Relevant bibliographies by topics / Shakespeare, William, 1564-1616 – Tragedies

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  1. Journal articles
  2. Dissertations / Theses
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Academic literature on the topic 'Shakespeare, William, 1564-1616 – Tragedies'

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Published: 4 June 2021
Last updated: 29 July 2024

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

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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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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 converse about the complex relationship that exist between the master and slave in The Tempest.
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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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Dolinin, Alexander. "Итальянские мотивы в поэме Пушкина «Анджело» [Italian Motifs in Pushkin’s Poem _Andzhelo_]." Slavica Revalensia 8 (2021): 289–302. http://dx.doi.org/10.22601/sr.2021.08.10.

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Pushkin’s poem Andzhelo (1833) is based on the plot of Shakespeare’s Measure for Measure (1623). However, Pushkin changed the location from Vienna to “happy Italy,” and the article offers some explanations of the change. Besides the location and names of characters, the poem has no Italian ethnographic details but instead includes several allusions to Dante absent in Shakespeare. It seems that through them Pushkin amalgamated Dante and Shakespeare, providing an intertextual substitute for the Italian couleur locale. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Andzhelo (1833), Dante Alighieri (c. 1265—1321), William Shakespeare (1564—1616), Italy, Allusion, In memoriam: Larisa Georgievna Stepanova (1941—2009).
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Dissertations / Theses on the topic "Shakespeare, William, 1564-1616 – Tragedies"

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Walworth, Alan M. (Alan Marshall). "A Challenge to Charles Lamb's "On the Tragedies of Shakespeare"." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504543/.

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This study challenges Charles Lamb's 1811 essay "On the Tragedies of Shakespeare, Considered with Reference to their Fitness for Stage Representation," which argues that Shakespeare's plays are better suited for reading than stage production. Each of the four chapters considers a specific argument Lamb raises against the theatre and the particular Shakespearean tragedy used to illustrate his point. The Hamlet chapter examines the supposed concessions involved in the actor/audience relationship. The Macbeth chapter challenges Lamb's Platonic view of Shakespearean characterization. The Othello chapter considers whether some characters and images, while acceptable to the reader's imagination, are improper on stage. Finally, the King Lear chapter considers the portrayal of the mind in the theatre, employing semiotic principles to examine the actor's expressive resources.
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Saavedra, Claudia Carla Echenique 1962. "Shakespeare além do espaco tempo : uma conversa sobre direitos humanos nas tragedias Titus Andronicus, Ricardo III e Macbeth." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285241.

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Orientador: Verônica Fabrini Machado de Almeida
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese investiga três tragédias de William Shakespeare: Tito Andrônico, Ricardo III e Macbeth, e sua relação com a construção e defesa dos direitos humanos no mundo contemporâneo. Nós estabelecemos que tanto as narrativas como o discurso das realidades apresentadas nessas tragédias elisabetanas, oferecem um material que, mediado por o corpo total, dos atores e que, expostos diante da assembléia por meio de sua atualização teatral, contribuem para a compreensão de como operam, tanto os mecanismos de poder como o circulo trágico da vingança gerando violência. Postulamos que, elaboradas em comunidade, essas obras, educam e fornecem um terreno fértil para a elaboração da memória coletiva e, assim, alcançar uma compreensão compartilhada dos fenômenos que afetam nossas convivências latino-americanas
Abstract: The present study involves research on the construction and defense of Human Rights through an analysis of William Shakespeare¿s three tragedies: Tito Andronicus, Richard III, and Macbeth, in the context of contemporary Latinamerica. We establish that both narrative and discourse and the realities presented in these Elizabethan tragedies, mediated through the "total bodies" of actors exposed to the assembly, allow a deep comprehension of how power mechanisms operate and how violence and revenge circulate in society. These plays elicit in the community a sense of pity for the pain of others and thus help us reach a shared understanding of vital issues that affect societies in Latinamrica. We believe that Aristotelic catharsis and Brechtian estrangement may occur simultaneously, experienced as emotive consciousness
Doutorado
Artes Cenicas
Doutora em Artes
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Closel, Régis Augustus Bars 1985. "Diálogos Miméticos entre Sêneca e Shakespeare = As Troianas e Ricardo III." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270174.

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Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente dissertação tem por objetivo propor um diálogo entre duas obras dramáticas de grande significância, Ricardo III e As Troianas, no cânone de seus autores, respectivamente, William Shakespeare (1564 - 1616) e Lucius Annaeus Sêneca (4 a.C - 65 d.C). A premissa inicial é a relação tradicional entre ambos, que atribui ao tragediógrafo elisabetano uma influência textual, temática e estilística originária do filósofo e tragediógrafo latino. Para o estudo dessas relações, limitadas ao escopo de duas obras, o trabalho foi dividido em três partes. No primeiro capítulo é realizado um percurso sobre toda a historiografia da crítica da influência que Sêneca teria exercido sobre os dramaturgos que escreveram durante a segunda metade do século XVI, na Inglaterra. Observa-se, principalmente, como a visão e a metodologia de se tratar o tema da influência se altera, ao longo dos anos, chegando, por exemplo, a ser negada por alguns críticos durante certo tempo, além da observação do delineamento do próprio objeto. Toma-se o cuidado, durante todo o trabalho de não fazer opção a favor ou negar a presença de Sêneca para não incorrer em extremismos. No segundo capítulo, busca-se, com base nos resultados do primeiro capítulo, a leitura histórica dos elementos temáticos e estilísticos lidos como derivados de ou influenciados por Sêneca. Neste ponto o foco distancia-se do campo de discussão crítica do fenômeno para o campo de crítica histórico-literária e os objetos focados, agora, são exatamente aqueles que anteriormente foram levantados como ?"senequianos". No terceiro capítulo, conhecida a história da influência e tendo sido feita uma gama de opções e leituras sobre a época de Shakespeare, inicia-se a leitura das duas obras. Tal abordagem preambular se fez necessária para que houvesse um embasamento tanto da crítica da discussão da influência, como da leitura histórica da cultura que produziu Ricardo III. Foi feita a opção de seguir com a leitura de René Girard sobre os conceitos de Teoria Mimética e Crise de Diferenças, pois tocam em noções basilares do mundo Elisabetano, apresentando, portanto, uma atmosfera na qual os diálogos poderiam situar relações de aproximação e afastamento entre a dupla de obras escolhida. Observa-se uma leitura mítica, muito rica politicamente, ao trabalhar com a história/mito conhecidos por ambas as obras
Abstract: This dissertation aims to propose a dialogue between two dramatic works of great importance, Richard III and Trojan Women, both canonic for their authors, respectively, William Shakespeare (1564 - 1616) and Lucius Annaeus Seneca (4 BC - 65 AD). The initial premise is the traditional relationship between them, which presupposes that the Elizabethan tragedies have textual, thematic and stylistic influence of the Latin philosopher and tragedian. In order to study these relationships, restricted to the scope of the two referred plays, the dissertation was divided into three parts. The first chapter is about Seneca's influence on playwrights who wrote along the second half of the sixteenth century in England. It focuses mainly the vision and methodology used to study the issue of influence and changes of views over the years, reaching, for example, the fact that the influence was denied by some critics for some time. It also observes the outline of the object - the relation between plays - itself. Along these considerations, I was aware that I should not propose or deny the influence of Seneca in order not to incur in extremism. The second chapter, based on the results of the first chapter, seeks to read the historical interpretation of stylistic and thematic elements as derived from or influenced by Seneca. At this point, the analysis moves away from the critical discussion to approach the field of historical and literary criticism. The focused objects are exactly those that have previously been raised as "senequians", like the blank verse, the tyrant and the presence of ghosts. In the third chapter begins the interpretation of both tragedies. This preliminary approach was necessary in order to have a critical foundation for the discussion of influence, as that one produced by historical reading of Richard III. The mimetic theory of René Girard and the Crisis of Differences offered fundamental notions for the Elizabethan world, which presented interlocution between both tragedies, so that it was possible to examine approaches and distances between the two chosen plays. It was observed a very rich mythical and political relation among the plays using the known versions of history/myth
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Mezghanni, Miriam. "Unsettling heroines : towards a cognitive poetics exploration of power dynamics (Ophelia, Lady Macbeth, Desdemona and Cleopatra as case studies)." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30015.

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L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearien
The Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism
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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 papéis femininos. A divisão da tese é arquitetada em três capítulos que lidam com as especificidades de cada representação, mostrando, também, como eles se interconectam dinamicamente. O material analisado contempla duas edições familiares de Hamlet; duas "narrativas instrutivas"; um roteiro cênico; uma pintura e um poema. Para auxiliar e elucidar as maneiras pelas quais Ofélia foi apropriada, lancei mão de textos os mais diversos: comentários de críticos de teatro e pintura; observações de atores e escritores; atitudes da época com relação ao suicídio feminino; a vida de Elizabeth Siddall, bem como a crítica contemporânea. As representações de Ofélia sublinham a permeabilidade das fronteiras das artes e também nos mostram, em maneiras que escapam a nossa compreensão, como a vida muitas vezes imita a arte.
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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 étaient pourtant nombreuses du vivant de Shakespeare. Cette thèse se divise en trois parties principales lesquelles explorent les principaux champs pour lesquels une ressemblance est flagrante avec Shakespeare ce qui amène à penser qu'il aurait pu avoir recours à la tragédie grecque. La première partie explore les moyens par lesquels le dramaturge aurait pu avoir eu connaissance de ces textes (scolarisation, traductions). Dans cette optique, cette partie expose les apports de la Renaissance, notamment dans l'instruction et la transmission des lettres grecques. La deuxième partie rapporte, pour chaque pièce, les correspondances textuelles et thématiques remarquables avec des œuvres littéraires majeures de la Grèce antique, surtout les dramaturges et Homère. La troisième partie se consacre à l'étude de ces héroïnes exceptionnelles que l'on trouve dans ces trois tragédies. Sans établir de portrait psychologique, cette étude cherche à dégager trois fils directeurs qui relient l'héroïne shakespearienne à l'héroïne tragique grecque : la stature de ces femmes, la représentation de la noblesse et l'absence de discours amoureux, thématiques centrales de la tragédie grecque
The main objective of this dissertation is to consider the possibility of a Greek influence, namely mythology and tragedy, on Shakespeare's masterpieces Hamlet, Macbethand KingLear. This study first draws an impartial account of the current knowledge concerning Shakespeare's supposed education and of the major role played by Byzantine scholarship in the rediscovery of Greek texts which led to a huge wave of translations into Latin first and then into the vernaculars. The second part tries to establish textual and thematic correlations between Shakespeare's works and some Attic plays together with the epics of Homer and several other ancient Greek authors by picking passages drawn from both sides and explaining the common point between them. Finally, the third part deals with the place Shakespeare gave his main heroines in these plays, a place which corresponds in some significant aspects to the Greek tragic heroine
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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 identitaire : le soi unique vacille et s'efface devant les doubles. La crise de l'unicité est aussi une crise du rapport à l'espace social et intérieur et à la temporalité. Les sujets se diluent dans la communauté et peinent à tracer des frontières entre eux-mêmes et les autres. Les plis censés révéler un espace intime découvrent un lieu paradoxal. Les effets de perspective déplacent le personnage qui regarde et qui n'a pas de lieu propre alors que le retour du politique restaure la fixité des places. Les sujets désirent s'inscrire dans une linéarité temporelle qui est déconstruite par les répétitions. Ils n'élaborent pas une histoire linéaire propre mais s'énoncent comme traces de ce qui n'a pas eu lieu et inventent un présent impossible. Il n'y a pas de temps pour soi : Hamlet, jouet d'une action sans agent et d'une durée qui le dépasse, vit et meurt la vie et la mort des autres dans le temps des autres. La dramaturgie de l'espace et du temps dans les problem plays s'avère liée aux paradoxes du singulier qui interrogent la relation entre soi-même et l'autre et à l'autre en soi-même
Is every human being unique ? Five Shakespeare plays sometimes labelled problem plays - All's well that Ends Well, Hamlet, Julius Caesar Measure for Measure and Troilus and Cressida - raise the issue of the singularity or uniqueness of the self, one aspect of the question of the subject in the early modern age. Uniqueness is in crisis in these plays : the study of the substitutions in action, love and death shows the absence of the self and the emergence of doubles instead of the expected proofs of uniqueness. This study of the scenes of perception of singularity and of self-speaking in the dialogues or soliloquies shows confused identities : the unique self flickers and is superseded by doubles. The crisis of uniqueness also questions the link to social and inner space and to temporality. The subjects dissolve into the community and fail to draw borders between themselves and others. The veils supposed to unveil an intimate space uncover a place of paradox. Perspective effects displace the watching character, who is then deprived of a proper place, and the return of the political reestablishes set places. The subjects wish to engage in a linear time which is deconstructed by repetitions. They do no build a proper linear history but present themselves as traces of events that did not happen and make up an impossible present. There is no time for oneself : Hamlet, the victim of agentless action and of unmastered duration, lives and dies the lives and deaths of others in the time of others. The dramatic art of space and time in the problem plays is linked to the paradoxes of singularity that question the relationship between oneself and the other and to the other in oneself
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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 dramatique : Shakespeare ne présente pas des hommes mais des "êtres de mots" et tout ce qui leur arrive n'est que l'image d'une destinée. Le théâtre obéit à des lois qui lui sont propres et l'analyse du langage, de même que le rapport au spectateur sont au cœur de la démarche que le critique doit adopter. Le public assiste à la désintégration de personnages soudain grandis par la reconnaissance (anagnoris en grec) de la petitesse des hommes mais qui s'avèrent incapables de tirer parti de ce savoir chèrement acquis. Les spectateurs, inclus dans la représentation par un jeu de miroirs vertigineux, sont les seuls bénéficiaires de l'expérience représentée. Shakespeare s'est efforcé de débarrasser ses contemporains du carcan de l'espérance afin de privilégier une approche plus vraie et plus enrichissante de leur parcours
The heroes of the great tragedies of Shakespeare lose their way and manage, thanks to this drift organized by the playwright, to transcend their nature and attain to a precious knowledge. They leave the darkness of their world and rise to a bright light which enables them to take a new look at the meaning of human experience. Hamlet sinks into the quicksands of his consciousness, Lear is overcome by madness and Macbeth commits himself body and soul to evil. These three characters fascinate owing to the greatness they are endowed with at the end of their course and to the mystery they are shrouded in. Their fates are approached in terms of dramatic writing technique: Shakespeare does not introduce us to men but to 'word creatures' and all that happens to them is nothing but the image of a destiny. The theatre obeys its own rules and the analysis of the words; along with the relation to the spectators are the be-all and end-all of the method the critic must use. The audience attends the disintegration of characters that suddenly grow in stature as they realize how meaningless man's life is. This recognition (anagnorisis in Greek) proves pointless in that the dramatis personae are unable to take advantage of that painful revelation. The public, included in the performance thanks to breathtaking mirroring effects, are the only people who can actually draw
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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 mentalités brésiliennes : le Brésil s’émancipe alors véritablement de son statut d’ancienne colonie pour cannibaliser les traditions européennes et prôner le métissage des cultures. Shakespeare se trouve de ce fait complètement réinventé par un pays en mouvement. Aujourd’hui, des productions brésiliennes se servent de Shakespeare comme d’une icône de la culture érudite afin de légitimer la culture populaire et de résister à l’imposition d’une hiérarchie culturelle par les élites, cela avec un tel succès que le Brésil exporte désormais à son tour ses propres productions théâtrales à l’étranger
This thesis is the result of an interdisciplinary research at the crossroads of anthropology and literary, comparative, and performance studies. Brazilian "popular" theatre productions of Shakespeare are an unusual object of study that is also ephemeral, constantly changing, combining circus arts, religious fervour, and carnival traditions. Shakespeare was introduced in Brazil through its elites, who attended performances adapted from translations/rewritings by the French Jean-François Ducis. In 1928, the "Anthropophagous Manifesto" written by Oswald de Andrade permanently changed Brazilian mentality: Brazil then truly emancipated from its former status as a colony to cannibalise European traditions and promote its mixed nature. Shakespeare has thus been completely reinvented by a changing country. Today, Brazilian productions are reappropriating Shakespeare as an icon of erudite culture in order to legitimise popular culture and to resist the imposition of a cultural hierarchy by the elites. They have been so successful that, in an ironic turn, they now export their own theatrical productions abroad
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Books on the topic "Shakespeare, William, 1564-1616 – Tragedies"

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Marsh, Nicholas. Shakespeare, the tragedies. New York: St. Martin's Press, 1998.

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Marsh, Nicholas. Shakespeare, the tragedies. New York: St. Martin's Press, 1998.

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Harold, Bloom, ed. Shakespeare's tragedies. Broomall, PA: Chelsea House Publishers, 2000.

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Smidt, Kristian. Unconformities in Shakespeare's tragedies. Houndmills, Basingstoke, Hampshire: Macmillan, 1989.

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Smidt, Kristian. Unconformities in Shakespeare's tragedies. Basingstoke: Macmillan, 1989.

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Smidt, Kristian. Unconformities in Shakespeare's tragedies. New York: St. Martin's Press, 1990.

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Kuiper, Kathleen. The tragedies of William Shakespeare. New York: Rosen Pub., 2013.

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Russell, Brown John. Shakespeare: The tragedies. New York: Palgrave, 2001.

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1936-, Young David, ed. Shakespeare's middle tragedies: A collection of critical essays. Englewood Cliffs, N.J: Prentice Hall, 1993.

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Greenblatt, Stephen. Shakespeare Tragedies. Norton & Company, Incorporated, W. W., 2002.

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

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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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"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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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 Early Modern Sonneteers, 50–63. Liverpool University Press, 2001. http://dx.doi.org/10.2307/jj.3079181.15.

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Bauer, Mark S. "William Shakespeare (1564–1616)." In A Mind Apart, 53. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336405.003.0009.

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Abstract Sonnet 129 Th’ expense of spirit in a waste of shame Is lust in action; and, till action, lust Is perjured, murderous, bloody full of blame, Savage, extreme, rude, cruel, not to trust, Enjoyed no sooner but despisèd straight, Past reason hunted, and no sooner had Past reason hated as a swallowed bait On purpose laid to make the taker mad. Mad in pursuit, and in possession so; Had, having, and in quest to have, extreme; A bliss in proof, and proved, a very woe, Before a joy proposed; behind, a dream. All this the world well knows, yet none knows well To shun the heaven that leads men to this hell.
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Holland, Peter. "Background, early life, and marriage." In William Shakespeare, 1–11. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199212835.003.0001.

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Abstract William Shakespeare (1564–1616), playwright and poet, was baptized, probably by the parish priest, John Bretchgirdle, in Holy Trinity, the parish church of Stratford upon Avon, on 26 April 1564, the third child of John Shakespeare (d . 1601) and Mary Arden (d . 1608). It seems appropriate that the first of many gaps in the records of Shakespeare’s life should be the exact date of his birth, though that is a common problem for the period. He was probably born on 21, 22, or 23 April 1564, given the 1559 prayer book’s instructions to parents on the subject of baptisms.
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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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