Relevant bibliographies by topics / Macbeth (Shakespeare, William)

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Academic literature on the topic 'Macbeth (Shakespeare, William)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Macbeth (Shakespeare, William)"

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Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare." Theatrical Colloquia 7, no. 2 (December 1, 2017): 213–30. http://dx.doi.org/10.1515/tco-2017-0020.

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Abstract Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragic interaction between Macbeth and time, with all the psychological and physical tensions that derive from there. The main impact of time on Shakespeare’s tragic heroes is achieved by the actual actions of time that exposes and amplifies tragic defects of heroes (in Macbeth’s case - ambition). As in the Renaissance, myths, images and signs were used in poetics and literature to indicate a teaching, a moral, Shakespeare includes in his work symbols taken from the iconography and mythography available at that time, such as time’s tricephalous image around which Macbeth is “shaped”.
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Tuti Handayani, Syahrul Ramadhan, and Siti Armelia Hamidah. "Analisis Bayangan Dalam Macbeth Karya William Shakespeare." Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris 2, no. 1 (January 2, 2024): 92–97. http://dx.doi.org/10.61132/sintaksis.v2i1.253.

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Macbeth was one of William Shakespeare's famous plays that used many shadows to beckon events to come in this story. In Macbeth's stories shadows are used to create tensions and raise questions about agency and moral responsibility in the drama. This study aims to analyze and identify the use of additives in the text and connect it to the development of themes and characters in Macbeth's story. In addition, the researchers also used interpretation and evaluation. After evaluating "Macbeth," the researcher gives his own view of the work. This data-research method employs a qualitative approach. Research shows that parallels are used in "Macbeth" to predict the direction of the story, build tensions, and develop character. Parallels are used to show changes in character and awareness of responsibility dealt with by Macbeth. Examples of vocations used in "Macbeth" include witch prophecies, soliloquy Macbeth, hallucinations and visions, and the use of invention. These barriers help build tensions and predict the tragic end of the main character
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Ferdous, Mafruha. "The Values of Masculinity in William Shakespeare’s Macbeth." Advances in Language and Literary Studies 8, no. 2 (April 30, 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 masculinity in their nature. Throughout the play several times the exposition of masculinity is demanded from the character of Macbeth. So the value of masculinity plays an important part in the drama.
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Glynn, Dominic. "Macbeth by William Shakespeare." Theatre Journal 67, no. 1 (2015): 115–17. http://dx.doi.org/10.1353/tj.2015.0007.

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Sierra, Horacio. "Macbeth by William Shakespeare." Theatre Journal 71, no. 4 (2019): 517–20. http://dx.doi.org/10.1353/tj.2019.0119.

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Coats, Karen. "Macbeth by William Shakespeare." Bulletin of the Center for Children's Books 68, no. 8 (2015): 419–20. http://dx.doi.org/10.1353/bcc.2015.0271.

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LeRoy, Tamar. "Macbeth by William Shakespeare." Restoration: Studies in English Literary Culture, 1660-1700 42, no. 2 (2018): 138–42. http://dx.doi.org/10.1353/rst.2018.0011.

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Innes, Paul. "Macbeth by William Shakespeare (review)." Theatre Journal 76, no. 2 (June 2024): 231–33. http://dx.doi.org/10.1353/tj.2024.a932173.

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

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AbstractIn Macbeth (ca. 1606), William Shakespeare returns all the way back to his metaphysics which he had demonstrated magnificently in A Midsummer Night’s Dream (ca. 1595) and Hamlet (ca. 1600). These works represent Shakespeare’s dramaturgical treatment of Being, substance, essence, etc. One of the chief elements of these plays is supernaturality, or nothingness (non-being) in a sense interrupting Being and human activities. These elements are presented in Julius Caesar (1599) as well, a history play which has commonalities with Macbeth. Yet few of his tragedies offer a world so dipped in horror and darkness as Macbeth. Ethics might thus be a far-fetched component among these grisly sensations and in the bloody atmosphere of this tragedy, but with the help of Emmanuel Lévinas (1906–1995), traces of ethical exigency can be discerned. Approaching Macbeth through Lévinas’s philosophy, we attempt to study some ways in which ethics can be addressed and studied in this dark world. We will discuss Macbeth’s struggles with time (mostly his future) and the Other as metaphors of alterity intruding into and interrupting his totalizing conatus.
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Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 11, 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 assigned minor roles, create niche in our heart. Ophelia, Cordelia, Desdemona and Lady Macbeth have their own place. Nobody will forget them. In fact, they bring spice to the development of the plot and so do Horatio Ophelia, Lady Macbeth, Banquo, Macduff, Earl of Gloster , Edgar, Cassio and Emilia in tragedies.
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Dissertations / Theses on the topic "Macbeth (Shakespeare, William)"

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Johnson, Virginia Bristol. "Costume designs for Macbeth by William Shakespeare." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2962.

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Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains vi, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 34-35).
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Podara, Eleni. "Macbeth." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178040.

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Tato práce dokumentuje Scénická a kostýmní procesu navrhování pro výrobu divadelním představení Shakespearovy hry Macbeth jako vyrobené Pražského shakespearovské společnosti.Výroba byla provedena v Divadle Kolowrat, od 07.11.2013 do 22.listopadu 2013. Navíc produkce cestoval do Houstonu v Texasu v Rice Village divadle Main Street Theater společnosti. Je tam hráli od 27. února do 9. března 2014. Tato práce zahrnuje analýzu hry a postavy a popisuje podrobně proces návrhu a provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu jsou k dispozici.
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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet, Le Roi Lear et Macbeth : la clairvoyance sublime de l'égarement /." Villeneuve-d'Ascq : Les presses universitaires du Septentrion, 1997. http://catalogue.bnf.fr/ark:/12148/cb37717827p.

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

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Loucks, Jessica Lenore. "The nature of nurture : fluids as indicators of naturalness in Macbeth /." Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000579/02/2009FT.htm.

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Thesis (M.A.) -- Central Connecticut State University, 2009.
Thesis advisor: Stephen Cohen. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 68-70). Abstract available via the World Wide Web.
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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.

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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.
Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.
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McFall, Edwin K. "Tragic hero to antichrist : Macbeth, the Oedipus Tyrannus of the English Renaissance /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10234.

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Clausen, Christoph. "Macbeth multiplied : negotiating historical and medial difference between Shakespeare and Verdi /." Amsterdam : Rodopi, 2005. http://catalogue.bnf.fr/ark:/12148/cb40132819c.

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Metcalf, John Maurice Carleton University Dissertation English. "The presentation of Jacobean witchcraft beliefs in Shakespeare's Macbeth." Ottawa, 1992.

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Myers, Lynette Mary. "The poetry of prevarication : a study of the functional integration of style and imagery with character andaction in Shakespeare's Macbeth / Lynette Mary Myers." Thesis, Potchefstroom University for Christian Higher Education, 1985. http://hdl.handle.net/10394/10076.

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I have proved that prevarication is a current that initiates the evil actions that are committed. I have traced some of the oblique, dishonest euphemisms used by Macbeth and Lady Macbeth in their language in their attempt to deceive themselves and others of their intentions. This linguistic device sharpens our awareness of their prevarication and avoidance of facing the truth, and their attempt at self-deception and equivocation. They enter into physical and spiritual duplicity. The Witches are structurally important and function in contributing to the ambiguous action of the play, and initiate the symbolism of darkness and evil that prevails. Macbeth's echoic diction links him to the forces of equivocation. Banquo dismisses their information, whereas Macbeth's empathy with the Witches and his ripeness for corruption result in the same information becoming disinformation to him. Macbeth's prevarication continues in order to secure his position obtained through heinous crimes and his lack of integrity in a world where it is difficult to distinguish appearance and reality. Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a prevaricator by means of obliquity and mutual intrigue, and shows her shrewdness and hypocrisy towards Duncan. She undermines logic, imagination and metaphysics and overpowers Macbeth's indecision to commit the murder, as she acts as a "thorn" to his conscience challenging his manhood and courage. Macbeth is coerced into acceding to the murder as a result of Lady Macbeth's bombastic exposure of the frailties violated by evil. The images of blood and sight merge when Macbeth sees his horrific hands after the murder a murder that symbolically "murders" sleep. Shakespeare uses the Porter to indicate the "equivocator" is synonymous with Macbeth, the prevaricator. Storms accompany the central action of the murder of Duncan, and the tremendous upheaval of nature reflects the tempest roaring within Macbeth. Macbeth's swollen, puffed up, deceptive language in his false declaration of his mourning for the loss of Duncan, illustrates his ability to prevaricate at his best. After Duncan's murder, Macbeth continues to secure his power and security by his desperate series of futile murders, which he commits without a moral self-catechismal examination of his conscience: he prevaricates with impunity. From their earlier close intimate association there is a deterioration in the relationship between Macbeth and Lady Macbeth: their ways have separated through guilt and lack of trust. Lady Macbeth declines to a languid, exhausted woman in the sleep-walking scene, as she recalls her past crimes and atrocities. Her personal confusion, anguish and disorientation result in a cataclysmic shudder that leads to her physical and spiritual implosion. Macbeth remains physically aggressive. His tactics for his physical confrontation with death are irrevocable: he suffers an isolated spiritual implosion in his virtual negation of life. I have shown that Macbeth is an orchestrated composition in which prevarication is the tool used for furthering ambition that motivates the action of the drama.
Thesis (MA)--PU vir CHO, 1986
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Books on the topic "Macbeth (Shakespeare, William)"

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1976-, Coleman Aidan, ed. Macbeth - William Shakespeare. Elsternwick, Vic: Insight Publications, 2009.

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Griffin, John. 'Macbeth', William Shakespeare. Harlow: Longman, 1989.

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Griffin, J. A. Macbeth, William Shakespeare. [Harlow]: Longman, 1989.

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Alan, Sinfield, ed. Macbeth, William Shakespeare. New York: St. Martin's Press, 1992.

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Bünsch, Iris. William Shakespeare, Macbeth. Stuttgart: P. Reclam, 2004.

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David, Self, ed. Macbeth, William Shakespeare. London: Mary Glasgow, 1987.

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Alan, Sinfield, ed. Macbeth, William Shakespeare. Houndmills, Basingstoke, Hampshire: Macmillan, 1992.

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Phillips, Brian. Macbeth, William Shakespeare. New York, NY: Spark Pub., 2002.

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Gerstenberg, Judith, and Angela Schanelec. William Shakespeare: Macbeth. Edited by Akademietheater (Vienna Austria). Wien: Burgtheater im Akademietheater, 2008.

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Company, Royal Exchange Theatre. Macbeth by William Shakespeare. [Manchester]: Royal Exchange Theatre Company, 1988.

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Book chapters on the topic "Macbeth (Shakespeare, William)"

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Pfister, Manfred, and Rebekka Rohleder. "Shakespeare, William: Macbeth." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17056-1.

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Elloway, David. "Life and Background." In Macbeth by William Shakespeare, 1–7. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_1.

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Elloway, David. "Summary and Critical Commentary." In Macbeth by William Shakespeare, 9–53. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_2.

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Elloway, David. "Themes and Issues." In Macbeth by William Shakespeare, 55–60. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_3.

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Elloway, David. "Dramatic Techniques." In Macbeth by William Shakespeare, 61–68. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_4.

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Elloway, David. "Specimen Critical Analysis." In Macbeth by William Shakespeare, 69–72. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_5.

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Elloway, David. "Critical Approaches." In Macbeth by William Shakespeare, 73–76. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_6.

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Johnson, Samuel. "From The Plays of William Shakespeare." In Macbeth, 3. Routledge, 2015. http://dx.doi.org/10.4324/9781315709277-1.

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"Macbeth." In William Empson: Essays on Shakespeare, 137–57. Cambridge University Press, 1986. http://dx.doi.org/10.1017/cbo9780511627491.005.

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Owens, Rebekah. "Shakespeare’s Macbeth – ‘This most bloody piece of work’." In Macbeth, 7–14. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325130.003.0001.

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This chapter talks about William Shakespeare, who wrote Macbeth when he was already a successful playwright and was working at the Globe in London. It mentions the work ethic of the Elizabethan and Jacobean theatre, such as the collaboration and co-operative of fellow playwrights who wrote for the stage. It also discusses the features of plays of the theatre group writers that would be recognise today as 'horror'. The chapter discloses John Webster as one of Shakespeare's colleagues who developed a reputation as an author of horror that has since been immortalised in popular culture, such as in the film Shakespeare In Love. It recounts One of Shakespeare's first works called Titus Andronicus, which has a description of human sacrifice at the beginning.
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Conference papers on the topic "Macbeth (Shakespeare, William)"

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Fantu-Sava, Cezara. "Who`s afraid of Macbeth?" In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.26.

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Are we reading „the great books” or about „the great books”? Can there be remorse if we don't read the classics? Do we choose Jo Nesboe’s Macbeth because we fear William Shakespeare's Macbeth? Pierre Dukan sold more than twenty million books in the world, which readers bought nonchalantly. What are the elites' tastes in books? The present article proposes a series of questions concerning the increasingly narrow reading of the „classics” in favour of some writers promoted by mass culture. The questions are also related to how the theatre can contribute to the valorization and promotion of some canonical texts. As a case study, the performance Macbeth, proposed by Botond Nagy in 2022, at the Radu Stanca National Theater from Sibiu, is presented.
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