To see the other types of publications on this topic, follow the link: Plays (Shakespeare, William).
Journal articles on the topic 'Plays (Shakespeare, William)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Plays (Shakespeare, William).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)." Theatre Research International 25, no. 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.
Full textAbstract:
Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic technique. By the end of the century, the assimilation had advanced far enough for August Wilhelm von Schlegel, the famous translator of seventeen of Shakespeare's plays, to indulge in no slight national chauvinism: ‘I am eager’, he writes in a letter to his cotranslator Ludwig Tieck, ‘to have your letters on Shakespeare.… I hope you will prove, among other things, that Shakespeare wasn't English. I wonder how he came to dwell among the frosty, stupid souls on that brutal island? … The English critics understand nothing about Shakespeare.’ Even though Tieck failed to prove that Shakespeare was not of English birth, the conviction that Shakespeare was best understood by German rather than by English critics only grew in the course of the nineteenth century. Appropriately, it was in Germany that the first periodical devoted exclusively to Shakespeare, the Jahrbuch der Deutschen Shakespeare-Gesellschaft, was founded in 1865. Fifty years later, the German novelist Gerhart Hauptmann could still claim that ‘there is no people, not even the English, that has the same right to claim Shakespeare as the German. Shakespeare's characters are a part of our world, his soul has become one with ours: and though he was born and buried in England, Germany is the country where he truly lives.’
2
Mastud, Shahaji. "Racial Conflict in the Selected Plays of William Shakespeare." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 27, 2021): 95–111. http://dx.doi.org/10.24113/ijellh.v9i5.11047.
Full textAbstract:
William Shakespeare embraces the racial concerns of the seventeenth century in his various plays. The racial clash was one of the significant inquiries of the seventeenth century. There were numerous prohibitions against the relationship of black and white. The etymological colonialism was at the core of the Shakespearean dramatization that rendered on racism. The language utilized as a pioneering instrument for racial discrimination. Moreover, Shakespeare's play was effectively associated with darker-looking individuals during Elizabethan times. Therefore, the darker-looking Othello and the Jewish Shylock have assumed a significant role in the play. They dominated their respective play, that’s why Shakespeare's works depict the dramatization of racial conflict. There are numerous cases of racial segregation in the current situation, so the issue of race is expected to be re-evaluated with a fresh point of view.This knowledge will help to solve the problem of racial conflict with ground breaking thoughts.
3
Caputo, Nicoletta. "LOOKING FOR RICHARD III IN ROMANTIC TIMES: THOMAS BRIDGMAN'S AND WILLIAM CHARLES MACREADY'S ABORTIVE STAGE ADAPTATIONS." Theatre Survey 52, no. 2 (November 2011): 275–300. http://dx.doi.org/10.1017/s0040557411000391.
Full textAbstract:
In his commendatory poem from the First Folio, Ben Jonson asserted that Shakespeare “was not of an age, but for all time.” This has proved true, and Shakespeare has been able to speak to many succeeding generations of readers and theatregoers. This, however, is not because essential, unchangeable, and universal truths about human nature, the world, and experience lay hidden in his plays or his characters but (quite the opposite) because succeeding generations, over the centuries, have been able to appropriate, exploit, and reuse Shakespeare to make sense of their world and their lives. Shakespeare is for all time precisely because he has relentlessly changed over time. The author and his texts have been unceasingly reinvented, and a virtually infinite number of “alternative Shakespeares” has come to embody specific contemporary issues and conflicts. As Jean Marsden put it in 1991, Shakespeare is the object of “an ongoing process of literary and cultural appropriation in which each new generation attempts to redefine Shakespeare's genius in contemporary terms, projecting its desires and anxieties onto his work.” This is true for both the “dramatic” Shakespeare and the “theatrical” Shakespeare: Shakespeare's plays have been as tirelessly reinterpreted on the page by scholars (and others) as they have been reinvented on the stage by actors and directors. The fate of King Richard III, however, is peculiar from this point of view, insofar as an often-denigrated Restoration revision of Shakespeare's play totally replaced the “original” one in the theatre and held the stage for nearly 200 years. This peculiarity acquires interesting overtones when we look at the treatment the staged play received at the hands of the Romantics, who, in spite of the bardolatry prevailing at the time and their often-vented disesteem for the adapted version, apparently missed their opportunity to make Shakespeare's original play speak for their own time.
4
Thakur, Vikram Singh. "From ‘Imitation’ to ‘Indigenization’: A Study of Shakespeare Performances in Colonial Calcutta." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 193. http://dx.doi.org/10.14198/raei.2012.25.15.
Full textAbstract:
The plays of William Shakespeare have been performed all over the globe. This is particularly true of the erstwhile colonies of Britain and India is no exception. Along with other English playwrights, Shakespeare’s plays began to be performed in India during the eighteenth century by British officials for their entertainment. Educated Indians took these performances as a model to develop ‘modern’ Indian theatre. The present essay engages with Shakespeare production in colonial Calcutta, starting with Shakespeare performances in English before moving on to consider the later process of ‘indigenizing’ Shakespeare. The essay also proposes that Shakespeare production in Calcutta after the 1850s when Shakespeare’s plays moved out of the confines of schools and colleges has been governed by its own aesthetics.
5
Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (December 30, 2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.
Full textAbstract:
The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.
6
Mahmood, Wafa Salim. "The Tone of Female Characters in William Shakespeare's As You Like It." Journal of Tikrit University for Humanities 27, no. 6 (August 28, 2020): 57–73. http://dx.doi.org/10.25130/jtuh.27.6.2020.25.
Full textAbstract:
Studying English literature is insufficient without shedding light on the works of William Shakespeare (1564- 1616). His plays in particular, are rich of significant ideas that give inspiration, controversy and debate for both spectators and critics despite the fact that female characters in Shakespearean plays have less conversation than the male characters. Nevertheless; when they speak, the spectators feel that they seem as they were the backbone of the plays. Their roles are pivotal in the plays and in the development of the plot and undoubtedly, their words and their speeches reflect the mind of the male counterparts. In this respect, the present research is focused on the tone of female characters in Shakespeare’s comedy As you Like it in the light of two points. The first is the focus on how Shakespeare used tone differently for his male and female characters and the other is in what extent the tone is leveled in comedy plays. The aim of the present research is to examine, to understand and to characterize the tone in the boundaries of the context depending on Renaissance period.
7
Tatipang, Devilito P. "William Shakespeare and Modern English: To What Extent the Influence of Him in Modern English." Journal of English Language Teaching, Literature and Culture 1, no. 1 (March 25, 2022): 61–71. http://dx.doi.org/10.53682/jeltec.v1i1.3728.
Full textAbstract:
Shakespeare’s works at that time considered a work of high art. The influence of his work has been a source of inspiration for many artists to create paintings, operas and ballet performances. Studying Shakespeare is like studying life from multiple perspectives: psychological, political, philosophical, social, spiritual. The rhythms he uses in his words are reflected in the rhythms of our bodies. Known as the greatest English-language writer in history, and earning him the nickname of England's national poet, William Shakespeare is the author with the most-played theatrical work to date. More than four centuries since his death, William Shakespeare is still one of the greatest English playwrights. The tens of thousands of people who throng to see Shakespeare's plays will be able to hear the 1700 words created by Shakespeare. Many of his words are currently in use. Examples: "deafening" (deaf)," hush", "hurry" (quickly), " downstairs" (below), " gloomy" (sad), " lonely" (alone), "embrace" (hugs), " dawn" (twilight). The spelling used by Shakespeare was different from his time. Elizabethans spelled words as they were written, such as Latin and Indonesian. There is no "correct" way to spell. People write a word the way they want it to be spelled.
8
Barozai, Shumaila Maryam, Faria Saeed Khan, and Muhammad Zeeshan. "Shakespeare’s Concept of Astronomy." Al-Burz 8, no. 1 (December 20, 2016): 55–64. http://dx.doi.org/10.54781/abz.v8i1.135.
Full textAbstract:
This contribution scrutinizes Shakespeare knowledge and views about cosmological theories i.e. Ptolemaic, Copernicus, TychoBrahe and Galileo. It in addition claims that William Shakespeare had a profound interest and specialized knowledge in the domain of technical astronomy. Plays by Shakespeare are loaded with astronomical allusions. Because that is injected in Shakespeare’s nature to discuss every aspect of his age like medicine, falconry and agriculture but his astronomy is quite interesting. Furthermore, this effort examines the Shakespeare’s astronomical concept in allegorical form in his plays, especially in Hamlet, King Lear, Othello, Julius and Ceaser, Henry VI, The Tempest and Antony and Cleopatra.
9
Dr. Hitendra Nath Chaubey. "Dramaturgy: Exploring the Elements of Shakespearean Tragedy with the Perspectives of R. Srinivasa Iyengar." Creative Launcher 7, no. 3 (June 30, 2022): 90–100. http://dx.doi.org/10.53032/tcl.2022.7.3.11.
Full textAbstract:
R. Srinivasa Iyengar has presented his views on William Shakespeare’s art of dramaturgy in his noteworthy work; Shakespeare: His World and His Art. It was published in 1964 and was received enthusiastically by lovers of literature. The work has finally been divided by Iyengar into fifteen chapters. The purpose of present study is to discuss Iyengar’s view on Shakespeare’s tragedy in detail. His love for the Shakespeare’s artistic sense was cherished by his mother who was fond of literature specially of Shakespeare. He received a book Tales and Travels by Hugh Laurence as second prize when he was in fourth class (1916-1917). It was signed by the principal, K.C. Viraraghava Iyer and the family has still preserved it. Iyengar loved great literature and so, generally speaking there were no favorites as such in his literary world. But two names were very close to heart: William Shakespeare and Sri Aurobindo. His first encounter with Shakespeare was through reading Charles and Mary Lamb’s Tales from Shakespeare in1922. The impact of this first encounter with Shakespeare lasted through his life time. Such was his phenomenal memory that long after he gave up reading due to loss of vision, just a year prior to his passing away, he could name the character, act and scene from all the plays of Shakespeare when just a single line from any of the plays represented in The Oxford Dictionary of Quotations (1941) was read out to him. He loved teaching Shakespeare’s plays and had acquired an enormous amount of matter on the subject. It was natural that the approaching quarter centenary of the Bard of Avon galvanized him into action.
10
Guerrero, Isabel. "‘My native English now I must forgo’: Global Shakespeare at the Edinburgh International Festival." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (August 27, 2020): 57–74. http://dx.doi.org/10.1177/0184767820935129.
Full textAbstract:
This article focuses on productions of William Shakespeare’s plays in languages other than English throughout the history of the Edinburgh International Festival. It aims to demonstrate that there has been an evolution towards global Shakespeare at the Edinburgh International Festival, and that Shakespeare stagings have been both an active agent and a product of the interconnectedness of theatre cultures in international festivals. The article considers three categories that illustrate the evolution of Shakespeare festival productions: Shakespeare without his language, heteroglossic Shakespeare, and new-brand Shakespeare. These categories are used to evaluate audience reception and assess shifts in Shakespeare studies regarding global Shakespeare.
11
Chiljan, Katherine. "The Queen’s Favorite Unknown Dramatist: Were There Other Royal Plays By Shakespeare? A Research Inquiry." Journal of Scientific Exploration 37, no. 2 (August 11, 2023): 229–54. http://dx.doi.org/10.31275/20233113.
Full textAbstract:
Surviving records of Queen Elizabeth’s revels briefly list performance dates, expenses, and sometimes titles of plays and masques that she had seen. Evidence suggests that, sometimes under titles different from the ones we know, the queen viewed at least 18 different Shakespeare plays – about half the canon – clearly proving him as her favorite dramatist. The most obvious example is royal performances of The History of Error in 1577 and 1583, and Shakespeare’s The Comedy of Errors. King James, Elizabeth’s successor, saw at least 17 Shakespeare plays. Yet no evidence exists that either monarch knew, met or corresponded with anyone named William Shakespeare. And no one in the court of either Elizabeth or James ever claimed to have known William Shakspere of Stratford-upon-Avon during his lifetime or had anything to say when he died. This blankness supports the notion that the name was a pseudonym for someone wishing to remain publicly anonymous. This essay – and its attached research inquiry – examines the plays and masques performed at Elizabeth’s court and suggests that many of them were actually Shakespeare plays. If so, then they precede traditional Shakespeare play composition dates by a decade or more, which, in many cases, would invalidate the Stratford man’s authorship, and favor the idea that the true author was writing anonymously.
12
Pao, Angela C. "Recasting Race: Casting Practices and Racial Formations." Theatre Survey 41, no. 2 (November 2000): 1–22. http://dx.doi.org/10.1017/s004055740000380x.
Full textAbstract:
He used to come to the house and ask me to hear him recite. Each time he handed me a volume ofThe Complete Works of William Shakespeare.… He wanted me to sit in front of him, open the book, and follow him as he recited his lines. I did willingly.…And as his love for Shakespeare's plays grew with the years he did not want anything else in the world but to be a Shakespearean actor.Toshio Mori“Japanese Hamlet” (1939)
13
TAYLOR, ANTONY. "SHAKESPEARE AND RADICALISM: THE USES AND ABUSES OF SHAKESPEARE IN NINETEENTH-CENTURY POPULAR POLITICS." Historical Journal 45, no. 2 (June 2002): 357–79. http://dx.doi.org/10.1017/s0018246x0200242x.
Full textAbstract:
This article seeks to locate William Shakespeare in the traditions of nineteenth-century popular politics in Britain. The bards of radicalism are usually seen as the romantic poets, particularly Byron and Shelley. Nevertheless, Shakespeare's national standing, the lack of hard details about his life, and the subversive messages many radicals believed to have discovered in his plays allowed reformers to project him as a ‘son of the soil’, and to contest appropriations of him by the aristocratic patrons of events like the Shakespeare Tercentenary of 1864. Through the agitation surrounding this celebration, a link into a radical bardolatry is established that indicates the centrality of memories of Shakespeare's England to the popular platform. The article concludes with a consideration of the light shed by ‘Shakespearean radicalism’ on current debates about continuity between Chartism and liberalism in popular politics, and the role of memory and memorialization in the political culture of nineteenth-century plebeian reform movements.
14
Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.
Full textAbstract:
In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.
15
Dahlan, Syahruni Junaid, Ahmad Muzammil, and Masykur Rauf. "STUDENT'S RECEPTION TOWARD SHAKESPEARE’S SELECTED CONTEMPORARY PLAYS." Elite : English and Literature Journal 9, no. 2 (December 15, 2022): 178–91. http://dx.doi.org/10.24252/elite.v9i2.32913.
Full textAbstract:
Literary reception is a literary genre that examines literary texts by considering the reader as the giver of the welcome or response. Researchers choose to analyze literary receptions in Shakespeare's plays, namely "Romeo and Juliet" and "Macbeth" as an interesting source of data to be studied and analyzed more deeply because of the difficulty of readers in responding to a literary work. This study aims to determine the reader's response to the two plays by Shakespeare. The data source of this research is the play script of "Romeo and Juliet" and "Macbeth" by William Shakespeare. The method used in this study is a qualitative descriptive method. This study uses Iser’s Reception theory with instruments in the form of documentation and observation studies because this research is reviewed by noting and marking the parts that are considered important and useful for the reader. Based on the results of this study, it is clear that there are reader responses in Shakespeare's plays. Then the results of the research are in the form of a questionnaire containing nine questions with excellent answers or responses from readers in engaging the two plays by Shakespeare.
16
Lachman, Michał. "Staging Dystopian Communities: Reimagining Shakespeare in Selected English Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (December 30, 2022): 103–18. http://dx.doi.org/10.18778/2083-8530.26.07.
Full textAbstract:
Among the countless afterlives of William Shakespeare’s playwriting there is a strong presence of his visions of state and political powers. In universal, philosophical ways Shakespeare was addressing issues concerning the state power, social organization, hierarchy, and rank in what inevitably were the origins of modern, capitalistic societies. Therefore, many of his powerful images resonate today in the works of contemporary writers who intend to compose stories of utopian or dystopian character which diagnose the condition of modern society. This article aims to present three plays by post-war English dramatists (Edward Bond’s Bingo, Frank McGuinness’s Mutabilitie, and David Greig’s Dunsinane) which reuse Shakespearian themes, motifs, or characters to build politically contentious and subversive plots within a narrower context of their specific cultures, societies, and historical periods. It is assumed that the Shakespearean legacy the writers engage with is not merely a dramatic text, but a complex cultural structure of accumulated narratives, interpretations, and myths which contemporary dramatists rewrite and recycle. The aim of the article is to show how this multifaceted legacy of Shakespeare’s life and work helps build dystopian visions of contemporary communities or images of state and political justice. In other words, the article intends to analyse ways of visualizing modern societies through the palimpsestic presence of the Renaissance master.
17
Jazdon, Mikołaj. "O pewnym motywie w polskim filmie." Przestrzenie Teorii, no. 32 (March 15, 2019): 15–44. http://dx.doi.org/10.14746/pt.2019.32.1.
Full textAbstract:
Jazdon Mikołaj, Aktorzy i Szekspir. O pewnym motywie w polskim filmie [Actors and Shakespeare or About a Certain Motif in Polish Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 15–44. ISSN 1644-6763. DOI 10.14746/pt.2019.32.1.
This article deals with various references to William Shakespeare’s plays in Polish postwar films, both theatrical and television ones. There are no Polish film adaptations of Shakespeare’s works except for television dramas made for the Television Theater on state TV. There are, however, Polish films (mainly from 1962–1989) about actors and performing arts with fragments and motifs from Shakespeare plays. Their characters are often actors deprived by fate (or History) of the chance to play a Shakespeare role on stage and forced to play it in life instead.
18
Waugaman, Elisabeth. "Shakespeare and the French Lens." Journal of Scientific Exploration 37, no. 2 (August 11, 2023): 193–200. http://dx.doi.org/10.31275/20233107.
Full textAbstract:
Academic studies of Shakespeare in Great Britain and France present the historian with startling contrasts. Beginning in the late 18th century, the English debated the extent of his knowledge and eventually turned the poet-playwright into a national hero and secular saint. When Thomas Carlyle published in 1840 On Heroes, Hero Worship, and the Heroic in History, he actually stated that Shakespeare was “an unconscious intellect” whose dramas “grew up out of Nature.” Carlyle’s book was an incredible success, deifying the uneducated and untraveled man from Stratford, making him a religious Anglo-Saxon icon never to be questioned. Some had their doubts. In France in 1918, Professor Abel Lefranc, a renowned Renaissance scholar and member of the Académie française, published Sous le masque de William Shakespeare, a volume that tried to prove “to all those with an open mind” that the author William Shakespeare could not have been Shakspere of Stratford-upon-Avon. Among his reasons: William Shakespeare knew France, the French aristocracy and French history too well. Leaving aside the author’s missing paper trail, inconceivable for the “soul of the age,” Lefranc examined Shakespeare’s works in extraordinary detail and revealed just how political they were and how often they subtly commented on a much wider European culture and politics. Shakespeare’s oeuvre, he argued, was not limited to the Anglo-Saxon world but was actually multi-national and deeply influenced by France. English scholars did not handle this French questioning of Shakespeare so well. Indeed, with only a few exceptions, Lefranc’s work was ignored in the Anglo-Saxon world. Lefranc argued that the plays needed to be re-examined as creations for the Elizabethan court, making clear references to what was actually happening in France at the time. This essay argues that the significance of Shakespeare’s knowledge of French courtly politics and culture should not be underestimated because there are no records that the man from Stratford ever left England or knew French. That is, once the profound French influence is recognized in Shakespeare’s plays, the man from Stratford could not have been the author.
19
Keinänen, Nely. "Female multilingualism in William Shakespeare and George Peele." English Text Construction 6, no. 1 (April 5, 2013): 89–111. http://dx.doi.org/10.1075/etc.6.1.05kei.
Full textAbstract:
While there is overlap in the ways that Peele and Shakespeare make use of female multilingualism in their plays, Peele’s repertoire is wider than Shakespeare’s, and he also seems to trust his audience will understand more complex code-switches from foreign languages. Shakespeare includes women who are resolutely monolingual in a multilingual context, highlighting the importance of English for personal and political identity. Both authors include characters who are shown understanding but not using foreign languages, perhaps reflecting cultural anxiety about educated women. In Peele, a wider range of women are shown code-switching, and Peele uses extended foreign language code-switches to highlight moments of high emotion, with Italian suggesting dangerous female sexuality and Latin evoking purity. Keywords: William Shakespeare; George Peele; female code-switching; women’s language
20
Rani Barooah, Papori. "SPECTACULAR SHAKESPEARE IN THE 21ST CENTURY CINEMA: MERGE OF CULTURES." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 624–32. http://dx.doi.org/10.21474/ijar01/11885.
Full textAbstract:
In the entire gamut of publication and performance history, William Shakespeare is one of the most popular names and most of his plays have been acted and reacted, adapted and published in various forms. In many countries, to be particular, in India, perhaps due to the colonial heritage, Shakespeare has never ceased to fascinate – both in the pre- and post-independence era. Indian cinema has seen many versions of his plays in popular cinema. Amongst all the performances of Shakespeares plays, Vishal Bharadwaj movie Omkara (2006) may be considered as one of the best ever Indianized performances of his play Othello. This study is an attempt to critically study the recreation of Othello in the Indian setting in the light of the original play. It is aimed at capturing the universality in the works of Shakespeare to establish the acceptability of his creations in each age, the significance of his citation, and the purchase of his status in various cultural niches and registers. In the adaptation of Shakespeares plays in Indian films, the Bard is not only absorbed into the cultural fabric of India but still maintains a catalyzing presence in post-colonial India.
21
Sládeček, Ján. "Miloš Pietor and Shakespeare’s Historical Chronicles in the Slovak National Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (June 27, 2017): 196–217. http://dx.doi.org/10.1515/sd-2017-0012.
Full textAbstract:
Abstract The plays of William Shakespeare, except for Hamlet (Nová scéna, 1974) and Richard III (SND, 1987), do not define the artistic profile of Miloš Pietor, yet they significantly supplement it. Although as a dramaturge he felt at his best in a different repertoire, his several encounters with Shakespeare cannot go unnoticed. They must be examined for complete information about the director’s artistic development, but also about the productions of Shakespeare in Slovakia. Pietor had encountered Shakespeare six times; their seventh encounter was interrupted by the director’s unex pected death. The present paper deals with Pietor’s production of Shakespeare’s historical chronicles for the Slovak National Theatre in the period of 1980-1987.
22
Hatfull, Ronan. "‘That’s One of Mine’." Exchanges: The Interdisciplinary Research Journal 7, no. 3 (June 26, 2020): 45–64. http://dx.doi.org/10.31273/eirj.v7i3.481.
Full textAbstract:
In televisual representations of William Shakespeare’s life which blend biographical fact with fictionalised fantasy, contemporary writers often utilise the trope of the playwright colliding with characters and scenes recognisable from plays which he has yet to create and, consequently, finding inspiration. Others construct a reciprocal loop of influence, whereby Shakespeare is shown to have written or been informed by works that did not exist during his lifetime and which his plays themselves instigated. It has become fashionable in the metamodern era to depict these forms of metaphorical cannibalism in a parodic manner which oscillates between sarcastic rejection of Bardolatry and sincere appreciation for Shakespeare’s ‘genius’. Gareth Roberts satirised the notion of Shakespeare’s originality in Doctor Who episode The Shakespeare Code (2007), through the depiction of the playwright being fed and consuming his own works and specific references. In 2016, the 400th anniversary year of Shakespeare’s death, a number of commemorative BBC programmes also exhibited cannibalistic features, including the reverent (The Hollow Crown), the irreverent (Cunk on Shakespeare), and those which combined both registers (Upstart Crow). I will explore how these writers construct their portrayals of Shakespeare and, by interlacing fact and fiction, what portrait of the playwright these cannibalistic representations produce.
23
Mizetska, V. Ya, and A. P. Ladynenko. "ETHNONYMS IN THE PLAYS BY WILLIAM SHAKESPEARE." International Humanitarian University Herald. Philology 2, no. 45 (2020): 8–12. http://dx.doi.org/10.32841/2409-1154.2020.45-2.2.
Full text
24
Mahon, Eugene. "Parapraxes in the Plays of William Shakespeare." Psychoanalytic Study of the Child 55, no. 1 (January 2000): 335–70. http://dx.doi.org/10.1080/00797308.2000.11822529.
Full text
25
Spyra, Piotr. "Shakespeare and the Demonization of Fairies." Text Matters, no. 7 (October 16, 2017): 194–213. http://dx.doi.org/10.1515/texmat-2017-0011.
Full textAbstract:
The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.
26
Nurmalasari, Muharrani, and Ruly Adha. "SUPERNATURALISM AND MYSTICISM IN WILLIAM SHAKESPEARE’S PLAY HAMLET." JL3T ( Journal of Linguistics Literature and Language Teaching) 2, no. 2 (January 25, 2017): 67–85. http://dx.doi.org/10.32505/jl3t.v2i2.15.
Full textAbstract:
William Shakespeare is the greatest dramatist in the world. He has produced a lot of literary works especially play or drama. Some of his plays still exist until now such as Julius Caesar, Hamlet, The Merchant of Venice, etc. Even, one of his plays Romeo and Juliet has been translated into several languages in the world. He produces two types of plays, namely comedy which usually talks about love and tragedy which talks about sadness. In tragedy plays, Shakespeare always puts supernatural and mystical elements such as in Julius Caesar, Macbeth, Hamlet, etc. The supernatural and mysticism elements are usually marked by the appearance of apparition, witch, fairy, etc, and the elements can determine the fate of main characters. This article tries to describe how Shakespeare puts supernatural and mystical elements in one of his tragedy plays Hamlet.
27
Sassi, Imed. "“My Skin Is Not Me”: The Transformations of William Shakespeare’s Othello in Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet) and Djanet Sears’s Harlem Duet." Journal of Contemporary Drama in English 9, no. 2 (October 23, 2021): 215–32. http://dx.doi.org/10.1515/jcde-2021-0020.
Full textAbstract:
Abstract Both Goodnight Desdemona (Good Morning Juliet) (1990) and Harlem Duet (1997) are Canadian feminist appropriations of William Shakespeare. Both deal, at least partly, with Othello, and both can be considered subversive re-visions of Shakespeare’s play which aim to articulate oppositional intervention in the canon. These similarities notwithstanding, the plays have not often been studied concurrently. Also, while several critics have explored them, mostly separately, in terms of their adaptation/appropriation of Shakespeare, seeking to spell out the transformations they have brought to the “original” text, little has been said about how the iconic figure of Shakespeare still holds sway in these new dramas, albeit in different ways and to varying degrees. Likewise, their dramatization of the character of Othello remains rather understudied. This essay explores the “new” Othellos of the two plays, contending that their positioning in the two texts evinces some similarities while their characterization differs widely, given the plays’ generic difference, but mostly the two playwrights’ rather divergent feminist perspectives which, in turn, substantially shape the plays’ respective appropriation techniques.
28
Polenchuk, Lily. "An Imposter Among Shakespeare’s Fools: The Tempest’s Trinculo." Crossings: An Undergraduate Arts Journal 4, no. 1 (July 7, 2024): 83–86. http://dx.doi.org/10.29173/crossings242.
Full textAbstract:
The plays of William Shakespeare often feature a fool who resembles the historic jester of the Elizabethan era. Overtime, the Shakespearean fool developed into a powerful character who challenges and questions both the other characters in the play as well as the audience. This article analyzes the fool known as Trinculo from Shakespeare’s The Tempest who I argue does not amount to the great Shakespearean fool archetype. The criteria for a true Shakespearean fool is drawn from the work of Robert Bell, who studies the progression of Shakespeare’s clown character, and the work of Roberta Mullini, who analyzes the traits of Shakespeare’s fools. When Trinculo is compared to these outlined standards, such as prophetic ability and powerful speech, he falls short. Trinculo’s lacklustre character is especially apparent when compared to King Lear’s Fool in King Lear. King Lear’s Fool excels in the necessary qualities that Trinculo does not. Rather than serving as mere comedic relief, King Lear’s Fool drives the plot forward with his capacity for knowledge and awareness of the audience. Trinculo, on the other hand, embodies Shakespeare’s early, underdeveloped clown characters who exist purely to amuse the crowd and nothing more.
29
Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.
Full textAbstract:
William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
30
Lutsenko, E. M. "Shakespeare at work. On J. Shapiro’s book A Year in the Life of William Shakespeare: 1599." Voprosy literatury, no. 3 (September 13, 2022): 133–79. http://dx.doi.org/10.31425/0042-8795-2022-3-133-179.
Full textAbstract:
The article prefaces the publication of chapter 8 (Is This a Holiday?) from J. Shapiro’s book on W. Shakespeare and examines the architecture of the intellectual docu-novel which carefully reconstructs a period in the English playwright’s life and work and shows how the social and political developments of the Elizabethan era as well as specific facts of the Bard’s biography found their way into Shakespeare’s plays dated 1599. Drawing on documentary evidence, Shapiro pieces together the events of the year that marked a turning point in Shakespeare’s work. In terms of its genre, the book follows the traditions of W. Scott’s historical novels. The author succeeds in rendering the spirit of the daily life in a 16th-c. London, and discusses, along with Shakespeare’s plays, the city’s news and gossip, sermons and pamphlets, as well as curious incidents at the court theatre, etc. On the whole, Shapiro paints a portrait of a playwright who shuns debauched London pastimes.
31
Jaworska-Biskup, Katarzyna. "Problemy przekładu terminologii z zakresu prawa na podstawie wybranych polskich tłumaczeń sztuk Williama Szekspira." Przekładaniec, no. 40 (2020): 260–84. http://dx.doi.org/10.4467/16891864pc.20.012.13175.
Full textAbstract:
Problems of Translating Legal Language Based on William Shakespeare’s Selected Plays The paper discusses major problems and issues of translating law and legal language into Polish as illustrated by selected examples from William Shakespeare’s three plays: King Lear, The Merchant of Venice and Measure for Measure. The common feature of the plays is the context of the court and the trial. In King Lear, Shakespeare depicts a mock-trial of the main character’s two daughters, Regan and Goneril. The crux of The Merchant of Venice is the proceedings instigated by Shylock against his debtor, Antonio. Measure for Measure features a summary trial of two local rogues, Froth and Pompey, who are brought to justice by the constable Elbow. A comparison of the English original law-embedded scenes with their Polish counterparts shows that Polish translators approached Shakespeare’s legal lexicon differently. They frequently neutralised legal language or offered the equivalents that do not overlap with the source text. The different treatment of legal language by the translators results in various readings and interpretations of the original. The paper also provides a commentary on the basic concepts and institutions of English law in Shakespeare’s analysed plays.
32
Bush, Steven, and Ann Wilson. "From a Conversation: Notes on Playing Shakespeare." Canadian Theatre Review 54 (March 1988): 4–6. http://dx.doi.org/10.3138/ctr.54.001.
Full textAbstract:
Most of us who attended English-language schools received our introduction to the plays of William Shakespeare during early high school. The plays were presented to us not simply as the work of a playwright but as the work of “William Shakespeare, the world’s greatest playwright.” At some point the title of “world’s greatest playwright” became fused to the proper name as if his name couldn’t be spoken without the evaluation. Shakespeare was situated in a realm of timeless and universal truths far beyond the material conditions of the world. We were taught that the proper attitude to bring to our reading of a genius’s work is reverence. Accordingly, our reaction to the plays was awe. Not simply the awe produced by works which touch and challenge and so evoke a response, but awe produced because our reading was mediated by the signature. We knew that work which bears the signature “Shakespeare” is great art and so responded with the proper sense of appreciation.
33
Steel, Andrew. "‘The mounting spirit’." Groundings Undergraduate 7 (April 1, 2014): 125–37. http://dx.doi.org/10.36399/groundingsug.7.222.
Full textAbstract:
The Life and Death of King John by William Shakespeare is a dramatization of the reign of John, King of England. In comparison to Shakespeare's other history plays, the subversive ideological messages of the play have been somewhat overlooked by scholars. Theories which have enhanced understanding of the allusions to Republicanism in the works of Shakespeare allow for a more comprehensive interpretation of King John as a play which has an ideological purpose. This article explores the way in which self-referential and meta-theatrical devices within the text indicate an attempt on the part of Shakespeare to reflect the growing political awareness and aspirations of the burgeoning Fourth Circle. In doing so, it could be argued that Shakespeare subtly makes the case for an alternative method of government in a country that was beginning to change.
34
Amrita Bhattacharyya. "Economy of Love as Manifested in William Shakespeare’s King Lear and The Merchant of Venice." Creative Saplings 2, no. 04 (July 25, 2023): 13–28. http://dx.doi.org/10.56062/gtrs.2023.2.04.338.
Full textAbstract:
This paper tries to make a study of William Shakespeare’s above plays with reference to his contemporary period’s views on money and love. Economy is inadvertently linked with love as we find during the time of Shakespeare. Two of the most important plays of Shakespeare – King Lear (1606) and The Merchant of Venice (1596-1598) shows how love is tested by economic considerations and how relationships get complicated when the two collide with each other. Market economics of the public sphere questions the love of the private sphere. Here love is equated to lust. This acquisitiveness is characteristic of the Elizabethan and Jacobean age with commerce and trade flourishing and the age itself being termed as the Golden Age. Gender roles are redefined in such a mercantile situation and the place of women in such society become endangered.
35
Vieira, Pedro Luís Sala. "The Spectre of Hamlet in the Brazilian Translations of James Joyce’s Ulysses." ABEI Journal 24, no. 2 (April 15, 2022): 31–44. http://dx.doi.org/10.11606/issn.2595-8127.v24i2p31-44.
Full textAbstract:
William Shakespeare (1565-1616) is a noteworthy presence in works by James Joyce (1882-1941). Joyce’s Ulysses contains a number of passages that allude to the bard’s plays. Unlike the Homeric parallel, the Shakespearean references are scattered through the novel in form of allusions and echoes. In view of this, Laura Pelaschiar (2016) points out that “the job of the Joyce/Shakespeare explorer is a trying one because Shakespeare’s presence in Joyce is hard to unearth and assess” (58). The spectre of Hamlet arises in the novel in multiple ways and evokes crucial themes of the novel, such as the paternity matter and the relation between art and biographical life. In virtue of such intertextuality, the purpose of this paper is to discuss the presence of Hamlet in the Brazilian translations of James Joyce’s Ulysses by Antônio Houaiss (Civilização Brasileira, 1966), Bernardina da Silveira Pinheiro (Objetiva, 2005) and Caetano Galindo (Penguin/Companhia das Letras, 2012). This study comprises larger research that investigates how translators dealt with the Hamletian references in Joyce’s novel.
36
Hadfield, Andrew. "Grimalkin and other Shakespearean Celts." Sederi, no. 25 (2015): 55–76. http://dx.doi.org/10.34136/sederi.2015.3.
Full textAbstract:
This essay examines the representation of Ireland and Celtic culture within the British Isles in Shakespeare’s works. It argues that Shakespeare was interested in ideas of colonisation and savagery and based his perceptions on contemporary events, the history of the British Isles and important literary works such as William Baldwin’s prose fiction, Beware the Cat. His plays, notably The Comedy of Errors and Macbeth, represent Protestant England as an isolated culture surrounded by hostile Celtic forces which form a threatening shadowy state. The second part of the essay explores Shakespeare’s influence on Irish culture after his death, arguing that he was absorbed into Anglo-Irish culture and played a major role in establishing Ireland’s Anglophone literary identity. Shakespeare imported the culture of the British Isles into his works – and then, as his fame spread, his plays exported what he had understood back again, an important feature of Anglo-Irish literary identity, as many subsequent writers have understood.
37
Linton, David. "McLuhan on Shakespeare and Shakespeare as McLuhan." Explorations in Media Ecology 20, no. 4 (December 1, 2021): 421–26. http://dx.doi.org/10.1386/eme_00107_1.
Full textAbstract:
Over 400 years ago, during the early days of the print revolution, William Shakespeare offered insights into the media environment of his times. Though he was a poet and playwright, his observations were strikingly similar to those of Marshall McLuhan in the twentieth century. In every one of his plays there appear media references: books, letters, reading and writing. This essay examines how he viewed the impact of literacy and printing on both individuals and the society at large.
38
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.
Full textAbstract:
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.
39
Covey, Herbert. "Shakespeare on Old Age and Disability." International Journal of Aging and Human Development 50, no. 3 (April 2000): 169–83. http://dx.doi.org/10.2190/jaut-1a0g-77f6-w78g.
Full textAbstract:
The plays of William Shakespeare were reviewed for references to disabilities, aging and disability, and older characters with disabilities. Shakespeare's references draw from traditional cultural notions about older people with disabilities. These traditional notions include people with physical disabilities being evil, the entertainment value of disabilty, and those who were mentally ill being wild and animal-like. He viewed the aging process as disabling and old age as a time when individuals lost some abilities to function, particularly when it came to mental capacity and physical mobility. His writings show that he used disability as a literary tool to add dimension to characters and set them apart. Contemporary literature continues to share some of Shakespeare's view on aging and disability but also departs from them in important ways. For example, contemporary treatment of disabilities and aging places more emphasis on the human side of the affects of aging and disabilities. Disabilities and aging are not cast in the same negative terms as Shakespeare used.
40
Sell, Jonathan P. A. "The Chameleon’s Blush and the Poetic Imagination from Shakespeare to Keats." Studia Universitatis Babeș-Bolyai Philologia 67, no. 2 (June 30, 2022): 251–70. http://dx.doi.org/10.24193/subbphilo.2022.2.14.
Full textAbstract:
"When English Romantic poet John Keats likened William Shakespeare to a chameleon, far from being original, he was tapping into a venerable tradition of drawing analogies between human beings and the colour-changing reptile. In literary criticism, the analogy is usually taken to refer to poetic indeterminacy; in sociopsychology, to conscious or unconscious, opportunistic versatility of identity. This study traces the evolution of the polyvalent chameleon trope from the zoological treatises of antiquity, through wonder literature and Renaissance and early modern works on psychology and witchcraft, to Shakespeare’s plays. It shows more specifically how the chameleon came to acquire an imagination and how that imagination was, on the one hand, instrumental in prompting the sort of inter-subjective absorption Keats emblematised in the blush, and, on the other, projective in a sense akin to Hazlitt’s own theory of the imagination. As a result, new light is thrown not only onto specific features of Shakespeare’s art and Romantic poetics, but also onto past conceptions of the imagination and the generative role of zoological analogy in their formulations. Keywords: imagination, chameleon, William Shakespeare, John Keats, blush "
41
Verma, Kripashankar. "The Family in Four Shakespearean Plays: A Short Analysis." Indian Journal of Gender Studies 28, no. 1 (January 20, 2021): 104–12. http://dx.doi.org/10.1177/0971521520974877.
Full textAbstract:
Gender study is one of the most select areas of modern research in nearly all branches of knowledge, that is, politics, history, sociology and of course literature. Feminist criticism has been phenomenal in closely studying works of literature. The modern era, which tries to usher in a world of equality for all, is highly concerned with the political, economic and social equality and freedom of women. In this article, four plays ( Twelfth Night, The Taming of the Shrew, The Winter’s Tale and Cymbeline) of William Shakespeare have been selected for the purpose of gender analysis. The article tries to explore the family in Shakespeare’s times, the status of women and the social hierarchy in Elizabethan times. Shakespeare’s plays highlight many more issues of gender and identity that are of universal importance. This article also explores how gender roles were predetermined in the Elizabethan society and how a woman was expected to behave accordingly.
42
Mojzísová, Olga. "Smetana and Shakespeare." Musicalia 9, no. 1-2 (December 20, 2017): 57–80. http://dx.doi.org/10.1515/muscz-2017-0009.
Full textAbstract:
Abstract This study deals with Bedrich Smetanas encounters with the legacy of William Shakespeare. The introduction is devoted to Smetana’s participation at the celebration of Shakespeare’s 300th birthday in 1864, at which he took part in the organization and dramaturgy as a conductor and a composer. The next part deals with the possible sources of Smetana’s knowledge of Shakespeare’s plays, followed by compositions inspired by specific dramas. It describes the circumstances of the genesis of the symphonic poem Richard III and of the piano composition Macbeth and Smetana’s conception of those works’ subject matter in relation to the shift of his artistic orientation towards programme music during his stay in Sweden. Above all, on the basis of their exchanged correspondence, the study then examines the ups and downs of Smetana’s relationship with the Eliska Krásnohorská and the composer’s unfinished opera Viola based on Twelfth Night.
43
Bennett, Susan. "Godard and Lear: Trashing the Can(n)on." Theatre Survey 39, no. 1 (May 1998): 7–19. http://dx.doi.org/10.1017/s0040557400002994.
Full textAbstract:
In the late 1990s, the endlessly reinvented Shakespeare has apparently become a popular and successful screenwriter. The recent release of Richard III, William Shakespeare's Romeo + Juliet, Twelfth Night and Hamlet have brought an enthusiastic movie-going public to see, among other things, the Capulets and the Montagues on the beach and Hamlet striding through a cast of thousands at Elsinore. But this is not to suggest that this particular genre success is either new or inappropriate; the collection of artifacts known as Shakespeare (including but not limited to the plays themselves) has long signified as high art dedicated to the education of not just a theatre-going elite nor the mass audiences of popular media, but everyone. On a global scale, Shakespeare means culture or, as Michael Bristol would more wittily have it, Shakespeare is “big time.” This history of the cultural capital that is Shakespeare continues to have a fascination for, and a usefulness to the producers and distributors of films. Thus, to turn Shakespeare from playwright to screenwriter is, culturally speaking, both a pragmatic and predictable strategy. And it is a strategy that has more or less existed as long as film itself.
44
Skorasińska, Monika. "Can in Shakespeare and Marlowe." Studia Anglica Posnaniensia 49, no. 1 (March 1, 2014): 31–55. http://dx.doi.org/10.2478/stap-2014-0002.
Full textAbstract:
ABSTRACT This paper seeks to present the main meanings and the use of the modal verb can in the plays of two Early Modern English playwrights, William Shakespeare and Christopher Marlowe. In particular, the study aims at presenting a comparative analysis and provides descriptive as well as quantitative data. The research is based on the analysis of the corpus consisting of the plays written by Shakespeare and Marlowe between 1593-1599. The choice of the works is not random but includes the plays which bear the strongest resemblance in terms of theme, structure, and most importantly, the language of both authors.
45
Grange, William. "Shakespeare in the Weimar Republic." Theatre Survey 28, no. 2 (November 1987): 89–100. http://dx.doi.org/10.1017/s004055740000051x.
Full textAbstract:
The Weimar Republic occupies a period in German history that has long fascinated students of theatre and drama. It was a period of profound change in German social, political, and cultural experience, and rarely has the confluence of those experiences figured so influentially upon the performance of William Shakespeare's plays. In decades previous to Weimar, German Shakespeare productions manifested the awed reverence in which the playwright was held, since most German actors, directors, and designers regarded Shakespeare in the same light as they did Goethe and Schiller. In 1864, for example, Germany celebrated the three-hundredth anniversary of the playwright's birth with the founding of the Deutsche Shakespeare Gesellschaft and the proclamation that Shakespeare was not “a foreign poet, but one which England must share with us, due to his inborn Germanic nature.” In the Weimar Republic, however, the view of Shakespeare as playwright changed; it did so perhaps because everything else was changing in that volatile period, and also because Weimar culture encouraged innovation and experimentation. The republic itself, after all, was an experiment. If in retrospect the Weimar Republic's experimentation with democracy seems a failure, its success and achievement in painting, architecture, music, literature, and theatre cannot be denied. One overlooked area of particular achievement is the work of Weimar theatre artists who succeeded in their attempts to dismantle Shakespeare's status as a cultural icon.
46
Tartory, Raeda, Ogareet Khoury, Anoud Tayyeb, Areen Al-Qudah, and Nuwar Al-Akash. "Critical Discourse Analysis of Verbal Violence in William Shakespeare's Merchant of Venice." Theory and Practice in Language Studies 12, no. 9 (September 1, 2022): 1900–1910. http://dx.doi.org/10.17507/tpls.1209.24.
Full textAbstract:
The combination of Critical Discourse Analysis and verbal violence is an entirely new field that needs to be widely explored and this study takes an in-depth dive into this using the literature, ‘Merchant of Venice' by one of the canons of literature, William Shakespeare. In doing this, this study identifies verbally abusive speeches from the text, categorizes and analyzes them to reveal the common patterns of violence in the speeches of abusers. This analysis aims to reveal the structure abusers use and the effect that verbal abuses have on their victims. Following the tradition of Critical Discourse, the study investigates, in an exegetical pattern, how violence in the form of verbal expression can cause harm. This is situated within the context William Shakespeare’s, ‘Merchant of Venice'—these investigations are done using the social and cultural realities/contexts within which Shakespeare wrote his story/narration. Seeing “Discourse” as a social critical theory that emphasizes the place of language in the making of ideas within society, Critical Discourse Analysis [especially as used within the current study] investigates language within Shakespeare’s ‘Merchant of Venice’ and insists that language plays a viable role in society’s communication patterns, and as such, should be taken seriously in the critique of verbal violence within Shakespeare’s corpus—as this critique is being appropriated within current times.
47
Jurak, Mirko. "William Shakespeare and Slovene dramatists (II) : J. Jurčič, F. Levstik, I. Cankar, O. Župančič, B. Kreft : (the makers of myths)." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 3–48. http://dx.doi.org/10.4312/an.43.1-2.3-48.
Full textAbstract:
purpose of this study is to explore the influence of William Shakespeare on Slovene playwrights in the period between 1876, which marks the appearance of Jurčič - Levstik's Tugomer, and the 1930s, when Oton Župančič published his tragedy Veronika Deseniška (Veronika of Desenice, 1924) and, a few years later, Bratko Kreft his history, Celjski grofje (The Counts of Celje, 1932). Together with Cankar's works all of the plays discussed in this study deal with one of the well-known Slovene myths. In the previous number of Acta Neophilologica I published my study on the first Slovene tragedy Miss Jenny Love, which was published in Augsburg in 1780.1 The Romantic period, which followed this publication, was in Slovenia and elsewhere in Europe mainly characterized by the appearance of poetry, with a few exceptions of plays which were primarily intended for reading and not for the stage (Closet Drama). Let me mention here that in the Romantic period some of the finest Slovene poetry was written by France Prešeren (1800-1849), and although some of his friends suggested he should also attempt to write a play, his closest achievement to drama was his epic poem Krst pri Savici (Baptism at the Savica River, 1836), which is also often considered by literary historians as a predecessor of later Slovene dramatic literature. Although many Slovene authors who wrote their works in the nineteenth century knew Shakespeare's plays, they still found it easier to express themselves in prose. The first Slovene novel is Josip Jurčič's Deseti brat (The Tenth Brother), which was published in 1866, ten years earlier than his play Tugomer (Tugomer). However,Jurčičʹs tragedy Tugomer was artistically very much improved by the adaptation made by Fran Levstik, whose text has been since considered as the ʺtrueʺ version of this play. Further editions and adaptations of this play definitely prove that several Slovene authors have found the subject-matter of this play worthy of new interpretations. By the end of the nineteenth century the list of Slovene translators of Shakespeareʹs plays (most of them chose only some acts or scenes) was quite long. But it was only in 1899, when Ivan Cankarʹs translation of Hamlet appeared on stage of the Slovene National Theatre in Ljubljana, that a real master of the Slovene language approached one of Shakespeare's plays. Cankar became enthusiastic about Shakespeare's work and this is best seen also in Shakespeare's influence on three plays written by Cankar: Kralj na Betajnovi (The King of Betajnova, 1901), Pohujšanje v dolini Šentflorjanski (Scandal in the Valley of Saint Florian, 1907) and Lepa Vida (Beautiful Vida, 1911). The same kind of "enchantment" caught Oton Župančič, a Slovene poet, translator and dramatist, who had translated by 1924, when his Veronika Deseniška (Veronika of Desenice) appeared, several plays written by Shakespeare. A large number of echoes of Shakespeare's plays can be found in Župančič's play, not to mention the Bard's influence on Župančič's verse and style. Such influence can also be traced in Kreft's play. Many Slovene literary historians and critics mention in their studies Shakespeare's influence on Slovene dramatists but their reports are mainly seminal and rather generalizing. Therefore the purpose of this study is to provide a deeper analytical insight into this topic.
48
Subashi, Esmeralda. "Characterization in William Shakespeare’s Julius Caesar." European Journal of Language and Literature 6, no. 2 (October 15, 2020): 66. http://dx.doi.org/10.26417/669bzc46g.
Full textAbstract:
Julius Caesar, one of Shakespeare finest tragedies, has baffled readers, critics and scholars alike for centuries. It still remains one of the most read plays written by William Shakespeare and it has been part of high school curriculum in many English speaking countries world-wide. One of the most important features of it is the ambiguous and ambivalent portrayal of its characters and this paper endeavors to elaborate on the kaleidoscopic characterization in Julius Caesar by exploring its main characters with a special focus on the two tragic heroes of this play: Caesar and Brutus. Also, the paper will deal with some other important aspects of the play such as its political implications, its characteristics as a problem play and a tragedy of moral choice by building upon a wide corpus of critical criticism on Julius Caesar, and finally it will attempt to work out the play’s relevance to the 21st century readers and audiences.
49
Khafaga, Ayman F. "Intertextual Relationships in Literary Genres." International Journal of English Linguistics 10, no. 3 (March 21, 2020): 177. http://dx.doi.org/10.5539/ijel.v10n3p177.
Full textAbstract:
Most contemporary playwrights acknowledge that Shakespeare’s dramas are for use as raw material to be assimilated into contemporary mould, not to be revered strictly as untouchable museum pieces. Being the model of all dramatists, Shakespeare had a great influence on English theatre, his plays are still performed throughout the world, and all kinds of new, experimental work find inspiration in them. This paper investigates the intertextual relationships between William Shakespeare’s King Lear (1606) and Edward Bond’s Lear (1978). The main objective of the paper is to explore the extent to which Bond manages to use Shakespeare’s King Lear as an intertext to convey his contemporary version of Shakespearean classic. Two research questions are tackled here: first, how does Shakespeare’s King Lear function as a point of departure for Bond’s contemporary version? Second, to what extent does Bond deviate from Shakespeare to prove his originality in Lear? The paper reveals that Bond’s manipulation of intertextuality does not mean that he puts his originality aside. He proves his originality by relating the events of the old story to contemporary issues which in turn makes the story keep pace with modern time.
50
Martins, Marcia Amaral Peixoto, and Ofélia Da Conceição Machado Sagres. "Shakespeare checks into the digital world: rewriting his plays using Emojis." Cadernos de Tradução 40, no. 1 (January 22, 2020): 34–53. http://dx.doi.org/10.5007/2175-7968.2020v40n1p34.
Full textAbstract:
Este estudo faz uma análise da série OMG Shakespeare, cujo objetivo é levar para o público jovem, através do uso da linguagem digital, as peças de William Shakespeare. A série apresenta reescritas das peças de Shakespeare no formato de mensagens de WhatsApp. Os quatro títulos disponíveis são: srsly Hamlet, Macbeth #killingit, YOLO Juliet and A Midsummer Night #nofilter. Busca-se determinar: i) o conceito geral da série; ii) as principais estratégias empregadas na adaptação intermidiática das peças e iii) as relações entre as linguagens verbal e não verbal nos textos. O arcabouço teórico desta análise baseia-se nos conceitos de intermidialidade de Irina Rajewisky (2010) e Werner Wolf (1999), na teoria dos signos de Charles Peirce (1998), nas concepções de modalidade e de mídia de Lars Elleström (2010, 2013) e nos conceitos de adaptação de Linda Hutcheon (2013).