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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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Madrid Brito, Débora. "Así Stan Lee como William Shakespeare." Neuróptica, no. 2 (May 17, 2021): 55–74. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025419.
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Resumen: En los años noventa se produce un renovación generacional de cineastas que marcará distancias con sus predecesores. Destacan por la mezcla de referencias audiovisuales de todo tipo alejadas de la literatura, que había sido el modelo predominante hasta el momento y entre las que el cómic tiene una presencia relevante. Este artículo estudia los casos paradigmáticos de Álex de la Iglesia, Óscar Aibar y Javier Fesser analizando sus óperas primas en busca de aquellos elementos que evidencian en sus películas la relación con el ámbito de la historieta.
Abstract: A generational renovation is notable in 90’s Spanish cinema. The new filmmakers make use of a mixture of audiovisual references that move away from the literary model, which had been the main reference for the preceding generation. In this context, comic was one of those cultural manifestation that influenced on filmmaker’s storytelling way in this period. This paper proposes an analysis of the paradigmatic cases of Álex de la Iglesia, Óscar Aibar and Javier Fesser, whose first works show many features that evidence their intertextual relation with comic.
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Ludwig, Carlos Roberto. "Is The Merchant of Venice a Comedy or a Tragicomedy?" Letras de Hoje 56, no. 1 (June 11, 2021): e36937. http://dx.doi.org/10.15448/1984-7726.2021.1.36937.
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This essay aims at discussing some issues in the play The Merchant of Venice, by William Shakespeare. Even though some may assume that the play is a comedy, the problem of its literary genre is a rather problematic issue today. Some critics debate its inclusion in the comedies, because it is not at all a funny play. The label ‘comedy’ did not suggest that it was a funny play in Shakespeare’s age. If some critics think that it is not a funny play, Shakespeare may have designed Shylock as a tragic character. In fact, the play’s effects of Shylock’s energy and tragic dimensions deeply influenced the audience in the moment when it was first staged. This essay first discusses the problem pathos and inwardness in Shylock’s speech. After that, it discusses the issue of literary genre and argues that it should be classified as a tragicomedy.
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Gardner, Viv. "No Flirting with Philistinism: Shakespearean Production at Miss Horniman's Gaiety Theatre." New Theatre Quarterly 14, no. 55 (August 1998): 220–33. http://dx.doi.org/10.1017/s0266464x00012173.
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The first production at Britain's first true repertory theatre – the Gaiety, in Manchester – under Annie Horniman's management was of a Shakespeare play: William Poel's staging of Measure for Measure, analyzed in detail by Richard Foulkes in Theatre Quarterly No. 39 (1981). Yet Miss Horniman's attitude both to Poel's experimental ‘Elizabethanism’ and to subsequent attempts at Shakespeare at the Gaiety remained ambivalent, and influenced by such personal tensions and disagreements as saw off Lewis Casson after his radical and political reading of Julius Caesar, in favour of safer stuff conceived as an alternative to Christmas pantomime. The author, Viv Gardner, teaches in the Drama Department of the University of Manchester: she is a former Book Reviews Editor of NTQ, and currently co-editor of the Women and Theatre papers. Here, she sets Shakespearean production at the Gaiety into the context of Miss Horniman and her colleagues' ambitions for the Gaiety and its intended role in Manchester's civic life.
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Lanza, Tiziana. "Using geosciences and mythology to locate Prospero's island." Geoscience Communication 4, no. 1 (March 17, 2021): 111–27. http://dx.doi.org/10.5194/gc-4-111-2021.
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Abstract. The Tempest, the last work entirely attributed to William Shakespeare, has been subject to many studies and interpretations, ranging from adventure and Shakespeare's biography to colonialism and the cultural revolution, and is studied in this paper in the context of naturally occurring hazards. The play tells the story of a magician, Prospero, and his daughter who are shipwrecked on an unknown island where they encounter strange creatures and beings. But is it a fantastic island or was the author inspired by real places? Literary scholars proposed several hypotheses through the years, based on historical sources. Here, we analyse the play in the light of geosciences and mythology supporting the hypothesis that the playwright was inspired by the Mediterranean. Our goal is not to identify the island but rather to examine the various geographical and philosophical–political factors that may have influenced Shakespeare's literary creation. Nevertheless, some verses in the play suggest volcanism, placing the island in the Sicilian sea. This underlines once again how deep the playwright's knowledge of Italy was. It also suggests that this part of the Mediterranean was known, at the time of Shakespeare, as the theatre of phenomena originated in the volcanism of the area. One implication is that he could have used historical sources, still unknown and precious, to reconstruct geological events that occurred off the Sicilian coast.
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Khan, Amara, Zainab Akram, and Irfan Ullah. "Leo Nikolayevich Tolstoy and the Influence of English Literature." Global Regional Review IV, no. II (June 30, 2019): 536–45. http://dx.doi.org/10.31703/grr.2019(iv-ii).56.
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While Tolstoy is regarded as the greatest writer of global literature and his work being translated into all major languages of the world, his literary relationship with the literature in the English language is largely ignored. The paper explores the influence of the Anglophone scholars and literary figures on the formation of Tolstoy as a great pillar of literature. The paper explores the influence of English and American writers by detailing the contents of his personal library, publications and diary entries. H.D. Thoreau, R.W. Emerson, Longfellow, Mark Twain, Walt Whitman, Laurence Stern, Ernest Miller Hemingway, William Shakespeare, and George Bernard Shaw. His moral rectitude, his love for realism and his humanism find a close connection with the mentioned writers, and the paper details this connection. The paper establishes the position that Tolstoy was a person with the greatest creativity and imagination, he was open to the formative influence and in the process forged his original form of the influence he imbibed in his realistic writings.
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Mousa Ghanim, Fawziya. "The Moor as a Muslim in William Shakespeare’s Othello." European Journal of Social Science Education and Research 5, no. 1 (April 1, 2018): 150–56. http://dx.doi.org/10.2478/ejser-2018-0016.
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Abstract The portrait of Muslim and Islam had an effective impact on the Elizabethan stage. It was dramatized paradoxically at the stage. Mostly , Muslims (Turk, Moors, Arabs and Persian) were represented as outsiders, infidels, lustful, violent people and barbarian. At the same time, they were regarded as a great threat to Europe, particularly after the expanses of Ottoman empire. The alliance of Queen Elizabeth with the Ottoman Empire represented by its Sultan Murad 11 had opened a new era of communication, policies and cultural exchange. The Elizabethan playwrights ' writings and imagination were influenced by the tales and stories that narrated about Muslims and their actions. The stories were narrated by captives, travelers politician and traders. In addition, the Elizabethan people kept the Medieval distorted image towards Muslims' characterization . William Shakespeare(1564-1616) portrayed a controversial image of a Muslim who converted to Christianity in his famous play Othello. The study aims at analyzing the Moor's character as a Muslim and his paradoxical action throughout William Shakespeare's Othello. The paper is divided into three sections; the first one is a brief introduction. It is concentrated on the western perspective of Islam, Prophet Muhammad and the eastern people, the second section deals with the Muslim's visage on Elizabethan stage, the third section discusses the contradicting and paradoxical Islam-Christian image of Othello. The Conclusion sums up to the findings of the paper.
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Wolkenfeld, Stefan. "Über die verschollenen geglaubte Schauspielmusik zu Shakespeare "Othello" von August Wilhelm Ambros." Die Musikforschung 60, no. 1 (September 22, 2021): 21–30. http://dx.doi.org/10.52412/mf.2007.h1.520.
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Der Musikwissenschaftler August Wilhelm Ambros (1816-1876) spielte als Feuilletonist und Komponist im Prager Musikleben der 1840er Jahre eine wichtige Rolle. Seine 1848 komponierte Schauspielmusik zu William Shakespeares "Othello" (die in Prag zahlreiche Aufführungen erlebte) wurde nie publiziert und galt als verschollen. Diese Ansicht muss revidiert werden. Das Autograph der Komposition befindet sich seit 1939 unbeachtet im Besitz der Österreichischen Nationalbibliothek. Die erste Sichtung ergab folgenden Befund: Ambros hat sich an dem für eine Schauspielmusik üblichen Modell orientiert. Neben Ouvertüre und Finale besteht die Komposition aus mehreren Zwischenaktmusiken, die durch die Handlung des Dramas miteinander verknüpft sind. Stilistisch orientiert sich die Komposition an den Werken Felix Mendelssohn Bartholdys und Robert Schumanns, die für den Prager Davidsbündler Ambros als wichtige Vorbilder fungierten. Durch die Entdeckung der Schauspielmusik zu "Othello" lässt sich diese immer wieder betonte Nähe nun an einem größeren Werk untersuchen.
The musicologist August Wilhelm Ambros (1816-1876) played an important role as feature writer and composer in the musical life of Prague during the 1840s. In 1848 he composed an incidental music for William Shakespeare's drama "Othello" which was performed in Prague for several times, but never was published. It has been considered to be lost, what has to be revised. The autograph of the composition is owned by the Austrian National Library since 1939, but has met with no response so far. The results of a first investigation are: the music to the drama "Othello" does not diverge from the common patterns of this genre. It consists an overture, a finale and some intermission music. Its style is affected, like most of Ambros' other compositions, by Robert Schumann and Felix Mendelssohn Bartholdy. The recovering of this composition now allows to research this influence on a larger opus.
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Kumari, Suruchi, and Ashish Alexander. "THEOLOGY AND ENGLISH LITERATURE: FROM CHRISTOPHER MARLOWE TO ALEXANDER POPE." Humanities & Social Sciences Reviews 5, no. 2 (July 12, 2017): 82. http://dx.doi.org/10.18510/hssr.2017.523.
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Generally, it is not obvious to people that theology has contributed a lot in the formation of English literature. So, this paper tries to picture and convince how the writings of English Literature writers have impacts and influences in themselves from the biblical theology. Writers like William Shakespeare uses the theology of grace in his play All’s Well That’s End Well. John Milton pens theology of Freedom of Choice.John Donne writes Trinitarian Theology. Christopher Marlowe shows the theology of Doctor Faustus, which shines under the title like purgatory the highest junction. Alexander Pope reflects the theology of participation in self Salvation and shows theodicy in his work. Theology and English literature go together. They are inseparable. Theology is interwoven in English Literature. It appears convincingly that William Shakespeare, John Milton, John Donne, Christopher Marlowe, and Alexander Pope have sufficiently left grains in their writings which compel to justify the significance of theology in English Literature.Thus, a high degree of significance the biblical theology immerges within the arena of English Literature which may be taught to the English literature readers with a well stuff of biblical theology which is very much beneficial for the understanding of English literature knowers.
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Kumari, Suruchi, and Ashish Alexander. "THEOLOGY AND ENGLISH LITERATURE: FROM CHRISTOPHER MARLOWE TO ALEXANDER POPE." Humanities & Social Sciences Reviews 5, no. 2 (February 5, 2018): 82–87. http://dx.doi.org/10.18510/hssr.2018.523a.
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Generally, it is not obvious to people that theology has contributed a lot in the formation of English literature. So, this paper tries to picture and convince how the writings of English Literature writers have impacts and influences in themselves from the biblical theology. Writers like William Shakespeare uses the theology of grace in his play All’s Well that’s End Well. John Milton pens theology of Freedom of Choice. John Donne writes Trinitarian Theology.
Christopher Marlowe shows the theology of Doctor Faustus, which shines under the title like purgatory the highest junction. Alexander Pope reflects the theology of participation in self Salvation and shows theodicy in his work. Theology and English literature go together.
They are inseparable. Theology is interwoven in English Literature. It appears convincingly that William Shakespeare, John Milton, John Donne, Christopher Marlowe, and Alexander Pope have sufficiently left grains in their writings which compel to justify the significance of theology in English Literature. Thus, a high degree of significance the biblical theology immerges within the arena of English Literature which may be taught to the English literature readers with a well stuff of biblical theology which is very much beneficial for the understanding of English literature knower.
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Johanyak. "Shifting Religious Identities and Sharia in Othello." Religions 10, no. 10 (October 20, 2019): 587. http://dx.doi.org/10.3390/rel10100587.
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Despite twenty-first century research advances regarding the role of Islam in Shakespeare’s plays, questions remain concerning the extent of William Shakespeare’s knowledge of Muslim culture and his use of that knowledge in writing Othello. I suggest that the playwright had access to numerous sources that informed his depiction of Othello as a man divided between Christian faith and Islamic duty, a division which resulted in the Moor’s destruction. Sharia, a code of moral and legal conduct for Muslims based on the Qur’an’s teachings, appears to be a guiding force in Othello’s ultimate quest for honor. The advance of the Ottoman Empire into Europe with the threat of conquest and forced conversion to Islam was a source of fascination and fear to Elizabethan audiences. Yet, as knowledge increased, so did tolerance to a certain degree. But the defining line between Christian and Muslim remained a firm one that could not be breached without risking the loss of personal identity and spiritual sanctity. Denizens of the Middle East and followers of the Islamic faith, as well as travel encounters between eastern and western cultures, influenced Shakespeare’s treatment of this theme. His play Othello is possibly the only drama of this time period to feature a Moor protagonist who wavers between Christian and Muslim beliefs. To better understand the impetus for Othello’s murder of his wife, the influence of Islamic culture is considered, and in particular, the system of Sharia that governs social, political, and religious conventions of Muslim life, as well as Othello’s conflicting loyalties between Islam as the religion of his youth, and Christianity, the faith to which he had been converted. From Act I celebrating his marriage through Act V recording his death, Othello is overshadowed by fears of who he really is—uncertainty bred of his conversion to Christian faith and his potential to revert to Islamic duty. Without indicating Sharia directly, Shakespeare hints at its subtle influence as Othello struggles between two faiths and two theologies. In killing Desdemona and orchestrating Michael Cassio’s death in response to their alleged adultery, Othello obeys the Old Testament injunction for personal sanctification. But in reverting to Muslim beliefs, he attempts to follow potential Sharia influence to reclaim personal and societal honor.
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Wojciechowski, Paweł. "Symbolic and philosophical similarities between Jan Kasprowicz’s and Janis Rainis’ poetry." Świat i Słowo 35, no. 2 (November 26, 2020): 213–24. http://dx.doi.org/10.5604/01.3001.0014.5473.
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The text Symbolic and philosophical similarities between Jan Kasprowicz’s and Janis Rainis’ poetry presents the figure of Kasprowicz – a great Polish modernist, and Rainis – a Latvian poet and playwright, a man of the theater, author of numerous works for children and a recognized translator of the works of William Shakespeare, Friedrich Schiller, Johann Wolfgang von Goethe, George Gordon Byron, and Aleksander Pushkin. The analysis is directed toward the lyrical work of the Latvian and the Polish poet, emphasizing its symptomatic symbolism and philosophical influences (Blaise Pascal, Arthur Schopenhauer, Friedrich Nietzsche, Henri Bergson) present in the phenomena of nature and love.
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Cetera-Włodarczyk, Anna, and Jarosław Włodarczyk. "„Niech się połączą niebiosa i ziemia…”: w poszukiwaniu (nowej) astronomii w Antoniuszu i Kleopatrze Williama Shakespeare’a." Poznańskie Studia Polonistyczne. Seria Literacka, no. 31 (January 2, 2018): 23–46. http://dx.doi.org/10.14746/pspsl.2017.31.1.
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Shakespeare appears to be one of the most intensely studied authors exemplifying mutual influence of literature and science. Significantly enough, astronomical references deserve a particular attention due to the spectacular change of paradigm resulting from the replacement of the concept of the geocentric cosmos with the concept of the heliocentric universe. Starting from some general remarks concerning the methodological assumptions of such analyses and the specificity of Shakespeare canon, the paper offers an in-depth study of Anthony and Cleopatra as one of the most representative plays with regard to the number, suggestiveness and interpretative potential of astronomical references. The paper exemplifies the way in which the play combines traditional astronomical and astrological allusions with some unconventional images, usually featuring imaginative hyperboles, which inscribe the fate and feelings of the characters into a cosmic framework. These references repeatedly trigger some fascinating and yet risky interpretations which strive to present Shakespeare as part of the scientific revolution of the age. Refraining from any value judgment, the paper highlights the overall importance of reading Renaissance literature, and Shakespeare in particular, against the background of the history of science in a way which allows for precise identification of contemporary sources of astronomical knowledge as well as for the reconstruction of the actual paths of dissemination of such ideas.
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Atroch, Daniel Cavalcanti. "A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 100. http://dx.doi.org/10.17851/2358-9787.30.2.100-120.
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Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.
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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.
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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.
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Milward, Peter. "‘The Eye of the Typhoon’: Shakespeare and the Religious Controversies of his Time." Recusant History 29, no. 4 (October 2009): 449–58. http://dx.doi.org/10.1017/s0034193200012358.
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In between those two great humanist lawyers and lord chancellors, Sir Thomas More and Sir Francis Bacon, it may be maintained without undue exaggeration that there is a wide gap, even a yawning chasm, in the understanding of all too many scholars concerning the intellectual history of what has come to be known as ‘Early Modern England’. When we ask whose were the main intellectual and spiritual influences on the minds of Englishmen during the period, the names commonly offered for consideration are mostly those of foreigners such as Machiavelli and Montaigne, Erasmus and Rabelais, Luther and Calvin—if in English translation. Closer to home may be added the names of More himself, his adversary William Tyndale, John Foxe with his Book of Martyrs, and Richard Hooker with his Laws of Ecclesiastical Polity.
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Ford, Sean. "Authors, Speakers, Readers in a Trio of Sea-Pieces in Herman Melville's John Marr and Other Sailors." Nineteenth-Century Literature 67, no. 2 (September 1, 2012): 234–58. http://dx.doi.org/10.1525/ncl.2012.67.2.234.
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Much recent interest in Herman Melville's poetry involves reassessing its position both within the Melville canon and within or against various literary traditions. This essay considers the range of stances, speakers, and personae in John Marr and Other Sailors With Some Sea-Pieces (1888) and its resonances of past works as evidence that Melville is more committed to a public audience and less oppositional or adversarial to established traditions than a number of scholars have proposed. A study of topical and rhetorical interdependencies in a sequence of poems in the volume uncovers dynamic affinities, whether by direct influence or otherwise, with William Shakespeare, Samuel Taylor Coleridge, Alfred Tennyson, and Walt Whitman, participants in Melville's own recurring urge to tell of things that cannot be told. Through a communion of voices, “The Æolian Harp,” “To the Master of the ‘Meteor,’” and “Far Off-Shore” display varying and alternating expressions of this urge as part of a rhetorical project that invites readers to interact and ultimately acquiesce in essential limits of accessing and telling the truth.
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Geng, Zhao, Tom Cheesman, Robert S. Laramee, Kevin Flanagan, and Stephan Thiel. "ShakerVis: Visual analysis of segment variation of German translations of Shakespeare’s Othello." Information Visualization 14, no. 4 (July 23, 2013): 273–88. http://dx.doi.org/10.1177/1473871613495845.
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William Shakespeare is one of the world’s greatest writers. His plays have been translated into every major living language. In some languages, his plays have been retranslated many times. These translations and retranslations have evolved for about 250 years. Studying variations in translations of world cultural heritage texts is of cross-cultural interest for arts and humanities researchers. The variations between retranslations are due to numerous factors, including the differing purposes of translations, genetic relations, cultural and intercultural influences, rivalry between translators and their varying competence. A team of Digital Humanities researchers has collected an experimental corpus of 55 different German retranslations of Shakespeare’s play, Othello. The retranslations date between 1766 and 2010. A sub-corpus of 32 retranslations has been prepared as a digital parallel corpus. We would like to develop methods of exploring patterns in variation between different translations. In this article, we develop an interactive focus + context visualization system to present, analyse and explore variation at the level of user-defined segments. From our visualization, we are able to obtain an overview of the relationships of similarity between parallel segments in different versions. We can uncover clusters and outliers at various scales, and a linked focus view allows us to further explore the textual details behind these findings. The domain experts who are studying this topic evaluate our visualizations, and we report their feedback. Our system helps them better understand the relationships between different German retranslations of Othello and derive some insight.
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Mozharivska, Iryna. "Intertextuality and intermediality of modern drama-parable (based on play “The academy of laugh” by Koki Mitany)." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 63–70. http://dx.doi.org/10.28925/2412-2475.2020.15.10.
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The article deals with the problem of finding the manifestations of intertextual reminisces in theEnglish drama of the Renaissance in the context of contemporary drama-parable consideration. In the process of analysing the play, the author draws attention to the context of intermedial connections of literature with theatrical art, considers the implementation of the principle of “game in play”, traces the manifistations of intercultural interaction between Eastern and Western culture. The events in the drama take place against a backdrop of complex historical events — The Japan-China War. The work contains references to the intertextual elements of the dramatic works of the English playwright William Shakespeare (the tragedies “Romeo and Juliet”, “Hamlet” and “Magbeth”. The comic interpretation of the play is a juxtaposition of cultures and literary genres. The author applies the concept «the theatre in the theatre», structures the work minimally through dialogue between the author and the censor. Intermediality acts as a system of interaction of one kind of art in the works of another and reveals mechanisms of mutual influence of kinds of art in the artistic culture of this or that historical period.
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Javidshad, Mahdi. "Individualization and Oedipalization in Reza Servati’s Adaptation of William Shakespeare’s Macbeth: An Expressionist Reworking." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 127–42. http://dx.doi.org/10.18778/2083-8530.23.08.
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This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological complexities of the characters. Second, it is discussed how Servati’s changes to the source text takes the Renaissance inclination for individualism a step forward. Third, it is argued that the individualism in Servati’s adaptation is aimed at Oedipalization of the play, an attempt that shows the influence of Freudian psychoanalysis. Finally, this article investigates the way Servati’s adaptation can be considered as an expressionist reworking of Shakespeare’s Macbeth by making the individualization of the plot subservient to the expression of the typical course that everyman goes through.
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Lopes, Sofia. ""A Document in Madness": A study on the insanity of Shakespeare's Ophelia." Palíndromo 12, no. 27 (May 1, 2020): 298–309. http://dx.doi.org/10.5965/2175234612272020298.
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The chief aim of this paper is to analyse the character of Ophelia, from William Shakespeare's Hamlet. By investigating the elements in the play that are most significant to her character, this study seeks to assess the factors that, woven together, culminated into her madness. The main aspects to be studied are the characters that are closest to her, such as Polonius, Laertes and Hamlet, the challenges of her role as a woman, a daughter and a potential lover, and the abiding influence of the late King Hamlet in the play’s events.
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Palomo Berjaga, Vanessa. "Translations and original." Babel. Revue internationale de la traduction / International Journal of Translation 66, no. 6 (November 30, 2020): 973–98. http://dx.doi.org/10.1075/babel.00200.ber.
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Abstract In 1989 and 1990, Kitty van Leuven-Zwart published two articles on the similarities and dissimilarities between a translation and its original. My research is based on a classification model which derives primarily from Van Leuven-Zwart’s comparative method, although I also work with concepts from other authors. The major difference to Van Leuven-Zwart’s research is that the main aim of the model I propose is not to indicate the differences between a translation and the original, but to detect whether previous translations have had any influence upon the studied translation. The goal of this article is to demonstrate the effectiveness of the shift approach to find out the relationship between different translations. I explain and illustrate the classification model by comparing the Catalan translation of William Shakespeare’s Macbeth by Josep M. de Sagarra (1959) with previous French, Spanish and Catalan translations in order to ascertain whether these texts had any influence upon Sagarra’s translation.
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Sharma, Ansh. "The Evolution of Man: Studying Sri Aurobindo's Dramatic Ouevre." SMART MOVES JOURNAL IJELLH 8, no. 9 (September 17, 2020): 39–53. http://dx.doi.org/10.24113/ijellh.v8i9.10752.
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Sri Aurobindo wrote around eleven verse plays, much in the tradition of the Elizabethan poetic plays. Many similarities and equally numbered distinctions may be traced midst the dramatic output of William Shakespeare and Sri Aurobindo. However, of the eleven plays only five plays are complete, in that they have a five act structure, namely- Viziers of Bassora, Eric, Rodogune, Perseus: The Deliverer and Vasavadutta. The genealogy of all these plays may be traced to the legends or myths, of the various ancient cultures which populated the world and shaped its history. Irrespective of their different myths of origin, Sri Aurobindo, much like Shakespeare employs these stories only as the raw clay, while he mould the statue out of it, according to his own vision, that is the Evolution of Man.
An analysis of Sri Aurobindo’s plays elucidates the unparalleled range and vision to which his plays bear testimony. The notable feature of Sri Aurobindo’s plays is that they portray diverse cultures and nations in different aeons, populated with an array of characters, moods and sentiments.
Sri Aurobindo spent almost all his growing years in England, studying English and other classical literatures and the impact of this reading is discernible in his plays. He seems to be particularly impressed by the Elizabethan drama and employs its technique in matters of plot construction and characterisation. He is said to have perfected the English blank verse which he deftly displays in the dialogues of his characters. His plays can thus be said to be a unique blend of the Sanskrit and Western philosophical and aesthetic theories as the plot, the climax, the progression and the theme is unmistakably Indian. He seems to have been influenced by the Sanskrit playwrights like Bhasa, Kalidas and Bhavabhuti and all five plays are imbued with the poetry and romance which is similar in spirit and flavour of the distinctive dramatic type which was the signature style of Bhasa, Kalidas and Bhavabhuti, and simultaneously preserve the Aurobindonian undertones. The paper attempts to elucidate the ‘Evolution of Man’ which Sri Aurobindo mounts through his plays.
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MacDonald, Ronald R., and Terry Eagleton. "William Shakespeare." Shakespeare Quarterly 37, no. 4 (1986): 532. http://dx.doi.org/10.2307/2870694.
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Ha, Sha. "Plague and Literature in Western Europe, from Giovanni Boccaccio to Albert Camus." International Journal of Comparative Literature and Translation Studies 9, no. 3 (August 25, 2021): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.3p.1.
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In medieval times the plague hit Europe between 1330 and 1350. The Italian novelist Giovanni Boccaccio, one of the exponents of the cultural movement of Humanism, in the introduction (proem) of his “Decameron” described the devastating effects of the ‘black plague’ on the inhabitants of the city of Florence. The pestilence returned to Western Europe in several waves, between the 16th and 17th centuries. William Shakespeare in “Romeo and Juliet” and other tragedies, and Ben Jonson in “The Alchemist” made several references to the plague, but they did not offer any realistic description of that infective disease. Some decennials later Daniel Defoe, in his “A Journal of the Plague Year” (1719), gave a detailed report about the ‘Great Plague’ which hit England in 1660, based on documents of the epoch. In more recent times, Thomas S. Eliot, composing his poem “The Waste Land” was undoubtedly influenced by the spreading of another infective disease, the so-called “Spanish flu”, which affected him and his wife in December 1918. Some decennials later, the French writer and philosopher Albert Camus, in his novel “The Plague”, symbolized with a plague epidemic the war which devastated Europe, North Africa and the Far East from 1937 to 1945, extolling a death toll of over 50 million victims. Those literary works offered a sort of solace to the lovers of literature. To recall them is the purpose of the present paper, in these years afflicted by the spreading of the Covid-19 Pandemic.
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Román, David. "Hamlet by William Shakespeare, and: Hamlet by William Shakespeare." Theatre Journal 70, no. 4 (2018): 563–68. http://dx.doi.org/10.1353/tj.2018.0113.
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Kurjak, Asim, and Ana Tripalo. "The facts and doubts about beginning of the human life and personality." Bosnian Journal of Basic Medical Sciences 4, no. 1 (February 20, 2004): 5–14. http://dx.doi.org/10.17305/bjbms.2004.3453.
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“What a piece of work is a man!” William Shakespeare, Hamlet“To those of average curiosity about the wonders of nature, it is likely that two great mysteries have stirred the imagination; and each concerns a birth. Who has not gazed into the heavens on the starlit night and wondered about the birth of the universe? And who has not been stimulated by the sight of the newly born baby to the marvel at the unseen events within the mother’s uterus that have led to the birth of such a perfect creation?”(1) These words written by the Professor Sir Graham (Mont) Liggins open Pandora’s box of questions, dilemmas, doubts and controversies about human life and its beginning offering everybody lifelong challenge to solve mystery of life.Entering this filed scientists have been remiss in failing to translate science into the terms that allow mankind to share their excitement of discovering life before birth. Regardless to remarkable scientific development, curiosity, and speculations dating back to Hippocrates, life before birth still remains a big secret. Different kinds of intellectuals involved themselves trying to contribute to the solution of human life puzzle. They are led by the idea that each newborn child will only reach its full potential if its development in uterus is free from any adverse influence, providing the best possible environment for the embryo/foetus. Considering embryo/foetus, it should be always kept in mind amazing aspect of these parts of human life in which the mother and the embryo/foetus, although locked in the most intimate relationships, are at ALL TIMES two separate people. Accepting embryo/foetus as the person opened new set of questions about its personality and human rights. Today, synthesis between scientific data and hypotheses, philosophical thought, and issues in the humanities, has become pressing necessity in order to deal with ethical, juridical and social problems arising from man’s interference in many aspects and stages of life. (2)
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Jackson, Russell. "Review: Book: William Shakespeare, Shakespeare, Shakespeare: A Writer's Progress." Cahiers Élisabéthains: A Journal of English Renaissance Studies 34, no. 1 (October 1988): 127–31. http://dx.doi.org/10.1177/018476788803400133.
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Miles, John. "William Shakespeare: Complete Works (The RSC Shakespeare)." English Studies 90, no. 6 (December 2009): 739–40. http://dx.doi.org/10.1080/00138380903181684.
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Sincox, Bailey. "Hamlet by William Shakespeare, and: A Midsummer Night's Dream. by William Shakespeare, and: Much Ado About Nothing by William Shakespeare, and: Romeo and Juliet by William Shakespeare." Shakespeare Bulletin 37, no. 2 (2019): 305–8. http://dx.doi.org/10.1353/shb.2019.0028.
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Roberts, Jeanne Addison, and Terence Hawkes. "William Shakespeare: King Lear." Shakespeare Quarterly 49, no. 2 (1998): 217. http://dx.doi.org/10.2307/2902306.
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Winter, Jonah. "Homage to William Shakespeare." Antioch Review 49, no. 2 (1991): 244. http://dx.doi.org/10.2307/4612361.
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Nestrovski, Sofia. "William Wordsworth – Sobre Shakespeare." Discurso 47, no. 1 (June 28, 2017): 481–84. http://dx.doi.org/10.11606/issn.2318-8863.discurso.2017.134102.
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Da Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)." Boletim da Biblioteca da Universidade de Coimbra, no. 46/47 (December 22, 2016): 305–17. http://dx.doi.org/10.14195/1647-8436_46_47_20.
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Da Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)." Boletim da Biblioteca Geral da Universidade de Coimbra, no. 46/47 (December 22, 2016): 305–17. http://dx.doi.org/10.14195/2184-7681_46_47_20.
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Glynn, Dominic. "Macbeth by William Shakespeare." Theatre Journal 67, no. 1 (2015): 115–17. http://dx.doi.org/10.1353/tj.2015.0007.
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Schvey, Henry I. "Othello by William Shakespeare." Theatre Journal 68, no. 2 (2016): 292–95. http://dx.doi.org/10.1353/tj.2016.0057.
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Lichtenberg, Drew. "Coriolanus by William Shakespeare." Theatre Journal 71, no. 3 (2019): 373–76. http://dx.doi.org/10.1353/tj.2019.0056.
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Sierra, Horacio. "Macbeth by William Shakespeare." Theatre Journal 71, no. 4 (2019): 517–20. http://dx.doi.org/10.1353/tj.2019.0119.
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Coats, Karen. "Macbeth by William Shakespeare." Bulletin of the Center for Children's Books 68, no. 8 (2015): 419–20. http://dx.doi.org/10.1353/bcc.2015.0271.
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Nelson, Alan H., and Paul H. Altrocchi. "William Shakespeare, “Our Roscius”." Shakespeare Quarterly 60, no. 4 (2009): 460–69. http://dx.doi.org/10.1353/shq.0.0097.
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