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Relevant bibliographies by topics / Twelfth Night, or, What you will (Shakespeare)

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Academic literature on the topic 'Twelfth Night, or, What you will (Shakespeare)'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Twelfth Night, or, What you will (Shakespeare)"

1

Ko, Yu Jin, Roger Warren, and Stanley Wells. "The Oxford Shakespeare Twelfth Night, or What You Will." Shakespeare Quarterly 49, no. 3 (1998): 320. http://dx.doi.org/10.2307/2902262.

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Kahn, David, Graham Howard, Rob Bevan, Andrew Child, Kavita Sharma, and Michael Best. "Shakespeare's Twelfth Night or What You Will." Theatre Journal 46, no. 2 (May 1994): 285. http://dx.doi.org/10.2307/3208467.

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Ann C. Christensen. "The Arden Shakespeare Twelfth Night, or What You Will (review)." Shakespeare Quarterly 60, no. 3 (2009): 366–69. http://dx.doi.org/10.1353/shq.0.0082.

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Matthew Wm. Sung-Thivierge. "“What you will”: Bibliolatry and Epiphany in Shakespeare’s Twelfth Night." Shakespeare Review 44, no. 2 (June 2008): 333–51. http://dx.doi.org/10.17009/shakes.2008.44.2.006.

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Bullock, Katherine. "Editorial." American Journal of Islam and Society 24, no. 1 (January 1, 2007): i—vi. http://dx.doi.org/10.35632/ajis.v24i1.1562.

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Olivia of Illyria walks into the office of Jack Straw, Leader of the House ofCommons, and tells him that as a way to mourn her brother’s death:The element itself, till seven years’ heat,Shall not behold her face at ample view;But, like a cloistress, she will veiled walk.(William Shakespeare, Twelfth Night, Act 1, Scene 1)The Honourable Jack Straw tells her it is not British to wear a veil andso she ought to find another way to mourn. Confused, she turns to her companion,Cesario, and asks, puzzled: “What means he by this, O belovedCesario? Have not the noble ladies of England worn veils for many years?”Cesario replies: “My lady, when my eyes first lay upon the veil that coversyour face, indeed I felt affronted. Surely your beauty, grace, and radiantlight deserved a viewing by my gaze. Recallest not that day when I, a humblemessenger of dear Duke Orsino, didst first appear in your chambers, andrequested that you remove your veil that we might talk? But, as you say, ithas been an ancient tradition of this and other lands for women to wear veilswhen they leave their homes and also attend to their religious services. Iknow not what the Honourable Mr. Straw means by this notion.”Olivia affirms: “Indeed, humble Cesario, I do recall your brazen requestand how your forthrightness to a lady of honour didst cause me such distress.Since your appearance pleased my eye, I did agree to it, though I have notthe same response to this effrontery from Jack Straw. Recallest not how ourLord did command, in 1 Corinthians 1, that a woman ought to cover herhead? Why, even our Jewish sisters have worn veils for many centuries.”As they walk to their car, a tall, white, middle-age man spits at Olivia,yelling at her: “Go back to where you came from!”Cesario attempts to block the man’s anger, but cannot do so in time. “Ohonourable Lady Olivia, how did I fail you, and allow your self to be coveredin filth from such a man! What provoked him so?”Olivia, wiping the spittle from her veil, notes sadly: “Dear Cesario, inthese lands some people are hostile to those who dress differently. It is thesame in Illiyria, and all over the world these days … Look, Cesario, let ustake refuge in this church, a sanctuary in the turbulence of these times.” ...

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Barlow, Richard G., William Shakespeare, Elizabeth Story Donno, and Stanley Wells. "Twelfth Night or What You Will." Theatre Journal 40, no. 1 (March 1988): 143. http://dx.doi.org/10.2307/3207815.

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Levin, Harry, and Elizabeth Story Donno. "Twelfth Night, or What You Will." Shakespeare Quarterly 38, no. 2 (1987): 259. http://dx.doi.org/10.2307/2870575.

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Muir, Kenneth, William Shakespeare, Elizabeth Story Donno, and Diana Akers Rhoads. "Twelfth Night or What You Will." Modern Language Review 83, no. 3 (July 1988): 667. http://dx.doi.org/10.2307/3731306.

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Green, Douglas E. "Twelfth Night (or What You Will) (review)." Shakespeare Bulletin 30, no. 1 (2012): 67–68. http://dx.doi.org/10.1353/shb.2012.0005.

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Betti, Mohammed Jasim, and Noor Sattar Khalaf. "A Pragma-Stylistic Study of Implicature in Shakespeare's Hamlet and Twelfth Night." International Linguistics Research 4, no. 3 (September 2, 2021): p12. http://dx.doi.org/10.30560/ilr.v4n3p12.

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Implicature is commonly defined as the dissimilarity between what is said and what is meant. The variance lies between the conspicuous meaning of written and spoken words and the meaning that lies beneath what is said. This study aims at analyzing and discussing Shakespeare's Hamlet and Twelfth Night in terms of generalized and particularized conversational and conventional implicature. The model used in the analysis is coined from a variety of pragmatic theories, implicature, Grice's maxims, irony, indirect speech acts, context, and hedges. It is hypothesized that the number of implicature cases in Twelfth Night is bigger than that in Hamlet, generation of implicatures by the characters in the two plays is highly determined by social factors, Hamlet and Cesario use implicature more than other characters, the most used implicature is the particularized one, the purpose of using implicatures differs in the plays, implicature is generated from flouting Grice's maxims and most implicatures are made by violating the relation maxim. The study concludes that the implications in Hamlet are more than those in Twelfth Night, that Shakespeare uses two implicatures generalized and particularized, and that Implicature in Hamlet and Twelfth Night is generated mostly by violating the maxims of quality. As for the least flouted maxim in the two plays is the maxim of quantity.

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Dissertations / Theses on the topic "Twelfth Night, or, What you will (Shakespeare)"

1

Chan, Yuk-shau Celina. "Transvestism and laughter, with special reference to Aristophanes' comedies, Shakespeare's Twelfth night and As you like it, and Joe Orton's what the butler saw." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12368118.

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Heinkel, Polly Lynn. "12th NITE…WHATEVER: QUEERING AND (RE) GENDERING SHAKESPEARE’S PERFORMATVE SPACES, PLACES, AND BODIES IN TWELFTH NIGHT OR WHAT YOU WILL." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1352140404.

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Holmgren, Sandra. "O Mistress mine : En dramateoretisk analys av tematiken kärlek och musik i William Shakespeares Twelfth Night eller What You Will." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-13707.

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I uppsatsen behandlas William Shakespeares komedi Twelfth Night. Dramat publicerades för första gången 1623 och innehåller, på samma sätt som många av hans tidigare komedier, motiv som förväxlingar och sökandet efter en sann kärlek. Intrigen bygger på att människor på grund av en förklädnad inte känner igen varandra. I det här fallet är det en ung kvinna, Viola som får omgivningen att tro att hon är man. Shakespeares Twelfth Night är uppbyggd genom en komposition av olika teman och jag har undersökt hur han har motiverat sina motiv kärlek och musik och genom dessa skapat dramats lyckliga slut. I uppsatsen har jag i första hand analyserat den seriösa nivån i komedin och sammanfört den med kärlekstemat. Kärleken i Twelfth Night yttrar sig på flera olika sätt och som olika slags kärlek, mitt fokus har lagts vid den romantiska kärleken och hur dessa motiv genom motiveringar framträder i dramat. Kärlekstemat har sammanförts med begreppet ”seriositet”, då analysen har sin utgångspunkt i de båda kontrasterande men också harmonierande nivåer som förekommer i Shakespeares komedi samt hur den ”den seriösa nivån” kontrasterar mot den ”populära nivån”. När det kommer till musiktemat har jag lyfta de många musikinslagen och försöka visa hur musiktexterna, synliga såväl som dolda ackompanjerar handling och rådande stämningar. Jag diskuterar också hur man delvis kan se musiktemat som en metafunktion i dramat.

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Chan, Yuk-shau Celina, and 陳毓秀. "Transvestism and laughter, with special reference to Aristophanes' comedies, Shakespeare's Twelfth night and As you like it, and JoeOrton's what the butler saw." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31948923.

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Jeffery, Robert. "'Re-writing' Shakespeare in Africa : creating musical relevance for a contemporary South African audience; with special reference to Geoffrey Hyland's production of Twelfth Night, or What You Will, staged at Maynardville Open-Air Theatre in 2006." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8255.

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Includes abstract.
Includes bibliographical references (leaves 140-147).
This thesis explores the use of current music genres in a postcolonial, and more specifically South African, theatrical context to replace the lost value of audience's musical recognition that was an integral part of performances of Shakespeare's, and other playwrights', plays in Elizabethan England. It makes special reference to a performance of William Shakespeare's Twelfth Night or What You Will (1601) which took place at Cape Town's Maynardville Open-Air Theatre in 2006 in celebration of the 50th anniversary of Shakespeare at Maynardville. The thesis is accompanied by a copy of the CD of the production's music performed by The Illyrian Players, the ensemble who performed the music live for the duration of the show's run. The creation of the music was an experiential learning process, and the thesis constitutes an analysis and reflection on that process with reference to current literary theory. Postmodern ideas of the 'text' and the 'reader' are applied to the theatrical performance and assessed as a method of interpretation of events. The process was thoroughly researched and collaborative, but in addition to this, it was undertaken in a spirit of postmodern playfulness. TheΓÇó song settings for the production made use of the earliest settings available that have a legitimate association with the play, and are arranged in diverse musical styles to suit the production's particular character.

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Flos, Marianne Elisabeth. "William Shakespeare: the fools and folly in "As you like it", the first parto of "Henriy teh fourth", "Twelfth night" and "King lear&quot." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106109.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1980.
Made available in DSpace on 2013-12-05T19:16:42Z (GMT). No. of bitstreams: 1 321694.pdf: 2388398 bytes, checksum: 911a7766ad686933537773d8bae0e7ab (MD5)

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Shen, Hsiu-tien, and 沈秀田. "A Bakhtinian Carnivalesque Reading of Twelfth Night, or What You Will." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/50815030349309424296.

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碩士
國立彰化師範大學
英語研究所
94
The thesis aims at reading Shakespeare’s middle comedy, Twelfth Night, or What You Will, in terms of Bakhtin’s theory of the Carnivalesque. In Bakhtin’s description of carnivalized literature, there are correspondent images and themes, celebratory and subversive, to those in Twelfth Night. Obviously, the comicality and hilarity of Shakespearean comedies mainly come from the similar Carnival resources. Thus I shall propose that Twelfth Night definitely belongs to the group of carnivalized literature upheld and specified by Bakhtin. The thesis consists of four chapters. In the first chapter, I explain why the romantic and festive play of Twelfth Night can still be discussed from his viewpoint, after Bakhtin indicates that “to speak of a fully formed and deliberate polyphonic quality in Shakespeare’s dramas is in our opinion simply impossible.” Then, in the second chapter I explicates how the festival and holidays traditions of Renaissance England breed and influence many of Shakespearean dramas, especially the two festive plays—Twelfth Night and A Midsummer Night’s Dream. There are a few of relevant exemplary illustrations taken from this play. The most notable of all, while there are already some monographs concerning the Carnivalesque elements and its temporally licensed subversive forces in the other Shakespearean comedies, most discussions of Twelfth Night merely center on cross-dressing, mistaken identity and the circulation of eroticism. Hence it is worth exploring the perspective of the Carnivalesque. In the third chapter, there are discussions on the heroine’s cross-dressing, mistaken identity and the love triangle between Orsino, Viola and Olivia, and how these confusions reflect Bakhtin’s parodic voices, Carnival chronotope and dialogism/ heteroglossia. Most of the investigations center on the characters of the main plot, their transformation and changes. Following this, in the fourth chapter, there are discussions on folk culture, Carnival laughter and the grotesque body reflected in the subplot of the play. While folk culture of the Renaissance England is represented by Sir Toby and Andrew, the grotesque body refers to Malvolio’s vulgarized, cross-gartered figure.

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Williams, Dawn Monique. "“What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey." 2011. https://scholarworks.umass.edu/theses/737.

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This written portion of my thesis is aimed at documenting how I, the director, as both interpretive and generative artist, took William Shakespeare’s Twelfth Night from the page to the stage through ongoing collaboration with a team of artists including designers, a composer, and actors. My documentation includes the generation of my theatrical production concept and staging of Shakespeare’s play. In order to place my production of Twelfth Night in cultural, historical, and artistic contexts, I open my discussion to theoretical considerations and artistic practices, address my specific artistic decisions in the creation of this production, examine the particular problems encountered in the making of this work, and reconstruct the creative process itself.

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Books on the topic "Twelfth Night, or, What you will (Shakespeare)"

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Shakespeare, William. Twelfth night: Twelfe night, or, What you will. London: Nick Hern Books, 2001.

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Company, Royal Shakespeare. What you will, or, Twelfth night by William Shakespeare. [Stratford-upon-Avon]: Royal Shakespeare Company, 1994.

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Shakespeare, William. Twelfth night, or, What you will. Oxford: Oxford University Press, 1995.

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Shakespeare, William. Twelfth night, or, What you will. Edited by Mowat Barbara A and Werstine Paul. New York: Pocket Books, 1993.

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Shakespeare, William. Twelfth night, or, What you will. New York: New American Library, 1987.

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Shakespeare, William. Twelfth night, or, What you will. Mineola, N.Y: Dover Publications, 1996.

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Shakespeare, William. Twelfth night; or; what you will. London: Hutchinson, 1985.

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Shakespeare, William. Twelfth night or, What you will. Toronto: Bantam Books, 1988.

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Shakespeare, William. Twelfth night, or, What you will. Cambridge: Cambridge University Press, 2004.

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Shakespeare, William. Twelfth night, or, What you will. Oxford: Clarendon Press, 1994.

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Book chapters on the topic "Twelfth Night, or, What you will (Shakespeare)"

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Bate, Jonathan, and Eric Rasmussen. "Twelfth Night, or What You Will." In William Shakespeare: Twelfth Night, 19–95. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-00478-9_4.

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Pfister, Manfred. "Shakespeare, William: Twelfth Night, or What You Will." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17041-1.

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Bassnett, Susan. "Love and Disillusionment: As You Like It and Twelfth Night." In Shakespeare, 120–35. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22996-3_9.

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Shakespeare, William. "Twelfth Night, or What You Will (1601)." In The Oxford Shakespeare: The Complete Works (Second Edition), edited by Stanley Wells, Gary Taylor, John Jowett, and William Montgomery. Oxford University Press, 2005. http://dx.doi.org/10.1093/oseo/instance.00012921.

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"“The text remains for another attempt”: Twelfth Night, or What You Will on the German stage." In Twelfth Night, 219–34. Routledge, 2013. http://dx.doi.org/10.4324/9780203724576-18.

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"Introduction." In Twelfth Night or What You Will, 1–60. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316411070.003.

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Berger, Arthur Asa. "Make What You Will of Comedy: Twelfth Night." In The Art of Comedy Writing, 65–82. Routledge, 2017. http://dx.doi.org/10.4324/9781351305723-3.

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Smith, Peter J. "‘What Country, Friends, is This?’: Tim Supple’s Twelfth Night Revisited." In Shakespeare Survey 73, 161–69. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108908023.012.

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Doniger, Wendy. "17. Gender Blending and Masquerade in As You Like It and Twelfth Night." In Chicago Shakespeare Theater, 248–70. Cornell University Press, 2012. http://dx.doi.org/10.1515/9781501756863-019.

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"Twelfth Night, Much Ado about Nothing and As You Like It." In The Routledge Guide to William Shakespeare, 179–90. Routledge, 2013. http://dx.doi.org/10.4324/9780203835234-24.

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