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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 desce

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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 con

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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

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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 the

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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 depend

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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,

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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

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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 étaie

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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 iden

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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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