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Dissertations / Theses on the topic 'King Lear'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Lawrence, Se¢an Kevin. "Alterity, the divine and ethics in King Lear." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ61134.pdf.

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2

Fu, Luella. "Tragic Pleasure in Shakespeare's King Lear and Othello." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/57.

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This thesis is an examination of reader or audience response to Shakespeare’s tragedies. Primarily, it identifies key pleasures that Shakespeare’s King Lear and Othello offer. The complementary nature of these two plays is such that the analysis of their various pleasures allows for an in-depth treatment of the topic and also reflects the diversity of emotional response elicited by Shakespeare’s tragedies. The kinds of pleasure addressed in this study are catharsis as explained by Aristotle, the delight of violent passion as advocated by DuBos, pleasure from details in the work, satisfaction f

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3

Gillespie, Andrew Robbins. "A Conductors Guide to Vincent Persichetti's King Lear." Thesis, Colorado State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785840.

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<p> Vincent Persichetti’s septet <i>King Lear</i> was originally composed for the choreographer Martha Graham and her 1949 production, <i> Eye of Anguish</i>. While the production was considered a failure and has not been performed since its European tour in 1950, Persichetti admired his own portion of the collaboration and argued it would stand on its own merit as a chamber work. This thesis represents the first significant study of Persichetti’s <i>King Lear</i>. It is a guide for conductors and chamber ensembles preparing an informed performance, with historical information, the

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4

Grossman, Nicholas J. "FROM SIRE TO SIRRAH: THE DEVALUING OF KING LEAR." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2501.

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At the conclusion of King Lear, Lear has become a man with nothing to his name. His kingdom, family, and subjects have all but abandoned him. Whatever power or prestige he enjoyed at the beginning of the play, has been taken away from him by force. This paper focuses on how Lear has been devalued as a person throughout the play. By focusing on moral value and monetary value, this paper demonstrates how Lear’s own actions as well as his advanced age lead to his declination from King to a beast of burden.

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5

Hendricks, Shellee. "The curiosity of nations, King Lear and the incest prohibition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64155.pdf.

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6

Mackenzie, Alexandra Chantal Yvette. "Pilgrimage Narrative: A Pattern for Heavenly Theatre in King Lear." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1641.pdf.

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7

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

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8

Gleyzon, Francois-Xavier. "Shakespeare's spiral : tracing the snail in King Lear and Renaissance." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617807.

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This thesis has as its aim the exploration of a figure forgotten in the dramatic text of Shakespeare and Renaissance painting: the garden snail. Taking as its point of departure the emergence of the gastropod object/subject in the text of King Lear as well as its iconic interface in Bellini's painting Allegory of Falsehood (circa 1490), this study sets out to follow the particular path traced by the snail through the oeuvre. From the central scene in which the metaphor of the snail and or" its shell is specifically made manifest when Lear discovers, in a raging storm, the spectacle of Edgar di

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9

Saunders, John Graham. "Text and subtext in two film interpretations of King Lear." Thesis, University College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311808.

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10

Lombardic, Diana. "Jane Smiley's "A Thousand Acres": A Feminist Revision of "King Lear"." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1547.

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Jane Smiley retells the tale of “King Lear” through the perspective of one of the evil sisters, in her novel “A Thousand Acres”. While the literary canon places William Shakespeare and his plays at the top of the list, I disagree that the canon should denote what is considered “classic” and what would be disregarded. Jane Smiley's novel is not canonized, but why? Her feminist revision of “King Lear” answers why Goneril and Regan were so evil. I argue that “King Lear” (both the text and the play) does not provide the evidence of dysfunction that Smiley's novel exhibits. “A Thousand Acres” opens

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11

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 subv

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12

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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13

Willcox, Douglas R. "Metadrama and antitheatricality in Shakespeare's King Lear and Troilus and Cressida." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002756.

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14

Last, Suzan. "A narrative functions of Shakespeare's fools in Twelfth night and King Lear." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0002/MQ45333.pdf.

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15

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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16

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 Shak

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17

Presley, Erin Melinda Denise. "Wrestling with Father Shakespeare contemporary revisions of King Lear and the tempest /." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0319104-135906/unrestricted/PresleyE040204f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.<br>Title from electronic submission form. ETSU ETD database URN: etd-0319104-135906. Includes bibliographical references. Also available via Internet at the UMI web site.

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18

Robinson, Stephanie L. Robinson Stephanie L. Shakespeare William. "Music for King Lear : electro-acoustic composition and collaboration for the theatre /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170251.

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19

Funk, Sophia G. I. "Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1632.

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The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King

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20

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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21

Massai, Sonia. "Shakespearean revisions : Measure for Measure, King Lear and Pericles, from source to adaptation." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320575.

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Theories of revision have been advanced ever since Shakespearean Studies became a specific area of learning within the Humanities. It is however only recently that editors have started to appreciate the consequences these theories have on the actual editing of Shakespeare's plays. The critical implications of regarding Shakespeare as a reviser of his sources and of his own works, and as source of inspiration for later playwrights, on the other hand, have not been fully assessed yet. In this thesis, I explore the impact the unprecedented popularity enjoyed by revision theories since the early 1

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22

GRANDI, ROBERTA. "Tragicommedia, Melodramma e Burlesque: Metamorfosi del King Lear in Inghilterra dalla Restaurazione all'Ottocento." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/511.

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Questa tesi si occupa di percorrere il percorso di evoluzione del King Lear attraverso due secoli e mezzo di adattamenti teatrali e riscritture. Prende in esame gli adattamenti di Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean e William Charles Macready. La tesi propone anche l’analisi del melodramma di W.T. Moncrieff nonché i burlesques di John Chalmers, Joseph Halford e C.J. Collins, e Frederick Marchant.<br>This doctoral thesis focuses on the evolution of the story of King Lear through two centuries and a half of theatrical history. The research is concentrated on

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23

GRANDI, ROBERTA. "Tragicommedia, Melodramma e Burlesque: Metamorfosi del King Lear in Inghilterra dalla Restaurazione all'Ottocento." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/511.

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Questa tesi si occupa di percorrere il percorso di evoluzione del King Lear attraverso due secoli e mezzo di adattamenti teatrali e riscritture. Prende in esame gli adattamenti di Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean e William Charles Macready. La tesi propone anche l’analisi del melodramma di W.T. Moncrieff nonché i burlesques di John Chalmers, Joseph Halford e C.J. Collins, e Frederick Marchant.<br>This doctoral thesis focuses on the evolution of the story of King Lear through two centuries and a half of theatrical history. The research is concentrated on

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24

Christofides, R. M. "Shakespeare and equivocation : language and the doom in Hamlet, Othello, Macbeth, and King Lear." Thesis, Cardiff University, 2008. http://orca.cf.ac.uk/55788/.

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Equivocation is a condition of language that runs riot in Hamlet, Othello, Macbeth, and King Lear. Whether as ambiguity or dissimulation, equivocation propels the plots of these plays to their tragic finales. The Doom as depicted in pre-Reformation churches is invoked in the plays as a force that could end both equivocation and tragedy. However, Shakespeare withholds this divine intervention, allowing the tragedy to play out. Chapter One outlines the thesis, explains the methodological approach, and locates the thesis in relation to the major fields of Shakespeare studies. Chapter Two focuses

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25

Griggs, Yvonne. "Reading King Lear on screen from a genre perspective : a critical and creative response." Thesis, De Montfort University, 2007. http://hdl.handle.net/2086/4823.

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26

Hartwig, David W. "The place of Shakespeare : performing King Lear and The tempest in an endangered world." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3909/.

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This thesis brings ecocriticism to Shakespearean performance through an examination of adapted performance worlds. Studying cinematic and theatrical productions of Shakespeare’s King Lear and The Tempest, it develops a strategy of ecopoetic analysis: a critical approach to the creation of worlds in the process of adapting a play for performance. This work developed out of my own environmentalism and experience in performing Shakespeare’s works. My goal is to develop a critical strategy for examining performance that utilises the tools of ecological criticism and furthers the fields of performa

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27

Chahed, Lakhoua Khaoula. "Sexe et pouvoir dans les tragédies de Shakespeare : Hamlet, Othello, King Lear et Macbeth." Paris 10, 1996. http://www.theses.fr/1996PA100144.

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Cette etude se propose, a travers une combinaison d'approches theoriques, de contexte historique et d'analyse textuelle de reconstruire les quatre tragedies de shakespeare : hamlet, othello, king lear et macbeth et de decouvrir l'inconscient d'une culture qui a reprime l'authentique de l'etre, en particulier de la femme, a un point ou cette derniere a essaye d'echapper a cette culture pour decouvrir son identite. Cette recherche combine l'etude sociale et l'histoire intellectuelle de la periode shakespearienne. Elle examine comment les relations entre les sexes a une epoque de transition influ

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28

Silec, Tatjana. "Le fou et son roi dans la littérature anglaise de "Beowulf" à "King Lear"." Paris 4, 2008. http://www.theses.fr/2008PA040065.

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Ce travail étudie les visages du fou du roi dans une perspective diachronique qui va des triomphes de l’empire romain jusqu’à l'époque contemporaine, en accordant une importance plus particulière aux huit siècles qui séparent Beowulf de King Lear. Les oeuvres du corpus sont examinées sous trois angles principaux : anthropologique, philologique et stylistique, de manière à dégager ce qui fait l'originalité de la figure du fou de cour, à savoir ses qualités de révélateur des codes et des valeurs auxquelles les hommes devaient se conformer pour faire partie intégrante de leur communauté. Les muta

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29

Willcox, Douglas R. "Metadrama and Antitheatricality in Shakespeare’s King Lear and Troilus and Cressida." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/565.

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Shakespeare uses metadrama as a rhetorical vehicle for responding to antitheatricalism; realistic drama and staged theatricality therefore coexist in his plays. The cultural context of the early modern era, especially its antitheatrical rhetoric and the predominance of theatricality throughout the structures of its society, illumines the interaction of metadrama and antitheatricality Shakespeare's plays, particularly Troilus and Cressida and King Lear. By failing to consider adequately the unique nature of the emergence of early modern theater and the equally distinct reaction to its popularit

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30

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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31

Zilleruelo, Erica Lee Wineke Donald. "Shakespeare by any other word? Shakespeare's King Lear and Macbeth reinvented in the films of Akira Kurosawa /." Diss., A link to full text of this thesis in SOAR, 2007. http://soar.wichita.edu/dspace/handle/10057/1188.

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Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English.<br>"May 2007." Title from PDF title page (viewed on Dec. 30, 2007). Thesis adviser: Donald Wineke. Includes bibliographic references (leaves 35-37).

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32

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 c

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33

Jesus, Leila Vieira de. "A study of fools : Lear's fool in Shakespeare's King Lear and Vladimir and Estragon in Beckett's Waiting for Godot." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/54076.

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O foco dessa dissertação é analisar o papel, as características, e a presença dos bobos ao longo da história, focando em sua constante aparição no teatro. Os personagens principais da minha análise serão o Bobo, na peça Rei Lear de William Shakespeare, e Vladimir e Estragon, na peça Esperando Godot de Samuel Beckett. Na análise desses personagens, discuto semelhanças entre os autores, que já foram notadas por críticos como Martin Esslin, Jan Kott, e Northrop Frye, e mostro como os personagens de Beckett são similares aos bobos de Shakespeare. Bobos, no teatro, frequentemente agem como mediador

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34

Truesdale, Barbara L. "The problem of suffering : the questions of Job in King Lear, Moby Dick, and The sound and the fury." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1239708925.

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35

Lee, Chelsea Megan. "The Walking Dead: Rhetorical Manipulations of Death in Early Modern Performance." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8604.

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Death's presence on the Renaissance stage, and in Renaissance life, has been noticed and remarked upon by scholars in the past. The role of death in the early modern period was in flux due to major changes in religious and social life. During this time, the relationship between the living and dead was put into question, and the way the culture handled preparing for death began to change in significant, if subtle, ways. Renaissance drama became a stage for exploring and confronting the presence of death in life. King Lear and Hamlet remain two of Shakespeare's most enduring meditations on death

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36

滝川, 睦., та Mutsumu TAKIKAWA. "“O, How This Mother Swells Up toward My Heart!” ― King Learにおける放浪の諸相 ―". 名古屋大学文学部, 2008. http://hdl.handle.net/2237/10555.

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37

Seaton, Henry. "Playing the fool : a re-view of some of the many 'voices' of the fool in productions of King Lear." Thesis, University of Warwick, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396862.

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38

Selvin, Rachel A. ""This Rough Magic:" Imagination, Resurrection, and the Dream World Crisis in Shakespearean Tragedy." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/169.

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In this thesis, I explored the relationship between Shakespearean tragedy and romance, specifically how each genre treated themes regarding resurrection and the imagination. In romance, I discovered that the imagination became a portal to reality--a way through which characters understood and accepted impermanence, decay, and death. I used romance to illuminate tragedy's failures, showing that in both King Lear and Othello the imagination acts as a mask against the real. I called these imaginative spaces “dream worlds”--fantastical plains in which characters chased their impossible longings fo

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39

Keener, Andrew S. "The Paternal Dilemma: Fathers, Sons and Inheritance in Shakespearean Drama." Thesis, Boston College, 2010. http://hdl.handle.net/2345/1210.

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Thesis advisor: Andrew Sofer<br>In this thesis, it is my task to explore Shakespeare’s social analysis concerning the patriarchal structure of the family and the economic implications of this system. Four plays in particular, King Lear, Henry IV, As You Like It, and The Tempest resonate with these thematic elements. At the heart of these plays is the issue I call the paternal dilemma; the father or patriarch is a mere human, cannot live forever, and therefore needs to rely on an inheritance scheme to ensure the continuation of his line. This problem sees the institution of inheritance (namely,

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40

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.

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Ginder, Brittany. "Interpreting Invisibility: In Defense of Regan." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3431.

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Most scholarship regarding Shakespeare’s King Lear rests on the analysis of Lear and Cordelia, with the odd reference to the eldest daughter, Goneril, and brief homages to the Gloucester subplot. Lear’s middle daughter, Regan, is rarely mentioned at all, unless it is in conjunction with one of her more scholastically popular sisters. Within these marginalized moments of notice, Regan is routinely simplified as being just another sinful sister, fitting nicely into the accepted binaries of good and evil outlined within the play. Despite the fact that most binaries, like characters, are flawed, R

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42

Watts, Oliver. "Power and Misrecognition: The Cordelia/Fool Series." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/16820.

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Power and Misrecognition: The Cordelia/Fool Series asks which qualities of painting can help in our understanding of ourselves as subjects of law and power. I have developed a mode of theatrical, performative painting that stylistically and narratively remains open. The narrative of the tableaux seeks to account for the law’s inability to totally account for its subjects. The medium of painting is revisited as the traditional courtly or authoritative art, especially the genre of history painting; in this series though painting’s agency is shown to be displaced and debased. The painting itself

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Medina, Reales Yennadim. ""Pray you now, Forget and Forgive": Forgiveness, redemption and restoration in Shakespeare's King Lear and O'Neill's Long Day's Journey into Night." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130550.

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44

Rutter, Erin. ""And So He Plays His Part:" Theatrical Prejudice and Role-Playing in As You Like It and King Lear." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001313.

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45

Callaghan, D. C. "The construction of the category of 'woman' in Shakespeare's King Lear and Othello and Webster's The Duchess of Malfi and The White Devil." Thesis, University of Sussex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373909.

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This thesis addresses fissures in language, ideology and subjectivity as they are manifested in the dramatic construction of the category of 'Woman' in four major Jacobean texts. The first section of my project deals with the way 1n which the opposition of male and female underlies the perception and construction of order at every level. In a scheme of thought characterized by the use of antithesis and analogy, the opposition of gender proves to be one of the most richly extensible. All analogies are connected by the great chain of thought which consti tutes the Great Chain of Being. Once any

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46

Toubiana, Éric. "Abord psychopathologique de l'héritage." Paris 7, 1987. http://www.theses.fr/1987PA070064.

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Cette recherche s'attache à aborder l'héritage en faisant appel aux textes de loi, à la littérature (en particulier avec Shakespeare : Jules Cesar et le roi Lear), a la métapsychologie psychanalytique, à une expérience clinique. Le caractère anecdotique des problématiques engendrées par l'héritage est volontairement laissé en suspens pour céder la place à certaines lignes de force qui régissent les successions. Identité et propriété, troubles de la constitution du narcissisme, meurtre-culpabilité-transmission, mécanisme d'identification, liens de filiation, phylogenèse et héritage culturel, tr

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47

Wagner, Christina. "James and Shakespeare: Unification through Mapping." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1431114265.

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48

Hicks, Penelope Rose. "The fortunes of King Lear in London between 1681 and 1838 : a chronological account of its adaptors and editors, and of the links between them." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299179.

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49

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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Abstract:

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 étaie

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50

Romer, Wayne Allen. "David Amram (b.1930) analysis of selected works for wind band : King Lear variations, Andante and variations on a theme for Macbeth, Ode to Lord Buckley /." Cincinnati, Ohio : University of Cincinnati, 2010. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1267720358.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2010.<br>Advisor: Rodney Winther. Title from electronic thesis title page (viewed Apr. 19, 2010). Includes abstract. Keywords: David Amram; King Lear Variations; Andante and Variations on a Theme for Macbeth; Ode to Lord Buckley; Joseph Papp; Jack Kerouac. Includes bibliographical references.

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