Relevant bibliographies by topics / Shakespeare, William, Johnson, Samuel

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Academic literature on the topic 'Shakespeare, William, Johnson, Samuel'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Shakespeare, William, Johnson, Samuel"

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Poštić, Svetozar. "To Act or not to Act: How Coleridge Changed the Way We See Hamlet." Respectus Philologicus 26, no. 31 (2014): 133–43. http://dx.doi.org/10.15388/respectus.2014.26.31.10.

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Exactly 200 years ago, from 1811 to 1819, Samuel Taylor Coleridge, one of the most famous English Romantic poets, held a series of influential lectures about William Shakespeareand his plays. His presentation of “Hamlet”, a play hitherto not only negatively appraised, but even viewed quite negatively by the leading critics, most notably Samuel Johnson, was especially significant. His insightful analysis helped to change the general opinion about the play, and pointed to the qualities of “Hamlet” that made it into perhaps the best known and most frequently played drama in the next 200 years. In this paper, I examine the way Coleridge was able to recognise the neglected features of Shakespeare’s profound tragedy up to that point. First of all, he identified with the main protagonist of the play, the Prince of Denmark, and described the unbridgeable gap between ambitions and power of imagination on the one hand, and inability to act on the other. Like Hamlet, Coleridge had "great, enormous, intellectual activity, and a consequent proportionate aversion to real action" (Coleridge 2014: 345). Aware of this shortcoming, but unable to correct it, the extremely talented and educated Coleridge presented it in fascinating detail. Secondly, he used his knowledge of the most influential contemporary philosophers, especially Kant, Locke and Hobbes, and the increasingly popular psychological approach to character analysis in order to paint an internal portrait of leading characters of the play. Due to the increasingly popular trend in recent literary theory and analysis focusing on the political and material context of an art work, the universal qualities of Coleridge's intepretation of “Hamlet” that contributed to the lasting influence of his critique have been largely neglected. This article intends, therefore, to re-establish the significance of Coleridge's “Hamlet” lectures
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Sherbo, Arthur, and Edward Tomarken. "Samuel Johnson on Shakespeare. The Discipline of Criticism." Shakespeare Quarterly 47, no. 1 (1996): 92. http://dx.doi.org/10.2307/2871067.

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Hall, Michael L. "Samuel Johnson on Shakespeare: The Discipline of Criticism (review)." Philosophy and Literature 17, no. 1 (1993): 130–32. http://dx.doi.org/10.1353/phl.1993.0069.

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Stewart, Mary Margaret. "William Collins, Samuel Johnson, and the Use of Biographical Details." Studies in English Literature, 1500-1900 28, no. 3 (1988): 471. http://dx.doi.org/10.2307/450597.

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McDonald, Stuart W. "William Cruikshank (1745-1800), anatomist and surgeon, and his illustrious patient, Samuel Johnson." Clinical Anatomy 28, no. 7 (2015): 836–43. http://dx.doi.org/10.1002/ca.22567.

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Sharma, Om P. "Medicine in Dr Samuel Johnson's Dictionary of the English Language." Journal of Medical Biography 19, no. 4 (2011): 171–76. http://dx.doi.org/10.1258/jmb.2011.011014.

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When compiling the Dictionary of the English Language, Johnson read and annotated over two hundred thousand passages from innumerable English authors of various disciplines across four centuries. Most of the literary anecdotes came from Shakespeare, Milton, Dryden and Pope. The medical and scientific anecdotes came from 31 scientists, physicians, pharmacologists and surgeons. This reflects Johnson's admiration for science and its benefit to the public. He told Boswell, ‘Why Sir, if you have but one book with you upon a journey let it be a book of science. When you read through a book of entertainment, you know it, and it can do no more for you, but a book of science is inexhaustible’.
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Pigman,, G. W. "The Wife of Bath's Prologue on CD-ROM Geoffrey Chaucer Peter Robinson Norman Blake Daniel W. Mosser Stephen Partridge Elizabeth Solopova A Dictionary of the English Language on CD-ROM: The First and Fourth Editions Samuel Johnson Anne McDermott The Works of John Ruskin on CD-ROM: The Library Edition John Ruskin E. T. Cook Alexander Wedderburn Michael Wheeler James S. Dearden The Arden Shakespeare CD-ROM: Texts and Sources for Shakespeare Studies William Shakespeare Jonathan Bate De Humani Corporis Fabrica [on CD-ROM] Andreas Vesalius Sidereus Nuncius [on CD-ROM] Galileo Galilei Poems [on CD-ROM] William Shakespeare Areopagitica [on CD-ROM] John Milton Micrographia [on CD-ROM] Robert Hooke Optics [on CD-ROM] Isaac Newton Experiments and Observations on Electricity [on CD-ROM] Benjamin Franklin Manuale Tipografico [on CD-ROM] Giambattista Bodoni." Huntington Library Quarterly 61, no. 1 (1998): 115–26. http://dx.doi.org/10.2307/3817627.

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Zook, Melinda. "Early Whig Ideology, Ancient Constitutionalism, and the Reverend Samuel Johnson." Journal of British Studies 32, no. 2 (1993): 139–65. http://dx.doi.org/10.1086/386026.

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In 1833, Samuel Taylor Coleridge wrote, “I do not know where I could put my hand upon a book containing so much sense with sound constitutional doctrine as this thin folio of Johnson's works.” The “Johnson” to whom Coleridge referred was not the celebrated Doctor Samuel Johnson of the eighteenth century but instead the late seventeenth-century Whig clergyman, the Reverend Samuel Johnson. Reverend Johnson's single volume of complete works impressed Coleridge; he scribbled laudatory remarks throughout the margins of a 1710 edition. Coleridge admired the directness of Johnson's style and his persuasive method of argumentation. Johnson would have appreciated Coleridge's comments. They reflected the way he himself understood his work—as sound constitutional doctrine, plainly put.Yet for all its clarity and consistency, Johnson's political thinking was not always appreciated by England's political elite of the 1680s and 1690s. The implications of Johnson's political ideas—much like those of his contemporary John Locke—were understood as far too revolutionary and destabilizing. However, Johnson's fiery prose and sardonic wit often proved useful to the political opposition: from the Whig exclusionists of the early 1680s, to the supporters of William and Mary in 1688/89, to the radical Whigs and country Tories of the 1690s and early eighteenth century.Johnson's career as a Whig propagandist spanned 1679 to 1700. Among his contemporaries, he was undoubtedly most renowned for his strident anti-Catholicism and for the brutal punishments that he endured for his radical politics.
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Barry, Elizabeth. "The Long View: Beckett, Johnson, Wordsworth and the Language of Epitaphs." Samuel Beckett Today / Aujourd'hui 18, no. 1 (2007): 47–60. http://dx.doi.org/10.1163/18757405-018001004.

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This article will investigate the idiom of death and memorialization in Beckett's work in relation to two particularly distinguished students of the epitaph, Samuel Johnson and William Wordsworth, and consider how Beckett negotiates the different expectations of writing about death that each figure has bequeathed. It will examine Beckett's exploration, following that of Wordsworth, of how far writing about the dead can borrow, imaginatively, from the 'dispassionate' and 'all-equalising' perspective of death itself, and also consider Beckett's particularly laconic treatment of the difficulty in avoiding, as the Romantic poet put it, a certain 'triteness' in the summation of a life.
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Sukic, Christine. "« The title of a poet » : autorité et auctorialité dans les sonnets de William Shakespeare, de Samuel Daniel et de sir Philip Sidney1." Actes des congrès de la Société française Shakespeare, no. 24 (November 1, 2007): 53–68. http://dx.doi.org/10.4000/shakespeare.1023.

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Dissertations / Theses on the topic "Shakespeare, William, Johnson, Samuel"

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Castro, Diego de. "A reavaliação da doutrina das unidades no Preface to Shakespeare (1765) : o prenúncio da ruptura com o Ancien Régime." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8731.

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Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-05-08T12:32:21Z No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5)<br>Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-10T14:13:38Z (GMT) No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5)<br>Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-10T14:13:46Z (GMT) No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5)<br>Made available in DSpace on 2017-05-10T17:47:53Z (GMT). No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) Previous issue date: 2016-08-16<br>Não recebi financiamento<br>The objective of this dissertation is demonstrate by means of a dialectical reading of Preface to Shakespeare (1765) by Samuel Johnson (1709-1784), that the reassessment of the doctrine of the units (action, time and place) no solely unveil the breaking of the English literary criticism with the classical aesthetic but the sign of a deep breaking of the English capitalist society from the eighteenth century with Ancien Régime. The issue (the reassessment of the doctrine of the units) consists in the defense that Johnson does in favor of Shakespeare's plays against the censures of other neoclassical critics, these influenced by French classicism. The defense that English critic undertook in favor of the English poet‘s dramas against the reproaches of neoclassical critics anticipated the rupture of the English criticism with the classical aesthetic. The proposal is treating of the literary and philosophical aspects involved in the chief theme, at last to amplify the horizon of reading through of the notions of structure of feeling by Raymond Williams (1977) and political unconscious by Jameson (1992).<br>O objetivo desta dissertação é demonstrar, por meio de uma leitura dialética do Preface to Shakespeare (1765) de Samuel Johnson (1709-1784), que a reavaliação das doutrinas das unidades (ação, tempo e lugar) não revela somente a ruptura da crítica literária inglesa com a estética clássica, mas o prenúncio de uma ruptura profunda da sociedade capitalista inglesa do século XVIII com o Ancien Régime. A seguinte questão (a reavaliação da doutrina das unidades) consiste na defesa que Johnson faz a favor das peças de Shakespeare, contra as censuras de outros críticos neoclássicos, estes influenciados pelo Classicismo francês. A defesa que Johnson empreende a favor dos dramas do poeta inglês, contra a acusação dos críticos neoclássicos, antecipa a ruptura da crítica inglesa com a estética clássica. A proposta é tratar dos aspectos literários e filosóficos envolvidos no tema principal, e por fim, ampliar o horizonte de leitura, através dos conceitos de structure of feeling de Raymond Williams (1977) e inconsciente político de Jameson (1992).
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Carney, Thomas E. "A religious conflict in education the King's College controversy as a historical precedent to separation of church and state, 1752-1756 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2207.

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Thesis (Ph. D.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains vii, 237, 5 p. Vita. Includes abstract. Includes bibliographical references (p. 226-237).
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Wedge, Lucius G. "Andrew Johnson and the Ministers of Nashville: A Study in the Relationship Between War, Politics, and Morality." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374506911.

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Wright, Alexander Robert. "William Cave (1637-1713) and the fortunes of Historia Literaria in England." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278574.

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This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.
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Mansour, Abdelkader. "Représentation du corps et interculturalité : étude comparative de textes et de mises en scène : Canada, Tunisie, France, Italie (Shakespeare, Molière, Ionesco, Beckett)." Nice, 1999. http://www.theses.fr/1999NICE2031.

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Dans ce travail nous avons essayé d'interroger le rôle du corps entre le texte et la représentation et de voir dans quelles mesures il véhicule des éléments culturels. Les pièces et les représentations choisies sont de pays différents : La Mégère apprivoisée de Shakespeare produite au Canada, L'Ecole des femmes de Molière produite en Italie, Les Chaises de Ionesco produites en Tunisie et en Attendant Godot de Beckett produit en France. Nous avons structuré notre recherche en cinq parties basées sur trois axes. Le premier cherche à saisir la particularité des approches selon lesquelles fonctionne d'une part le texte, d'autre part la mise en scène. Il a pour but de comprendre la nature des outils avec lesquels auteur et metteur en scène travaillent. Cette étude permet, dans un second temps, de comparer l'image du corps produite d'après le texte à celle qui est produite par la représentation. Le troisième axe de notre étude essaye d'identifier la particularité du travail corporel et s'interroge sur les éléments culturels dont il est porteur. Ce travail prend pour appuie l'analyse des techniques de l'acteur les matériaux du travail du corps : l'énergie, l'émotion, la forme, le rythme, l'espace, l'interculturalité et les influences qu'elle exerce sur sa création théâtrale contemporaine.
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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.

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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Chiou, Tim Yi-Chang. "Romantic posthumous life writing : inter-stitching genres and forms of mourning and commemoration." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:1a316a0f-7365-4555-8bc8-9e09b47ec674.

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Contemporary scholarship has seen increasing interest in the study of elegy. The present work attempts to elevate and expand discussions of death and survival beyond the ambit of elegy to a more genre-inclusive and ethically sensitive survey of Romantic posthumous life writings. Combining an ethic of remembrance founded on mutual fulfilment and reciprocal care with the Romantic tendency to hybridise different genres of mourning and commemoration, the study re- conceives 'posthumous life' as the 'inexhaustible' product of endless collaboration between the dead, the dying and the living. This thesis looks to the philosophical meditations of Francis Bacon, John Locke and Emmanuel Levinas for an ethical framework of human protection, fulfilment and preservation. In an effort to locate the origin of posthumous life writing, the first chapter examines the philosophical context in which different genres and media of commemoration emerged in the eighteenth century. Accordingly, it will commence with a survey of Enlightenment attitudes toward posthumous sympathy and the threat of death. The second part of the chapter turns to the tangled histories of epitaph, biography, portraiture, sepulchre and elegy in the writings of Samuel Johnson, Henry Kett, Vicesimus Knox, William Godwin and William Wordsworth. The Romantic culture of mourning and commemoration inherits the intellectual and generic legacies of the Enlightenment. Hence, Chapter Two will try to uncover the complex generic and formal crossovers between epitaph, extempore, effusion, elegy and biography in Wordsworth's 'Extempore Effusion upon the Death of James Hogg' (1835-7) and his 'Epitaph' (1835-7) for Charles Lamb. However, the chapter also recognises the ethical repercussions of Wordsworth's inadequate, even mortifying, treatment of a fellow woman writer in his otherwise successful expression of ethical remembrance. To address the problem of gender in Romantic memorialisation, Chapter Three will take a close look at Letitia Elizabeth Landon' s reply to Wordsworth's incompetent defence of Felicia Hemans. Mediating the ambitions and anxieties of her subject, as well as her public image and private pain, 'Felicia Hemans' (1838) is an audacious composite of autograph, epitaph, elegy, corrective biography and visual portraiture. The two closing chapters respond to Thomas Carlyle's outspoken confidence in 'Portraits and Letters' as indispensable aids to biographies. Chapter Four identifies a tentative connection between the aesthetic of visual portraiture and the ethic of life writing. To demonstrate the convergence of both artistic and humane principles, this cross-media analysis will first evaluate Sir Joshua Reynolds's memoirs of his deceased friends. Then, it will compare Wordsworth's and Hemans's verse reflections on the commemorative power and limitation of iconography. The last chapter assesses the role of private correspondence in the continuation of familiar relation and reciprocal support. Landon's dramatic enactment of a 'feminine Robinson Crusoe' in her letters from Africa urges the unbroken offering of service and remembrance to a fallen friend through posthumous correspondence. The concluding section will consider the ethical implications for the belated memorials and services furnished by friends and colleagues in the wake of her death.
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Jesus, Leila Vieira de. "A study of fools : Lear's fool in Shakespeare's King Lear and Vladimir and Estragon in Beckett's Waiting for Godot." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/54076.

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O foco dessa dissertação é analisar o papel, as características, e a presença dos bobos ao longo da história, focando em sua constante aparição no teatro. Os personagens principais da minha análise serão o Bobo, na peça Rei Lear de William Shakespeare, e Vladimir e Estragon, na peça Esperando Godot de Samuel Beckett. Na análise desses personagens, discuto semelhanças entre os autores, que já foram notadas por críticos como Martin Esslin, Jan Kott, e Northrop Frye, e mostro como os personagens de Beckett são similares aos bobos de Shakespeare. Bobos, no teatro, frequentemente agem como mediadores entre o palco e a plateia, guiando os espectadores e falando verdades. O Bobo de Lear diz verdades criticando seu mestre e o lembrando das decisões erradas que ele tomou; os personagens em Esperando Godot dizem verdades sobre a falta de sentido de nossas vidas e, mais importante, nos mostram essa falta de sentido no decorrer da peça. Em relação à linguagem, o uso dela pelos bobos é diferente do uso dos outros personagens porque eles a manipulam para criar desentendimentos e jogos de palavras. No teatro de Shakespeare, a principal razão para esse uso peculiar da linguagem é que os bobos querem mostrar sua sagacidade; no teatro de Beckett, eles usam uma linguagem sem sentido para mostrar que ela está quebrada e que tentativas de comunicação são inúteis. Através das ações e diálogos dos bobos de Beckett em Esperando Godot, podemos ver que a vida é absurda e que vivemos em um mundo cheio de incertezas. Apesar de personagens bobos geralmente serem vistos como superficiais e insignificantes, especialmente nas peças de Shakespeare, eles são extremamente importantes no teatro e têm uma maneira única de interagir com os outros personagens e com o público.<br>The focus of this thesis is to analyze the role, characteristics, and presence of fools throughout history, focusing on their recurrence in the theater. The characters I will focus on are Lear's Fool in William Shakespeare's King Lear, and Vladimir and Estragon in Samuel Beckett's Waiting for Godot, discussing similarities between the two authors, which have been mentioned by critics such as Martin Esslin, Jan Kott and Northrop Frye, and showing how Beckett's characters are similar to Shakespearean fools. Fools in the theater often act as mediators between the stage and the audience, guiding spectators and telling truths. Lear's Fool tells truths by criticizing his master and reminding him of the wrong decisions he has made; the characters in Waiting for Godot tell truths about the meaninglessness of life and, most importantly, show us this meaninglessness throughout the play. The use of language by fools is different from that of other characters because they manipulate it to create misunderstandings and word games. In Shakespeare's theater, the main reason for this peculiar use of language is that fools want to show their wit; in Beckett's theater, the characters use nonsensical language to show that language has broken down and that attempts at communication are pointless. Through the actions and dialogues of Beckett's fools in Waiting for Godot, we can see that life is absurd and that we live in a world full of uncertainties. In spite of the fact that fool characters are often seen as shallow and insignificant, especially in Shakespeare's theater, they are of extreme importance in the theater and have a unique manner of interacting with other characters and with the audience.
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Lake, Meredith Elayne. "'Such Spiritual Acres': Protestantism, the land and the colonisation of Australia 1788 - 1850." University of Sydney, 2008. http://hdl.handle.net/2123/3983.

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Doctor of Philosophy<br>This thesis examines the transmission of Protestantism to Australia by the early British colonists and its consequences for their engagement with the land between 1788 and 1850. It explores the ways in which colonists gave religious meaning to their surrounds, particularly their use of exile and exodus narratives to describe journeying to the colony and their sense of their destination as a site of banishment, a wilderness or a Promised Land. The potency of these scriptural images for colonising Europeans has been recognised in North America and elsewhere: this study establishes and details their significance in early colonial Australia. This thesis also considers the ways in which colonists’ Protestant values mediated their engagement with their surrounds and informed their behaviour towards the land and its indigenous inhabitants. It demonstrates that leading Protestants asserted and acted upon their particular values for industry, order, mission and biblicism in ways that contributed to the transformation of Aboriginal land. From the physical changes wrought by industrious agricultural labour through to the spiritual transformations achieved by rites of consecration, their specifically Protestant values enabled Britons to inhabit the land on familiar material and cultural terms. The structural basis for this study is provided by thematic biographies of five prominent colonial Protestants: Richard Johnson, Samuel Marsden, William Grant Broughton, John Wollaston and John Dunmore Lang. The private and public writings of these men are examined in light of the wider literature on religion and colonialism and environmental history. By delineating the significance of Protestantism to individual colonists’ responses to the land, this thesis confirms the trend of much recent British and Australian historiography towards a more religious understanding of the eighteenth and early nineteenth centuries. Its overarching argument is that Protestantism helped lay the foundation for colonial society by encouraging the transformation of the environment according to the colonists’ values and needs, and by providing ideological support for the British use and occupation of the territory. Prominent Protestants applied their religious ideas to Australia in ways that tended to assist, legitimate or even necessitate the colonisation of the land.
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Vives, Rofes Gema. "Polémicas Teatrales del siglo XVIII en España y en Inglaterra." Doctoral thesis, Universitat Pompeu Fabra, 2001. http://hdl.handle.net/10803/666498.

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En la primera parte de la tesis se establece una comparación entre dos obras metateatrales de finales del siglo XVIII, La comedia nueva de Leandro Fernández de Moratín y The Critic de Sheridan. Estas obras son examinadas en el contexto de las polémicas teatrales que se produjeron durante el siglo en España y en Inglaterra. La segunda parte de la tesis explora las razones de una discrepancia. A pesar de ser muchas las similitudes entre el panorama teatral dieciochesco en los dos países, en España la solución a un panorama que los neoclásicos consideran deplorable se plantea en términos de una “reforma” y esta es auspiciada por el gobierno; en Inglaterra no sucede nada parecido. En esta parte del trabajo se parte de algunas obras de crítica capitales y, al hilo de los temas que tratan sus autores, se examina el distinto valor, peso o significado de algunos “telones de fondo” de la crítica inglesa y española de la época: el patriotismo, la religión, la política… De esta manera se llega a las diferencias en las circunstancias históricas de ambos países que contribuyen a explicar la ausencia de una “guerra teatral” en Inglaterra. Así, por ejemplo, un factor que modifica sustancialmente la simetría del paralelismo que en principio pudiera establecerse entre las polémicas teatrales que se dan en ambos países es el religioso. Debido al papel que los puritanos habían desempeñado en la historia de Inglaterra, los ataques virulentos al mundo teatral son allí ligeramente sospechosos, y ni el gobierno whig ni la monarquía de Hanover se plantearon intervenir activamente en una reforma teatral. Pero los puritanos y las clases medias, de gustos más remilgados que el público de la Restauración, tuvieron la fuerza suficiente como para influir en el curso del teatro creando un clima del que nació la comedia sentimental.<br>In the first part of the thesis a comparison is drawn between two metatheatrical plays from the end of the 18th century, Leandro Fernández de Moratín’s La comedia nueva and Sheridan’s The Critic. These plays are examined in the context of the theatrical controversies that took place during the 18th century in England and Spain. In the second part of the thesis the reasons for a disparity are explored; for even though the theatrical situation in both countries is very similar, in Spain the answer to a theatrical scene considered deplorable by the neoclassicists is presented in terms of a “reform”, which is moreover backed by the government. Nothing of the kind happens in England. In this part of the thesis, and starting from some capital critical works and the topics discussed by their authors, I look into the different value, weight or meaning of a few “backdrops” in Spanish and English criticism of the time: patriotism, religion, politics… This brings us to the differences in the historical circumstances of both countries that help to explain the absence of a “theatrical war” in England. Religion, for instance, is one factor that substantially modifies the symmetry of the parallelism that could initially be established between the theatrical polemics that take place in both countries. Owing to the role the Puritans had played in the history of England, virulent attacks on the theatre are slightly suspect there, and neither the Whig administration nor the Hanoverian monarchy considered actively intervening in a theatrical reform. But the Puritans and the middle classes, more prudish in their tastes than the audience of the Restoration, had enough weight to affect the course of the drama by creating an atmosphere out of which the sentimental comedy was born.
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Books on the topic "Shakespeare, William, Johnson, Samuel"

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Samuel, Johnson. Samuel Johnson on Shakespeare. Penguin Books, 1989.

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Samuel Johnson on Shakespeare: The discipline of criticism. University of Georgia Press, 1991.

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Samuel, Johnson. Selections from Johnson on Shakespeare. Yale University Press, 1986.

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Samuel, Johnson. Johnson on Shakespeare: Selections from Samuel Johnson's edition of the plays including notes by Pope, Theobald, Hanmer and Warburton. Yale University Press, 1986.

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Shakespeare, William. The dramatic works of William Shakespeare, with the corrections and illustrations of Dr. Johnson, G. Steevens, and others. G. Dearborn, 1989.

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Literary authors, parliamentary reporters: Johnson, Coleridge, Hazlitt, Dickens. Cambridge University Press, 2012.

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Joyce, T.S. Eliot, Auden, Beckett. Continuum, 2012.

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Tomarken, Edward. Samuel Johnson on Shakespeare: The Discipline of Criticism. University of Georgia Press, 2009.

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Johnson's Shakespeare. Oxford University Press, USA, 1991.

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Francis, David, and Edmund Munroe. The Dramatick Works of William Shakespeare: Printed Complete, with D. Samuel Johnson's Preface and Notes. to Which Is Prefixed the Life of the Author. Franklin Classics Trade Press, 2018.

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Book chapters on the topic "Shakespeare, William, Johnson, Samuel"

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Morrissey, Lee. "Samuel Johnson (1709–1784) from “Preface to the Plays of William Shakespeare” (1765)." In Debating the Canon: A Reader from Addison to Nafisi. Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-04916-2_4.

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"SAMUEL JOHNSON on Macbeth, 1745." In William Shakespeare. Routledge, 2002. http://dx.doi.org/10.4324/9780203197912-20.

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"Preface to The Plays of William Shakespeare." In Samuel Johnson. University of California Press, 2019. http://dx.doi.org/10.1525/9780520905993-010.

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"SAMUEL JOHNSON, edition of Shakespeare, 1765." In William Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203197998-8.

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"The Preface to The Plays of William Shakespeare (1765)." In Samuel Johnson. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1b9f5zt.46.

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"Part IV. Preface to The Plays of William Shakespeare (1765)." In Samuel Johnson. Harvard University Press, 2009. http://dx.doi.org/10.4159/9780674054073-010.

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"GEORGE STEEVENS and SAMUEL JOHNSON, edition of Shakespeare, 1773." In William Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203197998-43.

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Clingham, Greg. "Johnson and Borges." In Samuel Johnson Among the Modernists. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954668.003.0009.

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Greg Clingham’s “Johnson and Borges—Some Reflections” considers whether (and how) Johnson’s cultural value changes when he is placed in relation to Jorge Luis Borges, the great modern fantasist, conversationalist, essayist, poet, and director of the National Library of Argentina. It explores Borges’ life-long love of and imaginative engagement with Johnson found not only in his literary and cultural criticism, but also in fifty-five years of recorded conversations with his Argentine colleague and friend Adolfo Bioy Cesares and others, such as Willis Barnstone, and in the fact that Borges and Bioy translated the Lives of the Poets into Spanish (a work, lamentably, that was never published). Clingham argues that Borges saw in Johnson not the embodiment of enlightenment hegemony, and thus a figure to be spurned or patronized, but (along with Shakespeare) the quintessential writer of the English language, and a radiant image of the blind modern writer’s own magical poetic and expansive self.
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"WILLIAM KENRICK, Johnson attacked, 1765." In William Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203197998-10.

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"JAMES BARCLAY, Johnson defended, 1766." In William Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203197998-12.

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