understanding of key concepts. In order to mitigate these conflicts, this dissertation proposes an analogical approach inspired by nature, in which processes related to chemical “solutions” illustrate media dynamics. “Solvents” represent the materiality of the medium; “solutes” are connected to the human cognition. The result is an Art Solution. The configurations of solute and solvent, i.e. the possible variations and referential levels of their elements, are the entropy of an Art solution. As an artistic alchemist, Shakespeare provides material to illustrate my analogy concerning the internal dynamics of media manifestations (entropic remediations), and the interactions among hypotextual and hypertextual elements (palimpsestic entropy). An overview of the “Bard’s” legacy, from sources to contemporary derivations, reveals recurrent elements that touch on human nature. The political content of Coriolanus and the gender conflict in Much Ado About Nothing support this point. By (re)mediating Shakespeare, the arts channel human essence, either in simple configurations or in complex mediatic manifestations. A hybrid solvent, broadcast theater exemplifies the entropic peak in Shakespearean hypertexts. The introduction and analysis of its productions of Coriolanus and Much Ado About Nothing in comparison to other screen adaptations attest these entropic movements in solvent and solute. Ultimately, we learn that man-made phenomena are closely related to natural phenomena, sharing even future projections. Also, despite technological improvements, human societies are still moved by the same dynamics of power, supporting Shakespeare’s topicality. |
publishDate |
2019 |
dc.date.accessioned.fl_str_mv |
2019-09-23T12:41:59Z |
dc.date.available.fl_str_mv |
2019-09-23T12:41:59Z |
dc.date.issued.fl_str_mv |
2019-04-29 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/1843/30087 |
url |
http://hdl.handle.net/1843/30087 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais |
dc.publisher.program.fl_str_mv |
Programa de Pós-Graduação em Estudos Literários |
dc.publisher.initials.fl_str_mv |
UFMG |
dc.publisher.country.fl_str_mv |
Brasil |
dc.publisher.department.fl_str_mv |
FALE - FACULDADE DE LETRAS |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais |
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reponame:Repositório Institucional da UFMG instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
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UFMG |
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UFMG |
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Repositório Institucional da UFMG |
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