Log in

Relevant bibliographies by topics / Drama in English Shakespeare / Journal articles

To see the other types of publications on this topic, follow the link: Drama in English Shakespeare.

Journal articles on the topic 'Drama in English Shakespeare'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Drama in English Shakespeare.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

.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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

Walker, William. "Anadiplosis in Shakespearean Drama." Rhetorica 35, no. 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Delabastita, Dirk, and Ton Hoenselaars. "‘If but as well I other accents borrow, that can my speech diffuse’." English Text Construction 6, no. 1 (2013): 1–16. http://dx.doi.org/10.1075/etc.6.1.01int.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Foakes, R. A., and G. K. Hunter. "English Drama 1586-1642: The Age of Shakespeare." Shakespeare Quarterly 50, no. 2 (1999): 211. http://dx.doi.org/10.2307/2902188.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Giebert, Stefanie. "Shakespeare and Shareholders." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 1 (2011): 40–53. http://dx.doi.org/10.33178/scenario.5.1.4.

Full text

Abstract:

This article describes a project that attempts to teach business English to an interdisciplinary group of university students by means of producing a play, the script of which has been specifically prepared to include business-related situations and vocabulary. The project mainly aims at improving students' oral competence by giving them the opportunity to use (business) English in fictional but meaningful situations and by using it as the working language throughout the whole project. The project mainly involves students who major either in business or in modern languages. In the project stud

APA, Harvard, Vancouver, ISO, and other styles

14

Marlow, Christopher. "Provincial Shakespeare." Critical Survey 32, no. 4 (2020): 36–50. http://dx.doi.org/10.3167/cs.2020.320404.

Full text

Abstract:

With reference to aspects of the career of the twentieth-century actor-manager Donald Wolfit and the use of the concept of provincialism in English criticism, this article argues that idealist and universalist values are repeatedly valorised in order to devalue materialist and what might be called ‘provincial’ interpretations of Shakespeare’s plays. I pay attention to conditions of production of early modern drama in the sixteenth century, and to Wolfit’s Second World War performances of Shakespeare, the reception of which is offered as evidence for the persistence of a critical prejudice agai

APA, Harvard, Vancouver, ISO, and other styles

15

Baysal, Kübra. "Un-taming the Shrew." Acta Neophilologica 54, no. 1-2 (2021): 115–21. http://dx.doi.org/10.4312/an.54.1-2.115-121.

Full text

Abstract:

This article discusses the adaptation film, Shakespeare Retold: The Taming of the Shrew, as compared to original play, The Taming of the Shrew, by Shakespeare by highlighting the different modern perspective of the film. Likely to be interpreted as a valuable addition to the play with the ending it proposes and the way it handles the issue of taming, the film brings the play to the attention of the modern audience by clarifying the vague details and contextualising it in the modern English. In this respect, the article aims to bring the film and the play into focus by introducing a fresh and l

APA, Harvard, Vancouver, ISO, and other styles

16

Flaherty, Kate. "Cathcart vs Brooke: a Touring Actress and a Trial of Public Private Identity in the Australian Colonies." New Theatre Quarterly 33, no. 1 (2017): 47–58. http://dx.doi.org/10.1017/s0266464x16000622.

Full text

Abstract:

In this article Kate Flaherty examines the sensational contractual dispute that arose between Gustavus Vaughan Brooke and Mary Fanny Cathcart during their Australian colonial tour in 1855. She follows Brooke's attempt to use his theatrical repertoire to achieve and consolidate a legal victory over Cathcart, but argues that this strategy ultimately backfired and elicited a form of judgement by the theatregoing public that countered the judgement handed down by the Supreme Court. Conversely, coverage of the case in Australian newspapers is identified as shaping reviews and sharpening the edge of

APA, Harvard, Vancouver, ISO, and other styles

17

Šetka Čilić, Ivona, and Tonina Ibrulj. "The frequency of using conditional sentences in drama, based on the analysis of three drama texts: Flour in the veins by Igor Štiks, Crocodile Lacoste by Zlatko Topčić and Romeo and Juliet by William Shakespeare." Post Scriptum 11, no. 11 (2022): 19–40. http://dx.doi.org/10.52580/issn.2232-8556.2022.11.11.19.

Full text

Abstract:

This paper deals with the frequency of use of conditional sentences in contemporary dramas that were not originally written in English but were translated into it. The hypothesis that the paper tries to prove here, states that conditional sentences are not used so frequently in modern dramas, unlike classical plays, which is tried to be proved by analyzing three plays, one of which was written in Croatian (Flour in the veins by author Igor Štiks), and the other in Bosnian (Silvertown / Crocodile Lacoste, by author Zlatko Topčić), both translated into English. Finally, the third drama, Romeo an

APA, Harvard, Vancouver, ISO, and other styles

18

Trousdale, Marion. "Charting History: Oxford's English Drama English Drama, 1586-1642: The Age of Shakespeare G. K. Hunter." Huntington Library Quarterly 64, no. 1/2 (2001): 237–44. http://dx.doi.org/10.2307/3817886.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Segal, Eyal. "Shakespeare and the Versification of English Drama, 1561 – 1642." Poetics Today 37, no. 1 (2016): 232–35. http://dx.doi.org/10.1215/03335372-3453054.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Lamb, Jonathan P. "Shakespeare and the Versification of English Drama, 1561–1642." Shakespeare 11, no. 3 (2015): 331–34. http://dx.doi.org/10.1080/17450918.2015.1033451.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Blank, Daniel. "‘Our Fellow Shakespeare’: A Contemporary Classic in the Early Modern University." Review of English Studies 71, no. 301 (2020): 652–69. http://dx.doi.org/10.1093/res/hgz146.

Full text

Abstract:

Abstract This essay discusses the reception of Shakespeare’s works among the students and fellows of early modern Oxford and Cambridge. Taken at face value, the documentary record would seem to suggest that Shakespeare had no place there, as authorities at the two English universities aimed to prevent the presence of his work in the academic sphere. However, this essay uses a variety of literary and archival evidence to show that Shakespeare’s works not only entered into scholarly discourse, but also achieved a status that had previously been reserved for ancient authors. I argue that the best

APA, Harvard, Vancouver, ISO, and other styles

22

Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.

Full text

Abstract:

The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Do

APA, Harvard, Vancouver, ISO, and other styles

23

Hutson, Lorna. "Imagining Justice: Kantorowicz and Shakespeare." Representations 106, no. 1 (2009): 118–42. http://dx.doi.org/10.1525/rep.2009.106.1.118.

Full text

Abstract:

Ernst Kantorowicz's The King's Two Bodies is concerned with tracing the development, through the Middle Ages, of abstract concepts of the public good as separable from the monarch. Renaissance scholars, however, tend to read Kantorowicz as if English Renaissance drama collapses representations of the polity and public good into the monarch's sacred person. Renaissance equity, in particular, has recently been defined as the sacred monarch's prerogative, and has been confused with Carl Schmitt's sovereign decision on the exception. This essay argues by contrast that Renaissance thinkers saw equi

APA, Harvard, Vancouver, ISO, and other styles

24

Im, Yeeyon. "Beyond the Gender Divide: Looking for Shakespeare in Han Tae-Sook’s Lady Macbeth." New Theatre Quarterly 32, no. 1 (2016): 19–30. http://dx.doi.org/10.1017/s0266464x15000834.

Full text

Abstract:

Han Tae-Sook’s Lady Macbeth, a theatre adaptation by a leading woman director in Korea, has been interpreted largely from a feminist and intercultural perspective. In this article Yeeyon Im examines a body of criticism on Han’s production to raise awareness of the danger of totalization in current critical geography in Korea, which may marginalize non-ideological views. The humanist issues of evil, desire, and guilt, which are explicit themes of Lady Macbeth, have been neglected by critics in favour of discourses of difference. Yeeyon Im asks if ‘the subaltern can speak’ of universality, and c

APA, Harvard, Vancouver, ISO, and other styles

25

Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.

Full text

Abstract:

The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Ha

APA, Harvard, Vancouver, ISO, and other styles

26

Rampone, W. Reginald, and Garrett A. Sullivan. "Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster." Sixteenth Century Journal 38, no. 3 (2007): 802. http://dx.doi.org/10.2307/20478521.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Strier, Richard. "The 2019 William B. Hunter Lecture of the scrc: Paleness versus Eloquence: The Ideologies of Style in the English Renaissance." Explorations in Renaissance Culture 45, no. 2 (2019): 91–120. http://dx.doi.org/10.1163/23526963-04502001.

Full text

Abstract:

This essay considers the contrast between plainness and eloquence in some canonical English (secular) lyrics and plays from Wyatt through Shakespeare. Its claim is that in the relevant body of work, and in the culture as a whole, each of the styles bore a specifiable ideological charge. It shows that English secular poetry and drama in the sixteenth and early seventeenth century was profoundly aware of the ideologies associated with the two levels or kinds of style, and profoundly divided in its commitments. In lyric poetry, this is true in Wyatt at the beginning of the sixteenth century and o

APA, Harvard, Vancouver, ISO, and other styles

28

Jurak, Mirko. "Some additional notes on Shakespeare : his great tragedies from a Slovene perspective." Acta Neophilologica 38, no. 1-2 (2005): 3–48. http://dx.doi.org/10.4312/an.38.1-2.3-48.

Full text

Abstract:

In the first chapter of this study the author stresses the importance of literature and Shakespeare's plays for our age. Although the enigma of Shakespeare's life still concerns many scholars it is relevant only as far as the solutions of some biographical details from Shakespeare's life influence the interpretation of his plays. In the section on feminism the focus of the author's attention is the changed role of women in the present day society as compared to previous centuries. In the final part of the article the role of the main female characters in Shakespeare's great tragedies is discus

APA, Harvard, Vancouver, ISO, and other styles

29

Holderness, Graham. "Hamlet and the 47 Ronin." Critical Survey 33, no. 1 (2021): 48–58. http://dx.doi.org/10.3167/cs.2021.330104.

Full text

Abstract:

The importation of Shakespeare into Japan in the late 19th century and early 20th centuries, following the opening of Japan to the outside world effected by the Meiji empire, generated a culture clash between the antiquity of the plays themselves, and the identification of Shakespeare with modern English drama. Harue Tsutsumi’s play Kanadehon Hamlet explores this conflict, dramatizing the difficulties encountered by a troupe of Japanese actors attempting to perform Hamlet, when their deeper loyalty is to the traditional Japanese revenge play Kanadehon Chushingura. Homing in on a crucial moment

APA, Harvard, Vancouver, ISO, and other styles

30

Škrobánková, Klára. "Enter the Clowns: Adapting Shakespeare after 1642." Linguaculture 2017, no. 2 (2017): 43–57. http://dx.doi.org/10.1515/lincu-2017-0017.

Full text

Abstract:

Abstract This paper focuses on the genre of drolls as they were compiled in Francis Kirkman‘s collection The Wits or Sport upon Sport, published in 1672 and 1673. The anthology includes scenes from Hamlet or A Midsummer Night's Dream and draws upon characters like Falstaff and others. By description and analysis of these dramatic pieces, I would like to draw one's attention to the genre that is almost unknown to the history of English speaking drama. This article focuses on the process of rethinking Shakespeare so as not only to entertain people in the critical period of English history, but a

APA, Harvard, Vancouver, ISO, and other styles

31

Jackson, MacDonald P. "Ants Oras and the Analysis of Early Modern English Dramatic Verse." Studia Metrica et Poetica 2, no. 2 (2015): 48–57. http://dx.doi.org/10.12697/smp.2015.2.2.04.

Full text

Abstract:

Ants Oras’s contribution to the study of early modern English dramatic verse is of enduring value. In 1956 his article on extra monosyllables in Henry VIII gave much needed support to the view that both this play of the Shakespeare First Folio (1623) and The Two Noble Kinsmen (first published in a quarto of 1634) were works in which Shakespeare had collaborated with John Fletcher. Oras’s Pause Patterns in Elizabethan and Jacobean Drama (1960), with its huge amount of quantitative data and readily intelligible graphs, greatly enhanced understanding of how blank verse developed from the 1580s to

APA, Harvard, Vancouver, ISO, and other styles

32

Raffield, Paul. "The Trials of Shakespeare: Courtroom Drama and Early Modern English Law." Law and Humanities 8, no. 1 (2014): 53–76. http://dx.doi.org/10.5235/17521483.8.1.53.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Groves, Peter. "marina tarlinskaja. Shakespeare and the Versification of English Drama, 1561-1642." Review of English Studies 66, no. 276 (2015): 775–77. http://dx.doi.org/10.1093/res/hgv016.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Long, Zackariah C. "Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster (review)." Shakespeare Quarterly 57, no. 3 (2006): 353–56. http://dx.doi.org/10.1353/shq.2006.0074.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Elam, Keir. "‘Understand Me by My Signs’: on Shakespeare's Semiotics." New Theatre Quarterly 1, no. 1 (1985): 84–97. http://dx.doi.org/10.1017/s0266464x00001445.

Full text

Abstract:

Keir Elam's study The Semiotics of Drama and Theatre, published in 1980. was the firstfull– length account of its subject in English. Here, he argues not only that semiotics canvaluably be employed in the study of Shakespeare, but that the playwright himself displays a sophisticated sense of the significance of signs– indeed, that Elizabethan culture was highly self-conscious, sometimes to the point of obsession, with the nature and practice of signification, both verbal and visual. Keir Elam illustrates his argument with examples from a wide range of Shakespeare's plays, also suggesting some

APA, Harvard, Vancouver, ISO, and other styles

36

Christ, Adam. "Religious and Emotional Communities in John Heywood and John Bale’s Interludes." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 7, no. 1 (2023): 22–31. http://dx.doi.org/10.18778/2353-6098.7.02.

Full text

Abstract:

The paper examines emotional communities in early modern English drama, specifically interludes by John Heywood and John Bale. It explores the connections between emotion and religion, and seeks to uncover whether and how emotionality changes according to the politically acceptable religious doctrine – particularly in the time of Protestant reformation under Henry VIII Tudor – and how these changes are expressed in the early sixteenth century English interludes by a Catholic (Heywood) and a Protestant (Bale) author. This paper considers early modern texts of culture which have not been researc

APA, Harvard, Vancouver, ISO, and other styles

37

Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.

Full text

Abstract:

This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, prov

APA, Harvard, Vancouver, ISO, and other styles

38

Bottez, Alina. "Shakespeare Re-Read, Re-Written, Re-Contextualised Or... Re-Placed in Opera and Musical." Linguaculture 2017, no. 2 (2017): 145–57. http://dx.doi.org/10.1515/lincu-2017-0024.

Full text

Abstract:

Abstract Shakespeare thrives not only in the theatre, but also through what Bolter and Grusin call remediation. This article analyses how opera and musical reread Elizabethan drama shifting from spoken to sung discourse and travelling transnationally, temporally and across genres. Its main approach is comparative and relies on the history of mentalities. Rereading is dictated by cultural context, the conventions of the lyrical theatre, social and political factors and reception. Gender is reread in Bellini‘s I Capuleti e i Montecchi and in Britten‘s A Midsummer Night‟s Dream, and religion - in

APA, Harvard, Vancouver, ISO, and other styles

39

Jarvis, Andrew. "Telling the Story: Shakespeare's Histories in Performance." New Theatre Quarterly 6, no. 23 (1990): 207–14. http://dx.doi.org/10.1017/s0266464x00004504.

Full text

Abstract:

The English Shakespeare Company was founded in 1986 by Michael Bogdanov and Michael Pennington with a commitment to take large-scale productions to regional venues. Henry IV, Parts One and Two and Henry V opened at the Plymouth Theatre Royal in November 1986 under the title The Henrys: they were then staged at the Old Vic and toured extensively. In December 1987 Richard II, with a two-part adaptation of the three parts of Henry VI (House of Lancaster and House of York) and Richard III, were added to the previous trilogy to create a complete cycle of history plays – The Wars of the Roses. The c

APA, Harvard, Vancouver, ISO, and other styles

40

Lin, Erika. "Performance Practice and Theatrical Privilege: Rethinking Weimann’s Concepts of Locus and Platea." New Theatre Quarterly 22, no. 3 (2006): 283–98. http://dx.doi.org/10.1017/s0266464x06000480.

Full text

Abstract:

In this article, Erika T. Lin explores theatrical performance as a material medium by considering which elements might have been privileged in the dramaturgy of Shakespeare and his contemporaries. After considering the strengths and weaknesses of Robert Weimann’s influential concepts of locus and platea, she offers an alternative model for understanding the authority of performance in early modern England, in which stage geography and actor–audience interactivity, two key components of Weimann’s formulation, are less important than the interplay between representation and presentation. Through

APA, Harvard, Vancouver, ISO, and other styles

41

Reinheimer, David, and G. K. Hunter. "English Drama 1586-1642: The Age of Shakespeare: The Oxford History of English Literature 6." Sixteenth Century Journal 29, no. 3 (1998): 888. http://dx.doi.org/10.2307/2543747.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Halio, Jay L. "Shakespeare and the Versification of English Drama, 1561–1642 by Marina Tarlinskaja." Shakespeare Quarterly 67, no. 2 (2016): 266–69. http://dx.doi.org/10.1353/shq.2016.0029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Clark, Sandra. "Women, class, and the language of madness in early modern English drama." Sederi, no. 24 (2014): 7–26. http://dx.doi.org/10.34136/sederi.2014.1.

Full text

Abstract:

This paper discusses the depiction of madwomen in a range of early modern English plays including some by Shakespeare in order to show how their madness operates at the intersection of gender, genre, and social class. Its particular focus is on language, and it argues that the speech styles of madwomen are essentially similar whatever their social class. For women, madness is a linguistically liberating condition, bringing together high and low cultural discourses. While stage madwomen’s language has similarities with that of madmen, it is more licentious and transgressive because the violatio

APA, Harvard, Vancouver, ISO, and other styles

44

Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

Full text

Abstract:

Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, w

APA, Harvard, Vancouver, ISO, and other styles

45

Fullerton, Carol W. "The Theatre Criticism of George Stewart, Jr." Theatre Research in Canada 9, no. 2 (1988): 147–56. http://dx.doi.org/10.3138/tric.9.2.147.

Full text

Abstract:

George Stewart, Jr. was a conservative theatre critic who published drama reviews over a forty-year period in later nineteenth-century Canada. He was typical of his time in preferring legitimate theatre and the plays of Shakespeare, Sheridan and Goldsmith, as well as in looking for naturalness in an actor or actress. Stewart was an early advocate of the need for critical autonomy, and was active in supporting French- as well as English-Canadian theatre.

APA, Harvard, Vancouver, ISO, and other styles

46

Fedorova, Elizaveta Tsirina, Jose Saiz Molina, and Julia Haba Osca. "Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (2022): 169–90. http://dx.doi.org/10.18778/2083-8530.24.11.

Full text

Abstract:

This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development of current Shakespearean tradition(s) in Spain from the early 1970s to the present day. In fact, his writings and critical views on William Shakespeare’s Works have been a decisive point i

APA, Harvard, Vancouver, ISO, and other styles

47

Deirdre O'Rourke. "Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster (review)." Theatre Journal 60, no. 2 (2008): 324–25. http://dx.doi.org/10.1353/tj.0.0011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Sumillera, Rocío G. "Book Review: Marina Tarlinskaja, Shakespeare and the Versification of English Drama, 1561-1642." Language and Literature: International Journal of Stylistics 25, no. 4 (2016): 399–402. http://dx.doi.org/10.1177/0963947016660233.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Marsh, Derick R. C. "English Drama from 1586 to 1642: The Age of Shakespeare (review)." Parergon 16, no. 1 (1998): 173–75. http://dx.doi.org/10.1353/pgn.1998.0077.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.

Full text

Abstract:

Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoide

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!