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Journal articles on the topic 'Macbeth'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Liu, Leqi. "Parasitism and Stripping of Desire: Lady Macbeth as the Host of Macbeths Tyrannical Personality." Communications in Humanities Research 72, no. 1 (2025): 8–13. https://doi.org/10.54254/2753-7064/2025.lc24717.

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Macbeth, as a representative of Shakespeares classic tyrant image, reflects the complex psychological contradictions of the character under moral dilemma. Traditional scholarship on Macbeth has long framed the witches as supernatural agents of fate and Lady Macbeth as the manipulative force that awakens Macbeths dormant ambition. Such interpretations, however, risk oversimplifying Macbeths agency and flattening the psychological symbiosis between the characters. Through analysing the interaction between Macbeth and the witches and comparing the psychological development of Macbeth and Lady Mac

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2

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 (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 d

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3

Павловић, Соња. "МАГБЕТ – ОД ИДЕАЛНОГ ДО ТРАГИЧНОГ ЈУНАКА". PHILOLOGIA MEDIANA 14, № 1 (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

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4

Tassi, Marguerite A. "Rapture and Horror: A Phenomenology of Theatrical Invisibility in Macbeth." Explorations in Renaissance Culture 44, no. 1 (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

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5

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. I

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6

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 (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.

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7

Griswold, Jeffrey B. "Macbeth's Thick Night and the Political Ecology of a Dark Scotland." Critical Survey 31, no. 3 (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 treason

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8

Juniar Elfrida Sitohang, Ruthertati Sianturi, Devina Sianturi, Mutia Khairunnisa Siregar, and Syamsul Bahri. "Personality Development In William Shakespeare’s Play Macbeth: Psycoanalytic Perspective." Jurnal Pendidikan dan Sastra Inggris 5, no. 2 (2025): 287–303. https://doi.org/10.55606/jupensi.v5i2.5227.

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Literary works, especially drama, often reflect the complexity of human psychology through character development and internal conflict. One of the most profound ways to explore this complexity is through psychoanalytic theory, which reveals how unconscious forces shape human behavior. The objective of this study is to analyze personality development in William Shakespeare’s drama Macbeth through the lens of Sigmund Freud’s psychoanalytic theory. This study employs descriptive qualitative method to explore the inner conflicts experienced by the main character, Macbeth, which are categorized int

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9

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

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10

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

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11

Salim, Taha Khalaf. "The Recalcitrance of the Tragic Hero in Shakespeare’s Macbeth." JOURNAL OF LANGUAGE STUDIES 1, no. 1 (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

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12

PANDA, SANTANU. "Evil, Corruption, Manipulation and Abuse of Power in Shakespeare’s Macbeth." SMART MOVES JOURNAL IJELLH 5, no. 8 (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

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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 (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

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14

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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15

Gao, Lin. "What Roles Do Women Have in the Political Worlds in Hamlet and Macbeth?" International Journal of Education and Humanities 17, no. 1 (2024): 65–68. http://dx.doi.org/10.54097/9xzk1e28.

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The purpose of this paper is to explore the important role of female characters in the political world in William Shakespeare’s tragedies Hamlet and Macbeth. By analyzing Queen Gertrude, Ophelia, Lady Macbeth, and the three witches, the paper reveals the influence of women in the political realm and the limitations they face. Centering on Hamlet, the essay begins by analysing Gertrude’s influence on the Danish political landscape and Ophelia’s dilemma in the struggle for male power. The article then turns to Macbeth to explore how Lady Macbeth’s ambitions for power and the witches’ supernatura

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16

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. H

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17

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 (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 readin

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18

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

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19

Bidgoli, Mehrdad, and Shamsoddin Royanian. "A Struggle with Alterity: A Lévinasian Reading of Macbeth." arcadia 55, no. 1 (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

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20

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 (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 sen

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21

Fernando, R. "Man, Woman, or Both? Shakespeare’s Treatment of Androgyny and Lady Macbeth’s Disempowerment." Vidyodaya Journal of Humanities and Social Sciences 10, no. 01 (2025): 82–98. https://doi.org/10.31357/fhss/vjhss.v10i01.05.

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Androgyny is a concept that has been given comparatively little thought, particularly concerning its impact on Shakespeare’s work. While some have evidently looked at Shakespeare’s treatment of gender, the interest concerning androgyny or transverse nature has been limited. However, in the wake of gender studies and feminism in the late 20th century, androgyny garnered popularity among Shakespeare scholars. Since the 1980s, scholars have begun to view Shakespeare as an androgynous writer and continue to argue that he wrote from a gendered point of view. Suffused with Renaissance gender ideals,

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22

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 (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

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23

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

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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”

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25

Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare." Theatrical Colloquia 7, no. 2 (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 tragi

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26

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 (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

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27

Lei, Yanni, and Wei Lu. "Ethical Choice and Melancholy: Lady Macbeth in Her Dreams." Journal of Foreign Languages and Cultures 8, no. 2 (2024): 119–29. https://doi.org/10.53397/hunnu.jflc.202402010.

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Despite the large body of literature on Lady Macbeth, little research has been undertaken to demonstrate the relationship between the invocation by Lady Macbeth in the first act and the final dreams that imprison her. From the perspectives of literary ethical criticism and Early Modern dream theories, this essay argues that the sleep-walking scene in the final act reveals the ethical predicament and the punishment suffered by Lady Macbeth, while the invocation, instead of serving merely as exaggerating rhetoric or performance of witchcraft, indicates Lady Macbeth’s ethical choice and her self-

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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 (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

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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 (2022): 89. http://dx.doi.org/10.5539/ijel.v12n5p89.

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The play Macbeth is one of William Shakespeare&rsquo;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&rsquo;s self-assertion, but also the silent bearer of Macbeth&rsquo;s burden of conscience and the reflector of Macbeth&rsquo;s self-alienation. Undoubtedly, Lady Macbeth plays a crucial role in the tragic end of Macbeth since it&rsquo;s she that improvises Macbeth to commit crime. Her incitements and actions, nevertheless, are only the overt show of Macbeth

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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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Shakespeare (book author), William, Robert S. Miola (book editor), and Peter Paolucci (review author). "Macbeth." Renaissance and Reformation 39, no. 2 (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, et al. "MACBETH." International Journal of Game-Based Learning 3, no. 4 (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 prototyp

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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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36

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

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37

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

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38

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 (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 (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 (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 (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

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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 (2022): 442–46. http://dx.doi.org/10.1353/shb.2022.0039.

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Roy, Amit. "Ambition and Its Consequences: A Study of Macbeth." International Journal of Language, Literature and Culture 5, no. 3 (2025): 63–68. https://doi.org/10.22161/ijllc.5.3.10.

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Macbeth's journey from a loyal nobleman to a despotic ruler is ignited by the prophecy of the three witches, which plants the seeds of ambition and sets him on a path of moral decay. This initial spark is further fueled by Lady Macbeth, whose relentless pursuit of power and manipulation pushes Macbeth to commit regicide. The complex nature of ambition is depicted as an insatiable force that blinds individuals to ethical considerations, leading them to commit heinous acts in pursuit of their desires.The psychological consequences of Macbeth's ambition are profound and multifaceted. Guilt and co

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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 (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 th

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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

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

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

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