Relevant bibliographies by topics / Shakespeare, William – Tragedies

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Academic literature on the topic 'Shakespeare, William – Tragedies'

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

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Journal articles on the topic "Shakespeare, William – Tragedies"

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Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare." Theatrical Colloquia 7, no. 2 (2017): 213–30. http://dx.doi.org/10.1515/tco-2017-0020.

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Abstract Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragi
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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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<p>Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in <em>King Lear</em>. Lear’s threats bestow four unique aspects that apply not only to his characte
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Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 15. http://dx.doi.org/10.24113/ijellh.v8i2.10384.

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The abstract summarizes the analysis and interpretation of the significance of minor characters in Shakespeare’s major tragedies and concludes that Shakespeare is the greatest creator of characters. His greatness lies of course, in creating and heroic characters like Hamlet, Othello, Lear and Macbeth but what is significant is that even the minor characters are as immortal as the major ones. The great Villain Iago are great characters but the less important characters like Horatio, Fortinbras, Edgar, Cassio and Banquo are equally important.
 Besides, Shakespeare’s women characters, mostly
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Musa Rzayeva, Leyla. "A LOOK AT THE HEROES OF WILLIAM SHAKESPEARE'S "HAMLET" TRAGEDY." SCIENTIFIC WORK 15, no. 3 (2021): 59–62. http://dx.doi.org/10.36719/2663-4619/64/59-62.

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William Shakespeare is the most famous writer in England. He was a great poet and playwright. In his works, he wrote about the eternal problems that afflict people: life and death, love, loyalty and betrayal. Therefore, Shakespeare's works, especially tragedies, are popular today. In the tragedy Hamlet, William Shakespeare reworked the plot of a medieval legend and an old English legend about Prince Hamlet, describing in depth the tragedy of humanism in the modern world. Prince Hamlet of Denmark is a humanist figure facing a world hostile to humanism. The spread of evil in society has a negati
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Atanov, Andrei. "Problem of the Self and the Other, Reality and Fantasy in Sophocles Tragedies." Известия Байкальского государственного университета 28, no. 4 (2018): 559–69. http://dx.doi.org/10.17150/2500-2759.2018.28(4).559-569.

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The article is devoted to studying Sophocles tragedies, such as «Oedipus the King», «Oedipus at Colonus» and «Antigone» in the context of extremely general structures: the other, the self , space, time, destiny, fate. The event line of the tragedies is analyzed by including it in the principle of reality and as a result different sense sequences are created and expressed in certain structures of mental activity, particularly trough analysis and synthesis. Sophocles tragedies create a relevant place in the space of culture, which can be filled with different content.The ideas of Sophocles were
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Tursunova, M. "Comparative Analysis of Intelligent Devil Villains in W. Shakespeare’s Tragedies: Macbeth, Julius Caesar and Othello." Bulletin of Science and Practice 6, no. 4 (2020): 527–31. http://dx.doi.org/10.33619/2414-2948/53/63.

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This article compares three prominent villains — Macbeth, Brutus and Iago in three famous tragedies: Macbeth, Julius Caesar and Othello by William Shakespeare according to the terms of intelligence and devilry. These two main aspects are considered for the analysis to find the main similarities and differences and categorize their villainy on the basis of devilry.
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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writ
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Overholt, John. "William Shakespeare: Comedies, Histories & Tragedies, First Folio, London, 1623 (review)." Libraries & the Cultural Record 39, no. 3 (2004): 328–29. http://dx.doi.org/10.1353/lac.2004.0048.

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Szwach, Agnieszka. "The Injurious and Curative Powers of Herbs: Shakespeare in Herb Gardens." Studia Historyczne 60, no. 2 (238) (2018): 47–56. http://dx.doi.org/10.12797/sh.60.2017.02.04.

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For Galen, the best physician was the one who was able to treat his patients by means other than the knife, particularly through diet and drugs. The fact that basic knowledge of pharmacology was not required came under severe criticism in the late fifteenth and early sixteenth centuries. To remedy this situation, herb gardens were established at universities. Some physicians wrote voluminous new herbals based both on the close study of classical pharmacological works, observations and experiments. William Turner (1508–1568), Henry Lyte (1529–1607), John Gerard (1545–1650) and John Parkinson (1
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Cuțitaru, Codrin Liviu. "The Genius of Shakespeare’s “Plagiarisms”. Case Studies: Hamlet, Othello, King Lear and Macbeth." Linguaculture 2017, no. 1 (2017): 63–71. http://dx.doi.org/10.1515/lincu-2017-0006.

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Abstract This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it, eventually, into an essential instrument of the tragic and the tragedy. What in normal/modern circumstances would easily count as “plagiarism”, becomes here, paradoxically, a token of artistic genius and brilliant creation. Our examples will be from the four outstanding tragedies—Hamlet, Othello, King Lear and Macbeth. The sources selected by our research will be Saxo Grammaticus’s Histoires tragiques, Cinthio’s Un Capitano Moro, the Celtic
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Dissertations / Theses on the topic "Shakespeare, William – 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 c
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Xaver, Savannah. "Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450433405.

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Andersson, Edén Therese. "The Shakespearean Stahr : Using Genette’s Theory of Intertextuality to Compare The Last Tycoon to Shakespeare’s Tragedies." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-62125.

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This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters fro
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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
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Paris, Jamie. ""Mark this show" : on dramatic attention in Christopher Marlowe's and William Shakespeare's tragedies." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54676.

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This dissertation will argue that the early modern theatre and the early modern church were both concerned with keeping the attention of their audiences, and that one of the ways that dramatic interest in Christopher Marlowe's and William Shakespeare's plays was generated was by staging acts that can be read as ambiguous, interrupted, failed or parodic confessions, prayers, and sermons. In particular, I will argue that when the characters in Marlowe’s and Shakespeare’s tragedies fail to find solace in acts that model reformed devotional practices, they eventually suffer the strange but dramati
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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<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T05:11:53Z (GMT). No. of bitstreams: 1 Saavedra_ClaudiaCarlaEchenique_D.pdf: 8077044 bytes, checksum: 8547a9c2f2c589fa4b2ad2d839809ca7 (MD5) Previous issue date: 2014<br>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
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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<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-19T08:54:47Z (GMT). No. of bitstreams: 1 Closel_RegisAugustusBars_M.pdf: 2038312 bytes, checksum: 7c1b1af36416b37e4e7597571df3f57d (MD5) Previous issue date: 2011<br>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)
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Audan, Thribhawandutt Ramnath. "Pastoral and anti-pastoral elements in selected tragedies of Shakespeare." Thesis, 2003. http://hdl.handle.net/10413/4127.

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While a good deal of attention has been paid to pastoral and, less frequently, to antipastoral elements in Shakespeare's comedies and romances, the same does not hold for his tragedies. Granted, pastoral features, as one would expect, are not conspicuous in the tragic plays, but even their anti-pastoral ones have not received extended treatment. That is, they have not received extended treatment as anti-pastoral manifestations. So, for example, the furious tempest in King Lear has frequently been seen as a cataclysmic perturbation of Nature, and/or as an expression and reflection of Lear's con
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Appel, Ian S. ""Present fears" and "Horrible Imaginings" : Gothic elements in Shakespearean Tragedy." Thesis, 2003. http://hdl.handle.net/1957/30850.

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Gothic literary works are characterized as such by their ability to represent and evoke terror. The form this representation takes is varied; often terror originates in the atmospheric effects of settings, in the appearance of mysterious, supposedly supernatural phenomena, and, perhaps most significantly, in the behavior of villainous characters. Shakespearean tragedy participates in just such an exploration of the origins and effects of terror. This thesis will examine three aspects of the Shakespearean Gothic in three of his most frightening and disturbing tragedies: Macbeth, King Lear and T
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FALTOVÁ, Martina. "Láska jako ochota k dialogu v tragédiích Williama Shakespeara." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-381457.

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The thesis Love as Will to Dialogue in William Shakespeare's Tragedies deals with the analysis of selected characters' dialogues found in six William Shakespeare's tragedies. The aim of the thesis is to prove the given assumption of tragic ending caused by emotionally related characters and their mutual lack of communication in each play. The thesis is formally divided into theory and practical analysis. The theory is focused on definition of two major terms dialogue and love, from the view of linguistics, psychology, psychology of communication and philosophy. Following practical analysis off
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Books on the topic "Shakespeare, William – Tragedies"

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William Shakespeare: The tragedies. Twayne Publishers, 1985.

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

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

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

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Shakespeare, William. The Tragedies of William Shakespeare. Modern Library, 1994.

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

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William Shakespeare e il senso del tragico (Conference) (2012 Università degli studi di Napoli "L'Orientale"). William Shakespeare e il senso del tragico. Loffredo editore, 2013.

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Shame in Shakespeare. Routledge, 2002.

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The heroes of Shakespeare's tragedies. P. Lang, 1988.

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Shakespeare: Seven tragedies revisited : the dramatist's manipulation of response. 2nd ed. Palgrave, 2002.

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Book chapters on the topic "Shakespeare, William – Tragedies"

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Pfister, Manfred, and Rebekka Rohleder. "Shakespeare, William: The Most Lamentable Romaine Tragedie of Titus Andronicus." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17050-1.

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Baker, William. "The Tragedies." In William Shakespeare. Bloomsbury Publishing Plc, 2009. http://dx.doi.org/10.5040/9781472555588.ch-006.

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"SAMUEL COBB, Shakespeare's artless tragedies, 1700." In William Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203197875-18.

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"T. W., on three Shakespearian tragedies, 1767." In William Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203197998-19.

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Fowler, Alastair. "Shakespeare’s Renaissance Realism." In Remembered Words. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198856979.003.0011.

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This chapter illustrates William Shakespeare’s Renaissance realism, an intermediate mode between medieval and modern. Locally, this may imitate reality naturalistically; but in its larger coherence, it adopts multiple-perspective viewpoints that are often related morally or psychologically rather than causally. Shakespeare’s comedies even combine allegory with illusionistic representation. The chapter then turns to Shakespeare’s tragedies, particularly examining Hamlet. In Shakespeare’s Renaissance realism, what may seem gaps are really transitions between perspectives. Realism through relational mirror images seems to have been quite accessible to Renaissance audiences. Direct and indirect mimesis were not conflicting opposites but complementary, mutually supportive perspectives. Shakespearean mimesis could ‘suit the action to the words’, combining indirect with direct representation, ‘external’ metaphors with subjective introspection.
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Moston, Doug. "Mr. William Shakespeares Comedies, Histories, and Tragedies." In Mr. William Shakespeares Comedies, Histories, & Tragedies. Routledge, 1998. http://dx.doi.org/10.4324/9780203823125-1.

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Metzger, Mary Janell. "Shakespearean Tragedy, Ethics, and Social Justice." In Teaching Social Justice Through Shakespeare. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474455589.003.0011.

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How can the study of literary form shape students’ understanding of ethics, justice, and community? This chapter describes a course that yokes Shakespearean tragedies to ethical philosophy from Aristotle to Patricia J. Williams. Through these pairings, students compare the benefits of cognitive and affective learning, consider questions of epistemic injustice, reasoning, and belief in historical moments of epistemological crisis, and question the roles of individuals and collectivities in precipitating tragic outcomes. Detailing her approach to teaching Othello alongside Williams’ “The Obliging Shell,” the author illustrates the importance of historicizing the construction of whiteness in order to illuminate the effects of systematized injustice.
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Bergeron, David M. "Two great stars." In Shakespeare's London 1613. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526115461.003.0007.

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The two stars in conjunction refers to the competing and complementing cultural spheres of the court and London. Thus, the chapter focuses on the exceptional output of books printed and drama performed in London. The discussion examines books on the environment, such as those of Arthur Standish and Gervase Markham; publications about colonization and exploration, such as those by Sylvester Jourdain and Robert Harcourt. Poetry focuses on the published works of William Browne, John Taylor, and George Wither. Powerful tragedies by Marston, Chapman, and Webster are examined; likewise, comedies, such as those by Jonson, Beaumont, and Middleton. The chapter ends with a discussion of Middleton’s mayoralty pageant, The Triumphs of Truth, performed in London’s streets on 29 October. These performances and publications forge a powerful cultural force that enlivened and enriched life in Shakespeare’s London, complementing the cultural life of the Jacobean court.
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Lake, Peter. "Introduction." In Hamlet's Choice. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300247817.003.0001.

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This chapter outlines the topics of power and succession in the history of plays. It describes how power and succession was being staged and performed as a series of plays before ideologically and socially mixed audiences throughout the 1590s. It also draws on the existing corpus of literary criticism, mixing and matching insights and arguments culled from a broad range of methodologically distinct schools of literary criticism. The chapter explores William Shakespeare's history plays, including plays that are conventionally regarded as tragedies or Roman plays. It argues that the plays “Julius Caesar,” “Hamlet,” and “Troilus and Cressida” were all based on what contemporaries regarded as history and are available for the same processes of application to current political thought and practice as the plays about English history.
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"William Shakespeare, The Tragedie of Macbeth: A Frankly Annotated First Folio Edition, ed. Demitra Papadinis. Jefferson, NC and London: McFarland & Co., 2012. viii + 426 pp. ISBN 978-0-7864-6479-1." In The Journal of the European Society for Textual Scholarship. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401212113_016.

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