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Relevant bibliographies by topics / King Lear (Shakespeare, William)

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Academic literature on the topic 'King Lear (Shakespeare, William)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "King Lear (Shakespeare, William)"

1

Maley, Patrick, and Richard Halpern. "William Shakespeare’s King Lear by William Shakespeare." Theatre Journal 72, no. 1 (2020): 81–83. http://dx.doi.org/10.1353/tj.2020.0006.

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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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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (April 5, 2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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<p>Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in <em>King Lear</em>. Lear’s threats bestow four unique aspects that apply not only to his character but they also apply to Shakespearean tragic heroes. Lear’s speech tells us that he is determined to have an awful type of revenge on his daughters. However, the very same speech tells us that he seems uncertain about the method through which he should carry out this revenge. Lear does not express any type of remorse as he pursues his vengeful plans nor should he aim at amnesty. He also admits his own madness as he closes his revealing speech. This research develops these facts about Lear to unfold the unique pattern Shakespeare follows as he portrayed his major tragic figures. This pattern is examined, described and analyzed in <em>King Lear, Othello, and Hamlet</em>. We will find out that the pattern suggested in this study helps us better understand Shakespeare’s tragedies and enables us to provide better explanations for some controversial scenes in the tragedies discussed. </p>

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Kim, Jae Kyoung. "King Lear by William Shakespeare." Theatre Journal 66, no. 3 (2014): 452–54. http://dx.doi.org/10.1353/tj.2014.0090.

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Hubbard, Robert. "King Lear by William Shakespeare." Theatre Journal 70, no. 2 (2018): 245–47. http://dx.doi.org/10.1353/tj.2018.0035.

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Khorsand, Javad, and Bahee Hadaegh. "“LOOK WITH THINE EARS”: THE DEPRECATION OF OCULARCENTRIC CULTURE IN WILLIAM SHAKESPEARE’S KING LEAR." Folia linguistica et litteraria XIII, no. 44 (January 31, 2023): 217. http://dx.doi.org/10.31902/fll.44.2023.12.

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In his groundbreaking research on the broad phenomenon of Western visual culture in important intellectual eras, Martin Jay touches on the abundance of ocular references in Renaissance literature and cites the example of William Shakespeare whose works are replete with visual metaphors. Notwithstanding extensive research on the role of vision in Shakespeare’s works, it seems that scant attention has been paid to the Bard’s deprecation of ocularcentric culture. Shakespeare was, admittedly, not the first writer who depicted and challenged the biased privileging of sight in Western culture, but the present study focuses on the example of King Lear to show that Shakespearean drama played a significant role in reflecting the dire consequences of ocularcentrism in society. Drawing on first-hand Renaissance accounts of vision, Martin Jay’s exhaustive research into the history of ocularcentrism in the West, and James Shapiro’s historical account of the year Shakespeare’s King Lear was first performed, this study employs a New Historicist methodology to examine how Shakespearean drama marks both a turn away from the traditional hegemony of vision and a turning point in the criticism of modern ocularcentric culture in the West. We conclude that King Lear serves, among other things, to remind us that visual subjugation transcends the boundaries of time and culture and that we could all ourselves be Lears or Gloucesters, deluded by the proverbial concept that “seeing is believing”

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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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Khorsandi, Javad, and Bahee Hadaegh. "From King Lear to King James: The Problem of Ocularcentrism in Early Modern England." Renaissance and Reformation 46, no. 2 (January 10, 2024): 107–25. http://dx.doi.org/10.33137/rr.v46i2.42290.

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The present article explores how William Shakespeare’s King Lear thoughtfully challenges the primacy of sight among the senses, with implications for our understanding of the play’s relationship both to its immediate political context and to the history of ocularcentrism in early modern England. Adopting a new historicist approach, this article claims that writing King Lear in the midst of heated debates on the Anglo-Scottish Union was both a reaction to any possible ocularcentric behaviour by King James and a part of active criticism against the ocularcentrism of the period. Regardless of his personal opinion on James’s plan for the Union, Shakespeare was worried that the king would act according to his ocularcentric understanding of the two countries under his rule. Therefore, King Lear can be read as an advance warning to King James, who needs to be wary of superficial, sight-centred behaviours so as not to suffer the same fate as Lear.

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Barozai, Shumaila Maryam, Faria Saeed Khan, and Muhammad Zeeshan. "Shakespeare’s Concept of Astronomy." Al-Burz 8, no. 1 (December 20, 2016): 55–64. http://dx.doi.org/10.54781/abz.v8i1.135.

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This contribution scrutinizes Shakespeare knowledge and views about cosmological theories i.e. Ptolemaic, Copernicus, TychoBrahe and Galileo. It in addition claims that William Shakespeare had a profound interest and specialized knowledge in the domain of technical astronomy. Plays by Shakespeare are loaded with astronomical allusions. Because that is injected in Shakespeare’s nature to discuss every aspect of his age like medicine, falconry and agriculture but his astronomy is quite interesting. Furthermore, this effort examines the Shakespeare’s astronomical concept in allegorical form in his plays, especially in Hamlet, King Lear, Othello, Julius and Ceaser, Henry VI, The Tempest and Antony and Cleopatra.

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Richards, Jo. "King Lear by William Shakespeare: first performed 1606." British Journal of Psychiatry 201, no. 2 (August 2012): 92. http://dx.doi.org/10.1192/bjp.bp.111.106195.

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Dissertations / Theses on the topic "King Lear (Shakespeare, William)"

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Hays, Michael Louis. "Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear /." Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.

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De, Waal Marguerite Florence. "Revelatory deceptions in selected plays by William Shakespeare." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62673.

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This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays.
Dissertation (MA)--University of Pretoria, 2017.
English
MA
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Hendricks, Shellee. ""The curiosity of nations" : King Lear and the incest prohibition." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30173.

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The incest prohibition, though ostensibly "universal," has inspired a wide range of explanations and definitions both within and between cultures. Intense debate sprung up around the incest taboo during the matrimonially tumultuous reign of Henry VIII, leading to the great interest in this theme, which flourished on the Elizabethan and Jacobean stages. Although Shakespeare contributed a number of works to the incest canon, King Lear does not treat the incest motif overtly such that many critics have ignored its crucial role in that play. A synthetic theoretical approach is useful in exploring the wide-reaching implications of father-daughter love in Lear, which challenges the parameters of the incest prohibition.
King Lear's effort to obstruct the marriage of Cordelia in the first scene constitutes a violation of the incest prohibition according to Levi-Strauss's notion of exogamy. To this violation, Cordelia contributes her belief that marriage requires only partial withdrawal of love from her father. Lear's unfulfilled love for his daughter Cordelia, whom he figures into wife and mother roles, exhibits oedipal traits and seeks gratification in Goneril and Regan. Lear experiences their "unnatural" refusal of his desires as emasculating sexual rejection, which manifests as the disease and guilt of transgression. He understands virtuous love as fatally tainted by sexual desire; the theme of love-as-death gains momentum. The tempest emerges as an agent of justice and punishment. Lear and Cordelia's reunion reasserts the themes of adulterous love and love-as-death, foreshadowing their shared death. Their subsequent capture introduces an expanded notion of the father-daughter relationship, including the possibility of conjugal love, which is consummated in their marriage in death.

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Gonzalez, Shelly S. "Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.

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The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”

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Adamian, Stephen P. "Family values : filial piety and tragic conflict in Antigone and King Lear." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79816.

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Most people place their sincerest hopes for emotional fulfillment on a rewarding family life. The "loved ones" that constitute our nuclear and extended familial worlds are the primary beneficiaries of our affections and of the fruits of our labors. In return for the primacy we accord our family members, we expect their behavior to demonstrate their loyalty to the clan. However, at a certain point obligations to the family can conflict with the needs of the individual. In this thesis I examine how filial duties influence the plights of the tragic heroines in Sophocles's Antigone and Shakespeare's King Lear. Both Antigone and Cordelia organize their lives around the virtue of family honor, and yet the strength of these commitments is not sufficient to spare them from their respective, calamitous ends. Their unwavering dedication to the sanctity of family bonds leaves them susceptible, as individuals, to great harm.

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Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare." Caen, 2010. http://www.theses.fr/2010CAEN1587.

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

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Kari, Matthew A. "A Scenic Design for a Production of William Shakespeare's King Lear." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392815572.

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Rafimomen, Afsaneh. "Nature et pouvoir dans les tragédies de Shakespeare, quel conflit ? : l'exemple de Hamlet, Othello, King Lear et Macbeth." Nice, 2011. http://www.theses.fr/2011NICE2012.

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Cette étude présente, dans une première partie, une réflexion sur l'idée de nature dans quatre tragédies de William Shakespeare dans la perspective d'un lien que nous établissons, dans une deuxième partie, avec l'idée fondamentale de pouvoir. L'analyse des personnages en tant qu'éléments centraux à cette tension entre les deux notions, le rappel de la façon dont Shakespeare les situe par rapport à l'une et à l'autre, nous amènent à envisager le passage de la dyade "nature/ pouvoir" à la triade "nature- homme - pouvoir" comme le ressort essentiel de la tragédie shakespearienne. Cette prise de conscience de la centralité du thème du pouvoir, qui s'articule sur la tension et non sur le parallélisme entre macrocosme et microcosme, nous a conduite à tenter de découvrir non pas comment mais pourquoi Shakespeare a semé tant d'allusions et de références à la nature dans les œuvres analysées. Nous sommes ainsi arrivée à la conclusion que le thème de la nature remplit la fonction de masque, de "décor", de "bruitage" à plusieurs autres messages et, par voie de conséquence historique, à postuler l'hypothèse de l'appartenance de Shakespeare à deux courants de pensée qui prévalaient déjà à l'époque élisabéthaine, le stéganographie et l'herméneutique
This study, which is centered on four tragedies by William Shakespeare, puts forward a reflection not only on the notion of nature in these plays - the object of the first part - but also on the deep-rooted problematic link which it entertains, we purport to prove, with the notion of power - the object of our second part. The analysis of the characters as central elements to this tension between the two notions, supported, as will be shown, by a reminder of the way Shakespeare situates their decisions and actions precisely in relation to nature and power, leads us to consider the passage from the nature/power dualism to the nature/man/power triad as the mainspring of Shakespearian tragedies. This realization of the central position of the theme of power which actually hinges on the tension, and not on the parallelism, between the macrocosm and the microcosm, induces us to try to find not how but why Shakespeare introduces so many allusions and references to nature. We thus come to the conclusion that nature as a theme has taken on the function of a mask, a setting, a kind of "background noise", almost acting as a cover of many other messages, so that we may eventually venture the hypothesis that Shakespeare may well belong to two trends of thought already prevailing in Elizabethan times: steganography and hermeneutics

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Mesina, Da Costa Carla. "The destitute figure in Shakespeare's King Lear and Miller's Death of a Salesman." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130554.

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Brudevold, Siri M. "The Wisdom in Folly: An Examination of William Shakespeare's Fools in Twelfth Night and King Lear." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/681.

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This thesis explores the complexities to be found in the characters of Lear's Fool from King Lear and Feste from Twelfth Night. It begins with an investigation of the history behind the taxonomy of fools that William Shakespeare created in his works. The rest of the thesis is devoted to examining the many facets of the two aforementioned fools, with the goal of discovering just how important and influential they are to their respective plots and to the world of literature. Finally, there is a brief coda that explores the other striking similarities that the two plays have in common.

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Books on the topic "King Lear (Shakespeare, William)"

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Old, Martin. King Lear, William Shakespeare. Deddington: Philip Allan Updates, 2011.

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Simpson, Ron. King Lear, William Shakespeare. London: Letts Educational, 1999.

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Hawkes, Terence. William Shakespeare : King Lear. Plymouth: Northcorte House in association with the British Council, 1994.

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Muir, Kenneth. William Shakespeare, 'King Lear'. Harmondsworth: Penguin, 1986.

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Currie, Felicity. William Shakespeare: King Lear. Buckingham: The Critical Forum, 2001.

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Council, British, ed. William Shakespeare: King Lear. Plymouth: Northcote House in association with The British Council, 1995.

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Ryan, Kiernan. King Lear, William Shakespeare. New York: St. Martin's Press, 1992.

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Muir, Kenneth. William Shakespeare, King Lear. Harmondsworth: Penguin, 1986.

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Muir, Kenneth. William Shakespeare, King Lear. 2nd ed. Harmondsworth: Penguin, 1989.

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Broadsides, Northern. King Lear: William Shakespeare. [U.K.]: [Northern Broadsides], 1999.

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Book chapters on the topic "King Lear (Shakespeare, William)"

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Bruce, Susan, and Richard Beynon. "Contemporary Criticism of King Lear." In William Shakespeare, 149–74. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_6.

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Casey, Francis. "William Shakespeare 1564–1616." In King Lear by William Shakespeare, 1–6. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_1.

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Jeffrey, Ewan, and David Jeffrey. "Communication: King Lear, William Shakespeare (1606)." In Enhancing Compassion in End-of-Life Care Through Drama, 11–27. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781846199622-2.

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Casey, Francis. "Summaries and Critical Commentary." In King Lear by William Shakespeare, 7–55. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_2.

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Casey, Francis. "Themes and Issues." In King Lear by William Shakespeare, 56–61. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_3.

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Casey, Francis. "Techniques." In King Lear by William Shakespeare, 62–81. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_4.

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Casey, Francis. "Specimen Critical Analysis." In King Lear by William Shakespeare, 82–85. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_5.

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Casey, Francis. "Critical Appraisals." In King Lear by William Shakespeare, 86–90. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_6.

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Döring, Tobias. "Shakespeare, William: The Tragedy of King Lear." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17055-1.

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Carney, Jo Eldridge. "Emily St. John Mandel's Station Eleven and William Shakespeare's King Lear." In Women Talk Back to Shakespeare, 134–57. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003166580-6.

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