The hall and the hamlet, or, Scenes and characters of country life /

Mode of access: Internet.

Illustrated catalogue of the pictures, &c. in the Shakespeare Memorial at Stratford-upon-Avon,: With historical and descriptive notes ...

Cover date: 1912.

A treatise on church discipline : taken, principally, from the writings of Robert Barclay, William Penn, and Isaac Pennington /

Mode of access: Internet.

Notes of Ben Jonson's conversations with William Drummond of Hawthornden,

Mode of access: Internet.

The age of Shakespeare /

Publisher's advertisement ([1] p.) at end, 3rd grouping.

The common creed of Christians : studies of the Apostles' creed /cby William Pierson Merrill.

Mode of access: Internet.

Shakespeare's England,

Twenty-two pieces, commemorating visits in 1877 and 1882; being a republication, with slight alterations, of the author's "Trip to England" and "English rambles." cf. Pref.

Shakespeare and his love; a play in four acts and an epilogue.

First edition.

1954 University of Michigan Football Team

University of Michigan Men's Tennis Team, 1954

Back Row: coach William Murphy, Robert Nederlander, Robert Paley, Peter Paulus, Robert Sassome

Front Row: captain Al Mann, Ron Morgan, Robert Mitchell, Robert Moore

William Blount.

"Critical essay on authorities": p. [353]-368.

The Commodification of Queer Virgins in Shakespeare, Spenser, and Keats

The purpose of this thesis was to explore selected works from William Shakespeare, Edmund Spenser, and John Keats, in order to expose textual instances of feminist thought. This analysis was aided with feminist theorists falling under the main strains of queer theory, materialism, and gender performance. Specifically, this thesis focused on the ways in which women, particularly virgin daughters, were viewed as property by their male kin. It also looked at how these women engaged in various symbolic masquerades and/or actual cross-dressing as a response to the aforementioned phenomenon. Finally, the thesis exposed how these masquerades can be construed as a queering of identity—manifested through reversals of power and rejection of patriarchal institutions like marriage.

Idleness and passion: Hamlet's tragic character in the light of stoicism and medieval Christian philosophy

This thesis explores the character of Hamlet in Shakespeare's same-titled work in the light of certain aspects of stoicism and medieval Christian philosophy. Throughout the course of the play we see Hamlet struggling with his thoughts. At first he deliberates without taking action as a consequence of his reasoning, but in the later stages of the play he gives in to passion, which ultimately leads to his own demise. The thesis gives an account of certain aspects of both philosophies that are displayed in the play and shows how those ideas influence the character of Hamlet and contextualize his personal tragedy. Hamlet fails to follow the philosophies that he praises and to grow as a character by overcoming his passions over the course of the play.

Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.