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Relevant bibliographies by topics / Shakespeare, William, 1564-1616 Symbolism

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Academic literature on the topic 'Shakespeare, William, 1564-1616 Symbolism'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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Journal articles on the topic "Shakespeare, William, 1564-1616 Symbolism"

1

Cotterill. "William Shakespeare (1564-1616)." Clinical and Experimental Dermatology 25, no. 1 (January 2000): 93–95. http://dx.doi.org/10.1046/j.1365-2230.2000.0580g.x.

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Da Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)." Boletim da Biblioteca da Universidade de Coimbra, no. 46/47 (December 22, 2016): 305–17. http://dx.doi.org/10.14195/1647-8436_46_47_20.

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Da Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)." Boletim da Biblioteca Geral da Universidade de Coimbra, no. 46/47 (December 22, 2016): 305–17. http://dx.doi.org/10.14195/2184-7681_46_47_20.

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Rössner, Stephan. "William Shakespeare (1564-1616)." Obesity Reviews 9, no. 5 (August 11, 2008): 508–9. http://dx.doi.org/10.1111/j.1467-789x.2008.00474.x.

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Gupton, Janet L. "The Complete Works of William Shakespeare, and: William Shakespeare, 1564-1616 (review)." Theatre Journal 51, no. 4 (1999): 482–83. http://dx.doi.org/10.1353/tj.1999.0086.

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Bertin, Marilise Rezende. "O erótico, o chulo e o obsceno em traduções e adaptações de William Shakespeare: Hamlet, Romeu e Julieta e Otelo." Cadernos de Literatura em Tradução, no. 10 (August 1, 2009): 47–70. http://dx.doi.org/10.11606/issn.2359-5388.i10p47-70.

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Em Shakespeare After All,1 Marjorie Garber inicia o texto com aseguinte frase: “Cada época cria seu próprio Shakespeare”. A partir dessa afirmação, ela não somente sustenta que as peças do famoso dramaturgo (1564-1616) transcenderam o tempo e o espaço físico alcançando perenidade, como também, de uma outra maneira, assevera que cada momento histórico recria seu próprio Shakespeare, assim como cada um compreende as peças do bardo dentro de um contexto específico e segundo sua visão particular.

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Robert Bearman. "The Life and Times of William Shakespeare, 1564-1616 (review)." Shakespeare Quarterly 59, no. 3 (2008): 335–37. http://dx.doi.org/10.1353/shq.0.0016.

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Gomes, Marleide da Mota. "Shakespeare’s: his 450th birth anniversary and his insights into neurology and cognition." Arquivos de Neuro-Psiquiatria 73, no. 4 (April 2015): 359–61. http://dx.doi.org/10.1590/0004-282x20150023.

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The works of William Shakespeare (1564-1616), the greatest dramatist and poet of the English language, reflect several cultural values of the Western world which are also shared by other cultures. On his 450th birthday, many of his concepts are admired as descriptions of human feelings and neurological phenomena, demonstrating his insights into what it is today considered cognitive neuroscience

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Rathore, Dr Madhvi, and Prabha Prabha Gour. "The Exploration of the Postcolonial Essence in The Tempest." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 14. http://dx.doi.org/10.24113/ijellh.v8i2.10429.

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William Shakespeare (1564-1616) is indubitably the best playwright of all time. He acquired an unique place in the world of literature. His plays earned international commendation and acceptance as the finest dramatist in the entire history of English literature. His play, The Tempest has been decoded differently by critics as a postcolonial text. In1611 when William Shakespeare wrote the play The Tempest, colonization was a recent concept in Britain. This paper is an attempt to inspect the postcolonial issues such as subjugation, dominance language, power and knowledge etc. and conjointly con

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Milward, Peter. "The Life and Times of William Shakespeare, 1564-1616. By Hildegard Hammerschmidt-Hummel." Heythrop Journal 51, no. 1 (January 2010): 132–33. http://dx.doi.org/10.1111/j.1468-2265.2009.00533_27.x.

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Dissertations / Theses on the topic "Shakespeare, William, 1564-1616 Symbolism"

1

Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.

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Dufour, Gérard. "L'homme et l'animal dans l'oeuvre de Shakespeare. Essai d'anthropologie littéraire." Paris 4, 1991. http://www.theses.fr/1990PA040144.

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Les relations entre l'homme et l'animal jouent un rôle essentiel dans la structuration de l'univers poétique et théatral de Shakespeare. L'apparente banalité du bestiaire tient a ce qu'il est le reflet des idées communement admises. Le monde animal de Shakespeare, qui n'est pas sans un certain rapport documentaire avec la réalité courante telle qu'elle est perçue au temps de la renaissance, renvoie surtout à une tradition littéraire et à des présupposés culturels véhiculés et entretenus notamment par le langage commun. Discours plusieurs voix, le texte des pieces de Shakespeare met en oeuvre l

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Srigley, Michael. "Images of regeneration : a study of Shakespeare's "The Tempest" and its cultural background /." Stockholm : Almqvist och Wiksell, 1985. http://catalogue.bnf.fr/ark:/12148/cb348248795.

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Smith, Cristiane Busato. "Representações da Ofélia de Shakespeare na Inglaterra Vitoriana." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/23026.

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Resumo: Esta tese mapeia as representações da personagem Ofélia de Shakespeare na Inglaterra vitoriana em três áreas nas quais ela ganhou maior expressividade: em edições, no palco e na iconografia. Trata-se, portanto, de um estudo interdisciplinar, que se insere na área dos estudos culturais. A premissa básica é a de que a ubíqua presença de Ofélia na cultura vitoriana serve como exemplo paradigmático do que Raymond Williams chama de "estrutura de sentimento", ou seja, a personagem constitui um veículo adequado para compreendermos os paradoxos da época, principalmente no que diz respeito aos

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Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare." Caen, 2010. http://www.theses.fr/2010CAEN1587.

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La présente étude tente de montrer que Shakespeare a été influencé par la culture grecque dans Hamlet, Macbeth et King Lear. Au travers de correspondances textuelles et thématiques troublantes, l'auteur cherche à établir qu'il paraît manifeste que Shakespeare ait eu recours à la tragédie grecque dans la composition de ces trois pièces majeures. Néanmoins, comme l'atteste la présente recherche, il ne peut être établi avec certitude que ce dramaturge ait lu Eschyle, Sophocle ou Euripide en grec ou en traduction vernaculaire que ce soit en anglais, en français ou en italien, traductions qui étaie

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Crohem, Laurence. ""My single self" : paradoxes du singulier dans All's well that ends well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida de William Shakespeare." Lille 3, 2009. http://www.theses.fr/2009LIL30057.

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Chacun est-il unique ? Cinq pièces de Shakespeare parfois appelées problem plays - All's well that Ends Well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida - problématisent le singulier ou l'unicité de soi, un aspect de la question du sujet à l'ère pré-moderne. L'unicité est en crise dans ces pièces : l'analyse des substitutions dans l'action, l'amour et la mort montre l'absence et le surgissement des doubles au lieu des preuves d'unicité attendues. Celle des scènes de perception du singulier et d'énonciation de soi dans les dialogues ou monologues montre la confusion iden

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Segurado, Nunes Livia. "Popular Shakespeare : Brazilian reappropriations." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0364.

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Cette thèse se situe au carrefour des études littéraires, comparatistes, théâtrales, et anthropologiques. La représentation « populaire » des pièces de Shakespeare au Brésil est un objet d’étude inédit, éphémère, en perpétuelle mutation, où se mêlent les arts du cirque, la ferveur religieuse, et les traditions carnavalesques. Shakespeare s’est tout d’abord imposé au Brésil à travers ses élites, qui assistaient à des spectacles adaptés à partir des traductions/réécritures du français Jean-François Ducis. En 1928, le « manifeste anthropophage » d’Oswald de Andrade transforme durablement les ment

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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet", "Le roi Lear", "Macbeth" : la clairvoyance sublime de l'égarement." Nancy 2, 1995. http://www.theses.fr/1995NAN21009.

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Les héros des grandes tragédies de Shakespeare s'égarent et grâce à cette dérive orchestrée par le dramaturge parviennent à transcender leur nature pour accéder à un savoir précieux. Ils quittent la pénombre ambiante et s'élèvent vers une connaissance lumineuse qui leur permet de reconsidérer la signification de l'expérience humaine. Hamlet s'enlise dans les sables mouvants de la conscience, Lear est terrassé par la folie et Macbeth se lance corps et âme dans le mal. Ces trois personnes fascinent du fait de la grandeur dont ils sont investis au terme de leur parcours et du mystère qui dramatiq

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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.

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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.<br>Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social

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Travis, Keira. "Infinite gesture : an approach to Shakespearean character." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102740.

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In this dissertation I develop and theorize an approach to Shakespearean character. I focus on the ways in which characters talk about knowing others and being known; in other words, this is an approach to characters who are themselves approaching characters. The plays I treat in detail are Coriolanus and Hamlet. The words characters in these plays use when they explain their decisions, avoid explaining their decisions, talk about others' decisions, or try to expose others' secrets, are often position-and-movement words. I argue that characters use for these purposes words related by wordplay

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Books on the topic "Shakespeare, William, 1564-1616 Symbolism"

1

Shakespeare's visual theatre: Staging the personified characters. Cambrdige, England: Cambridge University Press, 2003.

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Matthews, Honor. Character and symbol in Shakespeare's plays: A study of certain Christian and pre-christian elements in their structure and Imagery. Cambridge: Cambridge University Press, 2009.

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3

The heart in the age of Shakespeare. New York: Cambridge University Press, 2008.

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William Shakespeare, 1564 - 1616. London: 4Learning, 2003.

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Shakespeare and the late moral plays. Lincoln: University of Nebraska Press, 1986.

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William Shakespeare, Coriolanus. London: Penguin Books, 1992.

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Harold, Bloom, ed. William Shakespeare. New York: Chelsea House, 2009.

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Fandel, Jennifer. William Shakespeare. Mankato, Minnesota: Creative Education, 2015.

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William Shakespeare. Mankato, MN: Creative Education, 2003.

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Harold, Bloom, ed. William Shakespeare. Philadelphia: Chelsea House Publishers, 2002.

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Book chapters on the topic "Shakespeare, William, 1564-1616 Symbolism"

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Casey, Francis. "William Shakespeare 1564–1616." In King Lear by William Shakespeare, 1–6. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_1.

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Simonton, D. K. "William Shakespeare 1564–1616." In Encyclopedia of Creativity, e72-e75. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00198-9.

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"William Shakespeare (1564–1616)." In London, 85–94. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.23.

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Sautter, Udo. "William Shakespeare (1564–1616)." In Die 101 wichtigsten Personen der Weltgeschichte, 57. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-57.

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"Shakespeare, William (1564–1616)." In Encyclopedia of Lesbian and Gay Histories and Cultures, 1323–25. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-154.

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"William Shakespeare (1564–1616)." In The Routledge Anthology of Poets on Poets, 112–29. Routledge, 2003. http://dx.doi.org/10.4324/9780203360118-11.

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"William Shakespeare (1564–1616) from Henry VI, Part II." In London, 85–86. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-022.

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Simon, Chantal, Hazel Everitt, Françoise van Dorp, and Matt Burkes. "Ophthalmology." In Oxford Handbook of General Practice, 953–84. Oxford University Press, 2014. http://dx.doi.org/10.1093/med/9780199671038.003.0026.

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‘The eye is the window of the mind’ Richard II, William Shakespeare (1564–1616) Assessment of the eye Eye trauma Eye pain, papilloedema, and orbital disease Lid disease Blepharitis and tear duct problems The red eye and conjunctivitis Corneal, sclera, and uveal disease Visual field loss and blindness...

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