WILLIAM SHAKESPEARE: HAND-LIST OF EDITIONS, COMMENTARIES, ETC., IN THE CENTRAL REFERENCE AND LENDING DEPARTMENTS

Mode of access: Internet.

A Compendious or briefe examination of certayne ordinary complaints of diuers of our countrymen in these our dayes : which although they are in some parte vnjust and friuolous, yet are they all by way of dialogue throughly debated and discussed by William Shakespeare, gentleman.

Reprint. Originally published: London : Thomas Marshe, 1581.

“By Looking Liking”: Baz Luhrmann's William Shakespeare's Romeo+Juliet

Twenty years since its release onto the big screen, Baz Luhrmann’s William Shakespeare’s Romeo+Juliet continues to attract viewers, divide critics and remain unchallenged, in a league of its own, when it comes to film adaptation of Shakespeare’s plays. This article begins with taking stock of reception directions which still dispute the field of film adaptation. Cued by Worthen’s “Performance Paradigm”, my argument positions Luhrmann’s film (his second at the time and the one to propel the Australian director into Hollywood fame) firmly in the cinematic and sees the film narrative not as opposed to the textual and/or spoken one, but as a complex citational practice developed at the level of oral, visual and written discourse.

Colonising Shakespeare? : agency and authority in Gregory Rogers's Shakespearean picture books

“You need to be able to tell stories. Illustration is a literature, not a pure fine art. It’s the fine art of writing with pictures.” – Gregory Rogers. This paper reads two recent wordless picture books by Australian illustrator Gregory Rogers in order to consider how “Shakespeare” is produced as a complex object of consumption for the implied child reader: The Boy, The Bear, The Baron, The Bard (2004) and Midsummer Knight (2006). In these books other worlds are constructed via time-travel and travel to a fantasy world, and clearly presume reader competence in narrative temporality and structure, and cultural literacy (particularly in reference to Elizabethan London and William Shakespeare), even as they challenge normative concepts via use of the fantastic. Exploring both narrative sequences and individual images reveals a tension in the books between past and present, and real and imagined. Where children’s texts tend to privilege Shakespeare, the man and his works, as inherently valuable, Rogers’s work complicates any sense of cultural value. Even as these picture books depend on a lexicon of Shakespearean images for meaning and coherence, they represent William Shakespeare as both an enemy to children (The Boy), and a national traitor (Midsummer). The protagonists, a boy in the first book and the bear he rescues in the second, effect political change by defeating Shakespeare. However, where these texts might seem to be activating a postcolonial cultural critique, this is complicated both by presumed readerly competence in authorized cultural discourses and by repeated affirmation of monarchies as ideal political systems. Power, then, in these picture books is at once rewarded and withheld, in a dialectic of (possibly postcolonial) agency, and (arguably colonial) subjection, even as they challenge dominant valuations of “Shakespeare” they do not challenge understandings of the “Child”.

Tiempo de Shakespeare: Vuelta de tuerca a la traducción de sus sonetos

Editoras Rosa Rabadán; Trinidad Guzmán; Marisa Fernández.

Applying the Paradigm: Shakespeare and World Cinema

The essay discusses films that have been made of the plays written by dramatist William Shakespeare, particularly films that were made outside of Great Britain and the U.S. The Chinese film "The Banquet," directed by Xiaogang Feng, is a retelling of Shakespeare's play "Hamlet." The film demonstrates how Shakespeare's play could be successfully repositioned to demonstrate problems in 21st century Asia.

The Birth of Shakespeare's Birthplace

"There is, indeed, little doubt,” the formidable scholar James Orchard Halliwell-Phillipps confidently explained to the Victorian readers of his Outlines of the Life of Shakespeare, “that the Birth-place did not become one of the incentives for pilgrimage until public attention had been specially directed to it at the time of the Jubilee.” That's broadly true. The earliest reference to the three-gabled, half-timbered house (two houses, originally) on Henley Street in Stratford-upon-Avon as the birthplace of William Shakespeare dates only from the late 1750s, when it was so named in Samuel Winter's town map. During the Stratford Jubilee, which David Garrick organized in 1769, the “small old house,” as the actor's first biographer called it, was fully recognized and promoted as the place where Shakespeare was born. Even so, Halliwell-Phillipps's observation conceals more than it reveals, because there is also little doubt that the dwelling that tradition calls Shakespeare's birthplace did not suddenly acquire that status during the first week of September 1769. The process by which the unremarkable piece of real estate that John Shakespeare purchased sometime in the late sixteenth century was transformed into what Barbara Hodgdon has rightly called the “controlling ideological center” of Shakespeare biography was long, slow, and far from inevitable. That process is the subject of this essay.

Variations on charisma : Shakespeare's saintly, villain, and lustful leaders

Variations on Charisma: Shakespeare’s Saintly, Villain, and Lustful Leaders est une étude des mécanismes du leadership charismatique dans Henry V, Richard III et Antoine et Cléopâtre de William Shakespeare, respectivement. Le mémoire explore certains outils, tels que la rhétorique, l'ironie et resignification, qui permettent aux dirigeants de gagner l'amour des disciples, la reconnaissance, et même la crainte. Cette thèse ne traitera pas avec l'essence du charisme en tant que telle, mais plutôt avec les techniques de leadership charismatique. Dans le premier chapitre, j'ai étudié le caractère du roi Harry dans trois différents aspects: en tant que chef militaire, en tant que chef spirituel, et comme un leader politique. Parmi les techniques de leadership charismatique qui déploie Henry V de gagner l'amour de ses disciples et de dévouement est rhétorique. La capacité de livrer le discours à droite dans la conjoncture à droite et à convaincre les adeptes, même dans les moments de difficultés formes sa force clé comme une figure centrale dans la pièce. Le deuxième chapitre traite du leadership charismatique Richard III, qui est évaluée sur le plan éthique parce qu'elle est acquise grâce à assassiner. J'ai essayé d'examiner les relations possibles qui pourraient exister entre le charisme et l'agence moral. Dans ce chapitre, j'ai soulevé des questions sur la mesure dans laquelle le charisme est d'ordre éthique et comment un chef de file, qui usurpes alimentation via assassiner, est charismatique. Une technique qui renforce le leadership charismatique de Richard est l'ironie. Richard III déploie l'ironie de gagner la complicité du public. Dans le troisième chapitre, l'accent est mis sur le caractère de Cléopâtre. La question soulevée dans le chapitre concerne la relation entre le charisme et la lutte pour une identité féminine orientale. politique sexuelle de Cléopâtre est également au cœur de mon étude, car il est revu et de nouveaux sens de Shakespeare d'une manière qui souligne les qualités charismatiques de Cléopâtre. Mots clés: le charisme, la rhétorique, l'agence morale, resignification, William Shakespeare

The North face of Shakespeare : activities for teaching the plays.

Libro dirigido a profesores de literatura inglesa y arte dramático, tanto en educación secundaria como en la universidad, para la enseñanza de las obras del dramaturgo inglés William Shakespeare con métodos activos en clase y en talleres de teatro. Contiene alrededor de doscientas actividades para la enseñanza de los textos de Shakespeare, desde la formación de grupos de trabajo, juegos y ejercicios teatrales, a técnicas prácticas para la enseñanza del lenguaje, la narrativa y los personajes del autor, que ayudarán a los alumnos a leer, entender y trabajar con su obra.

'Macbeth' de Shakespeare en el Colegio del Pilar : el G.T.A. aut??ntico Teatro de C??mara

Varias fotograf??as de la representaci??n de 'Macbeth', acompa??an al texto

23 de abril : Cervantes y el Inca Garcilaso

T??tulo anterior de la publicaci??n : Bolet??n de la Comisi??n Espa??ola de la UNESCO