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Journal articles on the topic 'Macbeth'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Awajan, Nasaybah W. "Representing Females from A Different Perspective: Justin Kurzel’s Film Appropriation of William Shakespeare’s Macbeth." World Journal of English Language 13, no. 8 (September 4, 2023): 92. http://dx.doi.org/10.5430/wjel.v13n8p92.

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The study explores the differences in the representation of females, specifically Lady Macbeth and the witches, in both Shakespeare’s play, Macbeth (1623) and in Justin Kurzel’s film appropriation, Macbeth (2015). The paper attempts to prove that Kurzel’s film appropriation of Shakespeare’s play represents the female characters, specifically Lady Macbeth and the witches, from a different perspective than Shakespeare’s original paly. The paper shows how Kurzel changes the old ideas about how the witches and Lady Macbeth are the motivation and inspiration behind Macbeth’s downfall, defeat, and death. Instead, the study shows that Kurzel’s film appropriation posits that Macbeth’s greed and lust for power and authority make Macbeth himself the impetus behind his downfall, defeat, and death. As a result, Macbeth’s evil is natural rather than nurtured by the play’s main female characters as shown in Shakespeare’s original text. For this reason, Kurzel’s witches and Lady Macbeth are analyzed in relation to how they are portrayed in Shakespeare’s Macbeth. Very few studies tackle Kurzel’s film appropriation of Shakespeare’s Macbeth, which mainly focus on the lighting and visual effects of the movie. The contribution of the study is to fill the shortage of literature conducted on the current appropriation by Kurzel.

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2

Павловић, Соња. "МАГБЕТ – ОД ИДЕАЛНОГ ДО ТРАГИЧНОГ ЈУНАКА." PHILOLOGIA MEDIANA 14, no. 1 (June 13, 2022): 129–40. http://dx.doi.org/10.46630/phm.14.2022.09.

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The subject of this paper is Macbeth – the main hero and the bearer of Shakespeare’s tragedy of the same name. Firstly, we will approach the tragedy of Macbeth and point out the character traits of the main hero by examining in which way Macbeth can be determined as an ideal and in which way as a tragic hero. With an analytical approach to the tragedy, we will focus on the three key factors that are laid as the groundwork of the investigation: witches, Macbeth’s ambition and the influence Lady Macbeth has on Macbeth. Examining the three factors, we will point out Macbeth’s penetration into the criminal world that begins with the witches’ prophecies and completely distorts the moral norms he followed until then. Macbeth’s ambition, placed at the centre of his malice, is considerably strengthened by the prophecy of the third witch and plays the greatest part in Macbeth’s tragic downfall. Lady Macbeth is an additional element to the previously mentioned factors. She does not allow the criminal thread already ingrained in Macbeth to be cut and her role is to incite him to criminogenic activity. Mutually intertwined, these factors affect the radical metamorphosis of Macbeth’s personality, undermine his integrity, his noble inner being that turns evil and disastrously impact his mental state. Therefore, the aim is to point out the genesis Macbeth’s character underwent – from ideal to tragic and how this abrupt transition resulted in the tragicality of Macbeth’s fate, that is, how Macbeth’s fate is causally related to his committed misdeeds.

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Tassi, Marguerite A. "Rapture and Horror: A Phenomenology of Theatrical Invisibility in Macbeth." Explorations in Renaissance Culture 44, no. 1 (March 28, 2018): 1–26. http://dx.doi.org/10.1163/23526963-04401001.

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Macbeth is arguably Shakespeare’s greatest experiment in the phenomenology of horrible imaginings. For all of its visible supernatural trappings, Macbeth is a play radically steeped in the invisible, which exerts a gravitational force on all aspects of performance. The phantom dagger, King Duncan’s slain body, Lady Macbeth’s murky hell—these unseen supernatural sights are as phenomenologically palpable and horrifying in the theater as the weïrd sisters are. Invisible elements of the play’s world permeate the visible, producing a pervasive sense of unease, dread, and horror in the theater. The experience of horror co-exists with another strongly felt experience, that of rapture, which arises especially in moments when the Macbeths are fascinated with invisible phenomena and enter into trance-like states of deep absorption, ecstasy, and madness.

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García-Periago, Rosa. "Sexuality and Evil: Lady Macbeth in the Indian film adaptations of Macbeth Maqbool and Veeram." Revista Canaria de Estudios Ingleses, no. 83 (2021): 105–15. http://dx.doi.org/10.25145/j.recaesin.2021.83.08.

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An early Indian film adaptation of Macbeth, Jwala (dir. Vinayak, 1938) shows a Lady Macbeth that sides with Banquo against Macbeth, as if an evil female character were difficult to conceive in the Indian imagination. In 21st century film adaptations of Macbeth, Maqbool (dir. Vishal Bhardwaj, 2003) and Veeram (dir. Jayaraj, 2017), the female character is as evil as in the source text. Yet, neither Nimmi (Lady Macbeth in Maqbool) nor Kuttimani (Lady Macbeth in Veeram) is married to Macbeth at the outset of the film, the implication being an Indian married woman is incapable of such atrocities. In both movies, sexual drive becomes crucial in the course of events. By analyzing the role of Lady Macbeth in Maqbool and Veeram, this paper aims to show that these Lady Macbeths are as based on the play as on the role of the vamp (the evil woman) in popular Indian movies, since characters that are sexually driven are always condemned to death.

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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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6

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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7

Boquet, Guy. "The Theatre: Review: Play: Macbeth, Macbett." Cahiers Élisabéthains: A Journal of English Renaissance Studies 43, no. 1 (April 1993): 63–65. http://dx.doi.org/10.1177/018476789304300111.

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8

Shahiwala, Sofiya. "Power Beyond Sex: A Foucauldian Reading of Lady Macbeth." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 083–87. http://dx.doi.org/10.22161/ijels.75.15.

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Shakespeare’s most haunting tragedy, Macbeth, has been regarded as one of his best tragic trios. One of the most significant characters of the play – Lady Macbeth – often realized as the ‘antagonist’ of the play, is portrayed as the impetus and motivational factor behind Macbeth’s brief victory and, apparently, even his ultimum ruinam. With her actions within the course of the play, it becomes a daunting task to justify them without referring to the history of Lady Macbeth. Most of the past studies have focused on her earlier marriage and multiple miscarriages in order to condone her behaviour. The present research essay, however, reviews the play in a deconstructive approach and delves into a deep exploration of the representation of Lady Macbeth in Shakespeare’s renowned tragedy. The study focuses on the influence of normalizing power and gender distinction upon the actions of the characters. It studies the theory of Normalizing Power (as given by Michel Foucault) and views it in the context of how femininity is depicted within Macbeth. It further reinvestigates the patriarchal dominance and looks at the existing power structures that subconsciously affect Lady Macbeth’s motivation, leading to the tragic fall of the characters. By visiting the play from the lens of power and femininity inherent in the subconscious mind of the readers, the research aims to portray Lady Macbeth in a different light, one that is not dominated by supporting ideologies of male dominance or the notion of power in the hands of the phallus.

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Salim, Taha Khalaf. "The Recalcitrance of the Tragic Hero in Shakespeare’s Macbeth." JOURNAL OF LANGUAGE STUDIES 1, no. 1 (August 11, 2023): 42–55. http://dx.doi.org/10.25130/jls.1.1.3.

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Stated by Aristotle in his Poetics, tragic flaw is one of the main characteristics of the tragic hero, a weak point within his personality that leads him to commit fatal mistake during the events and that is what causes his decline. In Shakespeare’s Macbeth, the tragic hero, Macbeth, is motivated to embrace evil and to be criminal for he is not immune in the opposite of his diseased will to extort the throne. Under the influence of this flaw, Macbeth degenerates from a respected man of great honour to an isolated murderer and then to the expected conclusion, death. The aim of this research is to examine the recalcitrance, one’s illegitimate ambition, as Macbeth’s tragic flaw in depth throwing much light on its significant role in bringing about the idea of treason, killing king Duncan, in Macbeth’s mind and, then, committing the crime.

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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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AlShalan, Amjad. "Unmasking the Psyche of Shakespeare’s Richard III and Lady Macbeth through Freud’s “The Uncanny”." Arab World English Journal For Translation and Literary Studies 8, no. 1 (February 15, 2024): 173–83. http://dx.doi.org/10.24093/awejtls/vol8no1.13.

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Richard III and Lady Macbeth are often portrayed as complex and paradoxical Shakespearean characters, reflecting the human psyche’s complexity. This paper examines two Shakespearean characters, Richard III and Lady Macbeth, within a psychoanalytical framework centered around Freud’s concept of the uncanny. It addresses research questions about the interaction between cunning schemes and complex dynamics shaping characters’ psyches, such as how the idea of the uncanny aids in comprehending the similar roles that both Lady Macbeth and Richard III play in each play. How can we define Lady Macbeth’s role? And how can we interpret Richard III’s evil deeds? The analysis aims to understand Lady Macbeth’s role and interpret Richard III’s evil deeds in the play. Uncanny situations reveal low self-esteem and dissatisfaction, blurring the line between reality and deceit. The analysis reflects the way Shakespeare took advantage of the characters’ trauma and fear to create specific flaws in his characters that would make them relatable to the audience. The use of soliloquies and ghosts reveals the relationship between uncanny situations and the characters’ psyche. Both Richard III and Lady Macbeth grapple with guilt and conscience, which highlights the thematic parallels between the two characters.

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Lemesle, Audrey. "Macbeth, Macbett : d’un hors-scène à l’autre." Coulisses, no. 44 (June 1, 2012): 85–98. http://dx.doi.org/10.4000/coulisses.467.

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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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Fischer, Susan L. "Macbeth apropos to Rupert Goold's and Gregory Doran's stagecraft: Equivocation, violence, and vulnerability." Cahiers Élisabéthains: A Journal of English Renaissance Studies 107, no. 1 (November 30, 2021): 39–62. http://dx.doi.org/10.1177/01847678211062926.

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If Macbeth is Shakespeare's play of equivocation and doubleness, Rupert Goold's and Gregory Doran's productions were informed by like concerns, even having double performance lives on stage and on film. Doran's production followed along the lines of Trevor Nunn's 1976 staging, which highlighted the interiority of the Macbeths in the intimate space of The Other Place. Besides creating a sense of intimacy on the Swan's stage, Doran underscored the play's political relevance. Goold's mise-en-scène, also performed in an intimate space, pushed further Doran's militaristic staging. Jan Kott's reading of Macbeth as a ‘nightmare’ also offers a yardstick for production choices.

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Hibbs, Thomas, and Stacey Hibbs. "VIRTUE, NATURAL LAW, AND SUPERNATURAL SOLICITATION: A THOMISTIC READING OF SHAKESPEARE'S MACBETH." Religion and the Arts 5, no. 3 (2001): 273–96. http://dx.doi.org/10.1163/15685290152813662.

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AbstractThis essay explores a remarkable congruence between Macbeth and the teachings of Thomas Aquinas on the nature of virtue, temptation and evil, natural law, and the relationship of the natural to the supernatural. Macbeth's virtue is problematic in that initially he seems courageous when on the attack in battle. But in reality he shows the excessive vice of boldness, and subsequently he fails to manifest courageous endurance and patience in clinging to the good, drifting rather into restlessness and impatience. Aquinas defines evil as a privation of the good. Macbeth persistently chooses apparent good over real good, as he is tempted by the witches and Lady Macbeth. He violates the natural law and suffers extrinsic and intrinsic punishment, a conception linking the play with Aquinas rather than Hooker and Locke. Furthermore, his decline into evil mirrors Aquinas conceptions of the order of punishments following on violation of the natural law, evident in the progressive loss of eternal happiness, virtue, reason and physical and material goods. Finally, the play is not naturalistic but portrays the witches and Macbeth's opponents as instruments of the supernatural.

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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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Al-Abdullah, Mufeed, Amer Al-Rashid, Nayef A. Al-Joulan, and Salim E. Al-Ibia. "The Metamorphosis of Macbeth: A Neuropsychological Approach." International Journal of Religion 5, no. 11 (June 25, 2024): 1827–42. http://dx.doi.org/10.61707/nzt2dp14.

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This article aims to study the transformation of Macbeth from a national hero who represents the nation’s glory into a criminal who becomes the nation’s source of evil and peril. It means to trace the metamorphosis in his character from a national hero to an anxious hero, a "hamartiac" hero, an ambivalent hero, a misguided hero, a criminal, an insomniac king, a fallen monarch, and eventually a recidivist criminal king. He experiences a range of neuropsychological and psychoanalytic difficulties while the psychological alterations take place. Anxiety, despair, guilt, terror, insomnia, and a sense of loss are a few of these disorders. The first step in Macbeth's quest is his triumph over the disobedient Macdonwald and his henchmen. When he decapitates the rebel leader and hangs his head at the camp's gate, he signals the successful conclusion of the conflict with the rebels. At this point, Macbeth has earned the title of "national champion," earning the king's adulation in addition to the people's respect and thanks. Order and stability are restored only when Macduff beheads Macbeth and hangs his head at the entrance of the camp of the Scottish forces arriving from England since during his reign he transforms into an evil force and a source of unrest. The tale of Macbeth's transformation can be found between the two acts of decapitation. Between the two incidents, Macbeth goes through several stages of development that will be covered in the discussion that follows.

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Franssen, Paul J. C. M. "Flipping Macbeth: PTSD, gender, and generation in adaptations by Wolfert, Kurzel, and De Man." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (February 8, 2021): 81–94. http://dx.doi.org/10.1177/0184767820980765.

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In recent adaptations by Justin Kurzel and Lucas de Man, Shakespeare’s Macbeth is less a play about a courageous warrior driven to murder his king out of ambition than about a soldier suffering from post-traumatic stress disorder. This article links these interpretations of Macbeth’s motivation to Stephan Wolfert’s one-man show Cry Havoc!!, which also relates Shakespeare’s plays in general to combat-related post-traumatic stress disorder. This article argues that all three productions are symptomatic of our era in addressing Macbeth from the perspective of current constructions of masculinity as deeply problematic.

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Nizam, Hamalna. "Politics of Gender and Power:." Crossings: A Journal of English Studies 6 (August 1, 2015): 112–22. http://dx.doi.org/10.59817/cjes.v6i.216.

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Lady Macbeth is one of the most memorable of all Shakespearean characters. She stands out because of her disregard for social rules and extremely strong personality. In a male dominated society she dares to trade into the masculine world of power and authority. Such a dynamic woman is also interpreted as a psychologically weak character because of her mental ailment at the end of the play. The paper gives an analysis of Lady Macbeth’s quest for power. It also tries to locate the reason of her neurotic behavior in the politics of patriarchal society that tries to subdue her. A parallel analysis of Lady Macbeth is also made with her character as presented in Roman Polanski’s 1971 cinematic adaptation of Macbeth. At the same time it shows how Polanski creates a much more feminine and vulnerable character out of Shakespeare’s heroine.

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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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Moonik, Meidy Maekel, Tini Mogea, and Delli Sabudu. "THE INFLUENCE OF LADY MACBETH TO MACBETH DOWNFALL IN SHAKESPEARE'S MACBETH." Journal of English Culture, Language, Literature and Education 8, no. 2 (September 4, 2021): 100–116. http://dx.doi.org/10.53682/eclue.v8i2.1622.

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This research intends to depict the influences of Lady Macbeth to Macbeth downfall, and the effect of Lady Macbeth influences to Macbeth. In doing this research, the writer uses objective approach. Objective approach is used because primary source of this research is literary work, the drama Macbeth. However, the analysis of drama Macbeth is based on the writer analysis and interpretation in accordance with the fact and evidences found in drama. By the analyzing the topic, it is found out that, the downfall of Macbeth not only caused by his own weakness but also bad influences of Lady Macbeth as a wife. The analysis shows that Lady Macbeth not only supports her husband to make the prophecy became true, but Lady Macbeth has controlled the mind set of Macbeth. Lady Macbeth influences her husband to did the crime in order the prophecy about Macbeth will be a king of Scotland became true. Finally, Lady Macbeth influences her husband to murder King Duncan. In the end, Macbeth cannot happy to all that He got, He fell guilt, unhappy and uncomfortable.

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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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Mahmood, Anser. "Human Benevolence is Innate to Man as Man Shakespeare’s Art of Characterization with reference to Macbeth." Journal of English Language and Literature 11, no. 2 (April 30, 2019): 1115–19. http://dx.doi.org/10.17722/jell.v11i2.412.

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Shakespearean tragedies stand out in the history of world’s literature for their influential language, insight into character and dramatic ingenuity. It can be safely established that all of the Shakespearean tragedies are based upon the notion that human benevolence is innate to man as man. The current study focuses upon the notion that the Shakespearean heroes are basically good and noble men whose tragic flaw leads to their obliteration. For instance in Macbeth, Lady Macbeth describes Macbeth as “too full o’ milk of human kindness”. The character of Macbeth gives the picture of dissolution within the individual. The character of Macbeth has been analyzed to assert that he seems to suffer from a variance between his head and heart, his duty and his desire, his reckoning and his emotions. A psychological insight to his character reveals that he knows from the first that he is engaged in a ridiculous act: a distressed and paradoxical struggle. With the aid of research methods including Case Study and Close Reading this Qualitative research highlights Macbeth’s lethal proceedings which not only obliterate his peace of mind but also bring turmoil to the macrocosm of the universe, and shows that along with the king he murders his sense of reasoning as well. Hence this study asserts the idea that Shakespearean heroes possess an inherent goodness corroded by the actions of fate or destiny thus resulting in their tragic downfall.

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Cybulska, Herbert. "Ein großer Wurf." Bühnentechnische Rundschau 116, no. 1 (2022): 16–20. http://dx.doi.org/10.5771/0007-3091-2022-1-016.

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Ein wortgewaltiges Stück neu inszeniert: Am 19. November feierte „Macbeth“ im Düsseldorfer Schauspielhaus seine Premiere. Die Balance aus großen Bildern und filmischen Momenten vollzieht Macbeths Wandlungen mit, unaufdringlich folgt das Licht der Handlung. Eine Produktion, die alle Beteiligten in den Gewerken des Schauspielhauses besonders forderte. Und dem Publikum einen eindrucksvollen Theaterabend bescherte. von Herbert Cybulska

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Huang, Min. "A Battle Against One’s Soul: An Analysis of Lady Macbeth’s Functions as the Other Self to Macbeth." International Journal of English Linguistics 12, no. 5 (August 9, 2022): 89. http://dx.doi.org/10.5539/ijel.v12n5p89.

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The play Macbeth is one of William Shakespeare’s most well-known tragedies. This research is intended to analyze the functions of Lady Macbeth as the other self to Macbeth. She is not only the motivator of Macbeth’s self-assertion, but also the silent bearer of Macbeth’s burden of conscience and the reflector of Macbeth’s self-alienation. Undoubtedly, Lady Macbeth plays a crucial role in the tragic end of Macbeth since it’s she that improvises Macbeth to commit crime. Her incitements and actions, nevertheless, are only the overt show of Macbeth’s inward eagerness to assert himself as a brave man. Lady Macbeth, furthermore, conscientiously suffers the burden of Macbeth’s sense of guilt later on. And her alienation from Macbeth indicates the latter’s self-alienation, who has gone the wrong direction but can no longer find the way back. Their relationship shows the process of Macbeth’s self-definition and vividly depicts the ambivalence of Macbeth’s tortured self.

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Shakespeare (book author), William, Robert S. Miola (book editor), and Peter Paolucci (review author). "Macbeth." Renaissance and Reformation 39, no. 2 (July 27, 2016): 228–30. http://dx.doi.org/10.33137/rr.v39i2.26888.

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Dunbar, Norah E., Scott N. Wilson, Bradley J. Adame, Javier Elizondo, Matthew L. Jensen, Claude H. Miller, Abigail Allums Kauffman, et al. "MACBETH." International Journal of Game-Based Learning 3, no. 4 (October 2013): 7–26. http://dx.doi.org/10.4018/ijgbl.2013100102.

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This paper describes the process of rapid iterative prototyping used by a research team developing a training video game for the Sirius program funded by the Intelligence Advanced Research Projects Activity (IARPA). Described are three stages of development, including a paper prototype, and builds for alpha and beta testing. Game development is documented, and the process of playtesting is reviewed with a focus on the challenges and lessons-learned. Advances made in the development of the game through the playtesting process are discussed along with implications of the rapid iterative prototyping approach.

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Nicholas, Rachael. "Macbeth." Shakespeare Bulletin 38, no. 3 (2020): 502–5. http://dx.doi.org/10.1353/shb.2020.0038.

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Lathrop, Emily R. "Macbeth." Shakespeare Bulletin 38, no. 3 (2020): 531–35. http://dx.doi.org/10.1353/shb.2020.0043.

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Allred, Gemma Kate. "Macbeth." Shakespeare Bulletin 39, no. 1 (2021): 164–68. http://dx.doi.org/10.1353/shb.2021.0019.

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Broadribb, Benjamin. "Macbeth." Shakespeare Bulletin 39, no. 2 (2021): 279–83. http://dx.doi.org/10.1353/shb.2021.0026.

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Blackledge, Barbara, and William Shakespeare. "Macbeth." Theatre Journal 41, no. 2 (May 1989): 242. http://dx.doi.org/10.2307/3207868.

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Green, London. "Macbeth." Opera Quarterly 5, no. 2-3 (1987): 182–87. http://dx.doi.org/10.1093/oq/5.2-3.182.

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Lafont, Agnès, and Héloïse Lafont. "Macbeth." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (November 2020): 150–52. http://dx.doi.org/10.1177/0184767820946175n.

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Olive, Sarah. "Macbeth." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (November 2020): 172–74. http://dx.doi.org/10.1177/0184767820946175v.

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Peterson, Kaara L. "Macbeth." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (November 2020): 178–82. http://dx.doi.org/10.1177/0184767820946175x.

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BANA E COSTA, CARLOS A., JEAN-MARIE DE CORTE, and JEAN-CLAUDE VANSNICK. "MACBETH." International Journal of Information Technology & Decision Making 11, no. 02 (March 2012): 359–87. http://dx.doi.org/10.1142/s0219622012400068.

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This paper presents an up-to-date comprehensive overview of the MACBETH approach to multicriteria decision-aid. It requires only qualitative judgements about differences of attractiveness to help a decision maker, or a decision-advisory group, quantify the relative value of options. The approach, based on the additive value model, aims to support interactive learning about evaluation problems and the elaboration of recommendations to prioritize and select options in individual or group decision making processes. A case study based on a real-world application of MACBETH for multicriteria value measurement of IT solutions is presented. It shows how the M-MACBETH decision support system can be used in practice to construct an additive evaluation model. The paper addresses key issues related to structuring the model, building value scales, weighting criteria and sensitivity and robustness analyzes. Reference is also made to applications of MACBETH reported in the scientific literature.

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Miller, Gemma. "Macbeth." Shakespeare Bulletin 36, no. 1 (2018): 160–65. http://dx.doi.org/10.1353/shb.2018.0012.

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Collins, Michael J. "Macbeth." Shakespeare Bulletin 36, no. 1 (2018): 165–69. http://dx.doi.org/10.1353/shb.2018.0013.

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Shaheen, Glenn. "Macbeth." Pleiades: Literature in Context 36, no. 1 (2016): 100. http://dx.doi.org/10.1353/plc.2016.0017.

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Jermy, Samuel. "Macbeth." Shakespeare Bulletin 40, no. 3 (September 2022): 442–46. http://dx.doi.org/10.1353/shb.2022.0039.

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Baiju Krishnan. "Transmutation of Shakespeare an Heroines: Variations of Female Power Dynamics in the Select Film Adaptations of Shakespeare’s “Macbeth”." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 538–44. http://dx.doi.org/10.34293/rtdh.v12is1-dec.141.

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Lady characters in “Macbeth” that is Lady Macbeth and the Witches really communicate in a ‘odd’ or some sort of bizarre language that is basically the same as what women look for now. This language can be portrayed as “anti-language”:a language by which women can direct, control, and overwhelm men. It is the linguist named MAK Halliday who coined this terminology. It is a way of communicating within a language that excludes outsiders. An anti-language basically uses the same grammar and words like the main speech community, but there is a difference, they use them in a different way so that they can only be understood by insiders. The paper contradicts the conventional view of feminist discourse analysis that females are frail, over-considerate, inconsequential, ruled and sexual objects. This paper introduces a statement that women are not weak or frail, feeble or without power, trivial, paltry, commanded, and sexual objects. The paper claims women as powerful or strong, serious, and overwhelming and dominating as men. In doing as such, it spins around the ongoing or continuous viewpoints/ perspectives on discourse, power and woman, taking select Shakespearean cinematic adaptations of “Macbeth” as a field of application by examining Lady Macbeth’s turns of talk. The paper studies and/ or concentrates on select film adaptations of Shakespeare’s drama “Macbeth”.

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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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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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황남엽. "Macbeth and Lady Macbeth's Distorted Masculinity and Femininity." Shakespeare Review 49, no. 3 (September 2013): 545–71. http://dx.doi.org/10.17009/shakes.2013.49.3.008.

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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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March, Florence. "Play review: Macbeth Philosophe [Macbeth the Philosopher]." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (November 2020): 75–78. http://dx.doi.org/10.1177/0184767820946161.

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Dou, Junge. "Lady Macbeth’s Desire and Body." IRA International Journal of Education and Multidisciplinary Studies 18, no. 1 (March 30, 2022): 1. http://dx.doi.org/10.21013/jems.v18.n1.p1.

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One of the greatest tragedies in the universe, <em>Macbeth</em> exploring the desire, usurpation, fear, and death of Macbeth and Lady Macbeth, is Shakespeare’s most compelling study of the nature of evil. In a sense, it is a narrative of desire, both of Macbeth and Lady Macbeth, and their desire is dynamic to push the plot forward and to destroy their humanity and integrity. Significantly, Lady Macbeth, who has undergone a fundamental process of physical transformation and mental madness, has a key role to play in the completion of this tragedy. Lady Macbeth presents her narrative of a woman, a wife, a queen, a potential mother, and both a powerful and a fragile female through her marked, and narrative body, which is involved in varied kinds of events and practices, becoming one of the central figures of <em>Macbeth</em>.

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KangSeokJu. "Different Viewpoints of Film-making Macbeth: Orson Wells's Macbeth and Roman Polanski's Macbeth." Shakespeare Review 43, no. 1 (March 2007): 5–28. http://dx.doi.org/10.17009/shakes.2007.43.1.001.

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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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