Artículos de revistas: "Macbeth (Shakespeare, William)"

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Conţiu, Lia Codrina. "Time’s Tricephalous Image in Macbeth by William Shakespeare". Theatrical Colloquia 7, n.º 2 (1 de diciembre de 2017): 213–30. http://dx.doi.org/10.1515/tco-2017-0020.

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Abstract Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragic interaction between Macbeth and time, with all the psychological and physical tensions that derive from there. The main impact of time on Shakespeare’s tragic heroes is achieved by the actual actions of time that exposes and amplifies tragic defects of heroes (in Macbeth’s case - ambition). As in the Renaissance, myths, images and signs were used in poetics and literature to indicate a teaching, a moral, Shakespeare includes in his work symbols taken from the iconography and mythography available at that time, such as time’s tricephalous image around which Macbeth is “shaped”.

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Tuti Handayani, Syahrul Ramadhan y Siti Armelia Hamidah. "Analisis Bayangan Dalam Macbeth Karya William Shakespeare". Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris 2, n.º 1 (2 de enero de 2024): 92–97. http://dx.doi.org/10.61132/sintaksis.v2i1.253.

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Macbeth was one of William Shakespeare's famous plays that used many shadows to beckon events to come in this story. In Macbeth's stories shadows are used to create tensions and raise questions about agency and moral responsibility in the drama. This study aims to analyze and identify the use of additives in the text and connect it to the development of themes and characters in Macbeth's story. In addition, the researchers also used interpretation and evaluation. After evaluating "Macbeth," the researcher gives his own view of the work. This data-research method employs a qualitative approach. Research shows that parallels are used in "Macbeth" to predict the direction of the story, build tensions, and develop character. Parallels are used to show changes in character and awareness of responsibility dealt with by Macbeth. Examples of vocations used in "Macbeth" include witch prophecies, soliloquy Macbeth, hallucinations and visions, and the use of invention. These barriers help build tensions and predict the tragic end of the main character

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Ferdous, Mafruha. "The Values of Masculinity in William Shakespeare’s Macbeth". Advances in Language and Literary Studies 8, n.º 2 (30 de abril de 2017): 22. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.22.

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The theme of gender plays a vital role in William Shakespeare’s famous political play Macbeth. From the very beginning of the play the dramatist focuses on the importance of masculinity in gaining power and authority. Lady Macbeth along with the three witches are as important characters as Macbeth. Because they influence Macbeth profoundly. And Shakespeare very carefully draws the character of Lady Macbeth who being a female sometimes exhibits more masculinity than Macbeth. Similarly is the case of the three witches. Though they look like women they are also bearded which prove the presence of masculinity in their nature. Throughout the play several times the exposition of masculinity is demanded from the character of Macbeth. So the value of masculinity plays an important part in the drama.

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4

Glynn, Dominic. "Macbeth by William Shakespeare". Theatre Journal 67, n.º 1 (2015): 115–17. http://dx.doi.org/10.1353/tj.2015.0007.

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Sierra, Horacio. "Macbeth by William Shakespeare". Theatre Journal 71, n.º 4 (2019): 517–20. http://dx.doi.org/10.1353/tj.2019.0119.

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Coats, Karen. "Macbeth by William Shakespeare". Bulletin of the Center for Children's Books 68, n.º 8 (2015): 419–20. http://dx.doi.org/10.1353/bcc.2015.0271.

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LeRoy, Tamar. "Macbeth by William Shakespeare". Restoration: Studies in English Literary Culture, 1660-1700 42, n.º 2 (2018): 138–42. http://dx.doi.org/10.1353/rst.2018.0011.

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Innes, Paul. "Macbeth by William Shakespeare (review)". Theatre Journal 76, n.º 2 (junio de 2024): 231–33. http://dx.doi.org/10.1353/tj.2024.a932173.

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Bidgoli, Mehrdad y Shamsoddin Royanian. "A Struggle with Alterity: A Lévinasian Reading of Macbeth". arcadia 55, n.º 1 (5 de junio de 2020): 1–24. http://dx.doi.org/10.1515/arcadia-2020-0001.

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AbstractIn Macbeth (ca. 1606), William Shakespeare returns all the way back to his metaphysics which he had demonstrated magnificently in A Midsummer Night’s Dream (ca. 1595) and Hamlet (ca. 1600). These works represent Shakespeare’s dramaturgical treatment of Being, substance, essence, etc. One of the chief elements of these plays is supernaturality, or nothingness (non-being) in a sense interrupting Being and human activities. These elements are presented in Julius Caesar (1599) as well, a history play which has commonalities with Macbeth. Yet few of his tragedies offer a world so dipped in horror and darkness as Macbeth. Ethics might thus be a far-fetched component among these grisly sensations and in the bloody atmosphere of this tragedy, but with the help of Emmanuel Lévinas (1906–1995), traces of ethical exigency can be discerned. Approaching Macbeth through Lévinas’s philosophy, we attempt to study some ways in which ethics can be addressed and studied in this dark world. We will discuss Macbeth’s struggles with time (mostly his future) and the Other as metaphors of alterity intruding into and interrupting his totalizing conatus.

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Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, n.º 2 (11 de febrero de 2020): 15. http://dx.doi.org/10.24113/ijellh.v8i2.10384.

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The abstract summarizes the analysis and interpretation of the significance of minor characters in Shakespeare’s major tragedies and concludes that Shakespeare is the greatest creator of characters. His greatness lies of course, in creating and heroic characters like Hamlet, Othello, Lear and Macbeth but what is significant is that even the minor characters are as immortal as the major ones. The great Villain Iago are great characters but the less important characters like Horatio, Fortinbras, Edgar, Cassio and Banquo are equally important. Besides, Shakespeare’s women characters, mostly assigned minor roles, create niche in our heart. Ophelia, Cordelia, Desdemona and Lady Macbeth have their own place. Nobody will forget them. In fact, they bring spice to the development of the plot and so do Horatio Ophelia, Lady Macbeth, Banquo, Macduff, Earl of Gloster , Edgar, Cassio and Emilia in tragedies.

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Fainuddin, Nuri. "Destruction caused by greed and brutality as reflected in Shakespeare’s Macbeth: A psychological approach". UAD TEFL International Conference 2 (18 de enero de 2021): 69. http://dx.doi.org/10.12928/utic.v2.5738.2019.

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Destruction Caused by Greed and Brutality as Reflected in Shakespeare’s Macbeth: A Psychological Approach becomes the title of the research. It is intended to describe the greed and brutality of the main character; the main character’s id, ego, and super ego; the catastrophe suffered by the main character, and the moral values of this drama. The subject of the research is Macbeth, a play written by William Shakespeare and the main character’s greed. The object is the psychological aspect of the main character. The research belongs to a library research since its sources are taken from books. Horney’s theory of greed is applied to analyze the data. The study found several interesting results. First, Macbeth becomes a king by murdering King Duncan (a form of Macbeth’s greed). Second, Macbeth’s brutality is shown by murdering Banquo’s and Macduff’s family. Third, Macbeth’s id is murdering the king and the followers; the ego supports the King; and the super ego cuts of the King head when Birnam wood comes. The play delivers several messages to the readers, such as those who plant will harvest and the good deed will destroy the bad deed.

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Mirza, Sanaa. "The Fall of Man in Shakespeare’s Macbeth Comparing to That in A Creation Story: A Study from Qur’anic Perspective". Journal of Duhok University 23, n.º 2 (19 de diciembre de 2020): 1–16. http://dx.doi.org/10.26682/hjuod.2020.23.2.1.

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Inspired and motivated by our conviction that “Shakespeare is a gift of Heaven to all of Mankind, for every creed, in every age" (Lings, 1998, 12), this research aims at studying William Shakespeare’s Macbeth from a Qur’anic perspective instead of a biblical one, as has usually been done so far. The study utilizes Islamic pedagogy to examine Macbeth, a European masterpiece, hypothesizing that Islam offers a uniquely different view of the world from that of the European one. For its textual analysis, the study relies on verses translated from the Noble Qur’an as well as Hadiths (the prophet’s traditions) from Sunnah, in addition to the text of Macbeth. The axiomatic question that is raised here is whether or not we have the right to categorize Shakespeare's Macbeth into “sacred art”. The study answers positively to this question since the thematic framework of the play revolves around “the essence of religion” (Lings, 1998, 12). The study attempts to analyze and compare the fall of man in Shakespeare’s Macbeth to that in the story of man’s creation from Qur’anic perspective according to five axes. The first axis is about the temptation of the evil power in both stories, Adam’s creation in Quran and Shakespeare’s Macbeth. The second axis examines the role of Hawaa (Eve) and Lady Macbeth as temptresses. The third axis is about the feeling of remorse for the evil actions that they take and the punishment of God. The fourth axis presents a study of the nature of some encounters between humanity and evil forces. The fifth axis presents a brief study of the types of human soul (Nafs) from Quranic perspective to diagnose the role of the soul in determining the characteristics of each personality. Yet, the study concludes that Shakespeare presents Macbeth with a narrow perspective to represent only the inherent weakness of humanity in the face of evil forces, ignoring his charitable nature to encounter evil forces, and his fall is cursed eternally because of his insistence on evil; while Adam (peace be upon him) represents humanity in all of his conditions, and his fall is not eternal because of his remorse and repentance.

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13

Turner, Trevor. "Macbeth, by William Shakespeare (c.1606)". British Journal of Psychiatry 204, n.º 5 (mayo de 2014): 375. http://dx.doi.org/10.1192/bjp.bp.112.123141.

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Molpeceres Arnáiz, Sara. "Macbeth de William Shakespeare en "Corazón tan blanco" de Javier Marías". Estudios Humanísticos. Filología, n.º 22 (15 de diciembre de 2000): 161. http://dx.doi.org/10.18002/ehf.v0i22.3981.

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Gonçalves, Flavia. "A tragédia Macbeth reescrita para o público infantil por Charles Lamb". Belas Infiéis 8, n.º 3 (25 de julio de 2019): 127–44. http://dx.doi.org/10.26512/belasinfieis.v8.n3.2019.22936.

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Este artigo tem como propósito refletir sobre algumas questões envolvidas na reescrita de peças de William Shakespeare para o público infantil, focalizando a narrativa Macbeth, publicada em Tales from Shakespear. Designed for the use of young persons (1807) pelos irmãos Charles e Mary Lamb. Para o embasamento teórico, são primordialmente utilizadas as teorias dos Estudos da Tradução, com as concepções de André Lefevere e a teoria dos polissistemas de Itamar Even-Zohar. Inicialmente, são feitas breves considerações sobre a biografia dos autores e sobre a contextualização da obra no sistema literário infantil. Na sequência, apresentamos as características da fonte textual que podem ser consideradas questões complexas em uma adaptação para crianças. Então, a análise comparativa demonstra as particularidades da narrativa de Charles Lamb que a transformam em um novo original, que acaba tornando-se a verdadeira história de Shakespeare para os leitores que não conhecem a tragédia Macbeth.

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Dahlan, Syahruni Junaid, Ahmad Muzammil y Masykur Rauf. "STUDENT'S RECEPTION TOWARD SHAKESPEARE’S SELECTED CONTEMPORARY PLAYS". Elite : English and Literature Journal 9, n.º 2 (15 de diciembre de 2022): 178–91. http://dx.doi.org/10.24252/elite.v9i2.32913.

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Literary reception is a literary genre that examines literary texts by considering the reader as the giver of the welcome or response. Researchers choose to analyze literary receptions in Shakespeare's plays, namely "Romeo and Juliet" and "Macbeth" as an interesting source of data to be studied and analyzed more deeply because of the difficulty of readers in responding to a literary work. This study aims to determine the reader's response to the two plays by Shakespeare. The data source of this research is the play script of "Romeo and Juliet" and "Macbeth" by William Shakespeare. The method used in this study is a qualitative descriptive method. This study uses Iser’s Reception theory with instruments in the form of documentation and observation studies because this research is reviewed by noting and marking the parts that are considered important and useful for the reader. Based on the results of this study, it is clear that there are reader responses in Shakespeare's plays. Then the results of the research are in the form of a questionnaire containing nine questions with excellent answers or responses from readers in engaging the two plays by Shakespeare.

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CUŢITARU, CODRIN LIVIU. "CULTURAL AMBIGUITY AS IRRECONCILABLE ANTAGONISM IN SHAKESPEARE’S MAJOR TRAGEDIES". Analele Universităţii Bucureşti. Limbi şi Literaturi Străine 72, n.º 1/2023 (1 de noviembre de 2023): 3–13. http://dx.doi.org/10.62229/aubllslxxii/1_23/1.

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This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it into an essential instrument of the tragic and the tragedy, i.e. into a form of irreconcilable conflict, antagonism. Therefore, what in normal/modern circumstances would appear as “plagiarism” becomes here a token of artistic genius and brilliant creation, the very nucleus of the tragic construction. We approach, from this angle, the four outstanding tragedies Hamlet, Othello, King Lear and Macbeth, intending to clearly define each one’s cultural (that is, tragic) conflict. Likewise, the sources of these masterpieces, Saxo Grammaticus’s Gesta Danorum, François de Belleforest’s Histoires Tragiques (for Hamlet), Cinthio’s Un Capitano Moro (for Othello), the Celtic legend Leir of Britain (for King Lear) and Holinshed’s Chronicles… (for Macbeth), are compared to their Shakespearean “avatars”, with the purpose of displaying the way in which the asserted antagonism manifests itself at the level of the “prototype”. The outcome of the critical investigation reveals that the so-called cultural ambiguity takes various forms in Shakespeare’s plays, going from the clash of civilizations (Hamlet and Othello) to the crisis of identity (King Lear and Macbeth).

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Tursunova, M. "Comparative Analysis of Intelligent Devil Villains in W. Shakespeare’s Tragedies: Macbeth, Julius Caesar and Othello". Bulletin of Science and Practice 6, n.º 4 (15 de abril de 2020): 527–31. http://dx.doi.org/10.33619/2414-2948/53/63.

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This article compares three prominent villains — Macbeth, Brutus and Iago in three famous tragedies: Macbeth, Julius Caesar and Othello by William Shakespeare according to the terms of intelligence and devilry. These two main aspects are considered for the analysis to find the main similarities and differences and categorize their villainy on the basis of devilry.

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Purnomo, Sigit Cahyo. "Tragedy and Moral Values in William Shakespeare’s Macbeth: A Structural Analysis". Register Journal 6, n.º 1 (1 de junio de 2013): 125–43. http://dx.doi.org/10.18326/rgt.v6i1.125-143.

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This research is aimed to find out the structural elements and the moral values of the play. The subject of the research is the play Macbeth by William Shakespeare and the object of research is its intrinsic elements of the play and the moral values of it. To analyze the structural elements of the play Macbeth, the writer uses the objective approach that anatomizes the work of art itself without relating to external factors such as the universe, the artist and audience. The findings of the research show that (1) The theme of the play is a blind ambition. Macbeth is goaded by his more ambitious wife, Lady Macbeth, to be king by evil way. He uses ‗the goal which justifies the means‘ to obtain it. But it causes the downfall. (2) There are two main characters namely Macbeth and Lady Macbeth and seven minor characters namely King Duncan, Banquo, Three Witches, Macduff, Malcolm, Fleance, and Lady Macduff. (3)The setting of time happens in eleventh century ; Meanwhile, the setting of place happens in Scotlandand in England, Though, Shakespeare uses the setting of place in beginning of every act. (4) The plot of the play starts from exposition, then it moves to rising action and reaches the climax or turning point. Later, it goes to falling action and the resolution. 5).Shakespeare as author always uses the third person point of view such as He, She, and the name of the character. (6)The language that is used is dialog language in the stage and it is old classic English.(7)The symbolisms of play which are standing out are blood and darkness. (8) The moral values are divided into positive moral values such as bravery, loyalty, affection, modesty as well as honesty, and negative moral values such as ambition, atrocity, temptation, vengeance. Keywords: Tragedy; moral values; structural analysis

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Purnomo, Sigit Cahyo. "Tragedy and Moral Values in William Shakespeare’s Macbeth: A Structural Analysis". Register Journal 6, n.º 1 (1 de junio de 2013): 125. http://dx.doi.org/10.18326/rgt.v6i1.225.

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This research is aimed to find out the structural elements and the moral values of the play. The subject of the research is the play Macbeth by William Shakespeare and the object of research is its intrinsic elements of the play and the moral values of it. To analyze the structural elements of the play Macbeth, the writer uses the objective approach that anatomizes the work of art itself without relating to external factors such as the universe, the artist and audience. The findings of the research show that (1) The theme of the play is a blind ambition. Macbeth is goaded by his more ambitious wife, Lady Macbeth, to be king by evil way. He uses ‗the goal which justifies the means‘ to obtain it. But it causes the downfall. (2) There are two main characters namely Macbeth and Lady Macbeth and seven minor characters namely King Duncan, Banquo, Three Witches, Macduff, Malcolm, Fleance, and Lady Macduff. (3)The setting of time happens in eleventh century ; Meanwhile, the setting of place happens in Scotlandand in England, Though, Shakespeare uses the setting of place in beginning of every act. (4) The plot of the play starts from exposition, then it moves to rising action and reaches the climax or turning point. Later, it goes to falling action and the resolution. 5).Shakespeare as author always uses the third person point of view such as He, She, and the name of the character. (6)The language that is used is dialog language in the stage and it is old classic English.(7)The symbolisms of play which are standing out are blood and darkness. (8) The moral values are divided into positive moral values such as bravery, loyalty, affection, modesty as well as honesty, and negative moral values such as ambition, atrocity, temptation, vengeance. Keywords: Tragedy; moral values; structural analysis

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21

Kardiansyah, M. Yuseano. "The Index of Hero’s Power and Nobility in Shakespearean Tragedy Drama: A Semiotic Study". TEKNOSASTIK 14, n.º 2 (21 de abril de 2018): 11. http://dx.doi.org/10.33365/ts.v14i2.57.

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This paper discusses a study that investigates the index of hero’s power and nobility in Shakespearean tragedy dramas. Here, the discussion focuses on two works authored by William Shakespeare: "Macbeth" and “Othello”. Objective of this study is to investigate the signs that give index of power and nobility in those two Shakespearean tragedy dramas. The study is done by analyzing Macbeth and Othello in the way of tracing the intrinsic elements or texts of them. All related dialogs and narrations (data source) in these dramas are analyzed in order to disclose the indexes of power and nobility in Shakespearean tragedy dramas. All analyses from each works are compared in order to determine if there are similar indexes or even distinction among those works in depicting the sense of power and nobility as Shakespearean dramas. As the result, it is found that these two dramas contain similar pattern of indexes that lead to the figuration of each hero’s power and nobility in the dramas.

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Lima, Bárbara Novais de y Fernanda Teixeira de Medeiros. "Nem megera, nem boazinha: a voz desafiadora da “mulher rebelde” no drama shakespeariano". Letras, n.º 67 (22 de marzo de 2024): 84–99. http://dx.doi.org/10.5902/2176148575156.

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Este artigo tem como objetivo analisar três personagens femininas do cânone shakespeariano – Katherina, da comédia A megera domada (c. 1592-4); Paulina, do romance O conto do inverno (1611), e Lady Macbeth, da tragédia Macbeth (1605-6) – à luz do conceito de “mulher rebelde” (UNDERDOWN, 1985). Partindo do uso feito por William Shakespeare do arquétipo cômico da megera (shrew), bem como da personagem histórica da barraqueira (scold), e considerando a justaposição nem sempre exata feita pela crítica literária dessas duas figuras, sugerimos que Shakespeare cria combinações variadas entre shrews e scolds, ultrapassando, como de hábito, as fronteiras entre comédia e tragédia, esfera pública e vida privada.

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Cuțitaru, Codrin Liviu. "The Genius of Shakespeare’s “Plagiarisms”. Case Studies: Hamlet, Othello, King Lear and Macbeth". Linguaculture 2017, n.º 1 (1 de junio de 2017): 63–71. http://dx.doi.org/10.1515/lincu-2017-0006.

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Abstract This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it, eventually, into an essential instrument of the tragic and the tragedy. What in normal/modern circumstances would easily count as “plagiarism”, becomes here, paradoxically, a token of artistic genius and brilliant creation. Our examples will be from the four outstanding tragedies—Hamlet, Othello, King Lear and Macbeth. The sources selected by our research will be Saxo Grammaticus’s Histoires tragiques, Cinthio’s Un Capitano Moro, the Celtic legend Leir of Britain and, obviously, Holinshed’s Chronicles. We shall try to demonstrate that the so-called cultural ambiguity adopts various forms in Shakespeare’s plays, going from the clash of civilisations (Hamlet and Othello) to the crisis of identity (Lear and Macbeth).

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24

Žarić, Stefan. "Fashioning the individual and society in William Shakespeare's The Tragedy of Macbeth and its film costume and fashion representations". Zbornik Akademije umetnosti, n.º 10 (2022): 86–98. http://dx.doi.org/10.5937/zbaku2210086z.

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The proposed paper concerns with fashion and clothing as visual and semiotic signifiers of both the individual and society in William Shakespeare's The Tragedy of Macbeth and its representations in other media: film (costume design) and haute couture (fashion design). As such, the language of fashion and the vestimentary frame of Shakespeare's tragedy are used as tools for visual and semiotic reading of sociocultural anxieties between the individual and the society as expressed through art. Given rich symbolic and metaphoric value of the language of fashion in Macbeth through which Shakespeare conceptualises his characters and their relationships with the societal framework they inhabit, the paper will thus demonstrate how such a relationship can be conveyed through film costume and fashion design. Analysed representations will consider costume design by Jacqueline Durran for Justin Kurzel's film Macbeth (2015) and fashion design by Alexander McQueen and his collection The Widows of Culloden (2006). In such analysis, fashion is, as fashion theorist Elizabeth Wilson defines it, seen as a cultural metaphor for the body and the material with which we write or draw a representation of the body into our cultural context.

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Kramer, Ursula. "Herausforderung Shakespeare". Die Musikforschung 55, n.º 2 (22 de septiembre de 2021): 129–44. http://dx.doi.org/10.52412/mf.2002.h2.752.

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Die Entdeckung William Shakespeares im deutschen Theater der 1770er Jahre hatte unmittelbare Konsequenzen für die damalige Schauspielmusik: Abweichend von der üblichen Praxis wurden für die Aufführungen dieser Dramen eigens neue Musiken geschrieben, für die die Zeitgenossen den Begriff des Analogen prägten. Zentren dieser neuen musikalischen Ambition waren Hamburg (Carl David Stegmann), Berlin (Johann André, Johann Friedrich Reichardt), Mannheim (Georg Joseph Vogler) und Wien (Johann Mederitsch); besonderes Interesse galt vor allem "Macbeth", "King Lear" und "Hamlet". Die größte Herausforderung stellten dabei die Zwischenakte dar; hier gelang es den Komponisten in unterschiedlichen Graden, die Idee einer angemessenen Musik zu verwirklichen.

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Mojzísová, Olga. "Smetana and Shakespeare". Musicalia 9, n.º 1-2 (20 de diciembre de 2017): 57–80. http://dx.doi.org/10.1515/muscz-2017-0009.

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Abstract This study deals with Bedrich Smetanas encounters with the legacy of William Shakespeare. The introduction is devoted to Smetana’s participation at the celebration of Shakespeare’s 300th birthday in 1864, at which he took part in the organization and dramaturgy as a conductor and a composer. The next part deals with the possible sources of Smetana’s knowledge of Shakespeare’s plays, followed by compositions inspired by specific dramas. It describes the circumstances of the genesis of the symphonic poem Richard III and of the piano composition Macbeth and Smetana’s conception of those works’ subject matter in relation to the shift of his artistic orientation towards programme music during his stay in Sweden. Above all, on the basis of their exchanged correspondence, the study then examines the ups and downs of Smetana’s relationship with the Eliska Krásnohorská and the composer’s unfinished opera Viola based on Twelfth Night.

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Spyra, Piotr. "Shakespeare and the Demonization of Fairies". Text Matters, n.º 7 (16 de octubre de 2017): 194–213. http://dx.doi.org/10.1515/texmat-2017-0011.

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The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.

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Amiri, Mehdi y Sara Khoshkam. "Gender Identity and Gender Performativity in Shakespeare’s Selected Plays: Macbeth, Hamlet and Merry Wives of Windsor". Advances in Language and Literary Studies 8, n.º 4 (31 de agosto de 2017): 1. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.1.

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The main argument of this article is focused on three plays by William Shakespeare, Macbeth, Hamlet and Merry Wives of Windsor. There are several points in these plays which deal with woman and their rights. This article deals with Shakespeare’s plays in relation to feminism, which pays more attention to the rights of women and their true identity. In all societies women are defined in terms of their relations to men as the center of power to which women have limited or no access. Judith Butler's performativity is significance on understandings of gender identity. Butler believes that gender is produced in society; also it can be changed in society. Feminism should aim to create a society in which, one's sexual anatomy is irrelevant to who one is, and what one does. Shakespeare’s view of a woman is shown through his representation of female characters in his plays specifically in Macbeth, Hamlet and Merry Wives of Windsor.

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Hartl, Anja. "Shakespearean Resonances in Contemporary British Drama: Political and Adaptational Borders in William Shakespeare’s Macbeth and David Greig’s Dunsinane". Shakespeare Bulletin 41, n.º 1 (marzo de 2023): 63–79. http://dx.doi.org/10.1353/shb.2023.a907991.

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Abstract: Using Wai Chee Dimock’s theory of “resonance,” this article argues that the potential of Shakespeare’s works to reverberate across centuries and across contexts resides not so much in their universality as in their historical specificity and therefore in the ways in which the meaning and significance of the plays have necessarily changed over time. This argument is illustrated through Scottish playwright David Greig’s 2010 play Dunsinane , a sequel to Shakespeare’s Macbeth . Dimock’s concept of resonance helps to identify specific concerns that the two plays share—above all, an interest in nationhood that is expressed through the border. At the same time, it draws attention to Dunsinane ’s considerable dissonances with Macbeth , which are above all evident in Greig’s rewriting of major parts of Shakespeare’s plot. As such, the border is not only a central theme and aesthetic device in both plays, but also an apt metaphor for Greig’s adaptational approach. As an example of a textual borderscape (in Chiara Brambilla’s sense of the term), Dunsinane probes the borders of adaptation—and of adapting Shakespeare—in the current moment.

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Ray, Neha Kumari. "A comparative study of Macbeth, adapted as Maqbool by Vishal Bharadwaj". International Journal of English Literature and Social Sciences 8, n.º 5 (2023): 253–60. http://dx.doi.org/10.22161/ijels.85.39.

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William Shakespeare's theatrical works have long been a fertile ground for reinterpretation and transformation. Within his plays, he explored fundamental themes such as love, marriage, family dynamics, issues of race and class, humour, betrayal, malevolence, vengeance, murder, and mortality. Through his masterful storytelling, Shakespeare crafted enduring characters, spanning from common criminals to noble monarchs, who have transcended time to become enduring archetypes in modern drama, while still retaining their relatable human essence. These timeless themes and iconic characters provide filmmakers with a rich reservoir of raw material to create visually captivating cinematic experiences. Renowned director Vishal Bhardwaj garnered substantial critical acclaim for his trilogy, with "Maqbool" drawing inspiration from "Macbeth," "Omkara" from "Othello," and "Haider" adapted from Shakespeare's "Hamlet." Nevertheless, Bhardwaj exercised creative liberties in moulding these narratives to suit his cinematic vision. This article embarks on an exploration of the comparative analysis between Vishal Bhardwaj's "Maqbool" and Shakespeare's "Macbeth." The discussion commences with a succinct overview of comparative literature, progressing to a detailed examination of the opening scenes, the art of characterization, the diverse dramatic techniques employed, the setting, and the denouement. Moreover, it delves into the points of convergence and divergence between the adaptation ("Maqbool") and the original source text ("Macbeth").

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Huang, Min. "A Battle Against One’s Soul: An Analysis of Lady Macbeth’s Functions as the Other Self to Macbeth". International Journal of English Linguistics 12, n.º 5 (9 de agosto de 2022): 89. http://dx.doi.org/10.5539/ijel.v12n5p89.

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The play Macbeth is one of William Shakespeare’s most well-known tragedies. This research is intended to analyze the functions of Lady Macbeth as the other self to Macbeth. She is not only the motivator of Macbeth’s self-assertion, but also the silent bearer of Macbeth’s burden of conscience and the reflector of Macbeth’s self-alienation. Undoubtedly, Lady Macbeth plays a crucial role in the tragic end of Macbeth since it’s she that improvises Macbeth to commit crime. Her incitements and actions, nevertheless, are only the overt show of Macbeth’s inward eagerness to assert himself as a brave man. Lady Macbeth, furthermore, conscientiously suffers the burden of Macbeth’s sense of guilt later on. And her alienation from Macbeth indicates the latter’s self-alienation, who has gone the wrong direction but can no longer find the way back. Their relationship shows the process of Macbeth’s self-definition and vividly depicts the ambivalence of Macbeth’s tortured self.

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Hadfield, Andrew. "Grimalkin and other Shakespearean Celts". Sederi, n.º 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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Küppers, Almut y Maik Walter. "Is Shakespeare a Foreign Language?" Scenario: A Journal of Performative Teaching, Learning, Research VI, n.º 1 (1 de enero de 2012): 146. http://dx.doi.org/10.33178/scenario.6.1.11.

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An Interview with Peadar Donohoe, Artistic Director of Cyclone Repertory Company, Cork Cyclone Repertory Company Ltd. is a core group of actors & technicians based in Cork who are devoted to the art of theatre to serve the wider community through quality productions that entertain and educate. More recently the company has been very successful in Ireland with performances of their ‘pedagogic adaptations’ of plays by William Shakespeare. Scenario readers may also wish to view short films which give a first impression of the unique way in which Cyclone have managed to make Shakespeare’s texts accessible and interesting to Irish secondary school students. The SCENARIO interview with Peadar Donohoe can be downloaded hereFor a short film on Cyclone’s approach to Macbeth click here, for a short film on Hamlet click here

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Bartlett, Bridget. "Macbeth’s Idiot and Faulkner’s Compsons". Borrowers and Lenders The Journal of Shakespeare Appropriations 14, n.º 2 (28 de abril de 2023): 139–42. http://dx.doi.org/10.18274/bl.v14i2.319.

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William Faulkner’s use of a line from Macbeth for the title of The Sound and The Fury is a well-known instance of Shakespearean appropriation, but in this note I uncover the unrecognized appropriation of that line as it signifies when historicized. Specifically, I highlight the class dimensions that appear prominent in the Macbeth line when we understand the word “idiot” as the play’s first audiences did, and I demonstrate how Faulkner’s appropriation of the line as it signified in Jacobean English informs and reflects the central themes of The Sound and The Fury. Because early modern understandings of class as a largely hereditary category overlapped significantly with contemporary lineal constructions of race, Faulkner’s appropriation of the historicized line with its emphasis on class is especially significant for the interactions of race and class that animate Faulkner’s fiction as well as studies of appropriative uses of Shakespeare.

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Aragonez, Iury y Neuda Alves do Lago. "O que está feito está (re)feito: a tradução intersemiótica de “Macbeth”". Letras, n.º 67 (22 de marzo de 2024): 176–91. http://dx.doi.org/10.5902/2176148573535.

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O seguinte artigo tem por objetivo discutir a tradução intersemiótica da peça teatral Macbeth, escrita por William Shakespeare, para a sua versão televisiva, dirigida por Mark Brozel. Com base nas tipologias das traduções intersemióticas desenvolvidas por Julio Plaza (1987), discutimos as alterações produzidas na recriação de seis signos da obra literária, sendo eles: (i) o tempo, (ii) o sobrenatural, (iii) as Irmãs Sinistras, (iv) as profecias, (v) o som, e (vi) o suicídio. Entendemos que a tradução intersemiótica de Macbeth contribui para a democratização do acesso a essa obra canônica da literatura ocidental.

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Das, Chandrima, Samrat Laskar, Piotr Maszewski, Grzegorz Sikorski y Anirban Bhattacharjee. "Book Reviews". Multicultural Shakespeare: Translation, Appropriation and Performance 12, n.º 27 (26 de junio de 2015): 125–46. http://dx.doi.org/10.1515/mstap-2015-0011.

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Miola, S. Robert, ed. Macbeth. By William Shakespeare. New York and London: W. W. Norton & Company, 2004. Pp. xxiii + 384. [South Asian Edition] Tiffany Ann Conroy Moore, Kozintsev’s Shakespeare Films: Russian Political Protest in Hamlet and King Lear. Jefferson, North Carolina, and London: McFarland & Company, 2012. Pp. viii + 194 Sosnowska, Monika. Hamlet uzmysłowiony (Sensuous Hamlet). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2013. Pp. 201 Courtney, Krystyna Kujawińska and Monika Sosnowska, eds. Shakespeare 2014—w 450. rocznicę urodzin (Shakespeare 2014—For the 450th Anniversary of His Birth). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2014. Pp. 235 Laura Estill, Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Delaware: University of Delaware Press, 2015. Pp. xxviii+255

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Nurmalasari, Muharrani y Ruly Adha. "SUPERNATURALISM AND MYSTICISM IN WILLIAM SHAKESPEARE’S PLAY HAMLET". JL3T ( Journal of Linguistics Literature and Language Teaching) 2, n.º 2 (25 de enero de 2017): 67–85. http://dx.doi.org/10.32505/jl3t.v2i2.15.

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William Shakespeare is the greatest dramatist in the world. He has produced a lot of literary works especially play or drama. Some of his plays still exist until now such as Julius Caesar, Hamlet, The Merchant of Venice, etc. Even, one of his plays Romeo and Juliet has been translated into several languages in the world. He produces two types of plays, namely comedy which usually talks about love and tragedy which talks about sadness. In tragedy plays, Shakespeare always puts supernatural and mystical elements such as in Julius Caesar, Macbeth, Hamlet, etc. The supernatural and mysticism elements are usually marked by the appearance of apparition, witch, fairy, etc, and the elements can determine the fate of main characters. This article tries to describe how Shakespeare puts supernatural and mystical elements in one of his tragedy plays Hamlet.

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Maslen, Joseph. "Big Punning, Large Troping and Huge Riddling: Why and how Macbeth and other narrative texts are important and how to deal with them". Sociological Research Online 14, n.º 5 (noviembre de 2009): 223–30. http://dx.doi.org/10.5153/sro.2067.

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In William Shakespeare's The Tragedy of Macbeth the narrative takes place at the interface between the auto/biographical and the social. The story is focused on the level of the state and polis, but also on a human level, and Macbeth's conflict with the idea of society as a static model is a social act. The usefulness of the literary for sociology is emphasised in Macbeth's narrative and its moves from minor to major. The sociological study of literature connects important proto-sociological insights to sociology more formally: narratives are everywhere, pervasive in sociology as a discipline as much as in literature, and more strongly society is based on the literary in the sense that narratives provide a route into collective and frequently political processes. It is not just that ‘the play's the thing’, as Shakespeare wrote, but more generally that the text - the text of any document - though a close analysis of its structure, organisation, tropes, characterisation, plot developments and so on, is important in opening up for analytical scrutiny a particular viewpoint on social mores. Tilly's emphasis is on material realities, but literary ideas and tools are highly relevant to accomplishing his aims for sociology. Looking from sociology to literature to society and back again is a huge comparison, fantastical but metaphorically real; and in the case of Macbeth, the textual means and moralities by which persons engage with the polis provides insights into such matters outside, as well as inside, the text.

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Payne, Deborah C. "“Damn you, Davenant!”: The Perils and Possibilities of Restoration Shakespeare". Restoration and Eighteenth-Century Theatre Research 32, n.º 1 (2017): 21–40. http://dx.doi.org/10.5325/rectr.32.1.0021.

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Abstract In September 2018, the Folger Theatre had the unprecedented opportunity to mount William Davenant’s multimedia redaction of Macbeth, a script that had not been staged since the eighteenth century. The resulting production, while musically adept, never quite escaped the onus of Bardbiz. To offset the perceived deficits of the script, the director, a specialist in Shakespeare productions, recast Macbeth as a play-within-a-play, a “one-time performance staged as a fundraising event for Bedlam.” The invented frame, however, created far more problems than it solved, resulting in discontinuous performance styles oftentimes not aligning with the interpolated story. An additional emphasis on pop horror proved a further distraction and failed to illuminate Davenant’s version of the story. Arguably, directors from a (post)modern theatrical background should oversee future productions of Restoration Shakespeare, being less likely to see these plays as bastardized versions of the original.

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Rédaction. "Macbeth de William Shakespeare au théâtre du peuple de Bussang". Coulisses, n.º 3 (1 de febrero de 1991): 72–74. http://dx.doi.org/10.4000/coulisses.1663.

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Guirao Silvente, María Mercedes. "Dos personajes destruidos por la ambición: 'Macbeth' y 'La hija del aire'". Epos : Revista de filología, n.º 36 (15 de diciembre de 2020): 55. http://dx.doi.org/10.5944/epos.36.2020.25248.

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Este artículo compara a dos personajes trágicos destruidos por el poder: al célebre Macbeth de William Shakespeare y a la poco conocida Semíramis (La hija del aire) de Pedro Calderón de la Barca. El proceso de ascenso y caída de estos dos usurpadores, permite comprobar las numerosas conexiones entre los dos geniales dramaturgos, a través de aspectos como la oposición destino/libertad, la concepción del mundo como teatro y la fabricación de máscaras – que hace imposible distinguir el ser de la apariencia – , la crítica al juego de la política y, sobre todo, el escepticismo irónico con el que tanto Shakespeare como Calderón contemplan la vida.

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Verhulst, Pim y Dirk Van Hulle. "‘Learn by heart’: Beckett’s Schoolboy Copy of Shakespeare’s Macbeth". Journal of Beckett Studies 31, n.º 2 (septiembre de 2022): 135–50. http://dx.doi.org/10.3366/jobs.2022.0371.

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This article discusses a recently discovered copy of William Shakespeare’s play Macbeth that once belonged to Samuel Beckett when he was a student at Portora Royal in 1922. Although the volume is in private hands, scans of the annotated pages are freely available in the Beckett Digital Library of the Beckett Digital Manuscript Project. Compared to other surviving works by and on Shakespeare in Beckett’s possession, the Macbeth schoolboy copy shows an unusual abundance of reading traces and marginalia. However, passages that are not underlined or otherwise marked turn out to be equally important for an assessment of the play’s impact on Beckett’s writing, in addition to a grey zone of indeterminate or conceptual references that are harder to classify as allusions. This is especially the case when Beckett’s style becomes sparser, and he explores other dramatic genres such as radio or television alongside prose and theatre. By way of introduction, the article analyses some of these instances in more detail while providing more context about the book’s provenance.

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Smith-Bernstein, Isabel. "Macbeth, adapted by Sir William Davenant based on the play by William Shakespeare". Restoration and Eighteenth-Century Theatre Research 32, n.º 2 (2017): 73–75. http://dx.doi.org/10.5325/rectr.32.2.0073.

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Reichmann, Brunilda T. "House of Cards: dna Shakesperiano na trilogia e nas séries". Raído 11, n.º 28 (21 de diciembre de 2017): 141. http://dx.doi.org/10.30612/raido.v11i28.6316.

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Este artigo faz uma leitura de produções literárias e televisivas contemporâneas, da trilogia política House of Cards, To Play the King e The Final Cut, do escritor inglês Michael Dobbs; da série da BBC: The House of Cards Trilogy, adaptação desses romances; bem como da maxissérie da Netflix, House of Cards, baseada nas anteriores. Detém-se em alguns elementos literários dessas produções e os relaciona com peças do dramaturgo inglês William Shakespeare, mais especificamente, a Macbeth, a Otelo, o Mouro de Veneza e a Ricardo III. Tentamos demonstrar como romancistas, roteiristas e diretores de séries celebram a inigualável arte de Shakespeare ao retrabalhar temas, atualizar contextos e reconstruir traços de personalidade de seus personagens inesquecíveis. Em suma, este texto visa resgatar algumas características genéticas das peças de Shakespeare presentes na produção artística/midiática contemporânea.

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Kowsar, K. S. Shahanaaz y Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER". Creativity Studies 14, n.º 1 (18 de marzo de 2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

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Hong, Eun-Sook. "Restoration Shakespeare and Decoloniality: New Epistemic Heroine in William Davenant’s Macbeth". British and American Language and Literature Association of Korea 142 (30 de septiembre de 2021): 137–55. http://dx.doi.org/10.21297/ballak.2021.142.137.

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Calarco, Joe. "Book Review: The Crucible CD-ROM, and: Macbeth by William Shakespeare". Theatre Journal 48, n.º 4 (1996): 529–31. http://dx.doi.org/10.1353/tj.1996.0084.

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Martins, Marcia Amaral Peixoto y Ofélia Da Conceição Machado Sagres. "Shakespeare checks into the digital world: rewriting his plays using Emojis". Cadernos de Tradução 40, n.º 1 (22 de enero de 2020): 34–53. http://dx.doi.org/10.5007/2175-7968.2020v40n1p34.

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Este estudo faz uma análise da série OMG Shakespeare, cujo objetivo é levar para o público jovem, através do uso da linguagem digital, as peças de William Shakespeare. A série apresenta reescritas das peças de Shakespeare no formato de mensagens de WhatsApp. Os quatro títulos disponíveis são: srsly Hamlet, Macbeth #killingit, YOLO Juliet and A Midsummer Night #nofilter. Busca-se determinar: i) o conceito geral da série; ii) as principais estratégias empregadas na adaptação intermidiática das peças e iii) as relações entre as linguagens verbal e não verbal nos textos. O arcabouço teórico desta análise baseia-se nos conceitos de intermidialidade de Irina Rajewisky (2010) e Werner Wolf (1999), na teoria dos signos de Charles Peirce (1998), nas concepções de modalidade e de mídia de Lars Elleström (2010, 2013) e nos conceitos de adaptação de Linda Hutcheon (2013).

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Agbozo, G. Edzordzi. "Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s "Macbeth" in the Ewe language of West Africa". Multicultural Shakespeare: Translation, Appropriation and Performance 18, n.º 33 (30 de diciembre de 2018): 43–56. http://dx.doi.org/10.18778/2083-8530.18.04.

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The cultural turn in translation theory brought attention to the idea that translation is not a purely linguistic phenomenon but one that is also constrained by culture. The cultural turn considers translation as a rewriting of an original text. In this paper, I attempt to find reflections of the cultural turn in a translation into an African language. As such, the paper reads William Shakespeare’s Macbeth in the Ewe language of West Africa, Shakespeare ʄe Makbet, as rewriting. Walter Blege is the translator and the Bureau of Ghana Languages is the publisher of the target text meant for Ewe language audience in Ghana. The target text is for learning and acquiring the Ewe language especially in the area of developing reading comprehension skills. Following Andre Lefevere and Jeremy Munday, this paper suggests that Shakespeare ʄe Makbet is a rewritten text as it follows some cultural constraints in its translation. The study provides insight into the motivations for some of the translator/rewriter’s choices. Given the less attention paid to the Ewe language and many other African languages, the paper proposes translation as a socio-psychological tool for revitalizing interest in the learning and acquisition of African and other lesser-known languages.

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Çoku, Ornela. "A comparative view between Shakespeare’s “Macbeth” and Fan Noli’s Albanian translation of “Macbeth”". European Journal of Economics, Law and Social Sciences 7, n.º 2 (1 de junio de 2023): 57–63. http://dx.doi.org/10.2478/ejels-2023-0008.

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Abstract The article aims to present the contextual translation by Fan Noli, in the translation of the tragedy of ‘Macbeth’ written by William ‘Shakespeare’. It will be analyzed that the process of translation is not only the knowledge of the language, but also the knowledge of the culture for which the text was written. The manuscript also presents that a text in order to be translated from one language to another must be made from a series of guesses on the meaning of the text, giving the context. In this article it will be presented that Noli’s translation does not depend only on the linguistic context, but also on something that lies beyond the text. It shows that it has absolutely great information about the world. The article will present that Noli’s contextual translation aims to reproduce the original text in a contextual way, adapting to the grammatical structure of the target language. Through contextual translation, Noli aimed to be completely faithful to the intention and realization of the original text of the writer. We will present that Noli’s contextual translation is absolutely flexible and allows his intuition and sensitivity towards the original text. The used methodology is the comparative approach method.

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