Relevant bibliographies by topics / Shakespearean Tragedies

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

Academic literature on the topic 'Shakespearean Tragedies'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Shakespearean Tragedies"

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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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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (April 5, 2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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<p>Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in <em>King Lear</em>. Lear’s threats bestow four unique aspects that apply not only to his character but they also apply to Shakespearean tragic heroes. Lear’s speech tells us that he is determined to have an awful type of revenge on his daughters. However, the very same speech tells us that he seems uncertain about the method through which he should carry out this revenge. Lear does not express any type of remorse as he pursues his vengeful plans nor should he aim at amnesty. He also admits his own madness as he closes his revealing speech. This research develops these facts about Lear to unfold the unique pattern Shakespeare follows as he portrayed his major tragic figures. This pattern is examined, described and analyzed in <em>King Lear, Othello, and Hamlet</em>. We will find out that the pattern suggested in this study helps us better understand Shakespeare’s tragedies and enables us to provide better explanations for some controversial scenes in the tragedies discussed. </p>
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Dhir, Bani Dayal. "On Shakespearean tragedies dynamics." International Journal of General Systems 42, no. 3 (April 2013): 294–96. http://dx.doi.org/10.1080/03081079.2013.753759.

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Domínguez-Rué, Emma, and Maximilian Mrotzek. "Shakespearean tragedies dynamics: identifying a generic structure in Shakespeare's four major tragedies." International Journal of General Systems 41, no. 7 (October 2012): 667–81. http://dx.doi.org/10.1080/03081079.2012.703386.

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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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Vandana Pathak, Vandana Pathak. "Encapsulation of Shakespearean Tragedies, Kanetkar’s Gaganbhedi." International Journal of English and Literature 10, no. 6 (2020): 27–36. http://dx.doi.org/10.24247/ijeldec20205.

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Vandana Pathak, Vandana Pathak. "Encapsulation of Shakespearean Tragedies, Kanetkar’s Gaganbhedi." International Journal of English and Literature 10, no. 6 (2020): 27–36. http://dx.doi.org/10.24247/ijeldec20205.

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Shahida, Shahida. "Leadership and Literature: Insights into Shakespearean Tragedies." Linguistics and Literature Studies 3, no. 1 (January 2015): 18–23. http://dx.doi.org/10.13189/lls.2015.030103.

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Sipra, Muhammad Aslam, and Muhammad Haseeb Nasir. "Comparative Analysis of the Concept of Shakespearean Tragedies." Advances in Language and Literary Studies 5, no. 1 (January 1, 2014): 31–34. http://dx.doi.org/10.7575/aiac.alls.v.5n.1p.31.

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Mahmood, Rasib, Sanna Asghar, and Sadia Safdar. "Journeys from Crimes to Crowns: Literary Representation of Shakespearian Tragedies." Global Regional Review IV, no. III (September 30, 2019): 258–64. http://dx.doi.org/10.31703/grr.2019(iv-iii).29.

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Thinking is ideas banking and everyone wants the encashment of his/her thinking. Man desires to get godly powers through the encashment of his ideas. Some people get power through inheritance while others earn through hard work. The scholars are of the view that religion and fortune favor some men in committing crimes to reach the crowns, while others lose their lives. Human history is full of such incidents where sinners become saints through power. Religious and cultural accounts start preaching and teaching of their nobility. Shakespearean tragedies, in this regard, are highly important where different dramatic characters and historical figures reached to crowns through committing crimes and these characters can be seen in the present age. This research paper is an investigation that how has the act of crime in Shakespeares Hamlet (2006), Macbeth (1990) and King Lear (1897) connected to the accession of crowns?
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Dissertations / Theses on the topic "Shakespearean Tragedies"

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Andersson, Edén Therese. "The Shakespearean Stahr : Using Genette’s Theory of Intertextuality to Compare The Last Tycoon to Shakespeare’s Tragedies." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-62125.

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This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello
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Walworth, Alan M. (Alan Marshall). "A Challenge to Charles Lamb's "On the Tragedies of Shakespeare"." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504543/.

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This study challenges Charles Lamb's 1811 essay "On the Tragedies of Shakespeare, Considered with Reference to their Fitness for Stage Representation," which argues that Shakespeare's plays are better suited for reading than stage production. Each of the four chapters considers a specific argument Lamb raises against the theatre and the particular Shakespearean tragedy used to illustrate his point. The Hamlet chapter examines the supposed concessions involved in the actor/audience relationship. The Macbeth chapter challenges Lamb's Platonic view of Shakespearean characterization. The Othello chapter considers whether some characters and images, while acceptable to the reader's imagination, are improper on stage. Finally, the King Lear chapter considers the portrayal of the mind in the theatre, employing semiotic principles to examine the actor's expressive resources.
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Mezghanni, Miriam. "Unsettling heroines : towards a cognitive poetics exploration of power dynamics (Ophelia, Lady Macbeth, Desdemona and Cleopatra as case studies)." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30015.

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L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearien
The Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism
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Kitano, Yuuko. "Dramatic Functions of Ballad Performances in Shakespeare’s Tragedies." Kyoto University, 2018. http://hdl.handle.net/2433/232368.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第21167号
人博第839号
新制||人||202(附属図書館)
29||人博||839(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授 水野 眞理, 教授 髙谷 修, 准教授 桒山 智成, 教授 丸橋 良雄
学位規則第4条第1項該当
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Helms, Nicholas Ryan. "A body of suffering reading Shakespeare's tragedies through cognitive theory /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/40.

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Xaver, Savannah. "Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450433405.

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Anthony, Courtney Elizabeth. "Eve's Legacy: The Fates of Young Women in Shakespeare's Tragedies." Xavier University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1472821662.

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Lin, Chi-I. "Mourning before death : mother-son relationships in Shakespeare's histories and tragedies." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/30390.

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In Mourning before Death, I discuss the representation of maternal mourning in King John, the Henry VI trilogy, Richard III, Titus Andronicus, and Coriolanus. Primarily, I explore Shakespeare’s expansion of maternal roles from his source texts, especially their lamentations anticipating the death of sons in these plays. Shakespeare emphasises the grief experienced by mothers which is largely absent in the historical accounts on which the plays are based. My research address Phyllis Rackin’s definition of females as ‘anti-historians’ and examines how mothers in mourning intrude into historical events and confront masculine authority. This study focuses principally on Shakespeare’s representation of maternal authority in terms of mother-son relationships. The introduction identifies the importance of ‘women’s time’ and physical expressions of maternal distress and the dramatic conflicts these provoke. Chapter 2 examines how Constance’s grief affects the reaction of the audience to the power struggle in King John. Chapter 3 is concerned with how Margaret’s queenship in Henry VI disrupts the development of English kingship and endangers the existing Lancastrian rule. Chapter 4 discusses the psychological and physical meanings expressed through the use of the sitting posture, a gesture which embodies the mother’s pain. Chapter 5 discusses Shakespeare’s exploration of political wildness and barbarism through his representation of Tamora’s tragic passion. Chapter 6 discusses Volumnia’s maternity and her appropriation of the Roman concept of honour. The conclusion considers the strength of maternal authority and female power in Shakespeare’s representation of maternal mourning.
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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 husband from certain damnation. In The Tempest Prospero is humiliated in like fashion. This experience results in a more-than-magical reformation that turns the island into a place of reconciliation. King Lear's humiliation cures his faulty vision, allowing him to recognize a true love that pursues him with great passion and sacrifice. In Henry VIII the great Cardinal is averted from certain damnation, humiliation drawing him from a life of violence and manipulation. The jealous tyrants in The Winter's Tale, Cymbeline, and Othello are powerfully humiliated. This humiliation allows Leontes, Posthumus, and Othello to be released from their fearful bondage, at last made capable of seeing the true love of their wives. This thesis casts significant new light upon how much Shakespeare was influenced by the Protestant Reformation. Through a detailed examination of the use of theological language and concepts in the plays examined, this thesis argues that Reformation theology affords a powerful lens through which to read the journeys of the protagonists in Shakespearean tragedy and late plays. This powerful lens of Reformation theology brings to focus the way in which Shakespeare transforms, with great mastery, the humiliation of a man into the redemption of a soul.
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Tone, Yuuki. "The Tradition of the Vice and Shakespeare's Villains in His Tragedies." Kyoto University, 2015. http://hdl.handle.net/2433/199402.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第19078号
人博第731号
新制||人||175(附属図書館)
26||人博||731(吉田南総合図書館)
32029
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 丸橋 良雄, 准教授 髙谷 修, 教授 依田 義丸
学位規則第4条第1項該当
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Books on the topic "Shakespearean Tragedies"

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Acting and action in Shakespearean tragedy. Princeton, N.J: Princeton University Press, 1985.

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An Islamic interpretation of 'tragic hero' in Shakespearean tragedies. Kuala Lumpur, Malaysia: International Islamic University Malaysia, 2001.

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The heroic idiom of Shakespearean tragedy. Newark: University of Delaware Press, 1985.

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Lee, Michelle. Shakespearean criticism. Detroit, Mich: Gale, 2010.

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Shakespearean criticism. Detroit, Mich: Gale, 2009.

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Shakespearean tragedy and its double: The rhythms of audience response. University Park, Pa: Pennsylvania State University Press, 1991.

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Lee, Michelle. Shakespearean criticism. Detroit, Mich: Gale, 2010.

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David, Young. The action to the word: Structure and style in Shakespearean tragedy. New Haven: Yale University Press, 1990.

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Frye, Northrop. Fools of time: Studies in Shakespearean tragedy. Toronto: University of Toronto, 1985.

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Shakespearean tragedy and the common law: The art of punishment. New York: P. Lang, 1998.

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Book chapters on the topic "Shakespearean Tragedies"

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Bradley, A. C. "Construction in Shakespeare’s Tragedies." In Shakespearean Tragedy, 27–55. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-09253-3_2.

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Bradley, A. C. "Construction in Shakespeare’s Tragedies." In Shakespearean Tragedy, 31–63. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22059-5_2.

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Alexander, Michael. "Tragedies." In Reading Shakespeare, 120–39. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29281-0_11.

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Hindle, Maurice. "Tragedies." In Shakespeare on Film, 189–239. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-53172-8_22.

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Braden, Gordon. "Shakespeare's Roman Tragedies." In A Companion to Shakespeare's Works, Volume 1, 199–218. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996539.ch11.

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Hiscock, Andrew. "Shakespeare: the Tragedies." In Teaching Shakespeare and Early Modern Dramatists, 54–74. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230593206_5.

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Marsh, Nicholas. "Introduction: Analysing Shakespeare’s Poetry." In Shakespeare: The Tragedies, 3–6. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26320-2_1.

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Marsh, Nicholas. "The Tragedies in Shakespeare’s Works." In Shakespeare: The Tragedies, 171–80. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26320-2_9.

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Hardy, John. "Introduction." In Shakespeare’s Great Tragedies, 1–14. New York, NY: Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9780429422799-1.

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Hardy, John. "Hamlet." In Shakespeare’s Great Tragedies, 15–51. New York, NY: Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9780429422799-2.

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Conference papers on the topic "Shakespearean Tragedies"

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"An Explanation of the Heroic Images in Shakespeare's Tragedies." In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.28.

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Borges da Costa, Fernanda. "Law & Literature: justice and vengeance on Shakespeare and Aeschylus tragedies." In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_wg153_02.

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Fu, Hongchu. "Tragedies East and West: A Comparative Study of the Yuan Dynasty Drama Yu Rang Tun Tan and Shakespeare’s Julius Caesar." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.19.

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Herrreras Maldonado, Enrique. "LA SABIDURÍA TRÁGICA Y LA FRAGILIDAD DE LA DEMOCRACIA." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10318.

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Un desasosiego remueve la filosofía política en los últimos años. Ha aumentado la preocupación por la democracia, ya que son cada vez más las voces que señalan una crisis de este modelo político tanto en el ámbito teórico, como el práctico, como es el hecho de la propensión cada vez mayor de una polarización del jugo político, aparte de la aparición de propuestas políticas racistas y excluyentes que tienen una resonancia cada vez mayor en los votantes, algo impensable hace unos años. Son muchos los motivos para haber llegado a esta situación, como las desigualdades que se han multiplicado después de la crisis del 2008, así como la percepción de las malas prácticas de las élites políticas y económicas, y de la incapacidad de suministrar políticas acertadas. También ha habido una decepción de la democracia al descubrir su vulnerabilidad. Pero uno de los problemas es que nos olvidamos que cuando hablamos de democracia lo hacemos de dos significados a la vez: la democracia real y la democracia ideal, la que queremos aspirar. Porque lo peor que le puede ocurrir a la democracia es que pensemos que ya la hemos conquistado. La democracia no es érgon, un producto acabado, sino que es constitutivamente enérgeia, la permanente acción de producirla…” Es sintomático que en el mundo moderno la tragedia pugne a abrirse camino. Por ello, parece pertinente reinterpretar los mitos trágicos que provienen de la Grecia antigua, así como las de autores como Shakespeare, y cuyo eje es el conflicto. Martha Nussbaum nos exhorta a reflexionar sobre los “conflictos morales” que propone la tragedia. Unos conflictos que, desde una perspectiva racional, como la de Sócrates, se solucionarían descubriendo cuál es la opción correcta. Pero la tragedia se mantiene en la complejidad de las “apariencias”, de la elección práctica vivida, o, en una pluralidad de valores y la posibilidad de que surjan conflictos ente ellos. La tragedia no solo pregunta, sino que hace de la falta de respuestas la razón fundamental de su existencia. Preguntas no solo sociales o políticas, sino, sin fractura alguna, preguntas inscritas en la existencia individual. El conflicto entre las razones personales y las razones políticas se producen en un mismo plano. He ahí la sabiduría trágica ante la fragilidad de la democracia.
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