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Автор: Grafiati
Опубліковано: 14 березня 2023

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Статті в журналах з теми "Shakespearean studies"

1

Huertas-Martín, Víctor. "Hamlet Goes Legit." International Journal of English Studies 22, no. 1 (June 30, 2022): 41–61. http://dx.doi.org/10.6018/ijes.490781.

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Анотація:
Using Shakespeare’s criticism and archival theory as lenses, this article enlarges understandings of the interconnections between a complex television series and Shakespeare. Forming a Shakespearean archive, Sons of Anarchy (SOA), based on Hamlet and other plays by Shakespeare, is packed with Shakespearean allusions, rather than citations, whose impact in the overall work is yet to be explored. Shakespearean formations, identifiable in the series’ para-texts, episodes, and transmedia materials, add political weight to SOA. This intertextuality invites us to regard Shakespeare’s influence in complex television as transformative.
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2

Захаров, Н. В. "The Thesaurus Approach to Shakespearean Studies." Иностранные языки в высшей школе, no. 3(58) (November 15, 2021): 13–24. http://dx.doi.org/10.37724/rsu.2021.58.3.002.

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Изучение творчества Шекспира в парадигме междисциплинарности является актуальной задачей. Тезаурусный подход исследований Шекспира и его современников позволяет сосредоточиться на междисциплинарном изучении шекспировского творчества. В статье анализируются основные направления шекспировских исследований, которые давно вышли за пределы англоязычной культуры. Во многих университетах мира изучают не только литературу позднего Ренессанса, эволюцию шекспировской поэтики, шекспировские реминисценции в национальных литературах, но и другие, казалось бы далеко стоящие от художественной литературы явления. Важными в научной и преподавательской деятельности стали исследования, ориентированные на философское прочтение творчества великого драматурга. Новые возможности открывают Интернет и цифровые технологии. Тезаурусный подход в современной гуманитаристике должен трансформироваться и стать методом анализа концептов и концептосфер, которые образуют тезаурусы. Как инструмент познания, метод способствует формированию полноты и глубины знания в междисциплинарных исследованиях. Каждый их сегмент открывает шекспировскую семантику культурных констант, объединяющих человечество и расширяющих тезаурус мировой культуры, не только национальный, но и мировой тезаурус творчества Шекспира. The background for Shakespearean studies gains importance in an interdisciplinary context. The thesaurus approach of studying Shakespeare, his contemporaries, and the daily life of his epoch helps to concentrate on the aspect of interdisciplinary studies of Shakespeare's creative works. Following this task, the author of the article researches the key areas of Shakespearean studies. Today, Shakespeare is not only the genius of Anglo-Saxon literature, but also one of the pillars of Anglo-American educational system both at school and at university. Shakespearean studies have long gone beyond the framework of the English-speaking cultures. Turning to Shakespeare, researchers of the largest educational centers of the world study not only the literature of the late Renaissance period, the evolution of Shakespearean poetics in the context of world culture, Shakespearean allusions in national literatures, not only the development of dramaturgy, the history of the theatre, music, the cinema, but also other disciplines seemingly unconnected to the world artistic culture. The research oriented at philosophical understanding of the great playwright's work has gained special significance for scientific and teaching activity. Studying Shakespeare's work in the 21st Century is closely connected to the Internet and information technologies. In a sense, the thesaurus approach in modern humanities should be transformed and become a method of analyzing the concepts and conceptospheres that form thesauri.
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3

Desmet, Christy. "Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 15–26. http://dx.doi.org/10.1515/mstap-2017-0002.

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This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.
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4

Lewis, Seth. "The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 53–69. http://dx.doi.org/10.18778/2083-8530.24.04.

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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
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5

Alhawamdeh, Hussein A. "‘Shakespeare Had the Passion of an Arab’." Critical Survey 30, no. 4 (December 1, 2018): 1–21. http://dx.doi.org/10.3167/cs.2018.300402.

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This article analyses the Shakespearean appropriation in Fadia Faqir’s Willow Trees Don’t Weep (2014) to show how Faqir’s novel establishes a new Arab Jordanian feminist trope of the willow tree, metaphorically embodied in the female character of Najwa, who does not surrender to the atrocities of the masculine discourse. Faqir’s novel, appropriating a direct text from Shakespeare’s Cymbeline and an allusion to Shakespeare’s Othello, does not praise the Bard but dismantles the Shakespearean dramatization of the submissive woman. In this article, I claim that Faqir’s Willow Trees warns against mimicking the Bard’s feminine models and offers a liberating space or a local ‘alternative wisdom and beauty’, in Ania Loomba’s expression, and a ‘challenge’, in Graham Holderness’s terminology, to Shakespeare. In Faqir’s novel, Shakespeare has been ‘Arabized’, in Ferial Ghazoul’s words, to revise and redefine new roles of the Arab Jordanian woman.
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Zhang, Wei. "The Development of Marxist Shakespearean Criticism in China." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 99–113. http://dx.doi.org/10.18778/2083-8530.20.08.

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Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.
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7

Guerrero, Isabel. "Shakespeare in La Mancha: Performing Shakespeare at the Almagro Corral." Sederi, no. 27 (2017): 27–46. http://dx.doi.org/10.34136/sederi.2017.2.

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Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de Almagro [The Almagro Festival of Classical Theater], an event initially created to celebrate Golden Age drama in which, nowadays, Shakespearean productions often outnumber those by individual national authors. Throughout the history of the festival, several Shakespearean productions have been staged in the Corral de Comedias, an original seventeenth-century venue that reactivates the use of space encoded in the playtext due to its similarities with Renaissance playhouses. This article has a double purpose: first, to examine the abundance of Shakespeare in Almagro as a phenomenon that finds its explanation in factors ranging from Shakespeare’s popularity to the role of modern translation and, second, to focus on how Shakespearean productions at the Corral de Comedias have negotiated new meanings of Shakespeare in performance, generating an interplay between Renaissance and Golden Age venues in contemporary performance.
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8

Massai, Sonia. "Stage over Study: Charles Marowitz, Edward Bond, and Recent Materialist Approaches to Shakespeare." New Theatre Quarterly 15, no. 3 (August 1999): 247–55. http://dx.doi.org/10.1017/s0266464x0001304x.

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The flurry of Shakespearean adaptations in the 1960s and 1970s represents a significant yet largely neglected chapter of recent cultural history. This article assesses two of the more enduring adaptations – Edward Bond's Lear (Royal Court Theatre, 1971) and Charles Marowitz's Measure for Measure (Open Space Theatre, 1975) – in order to show how these controversial texts anticipated later mainstream critical approaches which still affect our reception of Shakespeare in the late 1990s. Several parallels between Marowitz and Bond's adaptations and recent materialist readings of their Shakespearean sources suggest that the adaptors anticipated the critics, and that both sought meaning from their Shakespearean originals by focusing on certain aspects of the text and by disregarding others. By demonstrating that whilst Marowitz and Bond's adaptations should best be regarded as a form of stage-centred criticism, Sonia Massai suggests that literary critical approaches inevitably reflect an arbitrary and historically determined appropriation of the Shakespearean original. Sonia Massai is a Lecturer in English Studies at St. Mary's, Strawberry Hill, a College of the University of Surrey. She has published articles on Shakespearean adaptations in Studies in English Literature, Analytical and Enumerative Bibliography, and in a special issue of Textus: English Studies in Italy. She is currently collaborating with Jacques Berthoud on the New Penguin edition of Shakespeare's Titus Andronicus.
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9

García-Periago, Rosa M. "The re-birth of Shakespeare in India: celebrating and Indianizing the Bard in 1964." Sederi, no. 22 (2012): 51–68. http://dx.doi.org/10.34136/sederi.2012.3.

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While the Tercentenary of Shakespeare’s death (1916) was hardly celebrated in India and marked the beginning of a period in which Shakespeare was hidden, the Quartercentenary of his birth (1964) spawned a large number of collections, theatre performances and even exhibitions to pay homage to the Bard. Although a special issue of the journal Indian Literature published in 1964 contributed to the re-emergence of Shakespeare, the most revolutionary projects in the making of a vernacular Shakespeare occurred on the Indian stage via Utpal Dutt’s Shakespearean productions in Bengali. Following Arjun Appadurai, this paper argues that Utpal Dutt’s Bengali theatre productions in 1964 participate in a “decolonization” of Shakespeare, consisting in liberating Shakespeare “the text” and Shakespeare “the author” from the bonds of the empire, from restrictive colonial associations. Two out of his three theatre performances produced in 1964 – Romeo and Juliet and Julius Caesar – are symptomatic of the effects of “glocalizing” the Shakespearean texts since the original place names and names of the characters are combined with the Bengali language and some unavoidable localization. Thus, Shakespeare’s Quartercentenary in India not only saw the re-emergence of the Bard, but also took its first steps in his indigenization.
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10

Holland, Peter. ""A Kind of Character in thy Life": Shakespeare and the Character of History." Sederi, no. 23 (2013): 7–31. http://dx.doi.org/10.34136/sederi.2013.1.

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This article explores the early modern concept of “character” – and Shakespeare’s use of the word – as a way to rethink the nature of Shakespearean biography. Through the material of evidence of Shakespeare’s character, his writing, I turn to the figuring of “history” in Shakespeare’s plays, the writing of letters (leaving traces of characters as writing), before finally imaging a different kind of Shakespeare biography.
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Більше джерел

Дисертації з теми "Shakespearean studies"

1

Adey, Helen Louise. "The Shakespearean criticism of Ludwig Tieck : conception and creation." Thesis, University of Cambridge, 1987. https://www.repository.cam.ac.uk/handle/1810/250901.

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2

Blackwell, Anna. "The contemporary Shakespearean actor as the site of adaptive encounter." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11079.

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This thesis investigates the cultural uses and implied signifying practices of the work of actors who are popularly and frequently described as 'Shakespearean.' Though ubiquitous figures within culture, there is a dearth of criticism which questions what qualities are invoked in the use of the term ‘Shakespearean’ and what implicit judgements of value or taste, class or cultural function are at work in its attribution. Although works such as Carol Chillington Rutter’s Clamorous Voices have analysed the figure of the female Shakespearean, moreover, the male Shakespearean remains largely an unexplored site of meaning and definition. It is this focus on the body of the actor which represents my original contribution to knowledge. Indeed, despite the preponderance of actor-based studies in Film Studies or, indeed, Theatre Studies, Adaptation Studies has been slow to locate the body as an adaptive site; concentrating instead upon themes, authors, the work of directors or, more recently, the influence of production factors. My thesis argues for the Shakespearean actor as a site of adaptation, positing it as a conduit for the transferable commdity value which is ‘Shakespeare’ and thereby considering the differences which may occur in the production of meaning as the Shakespearean actor moves between cultural hierarchies: from ‘high’ to ‘low’, or mainstream culture. An essential part of this thesis and an aspect which further argues for its contribution to this field is, therefore, analysis of popular cultural texts which have largely been ignored by adaptation critics. Although figures such as Richard Burt have recognised the value of popular or counter-cultural texts for an understanding of Shakespeare’s far-reaching and often surprising influence, the more tangential work in the Shakespearean actor’s filmography provide equally valuable ground to mine. An understanding of a Shakespearean actor’s cultural function is thus served by critiquing their mainstream films as well as their more documented Shakespearean oeuvre. By focusing on the implicitly multidirectional possibilities of adaptation as a process, I explore what values the ‘Shakespearean’ holds in contemporary culture and whether these maintain a popular perception of the Shakespearean actor as a representative of conservatism, elitism and ‘high’ culture. Or, whether the Shakespearean actor contains the potential for subverting some of the associations which Shakespeare’s legacy has accrued over time.
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3

Anderson, Amy. "Shakespearean Spin-Offs: Mindless Entertainment or Conversations with Critics." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001965.

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4

Al-Bassam, Sulayman. "Adapting Shakespearean drama for and in the Middle East : process and product." Thesis, University of Hertfordshire, 2018. http://hdl.handle.net/2299/21087.

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This dissertation chronicles the development of a series of plays, collectively referred to as The Arab Shakespeare Trilogy, from the perspective of their playwright Sulayman Al-Bassam. Together, The Al-Hamlet Summit (2002-2005), Richard III, An Arab Tragedy (2007-2009), and The Speaker's Progress (2011-2012) register the eruptive social, political, and cultural contexts of the Arab world during the first decade of the twenty-first century while negotiating the adaptation of Shakespeare's plays to a form thought-provoking and entertaining to audiences both within and outside the Middle East. The document outlines the inception of the project, which includes both personal and historical context, and provides more specific commentary on the production of each play individually. In addition to its focus on the specific impact of 9/11, and its global consequences, on the development of these dramatic works, it attends to topics including the technical and ideological challenges of linguistic and cultural translation, the adaptation of Shakespeare in Arabic theatre, the politics of art and drama in the Arab world, and the involvement of art in the shaping of the ethics of cross-cultural representation. Of particular interest are the linguistic conditions bearing upon the adaptation of English language texts into multi-lingual and cross- cultural works, the effects of the globalisation of politics and media, and the international touring life of the plays between the Arab region and wider world. The play texts of the Trilogy make up the second part of the document. The methodology of this dissertation deploys historical contextualisation, autobiographical memoir, literary analysis and creative improvisation. The play-texts are dramatic adaptations of specific Shakespeare texts to the Arab world.
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5

Walsh, James Jason JR. "American Hamlet: Shakespearean Epistemology in Infinite Jest." Cleveland State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=csu1409079425.

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6

Mezghanni, Miriam. "Unsettling heroines : towards a cognitive poetics exploration of power dynamics (Ophelia, Lady Macbeth, Desdemona and Cleopatra as case studies)." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30015.

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L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearien
The Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism
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7

Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.

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Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.
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8

Lighthill, Brian. "Can selected Shakespearean stories impact on personal and social development? : seven case studies at Key Stage 3." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/46811/.

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This longitudinal study provides a critique of current delivery of PSHFE and Citizenship lessons and offers an original transdisciplinary approach to these learning-for-life subjects. Using action research methodologies, the study investigated whether selected Shakespearean stories could stimulate Socratic discussions on the decisions made by the characters. Then, in parallel with the topics on the PSHFE and Citizenship curricula, the students philosophised on alternative ways of thinking and acting and vicariously develop their own social and moral reasoning. The research design was based on the eclectic ‘bricoleur’ model developed by Kincheloe and Berry (2004) and was supported by both quantitative and qualitative analyses. In order to capture the complexity of measuring the impact of Shakespearean stories a threetiered research template was designed. Based on the response to neo-Kohlbergian conundrums discussed in the thrice-yearly home interviews, the informers’ personal and social development (PSD) was assessed using Kohlberg’s ‘six stages in moral reasoning’ as a measuring stick. Then, having triangulated the PSD variations from other sources, ‘partial connections’ (Law, 2007, p.155) were sought between the Shakespearean stories used in the action research and the informers’ PSD. Case study analyses indicate that, for the majority of the informers, partial connections were made between the Shakespearean stories and their PSD during KS3. The boundary set by this investigation was that the case studies consisted of seven randomly selected informers based in one school. However, the aforementioned quantitative studies were used to establish the representability of the students to the wider population. The action research offered nine interpretive discoveries which could contribute to more effective delivery of PSHFE and Citizenship. The key conceptual discovery was that PSHFE and Citizenship need another kind of pedagogic approach if they are to help develop empathetic and active citizens - an approach which would move the teacher/student relationship towards a facilitator/student partnership and have ramifications for teacher recruitment and training.
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9

MONTANINO, FRANCESCA. "The Merchant of Venice sul palcoscenico della Storia. Interpretazioni regie riscritture." Doctoral thesis, Università di Siena, 2018. http://hdl.handle.net/11365/1051350.

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Анотація:
La mia ricerca analizza la storia scenica di The Merchant of Venice dal Settecento fino alla nostra contemporaneità. Nella schiera dei classici shakespeariani, il Merchant si colloca senza dubbio tra i più problematici: si tratta di certo di una delle commedie più rappresentate nel mondo, tuttavia il motivo principale della sua attrattività, e al tempo stesso la ragione delle sue complessità, non si ritrova negli elementi connotanti il genere a cui appartiene (trionfo dell’amore romantico sull’antagonista, equivoci, travestimenti e smascheramenti, ecc…), ma nelle ambiguità e contraddizioni che trascendono la struttura del plot. Per questo è stata molto spesso oggetto di operazioni di riscrittura, teatrale o di altro genere, a partire dal primo Settecento fino ai giorni nostri. Molto spesso, in queste pagine come nel destino del Merchant, il centro della riflessione finisce per coincidere con il personaggio di Shylock: l’ebreo shakespeariano - villain estremamente sui generis, per quella sua capacità di trascendere, con il suo dramma concreto e vibrante, il proprio ruolo di oppositore al lieto fine - sopravvive alla memoria dell’opera stessa, diventando una sorta di archetipo per un eterno dibattito sulla questione ebraica. Inevitabilmente molta della fama del play shakespeariano coincide con quella del suo personaggio: Shylock mette in crisi gli equilibri della commedia, e il racconto della sua disfatta diventa spesso il fulcro drammaturgico, a cui gli innamorati di Belmont fanno da pallido contraltare. Il dibattito sull’antisemitismo influenza fortemente la percezione del Merchant fin dall’epoca moderna, e tantissime riscritture sono motivate dalla volontà di redimere il personaggio dalla sua immagine stereotipata, o al contrario di condannarlo definitivamente. Anche quando le rielaborazioni contemporanee si riappropriano della pluralità di punti di vista, presentando il Merchant come un dramma corale, l’ebreo e la sua disfatta emergono sempre in primo piano. Del resto, puntualizza il critico del “New Yorker” Alan Dopkin, “a production of The Merchant of Venice that treats Shylock as anything other than the most interesting person in the play will always fail.” In un percorso che ha il suo centro nell’esperienza teatrale, ho tuttavia cercato quanto più possibile di allargare la visione ad altri linguaggi artistici (letteratura, cinema, poesia), sottolineando le peculiarità di ogni riscrittura alla luce degli scenari sociali e politici in cui si colloca. Gran parte del lavoro si è focalizzato quindi sul confronto tra il testo shakespeariano e le sue rielaborazioni, intese nel senso più ampio di ‘trasformazioni’ (copioni, libri di regia, testi drammaturgici o letterari autonomi, opere filmiche) con l’intento di mettere in evidenza i cambi di prospettiva, gli elementi di continuità e i punti di rottura, i cambiamenti sociali e culturali di cui ogni esperienza è in qualche modo espressione.
The Merchant of Venice is undoubtedly one of the most problematic of Shakespearean classics: one of the main reason of its attractiveness and complexity could be found in the ambiguities and contradictions that overwhelmed the structure of the plot. The attempt to investigate such a complex play is the driving force for its many rewritings from the early eighteenth century to nowadays. The research covers almost four centuries of stagings, adaptations and appropriations, identifying the aims that leaded actors, directors and writers to re-read the play through the lens of the present. Despite the research had been particularly focusing on some selected theatrical experiences, the discussion includes other artistic languages as well (literature, cinema, poetry), underlining the peculiarities of each work in relation to the social and political scenarios wherein it spread out. The research proceeds comparing the original Shakespeare’s text with many of its ‘transformations’ (scripts, acting versions, novels, films, etc…) in the attempt to highlight the elements of continuity as well as the breakpoints, the social and cultural changes which emerge from each of these adaptations.
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Molz, Johannes [Verfasser], and Helge [Akademischer Betreuer] Nowak. "A close and distant reading of Shakespearean intertextuality : towards a mixed method approach for literary studies / Johannes Molz ; Betreuer: Helge Nowak." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1210861704/34.

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Книги з теми "Shakespearean studies"

1

1943-, Occhiogrosso Frank, ed. Shakespearean performance: New studies. Madison [N.J.]: Fairleigh Dickinson University Press, 2007.

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Frye, Northrop. Fools of time: Studies in Shakespearean tragedy. Toronto: University of Toronto, 1985.

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Lynch, Stephen J. Shakespearean intertextuality: Studies in selected sources and plays. Westport, Conn: Greenwood Press, 1998.

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The Shakespearean International Yearbook: Volume 4: Shakespeare Studies Today. London: Taylor and Francis, 2017.

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5

Gurr, Andrew. The Shakespearean stage, 1574-1642. 4th ed. Cambridge: Cambridge University Press, 2008.

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M, Richmond Hugh, ed. Shakespeare and the Renaissance stage to 1616: Shakespearean stage history 1616 to 1998 : an annotated bibliography of Shakespeare studies, 1576-1998. Asheville, NC: Pegasus Press, 1999.

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7

Mydla, Jacek. The Shakespearean tide: Studies in the dynamics of human time = Szekspirowski przypływ : rozważania nad dynamiką ludzkiego czasu = Shakespeares Zustrom : die Überlegungen über die Dynamik der menschlichen Zeit. Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2012.

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8

Straznicky, Marta. Shakespeare's stationers: Studies in cultural bibliography. Philadelphia: University of Pennsylvania Press, 2013.

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9

Shakespeare's earliest tragedy: Studies in Titus Andronicus. Madison: Fairleigh Dickinson University Press, 1996.

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Shakespeare's universal wolf: Studies in early modern reification. Oxford: Clarendon Press, 1996.

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Частини книг з теми "Shakespearean studies"

1

Sami, Karma, and Monika Smialkowska. "Culture and Colonialism: The 1916 Shakespeare Tercentenary in Egypt." In Palgrave Shakespeare Studies, 89–115. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84013-6_4.

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AbstractThe 300th anniversary of William Shakespeare’s death in 1916 coincided with an unprecedented political crisis across the globe. The outbreak of the First World War in 1914 brought to the fore the ambitions of the established and would-be colonial powers, conflicts between and within existing nation states, and disenfranchised groups’ aspirations for self-determination. Recent scholarship has demonstrated how the 1916 Shakespearean commemorations in countries such as Britain, Germany, Ireland, and the USA registered these political upheavals. However, research into the Shakespeare Tercentenary has so far neglected Egypt’s complex response to the occasion. Amidst developing political tensions, which were to culminate in the Revolution of 1919, Egyptian intellectuals nevertheless chose to commemorate Shakespeare’s Tercentenary. These commemorations, however, were marked by ambivalence: while expressing admiration for Shakespeare, Egyptian commentators questioned the appropriateness of celebrating an English writer instead of promoting Egypt’s, and the Arabs’, own national literature. This chapter examines the manifestations of these conflicting feelings, ranging from the heated press debates surrounding the occasion, through Cairo University’s celebrations, to tributes published by individual intellectuals, such as Ahmad Lutfi al-Sayyid and Mohammed Hafiz Ibrahim. In doing so, the chapter explores the ambiguities created by celebrating a cultural anniversary at a historical moment fraught with acute colonial tensions.
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King, Edmund G. C. "From Common Reader to Canon: Memorialising the Shakespeare-Reading British Soldier During the First World War." In Palgrave Shakespeare Studies, 35–64. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84013-6_2.

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AbstractIn 1916, at the same time as Shakespearean tercentenary addresses were claiming that Shakespeare epitomised British national ideals, numerous press dispatches ‘from the field’ appeared in British newspapers seeming to prove the existence of a large audience of Shakespearean readers among those fighting for those ‘ideals’ in active zones. This chapter examines some of these claims. It asks how the image of the Shakespeare-reading soldier was deployed within book-trade and charity publicity and capitalised upon by educators and other members of Britain’s cultural and intellectual elites. It assesses the ways in which press anecdotes about soldiers reading the classics contributed to larger discourses of national identity and cultural and aesthetic mobilisation. Finally, it asks how these accounts may have contributed to the conflict’s transmutation into a ‘literary war’ in post-war collective memory, one in which literature came to assume an outsized role in how the conflict was subsequently memorialised.
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Britton, Dennis Austin. "Ain’t She a Shakespearean: Truth, Giovanni, and Shakespeare." In Early Modern Black Diaspora Studies, 223–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76786-4_12.

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Lupton, Julia Reinhard. "Shakespearean Softscapes." In The Return of Theory in Early Modern English Studies, Volume II, 143–64. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137351050_8.

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Demeter, Jason, and Ayanna Thompson. "Shakespeare and Early Modern Race Studies." In The Shakespearean World, 574–89. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315778341-34.

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Armstrong, Emma, and Joe Stathers-Tracey. "Lighting up Shakespeare." In Colour Studies, 397–412. Amsterdam: John Benjamins Publishing Company, 2014. http://dx.doi.org/10.1075/z.191.26arm.

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Pechter, Edward. "Shakespeare Studies and Consciousness." In Shakespeare and Consciousness, 43–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-59541-6_3.

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Johnson, Keith. "From oxcart to computerLexical studies." In Shakespeare’s Language, 71–89. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315303079-5.

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Hansen, Adam. "Curating Shakespeare in the North." In Palgrave Shakespeare Studies, 249–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84013-6_10.

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Smialkowska, Monika, and Edmund G. C. King. "Introduction: Memorialising Shakespeare, Memorialising Ourselves." In Palgrave Shakespeare Studies, 1–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84013-6_1.

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Анотація:
AbstractThis introductory chapter starts by situating Shakespeare commemoration in the context of recent theory on cultural and collective memory. It then examines the relationship between literary memorialisation and the nation state before problematising commemoration events outside Europe in the context of postcolonial and decolonial theory. Commemoration events have become fraught, it suggests, because of a growing tendency to focus on the politics of the present. This presentist position, which typically represents the values and interests of the past and present as radically opposed to one another, presents challenges for traditional modes of memorialisation, which in the past have sought to demonstrate positive links and continuities between the literatures and cultures of past and present. The introduction concludes with a set of detailed summaries of the chapters in the volume.
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Тези доповідей конференцій з теми "Shakespearean studies"

1

Philippova, D. K. "RUSSIAN TRANSLATIONS OF SHAKESPEARE’S TRAGEDY «HAMLET»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-67.

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Torkut, N. M., and N. V. Gutaruk. "Metaphorical concept of child in Shakespeare’s sonnets." In PHILOLOGICAL SCIENCES AND TRANSLATION STUDIES: EUROPEAN POTENTIAL. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-261-6-24.

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Philippova, D. K. "SYMBOL AND CONCEPT: «HAMLET» BY W. SHAKESPEARE AS A TRAGEDY ABOUT TIME." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-93.

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WANG, Yi-Meei, and Tung-Jung SUNG. "The study on color image of Shakespeare’s Measure for Measure costume design." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-04_012.

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Zhang, Yingchun. "A Study of Female Consciousness in Shakespeare’s The Taming of the Shrew." In 2020 International Conference on Language, Communication and Culture Studies (ICLCCS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210313.059.

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"The Throne As a Coffin in Shakespeare’s Hamlet and Al-Maijdi’s Hamlet Without Hamlet." In 10th International Visible Conference on Educational Studies and Applied Linguistics. Tishk International University, 2019. http://dx.doi.org/10.23918/vesal2019.a13.

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Suponitskaya, Ksenia. "Reading Shakespeare: the Character of Ophelia in the Works by Valery Gavrilin." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.160.

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