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Of gods, heroes, and men : identity, orientation, and historical providence in ShakespeareFahmi, Mustapha January 2001 (has links)
Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.
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A Consideration of Some Linguistic Phenomena in Othello and King LearJones, Beulah Pender 05 1900 (has links)
This study was undertaken with the idea of determining to some extent the contribution of Shakespeare's linguistic peculiarities to his effectiveness.
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Medievalism in Shakespeare's HamletMcKenna, M. Bonaventure. January 1937 (has links)
Call number: LD2668 .T4 1937 M33
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The mythic significance of Shakespeare's The tempest as evidenced by its mythic quality and its adherence to models of established mythsCorrick, Annabelle Louise January 2010 (has links)
Digitized by Kansas Correctional Industries
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Shakespeare's childrenKrupski, Jadwiga January 1992 (has links)
No description available.
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Time imagery in Shakespeare's plays and poemsGrant, Arthur T. January 1953 (has links)
No description available.
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The interpretation of Shakespeare's Henry VDonnan, Betty Ann, 1921- January 1948 (has links)
No description available.
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An actor's approach to the title role in The tragedy of King LearSpies, William Eugene, 1923- January 1959 (has links)
No description available.
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A reinterpretation of Shakespeare's Troilus and Cressida in the light of modern criticismEnglish, Rosemary Joan, 1916- January 1941 (has links)
No description available.
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The Quarto of the Merry Wives of Windsor : a critical study with text and notes.Meadowcroft, James William Robert. January 1952 (has links)
It is my contention that those critics are right who hold that the Q text of the Merry Wives of Windsor is a reported text -- that is, that some stage of its transmission was memorial. I certainly cannot believe that Q represents a Shakespearian first draft and F a Shaskepearian revision, or that Q is a farce interlude adapted from F. Limitations of space prohibit discussion of the possibility that Q is a stenographic report. But the problem of Elisabethan shorthand has been thoroughly investigated by competent scholars, and their findings convince me that there was no contemporary system capable of reproducing the best reported parts of Q from performance in the theatre. Surely, on the basis of the shorthand theory, we should have to assume an extraordinarily low standard of accuracy in the actors of Shakespeare’s company to account for the wholesale memorial corruption also observable in Q. The only reasonable hypothesis seems to me to be that the ‘gross corruption, constant mutilation, meaningless inversion and clumsy transposition’ in Q are solely the result of inept memorial reconstruction. It is my further belief that Q is a report of an original in substantial agreement with the F text. I propose now to adduce fresh evidence pointing to the conclusion that the Q text is indeed memorial; at the same time attempting to show that the theories which represent Q as a first sketch of the F text or a farce interlude adapted from F are untenable. [...]
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