Relevant bibliographies by topics / Shakespeare Sonnets

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

Academic literature on the topic 'Shakespeare Sonnets'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Shakespeare Sonnets"

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Martz, Louis L. "Sidney and Shakespeare at Sonnets." Moreana 35 (Number 135-, no. 3-4 (December 1998): 151–70. http://dx.doi.org/10.3366/more.1998.35.3-4.10.

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The contrast between the sonnet cycles of Sidney and Shakespeare may be seen as analogous to the movement from High Renaissance to Mannerist styles of painting in the late sixteenth century. Harmony and symmetry, both thematic and stylistic, characterize Sidney’s “Astrophil and Stella.” Shakespeare’s sonnets, as a whole and in each unit, reveal a darker mood and a Jess settled poetics: ideal forms have been corroded and dissolved.
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Jackson, MacD P., Katherine Duncan-Jones, and Rex Gibson. "The Arden Shakespeare Shakespeare's Sonnets." Shakespeare Quarterly 50, no. 3 (1999): 368. http://dx.doi.org/10.2307/2902364.

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Hochschild, Jennifer L. "Introduction and Comments." Perspectives on Politics 1, no. 4 (December 2003): 661–62. http://dx.doi.org/10.1017/s1537592703000446.

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“I think good thoughts, whilst others write good words” (Shakespeare, Sonnet 85). Such is the life of a journal editor, as well as that of a love-sick poetical genius. I can at least hope that the good words written by others and published in this issue of Perspectives on Politics will last—if not quite as long as Shakespeare's sonnets, then well into the future.
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Foster, Donald W. "A Funeral Elegy: W[illiam] S[hakespeare]'s “Best-Speaking Witnesses”." PMLA/Publications of the Modern Language Association of America 111, no. 5 (October 1996): 1080–105. http://dx.doi.org/10.2307/463152.

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A Funeral Elegy was written in February 1612 by “W. S.,” a poet of “name and credit” closely familiar with Shakespearean texts. The pamphlet was registered by a stationer, Thomas Thorp, whose livelihood depended chiefly on the Shakespeare-Jonson theatrical circle and who had published Shakespeare's Sonnets in 1609. Privately issued and surviving in just two copies, A Funeral Elegy received scant notice until 1989, when I first presented archival, statistical, and literary evidence that WS could be William Shakespeare. Focusing on intertextual evidence derived in part from new electronic resources, this essay addresses a vexing conundrum: the elegy is aesthetically disappointing and yet distinctively Shakespearean—a paradox that raises larger questions about attributional methodology and canonical theory. An emerging scholarly consensus supports a Shakespearean attribution for the elegy, though the poem challenges prevailing notions of what it is that makes Shakespeare “Shakespeare.”
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Comcar, Milad, and Sina Movaghati. "A Comparative study of Shakespeare and Hafiz’s sonnets, based on the Horace’s motif of Carpe Diem." Journal of English Language and Literature 4, no. 2 (October 30, 2015): 381–85. http://dx.doi.org/10.17722/jell.v4i2.107.

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Carpe Diem which means “enjoy, seize, use, and make use of” is a term taken from ode I. XI of Horace and has become a very common motif in literature ever since. Many poets throughout history have used this motif. But what are the main tenets of the motif in Horace’s odes? This article tries to show the main tenets of Carpe Diem according to Horace. These tenets are: tomorrow, living in the present and drinking wine; we try to apply the discussed elements on two sonnets of the greatest sonneteers of all times in two different countries. That of England’s William Shakespeare’s sonnet 73 and that of Persia’s Hafiz’s sonnet 473; we strive to see to what extent time has affected the concept of Carpe Diem in the poems; and to what extent the sonnets of Shakespeare and Hafiz followed the pattern of Horace’s Carpe Diem.
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Ma, Chunli. "The Physical Beauty in Shakespeare’s Sonnets." English Language and Literature Studies 6, no. 2 (April 28, 2016): 110. http://dx.doi.org/10.5539/ells.v6n2p110.

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<p>Beauty, one of the most reoccurring words throughout Shakespeare’s Sonnets, is the principal subject of the poet’s meditation. “From fairest creatures we desire increase, / That thereby beauty’s rose might never die” begins the first poem in the sonnet sequence, a statement about beauty that can be understood as the first articulation of the Sonnets’ aesthetic agenda. Beauty in Shakespeare’s Sonnets is represented in two dimensions: the physical beauty and the spiritual beauty. The physical beauty refers to the beauty of the body and the sensual pleasure derived from desires.By means of the illustration of the physical beauty, Shakespeare conveyed the aesthetical world which brings readers enjoyment and delight, moreover, the poet warns readers that the sensual pleasure should base on married chastity and social norms, otherwise, it would result in death and destruction. The account of sexual pleasure shows that on the one hand for enjoying the life itself, on the other hand, for leaving children behind to make the temporary time eternalized, thus returning back to timeless Garden of Eden. This returning course is the process of preserving beauty.This article only focuses on interpreting the physical beauty in the Sonnets, the part of the beauty in spiritual dimension will be presented in another one.</p>
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Good, Emily, Miriam Gideon, and Stephen Dembski. "Sonnets from Shakespeare." American Music 5, no. 4 (1987): 471. http://dx.doi.org/10.2307/3051466.

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Shaytanov, I. O. "Metaphysics of the biography. How many parts to Shakespeare’s Sonnets?" Voprosy literatury, no. 6 (December 28, 2020): 144–77. http://dx.doi.org/10.31425/0042-8795-2020-6-144-177.

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The two-part structure for the sequence of Shakespeare’s Sonnets was suggested by its first editor Edmund Malone at the end of the 18th c. and proved to be a long-standing tradition. Recently not a few attempts have been made to clarify the logic practiced by the Renaissance sonneteers in whose context Shakespeare’s lyrical narration is problematized. This article joins to ascertain the boundaries of inner cycles within the sequence in order to follow the denouement of its plot. The author argues that the Renaissance sequence, much unlike the narrative logic in the novel, does not present a consistent love story but rather the sessions of sweet silent thought (sonnet 30), reflective in the sonnet and growing more and more metaphysical in Shakespeare, both in diction and metaphor. Certain biographical allusions in the sequence (some of them advanced by the author) support that it was written between 1592 and 1603–1604 to the Earl of Southampton as its addressee.
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Edmondson, Paul, and Stanley Wells. "Interrogating the Sonnets." Actes des congrès de la Société française Shakespeare, no. 24 (November 1, 2007): 39–51. http://dx.doi.org/10.4000/shakespeare.1021.

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Darras, Jacques, and Lachlan Mackinnon. "Autour des Sonnets." Actes des congrès de la Société française Shakespeare, no. 31 (May 1, 2014): 193–211. http://dx.doi.org/10.4000/shakespeare.2855.

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Dissertations / Theses on the topic "Shakespeare Sonnets"

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Frossard, Leticia. "Addressivity in Shakespeare's sonnets." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313199.

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Innes, Paul. "Subjectivity in Shakespeare's sonnets." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3508.

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This thesis undertakes a study of Shakespeare's sonnets that seeks to locate them in the determinate historical circumstances of the moment of their production. Subjectivity in the sonnets is read as the location of a series of conflicts which are ultimately socio-historical in nature. Contemporaries identified the sonnet form as a discourse of the aristocracy, especially in its manifestation of courtly love. Shakespeare's sonnets attempt to manage the pressures that the history of the late sixteenth century impose upon this discursive formation from within the genre itself. The first and second chapters of the thesis set out the historical framework within which the generic requirements of the sonnet were played out, and discuss the tensions which result. Chapter three reads the first seventeen sonnets in the light of this work, arguing against a view of these particular poems as a homogeneous group of marriage sonnets. These sonnets set out the homosocial considerations that underpin the relationship between the addressor and the young nobleman in a way that foreshadows the conflicts that are played out in later poems. Chapter four traces these conflicts in terms of the subjectivity of the young man, noting that the historical crisis in the ideology of the aristocracy renders his subject-position unstable. Chapter five relates this result to the related subjectivity of the adressor, the poetic persona of the poems, and reads his position as noting the disjunctions in the dominant ideology, while nevertheless being unable to move away from its interpellation of his position. Chapter six notes the consequent disruption of gendered identity, both for the "dark lady" and the poetic persona himself. The conclusion argues for a materialist perspective on the sonnets' problematising of subjectivity in the Renaissance.
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Kulagin, Artyom. "Breaking the Conventions : Shakespeare, the Fair Young Man and the Dark Lady." Thesis, Högskolan Dalarna, Engelska, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2098.

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The aim of this essay is to show how Shakespeare’s sonnets violated and reversed the conventional ideas in terms of beauty and idealisation. Furthermore, I will examine the way Shakespeare presented his beloved woman as an absolute opposite of the one created by Petrarch, and how he shifted all the divine metaphors from a woman to a fair young man, creating a new object of praise and admiration.
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Roberson, Triche. ""The conceit of this inconstant stay": Shakespeare's Philosophical Conquest of Time Through Personification." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1203.

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Throughout the procreation sonnets and those numerous sonnets that promise immortality through verse for Shakespeare's beloved young man, the poet personifies time as an agent of relentlessly destructive change. Yet Shakespeare's approach to the personification of time, as well as his reactions to time, changes over the course of the sequence. He transforms his fear of and obsession with time as a destroyer typical of most sonnets to an attitude of mastery over the once ominous force. The act of contemplating time's power by personification provides the speaker with a deeper awareness of time, love, and mutability that allows him to form several new philosophies which resolve his fear. By the end of the sequence, the poet no longer fortifies himself and the beloved against time's devastation because his new outlook fosters an acceptance of time that opposes and thus negates his previous contention with this force.
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Rassokhina, Elena. "Shakespeare's sonnets in Russian : the challenge of translation." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-134792.

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Shakespeare’s 154 sonnets have become the interest of several generations of Russian translators. Overall, after their first appearance in the middle of the nineteenth century, at least thirty-five Russian translations of the complete sonnet collection have been produced so far, though mostly during the last three decades. The overall objective of the present thesis is to examine the evolution of Russian translations of Shakespeare’s sonnets over the years. The thesis is novel in that it offers an analysis of specific linguistic, literary and cultural challenges the numerous Russian translators have dealt with while translating the sonnets, as well as the strategies adopted in an effort to resolve them. In order to achieve the study objectives, several individual sonnets and a number of their Russian translations have been selected as a sample representing challenging areas that have been more closely investigated in four articles. The method of cross comparison has been applied throughout the study. Both the introductory part and the articles address certain problematic translation issues, such as the sonnets’ formal structure, the pronouns of address, grammatical gender, bawdy language, sexual puns, culture-specific items, and metaphors. The results provide evidence for seeing translation as a multi-layered and ever-changing process, which, apart from the pure linguistic tasks, combines historical, political and ideological aspects. The findings of the study suggest that translation competence, namely deep understanding of the context and its fundamental cultural and social features, motivates the translator’s interpretation of the contradictions and uncertainties of Shakespeare’s poems. Those include the sonnets genre, relation to Shakespeare’s biography, the order of the poems in the first 1609 Quarto. The analysis also identifies the ways in which the target language’s social and historical context have had an impact on the choices made by the translators. On the whole, the study’s results do not contradict Mikhail Gasparov’s model describing the pendulum-like movement from “free” to “literal” approaches through the history of Russian literary translation.
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Kellogg, Amanda O. "“True Image Pictur’d”: Metaphor, Epistemology, and Shakespeare’s Sonnets." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500072/.

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In this dissertation, I examine the influence of Pyrrhonist skepticism over Shakespeare’s sonnets. Unlike academic skepticism, which begins from a position of doubt, Pyrrhonist skepticism encourages an embrace of multiple perspectives that, according to Sextus Empiricus, leads first to a suspension of judgment and ultimately to a state of tranquility. The Pyrrhonian inflection of Shakespeare’s sonnets accounts for the pleasure and uncertainty they cultivate in readers. By offering readers multiple perspectives on a given issue, such as love or infidelity, Shakespeare’s sonnets demonstrate the instability of information, suggesting that such instability can be a source for pleasure. One essential tool for the uncertainty in the sonnets, I argue, is the figurative language they draw from a variety of fields and discourses. When these metaphors contradict one another, creating fragmented images in the minds of readers, they generate a unique aesthetic experience, which creates meaning that transcends the significance of any of the individual metaphors. In the first two chapters, I identify important contexts for Shakespeare’s sensitivity to the pliability of figurative language: Reformation-era religious tracts and pamphleteers’ debates about the value and function of the theater. In Chapter 3, I examine Shakespeare’s response to the Petrarchan tradition, arguing that he diverges from the sonneteers, who often use figurative language in an attempt to access and communicate stable truths. Shakespeare creates epistemological instability in sonnets both to the young man and to the dark lady, and, as I argue in Chapter 4, this similarity offers readers an opportunity to think beyond traditional divisions between the two sonnet subsequences.
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Meireles, Rafael Carvalho. "The hermeneutics of symbolical imagery in Shakespeare's sonnets." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/8572.

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A presente dissertação consiste em um estudo das imagens simbólicas dos Sonetos de Shakespeare sob a luz das teorias modernas e contemporâneas do imaginário, mito e símbolo de autores como C.G.Jung, P. Ricoeur e G. Durand. Procura mostrar parte do processo criativo Shakespeareano identificando mitos pessoais, imagens recorrentes, assim como arquétipos e padrões arquetípicos presentes nos sonetos. Divide-se em três capítulos. O primeiro, a Introdução, apresenta Shakespeare como poeta e resume algumas abordagens críticas e os problemas decorrentes que foram debatidos até então. Antecipa ainda, a discussão sobre a importância do imaginário do leitor no processo hermenêutico. O segundo capítulo, O imaginário e o imaginário de Shakespeare, divide-se em duas partes. Na primeira, apresento os campos onde literatura, mito, e símbolo relacionam-se entre si, assim como a teoria da metáfora de P. Ricoeur. A segunda parte consiste em dados gerais do imaginário simbólico dos 154 sonetos, cuja base é uma versão moderna da edição de 1609 (conhecida como The Quarto), com a análise de dois sonetos (28,146) que funciona como modelo para as demais, integrantes do terceiro capítulo. Finalmente, o capítulo 3, A hermenêutica das imagens simbólicas dos sonetos de Shakespeare, traz o estudo propriamente dito, e apresenta as imagens recorrentes, arquétipos, padrões arquetípicos e mitos pessoais encontrados nos sonetos. A conclusão reflete a tentativa de mostrar a importância das imagens simbólicas para os Sonetos, assim como apontar formas através das quais os imaginários de autor e leitor misturam-se, gerando significação.
This thesis aims at studying the symbolical imagery of Shakespeare’s Sonnets in the light of modern theories on the imaginary, symbolism, and myth put forward by authors such as C.G. Jung, P. Ricoeur, and G. Durand. It attempts at showing a part of Shakespeare’s creative process by identifying personal myths, recurrent images, as well as archetypes and archetypal patterns inherent in the Sonnets. The work is divided into three chapters. The first chapter presents Shakespeare as a poet and summarizes some critical approaches and consequent problems that have been part of the Sonnets´ critical heritage. It also anticipates the discussion on the importance of the reader’s imaginary in the hermeneutic process. Chapter two is divided in two segments. The first, where I present the grounds on which myth, literature and symbols are related, as well as Ricoeur’s theory of the metaphor; and the second, that consists of general imaginary symbolic data about the 154 sonnets, approached through a modernized version of the 1609 Quarto. In addition, there comes the analysis of sonnets 28 and 146, as models for the others to come in chapter 3. Finally, chapter three The Hermeneutics of Symbolical Imagery in Shakespeare’s Sonnets, displays the study of recurrent images, archetypes, archetypal patterns and personal myths within Shakespeare’s Sonnets. The Conclusion reflects upon the work’s attempt at showing the importance of symbolic images for the study of the sonnets, as well as considers some of the ways through which the imaginary of the writer and that of the reader bind, generating meaning.
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Picard, Louis. "Rhétorique et savoir maniéristes : sonnets amoureux de Ronsard (Le premier livre des Amours), Góngora, Marino (Rime amorose) et Shakespeare (Sonnets)." Paris 7, 2008. http://www.theses.fr/2008PA070075.

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Dans Le Premier Livre des Amours de Ronsard, comme les sonnets amoureux de Gôngora, les Rime de Marino et les Sonnets de Shakespeare, une même rhétorique est à l'œuvre. La conscience de venir après, dans un pétrarquisme second qui peut aussi bien être un contre-pétrarquisme, détermine une esthétique merveilleuse au terme de laquelle l'accent semble résolument basculer des res aux verba. L'enjeu est alors de déterminer la teneur en sérieux de cet exercice de brillant formel qui semble d'emblée récuser toute interprétation définitive, à la manière d'un jocus serius indécidable. Nous faisons l'hypothèse que dans ces sonnets où s'exacerbent nombre de pratiques renaissantes, l'expressivité à la fois maximale et codée est articulée à un discours qui valorise les formes de la complexité. L'étude de ce discours procède en trois temps : investissement de la forme du sonnet, caractéristiques de la représentation, teneur e modalités des significations engagées. Une paradoxologie s'en dégage. Paradoxe des énoncés merveilleux métaphoriques ou oxymoriques dont les concetti que produit le sonnet sont l'emblème ; paradoxe d'une représentation à la référence incertaine ; paradoxe du régime équivoque, contradictoire ou allusif de le signification. La paradoxologie maniériste propose cependant un discours unitaire dont la persona lyrique se porte garante. Trame incertaine, le sujet maniériste est avant tout une voix, puissance d'énonciation capable de garantir la force de l'évidence à l'expérience de la complexité. La richesse verbale ne se laisse pas troquer contre un sens apaisé ou univoque, mais la force de renonciation s'efforce d'y suppléer
Ronsard's Premier Livre des Amours, Gôngora's love sonnets, Marino's Rime as well ai Shakespeare's Sonnets offer similar rhetorics. The conscience of not coming first, of writing after Petrarch — perhaps even against Petrarch —, requires an esthetics of maraviglia, definitely shifting the weight from res to verba. Which leads to question the degree of earnestness of such an effects-oriented discourse, that seemingly rejects, under the aegis of the jocus serius, every steady interpretation available. We shall assume that in these sonnets where many an early-modern practice is highly condensed, expressivity, both hyperbolic and coded, embodies a specific, complexity-oriented, discourse. Mannerism - contemplated from the point of view of the practice of the sonnet, of the specificities of its representation and of the management of meaning - calls for a paradoxology. Paradox can come under the guise of metaphors and oxymorons -highly condensed in concetti -, of the uncertain reference of the representation or of the allusive unequivocal, self-conflicting significations. However, paradoxology calls for an unified discourse, guaranteet by the lyric persona. The mannerist self may be an uncertain complexion: he above ail is voice, enunciative might, able to assume the strengh of evidence within the experience of complexity. Verbal cornucopia will not be converted into any stable or pacified meaning, but the enunciative force may stand for it
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Leitner, David J. "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1012.

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This study responds to the need for an understanding of the relation of form and political critique within the sonnet form, and hopes to demonstrate that the sonnet can be used to effectively articulate the experience of racism, especially the Du Boisian concept of "double- consciousness," a sense of two-ness born of being both black and American. The fundamental structure of the sonnet (octave, volta, sestet) is dialectical; it "contests the idea it just introduced" (Caplan, Poetic Form: An Introduction 75). The sonnet's self-reflexive structure has been adopted and adapted by poets such as McKay, Cullen, Hughes, and Brooks. The formal and social characteristics of sonnets by African-Americans function synergistically: the way that the octave and the sestet respond to each other in a single poem is also similar to the "call-and- response" movement of African American oral culture. Its tendency to mix two unlike things is like Harlem itself: a compressed space where the street sweeper rubs shoulders with the business tycoon. Perhaps most importantly, the sonnet can be a Trojan horse, a genteel container that conceals a potentially subversive message. This study is constructed around related lines of questioning: First, why did African American poets, in an era usually associated with free verse, choose to adopt a traditional form? Second, how do African American poets adapt a European form as a lens into African American experience? Sonnets by African Americans reflect the complexity of a seemingly simple triangulation between the traditional requirements of form, the promise of equality, and the reality of racism. African American poets infuse "Harlem in Shakespeare," pouring black consciousness into the European form, and they raise "Shakespeare in Harlem," elevating the status of African American forms to the highest levels of literary art. At the same time, this study demonstrates the value of a prosody-based approach for examining how small formal details contribute substantially to the reader's impression of the sonnet. These poets deploy the "rules" of the sonnet ingeniously and unexpectedly. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together.
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Henderson, Liza Marguerite Bell. "The still moment : a study of the relationship between time and love in Shakespeare's sonnets." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65331.

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Books on the topic "Shakespeare Sonnets"

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Shakespeare, William. Shakespeare & love sonnets. New York: Gramercy Books, 1998.

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Blades, John. Shakespeare: The sonnets. Basingstoke [England]: Palgrave Macmillan, 2007.

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Blades, John. Shakespeare: The Sonnets. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-08234-3.

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Shakespeare, William. The sonnets of Shakespeare. Cambridge: Cambridge University Press, 2009.

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Shakespeare, William. The sonnets of Shakespeare. London: Cassell, 1988.

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Shakespeare, William. Love sonnets of Shakespeare. Philadelphia, Pa: Running Press, 1990.

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1930-, Wells Stanley W., ed. Shakespeare's sonnets. Oxford: Oxford University Press, 2004.

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Kay, Dennis. William Shakespeare: Sonnets and poems. New York: Twayne Publishers, 1998.

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Shakespeare, William. William Shakespeare. London: Phoenix Poetry, 2002.

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Basch, David. The Shakespeare codes : the sonnets deciphered. West Hartford, CT: Revelatory Press, 2000.

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Book chapters on the topic "Shakespeare Sonnets"

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Hart, Jonathan. "The Sonnets." In Shakespeare, 45–70. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230103986_4.

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Döring, Tobias. "Shakespeare, William: Sonnets." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17024-1.

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Hart, Jonathan. "Shakespeare’s Sonnets." In From Shakespeare to Obama, 29–42. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137375827_3.

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Shrank, Cathy, and Raphael Lyne. "Shakespeare’s Sonnets." In The Complete Poems of Shakespeare, 269–623. Abingdon ; New York : Routledge, 2017. | Series: Longman annotated English poets: Routledge, 2017. http://dx.doi.org/10.4324/9781315707945-5.

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Guy-Bray, Stephen. "The sonnets." In Shakespeare and Queer Representation, 127–47. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429423802-6.

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Blades, John. "Shakespeare and the Elizabethan Sonnet." In Shakespeare: The Sonnets, 189–204. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-08234-3_6.

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Blades, John. "Love, or What You Will." In Shakespeare: The Sonnets, 3–30. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-08234-3_1.

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Blades, John. "Time: to Posterity and Beyond." In Shakespeare: The Sonnets, 31–71. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-08234-3_2.

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Blades, John. "Art: Clever, Very." In Shakespeare: The Sonnets, 72–110. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-08234-3_3.

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Blades, John. "The Rival Poet(s): a Lesson in Tightropes?" In Shakespeare: The Sonnets, 111–47. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-08234-3_4.

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Conference papers on the topic "Shakespeare Sonnets"

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Wan, Yongkun. "Time: A Major Thematic Study of Shakespeare’s Sonnets." In Proceedings of the 2018 8th International Conference on Management, Education and Information (MEICI 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/meici-18.2018.93.

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