Literatura académica sobre el tema "Shakespeare, William, 1564-1616 Histories"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Shakespeare, William, 1564-1616 Histories".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Shakespeare, William, 1564-1616 Histories"
Chatterjee, Arup K. "Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History". Multicultural Shakespeare: Translation, Appropriation and Performance 23, n.º 38 (30 de junio de 2021): 59–74. http://dx.doi.org/10.18778/2083-8530.23.04.
Texto completoCotterill. "William Shakespeare (1564-1616)". Clinical and Experimental Dermatology 25, n.º 1 (enero de 2000): 93–95. http://dx.doi.org/10.1046/j.1365-2230.2000.0580g.x.
Texto completoDa Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)". Boletim da Biblioteca da Universidade de Coimbra, n.º 46/47 (22 de diciembre de 2016): 305–17. http://dx.doi.org/10.14195/1647-8436_46_47_20.
Texto completoDa Universidade Coimbra, Biblioteca Geral. "William Shakespeare (1564-1616)". Boletim da Biblioteca Geral da Universidade de Coimbra, n.º 46/47 (22 de diciembre de 2016): 305–17. http://dx.doi.org/10.14195/2184-7681_46_47_20.
Texto completoRössner, Stephan. "William Shakespeare (1564-1616)". Obesity Reviews 9, n.º 5 (11 de agosto de 2008): 508–9. http://dx.doi.org/10.1111/j.1467-789x.2008.00474.x.
Texto completoGupton, Janet L. "The Complete Works of William Shakespeare, and: William Shakespeare, 1564-1616 (review)". Theatre Journal 51, n.º 4 (1999): 482–83. http://dx.doi.org/10.1353/tj.1999.0086.
Texto completoBertin, 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, n.º 10 (1 de agosto de 2009): 47–70. http://dx.doi.org/10.11606/issn.2359-5388.i10p47-70.
Texto completoGomes, Marleide da Mota. "Shakespeare’s: his 450th birth anniversary and his insights into neurology and cognition". Arquivos de Neuro-Psiquiatria 73, n.º 4 (abril de 2015): 359–61. http://dx.doi.org/10.1590/0004-282x20150023.
Texto completoRathore, Dr Madhvi y Prabha Prabha Gour. "The Exploration of the Postcolonial Essence in The Tempest". SMART MOVES JOURNAL IJELLH 8, n.º 2 (28 de febrero de 2020): 14. http://dx.doi.org/10.24113/ijellh.v8i2.10429.
Texto completoRobert Bearman. "The Life and Times of William Shakespeare, 1564-1616 (review)". Shakespeare Quarterly 59, n.º 3 (2008): 335–37. http://dx.doi.org/10.1353/shq.0.0016.
Texto completoTesis sobre el tema "Shakespeare, William, 1564-1616 Histories"
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.
Texto completoPizarro, Solar Francisca. "Invitación a la muerte: una reelaboración surrealista de Hamlet de William Shakespeare". Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111489.
Texto completoEn términos generales, este trabajo presenta el estudio y análisis comparativo entre la obra Invitación a la Muerte del mexicano Xavier Villaurrutia y la tragedia clásica de William Shakespeare Hamlet, con el cual se pretende demostrar cómo Villaurrutia realiza una reelaboración surrealista de la obra renacentista, a partir de la recepción del os movimientos europeos de vanguardia de la primera mitad del siglo XX por parte de los artistas y escritores latinoamericanos con el fin de renovar la producción literaria de la época. Villaurrutia, particularmente, innovará en la producción dramática de México con el teatro experimental, el neopsicologismo y una poética surrealista fuertemente influenciada por el trabajo del artista y escritor francés Jean Cocteau, la que no solo encontramos en su obra dramática, sino también poética. Con estos nuevos recursos estéticos, el autor mexicano escribirá Invitación a la muerte, cuyo argumento es elaborado a partir de la tragedia Hamlet, donde Villaurrutia encuentra motivos que le permiten trabajar su drama desde una estética surrealista; entre ellos encontramos el motivo de la muerte, el sueño, la soledad, el amor, la locura y búsqueda por la verdad.
Morrill, Richard Brooke. ""Warriors of the Working-day" Class in Shakespeare's Second Historical Trilogy". Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/MorrillRB2004.pdf.
Texto completoFernandes, Renan. "Cena Teatral e Recepção Estética o olhar dos críticos para os espetáculos Trono de Sangue (1992) e Macbeth (1992)". Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/16396.
Texto completoNo Brasil, a partir de 1985 após o fim da ditadura militar e o retorno às liberdades democráticas todos os segmentos sociais passaram por significativas mudanças, observadas também nos fazeres artísticos, em especial no teatro. Anteriormente grande parte as produções voltavam seus olhares majoritariamente para a composição cênica de espetáculos que priorizavam temáticas ligadas ao engajamento político. Tratava-se da ação contra a opressão estabelecida pela censura e perseguição política. Nesse novo momento que se estabelecia as reflexões perpassavam pela questão comercial assim como pela busca de novas concepções de linguagens estéticas. Dentro dessa perspectiva, a proposta deste trabalho é a análise das críticas teatrais envolvendo os espetáculos Macbeth (Fagundes Produções Artísticas, direção de Ulysses Cruz) e Trono de Sangue (Grupo Macunaíma, direção de Antunes Filho), ambas em 1992. Buscou-se, portanto, suscitar discussões que, dentro da perspectiva histórica, permitam a compreensão das questões envolvidas na recepção dos espetáculos e suas relações com a cena teatral contemporânea.
Mestre em História
Arneaud, Javan André. "La liberación de Calibán-el negro esclavizado y colonizado en Une tempête de Aimé Césaire y The pleasures of exile de Georg Lamming". Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/169826.
Texto completoLa tesis que a continuación se presenta es una aproximación al campo de las apropiaciones de The Tempest de William Shakespeare, en el cual destacan dos versiones afrocaribeñas articuladas por George Lamming y Aimé Césaire en The Pleasures of Exile (1960) y Une tempête (1969), respectivamente. Se trata de un análisis literario y comparativo entre los dos textos con el propósito de investigar la manera en que los dos pensadores antillanos resisten y desmantelan el legado colonial para los afrodescendientes y sus países dependientes en el periodo tanto de los procesos de descolonización caribeña, como del movimiento por los derechos civiles en los Estados Unidos. El análisis se conduce por las líneas de las propuestas teóricas de pensadores caribeños anticoloniales del siglo XX que denuncian las secuelas del colonialismo para los colonizados y en sus países dependientes. Estudia, además, la representación de afrodescendientes en el personaje de Calibán, el cual los dos autores vinculan con líderes antillanos y norteamericanos de la lucha anticolonial: Toussaint Louverture y Malcolm X. Desarrolla también los temas de la transculturación y la revalorización de las identidades culturales y el desmantelamiento de la construcción de alteridad de sus Calibanes negros. Así, la tesis propone que las contraescrituras de The Tempest por estos autores afrocaribeños logran agregar al drama canónico los mecanismos para la liberación del personaje de Calibán, representante del sujeto negro del siglo XX.
Mayer, Jean-Christophe. "Souveraineté et sacralité : enquête sur les rapports entre le politique et le religieux dans les pièces historiques anglaises de Shakespeare et dans l'Angleterre élisabethaine". Montpellier 3, 1997. http://www.theses.fr/1997MON30058.
Texto completoThe world of shakespeare's english history plays is peopled with sovereigns of an ambivalent and often contradictory nature. Some, like henry vi, richard ii, or indeed king john, can be seen to embrace the same christian ideals which lead to their ultimate downfall. Others, like richard iii, are heroic villains who sometimes acquire a superhuman dimension and may be turned into grotesque scapegoats or paradoxical agents of god's vengeance. Shakespeare also stages more complex figures - kings such as henry iv, henry v, or even henry viii, who are politically-aware but do not cast religion aside for all that. On the political scene and on the shakespearean stage, the image of the sovereign gradually changes: the king's private person becomes inaccessible as monarchs lose their physical, natural bodies. The theatre begins to depict the ruler as the prisoner of a fictitious persona invented by theologians and jurists. The image of the king's two bodies does not lay the foundations of a deeply-seated cult of the sovereign during the reigns of elizabeth i and james i. The monarchy merely tries to profit from the secularisation of the political world in order to put forward a sacredness of its own. It cannot do so, however, without borrowing from the religious domain. This explains why sovereignty can be perceived to partake at once of the sacred and of the secular. There is, as yet, no true separation between religion and politics
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.
Texto completoSmith, Cristiane Busato. "Representações da Ofélia de Shakespeare na Inglaterra Vitoriana". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/23026.
Texto completoVillaça-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.
Texto completoThe 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
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.
Texto completoIs 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
Libros sobre el tema "Shakespeare, William, 1564-1616 Histories"
Harold, Bloom, ed. William Shakespeare. New York: Chelsea House, 2009.
Buscar texto completo1950-, Dymkowski Christine y Carson Christie, eds. Shakespeare in stages: New theatre histories. New York: Cambridge University Press, 2010.
Buscar texto completoHolderness, Graham. Shakespeare: The histories. New York: St. Martin's Press, 2000.
Buscar texto completoShakespeare, William. The histories and poems of William Shakespeare. New York: Modern Library, 1995.
Buscar texto completoRackin, Phyllis. Stages ofhistory: Shakespeare's English chronicles. New York: Routledge, 1991.
Buscar texto completo1963-, Cavanagh Dermot, Hampton-Reeves Stuart y Longstaffe Stephen, eds. Shakespeare's histories and counter-histories. Manchester, UK: Manchester University Press, 2006.
Buscar texto completoCohen, Derek. Shakespeare's culture of violence. New York, N.Y: St. Martin's Press, 1993.
Buscar texto completoCourtney, Richard. Shakespeare's world of war: The early histories. Toronto: Simon & Pierre, 1994.
Buscar texto completoShakespeare, William. Histories. Editado por Barnet Sylvan. London: David Campbell, 1994.
Buscar texto completoCohen, Derek. Shakespeare's culture of violence. New York: St. Martin's Press, 1993.
Buscar texto completoCapítulos de libros sobre el tema "Shakespeare, William, 1564-1616 Histories"
Casey, Francis. "William Shakespeare 1564–1616". En King Lear by William Shakespeare, 1–6. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08342-8_1.
Texto completo"Shakespeare, William (1564–1616)". En Encyclopedia of Lesbian and Gay Histories and Cultures, 1323–25. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-154.
Texto completo"William Shakespeare (1564–1616)". En The Routledge Anthology of Poets on Poets, 112–29. Routledge, 2003. http://dx.doi.org/10.4324/9780203360118-11.
Texto completoSimonton, D. K. "William Shakespeare 1564–1616". En Encyclopedia of Creativity, e72-e75. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00198-9.
Texto completo"William Shakespeare (1564–1616)". En London, 85–94. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.23.
Texto completoSautter, Udo. "William Shakespeare (1564–1616)". En Die 101 wichtigsten Personen der Weltgeschichte, 57. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-57.
Texto completo"William Shakespeare (1564–1616)". En Early Modern Sonneteers, 50–63. Liverpool University Press, 2001. http://dx.doi.org/10.2307/jj.3079181.15.
Texto completoBauer, Mark S. "William Shakespeare (1564–1616)". En A Mind Apart, 53. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336405.003.0009.
Texto completoHolland, Peter. "Background, early life, and marriage". En William Shakespeare, 1–11. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199212835.003.0001.
Texto completo"William Shakespeare (1564–1616) from Henry VI, Part II". En London, 85–86. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-022.
Texto completo