Log in

Relevant bibliographies by topics / Drama / Shakespeare / Journal articles

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

Journal articles on the topic 'Drama / Shakespeare'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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 / 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

Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

Full text

Abstract:

The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s conce

APA, Harvard, Vancouver, ISO, and other styles

3

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

4

Sharon-Zisser, Shirley. "Thin(k)ging Shakespeare." Pragmatics and Cognition 17, no. 1 (2009): 177–95. http://dx.doi.org/10.1075/pc.17.1.06sha.

Full text

Abstract:

This review article examines three recent books which offer philosophical reflections on Shakespeare’s texts: Colin McGinn’s Shakespeare’s Philosophy, Anthony Nuttall’s Shakespeare as Thinker, and Tzachi Zamir’s Double Vision: Moral Philosophy and Shakespearean Drama. Taking as its points of departure Freudian-Lacanian psychoanalysis and Heideggerean philosophy, as well as Shakespearean stylistics, the article argues that, whereas the books examined approach the Shakespearean text with a rationalist and thematic conception of thinking as conscious and cognitive content, this conception is prec

APA, Harvard, Vancouver, ISO, and other styles

5

Rautela, Sangeeta. "THE INFLUENCE OF HUMANISM IN SHAKESPEARE'S PLAYS." International Journal of Global Research Innovations & Technology 03, no. 01(II) (2025): 1–10. https://doi.org/10.62823/ijgrit/3.1(ii).7298.

Full text

Abstract:

Renaissance's prevalent intellectual tide, humanism, had an immense impact on William Shakespeare's works. They portray the principal precepts of humanism with a focus on individual agency, reason, and moral philosophy. This essay looks into how the works of Shakespeare encapsulate the ideals of humanism in deep character development, moral dilemmas, and changing views on humankind. Concentrating on plays like Hamlet, King Lear, The Tempest, and Macbeth, this research explores how Shakespearean drama transcends medieval fatalism to depict characters with free will, self-awareness, and a profou

APA, Harvard, Vancouver, ISO, and other styles

6

Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama." Journal of Scientific Exploration 37, no. 2 (2023): 201–17. http://dx.doi.org/10.31275/20233109.

Full text

Abstract:

In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any c

APA, Harvard, Vancouver, ISO, and other styles

7

Guerrero, Isabel. "Shakespeare in La Mancha: Performing Shakespeare at the Almagro Corral." Sederi, no. 27 (2017): 27–46. http://dx.doi.org/10.34136/sederi.2017.2.

Full text

Abstract:

Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de Almagro [The Almagro Festival of Classical Theater], an event initially created to celebrate Golden Age drama in which, nowadays, Shakespearean productions often outnumber those by individual national authors. Throughout the history of the festival, several Shakespearean productions have been staged in the Corral de Comedias, an original seventeenth-century venue that reactivates the use of space encoded in the playtext due to its similarities with Renaissance playhouses. This article has a double p

APA, Harvard, Vancouver, ISO, and other styles

8

Cerdá, Juan F. "Contemporary Shakespearean direction in Spain." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 28–40. http://dx.doi.org/10.1177/0184767818762194.

Full text

Abstract:

This article seeks to enquire into different redistributions of Shakespeare’s aura and into different conceptions of authorship articulated around recent stagings of Shakespeare’s works in Spain. Faced, now, with the task of making Shakespeare relevant in a world of diversified cultural offers and a highly competitive cultural market, I inspect three trends in contemporary theatre direction: the universalizing, the localizing and the post-theatrical attitude. The essay reflects on how modern theatre directors negotiate Shakespearean drama and how they confront cultural heritage while at the sa

APA, Harvard, Vancouver, ISO, and other styles

9

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

10

Anil Kumar, Dr, and Ms Manoj Chudhary. "EXPLORING THEMES OF JUSTICE IN SHAKESPEARE AND MODERN LEGAL DRAMAS." International Scientific Journal of Engineering and Management 04, no. 03 (2025): 1–7. https://doi.org/10.55041/isjem02415.

Full text

Abstract:

The present paper addresses the issue of justice as interpreted in the context of Shakespearean works and as it reflects through modern interpretation in contemporary legal drama. Shakespeare's plays like The Merchant of Venice, Measure for Measure, and Hamlet enlighten upon conflict between law and morality, element of agent in pursuit of justice, and the personal cost incurred to seek revenge. Besides, the paper analyses the way contemporary dramas about the law, such as To Kill a Mockingbird, The Good Wife, and 12 Angry Men, raise questions about racial prejudice, the difficulty of moral de

APA, Harvard, Vancouver, ISO, and other styles

11

HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.

Full text

Abstract:

ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.

APA, Harvard, Vancouver, ISO, and other styles

12

Bishoff, Nayoung. "Shakespeare and K-Drama." Borrowers and Lenders: The Journal of Shakespeare and Appropriation 16, no. 1 (2024): 149–53. http://dx.doi.org/10.18274/6z881459.

Full text

Abstract:

Shakespeare’s Romeo and Juliet crosses the boundaries of expected gender roles of early modern England. The play’s transgressive potential speaks to our times. This essay examines a popular K-drama, Crash Landing on You (2019-2020) and compares it to the motifs in Romeo and Juliet. The K-drama chronicles the romantic love between a South Korean woman, Yoon se-ri, and a North Korean man, Ri Jeong-hyuk, and—as in Romeo and Juliet—the characters switch gender roles as defined by their cultural tradition. In Crash Landing on You, Jeong-hyuk is depicted as possessing what has come to be known as so

APA, Harvard, Vancouver, ISO, and other styles

13

Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.

Full text

Abstract:

Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet,

APA, Harvard, Vancouver, ISO, and other styles

14

Tian, Min. "The Reinvention of Shakespeare in Traditional Asian Theatrical Forms." New Theatre Quarterly 14, no. 55 (1998): 274–84. http://dx.doi.org/10.1017/s0266464x00012203.

Full text

Abstract:

Especially during the later decades of the twentieth century, Shakespeare's plays have been adapted for production in many of the major Asian traditional theatrical forms – prompting some western critics to suggest that such forms, with their long but largely non-logocentric traditions, can come closer to the recovery or recreation of the theatrical conditions and performance styles of Shakespeare's times than can academically derived experiments based on scantily documented research. Whether in full conformity with traditional Asian styles, or by stirring ingredients into a synthetic mix, Min

APA, Harvard, Vancouver, ISO, and other styles

15

Zorin, Artem N. "Turgenev’s Shakespear. “Neither on the black side, nor on the white”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2023): 204–13. http://dx.doi.org/10.35852/2588-0144-2023-2-204-213.

Full text

Abstract:

The book of I. Volkov studies the motives of Shakespeare’s tragedies’ — “Hamlet” and “King Lear” — and their influence on the creative works of Ivan Turgenev. The author’s comprehensive analytical approach made it possible to estimate the vast impact of Turgenev’s assessments on the formation of the common cultural and social significance of Shakespeare’s key characters in these plays within the Russian national consciousness.The book successfully combines textological discoveries with a thorough reconstruction of page margins’ logic in Shakespeare's works and studies of these works from Turge

APA, Harvard, Vancouver, ISO, and other styles

16

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

17

Khorsand, Javad, and Bahee Hadaegh. "“LOOK WITH THINE EARS”: THE DEPRECATION OF OCULARCENTRIC CULTURE IN WILLIAM SHAKESPEARE’S KING LEAR." Folia linguistica et litteraria XIII, no. 44 (2023): 217. http://dx.doi.org/10.31902/fll.44.2023.12.

Full text

Abstract:

In his groundbreaking research on the broad phenomenon of Western visual culture in important intellectual eras, Martin Jay touches on the abundance of ocular references in Renaissance literature and cites the example of William Shakespeare whose works are replete with visual metaphors. Notwithstanding extensive research on the role of vision in Shakespeare’s works, it seems that scant attention has been paid to the Bard’s deprecation of ocularcentric culture. Shakespeare was, admittedly, not the first writer who depicted and challenged the biased privileging of sight in Western culture, but t

APA, Harvard, Vancouver, ISO, and other styles

18

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

19

Fayard, Nicole. "Introduction: Shakespeare and/in Europe: Connecting Voices." Multicultural Shakespeare: Translation, Appropriation and Performance 19, no. 34 (2019): 9–30. http://dx.doi.org/10.18778/2083-8530.19.01.

Full text

Abstract:

Recent Shakespearean productions, just like current European crises, have highlighted the exclusionary nature of European identity. In defining the scope of this special issue, the aim of this introduction is to shift the study of Shakespeare in/and Europe away from the ideological field of “unity within diversity” and its attendant politics of negotiation and mediation. Instead, it investigates whether re-situating Shakespearean analysis within regimes of exclusionary politics and group conflict attitudes helps to generate dynamic cultural and social understandings. To what effect is Shakespe

APA, Harvard, Vancouver, ISO, and other styles

20

Dinega, Alyssa W. "Ambiguity as Agent in Pushkin's and Shakespeare's Historical Tragedies." Slavic Review 55, no. 3 (1996): 525–51. http://dx.doi.org/10.2307/2501999.

Full text

Abstract:

The question of Shakespeare's influence on Pushkin's work in the period beginning 1824-25 has often been examined in critical works on Pushkin. This influence has generally been construed as one of the decisive factors in Pushkin's poetic and personal maturation away from his early naive Byronism. At the same time, Pushkin found in Shakespeare a release from the outworn conventions of French classical drama that had until then provided the precepts for writers for the Russian stage. For Pushkin, two specific features of Shakespearean drama were congenial: the abandonment of the three classical

APA, Harvard, Vancouver, ISO, and other styles

21

Novitz, Julian. "‘The Time Is out of Joint’: Interactivity and Player Agency in Videogame Adaptations of Hamlet." Arts 9, no. 4 (2020): 122. http://dx.doi.org/10.3390/arts9040122.

Full text

Abstract:

Although Shakespeare and his plays have been a frequent subject of videogame adaptations in the past, these have often been confined to either theatre-making games (which present the staging of Shakespeare plays using the mechanisms of strategy or simulation videogame genres) of education/trivia games that aim to familiarise players with Shakespeare’s texts. While references to Shakespeare abound in videogames, there have been relatively few attempts to directly adapt one of his plays into the form of an interactive videogame narrative, where the player controls one or more of the principal ch

APA, Harvard, Vancouver, ISO, and other styles

22

Marcinčin, Matúš. "Slovak Shakespeare in American Exile." Slovenske divadlo /The Slovak Theatre 65, no. 1 (2017): 4–21. http://dx.doi.org/10.1515/sd-2017-0001.

Full text

Abstract:

Abstract Ján Vilikovský’s synthesizing monograph Shakespeare u nás (2014) is a great study; however, it does not include the whole history of translations of Shakespeare’s dramas into the Slovak language. Slovak literary and theatre studies have not reflected this theme in relation to Slovak cultural exile after the year 1945. In the present contribution, the author completes the mentioned monograph by Vilikovský, he adds and deals especially with translations written in exile by Andrej Žarnov and Karol Strmeň. He pays special attention to the fragments of translations of Shakespeare’s dramas

APA, Harvard, Vancouver, ISO, and other styles

23

Raza, Momina. "Haunting Revenge as a Theatrical Caveat: A Comparative Study of Classical and Shakespearean Plays." Journal of Arts and Linguistics Studies 3, no. 1 (2025): 1505–17. https://doi.org/10.71281/jals.v3i1.279.

Full text

Abstract:

The essence of Renaissance is eulogised with the spirit of Greek mythology and traditions, such as the chorus, oracles and eidola. They are used as tools of warning, especially evoking haunting revenge. These traditions hold prime importance in influencing a structural, as well as thematic understanding of Shakespearean drama. The research aims at unfolding the traditional Greek theatrical use of oracles, Chorus and the recurring eidola as a reverberating effect in the form of soliloquies, asides and avenging ghosts in the later theatrical productions of Shakespeare. The objective of the resea

APA, Harvard, Vancouver, ISO, and other styles

24

Sumillera, Rocío G. "Manuel Tamayo y Baus’s Un Drama Nuevo (1867) and the Reception of Hamlet in 19th-Century Spain." ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (2013): 71–80. http://dx.doi.org/10.4312/elope.10.1.71-80.

Full text

Abstract:

The present article discusses how Tamayo y Baus appropriates and refashions in Un drama nuevo (1867) the figures of Shakespeare and Yorick, as well as different elements of a number of tragedies by Shakespeare (Hamlet, Romeo and Juliet, Othello), in order to render homage to Shakespearean drama by means of a play that, even if set at the beginning of 17th-century England, particularly addresses the tastes and concerns of 19th-century Spanish audiences. Additionally, this article considers the extent to which the contemporary audience of Tamayo y Baus was acquainted with Shakespeare and Hamlet,

APA, Harvard, Vancouver, ISO, and other styles

25

Courtney, Richard, and Karen Bamford. "Shakespeare’s World of Death: The Early Tragedies, Drama and Feeling." Canadian Theatre Review 86 (March 1996): 65–66. http://dx.doi.org/10.3138/ctr.86.015.

Full text

Abstract:

Richard Courtney, Professor Emeritus at the Ontario Institute for Studies in Education, has published widely in the fields of drama and education. The two books under consideration illustrate diverse aspects of his work. Shakespeare’s World of Death provides an introduction to the early tragedies of Shakespeare; Drama and Feeling develops an aesthetic theory of drama as a primary human activity, central to the creation of consciousness and self-consciousness.

APA, Harvard, Vancouver, ISO, and other styles

26

James, Heather. "Shakespeare's Theory of Drama. Pauline Kiernan , Shakespeare." Modern Philology 96, no. 2 (1998): 229–33. http://dx.doi.org/10.1086/492746.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Chaudhuri, Sukanta. "Shakespeare Comes to Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (2023): 31–46. http://dx.doi.org/10.18778/2083-8530.27.03.

Full text

Abstract:

India has the longest engagement with Shakespeare of any non-Western country. In the eastern Indian region of Bengal, contact with Shakespeare began in the eighteenth century. His plays were read and acted in newly established English schools, and performed professionally in new English theatres. A paradigm shift came with the foundation of the Hindu College in Calcutta in 1817. Shakespeare featured largely in this new ‘English education’, taught first by Englishmen and, from the start of the twentieth century, by a distinguished line of Indian scholars. Simultaneously, the Shakespearean model

APA, Harvard, Vancouver, ISO, and other styles

28

Glytzouris, Antonis. "Karolos Koun in the 1930s and the Birth of Modernist Shakespeare in Greece." New Theatre Quarterly 30, no. 1 (2014): 40–50. http://dx.doi.org/10.1017/s0266464x14000062.

Full text

Abstract:

The author aims in this article is to highlight a significant moment in the history of the reception of Shakespeare in modern Greek theatre. The article outlines the main developments in the perception of Shakespeare's work in Greece from the mid-nineteenth century until the Second World War, and examines Karolos Koun's early experiments in Shakespearean production. Koun's initiatives were diametrically opposed to local theatre traditions, which emphasized psychological or historical realism and pictorial or spectacular illusion. The use of non-realistic stage conventions such as masks and sim

APA, Harvard, Vancouver, ISO, and other styles

29

Sosnowska, Monika. "Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (2018): 81–93. http://dx.doi.org/10.18778/2083-8530.17.08.

Full text

Abstract:

Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe t

APA, Harvard, Vancouver, ISO, and other styles

30

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

31

Lafont, Agnès. "Using Petrarch, Ovid and Virgil Anew: Framing and Reframing Diana in the Canon." Early Modern Culture Online 1, no. 1 (2010): 48. http://dx.doi.org/10.15845/emco.v1i1.1215.

Full text

Abstract:

This article applies the notion of framing to Shakespeare’s reception of the classical Tradition to trace how the selection of the sources from which the definition of the myth of Diana arises is reworked on the Shakespearean stage. To confront the various sources of the mythological figure of Diana, be they from Ovid, Virgil or Petrarch, is to analyse their interactions, their bricolage that draws on a common cultural material in a more or less deliberate, elusive or subversive fashion. This leads us to see how Shakespeare frames the classical heritage and thus appropriatesit through the lens

APA, Harvard, Vancouver, ISO, and other styles

32

Steppat, Michael. "The African Imprint in Shakespeare." Athens Journal of Humanities & Arts 11, no. 1 (2023): 15–48. http://dx.doi.org/10.30958/ajha.11-1-1.

Full text

Abstract:

Does the study of sources underlying William Shakespeare’s dramas depend on a legacy of colonialism? Studies of this kind have hardly looked beyond European texts in languages that Shakespeare supposedly could read. If any records originating outside Europe are considered as possible source materials, they tend to be marginalized or appropriated within the cultural orbit of the continent. But is it accurate to assume that Shakespeare’s achievements are mainly inspired by European textualities? This essay explores the proposition that much of Shakespeare’s dramatic oeuvre would be unthinkable w

APA, Harvard, Vancouver, ISO, and other styles

33

Bruster, Douglas. "Thomas More’s Richard III and Shakespeare." Moreana 42 (Number 163), no. 3 (2005): 79–92. http://dx.doi.org/10.3366/more.2005.42.3.7.

Full text

Abstract:

For his drama Richard III Shakespeare clearly relied on More’s narrative as filtered mainly through the chronicles of Edward Hall and Raphael Holinshed. The complications of transmission and authority relating to Shakespeare’s use of More’s unfinished work, and to the numerous forms each text would come to assume, uncannily replicate the very issues of authority and validation their narratives scrutinize. With his account More produced an archetype of modern, cunning individualism, an archetype that Shakespeare would popularize in Richard III.

APA, Harvard, Vancouver, ISO, and other styles

34

Brown, John Russell. "Representing Sexuality in Shakespeare's Plays." New Theatre Quarterly 13, no. 51 (1997): 205–13. http://dx.doi.org/10.1017/s0266464x00011210.

Full text

Abstract:

Sexuality resides in much more than what is spoken or even enacted, and its stage representation will often work best when the minds of the spectators are collaboratively engaged in completing the desired response. John Russell Brown, founding Head of Drama at the University of Birmingham and a former Associate Director of the National Theatre, here explores Shakespeare's arts of sexual obliquity, whether in silence, prevarication, or kindled imagination, and their relationship both with more direct forms of allusion and with an audience's response. John Russell Brown, currently Professor of T

APA, Harvard, Vancouver, ISO, and other styles

35

ALSHAMMARI. ""But They're Nothing Like Us!" A Pedagogic Approach to Shakespearean Drama in Kuwait." Cultural Intertexts 9/2019 (December 20, 2019): 9–16. https://doi.org/10.5281/zenodo.7850705.

Full text

Abstract:

This paper considers teaching British canonical texts such as William Shakespeare’s tragedy Othello, the Moor of Venice in multicultural settings. The author discusses her experiences with teaching Shakespearean drama to a group of undergraduate students who are not essentially interested in Western texts. Making connections to the students’ immediate lives proves to be essential in drawing the students into a more active learning environment that brings Shakespearean texts closer to home. By localizing Shakespeare’s text, the students were able to find a literary value that

APA, Harvard, Vancouver, ISO, and other styles

36

Kuzmichev, Arseniy. "BOOK REVIEW: LEONARD A. ERROR IN SHAKESPEARE : SHAKESPEARE IN ERROR." RZ-Literaturovedenie, no. 2 (2021): 103–11. http://dx.doi.org/10.31249/lit/2021.02.08.

Full text

Abstract:

«A man of genius makes no mistakes. His errors are volitional and are the portals of discovery». A. Leonard suggests a new way to look at perceived errors in Shakespeare’s drama: not as flaws but as tropes. She argues that one of the central themes of Shakespearean poetics is an enactment of a mistake and its failed correction.

APA, Harvard, Vancouver, ISO, and other styles

37

Tiffany, Grace. "Shakespeare's Dionysian Prince: Drama, Politics, and the "Athenian" History Play." Renaissance Quarterly 52, no. 2 (1999): 366–83. http://dx.doi.org/10.2307/2902057.

Full text

Abstract:

AbstractThis essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Silenus. Shakespeare was also influenced by the association Symposium makes between Alcibiades and Dionysus, god of wine and of the theater. Conse

APA, Harvard, Vancouver, ISO, and other styles

38

YEATS, E. D. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 63, no. 1 (1985): 183–99. http://dx.doi.org/10.1093/ywes/63.1.183.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

WEIS, R. J. A. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 64, no. 1 (1986): 228–35. http://dx.doi.org/10.1093/ywes/64.1.228.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

SMITH, M. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 66, no. 1 (1988): 241–68. http://dx.doi.org/10.1093/ywes/66.1.241.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Smith, M. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 67, no. 1 (1989): 253–73. http://dx.doi.org/10.1093/ywes/67.1.253.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

JARDINE, M., C. RUTTER, S. CLARK, and M. SMITH. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 68, no. 1 (1990): 256–82. http://dx.doi.org/10.1093/ywes/68.1.256.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

JARDINE, M., C. RUTTER, S. CLARK, and D. LINDLEY. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 69, no. 1 (1991): 250–73. http://dx.doi.org/10.1093/ywes/69.1.250.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

JARDINE, M., C. RUTTER, S. CLARK, and D. LINDLEY. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 70, no. 1 (1992): 287–313. http://dx.doi.org/10.1093/ywes/70.1.287.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

JARDINE, M., C. RUTTER, S. CLARK, and D. LINDLEY. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 71, no. 1 (1993): 297–320. http://dx.doi.org/10.1093/ywes/71.1.297.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

JARDINE, M., C. RUTTER, and S. CLARK. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 72, no. 1 (1993): 182–208. http://dx.doi.org/10.1093/ywes/72.1.182.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

JARDINE, M., C. RUTTER, and S. CLARK. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 73, no. 1 (1995): 207–33. http://dx.doi.org/10.1093/ywes/73.1.207.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

JARDINE, M., S. POYNTING, P. J. SMITH, E. SMITH, S. HAMPTON-REEVES, and J. SANDERS. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 75, no. 1 (1997): 262–88. http://dx.doi.org/10.1093/ywes/75.1.262.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

POYNTING, S., P. J. SMITH, E. SMITH, D. GRANTLEY, and J. SANDERS. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 76, no. 1 (1998): 266–84. http://dx.doi.org/10.1093/ywes/76.1.266.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

POYNTING, S., P. J. SMITH, E. SMITH, D. GRANTLEY, and J. SANDERS. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 77, no. 1 (1999): 317–37. http://dx.doi.org/10.1093/ywes/77.1.317.

Full text

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!