Relevant bibliographies by topics / On the Tragedies of Shakespeare

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Academic literature on the topic 'On the Tragedies of Shakespeare'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "On the Tragedies of Shakespeare"

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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (April 5, 2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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<p>Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in <em>King Lear</em>. Lear’s threats bestow four unique aspects that apply not only to his character but they also apply to Shakespearean tragic heroes. Lear’s speech tells us that he is determined to have an awful type of revenge on his daughters. However, the very same speech tells us that he seems uncertain about the method through which he should carry out this revenge. Lear does not express any type of remorse as he pursues his vengeful plans nor should he aim at amnesty. He also admits his own madness as he closes his revealing speech. This research develops these facts about Lear to unfold the unique pattern Shakespeare follows as he portrayed his major tragic figures. This pattern is examined, described and analyzed in <em>King Lear, Othello, and Hamlet</em>. We will find out that the pattern suggested in this study helps us better understand Shakespeare’s tragedies and enables us to provide better explanations for some controversial scenes in the tragedies discussed. </p>
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Dinega, Alyssa W. "Ambiguity as Agent in Pushkin's and Shakespeare's Historical Tragedies." Slavic Review 55, no. 3 (1996): 525–51. http://dx.doi.org/10.2307/2501999.

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The question of Shakespeare's influence on Pushkin's work in the period beginning 1824-25 has often been examined in critical works on Pushkin. This influence has generally been construed as one of the decisive factors in Pushkin's poetic and personal maturation away from his early naive Byronism. At the same time, Pushkin found in Shakespeare a release from the outworn conventions of French classical drama that had until then provided the precepts for writers for the Russian stage. For Pushkin, two specific features of Shakespearean drama were congenial: the abandonment of the three classical unities in favor of the primacy of character in dramatic action, and generic mixtures of comedy and tragedy, poetry and prose.
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Caputo, Nicoletta. "“The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques." Theatre Survey 62, no. 1 (January 2021): 25–50. http://dx.doi.org/10.1017/s0040557420000460.

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Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a transformation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, including a pantomime) were written for and/or performed on the London stage alone. This essay looks at three of these plays, produced at three distinct stages in the history of burlesque's rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrate how Shakespeare burlesques, paradoxically, enhanced rather than endangered the playwright's iconic status. King Richard III is a perfect case study because of its peculiar stage history. As Richard Schoch has argued, the burlesque purported to be “an act of theatrical reform which aggressively compensated for the deficiencies of other people's productions. . . . [It] claimed to perform not Shakespeare's debasement, but the ironic restoration of his compromised authority.” But this view of the burlesques’ importance is incomplete. Building on Schoch's work, I illustrate how the King Richard III burlesques not only parodied deficient theatrical productions but also called into question dramatic adaptations of Shakespeare's plays. In so doing, these burlesques paradoxically relegitimized Shakespeare.
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Scheil, Katherine West. "Shakespeare and Violence. By R. A. Foakes. New York: Cambridge University Press, 2003; pp. 224. $70 cloth; $26.99 paper." Theatre Survey 46, no. 1 (May 2005): 161–63. http://dx.doi.org/10.1017/s0040557405370098.

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R. A. Foakes's latest book, Shakespeare and Violence, addresses an area of significant interest in Shakespeare studies. Foakes begins with a general discussion of the prevalence and persistence of violence in both life and literature. He then focuses on the evolution of Shakespeare's use of violence in his histories, tragedies, and romances. The result is a thought-provoking, well-written, and often genuinely interesting study of this subject and its manifestations in Shakespeare's plays.
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Amelang, David J. "“A Broken Voice”: Iconic Distress in Shakespeare’s Tragedies." Anglia 137, no. 1 (March 14, 2019): 33–52. http://dx.doi.org/10.1515/ang-2019-0003.

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Abstract This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat of the iambic drum. As his career progressed, however, the language of characters undergoing an overwhelming experience appears to become more permeable to their emotions, and in many cases sentiment takes over and interferes with the character’s ability to speak properly. That is, Shakespeare progressively imbued his depictions of distress with a degree of linguistic iconicity previously unheard of in Elizabethan commercial drama. By focusing on the linguistic properties of three passages of iconic distress – Hamlet’s first soliloquy, Othello’s jealous rant, and King Lear’s dying words – this article analyses the rhetorical adjustments Shakespeare undertook in his effort to raise the level of verisimilitude of emotional speech in his plays.1
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Hunt, Maurice. "Jonson vs. Shakespeare: The Roman Plays." Ben Jonson Journal 23, no. 1 (May 2016): 75–100. http://dx.doi.org/10.3366/bjj.2016.0153.

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Critics rarely bring Ben Jonson's two Roman tragedies – Sejanus and Catiline – into proximity with Shakespeare's four Roman tragedies – Titus Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus. Yet doing so in terms of some dramatic features they share illuminates qualities of these plays not easily discernible by other approaches to them. This is especially the case when one adds Shakespeare's tragicomedy Cymbeline to this grouping. Establishing metaphysical perspectives based on ironic Christian allusions in all but one of Shakespeare's Roman plays throws into relief a Catholic dimension of Sejanus and religious dynamics of Catiline more involved in this tragedy than previous critics have realized. Bringing Jonson's and Shakespeare's Roman drama into mutual play also focuses the homeopathic, neo-Aristotelian catharsis of Coriolanus by reference to those in Sejanus and Catiline, as well as the dangerous position of historians and poets in Roman society, as evidenced by the fates of Cordus in Sejanus and Cinna in Julius Caesar. The perceived bad verse of the latter writer clinches judgment against him, even as the vile rhymes of the nameless poet in Julius Caesar disqualifies him from forging amity between Cassius and Brutus. Analysis of the complexity of the most complicated character in Jonson's and Shakespeare's tragedies, respectively Brutus and the Cicero of Catiline, reveals that Jonson's orator combines traits identified with three characters of Julius Caesar: Cassius's capacity for cunning practices, Antony's oratorical eloquence, and Brutus's tragically unrealistic, naïve thinking. This inquiry thus suggests something rarely said of Jonson's tragedies: that he was capable of giving a character in tragedy complexity if not equal to that produced by Shakespeare, yet nevertheless approaching it.
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Kehler, Dorothea, and Robert B. Heilman. "Shakespeare: The Tragedies: New Perspectives." Rocky Mountain Review of Language and Literature 39, no. 4 (1985): 287. http://dx.doi.org/10.2307/1347477.

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Kottman, Paul A. "Why Shakespeare Stopped Writing Tragedies." Journal of Medieval and Early Modern Studies 49, no. 1 (January 1, 2019): 113–35. http://dx.doi.org/10.1215/10829636-7279660.

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Jurak, Mirko. "Some additional notes on Shakespeare : his great tragedies from a Slovene perspective." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 3–48. http://dx.doi.org/10.4312/an.38.1-2.3-48.

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In the first chapter of this study the author stresses the importance of literature and Shakespeare's plays for our age. Although the enigma of Shakespeare's life still concerns many scholars it is relevant only as far as the solutions of some biographical details from Shakespeare's life influence the interpretation of his plays. In the section on feminism the focus of the author's attention is the changed role of women in the present day society as compared to previous centuries. In the final part of the article the role of the main female characters in Shakespeare's great tragedies is discussed. The author suggests that so far their importance has been underestimated and that Shakespeare left some of them open to different interpretations. Hamlet is definitely one of the most popular Shakespeare's plays in Slovenia and in addition to "classical" interpretations of this drama we have seen during the past two decades a number of experimental productions, done by both Slovene and foreign theatrical companies. In Appendix (1) the title of this paper is briefly discussed and the author' a work on Shakespeare is sketched; Appendix (2) presents a rap song on Hamlet written in English by a Slovene author. The song was used in the Glej Eperimental Theatre production (Hamlett/Packard, Ljubljana, 1992).
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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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Dissertations / Theses on the topic "On the Tragedies of Shakespeare"

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Walworth, Alan M. (Alan Marshall). "A Challenge to Charles Lamb's "On the Tragedies of Shakespeare"." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504543/.

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This study challenges Charles Lamb's 1811 essay "On the Tragedies of Shakespeare, Considered with Reference to their Fitness for Stage Representation," which argues that Shakespeare's plays are better suited for reading than stage production. Each of the four chapters considers a specific argument Lamb raises against the theatre and the particular Shakespearean tragedy used to illustrate his point. The Hamlet chapter examines the supposed concessions involved in the actor/audience relationship. The Macbeth chapter challenges Lamb's Platonic view of Shakespearean characterization. The Othello chapter considers whether some characters and images, while acceptable to the reader's imagination, are improper on stage. Finally, the King Lear chapter considers the portrayal of the mind in the theatre, employing semiotic principles to examine the actor's expressive resources.
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Hiscock, Andrew William. "Problems of authority and the state in seventeenth century drama : Shakespeare and Racine considered." Thesis, University of Bristol, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285898.

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Xaver, Savannah. "Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450433405.

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Tone, Yuuki. "The Tradition of the Vice and Shakespeare's Villains in His Tragedies." Kyoto University, 2015. http://hdl.handle.net/2433/199402.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第19078号
人博第731号
新制||人||175(附属図書館)
26||人博||731(吉田南総合図書館)
32029
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 丸橋 良雄, 准教授 髙谷 修, 教授 依田 義丸
学位規則第4条第1項該当
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Anthony, Courtney Elizabeth. "Eve's Legacy: The Fates of Young Women in Shakespeare's Tragedies." Xavier University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1472821662.

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Andersson, Edén Therese. "The Shakespearean Stahr : Using Genette’s Theory of Intertextuality to Compare The Last Tycoon to Shakespeare’s Tragedies." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-62125.

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This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello
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Kitano, Yuuko. "Dramatic Functions of Ballad Performances in Shakespeare’s Tragedies." Kyoto University, 2018. http://hdl.handle.net/2433/232368.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第21167号
人博第839号
新制||人||202(附属図書館)
29||人博||839(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授 水野 眞理, 教授 髙谷 修, 准教授 桒山 智成, 教授 丸橋 良雄
学位規則第4条第1項該当
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Helms, Nicholas Ryan. "A body of suffering reading Shakespeare's tragedies through cognitive theory /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/40.

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Lin, Chi-I. "Mourning before death : mother-son relationships in Shakespeare's histories and tragedies." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/30390.

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In Mourning before Death, I discuss the representation of maternal mourning in King John, the Henry VI trilogy, Richard III, Titus Andronicus, and Coriolanus. Primarily, I explore Shakespeare’s expansion of maternal roles from his source texts, especially their lamentations anticipating the death of sons in these plays. Shakespeare emphasises the grief experienced by mothers which is largely absent in the historical accounts on which the plays are based. My research address Phyllis Rackin’s definition of females as ‘anti-historians’ and examines how mothers in mourning intrude into historical events and confront masculine authority. This study focuses principally on Shakespeare’s representation of maternal authority in terms of mother-son relationships. The introduction identifies the importance of ‘women’s time’ and physical expressions of maternal distress and the dramatic conflicts these provoke. Chapter 2 examines how Constance’s grief affects the reaction of the audience to the power struggle in King John. Chapter 3 is concerned with how Margaret’s queenship in Henry VI disrupts the development of English kingship and endangers the existing Lancastrian rule. Chapter 4 discusses the psychological and physical meanings expressed through the use of the sitting posture, a gesture which embodies the mother’s pain. Chapter 5 discusses Shakespeare’s exploration of political wildness and barbarism through his representation of Tamora’s tragic passion. Chapter 6 discusses Volumnia’s maternity and her appropriation of the Roman concept of honour. The conclusion considers the strength of maternal authority and female power in Shakespeare’s representation of maternal mourning.
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Norton, John J. "Humiliation, redemption, and reformation theology in Shakespeare's tragedies and late plays." Thesis, Sheffield Hallam University, 2008. http://shura.shu.ac.uk/20300/.

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Humiliation has a powerful presence in Shakespeare's tragedies and late plays. With an unusual ability to reform and redeem, humiliation is not employed in these plays as one might expect. Cast in a form much influenced by the Protestant theology of Shakespeare's England, the humiliation that falls upon some of Shakespeare's most prominent characters is one that offers great hope and clarity. Drawn from the theology of three prominent Protestant Reformers, Martin Luther, John Calvin, and Richard Hooker, humiliation in Shakespeare's Hamlet serves to save the fragile queen and her sinister new husband from certain damnation. In The Tempest Prospero is humiliated in like fashion. This experience results in a more-than-magical reformation that turns the island into a place of reconciliation. King Lear's humiliation cures his faulty vision, allowing him to recognize a true love that pursues him with great passion and sacrifice. In Henry VIII the great Cardinal is averted from certain damnation, humiliation drawing him from a life of violence and manipulation. The jealous tyrants in The Winter's Tale, Cymbeline, and Othello are powerfully humiliated. This humiliation allows Leontes, Posthumus, and Othello to be released from their fearful bondage, at last made capable of seeing the true love of their wives. This thesis casts significant new light upon how much Shakespeare was influenced by the Protestant Reformation. Through a detailed examination of the use of theological language and concepts in the plays examined, this thesis argues that Reformation theology affords a powerful lens through which to read the journeys of the protagonists in Shakespearean tragedy and late plays. This powerful lens of Reformation theology brings to focus the way in which Shakespeare transforms, with great mastery, the humiliation of a man into the redemption of a soul.
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Books on the topic "On the Tragedies of Shakespeare"

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Marsh, Nicholas. Shakespeare, the tragedies. New York: St. Martin's Press, 1998.

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Russell, Brown John. Shakespeare: The tragedies. New York: Palgrave, 2001.

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Marsh, Nicholas. Shakespeare, the tragedies. New York: St. Martin's Press, 1998.

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Marsh, Nicholas. Shakespeare: The Tragedies. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26320-2.

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Tredell, Nicolas. Shakespeare The Tragedies. Edited by Nicolas Tredell. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9.

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William Shakespeare: The tragedies. Boston: Twayne Publishers, 1985.

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Honigmann, E. A. J. Shakespeare: Seven Tragedies Revisited. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230503038.

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Shakespeare, William. The Tragedies of Shakespeare. New York: Random House Publishing Group, 2000.

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Kuiper, Kathleen. The tragedies of William Shakespeare. New York: Rosen Pub., 2013.

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Shakespeare, William. The Tragedies of William Shakespeare. New York, USA: Modern Library, 1994.

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Book chapters on the topic "On the Tragedies of Shakespeare"

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Alexander, Michael. "Tragedies." In Reading Shakespeare, 120–39. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29281-0_11.

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Hindle, Maurice. "Tragedies." In Shakespeare on Film, 189–239. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-53172-8_22.

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Hiscock, Andrew. "Shakespeare: the Tragedies." In Teaching Shakespeare and Early Modern Dramatists, 54–74. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230593206_5.

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Tredell, Nicolas. "Conclusion." In Shakespeare The Tragedies, 168–70. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_14.

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Tredell, Nicolas. "Archetype and Absurdity." In Shakespeare The Tragedies, 68–82. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_8.

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Tredell, Nicolas. "History and Subjectivity." In Shakespeare The Tragedies, 83–100. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_9.

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Tredell, Nicolas. "Introduction." In Shakespeare The Tragedies, 1–8. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_1.

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Tredell, Nicolas. "Gender and Sexuality." In Shakespeare The Tragedies, 101–19. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_10.

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Tredell, Nicolas. "Ethnicity and Ecology." In Shakespeare The Tragedies, 120–36. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_11.

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Tredell, Nicolas. "Philosophy and Ethics." In Shakespeare The Tragedies, 137–54. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-40490-9_12.

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Conference papers on the topic "On the Tragedies of Shakespeare"

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Borges da Costa, Fernanda. "Law & Literature: justice and vengeance on Shakespeare and Aeschylus tragedies." In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_wg153_02.

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"An Explanation of the Heroic Images in Shakespeare's Tragedies." In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.28.

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Fu, Hongchu. "Tragedies East and West: A Comparative Study of the Yuan Dynasty Drama Yu Rang Tun Tan and Shakespeare’s Julius Caesar." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.19.

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Herrreras Maldonado, Enrique. "LA SABIDURÍA TRÁGICA Y LA FRAGILIDAD DE LA DEMOCRACIA." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10318.

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Un desasosiego remueve la filosofía política en los últimos años. Ha aumentado la preocupación por la democracia, ya que son cada vez más las voces que señalan una crisis de este modelo político tanto en el ámbito teórico, como el práctico, como es el hecho de la propensión cada vez mayor de una polarización del jugo político, aparte de la aparición de propuestas políticas racistas y excluyentes que tienen una resonancia cada vez mayor en los votantes, algo impensable hace unos años. Son muchos los motivos para haber llegado a esta situación, como las desigualdades que se han multiplicado después de la crisis del 2008, así como la percepción de las malas prácticas de las élites políticas y económicas, y de la incapacidad de suministrar políticas acertadas. También ha habido una decepción de la democracia al descubrir su vulnerabilidad. Pero uno de los problemas es que nos olvidamos que cuando hablamos de democracia lo hacemos de dos significados a la vez: la democracia real y la democracia ideal, la que queremos aspirar. Porque lo peor que le puede ocurrir a la democracia es que pensemos que ya la hemos conquistado. La democracia no es érgon, un producto acabado, sino que es constitutivamente enérgeia, la permanente acción de producirla…” Es sintomático que en el mundo moderno la tragedia pugne a abrirse camino. Por ello, parece pertinente reinterpretar los mitos trágicos que provienen de la Grecia antigua, así como las de autores como Shakespeare, y cuyo eje es el conflicto. Martha Nussbaum nos exhorta a reflexionar sobre los “conflictos morales” que propone la tragedia. Unos conflictos que, desde una perspectiva racional, como la de Sócrates, se solucionarían descubriendo cuál es la opción correcta. Pero la tragedia se mantiene en la complejidad de las “apariencias”, de la elección práctica vivida, o, en una pluralidad de valores y la posibilidad de que surjan conflictos ente ellos. La tragedia no solo pregunta, sino que hace de la falta de respuestas la razón fundamental de su existencia. Preguntas no solo sociales o políticas, sino, sin fractura alguna, preguntas inscritas en la existencia individual. El conflicto entre las razones personales y las razones políticas se producen en un mismo plano. He ahí la sabiduría trágica ante la fragilidad de la democracia.
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Emsley, Iain, David de Roure, Pip Willcox, and Alan Chamberlain. "Performing Shakespeare." In AM'19: Audio Mostly. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3356590.3356614.

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Dudalski, Sirlei Santos. "“Você nos livrará da tirania de William Shakespeare?” - Hamlet na HQ Kill Shakespeare." In 1º Congresso Internacional de Intermidialidade 2014. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/phypro-intermidialidade2014-008.

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Viégas, Fernanda, and Martin Wattenberg. "Shakespeare, god, and lonely hearts." In the 8th ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1378889.1378914.

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Wastie, Martin L. "English: The Language of Shakespeare." In 5th Regional Workshop on Medical Writing for Radiologists. Singapore: The Singapore Radiological Society, 2006. http://dx.doi.org/10.2349/biij.2.1.e14-67.

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Williams, Douglas L., Ian C. Kegel, Marian Ursu, Pablo Cesar, Jack Jansen, Erik Geelhoed, Andras Horti, Michael Frantzis, and Bill Scott. "A Distributed Theatre Experiment with Shakespeare." In MM '15: ACM Multimedia Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2733373.2806272.

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"Recovery from tragedies: Sustaining China’s marine fisheries resources." In 19th International Congress on Modelling and Simulation. Modelling and Simulation Society of Australia and New Zealand (MSSANZ), Inc., 2011. http://dx.doi.org/10.36334/modsim.2011.d12.zhao2.

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Reports on the topic "On the Tragedies of Shakespeare"

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Tan, Kaiming. Aflatoxin and Its Toxic Tragedies in Kenya. Journal of Young Investigators, August 2020. http://dx.doi.org/10.22186/jyi.38.2.10-12.

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Larabee, Mark D. The Romantics and Their Shakespeare. Fort Belvoir, VA: Defense Technical Information Center, January 1986. http://dx.doi.org/10.21236/ada418605.

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White, Jeffrey. Shakespeare for Analysts: Literature and Intelligence. Fort Belvoir, VA: Defense Technical Information Center, July 2003. http://dx.doi.org/10.21236/ada476587.

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Aeromagnetic vertical gradient map, Shakespeare Island, Ontario. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/125701.

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Magnetic anomaly map (residual total field), Shakespeare Island, Ontario. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/125700.

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