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Journal articles on the topic 'Shakespeare as literary dramatist'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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8

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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9

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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10

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 S

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11

Khafaga, Ayman F. "Intertextual Relationships in Literary Genres." International Journal of English Linguistics 10, no. 3 (2020): 177. http://dx.doi.org/10.5539/ijel.v10n3p177.

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Most contemporary playwrights acknowledge that Shakespeare&rsquo;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&rsquo;s King Lear (1606) and Edward Bond&rsquo;s Lear (1978). The main objective of the paper is

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N. Zhatkin, Dmitry, and Nikita S. Futljaev. "THE TRAGEDY OF SHAKESPEARE «ROMEO AND JULIET» IN THE LITERARY-CRITICAL INTERPRETATION OF I.A. AKSENOV." Humanities & Social Sciences Reviews 7, no. 4 (2019): 886–91. http://dx.doi.org/10.18510/hssr.2019.74118.

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Objectives: The article describes a specific understanding of Shakespeare’s tragedy «Romeo and Juliet» by I. A. Aksenov. Methods: While researching, we used the cultural-historical, comparative-historical and historical-typological approaches, as well as elements of the socio-psychological method required to recreate certain biographical realities that are often necessary for an objective perception of a literary text. Findings: In the essay «“Romeo and Juliet”. The place of tragedy in the work of Shakespeare» I. A. Aksenov called the text of the great tragedy «composite», noting t

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Wajih J. Alyo, Mohammad. "Soliciting Audience’s Ovation: The Antagonist’s Artifices and Acting Ingenuity in Shakespeare’s Othello." International Journal of Applied Linguistics and English Literature 9, no. 2 (2020): 43. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.2p.43.

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Rarely does Shakespeare assign the antagonists in his plays such dominant and pivotal roles as he does in Othello. Seldom, either, does a Shakespearean character exhibit such an obsession with playacting and theatricals as Iago does. The paper at hand explores the consequences of Shakespeare’s unusual decision to tip the traditional balance between protagonist and antagonist in favour of the latter in this great tragedy. The paper argues that Othello is more a play about the splendour of playacting and the charm of actors than it is about evil and evildoing. Arguably devised as suffering from

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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 (2011): 275–300. http://dx.doi.org/10.1017/s0040557411000391.

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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. Shakesp

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15

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.

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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 t

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16

Danson, Lawrence, and Peter Hyland. "An Introduction to Shakespeare: The Dramatist in His Context." Shakespeare Quarterly 49, no. 4 (1998): 436. http://dx.doi.org/10.2307/2902241.

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17

Amelang, David J. "“A Broken Voice”: Iconic Distress in Shakespeare’s Tragedies." Anglia 137, no. 1 (2019): 33–52. http://dx.doi.org/10.1515/ang-2019-0003.

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Abstract This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat of the iambic drum. As his career progressed, however, the language of characters undergoing an overwhelming experience appears to become more permeable to their emotions, and in many cases sentiment takes over and interferes with the character’

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Watson, Alex. "Shadowing Shakespeare." Critical Survey 33, no. 1 (2021): 72–84. http://dx.doi.org/10.3167/cs.2021.330106.

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In his 1980 film Kagemusha or Shadow Warrior, Akira Kurosawa presents the sixteenth-century Takeda clan engaging a lower-class thief to impersonate their recently deceased leader, Takeda Shingen. I examine Kagemusha as a critical engagement with Shakespeare’s English history plays and ‘shadow’ counterpart to Kurosawa’s trilogy of Shakespeare adaptations, Throne of Blood (1957), The Bad Sleep Well (1960) and Ran (1985). In keeping with Shakespeare’s dramatisation of English history, Kurosawa creatively reworks historical sources, incorporating stories of intergenerational rivalry and fulfilled

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Evans, Robert C. "Lukas Erne, Shakespeare as Literary Dramatist. Cambridge: Cambridge University Press, 2003. xii + 287 pages." Ben Jonson Journal 10, no. 1 (2003): 275–78. http://dx.doi.org/10.3366/bjj.2003.10.1.22.

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Knowles, Richard. "Shakespeare as Literary Dramatist. Lukas Erne. Cambridge: Cambridge University Press, 2003. Pp. xii+287." Modern Philology 103, no. 4 (2006): 545–51. http://dx.doi.org/10.1086/509028.

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21

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 (2017): 67–85. http://dx.doi.org/10.32505/jl3t.v2i2.15.

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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 eleme

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22

Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabili

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23

Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.

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Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet,

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24

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 (2010): 3–48. http://dx.doi.org/10.4312/an.43.1-2.3-48.

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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 Je

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25

Archer, Dawn, and Mathew Gillings. "Depictions of deception: A corpus-based analysis of five Shakespearean characters." Language and Literature: International Journal of Stylistics 29, no. 3 (2020): 246–74. http://dx.doi.org/10.1177/0963947020949439.

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Drawing on the Enhanced Shakespearean Corpus: First Folio Plus and using corpus-based methods, this article explores, quantitatively and qualitatively, Shakespeare’s depictions of five deceptive characters (Aaron, Tamora, Iago, Lady Macbeth and Falstaff). Our analysis adopts three strands: firstly, statistical keywords relating to each character are examined to determine what this tells us about their natures more generally. Secondly, the wordlists produced for each of the five characters are drawn upon to determine the extent to which they make use of linguistic features that have been correl

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26

Solomon, Deborah. "“All in a Garden Green”: Shakespeare's Staging of Garden Imagery." Ben Jonson Journal 26, no. 2 (2019): 227–52. http://dx.doi.org/10.3366/bjj.2019.0256.

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This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof t

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27

Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.

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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

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28

Gregor, Keith. "Transversal Connections: The Cervantes Quatercentenary in Spain and its Comparison with “Shakespeare Lives”." Multicultural Shakespeare: Translation, Appropriation and Performance 19, no. 34 (2019): 91–105. http://dx.doi.org/10.18778/2083-8530.19.05.

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Taking as its cue the 2016 quatercentenaries of the deaths of both Shakespeare and Cervantes, the essay offers some insights into the “transversal connections” between both events as celebrated in Spain and the UK. The questions it raises and attempts to resolve are fourfold: (1) What are the reasons and also the benefits of yoking together two such apparently disparate authors, whose strongest link is, arguably, the fact they both passed away in 1616? (2) What work is being done to restore these writers to life, especially in schools where, for a variety of reasons, literature has lost its co

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Oggiano, Eleonora. "The Shakespeare Brand in Contemporary “Fair Verona”." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (2021): 109–25. http://dx.doi.org/10.18778/2083-8530.23.07.

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The idea that Shakespeare belongs to the world is certainly not new. From the beginning of his afterlife as a dramatist two issues have been consistently put forward by his contemporaries: 1) his art’s universality—for Ben Jonson, Shakespeare was the one “To whom all scenes of Europe homage owe”—and 2) his ability in appropriating foreign exotic environments which have notoriously characterised most of his plays. The value of such claims, which seem to be so present to us, helped to identify Shakespeare as an ‘universal’ icon whose work transcends time and space, gradually fostering, in and ou

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Closel, Régis Augustus Bar. "Fictional Remembrances of Sir Thomas More: Part I - The Sixteenth Century." Moreana 53 (Number 203-, no. 1-2 (2016): 171–204. http://dx.doi.org/10.3366/more.2016.53.1-2.8.

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This article focuses on how literary works such as plays in 16th–17th century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The Marian, Elizabethan and Jacobean periods cover the range of the selected works. They compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogu

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31

Elliott, Tomas. "Shakespearean Seriality: The ‘Hollow Crown’, the ‘Wooden O’, and the ‘Circle in the Water’ of History." Adaptation 12, no. 2 (2018): 69–88. http://dx.doi.org/10.1093/adaptation/apy013.

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AbstractThe recent adaptation of Shakespeare’s tetralogies into a two-season television mini-series by the BBC gives new impetus to an age-old question: how do seriality and Shakespeare relate? In The Hollow Crown (2012) and The Wars of the Roses (2016), Richard II’s ‘scepter’d isle’ transforms into 2 Henry VI’s ‘fertile England’ before becoming ‘mad and scarred’ in Richard III. In this ‘swelling scene’ of Shakespearean seriality, ‘time jumps o’er’ from one episode to the next, inviting us to reconsider the spatio-temporal flows of serialized history in the theatre and on screen. Whereas both

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32

Hardie, Andrew, and Isolde van Dorst. "A survey of grammatical variability in Early Modern English drama." Language and Literature: International Journal of Stylistics 29, no. 3 (2020): 275–301. http://dx.doi.org/10.1177/0963947020949440.

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Grammar is one of the levels within the language system at which authorial choices of one mode of expression over others must be examined to characterise in full the style of the author. Such choices must however be assessed in the context of an understanding of the extent of variability that exists generally in the language. This study investigates a set of grammatical features to understand their variability in Early Modern English drama, and the extent to which Shakespeare’s grammatical style is distinct from or similar to that of his contemporaries in so far as these features are concerned

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33

Romanowska, Agnieszka. "Jarosław Iwaszkiewicz as Translator of Shakespeare." Anglica Wratislaviensia 56 (November 22, 2018): 119–32. http://dx.doi.org/10.19195/0301-7966.56.9.

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While theatre has always been the major force generating new translations of Shakespeare’s plays, the prerequisite assuring a successful i.e. theatrically functional rendering is the translator’s awareness of the theatrical potential of poetic drama. The combination of poetic and dramatic skills on the part of the translator, coupled with the interpretative reading that underlies all translation, provides a literary historian with interesting questions. How are the translator’s creative forces channelled to strike a balance between translating and playwrighting? To what extent should we perce

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34

Jurak, Mirko. "William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love." Acta Neophilologica 42, no. 1-2 (2009): 3–34. http://dx.doi.org/10.4312/an.42.1-2.3-34.

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One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of th

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35

SAUNDERS, GRAHAM. "Edward Bond and the Celebrity of Exile." Theatre Research International 29, no. 3 (2004): 256–66. http://dx.doi.org/10.1017/s0307883304000665.

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A shibboleth has grown up around the work of Edward Bond. The tag ‘controversial dramatist’ has continued to dog both the man and his work. This article will hope to explore some of the contradictory, and sometimes frustrating manifestations that such ‘celebrity’ has produced. Since the reception of The War Plays [1985] by the Royal Shakespeare Company at the National Theatre Bond has largely withdrawn his work from mainstream British theatre. Since the late 1990s he has looked to a new home – La Colline Theatre – in France, to premiere new work and run retrospective seasons of older plays. He

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36

Milward, Peter. "Two Tudor Witnesses to “the Corps of Christendom” – More and Shakespeare." Moreana 47 (Number 181-, no. 3-4 (2010): 94–107. http://dx.doi.org/10.3366/more.2010.47.3-4.5.

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In the literary history of Tudor England, I venture to propose two names as standing out and claiming comparison with each other as witnesses to the ideal and reality of Christendom – those of Thomas More in the reign of Henry VIII and William Shakespeare in the reign of Elizabeth I. In the case of More, little needs to be said, it is so obvious that he bore witness to the ideal and the reality, even to the shedding of his blood as a canonized martyr. But in that of Shakespeare, much more has to be said in view of the seemingly overwhelming evidence to the contrary. For this purpose it is nece

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Shafiq, Sundas, and Nadia Anwar. "Raees as Macbeth-A transcultural adaptation." International journal of linguistics, literature and culture 6, no. 4 (2020): 6–15. http://dx.doi.org/10.21744/ijllc.v6n4.901.

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Literary adaptation is a process, which reproduces the pre-existent literary piece of work into a series of altering characters, settings, actions, and storylines. Adaptations of canonical texts of great authors such as Shakespeare had won the universal dignity. By using Hutcheon’s adaptation theory, this research aimed to scrutinize the impact of the transcultural adaptations of Macbeth as Raees by Government College University Dramatic Club, Lahore. The reception of Shakespeare as the manifestation of the British culture involved many social, cultural, and political factors that were analyze

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38

Henderson, Diana E. "‘Hard hearts’ resounding now: anatomising race, resistance, and community in The Merchant in Venice (2016) and Julius Caesar (2017)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 173–92. http://dx.doi.org/10.1177/0184767819851076.

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Placing two innovative, high-profile stagings of Shakespeare in dialogue, this essay emphasises the power of re-citations, both as aural echoes and as tableaux, across dramatic genres. Building on Martin Luther King’s self-quotation within his anti-Vietnam address, it reveals how the Compagnia de’ Colombari’s site-specific The Merchant of Venice, performed in the originary Jewish Ghetto, and the New York Public Theater’s Julius Caesar, which created a national furore, each employed non-traditional casting and Shakespeare’s Act 4 emphasis on threatened yet suspended male-on-male violence to cre

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Edmiston, Brian, and Amy Mckibben. "Shakespeare, rehearsal approaches, and dramatic inquiry: Literacy education for life." English in Education 45, no. 1 (2011): 86–101. http://dx.doi.org/10.1111/j.1754-8845.2010.01088.x.

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40

Simard, Rodney, Leo Salingar, and Keith Sturgess. "Dramatic Form in Shakespeare and the Jacobeans." Theatre Journal 40, no. 2 (1988): 290. http://dx.doi.org/10.2307/3207679.

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41

Charney, Maurice, and Leo Salingar. "Dramatic Form in Shakespeare and the Jacobeans." Shakespeare Quarterly 39, no. 1 (1988): 126. http://dx.doi.org/10.2307/2870601.

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42

Cinpoeş, Nicoleta. "From New to Neo-Europe: Titus redivivus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 214–30. http://dx.doi.org/10.1177/0184767818775904.

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The ‘dramatic rise’ of Titus Andronicus ‘among critics and directors’ in the 1990s was primarily linked to ‘the growth of feminist Shakespeare criticism’.1 Its recent stage popularity, however, lies in its responses to the new geopolitical realities and the shifting physical and mental borders of the European Union. This article examines four European productions of Titus Andronicus in their engagement with political change, migration, rising nationalism and xenophobia, which, I argue, refocus attention onto this play’s position in the Shakespeare canon.

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43

Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writ

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Dutta Gupta, Aabrita. "Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (2021): 91–108. http://dx.doi.org/10.18778/2083-8530.23.06.

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This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitu

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Alexander, Catherine, and Catherine Alexander. "Shakespeare and War: a reflection on instances of dramatic production, appropriation, and celebration." Exchanges: The Interdisciplinary Research Journal 1, no. 2 (2014): 279–96. http://dx.doi.org/10.31273/eirj.v1i2.93.

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This article draws on a range of literary, theatre, and printed news sources in order to explore the portrayal of Shakespeare and some of his plays in relation to war. This exploration is timely, given the anniversary of the playwright’s birth and of the start of the First World War. Particular attention is given to the society of Elizabethan England, to nineteenth and twentieth century theatre and film productions of Henry V, and other events during the early years of the 1914-1918 war, revealing the many diverse ways in which the man and his work has been appropriated.

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Sullivan, Ceri. "Armin, Shakespeare, and Heywood on Dramatic Empathy." Notes and Queries 62, no. 4 (2015): 560–62. http://dx.doi.org/10.1093/notesj/gjv134.

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Das, Chandrima, Samrat Laskar, Piotr Maszewski, Grzegorz Sikorski, and Anirban Bhattacharjee. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 12, no. 27 (2015): 125–46. http://dx.doi.org/10.1515/mstap-2015-0011.

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Miola, S. Robert, ed. Macbeth. By William Shakespeare. New York and London: W. W. Norton & Company, 2004. Pp. xxiii + 384. [South Asian Edition] Tiffany Ann Conroy Moore, Kozintsev’s Shakespeare Films: Russian Political Protest in Hamlet and King Lear. Jefferson, North Carolina, and London: McFarland & Company, 2012. Pp. viii + 194 Sosnowska, Monika. Hamlet uzmysłowiony (Sensuous Hamlet). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2013. Pp. 201 Courtney, Krystyna Kujawińska and Monika Sosnowska, eds. Shakespeare 2014—w 450. rocznicę urodzin (Shakespeare 2014—For the 45

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Sokol, B. J. "The “rule of three” and the “callback”: How Comic Form in The Merry Wives of Windsor 4.1 May Help To Date Its Folio Text." Ben Jonson Journal 26, no. 1 (2019): 97–112. http://dx.doi.org/10.3366/bjj.2019.0241.

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An analysis is undertaken of the comic techniques employed in Shakespeare's humorous portrayal of a private language lesson in The Merry Wives of Windsor. This reveals that this Folio-only Scene (4.1) teases and amuses by means of subtly and rhythmically combining several differing comedic modes and tactics. This combination makes its comic construction exceedingly complex. A private language lesson is also portrayed in Scene 3.4 of Shakespeare's King Henry V. There, just as in The Merry Wives 4.1, audiences meet incongruous misidentifications of only-apparently ribald bi-lingual cognates. The

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Marjanovic, Natasa. "Hamlet - little known piece by Enriko Josif: Literary-theoretical, philosophical and musicological views." Muzikologija, no. 11 (2011): 251–66. http://dx.doi.org/10.2298/muz1111251m.

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Hamlet is well-known as the most famous tragedy written by William Shakespeare. This dramatic work has, throughout the centuries, lead numerous writers, poets, literary-critics and philosophers to think about universal issues of life, human nature, love, loyalty and friendship. Hamlet has not just been the subject of discussion from the point of view of the theory of literature and human psychology and philosophy, it has also directly inspired the creation of many artistic works. One of those works which forms the main subject-matter of this paper is the almost unknown music for Hamlet by Enri

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de Carles, Nathalie Rivère. "Diplomatic Parrhesia and the Ethos of Trustworthiness in Hotman’s The Ambassador and Shakespeare’s Henry V." Journal of Medieval and Early Modern Studies 50, no. 3 (2020): 609–31. http://dx.doi.org/10.1215/10829636-8626481.

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Sir Henry Wotton’s definition of an ambassador as “an honest man sent to lie abroad for the good of his country” should be confronted with his later assessment that the ambassador “should alwayes, and upon all occasions speak the truth … ’twill also put [his] Adversaries (who will still hunt counter) to a loss in all their disquisitions, and undertakings.” Wotton’s contrasting views point to the early modern concern with true, bold, and plain speech, known as parrhesia, and its importance in diplomatic practice. Combining Quentin Skinner’s rhetorical approach to political language and Timothy

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