Relevant bibliographies by topics / Shakespeare as literary dramatist

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shakespeare as literary dramatist'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Shakespeare as literary dramatist"

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Brownlow, F. W. "Shakespeare as Literary Dramatist." English Language Notes 42, no. 4 (2005): 80–82. http://dx.doi.org/10.1215/00138282-42.4.80.

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Brownlow, F. W. "Shakespeare as Literary Dramatist." English Language Notes 43, no. 2 (2005): 197–200. http://dx.doi.org/10.1215/00138282-43.2.197.

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Brennan, M. G. "Review: Shakespeare as Literary Dramatist." Review of English Studies 55, no. 219 (2004): 270–72. http://dx.doi.org/10.1093/res/55.219.270.

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Streete, A. "Review: Shakespeare as Literary Dramatist." Notes and Queries 51, no. 4 (2004): 441–42. http://dx.doi.org/10.1093/nq/51.4.441.

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Streete, Adrian. "Review: Shakespeare as Literary Dramatist." Notes and Queries 51, no. 4 (2004): 441–42. http://dx.doi.org/10.1093/nq/510441.

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Burrow, Colin. "Shakespeare as Literary Dramatist (review)." Shakespeare Quarterly 55, no. 3 (2004): 322–25. http://dx.doi.org/10.1353/shq.2005.0002.

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Elstermann, Annika. "Shakespeare, Court Dramatist." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (2018): 126–30. http://dx.doi.org/10.1515/zaa-2018-0013.

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Levenson, Jill L., and Michael Scott. "Shakespeare and the Modern Dramatist." Shakespeare Quarterly 43, no. 3 (1992): 373. http://dx.doi.org/10.2307/2870537.

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Doran, Susan. "Shakespeare, Court Dramatist by Richard Dutton." Common Knowledge 26, no. 1 (2020): 177–78. http://dx.doi.org/10.1215/0961754x-7900108.

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Procházka, Martin. "Shakespeare and National Mythologizing in Czech Nineteenth Century Drama." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (2016): 25–33. http://dx.doi.org/10.1515/mstap-2016-0003.

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The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.
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Dissertations / Theses on the topic "Shakespeare as literary dramatist"

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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 readers begins in Shakespeare’s own lifetime and grows steadily, evidenced by the editorial methods used to facilitate reading, the profusion of books specifically for readers of general interest, and the thousands of lay reading circles formed to enjoy and study the plays. Readers of the seventeenth through the nineteenth centuries are shown to have spontaneously responded to the works as literature, as reading Shakespeare aloud within a family or social circle has a tenacious history. For three hundred years after Shakespeare’s death it was readers and Shakespeare reading groups who created and maintained Shakespeare’s legacy as a literary icon and national hero. The history of millions of lay readers reading aloud in community was engulfed by the transition of the texts into academia and performance criticism until by the 1940s Shakespeare reading groups were virtually non-existent. A new genre of editorial practice can support a re-emergence of community reading and point toward a greater acceptance of Shakespeare as a literary dramatist, enlarging the field of Shakespearean scholarship and criticism. A prototype of a Readers’ Edition of a Shakespearean play specifically edited and designed for reading aloud in groups is included with this thesis.
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Goodman, Michael. "Illustrating Shakespeare : practice, theory and the digital humanities." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/97016/.

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The Victorian era was the 'Golden Age' for Shakespeare illustration. Between 1939 and 1880 thousands of illustrations were produced within many different editions of Shakespeare's Complete Works. What is so fascinating about these illustrations is that they have, historically, been widely neglected by academic scholarship. These editions, which were hugely popular in the Victorian era, are a very important part of our cultural heritage and, indeed, our construction of Shakespeare's plays as we understand them today. The 'Victorian Illustrated Shakespeare Archive' is centered on the four major Victorian illustrated editions of Shakespeare's Complete Works and makes available online over 3000 of these illustrations in an open-access database. The archive is available online at 'ShakespeareIllustration.org' and will allow researchers and members of the public to explore a rich image archive and to ask new questions about this material: for example, 'how did the Victorians portray certain characters and plays pictorially and does this portrayal differ throughout the Victorian era?' Alongside such questions, the archive, more broadly, allows users to explore and interrogate the complex relationship that exists between the page and the stage, between word and image and between the past and the present. Underpinning the project is my strong belief that an online academic resource can be both scholarly rigorous and user-friendly. Further, the archive uses social networking to enable a community of users to discuss the images and to collaborate in exciting new and unforeseen ways. This thesis explores the implications around the creation of such work.
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Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.

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This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.<br>In the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."<br>In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.<br>In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.
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Rogers, Jami. "Shakespeare and the thirties : representations of the past in contemporary performance." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.

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This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen.
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Al-Bassam, Sulayman. "Adapting Shakespearean drama for and in the Middle East : process and product." Thesis, University of Hertfordshire, 2018. http://hdl.handle.net/2299/21087.

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This dissertation chronicles the development of a series of plays, collectively referred to as The Arab Shakespeare Trilogy, from the perspective of their playwright Sulayman Al-Bassam. Together, The Al-Hamlet Summit (2002-2005), Richard III, An Arab Tragedy (2007-2009), and The Speaker's Progress (2011-2012) register the eruptive social, political, and cultural contexts of the Arab world during the first decade of the twenty-first century while negotiating the adaptation of Shakespeare's plays to a form thought-provoking and entertaining to audiences both within and outside the Middle East. The document outlines the inception of the project, which includes both personal and historical context, and provides more specific commentary on the production of each play individually. In addition to its focus on the specific impact of 9/11, and its global consequences, on the development of these dramatic works, it attends to topics including the technical and ideological challenges of linguistic and cultural translation, the adaptation of Shakespeare in Arabic theatre, the politics of art and drama in the Arab world, and the involvement of art in the shaping of the ethics of cross-cultural representation. Of particular interest are the linguistic conditions bearing upon the adaptation of English language texts into multi-lingual and cross- cultural works, the effects of the globalisation of politics and media, and the international touring life of the plays between the Arab region and wider world. The play texts of the Trilogy make up the second part of the document. The methodology of this dissertation deploys historical contextualisation, autobiographical memoir, literary analysis and creative improvisation. The play-texts are dramatic adaptations of specific Shakespeare texts to the Arab world.
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Magsam, Joshua. "“The Undiscovered Country”: Theater and the Mind in Early Modern England." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12150.

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ix, 203 p. : ill.<br>As critic Jonathan Gottschall notes, "The literary scholar's subject is ultimately the human mind - the mind that is the creator, subject, and auditor of literary works." The primary aim of this dissertation is to use modern cognitive science to better understand the early modern mind. I apply a framework rooted in cognitive science--the interdisciplinary study of how the human brain generates first-person consciousness and relates to external objects through that conscious framework--to reveal the role of consciousness and memory in subject formation and creative interpretation, as represented in period drama. Cognitive science enables us as scholars and critics to read literature of the period through a lens that reveals subjects in the process of being formed prior to the "self-fashioning" processes of enculturation and social discipline that have been so thoroughly diagnosed in criticism in recent decades. I begin with an overview of the field of cognitive literary theory, demonstrating that cognitive science has already begun to offer scholars of the period a vital framework for understanding literature as the result of unique minds grappling with uniquely historical problems, both biologically and socially. From there, I proceed to detailed explications of neuroscience-based theories of the relationship between the embodied brain, memory, and subject identity, via detailed close reading case studies. In the primary chapters, I focus on what I consider to be three primary elements of embodied subjectivity in drama of the period: basic identity reification through unique first-person memory (the Tudor interlude Jake Juggler ), more complex subject-object relationships leading to alterations in behavioral modes (Hamlet ), and finally, the blending of literary structures and social context in the interpretation of subject behavior (Middleton's A Trick to Catch the Old One ).<br>Committee in charge: Lisa Freinkel, Chairperson; George Rowe, Member; Ben Saunders, Member; Lara Bovilsky, Member; Ted Toadvine, Outside Member
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Distiller, Natasha. "Shakespeare in South Africa : literary theory and practice." Doctoral thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/10346.

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Bibliography: leaves 237-256.<br>This thesis explores the development of a "South African Shakespeare". Relying on post-colonial theory as primary framework, it views colonised culture not as secondary and responsive, but as primary and creative. The main work of the thesis is to trace the role played by "Shakespeare", as a set of texts and as an icon, in a particular trajectory of writing in English in South Africa in the first half of the twentieth century.
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Barber, Rosalind. "Writing Marlowe as writing Shakespeare." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39699/.

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This thesis consists of two components: a 70,000-word verse novel and a 50,000-word critical component that has arisen out of the research process for that novel. Creative Component: The Marlowe Papers The Marlowe Papers is a full-length verse novel written entirely in iambic pentameter. As with verse novels such as The Golden Gate by Vikram Seth, or The Emperor's Babe by Bernadine Evaristo, its inspiration, derivation, conventions and scope owe more to the prose novel than to the epic poem. Though there is as yet no widely-accepted definition, a verse novel may be distinguished from an epic poem where it consists, as in this case, of numerous discrete poems, each constituting a ‘chapter' of the novel. This conception allows for considerable variations in form and tone that would not be possible in the more cohesive tradition of the epic poem. The Marlowe Papers is a fictional autobiography of Christopher Marlowe based on the idea that he used the pseudonym ‘William Shakespeare' (employing the Stratford merchant as a ‘front'), having faked his own death and fled abroad to escape capital charges for atheism and heresy. The verse novel, written in dramatic scenes, traces his life from his flight on 30 May 1593, through the back-story (starting in 1586) that led to his prosecution, as we similarly track his progress on the Continent and in England until just after James I accedes to the English throne. The poems are a mixture of longer blank verse narratives and smaller, more lyrical poems (including sonnets). Explanatory notes to the poems, and a Dramatis Personae, are included on the advice of my creative supervisor. Critical Component: Writing Marlowe As Writing Shakespeare This part of the thesis explores the relationship between early modern biographies and fiction, questioning certain ‘facts' of Marlovian and Shakespearean biography in the light of the ‘thought experiment' of the verse novel. Marlowe's reputation for violence is reassessed in the light of scholarly doubt about the veracity of the inquest document, and Shakespeare's sonnets are reinterpreted through the lens of the Marlovian theory of Shakespeare authorship. The argument is that orthodox and non-Stratfordian theories might be considered competing paradigms; simply different frameworks through which interpretation of the same data leads to different conclusions. Interdisciplinary influences include Kuhn's philosophy of scientific discovery, post-modern narrativist history, neuroscience, psychology, and quantum physics (in the form of the ‘observer effect'). Data that is either anomalous or inexplicable under the orthodox paradigm is demonstrated to support a Marlovian reading, and the current state of the Shakespeare authorship question is assessed. Certain primary source documents were examined at the Bodleian Library, at the British Library, and at Lambeth Palace Library. Versions of Chapters 2, 3 and 4, written under supervision during this doctorate, have all been published, either as a book chapter or as a journal article, within the last year (Barber, 2009, 2010a, b).
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Watson, Ken (Ken D. )., University of Western Sydney, and School of Education and Early Childhood Studies. "Documenting pedagogical change : the teaching of literature in NSW secondary schools, 1990-2001, with special reference to the teaching of Shakespeare." THESIS_XXX_EEC_Watson_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/788.

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The teaching of literature in New South Wales secondary schools has shifted significantly in the period 1990-2001, influenced both by the newer literary theories and by the belated application to the teaching of Shakespeare of active approaches designed to encourage students to think dramatically, think theatrically when approaching playscripts. This essay explores the way in which the author's research papers and the pedagogical materials that they have generated have supported and indeed to some extent been instrumental in bringing about these changes. Beginning with an overview of literature teaching in secondary schools 1990, the essay identifies the questions which have driven the research over the past decade: 1/. Can Reader-Response Theory be made explicit to junior and middle secondary students? Would such knowledge be of value to them? 2/. Are there other aspects of modern literary theory that are worth exploring with secondary students? 3/. Can young readers be encouraged to reflect on their processes of response? Is such an endeavour worthwhile? 4/. How can the teaching of Shakespeare be improved? The last question led the author, during the period of candidature, to explore the puzzling question of why the pedagogy of teaching Shakespeare had lagged so far behind the methods employed in the teaching of other literature, and thus to an historical enquiry covering the teaching of Shakespeare over the past hundred years. At the same time, the author has been concerned to refine some of his teaching methods in order to encourage senior students to explore the plays from, for example, feminist, new historicist and post-colonial perspectives.<br>Doctor of Education (Ed.D.)
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Cushman, Camille. "Re-imagining Reading Instruction for English Language Learners: A Performance Ethnography of Collaborative Play, Inquiry and Drama with Shakespeare in a Third Grade Classroom." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313604713.

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Books on the topic "Shakespeare as literary dramatist"

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Shakespeare as literary dramatist. Cambridge University Press, 2003.

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Shakespeare and the modern dramatist. St. Martin's Press, 1989.

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Shakespeare and the modern dramatist. Macmillan, 1989.

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Shakespeare and the modern dramatist. Macmillan Press, 1989.

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Dutton, Richard. William Shakespeare: A literary life. Macmillan, 1989.

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Dutton, Richard. William Shakespeare: A literary life. St. Martin's Press, 1989.

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In love with Shakespeare: A literary memoir. University Press of America, 2001.

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Sobran, Joseph. Alias Shakespeare: Solving the greatest literary mystery of all time. Free Press, 1997.

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Shakespeare as a challenge for literary biography: A history of biographies of Shakespeare since 1898. Edwin Mellen Press, 2009.

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Russell, Brown John. Studying Shakespeare in Performance. Palgrave Macmillan, 2011.

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Book chapters on the topic "Shakespeare as literary dramatist"

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Alexander, Michael. "Dramatist." In Reading Shakespeare. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29281-0_5.

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Scott, Michael. "Introduction: Re-Interpreting Shakespeare." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_1.

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Scott, Michael. "Parasitic Comedy: Tom Stoppard, Rosencrantz and Guildenstern are Dead." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_2.

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Scott, Michael. "A Divergent View of Human Nature: Edward Bond, Bingo and Lear." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_3.

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Scott, Michael. "Demythologising Shylock: Arnold Wesker, The Merchant; Charles Marowitz, Variations on The Merchant of Venice." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_4.

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Scott, Michael. "Frustrating Dramatic Structure: Samuel Beckett, Waiting for Godot and Endgame." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_5.

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Scott, Michael. "Modern Morality Plays: Eugene Ionesco, Exit the King and Macbett." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_6.

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Scott, Michael. "Theatrical Discontinuity: Charles Marowitz, The Shrew, An Othello, Collage Hamlet." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_8.

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Scott, Michael. "Postscript: The modernised Bard." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_9.

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Scott, Michael. "The Jacobean Pinter: The Homecoming." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_7.

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Conference papers on the topic "Shakespeare as literary dramatist"

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Tarasiuk, Tetiana, and Daryna Kosyk. "CONVEYING THE SOCIAL STATUS MARKERS OF THE LITERARY CHARACTERS OF THE TRAGEDY “ROMEO AND JULIET” BY W. SHAKESPEARE IN THE TRANSLATIONS OF P. KULISH." In Scientific Development of New Eastern Europe. Publishing House “Baltija Publishing”, 2019. http://dx.doi.org/10.30525/978-9934-571-89-3_5.

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