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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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Polenchuk, Lily. "An Imposter Among Shakespeare’s Fools: The Tempest’s Trinculo." Crossings: An Undergraduate Arts Journal 4, no. 1 (July 7, 2024): 83–86. http://dx.doi.org/10.29173/crossings242.
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The plays of William Shakespeare often feature a fool who resembles the historic jester of the Elizabethan era. Overtime, the Shakespearean fool developed into a powerful character who challenges and questions both the other characters in the play as well as the audience. This article analyzes the fool known as Trinculo from Shakespeare’s The Tempest who I argue does not amount to the great Shakespearean fool archetype. The criteria for a true Shakespearean fool is drawn from the work of Robert Bell, who studies the progression of Shakespeare’s clown character, and the work of Roberta Mullini, who analyzes the traits of Shakespeare’s fools. When Trinculo is compared to these outlined standards, such as prophetic ability and powerful speech, he falls short. Trinculo’s lacklustre character is especially apparent when compared to King Lear’s Fool in King Lear. King Lear’s Fool excels in the necessary qualities that Trinculo does not. Rather than serving as mere comedic relief, King Lear’s Fool drives the plot forward with his capacity for knowledge and awareness of the audience. Trinculo, on the other hand, embodies Shakespeare’s early, underdeveloped clown characters who exist purely to amuse the crowd and nothing more.
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Helmita, Helmita, and Lina Marlina. "The True Love of a Princess as Seen in William Shakespeare’s King Lear." Jurnal Ilmiah Langue and Parole 2, no. 1 (December 30, 2018): 46–52. http://dx.doi.org/10.36057/jilp.v2i1.333.
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This research is a study of psychological approaches that discuss the external aspect of drama King Lear by William Shakespeare. In this study the writer will discuss some of the problems that is (1) What does the king Lear prove his unconditional love to his youngest daughter (2) How does the King Lear’s youngest daughter prove her unconditional love to her father (king Lear) (3) How does the king Lear face the death of his youngest daughter. The purpose of this study is (1) To describe the king Lear prove his unconditional love to his youngest daughter (2) To describe the youngest daughter of king Lear prove unconditional love to his father king Lear (3) To explain the king Lear face the death of his youngest daughter. The theory used in this research is the theory of literary psychology according to Sigmund Freud and Carl rogers. This study used a qualitative method .The object of the study is William Shakespeare's William Lords drama. The data source is divided into two primary data sources and secondary data sources. The primary data source is the drama script itself. The secondary data source is the text of the text and some references related to the research. Data collection techniques are noted. Data analysis technique is descriptive analysis.The results show the following conclusions. First, the true love of a father to his daughter. Second, the true love of a daughter to her father. Third, when a father regrets his past decisions that can not see his daughter's love from the heart and must accept her daughter's gone ever.
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Al Jawad, Ahmed Sanoussi Himeda, Eman Ibrahim Idreas Borgg, and Hadeel Naje Farg Bogzaha. "Shakespearean’s Tragedy: A Descriptive Study on King Lear by William Shakespeare." Journal of World Englishes and Educational Practices 3, no. 5 (May 29, 2021): 28–38. http://dx.doi.org/10.32996/jweep.2021.3.5.3.
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This study concentrates on comic relief at Shakespearean’s tragedy. The problem facing EFL students at the English language department with Shakespeare's plays is the harsh language used and understanding the themes he treats. Although King Lear is thought to be one of the most challenging works of Shakespeare, the play is accessible to progressive high school students and most university students. The study aims to break down the classic language in King Lear to make it easy for students to understand the play and thus enjoy the entertainment aspects of the story. The authors used the action research- documentary research. The nature of the study demanded that we had to collect documentary evidence from reference material prescript by the University of Benghazi for the instruction of literature at undergraduate and postgraduate levels. Such material was only available on the internet and course instructional material used by lecturers of the English language department at the faculty of Arts and Science Kufrah. At the end of the study, the authors offered several recommendations.
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Ali Fauzi. "THE CONTENT OF NATURE FOUND IN WILLIAM SHAKESPEARE’S KING LEAR." Tadris : Jurnal Penelitian dan Pemikiran Pendidikan Islam 10, no. 2 (November 19, 2019): 91–120. http://dx.doi.org/10.51675/jt.v10i2.42.
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Drama is a literary work in which it reflects the activities of human beings and the surrounding life. It delineates life and human activity by means of presenting various actions of-and dialogues between-a group of characters. It also uses natural mimetic in form of symbolic nature of dramatic character and looks that nature becomes a part of subject matter which is quiet close to the action of men. The background of Shakespeare’s King Lear is the nature or the universe itself. Shakespeare uses the instrument of nature, the product of nature wholly and the hierarchy of the society combined with the medieval and old mythology to be the materials of his play. He uses the existence of nature to be interrelated with the parts, the naturalistic phenomena and with human beings and their life problems. The whole universe or nature is the cosmic system in which human beings form the system of social structure and live in harmony with other system where every element in the cosmos has its meaning only in relation to the other parts Therefore, it attracted Shakespeare so much to interpret the image of the cosmic system and its parts that the content of nature is richly found in the play. The content of nature consists of Cosmos including microcosm (a man, an animal-birds, a fox, an ape, an ass, wolves, a bull- a fiend and a sea monster, a Stock, a castle, a heath and hovel, clothes, music and medicine, a wheel) and macrocosm (a sun, a moon and other orbs, a storm, a rain, a thunder and lighting, an earth, an air, a fire and water, the insane, the death, the hell and the heaven).
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Brownlow, Frank W. "A Jesuit Allusion to King Lear." Recusant History 28, no. 3 (May 2007): 416–23. http://dx.doi.org/10.1017/s0034193200011468.
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In 1614 Charles Boscard published at St Omer The Life and Death of Mr. Edmund Geninges Priest, Crowned with Martyrdome at London, the 10. day of November, in the yeare M.D.XCI, a book which John Hungerford Pollen called ‘the most sumptuous, artistic, and, typographically speaking, the most interesting literary monument to our martyrs which our poor persecuted church was ever able to set forth’. This beautiful little book's most striking feature is a set of twelve handsome engravings by Martin Bas of Douay, one before each chapter illustrating an episode in the martyr's life. It also harbours an important allusion to King Lear, and hence to William Shakespeare.
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Abril Hernández, Ana. "Contemporary Adaptations of King Lear: Power and Dramatic Space in William Shakespeare, Edward Bond and Elaine Feinstein." Grove - Working Papers on English Studies 28 (December 23, 2021): 9–26. http://dx.doi.org/10.17561/grove.28.6129.
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In his tragedy King Lear (1605) William Shakespeare explores the human psyche through a story of an old king who gives up his land to his two eldest daughters and finds himself forced to wander in the space of the outcasts. In his modern version of this play entitled: Lear, Edward Bond resumes Shakespeare’s analysis of space and power in the figure of a monomaniac father who raises a wall against his enemies. The division of inner-outer spaces present in Bond is further explored in Elaine Feinstein’s and the Women Theatre Group’s work: Lear’s Daughters, which immerses the audience into the early years of Goneril, Regan and Cordelia. In this contemporary prequel to Shakespeare’s play the three princesses discover the world and the space they occupy in it from their seclusion in the castle.
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CUŢITARU, CODRIN LIVIU. "CULTURAL AMBIGUITY AS IRRECONCILABLE ANTAGONISM IN SHAKESPEARE’S MAJOR TRAGEDIES." Analele Universităţii Bucureşti. Limbi şi Literaturi Străine 72, no. 1/2023 (November 1, 2023): 3–13. http://dx.doi.org/10.62229/aubllslxxii/1_23/1.
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This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it into an essential instrument of the tragic and the tragedy, i.e. into a form of irreconcilable conflict, antagonism. Therefore, what in normal/modern circumstances would appear as “plagiarism” becomes here a token of artistic genius and brilliant creation, the very nucleus of the tragic construction. We approach, from this angle, the four outstanding tragedies Hamlet, Othello, King Lear and Macbeth, intending to clearly define each one’s cultural (that is, tragic) conflict. Likewise, the sources of these masterpieces, Saxo Grammaticus’s Gesta Danorum, François de Belleforest’s Histoires Tragiques (for Hamlet), Cinthio’s Un Capitano Moro (for Othello), the Celtic legend Leir of Britain (for King Lear) and Holinshed’s Chronicles… (for Macbeth), are compared to their Shakespearean “avatars”, with the purpose of displaying the way in which the asserted antagonism manifests itself at the level of the “prototype”. The outcome of the critical investigation reveals that the so-called cultural ambiguity takes various forms in Shakespeare’s plays, going from the clash of civilizations (Hamlet and Othello) to the crisis of identity (King Lear and Macbeth).
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Amrita Bhattacharyya. "Economy of Love as Manifested in William Shakespeare’s King Lear and The Merchant of Venice." Creative Saplings 2, no. 04 (July 25, 2023): 13–28. http://dx.doi.org/10.56062/gtrs.2023.2.04.338.
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This paper tries to make a study of William Shakespeare’s above plays with reference to his contemporary period’s views on money and love. Economy is inadvertently linked with love as we find during the time of Shakespeare. Two of the most important plays of Shakespeare – King Lear (1606) and The Merchant of Venice (1596-1598) shows how love is tested by economic considerations and how relationships get complicated when the two collide with each other. Market economics of the public sphere questions the love of the private sphere. Here love is equated to lust. This acquisitiveness is characteristic of the Elizabethan and Jacobean age with commerce and trade flourishing and the age itself being termed as the Golden Age. Gender roles are redefined in such a mercantile situation and the place of women in such society become endangered.
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Saeed, Asmaa Mukaram. "The Triumph of Morality in William Shakespeare’s King Lear." Al-Adab Journal 2, no. 141 (June 15, 2022): 1–16. http://dx.doi.org/10.31973/aj.v2i141.3706.
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A set of relationships governs the kind of communications among people within one or more societies, of which most important is the one that occurs between children and their parents, especially fathers. Psychologically speaking, this kind of relationship is so significant insofar as it is the basis of the child’s personality inasmuch as it is the source of its character and action in social media.
Undoubtedly, the most significant factor in a drama is the social relationships among which child-father relationship is a recurring theme. William Shakespeare appears to be much more occupied in this sort of relationship which prominently and significantly figures out in most of his dramas such as Romeo and Juliet, Titus Andronicus and Hamlet. Most important is the child-relationship in King Lear. In Shakespeare’s plays children and parents interact in various ways, for they are headed to behave in such a way that leads to the resolution he intends to cite at the end of the play. As in life, conflicts among the family members that appear in his drama are very important whether resolved or not.
This paper mainly revolves around the child-father relationship in King Lear, especially the one between Lear’s daughters Goneril, Regan and Cordelia on the one hand, and their father on the other; and between Edmund and his father Gloucester as far as the theme of ingratitude is concerned. Many studies have been made on the filial relationships in this play, which have at the same time ignored the close relationship between the Qur’anic connotations attained by the dramatist and the essential themes in this play. To attempt such a study like this is to shed light on Shakespeare’s awareness of the Islamic representations reflected in King Lear as far as the theme of ingratitude is concerned. Many attempts have been made to analyze Shakespeare’s drama from the Islamic perspective; yet, this play has not got its due analysis from the Islamic viewpoints. This paper is to clearly view the themes of ingratitude, the children-father relationship, adultery, injustice, foolish behavior and brotherly relationships in terms of the relevant Islamic representations. When considering all the complications that surround the environment of the play it is recognized that the morality as reflected in the Holy Qur’an triumphs over evil powers and any other representations contrary to it.
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Sheikh, Imran Ahmad, Khushi Khushi, and Koudinna Kumar Karki. "Determinism and Descent: A Naturalistic Exploration of Human Tragedy in Shakespeare's 'King Lear' and Its Lasting Impact on Literary Traditions." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 006–13. http://dx.doi.org/10.22161/ijels.91.2.
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This research paper examines the influence of naturalism on literature, focusing on its emergence in the late 19th century and its lasting impact through an analysis of William Shakespeare's 'King Lear.' Naturalism, rooted in scientific determinism, aimed to realistically portray human existence shaped by external forces. The paper explores how 'King Lear' serves as a significant naturalistic work, delving into themes of flawed decisions, betrayal, the inexorable march of time, and the interplay between individual agency and cosmic forces. Shakespeare's characters in 'King Lear' reflect the naturalistic approach to character development, exhibiting psychological depth influenced by their environment and circumstances. The play offers a deterministic vision, aligning with naturalistic principles, and explores the consequences of human choices within a larger cosmic context. The influence of Shakespeare on subsequent naturalistic writers is evident in their nuanced characters and societal explorations. Analyzing 'King Lear' through interconnected naturalistic elements—character motivations, societal structures, and the inexorable march of fate—reveals how Lear's motivations, shaped by societal expectations, lead to a tragic cascade of events. Symbolism and imagery in the play amplify naturalistic themes, such as the storm representing the chaos of human existence. The cathartic experience of tragedy in 'King Lear' is rooted in the naturalistic portrayal of life's harsh realities, prompting reflection on the broader human experience. Diverse critical interpretations, from deterministic readings to discussions on individual agency, add complexity to the naturalistic exploration, inviting readers to engage with the text from various perspectives.
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Cuțitaru, Codrin Liviu. "The Genius of Shakespeare’s “Plagiarisms”. Case Studies: Hamlet, Othello, King Lear and Macbeth." Linguaculture 2017, no. 1 (June 1, 2017): 63–71. http://dx.doi.org/10.1515/lincu-2017-0006.
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Abstract This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it, eventually, into an essential instrument of the tragic and the tragedy. What in normal/modern circumstances would easily count as “plagiarism”, becomes here, paradoxically, a token of artistic genius and brilliant creation. Our examples will be from the four outstanding tragedies—Hamlet, Othello, King Lear and Macbeth. The sources selected by our research will be Saxo Grammaticus’s Histoires tragiques, Cinthio’s Un Capitano Moro, the Celtic legend Leir of Britain and, obviously, Holinshed’s Chronicles. We shall try to demonstrate that the so-called cultural ambiguity adopts various forms in Shakespeare’s plays, going from the clash of civilisations (Hamlet and Othello) to the crisis of identity (Lear and Macbeth).
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Jaworska-Biskup, Katarzyna. "Problemy przekładu terminologii z zakresu prawa na podstawie wybranych polskich tłumaczeń sztuk Williama Szekspira." Przekładaniec, no. 40 (2020): 260–84. http://dx.doi.org/10.4467/16891864pc.20.012.13175.
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Problems of Translating Legal Language Based on William Shakespeare’s Selected Plays The paper discusses major problems and issues of translating law and legal language into Polish as illustrated by selected examples from William Shakespeare’s three plays: King Lear, The Merchant of Venice and Measure for Measure. The common feature of the plays is the context of the court and the trial. In King Lear, Shakespeare depicts a mock-trial of the main character’s two daughters, Regan and Goneril. The crux of The Merchant of Venice is the proceedings instigated by Shylock against his debtor, Antonio. Measure for Measure features a summary trial of two local rogues, Froth and Pompey, who are brought to justice by the constable Elbow. A comparison of the English original law-embedded scenes with their Polish counterparts shows that Polish translators approached Shakespeare’s legal lexicon differently. They frequently neutralised legal language or offered the equivalents that do not overlap with the source text. The different treatment of legal language by the translators results in various readings and interpretations of the original. The paper also provides a commentary on the basic concepts and institutions of English law in Shakespeare’s analysed plays.
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Ali Fauzi. "FACT AND FICTION IN WILLIAM SHAKESPEARE’S KING LEAR." Karangan: Jurnal Bidang Kependidikan, Pembelajaran, dan Pengembangan 1, no. 01 (November 16, 2019): 73–82. http://dx.doi.org/10.55273/karangan.v1i01.9.
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Sastra merupakan produk masyarakat buah karya pengarang hasil olah penafsiran tentang kehidupan nyata. King Lear adalah drama produk masyarakat zaman Renaisance, maka tentu drama ini mencerminkan fakta dan cermin masyarakat pada zamannya. Shakespeare memproses nya melalui imajinasi dan perenungan sehingga unsur fiksi juga pasti ada. Dalam drama ini, fakta terlihat lewat seting, karakter dan peristiwa. Dari unsur seting, kisah ini terjadi di Inggris, di istana dan Pesisir Dover pada tahun 1602-1608 tepatnya zaman Renaisan yang atmosfernya penuh dengan konflik antara Inggris dan Spanyol. Unsur karakternya menampilkan tokoh utama yang historis dan legendaris serta tokoh cerita yang lazim ada pada dunia nyata. Peristiwa yang ada mencerminkan fenomena dan pola fikir masyarakat umumnya seperti pembagian warisan yang tidak adil, satu pria di perebutkan dua wanita, prubahan pola fikir, munculnya gaya hidup sekuler dan matrialis serta kepercayaan pada mitos klasik. Semua aspek tersebut sebetulnya fiksi karena King Lear merupakan karya sastra produk dari imajinasi. Jadi Drama ini tentu mengandung unsur fakta dan fiksi yang bias di analisa dari aspek logika dan imajinasi.
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Fernée, Tadd Graham. "Every Turn of the Wheel: Circular Time and Cordelia’s Revolt: from William Shakespeare to the British Enlightenment." English Studies at NBU 3, no. 1 (May 31, 2017): 5–25. http://dx.doi.org/10.33919/esnbu.17.1.1.
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This article argues that William Shakespeare’s King Lear anticipates core political dynamics of the English Civil War (1641-49), and philosophical tenets of the British Enlightenment in John Locke and David Hume. It analyzes three principle and competing paradigms of public authority in King Lear: theodicy, nature, and the autonomy of thought. The play is historically contextualized within the 16th century. King Lear, moreover, portends revolutionary new thought patterns: the centerless universe of modern astronomy, and human embeddedness in fluid nature without fixed identity. Three variants on the concept of “nothing” – existential, social, and philosophical - interweave the cosmic and political threads, based on a circular temporality. Shakespeare’s character, Cordelia, affirms the everyday over the cosmic, and the sociological over the metaphysical. King Lear depicts a profound moral trans-valuation in early modern history, whose shifting temporal horizons remain central also to contemporary politics.
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Frian Saputra, Ari Kurniawati, Vyna Yuniarti, and Sri Hayati. "Figurative Language Used in King Lier Novel by Willian Shakespeare: Explorer Literary Appreciation." Journal of English Education 2, no. 1 (June 29, 2024): 36–46. http://dx.doi.org/10.61994/jee.v2i1.625.
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This study explores the use of figurative language in William Shakespeare's "King Lear," examining how literary devices such as metaphors, similes, personification, hyperbole, and irony contribute to the play's thematic and emotional depth. Through a comprehensive analysis, the research highlights how Shakespeare's linguistic choices enhance the narrative complexity and deepen the audience's engagement with the characters and themes. Metaphors succinctly convey complex ideas and emotions, similes vividly depict characters' experiences, personification imbues abstract concepts with human characteristics, hyperbole emphasizes emotional intensity, and irony underscores the contradictions and tragic outcomes within the play. The findings have practical implications for literary education, providing a framework for educators to enhance students' analytical skills and appreciation of Shakespearean drama.
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Kravtsova, Mariia. "BIBLICAL ARCHETYPES IN WILLIAM SHAKESPEARE’S TRAGEDY “KING LEAR” AS THE IMPLICIT REFERENCE TO THE HOLY SCRIPTURE: VERBALIZATION AND PECULIARITIES OF REPRODUCTION." Inozenma Philologia, no. 133 (December 1, 2020): 213–23. http://dx.doi.org/10.30970/fpl.2020.133.3185.
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The article presents the Translation Studies analysis of William Shakespeare’s tragedy “King Lear” and its fi ve Ukrainian translations done by Panteleimon Kulish, Panas Myrnyi, Maksym Rylskyi, Vasyl Barka and Oleksandr Hriaznov. The attempt has been made to outline the Biblical archetypes in the source text and to trace the level of their reproduction in the Ukrainian target texts. On the basis of the research conducted, it has been assumed that by means of various allusions and themes parallel to the Biblical ones, the reader of the tragedy encounters the Biblical archetypes of the Christ, Job, Devil, Cain and Abel. The author of the article also scrutinizes how these archetypes are actualized in the text in question through various verbal images and examines the level of their reproduction in the target texts. Key words: Shakespeare, “King Lear”, translation, biblical archetypes, Bible, allusion.
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Kramer, Ursula. "Herausforderung Shakespeare." Die Musikforschung 55, no. 2 (September 22, 2021): 129–44. http://dx.doi.org/10.52412/mf.2002.h2.752.
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Die Entdeckung William Shakespeares im deutschen Theater der 1770er Jahre hatte unmittelbare Konsequenzen für die damalige Schauspielmusik: Abweichend von der üblichen Praxis wurden für die Aufführungen dieser Dramen eigens neue Musiken geschrieben, für die die Zeitgenossen den Begriff des Analogen prägten. Zentren dieser neuen musikalischen Ambition waren Hamburg (Carl David Stegmann), Berlin (Johann André, Johann Friedrich Reichardt), Mannheim (Georg Joseph Vogler) und Wien (Johann Mederitsch); besonderes Interesse galt vor allem "Macbeth", "King Lear" und "Hamlet". Die größte Herausforderung stellten dabei die Zwischenakte dar; hier gelang es den Komponisten in unterschiedlichen Graden, die Idee einer angemessenen Musik zu verwirklichen.
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Relvas, Maria de Jesus Crespo. "Lear and Quijote, two wanderers on uneven paths." Grove - Working Papers on English Studies 26 (October 24, 2019): 117–26. http://dx.doi.org/10.17561/grove.v26.a7.
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King Lear of Britain and Don Quijote de la Mancha, both old and frail, are dwellers of two very different worlds and eras. The ways they were devised and shaped by William Shakespeare and Miguel de Cervantes generate nonetheless diverse similarities that emphatically expose crucial traits of the human nature.
The meaningful, more obvious dichotomies in the texts – such as Reality/Fantasy, Sight/Blindness, Truth/Falsehood, Loyalty/Treachery – frame the complexity of the protagonists and are metaphors of their antithetical features. On the other hand, their alienation, misapprehension and distortion of the surrounding realities turn them into wanderers on uneven, problematic paths, while their frail physical condition discloses a surface layer that encapsulates assertive individuals.
This essay approaches Shakespeare’s and Cervantes’ texts by focusing on such aspects, as well as on the respective contextualisation. Each work constitutes a challenging exemplum of a unique, proficuous broad age that wisely amalgamated the old and the new: amidst a multitude of cultural traditions, King Lear primarily embodies the expansion of Tragedy, while Don Quijote de la Mancha primarily materialises the transition to a new stage of Modernity.
Keywords: Lear; Quijote; dichotomies; alienation; tradition; innovation
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Jui-sung Chen. "O, Shakespeare and Peking Opera Mixed, Reason in Madness: When Wu Hsing-kuo's Autobiographical King Lear Encounters with William Shakespeare's King Lear." Shakespeare Review 46, no. 2 (June 2010): 331–49. http://dx.doi.org/10.17009/shakes.2010.46.2.006.
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Das, Chandrima, Samrat Laskar, Piotr Maszewski, Grzegorz Sikorski, and Anirban Bhattacharjee. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 12, no. 27 (June 26, 2015): 125–46. http://dx.doi.org/10.1515/mstap-2015-0011.
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Miola, S. Robert, ed. Macbeth. By William Shakespeare. New York and London: W. W. Norton & Company, 2004. Pp. xxiii + 384. [South Asian Edition]
Tiffany Ann Conroy Moore, Kozintsev’s Shakespeare Films: Russian Political Protest in Hamlet and King Lear. Jefferson, North Carolina, and London: McFarland & Company, 2012. Pp. viii + 194
Sosnowska, Monika. Hamlet uzmysłowiony (Sensuous Hamlet). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2013. Pp. 201
Courtney, Krystyna Kujawińska and Monika Sosnowska, eds. Shakespeare 2014—w 450. rocznicę urodzin (Shakespeare 2014—For the 450th Anniversary of His Birth). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2014. Pp. 235
Laura Estill, Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Delaware: University of Delaware Press, 2015. Pp. xxviii+255
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Atroch, Daniel Cavalcanti. "A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 100. http://dx.doi.org/10.17851/2358-9787.30.2.100-120.
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Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.
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Worthen, W. B. "Shakespeare and Postmodern Production: An Introduction." Theatre Survey 39, no. 1 (May 1998): 1–5. http://dx.doi.org/10.1017/s0040557400002982.
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This issue of Theatre Survey explores the condition of postmodern Shakespeare production, and by implication the situation of classic drama on the horizon of the contemporary stage. Working on this issue has been, for both of its coeditors, a surprising experience. Theatre Survey is a distinguished journal in the field of theatre history and historiography, and with this issue we intended to press the journal's agenda toward the history and theory of contemporary culture, generating a series of articles on radical, revisionist, and alternative ways of putting “the ‘classics’ into play.” Because we understand this enterprise—from the Kathakali King Lear to Robert Wilson's When We Dead Awaken to Heiner Müller's Medeamaterial to Baz Luhrmann's William Shakespeare's Romeo + Juliet—to stand in a strategic relation to modernity, we were calling the issue “Performance: Modern and Postmodern.”
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Haroon Afzal, Malik, Mohamad Rashidi Mohd Pakri, and Nurul Farhana Low Abdullah. "Identity Recognition as a Tragic Flaw in King Lear by William Shakespeare: Application of Hegel’s Master-Slave Dialectic." International Journal of Applied Linguistics and English Literature 9, no. 3 (May 31, 2020): 37. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.3p.37.
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According to several theories of recognition it has been established that an individual counts on the feedback of another to seek identity recognition. According to G.W.F. Hegel (1977) the identity of an individual being does not rest solely in himself but in its relationship to other beings. In his opinion, consciousness of a self exists in being acknowledged by another self and true selfhood exists in acknowledging the requirements and rights of the other self. This paper aims at analyzing the identity recognition as a tragic flaw in William Shakespeare’s famous tragedy King Lear in the light of Hegel’s critiques of self and the other. In this context, King Lear’s attainment of true selfhood and self- knowledge is going to be visualized as the consequence of his effort for identity recognition and then undergoing an extreme suffering. The present research aims to explore the process or stages of becoming a victim of identity crisis. The crisis of recognition for the protagonist of the play starts right in the first scene. This paper aims at discussing the identity recognition on the part of King Lear himself and others in the play as a cause of tragedy. By using Hegel’s Master-Slave Dialectic, this paper will open up a new research direction for the Shakespearean scholars.
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khazaali, MahmoodHasanAl. "THE HUMAN FRAILTY IN WILLIAM SHAKESPEARE’S KING LEAR." International Journal of Advanced Research 5, no. 7 (July 31, 2017): 108–11. http://dx.doi.org/10.21474/ijar01/4700.
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Mayers, Ozzie J., Clark Hendley, Philip Kronebusch, and Glen Palm. "King Lear and Fathering: A Panel Discussion." Journal of Men’s Studies 6, no. 1 (October 1997): 103–14. http://dx.doi.org/10.1177/106082659700600106.
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This panel discussion on King Lear and fathering was held on November 9, 1996, at the College of St. Benedict. The panel was part of a yearly Men's Series established at St. John's University (Collegeville, Minnesota) in 1995; the 1996 series focused on Men's Voices/Men's Lives. Six fathers (two of whom were unable to attend at the last minute) were invited to view a campus production of William Shakespeare's King Lear and then to discuss their responses to the play. The discussion thus explores issues of fathering in theoretical, personal, and experiential ways.
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Ali Fauzi. "THE POLITICAL ASPECTS FOUND IN WILLIAM SHAKESPEARE’S KING LEAR." Tadris : Jurnal Penelitian dan Pemikiran Pendidikan Islam 12, no. 2 (November 2, 2019): 85–100. http://dx.doi.org/10.51675/jt.v12i2.21.
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King Lear explores classical elements like the striking peculiarities of an individual, or the violence of some exceptional character, disregarding the fundamental feelings common to mankind, and ignorant love of humanity. We find Lear, a central character with a particular tragic flaw or hamartia, that is, a character who is led into despair or misery through some sort of error either in himself or in his action; and to hubris which means excessive, self-destructive pride. Lear is led into suffering after which he has a greater understanding of both himself and the world. Lear is an attractive personality with many virtues who has a fairly normal balance of good and evil within him. He is proud and does not know himself and it is a “normal” fault but after it is acted on by events in the play, it brings him down. Evil is let loose in the society of tragedy, and destroys both good and evil characters. Evil unavoidably pollutes and infects the tragic hero himself-Lear. The nature of evil is reflected from the characters of Lear and his first two daughters, Goneril and Regan. Lear undergoes range of tragic life because of his blunder-divides his kingdom and wealth based on parameter of love- which triggers many conflicts and causes many sufferings. His first two daughters, Goneril and Regan, make maneuver to get the inheritance by flattery but Cordelia, Lear’s third daughter, represents the struggle of human soul to defend truth and responsibility. To get the kingdom and wealth, she does not want to lie herself and her father by flattery. She just keeps silent or realizes that to love, obey and devote herself to her father is a must. The main ingredient of the play is about human beings and their life. Human life and their problems become subject matter and their basic natures which activate their action and speeches become the object of the play. Human beings and their basic natures are presented by all the characters who act and say based on their roles. Their life and their problems are represented by their life in the kingdom and their social problem happening in it. Since the play tells us the life of the king and the problem of the kingdom, so it exposes all aspects and problems of life in which one of them is the political aspect consisting of dividing kingdom, ruling authoritarian monarchy, doing conspiracy, existing of rivalry, emerging of conflict of interest and treachery.
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Jianbo, Deng, Arbaayah Ali Termizi, and Manimangai Mani. "THE FATHER-DAUGHTER RELATIONSHIP IN SHAKESPEARE’S KING LEAR FROM THE PERSPECTIVE OF BOWEN FAMILY SYSTEMS THEORY." Journal of Language and Communication 10, no. 2 (September 15, 2023): 183–99. http://dx.doi.org/10.47836/jlc.10.02.03.
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King Lear is a tragedy written by William Shakespeare, describing a father’s sorrow over his daughters’ unfilial or disobedient behavior. Although the father-daughter relationship in the play is often studied, to date, this relationship has not been investigated from the perspective of the Bowen family systems theory. Thus, the present study adopts the new interdisciplinary research method, the Bowen theory, to interpret the father-daughter relationship in King Lear. The focus of this article is to analyse the level of self-differentiation of Lear and the three daughters, namely Regan, Goneril, Cordelia in King Lear. It will thoroughly investigate the fusion and differentiation in their interactions with their original and nuclear families and examine the projection of Lear’s chronic anxiety on his daughters. Chronic anxiety due to social factors, such as humanism, feudalism, and patriarchy, and their impact on the father-daughter relationship in the tragedy, will also be investigated. It argues that the father-daughter relationship in King Lear is dysfunctional due to the lower level of differentiation of self between Lear and his three daughters, the projection of Lear’s anxiety onto the daughters, and the chronic anxiety brought about by societal regression. Hence, through the lens of the Bowen family systems theory, the study of the father-daughter relationship in the play can provide a new method for examining the dysfunctional family relationship in literary works.
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Betanzos, Lourdes. "El teatro como ejercicio terapéutico en Todos somos el rey Lear, de Guillermo Schmidhuber." Investigación Teatral. Revista de artes escénicas y performatividad 12, no. 19 (May 23, 2021): 44–61. http://dx.doi.org/10.25009/it.v12i19.2669.
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En Todos somos el rey Lear, escrita en 1979 y publicada en 1982, el dramaturgo mexicano Guillermo Schmidhuber de la Mora plantea clara intertextualidad con William Shakespeare. El presente estudio es una exploración de cómo Schmidhuber teatraliza la creación de hiperrealidad como proceso terapéutico no sólo para ciertos personajes de la obra, sino también para el público e, incluso, para el dramaturgo mismo. Con esta finalidad se emplean los conceptos de Jean Baudrillard sobre la hiperrealidad y el simulacro, las afirmaciones del mismo Schmidhuber sobre la dramaturgia, así como también los conceptos psicológicos de Phil Jones sobre la drama-terapia y los efectos transformativos de este ejercicio teatral. Por medio de este proceso que resulta terapéutico, los personajes Millonario verdadero y Álvaro intentan enmendar los conflictos vitales que inquietan a ambos, a la par que el autor mismo negocia su identidad como dramaturgo.Theather as therapeutic exercise in We are all King Lear from Guillermo SchmidhuberAbstractIn We are all King Lear, written in 1979 and published in 1982, the Mexican playwright Guillermo Schmidhuber de la Mora clearly lays out an intertextuality exercise in front of William Shakespeare’s work. This study is an exploration of how Schmidhuber dramatizes the creation of hyperreality as a therapeutic process not only for certain characters of the play, but also for the audience and even for the playwright himself. To carry out this exploration, the paper applies Baudrillard’s concepts of hyperreality and simulation, as well as some affirmations from Schmidhuber himself about dramaturgy, and some of Phil Jones’ psychological concepts regarding drama therapy and its transformative effects as a theatrical exercise. Through this therapeutic process, the characters Real Millionaire and Álvaro attempt to rectify the vital conflicts that unsettle them both, while the author himself negotiates his identity as a playwright.Recibido: 05 de octubre de 2020Aceptado: 01 de febrero de 2021
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Hoenselaars, Ton. "Grace Ioppolo, William Shakespeare’s King Lear Andrew Hadfield, William Shakespeare’s Othello Routledge Literary Sourcebook." Documenta 23, no. 2 (March 25, 2019): 134–37. http://dx.doi.org/10.21825/doc.v23i2.10361.
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Al Zoubi, Samer Mahmoud, and Ameen Zuhair Al Khamaiseh. "A Critical Study of William Shakespeares King Lear: Plot and Structure." International Journal of English Language and Literature Studies 8, no. 1 (2019): 14–18. http://dx.doi.org/10.18488/journal.23.2019.81.14.18.
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Lemieux, René. "L’adaptation cinématographique comme héritage aporétique : l’hantologie shakespearienne dans Ran d’Akira Kurosawa." Études littéraires 45, no. 3 (July 22, 2015): 81–100. http://dx.doi.org/10.7202/1032446ar.
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Cet article a pour objet le film Ran d’Akira Kurosawa (1985), qui se veut une adaptation de la pièce King Lear de William Shakespeare. Il s’agit ici d’étudier ce qui se passe (ou ce qui ne passe pas) entre l’oeuvre originale et son adaptation, mais aussi dans leurs intrigues respectives. Loin de se limiter à voir l’oeuvre cinématographique japonaise comme la simple traduction transculturelle d’une pièce de théâtre occidentale, cet article reprend la notion d’hantologie de Jacques Derrida et propose de voir réapparaître en Ran ce qu’a toujours été la pièce shakespearienne : une fable portant sur une certaine impossibilité d’hériter, ou encore sur l’absence d’héritage pris comme héritage.
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Asadi Amjad, Fazel, and Saeede Mazloumian. "Ideological Anxieties and Defense Mechanisms in the Tragic Works of Shakespeare and Ferdowsi." Journal of Critical Studies in Language and Literature 4, no. 4 (July 12, 2023): 7–16. http://dx.doi.org/10.46809/jcsll.v4i4.209.
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At the time of subversion and containment, the power structure applies various strategies for its survival. It manages ideological anxieties and employs defense mechanisms to contain dissident forces. Tragic works have the potential to display tensions in the power structure, its ideological anxieties of subversive forces and appliance of various strategies to survive. By comparing classical tragic works, it is possible to reach a comparative schema of the monarchist power structure. Hence, the tragic works of two national writers, Shakespeare and Ferdowsi, from two cultures with monarchist power structures and similarities in story themes have been selected. This paper has aimed to compare ideological anxieties and defense mechanisms in William Shakespeare’s plays Macbeth, King Lear, and Othello with their counterparts in the tragic stories in Abol Qasem Ferdowsi’s Shahnameh, “Zahhak the Snake Holder”, “Fereydoun and His Sons” and “Siavash”. The tragic works of Ferdowsi and Shakespeare provide an exceptional opportunity to observe the operation of power; how power restrains subversion in cultural narratives and displays it to prevent its realization in reality. In addition, by displaying the subcultures, these works surpass the existing level of awareness, which is beyond the dominant culture and the subcultures. By examining cultural narratives of the Persian and the British literatures, this research has achieved a trans-cultural awareness.
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Brkić, Jelena. "THE ANALYSIS OF THE AMBIVALENCE IN THE RELATIONSHIP BETWEEN GONERIL AND REGAN, AND CORDELIA AND LEAR IN KING LEAR, THE TRAGEDY PLAY BY WILLIAM SHAKESPEARE." Folia linguistica et litteraria XII, no. 34 (April 2021): 75–100. http://dx.doi.org/10.31902/fll.34.2021.5.
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The paper aims to analyze the quality and nature of the ambivalence in the relationship between Regan and Goneril and, on the other hand, between Cordelia and Lear in the tragedy King Lear by William Shakespeare. Our major focus in on the first relationship. In this paper, we use graphs in accordance with the concept of presenting drama structures based on the idea of Franco Moretti. Since our intention is to point out the emotional nuances in the characters' relationships, in addition to the graphs that are in line with Moretti's distant reading, we also apply close reading and the psychoanalytic approach accompanied by the affective turn. The analysis confirmes the importance of the emotional nature and motivation in relationships between characters and the fact that we can and sometimes have to look for the causes for certain affective and emotional states in ahistorical situations. Also, the analysis shows that the visual presentation of the characters' relationships through nodes and edges can contribute to the recognition of emotional and verbal nuances in relationships, and sometimes nuances themselves opens the door for some new research, questions and discussions.
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Sabiniarz, Natalia. "Postcolonial Re-reading of the Marginalized Nation in William Shakespeare’s "King Lear"." Multicultural Shakespeare: Translation, Appropriation and Performance 12, no. 27 (June 26, 2015): 101–12. http://dx.doi.org/10.1515/mstap-2015-0009.
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Dhulapkar, Shaina, and Ruhi Phadte. "Shakespearean Drama: A Tapestry of Legal Discourse and Literary Expression." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 258–66. http://dx.doi.org/10.22161/ijels.92.39.
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This paper examines the intersection of law and literature through the lens of William Shakespeare's plays: "The Merchant of Venice," "Measure for Measure," and "King Lear." By analysing the legal quandaries and moral dilemmas presented in these works, we uncover Shakespeare's insights into jurisprudence and its application in society. "The Merchant of Venice" scrutinizes legal procedures, the rigor of contract law, and highlights the necessity for equity in justice. "Measure for Measure" offers a critique of absolutist legalism, contrasting strict law enforcement with the need for mercy and moral consideration within governance. "King Lear" explores themes of authority, legitimacy, and natural law, presenting a narrative that questions the efficacy of man-made legal systems. Together, these plays demonstrate Shakespeare's profound understanding of legal concepts and his critique of their manifestation in society. This paper posits that Shakespeare's engagement with legal themes invites a revaluation of justice, emphasizing the relevance of a multidisciplinary approach to legal education and jurisprudence.
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Jitendra Kumar Bharti. "Use of Folktales in the plays of Shakespeare." Creative Launcher 4, no. 6 (February 29, 2020): 65–70. http://dx.doi.org/10.53032/tcl.2020.4.6.11.
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The present paper aims at to discuss the use of folktales in some notable plays of William Shakespeare. World widely he is well accepted and acknowledge a great dramatist, but this fame of Shakespeare is relied on his use of folklores of various languages and cultures. He became master in using folklores in his plays with new flavour and glamour. As we know that folklores are the foundation of modern literary forms. They are deep rooted in cultures and languages. Folklores have a tradition that they are not available in any written form but they are moulded in order to suit best in new modern literary forms. Shakespeare was the master in doing so. Folklore is a very broader term includes everything about humans and their cultures. For most of his plays, Shakespeare borrowed the material from folklores. But it’s very unfortunate that many scholars of Shakespeare concentrated themselves only on literary forms instead foundation of his plays ignored or paid no attention. So here I am making a small effort to talk about those folklores that supplied rich materials for his plays The Merchant of Venice, King Lear, The Taming of The Shrew, The Comedy of Errors, Titus Andronicus, All’s Well That Ends Well, Cymbeline and The Tempest. Apart from this there are some well-known literary sources as Holinshed’s chronicles, Plutarch’s The Lives of Noble Greeks and Romans and Ovid’s Metamorphosis.
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Hadfield, A. "Reading Shakespeare Historically; Shakespeare and the Geography of Difference; Othello: a contextual history; William Shakespeare: King Lear; Shakespeare's Theory of Drama; Shakespeare's Festive Tragedy: The ritual foundations of genre; Shakespeare Survey 48: Shakespeare and Cultural Exchange; An Introduction to Shakespeare: The Dramatist in his Context." English 46, no. 184 (March 1, 1997): 64–72. http://dx.doi.org/10.1093/english/46.184.64.
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Adade-Yeboah, Asuamah, Edward Owusu, and Kweku Rockson. "The Metamorphosis of the Tragic Hero - The Greek Classical and Post-Classical Renaissance in Contention." International Journal of Linguistics, Literature and Translation 4, no. 7 (July 30, 2021): 208–13. http://dx.doi.org/10.32996/ijllt.2021.4.7.21.
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Just as tragic heroes and heroines have been identified with different eras and cultures, the classical ideal of the classical and post-classical Renaissance will be incomplete if the concept of tragedy is not focalized. This paper, therefore, looks at how both periods delineated their tragic heroes, based on their actions portrayed in the plots of their plays. The paper, using textual analysis, provides extracts from William Shakespeare's King Lear, as the main text to present King Lear as the post-classical tragic hero. This is juxtaposed with extracts from Sophocles’ King Oedipus, as the main text, and Euripides’ Iphigenia in Tauris, as a hero supporting text to present Oedipus as the classical hero. Whereas textual analysis shows that the delineation of the tragic hero lies in the source of the tragic situation – the concept of hamartia of the classical period, the post-classical Renaissance period portrays the tragic hero on the basis of the weakness of character.
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Maver, Igor. ""Nothing will come of nothing": an interview with Sir Richard Eyre." Acta Neophilologica 34, no. 1-2 (December 1, 2001): 31–37. http://dx.doi.org/10.4312/an.34.1-2.31-37.
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The article features an interview with Sir Richard Eyre, a long-time Director of the Royal National Theatre in London and the director of the production of William Shakespeare's tragedy King Lear in the very same theatre in 1997, which also saw a successful film version. Sir Richard openly spoke about his dilemmas as a director in the process of staging the play, finding the right east, about rehearsals and the first night performance, as well as about some key scenes interpreted by him somewhat differently, although he essentially firmly relied on the text and the more traditional staging of this famous Shakespeare's tragedy.
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Paranyuk, Dan, and Alyona Tychinina. "Intertextuality of the Personosphere as a Factor of Meta-Genre (Clifford Simak “Shakespeare’s Planet”)." Pitannâ lìteraturoznavstva, no. 107 (June 30, 2023): 216–37. http://dx.doi.org/10.31861/pytlit2023.107.216.
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The article under studies deals with the issue of regeneration of genre forms of science fiction literature through its evolution. In the context of topical issues of poetics, it outlines the genrological status of science fiction and fantasy in terms of genre modifications – genre, genre variety, sub-genre, mega-genre, and meta-genre. Particular emphasis has been placed on the fact that the evolution of science fiction into a meta-genre format is due to a number of factors, such as the simulative nature of the chronotope of possible and parallel worlds, the change in the anthropological vector of texts, and the involvement of samples of other art forms (intermedial components). In addition, the activation of intertextual narratives in the personosphere (which becomes an important parameter of the meta-genre) has been identified as a marker of the genre evolution of fantasy. The creative activity of the American classic of science fiction prose Clifford Simak (1904–1988) may be regarded as a typical example of how science fiction writers appeal to “other authors’ texts”. This research relies on the analysis of his novel “Shakespeare’s Planet” (1976), in which the reader’s attention is mainly focused on the intertextual parameters of the personosphere, which significantly expands the hyper-real chronotope of the science fiction world. The works by William Shakespeare are identified as the prototexts for fantasy texts. Interpreted by Simak, the Shakespearean imagological narratives are implemented through quotations, reminiscences, anthropological allusions (the use of Shakespeare’s characters’ names), as well as through the introduction of the figure of Shakespeare himself into the fantasy personosphere. What is more, the figure of the English classic occasionally appears as the very center of the personosphere, its confocal axis. It has been determined in the article that the mystified and ironic story of Shakespeare’s timeless existence ferments the internal content of the fantasy text. Besides, the personosphere of a fantasy novel with several fictional narratives also includes the classic’s texts, such as “Hamlet”, “Twelfth Night”, “The End Praises the End”, “The Comedy of Errors”, “King Lear”, “Macbeth”, “Othello”, “Pericles”, “The Taming of the Shrew”, “Richard III”, and “Titus Andronicus”. In this case, in Simak’s “Shakespeare’s Planet”, they perform the function of additional (implicit) narratives, and, consequently, as a particular (intertextual) link in the personosphere. In conclusion, the article claims that the consistent generation of new literary genre formats in the field of the cultural continuum is an immanent feature of the complex literary process, which can be fully realized only with the help of the reader’s rich receptive background.