Relevant bibliographies by topics / Drama in English Shakespeare

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Drama in English Shakespeare'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Drama in English Shakespeare"

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.V, Praveen S. "Shakespeare-The Brand." International Journal of Emerging Research in Management and Technology 6, no. 8 (2018): 179. http://dx.doi.org/10.23956/ijermt.v6i8.135.

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William Shakespeare is known to the world as one of the greatest dramatist in the history of English Literature. It is unusual to attribute either Shakespeare or his works in the world of marketing, yet it is the fact that, even after 450 years, Shakespeare is still a recognizable and powerful brand in the world of today. Shakespearean festival was still being celebrated all over the world. Royal Society of Shakespeare still performs Shakespearean dramas every year, in more than twenty languages. It shows the brand image of Shakespeare, having in the world today. Aristotle, a Greek Philosopher
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Walker, William. "Anadiplosis in Shakespearean Drama." Rhetorica 35, no. 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.

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A complex definition of the figure, anadiplosis, develops in the tradition that runs from ancient Greek and Roman rhetoricians up to sixteenth-century continental rhetorical theorists such as Susenbrotus. Drawing on and enriching this tradition, the English rhetoricians of Shakespeare's day defined the figure as the repetition of the word or words with which one phrase or line ends, at or near the beginning of the succeeding phrase or line. A series of anadiploses was understood to make for a gradatio (or climax). Having been schooled in these and other definitions of the tropes and figures, S
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Fonseka, Edirisingha Arachchige Gamini. "Sustaining Tradition with Inspiration from Modernity: Countering Elitism in Teaching Shakespearean Drama." Moderna Språk 107, no. 2 (2013): 90–98. http://dx.doi.org/10.58221/mosp.v107i2.8077.

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The tradition of teaching English Literature in most universities round the world has evolved in such a way that a degree programme in English is not considered complete without a component of Shakespearean drama. Yet the poetics and the noetics of the Shakespeare plays written in a 16th Century dialect have become bitter delicacies for most students, as the comprehension and personalization of Shakespeare texts remain an unresolved challenge. The traditional mechanism of teaching Shakespeare texts involves reading the lines with a glossary, comparing the meanings with influential critical int
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Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)." Theatre Research International 25, no. 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.

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Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic t
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Asoyan, A. A., and A. Yu Asoyan. "Shakespeare & Pushkin." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 139–45. http://dx.doi.org/10.25205/2410-7883-2019-1-139-145.

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Modern researchers pay attention first of all to the typological connections of Pushkin's works, but it seems to us that the productive method of studying the similarity of English-Russian communications in this context is not associated with specific figurative-thematic or genrethematic calls, not with the commonality of individual motifs and, finally, not with the concepts of the Russian poet’s responses to specific works of the English bard, but with the genetic textand meaning-generating links of the Russian poet’s creativity with Shakespeare’s poetics in nuce. No wonder M. P. Alekseev not
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Hardie, Andrew, and Isolde van Dorst. "A survey of grammatical variability in Early Modern English drama." Language and Literature: International Journal of Stylistics 29, no. 3 (2020): 275–301. http://dx.doi.org/10.1177/0963947020949440.

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Grammar is one of the levels within the language system at which authorial choices of one mode of expression over others must be examined to characterise in full the style of the author. Such choices must however be assessed in the context of an understanding of the extent of variability that exists generally in the language. This study investigates a set of grammatical features to understand their variability in Early Modern English drama, and the extent to which Shakespeare’s grammatical style is distinct from or similar to that of his contemporaries in so far as these features are concerned
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Sharp, Jonathan. "Macbeth in the Higher Education English Language Classroom." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 2 (2015): 33–47. http://dx.doi.org/10.33178/scenario.9.2.3.

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This paper presents the latest phase in an ongoing project to develop and widen the scope of drama-based classes in the practical language section of a German university English department. A brief overview of the use of literature in the (English) language classroom is given, with examples of some recent models, before turning to a consideration of practical drama-based approaches in Shakespeare education. This forms the background against which the main report on practice is presented. The Sprachpraxis section of the University of Tübingen English Department is briefly introduced before the
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Wilson, Jeffrey R. "Why Shakespeare? Irony and Liberalism in Canonization." Modern Language Quarterly 81, no. 1 (2020): 33–64. http://dx.doi.org/10.1215/00267929-7933076.

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Abstract When scholars consider Shakespeare’s rise and lasting popularity in modern culture, they usually tell us how he assumed his position at the head of the canon but not why. This essay contends that Shakespeare’s elevation in the early nineteenth century resulted from the confluence of his strategy as an author and the political commitments of his canonizers. Specifically, Shakespeare’s ironic mode made his drama uniquely appealing to the political liberals at the forefront of English culture. In their own ways, Shakespeare and his proponents were antiauthoritarian: the literary antiauth
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Khan, Shahab Yar. "Shakespeare i Orijent / Shakespeare and the Orient." Context: Journal of Interdisciplinary Studies 3, no. 2 (2022): 77–83. http://dx.doi.org/10.55425/23036966.2016.3.2.77.

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The history of drama in Asia is as old as the history of the world itself. In India however, according to the popular belief, the tradition of drama dates back to the prehistoric times. Due to this unique approach towards drama, that makes it a valuable divine gift for humanity, the esoteric significance of this art form has never seen decline in the cultural history of India. Drama, thus, acquires in Indian context a religious significance and represents as an art form the union of the celestial and the terrestrial. Drama (in Sanskrit Natak), in the Indian Subcontinent, has distinctive charac
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Hadfield, A. "Reading Shakespeare Historically; Shakespeare and the Geography of Difference; Othello: a contextual history; William Shakespeare: King Lear; Shakespeare's Theory of Drama; Shakespeare's Festive Tragedy: The ritual foundations of genre; Shakespeare Survey 48: Shakespeare and Cultural Exchange; An Introduction to Shakespeare: The Dramatist in his Context." English 46, no. 184 (1997): 64–72. http://dx.doi.org/10.1093/english/46.184.64.

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Dissertations / Theses on the topic "Drama in English Shakespeare"

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Newman, Harry Rex. "Impressive Shakespeare : sexual identity and impressing technologies in Shakespearean drama." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3858/.

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This thesis examines the relationship between the sexual formation of identity and three ‘impressing technologies’ (sealing, coining and printing) in Shakespearean drama. In a number of plays, Shakespeare uses the ‘language of impression’ to create metaphors that analogise sexual activities such as kissing, defloration and impregnation with acts of imprinting. In doing so, I argue, he establishes a rhetorical nexus that contributes to the construction of his characters’ sexual identities. Following a chapter on relevant historical contexts, each chapter close reads a single Shakespeare play, f
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Bainton, Martin. "Generational politics in English drama, 1588-1612." Thesis, University of Hull, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272039.

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O'Brien, Richard Thomas. "Shakespeare and the development of verse drama, 1660-2017." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7962/.

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This thesis offers an account of how verse drama, despite the entrenched cultural significance of Shakespeare, came over time to occupy a marginal, often maligned position within English theatre. The introduction establishes its critical-creative methodology: I approach the question not only as a critic, but as a practitioner exploring what T. S. Eliot called ‘the possibility of a poetic drama’ in the modern world. The first chapter demonstrates how verse dramatists over the last thirty years have been inhibited by continuous comparison to Shakespeare. The remainder of the thesis argues more b
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Eward-Mangione, Angela. "Decolonizing Shakespeare: Race, Gender, and Colonialism in Three Adaptations of Three Plays by William Shakespeare." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5628.

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What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective
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Minnis-Lemley, Ashley M. "The Scholar Magician in English Renaissance Drama." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/838.

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In this paper, I will explore the rise and fall of the scholar magician or sorcerer, both as a popular dramatic subject and as an arc for individual characters, and the ways in which these figures tied into contemporary fears about the intersection of religion and developing scientific knowledge.
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Le, Van Curtis. "Body as Text: Physiognomy on the Early English Stage." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6886.

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My dissertation explores the presence of physiognomy, which is the reading of faces and bodily affects to determine a person’s character. I investigate plays originally produced for the early English stage, ranging from the late Middle Ages to the Restoration. In this work I argue that the bodies within the selected plays exist as texts that are to be interpreted by readers and audience members alike. While embodiment theory has done excellent work in explaining the corporeality of the pre-modern body, it does not consider the body as a textual construction. My work aims to fill such a gap. My
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Chakravarti, Paromita. "Renaissance discourses of folly illustrated with examples from English Renaissance drama, especially Shakespeare." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421739.

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Dollimore, Jonathan. "Radical tragedy : religion, ideology and power in the drama of Shakespeare and his contemporaries." Thesis, Royal Holloway, University of London, 1985. http://repository.royalholloway.ac.uk/items/53cbc055-2f12-417b-bf0b-22329cadfb23/1/.

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PART I: Literary criticism in the twentieth century has sometimes shown that Jacobean drama challenged religious orthodoxy. The aim of this thesis is to show that this challenge was bound up with other, equally subversive concerns: a critique of ideology and a struggle to demystify political and power relations. In the tragedy here described as radical, power is identified in its complex manifestations and relations, and in its equally complex ideological misrepresentations. This section concludes with a study of three plays which exemplify this radicalism: Marston's Antonio plays and Shakespe
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Chow, Po-fun Wendy. "Carnivalization and subversion of order in comic plays, with reference to Shakespeare's Twelfth night and Herry IV." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12363030.

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Doyle, Anne-Marie. "Shakespeare and the genre of comedy." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.

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Traditionally in the field of aesthetics the genres of tragedy and comedy have been depicted in antithetical opposition to one another. Setting out from the hypothesis that antitheses are aspects of a deeper unity where one informs the construction of the other’s image this thesis questions the hierarchy of genre through a form of ludic postmodernism that interrogates aesthetics in the same way as comedy interrogates ethics and the law of genre. Tracing the chain of signification as laid out by Derrida between theatre as pharmakon and the thaumaturgical influence of the pharmakeus or dramatist
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Books on the topic "Drama in English Shakespeare"

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Happé, Peter. English drama before Shakespeare. Longman, 1999.

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Larsen, Darl. Monty Python, Shakespeare, and English Renaissance drama. McFarland & Company, 2003.

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Monty Python, Shakespeare, and English Renaissance drama. McFarland & Company, 2003.

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Shakespeare, William. Sixty Shakespeare scenes. Smith and Kraus, 2003.

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Mackay, Hugh. Shakespeare and Renaissance drama. Pearson Longman, 2010.

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Mackay, Hugh. Shakespeare and Renaissance drama. Pearson Longman, 2010.

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Who wrote Shakespeare? Thames and Hudson, 1996.

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Shakespeare, William. William Shakespeare complete plays. Fall River Press, 2012.

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English drama: Shakespeare to the Restoration, 1590-1660. Longman, 1988.

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Hunter, G. K. English drama 1586-1642: The age of Shakespeare. Clarendon Press, 1997.

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Book chapters on the topic "Drama in English Shakespeare"

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Alexander, Michael. "Shakespeare and the Drama." In A History of English Literature. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_5.

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Miller, Anthony. "Shakespeare and Stuart Drama." In Roman Triumphs and Early Modern English Culture. Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230628557_7.

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Gleckman, Jason. "Double Predestination in Early English Drama." In Shakespeare and Protestant Poetics. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9599-5_4.

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Quirk, Randolph. "Shakespeare and the English Language." In A Reader in the Language of Shakespearean Drama. John Benjamins Publishing Company, 1987. http://dx.doi.org/10.1075/sihols.35.05qui.

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Folkerth, Wes. "Reading Shakespeare After Neurodiversity." In Performing Disability in Early Modern English Drama. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57208-2_7.

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Kakietek, Piotr. "MayandMightin Shakespeare's English." In A Reader in the Language of Shakespearean Drama. John Benjamins Publishing Company, 1987. http://dx.doi.org/10.1075/sihols.35.32kak.

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Nelson, Jennifer L. "Sign Gain to Deaf Gain: Deafness in Early Modern Manual Rhetoric and Modern Shakespeare Performances." In Performing Disability in Early Modern English Drama. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57208-2_12.

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Dunn, Leslie C. "Shakespearean Disability Theatre." In Performing Disability in Early Modern English Drama. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57208-2_14.

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Hirrel, Michael J. "Thomas Watson, Playwright: Origins of Modern English Drama." In Lost Plays in Shakespeare’s England. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137403971_11.

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Salmon, Vivian. "Sentence Structures in Colloquial Shakespearian English." In A Reader in the Language of Shakespearean Drama. John Benjamins Publishing Company, 1987. http://dx.doi.org/10.1075/sihols.35.29sal.

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Conference papers on the topic "Drama in English Shakespeare"

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"The application of Shakespeare's drama in English major teaching from the perspective of social constructivist model." In 2017 International Conference on Frontiers in Educational Technologies and Management Sciences. Francis Academic Press, 2017. http://dx.doi.org/10.25236/fetms.2017.031.

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Wastie, Martin L. "English: The Language of Shakespeare." In 5th Regional Workshop on Medical Writing for Radiologists. The Singapore Radiological Society, 2006. http://dx.doi.org/10.2349/biij.2.1.e14-67.

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TAN, DANIEL, HANSINI THEDCHANAMOORTHY, LEE LING, LISA SU, PHAWANI VIJAYARATNAM, and VIKINESWARAN A. "Using Shakespeare Drama to Foster Student Engagement and Language Learning." In Fourth International Conference on Advances in Social Science, Economics and Management Study - SEM 2016. Institute of Research Engineers and Doctors, 2016. http://dx.doi.org/10.15224/978-1-63248-094-1-57.

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Lufkin, J. "Shakespeare gets a computer: a tutorial drama in two acts." In International Conference on Professional Communication,Communication Across the Sea: North American and European Practices. IEEE, 1990. http://dx.doi.org/10.1109/ipcc.1990.111182.

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Kuzmenkova, Yulia. "DRAMA ACTIVITIES IN ENGLISH LANGUAGE TEACHING." In SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b13/s3.032.

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Lin, Chen. "Effective Classroom Management in Drama English Class." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.095.

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Dergynova, Natalya. "L. Tolstoy's essay "On Shakespeare and the Drama" in the context of the author's religious and aesthetic search." In Современные проблемы филологии. Межрегиональный центр инновационных технологий в образовании, 2022. http://dx.doi.org/10.52376/978-5-907623-44-6_053.

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Ramadhani, Tjitra. "Overcoming Anxiety in English Language Learning Through Drama Performance." In 7th South East Asia Design Research International Conference. Sanata Dharma University Press, 2020. http://dx.doi.org/10.24071/seadr.2019.20.

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Khasyar, Meita Lesmiaty, Rudi haryono, and Ana Ratnasari. "Lesson of Drama in Language Education: Why do We Have to Learn English Through Drama Performance?" In 1st Paris Van Java International Seminar on Health, Economics, Social Science and Humanities (PVJ-ISHESSH 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210304.038.

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Wei Jianfeng, Zhang Yingli, Mi Jun, and Zhu Changjun. "Application research of drama in college English education of China." In 2009 Asia-Pacific Conference on Computational Intelligence and Industrial Applications (PACIIA 2009). IEEE, 2009. http://dx.doi.org/10.1109/paciia.2009.5406534.

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