Relevant bibliographies by topics / Influence of William Shakespeare

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Academic literature on the topic 'Influence of William Shakespeare'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Influence of William Shakespeare"

1

Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.

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In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.
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O’Halloran, Meadhbh. "The Medieval World on the Renaissance Stage." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 163–65. http://dx.doi.org/10.33178/boolean.2015.33.

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Christopher Marlowe (1564-1593) was an Elizabethan playwright, poet and translator, and also an exact contemporary of William Shakespeare. Marlowe was the first to develop the blank verse format for which Shakespeare would become famous. Marlowe’s promising career abruptly ended with his sudden, violent death at the age of 29. Soon after, Shakespeare achieved his first successes on the London stage. Understandably, Marlowe’s work has often been considered in relation to his famous successor, and many conspiracy theories propose that Shakespeare was Marlowe. In the popular 1998 film Shakespeare in Love, Shakespeare gets his best lines from Marlowe, and this is how Marlowe is perceived: as Shakespeare’s predecessor and influence, with his own work a secondary consideration. My thesis aims to shift the focus back onto Marlowe’s canon. When his work is studied in its own right, Marlowe ‘s influences are classical texts and contemporary humanist discourse. Instead of studying what ...
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Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare." Theatrical Colloquia 7, no. 2 (December 1, 2017): 213–30. http://dx.doi.org/10.1515/tco-2017-0020.

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Abstract Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragic interaction between Macbeth and time, with all the psychological and physical tensions that derive from there. The main impact of time on Shakespeare’s tragic heroes is achieved by the actual actions of time that exposes and amplifies tragic defects of heroes (in Macbeth’s case - ambition). As in the Renaissance, myths, images and signs were used in poetics and literature to indicate a teaching, a moral, Shakespeare includes in his work symbols taken from the iconography and mythography available at that time, such as time’s tricephalous image around which Macbeth is “shaped”.
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Hatfull, Ronan. "‘That’s One of Mine’." Exchanges: The Interdisciplinary Research Journal 7, no. 3 (June 26, 2020): 45–64. http://dx.doi.org/10.31273/eirj.v7i3.481.

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In televisual representations of William Shakespeare’s life which blend biographical fact with fictionalised fantasy, contemporary writers often utilise the trope of the playwright colliding with characters and scenes recognisable from plays which he has yet to create and, consequently, finding inspiration. Others construct a reciprocal loop of influence, whereby Shakespeare is shown to have written or been informed by works that did not exist during his lifetime and which his plays themselves instigated. It has become fashionable in the metamodern era to depict these forms of metaphorical cannibalism in a parodic manner which oscillates between sarcastic rejection of Bardolatry and sincere appreciation for Shakespeare’s ‘genius’. Gareth Roberts satirised the notion of Shakespeare’s originality in Doctor Who episode The Shakespeare Code (2007), through the depiction of the playwright being fed and consuming his own works and specific references. In 2016, the 400th anniversary year of Shakespeare’s death, a number of commemorative BBC programmes also exhibited cannibalistic features, including the reverent (The Hollow Crown), the irreverent (Cunk on Shakespeare), and those which combined both registers (Upstart Crow). I will explore how these writers construct their portrayals of Shakespeare and, by interlacing fact and fiction, what portrait of the playwright these cannibalistic representations produce.
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Halio, Jay L., and John F. Andrews. "William Shakespeare: His World, His Work, and His Influence." Shakespeare Quarterly 39, no. 1 (1988): 108. http://dx.doi.org/10.2307/2870596.

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Khafaga, Ayman F. "Intertextual Relationships in Literary Genres." International Journal of English Linguistics 10, no. 3 (March 21, 2020): 177. http://dx.doi.org/10.5539/ijel.v10n3p177.

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Most contemporary playwrights acknowledge that Shakespeare’s dramas are for use as raw material to be assimilated into contemporary mould, not to be revered strictly as untouchable museum pieces. Being the model of all dramatists, Shakespeare had a great influence on English theatre, his plays are still performed throughout the world, and all kinds of new, experimental work find inspiration in them. This paper investigates the intertextual relationships between William Shakespeare’s King Lear (1606) and Edward Bond’s Lear (1978). The main objective of the paper is to explore the extent to which Bond manages to use Shakespeare’s King Lear as an intertext to convey his contemporary version of Shakespearean classic. Two research questions are tackled here: first, how does Shakespeare’s King Lear function as a point of departure for Bond’s contemporary version? Second, to what extent does Bond deviate from Shakespeare to prove his originality in Lear? The paper reveals that Bond’s manipulation of intertextuality does not mean that he puts his originality aside. He proves his originality by relating the events of the old story to contemporary issues which in turn makes the story keep pace with modern time.
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Ferdous, Mafruha. "The Values of Masculinity in William Shakespeare’s Macbeth." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 22. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.22.

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The theme of gender plays a vital role in William Shakespeare’s famous political play Macbeth. From the very beginning of the play the dramatist focuses on the importance of masculinity in gaining power and authority. Lady Macbeth along with the three witches are as important characters as Macbeth. Because they influence Macbeth profoundly. And Shakespeare very carefully draws the character of Lady Macbeth who being a female sometimes exhibits more masculinity than Macbeth. Similarly is the case of the three witches. Though they look like women they are also bearded which prove the presence of masculinity in their nature. Throughout the play several times the exposition of masculinity is demanded from the character of Macbeth. So the value of masculinity plays an important part in the drama.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (II) : J. Jurčič, F. Levstik, I. Cankar, O. Župančič, B. Kreft : (the makers of myths)." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 3–48. http://dx.doi.org/10.4312/an.43.1-2.3-48.

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purpose of this study is to explore the influence of William Shakespeare on Slovene playwrights in the period between 1876, which marks the appearance of Jurčič - Levstik's Tugomer, and the 1930s, when Oton Župančič published his tragedy Veronika Deseniška (Veronika of Desenice, 1924) and, a few years later, Bratko Kreft his history, Celjski grofje (The Counts of Celje, 1932). Together with Cankar's works all of the plays discussed in this study deal with one of the well-known Slovene myths. In the previous number of Acta Neophilologica I published my study on the first Slovene tragedy Miss Jenny Love, which was published in Augsburg in 1780.1 The Romantic period, which followed this publication, was in Slovenia and elsewhere in Europe mainly characterized by the appearance of poetry, with a few exceptions of plays which were primarily intended for reading and not for the stage (Closet Drama). Let me mention here that in the Romantic period some of the finest Slovene poetry was written by France Prešeren (1800-1849), and although some of his friends suggested he should also attempt to write a play, his closest achievement to drama was his epic poem Krst pri Savici (Baptism at the Savica River, 1836), which is also often considered by literary historians as a predecessor of later Slovene dramatic literature. Although many Slovene authors who wrote their works in the nineteenth century knew Shakespeare's plays, they still found it easier to express themselves in prose. The first Slovene novel is Josip Jurčič's Deseti brat (The Tenth Brother), which was published in 1866, ten years earlier than his play Tugomer (Tugomer). However,Jurčičʹs tragedy Tugomer was artistically very much improved by the adaptation made by Fran Levstik, whose text has been since considered as the ʺtrueʺ version of this play. Further editions and adaptations of this play definitely prove that several Slovene authors have found the subject-matter of this play worthy of new interpretations. By the end of the nineteenth century the list of Slovene translators of Shakespeareʹs plays (most of them chose only some acts or scenes) was quite long. But it was only in 1899, when Ivan Cankarʹs translation of Hamlet appeared on stage of the Slovene National Theatre in Ljubljana, that a real master of the Slovene language approached one of Shakespeare's plays. Cankar became enthusiastic about Shakespeare's work and this is best seen also in Shakespeare's influence on three plays written by Cankar: Kralj na Betajnovi (The King of Betajnova, 1901), Pohujšanje v dolini Šentflorjanski (Scandal in the Valley of Saint Florian, 1907) and Lepa Vida (Beautiful Vida, 1911). The same kind of "enchantment" caught Oton Župančič, a Slovene poet, translator and dramatist, who had translated by 1924, when his Veronika Deseniška (Veronika of Desenice) appeared, several plays written by Shakespeare. A large number of echoes of Shakespeare's plays can be found in Župančič's play, not to mention the Bard's influence on Župančič's verse and style. Such influence can also be traced in Kreft's play. Many Slovene literary historians and critics mention in their studies Shakespeare's influence on Slovene dramatists but their reports are mainly seminal and rather generalizing. Therefore the purpose of this study is to provide a deeper analytical insight into this topic.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 3–34. http://dx.doi.org/10.4312/an.42.1-2.3-34.

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One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of the story of ''King Lear in Slovene. The Jesuits used Slovene in theatrical performances, which were intended for.the broadest circles of the population. The first complete religious play, written in Slovene, is Škofjeloški pasjon (The Passion Play from Škofja Loka), which was prepared by the Cistercian monk Father Romuald. Since 1721 this play was regularly performed at Škofja Loka for several decades, and at the end of the twentieth century its productions were revived again.In December 2009 two hundred and twenty years will have passed since the first production of Anton Tomaž Linhart's comedy Županova Micka (Molly, the Mayor's Daughter). It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). These comedies represent the climax of Linhart's dramatic endeavours. Linhart's first published play was Miss Jenny Love (1780), which he wrote in German. In the first chapter of my study 1shall discuss the adaptation of Shakespeare's texts for the theatre, which was not practiced only in Austria and Germany, but since the 1660s also in England. Further on I discuss also Linhart's use of language as the "means of communication". In a brief presentation of Linhart's life and his literary creativity I shall suggest some reasons for his views on life, religion and philosophy. They can be seen in his translation of Alexander Pope's "Essay on Man" as well as his appreciation of Scottish poetry. The influence of German playwrights belonging to the Sturm and Drang movement (e.g. G. T. Lessing, J. F. Schiller, F. M. Klinger) has been frequently discussed by Slovene literary historians, and therefore it is mentioned here only in passing. Slovene critics have often ascribed a very important influence of English playwright George Lillo on Linhart' s tragedy Miss Jenny Love, but its echoes are much less visible than the impact of Shakespeare's great tragedies, particularly in the structure, character presentations and the figurative use of language in Linhart's tragedy. 1shall try to prove this influence in the final part of my study.Because my study is oriented towards British and Slovene readers, 1had to include some facts which may be well-known to one group or to another group of readers. Nevertheless I hope that they will all find in it enough evidence to agree with me that Shakespeare's influence on Linhart's play Miss Jenny Love was rather important.
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Kinney, Arthur F. "William Shakespeare: His World, His Work, His Influence John F. Andrews." Huntington Library Quarterly 52, no. 2 (April 1989): 310–12. http://dx.doi.org/10.2307/3817290.

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Dissertations / Theses on the topic "Influence of William Shakespeare"

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Williams, Edwin. "Shaw's "Shakespear": The Influence of William Shakespeare on Bernard Shaw's Dramaturgy." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1163008091.

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Williams, Edwin S. "Shaw's "Shakespear" the influence of William Shakespeare on the dramaturgy of Bernard Shaw /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163008091.

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Gager, Valerie L. "Shakespeare and Dickens : the dynamics of influence /." Cambridge [GB] : Cambridge university press, 1996. http://catalogue.bnf.fr/ark:/12148/cb358673157.

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Texte remanié de: Th. Ph. D.--Birmingham (GB)--Shakespeare institute, University of Birmingham, 1991. Titre de soutenance : "So potent art" : Shakespearean influences upon the works of Charles Dickens.
Contient une liste d'allusions à Shakespeare extraites de l'oeuvre de Dickens. Bibliogr. p.378-409. Index.
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Morton, Charles Douglas Andrew. "The influence of William Shakespeare on the works of Harold Pinter." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7848/.

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This thesis examines the influence that William Shakespeare had on the works of Harold Pinter. This breaks down into three chapters: page, stage and screen. The page section examines Pinter’s early writings about Shakespeare (1950-1956) and the ways in which this influence can be seen in Pinter’s later development as a playwright. The stage chapter considers Pinter’s time at the Royal Shakespeare Company (1962-73) and the role that this played in establishing his reputation as a playwright with particular reference to his collaborations with Peter Hall. The screen section analyses the unproduced screenplay for a film of ‘The Tragedy of King Lear’ that was completed in 2000 and places it in the critical context of ‘King Lear’ on film. Through this, I aim to prove the significant and lasting influence that Shakespeare had on the works of Harold Pinter.
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McGrade, Bernard J. "Grabbe und Shakespeare." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66190.

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Broqua, Vincent. "Ted Hughes lecteur de Shakespeare." Paris 3, 2003. http://www.theses.fr/2003PA030135.

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À partir de documents des archives Hughes à Emory University, cette thèse explore la lecture du poète national britannique par Hughes. Dans son édition de 1949 des œuvres de Shakespeare et dans ses anthologies shakespeariennes, le poète fragmente le texte du Barde. Il tend au contraire à le lire de façon systématique dans ses écrits critiques. La fragmentation et le système forment le paradigme de la lecture de Hughes. Sa lecture systématique alimente ses écrits biographiques où Shakespeare l'aide à relire son mythe personnel et à revenir sur sa carrière de poète. Cependant, les échos shakespeariens constituent une autre manière d'inscrire la présence parfois occulte de Shakespeare dans son texte. De plus, Hughes réinterprète le langage de Shakespeare dans ses blasons, sa poésie de la dissection et dans sa langue contaminatrice et allitérative. Sa confrontation aux textes shakespeariens s'est toute sa vie résumée à une exploration des relations entre les textes poétique et dramatique
Drawing on new evidence from the Ted Hughes archives at Emory University, this dissertation investigates Hughes's reading of the British national poet. In his 1949 edition of Shakespeare's Works and his anthologies of Shakespeare's verse Hughes fragments Shakespeare's text whereas he tends to read it in a systematic way in his criticism. This works as a paradigm in his readings of Shakespeare. His systematic reading permeates his biographical writings where Shakespeare helps him to reread his personal myth and to reassess his poetic career. However, the shakespearian echoes in Hughes's poetry are also a way to reinstate Shakespeare's sometimes occult presence in his text. Moreover, Ted Hughes reinterprets Shakespeare's language in his blazons, his poetry of dissection and, last, in his consonantal language of contamination. His lifelong engagement with Shakespeare's texts tends to a reflection on the interrelations between poetry and drama
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Trocha-Van, Nort Andréa. "De la spontanéité à la règle : le passage à l'esthétique néo-classique dans les adaptations des comédies et des tragi-comédies de Shakespeare à la Restauration anglaise." Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20027.

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A l'époque de la restauration anglaise, les pièces de Shakespeare étaient reprises et adaptées pour le spectateur de ce nouvel âge. Les raisons pour lesquelles on prenait plume pour réécrire l'auteur étaient nombreuses, mais les plus importantes concernaient le manque d'auteurs dramatiques compétents au début de la période et aussi la réputation de Shakespeare qui allait croissant. Les adaptations néo-classiques de ses comédies et tragi-comédies reflétaient peu l'esthétique théâtrale de la renaissance anglaise. Ces productions plus coûteuses à monter mettaient en scène des danses, chants et des masques avec des décors somptueux alors que du vivant de l'auteur les pièces originales étaient représentées sur des scènes rectangulaires quasiment vides qui avançaient vers le milieu de l'audience, ou dans des halles austères des bâtiments d'Etat. La composition du public avait grandement changé après la disparition de Shakespeare, et à partir de 1660, les courtisans de Charles II influaient sur le contenu des pièces. C'est pour cette raison que les adaptateurs de l'auteur visaient à leur plaire. Les adaptateurs étaient : J. Dryden, Sir W. Davenant, J. Lacy, T. Shadwell, T. Durfey, E. Settle, H. Purcell, C. Gildon, G. Granville, J. Dennis, W. Burnaby
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Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare." Caen, 2010. http://www.theses.fr/2010CAEN1587.

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La présente étude tente de montrer que Shakespeare a été influencé par la culture grecque dans Hamlet, Macbeth et King Lear. Au travers de correspondances textuelles et thématiques troublantes, l'auteur cherche à établir qu'il paraît manifeste que Shakespeare ait eu recours à la tragédie grecque dans la composition de ces trois pièces majeures. Néanmoins, comme l'atteste la présente recherche, il ne peut être établi avec certitude que ce dramaturge ait lu Eschyle, Sophocle ou Euripide en grec ou en traduction vernaculaire que ce soit en anglais, en français ou en italien, traductions qui étaient pourtant nombreuses du vivant de Shakespeare. Cette thèse se divise en trois parties principales lesquelles explorent les principaux champs pour lesquels une ressemblance est flagrante avec Shakespeare ce qui amène à penser qu'il aurait pu avoir recours à la tragédie grecque. La première partie explore les moyens par lesquels le dramaturge aurait pu avoir eu connaissance de ces textes (scolarisation, traductions). Dans cette optique, cette partie expose les apports de la Renaissance, notamment dans l'instruction et la transmission des lettres grecques. La deuxième partie rapporte, pour chaque pièce, les correspondances textuelles et thématiques remarquables avec des œuvres littéraires majeures de la Grèce antique, surtout les dramaturges et Homère. La troisième partie se consacre à l'étude de ces héroïnes exceptionnelles que l'on trouve dans ces trois tragédies. Sans établir de portrait psychologique, cette étude cherche à dégager trois fils directeurs qui relient l'héroïne shakespearienne à l'héroïne tragique grecque : la stature de ces femmes, la représentation de la noblesse et l'absence de discours amoureux, thématiques centrales de la tragédie grecque
The main objective of this dissertation is to consider the possibility of a Greek influence, namely mythology and tragedy, on Shakespeare's masterpieces Hamlet, Macbethand KingLear. This study first draws an impartial account of the current knowledge concerning Shakespeare's supposed education and of the major role played by Byzantine scholarship in the rediscovery of Greek texts which led to a huge wave of translations into Latin first and then into the vernaculars. The second part tries to establish textual and thematic correlations between Shakespeare's works and some Attic plays together with the epics of Homer and several other ancient Greek authors by picking passages drawn from both sides and explaining the common point between them. Finally, the third part deals with the place Shakespeare gave his main heroines in these plays, a place which corresponds in some significant aspects to the Greek tragic heroine
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Camard, Christophe. "Les représentations de l'Italie et des Italiens dans le théâtre de William Shakespeare et Ben Jonson." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2004.

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Cette thèse propose d’étudier la place et la portée de l’Italie comme lieu scénique dans les pièces de deux célèbres dramaturges de la période élisabéthaine. L’introduction met en lumière la présence et l’influence de l’Italie durant la période qui précède l’essor du théâtre à Londres, ainsi que l’omniprésence de la péninsule au théâtre entre 1580 et 1620, en particulier chez William Shakespeare. La première partie de l’étude s’attache à mettre en évidence la façon dont le décor italien se met en place et dont se construit la figure de l’Autre sur la scène élisabéthaine. Sur une scène où le décor physique est limité, les procédés de création d’une couleur locale prennent des formes diverses et variées et révèlent la nature de la dualité entre identité et altérité pour le spectateur de la Renaissance anglaise. C’est alors que l’on entrevoit les différences entre la représentation satirique de Ben Jonson et celle de William Shakespeare, dont la vision de l’Italie apparaît bien plus vague, complexe et changeante. La seconde partie de ce travail repose sur l’étude des différents topoï auxquels est liée l’Italie au théâtre. Ces derniers permettent de comprendre que la représentation de la péninsule s’appuie sur un certain nombre de codes en partie attendus du public. Ils démontrent en outre combien l’identité anglaise se construit à la fois à travers le rejet et l’imitation de la patrie de la Renaissance, en un temps où l’Europe est coupée en deux sur le plan politique et religieux
This dissertation proposes the study of the place and significance of Italy as a dramatic setting in the plays of two famous dramatists of the Elizabethan period. The introduction describes the presence and influence of Italy during the period preceding the rise and blossoming of the theatre in London, as well as the omnipresence of the Italian peninsula in drama between1580 and 1620, particularly in that of William Shakespeare. The first part of the study aims to show how the Italian setting is constructed and how the figure of the Other is represented on the Elizabethan stage. In a theatre where the physical décor is limited, the methods for creating local colour take diverse and varied forms and reveal the nature of the duality between identity and otherness for the English Renaissance spectator. This then brings into focus the differences between the satirical representation of Ben Jonson and that of William Shakespeare, whose vision of Italy appears far more vague, complex and mutable. The second part of this work focuses on the study of the different topoi to which Italy is linked in their plays. They reveal the extent to which representation of the Italian peninsula is based on a collection of codes shaped in part by the expectations by the public. Moreover, they demonstrate the importance of the simultaneous rejection and imitation of the homeland of the Renaissance in the construction of English identity,at a time when Europe is divided in two on political and religious grounds
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Lemercier-Goddard, Sophie. "Les plaisirs de la peur : esthétique gothique et fantastique dans le théâtre de Shakespeare." Paris 3, 2003. http://www.theses.fr/2003PA030008.

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Les liens qui se tissent entre Shakespeare et le roman gothique sont à double sens. En invitant Shakespeare dans le paratexte et l'intertexte de leurs récits, les romanciers gothiques revendiquent une caution littéraire et culturelle. La présence tutélaire du dramaturge participe d'un processus de légitimation tandis que le surnaturel shakespearien leur sert de modèle, les uns, comme Radcliffe, s'orientant vers une écriture de la terreur, les autres, comme Lewis, optant pour l'horreur. En échange, les auteurs gothiques mettent en lumière un Shakespeare inhabituel. La récurrence de motifs tels que la belle endormie, l'espace infini, le labyrinthe, le voile, la spectralisation de la femme, montre que l'angoisse dans le théâtre de Shakespeare s'inscrit dans une esthétique que l'on peut à juste titre qualifier de fantastique. Les jeux intertextuels des romans gothiques mettent en scène une écriture palimpsestueuse, où l'espace étranger du texte de Shakespeare devient l'espace de l'étrange
The links between Shakespeare and the Gothic Novel are twofold. The Shakespearean intertext in the novels of Walpole, Radcliffe and Lewis is used as cultural and literary capital : the protective presence of Shakespeare is part of a process of recognition which helped to legitimate Gothic writing as genre. At the same time, Gothic supernatural is modelled on Shakespeare's ghosts. Hamlet defines Radcliffe's use of terror while Macbeth exemplifies male Gothic based on horror. In turn, the gothic novelists' reading of Shakespeare reveals an aesthetic of the fantastic in his plays. Gothic motifs such as the infinite space, the labyrinth, the veil are all to be found in his plays while the key image of the sleeping maiden embraced by Death finds its source in Juliet, Desdemona and Imogen. Intertextuality in the Gothic novel lifts the veil and shows the uncanny in Shakespeare's theatre
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Books on the topic "Influence of William Shakespeare"

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Andrews, John F. William Shakespeare: His world, his work, his influence. New York: Scribner, 1985.

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F, Andrews John. William Shakespeare: His world, his work, his influence. New York: Scribner, 1985.

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William Shakespeare: En man för alla tider. Stockholm: Ordfront, 2006.

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Heiner Müllers Shakespeare-Rezeption: Texte und Kontexte. Frankfurt am Main: P. Lang, 1993.

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Gager, Valerie L. Shakespeare and Dickens: The dynamicsof influence. Cambridge: Cambridge University Press, 1996.

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Shakespeare in French theory: King of shadows. New York: Routledge, 2006.

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Mark Twain and Shakespeare: A cultural legacy. Lanham: University Press of America, 1993.

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Shakespeare and the American musical. Bloomington: Indiana University Press, 2010.

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Shakespeare and Dickens: The dynamics of influence. Cambridge: Cambridge University Press, 1995.

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Miola, Robert S. Shakespeare and classical tragedy: The influence of Seneca. Oxford: Clarendon Press, 1992.

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Book chapters on the topic "Influence of William Shakespeare"

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Höfele, Andreas. "Shakespeare, William." In Englischsprachige Autoren, 240–44. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_89.

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Hamlin, Hannibal. "William Shakespeare." In The Blackwell Companion to the Bible in English Literature, 225–38. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch16.

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Campbell, Gordon. "William Shakespeare." In The Renaissance (1550–1660), 152–87. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20157-0_24.

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Gray, Patrick, and Helen Clifford. "Shakespeare, William." In Encyclopedia of Renaissance Philosophy, 1–8. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-02848-4_538-1.

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Döring, Tobias. "Shakespeare, William." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17020-1.

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Bruce, Susan, and Richard Beynon. "Introduction: The Question of Value." In William Shakespeare, 5–14. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_1.

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Bruce, Susan, and Richard Beynon. "Neo-Classicism." In William Shakespeare, 15–47. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_2.

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Bruce, Susan, and Richard Beynon. "Romanticism." In William Shakespeare, 48–82. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_3.

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Bruce, Susan, and Richard Beynon. "Realism." In William Shakespeare, 83–115. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_4.

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Bruce, Susan, and Richard Beynon. "From Christianity to Chaos." In William Shakespeare, 116–48. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_5.

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Conference papers on the topic "Influence of William Shakespeare"

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Dudalski, Sirlei Santos. "“Você nos livrará da tirania de William Shakespeare?” - Hamlet na HQ Kill Shakespeare." In 1º Congresso Internacional de Intermidialidade 2014. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/phypro-intermidialidade2014-008.

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He, Lan. "On Lin Yutang's Ideas Inspired by William Shakespeare -- Taking The Importance of Living as an Example." In Proceedings of the 2018 4th International Conference on Social Science and Higher Education (ICSSHE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsshe-18.2018.184.

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Gordon, Lucia Castro, Ramiro Delgado, Christian Ubilluz, and Silvana Yacchirema. "Incidence of Flipped Classroom model in the Learning of Differential Calculation in the William Shakespeare School, Quito-Ecuador." In 2020 15th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2020. http://dx.doi.org/10.23919/cisti49556.2020.9141141.

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Parunov, J., and M. Corak. "Influence of Environmental and Operational Uncertainties on Vertical Wave Bending Moments of Containerships." In William Froude Conference: Advances in Theoretical and Applied Hydrodynamics - Past And Future. RINA, 2010. http://dx.doi.org/10.3940/rina.wfa.2010.11.

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Chapchap, A., T. M. Ahmed, D. A. Hudson, P. Temarel, and S. E. Hirdaris. "The Influence of Forward Speed and Nonlinearities on the Dynamic Behaviour of a Container Ship in Regular Waves." In William Froude Conference: Advances in Theoretical and Applied Hydrodynamics - Past And Future. RINA, 2010. http://dx.doi.org/10.3940/rina.wfa.2010.22.

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Rodríguez, Claudio A., Paulo T. T. Esperança, and Mauro C. Oliveira. "Estimation of Roll Damping Coefficients Based on Model Tests Responses of a FPSO in Waves." In ASME 2019 38th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/omae2019-96334.

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Abstract Roll damping estimation is of great concern for the prediction of motions in waves of ship and offshore platforms, especially when viscous effects are relevant. Although this problem dates back to the times of William Froude, it has regained much attention in the context of the development of the second-generation intact stability criteria of ships, especially because there are still not accurate and efficient tools for roll damping prediction. For offshore applications, a common approach for roll damping estimation is to perform roll decay tests with scale models in calm water and then use the resultant values in the roll equation to predict motions in waves. However, for some wave conditions, the damping coefficients obtained from those tests may not be representative of the actual damping in waves. To assess the influence of wave conditions in the roll damping coefficients, the present work proposes a simplified hybrid approach that combines experimental results from model tests with numerical predictions of roll motion in waves. The numerical tool adopted here is based on a frequency domain single-degree-of-freedom model with linearized external damping that includes viscous effects. A series of experimental model tests with a typical FPSO hull in regular and irregular has been analyzed to obtain the roll damping coefficients in waves. These results are compared with those from decay tests in calm-water as well as from semi-empirical predictions based on Ikeda’s method. Despite the linearized assumption, it is expected that the damping coefficients from wave tests provide a more realistic representation of the roll dynamics than those from typical decay tests.
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