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Journal articles on the topic 'Shakespearean comedy'

Author: Grafiati

Published: 20 February 2023

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1

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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2

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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5

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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6

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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7

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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8

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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10

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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11

Tracy, Thomas. "Order, Authority, Shakespearean History, and Jonsonian Comedy." Ben Jonson Journal 11, no. 1 (January 2004): 103–19. http://dx.doi.org/10.3366/bjj.2004.11.1.9.

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Caputo, Nicoletta. "“The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques." Theatre Survey 62, no. 1 (January 2021): 25–50. http://dx.doi.org/10.1017/s0040557420000460.

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Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a transformation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, including a pantomime) were written for and/or performed on the London stage alone. This essay looks at three of these plays, produced at three distinct stages in the history of burlesque's rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrate how Shakespeare burlesques, paradoxically, enhanced rather than endangered the playwright's iconic status. King Richard III is a perfect case study because of its peculiar stage history. As Richard Schoch has argued, the burlesque purported to be “an act of theatrical reform which aggressively compensated for the deficiencies of other people's productions. . . . [It] claimed to perform not Shakespeare's debasement, but the ironic restoration of his compromised authority.” But this view of the burlesques’ importance is incomplete. Building on Schoch's work, I illustrate how the King Richard III burlesques not only parodied deficient theatrical productions but also called into question dramatic adaptations of Shakespeare's plays. In so doing, these burlesques paradoxically relegitimized Shakespeare.

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13

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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14

Shapiro, Michael, and Barbara Freedman. "Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy." Modern Language Review 89, no. 3 (July 1994): 723. http://dx.doi.org/10.2307/3735143.

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15

Knowles, Ronald, and Jonathan Hall. "Anxious Pleasures: Shakespearean Comedy and the Nation-State." Modern Language Review 92, no. 3 (July 1997): 697. http://dx.doi.org/10.2307/3733408.

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16

Butler, Colin. "Shakespeare for the Gifted." Gifted Education International 14, no. 3 (May 2000): 247–53. http://dx.doi.org/10.1177/026142940001400306.

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This article describes a multi-part approach to Shakespeare's playwriting, including his conception of comedy, his method of characterisation, aspects of staging, and the relative status of male and female characters. It can accommodate all types of Shakespearean play. A Midsummer Night's Dream is treated as seminal. Other plays discussed include Much Ado About Nothing, The Merry Wives of Windsor, Othello and Twelfth Night. The approach is cumulative in effect and derives from teaching English 17–18 year olds working on the coursework unit of their Advanced Level English Literature certificate. Its unitised structure suits college and classroom workshops. It can be modified for younger students.

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17

Robertson, Ritchie. "Shakespearean Comedy and Romantic Psychology in Hoffmann's "Kater Murr"." Studies in Romanticism 24, no. 2 (1985): 201. http://dx.doi.org/10.2307/25600532.

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18

Tony J. Stafford. "You Never Can Tell: Shaw's Shakespearean Comedy." Shaw 31, no. 1 (2011): 31. http://dx.doi.org/10.5325/shaw.31.1.0031.

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19

Teague, Frances. "The Metamorphoses of Shakespearean Comedy by William C. Carroll." Comparative Drama 20, no. 3 (1986): 282–83. http://dx.doi.org/10.1353/cdr.1986.0034.

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20

Alvim, Luíza Beatriz. "Between genres and styles in the films of Robert Bresson." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 113–36. http://dx.doi.org/10.5195/cinej.2015.127.

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The films of French director Robert Bresson are considered sober and transcendental. However, in A gentle woman (1969) and in Four nights of a dreamer (1972), he included extracts of quite different genres, like a libertine comedy (the extract of film Benjamim by Michel Deville, 1968), a Shakespearean tragedy (a performance of Shakespeare´s Hamlet) and a gangster film (When love possesses us, produced by Bresson himself). In a way, those excerpts represent exactly the opposite of Bresson´s cinema. On the other hand, they still have some familiarity with it. We analyze the approach of those genres in the sequences in Bresson´s films, as well of the styles present in them by the use of music and images of paintings.

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21

Traub, Valerie, and W. Thomas MacCary. "Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy." Shakespeare Quarterly 38, no. 4 (1987): 520. http://dx.doi.org/10.2307/2870431.

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22

WILSON, RICHARD. "THE QUALITY OF MERCY: DISCIPLINE AND PUNISHMENT IN SHAKESPEAREAN COMEDY." Seventeenth Century 5, no. 1 (March 1990): 1–42. http://dx.doi.org/10.1080/0268117x.1990.10555301.

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23

Bidgoli, Mehrdad. "Comedy and humour: an ethical perspective." European Journal of Humour Research 8, no. 1 (April 23, 2020): 82. http://dx.doi.org/10.7592/ejhr2020.8.1.bidgoli.

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In this essay, I aim to study comedy and humour from an ethical perspective. My main proposal is that comedy and humour can be understood alternatively in the light of ethics, and in one sense, they actually begin, more effectively, with an ethical sensibility. Effective comedy and humour initiate through an ethical sensibility called “hospitality”; ideally, they are preceded by this ethical openness. I will argue that it is this pre-original ethical hospitality and openness that can give rise to more effective moments of comedy, humour, carnival, festivity and also laughter, opening the Self to the Other in order to be able to enter into a disinterested humorous (dialogic) experience. Hospitality is of prime importance here because it turns out to be part and parcel of comedy as it also underlies the ethics of alterity. I therefore suggest that the thoughts of both Emmanuel Levinas and Mikhail Bakhtin can give rise to a fruitful study of ethics, comedy and humour. I will “reduce” socio-political complexities of our daily life-world to comic moments through Bakhtin, and then expose the reader to a Levinasian simplicity and ethical openness that actually takes place before effective comedy and humour can begin. In this essay, I mainly have literary/critical aims, and to fulfil that aim, I will briefly discuss two Shakespearean works and contextualize my thesis. The matter of studying comedy, humour and ethics in a broader cultural, social and/or philosophical context is open for other thinkers.

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24

Oakley-Brown, Liz. "‘Have you the tongues?’." English Text Construction 6, no. 1 (April 5, 2013): 112–33. http://dx.doi.org/10.1075/etc.6.1.06oak.

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This essay suggests that, as plays produced in the wake of Henry VIII’s break with Rome and the Protestant Reformation, two early Shakespearean comedies, The Two Gentlemen of Verona (c. 1590–91) and Love’s Labour’s Lost (c. 1594–95), engage with multilingualism’s and translation’s impact on early modern English identities in striking ways. While these late-sixteenth-century texts are products of a cultural mind-set grappling with the vicissitudes of Englishness via the dramatization of deftly layered social strata and linguistic differences, ultimately, I argue that they simultaneously anticipate cultural accord. — Keywords: Shakespearean comedy; the Reformation; identity politics in Elizabethan England; social exclusion; friendship We only ever speak one language […] — (yes, but) — We never speak only one language… (Jacques Derrida 1998: 10)

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25

Miola, Robert S. "New Comedy inAll's Well That Ends Well." Renaissance Quarterly 46, no. 1 (1993): 23–43. http://dx.doi.org/10.2307/3039146.

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We are all Familiar with the traditional understanding of sources: a source is a previous text that shapes a present one through authorial reminiscence and manifests itself in verbal iteration. As the seminal works of Baldwin, Muir, and Bullough amply demonstrate, this definition has served us long and well, but every element in it has undergone intense scrutiny and reevaluation. Scholars now recognize the potential limitations of a linear, authorcentered, and largely verbal approach and have become attuned to the likelihood of intermediation, the encodings implicit in genre and language, the more oblique and more satisfying evidence of configuration—both rhetorical and dramatic. Within the spacious perspectives provided by scholars like Leo Salingar, Emrys Jones, Gordon Braden, Harry Levin, Alan Dessen, and Louise George Clubb (who has coined the term “theatergram” for certain kinds of configuration), we may well reexamine the sources of Shakespearean comedy.

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26

Wehrs, Donald R. "Touching Words: Embodying Ethics in Erasmus, Shakespearean Comedy, and Contemporary Theory." Modern Philology 104, no. 1 (August 2006): 1–33. http://dx.doi.org/10.1086/510261.

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27

Kirsch, Arthur. "Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy (review)." Philosophy and Literature 16, no. 2 (1992): 421–22. http://dx.doi.org/10.1353/phl.1992.0064.

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28

Homem, Rui Carvalho. "Offshore Desires." Critical Survey 30, no. 3 (September 1, 2018): 36–56. http://dx.doi.org/10.3167/cs.2018.300304.

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This article probes the ability of Shakespearean drama to provide expressive resources for coming to terms (conceptually, discursively) with current crises. These include both the power games of global finance, and those disasters that ostensibly concern other strands of geopolitics. The article focuses on two plays, The Comedy of Errors and Pericles, the actions of which unfold in the eastern Mediterranean – an area of the world associated, in the late modern imagination, either with mobility as pleasure (mass tourism and its apparatus) or mobility as crisis (disputed territories, the plight of displaced populations). It highlights the close bonds between prevalent modes – satire and farce in The Comedy of Errors, romance in Pericles – and the plays’ distinct strategies for representing human mobility: the sense of agency proper to acquisitive urges, the victimhood of forced displacement.

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29

Fiddes, Paul S. "Shakespeare in Church: Reflection on an Intertextual Liturgy Based on A Midsummer Night’s Dream." Ecclesial Practices 4, no. 2 (December 7, 2017): 199–217. http://dx.doi.org/10.1163/22144471-00402003.

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‘Seeing More Clearly with the Eyes of Love’, a new ‘Liturgy for Voices’ based on Shakespeare’s play A Midsummer Night’s Dream, is an experimental piece of intertextuality. It interleaves extensive quotations from the play with elements of the western Christian liturgy and five new poems by contemporary poets. The paper argues that the sequence of the liturgy has parallels with four moments in a Shakespearean comedy: gathering, disturbance, reconciliation and dismissal. Further, in this particular play two quotations from the New Testament appear at climactic points, and these are marked in the liturgy by two symbolic actions which give opportunity for congregational engagement. Data relating to congregational response has been collected after three productions of the liturgy, and is analysed to discover the effect of integrating theatrical and liturgical drama on the theme of love, so contributing to a larger project on love of God and neighbour as a common ground for religions.

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30

Smith, Amy L. "‘Then we cannot be bought’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 95, no. 1 (January 12, 2018): 40–61. http://dx.doi.org/10.1177/0184767817749590.

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This article argues the courtships as performed in Love’s Labour’s Lost challenge early modern marital ideologies. By using performance theory to examine the women’s roles in particular, I argue that as the courtships unfold, the play highlights the particular ways that women emphasize their self-sufficient value by refusing to engage in banter or accept gifts that place them as an object of exchange. Thus the play ends, not as most Shakespearean comedies do by reminding us with overt performative self-consciousness that we have just watched a comedy, but rather that we have not.

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31

Sládeček, Ján. "Shakespearean Drama in Miloš Pietor›S Work: Between Prologue and Epilogue." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 23–40. http://dx.doi.org/10.2478/sd-2018-0002.

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Abstract William Shakespeare’s work has a very specific place in Miloš Pietor’s professional biography: it starts at the beginning of the artist’s creative period and then again at the end of his professional life. The study is devoted to this part of the director’s work. It analyzes the plays Merry Wives of Windsor (P. Jilemnický Theatre, 1963), Hamlet (Nová scéna Theatre 1974), comedy Love’s Labour’s Lost) (Nová scéna Theatre 1976) and presents the directorial and dramaturgical concept of Pietor’s first production after November 1989, The Merchant of Venice (1991). His planned premiere at the Slovak National Theatre (Slovenské národné divadlo) did not take place; the work was cancelled due to the director’s tragic death.

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32

MacIntyre, Jean, and Katherine West Scheil. "The Taste of the Town: Shakespearean Comedy and the Early Eighteenth Century Theater." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1142. http://dx.doi.org/10.2307/20477161.

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33

Sanders, Norman, Richard A. Levin, William C. Carroll, J. A. Bryant, and Robert Ornstein. "Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content." Shakespeare Quarterly 39, no. 1 (1988): 98. http://dx.doi.org/10.2307/2870593.

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Wheeler, Richard P. "Deaths in the Family: The Loss of a Son and the Rise of Shakespearean Comedy." Shakespeare Quarterly 51, no. 2 (2000): 127. http://dx.doi.org/10.2307/2902129.

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35

White, R. S. "The Rise and Fall of an Elizabethan Fashion: Love Letters in Romance and Shakespearean Comedy." Cahiers Élisabéthains: A Journal of English Renaissance Studies 30, no. 1 (October 1986): 35–47. http://dx.doi.org/10.1177/018476788603000107.

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36

Green, Lawrence D. "Rhetorical Approaches To Shakespeare: Comic Character: Dramatic Convention in Classical and Renaissance Comedy: "The Chev'ril Glove": A Study in Shakespearean Rhetor." Rhetorica 4, no. 3 (1986): 295–301. http://dx.doi.org/10.1525/rh.1986.4.3.295.

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37

Berry, Ralph. "Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content. Richard A. Levin." Modern Philology 84, no. 4 (May 1987): 426–29. http://dx.doi.org/10.1086/391579.

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38

Atkinson, David. "Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage: Scripts, Music and Context." Folklore 126, no. 1 (January 2, 2015): 112–13. http://dx.doi.org/10.1080/0015587x.2014.997476.

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Drábek, Pavel. "Singing simpkin and other bawdy jigs: musical comedy on the Shakespearean stage: scripts, music & context." Studies in Theatre and Performance 37, no. 3 (August 31, 2016): 370–72. http://dx.doi.org/10.1080/14682761.2016.1229771.

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Sokol, B. J. "Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage: Scripts, Music and Context." Shakespeare 10, no. 3 (June 24, 2014): 353–57. http://dx.doi.org/10.1080/17450918.2014.927912.

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Hatfull, Ronan James, and Ronan Hatfull. "‘Excess of It’: Reviewing 'William Shakespeare’s Long Lost First Play (abridged)'." Exchanges: The Interdisciplinary Research Journal 4, no. 1 (October 31, 2016): 61–67. http://dx.doi.org/10.31273/eirj.v4i1.147.

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Abstract:

It is timely in 2016, the 400th anniversary of Shakespeare’s death, to consider his legacy as a figure ingrained within popular culture. This critical review will investigate one of the chief exponents and parodists of the dichotomy which Shakespeare symbolises between supposed ‘highbrow’ and ‘lowbrow’ culture: the Reduced Shakespeare Company, a comedic theatre troupe who, to use their own slogan of droll self-deprecation, have been ‘reducing expectations since 1981’.The review will investigate the company’s most recent and tenth production, William Shakespeare’s Long Lost First Play (abridged), as a template for considering Shakespearean parody, focusing on the contemporary process of adapting and condensing Shakespeare’s texts within a populist context.Debuted at the Folger Shakespeare Library in April 2016, the play was first performed in the United Kingdom in August 2016 as part of the Edinburgh Festival Fringe. It is those performances upon which this review focuses. It will also use primary material drawn from live interviews and rehearsal observations conducted with Reed Martin and Austin Tichenor, the company’s managing partners, co-directors, co-writers and performers.

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Watson, Robert N. "William C. Carroll. The Metamorphoses of Shakespearean Comedy. Princeton: Princeton University Press, 1985. x + 292 pp. $28." Renaissance Quarterly 39, no. 3 (1986): 565–67. http://dx.doi.org/10.2307/2862067.

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Godshalk, W. L. "Love and Society in Shakespearean Comedy: A Study of Dramatic Form and Content by Richard A. Levin." Comparative Drama 21, no. 2 (1987): 183–87. http://dx.doi.org/10.1353/cdr.1987.0040.

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Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (November 2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still largely unknown and none has a claim to be a tragedian. Academic studies of Arabic tragedy are insubstantial, while tragedy, in the classical sense, plays a very minor role in Arab drama, the tendency of Arab dramatists being towards comedy or melodrama. Safi Mahmoud Mahfouz is Head of the Department of English Language and Literature at UNRWA University, Amman, Jordan. His research interests include American Literature, Arabic and Middle Eastern literatures, modern and contemporary drama, contemporary poetics, comparative literature, and synchronous and asynchronous instructional technology.

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Donaldson, Peter S. "Barbara Freedman. Staging the Gaze: Postmodernism, Psychoanalysis and Shakespearean Comedy. Ithaca-London: Cornell University Press, 1991. xii + 244 pp. $51." Renaissance Quarterly 47, no. 1 (1994): 203–6. http://dx.doi.org/10.2307/2863140.

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Roychoudhury, Suparna. "Shakespearean Melancholy: Philosophy, Form and the Transformation of Comedy. J. F. Bernard. Edinburgh: Edinburgh University Press, 2018. Pp. ix+252." Modern Philology 117, no. 3 (February 2020): E170—E172. http://dx.doi.org/10.1086/707064.

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Alfar, Cristina León. "The Oxford Handbook of Shakespearean Comedy. Heather Hirschfeld, ed. Oxford Handbooks. Oxford: Oxford University Press, 2018. xx + 572 pp. $124.95." Renaissance Quarterly 73, no. 2 (2020): 751–52. http://dx.doi.org/10.1017/rqx.2020.102.

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Shaughnessy, Robert. "Roger Clegg and Lucie Skeaping, Singing Simpkin and other Bawdy Jigs: Musical Comedy on the Shakespearean Stage: Scripts, Music and Context." Dance Research 34, no. 2 (November 2016): 273–74. http://dx.doi.org/10.3366/drs.2016.0177.

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Erickson, Peter. "Jonathan Hall. Anxious Pleasures: Shakespearean Comedy and the Nation- State. Madison and Teaneck, NJ: Fairleigh Dickinson Press, 1995. 291 pp. $42.50." Renaissance Quarterly 49, no. 1 (1996): 161–63. http://dx.doi.org/10.2307/2863295.

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Hogan, Lalita Pandit. "Shakespearean Melancholy: Philosophy, Form and the Transformation of Comedy. J. F. Bernard. Edinburgh Critical Studies in Shakespeare and Philosophy. Edinburgh: Edinburgh University Press, 2018. xii + 252 pp. $110." Renaissance Quarterly 74, no. 1 (2021): 356–58. http://dx.doi.org/10.1017/rqx.2020.400.

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