Relevant bibliographies by topics / Shakespeare, William, 1564-1616 Symbolism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Shakespeare, William, 1564-1616 Symbolism'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Shakespeare, William, 1564-1616 Symbolism"

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Cotterill. "William Shakespeare (1564-1616)." Clinical and Experimental Dermatology 25, no. 1 (January 2000): 93–95. http://dx.doi.org/10.1046/j.1365-2230.2000.0580g.x.

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Da Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)." Boletim da Biblioteca da Universidade de Coimbra, no. 46/47 (December 22, 2016): 305–17. http://dx.doi.org/10.14195/1647-8436_46_47_20.

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Da Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)." Boletim da Biblioteca Geral da Universidade de Coimbra, no. 46/47 (December 22, 2016): 305–17. http://dx.doi.org/10.14195/2184-7681_46_47_20.

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Rössner, Stephan. "William Shakespeare (1564-1616)." Obesity Reviews 9, no. 5 (August 11, 2008): 508–9. http://dx.doi.org/10.1111/j.1467-789x.2008.00474.x.

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Gupton, Janet L. "The Complete Works of William Shakespeare, and: William Shakespeare, 1564-1616 (review)." Theatre Journal 51, no. 4 (1999): 482–83. http://dx.doi.org/10.1353/tj.1999.0086.

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Bertin, Marilise Rezende. "O erótico, o chulo e o obsceno em traduções e adaptações de William Shakespeare: Hamlet, Romeu e Julieta e Otelo." Cadernos de Literatura em Tradução, no. 10 (August 1, 2009): 47–70. http://dx.doi.org/10.11606/issn.2359-5388.i10p47-70.

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Em Shakespeare After All,1 Marjorie Garber inicia o texto com aseguinte frase: “Cada época cria seu próprio Shakespeare”. A partir dessa afirmação, ela não somente sustenta que as peças do famoso dramaturgo (1564-1616) transcenderam o tempo e o espaço físico alcançando perenidade, como também, de uma outra maneira, assevera que cada momento histórico recria seu próprio Shakespeare, assim como cada um compreende as peças do bardo dentro de um contexto específico e segundo sua visão particular.
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Robert Bearman. "The Life and Times of William Shakespeare, 1564-1616 (review)." Shakespeare Quarterly 59, no. 3 (2008): 335–37. http://dx.doi.org/10.1353/shq.0.0016.

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Gomes, Marleide da Mota. "Shakespeare’s: his 450th birth anniversary and his insights into neurology and cognition." Arquivos de Neuro-Psiquiatria 73, no. 4 (April 2015): 359–61. http://dx.doi.org/10.1590/0004-282x20150023.

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The works of William Shakespeare (1564-1616), the greatest dramatist and poet of the English language, reflect several cultural values of the Western world which are also shared by other cultures. On his 450th birthday, many of his concepts are admired as descriptions of human feelings and neurological phenomena, demonstrating his insights into what it is today considered cognitive neuroscience
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Rathore, Dr Madhvi, and Prabha Prabha Gour. "The Exploration of the Postcolonial Essence in The Tempest." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 14. http://dx.doi.org/10.24113/ijellh.v8i2.10429.

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William Shakespeare (1564-1616) is indubitably the best playwright of all time. He acquired an unique place in the world of literature. His plays earned international commendation and acceptance as the finest dramatist in the entire history of English literature. His play, The Tempest has been decoded differently by critics as a postcolonial text. In1611 when William Shakespeare wrote the play The Tempest, colonization was a recent concept in Britain. This paper is an attempt to inspect the postcolonial issues such as subjugation, dominance language, power and knowledge etc. and conjointly converse about the complex relationship that exist between the master and slave in The Tempest.
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Milward, Peter. "The Life and Times of William Shakespeare, 1564-1616. By Hildegard Hammerschmidt-Hummel." Heythrop Journal 51, no. 1 (January 2010): 132–33. http://dx.doi.org/10.1111/j.1468-2265.2009.00533_27.x.

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Dissertations / Theses on the topic "Shakespeare, William, 1564-1616 Symbolism"

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Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.

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Dufour, Gérard. "L'homme et l'animal dans l'oeuvre de Shakespeare. Essai d'anthropologie littéraire." Paris 4, 1991. http://www.theses.fr/1990PA040144.

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Les relations entre l'homme et l'animal jouent un rôle essentiel dans la structuration de l'univers poétique et théatral de Shakespeare. L'apparente banalité du bestiaire tient a ce qu'il est le reflet des idées communement admises. Le monde animal de Shakespeare, qui n'est pas sans un certain rapport documentaire avec la réalité courante telle qu'elle est perçue au temps de la renaissance, renvoie surtout à une tradition littéraire et à des présupposés culturels véhiculés et entretenus notamment par le langage commun. Discours plusieurs voix, le texte des pieces de Shakespeare met en oeuvre la richesse et la cohérence, mais aussi les ambivalences et les imrecisions, d'un ensemble de figures animales qui rendent compte des tensions et des contradictions d'un monde en crise menacé par la violence et le désordre. En faisant rejouer le clivage entre l'homme et la bête, le pur et l'impur, le domestique et le sauvage, les images animales permettent, a partir du principe d'analogie généralisé, de représenter les rapports fondamentaux de l'homme avec lui-même, la femme, la société et l'au-dela, et de définir ainsi des rôles et des situations dramatiques très variés
The relationship between man and animal plays an essential role in the structuring of Shakespeare's poetic and theatrical universe. The apparent banality of the bestiary is due to the fact it reflects received ideas. Shakespears's animal world which records, to a not insignificant extent, perceptions of reality current at the time of the renaissance, stems largely from a literary tradition and from cultural assumptions embodied in and perpetuated by the everyday language of the time. A discourse made up of several voices, shakespeare's texts bring into play the richness and coherence but also the ambivalence and imprecisions of a set of animal figures which reveal the tensions and contradictions of a world in crisis, a world threatened by violence and disorder. By re-enacting the split between man and animal, the pure and the impure, the domesticated and the wild, animal images make it possible, according to the principale of generalized analogy, to depict the fundamental relationships man has with himself, with woman, with society and with the beyond, and, in this way, to delineate a large variety of roles and dramatic situations
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Srigley, Michael. "Images of regeneration : a study of Shakespeare's "The Tempest" and its cultural background /." Stockholm : Almqvist och Wiksell, 1985. http://catalogue.bnf.fr/ark:/12148/cb348248795.

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Smith, Cristiane Busato. "Representações da Ofélia de Shakespeare na Inglaterra Vitoriana." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/23026.

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Resumo: Esta tese mapeia as representações da personagem Ofélia de Shakespeare na Inglaterra vitoriana em três áreas nas quais ela ganhou maior expressividade: em edições, no palco e na iconografia. Trata-se, portanto, de um estudo interdisciplinar, que se insere na área dos estudos culturais. A premissa básica é a de que a ubíqua presença de Ofélia na cultura vitoriana serve como exemplo paradigmático do que Raymond Williams chama de "estrutura de sentimento", ou seja, a personagem constitui um veículo adequado para compreendermos os paradoxos da época, principalmente no que diz respeito aos papéis femininos. A divisão da tese é arquitetada em três capítulos que lidam com as especificidades de cada representação, mostrando, também, como eles se interconectam dinamicamente. O material analisado contempla duas edições familiares de Hamlet; duas "narrativas instrutivas"; um roteiro cênico; uma pintura e um poema. Para auxiliar e elucidar as maneiras pelas quais Ofélia foi apropriada, lancei mão de textos os mais diversos: comentários de críticos de teatro e pintura; observações de atores e escritores; atitudes da época com relação ao suicídio feminino; a vida de Elizabeth Siddall, bem como a crítica contemporânea. As representações de Ofélia sublinham a permeabilidade das fronteiras das artes e também nos mostram, em maneiras que escapam a nossa compreensão, como a vida muitas vezes imita a arte.
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Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare." Caen, 2010. http://www.theses.fr/2010CAEN1587.

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La présente étude tente de montrer que Shakespeare a été influencé par la culture grecque dans Hamlet, Macbeth et King Lear. Au travers de correspondances textuelles et thématiques troublantes, l'auteur cherche à établir qu'il paraît manifeste que Shakespeare ait eu recours à la tragédie grecque dans la composition de ces trois pièces majeures. Néanmoins, comme l'atteste la présente recherche, il ne peut être établi avec certitude que ce dramaturge ait lu Eschyle, Sophocle ou Euripide en grec ou en traduction vernaculaire que ce soit en anglais, en français ou en italien, traductions qui étaient pourtant nombreuses du vivant de Shakespeare. Cette thèse se divise en trois parties principales lesquelles explorent les principaux champs pour lesquels une ressemblance est flagrante avec Shakespeare ce qui amène à penser qu'il aurait pu avoir recours à la tragédie grecque. La première partie explore les moyens par lesquels le dramaturge aurait pu avoir eu connaissance de ces textes (scolarisation, traductions). Dans cette optique, cette partie expose les apports de la Renaissance, notamment dans l'instruction et la transmission des lettres grecques. La deuxième partie rapporte, pour chaque pièce, les correspondances textuelles et thématiques remarquables avec des œuvres littéraires majeures de la Grèce antique, surtout les dramaturges et Homère. La troisième partie se consacre à l'étude de ces héroïnes exceptionnelles que l'on trouve dans ces trois tragédies. Sans établir de portrait psychologique, cette étude cherche à dégager trois fils directeurs qui relient l'héroïne shakespearienne à l'héroïne tragique grecque : la stature de ces femmes, la représentation de la noblesse et l'absence de discours amoureux, thématiques centrales de la tragédie grecque
The main objective of this dissertation is to consider the possibility of a Greek influence, namely mythology and tragedy, on Shakespeare's masterpieces Hamlet, Macbethand KingLear. This study first draws an impartial account of the current knowledge concerning Shakespeare's supposed education and of the major role played by Byzantine scholarship in the rediscovery of Greek texts which led to a huge wave of translations into Latin first and then into the vernaculars. The second part tries to establish textual and thematic correlations between Shakespeare's works and some Attic plays together with the epics of Homer and several other ancient Greek authors by picking passages drawn from both sides and explaining the common point between them. Finally, the third part deals with the place Shakespeare gave his main heroines in these plays, a place which corresponds in some significant aspects to the Greek tragic heroine
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Crohem, Laurence. ""My single self" : paradoxes du singulier dans All's well that ends well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida de William Shakespeare." Lille 3, 2009. http://www.theses.fr/2009LIL30057.

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Chacun est-il unique ? Cinq pièces de Shakespeare parfois appelées problem plays - All's well that Ends Well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida - problématisent le singulier ou l'unicité de soi, un aspect de la question du sujet à l'ère pré-moderne. L'unicité est en crise dans ces pièces : l'analyse des substitutions dans l'action, l'amour et la mort montre l'absence et le surgissement des doubles au lieu des preuves d'unicité attendues. Celle des scènes de perception du singulier et d'énonciation de soi dans les dialogues ou monologues montre la confusion identitaire : le soi unique vacille et s'efface devant les doubles. La crise de l'unicité est aussi une crise du rapport à l'espace social et intérieur et à la temporalité. Les sujets se diluent dans la communauté et peinent à tracer des frontières entre eux-mêmes et les autres. Les plis censés révéler un espace intime découvrent un lieu paradoxal. Les effets de perspective déplacent le personnage qui regarde et qui n'a pas de lieu propre alors que le retour du politique restaure la fixité des places. Les sujets désirent s'inscrire dans une linéarité temporelle qui est déconstruite par les répétitions. Ils n'élaborent pas une histoire linéaire propre mais s'énoncent comme traces de ce qui n'a pas eu lieu et inventent un présent impossible. Il n'y a pas de temps pour soi : Hamlet, jouet d'une action sans agent et d'une durée qui le dépasse, vit et meurt la vie et la mort des autres dans le temps des autres. La dramaturgie de l'espace et du temps dans les problem plays s'avère liée aux paradoxes du singulier qui interrogent la relation entre soi-même et l'autre et à l'autre en soi-même
Is every human being unique ? Five Shakespeare plays sometimes labelled problem plays - All's well that Ends Well, Hamlet, Julius Caesar Measure for Measure and Troilus and Cressida - raise the issue of the singularity or uniqueness of the self, one aspect of the question of the subject in the early modern age. Uniqueness is in crisis in these plays : the study of the substitutions in action, love and death shows the absence of the self and the emergence of doubles instead of the expected proofs of uniqueness. This study of the scenes of perception of singularity and of self-speaking in the dialogues or soliloquies shows confused identities : the unique self flickers and is superseded by doubles. The crisis of uniqueness also questions the link to social and inner space and to temporality. The subjects dissolve into the community and fail to draw borders between themselves and others. The veils supposed to unveil an intimate space uncover a place of paradox. Perspective effects displace the watching character, who is then deprived of a proper place, and the return of the political reestablishes set places. The subjects wish to engage in a linear time which is deconstructed by repetitions. They do no build a proper linear history but present themselves as traces of events that did not happen and make up an impossible present. There is no time for oneself : Hamlet, the victim of agentless action and of unmastered duration, lives and dies the lives and deaths of others in the time of others. The dramatic art of space and time in the problem plays is linked to the paradoxes of singularity that question the relationship between oneself and the other and to the other in oneself
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Segurado, Nunes Livia. "Popular Shakespeare : Brazilian reappropriations." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0364.

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Cette thèse se situe au carrefour des études littéraires, comparatistes, théâtrales, et anthropologiques. La représentation « populaire » des pièces de Shakespeare au Brésil est un objet d’étude inédit, éphémère, en perpétuelle mutation, où se mêlent les arts du cirque, la ferveur religieuse, et les traditions carnavalesques. Shakespeare s’est tout d’abord imposé au Brésil à travers ses élites, qui assistaient à des spectacles adaptés à partir des traductions/réécritures du français Jean-François Ducis. En 1928, le « manifeste anthropophage » d’Oswald de Andrade transforme durablement les mentalités brésiliennes : le Brésil s’émancipe alors véritablement de son statut d’ancienne colonie pour cannibaliser les traditions européennes et prôner le métissage des cultures. Shakespeare se trouve de ce fait complètement réinventé par un pays en mouvement. Aujourd’hui, des productions brésiliennes se servent de Shakespeare comme d’une icône de la culture érudite afin de légitimer la culture populaire et de résister à l’imposition d’une hiérarchie culturelle par les élites, cela avec un tel succès que le Brésil exporte désormais à son tour ses propres productions théâtrales à l’étranger
This thesis is the result of an interdisciplinary research at the crossroads of anthropology and literary, comparative, and performance studies. Brazilian "popular" theatre productions of Shakespeare are an unusual object of study that is also ephemeral, constantly changing, combining circus arts, religious fervour, and carnival traditions. Shakespeare was introduced in Brazil through its elites, who attended performances adapted from translations/rewritings by the French Jean-François Ducis. In 1928, the "Anthropophagous Manifesto" written by Oswald de Andrade permanently changed Brazilian mentality: Brazil then truly emancipated from its former status as a colony to cannibalise European traditions and promote its mixed nature. Shakespeare has thus been completely reinvented by a changing country. Today, Brazilian productions are reappropriating Shakespeare as an icon of erudite culture in order to legitimise popular culture and to resist the imposition of a cultural hierarchy by the elites. They have been so successful that, in an ironic turn, they now export their own theatrical productions abroad
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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet", "Le roi Lear", "Macbeth" : la clairvoyance sublime de l'égarement." Nancy 2, 1995. http://www.theses.fr/1995NAN21009.

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Les héros des grandes tragédies de Shakespeare s'égarent et grâce à cette dérive orchestrée par le dramaturge parviennent à transcender leur nature pour accéder à un savoir précieux. Ils quittent la pénombre ambiante et s'élèvent vers une connaissance lumineuse qui leur permet de reconsidérer la signification de l'expérience humaine. Hamlet s'enlise dans les sables mouvants de la conscience, Lear est terrassé par la folie et Macbeth se lance corps et âme dans le mal. Ces trois personnes fascinent du fait de la grandeur dont ils sont investis au terme de leur parcours et du mystère qui dramatique : Shakespeare ne présente pas des hommes mais des "êtres de mots" et tout ce qui leur arrive n'est que l'image d'une destinée. Le théâtre obéit à des lois qui lui sont propres et l'analyse du langage, de même que le rapport au spectateur sont au cœur de la démarche que le critique doit adopter. Le public assiste à la désintégration de personnages soudain grandis par la reconnaissance (anagnoris en grec) de la petitesse des hommes mais qui s'avèrent incapables de tirer parti de ce savoir chèrement acquis. Les spectateurs, inclus dans la représentation par un jeu de miroirs vertigineux, sont les seuls bénéficiaires de l'expérience représentée. Shakespeare s'est efforcé de débarrasser ses contemporains du carcan de l'espérance afin de privilégier une approche plus vraie et plus enrichissante de leur parcours
The heroes of the great tragedies of Shakespeare lose their way and manage, thanks to this drift organized by the playwright, to transcend their nature and attain to a precious knowledge. They leave the darkness of their world and rise to a bright light which enables them to take a new look at the meaning of human experience. Hamlet sinks into the quicksands of his consciousness, Lear is overcome by madness and Macbeth commits himself body and soul to evil. These three characters fascinate owing to the greatness they are endowed with at the end of their course and to the mystery they are shrouded in. Their fates are approached in terms of dramatic writing technique: Shakespeare does not introduce us to men but to 'word creatures' and all that happens to them is nothing but the image of a destiny. The theatre obeys its own rules and the analysis of the words; along with the relation to the spectators are the be-all and end-all of the method the critic must use. The audience attends the disintegration of characters that suddenly grow in stature as they realize how meaningless man's life is. This recognition (anagnorisis in Greek) proves pointless in that the dramatis personae are unable to take advantage of that painful revelation. The public, included in the performance thanks to breathtaking mirroring effects, are the only people who can actually draw
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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.

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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.
Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.
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Travis, Keira. "Infinite gesture : an approach to Shakespearean character." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102740.

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In this dissertation I develop and theorize an approach to Shakespearean character. I focus on the ways in which characters talk about knowing others and being known; in other words, this is an approach to characters who are themselves approaching characters. The plays I treat in detail are Coriolanus and Hamlet. The words characters in these plays use when they explain their decisions, avoid explaining their decisions, talk about others' decisions, or try to expose others' secrets, are often position-and-movement words. I argue that characters use for these purposes words related by wordplay to the postures and gestures involved in crucial rituals (the "custom of request" in Coriolanus, the fencing match in Hamlet). At the same time, this is a metacritical project: I deal with approaches and attitudes of Shakespeare interpreters. How do we stand in relation to each other? How do editors and critics echo and transform the characters' postural/gestural language, and what are the implications of these echoes and transformations? Why is it worthwhile to work toward awareness of these echoes and transformations? In an extensive introductory section I theorize the kind of reading practiced here as an ethical practice-a practice intended to modify what Michel Foucault calls the rapport a soi.
The project's main original contribution is its way of re-conceiving the relationships among several currents in Shakespeare studies. My discussion engages with recent work in textual studies. Examples include work by Leah Marcus and Paul Werstine. It also engages with historically informed treatments of wordplay. Examples include work by Margreta de Grazia and Patricia Parker. And it addresses work that could be said to be part of a move in the field toward "ethical criticism." Examples include work by Stanley Cavell and John Guillory. As well, my discussion engages with psychoanalytic criticism by Marjorie Garber, Coppelia Kahn, and others. While I do not consider myself a psychoanalytic critic, the affinity my approach has with psychoanalysis has to do with my interest in making explicit some of the implications of unreflectively chosen metaphors, word associations, etc. The implications that concern me most are those that have to do with the ways interpreters relate to each other.
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Books on the topic "Shakespeare, William, 1564-1616 Symbolism"

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Shakespeare's visual theatre: Staging the personified characters. Cambrdige, England: Cambridge University Press, 2003.

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Matthews, Honor. Character and symbol in Shakespeare's plays: A study of certain Christian and pre-christian elements in their structure and Imagery. Cambridge: Cambridge University Press, 2009.

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The heart in the age of Shakespeare. New York: Cambridge University Press, 2008.

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William Shakespeare, 1564 - 1616. London: 4Learning, 2003.

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Shakespeare and the late moral plays. Lincoln: University of Nebraska Press, 1986.

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William Shakespeare, Coriolanus. London: Penguin Books, 1992.

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Harold, Bloom, ed. William Shakespeare. New York: Chelsea House, 2009.

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Fandel, Jennifer. William Shakespeare. Mankato, Minnesota: Creative Education, 2015.

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William Shakespeare. Mankato, MN: Creative Education, 2003.

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Harold, Bloom, ed. William Shakespeare. Philadelphia: Chelsea House Publishers, 2002.

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Book chapters on the topic "Shakespeare, William, 1564-1616 Symbolism"

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Casey, Francis. "William Shakespeare 1564–1616." In King Lear by William Shakespeare, 1–6. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_1.

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Simonton, D. K. "William Shakespeare 1564–1616." In Encyclopedia of Creativity, e72-e75. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00198-9.

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"William Shakespeare (1564–1616)." In London, 85–94. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.23.

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Sautter, Udo. "William Shakespeare (1564–1616)." In Die 101 wichtigsten Personen der Weltgeschichte, 57. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-57.

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"Shakespeare, William (1564–1616)." In Encyclopedia of Lesbian and Gay Histories and Cultures, 1323–25. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-154.

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"William Shakespeare (1564–1616)." In The Routledge Anthology of Poets on Poets, 112–29. Routledge, 2003. http://dx.doi.org/10.4324/9780203360118-11.

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"William Shakespeare (1564–1616) from Henry VI, Part II." In London, 85–86. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-022.

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Simon, Chantal, Hazel Everitt, Françoise van Dorp, and Matt Burkes. "Ophthalmology." In Oxford Handbook of General Practice, 953–84. Oxford University Press, 2014. http://dx.doi.org/10.1093/med/9780199671038.003.0026.

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‘The eye is the window of the mind’ Richard II, William Shakespeare (1564–1616) Assessment of the eye Eye trauma Eye pain, papilloedema, and orbital disease Lid disease Blepharitis and tear duct problems The red eye and conjunctivitis Corneal, sclera, and uveal disease Visual field loss and blindness...
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