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Relevant bibliographies by topics / Shakespearean Plays

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Dissertations / Theses

Academic literature on the topic 'Shakespearean Plays'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Dissertations / Theses on the topic "Shakespearean Plays"

1

Hecker, Pierre Alexandre. "The Shakespearean stage : language and silence." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313156.

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2

Zhang, Zhiyan. "Fluid and loci : death and memory in Shakespearean plays." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4054.

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This study combines formal analysis of Shakespeare’s texts with an investigation of early modern English culture in order to explore the social energy circulating between. It argues that the conceptual categories of fluidity and loci are two features prevalent not only in Shakespeare’s plays specifically, but also in early modern English culture generally. Chapter One maps out the scholarship on death and memory in early modern English culture; Chapter Two investigates fluidity and loci in numerous forms, including humoral bodies, identities, money, commodity and texts, as regards physiology,

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3

Khan, Amir. "Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24310.

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This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the

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4

Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.

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5

Intezar, H. "Shakespearean polyphony : an exploration of female voices in seven selected plays using a dialogical framework." Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/6300.

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This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodi

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6

Intezar, Hannah. "Shakespearean Polyphony. An exploration of female voices in seven selected plays using a dialogical framework." Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/6300.

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Abstract:

This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodi

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7

O'Neill, Fionnuala Ruth Clara. "Beyond tragedy : genre and the idea of the tragic in Shakespearean tragedy, history and tragicomedy." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7841.

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This thesis explores the intersection between the study of Shakespearean drama and the theory and practice of early modern dramatic genres. It reassesses the significance of tragedy and the idea of the tragic within three separate yet related generic frames: tragedy, history, and tragicomedy. Behind this research lies the fundamental question of how newly emerging dramatic genres allow Shakespeare to explore tragedy within different aesthetic and dramatic contexts, and of how they allow his writing to move beyond tragedy. The thesis begins by looking at Shakespeare’s deployment of the complex

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8

Kim, Hwa-Seon. "The politics of body images in Shakespearean drama : sexuality and nation-building in the history plays and The Tempest." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361041.

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9

Robidoux, Raphaëlle. "Dreams’ Impact in Life and Fiction: An Analysis of Dreams in a Normative Canadian Sample and in Shakespearean Plays." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37896.

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Dreams have been widely shared, analyzed, and explored for centuries. Throughout cultures and contexts, some dreams seem to leave a lasting trace on waking life, whereas other dreams are forgotten as quickly as they appear. This thesis focuses its efforts on the former category, known as impactful dreams. Impactful dreams are rare and distinguished by their effect on the dreamer’s thoughts, feelings, and/or behavior. Some dreams, including impactful dreams, also contain threatening oneiric material, which may be seen as mirroring threatening content the dreamer will have to face, or has alread

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10

Mackenzie, Anna F. "Troubling women, troubling genre : Shakespeare's unruly characters." Thesis, University of Chester, 2015. http://hdl.handle.net/10034/613740.

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This thesis brings the performativity of William Shakespeare’s plays into focus; in presenting an alternative approach to his works, I show how literary criticism can be reinvigorated. Dramatic works demonstrate that, in their theatrical world, everything is mutable, and capable of evolving and changing, negating stability or reliability. Why, then, should what I term monogeneric approaches (forms of analysis that allocate one genre to plays, adopting a priori ideas as opposed to recognising processes of dramatic construction) to criticism remain prevalent in Shakespearean scholarship? Perform

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