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

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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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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2

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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4

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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5

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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6

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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7

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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9

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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11

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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12

Cheng, Yuhe. "Feminist Study of Lady Macbeth." SHS Web of Conferences 158 (2023): 02025. http://dx.doi.org/10.1051/shsconf/202315802025.

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As one of the four great tragedies written by the world’s literary giant Shakespeare (1564-1616), Macbeth (1606) has attracted a lot of literary critics. Thus, Lady Macbeth as the most prominent female character in the play, should have been highly discussed. However, scholars at home and abroad have focused on the social background of the play, the tragic image of Macbeth and the supernatural and bloody images in the play. Little domestic research of Lady Macbeth from the feminist criticism can be found. This thesis therefore aims to use traditional feminist criticism as a theoretical basis and the play as an analytical text to study the image of Lady Macbeth. This thesis draws inspiration from feminist Shakespearean criticism and follow its research perspective and methodology to give a new interpretation of Lady Macbeth.
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Mahmood, Wafa Salim. "The Tone of Female Characters in William Shakespeare's As You Like It." Journal of Tikrit University for Humanities 27, no. 6 (August 28, 2020): 57–73. http://dx.doi.org/10.25130/jtuh.27.6.2020.25.

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Studying English literature is insufficient without shedding light on the works of William Shakespeare (1564- 1616). His plays in particular, are rich of significant ideas that give inspiration, controversy and debate for both spectators and critics despite the fact that female characters in Shakespearean plays have less conversation than the male characters. Nevertheless; when they speak, the spectators feel that they seem as they were the backbone of the plays. Their roles are pivotal in the plays and in the development of the plot and undoubtedly, their words and their speeches reflect the mind of the male counterparts. In this respect, the present research is focused on the tone of female characters in Shakespeare’s comedy As you Like it in the light of two points. The first is the focus on how Shakespeare used tone differently for his male and female characters and the other is in what extent the tone is leveled in comedy plays. The aim of the present research is to examine, to understand and to characterize the tone in the boundaries of the context depending on Renaissance period.
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14

Hamlin, William M. "Florio's Montaigne and the Tyranny of “Custome”: Appropriation, Ideology, and Early English Readership of theEssayes*." Renaissance Quarterly 63, no. 2 (2010): 491–544. http://dx.doi.org/10.1086/655233.

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AbstractEarly English readers of Michel de Montaigne (1533–92) annotated their copies of John Florio's (1553[?]–1625) translation with remarkable frequency and vehemence, creating a context within which printed appropriations of the essayist may be fruitfully examined. No topic intrigued these readers more than custom. Drawing from transcriptions of over 4,000 marginal annotations and situating the Montaignean borrowings of William Shakespeare (1564–1616), Sir Francis Bacon (1561–1626), and other English writers within a culture of active reader response, this essay treats the Montaignean account of custom as a case study wherein differences between manuscript and print appropriation may be investigated. Montaigne's reception in seventeenth-century England cannot be understood without scrupulous attention to both traditions.
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15

Fiorani Barreto, Amanda. "Jonson e Shakespeare: a noção de autoria no teatro inglês do início da Era Moderna." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 36 (September 15, 2021): 529–41. http://dx.doi.org/10.12957/palimpsesto.2021.60107.

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No início da Era Moderna inglesa, a colaboração foi a forma de produção textual dominante do teatro renascentista (MASTEN, 1997). O âmbito teatral desse período, portanto, apresenta um conceito bem diferente de autoria em comparação com o que temos atualmente (ORGEL, 1991). O presente artigo se propõe a discutir a noção de autoria dessa era, considerando de que forma Ben Jonson (1572-1637) e William Shakespeare (1564-1616) lidaram com essa questão durante as suas carreiras. Em meio a um contexto em que a colaboração era a prática predominante (WELLS, 2006; GIDDENS, 2010), ambos parecem ter encontrado formas diferentes, porém efetivas de afirmar a sua autoria. Dessa forma, este artigo busca discutir a noção de autoria do início da Era Moderna, levando em conta como esses autores, considerados por muitos os mais representativos do período, lidaram com essa questão.
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16

Mohammad, Asst Instructor Birzo Abdulkadir, and Asst Prof Dr Azad Hamad Sharif. "Ecocritical Consciousness in Shakespeare’s The Winter’s Tale." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 4 (December 17, 2019): 75–94. http://dx.doi.org/10.36473/ujhss.v58i4.1020.

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The present study focuses on the eco critical elements in The Winter’s Tale (1610-1611) by William Shakespeare (1564 –1616), which is an outstanding example of the literary writing communicating ecological consciousness. Having examined William Shakespeare’s contribution to understanding nature it can be stated that nature is one of the key concepts of the author. He was highly aware of the nature and humans connection, importance of nature as both utilitarian and spiritual object. That is why Shakespeare’s concept of nature is colored with mainly positive tones. The most typical words for natural world are “fine” and “beauty”. In contrast to these words one can see the ugliness of the humans’ world – “foul”, that causes climate change, population growth, deforestation, biologically degrading cultivation practices. His creative approach to early modern ecologies licenses critical practices that extend the limits of his period's geophysical knowledge, and that suggests productive analogies with our ecological challenges. Recent ecocritics have been seizing such opportunities to help people rethink environmentally destructive economic and social paradigms
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17

Stander, Danie. ""[L]aat my so hard skel tot die valse vrou": Voorstellings van vroulikheid in Anna Neethling-Pohl se Afrikaanse vertalings van William Shakespeare se Julius Caesar en Antony and Cleopatra." LitNet Akademies 20, no. 3 (November 29, 2023): 893–924. http://dx.doi.org/10.56273/1995-5928/2023/j20n3g2.

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Opsomming In die tydperk 1964–1969 vertaal die aktrise en regisseuse Anna Neethling-Pohl (1906–1992) William Shakespeare (1564–1616) se treurspele Julius Caesar en Antony and Cleopatra in Afrikaans. Neethling-Pohl is die tweede produktiefste Afrikaanse Shakespeare-vertaler, hoewel dié feit nog nie opgeteken is of noemenswaardige akademiese aandag gekry het nie. Haar erflating as aktrise, regisseuse, vervaardiger, omroeper en taalstryder is deeglik geboekstaaf, maar haar bydrae tot die kanon van Afrikaanse dramavertalings, veral met betrekking tot Shakespeare-vertalings, is tot nog toe skraps bespreek. Hierdie artikel se oogmerk is tweërlei: In die eerste plek word Neethling-Pohl gehuldig vir haar uitbreiding van die register van Afrikaanse drama- vertalings (veral van Shakespeare se werk). Deur haar op hierdie manier te vereer, word die aandag gevestig op die onderbesproke onderwerp van middel- tot laat-twintigste-eeuse Afrikaanse vrouevertalers van dramas. Neethling-Pohl word as ’n voorloper op hierdie gebied gekanoniseer. Tweedens word haar Afrikaanse vertalings van Julius Caesar en Antony and Cleopatra bespreek as gendergevoelig van aard. Hierdie ondersoek werp lig op die vertaalstrategieë wat Neethling-Pohl aanwend om die geslagsgebaseerde magsverhoudinge in hierdie twee dramas toe te lig. Daar word veral gekonsentreer op die wyses waarop idiome, verkleinwoorde, skelname, idiolek en geslagsvoornaamwoorde uit die bronteks in die doeltaal omvorm word ten einde die bronteks se genderbegronde temas in die doelteks te verhelder. Daar word in twee opsigte van ’n feministiese benadering tot vertaalstudies gebruik gemaak: Neethling-Pohl word in die besonder as ’n baanbrekende Afrikaanse vrouevertaler bespreek, met inagneming van haar geboekstaafde menings oor geslagsrolverdeling binne die Afrikanernasionalistiese milieu waarin sy haarself bevind het. Daarby word die insigte wat haar vertalings van hierdie dramas deur ’n internasionaal gevierde dramaturg soos Shakespeare oplewer, in verband gebring met die voorstelling van (Suid-)Afrikaanse vroue in ’n (middel-twintigste-eeuse) tydsgewrig, toe die feminisme nog nie soveel aandag getrek het as wat tans die geval is nie. Trefwoorde: Afrikaanse Shakespeare-vertalings; Afrikaanse vrouevertalers van dramas; Anna Neethling-Pohl; feministiese vertaalstudie; (Suid-)Afrikaanse teatervertaling; William Shakespeare
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18

Raupp, Edward R. "Teaching the Big Three: Making Sense of Chaucer, Shakespeare, and Milton." Journal of Education in Black Sea Region 6, no. 2 (May 21, 2021): 44–53. http://dx.doi.org/10.31578/jebs.v6i2.232.

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Arguably, the three most important early writers in the English language – indeed, one might say the founders of the language – are Geoffrey Chaucer (1343-1400), William Shakespeare (1564-1616), and John Milton (1608-1674). Yet our experience at the higher level of education is that students have had little exposure to the life and times of these writers or of their work. Our study shows that, while some Georgian school leavers have been exposed briefly to a bit of Shakespeare, few have chanced to encounter Chaucer and none to Milton. Moreover, while teaching what we might call “The Big Three” of English language and literature, much the same might be said at the master’s level: a bit of Shakespeare, little of Chaucer, and none of Milton. To the extent that students of English as a foreign language encounter any literature at all, they tend to be offered little other than literal translation. “Retell the text.” They miss the nuances of the English language as they would encounter them through the greatest of writers. It is, therefore, essential that those who teach any or all of these great writers develop a strategy to fit the needs of the students while meeting the objectives of the course. The key to making sense of Chaucer, Shakespeare, and Milton is to make connections to what students already know, to their own experiences, to make these greatest of all English writers relevant to the lives of the students in ways they can understand. Keywords: English literature, Chaucer, Shakespeare, Milton
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Mousa Ghanim, Fawziya. "The Moor as a Muslim in William Shakespeare’s Othello." European Journal of Social Science Education and Research 5, no. 1 (April 1, 2018): 150–56. http://dx.doi.org/10.2478/ejser-2018-0016.

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Abstract The portrait of Muslim and Islam had an effective impact on the Elizabethan stage. It was dramatized paradoxically at the stage. Mostly , Muslims (Turk, Moors, Arabs and Persian) were represented as outsiders, infidels, lustful, violent people and barbarian. At the same time, they were regarded as a great threat to Europe, particularly after the expanses of Ottoman empire. The alliance of Queen Elizabeth with the Ottoman Empire represented by its Sultan Murad 11 had opened a new era of communication, policies and cultural exchange. The Elizabethan playwrights ' writings and imagination were influenced by the tales and stories that narrated about Muslims and their actions. The stories were narrated by captives, travelers politician and traders. In addition, the Elizabethan people kept the Medieval distorted image towards Muslims' characterization . William Shakespeare(1564-1616) portrayed a controversial image of a Muslim who converted to Christianity in his famous play Othello. The study aims at analyzing the Moor's character as a Muslim and his paradoxical action throughout William Shakespeare's Othello. The paper is divided into three sections; the first one is a brief introduction. It is concentrated on the western perspective of Islam, Prophet Muhammad and the eastern people, the second section deals with the Muslim's visage on Elizabethan stage, the third section discusses the contradicting and paradoxical Islam-Christian image of Othello. The Conclusion sums up to the findings of the paper.
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Machado, Douglas William. "Costumes como determinantes do ser em Hamlet." Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 2, no. 1 (February 15, 2013): 24–40. http://dx.doi.org/10.69969/revistababel.v2i1.218.

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O presente trabalho pretende refletir sobre os Costumes como determinantes do Ser focalizada na obra Hamlet (1601), de William Shakespeare (1564-1616). A leitura proposta toma como base a filosofia de Friedrich Wilhelm Nietzsche (1844-1900) e Arthur Schopenhauer (1788-1860), com suas visões ancoradas no Niilismo e no Pessimismo, constituintes amplamente observados na obra do dramaturgo inglês, cuja escrita - que influenciou os filósofos mencionados - temos como objeto de estudo. “Ser ou não ser, eis a questão.” Tal citação norteia a problemática que instigou o desenvolvimento do presente trabalho. Os escritos de Shakespeare vão ao âmago do que foi, posteriormente, popularizado e devidamente teorizado pela filosofia existencialista que teve em Sartre (1905-1980), sob influência da fenomenologia de Heidegger (1889-1976), sua teorização de fato, o que vale ser observado, uma vez que o termo já era usado por outras correntes filosóficas (desde Sócrates até pensadores contemporâneos como Schopenhauer e Nietzsche), nas quais encontramos seus elementos - a existência e o sujeito como ponto de partida para a explicação do mundo tido como sem sentido e não passível de abstração. Discutir o que pode colocar os Costumes como determinantes deste Ser para o autor contribui para o entendimento de um dos maiores cânones da literatura universal.
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Paixão, Alexandre Silva da. "DA JANELA À SEPULTURA: ENCONTROS DE ROMEU E JULIETA APROPRIADOS POR ÁLVARES DE AZEVEDO." Travessias Interativas, no. 25 (July 5, 2022): 349–64. http://dx.doi.org/10.51951/ti.v12i25.p349-364.

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Com a implantação do teatro no Brasil do século XIX, algumas peças de William Shakespeare (1564-1616) foram encenadas tanto por meio de adaptações elaboradas por João Caetano quanto por intermédio de versões originais apresentadas por companhias italianas. Este contato causou um efeito visceral no público, surgindo a mania de ler e dialogar com as obras shakespearianas, referenciando-as em seus textos. Esta pesquisa se alinha à literatura comparada e intenta estabelecer relações de Romeu e Julieta com a obra de Álvares de Azevedo (1831 - 1852), poeta da segunda fase romântica brasileira. Ademais, fundamenta-se nos estudos de Carvalhal (2006), Nitrini (2010) e Sant’anna (1988) sobre apropriação, comparatismo e recepção literária e em Amaral (2006) que traçou apontamentos acerca da presença do dramaturgo inglês na produção azevediana. Analisaram-se qualitativamente alguns textos do poeta paulista para verificar semelhanças e dessemelhanças entre os autores, com o objetivo de entender as razões pelas quais o jovem escritor fez essas menções incisivas à tragédia supracitada. Dessa forma, observaram-se três encontros significativos das personagens shakespearianas apropriados direta e indiretamente pelo autor brasileiro.
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Alacoque, X., R. Fesseau, K. Hadeed, G. Chausseray, S. Hascoet, B. Leobon, and P. Acar. "Make use of time, let not advantage slip – How this William Shakespeare (1564–1616) quote lead us to optimize occlusion time for balloon dilatations –." Archives of Cardiovascular Diseases 107, no. 8-9 (August 2014): 486. http://dx.doi.org/10.1016/j.acvd.2014.07.008.

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23

Shrestha, Rupak. "Juxtaposing Sama’s Bhimsenko Antya with Shakespeare’s Richard II." JODEM: Journal of Language and Literature 11, no. 1 (December 31, 2020): 155–66. http://dx.doi.org/10.3126/jodem.v11i1.34823.

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The works of William Shakespeare (1564-1616) have occasioned such a history of being altered to fit new historical periods, new cultures and new media that they have dominated literary studies related to the term „adaptation‟. Adaptation of a main source into different trans-genres, such as graphic novels, movies, performances on different kinds of stages, and indeed translations, are the study area of Adaptation Theory. The goal of an adaptation is to transfer works from one culture and language to make them usable for another culture and society. This research paper offers a comparative approach to two different plays produced in two different cultures, which have to date been regarded as wholly independent. As I will show, of the two, the source play, or „hypo text‟, is William Shakespeare’s historical tragedy King Richard II (text „A‟), while I will juxtapose Balalkrishna Samas play Bhimsenko Antya [The Doom of Bhimsen as a hypertext (text „B‟), which I will analyse in the light of Adaptation Theory. The paper shows that the plots and characters of the two plays are closely interrelated. Fourteen major incidents correspond closely between the main source and the adapted version, along with broad similarities in settings, even where characterizations of the principal characters suggest a diverging relationship with the hypo text. Sama‟s The Doom of Bhimsen, in short, is an appropriation of Shakespeare’s King Richard II, newly contextualized to Nepalese history and culture while being produced as a completely new Nepalese product. As this aspect of Sama’s play has never previously been explored; this research paper brings a breakthrough in the study of Nepalese literary history, and at the same time, makes a fresh contribution widening the area of adaptation theory.
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Borges, Luiz Paixao. "La poética implícita en Enrique V y Hamlet de William Shakespeare." telondefondo. Revista de Teoría y Crítica Teatral, no. 37 (May 24, 2023). http://dx.doi.org/10.34096/tdf.n37.12710.

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La reflexión sobre los procedimientos dramatúrgicos, el trabajo del actor y la puesta en escena teatral, promovida por William Shakespeare (1564-1616), dentro de algunas de sus obras, adquiere el estatus de Poética Implícita en dos obras escritas en la madurez de su dramaturgia: Enrique V (1599) y Hamlet (1601). Si bien Shakespeare no se ha dedicado a la elaboración de una teoría sobre el drama, el presente trabajo sustenta la existencia de una poética configurada dentro de las mencionadas obras teatrales, que contribuye a la comprensión del modelo teatral isabelino. En este sentido, nos detendremos, por un lado, en la apelación al ejercicio de la imaginación por parte del público como forma de superar las carencias de la escena (Enrique V), y, por otro, en la relación de Hamlet con el teatro y su creación de un personaje metateatral, aquí considerado como su doble, dando un carácter práctico a sus reflexiones teóricas (Hamlet).
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Quintana, Tiago. "O corpo divino do rei e o direito de punir: a legitimidade da vingança em “Hamblet”." Revista Veredas da História 8, no. 2 (December 28, 2015). http://dx.doi.org/10.9771/rvh.v8i2.48156.

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Na França renascentista do séc. XVI, François de Belleforest (1530-1583) reconta a história de Hamblet em sua obra Histoires tragiques, história essa que servirá de inspiração para a tragédia elisabetana do séc. XVII A trágica história de Hamlet, príncipe da Dinamarca, de William Shakespeare (1564-1616). Ambas são histórias sobre vinganças nas quais os protagonistas têm de matar os tios para obterem justiça pelos assassinatos dos pais. A proposta deste artigo é realizar uma análise de discurso crítica da narrativa sobre Hamblet a fim de se estudar os discursos sobre o ato da vingança na mesma.
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Santos, Marlene Soares dos. "SHAKESPEARE: criador e criatura." Matraga - Revista do Programa de Pós-Graduação em Letras da UERJ 27, no. 49 (February 3, 2020). http://dx.doi.org/10.12957/matraga.2020.48110.

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No auge da popularidade e prestígio do teatro elisabetano-jaimesco, William Shakespeare (1564-1616) era um autor como muitos outros. Depois que ele se aposentou em 1611, outros dramaturgos continuaram produzindo peças que asseguravam a merecida fama de excelência desse teatro. Em 1623, a publicação do chamado First Folio, que reunia todas as peças shakespearianas, reacendeu o interesse pelo dramaturgo. Entretanto, o fechamento dos teatros pelo governo puritano em 1642 causou um enorme dano à arte teatral, que só se recuperou em 1660, com a volta de Charles II ao poder. Entretanto, as peças shakespearianas não eram as preferidas na Restauração. Paulatinamente, a partir de 1769, com as famosas comemorações do Jubileu do aniversário de Shakespeare em Stratford promovidas pelo ator David Garrick se inicia a ascensão de Shakespeare como poeta nacional e, com o passar do tempo, como poeta global. Ele é aclamado como um excepcional criador de personagens que marcaram indelevelmente as literaturas e as culturas anglo-saxônicas e mundiais. O próprio Shakespeare passa de criador a criatura na literatura popular, anunciante dos mais diversos produtos e vendedor de outros como os vários tipos de souvenirs. Este ensaio propõe traçar a mudança de status de Shakespeare como autor, do seu relativo esquecimento no período da Restauração para o seu atual prestígio nacional e global devido à sua excepcional capacidade criativa, e apontar para a outra fase da sua trajetória – a de criador de várias obras à criatura de vários criadores.
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27

-, Gayatri Goswami. "Hemchandra Goswami’s Beloved’s Letter and William Shakespeare’s Sonnet 116: A Comparative Analysis." International Journal For Multidisciplinary Research 6, no. 1 (February 29, 2024). http://dx.doi.org/10.36948/ijfmr.2024.v06i01.14183.

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Hemchandra Goswami (1872-1928), representing a vibrant voice- being one amongst the Romantic-trio of Jonaki Era of Assamese literary world establishing a new spirit and William Shakespeare (1564-1616), the greatest dramatist and poet of the Elizabethan Age of British literary world predicate ample scope to investigate exploring various literary aspects though belonging to diverse world spatially and temporally. So, here in this research paper it is endeavoured to make a comparative analysis of the two poets considering chiefly the dominant thematic aspect of love along with stylistic aspects characterizing the poetic world of both the poets like style and form with reference to the two specific poems Hemchandra Goswami’s Priyotomar chithi translated as The Beloved’s Letter and Shakespeare’s Sonnet 116. The passion of love emanates from human heart as spontaneous expression and therefore its literary manifestation is very obvious in any genre of literature-whether it is poetry, novel, drama, short story or any other. The theme of love has a universal appeal- from temporal point of view, this theme is found in the creations of any age as well as its prominence in the creations of all literary manifestations irrespective of space such as in British, American, Indian, Assamese etc. Moreover, Hemchandra Goswami’s The Beloved’s Letter is regarded as the first Assamese sonnet and Shakespeare’s sonnets have always been widely acclaimed and acknowledged as the classic creation. So, understanding of the two sonnets belonging to diverse space and time would be an impelling force to negotiate the ideas impartially and scientifically which may have a substantial bearing on the existing knowledge. Thus, this paper is an attempt to make a comparative analysis of these two literary stalwarts exploring the literary realm of Hemchandra Goswami and William Shakespeare particularly taking into account The Beloved’s Letter by Hemchandra Goswami and Sonnet 116 by William Shakespeare.
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28

Green, William. "Comedy and Plague in the Time of Covid: The BBC's Upstart Crow: Lockdown Christmas 1603." Ubiquity Proceedings, December 20, 2022, 38–44. http://dx.doi.org/10.5334/uproc.57.

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The BBC’s Upstart Crow, created and scripted by Ben Elton, is a British situation comedy loosely based on the life and career of the early modern dramatist William Shakespeare (1564-1616). Beginning in 2016, as part of worldwide commemorations of the 400th anniversary of the writer’s death, the show has gone on to provide viewers with a more irreverent take on this most well-known of playwrights for a total of three series thus far, repeatedly inviting favourable comparisons to the 1980s historical comedy series Blackadder (1983-9), on which Elton also previously worked. On 21 December 2020, however, a special episode of the sitcom aired which altered its tone and style considerably. The article first considers how the episode’s tone and representation of social isolation sets it apart from the show’s established formula. It then considers how this episode seeks to relate its viewers’ experience of the contemporary Covid-19 pandemic to the experience of plague in early modern England. Finally, the article explores how the episode takes inspiration from Shakespeare’s own life experiences and, more specifically, from his Jacobean tragedy Macbeth in order to construct a poignant reflection of the social isolation experienced by so many of the episode’s anticipated audiences over the previous year.
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