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Dissertations / Theses on the topic 'Shakespeare's plays'

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Published: 4 June 2021

Last updated: 25 July 2025

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1

Markidou, Vasiliki. "Shakespeare's Greek plays." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533059.

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This thesis traces the development of Shakespeare's conceptualisation of ancient and early modem Greece through an analysis of his Greek plays. Contrary to the numerous studies of Shakespeare's Roman plays, very little interest has been paid to his Greek ones. The single extensive study conducted on the subject to the present, has focused exclusively on the structural interrelation between classical Greece and Renaissance Britain, failing to take into consideration early modern Greece. The specific thesis aims at filling this crucial gap. It sets about to demonstrate that Shakespeare's contemp

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2

Kingsley-Smith, Jane Elizabeth. "Banishment in Shakespeare's plays." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/4461/.

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'Banished' - the word resounds in many Elizabethan and Jacobean plays, particularly in those of Shakespeare. This thesis examines the drama of banishment, that is, the sentence, lamentation, displacement, and metamorphosis of the exile in Romeo and Juliet, Richard II, Henry IV, As You Like It, King Lear, Coriolanus and The Tempest. To appreciate the rich and polysemous nature of 'banished' in Shakespeare's society I have considered a number of legal, historical and literary sources which reveal certain tropes of exile. The poet of Ovid's Tristia and Plato's Republic, the beast/god of Aristotle

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3

Cephus, Heidi Nicole. "Corporeal Judgment in Shakespeare's Plays." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062843/.

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In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres o

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4

Mackenzie, Anna F. "Troubling women, troubling genre : Shakespeare's unruly characters." Thesis, University of Chester, 2015. http://hdl.handle.net/10034/613740.

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This thesis brings the performativity of William Shakespeare’s plays into focus; in presenting an alternative approach to his works, I show how literary criticism can be reinvigorated. Dramatic works demonstrate that, in their theatrical world, everything is mutable, and capable of evolving and changing, negating stability or reliability. Why, then, should what I term monogeneric approaches (forms of analysis that allocate one genre to plays, adopting a priori ideas as opposed to recognising processes of dramatic construction) to criticism remain prevalent in Shakespearean scholarship? Perform

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5

Rist, Thomas Charles Kenelm. "Counter-Reformation politics in Shakespeare's 'romance ' plays." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397133.

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6

Bates, Lauren Catherine. "The role of prayer in Shakespeare's plays." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25019.

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There has been a turn to religion in Shakespeare Studies by scholars like Kastan, Swift and Shugar in recent years, and this turn has uncovered a wealth of insight that had previously been obscured. I contribute to this recovery of the spiritual dimension of Shakespeare's work by tackling the question of what prayer does in his plays. I place these performed prayers in their historical and theological contexts, as well as analyse their roles dramatically and thematically within the plays. Prayer as a dramatic form is unique in that it falls between a dialogue and a monologue, pointing to somet

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7

Chiang, Y. C. "Renaissance queenship in William Shakespeare's English history plays." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344188/.

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This thesis explores how queens in Shakespeare’s English history plays manipulate virtues, space, and memory to embody a specific demeanour in the contexts of early modern England. In the late 1990s, Jean E. Howard’s and Phyllis Rackin’s Engendering a Nation established a feminist study of Shakespeare’s English history plays, focusing on how women support or undermine patriarchal authorities. Yet analysing women’s words and actions in the light of nationalism, New Historicism, and women’s traditional roles as daughters, wives, and mothers within feminism restricts potential readings of women i

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8

Murphy, Sean Edward. "The language of self-talk in Shakespeare's plays." Thesis, Lancaster University, 2014. http://eprints.lancs.ac.uk/89019/.

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This thesis reports an original approach to the language of self-talk in Shakespeare’s plays. Having established that self-talk is a form of discourse worthy of study, and potentially distinguishable from dialogue in terms of language, I ask two questions: 1. What is the nature of self-talk? 2. What language forms are characteristic of self-talk? The second question is really a subsidiary of the first in that it focuses specifically on the linguistic nature of self-talk. In Chapter 2, I begin to answer these questions by drawing on theories in stylistics, (im)politeness, literary criticism and

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9

Chen, Xing. "Reconsidering Shakespeare's 'Lateness' : studies in the last plays." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10579.

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Shakespeare’s last plays, because of their apparent similarity in thematic concern, dramatic arrangements and stylistic features, are often considered by modern scholarship to form a unique group in his canon. Their departure from the preceding great tragedies and their status as an artist’s last works have long aroused scholarly interest in Shakespeare’s lateness—the study, essentially, of the relationship between his advancing years and his last-period dramatic output, encompassing questions such as ‘Why did Shakespeare write the last plays?’, ‘What influenced his writing?’, and ‘What is the

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10

Pritchard, Katie. "Legitimacy, illegitimacy and sovereignty in Shakespeare's British plays." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/legitimacy-illegitimacy-and-sovereignty-in-shakespeares-british-plays(7e49cddc-804c-4ac3-807f-d3fadacf45f6).html.

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'Legitimacy, Illegitimacy and Sovereignty in Shakespeare's British Plays' demonstrates how Shakespeare participates in an early modern 'discourse of legitimacy' as described by Robert Zaller. This thesis, however, proposes an interrelated discourse of illegitimacy that is of equal importance to the discourse of legitimacy. A continuum or spectrum of legitimacy values is hypothesised, and seventeenth century optical illusions known as the curious perspective are used as a visual model that defines the inseparable nature of illegitimacy and legitimacy. Illegitimacy was a state traditionally defi

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11

Collington, Philip David. "O word of fear, imaginary cuckoldry in Shakespeare's plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ35129.pdf.

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12

Edwardes, Lorelei Kaye. "New historicism and Shakespeare's first tetralogy of history plays /." Title page and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09are2477.pdf.

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13

Culpeper, Jonathan. "Language and characterisation with special reference to Shakespeare's plays." Thesis, Lancaster University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238966.

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14

Orford, Peter Robert. "Rewriting history : exploring the individuality of Shakespeare's history plays." Thesis, University of Birmingham, 2006. http://etheses.bham.ac.uk//id/eprint/1779/.

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‘Rewriting History’ is a reappraisal of Shakespeare’s history cycle, exploring its origins, its popularity and its effects before challenging its dominance on critical and theatrical perceptions of the history plays. A critical history of the cycle shows how external factors such as patriotism, bardolatory, character-focused criticism and the editorial decision of the First Folio are responsible for the cycle, more so than any inherent aspects of the plays. The performance history of the cycle charts the initial innovations made in the twentieth century which have affected our perception of ch

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15

Fenstermaker, Rosemary A. "From tragedy to romance forgiveness in Shakespeare's last plays /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1994.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).

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16

Lee, John. "Shakespeare's Hamlet and the controversies of self." Thesis, University of Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295030.

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17

Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.

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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.

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18

Thomas, Alun Deian. "The making and remaking of history in Shakespeare's History Plays." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/42105/.

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History is a problem for the history plays. The weight of ‘true’ history, of fact, puts pressure on the dramatic presentation of history. Not fiction and not fact, the plays occupy the interstitial space between these opposites, the space of drama. Their position between the binary opposites of fact and fiction allows the history plays to play with history. They view history as a problem to be solved, and the different ways in which each play approaches the problem of history gives us a glimpse of how they attempt to engage and deal with the problem of creating dramatic history. Each history p

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19

Farrar, Ryan D. ""A Better Where to Find"| Utopian Politics in Shakespeare's Plays." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687677.

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<p> Utopias often elicit visions of full-fledged societies that operate more successfully in contrast to a society of the present based on a principle of cognitive estrangement where the daily routines of a new civilization strike readers as strange and advantageous. While William Shakespeare's drama rarely portrays radical societies that speak directly to the fantastic nature of utopia, it does feature moments that draw attention to desires for social change, presenting glimmers of the utopian impulse throughout his work. In this dissertation, I use utopia as critical approach for analyzing S

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20

Suman, Sonia Davi. "Oral-visual contradiction : seeing and hearing in Shakespeare's history plays." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28626.

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Scholarship in the latter half of the twentieth century did much to rehabilitate Shakespeare’s early histories into the canon. Discarded on the grounds of collaborative authorship or lack of unity, the Henry VI trilogy has perhaps suffered the most. This dissertation brings together sensory and historiographical theories in order to demonstrate that the first tetralogy exposes the limitations of historical narrative. Historical ‘truth’ is easily distorted: initially through the individual’s failure to interpret sensory information and then through the writer who records those events. These fun

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21

Keller, Stefan Daniel. "The development of Shakespeare's rhetoric a study of nine plays." Tübingen Francke, 2004. http://d-nb.info/994297769/04.

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22

Seymour, Laura. "Actions that a (hu)man might play : a cognitive study of gesture in Shakespeare's plays." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/229/.

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This thesis uses cognitive theory to examine gesture in William Shakespeare’s plays. Cognition involves both thoughts and emotions, and cognitive theory examines thought which is rooted both in the body and its gestures and in the gesturer’s environment. Based on recent neuroscientific findings and laboratory studies into gesture and speech, cognitive theory is a developing discipline that tends to focus on the relationship between gesture, speech, and thought. This was also a preoccupation of early modern writers: theologians, philosophers, and both opponents and defenders of the theatre atte

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23

Miles, Geoffrey. "Untir'd spirits and formal constancy : Shakespeare's Roman plays and formal constancy." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:c5830cc5-e1a4-4efa-ae40-98dc4d7eb651.

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Critics who have noted the importance of Stoic constancy in Shakespeare 's Roman plays have failed to recognise the full complexity of the idea. It has two forms, both derived from the Stoic principle of homologia (consistency), and centred on the ideal of being always the same: Seneca's constantia sapientis, the rocklike or godlike virtue of the Stoic sage who is unmoved and unchanged by external circumstances; and Cicero's decorum (De officiis I), virtue as the consistent playing of an appropriate part. Seneca is more concerned with heroic self-sufficiency, Cicero with social virtue, but bot

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24

Shields, Timothy Brian. "Seething brains : images of madness in the world of Shakespeare's plays." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390134.

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25

Hjul, Lauren Martha. "The family in Shakespeare's plays: a study of South African revisions." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.

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This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies

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26

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 h

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27

Demmen, Jane Elizabeth Judson. "A corpus stylistic investigation of the language style of Shakespeare's plays in the context of other contemporaneous plays." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659203.

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Shakespeare's plays occupy a uniquely prominent position in English language and literature. Shakespeare was, however, one among a number of other successful and popular playwrights of the late 16th and early 17th centuries, and, when examined on an empirical basis, his language style has much in common with that of his peers. In this corpus stylistic study, I investigate similarities and differences between the language in Shakespeare's plays and in a range of plays by a selection of other contemporaneous dramatists. My quantitative data is extracted from an existing corpus containing Shakesp

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28

Lindsey, Robert. "I ha't from the play-bookes : historical authenticity and the Victorian reading of Shakespeare's English history plays." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270110.

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29

Oberer, Karen. "The arc of character: medieval stock types in Shakespeare's English history plays." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106396.

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This dissertation focuses on practices of stock characterisation as they are represented in literature and drama of the fourteenth to sixteenth centuries in England, with particular emphasis on the transformations of social types from medieval literature to early modern drama, specifically Shakespeare's English history plays. Its wider focus is on the social context in which medieval authors created their characters, and on the conventional construction of medieval characters from what Elizabeth Fowler defines as "social persons." I argue that stock characters allow for permeability between pa

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30

Hartwell, Jonathan William. "'Skill in the construction' : dramaturgy, ideology, and interpretation in Shakespeare's late plays." Thesis, University of Birmingham, 2004. http://etheses.bham.ac.uk//id/eprint/4484/.

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This thesis examines the way dramaturgical techniques in Shakespeare's late plays are used to create a complex and radical exploration of the relationship between ideology and interpretation. It links such concerns via the multiple meanings of "construction", illustrated using the scene of reading at the end of Cymbeline, centred upon the prophetic label. In Part I, major reservations are expressed about the standard interpretative paradigms applied to late Shakespearian drama, and their effect on critical understanding. The deficiencies of a "Romance" reading and the problems with traditional

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31

McQueen, Alexandria C. "Innocent Until Proven Guilty: Shakespeare's Use of Source Material in Three Plays." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/309.

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In my thesis, I discuss and analyze William Shakespeare’s utilization and adaptation of source texts within three of his dramas: Henry IV, Part I, a history; Twelfth Night, a comedy; and Julius Caesar, a tragedy. By comparing Shakespeare’s adaption of sources to the contemporary United Kingdom intellectual property policies, it becomes possible for me to determine whether Shakespeare’s extensive and popular dramas would violate modern copyright law. The first chapter, “Printing and Writing in the Early Modern Period,” discusses the development of proprietary interests among the Elizabethan peo

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32

Elton, Gillian Heather. "Gendered lives : patriarchy and the men and women in Shakespeare's early history plays /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0007/MQ42373.pdf.

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33

Jancsó, Daniella. "Excitements of reason the presentation of thought in Shakespeare's plays and Wittgenstein's philosophy." Heidelberg Winter, 2006. http://d-nb.info/98605559X/04.

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34

Groves, Beatrice. "Religious language in secular drama : paschal motifs in Shakespeare's early plays (1592-1604)." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404199.

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35

Clare, Robert. "The development of verse and prose in Shakespeare's plays : a theory of interpretation." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284949.

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36

Sheppard, Philippa. "Tongues of war : studies in the military rhetoric of Shakespeare's English history plays." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240387.

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37

Colette, Gordon. "Moving passions: theories of affect in Renaissance love discourse and Shakespeare's Elizabethan plays." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/28268.

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The 1998 film, Shakespeare in Love, sets Will Shakespeare (and itself) the challenge to "show the nature and truth of love ... to make it [love] true" - with an ideal presentation of Romeo and Juliet. The film finally achieves this by ensuring that Will and Viola end on stage as Romeo and Juliet, playing the parts they respectively inspire. The film, and the play within the film, can achieve the satisfactory embodiment of true love only, it seems, through the replacement of stage lover/player with 'real' lovers. The film attempts to unite love and art, but finds stage representation naturally

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38

Khalaf, Elias Mustafa. "Identity, fame and solace in Shakespeare's English history plays excluding the second tetralogy." Thesis, University of Liverpool, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316152.

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39

Banks, Carol Ann. "'Mother-England' : this teeming wombe of royall kings' - finding the female in Shakespeare's histories." Thesis, University of Hertfordshire, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263026.

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40

Roche, Senga Wallace. "Travesties and burlesques of Shakespeare's plays on the British stage during the nineteenth century." Thesis, Royal Holloway, University of London, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281737.

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41

Weiss, David S. "Samuel Daniel's 'First Four Books of the Civil Wars' and Shakespeare's early history plays." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8165/.

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Literary scholars agree that William Shakespeare used Samuel Daniel's First Four Books of the Civil Wars as a source for his play Richard II, launching an interaction between the authors that lasted for many years. What has not been recognized, however, is that they may have influenced each other's works on English history before the publication of Daniel's epic poem. Textual, bibliographical and biographical evidence suggests that Daniel borrowed from some of Shakespeare's earliest works, the Henry VI plays, while writing The First Four Books, and that Shakespeare could have used a pre-public

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42

Garafalo, Sanner. "'Most wonderful!' : a contextual study of twinship in early modern drama and Shakespeare's plays." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3937/.

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This thesis examines twins as objects of wonder in early modern drama. In Wonders and the Order of Nature: 1150-1750, Lorraine Daston and Katharine Park divide the experience of wonder into three separate emotional reactions: horror, repugnance, and pleasure. The thesis builds on this model, arguing that, as objects of wonder, twins were capable of inspiring this range of emotional responses which could, consequently, be capitalized on in a dramatic work. The first three chapters consider non-Shakespearean drama and its depiction of twins as wonderful, tracing how twins emerge as either object

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Venn, Andrea Faye. "Exactly What is That Worth to You: Gifting Ornamentation and Relationships in Shakespeare's Plays." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1541092559869203.

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44

Scott, Lindsey A. "Caught between presence and absence : Shakespeare's tragic women on film." Thesis, University of Chester, 2008. http://hdl.handle.net/10034/100153.

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In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive pos

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Jayawickrama, Sarojini. "Carnival, carnivalisation and the subversion of order, with reference to Shakespeare's Henry IV and Henry VI." Thesis, [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13115601.

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46

Chow, Po-fun Wendy, and 周寶芬. "Carnivalization and subversion of order in comic plays, with referenceto Shakespeare's Twelfth night and Herry IV." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31948996.

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Chow, Po-fun Wendy. "Carnivalization and subversion of order in comic plays, with reference to Shakespeare's Twelfth night and Herry IV." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12363030.

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48

Singh, Bandana. "“Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1140.

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Shakespeare’s Henriad delves into questions of divine authority, political process, and the role of class in society. Most importantly, however, the text tracks the shifts in leadership and kingly identity. Richard II paints the portrait of a king infatuated with his own divinity. Richard’s journey from anointed king to deposed mortal captures the dissolution of his fantasy of invincibility. Inciting Richard’s demise, Henry IV effectively disturbs the passive obedience which the king’s subjects maintain; in doing so, the kingship begins to shift away from divine authority, moving into a vacuum

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49

Fagan, Dianne. ""The dark house and the detested wife" : sex, marriage and the dissolution of comedy in Shakespeare's problem plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37204.pdf.

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50

Williams, Robin P. "A return to 'the great variety of readers' : the history and future of reading Shakespeare." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/10561.

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For almost a century Shakespeare’s work has been viewed primarily under a supremacy of performance with an insistence that Shakespeare wrote his work to be staged, not read. This prevailing view has ensured that most responses in Shakespearean research fit within this line of enquiry. The recent argument that Shakespeare was a literary dramatist who wrote for readers—as well as audiences—has met with resistance. This thesis first exposes the very literate world Shakespeare lived in and his own perception of that world, which embraces a writer who wrote for readers. The material evidence of rea

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