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Books on the topic 'Shakespearean allusion'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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

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2

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

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3

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

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

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

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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.

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7

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

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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.

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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.

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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.

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9

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

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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.

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10

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

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11

Parry, Glyn. Catholicism and Tyranny in Shakespeare’s Warwickshire. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.8.

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The brief appearance of a messenger named ‘Somerville’ in The Third Part of Henry VI has been interpreted as evidence for a radically subversive Catholic Shakespeare. However, although John Somerville’s arrest for plotting to kill Queen Elizabeth, and the subsequent harassment of Warwickshire Catholic families, were part of Shakespeare’s formative experiences, this chapter uses new evidence to argue that religion formed only part of the story. It shows that Somverville’s arrest contributed to efforts by Robert Dudley earl of Leicester to destroy his rivals in Warwickshire politics through partisan manipulation of judicial processes and accusations of treason. Shakespeare’s allusion to Somerville can be read as a gesture not to Catholicism but to Warwickshire and national factional politics, rivalries over ancient possessions and family honour, and government abuse of legal procedures. Somerville’s arrest therefore resonated with depictions of murderous conflicts over inheritance, power and honour in the history plays.

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12

Huang, Alexa. ‘It is the East’. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.54.

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Shakespearean tragedies have played an important part in modern and contemporary East Asian engagements with Western cultures. Japanese, Korean, Chinese, and Singaporean translations, rewritings, films, and theatre productions have three important shared characteristics, namely hybridization of genres, intra-regional and trans-historical allusions, and spirituality. These adaptations tend to present the plays in hybrid performative genres, sometimes turning tragedy into comedy or parody. These adaptations are also informed by intra-regional borrowing and allusions that matter to each separate cultural location and to East Asia as a whole. They tend to interpret Shakespearean tragedies through issues of spirituality and through the artists’ personal, rather than national, identities, giving primacy to personal life stories and to the interaction with the audience, rather than attempting ‘authentic’ representations either of Shakespearean tragedy or indeed of ‘Asia’.

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13

Elson, Louis Charles. Shakespeare In Music: A Collation Of The Chief Musical Allusions In The Plays Of Shakespeare. University Press of the Pacific, 2004.

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14

J, Gross John, ed. After Shakespeare: An anthology. Oxford: Oxford University Press, 2002.

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15

Burrow, Colin. Classical Influences. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0001.

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This chapter provides a narrative account of Shakespeare’s schooling in classical literature and the range of classical texts that influenced his poetry. It traces not just the evolution of Shakespeare’s relationship to classical writing, but the differing ways in which both the poems and the plays alert their readers to their classical sources. ‘Classical’ moments can be tagged as distinct from the surrounding works by the use of archaisms or neologisms (as in the speech on the death of Priam in Hamlet) or by a range of other lexical and theatrical framing devices. It is argued that Shakespeare’s use of these effects, which could be regarded as virtual quotation marks around many of his allusions to classical works, contributed in the longer term to his undeserved reputation as a playwright who lacked classical knowledge.

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16

Feis, Jacob. Shakespeare And Montaigne: An Endeavour To Explain The Tendency Of 'hamlet' From Allusions In Contemporary Works. Kessinger Publishing, 2004.

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17

Pollard, Tanya. Imitating the Queen of Troy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.003.0003.

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Chapter 2, “Imitating the Queen of Troy,” explores responses to Greek tragic women in Kyd’s Spanish Tragedy and Shakespeare and Peele’s Titus Andronicus, two early revenge tragedies that both feature raging, grieving mothers and sacrificial young women framed among Greek allusions. Both plays also reflect metatheatrically on the nature of tragedy and link it with appeals to sympathy, suggesting that their attention to Greek legacies and tragic female icons accompanies a broader interest in the genre and its effects. Tracing Kyd’s Greek training at Merchant Taylors’ School, and Peele’s Greek literary experience at Oxford, the chapter identifies Greek debts in these two early commercial tragedies as establishing a crucial foundation for the genre’s development in England.

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18

Elson, Louis Charles. Shakespeare In Music: A Collation Of The Chief Musical Allusions In The Plays Of Shakespeare With An Attempt At Their Explanation And Derivation, Together With Much Of The Original Music. Kessinger Publishing, LLC, 2007.

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19

Elson, Louis Charles. Shakespeare In Music: A Collation Of The Chief Musical Allusions In The Plays Of Shakespeare With An Attempt At Their Explanation And Derivation, Together With Much Of The Original Music. Kessinger Publishing, LLC, 2007.

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20

Levy, David H. The Sky in Early Modern English Literature: A Study of Allusions to Celestial Events in Elizabethan and Jacobean Writing, 1572-1620. Springer, 2014.

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21

Nares, Robert. Glossary: Or, Collection of Words, Phrases, Names and Allusions to Customs, Proverbs, etc. Which Have Been Thought to Require Illustration, in the Works of English Authors. University of Cambridge ESOL Examinations, 2011.

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