Relevant bibliographies by topics / Shakespearean comedy

Contents

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

Academic literature on the topic 'Shakespearean comedy'

Author: Grafiati
Published: 20 February 2023

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Journal articles on the topic "Shakespearean comedy"

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Nozen, Seyyedeh Zahra, and Pegah Sheikhalipour. "Deconstruction of the Construction: Derridean Study of Selected Shakespeare’s Comedies." Khazar Journal of Humanities and Social Sciences 23, no. 4 (December 2020): 90–120. http://dx.doi.org/10.5782/2223-2621.2020.23.4.90.

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Since it was first introduced by Jacques Derrida in the late 1960s, deconstruction, as a method of reading, has been applied to literary texts by critics to reveal the hidden messages of texts and provide opportunities to rethink textual and cultural norms and conventions. While the western tradition has always prioritized tragedy over comedy due to its elegance and graveness, this research tends to focus on comedy as an entity in itself. Tragedy, especially in the Shakespearean sense of the word, has been considered by critics as a “construction” that is well-wrought and perfect in nature. Comedy, on the other hand, is notable for laughing at the laughable and mocking the unfit. Put differently, there has always been a latent, freewheeling “deconstruction” within comedy, especially the Shakespearean. There is, thus, an attempt here to prove, on the one hand, how comedy can be put forth not as an inferior genre but as a supplement to tragedy and, on the other, how comedy moves toward deconstruction and how it tends to subvert or deconstruct the constructions. Investigating a selection of Shakespeare’s comedies including As You Like It, The Merchant of Venice, and Twelfth Night, this study compares and contrasts Shakespearean comedy in light of some Derridean concepts. Along with it, Shakespearean ideas and concepts which are interconnected with those of Derrida are introduced and are buttressed through some meticulously chosen excerpts. Bearing in mind that Derrida is in a habit of deconstructing the so-called established creeds, Shakespeare’s texts are exposed to a deconstructive reading to examine how deceptively simple ideas are dealt with in his selected comedies. Also, as numerous enigmas have for years revolved around the personality of William Shakespeare, this study also aims to take up certain critical idioms of the Derridean canon, elaborate on them and then relate them to the selected plays from the Shakespearean oeuvre in order to disclose some personal aspects of Shakespeare’s personality as a historical figure.
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CORREDERA, VANESSA I. "“How Dey Goin’ to Kill Othello?!” Key & Peele and Shakespearean Universality." Journal of American Studies 54, no. 1 (December 9, 2019): 27–35. http://dx.doi.org/10.1017/s0021875819001981.

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Claims for Shakespearean universality often position Shakespeare's works as resonating with all people across all time. But how far can one take such a claim? A 2013 sketch on Comedy Central's Key & Peele, entitled “Othello Tis My Shite!”, uses satire precisely in order to challenge assertions of Shakespearean universality. I argue that the sketch – which follows two Renaissance Moors, Lashawnio and Martinzion, who attend Shakespeare's Othello – suggests that Shakespeare may find the limits of speaking for “all people” when depicting black masculinity. Yet the sketch's twist ending helpfully proposes the transformative potential in Shakespeare for more effective, authentic representation.
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Walker, William. "Anadiplosis in Shakespearean Drama." Rhetorica 35, no. 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.

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A complex definition of the figure, anadiplosis, develops in the tradition that runs from ancient Greek and Roman rhetoricians up to sixteenth-century continental rhetorical theorists such as Susenbrotus. Drawing on and enriching this tradition, the English rhetoricians of Shakespeare's day defined the figure as the repetition of the word or words with which one phrase or line ends, at or near the beginning of the succeeding phrase or line. A series of anadiploses was understood to make for a gradatio (or climax). Having been schooled in these and other definitions of the tropes and figures, Shakespeare implements anadiplosis, as well as the rhetoricians’ rich metaphorical description of it, in his text. In so doing, he enhances his representation of people who are impassioned, thoughtful, witty, deranged, and ridiculous. In keeping with the rhetoricians’ recognition of the polysemy of the figure, Shakespeare also implements this figure to narrate events and make some of them seem inevitable (usually in history and tragedy) and others unlikely (usually in comedy). The Shakespearean script also frequently includes dialogic anadiplosis: the sharing of the figure by two speakers. In this form, it plays a significant role in Shakespeare's creation of authentic dialogue.
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Mahmood, Wafa Salim. "The Tone of Female Characters in William Shakespeare's As You Like It." Journal of Tikrit University for Humanities 27, no. 6 (August 28, 2020): 57–73. http://dx.doi.org/10.25130/jtuh.27.6.2020.25.

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Studying English literature is insufficient without shedding light on the works of William Shakespeare (1564- 1616). His plays in particular, are rich of significant ideas that give inspiration, controversy and debate for both spectators and critics despite the fact that female characters in Shakespearean plays have less conversation than the male characters. Nevertheless; when they speak, the spectators feel that they seem as they were the backbone of the plays. Their roles are pivotal in the plays and in the development of the plot and undoubtedly, their words and their speeches reflect the mind of the male counterparts. In this respect, the present research is focused on the tone of female characters in Shakespeare’s comedy As you Like it in the light of two points. The first is the focus on how Shakespeare used tone differently for his male and female characters and the other is in what extent the tone is leveled in comedy plays. The aim of the present research is to examine, to understand and to characterize the tone in the boundaries of the context depending on Renaissance period.
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Dinega, Alyssa W. "Ambiguity as Agent in Pushkin's and Shakespeare's Historical Tragedies." Slavic Review 55, no. 3 (1996): 525–51. http://dx.doi.org/10.2307/2501999.

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The question of Shakespeare's influence on Pushkin's work in the period beginning 1824-25 has often been examined in critical works on Pushkin. This influence has generally been construed as one of the decisive factors in Pushkin's poetic and personal maturation away from his early naive Byronism. At the same time, Pushkin found in Shakespeare a release from the outworn conventions of French classical drama that had until then provided the precepts for writers for the Russian stage. For Pushkin, two specific features of Shakespearean drama were congenial: the abandonment of the three classical unities in favor of the primacy of character in dramatic action, and generic mixtures of comedy and tragedy, poetry and prose.
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Sae, Kitamura. "A Rose by Any Other Name May Smell Different." Critical Survey 33, no. 1 (March 1, 2021): 59–71. http://dx.doi.org/10.3167/cs.2021.330105.

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Using William Shakespeare’s name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.
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Hopkins, Lisa. "John Ford’s Strange Truth." Critical Survey 34, no. 2 (March 1, 2022): 93–104. http://dx.doi.org/10.3167/cs.2022.340208.

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From the 1620s to the 1630s, John Ford revisited Shakespeare and made him strange. ’Tis Pity She’s a Whore inverts Romeo and Juliet by making its core relationship endogamous rather than exogamous. Perkin Warbeck is a sequel to Richard III, but undoes its original by telling a story fundamentally incompatible with Shakespeare’s. The Lover’s Melancholy echoes both Twelfth Night and King Lear, collapsing the distinction between comedy and tragedy. Above all, Ford reworks Othello, which lies behind the plots of four of his plays. The estranging effect produced by these reshapings is underlined by Perkin Warbeck’s subtitle ‘A Strange Truth’ and the word ‘strange’ appears forty-nine times in his plays. Ford uses familiar Shakespearean stories to highlight the strangeness of the stories which he himself tells.
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Kahn, Lily. "The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 13–27. http://dx.doi.org/10.1515/mstap-2017-0016.

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This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.
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Hadfield, Andrew. "Grimalkin and other Shakespearean Celts." Sederi, no. 25 (2015): 55–76. http://dx.doi.org/10.34136/sederi.2015.3.

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This essay examines the representation of Ireland and Celtic culture within the British Isles in Shakespeare’s works. It argues that Shakespeare was interested in ideas of colonisation and savagery and based his perceptions on contemporary events, the history of the British Isles and important literary works such as William Baldwin’s prose fiction, Beware the Cat. His plays, notably The Comedy of Errors and Macbeth, represent Protestant England as an isolated culture surrounded by hostile Celtic forces which form a threatening shadowy state. The second part of the essay explores Shakespeare’s influence on Irish culture after his death, arguing that he was absorbed into Anglo-Irish culture and played a major role in establishing Ireland’s Anglophone literary identity. Shakespeare imported the culture of the British Isles into his works – and then, as his fame spread, his plays exported what he had understood back again, an important feature of Anglo-Irish literary identity, as many subsequent writers have understood.
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Cieślak, Magdalena. "From Romero to Romeo—Shakespeare’s Star-Crossed Lovers Meeting Zombedy in Jonathan Levine’s Warm Bodies." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 157–77. http://dx.doi.org/10.18778/2083-2931.11.11.

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Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by a human, another evolutionary step had to be taken, one fostered by a literary association. This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous.
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Dissertations / Theses on the topic "Shakespearean comedy"

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French, Kathleen Frances. "Happiness: Early Modernity and Shakespearean Comedy." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16703.

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This thesis investigates attitudes to happiness in the early modern period and literary representations of positive emotion. It is situated methodologically at the nexus of a number of interconnected approaches. Against a background of body studies and Freudian psychology, it engages with current research in the history of the emotions and work being done in the field of positive psychology. The insights provided by positive psychology into the power of positive emotions, such as optimism, resilience and emotional intelligence, open up a way to access the originality of Shakespeare’s understanding of the emotions and their power in people’s lives. An interdisciplinary approach provides a methodology that can incorporate analysis of imaginative and non-fiction texts with research into the historical, cultural, religious and political influences that shaped how people might have thought and felt about happiness. It considers the extent to which people could be happy in the context of religious beliefs that emphasised the fallen nature of man. As a result of increasing political absolutism and the failure of political theory to provide for societal or personal happiness, people engaged in a process of myth making. They imagined utopian societies, and they imposed their beliefs in the possibility of discovering a lost paradise on the new worlds they discovered in the Americas. More realistically, they accommodated themselves to the conditions of their lives by searching for happiness through forming meaningful personal relationships. Ethical theories about happiness formulated by Aristotle in The Nicomachean Ethics were influential, but came into conflict with theology, especially Augustine’s emphasis on original sin. Aquinas attempted to reconcile philosophy with theology, offering hope that a limited form of happiness might be found in this life. Aristotle, Augustine and Aquinas were formative influences on the ways in which Shakespeare dramatizes the search for happiness in his comedies, The Merchant of Venice, As You Like It and Twelfth Night. He reflects the influence of Aristotle in his representation and evaluation of different types of happiness in the comedies. He also creates fallen political and religious worlds in which his characters must grapple with adversity. Aristotle believed that happiness was dependent on living in a benign political state. Living in fallen worlds, some of Shakespeare’s characters demonstrate an aspect of happiness that Aristotle did not address, that it is a condition that can be achieved through adversity.
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Gordon, Colette. "The play of credit in Shakespearean comedy." Thesis, Queen Mary, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515509.

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Roberts, Parker Kathryn. "Music and Festival Culture in Shakespearean Comedy." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23379.

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This thesis argues that Saturnalian festival practice is central to the representation of both vernacular and rhetorical forms of music in Elizabethan and Jacobean dramatic texts. Since the early twentieth century, scholarly attention has largely focused on the representation of elaborate and rhetorical courtly styles of music in early modern theatre. As such, there has yet to be a study of music in stage drama where vernacular culture is the primary focus. This thesis examines the influence of vernacular music that arises from Saturnalian festival culture in six comedies written by Shakespeare, performed by the Lord Chamberlain’s Men and the King’s Men between the years 1594 and 1611. I have developed a cross-disciplinary methodology for examining music in early modern playtexts using a combination of literary and linguistic analysis, musicology and historically-informed performance practice. I present close readings of six Shakespearean comedies with the aim of developing a new form of musical dramaturgy, that challenges our current assumptions about literary and musical forms represented in stage drama. Each of the chapters explore the meanings and dramaturgical purposes of music in each play which have currently been overlooked due to a lack of an appropriate level of focus on vernacular music culture in the study of early modern dramatic texts. By placing the musical styles of early modern festivals at the centre of my readings of each play, I hope to challenge assumptions that have been made in the past about Elizabethan and Jacobean theatre music and move toward a more diverse consideration of musical influence in dramatic works at the turn of the seventeenth century.
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Beattie, Laura Isobel Helen. "Politics of community in Shakespeare's comic commonwealths." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33052.

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This thesis explores the politics of community in five Shakespearean comedies: The Comedy of Errors (1594), The Merchant of Venice (1596-8), Measure for Measure (1603-4), The Tempest (1611) and The Two Noble Kinsmen (1613). The idea of community addresses many issues usually thought to belong to 'high politics'. Thinking about this topic therefore enables us to articulate a notion of the political firmly grounded within the functioning of the commonwealth at a local level and as a state of interpersonal relations. This thesis has three key aims. Firstly, it argues that the plays highlight the responsibility of all community members, no matter their gender or status, in shaping and contributing to their political environment by displaying civic virtue, working to obtain justice and influencing their ruler's behaviour. By so doing, it focuses on the processes of civic engagement and the political implications of everyday life within a community which have often been neglected in readings of Shakespeare's work thus far. Secondly, this thesis illustrates the inseparability of ethics and politics. It demonstrates throughout that relationships between individuals within a community can have widereaching implications, whether that be in terms of the existence of trust between friends, family members or fellow citizens; the importance of consent existing between subjects and ruler; or the ability of fellow-feeling to confer a sense of agency upon subjects. Lastly, it contends that Shakespeare's assessment of the commonwealth in his comedies, with its emphasis on civic values and on the relationship between the community and the individual, remains attuned to Aristotelian and Ciceronian thought, in contrast to the Tacitean influences critics have detected in the darkness and scepticism of his tragedies and histories. Shakespeare's comedies therefore question the commonly accepted paradigm in early modern intellectual history that Tacitus' prominence increased greatly in the intellectual climate of the late sixteenth and early seventeenth centuries, while Aristotle's and Cicero's diminished. Moving away from the predominant focus on the tragedies and histories in analyses of Shakespeare's political thought, this thesis foregrounds the significance of citizenship, the household and friendship and reassesses the role of the comedies in Shakespeare's thinking about politics.
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Doyle, Anne-Marie. "Shakespeare and the genre of comedy." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.

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Traditionally in the field of aesthetics the genres of tragedy and comedy have been depicted in antithetical opposition to one another. Setting out from the hypothesis that antitheses are aspects of a deeper unity where one informs the construction of the other’s image this thesis questions the hierarchy of genre through a form of ludic postmodernism that interrogates aesthetics in the same way as comedy interrogates ethics and the law of genre. Tracing the chain of signification as laid out by Derrida between theatre as pharmakon and the thaumaturgical influence of the pharmakeus or dramatist, early modern comedy can be identified as re-enacting Renaissance versions of the rite of the pharmakos, where a scapegoat for the ills attendant upon society is chosen and exorcised. Recognisable pharmakoi are scapegoat figures such as Shakespeare’s Shylock, Malvolio, Falstaff and Parolles but the city comedies of this period also depict prostitutes and the unmarried as necessary comic sacrifices for the reordering of society. Throughout this thesis an attempt has been made to position Shakespeare’s comic drama in the specific historical location of early modern London by not only placing his plays in the company of his contemporaries but by forging a strong theoretical engagement with questions of law in relation to issues of genre. The connection Shakespearean comedy makes with the laws of early modern England is highly visible in The Merchant of Venice, Measure for Measure and The Taming of the Shrew and the laws which they scrutinise are peculiar to the regulation of gendered interaction, namely marital union and the power and authority imposed upon both men and women in patriarchal society. Thus, a pivotal section on marriage is required to pinion the argument that the libidinized economy of the early modern stage perpetuates the principle of an excluded middle, comic u-topia, or Derridean ‘non-place’, where implicit contradictions are made explicit. The conclusion that comic denouements are disappointing in their resolution of seemingly insurmountable dilemmas can therefore be reappraised as the outcome of a dialectical movement, where the possibility of alternatives is presented and assessed. Advancing Hegel’s theory that the whole of history is dialectic comedy can therefore be identified as the way in which a society sees itself, dramatically representing the hopes and fears of an entire community.
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Sutcliffe, Henry Christopher. "Robert Armin (Shakespeare's clown) ?1568-1615." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292276.

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Hornback, Robert Borrone. "After carnival : normative comedy and the everyday in Shakespeare's England /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Basye, Jennifer L. "Masculinity, Desire, and Disarmament in Four of Shakespeare's Comedies." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/english_diss/109.

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This dissertation sets out to explore Lacan’s idea of the paradoxical condition of the masculine gender construction. As privileged, favored, powerful, entitled, and hegemonic as it may seem, masculinity does not come without its awareness of what Lacan has most accurately labeled the “threat or even […] the guise of deprivation.” In fact, this construction not only assumes threat and deprivation to its identity but goes so far as to rely upon these potential attacks as necessities in order to perform itself. In other words, the masculine role can only be identified, recognized and/or mean when presented with a threat. As with any identity, masculinity is not autonomous nor is it essential in signification; it must confront that which is not masculine, that which is always a potential threat to its identity, if it is to appear in any way privileged, favored, powerful, entitled, hegemonic or whatever any culture construes masculinity to be. This argument is applied to four of Shakespeare’s comedies in terms of the male characters’ ability or reason to speak.
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Tyson, Rikita Lenise. "Good Fooling: Modality and Linguistic Action in Shakespeare's Comedies." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10453.

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This dissertation examines the role of modal verbs and rhetoric in the creation of Shakespeare's comic action. I argue that by focusing on the characters' uses of language in these plays, we can recover a sense of subjectivity and agency for Shakespeare's comic characters, instead of treating them as mere "types" swept along by the force of comic convention. Modal verbs--"can," "may," "must," "ought," and "will"--encode and enact subjectivity at the linguistic level, demonstrating a speaker's perceptions about the action of the main verb: whether a speaker thinks an action is possible or impossible, likely or unlikely, necessary or merely beneficial. Modal verbs therefore indicate an entirely different category of comic action: not just the oversized action of mistaken identity or farce, but the more subtle mental activity that underpins all subsequent action. Likewise, an examination of Shakespeare's comic rhetoric reveals that, far from being inconsequential or merely decorative, it is a force in its own right; I argue that the characters' insistence on the overt use of rhetorical devices, wordplay, and logical debate is a form of action that creates the comic world. Characters use strategies derived from logic and rhetoric in order to persuade themselves and others into positive action, achieving comic endings by verbal means.
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Hahn, Terry R. "Eros and Thanatos the struggle for instinctual domination in tragedy and comedy of Shakespeare /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.
Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Source: Masters Abstracts International, Volume: 45-06, page: 2844. Includes bibliographical references (leaves 109-110).
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Books on the topic "Shakespearean comedy"

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Singh, Avtar. Ideational aesthetics and Shakespearean comedy. Jalandhar: ABS Publications, 1990.

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The metamorphoses of Shakespearean comedy. Princeton, N.J: Princeton University Press, 1985.

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Lewis, AnthonyJ. The love story in Shakespearean comedy. Lexington, Ky: University Press of Kentucky, 1992.

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The love story in Shakespearean comedy. Lexington, Ky: University Press of Kentucky, 1992.

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Anxious pleasures: Shakespearean comedy and the nation-state. Madison [N.J.]: Fairleigh Dickinson University Press, 1995.

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Staging the gaze: Postmodernism, psychoanalysis, and Shakespearean comedy. Ithaca: Cornell University Press, 1991.

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Beyond a common joy: An introduction to Shakespearean comedy. Lincoln: University of Nebraska Press, 2008.

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A natural perspective: The development of Shakespearean comedy and romance. New York: Columbia University Press, 1995.

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Friends and lovers: The phenomenology of desire in Shakespearean comedy. New York: Columbia University Press, 1985.

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Enchanted shows: Vision and structure in Elizabethan and Shakespearean comedy about magic. New York: Garland Pub., 1988.

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Book chapters on the topic "Shakespearean comedy"

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Traub, Valerie. "The Homoerotics of Shakespearean Comedy." In Shakespeare, Feminism and Gender, 135–60. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-0-230-62826-7_7.

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Kingsley-Smith, Jane. "Learning to Love in Shakespearean Comedy." In Shakespeare, Education and Pedagogy, 72–79. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003188704-11.

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Ryan, Kiernan. "Shakespearean Comedy and Romance: The Utopian Imagination." In Shakespeare, 102–57. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1057/978-1-4039-1357-9_4.

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Ryan, Kiernan. "Shakespearean Comedy and Romance: the Utopian Imagination." In Shakespeare’s Romances, 27–52. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_2.

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Votava, Jennie. "Comedy, the Senses, and Social Contagion in Plays Confuted in Five Actions and The Comedy of Errors." In Contagion and the Shakespearean Stage, 25–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14428-9_2.

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Henderson, Diana E. "Shakespearean Comedy, Tempest-Toss’d: Genre, Social Transformation, and Contemporary Performance." In Shakespeare and Genre, 137–52. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137010353_8.

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Gleckman, Jason. "Double Predestination in Shakespearean Comedy and Tragedy: The Merry Wives of Windsor and Macbeth." In Shakespeare and Protestant Poetics, 71–90. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9599-5_5.

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Gill, Richard. "Comedy." In Mastering Shakespeare, 89–106. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_5.

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Archer, John Michael. "Comedy: Civil Sayings." In Citizen Shakespeare, 23–70. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403981295_2.

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Smith, Peter J. "Shakespeare’s Comedy of Consensus." In Social Shakespeare, 17–39. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-24225-2_2.

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Conference papers on the topic "Shakespearean comedy"

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Yan, Hao. "The Impressionistic Expression Technique in Shakespeare's Comedy qMuch Ado About Nothingq." In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.191.

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Reports on the topic "Shakespearean comedy"

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BIZIKOEVA, L. S., and G. S. KOKOEV. МЕТАФОРЫ ШЕКСПИРА КАК ПЕРЕВОДЧЕСКАЯ ПРОБЛЕМА (НА МАТЕРИАЛЕ ПЕРЕВОДА ТРАГЕДИИ "РОМЕО И ДЖУЛЬЕТТА" НА РУССКИЙ И ОСЕТИНСКИЙ ЯЗЫКИ). Science and Innovation Center Publishing House, 2020. http://dx.doi.org/10.12731/2077-1770-2020-3-3-95-106.

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Abstract:
Purpose. The goal of the present article is to analyze the original text of the tragedy “Romeo and Juliette” and its translations into the Russian and Ossetian languages to reveal Shakespeare’s metaphors for further analysis of the ways they are translated and possible problems translators might come across while translating. The main methods employed in the research are: the method of contextual analysis, the descriptive-analytical and the contrastive method. Results. The research was based on the theory of Shakespeare’s metaphor introduced by S.M. Mezenin. According to S.M. Mezenin the revealed metaphors were divided into several semantic groups the most numerous of which comprises metaphors with the semantic model “man - nature” that once again proved the idea of Caroline Spurgeon. The analysis of the translations into the Russian and Ossetian languages showed that translators do not always manage to preserve in the translated text unique Shakespeare’s metaphors. Practical implications. The received results can be used in teaching theory and practice of translation, cultural science, comparative lexicology of the Ossetian and Russian languages and the Ossetian and English languages.
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