Relevant bibliographies by topics / Shakespearean allusion

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shakespearean allusion'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Shakespearean allusion.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Shakespearean allusion"

1

Alhawamdeh, Hussein A. "‘Shakespeare Had the Passion of an Arab’." Critical Survey 30, no. 4 (December 1, 2018): 1–21. http://dx.doi.org/10.3167/cs.2018.300402.

Full text
Abstract:
This article analyses the Shakespearean appropriation in Fadia Faqir’s Willow Trees Don’t Weep (2014) to show how Faqir’s novel establishes a new Arab Jordanian feminist trope of the willow tree, metaphorically embodied in the female character of Najwa, who does not surrender to the atrocities of the masculine discourse. Faqir’s novel, appropriating a direct text from Shakespeare’s Cymbeline and an allusion to Shakespeare’s Othello, does not praise the Bard but dismantles the Shakespearean dramatization of the submissive woman. In this article, I claim that Faqir’s Willow Trees warns against mimicking the Bard’s feminine models and offers a liberating space or a local ‘alternative wisdom and beauty’, in Ania Loomba’s expression, and a ‘challenge’, in Graham Holderness’s terminology, to Shakespeare. In Faqir’s novel, Shakespeare has been ‘Arabized’, in Ferial Ghazoul’s words, to revise and redefine new roles of the Arab Jordanian woman.
APA, Harvard, Vancouver, ISO, and other styles
2

Gill, Patrick. "“The drops which fell from Shakespear’s Pen”: Hamlet in Contemporary Fiction." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 257. http://dx.doi.org/10.14198/raei.2012.25.19.

Full text
Abstract:
Questions of gender, ethnicity and sexuality have all been raised by novelists intent on rewriting Shakespeare from the position of what have been seen as cultural margins. While discussions of such rewritings are ongoing, few concerted efforts have been made to trace a pattern in the treatment of Shakespearean allusion and adaptation at the hands of British and American writers of the literary mainstream. The present essay sets out to investigate the way in which three such writers —Ian McEwan, Graham Swift, and John Updike— employ allusion to/adaptations of Hamlet in their novels and what their respective stances reveal about their understanding of their role as canonical writers.
APA, Harvard, Vancouver, ISO, and other styles
3

Curtis, John, Gary Watt, John Curtis, and Gary Watt. "Twitter, King Lear, and the Freedom of Speech, by John Curtis, and Judicial Allusion as Ornament: A Response to John Curtis’s, ‘Twitter, King Lear, and the Freedom of Speech’ by Professor Gary Watt." Exchanges: The Interdisciplinary Research Journal 1, no. 2 (March 30, 2014): 246–59. http://dx.doi.org/10.31273/eirj.v1i2.90.

Full text
Abstract:
On 27 July 2012, in his judgment following ‘The Twitter Joke Trial’, the Lord Chief Justice of England & Wales quoted from King Lear (Folio). The trial was the first time a British Court had considered the use of Twitter in the context of a bomb hoax. The judgment was hailed as ‘a victory for common sense’, reversing decisions of two lower courts. It now provides authority against similar prosecutions. This paper argues that the use of a four-hundred-year-old Shakespearean text in negotiating modern legal principles is of considerable cultural significance – both through using the familiar to respond to the new – and by invoking Shakespeare’s voice within the powerful social mechanism of the law courts. It also considers the advantages and disadvantages of literary allusions within legal proceedings, contrasting these two widely reported judgments.This piece is adapted from a transcript of: King Lear, Twitter and the Da Vinci Code given as part of the Sidelights on Shakespeare lecture series at University of Warwick on 29 November 2013.Professor Gary Watt provides a response to Curtis's critical reflection, considering judicial allusion as logic or ornament. Image: Cordelia in the Court of King Lear, Sir John Gilbert (1873)
APA, Harvard, Vancouver, ISO, and other styles
4

Bate, Jonathan. "Shakespearean Allusion in English Caricature in the Age of Gillray." Journal of the Warburg and Courtauld Institutes 49 (1986): 196. http://dx.doi.org/10.2307/751296.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Tuggle, Bradley. "“Barbary” in HENRY IV, PART 1: Another Shakespearean Allusion to 1 Corinthians." Explicator 70, no. 1 (January 2012): 39–43. http://dx.doi.org/10.1080/00144940.2012.660659.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bedford, Kristina. "“This Castle hath a Pleasant Seat”: Shakespearean Allusion in The Castle of Otranto." ESC: English Studies in Canada 14, no. 4 (1988): 415–35. http://dx.doi.org/10.1353/esc.1988.0060.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.

Full text
Abstract:
This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
APA, Harvard, Vancouver, ISO, and other styles
8

Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.

Full text
Abstract:
This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
APA, Harvard, Vancouver, ISO, and other styles
9

Seferyan, Sona. "Shakespeare and the Bible." Armenian Folia Anglistika 1, no. 1-2 (1) (October 17, 2005): 113–15. http://dx.doi.org/10.46991/afa/2005.1.1-2.113.

Full text
Abstract:
In the Armenian reality the translations of Shakespeare’s works have been studied from diverse perspectives – text equivalence, choice of words, fidelity to style and poeticism. The Armenian classical translator Hovhannes Massehian was the first who investigated the imagery of the original and Biblical allusions. He revealed the Biblical language of Shakespeare and used Armenian equivalents in his interpretations. The most successful translations of 12 Shakespearean works by Massehyan confirm the invaluable contribution that the Armenian translator made in the history of the art of translation in Armenia.
APA, Harvard, Vancouver, ISO, and other styles
10

Kravtsova, Mariia. "BIBLICAL ARCHETYPES IN WILLIAM SHAKESPEARE’S TRAGEDY “KING LEAR” AS THE IMPLICIT REFERENCE TO THE HOLY SCRIPTURE: VERBALIZATION AND PECULIARITIES OF REPRODUCTION." Inozenma Philologia, no. 133 (December 1, 2020): 213–23. http://dx.doi.org/10.30970/fpl.2020.133.3185.

Full text
Abstract:
The article presents the Translation Studies analysis of William Shakespeare’s tragedy “King Lear” and its fi ve Ukrainian translations done by Panteleimon Kulish, Panas Myrnyi, Maksym Rylskyi, Vasyl Barka and Oleksandr Hriaznov. The attempt has been made to outline the Biblical archetypes in the source text and to trace the level of their reproduction in the Ukrainian target texts. On the basis of the research conducted, it has been assumed that by means of various allusions and themes parallel to the Biblical ones, the reader of the tragedy encounters the Biblical archetypes of the Christ, Job, Devil, Cain and Abel. The author of the article also scrutinizes how these archetypes are actualized in the text in question through various verbal images and examines the level of their reproduction in the target texts. Key words: Shakespeare, “King Lear”, translation, biblical archetypes, Bible, allusion.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Shakespearean allusion"

1

Grandage, Sarah. "Reading Shakespearean Allusion in Contemporary Newspaper Discourse." Thesis, University of Nottingham, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523064.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Penich, Jacqueline. "Conservative Propaganda in the Shakespearean Gothic of James Boaden." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23334.

Full text
Abstract:
The plays of James Boaden, an author all too often forgotten in the pages of theatre history, are usually dismissed by scholars as mercenary adaptations of popular Gothic novels for the stage. Boaden’s plays of the 1790s—Fontainville Forest (1794), The Secret Tribunal (1796), The Italian Monk (1797), Cambro-Britons (1798) and Aurelio and Miranda (1799)—were certainly popular successes in their own time, but this should not discount them from serious consideration as aesthetic and ideological objects. In fact, these plays are intelligently wrought, using popular Gothic conventions to further a conservative ideology that was not originally associated with this genre. This fact has gone unrecognized by scholars partly because these plays have not been previously analysed for their dramaturgical structure as adaptations: Boaden borrows conventions from the Gothic, to be sure, but he also borrows dramaturgical techniques from Shakespeare. In so doing, Boaden harnesses both popular appeal and theatrical legitimacy to write Tory propaganda at a time when the stage was a key tool in the ideological war against France and French sympathizers in Britain. Political threats, both domestic and foreign, were of ongoing concern in Britain in the years following the French Revolution. Immediately after 1789, the Gothic was ideologically charged in ways that promoted revolutionary thinking. Boaden’s adaptation of the Gothic form responds to the revolution and the Reign of Terror by replacing the genre’s iconoclasm with a strongly nationalist orientation, drawn, in part, from eighteenth-century Shakespeare reception, itself often strongly nationalist in tone. Boaden’s plays are reactionary in that they comment on the current political situation, using allegory to play on the audience’s emotions. In his first phase, Boaden depicts the demise of a villainous usurper, a scapegoat figure, but his second phase reintegrates the villain into domestic and social harmony. In so doing, Boaden serves as a case study in the shifting attitude towards Britain’s revolutionary sympathizers, the Jacobins, and illustrates the important use of the Gothic mode for conservative purposes. Boaden emerges, in this study, as a figure whose relevance to theatre history in this fraught period requires reassessment.
APA, Harvard, Vancouver, ISO, and other styles
3

Tsai, Ya-Chen, and 蔡亞臻. "“To Speak Truth of Caesar”: Elizabeth, Essex, and Shakespeare’s Drama of Political Allusions." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bbrdaa.

Full text
Abstract:
碩士
國立臺灣師範大學
英語學系
106
The late years of Elizabeth’s reign saw a growing public interest in political issues as evidenced by the proliferation of printed texts that were once forbidden or limited to the court. The late reign of Elizabeth also witnessed a growing sense of urgency and anxiety in response to the figure of an aging childless monarch whose succession remained unsettled. This thesis argues that Shakespeare’s Julius Caesar would have captured the public concerns of the late 1590s and had the potential to involve the Elizabethan playgoers in topical political discourse through specific allusions to Elizabeth and her ambitious Lord Lieutenant of Ireland, Robert Devereux, the Second Earl of Essex. This thesis is divided into three chapters: Chapter One investigates the presence of Elizabeth and Essex in Shakespeare’s plays; Chapter Two looks at political theories and issues in Shakespeare’s history plays; lastly, Chapter Three examines how by bringing Elizabeth and Essex into Julius Caesar, Shakespeare would have invited his audience to consider the immediacy and future of Elizabethan England. This thesis calls attention to political situations of Elizabethan contexts represented in Julius Caesar and brings into focus the correspondences of the historical figures and political actions represented onstage that would have invited the Elizabethan playgoers to discuss and think of possible future of their own polity.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Shakespearean allusion"

1

Hopkins, Lisa. Shakespearean Allusion in Crime Fiction. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Emily Dickinson's Shakespeare. Amherst: University of Massachusetts Press, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Spectres of Shakespeare: Appropriations of Shakespeare in the early English Gothic. Katowice: Wydawnictwo Uniwersytetu Śla̜skiego, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lupton, Julia Reinhard. After Oedipus: Shakespeare in psychoanalysis. Aurora Colo: Davies Group Publishers, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Lupton, Julia Reinhard. After Oedipus: Shakespeare in psychoanalysis. Ithaca: Cornell University Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

service), SpringerLink (Online, ed. The Sky in Early Modern English Literature: A Study of Allusions to Celestial Events in Elizabethan and Jacobean Writing, 1572-1620. New York, NY: Springer Science+Business Media, LLC, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Tucker, Herbert F. Shakespearean Being. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0022.

Full text
Abstract:
Victorian poetry took Shakespeare up as both a guide and a challenge. The example of his sonnets and soliloquies stood behind the era’s pre-eminent formal developments in, respectively, lyric sequence and dramatic monologue. Phrasal allusion to Shakespeare was ubiquitous, often ingenious; deeper down, poets invoked him when exploring, or just revering, mysteries of identity made unprecedentedly urgent by the Victorian association between lyrical poetry and individual subjectivity. To this article of literary faith the poetic impersonality underwriting Shakespeare’s dramatic versatility posed a stumbling block, eliciting from some Victorians heavy polemical leverage and from others a ritual genuflection. Representative sonnets on the Bard by Arnold, Swinburne, and Browning variously exalt and query the poetics of transcendent being that, in a secularizing epoch, gathered around his name.
APA, Harvard, Vancouver, ISO, and other styles
8

Hammer, Paul E. J. The Earl of Essex. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.3.

Full text
Abstract:
This chapter summarizes the career of Robert Devereux, 2nd earl of Essex (1565–1601), who played a central role in English affairs during the 1590s. Essex has often been caricatured as the royal favourite who lost his head, both literally and figuratively. However, Essex was a hugely consequential figure in England’s political and cultural life during the latter years of Elizabeth’s reign. His dramatic fall in February 1601 caused widespread shock and grief. Although he was defeated in the political power struggle which ultimately cost him his life, Essex looms large in the work of Shakespeare and his contemporaries, with one direct allusion to him inHenry Vand a host of probable allusions to him elsewhere in Shakespeare’s plays.
APA, Harvard, Vancouver, ISO, and other styles
9

Pollard, Tanya. Parodying Shakespeare’s Euripides in Bartholomew Fair. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.003.0007.

Full text
Abstract:
Chapter 6, “Parodying Shakespeare’s Euripides in Bartholomew Fair,” argues that Shakespeare’s fascination with Greek tragedy’s female icons led his contemporaries to identify him with the dramatic tradition they represented. In particular, Ben Jonson adopts an Aristophanic strategy to parody Shakespeare’s versions of Euripidean heroines in Bartholomew Fair. The play simultaneously imitates, mocks, and pays homage to Shakespeare’s tragicomic restorations, through parodic versions of the Greek female figures who shape their miraculous reversals. Allusions to Ceres, Furies, and Hero and Leander highlight Greek tragic patterns including suffering mothers and daughters, reunions with veiled wives returning from a mock-underworld, and a suffering virgin escaping the sacrifice of an unwanted marriage. Tracing these Euripidean underpinnings illuminates Jonson’s responses not only to Shakespeare, but also to Greek plays. In his tongue-in-cheek recreations of Shakespeare’s Euripidean plots, Jonson recreates their pleasurable redemptions while maintaining his wry skepticism toward their miraculous resolutions.
APA, Harvard, Vancouver, ISO, and other styles
10

Ashhurst, Richard Lewis. Contemporary Evidence Of Shakespeare's Identity. Kessinger Publishing, LLC, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Shakespearean allusion"

1

Hopkins, Lisa. "Border Patrol: Shakespearean Allusions and Social and National Identities." In Shakespearean Allusion in Crime Fiction, 105–47. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hopkins, Lisa. "Introduction." In Shakespearean Allusion in Crime Fiction, 1–16. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hopkins, Lisa. "Wild Justice: Mercy, Revenge and the Detective." In Shakespearean Allusion in Crime Fiction, 17–61. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hopkins, Lisa. "Who Owns the Wood? Appropriating A Midsummer Night’s Dream." In Shakespearean Allusion in Crime Fiction, 63–103. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hopkins, Lisa. "Stealing Shakespeare: Detective Fiction and Cultural Value." In Shakespearean Allusion in Crime Fiction, 149–81. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53875-8_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Erickson, Peter. "“It Sounds Like a Quotation”: J. M. Coetzee and the Power oF Shakespearean Allusion." In Citing Shakespeare, 151–65. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-06009-9_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Erickson, Peter. "Introduction: Allusion as Revision." In Citing Shakespeare, 1–10. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-06009-9_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Douglas-Fairhurst, Robert. "Shakespeare’s Weeds: Tennyson, Elegy and Allusion." In Victorian Shakespeare, 114–30. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230504141_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Pikli, Natália. "Living nostalgia and the cluster of allusions around 1600." In Shakespeare's Hobby-Horse and Early Modern Popular Culture, 70–119. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003054238-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Comedy, tragicomedy and Shakespearean influence in Harry Potter." In Literary Allusion in Harry Potter, 81–97. Abingdon, Oxon : New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315269337-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Shakespearean allusion"

1

Merkulova, Mayya G. "Shakespearean Allusions In B. Pasternak's Poetry." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.66.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Shakespearean allusion' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography