Relevant bibliographies by topics / Andronicus, Titus (Legendary character) – Drama

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Academic literature on the topic 'Andronicus, Titus (Legendary character) – Drama'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Andronicus, Titus (Legendary character) – Drama"

1

Yearling, Rebecca. "Emotion, Cognition and Spectator Response to the Plays of Shakespeare." Cultural History 7, no. 2 (2018): 129–44. http://dx.doi.org/10.3366/cult.2018.0170.

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Recapturing what early modern spectators thought and felt when attending the theatre has for some years been a kind of Holy Grail for scholars of Renaissance drama. As Myhill and Low point out in Imagining the Audience in Early Modern Drama (2011), although we now know a great deal about the material conditions of early modern theatre and theatre-going, the actual intellectual and emotional experience of spectators ‘has proved remarkably resistant to examination.’ This article discusses some of the strategies that previous critics have employed in the attempt to rediscover what it felt like to
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2

Hunt, Maurice. "Jonson vs. Shakespeare: The Roman Plays." Ben Jonson Journal 23, no. 1 (2016): 75–100. http://dx.doi.org/10.3366/bjj.2016.0153.

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Critics rarely bring Ben Jonson's two Roman tragedies – Sejanus and Catiline – into proximity with Shakespeare's four Roman tragedies – Titus Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus. Yet doing so in terms of some dramatic features they share illuminates qualities of these plays not easily discernible by other approaches to them. This is especially the case when one adds Shakespeare's tragicomedy Cymbeline to this grouping. Establishing metaphysical perspectives based on ironic Christian allusions in all but one of Shakespeare's Roman plays throws into relief a Catholic
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Saeed, Asmaa Mukaram. "The Triumph of Morality in William Shakespeare’s King Lear." Al-Adab Journal 2, no. 141 (2022): 1–16. http://dx.doi.org/10.31973/aj.v2i141.3706.

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A set of relationships governs the kind of communications among people within one or more societies, of which most important is the one that occurs between children and their parents, especially fathers. Psychologically speaking, this kind of relationship is so significant insofar as it is the basis of the child’s personality inasmuch as it is the source of its character and action in social media.
 Undoubtedly, the most significant factor in a drama is the social relationships among which child-father relationship is a recurring theme. William Shakespeare appears to be much more occupied
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Books on the topic "Andronicus, Titus (Legendary character) – Drama"

1

Shakespeare, William. Titus Andronicus. Washington Square Press, 2005.

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Shakespeare, William. Titus Andronicus. Oxford University Press, 1994.

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Shakespeare, William. Titus Andronicus. Penguin Books, 2000.

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Shakespeare, William. Titus Andronicus. Oxford University Press, 2008.

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Shakespeare, William. Titus Andronicus. Routledge, 1995.

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Shakespeare, William. Titus Andronicus, 1594. Oxford University Press, 2003.

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Shakespeare, William. Titus Andronicus. ICON Classics, 2005.

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Shakespeare, William. Titus Andronicus. Cambridge University Press, 1994.

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Shakespeare, William. Titus Andronicus. ICON Classics, 2005.

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Shakespeare, William. Titus Andronicus. ICON Classics, 2005.

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Book chapters on the topic "Andronicus, Titus (Legendary character) – Drama"

1

Langley, Eric. "Shakespeare’s Pharmacy." In Shakespeare's Contagious Sympathies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821847.003.0004.

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Part II of my study introduces sympathy’s attendant oppositional force, antipathy, and consequently Chapters 3 and 4 are both informed by early-modern scientific conceptions of pharmaceutical medicine, wherein the same bittersweet drug can have both medicinal and poisonous (or sympathetic and antipathetic) capacity; this pharmaceutical metaphor is shown to widely inform Shakespeare’s drama, both at the level of genre, plot, and character, and, more significantly for my study, at the level of word, where language itself is repeatedly described as operating with the force of the Platonic pharmak
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