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Journal articles on the topic 'Shakespeare's romances'

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Published: 10 March 2023

Last updated: 11 March 2023

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1

Scheil, Katherine West. "Shakespeare and Violence. By R. A. Foakes. New York: Cambridge University Press, 2003; pp. 224. $70 cloth; $26.99 paper." Theatre Survey 46, no. 1 (May 2005): 161–63. http://dx.doi.org/10.1017/s0040557405370098.

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R. A. Foakes's latest book, Shakespeare and Violence, addresses an area of significant interest in Shakespeare studies. Foakes begins with a general discussion of the prevalence and persistence of violence in both life and literature. He then focuses on the evolution of Shakespeare's use of violence in his histories, tragedies, and romances. The result is a thought-provoking, well-written, and often genuinely interesting study of this subject and its manifestations in Shakespeare's plays.

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2

Ahn,Byung-Dae. "Journeys and Spaces in Shakespeare's Romances." Shakespeare Review 44, no. 4 (December 2008): 849–69. http://dx.doi.org/10.17009/shakes.2008.44.4.008.

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3

Thomas, John A., and David M. Bergeron. "Shakespeare's Romances and the Royal Family." Rocky Mountain Review of Language and Literature 40, no. 1/2 (1986): 92. http://dx.doi.org/10.2307/1566608.

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4

Council, Norman, and David M. Bergeron. "Shakespeare's Romances and the Royal Family." Shakespeare Quarterly 39, no. 3 (1988): 371. http://dx.doi.org/10.2307/2870938.

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5

Schmidgall, G. "Shakespeare's Romances and the Royal Family." Modern Language Quarterly 46, no. 4 (January 1, 1985): 453–56. http://dx.doi.org/10.1215/00182702-46-4-453.

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6

Ross, Diane M., and David M. Bergeron. "Shakespeare's Romances and the Royal Family." Sixteenth Century Journal 17, no. 1 (1986): 119. http://dx.doi.org/10.2307/2541371.

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7

Hunt, Maurice. "Syncretistic Religion in Shakespeare's Late Romances." South Central Review 28, no. 2 (2011): 57–79. http://dx.doi.org/10.1353/scr.2011.0019.

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8

Tiffany, Grace. "Calvinist Grace in Shakespeare's Romances: Upending Tragedy." Christianity & Literature 49, no. 4 (September 2000): 421–45. http://dx.doi.org/10.1177/014833310004900402.

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9

Roberts, Jeanne Addison, and Robert W. Uphaus. "Beyond Tragedy: Structure & Experience in Shakespeare's Romances." South Atlantic Review 50, no. 2 (May 1985): 104. http://dx.doi.org/10.2307/3199239.

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10

Foakes, R. A., and Robert W. Uphaus. "Beyond Tragedy: Structure and Experience in Shakespeare's Romances." Yearbook of English Studies 16 (1986): 242. http://dx.doi.org/10.2307/3507789.

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11

Platt, Peter G., and Constance Jordan. "Shakespeare's Monarchies: Ruler and Subject in the Romances." Sixteenth Century Journal 29, no. 3 (1998): 835. http://dx.doi.org/10.2307/2543716.

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12

Bergeron, David M., and Constance Jordan. "Shakespeare's Monarchies: Ruler and Subject in the Romances." Shakespeare Quarterly 50, no. 2 (1999): 226. http://dx.doi.org/10.2307/2902194.

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13

Brownlow, F. W. "Shakespeare's Romances and the Politics of Counter-Reformation." English Language Notes 38, no. 4 (June 1, 2001): 82–85. http://dx.doi.org/10.1215/00138282-38.4.82.

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14

Normand, L. "Shakespeare's Romances and the Politics of Counter-Reformation." Notes and Queries 49, no. 1 (March 1, 2002): 137–38. http://dx.doi.org/10.1093/nq/49.1.137.

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15

Normand, Lawrence. "Shakespeare's Romances and the Politics of Counter‐Reformation." Notes and Queries 49, no. 1 (March 1, 2002): 137–38. http://dx.doi.org/10.1093/nq/490137.

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16

Hardman, C. B., and Boika Sokolova. "Shakespeare's Romances as Interrogative Texts: Their Alienation Strategies and Ideology." Yearbook of English Studies 25 (1995): 272. http://dx.doi.org/10.2307/3508865.

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17

Thomas, John A. "Shakespeare's Romances and the Royal Family by David M. Bergeron." Rocky Mountain Review 40, no. 1-2 (1986): 92–94. http://dx.doi.org/10.1353/rmr.1986.0015.

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18

Desmet, Christy. "Shakespeare's Monarchies: Ruler and Subject in the Romances (review)." Comparative Drama 34, no. 1 (2000): 111–14. http://dx.doi.org/10.1353/cdr.2000.0021.

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19

Nareerak, Pradit. "William Shakespeare: Reflections on the Four Sublime States of Mind in The Tempest." Theory and Practice in Language Studies 13, no. 2 (February 1, 2023): 494–500. http://dx.doi.org/10.17507/tpls.1302.26.

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The Tempest is one of William Shakespeare's late romances, and it is widely regarded as a play about forgiveness and reconciliation. The Tempest is worth considering from a Buddhist point of view. This study aims to examine the four sublime states of mind or Brahma-viharas described by the characters in The Tempest from a Buddhist perspective: Metta (loving-kindness), Karuna (compassion), Mudita (sympathetic joy), and Upekkha (equanimity). The investigation is carried out by examining the characters in Shakespeare's The Tempest. It found that the four sublime states of mind were depicted in six characters. Prospero is the only character who possesses all four sublime states of mind. The other five characters share some of the characteristics of the four sublime states of mind. They are, however, portrayed as good characters in the play, and they all have happy lives at the end of the play.

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20

Martin, Thomas L. "Relevant Context, Genuine Relation: Genre, Form, and Gender in Twenty-First Century The Winter's Tale Criticism." Ben Jonson Journal 27, no. 1 (May 2020): 1–23. http://dx.doi.org/10.3366/bjj.2020.0269.

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A resurgence of interest in Shakespeare's late romances has scholars once again asking what kind of work is The Winter's Tale. After The Tempest, it has occupied critics over the first two decades of the twenty-first century more than any other in this group of late plays. Besides a variety of new themes, dramatic material, staging challenges, and interpretive cruxes, the question of genre among these plays still puzzles late modern critics as much as it did early Enlightenment critics. What was Shakespeare doing experimenting with genre so late in his career, where elements of tragedy and comedy seem to flow together to create a hybrid form or introduce something new on the stage? This article considers how new approaches to The Winter's Tale parallel new speculations about its genre and decisions about its performance on stage. Considering how the issue of genre operates as a kind of regulative principle over new interpretations in much the same way that stage productions must make the play coherent in a limited physical space for an evening's entertainment, the article makes a case for preserving the work's central and traditionally celebrated wonder.

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21

Honigmann, E. A. J. "David M. Bergeron. Shakespeare's Romances and the Royal Family. Lawrence: University Press of Kansas, 1985. 11 pls. + xiii + 257 pp. $25." Renaissance Quarterly 39, no. 3 (1986): 561–63. http://dx.doi.org/10.2307/2862065.

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22

Romack, Katherine. "The Romance of Nahum Tate’s King Lear." Sederi, no. 30 (2020): 91–115. http://dx.doi.org/10.34136/sederi.2020.5.

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Nahum Tate’s History of King Lear (1681) refigures Shakespeare’s natural man on a Hobbesian model in order to make the play legible to Restoration audiences. As a way to mitigate Hobbes’s ethically hollow conception of human nature as acquisitive and self-interested, Tate provides his viewers with a compensatory romance. Tate’s “unaccommodated Man” is governed by self-interest yet capable of transcendent love (3.3.81). The liberties Tate took with Shakespeare catered to his audience’s uneasy assimilation of secular and empirical ideas about what it meant to be human that made Shakespeare’s original feel both alien and disturbing. The romanticized human nature offered up in Tate’s Lear accounts for the success the play enjoyed well into the nineteenth century. As much as we might give the adaptation the side-eye, we are, in fact, affectively and ethically closer to Tate than we are to Shakespeare.

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23

Kezar, Dennis. "Constance Jordon. Shakespeare's Monarchies: Ruler and Subject in the Romances. Ithaca, N.Y.: Cornell University Press. 1997. Pp. x, 224. $35.00. ISBN 0-8014-2828-9." Albion 30, no. 4 (1998): 676–77. http://dx.doi.org/10.2307/4053866.

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24

Normand, L. "Adams, R. M., Shakespeare: The Four Romances. Pp. xiii + 178. New York and London: W. W. Norton, 1989. 14.95. Thomas, V., Shakespeare's Roman Worlds. Pp. xi + 243. London and New York: Routledge, 1989. 30.00." Notes and Queries 38, no. 3 (September 1, 1991): 375–77. http://dx.doi.org/10.1093/notesj/38.3.375.

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25

Hopkins, Helen. "Maternity and Absence in Shakespearean Romance." Messages, Sages and Ages 3, no. 1 (August 1, 2016): 17–27. http://dx.doi.org/10.1515/msas-2016-0002.

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Abstract The equivocation of the private life of Elizabethan and Jacobean subjects with the public life of monarchy and state endowed mothers with an import, and therefore a power, not previously acknowledged. These changes provoked a fear of female disruption to patriarchal structures which found its way onto Shakespeare’s stage by the representation of mothers as ‘unnatural’ agents of chaos, associated with witchcraft, murder, dangerous ambition, and infidelity; if not by complete absence, which “posits the sacrifice of the mother’s desire as the basis of the ideal society” (Rose, 1991: 313). I suggest that in the late romances, specifically The Winter's Tale and The Tempest, Shakespeare found a form that could demonstrate the complexity of the mother’s position, while still resolving the action with a satisfactory ending that presented a stable continuation of patriarchal lineage. The fathers rely on a fantasy of parthenogenesis to relocate the role of the mother in themselves, ensuring the children are free from her corruptive influence and the bloodlines are safe. However, as all themes return to maternity - chastity, fertility, lineage for example - the fantasy of eradicating the mother is shown to be limited even in the artificial realm of the romance.

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26

Loureiro, La Salette. "A presença de Shakespeare na escrita de Nuno Bragança." Anuário de Literatura 22, no. 1 (August 22, 2017): 10. http://dx.doi.org/10.5007/2175-7917.2017v22n1p10.

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Nuno Bragança inclui Shakespeare no grupo de criadores que foram muito importantes para si, sendo por isso normal que a obra do dramaturgo inglês apareça na sua escrita. Neste texto, apresenta-se em primeiro lugar a crítica do filme Macbeth, de Orson Welles, onde Bragança analisa as características que tornam a obra shakespeareana intemporal, verificando-se que estas coincidem com aquelas que são defendidas e praticadas pelo autor e suas personagens escritoras. Em segundo lugar, analisa-se a presença de algumas peças de Shakespeare na ficção de Bragança, que se concretiza através de vários processos de intertextualidade, procedimento que exige ao leitor uma cooperação ativa permanente, no sentido de identificar a presença do texto convocado e de interpretar a sua recontextualização. No que diz respeito a Shakespeare, a presença dos seus textos deteta-se nos três romances de Nuno Bragança, podendo identificar-se as peças Romeu e Julieta, Hamlet e Macbeth. As duas primeiras aparecem fugazmente nos dois primeiros romances, mas em Square Tolstoi este diálogo com Shakespeare ganha outra dimensão e alcance, assumindo um relevo determinante na produção de sentidos do romance em duas linhas de ação.

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27

Steggle, Matthew. "Alice Equestri, Armine… thou art a foole and knaue’. The Fools of Shakespeare's Romances. Rome: Carocci, 2016. 199 pp. €20.00. ISBN 978-88-430-8071-7 (pb)." Renaissance Studies 32, no. 2 (April 20, 2017): 336–37. http://dx.doi.org/10.1111/rest.12300.

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28

Milward, Peter. "Shakespeare’s Portrayal of a Tyrant." Moreana 50 (Number 193-, no. 3-4 (December 2013): 40–53. http://dx.doi.org/10.3366/more.2013.50.3-4.5.

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The theme of tyranny, so central (as we have seen in two recent issues of Moreana) to the writings and the experience of Thomas More, is hardly less central to the plays and the memory of William Shakespeare. This centrality appears not so much in the plays of his Elizabethan period as in those of the subsequent Jacobean period, especially in the final romances by way of warming up to his presentation of the historical romance of Henry VIII. There, however, the tyranny of the king, though notably emphasized by Sir Walter Raleigh in his contemporaneous History of the World, is strangely muted, as also is his un-Shakespearian character, but it comes out strongly in the two preceding romances of The Winter’s Tale and Cymbeline, once we read them, as they require us to read them, as “topical allegories”. Then, to the characters of the jealous Leontes and the wrathful Cymbeline, we may add the threatening personality of Antiochus at the beginning of Pericles, as yet another figure (based on a widespread rumour) of the quintessential tyranny of Henry VIII. At the same time, this figure of the victimizer calls to be qualified by the complementary figure of the victim, the heroine in these romances, not only Hermione and Perdita, Thaisa and Marina, and Imogen, but even or especially in Desdemona as victimized by her jealous husband Othello. Then, in the above mentioned “topical allegory” of these Jacobean plays, she stands as well for the ideal of the Virgin Mary as for the memory of Catholic England at the heart of the dramatist.

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29

Olive, David. "Approaches to Teaching Shakespeare's The Tempest and Other Late Romances. Edited by Hunt Maurice. New York: The Modern Language Association of America, 1992. Pp. xii + 196. $34 Hb; 19.50 Pb." Theatre Research International 19, no. 3 (1994): 270–71. http://dx.doi.org/10.1017/s0307883300006726.

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30

Lorenzo-Modia, María Jesús. "The Reception of Galician Performances and (Re)translations of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 75–88. http://dx.doi.org/10.1515/mstap-2017-0020.

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This presentation will deal with the reception of performances, translations and retranslations of Shakespeare’s plays into the Galician language. As is well-known, Galician is a Romance language which historically shared a common origin with Portuguese in the Iberian Peninsula, and which had a different evolution due to political reasons, i.e. the independence of Portugal and the recentralization of Spain after a long partition with the so called Catholic monarchs. As a consequence, Galician ceased to be the language of power and culture as it was during the Middle Ages, and was spoken by peasants and the lower classes in private contexts for centuries. With the disappearance of Francoism in the 1970s, the revival of Galician and its use as a language of culture was felt as a key issue by the Galician intelligentsia and by the new autonomous government formed in 1981. In order to increase the number of speakers of the language and to give it cultural respectability, translations and performances of prominent playwrights, and particularly those by Shakespeare were considered instrumental. This article will analyse the use of Shakespeare’s plays as an instrument of gentrification of the Galician language, so that the association with Shakespeare would confer a marginalized language social respectability and prestige.

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31

Al-Ghammaz, Saif Al Deen Lutfi Ali. "William J. Shakespeare's Hamlet: An Analysis of Revenge Quest & Procrastination." World Journal of English Language 13, no. 2 (February 16, 2023): 317. http://dx.doi.org/10.5430/wjel.v13n2p317.

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In expounding Shakespeare’s Hamlet, a trio of important plots comes to the top with great significance; the revenge plot, the Hamlet-Ophelia romance story, and Norway’s looming war. The trio of significant plots has laid the first stone for Hamlet to procrastinate the act of revenge as it is undone until the final act of Shakespeare’s drama. On the other hand, Hamlet’s playwright gives a picture of the tradition’s direct reference using the literary device Metadrama, i.e. the play within the play exemplified by The Murder of Gonzago. Attaining true justice for his father’s murder, Hamlet beautifies The Murder of Gonzago with grim insistence; Hamlet is determined to recognize the culprit behind the death of his father. Having this uneasy mission comes true causes Hamlet to ponder and slow down about various things. Along these lines, Hamlet goes through a slow decision process to revenge on his father’s murderer. Consequently, various deaths happen, namely: Polonius, Ophelia, Rosencrantz, Guildenstern, Laertes, and Gertrude. Shakespeare’s exposition of various characters incapable of revenging heroically and determinedly draws a picture of Hamlet’s incapability to promptly avenge. Laertes, for example, plots to murder Hamlet to avenge for murdering Polonius, Laertes’s father, and in the last part of this play, Laertes successfully kills Hamlet with the poisonous sword. As various studies focus on the issues of romance, politics, and throne successions using descriptive and historical approaches, this study using the analytical approach, however, demonstrates Hamlet as a play structured on revenge, as the whole revenge events are appropriately incorporated by Shakespeare.

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32

Grigore, Claudia. "Healing Music in Pericles, the Winter’s Tale and The Tempest." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 42–53. http://dx.doi.org/10.1515/rjes-2019-0006.

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AbstractThis essay examines the scenes in Shakespeare’s romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa’s apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter’s Tale, Hermione’s apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare’s most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays’ scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect.

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33

Roberts, Lisa-Jane. "Moulding Malvolio into Modern Adaptations of “Twelfth Night”." Journal of English Studies 17 (December 18, 2019): 299. http://dx.doi.org/10.18172/jes.3553.

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This paper explores how target-audience expectations and generic limitations on modern, mass-culture adaptations of Shakespeare’s comedy Twelfth Night mould the characterization of his officious steward Malvolio, and dictate the degree of centrality that his subplot holds in each different version. A trans-generic application of Shlomith Rimmon-Kenan’s work on characterization will expose how the character of Malvolio is constructed and presented, first in the original play and then in three modern adaptations of Twelfth Night into different popular genres. The works selected for contrastive analysis with the original play each represent different generic fields found on today’s mass-culture market – romance fiction, teen cinema and the web-comic. Respectively, they are: The Madness of Love, a contemporary romance novel by Katharine Davies, published in 2005; She’s the Man, a Hollywood teen film directed by Andy Fickman in 2006; and a web-comic retelling of Twelfth Night by Mya Lixian Gosling, which was published on her website Good Tickle-Brain Shakespeare in 2014.

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34

Hao, T. "The geography of difference in Pericles and Foure Prentises of London." Voprosy literatury, no. 2 (June 17, 2021): 237–56. http://dx.doi.org/10.31425/0042-8795-2021-2-237-256.

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Both Shakespeare and George Wilkins's Pericles and Thomas Heywood's Foure Prentises of London are romances striking in geographical scope. Analysing the two plays principally through John Gillies's concept of ‘geography of difference,' this essay argues that the geography of difference in Foure Prentises of London enhances the crude ideology of Eurocentric and masculine hegemony, whereas Pericles aims at Pentapolis, the Greek city-state, not only physically and geographically, but also spiritually and epistemologically. In Pericles, geographical mobility subserves poetic geography, and poetic geography subsumes geographical mobility. On the other hand, in the larger contemporary contexts, geographical mobility interacts intricately with the aristocratic ideology. In terms of ideology Pericles is basically a conservative play despite its geographical mobility, while Foure Prentises of London responds more keenly to its era and glorifies the middling rank with an aristocratic ideology by means of geographical mobility. Shakespeare and Wilkins's and Heywood's dramatic practices illustrate the rich possibilities inherent in the genre of romance.

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35

Parker, Patricia. "Cymbeline: Arithmetic, Double-Entry Bookkeeping, Counts, and Accounts." Sederi, no. 23 (2013): 95–119. http://dx.doi.org/10.34136/sederi.2013.5.

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The importance of commercial arithmetic and double-entry bookkeeping (or “debitor and creditor” accounting) has been traced in The Merchant of Venice, Othello, the Sonnets, and other works of Shakespeare and his contemporaries. But even though both are explicitly cited in Cymbeline (the only Shakespeare play other than Othello to invoke double-entry by its contemporary English name), their importance for this late Shakespearean tragicomic romance has yet to be explored. This article traces multiple ways in which Cymbeline is impacted by arithmetic and the arts of calculation, risk-taking, surveying, and measuring; its pervasive language of credit, usury, gambling, and debt, as well as slander infidelity and accounting counterfeiting; the contemporary conflation of the female “O” with arithmetic’s zero or “cipher” in relation to alleged infidelity; and the larger problem of trust (from credere and credo) that is crucial to this play as well as to early modern England’s culture of credit.

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36

Musa Rzayeva, Leyla. "A LOOK AT THE HEROES OF WILLIAM SHAKESPEARE'S "HAMLET" TRAGEDY." SCIENTIFIC WORK 15, no. 3 (March 24, 2021): 59–62. http://dx.doi.org/10.36719/2663-4619/64/59-62.

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William Shakespeare is the most famous writer in England. He was a great poet and playwright. In his works, he wrote about the eternal problems that afflict people: life and death, love, loyalty and betrayal. Therefore, Shakespeare's works, especially tragedies, are popular today. In the tragedy Hamlet, William Shakespeare reworked the plot of a medieval legend and an old English legend about Prince Hamlet, describing in depth the tragedy of humanism in the modern world. Prince Hamlet of Denmark is a humanist figure facing a world hostile to humanism. The spread of evil in society has a negative effect on Hamlet, causing him to become frustrated with his lack of strength. Man and the world are not accepted as they used to be. Thus, Hamlet faces a random crime, not a single enemy, but an entire hostile society, and it is his far-sighted philosophical thinking that makes him feel powerless in the fight against evil. The content of the "Hamlet" tragedy was inspired by the social conditions of England at that time, but its significance went far beyond the borders of one country and one historical period. The picture of oppression and lies, especially oppression, has long been true. This is the interest of Hamlet, who has been fighting alone against evil and injustice for centuries. Key words: Shakespeare, Hamlet, tragedy, murder, love, romance, cruelty, nobility, life, death

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37

Greenhalgh, Darlene C. "Shakespeare and Romance." Literature Compass 1, no. 1 (January 2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00090.x.

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38

Hee-Oyck Yoon. "Shakespeare’s Romances and the Problem of Genre." Shakespeare Review 43, no. 2 (June 2007): 247–66. http://dx.doi.org/10.17009/shakes.2007.43.2.003.

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39

Hanssen, Ken R. "“Behold, and Say ‘Tis Well”: The Redemptive Moment in Shakespeare’s The Winter’s Tale." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 115–28. http://dx.doi.org/10.2478/stap-2018-0005.

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Abstract In Shakespeare’s romance The Winter’s Tale there is a fundamental sense of mutability imposed by the passage of time. Things come into being and they pass into oblivion; sorrow glazed over by prayers for grace, joy tempered by the remembrance of loss. Within a complex time-scheme of past, present, and future, joy and sorrow remain inextricably entwined, and this is what lends this most melancholy play such a profound emotional intensity. Youth, beauty, happiness; these qualities remain evanescent at the somber close of the play. Tragedy is not purged by laughter, there are no traces of escapism; the awareness of the reality of time, of the inexorable moral responsibility for losses beyond recovery, is what makes the graces received all the more keenly felt, more wondrous. This sense of wonder arises from an elaborate resurrection scene in which, simultaneously cold and warm, at once eternal and ephemeral, Hermione’s marble, the finest symbol of the romance conception of time, is wooed into being. Exploring the structural function of time in the play and its relation to this redemptive moment, in which Hermione’s body comes to represent a translation into human terms of a Neoplatonic idea of cosmic order, reveals how the play, beyond offering an idle meditation on art and nature, articulates a profoundly moral vision of existence, and will supply a useful framework for further critical investigations of both the play itself and Shakespearean romance as a whole.

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40

Daniell, David, and Velma Bourgeois Richmond. "Shakespeare, Catholicism, and Romance." Modern Language Review 97, no. 2 (April 2002): 387. http://dx.doi.org/10.2307/3736872.

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41

Shall, A. "Shakespeare, Catholicism, and Romance." Literature and Theology 16, no. 1 (March 1, 2002): 100–102. http://dx.doi.org/10.1093/litthe/16.1.100.

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42

Parker, Fred. "Regression and Romance in Shakespeare's Late Plays." Cambridge Quarterly XXIV, no. 2 (1995): 112–32. http://dx.doi.org/10.1093/camqtly/xxiv.2.112.

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43

Galery, Maria Clara Versiani. "Romance de Romeu e Julieta: tradução, memória e cultura popular." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 155–64. http://dx.doi.org/10.17851/2317-2096.13.1.155-164.

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Resumo: Este artigo examina as semelhanças entre memória e tradução, ao mesmo tempo em que tece uma reflexão sobre o problema da identidade cultural. O conto de Jorge Luis Borges, “La memoria de Shakespeare”, é explorado como um pretexto para a discussão do convívio entre duas tradições, a erudita e a popular. Valendo-se do conceito de transculturação, este artigo demonstra como o folheto de literatura de cordel Romance de Romeu e Julieta adapta um enredo que Shakespeare tornou conhecido, transportando-o para o contexto do nordeste brasileiro.Palavras-chave: cultura popular; Shakespeare tradução.Abstract: This article explores the similarities between memory and tradition at the same time as it reflects about the issue of cultural identity. “La memoria de Shakespeare”, a short story by Jorge Luis Borges, is explored here as a pretext for the discussion of the inter-relationship between erudite and folk traditions. Making use of the concept of transculturation, this article demonstrates how the chapbook Romance de Romeu e Julieta adapts a plot which Shakespeare has made popular and transports it to the context of the Brazilian northeast.Keywords: folk culture; Shakespeare; translation.

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Jiyoung Sim. "Nomadic Female Characters in Shakespeare’s Romances: Imogen and Marina." Shakespeare Review 53, no. 4 (December 2017): 533–52. http://dx.doi.org/10.17009/shakes.2017.53.4.002.

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Rivero, Albert J. "Recuperating Romance: Reading Lennox Reading Shakespeare." Studies in the Novel 51, no. 1 (2019): 69–71. http://dx.doi.org/10.1353/sdn.2019.0009.

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Yearling, R. "Rivalry and Romance in Late Shakespeare." Essays in Criticism 61, no. 3 (July 1, 2011): 232–48. http://dx.doi.org/10.1093/escrit/cgr012.

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McCandless, David. "Raphael Lyne. Shakespeare’s Late Work. Christopher J. Cobb. The Staging of Romance in Late Shakespeare: Text and Theatrical Technique." Shakespeare Quarterly 60, no. 4 (2009): 504–7. http://dx.doi.org/10.1353/shq.0.0098.

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Galery, Maria Clara Versiani. "Romance de Romeu e Julieta: tradução, memória e cultura popular." Aletria: Revista de Estudos de Literatura 13 (June 30, 2005): 155. http://dx.doi.org/10.17851/2317-2096.13.0.155-164.

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<p>Este artigo examina as semelhanças entre memória e tradução, ao mesmo tempo em que tece uma reflexão sobre o problema da identidade cultural. O conto de Jorge Luis Borges, “La memoria de Shakespeare”, é explorado como um pretexto para a discussão do convívio entre duas tradições, a erudita e a popular. Valendo-se do conceito de transculturação, este artigo demonstra como o folheto de literatura de cordel Romance de Romeu e Julieta adapta um enredo que Shakespeare tornou conhecido, transportando-o para o contexto do nordeste brasileiro.</p>

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Kostuch, Lucyna. "Kleopatra i eros w Żywocie Antoniusza. O nadinterpretacji dzieła Plutarcha." Argument: Biannual Philosophical Journal 7, no. 2 (December 1, 2017): 259–70. http://dx.doi.org/10.24917/20841043.7.2.5.

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Cleopatra and Eros in Plutarch’s Antonius. On overinterpretation of Plutarch’s work Historians, writers and artists who wanted to pay homage to Cleopatra once again, referred to and still refer to Plutarch’s Life of Antony, first and foremost. It can seem that this main, if not the only ancient work, being quite a compact story about the Egyptian queen, has been ultimately interpreted in numerous review editions and biographies of Cleopatra. However, Plutarch’s Cleopatra has not been analysed as a separate work — excerpts from Life of Antony have always been combined with other sources in order to obtain a single picture. And in belles-lettres, the work of this ancient moralist have been exploited for centuries in such a way that it is no longer Plutarch’s property. Literary works from different epochs, in the form of interpretations, with Shakespeare’s Antony and Cleopatra at the head of the list, have distorted the ancient moralist’s message. It turns out that when we reject Shakespeare’s prism that we usually use when examining Plutarch’s Cleopatra and we start to analyse Antony’s biography only in the context of other works written by the moralist of Chaeronea, considering them to be a peculiar comment on Life of Antony, we are able to see a completely different picture to the one we are used to. Divine powers, present on the pages of the ancient work and implicating gods and people in love and desire do not have access to the queen. However, everything suggests that in the case of “the romance of all time” we can see in the moralist’s work something he did not write at all. We refer to Life of Antony and we envisage the character of Cleopatra described by Shakespeare and his successors.

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Percec, Dana. "Gender and Irony in The Early Modern English Romance." Romanian Journal of English Studies 9, no. 1 (December 1, 2012): 303–20. http://dx.doi.org/10.2478/v10319-012-0028-5.

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Abstract The paper discusses the ironic manner in which gender relations are often tackled in the early modern English romance, from Shakespeare’s comedies to Sidney’s pastorals or Lady Mary Wroth’s poetry. Strong female characters, effeminate males and the subversive, often ambiguous, manner in which the theme of love is approached in 16th- and 17th - century English literature are some of the aspects to be discussed.

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