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Journal articles on the topic 'Macbeth and Othello plays'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

CUŢITARU, CODRIN LIVIU. "CULTURAL AMBIGUITY AS IRRECONCILABLE ANTAGONISM IN SHAKESPEARE’S MAJOR TRAGEDIES." Analele Universităţii Bucureşti. Limbi şi Literaturi Străine 72, no. 1/2023 (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 (th

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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 (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

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Islam, Md Shafiqul. "Shakespeare’s Great Tragedies." Crossings: A Journal of English Studies 2, no. 1 (2009): 248–53. http://dx.doi.org/10.59817/cjes.v2i1.413.

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Mohit Ul Alam has accomplished a splendid job for those who want to read Shakespeare’s great tragedies in Bangla. He completed with virtuosity his arduous but praiseworthy task by presenting us with Bangla renditions of Shakespeare’s great plays in one edition: Hamlet, Othello, King Lear and Macbeth…

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John, Drakakis. "Shakespeare, Tragedy, Post-truth: Hamlet, Othello and Antony and Cleopatra." Trivium A multi disciplinary journal of humanities of Chandernagore College 2, no. 2 (2018): 1–28. https://doi.org/10.5281/zenodo.13826326.

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The recent controversy concerning 'fake news', truth and falsehood provides the stimulus for the following argument that seeks to investigate different kinds of language in a series of Shakespeare plays: Hamlet, Macbeth and Antony and Cleopatra. It is clear that at the turn of the 16th-17th century the issue of the representational powers of language was topical, and the following arguments seek to show how that issue develops primarily in three plays, but it could also be extended to cover more. In Hamlet different kinds of language compete with one another, from the purveyance of 'false trut

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Hamid, G. Jewad. "An Analysis of Euphemism in the Selected Literary Texts." International Journal of Social Science and Human Research 07, no. 09 (2024): 7186–94. https://doi.org/10.5281/zenodo.13840222.

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Euphemism is a commonly used literary device in various forms of literature. It serves to soften or mask harsh, sensitive, or unpleasant words or concepts, often substituting them with more polite, indirect, or socially acceptable expressions. Euphemism can be found in novels, poems, plays, and other literary works. Euphemism can be used to reflect and comment on societal norms, cultural values, or political contexts. By examining the language choices made by characters or narrators, readers can gain insights into the power dynamics, prejudices, or social expectations of a particular time or p

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Prof., Sarita Jain. "Embedded Madness: Mad Narrators and the Possible Worlds: A study of Shakespeare's Plays." Embedded Madness: Mad Narrators and the Possible Worlds: A study of Shakespeare's Plays 9, no. 1 (2024): 375–92. https://doi.org/10.36993/ RJOE.2024.9.1.392.

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Madness is a theme especially prevalent in the works of Shakespeare. Whether using it as comedy or tragedy, the sheer number of characters afflicted with mental health crises on Shakespeare’s stage is impressive. What is equally worth noting is the effect that Shakespeare’s staged breakdowns has on those viewing or reading his works and how this impact may differ drastically depending on the viewer’s own culture. After a basic examination of Elizabethan cultural views regarding what is now referred to as mental health, various examples

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

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

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Ćirović, Mirka. "CONCEPTUAL METAPHORS IN SHAKESPEARE’S TRAGEDIES OTHELLO, HAMLET, KING LEAR AND MACBETH – LIFE AND DEATH (KONCEPTUALNA METAFORA U ŠEKSPIROVIM TRAGEDIJAMA OTELO, HAMLET, KRALJ LIR I MAKBET – ŽIVOT I SMRT)." Folia linguistica et litteraria X, no. 28 (2019): 127–44. http://dx.doi.org/10.31902/fll.28.2019.8.

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This work analyzes conceptual metaphors in metaphorical linguistic expressions which are extracted from Shakespeare’s four major plays Othello, Hamlet, King Lear and Macbeth. Metaphorical linguistic expressions selected from the plays refer to abstract concepts of life and death, which preoccupied Shakespeare in his tragedies. In order to understand the four plays mentioned and individual lines in them, it is very importnat to gain insight into how Shakespeare’s characters, Shakespeare himself and man in general reason about existential questions and questions of purpose which have always been

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Ivashchenko, Iryna. "Eclecticism of "Multiagent Effects" in the Interpretations of Shakespearean Tragedies by the Director E. Nekrošius." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 71–76. https://doi.org/10.31866/2410-1176.41.2019.188641.

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The purpose of the article is to identify the specifics of the interpretation of W. Shakespeare’s plays Hamlet (1997), Macbeth (1999) and Othello (2000) by director E. Nekro&scaron;ius, as well as to analyse the features of his creative methods and techniques. The research methodology. An interdisciplinary approach and the following scientific methods were applied. Typological-structural method is to structure the basic principles of synergies between peculiar elements of the director’s tools of E. Nekro&scaron;ius; the method of art history analysis is to identify the specifics of

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Md, Monirujjaman. "She-villain in Shakespeare's Tragedies." She-villain in Shakespeare's Tragedies 8, no. 3 (2024): 267–71. https://doi.org/10.36993/ RJOE.2023.8.3.271.

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William Shakespeare is widely regarded as one of the greatest writers in English language theworld has ever seen. He is also called the “Bird of Avon” as he was born in Stratford-upon-Avon,Warwickshire, United Kingdom. He wrote around fifty plays. Among these, his ten plays fall intothe category of tragedy- Antony and Cleopatra, Coriolanus, Hamlet, Julius Caesar, King Lear,Macbeth, Othello, Romeo and Juliet, Timon of Athens, and Titus Andronicus. It is found that malecharacters play the dominant figure in his tragic plays. But this article will try to explore the role offemale char

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Ray, Neha Kumari. "A comparative study of Macbeth, adapted as Maqbool by Vishal Bharadwaj." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 253–60. http://dx.doi.org/10.22161/ijels.85.39.

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William Shakespeare's theatrical works have long been a fertile ground for reinterpretation and transformation. Within his plays, he explored fundamental themes such as love, marriage, family dynamics, issues of race and class, humour, betrayal, malevolence, vengeance, murder, and mortality. Through his masterful storytelling, Shakespeare crafted enduring characters, spanning from common criminals to noble monarchs, who have transcended time to become enduring archetypes in modern drama, while still retaining their relatable human essence. These timeless themes and iconic characters provide fi

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Hirsh, James. "The Strictly Limited Use of Audience Address in Shakespeare's Plays: An Empirical Approach to Theatrical History." Ben Jonson Journal 32, no. 1 (2025): 25–54. https://doi.org/10.3366/bjj.2025.0387.

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The essay employs a rigorously empirical methodology. All major conclusions are supported by overwhelming evidence. It is necessary to present overwhelming evidence because those conclusions are at odds with the current consensus of scholarly opinion. Shakespeare employed audience address in choral monologues and epilogues. Unambiguous evidence of audience address in these speeches include second person pronouns, commands, other forms of address, and references to the current situation as a theatrical performance. Documenting such evidence might seem unnecessary. After all, it is obvious that

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Clegg, Cyndia. "The Undiscovered Countries: Shakespeare and the Afterlife." Religions 10, no. 3 (2019): 174. http://dx.doi.org/10.3390/rel10030174.

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The multiple uses of religion in Shakespeare’s plays seem to counter each other at every turn. In one respect, though, I have found a surprising consistency. Moments when Shakespeare’s drama imagines the afterlife are moments that lend significant insights into the play’s action or characterization, even though the image of one undiscovered country may differ drastically from another. Across the canon, the afterlife may appear as a place of religious judgment, as in Othello, Hamlet, Merchant of Venice; as a classical Elysium or Hades where the spirit or shadow removes elsewhere (Antony and Cle

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Flachmann, Michael. "Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Merchant of Venice. Edited by Charles Edelman. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Taming of the Shrew. Edited by Elizabeth Schafer. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; King Henry V. Edited by Emma Smith. $23 paper." Theatre Survey 45, no. 1 (2004): 158–61. http://dx.doi.org/10.1017/s0040557404410084.

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In their “Editors' Preface” to the Cambridge University Press Shakespeare in Production series, J. S. Bratton and Julie Hankey proudly describe the “comprehensive dossier of materials,” including “eye-witness accounts, contemporary criticism, promptbook marginalia, stage business, cuts, additions and rewritings,” that make up the heart of this brilliant and exceptionally useful collection of Shakespeare editions. Conceived by Jeremy Treglown and first published by Junction Books, the series was later printed by Bristol Classical Press as Plays in Performance, though none of the original four t

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Dr. Sanjib Kuar Baishya. "A Critical Analysis of Adaptation, Domestication and Foreignization as Effective Strategies for Translating Shakespeare’s Plays into Assamese." Creative Launcher 7, no. 6 (2022): 75–83. http://dx.doi.org/10.53032/tcl.2022.7.6.08.

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One of the major challenges faced by the translators is finding equivalence in the target language. The translators of Shakespeare plays have used Assamese words as appropriate equivalence of English words used by Shakespeare. However, it is not possible for the translators to claim that a particular kind of translation is the most faithful to the source text or the original text. The critics of translation studies are divided on deciding the parameters to assess whether a particular translation is faithful or not. The translators face various challenges in the process of translation such as f

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Koketso, Daniel. "Shakespeare and Botswana Politics in 2014." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (2018): 66–78. http://dx.doi.org/10.32642/julace.v3i1.1376.

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Shakespeare’s influence cannot be confined by subject, theme, spatial and/or temporal setting. His works transcend disciplines and geographical identity. He is a linguist, a psychiatrist, ecologist and a political, social and economic commentator. Three thousand new words and phrases all first appeared in print in Shakespeare’s plays. Through Shylock’s resolve on three thousand ducats repayment, readers of The Merchant of Venice learn about the dangers of a cash nexus on human relations. The major tragedies and tragicomedies impart knowledge about politics at both national and family levels. J

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17

Mamoni, Das. "Shakespeare - The Dramatist Of All Time." ACCST RESEARCH JOURNAL XX, no. 1, January 2022 (2022): 1–12. https://doi.org/10.5281/zenodo.6198585.

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            Ben Jonson, Shakespeare’s well known contemporary playwright, poet and actor calls Shakespeare “not of an age but for all time.” Shakespeare therefore is the dramatist for all seasons and arguably the most timeless and placeless dramatist, the world of literature has ever produced. He produced 37 plays during his time and penned 154 sonnets with two epic poems. Shakespeare is the mostly quoted (person) next to Bible and his works have been produced in almost all the languages with diverse sort of modifications; his characters have con

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Ángel-Luis Pujante and Keith Gregor. "Managerial Shakespeare and TROILUS AND CRESSIDA." Linguaculture 14, no. 1 (2023): 83–100. http://dx.doi.org/10.47743/lincu-2023-1-0322.

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From the 1990s a new development has taken place within the framework of ‘Shakespeare in popular culture’, and more specifically of so-called ‘Self-help Shakespeare’, namely what Douglas Lanier has termed ‘the Shakespeare corporate-management manual’. What underlies them all is the notion that, if Shakespeare is famous for portraying universal human nature, he has a good deal to teach the world of business and management. To this effect, they provide quotations and discussions of a number of plays, particularly Henry V, Hamlet, Macbeth, Othello, Julius Caesar and The Merchant of Venice. The va

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Khan, Nila Akhtar. "Women in Shakespeare's Tragedies and Comedies." Scholars International Journal of Linguistics and Literature 7, no. 05 (2024): 145–51. http://dx.doi.org/10.36348/sijll.2024.v07i05.001.

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William Shakespeare's plays are renowned for their portrayal of complex and compelling female characters. In both his tragedies and comedies, Shakespeare challenges traditional gender roles and stereotypes, presenting women who are intelligent, independent, and assertive. This study examines the roles of women in Shakespeare's tragedies and comedies, focusing on the plays "Macbeth," "Hamlet," "Othello," "Twelfth Night," "Much Ado About Nothing," and "A Midsummer Night's Dream." The objective of this study is to analyze the portrayal of women in Shakespeare's tragedies and comedies, exploring h

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20

Kowsar, K. S. Shahanaaz, and Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER." Creativity Studies 14, no. 1 (2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major

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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 (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 po

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Brown, Roger, and Albert Gilman. "Politeness theory and Shakespeare's four major tragedies." Language in Society 18, no. 2 (1989): 159–212. http://dx.doi.org/10.1017/s0047404500013464.

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ABSTRACTPenelope Brown and Stephen Levinson (1987) have proposed that power (P), distance (D), and the ranked extremity (R) of a face-threatening act are the universal determinants of politeness levels in dyadic discourse. This claim is tested here for Shakespeare's use of Early Modern English in Hamlet, King Lear, Macbeth, and Othello. The tragedies are used because: (1) dramatic texts provide the best information on colloquial speech of the period; (2) the psychological soliloquies in the tragedies provide the access to inner life that is necessary for a proper test of politeness theory; and

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Aspinall, Dana E., Marina Favila, Richard J. Larschan, et al. "Play Reviews: Shakespeare Santa Cruz, Romeo and Juliet, the Massacre at Paris, Macbeth, Richard II, Macbeth, Le Conte d'hiver (The Winter's Tale), Othello, Dido, Queen of Carthage, Richard II, Antony and Cleopatra, Macbeth (The Notes)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 85, no. 1 (2014): 85–125. http://dx.doi.org/10.7227/ce.85.1.7.

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Almási, Zsolt, Krystyna Kujawińska Courtney, Mădălina Nicolaescu, Klára Škrobánková, Ema Vyroubalova, and Oana-Alis Zaharia. "Politics, Shakespeare, East-Central Europe: Theatrical Border Crossings." Multicultural Shakespeare: Translation, Appropriation and Performance 28, no. 43 (2023): 45–68. http://dx.doi.org/10.18778/2083-8530.28.03.

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This essay discusses how productions of Shakespeare’s plays that transcend various geographical, national, and linguistic boundaries have influenced the theatrical-political discourse in East-Central Europe in the twenty-first century. It focuses primarily on the work of four internationally-established directors: Andrei Şerban (Romania), Jan Klata (Poland), David Jařab (Czech Republic), and Matei Vișniec (Romania), whose works have facilitated interregional cultural exchange, promoting artistic innovation and experimentation in the region and beyond. Among the boundary-crossing productions an

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Walker, Greg, David Hartwig, Will Sharpe, et al. "Play Reviews: Hamlet, Othello, Romeo and Juliet, King Lear, Macbeth, Macbeth, Romeo and Juliet, Much Ado about Nothing, Hamlet, the Merchant of Venice, Measure for Measure, a Midsummer Night's Dream, a Midsummer Night's Dream, Othello, a Midsummer Night's Dream, Macbeth, Timon of Athens, Antoine et Cléopâtre, Vice(s), Versa, c'est-à-dire the Changeling, Les Joyeuses Commères de Windsor, Othello, La Nuit des Reines ou comment Henri III a viré sa cuti, Otello, Richard II, the Tempest, Enrico V (Henry V)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 66, no. 1 (2004): 41–76. http://dx.doi.org/10.7227/ce.66.1.7.

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Treilhou-Ballaudé, Catherine. "Othello et Macbeth." Arzanà, no. 14 (January 1, 2012): 161–73. http://dx.doi.org/10.4000/arzana.707.

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Edmondson, Paul, Greg Walker, Greg Walker, et al. "Reviews Plays: Richard III, a Midsummer Night's Dream, Edward III, Much Ado About Nothing, Antony and Cleopatra, The Tempest, Eastward Ho!, The Island Princess, Twelfth Night, a Midsummer Night's Dream, Henry VI: Revenge in France, Henry VI: Revolt in England, Othello, Titus Andronicus, King Lear, Macbeth, The Alchemist, a Midsummer Night's Dream, La Tempête, Le Conte d'hiver, Juliette et Roméo, Le Songe d'une nuit d'été, Un Volpone, Macbeth, Macbeth." Cahiers Élisabéthains: A Journal of English Renaissance Studies 62, no. 1 (2002): 73–142. http://dx.doi.org/10.7227/ce.62.1.8.

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Loder, Conny, Anita M. Hagerman, Greg Walker, et al. "Play Reviews: Twelfth Night, Henry V, the Merchant of Venice, the Taming of the Shrew, the History of King Lear, Much Ado about Nothing, Othello, the Taming of the Shrew, Hamlet, Macbeth, Henry VI, Falstafe." Cahiers Élisabéthains: A Journal of English Renaissance Studies 73, no. 1 (2008): 65–89. http://dx.doi.org/10.7227/ce.73.1.10.

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Aydınalp, Elif. "Shakespeare'in Teatralliği: Hamlet, Macbeth ve Othello." Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi Dergisi, no. 21 (January 28, 2019): 1–9. http://dx.doi.org/10.17484/yedi.454899.

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Ludwig, Carlos Roberto. "MACBETH E BANQUO OU OS DUPLOS DA CONSCIÊNCIA." Cadernos do IL, no. 53 (January 20, 2017): 159. http://dx.doi.org/10.22456/2236-6385.67202.

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Este artigo investiga a relação ambígua entre Macbeth e Banquo como duplos da consciência na peça Macbeth, de Shakespeare. Num certo sentido, Banquo funciona como a consciência de Macbeth que não seguiu “o caminho do mal”, ao passo que Macbeth representa a dimensão da consciência que escolheu o crime e a usurpação do trono. Shakespeare criava duplos como Macbeth e Banquo, Othello e Iago, como um artifício estético para enfatizar um traço psicológico de uma personagem. O duplo é evidente porque há uma relação ambígua de cordialidade e cumplicidade entre Banquo e Macbeth, a ponto de Banquo simpl

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

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

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Darlene Farabee. "Othello, and: Macbeth (review)." Shakespeare Bulletin 27, no. 4 (2009): 638–44. http://dx.doi.org/10.1353/shb.0.0112.

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Joseph, Jerome. "Industrial Relations and the Tragic Flaw." Management and Labour Studies 44, no. 1 (2019): 1–16. http://dx.doi.org/10.1177/0258042x19825955.

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Anyone familiar with Shakespeare and his tragedies would have heard about the ‘tragic flaw’ of his heroes. All his tragic heroes—Macbeth, King Lear, Hamlet and Othello—catapulted towards their tragic end because of a tragic flaw: vaulting ambition in Macbeth, misplaced trust in King Lear, indecisiveness in Hamlet and green-eyed jealousy in Othello…. This article is an attempt to respond to the question of whether industrial relations practice is also characterized by a tragic flaw which significantly undermines its potency. The data for the article comes from published newspaper reports relate

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Collins, Eleanor, Michael Jones, Poonperm Paitayawat, et al. "Play Reviews: Othello, the Merchant of Venice, Love's Labour's Lost, Romeo and Juliet, the Alchemist, Coriolanus, the Taming of the Shrew, Macbeth, a Midsummer Night's Dream, Macbeth, Much Ado about Nothing, Gallathea, the Tempest, Twelfth Night, King Lear, Othello, the Merchant of Venice, Titus Andronicus, Le Songe d'une nuit d'été [A Midsummer Night's Dream], La Tempête [The Tempest], Le Songe d'une nuit d‘été [A Midsummer Night's Dream], Richard III, Le roi Lear [King Lear], Mesure pour mesure [Measure for Measure]." Cahiers Élisabéthains: A Journal of English Renaissance Studies 72, no. 1 (2007): 39–85. http://dx.doi.org/10.7227/ce.72.1.6.

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Kardiansyah, M. Yuseano. "The Index of Hero’s Power and Nobility in Shakespearean Tragedy Drama: A Semiotic Study." TEKNOSASTIK 14, no. 2 (2018): 11. http://dx.doi.org/10.33365/ts.v14i2.57.

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This paper discusses a study that investigates the index of hero’s power and nobility in Shakespearean tragedy dramas. Here, the discussion focuses on two works authored by William Shakespeare: "Macbeth" and “Othello”. Objective of this study is to investigate the signs that give index of power and nobility in those two Shakespearean tragedy dramas. The study is done by analyzing Macbeth and Othello in the way of tracing the intrinsic elements or texts of them. All related dialogs and narrations (data source) in these dramas are analyzed in order to disclose the indexes of power and nobility i

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Balaudé-Treilhou, Catherine. "Othello et Macbeth : personnage tragique et théâtre du mal." Arzanà 14, no. 1 (2012): 161–73. http://dx.doi.org/10.3406/arzan.2012.994.

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Munakata, Kuniyodhi. "Noh Creation of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (2016): 87–106. http://dx.doi.org/10.1515/mstap-2016-0018.

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This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick

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Smith, Peter J. "Reviews Plays: Macbeth." Cahiers Élisabéthains: A Journal of English Renaissance Studies 61, no. 1 (2002): 103–4. http://dx.doi.org/10.1177/018476780206100116.

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Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 15. http://dx.doi.org/10.24113/ijellh.v8i2.10384.

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The abstract summarizes the analysis and interpretation of the significance of minor characters in Shakespeare’s major tragedies and concludes that Shakespeare is the greatest creator of characters. His greatness lies of course, in creating and heroic characters like Hamlet, Othello, Lear and Macbeth but what is significant is that even the minor characters are as immortal as the major ones. The great Villain Iago are great characters but the less important characters like Horatio, Fortinbras, Edgar, Cassio and Banquo are equally important. Besides, Shakespeare’s women characters, mostly

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조성덕. "The comparative analysis between 'Macbeth' and 'Othello' of Orson Welles." Contemporary Film Studies 9, no. 1 (2013): 297–316. http://dx.doi.org/10.15751/cofis.2013.9.1.297.

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Smith, Peter J., Peter J. Smith, Peter J. Smith, et al. "Reviews Plays: Troilus and Cressida, The Winter's Tale, Othello, a Midsummer Night's Dream, Volpone, Antony and Cleopatra, Twelfth Night, Macbeth, Twelfth Night, The White Devil, The Tempest, Hamlet, The Winter's Tale, The Comedy of Errors, Julius Caesar, Twelfth Night, The Winter's Tale, Vie et Mort du Roi Jean, Le Juif de Malte, York (Henri VI 3e volet—Richard III)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 56, no. 1 (1999): 81–117. http://dx.doi.org/10.7227/ce.56.1.8.

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Hagerman, Anita M., Anita M. Hagerman, Anita M. Hagerman, et al. "Play Reviews: The Chicago Shakespeare Theater Othello, the Comedy of Errors, King John, Romeo and Juliet, Hamlet, the Taming of the Shrew, All's Well That Ends Well, Hamlet, Hamlet, King Lear, Timon of Athens, a Midsummer Night's Dream, the Merry Wives of Windsor, Troilus and Cressida, Macbeth: Who is That Bloodied Man? The Revenger's Tragedy, Othello, Tragédies romaines: Coriolan, Jules César, Antoine et Cléopâtre, Hamlet, Hamlet, la fin d'une enfance." Cahiers Élisabéthains: A Journal of English Renaissance Studies 74, no. 1 (2008): 43–84. http://dx.doi.org/10.7227/ce.74.1.8.

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Matthews, Julia, and Michael L. Hays. "Shakespearean Tragedy as Chivalric Romance: Rethinking "Macbeth, Hamlet, Othello, and King Lear"." Sixteenth Century Journal 36, no. 2 (2005): 489. http://dx.doi.org/10.2307/20477381.

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Nely Keinänen. "Otello, and: Othello, and: Macbeth (review)." Shakespeare Bulletin 27, no. 2 (2009): 281–89. http://dx.doi.org/10.1353/shb.0.0067.

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Menzer, Paul. "As You Like It, and: Macbeth, and: The Tempest, and: Othello (review)." Shakespeare Bulletin 25, no. 2 (2007): 99–109. http://dx.doi.org/10.1353/shb.2007.0035.

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Lewis, Sarah, and Emma Whipday. "Sounding Offstage Worlds: Experiencing Liminal Space and Time in Macbeth and Othello." Shakespeare 15, no. 3 (2019): 272–82. http://dx.doi.org/10.1080/17450918.2019.1640275.

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Saei Dibavar, Sara, and Pyeaam Abbasi. "The politics of minoritarian becomings: a Deleuzian approach to Macbeth and Othello." Neohelicon 44, no. 2 (2017): 505–21. http://dx.doi.org/10.1007/s11059-017-0383-z.

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Ferdous, Mafruha. "The Values of Masculinity in William Shakespeare’s Macbeth." Advances in Language and Literary Studies 8, no. 2 (2017): 22. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.22.

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The theme of gender plays a vital role in William Shakespeare’s famous political play Macbeth. From the very beginning of the play the dramatist focuses on the importance of masculinity in gaining power and authority. Lady Macbeth along with the three witches are as important characters as Macbeth. Because they influence Macbeth profoundly. And Shakespeare very carefully draws the character of Lady Macbeth who being a female sometimes exhibits more masculinity than Macbeth. Similarly is the case of the three witches. Though they look like women they are also bearded which prove the presence of

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Kirwan, Peter, Peter J. Smith, Dana E. Aspinall, et al. "Play Reviews: Julius Caesar / Antony and Cleopatra, Othello, All's Well That Ends Well, as You like it, the Winter's Tale, as You like it, Romeo and Juliet, Twelfth Night, King Lear, Henry V, as You like it, the Comedy of Errors, Julius Caesar, Macbeth, a Midsummer Night's Dream, Bartholomew Fair." Cahiers Élisabéthains: A Journal of English Renaissance Studies 76, no. 1 (2009): 45–76. http://dx.doi.org/10.7227/ce.76.1.6.

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Bandín Fuertes, Elena. "Performing Shakespeare in a Conflicting Cultural Context: Othello in Francoist Spain." Sederi, no. 21 (2011): 119–32. http://dx.doi.org/10.34136/sederi.2011.6.

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The present article reviews the stage history of Othello in Spain and, in particular, it focuses on two performances of the play staged at the Español theatre during Franco’s dictatorship, in 1944 and 1971 respectively. Othello was one of the Shakespearean plays programmed by the regime to give cultural prestige to the “national” theatre. By comparing both productions, this paper explores how the performance of Othello evolved during the dictatorship. Furthermore, it shows how the repressive force of state censorship was exerted to promote certain theatrical conventions and to prevent theatre

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