Relevant bibliographies by topics / Shakespeare

Academic literature on the topic 'Shakespeare'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Shakespeare"

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Chatterjee, Arup K. "Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 59–74. http://dx.doi.org/10.18778/2083-8530.23.04.

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This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and descendant of William Shakespeare. I argue that the anecdotal links between Peter, Caliban, Catherine, Judith, Shakespear and Shakespeare should be seen as Jungian effects of non-causal “synchronic” reality or on lines of Benoit Mandelbrot’s conception of fractals (rough and self-regulating geometries of natural microforms). Although anecdotes and historemes get incorporated into historical establishmentarianism, seeing history in a framework of fractals fundamentally resists such appropriations. This poses new challenges for Shakespearean historiography, while underscoring distinctions between Shakespeareanism (sociological epiphenomena) and Shakespeare (the man himself).
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Gallimore, Daniel. "Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century." Cahiers Élisabéthains: A Journal of English Renaissance Studies 111, no. 1 (July 2023): 42–57. http://dx.doi.org/10.1177/01847678231184547.

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Two adaptations of Shakespeare comedies between 2008 and 2010 by the Tokyo-based all-male Studio Life company coincided with the better-known all-male Shakespeares directed by Ninagawa Yukio (based just outside Tokyo) and a moment of rising awareness of gender issues in Japanese society. This article explores the role of Studio Life's (and Ninagawa's) translator Matsuoka Kazuko, arguing that just as the all-male format rendered the chauvinistic aspects of Shakespearean comedy more palatable to a mainly female audience, so too does Matsuoka's achievement as the first female translator of Shakespeare's complete plays reveal the possibility of a Japanese woman ‘becoming’ Shakespeare.
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Desmet, Christy. "Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 15–26. http://dx.doi.org/10.1515/mstap-2017-0002.

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This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.
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YANG, Qing. "Canonization and Variations of Shakespeare’s Work in China." Cultura 19, no. 2 (January 1, 2022): 115–29. http://dx.doi.org/10.3726/cul022022.0008.

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Abstract: In “Canonization and Variations of Shakespeare's Work in China,” Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary master with abundant possibilities of interpretation and adaption today, Shakespeares (in the plural to indicate the multiple texts of Shakespeare) change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature(s) that has facilitated the canonization of Shakespeare’s work in China.
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Mohan, Anupama. "Transculturated Shakespeare: Malayalam cinema and new adaptive modes." Indian Theatre Journal 5, no. 1 (August 1, 2021): 73–85. http://dx.doi.org/10.1386/itj_00017_1.

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Malayalam cinema offers a unique body of work for scholars seeking to understand the heterogenous traditions of Indian engagement with Shakespeare. In this article, after a brief overview of the history of Malayalam reception of Shakespeare generally, I focus on the film adaptations of director Jayaraj (Kaliyāttam / Othello [1997]; Kannaki / Antony and Cleopatra [2002]; and Veeram / Hamlet [2017]). Of particular relevance is Jayaraj’s interest in Shakespeare’s female characters, whom he reshapes by immersing his adaptation in the local practices and idioms of Kerala culture, thus transforming the Shakespearean play-text thoroughly. The article examines the influence especially of kathāprasangam upon Jayaraj to understand what aspects of Shakespeare endure in Jayaraj’s films and what are transformed. By approaching the question of adaptation from the perspective of the emic and the etic, an apparatus made influential by linguist-anthropologist Kenneth Pike in his analysis of a cultural text, I examine why, in Malayalam, cinematic Shakespeares have seen greater commercial and critical success than Shakespeare in translation or literary adaptation. The article seeks to understand this disparity by closely reading some of the recurrent patterns that emerge in Shakespeare transculturated in the two domains of Malayalam literature (including translation) and film.
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Harrington, Garry. "“Whose Play is it?” Translating Shakespeare Into English." Linguaculture 1, no. 2 (December 30, 2010): 125–36. http://dx.doi.org/10.47743/lincu-2010-2-0248.

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The paper will look at contemporary published versions of the Shakespearean plays which purport to provide “simplified” or “modernized” readings. Gone are Shakespeare’s polysemy and heteroglossia, to be replaced by a single “meaning” of a given line which in effect goes beyond interpretation to constitute what is in effect a translation of sorts (and underscores consideration s which I think have a direct bearing on translating Shakespeare into other languages as well). This principle may best be illustrated at a close examination of two of Shakespeare’s most consistently twin-tongued characters, Prince Hal and Hamlet. My paper concludes with a short foray into 21st century “alternative” Shakespeares in English, with a particular focus upon recently emerging “rap” versions of some of the more famous passages.
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Ushakova, Olga M. "Masks and Soul: Shakespearean images in T.S. Eliot’s Poetry." Literature of the Americas, no. 15 (2023): 42–69. http://dx.doi.org/10.22455/2541-7894-2023-15-42-69.

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Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.
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Huertas-Martín, Víctor. "Hamlet Goes Legit." International Journal of English Studies 22, no. 1 (June 30, 2022): 41–61. http://dx.doi.org/10.6018/ijes.490781.

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Using Shakespeare’s criticism and archival theory as lenses, this article enlarges understandings of the interconnections between a complex television series and Shakespeare. Forming a Shakespearean archive, Sons of Anarchy (SOA), based on Hamlet and other plays by Shakespeare, is packed with Shakespearean allusions, rather than citations, whose impact in the overall work is yet to be explored. Shakespearean formations, identifiable in the series’ para-texts, episodes, and transmedia materials, add political weight to SOA. This intertextuality invites us to regard Shakespeare’s influence in complex television as transformative.
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CAHILL, PATRICIA A., and KIM F. HALL. "Forum: Shakespeare and Black America." Journal of American Studies 54, no. 1 (October 11, 2019): 1–11. http://dx.doi.org/10.1017/s0021875819000902.

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This introduction both models how one might read race, blackness, activism and Shakespeare and contextualizes the many “Shakespeares” that might be at work in the essays in this cluster, which emerge from the Shakespeare Association of America seminar Shakespeare and Black America. It suggests that scholars in this Shakespearean subfield have political, pedagogical and personal investments that both overlap with and diverge from Shakespeare study as traditionally understood. It addresses some of the complexities of performing, teaching and reading Shakespeare not as an agent of cultural dominion, but as part of resistance and activism in black America.
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Lewis, Seth. "The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 53–69. http://dx.doi.org/10.18778/2083-8530.24.04.

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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
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Dissertations / Theses on the topic "Shakespeare"

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Grossman, Joanna Rebecah. "Shakespeare Grounded: Ecocritical Approaches to Shakespearean Drama." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064927.

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Using the "Great Chain of Being" -- which was integral to the Elizabethan understanding of the world -- as a starting point, this dissertation examines the sometimes startling ways in which Shakespeare's plays invert this all-encompassing hierarchy. At times, plants come to the forefront as the essential life form that others should emulate to achieve a kind of utopian ideal. Still other times, the soil and rocks themselves become the logical extension of a desire to remove man from the pinnacle of earthly creation. Over the course of this project, I explore plays that emphasize a) alternative, non-mammalian modes of propagation, b) the desire to sink the human body into the earth (or, at a minimum, man's closeness to the ground), and c) the imagined lives of flora and fauna, while underscoring man's kinship with myriad organisms. In many of the works explored, a modern vision of materiality comes to the forefront, presenting a stark contrast to the deeply held religious views of the day. In flipping the ladder upside down, Shakespeare entices his reader to confront inherent weaknesses in human and animal biology, and ultimately to question why man cannot seek a better model from the lowly ground upon which he treads.
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Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.

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Mayo, Sarah. "The Shakespearean lens: A filmic pedagogy of Shakespeare." Thesis, University of Canterbury. English, 2001. http://hdl.handle.net/10092/4595.

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The use of Shakespeare on film as a resource in secondary school Shakespeare courses has become so prevalent that, as Susan Leach puts it, "'seeing the video" has become equated with "doing" the book'. Despite its great use-value as a conveniently accessible form of Shakespeare in performance, it is my contention that the Shakespearean film, whether it be a 'classical' adaptation like those of Laurence Olivier and Kenneth Branagh or an appropriation of the Shakespearean text like Al Pacino's Looking for Richard or the Oscar-winning Shakespeare in Love, offers much more to students and teachers of Shakespeare than its ability to allow students to see and hear the play in its 'true' form as a performance. This thesis begins with an examination of the pedagogical and curricular contexts in which Shakespeare has been and continues to be deployed in New Zealand. The following chapters explore the potential for using Shakespeare on film in the service of various educational agendas: the New Zealand secondary-level English curriculum, as outlined in English in the New Zealand Curriculum, particularly its emphasis on response to text and reading visual language; the long tradition of the study of the works of Shakespeare in this country and throughout the world; and the diverse and ever-expanding fields of literary and critical theory and cultural studies.
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Smith, Peter J. "Social Shakespeare : aspects of Shakespearean dramaturgy and contemporary society." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/34890.

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'Social Shakespeare' is a contribution to the politicising process of Shakespearean studies which has occurred in the lost ten years as a result of the increasing force of literary and cultural theory. The study aims at a distinct refocussing of political criticism upon the Shakespearean text as realised in performance. The first part, 'Genre and Imagery', sets out the critical agenda and methodology and situates the study in relation to more traditional criticism in terms of the generic definitions of Comedy and Tragedy. It attempts a political reading of these 'literary' definitions by discussing their ideological context. The third chapter examines the epistemological uncertainties of the early modern period by examining the device of gendered landscape imagery. Part Two, 'Dramaturgy and Language', reads specific plays in terms of this procedural explication. Chapter V explores the notion of drama occurring at the boundaries of the conscious and the unconscious mind. But it extends this idea by considering the manner in which private fantasy is appropriated and anticipated by certain ideological forces. The sixth chapter considers how a particular kind of speaking is politically subversive and thus how a linguistic, or a 'merely' formal, analysis is inseparable from social analysis. The final part, 'Society and Culture', considers issues of anti-Semitism and homophobia in the light of historical circumstances and modern theatre practice. The final chapter discusses the cultural mythologising of the Bard principally by the state apparatuses of education and theatre. The title of 'Social Shakespeare' alludes to Political Shakespeare edited by Jonathan Dollimore and Alan Sinfield (Manchester, 1985). 'Social Shakespeare' is designed to refine and promote the practice of political criticism while embarking on the broader study of Shakespearean drama in its fully social context.
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Leonard, Alice. "Error in Shakespeare : Shakespeare in error." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72806/.

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Error is significant for Shakespeare because of its multiple, flexible meanings and its usefulness in his drama. In the early modern period it meant not only a ‘fault’ or ‘mistake’, but ‘wandering’. ‘Wandering’, through its conceptual relation with metaphor, plot and other devices, aligns error much more with the literary, which dilutes the negative connotations of mistake, and consequently error has the potential to become valuable rather than something to be corrected. Shakespeare’s drama constantly digresses and is full of complex characters who control and are controlled by error. Error is an ambiguous concept that enables language and action to become copious: figurative language becomes increasingly abstracted and wanders away from its point, or the number of errors a character encounters increases, as in The Comedy of Errors. The first chapter argues that error is problematically gendered, that women’s language is often represented as being in error despite being the defenders of the ‘mother tongue’, the guardians of the vernacular. The containment of women in this paradox is necessary for a sense of national identity, that women must pass on the unifying English. The second chapter argues that foreign language becomes English error on the early-modern stage. Shakespeare subverts this tendency, inviting in foreign language for the benefit of the play and, in the context of the history play, of the body politic. The third chapter argues that in The Comedy of Errors, textual indeterminacy and error increases the thematic error of the confusion of the twins. Error is not something to correct automatically without altering the meaning of the play. The fourth chapter argues that the setting of the wood and its wandering characters in A Midsummer Night’s Dream licenses the error of figurative language that wanders away from straightforward speech. The fifth chapter argues that the expansive category of genre falls into error in Cymbeline. The genre turns irrevocably from romance to a satire of James VI and I’s vision of the union. What emerges from the analysis of these permutations of error is that, in Shakespeare’s hands, error is not just a literary device. Error is valuable linguistically, dramatically, politically and textually; in order to understand it, we must resist the ideology of standardisation that privileges what is ‘good’ and ‘correct’. Attending to Shakespearean error demonstrates the need to think beyond the paradigm of the right, and attend to the political implications of ‘wrongness’ and its creative literary employment.
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Newman, Harry Rex. "Impressive Shakespeare : sexual identity and impressing technologies in Shakespearean drama." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3858/.

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This thesis examines the relationship between the sexual formation of identity and three ‘impressing technologies’ (sealing, coining and printing) in Shakespearean drama. In a number of plays, Shakespeare uses the ‘language of impression’ to create metaphors that analogise sexual activities such as kissing, defloration and impregnation with acts of imprinting. In doing so, I argue, he establishes a rhetorical nexus that contributes to the construction of his characters’ sexual identities. Following a chapter on relevant historical contexts, each chapter close reads a single Shakespeare play, focusing on its language of impression. Chapter 2 considers the representation of wounds as impressions in Coriolanus and tracks the development of the protagonist’s identity as a hyper-masculine war machine that stamps and is stamped. Chapter 3 investigates the role of sealing imagery in A Midsummer Night’s Dream, a play which subverts the patriarchal figuration of women as impressionable wax to be transformed by the imprints of men. Chapter 4 analyses the recurring metaphor of counterfeit coining in Measure for Measure, a trope that associates figures of state with their sexually transgressive subjects. And chapter 5 addresses the analogy of procreation with printing in The Winter’s Tale, arguing that this aspect of the play’s rhetoric influenced the composition of the preliminaries to Shakespeare’s First Folio. The thesis concludes by comparing the plays and exploring what it is that makes Shakespeare ‘impressive’.
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Williams, Edwin. "Shaw's "Shakespear": The Influence of William Shakespeare on Bernard Shaw's Dramaturgy." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1163008091.

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Nyberg, Lennart. "The Shakespearean ideal : Shakespeare production and the modern theatre in Britain /." Stockholm : Almqvist och Wiksell, 1988. http://catalogue.bnf.fr/ark:/12148/cb36208879z.

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Altindag, Zumrut. "Rereading Shakespeare." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605279/index.pdf.

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This thesis is a comparative study of how Shakespeare&rsquo
s ideas transcend the boundaries of his own time and still remain as the major sources of inspiration for modern dramatists. Arnold Wesker and Eugé
ne Ionesco explore the concept of the "
other"
leading to loss of identity and awareness of non-being embedded in Shakespeare&rsquo
s works. The main argument is that the contemporary playwrights reinterpret Shakespeare&rsquo
s works in the light of some modern issues and ideas to reveal the entrapment of the individual.
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Coodin, Sara. "Philosophizing Shakespeare." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96702.

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Philosophizing Shakespeare explores the impact of Classical virtue ethics on Shakespeare's dramatic art, particularly his art of characterization. By focusing on the vernacular tradition of practical virtue ethics in Renaissance England – a tradition importantly distinct from institutional Latin philosophizing, but equally bound up with Aristotle's ethical thought -- I maintain that vernacular moral-philosophical writings share Shakespeare's interest in the dynamics of situated moral reasoning, particularly within the domains of social and domestic life. This practical, worldly emphasis, I argue, represents the foundation for ethical decision-making and for ethos (moral character) in Shakespeare. Philosophizing Shakespeare therefore argues for the importance of thinking about Shakespeare's characters as moral agents, while also demonstrating some of the historical and philosophical roots to the concept of moral agency in Shakespeare's England.By contextualizing practical English-language moral-philosophical writings within the tradition of Renaissance Aristotelian thought and, in particular, the critically neglected strain of vernacular Aristotelianism in the Renaissance, Philosophizing Shakespeare builds on recent historical scholarship by Charles Schmitt and David Lines, who have recast Aristotle as a formative though eclectic influence on Renaissance European culture until well into the seventeenth century. At the same time, I consider Shakespeare's use of Aristotelian philosophical ideas as a typically eclectic kind of adaptation. In my discussion on The Merchant of Venice, I propose that Shylock is animated by a concept of virtue quite distinct from Aristotle's, but nevertheless just as central to his motivation as a character and behavior within the play. By focusing on the philosophical problem of akrasia (weakness of the will or moral incontinence), I also emphasize ways in which plays such as The Winter's Tale problematize Classically modeled selves.
Ma thèse Philosophizing Shakespeare explore l'impact de l'éthique de la vertu classique sur l'art dramatique de Shakespeare, à savoir sur l'art de sa caractérisation. L'éthique de la vertu pendant la renaissance anglaise comprend une vaste sélection d'écrits et d'écrivains, des interprètes de Thomas d'Aquin aux pamphlétaires. Dans cette thèse, je me focalise sur la tradition vernaculaire de l'éthique de la vertu pratique en Angleterre de la Renaissance – une tradition qui est particulièrement distincte de la philosophie latine institutionnelle, mais qui est également coincé par la pensée éthique aristotélicienne. Contrairement à la philosophie académique, les écrits vernaculaires de la philosophie morale s'inscrivent à l'intérêt de Shakespeare pour la dynamique du raisonnement moral dans des situations spécifiques, particulièrement dans les domaines de la vie sociale et domestique. Cette emphase pratique et mondaine représente le fondement pour le savoir décisif éthique et pour l'ethos, ou le caractère moral, celui-ci étant présent dans des manuels de comportement en anglais et des traités sur la santé humaine et l'émotion. Je propose ici qu'il existe un lien considérable entre la conception de soi offerte par la philosophie morale articulée par ces écrivains et la caractérisation shakespearienne des individus tels que Shylock. A travers l'exploration ce qui constitue l'analyse des personnages de Shakespeare comme ayant une conception éthique, je me focalise sur les manières dont les notions de vertu servent de source de ce qui s'avère être une orientation hautement idiosyncratique pour les personnages de Shakespeare. Ainsi, je fournis un contexte pour leurs choix pratiques qui dote ces choix et leur comportement d'une signification morale. En plaçant les écrits de la philosophie morale en langue anglaise dans le contexte de la tradition de la pensée de la Renaissance aristotélicienne, et en particulière, dans la trop négligée variété d'aristotélisme vernaculaire pendant la Renaissance, je me base sur l'érudition de Charles Schmitt et David Lines, qui ont reformulé Aristote comme ayant une influence formatrice, quoique éclectique, sur la culture européenne de la Renaissance jusque le dix-septième siècle était bien entamé. A la fois, nous considérons l'usage de Shakespeare des concepts philosophiques aristotéliciens comme une espèce d'adaptation typiquement éclectique. En se focalisant sur des problèmes philosophiques tels que l'acrasie (l'incontinence, ou la faiblesse de volonté), l'auto déception, et l'excès émotionnel, les chapitres individuels de ma thèse se concentrent sur les manières dont les pièces de Shakespeare représentent en même temps que problématisent des « soi » façonnés classiquement.
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Books on the topic "Shakespeare"

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Bassi, Shaul. Shakespeare’s Italy and Italy’s Shakespeare. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49170-1.

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Desmet, Christy, Natalie Loper, and Jim Casey, eds. Shakespeare / Not Shakespeare. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63300-8.

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Jurak, Mirko. Zapisi o Shakespearu =: Notes on Shakespeare. Ljubljana: Znanstveni inštitut Filosofske fakultete, 1997.

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McDonald, Russ. Shakespeare & Jonson,Jonson & Shakespeare. Lincoln: University of Nebraska Press, 1988.

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Bill, Bryson. Shakespeare. New York: HarperCollins e-books, 2007.

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Myerson, Dan. Shakespeare. New York: Workman Publishing, 2000.

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Hart, Jonathan. Shakespeare. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230103986.

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Ryan, Kiernan. Shakespeare. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1057/978-1-4039-1357-9.

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Boffone, Trevor, and Carla Della Gatta, eds. Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.001.0001.

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Shakespeare and Latinidad is a curated collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on adaptations and appropriations of Shakespeare’s plays. It is the first truly comprehensive treatment of the myriad intersections of Latinx practitioners and art with Shakespearean performance, adaptation, and pedagogy. The collection includes leading academics, playwrights, and theatre practitioners; its blend of scholarly essays, practitioner essays, and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection brings together the diverse voices working in this field today including leading academics, playwrights and theatre practitioners. This blend of essays and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection includes essays and dialogues from actors, directors, scholars, playwrights, and vocal coaches. Essays cover a range of topics that include translating Shakespeare into contemporary English, Latinx actors portraying Shakespearean roles as either Latinx or non-Latinx, strategies for engagement for devised theatre and theatre for young audiences, directors’ Latinx visions for Shakespeare, and scholarly analysis of productions, adaptations, and initiatives for Latinx Shakespeares. The collection highlights productions, adaptations, and theatres from throughout the United States, in large cities and rural areas, from predominantly-white theatres to theatres of colour.
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Hoenselaars, Ton. Captive Shakespeare. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.16.

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This chapter considers productions of Shakespeare’s plays put on in captivity, especially during the First and Second World Wars. It studies the phenomenon of productions of the plays performed at prisons by visiting companies or by the prisoners ‘behind bars’ themselves. It analyses and contextualizes productions of Shakespeare’s plays staged ‘behind barbed wire’ in POW camps and civilian camps, prison camps and transit camps, labour camps and refugee camps during the twentieth and early twenty-first centuries. In so doing, it seeks to use such Shakespearean investment as key to reconstructing the individual experiences of the prisoners. Just as the worldwide practice of Shakespeare staged behind bars has begun to assume a unique position in movies and docudramas, the performance of Shakespeare behind barbed wire has also developed to become a fertile motif in post-war Shakespeare productions and in new post-conflict plays written by dramatists in the ‘free’ world.
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Book chapters on the topic "Shakespeare"

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Sami, Karma, and Monika Smialkowska. "Culture and Colonialism: The 1916 Shakespeare Tercentenary in Egypt." In Palgrave Shakespeare Studies, 89–115. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84013-6_4.

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AbstractThe 300th anniversary of William Shakespeare’s death in 1916 coincided with an unprecedented political crisis across the globe. The outbreak of the First World War in 1914 brought to the fore the ambitions of the established and would-be colonial powers, conflicts between and within existing nation states, and disenfranchised groups’ aspirations for self-determination. Recent scholarship has demonstrated how the 1916 Shakespearean commemorations in countries such as Britain, Germany, Ireland, and the USA registered these political upheavals. However, research into the Shakespeare Tercentenary has so far neglected Egypt’s complex response to the occasion. Amidst developing political tensions, which were to culminate in the Revolution of 1919, Egyptian intellectuals nevertheless chose to commemorate Shakespeare’s Tercentenary. These commemorations, however, were marked by ambivalence: while expressing admiration for Shakespeare, Egyptian commentators questioned the appropriateness of celebrating an English writer instead of promoting Egypt’s, and the Arabs’, own national literature. This chapter examines the manifestations of these conflicting feelings, ranging from the heated press debates surrounding the occasion, through Cairo University’s celebrations, to tributes published by individual intellectuals, such as Ahmad Lutfi al-Sayyid and Mohammed Hafiz Ibrahim. In doing so, the chapter explores the ambiguities created by celebrating a cultural anniversary at a historical moment fraught with acute colonial tensions.
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Lanier, Douglas M. "Shakespeare / Not Shakespeare: Afterword." In Shakespeare / Not Shakespeare, 293–306. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63300-8_17.

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Mayer, Mathias. "Shakespeare." In Hofmannsthal-Handbuch, 119–20. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05407-4_39.

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Hammond, Paul. "Shakespeare." In Love between Men in English Literature, 58–87. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24899-5_3.

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Dusinberre, Juliet. "Shakespeare." In Shakespeare and the Nature of Women, 305–8. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24531-4_6.

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Behrmann, Alfred. "Shakespeare." In Was ist Stil?, 171–90. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03416-8_9.

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Braden, Gordon. "Shakespeare." In A Companion to Plutarch, 577–91. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118316450.ch40.

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Cottle, Basil. "Shakespeare." In The Language of Literature, 41–52. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17989-3_6.

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Swinden, Patrick. "Shakespeare." In Literature and the Philosophy of Intention, 54–110. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27297-6_2.

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Schabert, Ina. "Shakespeare." In Europäische Erinnerungsorte 2, edited by Pim den Boer, Heinz Duchhardt, Georg Kreis, and Wolfgang Schmale, 211–20. München: OLDENBOURG WISSENSCHAFTSVERLAG, 2012. http://dx.doi.org/10.1524/9783486704211-022.

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Conference papers on the topic "Shakespeare"

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Emsley, Iain, David de Roure, Pip Willcox, and Alan Chamberlain. "Performing Shakespeare." In AM'19: Audio Mostly. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3356590.3356614.

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Dudalski, Sirlei Santos. "“Você nos livrará da tirania de William Shakespeare?” - Hamlet na HQ Kill Shakespeare." In 1º Congresso Internacional de Intermidialidade 2014. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/phypro-intermidialidade2014-008.

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Crump, Evan. "Amputating Shakespeare: Theater Becoming-Theater." In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1681701.

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Viégas, Fernanda, and Martin Wattenberg. "Shakespeare, god, and lonely hearts." In the 8th ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1378889.1378914.

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Wastie, Martin L. "English: The Language of Shakespeare." In 5th Regional Workshop on Medical Writing for Radiologists. Singapore: The Singapore Radiological Society, 2006. http://dx.doi.org/10.2349/biij.2.1.e14-67.

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Williams, Douglas L., Ian C. Kegel, Marian Ursu, Pablo Cesar, Jack Jansen, Erik Geelhoed, Andras Horti, Michael Frantzis, and Bill Scott. "A Distributed Theatre Experiment with Shakespeare." In MM '15: ACM Multimedia Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2733373.2806272.

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Luttrell Briley, Rebecca. "Who was Shakespeare and Why it Matters." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31259.

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Avdonin, Alexander N., Gennady V. Bondarenko, Hanif S. Vildanov, Natalia V. Vinogradova, and Roza A. Tukaeva. "Interparadigmatic Aspect of Tolstoy’s Dispute with Shakespeare." In Proceedings of the 2019 International Conference on Management, Education Technology and Economics (ICMETE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icmete-19.2019.142.

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Ryskina, Maria, Hannah Alpert-Abrams, Dan Garrette, and Taylor Berg-Kirkpatrick. "Automatic Compositor Attribution in the First Folio of Shakespeare." In Proceedings of the 55th Annual Meeting of the Association for Computational Linguistics (Volume 2: Short Papers). Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/p17-2065.

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Owen, David. "Aristotle would have admiredBioShockwhile Shakespeare would have playedDragon Age." In the International Academic Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1920778.1920808.

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Reports on the topic "Shakespeare"

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Larabee, Mark D. The Romantics and Their Shakespeare. Fort Belvoir, VA: Defense Technical Information Center, January 1986. http://dx.doi.org/10.21236/ada418605.

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White, Jeffrey. Shakespeare for Analysts: Literature and Intelligence. Fort Belvoir, VA: Defense Technical Information Center, July 2003. http://dx.doi.org/10.21236/ada476587.

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Mattis, Michael S. The 'Great Code' in Shakespeare's Henriad. Fort Belvoir, VA: Defense Technical Information Center, May 1994. http://dx.doi.org/10.21236/ada284909.

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BIZIKOEVA, L. S., and G. S. KOKOEV. МЕТАФОРЫ ШЕКСПИРА КАК ПЕРЕВОДЧЕСКАЯ ПРОБЛЕМА (НА МАТЕРИАЛЕ ПЕРЕВОДА ТРАГЕДИИ "РОМЕО И ДЖУЛЬЕТТА" НА РУССКИЙ И ОСЕТИНСКИЙ ЯЗЫКИ). Science and Innovation Center Publishing House, 2020. http://dx.doi.org/10.12731/2077-1770-2020-3-3-95-106.

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Purpose. The goal of the present article is to analyze the original text of the tragedy “Romeo and Juliette” and its translations into the Russian and Ossetian languages to reveal Shakespeare’s metaphors for further analysis of the ways they are translated and possible problems translators might come across while translating. The main methods employed in the research are: the method of contextual analysis, the descriptive-analytical and the contrastive method. Results. The research was based on the theory of Shakespeare’s metaphor introduced by S.M. Mezenin. According to S.M. Mezenin the revealed metaphors were divided into several semantic groups the most numerous of which comprises metaphors with the semantic model “man - nature” that once again proved the idea of Caroline Spurgeon. The analysis of the translations into the Russian and Ossetian languages showed that translators do not always manage to preserve in the translated text unique Shakespeare’s metaphors. Practical implications. The received results can be used in teaching theory and practice of translation, cultural science, comparative lexicology of the Ossetian and Russian languages and the Ossetian and English languages.
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Cho, Seunghye. Exploring Theatrical Costume Design in Fashion: an Interdisciplinary Production of Shakespeare's A Midsummer Night's Dream. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-71.

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Aeromagnetic vertical gradient map, Shakespeare Island, Ontario. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/125701.

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Magnetic anomaly map (residual total field), Shakespeare Island, Ontario. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/125700.

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National Mentorship Month: A Reflection on my Internship with ACAMH. ACAMH, February 2024. http://dx.doi.org/10.13056/acamh.26430.

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Following National Mentorship Month 2024, Hannah Shakespeare, a postgraduate student currently pursuing a Master’s in Publishing from City, University of London, shares her experience of her work placement with the ACAMH Publications department. National Mentorship Month, celebrated every January, aims to raise awareness about the power and impact of mentoring.
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