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Gotowe bibliografie tematyczne / Shakespeare, William, 1564-1616 Histories

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Gotowa bibliografia na temat „Shakespeare, William, 1564-1616 Histories”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Shakespeare, William, 1564-1616 Histories"

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

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This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and descendant of William Shakespeare. I argue that the anecdotal links between Peter, Caliban, Catherine, Judith, Shakespear and Shakespeare should be seen as Jungian effects of non-causal “synchronic” reality or on lines of Benoit Mandelbrot’s conception of fractals (rough and self-regulating geometries of natural microforms). Although anecdotes and historemes get incorporated into historical establishmentarianism, seeing history in a framework of fractals fundamentally resists such appropriations. This poses new challenges for Shakespearean historiography, while underscoring distinctions between Shakespeareanism (sociological epiphenomena) and Shakespeare (the man himself).

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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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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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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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Rozprawy doktorskie na temat "Shakespeare, William, 1564-1616 Histories"

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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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Pizarro, 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.

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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica<br>En 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.

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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.

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Fernandes, 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.

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In Brazil, since 1985 after the end of military dictatorship and the return to democratic freedoms - all segments of society have undergone significant changes, being observed also in artistic doings, especially in theater. If, before the productions turned their eyes mostly for the scenic composition of shows that prioritized issues related to engaging in an action against oppression established, now permeate the reflections by the trade issue, as well as the search for new conceptions of aesthetic languages .Within this perspective, the purpose of this study is the analysis of critical theatrical performances involving Macbeth (Fagundes Artistic Productions, directed by Ulysses Cruz) and Throne of Blood (Macunaíma Group, directed by Antunes Filho), both in 1992. Sought, therefore, raise discussions, within the historical perspective, allowing to understand the issues swathing the reception of the shows and their relationship to the contemporary theatrical scene.<br>No 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.<br>Mestre em História

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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.

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Tesis para optar al grado de Magíster en Estudios Latinoamericanos<br>La 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.

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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.

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L'univers des pieces historiques anglaises de shakespeare est habite par des figures ambivalentes et souvent contradictoires de la souverainete. D'aucuns, tels henri vi, richard ii, ou encore le roi jean se reclament d'ideaux chretiens qui pourtant les menent directement a leur perte. D'autres, tels richard iii, pousses par un heroisme du mal, acquierent une dimension supra-humaine qui peut les transformer en de grotesques boucs emissaires, ou encore en de paradoxaux fleaux de dieu. Le theatre de shakespeare met egalement en scene des etres "hybrides," des souverains, comme henri iv, henri v, ou meme henri viii, qui ont retenu les lecons du politique, mais qui n'en ont pas pour autant abandonne le religieux. En politique, ainsi que sur la scene shakespearienne, l'image du souverain change: la personne privee du roi devient inaccessible, le monarque perdant peu a peu son corps physique, naturel. La scene depeint la deshumanisation du roi et son emprisonnement dans cette personne fictionnelle inventee par les legistes. La fiction des deux corps du roi ne debouche pas sur la mise en place d'une religion officielle. La monarchie tente de profiter de la secularisation du monde politique pour faire valoir une sacralite qui lui appartiendrait en propre. Cependant, elle ne peut etablir son individualite sans rester tributaire d'un vocabulaire d'origine religieuse. Ceci explique que les phenomenes de sacralisation et de secularisation soient simultanes, et qu'en consequence il n'y ait pas separation complete du politique et du religieux<br>The 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

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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<br>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<br>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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Książki na temat "Shakespeare, William, 1564-1616 Histories"

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

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1950-, Dymkowski Christine, and Carson Christie, eds. Shakespeare in stages: New theatre histories. New York: Cambridge University Press, 2010.

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Holderness, Graham. Shakespeare: The histories. New York: St. Martin's Press, 2000.

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Shakespeare, William. The histories and poems of William Shakespeare. New York: Modern Library, 1995.

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Rackin, Phyllis. Stages ofhistory: Shakespeare's English chronicles. New York: Routledge, 1991.

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1963-, Cavanagh Dermot, Hampton-Reeves Stuart, and Longstaffe Stephen, eds. Shakespeare's histories and counter-histories. Manchester, UK: Manchester University Press, 2006.

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Cohen, Derek. Shakespeare's culture of violence. New York, N.Y: St. Martin's Press, 1993.

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Courtney, Richard. Shakespeare's world of war: The early histories. Toronto: Simon & Pierre, 1994.

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Shakespeare, William. Histories. Edited by Barnet Sylvan. London: David Campbell, 1994.

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Cohen, Derek. Shakespeare's culture of violence. New York: St. Martin's Press, 1993.

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Części książek na temat "Shakespeare, William, 1564-1616 Histories"

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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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"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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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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"William Shakespeare (1564–1616)." In Early Modern Sonneteers, 50–63. Liverpool University Press, 2001. http://dx.doi.org/10.2307/jj.3079181.15.

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Bauer, Mark S. "William Shakespeare (1564–1616)." In A Mind Apart, 53. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336405.003.0009.

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Abstract Sonnet 129 Th’ expense of spirit in a waste of shame Is lust in action; and, till action, lust Is perjured, murderous, bloody full of blame, Savage, extreme, rude, cruel, not to trust, Enjoyed no sooner but despisèd straight, Past reason hunted, and no sooner had Past reason hated as a swallowed bait On purpose laid to make the taker mad. Mad in pursuit, and in possession so; Had, having, and in quest to have, extreme; A bliss in proof, and proved, a very woe, Before a joy proposed; behind, a dream. All this the world well knows, yet none knows well To shun the heaven that leads men to this hell.

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Holland, Peter. "Background, early life, and marriage." In William Shakespeare, 1–11. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199212835.003.0001.

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Abstract William Shakespeare (1564–1616), playwright and poet, was baptized, probably by the parish priest, John Bretchgirdle, in Holy Trinity, the parish church of Stratford upon Avon, on 26 April 1564, the third child of John Shakespeare (d . 1601) and Mary Arden (d . 1608). It seems appropriate that the first of many gaps in the records of Shakespeare’s life should be the exact date of his birth, though that is a common problem for the period. He was probably born on 21, 22, or 23 April 1564, given the 1559 prayer book’s instructions to parents on the subject of baptisms.

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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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