"The Revolutionary Portrayal of Shakespearean’s Virtuous Female in King Lear& Romeo and Juliet: A Feminist Study"

2019 ◽  
Vol 6 (1) ◽  
pp. 349-368
Author(s):  
أسماء أيوب عبد العزيز
Keyword(s):  
King Lear ◽  
Romeo And Juliet ◽  
Feminist Study

scholarly journals Identity in Shakespeare

2012 ◽  
pp. 33
Author(s):  
Jay L. Halio
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Twelfth Night ◽  
Her Family ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Course Of Action ◽  
Self Knowledge ◽  
Antic Disposition

This paper surveys the problems of identity in a number of Shakespeare’s plays, such as The Taming of the Shrew, The Comedy of Errors, As You Like It, Twelfth Night, The Merchant of Venice, Romeo and Juliet, Hamlet, and Othello. In these plays as in many others, Shakespeare explores the complexity of identity, not only through the use of disguise, as in the major comedies, but also through the problems of self-knowledge. The latter issue is prominent and explicit in King Lear when, for example, Lear asks “Who is it that can tell me who I am?” The opening words of Hamlet, “Who’s there?” introduce the problem from the outset, and much of the play is given over to characters trying to discover who the others in the play really are. Is the Ghost an honest ghost, or “a goblin damned?” Is Hamlet really mad or just putting on an “antic disposition” as he struggles to discover his proper course of action as his father’s avenger? Is Kate really a shrew, or just made to act like one by her family and others?

The End of the Beginning

2018 ◽  
Author(s):  
Charlotte Scott
Keyword(s):  
Early Modern ◽  
Free Will ◽  
Young Subject ◽  
King Lear ◽  
Romeo And Juliet ◽  
Titus Andronicus ◽  
The Status

Developing Chapter 2’s interest in forms of obligation and authority, Chapter 3 extends its focus to the tragedies and the spaces that children occupy in relation to their parents. Providing new readings of Romeo and Juliet, Titus Andronicus, and King Lear, Chapter 3 explores the status of the child, not as a necessarily young subject, although many of Shakespeare’s children are, but in relation to early modern forms of obligation. Looking at contemporary parenting manuals, pedagogic texts, and household manuals, this chapter puts some of Shakespeare’s tragic children within the contexts of authority and supplication. Understanding the term ‘child’ as descriptive of the human’s relation to God, Chapter 3 explores the different forms that subjection takes in the tragic imagination. Attending to free will in Romeo and Juliet, infantilism in Titus, and supplication in Lear, this chapter shows the significance of the ties that bind one human to another.

Authorial Revision in the Tragedies

2016 ◽  
Author(s):  
Paul Werstine
Keyword(s):  
Nineteenth Century ◽  
King Lear ◽  
Documentary Evidence ◽  
Romeo And Juliet ◽  
The Difference ◽  
As If

Accepting that the controversy over Shakespeare’s possible revision of his tragedies has largely passed, this chapter explores the centuries-long speculation that the dramatist rewrote some of the works that are received as his greatest: Romeo and Juliet, Hamlet, Othello, and King Lear. Like today’s editors, their eighteenth- and nineteenth-century predecessors never found evidence persuasive enough to make the claim of authorial revision with certainty when there is variation between early printed texts of the tragedies, or even to tell the difference between such revision and possibly extra-authorial playhouse adaptation. Some recent editors’ decisions to edit the tragedies as if they could be known to have been rehandled by Shakespeare appear to arise principally from theory-driven motivations, in the absence of any evidence to support them and in the presence of documentary evidence that resists them.

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