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1
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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Ramin, Zohreh, and Alireza Shafinasab. "The Unnoble Nobles: Notes on Shakespeare’s Masterful Characterization in Macbeth." International Letters of Social and Humanistic Sciences 52 (May 2015): 132–38. http://dx.doi.org/10.18052/www.scipress.com/ilshs.52.132.
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When writing Macbeth, Shakespeare faced a moral and aesthetic challenge. On the one hand, he had drawn the story of Macbeth from Holinshed's Chronicles, in which Banquo is depicted as an accomplice in the murder of King Duncan. On the other hand Banquo was believed to be the ancestor of King James, Shakespeare’s patron. Shakespeare had to write a play that at once pleased King James, remained true to the spirit of history, and could be a popular hit in the commercial world of Jacobean theatre, all seemingly contradictory ends because of the problem with the character of Banquo. So Shakespeare characterizes him in a different manner from his sources. The new characterization served a number of purposes. The most important reason for the alternation was to please King James, the alleged descendant of Banquo. Other than that, there is the dramatic purpose of creating a foil character for Macbeth, who can highlight Macbeth's characteristics. The presence of a noble Banquo also shows that human being can resist evil, as does Banquo. These points have been emphasized in many writings on Macbeth, which mean that Shakespeare's Banquo is an innocent man, a seemingly deviation from history. The present paper, however, tries to examine Shakespeare's complex characterization of Banquo which must meet those seemingly contradicting ends, a characterization far more ambivalent and artful than simple political affiliations might suggest. It will be shown that Shakespeare's Banquo not only is not simply an innocent man he seems to be at the first reading, but he could be as murderous as Macbeth himself. The only difference between the two is that one acts sooner than the other.
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PANDA, SANTANU. "Evil, Corruption, Manipulation and Abuse of Power in Shakespeare’s Macbeth." SMART MOVES JOURNAL IJELLH 5, no. 8 (August 30, 2017): 6. http://dx.doi.org/10.24113/ijellh.v5i8.2274.
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Abstract: The chief objective of this paper is to find out the features of Evil, Corruption, Manipulation and Abuse of power in Shakespeare’s Macbeth. Shakespeare is the leading and prominent dramatist of Elizabethan era. He is often regarded as England’s ‘national poet’ and the ‘Bard of Avon’. The full title of Macbeth is ‘the Tragedy of Macbeth’. This is a tragedy where hellhound becomes a hero. Shakespeare presents the psychological battle in Macbeth through soliloquy and aside. As a result Macbeth’s physical action are distinct from his mental actions. The source of Macbeth is Holinshed’s Chronicles. Shakespeare modified many facts of stories from the purpose of tragic effect. The play opens with the witches. The witches belong to natural calamity symbolically they are associated with the calamity in human nature. The witches implicitly mention two battles. They know that Macbeth will open the physical battle. But they also know that they will defeat Macbeth in physical battle. The witches are single in their purpose. They want to meet Macbeth to united strength of the evil sets as a contrast to the rebellion against Duncan. Macbeth killed Duncan to acquire the crown. To collect it he uses the tricks of corruption and Manipulation. He also misuses the power to maintain his kingdom. He killed Banquo and Macduff’s innocent wife and child. But he forgot that the crown for which he and his wife killed Duncan and several on and bring a tempest on their life it will be the cause of their destruction.
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Tink, James. "Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 71–85. http://dx.doi.org/10.18778/2083-8530.24.05.
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Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.
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Mirza, Sanaa. "The Fall of Man in Shakespeare’s Macbeth Comparing to That in A Creation Story: A Study from Qur’anic Perspective." Journal of Duhok University 23, no. 2 (December 19, 2020): 1–16. http://dx.doi.org/10.26682/hjuod.2020.23.2.1.
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Inspired and motivated by our conviction that “Shakespeare is a gift of Heaven to all of Mankind, for every creed, in every age" (Lings, 1998, 12), this research aims at studying William Shakespeare’s Macbeth from a Qur’anic perspective instead of a biblical one, as has usually been done so far. The study utilizes Islamic pedagogy to examine Macbeth, a European masterpiece, hypothesizing that Islam offers a uniquely different view of the world from that of the European one. For its textual analysis, the study relies on verses translated from the Noble Qur’an as well as Hadiths (the prophet’s traditions) from Sunnah, in addition to the text of Macbeth. The axiomatic question that is raised here is whether or not we have the right to categorize Shakespeare's Macbeth into “sacred art”. The study answers positively to this question since the thematic framework of the play revolves around “the essence of religion” (Lings, 1998, 12). The study attempts to analyze and compare the fall of man in Shakespeare’s Macbeth to that in the story of man’s creation from Qur’anic perspective according to five axes. The first axis is about the temptation of the evil power in both stories, Adam’s creation in Quran and Shakespeare’s Macbeth. The second axis examines the role of Hawaa (Eve) and Lady Macbeth as temptresses. The third axis is about the feeling of remorse for the evil actions that they take and the punishment of God. The fourth axis presents a study of the nature of some encounters between humanity and evil forces. The fifth axis presents a brief study of the types of human soul (Nafs) from Quranic perspective to diagnose the role of the soul in determining the characteristics of each personality. Yet, the study concludes that Shakespeare presents Macbeth with a narrow perspective to represent only the inherent weakness of humanity in the face of evil forces, ignoring his charitable nature to encounter evil forces, and his fall is cursed eternally because of his insistence on evil; while Adam (peace be upon him) represents humanity in all of his conditions, and his fall is not eternal because of his remorse and repentance.
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Dutta Gupta, Aabrita. "Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 91–108. http://dx.doi.org/10.18778/2083-8530.23.06.
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This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitute her through the medium of Indian classical dance and music juxtaposed with Shakespearean dialogues from Macbeth. This paper will argue the possibilities posited by this transgressive re-reading of a major Shakespearean tragedy by concentrating on a possible understanding through a Hindu religious sect —Vaishnavism, as embodied through the medium of jatra. To form a radically new stage narrative in order to bring into focus the dilemma and claustrophobia of Lady Macbeth is perhaps the beginning of a new generation of Shakespeare explorations. Iyenger’s production not only dramatizes the tragedy of Lady Macbeth through folk dramatic tradition, dance and music, but also Indianises it with associations drawn from Indian mythological women like Putana (demoness) and Shakti (sacred feminine).
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Cantor, Paul A. "Reality Czech: Tom Stoppard Discovers Shakespeare behind the Iron Curtain." Review of Politics 78, no. 4 (2016): 663–79. http://dx.doi.org/10.1017/s0034670516000565.
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AbstractTom Stoppard's Dogg's Hamlet, Cahoot's Macbeth offers fresh evidence of the universality of Shakespeare's genius. The play juxtaposes a perfunctory performance of Hamlet in an English boarding school with a courageous staging of Macbeth as a protest against Communist tyranny in 1978 Czechoslovakia. The play shows that, paradoxically, Shakespeare's plays have less of an impact in England than they do in foreign countries, where differing political circumstances, far from forming an obstacle to appreciating Shakespeare, actually bring his plays to life with a new power. By portraying the secret police interrupting the Czech Macbeth, Stoppard explores how artists can struggle against totalitarianism, and, in particular, how they can develop secret codes to express their dissidence, even under the watchful eyes of the surveillance state. Encountering Shakespeare behind the Iron Curtain, Stoppard developed a new seriousness as a playwright and a new interest in the relation of art and politics.
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Balestrieri, Mauro. "Desacralized Law: Shakespeare and the Tragedy of Sovereignty." Pólemos 16, no. 1 (April 1, 2022): 25–45. http://dx.doi.org/10.1515/pol-2022-2003.
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Abstract In the history of Western literary tradition, early modern theatres constituted an important passage for the construction of a different perception of community as well as a different appraisal of legal institutions. In modern playhouses, traditional values were staged, debated, and critiqued. In this paper, I will focus on three Shakespearean tragedies (Hamlet, Macbeth, Romeo and Juliet) that provide relevant insights about the way in which power and legal themes were challenged and questioned. In these plays Shakespeare provided a critical view of what we might call the “mystical foundation of authority.” Shakespeare’s theater is the triumph of rule and exception, of order and disorder, of sacred and profane. As I will show, in Hamlet, Macbeth and Romeo and Juliet, law is always living on the danger of its eclipse and its suspension: the threshold which separates the legal and the illegal, the legitimate and the illegitimate, is then the result of a narrative process of which Shakespeare’s theater provides perhaps the highest example in Western literary culture.
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Nicolaescu, Mădălina. "Re-Working Shakespeare: Heiner Müller’s Macbeth." American, British and Canadian Studies Journal 25, no. 1 (December 1, 2015): 119–31. http://dx.doi.org/10.1515/abcsj-2015-0010.
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Abstract This article focuses on particular meanings of the term “work,” as related first to the process of adapting Shakespeare and secondly to the ideological and philosophical resonances of this term as employed in the socialist propaganda in East Germany and which Heiner Müller introduces into Shakespeare’s text and gives an ironical twist to. In the first part it points to a few aspects of East German doctrinaire readings of Shakespeare, which were further contested and deconstructed in Müller’s translation cum adaptation. The final part zooms in on the reconfiguring of the established meanings attached to the concept of work in Müller’s rewriting of Macbeth and on the relation between these meanings and the philosophy of history he proposes in his adaptation.
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Griswold, Jeffrey B. "Macbeth's Thick Night and the Political Ecology of a Dark Scotland." Critical Survey 31, no. 3 (September 1, 2019): 31–43. http://dx.doi.org/10.3167/cs.2019.310304.
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This article complicates scholarship on Macbeth that understands political attachment in terms of an autonomous subject and attributes Macbeth’s demise to an over-susceptibility to natural or supernatural forces. By putting early modern accounts of the humoral constitution of the night air in conversation with modern theories of apostrophe, I argue that the Macbeths’ experiences of night theorise political action as inseparable from the nonhuman forces in the play. Shakespeare reworks his source material to explore the borders of the human, imagining a more complex relationship between treasonous violence and the darkness that enshrouds Scotland.
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ALBRIGHT, DANIEL. "The witches and the witch: Verdi's Macbeth." Cambridge Opera Journal 17, no. 3 (November 2005): 225–52. http://dx.doi.org/10.1017/s0954586706002059.
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The witches in Shakespeare’s Macbeth equivocate between the demons of random malevolence and ordinary (if exceptionally nasty) old women; and both King James I, whose book on witchcraft may have influenced Shakespeare, and A. W. Schlegel, whose essay on Macbeth certainly influenced Verdi, also stress this ambiguity. In his treatment of Lady Macbeth, Verdi uses certain musical patterns associated with the witches; and like the witches, who sound sometimes tame and frivolous, sometimes like incarnations of supernatural evil, Lady Macbeth hovers insecurely between roles: she is a hybrid of ambitious wife and agent of hell.
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Schandl, Veronika. "“A rose by any other name”. Contemporary Hungarian Shakespeare Adaptations on Stage and in Cyberspace." Theatron 16, no. 4 (2022): 129–42. http://dx.doi.org/10.55502/the.2022.4.129.
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The essay is a survey of recent Hungarian Shakespeare adaptations. In the first part, the essay looks at adaptations that experiment with the Shakespearean text, yet they still market themselves as Shakespeare productions; while they keep most of the Shakespearean plotlines, they freely alter the structure of the Shakespearean texts, dismantle chronologies, shift language registers, and contextualize the plays in a contemporary Hungarian setting. Examples are Örkény Theatre’s 2019 Macbeth and The Shaxpeare Car Wash in Kertész Street. In the second part, the essay moves over to appropriations that are not straightforward rewritings of Shakespeare’s play; they use Shakespeare and the Shakespearean plotlines as cultural metaphors. The plays we discuss (Káva Cultural Workshop’s 2016 Lady Lear and Éva Enyedi’s 2018 Lear’s Death) both adapt King Lear, and strangely, they both appropriate the character of King Lear as a symbol to discuss aging in a contemporary setting. The final example the paper introduces is a Shakespeare burlesque, written by Zsolt Györei and Csaba Schlachtovszky, that premiered at the Gyula Shakespeare Festival in 2021. The essay contests that although the play camouflages itself as a 19th-century melodramatic tragedy, using reflective nostalgia, it becomes a voice of cultural plurality, healthy self-reflexivity and subversion.
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Fainuddin, Nuri. "Destruction caused by greed and brutality as reflected in Shakespeare’s Macbeth: A psychological approach." UAD TEFL International Conference 2 (January 18, 2021): 69. http://dx.doi.org/10.12928/utic.v2.5738.2019.
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Destruction Caused by Greed and Brutality as Reflected in Shakespeare’s Macbeth: A Psychological Approach becomes the title of the research. It is intended to describe the greed and brutality of the main character; the main character’s id, ego, and super ego; the catastrophe suffered by the main character, and the moral values of this drama. The subject of the research is Macbeth, a play written by William Shakespeare and the main character’s greed. The object is the psychological aspect of the main character. The research belongs to a library research since its sources are taken from books. Horney’s theory of greed is applied to analyze the data. The study found several interesting results. First, Macbeth becomes a king by murdering King Duncan (a form of Macbeth’s greed). Second, Macbeth’s brutality is shown by murdering Banquo’s and Macduff’s family. Third, Macbeth’s id is murdering the king and the followers; the ego supports the King; and the super ego cuts of the King head when Birnam wood comes. The play delivers several messages to the readers, such as those who plant will harvest and the good deed will destroy the bad deed.
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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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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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Velmani, N. "Howard Brenton’s Transliteration of Macbeth." Journal of English Language and Literature 4, no. 1 (August 30, 2015): 352–54. http://dx.doi.org/10.17722/jell.v4i1.77.
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Ever since the dawn of human civilization, incomparable Shakespeare shines with his incandescent luminosity through every word he wrote. The Bard of Avon is the most quoted writer in history. His plays have been translated into 50 languages. In the Oxford Dictionary of Quotations containing about 20,000 quotations, Shakespeare alone monopolises a staggering 60 pages (10 percent). The unique dramatist, with his insight into every aspect of human behaviour and emotion, packed his plays with nearly one million words, out of which 27, 870 are different words, the highest vocabulary in history. Many words and phrases – Shakespeare’s encyclopedic knowledge of science, history, mathematics, classical literature, sociology, psychology, law, politics, music-reveal the vastness of his vocabulary in relation to various discipline, habits and style of the different sections of the people.
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Kawai, Shoichiro. "Some Japanese Shakespeare Productions in 2014-15." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (December 30, 2016): 13–28. http://dx.doi.org/10.1515/mstap-2016-0013.
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This essay focuses on some Shakespeare productions in Japan during 2014 and 2015. One is a Bunraku version of Falstaff, for which the writer himself wrote the script. It is an amalgamation of scenes from The Merry Wives of Windsor and those from Henry IV. It was highly reputed and its stage design was awarded a 2014 Yomiuri Theatre Award. Another is a production of Much Ado about Nothing produced by the writer himself in a theatre-in-the-round in his new translation. Another is a production of Macbeth arranged and directed by Mansai Nomura the Kyogen performer. All the characters besides Macbeth and Lady Macbeth were performed by the three witches, suggesting that the whole illusion was produced by the witches. It was highly acclaimed worldwide. Another is a production of Hamlet directed by Yukio Ninagawa, with Tatsuya Fujiwara in the title role. It was brought to the Barbican theatre. There were also many other Shakespeare productions to commemorate the 450th anniversary of Shakespeare’s birth.
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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 simplesmente ignorar as ações de Macbeth.
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Walc, Krystyna. "Szekspir z kryminałem w tle (albo odwrotnie)." Literatura i Kultura Popularna 28 (October 6, 2022): 51–60. http://dx.doi.org/10.19195/0867-7441.28.4.
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The author concentrates on two thrillers by Jennifer Lee Carrell: Interred with Their Bones (2007) and Haunt Me Still (2010). The protagonists, Katharine Stanley (theater director with a reputation as an expert in both Shakespeare and the Renaissance occult) and Benjamin Pearl (founder of an elite British security firm), are conducting a double investigation. They are trying to find the murderer who kills his victims in a manner resembling Shakespearean characters. The investigation leads them to literary riddles — in the first novel, they hunt for the lost play Cardenio, in the second — they try to find an unknown version of Macbeth. These are, of course, real murders and there are police officers who try find the killers. But only the people who are connected with Shakespeare (actors, scholars, etc.) can solve all the puzzles. The protagonists wander a maze of university libraries, dark museum rooms, theater scenes, and even caves with 17th- and 19th-century corpses. They visit a settlement named Shakespeare in the New Mexico desert, where an eccentric millionaire has built a replica of Elsynor.
The author of the article pays attention to the pieces of Shakespearian puzzle which are not widely known, such as Macbeth as a famously cursed play and Shakespeare authorship theories.
The most important element in both novels (in the author’s opinion) is that Shakespeare’s plays are still a value some people are ready to kill for or even die for.
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Huertas Martín, Victor. "Theatrum Mundi and site in four television Shakespeare films." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 16, 2019): 76–88. http://dx.doi.org/10.1177/0184767819837548.
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This article explores metatheatricality and site specificity in four Shakespeare television films produced by Illuminations Media: Gregory Doran’s Macbeth (2001), Hamlet (2009) and Julius Caesar (2012), and Rupert Goold’s Macbeth (2010). Drawing on metatheatrical theory applied to the screen and recent criticism on site-specific theatre, I explore the films as self-referential and self-conscious works embedded in environments that oppose the artifice of drama to the ‘reality’ of normative television film. Shakespeare’s aesthetic metaphor, presented in self-contained theatrical worlds, does not depict autonomous fictions but is disrupted by outside ‘reality’.
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Eisenmann, Maria. "Shakespeares Hamlet im Englischuntericht der gymnasialen Oberstufe." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 107–25. http://dx.doi.org/10.33178/scenario.1.1.6.
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Literarische Texte werden heute nicht mehr als selbstverständlich im Sprachunterricht akzeptiert. Gerade Shakespeare im Englischunterricht ist seit Jahrzehnten eines der umstrittensten didaktischen Themen. Die bei manchen bis heute fraglos akzeptierte „schönste Pflicht“ der Shakespeare-Lektüre auf der einen Seite und die wiederkehrende provozierende Frage „Warum gerade Shakespeare?“ auf der anderen Seite markieren die extremen Positionen gegenüber dem Stellenwert Shakespeares in den Lehrplänen der Bundesländer. Wie die meisten Untersuchungen bestätigen, sind die verbreitetsten Shakespeare-Lektüren nach wie vor Macbeth und Julius Caesar. Erst mit großem Abstand folgen die anderen großen Tragödien wie z.B. Hamlet. Vgl. Ungerer 1982: 220. Doch gerade Hamlet, das zu den meist gespielten Dramen auf deutschen Bühnen gehört, ist nicht einfach ein beliebiges klassisches Stück - es ist der Klassiker par excellence und sollte nicht nur deshalb einen viel bedeutenderen Stellenwert im Englischunterricht heute einnehmen. Literarische Texte werden heute nicht mehr als selbstverständlich im Sprachunterricht akzeptiert. Gerade Shakespeare im Englischunterricht ist seit Jahrzehnten eines der umstrittensten didaktischen Themen. Die bei manchen bis heute fraglos akzeptierte „schönste Pflicht“ der Shakespeare-Lektüre auf der einen Seite und die wiederkehrende provozierende Frage „Warum gerade Shakespeare?“ auf der anderen Seite markieren die extremen Positionen gegenüber dem Stellenwert Shakespeares in den Lehrplänen der Bundesländer. Wie die meisten Untersuchungen bestätigen, sind die verbreitetsten Shakespeare-Lektüren nach wie vor Macbeth und Julius Caesar. Erst mit großem Abstand folgen die anderen großen Tragödien wie z.B. Hamlet. Vgl. Ungerer 1982: 220. Doch gerade Hamlet, das zu den meist gespielten Dramen auf deutschen Bühnen gehört, ist nicht einfach ein beliebiges klassisches Stück - es ist der Klassiker par excellence und sollte nicht nur deshalb einen viel bedeutenderen Stellenwert im Englischunterricht heute einnehmen.
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Holvig, Kenneth C. ""Macbeth" (The Voyager Shakespeare)." English Journal 85, no. 4 (April 1996): 85. http://dx.doi.org/10.2307/819651.
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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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Minami, Ryuta. "Finding a Style for Presenting Shakespeare on the Japanese Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (December 30, 2016): 29–42. http://dx.doi.org/10.1515/mstap-2016-0014.
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Japanese productions of Shakespeare’s plays are almost always discussed with exclusive focus upon their visual, musical and physical aspects without any due considerations to their verbal elements. Yet the translated texts in the vernacular, in which most of Japanese stage performances of Shakespeare are given, have played crucial part in understanding and analysing them as a whole. This paper aims to illuminate the importance of the verbal styles and phraseology of Shakespeare’s translated texts by analysing Nakayashiki Norihito’s all-female productions of Hamlet (2011) and Macbeth (2012) in the historical contexts of Japanese Shakespeare translation.
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Sakowska, Aleksandra. "“The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)." Multicultural Shakespeare: Translation, Appropriation and Performance 11, no. 26 (December 30, 2014): 45–63. http://dx.doi.org/10.2478/mstap-2014-0005.
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How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).
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Fox, Megan. "Shakespearanity." Undergraduate Research Journal for the Humanities 2, no. 1 (April 1, 2017): 60–75. http://dx.doi.org/10.17161/1808.23874.
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Shakespeare’s immense cultural value can be seen by the numerous book, movie, and internet references to his work which populate modern society. However, this was not always the case: for hundreds of years Shakespeare remained the almost exclusive property of the aristocracy and academia. Scholars have noted how this perception of Shakespeare shifted during the Victorian era, but have not yet explored how this influences contemporary interactions with Shakespeare. This paper, through a case study on the third murderer of Macbeth, argues that the Victorian Era changed the way modern people conceptualize and interact with the playwright by beginning the legacy of engaging with Shakespeare as a pop culture icon.
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Palomo Berjaga, Vanessa. "A Turning Point in the Translation of Shakespeare into Catalan: The Case of Josep M. De Sagarra’s Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 29–40. http://dx.doi.org/10.1515/mstap-2017-0017.
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Josep Maria de Sagarra translated twenty-eight of Shakespeare’s plays into Catalan in the early forties, at a time when Catalan language and culture were suffering severe repression due to Franco’s regime. The manuscript of Macbeth by Sagarra is from 1942; and the first edition (an impressive hard-bound clandestine edition) is from 1946 or 1947. Before his translation, there were three other Catalan translations of Macbeth, produced by Cebrià Montoliu (1907), Diego Ruiz (1908) and Cèsar August Jordana (1928). The main purpose of this article is to show that Sagarra’s translations marked a turning point regarding the translation of Shakespeare’s works in Catalan culture. This is done by reflecting on both cultural and personal circumstances that led Sagarra to translate Shakespeare and by comparing Sagarra’s translation of Macbeth with the other three from the first half of the twentieth century.
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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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Kihney, L. G., and A. V. Lamzina. "An excerpt from “Macbeth” by W. Shakespeare, translated and interpreted by Anna Akhmatova." Nauchnyi dialog, no. 9 (September 30, 2020): 222–34. http://dx.doi.org/10.24224/2227-1295-2020-9-222-234.
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The translation of an excerpt from Shakespeare’s tragedy “Macbeth”, made by A.A. Akhmatova in 1933 is considered in the article. The results of a comparative analysis of the original text and the translation text are presented. The question of the purpose of translation is raised: it is proved that Akhmatova did not intend to translate the text of the tragedy in full, and the translation of the passage she performed was not a sketch for a failed translation, but an attempt to plunge into the semiosphere of “Macbeth”. The relevance of the study is due to a detailed analysis of the translation text, which had not previously been subjected to thorough literary research. The novelty of the research is seen in the fact that in the translation performed by Akhmatova the authors highlight semiotic shifts concerning the image of Macbeth: it differs in Akhmatova’s interpretation from Shakespeare’s. The authors dwell on the textual gaps of translation and show their importance for understanding the image of Macbeth: Akhmatova eliminates in the text all the moments that could characterize Macbeth positively. Particular attention is paid to references to Macbeth that appeared in Akhmatova’s work after her translation of the above passage. It has been proven that this translation became the generator of Akhmatova’s own artistic ideas, developed in the “Shakespearean” key.
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Chiari, Sophie. "The limner’s art in Shakespeare’s Macbeth." Sederi, no. 29 (2019): 61–83. http://dx.doi.org/10.34136/sederi.2019.3.
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Macbeth is a graphic work whose visual rhetoric mirrors the outside atmosphere of the Scottish heath and the inner psyche of the titular characters. This article explores the early modern visual praxis in Macbeth in connection with the art of limning to show that, against a dark background symbolizing evil, the playwright uses golden and gaudy hues as a mirror reflecting Macbeth’s perturbed mind. Eventually, the colour spots in the play are “diapered over” by the white fog of the Scottish heath. Shakespeare thus resorts to specific colour codes in order to create a visual symphony where “foul” becomes “fair.”
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Gonçalves, Flavia. "A tragédia Macbeth reescrita para o público infantil por Charles Lamb." Belas Infiéis 8, no. 3 (July 25, 2019): 127–44. http://dx.doi.org/10.26512/belasinfieis.v8.n3.2019.22936.
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Este artigo tem como propósito refletir sobre algumas questões envolvidas na reescrita de peças de William Shakespeare para o público infantil, focalizando a narrativa Macbeth, publicada em Tales from Shakespear. Designed for the use of young persons (1807) pelos irmãos Charles e Mary Lamb. Para o embasamento teórico, são primordialmente utilizadas as teorias dos Estudos da Tradução, com as concepções de André Lefevere e a teoria dos polissistemas de Itamar Even-Zohar. Inicialmente, são feitas breves considerações sobre a biografia dos autores e sobre a contextualização da obra no sistema literário infantil. Na sequência, apresentamos as características da fonte textual que podem ser consideradas questões complexas em uma adaptação para crianças. Então, a análise comparativa demonstra as particularidades da narrativa de Charles Lamb que a transformam em um novo original, que acaba tornando-se a verdadeira história de Shakespeare para os leitores que não conhecem a tragédia Macbeth.
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Munakata, Kuniyodhi. "Noh Creation of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (December 30, 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 Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.
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Lochert, Véronique. "Macbeth / Macbett : répétition tragique et répétition comique de Shakespeare à Ionesco." Études littéraires 38, no. 2-3 (September 5, 2007): 59–70. http://dx.doi.org/10.7202/016344ar.
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Résumé Réécriture du Macbeth de Shakespeare, où les répétitions sont au service de la manifestation du destin, le Macbett de Ionesco fait un usage immodéré de la répétition, qui produit des effets à la fois comiques et inquiétants et contamine tous les paramètres de l’action dramatique. Au redoublement des personnages, qui perdent toute individualité, répondent les répétitions structurelles, manifestant l’éternel retour des tyrannies dans l’Histoire, et les répétitions de formules stéréotypées, révélant la vacuité du discours politique. Le comique dérisoire et pessimiste de Macbett manifeste ainsi l’ambivalence de la répétition, qui exalte surtout la puissance du théâtre dont elle apparaît comme une ficelle des plus efficaces.
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Kajtoch, Wojciech. "Czy Szekspira da się „przerobić” na kryminał? O niektórych nowych, „uwspółcześniających” filmowych adaptacjach dzieł wielkiego dramaturga." Literatura i Kultura Popularna 26 (September 16, 2021): 251–61. http://dx.doi.org/10.19195/0867-7441.26.18.
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The paper discusses selected screen adaptations of Shakespeare’s plays: Hamlet (dir. M. Almereyda, 2000), Coriolanus (dir. R. Fiennes 2011), Macbeth (dir. G. Wright, 2006), Cymbeline (dir. M. Almereyda, 2014), Macbeth (an episode of the BBC series Shakespeare Re-Told, 2005) as well as episodes 3 and 4 from Yevhenіy Zviezdakov’s series Diekoracyi ubijstwa (2015). The common feature of these screen adaptations is moving the plot to modern times and emphasising those elements which resemble typical components of crime dramas. The paper points to the difficulties the directors had to overcome to make such “upgrading” makeovers viable.
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Kojoyan, Ani. "Inter-Textual Relations between Reginald Scot’s “The Discoverie of Witchcraft” and Shakespeare’s “Macbeth”." Armenian Folia Anglistika 9, no. 1-2 (11) (October 15, 2013): 166–72. http://dx.doi.org/10.46991/afa/2013.9.1-2.166.
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The article investigates the intertextual relationship between The Discoveries of Witchcraft by Reginald Scot and Macbeth by Shakespeare. Both texts are in a complex intertextual relationship. Scot expresses his explicit doubts about the phenomenon of witchcraft and witches, in general. Shakespeare, most probably, referred to Scot’s work while creating and portraying the characters of the three psychic- witch sisters in his tragedy. And though Shakespeare’s reference to Scot’s work is perhaps evident, there is still something vague, hence, it is not possible to arrive at the conclusion that the two writers shared the same opinion about witchcraft and spelling. Still, it can be concluded that Scot and his work play an important role in the investigation and interpretation of Shakespeare’s work.
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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 (May 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 different series titles and publishers), or an exemplary-production snapshot album (Mulryne and Bulman's Shakespeare in Performance series).
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Cimitile, Anna Maria. "Tragedy and Shakespeare Performance Studies in Socìetas Raffaello Sanzio’s Giulio Cesare (1997) and Macbeth su Macbeth (2014)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 17, 2018): 102–16. http://dx.doi.org/10.1177/0184767818768092.
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The article discusses two productions, respectively of Julius Caesar and Macbeth, by the experimental Italian theatre company Socìetas Raffaello Sanzio (SRS). My wider scope is a reflection on what I may call the ‘peregrinations’ of the sense of the tragic in our times; my more specific question is: How is the Shakespearean tragic envisioned by SRS? What does their ‘performative thinking’ reveal about tragedy and our sense of the tragic today? As the performances are in Italian, based on Italian translations of Shakespeare, the question of the different language will also be briefly considered, to listen to the ‘ear of the other’ in critical action.
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Helms, Lorraine. "The Weyward Sisters: towards a Feminist Staging of ‘Macbeth’." New Theatre Quarterly 8, no. 30 (May 1992): 167–77. http://dx.doi.org/10.1017/s0266464x00006618.
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Shakespeare's plays have long been subject to deconstruction and reconstruction – some would argue, since the moment the words left his pen and entered the arena of theatrical intervention; some, more conservatively, dating the process to the attempts during the Restoration to rewrite him according to new tastes and old ‘rules’. More recently, of course, the long search for an almost platonic ideal of ‘authority’ has been giving way not only before new ideas of what this constitutes in theatrical terms, but through conscious attempts to subvert a play's meaning – not necessarily as ‘intended’ by Shakespeare, but as received in the prevailing culture. Feminist directors and critics have of course been prominent in this process – but the following study of the role of the witches in Macbeth is distinctive not so much for applying twentieth-century ideologies to Renaisssance plays, but for its exploration of the ‘problem’ of the witches in the light of conventions which, still current in Shakespeare's times, are hard to recover in the practical theatre of our own. The author, Lorraine Helms, is currently Mellon Fellow in Theatre Arts at Cornell University. She has published several articles on renaissance drama, and is working on studies of gender and performance in both contemporary and historical interpretations of Shakespeare.
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Awajan, Nasaybah W. "Terry Pratchett’s Rewriting of Shakespeare’s Witches in Wyrd Sisters." Theory and Practice in Language Studies 12, no. 3 (March 1, 2022): 518–24. http://dx.doi.org/10.17507/tpls.1203.11.
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Many scholars have written about how Terry Pratchett has represented the witches in his novel, Wyrd Sisters (1989), that were originally used in Shakespeare’s tragedy, Macbeth (1623). However, in their studies of the two works, many of these scholars illustrate how both Shakespeare and Pratchett present the witches’ personalities and outward appearances. Additionally, there has also been some literature on the representation of Pratchett’s witches and some compared them with Macbeth’s three weird witches in relation to their appearance, personalities and external characteristics in general. At the same time, there is shortage in the studies that focus on the intention of the witches and the way they use their authority in both works. The study depicts the good and moral intentions of Pratchett’s three witches in Wyrd Sisters. This can be seen in the way they use their authority and influence to give back the throne to King Verence’s son and save the kingdom. It could also be seen in the way the three Wyrd Witches deal with Felmet and his Lady, despite what they do to them. There has not been much literature written about Pratchett’s representation of the witches’ intentions and influence in their plot to help King Verence, who represents Shakespeare’s King Duncan, regain his throne rather than fight against his reign as the three witches did in Shakespeare’s tragedy, Macbeth (1623).
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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 (December 26, 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 the subject of our contemplation. By identifying and analyzing conceptual metaphors in the base of metaphorical linguistic expressions that talk about life and death, we will be able to illustrate the process of mapping that goes on between the source and target domains. The mapping process will clearly indicate how it is that we understand and reason about abstract concepts of life and death while relying on concrete and physical concepts from our vicinity. Conceptual metaphors given in small caps such as life is theatre or death is sleep mean that expressions exactly like these are not to be found in Shakespeare’s plays. They are a mechanism that we all have and use to understand thoughts of immense philosophical power and psychological depth. This same mechanism is also used by the greatest of writers and poets in the expression of their literary genious. Key Words: conceptual metaphor, life, death, etaphorical linguistic expression, mapping, source domain, target domain, Shakespeare, Othello, Hamlet, King Lear, Macbeth
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Lamzina, Anna Vladislavovna. "To the problem of reception of Shakespearean motifs in dramaturgy of Anna Akhmatova." Litera, no. 12 (December 2020): 84–91. http://dx.doi.org/10.25136/2409-8698.2020.12.33685.
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The subject of this research is the Shakespearean motifs in dramatic compositions of Anna Akhmatova. The research material contains the works of later period – draft of a movie script “On Pilots, or the Blind Mother”, and drama “Enūma Eliš”, which was destroyed and later restored by the author with numerous authorial commentaries and remarks. Akhmatova carefully examined the “Shakespeare question”, was familiar with his texts in the original, as well as translated a passage from “Macbeth”. She was well-versed in the historical connotations of Shakespeare's tragedies, considering Mary Stuart the prototype of Queen Gertrude and Lady Macbeth, and at the same time, rejected this image applicable to herself and her “alter ego” in literature. The main conclusions of this work consists in determination of the peculiar semantic tone of the set of motifs associated with “Hamlet” and “Macbeth” in dramaturgy of Anna Akhmatova, which includes: usurpation of power and envy of the rightful heir, mother – son conflict projected not only on Shakespeare's dramaturgy, but also on mythology, and through mythology on the author's poetry, motif of “drama within drama”, where masks and pseudonyms disguise the inward nature of the author. The direct and indirect quotations from “Hamlet” and “Macbeth” correlates the indicated set of motifs with biography of the author in “On the Pilots, or the Blind Mother” and “Enūma Eliš”, which substantiates the novelty of this research.
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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 (April 21, 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 in Shakespearean tragedy dramas. All analyses from each works are compared in order to determine if there are similar indexes or even distinction among those works in depicting the sense of power and nobility as Shakespearean dramas. As the result, it is found that these two dramas contain similar pattern of indexes that lead to the figuration of each hero’s power and nobility in the dramas.
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Mánek, Bohuslav. "Překlady Josefa Lindy ze Shakespeara." AUC PHILOLOGICA 2021, no. 2 (November 16, 2022): 11–24. http://dx.doi.org/10.14712/24646830.2021.20.
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In the context of the reception of Shakespeare in the early period of the Czech National Revival from the 1780s to the 1830s, the paper discusses the contribution of the writer Josef Linda (1789/1792?–1834), who published a series of commented selected passages from Shakespeare’s plays in the literary magazine Čechoslav in 1822–1823. The earliest reception of Shakespeare’s oeuvre paralleled the developing revival of the Czech language and original literature, using the limited media available. The first publications were two chapbooks by an anonymous author outlining the plots of Macbeth and The Merchant of Venice printed in 1782 without stating the name of the author, adapted from German versions. The first Czech version bearing the playwright’s name was the simplified prose translation of Macbeth by Karel Hynek Thám, published and staged in 1786. Several minor contributions (short passages from plays, quotations, short playwright’s biographies) were published in magazines. The series of Linda’s translations is specific, he called short passages from plays “vejpisy” (“extracts”) and used them to illustrate various human qualities (veracity, flattery, straightness) and supposed views of the playwright (Shakespeare on music). They also included a short article on Elizabethan theatre. His knowledge of Shakespeare is also perceptible in his play Jaroslav Šternberg v boji proti Tatarům (1823, Jaroslav of Šternberg Fighting the Tatars). Being published in one of the earliest Czech literary magazines with a wide readership, Linda’s translations thus contributed to Czech acquaintance with the playwright’s oeuvre.
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Archer, Dawn, and Mathew Gillings. "Depictions of deception: A corpus-based analysis of five Shakespearean characters." Language and Literature: International Journal of Stylistics 29, no. 3 (August 2020): 246–74. http://dx.doi.org/10.1177/0963947020949439.
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Drawing on the Enhanced Shakespearean Corpus: First Folio Plus and using corpus-based methods, this article explores, quantitatively and qualitatively, Shakespeare’s depictions of five deceptive characters (Aaron, Tamora, Iago, Lady Macbeth and Falstaff). Our analysis adopts three strands: firstly, statistical keywords relating to each character are examined to determine what this tells us about their natures more generally. Secondly, the wordlists produced for each of the five characters are drawn upon to determine the extent to which they make use of linguistic features that have been correlated with, or linked to, acts of deliberate deception in real-world contexts. Thirdly, we make use of the results identified during the two aforementioned strands by using them to identify particular (sequences of) turns that are worthy of more detailed analysis. Here, we are primarily interested in (a) whether these keywords/deceptive indicators cluster or co-occur and (b) whether these interactions are the same as those identified by other scholars exploring depictions of deception in Shakespeare from a literary perspective. The findings indicate that deception-related features are indeed used collectively/in close proximity, by Shakespeare, at points where a character speaks to other characters disingenuously. They also suggest that Shakespeare’s deceptive depictions do change stylistically, from character to character, in line with those characters’ different characterisations and situations, that Shakespeare draws on atypical language features – such as self-oriented references – when it comes to some of his depictions of deception and that Shakespeare uses these various stylistic features to achieve a range of dramatic effect(s).
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Rogers, Jami. "Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012." Multicultural Shakespeare: Translation, Appropriation and Performance 19, no. 34 (June 30, 2019): 55–70. http://dx.doi.org/10.18778/2083-8530.19.03.
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This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.
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Spyra, Piotr. "Shakespeare and the Demonization of Fairies." Text Matters, no. 7 (October 16, 2017): 194–213. http://dx.doi.org/10.1515/texmat-2017-0011.
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The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.
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Klimova, M. N. "Lady Macbeth in the Context of Russian Culture: From a Character to a Plot." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 73–88. http://dx.doi.org/10.25205/2410-7883-2020-1-73-88.
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Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.