Relevant bibliographies by topics / Julius Caesar (Shakespeare)

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

Academic literature on the topic 'Julius Caesar (Shakespeare)'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Julius Caesar (Shakespeare)"

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Hunt, Maurice. "Jonson vs. Shakespeare: The Roman Plays." Ben Jonson Journal 23, no. 1 (2016): 75–100. http://dx.doi.org/10.3366/bjj.2016.0153.

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Critics rarely bring Ben Jonson's two Roman tragedies – Sejanus and Catiline – into proximity with Shakespeare's four Roman tragedies – Titus Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus. Yet doing so in terms of some dramatic features they share illuminates qualities of these plays not easily discernible by other approaches to them. This is especially the case when one adds Shakespeare's tragicomedy Cymbeline to this grouping. Establishing metaphysical perspectives based on ironic Christian allusions in all but one of Shakespeare's Roman plays throws into relief a Catholic dimension of Sejanus and religious dynamics of Catiline more involved in this tragedy than previous critics have realized. Bringing Jonson's and Shakespeare's Roman drama into mutual play also focuses the homeopathic, neo-Aristotelian catharsis of Coriolanus by reference to those in Sejanus and Catiline, as well as the dangerous position of historians and poets in Roman society, as evidenced by the fates of Cordus in Sejanus and Cinna in Julius Caesar. The perceived bad verse of the latter writer clinches judgment against him, even as the vile rhymes of the nameless poet in Julius Caesar disqualifies him from forging amity between Cassius and Brutus. Analysis of the complexity of the most complicated character in Jonson's and Shakespeare's tragedies, respectively Brutus and the Cicero of Catiline, reveals that Jonson's orator combines traits identified with three characters of Julius Caesar: Cassius's capacity for cunning practices, Antony's oratorical eloquence, and Brutus's tragically unrealistic, naïve thinking. This inquiry thus suggests something rarely said of Jonson's tragedies: that he was capable of giving a character in tragedy complexity if not equal to that produced by Shakespeare, yet nevertheless approaching it.
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Guéron, Claire. "Forgetful Audiences in Julius Caesar." Actes des congrès de la Société française Shakespeare, no. 30 (April 1, 2013): 197–208. http://dx.doi.org/10.4000/shakespeare.1959.

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Bogdańska, Olga, Verónica D’Auria, Coen Heijes, and Xenia Georgopoulou. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 133–52. http://dx.doi.org/10.2478/mstap-2013-0010.

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The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland 
 Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay
 Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada
 Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company
 A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece
 Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greece
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Nurmalasari, Muharrani, and Ruly Adha. "SUPERNATURALISM AND MYSTICISM IN WILLIAM SHAKESPEARE’S PLAY HAMLET." JL3T ( Journal of Linguistics Literature and Language Teaching) 2, no. 2 (2017): 67–85. http://dx.doi.org/10.32505/jl3t.v2i2.15.

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William Shakespeare is the greatest dramatist in the world. He has produced a lot of literary works especially play or drama. Some of his plays still exist until now such as Julius Caesar, Hamlet, The Merchant of Venice, etc. Even, one of his plays Romeo and Juliet has been translated into several languages in the world. He produces two types of plays, namely comedy which usually talks about love and tragedy which talks about sadness. In tragedy plays, Shakespeare always puts supernatural and mystical elements such as in Julius Caesar, Macbeth, Hamlet, etc. The supernatural and mysticism elements are usually marked by the appearance of apparition, witch, fairy, etc, and the elements can determine the fate of main characters. This article tries to describe how Shakespeare puts supernatural and mystical elements in one of his tragedy plays Hamlet.
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Charney, Maurice. "Brutus’s dog-eared book in Julius Caesar." Actes des congrès de la Société française Shakespeare, no. 14 (November 1, 1996): 139–50. http://dx.doi.org/10.4000/shakespeare.979.

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Eisenmann, Maria. "Shakespeares Hamlet im Englischuntericht der gymnasialen Oberstufe." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (2007): 107–25. http://dx.doi.org/10.33178/scenario.1.1.6.

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Literarische Texte werden heute nicht mehr als selbstverständlich im Sprachunterricht akzeptiert. Gerade Shakespeare im Englischunterricht ist seit Jahrzehnten eines der umstrittensten didaktischen Themen. Die bei manchen bis heute fraglos akzeptierte „schönste Pflicht“ der Shakespeare-Lektüre auf der einen Seite und die wiederkehrende provozierende Frage „Warum gerade Shakespeare?“ auf der anderen Seite markieren die extremen Positionen gegenüber dem Stellenwert Shakespeares in den Lehrplänen der Bundesländer. Wie die meisten Untersuchungen bestätigen, sind die verbreitetsten Shakespeare-Lektüren nach wie vor Macbeth und Julius Caesar. Erst mit großem Abstand folgen die anderen großen Tragödien wie z.B. Hamlet. Vgl. Ungerer 1982: 220. Doch gerade Hamlet, das zu den meist gespielten Dramen auf deutschen Bühnen gehört, ist nicht einfach ein beliebiges klassisches Stück - es ist der Klassiker par excellence und sollte nicht nur deshalb einen viel bedeutenderen Stellenwert im Englischunterricht heute einnehmen. Literarische Texte werden heute nicht mehr als selbstverständlich im Sprachunterricht akzeptiert. Gerade Shakespeare im Englischunterricht ist seit Jahrzehnten eines der umstrittensten didaktischen Themen. Die bei manchen bis heute fraglos akzeptierte „schönste Pflicht“ der Shakespeare-Lektüre auf der einen Seite und die wiederkehrende provozierende Frage „Warum gerade Shakespeare?“ auf der anderen Seite markieren die extremen Positionen gegenüber dem Stellenwert Shakespeares in den Lehrplänen der Bundesländer. Wie die meisten Untersuchungen bestätigen, sind die verbreitetsten Shakespeare-Lektüren nach wie vor Macbeth und Julius Caesar. Erst mit großem Abstand folgen die anderen großen Tragödien wie z.B. Hamlet. Vgl. Ungerer 1982: 220. Doch gerade Hamlet, das zu den meist gespielten Dramen auf deutschen Bühnen gehört, ist nicht einfach ein beliebiges klassisches Stück - es ist der Klassiker par excellence und sollte nicht nur deshalb einen viel bedeutenderen Stellenwert im Englischunterricht heute einnehmen.
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Koketso, Daniel. "Shakespeare and Botswana Politics in 2014." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (2018): 66–78. http://dx.doi.org/10.32642/julace.v3i1.1376.

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Shakespeare’s influence cannot be confined by subject, theme, spatial and/or temporal setting. His works transcend disciplines and geographical identity. He is a linguist, a psychiatrist, ecologist and a political, social and economic commentator. Three thousand new words and phrases all first appeared in print in Shakespeare’s plays. Through Shylock’s resolve on three thousand ducats repayment, readers of The Merchant of Venice learn about the dangers of a cash nexus on human relations. The major tragedies and tragicomedies impart knowledge about politics at both national and family levels. Julius Caesar; Macbeth; King Lear; Othello, and Romeo and Juliet each touches on the important aspect of power dynamics in the private and public spheres. This paper considers some of the major political events in the build-up to the 2014 Botswana general elections and compares them to Shakespeare’s political intrigue in Julius Caesar. The paper concludes that there is credibility in Oscar Wilde’s argument in his 1889 essay ‘The Decay of Lying,’ that "Life imitates Art far more than Art imitates Life" (Wilde, 1889, p. 11).
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Tavares, Elizabeth E. "Julius Caesar by Back Room Shakespeare Project." Shakespeare Bulletin 32, no. 4 (2014): 756–60. http://dx.doi.org/10.1353/shb.2014.0058.

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Gallimore, Daniel. "Four-Character Idioms and the Rhetoric of Japanese Shakespeare Translation." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (2021): 13–41. http://dx.doi.org/10.18778/2083-8530.23.02.

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Yoji jukugo are idioms comprised of four characters (kanji) that can be used to enhance the textuality of a Japanese Shakespeare translation, whether in response to Shakespeare’s rhetoric or as compensation for the tendency of translation to be carried out at a lower textual register than the source. This article examines their use in two translations each of Julius Caesar by Matsuoka Kazuko (2014) and Fukuda Tsuneari (1960) and of The Merry Wives of Windsor by Matsuoka (2001) and Odashima Yūshi (1983); in both cases Matsuoka uses significantly more yoji jukugo than her predecessors. In the Julius Caesar translations their usage is noticeable in the set speeches by Antony and Brutus in 3.2, and commonly denote baseness or barbarity. In the Merry Wives translations they commonly denote dissolute behaviour, often for comic effect, and can even be used malapropistically in the target language.
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Wyke, Maria. "Film Style and Fascism: Julius Caesar." Film Studies 4, no. 1 (2004): 58–74. http://dx.doi.org/10.7227/fs.4.4.

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In studio publicity, trade papers, reviews, articles, and educational materials, Joseph L. Mankiewiczs Julius Caesar (1953) was described and accepted as a faithful and mostly pleasing adaptation of Shakespearean drama to the Hollywood screen. As Variety accurately predicted, it achieved four Oscar nominations, one award for art direction and set decoration, high grosses, a hit soundtrack album, and several subsequent revivals. With the content more or less given, contemporary discussion focussed closely on how the verbal had been visualised, on how theatre had been turned into cinema – in short, on the film‘s style. It is with contemporary and subsequent readings of the film‘s style that this article is concerned, where, following David Bordwell, style is taken to mean ‘a films systematic and significant use of techniques of the medium’. But whereas Bordwell analyses film style directly in terms of an aesthetic history he considers to be distinct from the history of the film industry, its technology, or a films relation to society, I explore interpretations of one film‘s style that are heavily invested with socio-political meaning. If, in Bordwell‘s organic metaphor, style is the flesh of film, these readings of style explicitly dress that flesh in socio-political clothing. This analysis of Julius Caesar, then, is not another contribution to debates about adaptation, theatre on film, or Shakespeare on screen, but about the politics of film style.
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Dissertations / Theses on the topic "Julius Caesar (Shakespeare)"

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Baratz, Katharine. "Bene dicendi scientia, "The power of speech/To stir men's blood"? Quintilian's Institutio Oratoria and Shakespeare's Julius Caesar /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1471.

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Mittelbach, Jens. "Die Kunst des Widerspruchs: Ambiguität als Darstellungsprinzip in Shakespeares Henry V und Julius Caesar." WVT, Wiss. Verl, 2003. https://slub.qucosa.de/id/qucosa%3A1615.

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Mehrdeutigkeit ist ein grundsätzliches Merkmal literarischer Texte. In der Literaturwissenschaft wird dieses Charakteristikum allerdings häufig undifferenziert als ‚Komplexität‘, ‚Ambivalenz‘ oder ‚Ambiguität‘ bezeichnet. Auch in der Shakespeare-Forschung, besonders aber bei kontrovers diskutierten Texten wie Henry V und Julius Caesar, tauchen diese Bezeichnungen schlagwortartig immer wieder auf. Oft jedoch stellen sie Verlegenheitsformulierungen dar, die mehr verdecken als sie erklären. Die vorliegende Studie widmet sich dem Phänomen textueller Ambiguität und betrachtet sie – entgegen verallgemeinernden Auffassungen – als ein vom Autor bewußt eingesetztes und damit funktionales gestalterisches Mittel, das sowohl mikrostrukturell als auch auf der größeren Textebene angesiedelt sein kann. Die Untersuchung stellt in einem einleitenden Teil eine Theorie literarischer Ambiguität auf, wobei der Begriff von anderen gebräuchlichen Termini abgegrenzt wird. Literarische Ambiguität wird als eine dem Text oder Textteilen eingeschriebene, scheinbare Widersprüchlichkeit in der Aussage definiert, deren letztliches Ziel es ist, den Rezipienten aktiv an einer Sinnfindung zu beteiligen. Im textanalytischen Teil der Studie wird die Praktikabilität dieses Ambiguitätsbegriffs am Beispiel der zwei genannten Shakespeare-Dramen überprüft. Ambiguität wird als ein strukturelles Prinzip herausgestellt, das wesentlich zur ästhetischen Wirkung der untersuchten Texte beiträgt.
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Worlow, Christian D. "Shakespeare and Modeling Political Subjectivity." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407853/.

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This dissertation examines the role of aesthetic activity in the pursuit of political agency in readings of several of Shakespeare’s plays, including Hamlet (1600), A Midsummer Night’s Dream (1595), The Tempest (1610), the history plays of the second tetralogy (1595-9), Julius Caesar (1599), and Coriolanus (1605). I demonstrate how Shakespeare models political subjectivity—the capacity for individuals to participate meaningfully in the political realm—as necessitating active aesthetic agency. This aesthetic agency entails the fashioning of artistically conceived public personae that potential political subjects enact in the public sphere and the critical engagement of the aesthetic and political discourses of the subjects’ culture in a self-reflective and appropriative manner. Furthermore, these subjects should be wary auditors of the texts and personae they encounter within the public sphere in order to avoid internalizing constraining ideologies that reify their identities into forms less conducive to the pursuit of liberty and social mobility. Early modern audiences could discover several models for doing so in Shakespeare’s works. For example, Hamlet posits a model of Machiavellian theatricality that masks the Prince's interiority as he resists the biopolitical force and disciplinary discourses of Claudius's Denmark. Julius Caesar and Coriolanus advance a model of citizenship through the plays’ nameless plebeians in which rhetoric offers the means to participate in Rome’s political culture, and Shakespeare’s England for audiences, while authorities manipulate citizen opinion by molding the popularity of public figures. Public, artistic ability affords potential political subjects ways of not only framing their participation in their culture but also ways of conceiving of their identities and relationships to society that may defy normative notions of membership in the community.
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Mngomezulu, Thulisile Fortunate. "Central women characters and their influence in Shakespeare, with particular reference to the Merchant of Venice, Macbeth, Julius Caesar and Antony and Cleopatra." Thesis, University of Zululand, 2009. http://hdl.handle.net/10530/1114.

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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Arts in the Department of English at the University of Zululand, South Africa, 2009.<br>Shakespeare portrayed women in his plays as people who should be valued. This is an opinion I held in the past, and one I still hold after intense reading of his works and that of authors such as Marlowe, Webster, Thomas Kyd and others. Shakespeare created his female characters out of a mixture of good and evil. When they interact with others, either the best or the worst in them is brought out: extreme evil in some cases and perfect goodness in others. I hope the reader will enjoy this study as much as I did, and that it will enhance their reading of Shakespeare‟s works and cultivate their interest in him. This study is intended to motivate other people to change their view that Shakespeare‟s works are inaccessible. Those who hold this view will come to know that anyone anywhere can read, understand and appreciate the works of this the greatest writer of all times. In his study Shakespeare’s World, Johanyak says, “I wrote [it] to help students appreciate the depth and breadth of Shakespeare‟s global awareness. Shakespeare was not only a London playwright, but a man of the world who dramatized his perceptions to create a lasting legacy of his times” (2004: ix).
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COLOMBO, PIA VITTORIA. "GIULIO CESARE, "SPECCHIO" DELLA CRISI? SULLA FORTUNA DEL JULIUS CAESAR DI SHAKESPEARE NEL TEATRO ITALIANO DAL 1949 A OGGI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6168.

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Rispetto agli altri studi sulla ricezione dell’opera drammatica di Shakespeare, questa tesi sulla fortuna del Julius Caesar nel teatro italiano dal 1949 al 2012 si spende innanzitutto per promuovere una rivalutazione, in senso positivo, dell’apporto degli adattamenti drammaturgici alla conoscenza del Bardo inglese in Italia. Avvalendosi di documentazione a stampa e archivistica coeva, nonché di interviste agli artisti del nostro teatro contemporaneo, lo studio ha verificato come nel realizzare le proprie messinscene del Julius Cesar i registi e gli attori che nel passato recente vi si sono cimentati abbiano perseguito tanto la ricostruzione filologica del dettato shakespeariano originale, quanto la propria ricerca stilistica personale, spesso e volentieri avvalendosi della collaborazione con eminenti esperti, al fine di presentare al pubblico allestimenti sempre esteticamente e filologicamente rigorosi, oltre che pertinenti e significativi. Pertanto, interrogandosi in generale sulle sfide e i compromessi insiti nella prassi ermeneutica, in definitiva questa ricerca sull’interpretazione del Julius Caesar nella scena italiana contemporanea tenta altresì di “demistificare” entrambe le mitologie shakespeariana e cesarea al fine di auspicare nuove pratiche di indagine drammaturgica e registica che permettano al nostro teatro di superare la crisi che attualmente attraversa. Ricostruendo i caratteri dei quindici allestimenti contemplati dal nostro studio, infatti, si è cercato di trarre dalla storia del nostro teatro e dei nostri studi shakespeariani degli utili spunti che possano infondere nuova linfa vitale alla dialettica tra la ricerca accademica e quella teatrale.<br>This dissertation on the reception of William Shakespeare’s Julius Caesar in Italian theatre from 1949 to 2012 calls for a positive consideration of theatrical adaptation practices, which only recently have been appropriately valued in Italian critical discourse on Shakespeare’s staging desiderata. Based on thorough archival research and interviews with contemporary theatre directors and actors, it also questions how much, and with what results, Italian theatre and academia have cooperated in the last seventy years so as to offer to the Italian audience "compromise stagings" of the Bard’s Roman tragedy that pursue both philology and innovation in theatrical work. While focusing on the history of Shakespeare’s Julius Caesar hermeneutic practice, this research may also be read as an investigation into the myths surrounding both the historical figure of Julius Caesar and that of Shakespeare. This is achieved through an historical reconstruction of different critical approaches to textual analysis in the study of both subjects, which indirectly yet daringly tackles the question of why Italian theatre practitioners prefer Shakespeare’s plays to new dramaturgy in Italian. Through the study of a set of 15 Julius Caesar Italian productions, I thus aim to assess the “liveliness” of Italian theatre and present solution to its current “crisis” by learning from the past and suggesting new ways for active cooperation between theatre and academia.
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Crohem, Laurence. ""My single self" : paradoxes du singulier dans All's well that ends well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida de William Shakespeare." Lille 3, 2009. http://www.theses.fr/2009LIL30057.

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Chacun est-il unique ? Cinq pièces de Shakespeare parfois appelées problem plays - All's well that Ends Well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida - problématisent le singulier ou l'unicité de soi, un aspect de la question du sujet à l'ère pré-moderne. L'unicité est en crise dans ces pièces : l'analyse des substitutions dans l'action, l'amour et la mort montre l'absence et le surgissement des doubles au lieu des preuves d'unicité attendues. Celle des scènes de perception du singulier et d'énonciation de soi dans les dialogues ou monologues montre la confusion identitaire : le soi unique vacille et s'efface devant les doubles. La crise de l'unicité est aussi une crise du rapport à l'espace social et intérieur et à la temporalité. Les sujets se diluent dans la communauté et peinent à tracer des frontières entre eux-mêmes et les autres. Les plis censés révéler un espace intime découvrent un lieu paradoxal. Les effets de perspective déplacent le personnage qui regarde et qui n'a pas de lieu propre alors que le retour du politique restaure la fixité des places. Les sujets désirent s'inscrire dans une linéarité temporelle qui est déconstruite par les répétitions. Ils n'élaborent pas une histoire linéaire propre mais s'énoncent comme traces de ce qui n'a pas eu lieu et inventent un présent impossible. Il n'y a pas de temps pour soi : Hamlet, jouet d'une action sans agent et d'une durée qui le dépasse, vit et meurt la vie et la mort des autres dans le temps des autres. La dramaturgie de l'espace et du temps dans les problem plays s'avère liée aux paradoxes du singulier qui interrogent la relation entre soi-même et l'autre et à l'autre en soi-même<br>Is every human being unique ? Five Shakespeare plays sometimes labelled problem plays - All's well that Ends Well, Hamlet, Julius Caesar Measure for Measure and Troilus and Cressida - raise the issue of the singularity or uniqueness of the self, one aspect of the question of the subject in the early modern age. Uniqueness is in crisis in these plays : the study of the substitutions in action, love and death shows the absence of the self and the emergence of doubles instead of the expected proofs of uniqueness. This study of the scenes of perception of singularity and of self-speaking in the dialogues or soliloquies shows confused identities : the unique self flickers and is superseded by doubles. The crisis of uniqueness also questions the link to social and inner space and to temporality. The subjects dissolve into the community and fail to draw borders between themselves and others. The veils supposed to unveil an intimate space uncover a place of paradox. Perspective effects displace the watching character, who is then deprived of a proper place, and the return of the political reestablishes set places. The subjects wish to engage in a linear time which is deconstructed by repetitions. They do no build a proper linear history but present themselves as traces of events that did not happen and make up an impossible present. There is no time for oneself : Hamlet, the victim of agentless action and of unmastered duration, lives and dies the lives and deaths of others in the time of others. The dramatic art of space and time in the problem plays is linked to the paradoxes of singularity that question the relationship between oneself and the other and to the other in oneself
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Hansen, Rebecca Evans. "Shakespeare's Rebels: The Citizen's Responsibility Toward a Tyrannical Ruler." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8697.

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Due to the social, political, and religious upheavals occurring across Europe in the Early Modern period, many writers were exploring the proper relationship between citizens and political and religious leaders. While some writers encouraged citizens to give unconditional loyalty to local and national leaders, Shakespeare has a pattern of endorsing citizen rebellion as a moral means to overthrow tyrannical rulers. By exploring Richard III, Measure for Measure, and Julius Caesar, I argue that Shakespeare is developing a taxonomy of citizen responses to a tyrannical leader and teaches citizens that a moral rebellion can be launched against a tyrant when a citizen embraces personal responsibility, accepts the power of rhetoric over violence, and overcomes the filtering effects of nostalgia. To demonstrate that Shakespeare is deliberately entering the conversation about a citizen's reaction to a tyrant, I provide information about how a tyrant is defined in the Early Modern period. I synthesize the scholarship on relevant texts in the period and explain how all three leaders in the aforementioned plays support that definition of tyranny. Then I focus on each play's surrounding characters to discuss the motivations and reactions of rebellious and obedient citizens. Finally, I conclude each section with an analysis of the repercussions of the citizen's actions and evaluate the lessons that Shakespeare is consistently promoting about moral rebellion.
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Mittelbach, Jens. "Die Kunst des Widerspruchs." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-77251.

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Mehrdeutigkeit ist ein grundsätzliches Merkmal literarischer Texte. In der Literaturwissenschaft wird dieses Charakteristikum allerdings häufig undifferenziert als ‚Komplexität‘, ‚Ambivalenz‘ oder ‚Ambiguität‘ bezeichnet. Auch in der Shakespeare-Forschung, besonders aber bei kontrovers diskutierten Texten wie Henry V und Julius Caesar, tauchen diese Bezeichnungen schlagwortartig immer wieder auf. Oft jedoch stellen sie Verlegenheitsformulierungen dar, die mehr verdecken als sie erklären. Die vorliegende Studie widmet sich dem Phänomen textueller Ambiguität und betrachtet sie – entgegen verallgemeinernden Auffassungen – als ein vom Autor bewußt eingesetztes und damit funktionales gestalterisches Mittel, das sowohl mikrostrukturell als auch auf der größeren Textebene angesiedelt sein kann. Die Untersuchung stellt in einem einleitenden Teil eine Theorie literarischer Ambiguität auf, wobei der Begriff von anderen gebräuchlichen Termini abgegrenzt wird. Literarische Ambiguität wird als eine dem Text oder Textteilen eingeschriebene, scheinbare Widersprüchlichkeit in der Aussage definiert, deren letztliches Ziel es ist, den Rezipienten aktiv an einer Sinnfindung zu beteiligen. Im textanalytischen Teil der Studie wird die Praktikabilität dieses Ambiguitätsbegriffs am Beispiel der zwei genannten Shakespeare-Dramen überprüft. Ambiguität wird als ein strukturelles Prinzip herausgestellt, das wesentlich zur ästhetischen Wirkung der untersuchten Texte beiträgt.
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Alsaai, Hayan Jomah. "A critical assessment of the translations of Shakespeare into Arabic : a close examination of the translations of three tragedies; Othello, Julius Caesar and Macbeth - and one Comedy; The Merchant of Venice." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298787.

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Sohmer, Stephen T. "Shakespeare's invention of Julius Caesar." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361739.

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Books on the topic "Julius Caesar (Shakespeare)"

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Julius Caesar. Faber and Faber, 2002.

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1564-1616, Shakespeare William, ed. William Shakespeare, Julius Caesar. Penguin, 1985.

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William Shakespeare, Julius Caesar. Penguin Books, 1992.

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LLC, SparkNotes. Julius Caesar: William Shakespeare. Spark Publishing, 2014.

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Hamer, Mary. William Shakespeare, Julius Caesar. Northcote House in association with the British Council, 1998.

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1934-, Payne Roger, ed. Julius Caesar. Cherrytree, 1994.

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Julius Caesar. Prufrock Press, 2012.

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Julius Caesar. Heinemann, 1995.

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Company, Birmingham Repertory Theatre. Julius Caesar by William Shakespeare. Birmingham Repertory Theatre Company, 1997.

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Company, Royal Shakespeare. Julius Caesar by William Shakespeare. Royal Shakespeare Company, 1996.

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Book chapters on the topic "Julius Caesar (Shakespeare)"

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Dawson, Anthony B. "Julius Caesar." In Watching Shakespeare. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19362-2_12.

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Gill, Richard. "Julius Caesar." In Mastering Shakespeare. Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_26.

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Marowitz, Charles. "Privatising Julius Caesar." In Recycling Shakespeare. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21418-1_13.

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Goodland, Katharine, and John O’Connor. "Julius Caesar." In A Directory of Shakespeare in Performance, 1970–1990. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_13.

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Goodland, Katharine, and John O’Connor. "Julius Caesar." In A Directory of Shakespeare in Performance, 1970–1990. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_53.

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Goodland, Katharine, and John O’Connor. "Julius Caesar." In A Directory of Shakespeare in Performance Since 1991. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_13.

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Goodland, Katharine, and John O’Connor. "Julius Caesar." In A Directory of Shakespeare in Performance Since 1991. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_52.

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Kucharczyk, Stefan, and Maureen Kucharczyk. "Year 4, Julius Caesar." In Teaching Shakespeare in Primary Schools. Routledge, 2021. http://dx.doi.org/10.4324/9781003023944-10.

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Bassnett, Susan. "The Rotten State: Hamlet and Julius Caesar." In Shakespeare. Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22996-3_10.

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Power, Terri. "Case Study — All-Female Julius Caesar." In Shakespeare and Gender in Practice. Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-40854-9_5.

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Conference papers on the topic "Julius Caesar (Shakespeare)"

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Fu, Hongchu. "Tragedies East and West: A Comparative Study of the Yuan Dynasty Drama Yu Rang Tun Tan and Shakespeare’s Julius Caesar." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.19.

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