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Dissertations / Theses on the topic 'Shakespearean Plays'

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Published: 4 June 2021
Last updated: 5 February 2022

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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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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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11

Markidou, Vasiliki. "Shakespeare's Greek plays." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533059.

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This thesis traces the development of Shakespeare's conceptualisation of ancient and early modem Greece through an analysis of his Greek plays. Contrary to the numerous studies of Shakespeare's Roman plays, very little interest has been paid to his Greek ones. The single extensive study conducted on the subject to the present, has focused exclusively on the structural interrelation between classical Greece and Renaissance Britain, failing to take into consideration early modern Greece. The specific thesis aims at filling this crucial gap. It sets about to demonstrate that Shakespeare's contemp
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12

Kingsley-Smith, Jane Elizabeth. "Banishment in Shakespeare's plays." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/4461/.

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'Banished' - the word resounds in many Elizabethan and Jacobean plays, particularly in those of Shakespeare. This thesis examines the drama of banishment, that is, the sentence, lamentation, displacement, and metamorphosis of the exile in Romeo and Juliet, Richard II, Henry IV, As You Like It, King Lear, Coriolanus and The Tempest. To appreciate the rich and polysemous nature of 'banished' in Shakespeare's society I have considered a number of legal, historical and literary sources which reveal certain tropes of exile. The poet of Ovid's Tristia and Plato's Republic, the beast/god of Aristotle
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13

Davall, Nicole Elizabeth. "Shakespeare and concepts of history : the English history play and Shakespeare's first tetralogy." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/65797/.

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Divided into three large chapters, this thesis explores sixteenth-century concepts of history, considers how those concepts appear in Elizabethan history plays on English history, and finally looks at Shakespeare’s first tetralogy of history plays. The aim of the thesis is to consider in some detail the wider context of historical and dramatic traditions in Tudor England to gain a better appreciation of how they influenced possible readings of Shakespeare’s early history plays. Chapter One looks at how medieval approaches were modified in the fifteenth century. St. Augustine’s allegorical meth
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14

Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.

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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
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15

Cephus, Heidi Nicole. "Corporeal Judgment in Shakespeare's Plays." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062843/.

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In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres o
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16

Neema, Parvini. "Rethinking historicism: Shakespeares history plays." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529454.

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17

Seymour, Laura. "Actions that a (hu)man might play : a cognitive study of gesture in Shakespeare's plays." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/229/.

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This thesis uses cognitive theory to examine gesture in William Shakespeare’s plays. Cognition involves both thoughts and emotions, and cognitive theory examines thought which is rooted both in the body and its gestures and in the gesturer’s environment. Based on recent neuroscientific findings and laboratory studies into gesture and speech, cognitive theory is a developing discipline that tends to focus on the relationship between gesture, speech, and thought. This was also a preoccupation of early modern writers: theologians, philosophers, and both opponents and defenders of the theatre atte
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18

Vadnais, Matthew W. "According to the Scrippe: Speeches, Speech Order, and Performance in Shakespeare's Early Printed Play Texts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342978643.

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19

Rist, Thomas Charles Kenelm. "Counter-Reformation politics in Shakespeare's 'romance ' plays." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397133.

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20

Bates, Lauren Catherine. "The role of prayer in Shakespeare's plays." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25019.

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There has been a turn to religion in Shakespeare Studies by scholars like Kastan, Swift and Shugar in recent years, and this turn has uncovered a wealth of insight that had previously been obscured. I contribute to this recovery of the spiritual dimension of Shakespeare's work by tackling the question of what prayer does in his plays. I place these performed prayers in their historical and theological contexts, as well as analyse their roles dramatically and thematically within the plays. Prayer as a dramatic form is unique in that it falls between a dialogue and a monologue, pointing to somet
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21

Lindsey, Robert. "I ha't from the play-bookes : historical authenticity and the Victorian reading of Shakespeare's English history plays." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270110.

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22

Rim, Dohyun. "Shakespeare and Yeats's plays : impact, influence, intertextuality." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491355.

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This is a study of the multi-faceted relationship between the plays of Shakespeare and W.B. Yeats. While existing studies have tended to focus on the question of poetic influence, this thesis argues that specifically theatrical questions were also at the heart of Yeats's interest in Shakespeare, and shows that these dramatic concerns were closely bound up with the system of thought Yeats developed in A Vision. Moreover, this thesis resists the limitations of an emphasis on the problematic question of influence by taking an intertextual approach that sets the plays of the two dramatists alongsi
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23

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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24

Murphy, Sean Edward. "The language of self-talk in Shakespeare's plays." Thesis, Lancaster University, 2014. http://eprints.lancs.ac.uk/89019/.

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This thesis reports an original approach to the language of self-talk in Shakespeare’s plays. Having established that self-talk is a form of discourse worthy of study, and potentially distinguishable from dialogue in terms of language, I ask two questions: 1. What is the nature of self-talk? 2. What language forms are characteristic of self-talk? The second question is really a subsidiary of the first in that it focuses specifically on the linguistic nature of self-talk. In Chapter 2, I begin to answer these questions by drawing on theories in stylistics, (im)politeness, literary criticism and
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25

Chiang, Y. C. "Renaissance queenship in William Shakespeare's English history plays." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344188/.

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This thesis explores how queens in Shakespeare’s English history plays manipulate virtues, space, and memory to embody a specific demeanour in the contexts of early modern England. In the late 1990s, Jean E. Howard’s and Phyllis Rackin’s Engendering a Nation established a feminist study of Shakespeare’s English history plays, focusing on how women support or undermine patriarchal authorities. Yet analysing women’s words and actions in the light of nationalism, New Historicism, and women’s traditional roles as daughters, wives, and mothers within feminism restricts potential readings of women i
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26

Chen, Xing. "Reconsidering Shakespeare's 'Lateness' : studies in the last plays." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10579.

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Shakespeare’s last plays, because of their apparent similarity in thematic concern, dramatic arrangements and stylistic features, are often considered by modern scholarship to form a unique group in his canon. Their departure from the preceding great tragedies and their status as an artist’s last works have long aroused scholarly interest in Shakespeare’s lateness—the study, essentially, of the relationship between his advancing years and his last-period dramatic output, encompassing questions such as ‘Why did Shakespeare write the last plays?’, ‘What influenced his writing?’, and ‘What is the
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27

Pritchard, Katie. "Legitimacy, illegitimacy and sovereignty in Shakespeare's British plays." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/legitimacy-illegitimacy-and-sovereignty-in-shakespeares-british-plays(7e49cddc-804c-4ac3-807f-d3fadacf45f6).html.

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'Legitimacy, Illegitimacy and Sovereignty in Shakespeare's British Plays' demonstrates how Shakespeare participates in an early modern 'discourse of legitimacy' as described by Robert Zaller. This thesis, however, proposes an interrelated discourse of illegitimacy that is of equal importance to the discourse of legitimacy. A continuum or spectrum of legitimacy values is hypothesised, and seventeenth century optical illusions known as the curious perspective are used as a visual model that defines the inseparable nature of illegitimacy and legitimacy. Illegitimacy was a state traditionally defi
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28

De, Waal Marguerite Florence. "Revelatory deceptions in selected plays by William Shakespeare." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62673.

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This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays.
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29

Folkerth, Wes. "Then play on: listening to the Shakespearean soundscape." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18252.

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Shakespeare’s plays articulate their author’s understanding of sound at various registers of theatrical and linguistic representation. I have tried to make listening my own critical practice by attending to the ways Shakespeare is attuned to, and rebroadcasts throughout his work, the many interrelated valences sound has in the early modern period. “Shakespearience” is the term I use for a re-invigorated phenomenological approach to the study of Shakespeare’s works, one which considers them the products of an embodied consciousness that is itself informed by cultural beliefs and attitudes. Shak
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Folkerth, Theodore Wesley. "Then play on, listening to the Shakespearean soundscape." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55331.pdf.

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31

Lee, John. "Shakespeare's Hamlet and the controversies of self." Thesis, University of Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295030.

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Collington, Philip David. "O word of fear, imaginary cuckoldry in Shakespeare's plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ35129.pdf.

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33

Edwardes, Lorelei Kaye. "New historicism and Shakespeare's first tetralogy of history plays /." Title page and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09are2477.pdf.

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34

Culpeper, Jonathan. "Language and characterisation with special reference to Shakespeare's plays." Thesis, Lancaster University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238966.

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35

Fenstermaker, Rosemary A. "From tragedy to romance forgiveness in Shakespeare's last plays /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1994.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).
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36

Orford, Peter Robert. "Rewriting history : exploring the individuality of Shakespeare's history plays." Thesis, University of Birmingham, 2006. http://etheses.bham.ac.uk//id/eprint/1779/.

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‘Rewriting History’ is a reappraisal of Shakespeare’s history cycle, exploring its origins, its popularity and its effects before challenging its dominance on critical and theatrical perceptions of the history plays. A critical history of the cycle shows how external factors such as patriotism, bardolatory, character-focused criticism and the editorial decision of the First Folio are responsible for the cycle, more so than any inherent aspects of the plays. The performance history of the cycle charts the initial innovations made in the twentieth century which have affected our perception of ch
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37

Williams, Robin P. "A return to 'the great variety of readers' : the history and future of reading Shakespeare." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/10561.

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For almost a century Shakespeare’s work has been viewed primarily under a supremacy of performance with an insistence that Shakespeare wrote his work to be staged, not read. This prevailing view has ensured that most responses in Shakespearean research fit within this line of enquiry. The recent argument that Shakespeare was a literary dramatist who wrote for readers—as well as audiences—has met with resistance. This thesis first exposes the very literate world Shakespeare lived in and his own perception of that world, which embraces a writer who wrote for readers. The material evidence of rea
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38

Mngomezulu, Thulisile Fortunate. "Central women characters and their influence in Shakespeare, with particular reference to the Merchant of Venice, Macbeth, Julius Caesar and Antony and Cleopatra." Thesis, University of Zululand, 2009. http://hdl.handle.net/10530/1114.

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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Arts in the Department of English at the University of Zululand, South Africa, 2009.<br>Shakespeare portrayed women in his plays as people who should be valued. This is an opinion I held in the past, and one I still hold after intense reading of his works and that of authors such as Marlowe, Webster, Thomas Kyd and others. Shakespeare created his female characters out of a mixture of good and evil. When they interact with others, either the best or the worst in them is brought
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39

Eward-Mangione, Angela. "Decolonizing Shakespeare: Race, Gender, and Colonialism in Three Adaptations of Three Plays by William Shakespeare." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5628.

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What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective
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40

Thomas, Alun Deian. "The making and remaking of history in Shakespeare's History Plays." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/42105/.

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History is a problem for the history plays. The weight of ‘true’ history, of fact, puts pressure on the dramatic presentation of history. Not fiction and not fact, the plays occupy the interstitial space between these opposites, the space of drama. Their position between the binary opposites of fact and fiction allows the history plays to play with history. They view history as a problem to be solved, and the different ways in which each play approaches the problem of history gives us a glimpse of how they attempt to engage and deal with the problem of creating dramatic history. Each history p
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Farrar, Ryan D. ""A Better Where to Find"| Utopian Politics in Shakespeare's Plays." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687677.

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<p> Utopias often elicit visions of full-fledged societies that operate more successfully in contrast to a society of the present based on a principle of cognitive estrangement where the daily routines of a new civilization strike readers as strange and advantageous. While William Shakespeare's drama rarely portrays radical societies that speak directly to the fantastic nature of utopia, it does feature moments that draw attention to desires for social change, presenting glimmers of the utopian impulse throughout his work. In this dissertation, I use utopia as critical approach for analyzing S
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42

Keller, Stefan Daniel. "The development of Shakespeare's rhetoric a study of nine plays." Tübingen Francke, 2004. http://d-nb.info/994297769/04.

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43

Suman, Sonia Davi. "Oral-visual contradiction : seeing and hearing in Shakespeare's history plays." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28626.

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Scholarship in the latter half of the twentieth century did much to rehabilitate Shakespeare’s early histories into the canon. Discarded on the grounds of collaborative authorship or lack of unity, the Henry VI trilogy has perhaps suffered the most. This dissertation brings together sensory and historiographical theories in order to demonstrate that the first tetralogy exposes the limitations of historical narrative. Historical ‘truth’ is easily distorted: initially through the individual’s failure to interpret sensory information and then through the writer who records those events. These fun
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McGarry, Theresa, and Kelsey Kiser. "Adverbial Clauses and Speaker and Interlocutor Gender in Shakespeare’s Plays." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/6141.

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This study draws on previous findings regarding adverbial clauses in relation to speaker and interlocutor gender in a corpus of current actual speaker data. Our aim is to examine those same relations in a corpus of Shakespeare’s comedies and histories. Mondorf (2004) investigated four types of adverbial clauses in a corpus of modern speech and found that the women used more causal, conditional and purpose clauses than the men, while the men used more concessive clauses. Mondorf’s explanation for this difference is that women use the three clause types that mitigate the speaker’s commitment to
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Dawood, Azmeh. "Civil monsters : classifying the human body in Shakespeare." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365435.

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46

Miles, Geoffrey. "Untir'd spirits and formal constancy : Shakespeare's Roman plays and formal constancy." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:c5830cc5-e1a4-4efa-ae40-98dc4d7eb651.

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Critics who have noted the importance of Stoic constancy in Shakespeare 's Roman plays have failed to recognise the full complexity of the idea. It has two forms, both derived from the Stoic principle of homologia (consistency), and centred on the ideal of being always the same: Seneca's constantia sapientis, the rocklike or godlike virtue of the Stoic sage who is unmoved and unchanged by external circumstances; and Cicero's decorum (De officiis I), virtue as the consistent playing of an appropriate part. Seneca is more concerned with heroic self-sufficiency, Cicero with social virtue, but bot
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Shields, Timothy Brian. "Seething brains : images of madness in the world of Shakespeare's plays." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390134.

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48

Norton, John J. "Humiliation, redemption, and reformation theology in Shakespeare's tragedies and late plays." Thesis, Sheffield Hallam University, 2008. http://shura.shu.ac.uk/20300/.

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Humiliation has a powerful presence in Shakespeare's tragedies and late plays. With an unusual ability to reform and redeem, humiliation is not employed in these plays as one might expect. Cast in a form much influenced by the Protestant theology of Shakespeare's England, the humiliation that falls upon some of Shakespeare's most prominent characters is one that offers great hope and clarity. Drawn from the theology of three prominent Protestant Reformers, Martin Luther, John Calvin, and Richard Hooker, humiliation in Shakespeare's Hamlet serves to save the fragile queen and her sinister new h
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Hjul, Lauren Martha. "The family in Shakespeare's plays: a study of South African revisions." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.

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This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies
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Demmen, Jane Elizabeth Judson. "A corpus stylistic investigation of the language style of Shakespeare's plays in the context of other contemporaneous plays." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659203.

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Abstract:
Shakespeare's plays occupy a uniquely prominent position in English language and literature. Shakespeare was, however, one among a number of other successful and popular playwrights of the late 16th and early 17th centuries, and, when examined on an empirical basis, his language style has much in common with that of his peers. In this corpus stylistic study, I investigate similarities and differences between the language in Shakespeare's plays and in a range of plays by a selection of other contemporaneous dramatists. My quantitative data is extracted from an existing corpus containing Shakesp
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