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Relevant bibliographies by topics / Shakespeare, William. Much ado about nothing

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Academic literature on the topic 'Shakespeare, William. Much ado about nothing'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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Journal articles on the topic "Shakespeare, William. Much ado about nothing"

1

Sincox, Bailey. "Hamlet by William Shakespeare, and: A Midsummer Night's Dream. by William Shakespeare, and: Much Ado About Nothing by William Shakespeare, and: Romeo and Juliet by William Shakespeare." Shakespeare Bulletin 37, no. 2 (2019): 305–8. http://dx.doi.org/10.1353/shb.2019.0028.

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McEachern, Claire, and John F. Cox. "Shakespeare in Production: 'Much Ado about Nothing'." Modern Language Review 95, no. 4 (October 2000): 1069. http://dx.doi.org/10.2307/3736639.

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Brown, Pamela Allen. "The Arden Shakespeare Much Ado about Nothing (review)." Shakespeare Quarterly 57, no. 4 (2006): 466–69. http://dx.doi.org/10.1353/shq.2006.0084.

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Burris, Nina. "Much Ado About Nothing at the Atlanta Shakespeare Tavern." Scene: Reviews of Early Modern Drama, no. 1 (October 13, 2018): 20. http://dx.doi.org/10.18357/scene01201718437.

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5

Trudell, Scott A. "Shakespeare's Notation: Writing Sound in Much Ado about Nothing." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 370–77. http://dx.doi.org/10.1632/pmla.2020.135.2.370.

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In Act 5 of Much Ado About Nothing, Shakespeare Dramatizes Two Consecutive Episodes in Which Writing Poetry is Mixed suggestively with singing, recalling, or imitating music. The first comes when Benedick sings or speaks several lines from the popular ballad “The God of Love.” The second is Claudio's musical rite of contrition for slandering Hero and (he believes) causing her death. In both cases, poetry is produced through writing practices that are interwoven with song. Indeed, Shakespeare yokes literacy and aurality together in the same keyword, noting, which referred both to writing and to musical notes, and which (as scholars have long observed) is how nothing was pronounced in early modern English. Benedick seeks poetic inspiration from the notes of balladry, then bemoans his inability to versify in rhyme. Claudio not only sees that his epitaph is notated, read aloud, and hung on the tomb; he calls for a corresponding hymn to be sung. Taken together, the scenes attune us to forms of poetic making that are irreducible to writing or language—those overdetermined categories in literary studies that have enabled our neglect of the role that nonverbal sound has played in poetic composition.

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McConnell, J., and D. Raoult. "Emerging respiratory viruses: is it ‘much ado about nothing’? (Shakespeare)." Clinical Microbiology and Infection 20, no. 3 (March 2014): 187–88. http://dx.doi.org/10.1111/1469-0691.12488.

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Parker, Patricia. "Cymbeline’s Much Ado about Nothing, Noting, (K)not Knowing, and Nothus1." Actes des congrès de la Société française Shakespeare, no. 31 (May 1, 2014): 103–21. http://dx.doi.org/10.4000/shakespeare.2826.

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Muñoz-Valdivieso, Sofía. "From Messina to Delhi: Much Ado about Staging Global Shakespeares in Olympic Times." Sederi, no. 23 (2013): 57–78. http://dx.doi.org/10.34136/sederi.2013.3.

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The present article discusses one of the contributions of the Royal Shakespeare Company to the World Shakespeare Festival, a celebration of the Bard as the world’s playwright that took place in the UK in 2012 as part of the so-called Cultural Olympiad. Iqbal Khan directed for the RSC an all-Indian production of the comedy Much Ado about Nothing that transposed the actions from early modern Messina to contemporary Delhi and presented its story of love, merry war of wits and patriarchal domination in a colourful setting that recreated a world of tradition and modernity. Received with mixed reviews that in general applauded the vibrant relocation while criticising some directorial choices, this 2012 Much Ado about Nothing in modern-day Delhi raises a number of questions about cultural ownership and Shakespeare’s international performance – issues that are particularly relevant if we see the play in relation to other productions of the World Shakespeare Festival in this Olympic year but also in the context of the increasing internationalization of Shakespeare’s cultural capital in contemporary times.

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Rogers, Jami. "Love’s Labour’s Lost by Royal Shakespeare Company, and: Much Ado About Nothing by Royal Shakespeare Company." Shakespeare Bulletin 33, no. 3 (2015): 521–27. http://dx.doi.org/10.1353/shb.2015.0044.

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Butler, Colin. "Shakespeare for the Gifted." Gifted Education International 14, no. 3 (May 2000): 247–53. http://dx.doi.org/10.1177/026142940001400306.

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This article describes a multi-part approach to Shakespeare's playwriting, including his conception of comedy, his method of characterisation, aspects of staging, and the relative status of male and female characters. It can accommodate all types of Shakespearean play. A Midsummer Night's Dream is treated as seminal. Other plays discussed include Much Ado About Nothing, The Merry Wives of Windsor, Othello and Twelfth Night. The approach is cumulative in effect and derives from teaching English 17–18 year olds working on the coursework unit of their Advanced Level English Literature certificate. Its unitised structure suits college and classroom workshops. It can be modified for younger students.

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Dissertations / Theses on the topic "Shakespeare, William. Much ado about nothing"

1

Herman, Crystal Grace. "Costume Design and Production for Much Ado About Nothing, by William Shakespeare." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396277499.

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Owen, Gregory Lowell. "A lighting design process for a production of William Shakespeare's Much Ado About Nothing." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211984241.

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Owen, Gregory L. "A Lighting Design Process For A Production Of William Shakespeare’s Much Ado About Nothing." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211984241.

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4

De, Waal Marguerite Florence. "Revelatory deceptions in selected plays by William Shakespeare." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62673.

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This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays.
Dissertation (MA)--University of Pretoria, 2017.
English
MA
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5

Garrett, Christen A. "Mirth Matters: Creating the role of Beatrice In William Shakespeare's Much Ado About Nothing." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1191.

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This thesis serves as documentation of my efforts to explore and define my creative process as an actor in creating the role of Beatrice in William Shakespeare's Much Ado About Nothing. This includes research, character analysis, rehearsal journal and an evaluation of my performance. Much Ado About Nothing was produced by the University of New Orleans Department of Film, Theatre and Communication Arts. The play was performed in the Robert E. Nims Thrust Theatre of the Performing Arts Center at 7:30 pm on the evenings of April 23 through 25 and April 30 through May 2. There was a student matinee the morning of Friday, May 1 at 9:30 am as well as one public matinee at 2:30 pm on Sunday, May 3, 2009.

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Corbett, Lisa Ashley. "Male Dominance and female exploitation: A study of female Victimization in William Shakespeare's Othello, Much Ado about nothing, and Hamlet." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/93.

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This study is a feminist-based reading of three of William Shakespeare’s works: Othello, Much Ado About Nothing, and Hamlet. The reading, although borrowing from the feminist perspective, is not a full-blown feminist reading of Shakespeare’s works. The focus of the study comprises the social circumstances and the misogynistic actions of the male characters and how these impact on the lives of the female characters. The relationships between the male and female characters are often characterized by physical and psychological victimization arid their feelings of misery and shame, and even total destruction of life (as in the case of Desdemona and Ophelia). The three Shakespearean plays portray male rivals who take part in significant roles that cause destruction of well established relationships. The men allow their egos to persuade their decisions, attack their internal emotions, and demolish virtuous women who are forced to become victims of political intrigues and machinations. Shakespeare shows two types of women throughout the plays: women who refuse to submit to men and demand equal rights, and submissive women who carry out the roles of an Elizabethan woman. Those who followed the roles of the Elizabethan woman, which is to be submissive to men, also demonstrate that bowing down to patriarchal rules does not guarantee happiness for women. In fact, it may actually lead to their domination and victimization. Furthermore, all female characters, whether submissive or not, suffered the consequences of male dominance and victimization. However, the females who lived up to the women roles of the patriarchal society suffered more than the women who fought against male dominance.

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7

Pahlau, Randi. "Hospitality and the Natural World within an Ecotheological Contextin William Shakespeare’s Much Ado about Nothing and Jane Austen’s Pride and Prejudice." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448050811.

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8

Bratcher, Beau. "Much Ado About Process: One Director's Approach to Shakespeare's Much Ado About Nothing." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1144.

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The following thesis is a brief view of production of UNO's Spring 2009 production of Shakespeare's classic comedy Much Ado About Nothing. This thesis will include analysis, research, production book, documentation from the production, and an evaluation of the process of bringing the production to life. The play was performed in New Orleans, Louisiana, at the University of New Orleans Performing Arts Center Robert E. Nims Theatre on April 23, 24, 25, and 30 as well as May 1, 2, and 3.

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Bowles, Robin. "Culture clashing in William Shakespeare's Much ado about not(h)ing." University of Portland, 2009. http://library2.up.edu/theses/2009_bowlesr.pdf.

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Engel, Grace Eve Cheaney. "“The Utter Reality of Characterization”; Presentational and Representational Work in Kenneth Branagh’s Much Ado About Nothing." University of Toledo Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1294188870.

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Books on the topic "Shakespeare, William. Much ado about nothing"

1

William Shakespeare's Much ado about nothing. Piscataway, N.J: Research & Education Association, 1996.

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Jan, Dean. Much ado about nothing. New York: Oxford University Press, 2001.

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Jan, Dean. Much ado about nothing. New York: Oxford University Press, 2000.

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Company, Royal Shakespeare. Much ado about nothing by William Shakespeare. [Stratford-upon-Avon]: Royal Shakespeare Company, 1996.

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Company, Royal Shakespeare. Much ado about nothing by William Shakespeare. [Stratford-upon-Avon]: Royal Shakespeare Company, 1990.

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Shakespeare, William. Much ado about nothing. New York: Sterling Signature, 2012.

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Shakespeare, William. Much ado about nothing. London: Routledge, 1994.

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Shakespeare, William. Much ado about nothing. Cambridge [Cambridgeshire]: Cambridge University Press, 1988.

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Shakespeare, William. Much ado about nothing. Oxford: Oxford University Press, 2008.

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Shakespeare, William. Much ado about nothing. Oxford: Clarendon Press, 1993.

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Book chapters on the topic "Shakespeare, William. Much ado about nothing"

1

Pfister, Manfred. "Shakespeare, William: Much Ado About Nothing." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17039-1.

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Gill, Richard. "Much Ado About Nothing." In Mastering Shakespeare, 132–40. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_9.

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Goodland, Katharine, and John O’Connor. "Much Ado about Nothing." In A Directory of Shakespeare in Performance Since 1991, 205–25. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_22.

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Goodland, Katharine, and John O’Connor. "Much Ado about Nothing." In A Directory of Shakespeare in Performance Since 1991, 1383–470. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_61.

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Goodland, Katharine, and John O’Connor. "Much Ado about Nothing." In A Directory of Shakespeare in Performance, 1970–1990, 198–209. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_22.

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Goodland, Katharine, and John O’Connor. "Much Ado about Nothing." In A Directory of Shakespeare in Performance, 1970–1990, 1231–308. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_62.

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7

Gleckman, Jason. "The Shakespearean Conversion Paradigm: Much Ado About Nothing." In Shakespeare and Protestant Poetics, 155–89. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9599-5_9.

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Clegg, Cyndia Susan. "Truth, Lies, and the Law of Slander in Much Ado About Nothing." In The Law in Shakespeare, 167–88. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230626348_10.

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Bassnett, Susan. "The Fairytale in Crisis: Much Ado About Nothing, Troilus and Cressida and All’s Well That Ends Well." In Shakespeare, 154–69. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22996-3_11.

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Weil, Herbert. "On Harold Bloom’s Nontheatrical Praise for Shakespeare’s Lovers: Much Ado About Nothing and Antony and Cleopatra." In Harold Bloom’s Shakespeare, 125–41. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-137-03641-4_11.

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