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

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Hunt, Maurice. "Jonson vs. Shakespeare: The Roman Plays." Ben Jonson Journal 23, no. 1 (May 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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2

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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3

Bogdańska, Olga, Verónica D’Auria, Coen Heijes, and Xenia Georgopoulou. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 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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4

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 (January 25, 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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5

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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6

Eisenmann, Maria. "Shakespeares Hamlet im Englischuntericht der gymnasialen Oberstufe." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 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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7

Koketso, Daniel. "Shakespeare and Botswana Politics in 2014." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (June 30, 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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8

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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9

Gallimore, Daniel. "Four-Character Idioms and the Rhetoric of Japanese Shakespeare Translation." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 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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10

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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11

Rogers, Jami. "Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012." Multicultural Shakespeare: Translation, Appropriation and Performance 19, no. 34 (June 30, 2019): 55–70. http://dx.doi.org/10.18778/2083-8530.19.03.

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This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.

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12

Huertas Martín, Victor. "Theatrum Mundi and site in four television Shakespeare films." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 16, 2019): 76–88. http://dx.doi.org/10.1177/0184767819837548.

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This article explores metatheatricality and site specificity in four Shakespeare television films produced by Illuminations Media: Gregory Doran’s Macbeth (2001), Hamlet (2009) and Julius Caesar (2012), and Rupert Goold’s Macbeth (2010). Drawing on metatheatrical theory applied to the screen and recent criticism on site-specific theatre, I explore the films as self-referential and self-conscious works embedded in environments that oppose the artifice of drama to the ‘reality’ of normative television film. Shakespeare’s aesthetic metaphor, presented in self-contained theatrical worlds, does not depict autonomous fictions but is disrupted by outside ‘reality’.

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13

Mulryne, James R. "‘Speak hands for me’: Image and Action in Julius Caesar." Actes des congrès de la Société française Shakespeare, no. 9 (November 1, 1991): 101–12. http://dx.doi.org/10.4000/shakespeare.1192.

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14

Kilsoo Suh. "Shakespeare and Political Justice: An Essay on Julius Caesar." Studies in English Language & Literature 39, no. 4 (November 2013): 101–17. http://dx.doi.org/10.21559/aellk.2013.39.4.006.

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15

Freebury-Jones, Darren. "Michael Bogdanov’s Iconoclastic Approach to Political Shakespeare." New Theatre Quarterly 35, no. 02 (April 15, 2019): 99–111. http://dx.doi.org/10.1017/s0266464x19000022.

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Between 1986 and 1989, Michael Bogdanov directed The Wars of the Roses (an ambitious seven-play Shakespeare cycle that won him the Olivier Award for Best Director in 1990), introducing an accessible and pertinent Shakespeare to 1980s audiences and paving the way for later politicized versions of Shakespeare’s plays – such as, recently, the New York Public Theater’s 2017 production of Julius Caesar. Following Bogdanov’s death in 2017, the time seems right for a new appraisal of his work as a radical, political director. The collection of Bogdanov’s personal papers at the Shakespeare Birthplace Trust offers a unique opportunity to gain an insight into the director’s mind. The papers include annotated scripts, production records, prompt books, reviews, programmes, unpublished manuscripts, and two volumes of The Director’s Cut – documents spanning Bogdanov’s entire theatrical career. In this article Darren Freebury-Jones engages with these materials, as well as the influences of theoretical movements such as cultural materialism on the director’s approach, in order to shed light on the ways in which Bogdanov stimulated and inspired new readings of Shakespeare’s history plays.

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Tursunova, M. "Comparative Analysis of Intelligent Devil Villains in W. Shakespeare’s Tragedies: Macbeth, Julius Caesar and Othello." Bulletin of Science and Practice 6, no. 4 (April 15, 2020): 527–31. http://dx.doi.org/10.33619/2414-2948/53/63.

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This article compares three prominent villains — Macbeth, Brutus and Iago in three famous tragedies: Macbeth, Julius Caesar and Othello by William Shakespeare according to the terms of intelligence and devilry. These two main aspects are considered for the analysis to find the main similarities and differences and categorize their villainy on the basis of devilry.

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17

Mazer, Cary M. "Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; King Richard III. By Gillian Day. xiii + 259 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Merchant of Venice. By Miriam Gilbert. xiii + 183 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Winter's Tale. By Patricia E. Tatspaugh. xiii + 240 pp. $24.99." Theatre Survey 45, no. 1 (May 2004): 155–58. http://dx.doi.org/10.1017/s0040557404400088.

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Scholars preparing production histories of individual Shakespeare plays have long been faced with the challenges of structuring their studies. The scholar can choose to write a straightforward one-actor-or-production-after-another monograph (Rosenberg on Othello, Ripley on Julius Caesar and Coriolanus, Bartholomeuz on Macbeth and The Winter's Tale, etc.), a transhistorical encyclopedic scene-by-scene and line-by-line collation (Rosenberg on King Lear, Macbeth, and Hamlet), a transhistorical interlineated text (Bratton and Hankey's Shakespeare in Production editions, under a variety of different series titles and publishers), or an exemplary-production snapshot album (Mulryne and Bulman's Shakespeare in Performance series).

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18

Cimitile, Anna Maria. "Tragedy and Shakespeare Performance Studies in Socìetas Raffaello Sanzio’s Giulio Cesare (1997) and Macbeth su Macbeth (2014)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 17, 2018): 102–16. http://dx.doi.org/10.1177/0184767818768092.

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The article discusses two productions, respectively of Julius Caesar and Macbeth, by the experimental Italian theatre company Socìetas Raffaello Sanzio (SRS). My wider scope is a reflection on what I may call the ‘peregrinations’ of the sense of the tragic in our times; my more specific question is: How is the Shakespearean tragic envisioned by SRS? What does their ‘performative thinking’ reveal about tragedy and our sense of the tragic today? As the performances are in Italian, based on Italian translations of Shakespeare, the question of the different language will also be briefly considered, to listen to the ‘ear of the other’ in critical action.

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19

Henderson, Diana E. "‘Hard hearts’ resounding now: anatomising race, resistance, and community in The Merchant in Venice (2016) and Julius Caesar (2017)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (July 2019): 173–92. http://dx.doi.org/10.1177/0184767819851076.

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Placing two innovative, high-profile stagings of Shakespeare in dialogue, this essay emphasises the power of re-citations, both as aural echoes and as tableaux, across dramatic genres. Building on Martin Luther King’s self-quotation within his anti-Vietnam address, it reveals how the Compagnia de’ Colombari’s site-specific The Merchant of Venice, performed in the originary Jewish Ghetto, and the New York Public Theater’s Julius Caesar, which created a national furore, each employed non-traditional casting and Shakespeare’s Act 4 emphasis on threatened yet suspended male-on-male violence to create complex political theatre, addressing historical ethnic and racial inequalities within ‘the fierce urgency of now’.

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20

Brailowsky, Yan. "Du détournement au délire interprétatif : les figures de l’excès dans Julius Caesar de Shakespeare." Actes des congrès de la Société française Shakespeare, no. 25 (November 1, 2007): 3–23. http://dx.doi.org/10.4000/shakespeare.1039.

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21

Cheetham, Dominic. "Rhetorical Flaws in Brutus’ Forum Speech in Julius Caesar: A Carefully Controlled Weakness?" Advances in Language and Literary Studies 8, no. 3 (June 30, 2017): 126. http://dx.doi.org/10.7575/aiac.alls.v.8n.3p.126.

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In Julius Caesar Shakespeare reproduces one of the pivotal moments in European history. Brutus and Mark Antony, through the medium of their forum speeches, compete for the support of the people of Rome. In the play, as in history, Mark Antony wins this contest of language. Critics are generally agreed that Antony has the better speech, but also that Brutus’ speech is still exceptionally good. Traditionally the question of how Antony’s speech is superior is argued by examining differences between the two speeches, however, this approach has not resulted in any critical consensus. This paper takes the opening lines of the speeches as the only point of direct convergence between the content and the rhetorical forms used by Brutus and Antony and argues that Brutus’ opening tricolon is structurally inferior to Marc Antony’s. Analysis of the following rhetorical schemes in Brutus’ speech reveals further structural weaknesses. Shakespeare gives Brutus a speech rich in perceptually salient rhetorical schemes but introduces small, less salient, structural weaknesses into those schemes. The tightly structured linguistic patterns which make up the majority of Brutus’ speech give an impression of great rhetorical skill. This skilful impression obscures the minor faults or weaknesses that quietly and subtly reduce the overall power of the speech. By identifying the weaknesses in Brutus’ forms we add an extra element to the discussion of these speeches and at the same time display how subtly and effectively Shakespeare uses rhetorical forms to control audience response and appreciation.

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22

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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23

., Sheikh Alauddin. "Shakespeare and Superstition: A Study of how Shakespeare uses Superstition in Macbeth and Julius Caesar." International Journal of Advanced Multidisciplinary Scientific Research 1, no. 10 (December 31, 2018): 22. http://dx.doi.org/10.31426/ijamsr.2018.1.10.1013.

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24

Poutiainen, Hannu. "Autoapotropaics: Daimon and Psuché between Plutarch and Shakespeare." Oxford Literary Review 34, no. 1 (July 2012): 51–70. http://dx.doi.org/10.3366/olr.2012.0029.

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Translation, Walter Benjamin says, grants to a work its future survival, the living-on (überleben) of what is essential in it; yet even for Benjamin, the relevance of a translation, as guarantor of such survival, remains premised, even if only tangentially, on a notion of correctness which, whether semantic or stylistic, risks reducing survival to the mere prolongation of a life already bounded. This essay, tracing the history of a mistranslation as it figures in Shakespeare's Julius Caesar, proposes to read, in a deconstructive gesture that affirms life as openness, the paradoxical forms of survival to which an irrelevant and incorrect translation may chance to give birth.

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25

Reichmann, Brunilda Tempel. "Echoes of Shakespeare: Julius Caesar and House of Cards - the Final Cut by Dobbs and BBC." Revista da Anpoll 1, no. 50 (December 30, 2019): 128–39. http://dx.doi.org/10.18309/anp.v1i50.1324.

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Em 2017, publicamos um artigo sobre o diálogo que se estabelece entre a trilogia House of Cards, de Michael Dobbs, as séries da BBC e da Netflix e as peças de Shakespeare – Ricardo III, Macbeth e Otelo. Este texto dá continuidade à primeira publicação e versa sobre o último volume da trilogia de Dobbs, The Final Cut [O último ato], e a Temporada 3 da BBC, para demonstrar como Júlio César, de Shakespeare, foi ressignificado nas duas produções, assunto até então não explorado. Voltamos a nossa atenção, portanto, apenas para esse último romance de Dobbs e sua adaptação na última temporada da série da BBC, enfatizando o protagonismo, a volubilidade do povo e a retórica em discursos proferidos por personagens de Shakespeare e de Dobbs. Procuramos demonstrar também como essa temporada da série, apesar de reproduzir um primeiro-ministro fragilizado pela idade e perseguido por lembranças involuntárias de crimes cometidos no passado, como no romance, ameniza a crueldade e intensifica problemas emocionais, tornando os acontecimentos mais palatáveis e o protagonista mais humano ao espectador da série.

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Jauncey, David L., Lucyna Kedziora-Chudczer, J. E. J. Lovell, Jean-Pierre Macquart, George D. Nicolson, Rick A. Perley, John E. Reynolds, A. K. Tzioumis, Mark A. Wieringa, and Hayley E. Bignall. "Intraday Variability and Microarcsecond Structure in Blazar Cores." Symposium - International Astronomical Union 205 (2001): 84–87. http://dx.doi.org/10.1017/s0074180900220524.

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The accumulation of evidence now strongly favours interstellar scintillation (ISS) as the principal mechanism causing intra-day variability (IDV) at cm wavelengths. While ISS reduces the implied brightness temperatures, they remain uncomfortably high. The distance to the scattering screen is an important parameter in determining the actual brightness temperature encountered. The high brightness temperatures, the presence of strong and variable circular polarization and the observed lifetimes of a decade or more for several IDV sources, pose significant problems for synchrotron theory. “The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings.” William Shakespeare, Julius Caesar

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TURGUT, Fehmi. "A TALE OF TWO STATES: DEEP AND PARALLEL STATES IN SHAKESPEARE S JULIUS CAESAR." HOMEROS 2, no. 3 (July 30, 2019): 61–70. http://dx.doi.org/10.33390/homeros.2.008.

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28

Walker. "Shakespeare and the Magic of Mummy: Julius Caesar's Consumed/Consuming Bodies." Preternature: Critical and Historical Studies on the Preternatural 7, no. 2 (2018): 215. http://dx.doi.org/10.5325/preternature.7.2.0215.

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29

Owolewa, Olusegun, and Rafiu Jimoh. "Mood and Syntactic Choices in Shakespeare’s Julius Caesar: Implications for The Language Teachers." Journal of Arts and Humanities 7, no. 3 (March 9, 2018): 01. http://dx.doi.org/10.18533/journal.v7i3.1323.

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<p>Correct verbal identification of different mood system has been a source of concern to teachers of English as a Second Language in Nigeria. Classroom efforts are mostly geared towards recognition of this concept, usually, in abstract and without connection to functional usage. Studies by scholars identify great difficulty in recognition of the verbal elements in sentence conveying the mood. However, such work never establishes a correlation between correct identification of mood and semantic interpretation. The purpose of this study is to establish the syntactic choices of the verbal elements in <em>Julius Caesar </em>and how they have helped to depict the mood of the characters in the text. This work relies on Systemic Functional Grammar approach to establish connection of mood to setting, tone and diction. It establishes that Shakespeare unconsciously reflects the mood through the characters use of certain clauses with the view to probably enhance the readers’ understanding of scene of actions in the play. Implications for the language teachers are discussed. </p>

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Holderness, Graham. "Introduction." Critical Survey 33, no. 1 (March 1, 2021): 1–7. http://dx.doi.org/10.3167/cs.2021.330101.

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In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.

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Rudanko, Juhani. "Concepts for analyzing deception in discourse intended to be persuasive." Journal of Historical Pragmatics 8, no. 1 (January 30, 2007): 109–26. http://dx.doi.org/10.1075/jhp.8.1.06rud.

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The article examines two episodes from Shakespeare, one from Julius Caesar and the other one from Othello, in order to shed light on the nature of a type of deception often used by a speaker in discourse meant to persuade a hearer to adopt a particular course of action. Drawing on the episodes, two conceptual distinctions are proposed, one between overt and covert intentions and the other between first-order and second-order intentions. It is argued that the distinctions make it possible to formulate a structured framework for analyzing the type of deception in question. The model proposed also draws on Gricean maxims, emphasizing the role of the maxims of Quality and Quantity, first part.

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Bidgoli, Mehrdad, and Shamsoddin Royanian. "A Struggle with Alterity: A Lévinasian Reading of Macbeth." arcadia 55, no. 1 (June 5, 2020): 1–24. http://dx.doi.org/10.1515/arcadia-2020-0001.

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AbstractIn Macbeth (ca. 1606), William Shakespeare returns all the way back to his metaphysics which he had demonstrated magnificently in A Midsummer Night’s Dream (ca. 1595) and Hamlet (ca. 1600). These works represent Shakespeare’s dramaturgical treatment of Being, substance, essence, etc. One of the chief elements of these plays is supernaturality, or nothingness (non-being) in a sense interrupting Being and human activities. These elements are presented in Julius Caesar (1599) as well, a history play which has commonalities with Macbeth. Yet few of his tragedies offer a world so dipped in horror and darkness as Macbeth. Ethics might thus be a far-fetched component among these grisly sensations and in the bloody atmosphere of this tragedy, but with the help of Emmanuel Lévinas (1906–1995), traces of ethical exigency can be discerned. Approaching Macbeth through Lévinas’s philosophy, we attempt to study some ways in which ethics can be addressed and studied in this dark world. We will discuss Macbeth’s struggles with time (mostly his future) and the Other as metaphors of alterity intruding into and interrupting his totalizing conatus.

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McCourt, Frank. "Teacher Man." Scenario: A Journal of Performative Teaching, Learning, Research II, no. 2 (July 1, 2008): 1–2. http://dx.doi.org/10.33178/scenario.2.2.1.

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I went to O'Mahony's Bookshop to buy the first book in my life, the one I brought to America in the suitcase. It was The Works of William Shakespeare: Gathered into One Volume, published by the Shakespeare Head Press, Oldhams Press Ltd. and Basil Blackwood, MCMXLVII. Here it is, cover crumbling, separating from the book, hanging on through the kindness of tape. A well-thumbed book, well marked. There are passages underlined that once meant something to me though I look at them now and hardly know why. Along the margins notes, remarks, appreciative comments, congratulations to Shakespeare on his genius, exclamation marks indicating my appreciation and befuddlement. Inside the cover I wrote, 'Oh, that this too, too solid flesh, etc.' It proves I was a gloomy youth. When I was thirteen/fourteen I listened to Shakespeare plays on the radio of Mrs. Purcell, the blind woman next door. She told me Sheakespeare was an Irishman ashamed of what he came from. A fuse blew the night we listened to Julius Caesar and I was so eager to find out what happened to Brutus and Mark Antony I went to O'Mahony's Bookshop to get the rest of the story. A sales clerk ...

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Rutter, Tom. "Hamlet, Pirates, and Purgatory." Renaissance and Reformation 38, no. 1 (June 13, 2015): 117–40. http://dx.doi.org/10.33137/rr.v38i1.22784.

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Hamlet’s abduction by pirates during his voyage to England is an episode that does not appear in the main narrative source of Shakespeare’s play, Belleforest’s Histoires tragiques. This essay surveys the various sources that have been proposed, including the Ur-Hamlet, Plutarch’s “Life of Julius Caesar,” and an event in the biography of Martin Luther, before proposing a further possibility in the form of a sermon by the Swiss theologian Heinrich Bullinger where purgatory is compared to pirate capture. It discusses the likelihood of Shakespeare encountering this sermon directly or indirectly, and then argues that reading Hamlet in the light of it has important implications for our understanding of the relationship between the prince, his father, and Claudius. L’enlèvement d’Hamlet par des pirates durant son voyage vers l’Angleterre est un épisode n’apparaissant pas dans les Histoires tragiques de Belleforest, la principale source narrative de l’œuvre de Shakespeare. Dans cet article, on revoit les différentes sources possibles de cet épisode, incluant le Ur-Hamlet, la « Vie de Jules César » de Plutarque et un événement de la biographie de Martin Luther. On propose enfin une autre possibilité : un sermon du théologien suisse Heinrich Bullinger, dans lequel le purgatoire est comparé à un enlèvement par des pirates. On y discute de la possibilité que Shakespeare ait pu prendre connaissance de ce sermon, directement ou indirectement, et on y avance que la lecture de Hamlet à la lumière de cette source possible entraîne plusieurs conséquences quant à notre compréhension des liens entre le prince, son père, et Claude.

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Tillotson, Stephanie, and Stephanie A. Tillotson. "Fiona, Phyllida and the ‘F’-Word: the theatrical practice(s) of women playing the male roles in Shakespeare." Exchanges: The Interdisciplinary Research Journal 1, no. 2 (March 30, 2014): 260–78. http://dx.doi.org/10.31273/eirj.v1i2.92.

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This article discusses the theatrical practice of women performing traditionally male roles in Shakespeare. Whilst historically the phenomenon is nothing new, since the 1970s the practice has been particularly associated with the politics of feminism. This article proposes to examine this connection in order to explore how far the convention of casting women in the male roles of Shakespeare has been influenced by changing social, political, and cultural discourses. It will do so by considering two specific manifestations of the theatrical practice: firstly, the National Theatre’s 1995/6 Richard II directed by Deborah Warner, in which Fiona Shaw played the eponymous male character and secondly the 2012/13 all-female Julius Caesar, directed by Phyllida Lloyd for the Donmar Warehouse. Moreover, it will locate these two productions, separated by seventeen years and the turn of a century, within their specific historical, theatrical, and theoretical contexts. Through an analysis of the material conditions that gave rise to the contemporary receptions of these two productions, the objective of this article is to draw conclusions concerning the differing ways in which, through casting women in the male roles of Shakespeare, theatre practitioners have created particular theatrical conversations with their audiences.

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Miola, Robert S. "Lesse Greeke? Homer in Jonson and Shakespeare." Ben Jonson Journal 23, no. 1 (May 2016): 101–26. http://dx.doi.org/10.3366/bjj.2016.0154.

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Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

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McKague, Cathleen. "Play review: The 2018 Stratford, Ontario, Festival Shakespeare Plays: The Tempest, Coriolanus, The Comedy of Errors, Julius Caesar." Cahiers Élisabéthains: A Journal of English Renaissance Studies 98, no. 1 (March 22, 2019): 92–95. http://dx.doi.org/10.1177/0184767819826011a.

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Taylor, Dennis. "Texts and Traditions: Religion in Shakespeare 1592–1604, and: Shakespeare's Christianity: The Protestant and Catholic Poetics of Julius Caesar, Macbeth, and Hamlet (review)." Comparative Drama 41, no. 3 (2007): 397–401. http://dx.doi.org/10.1353/cdr.2007.0038.

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Thomson, C. J. H. "‘… (D)eath, a necessary end, will come when it will come’, (William Shakespeare, Julius Caesar, act 2, scene 2.)." Internal Medicine Journal 41, no. 6 (June 2011): 439–40. http://dx.doi.org/10.1111/j.1445-5994.2011.02513.x.

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Lichtenberg, Drew. "Julius Caesar. Spared Parts. Dramatic Intervention on W. Shakespeare by Socìetas Raffaello Sanzio, and: Macbeth dir. by Brett Bailey." Theatre Journal 69, no. 2 (2017): 262–66. http://dx.doi.org/10.1353/tj.2017.0028.

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Gray, Patrick, and Maurice Samely. "Shakespeare and Henri Lefebvre’s ‘right to the city’: subjective alienation and mob violence in Coriolanus, Julius Caesar, and 2 Henry VI." Textual Practice 33, no. 1 (April 12, 2017): 73–98. http://dx.doi.org/10.1080/0950236x.2017.1310755.

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Hart, Jonathan Locke. "Aesthetics and Ethics Intertwined: Fictional and Non-Fictional Worlds." Interlitteraria 22, no. 2 (January 16, 2018): 236. http://dx.doi.org/10.12697/il.2017.22.2.3.

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Montaigne and Las Casas are important thinkers and writers, as are many others, including Shakespeare, as a poet, whose work is complex enough in its modernity that it would be hard to condemn him as a poet as Plato did Homer. Aristotle analyzed Greek tragedy to see how it worked in terms of a framework of anagnorisis and catharsis, that is, recognition and the purging of pity and terror. Shakespeare revisits and reshapes Homer in Troilus and Cressida and remakes Plutarch in Julius Caesar and Antony and Cleopatra while playing on the classical epic and mythological themes in Venus and Adonis and Rape of Lucrece. Plato, a poet as well as a philosopher, and a great writer if one does not like those categories, may have feared the poet within himself. Although assuming with Plato that philosophy is more universal and just than poetry, Aristotle takes the analysis of poetry and drama seriously in Poetics, and also discusses ethics, aesthetics and style in Rhetoric. So, while I discuss Plato as a framework, I am not presuming that writing on the relations among the good, the true, the just and the beautiful stop with him. I am also making the assumption that Las Casas, Montaigne, Shakespeare and other poets and writers deserve to be taken seriously in the company of Plato. Las Casas and Montaigne respond to radically changing realities and shake the very basis of traditional ethics (especially in understanding of the “other”) and work in harmony with the greatest poets and writers of a new era often called modernity like Shakespeare, who is in the good company of Manrique, Villon, Ronsard, Du Bellay, Juan de la Cruz, Luis de León, Lope de Vega, Quevedo and Calderón. Long before, Dante and Petrarch were exploring in their poetry ethical and aesthetic imperatives and broke new ground doing so. Nor can Las Casas and Montaigne be separated from other great writers like Rabelais and Cervantes, who carry deep philosophical and ethical sensibility in their work while responding to reality by providing aesthetically – even sensuously – shaped images that always leave a margin for ambiguity because conflicts are part of an ambiguous reality.

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Gaines, Barry. "The New Kittredge Shakespeare The Tragedy of Romeo and Juliet, and: The New Kittredge Shakespeare The Tragedy of Julius Caesar, and: The New Kittredge Shakespeare The Merchant of Venice, and: The New Kittredge Shakespeare The Tragedy of Antony and Cleopatra (review)." Shakespeare Quarterly 62, no. 2 (2011): 279–81. http://dx.doi.org/10.1353/shq.2011.0009.

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Delaney, Bill. "Shakespeare's JULIUS CAESAR." Explicator 58, no. 3 (January 2000): 124–27. http://dx.doi.org/10.1080/00144940009595958.

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Delaney, Bill. "Shakespeare's Julius Caesar." Explicator 60, no. 3 (January 2002): 122–24. http://dx.doi.org/10.1080/00144940209597678.

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Delaney, Bill. "Shakespeare's Julius Caesar." Explicator 60, no. 4 (2002): 188–90. http://dx.doi.org/10.1080/00144940209597708.

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Hines, Susan C. "Shakespeare's Julius Caesar." Explicator 52, no. 3 (April 1994): 135–37. http://dx.doi.org/10.1080/00144940.1994.9938746.

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Birch, David. "Re-Editing Shakespeare for the Modern Reader. By Stanley Wells. Oxford Shakespeare Studies. Oxford: Clarendon Press. 1984. Pp. vi + 131. £15. - Julius Caesar. By William Shakespeare. Edited by Arthur Humphreys. The Oxford Shakespeare. Oxford: Clarendon Press, 1984. £12.95; £2.50. - Titus Andronicus. By William Shakespeare. Edited by Eugene M. Waith. The Oxford Shakespeare. Oxford: Clarendon Press. 1984. £12.95; £2.95." Theatre Research International 10, no. 2 (1985): 166–72. http://dx.doi.org/10.1017/s0307883300010713.

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Rozett, Martha Tuck. "“How now Horatio, you tremble and look pale”: Verbal Cues and the Supernatural in Shakespeare's Tragedies." Theatre Survey 29, no. 2 (November 1988): 127–38. http://dx.doi.org/10.1017/s0040557400000624.

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Barnardo' line “How now Horatio, you tremble and look pale,” delivered just after the ghost's exit in Act I, scene i of Hamlet, is at once a description of Horatio and a thematic statement about the effect of tragedy. By the end of the play, this phrase has come to signify the way amazing, horrifying, and profoundly tragic events affect the spectators: Hamlet addresses the “mutes or audience” to the “act” he, Laertes, Claudius and Gertrude have just performed as “you that look pale, and tremble at this chance” (V, ii, 334). When a character describes another in this way, the utterance constitutes a verbal cue: it tells the audience what is happening on the stage, or how the other characters are reacting to past or present events. A verbal cue can be thought of as a spoken stage direction, to use Raymond Williams' term, one which serves as a signal both to the actors and to the audience. Shakespeare repeatedly resorted to verbal cues in representing the ghosts, witches, and other supernatural visitations that figure prominently in Hamlet, Macbeth, and less prominently, in Richard III and Julius Caesar. Regardless of how they are represented on the stage, supernatural characters are essentially imaginative projections, who exist as much through the speeches and described reactions of others as through what they themselves say and do. Verbal cues thus serve as part of the characterization process; they help to define these creatures in terms of their effects on others. And as a theatrical strategy, the cues employ language to summon up visions in the mind of the spectator, creating images that no stagecraft, however spectacular, could equal.

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CERNY, PHILIP G. "Multi-nodal politics: globalisation is what actors make of it." Review of International Studies 35, no. 2 (April 2009): 421–49. http://dx.doi.org/10.1017/s0260210509008584.

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AbstractWhat has been traditionally conceptualised as ‘the international’ has been undergoing a fundamental transformation in recent decades, usually called ‘globalisation’. Globalisation is a highly contested concept, and even among those who accept that some sort of globalisation process is occurring, attempts to analyse it have focused on a range of structural explanations: the expansion of economic transactions; the development of transnational or global social bonds; and the emergence and consolidation of a range of semi-international, semi-global political institutions. In all of these explanations, the role of actors as agents strategically shaping change has been neglected. In this article I argue that structural variables alone do not determine specific outcomes. Indeed, structural changes are permissive and can be the source of a range of potential multiple equilibria. The interaction of structural constraints and actors’ strategic and tactical choices involves a process of ‘structuration’, leading to wider systemic outcomes. In understanding this process, the concepts of ‘pluralism’ and ‘neopluralism’ as used in traditional ‘domestic’-level Political Science can provide an insightful framework for analysis. This process, I argue, has developed in five interrelated, overlapping stages that involve the interaction of a diverse range of economic, social and political actors. Globalisation is still in the early stages of development, and depending on actors’ choices in a dynamic process of structuration, a range of alternative potential outcomes can be suggested. There is a tide in the affairs of menWhich, taken at the flood, leads on to fortune;Omitted, all the voyage of their lifeIs bound in shallows and in miseries.On such a full sea are we now afloat,And we must take the current when it serves,Or lose our ventures.(William Shakespeare, Julius Caesar, IV.ii.269–276)

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