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Academic literature on the topic 'Shakespeare remarks'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Shakespeare remarks"

1

McDougall, Derek. "Wittgenstein’s Remarks on William Shakespeare." Philosophy and Literature 40, no. 1 (2016): 297–308. http://dx.doi.org/10.1353/phl.2016.0004.

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Volceanov, George. "The New Romanian Shakespeare Series on the Move: From Page to Stage and Screen." Messages, Sages and Ages 3, no. 1 (August 1, 2016): 38–45. http://dx.doi.org/10.1515/msas-2016-0004.

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Abstract This article aims at presenting the impact that the New Romanian Shakespeare edition launched in 2010 by George Volceanov has had on the literati and theatres so far. It is, therefore, a stocktaking exercise and its main goal is to provide Shakespeare scholars with an initial data base for further investigation of theatrical productions which use the new translation as significant moments in the history of Shakespeare’s reception in Romania and, on the other hand, to occasion some reflective remarks on the six years of the series now at its tenth volume and 26 plays plus the Sonnets.

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Roche, Anthony. "‘Mirror up to nation’: Synge and Shakespeare." Irish University Review 45, no. 1 (May 2015): 9–24. http://dx.doi.org/10.3366/iur.2015.0146.

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Christopher Murray, Philip Edwards, and Rebecca Steinburger have examined the ways in which the Irish Dramatic Revival drew on the example and plays of Shakespeare. Their emphasis falls on Yeats and O'Casey, both of whom have written extensively on Shakespeare in their prose essays and autobiographies. The allusions to Shakespeare by Synge are much briefer and more cryptic. And yet there is a deep and complex relationship between Shakespeare and Synge, as this essay will indicate. The one writer who has paired the two is James Joyce, in the Library chapter of Ulysses, set in the same year that Ireland's National Theatre was founded. The essay also looks at the neglected fact that Synge, while an undergraduate at Trinity College, Dublin, took lectures on Shakespeare from Professor Edward Dowden and made copious extracts from Dowden's Shakespeare: His Mind and Art. The essay goes on to examine Synge's key remarks on Shakespeare in relation to Irish writers and to compare the return of the dead father in The Playboy of the Western World and Hamlet.

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Cetera-Włodarczyk, Anna, and Jarosław Włodarczyk. "„Niech się połączą niebiosa i ziemia…”: w poszukiwaniu (nowej) astronomii w Antoniuszu i Kleopatrze Williama Shakespeare’a." Poznańskie Studia Polonistyczne. Seria Literacka, no. 31 (January 2, 2018): 23–46. http://dx.doi.org/10.14746/pspsl.2017.31.1.

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Shakespeare appears to be one of the most intensely studied authors exemplifying mutual influence of literature and science. Significantly enough, astronomical references deserve a particular attention due to the spectacular change of paradigm resulting from the replacement of the concept of the geocentric cosmos with the concept of the heliocentric universe. Starting from some general remarks concerning the methodological assumptions of such analyses and the specificity of Shakespeare canon, the paper offers an in-depth study of Anthony and Cleopatra as one of the most representative plays with regard to the number, suggestiveness and interpretative potential of astronomical references. The paper exemplifies the way in which the play combines traditional astronomical and astrological allusions with some unconventional images, usually featuring imaginative hyperboles, which inscribe the fate and feelings of the characters into a cosmic framework. These references repeatedly trigger some fascinating and yet risky interpretations which strive to present Shakespeare as part of the scientific revolution of the age. Refraining from any value judgment, the paper highlights the overall importance of reading Renaissance literature, and Shakespeare in particular, against the background of the history of science in a way which allows for precise identification of contemporary sources of astronomical knowledge as well as for the reconstruction of the actual paths of dissemination of such ideas.

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5

McCourt, Frank. "Teacher Man." Scenario: A Journal of Performative Teaching, Learning, Research II, no. 2 (July 1, 2008): 1–2. http://dx.doi.org/10.33178/scenario.2.2.1.

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I went to O'Mahony's Bookshop to buy the first book in my life, the one I brought to America in the suitcase. It was The Works of William Shakespeare: Gathered into One Volume, published by the Shakespeare Head Press, Oldhams Press Ltd. and Basil Blackwood, MCMXLVII. Here it is, cover crumbling, separating from the book, hanging on through the kindness of tape. A well-thumbed book, well marked. There are passages underlined that once meant something to me though I look at them now and hardly know why. Along the margins notes, remarks, appreciative comments, congratulations to Shakespeare on his genius, exclamation marks indicating my appreciation and befuddlement. Inside the cover I wrote, 'Oh, that this too, too solid flesh, etc.' It proves I was a gloomy youth. When I was thirteen/fourteen I listened to Shakespeare plays on the radio of Mrs. Purcell, the blind woman next door. She told me Sheakespeare was an Irishman ashamed of what he came from. A fuse blew the night we listened to Julius Caesar and I was so eager to find out what happened to Brutus and Mark Antony I went to O'Mahony's Bookshop to get the rest of the story. A sales clerk ...

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6

Lamzina, Anna Vladislavovna. "To the problem of reception of Shakespearean motifs in dramaturgy of Anna Akhmatova." Litera, no. 12 (December 2020): 84–91. http://dx.doi.org/10.25136/2409-8698.2020.12.33685.

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The subject of this research is the Shakespearean motifs in dramatic compositions of Anna Akhmatova. The research material contains the works of later period – draft of a movie script “On Pilots, or the Blind Mother”, and drama “Enūma Eli&scaron;”, which was destroyed and later restored by the author with numerous authorial commentaries and remarks. Akhmatova carefully examined the “Shakespeare question”, was familiar with his texts in the original, as well as translated a passage from “Macbeth”. She was well-versed in the historical connotations of Shakespeare's tragedies, considering Mary Stuart the prototype of Queen Gertrude and Lady Macbeth, and at the same time, rejected this image applicable to herself and her “alter ego” in literature. The main conclusions of this work consists in determination of the peculiar semantic tone of the set of motifs associated with “Hamlet” and “Macbeth” in dramaturgy of Anna Akhmatova, which includes: usurpation of power and envy of the rightful heir, mother – son conflict projected not only on Shakespeare's dramaturgy, but also on mythology, and through mythology on the author's poetry, motif of “drama within drama”, where masks and pseudonyms disguise the inward nature of the author. The direct and indirect quotations from “Hamlet” and “Macbeth” correlates the indicated set of motifs with biography of the author in “On the Pilots, or the Blind Mother” and “Enūma Eli&scaron;”, which substantiates the novelty of this research.

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7

Marczak, Mariola. "Filmowe czytanie Szekspira. Adaptacja jako interpretacja. O książce "Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a", red. O. Katafiasz, Kraków 2017, ss. 434." Studia Filmoznawcze 39 (July 17, 2018): 173–83. http://dx.doi.org/10.19195/0860-116x.39.12.

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FILM READING OF SHAKESPEARE. ADAPTATION AS INTERPRETATIONThe text is a review of a book entitled Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a Mirrors and Echoes. Film Adaptation of William Shakespeare’s Works edited by Olga Katafiasz. The monograph is a compilation of studies and essays prepared by filmologists, theatre studies and culture studies scholars referring to various film adaptations of William Shakespeare’s works. At the beginning the reviewer reminds film theories concerning film adaptation and the output of filmology on the topic of film adaptations of Shakespeare’s works. The author situates the book in view within the map of past and update researches of both types and evaluates their quality as a part of them. She underlines that the variety of points of view and research approaches to Shakespeare himself and to his oeuvre in Olga Katafiasz’s elaboration highlight the distinctive place of Shakespeare in nowadays culture, including pop-culture. Moreover, the variety of scholar and artistic approaches to the master from Stratford reveals also cognitive and creative abilities of film art and makes clear cultural productivity and actuality of Shakespeare. The latter means first of all possible achievement of historical and cultural accommodation to different discourses as well as of being a tool of update cultural communication. Namely in Marczak’s opinion Mirrors and Echoes… provides a practical implementation of the film theory of adaptation as interpretation of the source text and endeavors to be a response to those who ask whether Shakespeare remains a vivid author, delivering important questions and important answers for human beings of 21st century.

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8

Bakhtin, M. M. "Bakhtin on Shakespeare: Excerpt from “Additions and Changes to Rabelais”." PMLA/Publications of the Modern Language Association of America 129, no. 3 (May 2014): 522–37. http://dx.doi.org/10.1632/pmla.2014.129.3.522.

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The text translated below is an excerpt from notes the Russian thinker Mikhail Mikhailovich Bakhtin wrote in the mid 1940s as he prepared to revise the manuscript of his now famous book on François Rabelais. The notes were first published, posthumously, in 1992. A corrected edition with commentary, used for this translation, followed in 1996 (Coбpaни COчинений 5: 80-129). The part where Bakhtin focuses primarily on Shakespeare's tragedies is presented here (80-99). The omitted sections contain summaries of materials Bakhtin was reading (on Dante, Galileo and his contemporaries, Heine, and especially Gogol and Ukrainian folk culture), brief comments on various themes (the name and the nickname, Dostoevsky, Cinderella, riddles), and stand-alone philosophical remarks.

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9

Martinez, Dolores. "From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood." Arts 7, no. 3 (September 10, 2018): 50. http://dx.doi.org/10.3390/arts7030050.

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Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jō 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption.

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10

Ridgway, George. "Successful Presentations and GP Registrars." InnovAiT: Education and inspiration for general practice 3, no. 7 (June 18, 2010): 422–26. http://dx.doi.org/10.1093/innovait/inp230.

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All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts. Shakespeare, (1600) As You Like It, Act 2, scene 7. Oral presentations may be thought of as performances. At the heart of all performances should lie the question: Am I serving my audience well and what can I do to raise my standard? To gauge if your audience enjoyed and valued your presentation, you can listen to their applause and remarks made in the discussion section in addition to reading your peers' review. For your oral presentations most of this feedback may be captured through a well designed evaluation form.

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Books on the topic "Shakespeare remarks"

1

Shakespeare, William. Antony and Cleopatra: A historical play in five acts by William Shakespeare. Printed from the acting copy, with remarks biographical and critical. Oxford: Pergamon, 1985.

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Shakespeare remains: Theater to film, early modern to postmodern. Ithaca, N.Y: Cornell University Press, 2002.

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Shakespeare and the Cleopatra/Caesar intertext: Sequel, conflation, remake. Lanham, Md: Fairleigh Dickinson University Press, co-published with The Rowman & Littlefield Pub. Group, 2011.

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Hobsch, Manfred. Machs's noch einmal!: Das grosse Buch der Remakes-- über 1300 Filme in einem Band ; von "Anna Karenina" bis William Shakespeare's "Romeo & Julia", von "Body snatchers" bis "Die Schöne und das Biest" und von "Bram Stocker's Dracula" bis "Mary Shelley's Frankenstein". Berlin: Schwarzkopf & Schwarzkopf, 2002.

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5

Whately, Thomas. Remarks on Some of the Characters of Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203042946.

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Whatley, Thomas. Remarks on Some of the Characters of Shakespeare: Volume 17. Taylor & Francis Group, 2016.

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Nowak, Piotr. Ancients and Shakespeare on Time: Some Remarks on the War of Generations. Rodopi B.V. Editions, 2014.

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8

Joseph, Ritson. Remarks, Critical and Illustrative, on the Text and Notes of the Last Edition of Shakespeare. HardPress, 2020.

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9

McCulloch, Lynsey, and Brandon Shaw, eds. The Oxford Handbook of Shakespeare and Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190498788.001.0001.

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The Oxford Handbook of Shakespeare and Dance is the first collection of essays to examine the relationship between William Shakespeare and dance. Despite recent academic interest in movement, materiality, and the body—and the growth of dance studies as a disciplinary field—Shakespeare’s employment of dance as both a theatrical device and thematic reference point remains under-studied. The reimagining of his writing as dance works is also neglected as a subject for research. Alan Brissenden’s 1981 Shakespeare and the Dance remains the seminal text for those interested in early modern dancing and its appearances within Shakespearean drama, but this new volume provides a single source of reference for dance as both an integral feature of sixteenth- and seventeenth-century culture and as a means of translating Shakespearean text into movement.

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10

Kemble, J. P. Macbeth, and King Richard the Third: An Essay, in Answer to Remarks on Some of the Characters of Shakespeare. Taylor & Francis Group, 2017.

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Book chapters on the topic "Shakespeare remarks"

1

Huemer, Wolfgang. "Wittgenstein’s enigmatic remarks on Shakespeare." In The Routledge Companion to Shakespeare and Philosophy, 197–204. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315677019-11.

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Winnicott, Donald W. "Letter to Ernest Jones." In The Collected Works of D. W. Winnicott, 53–54. Oxford University Press, 2016. http://dx.doi.org/10.1093/med:psych/9780190271367.003.0010.

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"SENILITY, YOUTH AND JUSTICE: SOME REMARKS ON THE FIRST BOOK OF THE REPUBLIC." In The Ancients and Shakespeare on Time, 5–13. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401210676_003.

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"Variants of Hypólepsis: Rhetorical, Anthropistic, Dramatic (With Remarks on Terence, Machiavelli, Shakespeare)." In Poetics and Politics, 233–74. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110536690-014.

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"1. The Political Philosopher as Dramatic Poet: Preliminary Remarks on the Study of Shakespeare." In Of Philosophers and Kings, 1–24. Toronto: University of Toronto Press, 2001. http://dx.doi.org/10.3138/9781442677999-003.

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"Conclusion Postmortem: "By William Shakespeare"." In Shakespeare Remains, 234–38. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727597-012.

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"Illustrations." In Shakespeare Remains, viii. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727597-001.

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"Preface." In Shakespeare Remains, ix—x. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727597-002.

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"Acknowledgments." In Shakespeare Remains, xi—xiv. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727597-003.

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"Introduction The Author Formerly Known as Shakespeare." In Shakespeare Remains, 1–24. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727597-004.

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