Bibliographies thématiques / Shakespeare's romances

Littérature scientifique sur le sujet « Shakespeare's romances »

Auteur : Grafiati
Publié le 10 mars 2023
Mis à jour le 11 mars 2023

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Articles de revues sur le sujet "Shakespeare's romances"

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

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Thomas, John A., et 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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Council, Norman, et 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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Schmidgall, G. « Shakespeare's Romances and the Royal Family ». Modern Language Quarterly 46, no 4 (1 janvier 1985) : 453–56. http://dx.doi.org/10.1215/00182702-46-4-453.

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Ross, Diane M., et 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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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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Tiffany, Grace. « Calvinist Grace in Shakespeare's Romances : Upending Tragedy ». Christianity & ; Literature 49, no 4 (septembre 2000) : 421–45. http://dx.doi.org/10.1177/014833310004900402.

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

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Foakes, R. A., et 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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Thèses sur le sujet "Shakespeare's romances"

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Maillet, Gregory. « "Beyond a common joy" : Criticism and the value of Shakespeare's romances ». Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/9573.

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Aware that much recent criticism in Shakespeare studies has again made controversial the long assumed high value of Shakespeare's writings, my thesis is motivated and unified by one central question: how can literary critics "move closer to a true knowledge of the actual value" of Shakespeare's romances? This question itself provokes many other questions, however, and to answer these the dissertation falls in three distinct sections. Chapter one addresses fundamental philosophical questions, particularly what is knowledge, what is truth, what is value, and how many humans, in general, progress towards a true knowledge of the actual value of any object? My thesis follows E. D. Hirsch in distinguishing between meaning and value, interpretation and evaluation, and in arguing that both must be objects of knowledge for literary criticism. To answer the foundational question of what knowledge is, and how inquirers may move toward truth, my thesis adopts the epistemology, metaphysics, ethics, and methodology of a twentieth-century Canadian Jesuit philosopher, Bernard J. F. Lonergan. My own first chapter concludes by arguing that, after one answers the question, "what is literature?", Lonergan's theological method can also provide a framework for literary critics who hope to be intellectually converted to the meaning of literature, aesthetically converted to its beauty, and morally or perhaps even religiously converted to its actual value. Yet rather than providing a 'Lonerganian reading of Shakespeare' my thesis illustrates what it means for a Lonerganian critic to pursue knowledge of Shakespeare. Chapter two of my thesis attempts to show that the methodology posited by Lonergan can be adapted to organize and apply a wide variety of Shakespearean criticism. In the third major section of my dissertation, chapters three through six, each chapter is devoted to a single romance and begins with a dialectical survey of each play's criticism, particularly the interpretative issues that have especially affected the play's evaluation. Attention is then focused upon a passage from each play which summarises the primary purpose that each play asks critics to evaluate. However, because value is offered by the entire dynamic structure and content of Shakespeare's play, my approach normally moves chronologically through each play and evaluates diverse aspects of its meaning. The values emphasized as the climactic conclusion of each romance then provide the foundation for an evaluation that is made within the broadest intellectual, moral, and religious horizons that I currently envision. This varied heuristic finds a wide variety of valuable meaning in each romance. In conclusion, the "joy beyond a common joy" felt by the characters at the end of The Tempest is an emotion common to the conclusion of each of Shakespeare's romances, and in each case occurs not only because these characters learn human virtue especially stressed by Christian teaching, but moreover because they experience the grace offered by the providential action of Divinity. In an implicity manner characteristic of medieval and Renaissance art, the apparently classical settings of Shakespeare's romances actually serve to teach Christian truth, and thus become valuable as Christian sacred art. The very nature of sacred art ensures that the evaluation of Shakespeare's romances must be an unending attempt to be converted not only to their aesthetic joys, but also to the value of life itself, particularly the Life who freely offers joy to us all. (Abstract shortened by UMI.)
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Palfrey, Simon D. « Forward and backward voices : political analogy and indecorum in Shakespeare's late romances ». Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241349.

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Equestri, Alice. « "Armine... thou art a foole and knaue" : The Fools of Shakespeare's Romances ». Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424038.

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My thesis analyses in detail the comic characters of Shakespeare's romances (Pericles, Cymbeline, The Winter’s Tale and The Tempest), in particular those created for Robert Armin, the leading comedian of the King's Men in the period. The first chapter focuses on the relationship between actor and role: after an introductory section where I give an overview of the life and works of Robert Armin along with the particular features of his clowning style as opposed to those of Will Kemp, his predecessor in Shakespeare’s company, I move on to consider the parts in the romances he was likely to have played in the early performances: Boult, Cloten, Autolycus and Caliban. In particular, I close-read the texts to highlight the clues pointing at Armin’s own person, physical characteristics, clowning style and outlook. The following chapters are devoted to a thorough discussion of each of the four characters, which are grouped according to their professions or social roles. So the second chapter examines the criminal fools in Pericles and The Winter’s Tale, where Boult and Autolycus are respectively a brothel male-bawd and an eclectic rogue. In the third chapter, then, we find Cloten and Caliban from Cymbeline and The Tempest, characters who display or are scorned for their real or alleged natural folly. In each case I consider the relationship between the role and Shakespeare’s sources as well as the influences from previous comic traditions, and the ways in which the character elicits laughter. An important part of the chapters, however, is dedicated to a contextualization of the characters in the social, historical and cultural environment of the period. So I analyse Boult as a representative of the flourishing economy of prostitution in early modern England and Autolycus as a multifarious mirror of the consequences deriving from masterlessness and vagrancy. With Cloten and Caliban, instead, I explore the theme of natural folly or congenital deficiency in medicine and society, considering how the texts describe their condition. Throughout the analyses I also seek to emphasise any additional links between the characters and the outlook of Robert Armin as expressed in his works, in order to give a further contribution to recent trends in research that view Shakespeare’s work as the result of a collaboration with his actors and in particular with his leading comedian. Finally, the conclusive chapter lists the analogies between the characters and the differences between them and the previous roles created for Armin in Shakespeare.
La mia tesi propone un’analisi dettagliata dei personaggi comici nei romances Shakespeariani (Pericles, Cymbeline, The Winter’s Tale e The Tempest) in particolare quelli creati appositamente per Robert Armin, attore comico di punta dei King’s Men in quel periodo. Nel primo capitolo traccio la presenza di Armin nei quattro testi, individuando cioè gli indizi che rimandano alla sua figura e alla tipologia di comicità tipica dei suoi personaggi precedenti in Shakespeare e di quelli presenti nelle sue stesse opere. I quattro personaggi creati per lui da Shakespeare vengono analizzati in profondità nei seguenti capitoli, raggruppandoli a seconda dei loro ruoli sociali o professioni. Nel secondo capitolo mi occupo dei fools criminali, considerando Pericles e The Winter’s Tale, dove i personaggi di Boult e Autolycus sono rispettivamente un ruffiano di bordello e un delinquente di strada. Nel terzo capitolo mi concentro invece sui personaggi che esibiscono o vengono discriminati per una reale od imputata deficienza congenita (natural folly): il principe Cloten in Cymbeline e Caliban in The Tempest. Per ciascun caso discuto il rapporto del personaggio con le fonti shakespeariane ed eventualmente con la tradizione comica precedente o contemporanea a Shakespeare, il ruolo all’interno del testo, e il modo in cui il personaggio suscita l’effetto comico. Una parte importante di questi due capitoli è dedicata ad un analisi storico-testuale dei personaggi in rapporto alla situazione storica dell’Inghilterra di fine Cinquecento/inizio Seicento per quanto riguarda lo sfruttamento della prostituzione, la criminalità derivante dal vagabondaggio (secondo capitolo, Boult e Autolycus), e la nozione di disabilità mentale in medicina e società (terzo capitolo, Cloten e Caliban). Nel corso dell’analisi dei personaggi cerco in particolare di evidenziarne le ambiguità e i tratti tragicomici, che sono importanti in relazione allo specifico genere drammatico a cui questi testi afferiscono. Inoltre, discuto la drammatizzazione dei personaggi in rapporto alla nozione di follia sia come depravazione nel tardo medioevo e nel rinascimento, sia come giocosa e risibile innocenza nei precedenti lavori di Robert Armin, cercando di dare ulteriore forza alle recenti linee di ricerca che vedono l’opera di Shakespeare come il risultato di una collaborazione con i suoi attori e in particolare con il suo comico principale. Il capitolo conclusivo raccoglie le analogie tra i quattro personaggi e mette a fuoco le differenze tra questi e i personaggi comici precedenti interpretati da Armin.
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Oesterlen, Eve-Marie [Verfasser]. « Action bodies / acting bodies : performing corpo-realities in Shakespeare's late romances / Eve-Marie Oesterlen ». Hannover : Technische Informationsbibliothek (TIB), 2017. http://d-nb.info/1149829788/34.

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Gorin, Giulia <1991&gt. « Pericles, Cymbeline, The Winter's Tale and The Tempest : Same Story, Different Versions ? A Comparative Analysis of Shakespeare's Romances ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17172.

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Late plays, Last plays, Romances and Tragicomedies are the most commonly used labels adopted by critics to describe and classify Pericles, Cymbeline, The Winter’s Tale and The Tempest. These four plays were written by William Shakespeare between the years 1608-1611. Why are these works usually grouped together? Starting with Edward Dowden, several critics have observed that themes and motifs are repeated throughout each play. All four plays’ storyline follow a 3-steps pattern composed as follows: separation, quests and reunion. The present study aims to investigate if these plays are four different versions of the same story. To answer this question, I will make a comparative analysis of the plays by focusing on their common features. This dissertation is composed of an introductory chapter and three other chapters, each one pertaining to the analysis of one of these three steps. Reference will be also made to other relevant topics such as characters, time, music and magic.
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Rist, Thomas Charles Kenelm. « Counter-Reformation politics in Shakespeare's 'romance ' plays ». Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397133.

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Fenstermaker, Rosemary A. « From tragedy to romance forgiveness in Shakespeare's last plays / ». Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1994.
Source: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).
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Hays, Michael Louis. « Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear / ». Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.

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Gonzalez, Shelly S. « Anti-Romance : How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia” ». FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.

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The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”
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Crumbo, Daniel Jedediah, et Daniel Jedediah Crumbo. « The Comedy of Trauma : Confidence, Complicity, and Coercion in Modern Romance ». Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626362.

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Stories engage a form of virtual play. Though they incorporate language and abstractions, stories engage many of the same biological systems and produce many of the same anatomical responses as simpler games. Like peek-a-boo or tickle play, stories stage dangerous or unpleasant scenarios in a controlled setting. In this way, they help develop cognitive strategies to tolerate, manage, and even enjoy uncertainty. One means is by inspiring confidence in difficult situations by tactical self-distraction. Another is to reframe negative or uncertain situations as learning opportunities, that is, to ascribe meaning to them. While both strategies are useful, each has limitations. In William Shakespeare’s The Winter’s Tale, a king succumbs to the desire to make meaning where there is none, and nearly ruins himself in a self-composed tragedy. His friend restores his confidence and enables a happy ending—but only by deceiving him. This deception is benign, but the heroine of Samuel Richardson’s Clarissa is nearly ruined by her abductor’s confidence game. Her “happy ending” is made possible only by reframing her rape and death as redemptive transfiguration—which, as many of her readers suggest, is a dubious affair. The hero of Herman Melville’s The Confidence-Man spends the first half of the novel eliciting his companions’ confidence in order to swindle them, and the second half trying to inspire himself with the same confidence. The novel ends with an ominous impasse: one must trust, but one ought not to. For Samuel Beckett, this impasse is productive. In his middle novels, thought itself emerges from the interplay of spontaneous bouts of irrational confidence and distortive, after-the-fact impositions of spurious meaning. Stories create (illusory) identities, elicit (dubious) hopes, and reinforce (false) assumptions in order to help us cope with the agonies of anticipation and loss, and to transform misfortune, accident, and misery into reward, retribution, and meaning—that is, in a comedy of trauma.
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Livres sur le sujet "Shakespeare's romances"

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1959-, Thorne Alison, dir. Shakespeare's romances. Houndmills, Basingstoke, Hampshire : Palgrave Macmillan, 2003.

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Harold, Bloom, dir. Shakespeare's romances. Philadelphia : Chelsea House, 2000.

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Bevington, David, dir. Shakespeare's Romances and Poems. New York, USA : Pearson Longman, 2007.

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Shakespeare's romances and the royal family. Lawrence, Kan : University Press of Kansas, 1985.

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Bergeron, David M. Shakespeare's romances and the royal family. Lawrence, Kan : University Press of Kansas, 1985.

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Davis, S. R. Music and song in Shakespeare's romances. Birmingham : University of Birmingham, 1997.

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J, Myers Robert. Clothing terms in Shakespeare's four romances. Birmingham : University of Birmingham, 1998.

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Harold, Bloom, dir. Shakespeare's romances : Comprehensive research and study guide. Broomall, PA : Chelsea House Publishers, 2000.

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Harold, Bloom, dir. Bloom's how to write about Shakespeare's romances. New York : Bloom's Literary Criticism, 2010.

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Milward, Peter. The presence of Thomas More in Shakespeare's romances. Tokyo : The Renaissance Institute, 2005.

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Chapitres de livres sur le sujet "Shakespeare's romances"

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Dowd, Michelle M. « ‘So like an old tale’ : Staging Inheritance and the Lost Child in Shakespeare’s Romances ». Dans Staged Normality in Shakespeare's England, 173–92. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00892-5_8.

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Hart, Jonathan. « Shakespeare’s Romance ». Dans Shakespeare and His Contemporaries, 169–85. New York : Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118140_9.

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Thorne, Alison. « Introduction ». Dans Shakespeare’s Romances, 1–26. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_1.

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Kastan, David Scott. « ‘The Duke of Milan / And his Brave Son’ : Old Histories and New in The Tempest ». Dans Shakespeare’s Romances, 226–44. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_10.

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Ryan, Kiernan. « Shakespearean Comedy and Romance : the Utopian Imagination ». Dans Shakespeare’s Romances, 27–52. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_2.

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Healy, Margaret. « Pericles and the Pox ». Dans Shakespeare’s Romances, 53–70. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_3.

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Relihan, Constance C. « Liminal Geography : Pericles and the Politics of Place ». Dans Shakespeare’s Romances, 71–90. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_4.

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Nevo, Ruth. « Cymbeline : the Rescue of the King ». Dans Shakespeare’s Romances, 91–116. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_5.

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Mikalachki, Jodi. « The Masculine Romance of Roman Britain : Cymbeline and Early Modern English Nationalism ». Dans Shakespeare’s Romances, 117–44. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_6.

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Adelman, Janet. « Masculine Authority and the Maternal Body in The Winter’s Tale ». Dans Shakespeare’s Romances, 145–70. London : Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-0-230-57100-6_7.

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