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Journal articles on the topic 'Shakespearean allusion'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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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.

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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.

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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.

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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.

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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.

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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)

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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11

Glytzouris, Antonis. "Karolos Koun in the 1930s and the Birth of Modernist Shakespeare in Greece." New Theatre Quarterly 30, no. 1 (February 2014): 40–50. http://dx.doi.org/10.1017/s0266464x14000062.

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The author aims in this article is to highlight a significant moment in the history of the reception of Shakespeare in modern Greek theatre. The article outlines the main developments in the perception of Shakespeare's work in Greece from the mid-nineteenth century until the Second World War, and examines Karolos Koun's early experiments in Shakespearean production. Koun's initiatives were diametrically opposed to local theatre traditions, which emphasized psychological or historical realism and pictorial or spectacular illusion. The use of non-realistic stage conventions such as masks and simple, abstract and allusive settings, flamboyant costumes, stylized acting, and the fact that all roles were played by young boys demonstrate the significance of Koun's contribution to a modernist Shakespeare in Greece, culminating in his Romeo and Juliet with the Royal Shakespeare Company at Stratford in 1967. Antonis Glytzouris is Associate Professor in the School of Drama at the Aristotle University Thessaloniki, and is author of Stage Direction in Greece: the Rise and Consolidation of the Stage Director in Modern Greek Theatre (Herakleio: Crete University Press, 2011), among other publications.

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12

Al-Shetawi, Mahmoud F. "Shakespeare’s Orientalism Revisited." Critical Survey 32, no. 4 (December 1, 2020): 21–35. http://dx.doi.org/10.3167/cs.2020.320403.

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This article attempts to document and examine the corpus of Arabic and Islamic allusions and references in Shakespeare’s drama and poetry in line with postcolonial discourse and theory. The works of Shakespeare incorporate a large body of Arabic/Islamic matters, which the Bard has gleaned from different sources, such as travel literature, narratives of pilgrims, history annals and common tales of the Crusaders. However, these matters are sporadic in Shakespeare’s works, woven into the fabric of various plays and poems. For example, Shakespeare has thematically used a set of allusions and references to the Arab world such as Arabian trees, the Prophet Mohammed, the Turk, Aleppo, Jerusalem, and many others. Shakespeare has also presented three Oriental characters in his plays: the Prince of Morocco, Shylock and Othello, each with distinctive ethnic and personal traits. A scrutiny of Arabic and Islamic matters in the works of Shakespeare from postcolonial critical perspectives reveals that Shakespeare has a vague idea about Arabs and the Orient at large. Therefore, Shakespeare represents the Orient as the other; his Orient is rather exotic and bizarre, posing as an impending menace to Europe.

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13

Marinesko, Viktoriia, Darya Lazarenko, Nataliya Torkut, and Nataliia Gutaruk. "“Shakespeare in love” / In love with Shakespeare: metatextual potential of John Madden’s fictional biopic." Revista Amazonia Investiga 10, no. 42 (July 30, 2021): 103–12. http://dx.doi.org/10.34069/ai/2021.42.06.10.

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The paper focuses on the specificity of metatextual potential of John Madden’s fictional biopic “Shakespeare in Love” (1998), viewed as a complex metatextualintermedial construct. The metatextual resources of the film are being analysed on three key levels: intratextual (metatextual fragments), intertextual (allusions to the other works of the canon) and extratextual (text as an intersemiotic metatext). On the intratextual level four main forms of metatextual commentary are singled out: a) the paratextual commentary; b) the leitmotif; c) the self-referential fragments; d) the allusions to the present-day realia. In relation to the intertextual level of the film’s metatextual potential references to Shakespeare’s works are discussed as a metatext which offers an explanation of the sources of Shakespeare’s inspiration. Within the extratextual level, “Shakespeare in Love” is viewed as an intersemiotic metatext which comments upon two major semantic fields: the figure of Shakespeare and the epoch of the English Renaissance. The authors also put forward the suggestions for the practical application of the research results.

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14

Aurangzeb, Sahibzada, Liaqat Iqbal, and Sahibzada Jehanzeb. "Cultural and Historical Progression: The Psychology of Literary Allusions in Theodore Dreiser's The Financier (Trilogy of Desire)." Global Regional Review V, no. II (June 30, 2020): 169–75. http://dx.doi.org/10.31703/grr.2020(v-ii).18.

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The psychology of allusion is often multi-faceted as a reference to an artefact, which could be a character from a literary piece, the quoted words of a character, a place in the country or an event from history. The reference item should be familiar to the readers. The current research identifies literary allusion in The Financer (1912) and the characters referred to Ouida's Tricotrin (1869), Charlotte Bronte's Jane Eyre (1847), Amelia Edith Huddleston Barr's A Bow of Orange Ribbon (1886), Edward Bulwer Lytton's Kenelm Chillingly (1874), and William Shakespeare's Macbeth (1603) which is explained with reference to the plot of Theodore Dreiser's Trilogy of Desire: The Financier (1912), The Titan (1914) and The Stoic (1947). The available literature review testified that a thorough evaluation of the allusions within the novel had not been accomplished to date, although these allusions link the literary pieces of the greatest minds in literature.

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15

Stelzer. "Lear, Luke 17, and Looking for the Kingdom Within." Religions 10, no. 8 (July 29, 2019): 456. http://dx.doi.org/10.3390/rel10080456.

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The ending to Shakespeare’s Tragedy of King Lear has generated much debate. Performance history and critical interpretations of the conclusion of the Folio version of Lear have been pronouncedly divided into readings intimating the tragic hero’s redemption and readings averring his ultimately bleak condition, whether of delusion or despair. Recent attempts to describe Shakespeare’s use of scripture in this play have offered more nuance, acknowledging the play’s blending of pagan and Christian elements. While King Lear has extensively been compared to the book of Job and to apocalyptic passages in Revelation and Daniel, allusions to the gospel narratives and to Luke in particular raise the thorny question of Cordelia’s role as a Christ-figure. This essay argues that the ambiguous and suggestive nature of Lear’s final words (“Look there, look there!”) is both preserved and illuminated when read as an allusion to Jesus’ words in Luke 17:21. This previously unexplored allusion not only offers guidance for responding to Lear’s exhortation to “Look there” but also resonates within Shakespeare’s play through shared themes of apocalypse, kingdom, sight/insight, and the importance of the heart.

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16

Brown, John Russell. "Representing Sexuality in Shakespeare's Plays." New Theatre Quarterly 13, no. 51 (August 1997): 205–13. http://dx.doi.org/10.1017/s0266464x00011210.

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Sexuality resides in much more than what is spoken or even enacted, and its stage representation will often work best when the minds of the spectators are collaboratively engaged in completing the desired response. John Russell Brown, founding Head of Drama at the University of Birmingham and a former Associate Director of the National Theatre, here explores Shakespeare's arts of sexual obliquity, whether in silence, prevarication, or kindled imagination, and their relationship both with more direct forms of allusion and with an audience's response. John Russell Brown, currently Professor of Theatre at the University of Michigan, is author of numerous books on Shakespeare and modern drama, and editor of many Elizabethan and Jacobean texts – most recently a new edition of Shakespeare for Applause Books, New York.

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17

Cressler, Loren. "Asinine Heroism and the Mediation of Empire in Chaucer, Marlowe, and Shakespeare." Modern Language Quarterly 81, no. 3 (September 1, 2020): 319–47. http://dx.doi.org/10.1215/00267929-8351533.

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Abstract What are the consequences of reading Shakespeare’s allusions to classical heroes through vernacular adaptations rather than through classical texts? This essay reframes the debate about which classical sources Shakespeare consulted, arguing that he encountered Aeneas and Theseus primarily through vernacular authors. Vernacular literature’s depictions of the mythic founders of Rome and Athens foreground classical heroes’ treachery and duplicity and minimize their roles as progenitors of empire and culture. Shakespeare’s quotation strategies in A Midsummer Night’s Dream follow Marlowe and Nashe’s model in Dido, Queen of Carthage by looking to Chaucer as the poetic authority for classical myth. Like Chaucer, both playwrights foreground the destruction left in empire’s wake. A Midsummer Night’s Dream imagines a retelling of Dido’s story that privileges her authority over an interloping male hero. In the asinine Bottom, Shakespeare offers an antidote to the exploitative model of heroism embodied in Theseus and Aeneas through a mock-heroic retelling of Aeneas’s most renowned crime.

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18

Edgecombe, Rodney Stenning. "A Shakespearian Allusion in Darwin." Notes and Queries 63, no. 2 (April 19, 2016): 256.2–257. http://dx.doi.org/10.1093/notesj/gjw063.

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19

Chesnokova, Tatiana G. "The Taming of the Shrew by A.N. Ostrovsky: Some Aspects of Reception and the Principles of Translation of Shakespeare’s Comedy." Studia Litterarum 5, no. 4 (2020): 10–37. http://dx.doi.org/10.22455/2500-4247-2020-5-4-10-37.

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Albeit being an experienced translator of foreign drama, A.N. Ostrovsky translated only one Shakespeare’s piece — The Taming of the Shrew. His first attempt at its translation resulted in an abridged prose version entitled The Taming of the Spiteful Wife, which served as an embryo of the later prosimetric translation. While the interest in Shakespearean allusions in Ostrovsky’s plays may be traced back to the works of contemporary critics, it was not until mid-20th century that a comprehensive study of the play’s translation was written by a Shakespearean scholar M. Morozov further revisited and revised by Iu.D. Levin, V.I. Malikov, and N.K. Il’ina. Bearing on these studies, the author of this article demonstrates how the language of Ostrovsky’s translation is related to the basic language principles of the playwright and shows his reliance upon the editorial practice of the 18th–19th centuries. The article highlights the translator’s strategies in using verse and prose, blank verse and rhyme as a means to interpret Shakespearean characters, the genre and the style of the play. It also examines the synthesis of “domesticating” and “estranging” tendencies in the translated play

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20

Beauregard, David. "Shakespeare’s Prayers." Religion and the Arts 22, no. 5 (November 26, 2018): 577–97. http://dx.doi.org/10.1163/15685292-02205001.

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Abstract The various prayers in King Lear, Hamlet, Henry V, Cymbeline, and The Tempest are complex. If Shakespeare inherited medieval Catholic forms of prayer he preserved them in altered form, with considerable ambiguity. They provided useful dramatic forms, although any explicit appeal to Catholics in the audience seems unlikely. Since the English Reformation was still in the process of transition, Shakespeare’s prayers would have appealed to his “Protestant” as well as Catholic audience. Against the overstated claim that to look for Shakespeare’s religious affiliation is an impossible task and finally futile, I argue that the various inadvertent allusions to Catholic forms of prayer, and their sometimes ambiguous expression, are precisely what we would expect of a Catholic working under the Elizabethan and Jacobean regimes.

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21

Alhawamdeh, Hussein A. "The Restoration Muslim Tangerines Caliban and Sycorax in Dryden-Davenant’s Adaptation of Shakespeare’s The Tempest." Critical Survey 33, no. 3-4 (September 1, 2021): 121–40. http://dx.doi.org/10.3167/cs.2021.33030412.

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This article analyses the filtering of Shakespeare’s The Tempest (1611) in the Restoration drama repertoire, showing the Restoration revision of the Shakespearean stereotypical delineation of the ‘half-moor’ Caliban in the light of Restoration England’s complex relations of admiration and trepidation with regard to the Muslim Moors and Turks. Dryden-Davenant’s The Tempest or The Enchanted Island (1667) complicates the figures of Caliban and Sycorax as Muslim Moorish friends or foes and possible subjects of Charles II’s English Tangier on the Barbary coast. Dryden-Davenant’s The Enchanted Island makes historical parallels and allusions to Charles II’s marriage to the Portuguese Catherine of Braganza and the English possession of Tangier as a part of the marriage dowry.

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22

Müller, Wolfgang G. "The body within the body: Ian McEwan’s creation of a new world in Nutshell." Frontiers of Narrative Studies 4, no. 2 (November 26, 2018): 374–92. http://dx.doi.org/10.1515/fns-2018-0029.

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AbstractThis article looks at Ian McEwan’s latest novel, Nutshell, as a great innovative contribution to narrative art. As far as its basic plot is concerned, it looks like crime fiction with Shakespearean resonances, but the choice of an unborn child as narrator and the consistent perspective from within the body of a heavily pregnant woman result in the disclosure and exploration of an entirely new world. Aspects investigated are the novel’s narrative situation, its relation to Shakespeare’s Hamlet as a reference text, the use of quotations and allusions and the representation of bodily processes and the relation between the I-narrator and the author. The ethical substance of the work is shown to be generated by its specific narrative form.

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23

Rassokhina, Elena. "Shakespeare’s ‘Will sonnets’ in Russian." Contexts of Russian Literary Translation 11, no. 1 (March 31, 2016): 44–63. http://dx.doi.org/10.1075/tis.11.1.03ras.

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This article examines strategies implemented by Russian translators of Shakespeare’s sonnets 135 and 136 when dealing with puns on the word “will” in various senses. Seven translations spanning the period from 1880 to 2011 have been selected for analysis. These renderings of Shakespearian puns exhibit a wide range of translation strategies and various effects within the target texts. The analysis demonstrates that the majority of the selected translations reflect social taboos and censorship with regard to sexuality in Russian translated literature. However, two recent translations containing sexual allusions indicate changing norms in the post-Soviet period. Thus, translations of sexual puns may also be illustrative of the ways in which the target language’s norms influence the translators’ choices.

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24

FARLEY-HILLS, DAVID. "ANOTHER JONSON ALLUSION TO SHAKESPEARE?" Notes and Queries 47, no. 4 (December 1, 2000): 473–75. http://dx.doi.org/10.1093/nq/47-4-473.

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25

FARLEY-HILLS, DAVID. "ANOTHER JONSON ALLUSION TO SHAKESPEARE?" Notes and Queries 47, no. 4 (2000): 473–75. http://dx.doi.org/10.1093/nq/47.4.473.

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26

Shaytanov, I. O. "Metaphysics of the biography. How many parts to Shakespeare’s Sonnets?" Voprosy literatury, no. 6 (December 28, 2020): 144–77. http://dx.doi.org/10.31425/0042-8795-2020-6-144-177.

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The two-part structure for the sequence of Shakespeare’s Sonnets was suggested by its first editor Edmund Malone at the end of the 18th c. and proved to be a long-standing tradition. Recently not a few attempts have been made to clarify the logic practiced by the Renaissance sonneteers in whose context Shakespeare’s lyrical narration is problematized. This article joins to ascertain the boundaries of inner cycles within the sequence in order to follow the denouement of its plot. The author argues that the Renaissance sequence, much unlike the narrative logic in the novel, does not present a consistent love story but rather the sessions of sweet silent thought (sonnet 30), reflective in the sonnet and growing more and more metaphysical in Shakespeare, both in diction and metaphor. Certain biographical allusions in the sequence (some of them advanced by the author) support that it was written between 1592 and 1603–1604 to the Earl of Southampton as its addressee.

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27

KENNEDY, RICHARD F. "SOME NEW SHAKESPEARE ALLUSIONS." Notes and Queries 47, no. 4 (December 1, 2000): 464—b—467. http://dx.doi.org/10.1093/nq/47-4-464b.

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28

KENNEDY, RICHARD F. "SOME NEW SHAKESPEARE ALLUSIONS." Notes and Queries 47, no. 4 (2000): 464—b—467. http://dx.doi.org/10.1093/nq/47.4.464-b.

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29

Maroshi, V. V. "Gothic beetle: a comment on one of Pushkin’s allusions." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 66–79. http://dx.doi.org/10.17223/18137083/72/5.

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The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is represented within the genres of elegy, pastoral, and ballad. We expand the field of Pushkin’s allusion to the Gothic novels of A. Radcliffe and Gothic fiction in general. Mentioning the beetle launches a chain of reminiscences from Gothic novels during Tatiana’s walk and her visit to Onegin’s empty “castle.” The quotations from Shakespeare and Collins in Radcliffe’s novels are of great significance. Shakespeare’s beetle, a Hecate’s messenger, is involved in creating an atmosphere of night fears and mystery surrounding the scene in Onegin’s castle. A collection of Radcliffe’s novels in Pushkin’s library suggests the poet was somewhat familiar with the paratext of the novel “The Romance of the Forest”. Moreover, the beetle as a parody character for a ballad and a Gothic novel appeared in the unfinished poem “Vasily Khrabrov” by the poet’s uncle, V. L. Pushkin.

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30

Alsop, James Stephen. "‘Funeral Baked Meats’." Exchanges: The Interdisciplinary Research Journal 7, no. 2 (January 30, 2020): 153–68. http://dx.doi.org/10.31273/eirj.v7i2.460.

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This article argues that the cannibalistic connotations in ‘Hamlet’ may be interpreted in the context of specific cultural anxieties relating to the popular and problematic use of corpse medicine, or mumia. I begin by exploring how Shakespeare represents corpses throughout Hamlet in ways which reference food and culinary practices. By doing so, Shakespeare not only emphasises the tragic objectification of the dead, but also links life and death inextricably to figurative and literal consumption. The essay proceeds to analyse the cannibalistic allusions in ‘Hamlet’ through the lens of the contemporary medical consumption of corpse medicine. While the use of corpse medicine was semantically distinguished from anthropophagy in early modern Europe, I argue that Shakespeare’s depiction of man-eating in Hamlet forces his audience to confront their own unsavoury distinctions between ‘acceptable’ and ‘unacceptable’ forms of cannibalism. Viewed through the lens of cannibal discourse, Hamlet’s language over the course of the tragedy takes on new significance as the prince displays profane hunger that seems to simultaneously repel him and imbue him with a macabre vitality. Something is indeed ‘rotten in the state of Denmark’ (1.4.67), Shakespeare suggests, and the smell appears to be coming from the kitchen.

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31

Blair, K. "Two Unremarked Shakespearian Allusions inMary Barton." Notes and Queries 49, no. 1 (March 1, 2002): 59–62. http://dx.doi.org/10.1093/nq/49.1.59.

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32

Korchevsky, A. A. "Arden of Faversham. Translator’s notebook." Voprosy literatury, no. 4 (August 22, 2019): 231–46. http://dx.doi.org/10.31425/0042-8795-2019-4-231-246.

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The author explores different aspects of his work on the Russian translation of Arden of Faversham, a famous play from Tudor period, first published in 1592, and written, and staged apparently several years earlier. Andrey Korchevsky argues why this textbook piece was never translated into Russian language and suggests that the anonymity of the author could play a role in its exclusion from consideration by the Soviet translation school. The context of authorship, in general, seems to be very relevant for the translation process, especially with Shakespeare being named as a ‘suspect’ for participation in the playwriting of Arden (as evinced by the works of McDonald Jackson and Marina Tarlinskaya). Korchevsky illustrates some Shakespearean allusions in Arden of Faversham, including some references to Macbeth and Two Gentlemen of Verona. Some other aspects of the translation process are discussed, including the difficulties in translating contemporary jokes, specifics of Russian pronunciation of the ‘Faversham’ toponym, and unexpected, but pronounced, feminism message of the play.

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33

Denman, J. R. "A Shakespeare Allusion in Dryden's Love Triumphant." Notes and Queries 62, no. 2 (May 5, 2015): 270–71. http://dx.doi.org/10.1093/notesj/gjv030.

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34

Grigore, Claudia. "Healing Music in Pericles, the Winter’s Tale and The Tempest." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 42–53. http://dx.doi.org/10.1515/rjes-2019-0006.

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AbstractThis essay examines the scenes in Shakespeare’s romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa’s apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter’s Tale, Hermione’s apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare’s most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays’ scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect.

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35

Hunt, Maurice. "Jonson vs. Shakespeare: The Roman Plays." Ben Jonson Journal 23, no. 1 (May 2016): 75–100. http://dx.doi.org/10.3366/bjj.2016.0153.

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Critics rarely bring Ben Jonson's two Roman tragedies – Sejanus and Catiline – into proximity with Shakespeare's four Roman tragedies – Titus Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus. Yet doing so in terms of some dramatic features they share illuminates qualities of these plays not easily discernible by other approaches to them. This is especially the case when one adds Shakespeare's tragicomedy Cymbeline to this grouping. Establishing metaphysical perspectives based on ironic Christian allusions in all but one of Shakespeare's Roman plays throws into relief a Catholic dimension of Sejanus and religious dynamics of Catiline more involved in this tragedy than previous critics have realized. Bringing Jonson's and Shakespeare's Roman drama into mutual play also focuses the homeopathic, neo-Aristotelian catharsis of Coriolanus by reference to those in Sejanus and Catiline, as well as the dangerous position of historians and poets in Roman society, as evidenced by the fates of Cordus in Sejanus and Cinna in Julius Caesar. The perceived bad verse of the latter writer clinches judgment against him, even as the vile rhymes of the nameless poet in Julius Caesar disqualifies him from forging amity between Cassius and Brutus. Analysis of the complexity of the most complicated character in Jonson's and Shakespeare's tragedies, respectively Brutus and the Cicero of Catiline, reveals that Jonson's orator combines traits identified with three characters of Julius Caesar: Cassius's capacity for cunning practices, Antony's oratorical eloquence, and Brutus's tragically unrealistic, naïve thinking. This inquiry thus suggests something rarely said of Jonson's tragedies: that he was capable of giving a character in tragedy complexity if not equal to that produced by Shakespeare, yet nevertheless approaching it.

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36

Brownlow, Frank W. "A Jesuit Allusion to King Lear." Recusant History 28, no. 3 (May 2007): 416–23. http://dx.doi.org/10.1017/s0034193200011468.

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In 1614 Charles Boscard published at St Omer The Life and Death of Mr. Edmund Geninges Priest, Crowned with Martyrdome at London, the 10. day of November, in the yeare M.D.XCI, a book which John Hungerford Pollen called ‘the most sumptuous, artistic, and, typographically speaking, the most interesting literary monument to our martyrs which our poor persecuted church was ever able to set forth’. This beautiful little book's most striking feature is a set of twelve handsome engravings by Martin Bas of Douay, one before each chapter illustrating an episode in the martyr's life. It also harbours an important allusion to King Lear, and hence to William Shakespeare.

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Blair, Kirstie. "Two Unremarked Shakespearian Allusions in Mary Barton." Notes and Queries 49, no. 1 (March 1, 2002): 59–62. http://dx.doi.org/10.1093/nq/490059.

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Borlik, T. A. "A Possible Allusion by Middleton to Shakespeare's Death?" Notes and Queries 62, no. 1 (February 9, 2015): 130–33. http://dx.doi.org/10.1093/notesj/gju229.

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39

Dralyuk, Boris. "A “Leperous Distilment”: Retranslating Polina Barskova’s Shakespearean Allusions." Translation Review 88, no. 1 (January 2, 2014): 46–55. http://dx.doi.org/10.1080/07374836.2014.887352.

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40

Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.

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In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.

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Mettinger, Elke. "Topicality and conceptual blending in Shakespeare's Henriad - the case of the Earl of Essex." Acta Neophilologica 49, no. 1-2 (December 15, 2016): 29–51. http://dx.doi.org/10.4312/an.49.1-2.29-51.

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The goal of the following article is to analyse topical allusions to the Earl of Essex in Shakespeare's Henriad in terms of conceptual blending theory in order to shed light on the reception of these plays in the early modern public theatre and to find clues to Shakespeare's intentions.

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KENNEDY, RICHARD E. "THREE SHAKESPEARIAN ALLUSIONS IN POOLE'S PRACTICAL RHETORICK (1663)." Notes and Queries 48, no. 3 (September 1, 2001): 311—a—311. http://dx.doi.org/10.1093/nq/48-3-311a.

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KENNEDY, RICHARD E. "THREE SHAKESPEARIAN ALLUSIONS IN POOLE'S PRACTICAL RHETORICK (1663)." Notes and Queries 48, no. 3 (2001): 311—a—311. http://dx.doi.org/10.1093/nq/48.3.311-a.

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44

Shalygina, Olga V. "Shakespeare’s Codes in Poetic Prose." Transcultural Studies 15, no. 2 (October 21, 2019): 144–59. http://dx.doi.org/10.1163/23751606-01502006.

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Questions of teleology of art rhythm are closely related with concept of time. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. The article analyzes the aesthetic effects of poetic prose, considers the imposition of codes Hamlet’s and Macbeth’s in the plays by A.P. Chekhov and the novel by B. Pasternak Doctor Zhivago. The article analyzes the aesthetic effects of poetic prose, considers the imposition of this codes. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. In the novel of Pasternak, the Macbeth’s code in poetic prose appears in the rhythmic structure, the Hamlet’s code - in a symbolic structure. The allusion to Shakespeare’s text creates a strong voltage point between the inner dialogue with Shakespeare and something occurring in silence. Probably, the teleology of rhythm in the recent literature tematizada using these codes as the most adequate of modern European consciousness.

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45

Montag, Linda. "Byron's Allusions to Shakespeare in Don Juan." Byron Journal 30 (January 2002): 29–37. http://dx.doi.org/10.3828/bj.2002.4.

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46

Evans, Robert C. "Anne Kemp and a New Allusion to “Will” Shakespeare?" Ben Jonson Journal 14, no. 1 (May 2007): 88–90. http://dx.doi.org/10.3366/bjj.2007.14.1.88.

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Reinheimer, David. "Ontological and Ethical Allusion: Shakespeare in The Next Generation." Extrapolation 36, no. 1 (April 1995): 46–54. http://dx.doi.org/10.3828/extr.1995.36.1.46.

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Duxbury, Janell R. "Shakespeare meets the Backbeat: Literary allusion in Rock Music." Popular Music and Society 12, no. 3 (September 1988): 19–23. http://dx.doi.org/10.1080/03007768808591321.

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49

Kennedy, R. "Note. Three Shakespearian allusions in Poole's Practical Rhetorick (1663)." Notes and Queries 48, no. 3 (September 1, 2001): 311. http://dx.doi.org/10.1093/nq/48.3.311.

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50

Evans, Robert C. "Shakespeare, Sutton, and Theatrical Satire: An Unreported Allusion to Falstaff." Shakespeare Quarterly 40, no. 4 (1989): 493. http://dx.doi.org/10.2307/2870615.

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