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Books on the topic 'Cleopatra III'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Die Glossen der Hs. British Library, Cotton Cleopatra A. III: Phonologie, Morphologie, Wortgeographie. Frankfurt am Main: P. Lang, 1998.

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2

Charnes, Linda. Notorious identity: Materializing the subject in Shakespeare. Cambridge, Mass: Harvard University Press, 1993.

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3

Marie, Hacht Anne, ed. Shakespeare for students: Critical interpretations of Shakespeare's plays and poetry. 2nd ed. Detroit: Thomson Gale, 2007.

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4

Robert, Sandler, ed. Northrop Frye on Shakespeare. New Haven: Yale University Press, 1988.

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5

Frye, Northrop. Northrop Frye on Shakespeare. New Haven: Yale University Press, 1986.

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6

Thompson, Dorothy J. Cleopatra III. Oxford University Press, 2015. http://dx.doi.org/10.1093/acrefore/9780199381135.013.1671.

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7

George, Margaret. Memorias de Cleopatra III. Santillana USA Publishing Company, 2002.

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8

George, Margaret. Memorias de Cleopatra III. Ediciones B, 2006.

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9

George, Margaret. Memorias de Cleopatra: Ocaso de una Diosa Vol III. Ediciones B, 2001.

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10

Findlay, Alison. ‘Make My Image but an Alehouse Sign’. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0010.

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Queen Margaret’s words ‘Make my image but an alehouse sign’ in 2 Henry VI (III. ii. 81) offer an appropriate metaphor for the female voice in Shakespeare’s texts because they advertise the ways female characters strive to speak out within a discursive environment that silences them as images. The chapter explores how women in Shakespeare’s plays negotiate a space to speak within a poetic discourse that repeatedly objectifies them as signs, focusing on Catherine’s role in Henry V and the blason, and the Jailer’s Daughter’s self-inscription into a ballad tradition in Two Noble Kinsmen. A second section uses the analytic tools provided by corpus-linguistics to explore the poetic voices of tragic female characters: Lady Macbeth, Cleopatra, and the women of Richard III. The essay concludes by tracing the growth of an independent, poetic female voice in the role of Queen Margaret who offers an ironic commentary on Shakespeare's growing sense of his own identity as national bard.

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11

Wallis, Budge E. A. History of Egypt from the End of the Neolithic Period to the Death of Cleopatra VII B. C. 30 : Vol. III: Egypt under the Amenemhts and Hyksos. Taylor & Francis Group, 2014.

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12

Wallis, Budge E. A. History of Egypt from the End of the Neolithic Period to the Death of Cleopatra VII B. C. 30 Vol III: Egypt under the Amenemhts and Hyksos. Taylor & Francis Group, 2012.

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13

Wallis, Budge E. A. History of Egypt from the End of the Neolithic Period to the Death of Cleopatra VII B. C. 30 : Vol. III: Egypt under the Amenemhāts and Hyksos. Taylor & Francis Group, 2013.

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14

Wallis, Budge E. A. History of Egypt from the End of the Neolithic Period to the Death of Cleopatra VII B. C. 30 : Vol. III: Egypt under the Amenemhāts and Hyksos. Taylor & Francis Group, 2013.

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15

Neacsu, Tino. Elizabeth Taylor. Cleopatra, ultima regina. Editura Universitara, 2022. http://dx.doi.org/10.5682/9786062814496.

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”Cleopatra, considerata cea mai frumoasa femeie a lumii antice, a fost intruchipata pe ecran de Elizabeth Taylor, considerata cea mai frumoasa femeie a lumii moderne la acea data. Ultima regina a Hollywood-ului ii dadea viata ultimei regine a Egiptului, in cel mai scump film produs vreodata pana atunci.”

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16

Burton, Dolores Marie. Shakespeare's Grammatical Style: A Computer-Assisted Analysis of Richard II and Anthony and Cleopatra. University of Texas Press, 2011.

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17

Burton, Dolores Marie. Shakespeare's Grammatical Style: A Computer-Assisted Analysis of Richard II and Anthony and Cleopatra. de Gruyter GmbH, Walter, 2014.

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18

Charnes, Linda. Notorious Identity: Materializing the Subject in Shakespeare. Harvard University Press, 1995.

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19

Shakespeare for Students (Shakespeare for Students (3 Vols)). 2nd ed. Thomson Gale, 2007.

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