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    Wyświetlanie 1-4 z 4
    Tytuł:
    Jaques and the Wounded Stag by William Hodges, Sawrey Gilpin and George Romney: (Re)Painting Shakespeare’s Melancholic Figure
    Autorzy:
    Laskowska-Hinz, Sabina
    Powiązania:
    https://bibliotekanauki.pl/articles/888687.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    As You Like It
    Jaques and the Wounded Stag painting
    Opis:
    The author argues that although William Shakespeare sometimes allows for minor inconsistencies in his plays, which more often than not pass unnoticed during their performances, he meticulously weaves their structures. In the course of analysing two examples of the playwright’s works, The Comedy of Errors and Much Ado About Nothing, the author suggests that in the former the Bard offers an hour-after-hour image of the fictional reality, whereas in the latter he not only provides us with a detailed account of the events placed within the calendar, but also seems to take advantage of this structure to suggest some hidden meaning.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 37-50
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Utopia, Arcadia and the Forest of Arden
    Autorzy:
    Paterson, Ronan
    Powiązania:
    https://bibliotekanauki.pl/articles/39762630.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare and utopia
    arcadia/utopia and the Forest of Arden
    transformative wilderness
    As You Like It
    Opis:
    In Utopia (1516) Thomas More created a humorous world with a serious purpose. His invented republic was a place where existing conventions and structures did not exist, allowing the positing of alternatives. The creation of alternative worlds which satirise or critique contemporary society is a technique employed by writers in most genres, in most periods and in most cultures. More’s work is interesting for us in this context at least in part because of the likelihood that Shakespeare was familiar with it. When he created The Forest of Arden in As You Like It, for some of the characters there are utopian elements in their experience of that place. But Arden is not only a putative Utopia. Arden also contains elements of the pastoral Arcadia, again drawing upon ancient precedents, but more recently explored by English poets Edmund Spenser in The Shepherd’s Calendar (1579) and Philip Sidney in The Countess of Pembroke’s Arcadia (1593). This article interrogates the use of Utopian and Arcadian elements in the creation of one of Shakespeare’s most complicated plays. Like More’s Utopia its intention is comic. Like Sidney’s poem it is romantic, but unlike both of them it is ultimately about returning to a real world, with new perceptions of who we are, not as a society but as individuals.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 147-164
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rosalind and "Śakuntalā" among the Ascetics: Reading Gender and Female Sexual Agency in a Bengali Adaptation of "As You Like It"
    Autorzy:
    Sarkar, Abhishek
    Powiązania:
    https://bibliotekanauki.pl/articles/648297.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    As You Like It
    19th-century Bengali theatre
    cross-dressed heroine
    female sexual agency
    Kālidāsa
    classical Sanskrit drama
    Opis:
    My article examines how the staging of gender and sexuality in Shakespeare’s play As You Like It is negotiated in a Bengali adaptation, Ananga-Rangini (1897) by the little-known playwright Annadaprasad Basu. The Bengali adaptation does not assume the boy actor’s embodied performance as essential to its construction of the Rosalindequivalent, and thereby it misses several of the accents on gender and sexuality that characterize Shakespeare’s play. The Bengali adaptation, while accommodating much of Rosalind’s flamboyance, is more insistent upon the heteronormative closure and reconfigures the Rosalind-character as an acquiescent lover/wife. Further, Ananga-Rangini incorporates resonances of the classical Sanskrit play Abhijñānaśākuntalam by Kālidāsa, thus suggesting a thematic interaction between the two texts and giving a concrete shape to the comparison between Shakespeare and Kālidāsa that formed a favourite topic of literary debate in colonial Bengal. The article takes into account how the Bengali adaptation of As You Like It may be influenced by the gender politics informing Abhijñānaśākuntalam and by the reception of this Sanskrit play in colonial Bengal.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 93-114
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Irish Bards in Shakespeares Richard III and As You Like it
    Irlandzcy bardowie w Ryszardzie III i Jak wam się podoba Szekspira
    Autorzy:
    Breeze, Andrew
    Powiązania:
    https://bibliotekanauki.pl/articles/1854142.pdf
    Data publikacji:
    2021
    Wydawca:
    Państwowa Wyższa Szkoła Zawodowa w Chełmie
    Tematy:
    Shakespeare
    Richard III
    As You Like It
    Ireland
    Bards
    Satire
    Celts
    Szekspir
    Ryszard III
    Jak wam się podoba
    Irlandia
    bardowie
    satyra
    Celtowie
    Opis:
    Shakespeare alludes twice to Irish bards. In Richard III, the king mentions a prophecy by one of his imminent death; in As You Like It, Rosalind jokes on how Irish bards can supposedly rhyme rats to death. Both refer to supposed bardic powers of seeing the future and of ritual cursing of enemies. A survey of the literature shows satire and prophecy as going back to ancient times. There is in addition ample material on the (sometimes deadly) eects of satire in medieval and later Ireland, where it is known from chronicles, legal tracts, handbooks of poetry, and various surviving poems. There are in addition comic tales on how bards exploited their power, including an eleventh-century one on King Guaire's Burdensome Company, wherein the poet SenchÆn rhymes to death certain mice that had spoiled an egg reserved for him. Shakespeare's references can thus be related to traditions well-known in Gaul and medieval (or early modern) Ireland and Scotland.
    Źródło:
    Language. Culture. Politics. International Journal; 2021, 1, 1; 129-136
    2450-3576
    2719-3217
    Pojawia się w:
    Language. Culture. Politics. International Journal
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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