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Articles 1 - 12 of 12
Full-Text Articles in English Language and Literature
Does Shakespeare Believe In Sudden Conversions For His Villains?, Robert B. Pierce
Does Shakespeare Believe In Sudden Conversions For His Villains?, Robert B. Pierce
Selected Papers of the Ohio Valley Shakespeare Conference
No abstract provided.
Knowing The World: Shakespeare On Travel In As You Like It And Othello, David Summers
Knowing The World: Shakespeare On Travel In As You Like It And Othello, David Summers
Selected Papers of the Ohio Valley Shakespeare Conference
No abstract provided.
Songs Of Salvation: Shakespeare’S Defense Of Performing Artists Through Secular Ballads In Three Plays, Latisha Dawn Fletcher
Songs Of Salvation: Shakespeare’S Defense Of Performing Artists Through Secular Ballads In Three Plays, Latisha Dawn Fletcher
English Theses
In many of Shakespeare’s comedies and romances, the “broadside,” or street ballad is the prominent musical form that the characters reference. The broadside transcended class boundaries and, unlike traditional songs, usually consisted of lyrics written by a known writer that were sung to a folk tune. The subject matter of these songs was seldom virtuous, and the inclusion of the somewhat unsavory street songs carries connotations beyond audience identification in Shakespeare’s work when viewed through a theological lens. The government-sanctioned Protestant religion was becoming more staunchly conservative in London, and what theater-goers would often have observed outside the Globe were …
"To You I Give Myself, For I Am Yours": Editorial Giving And Taking In Shakespeare's As You Like It, Jennifer Jean Thorup
"To You I Give Myself, For I Am Yours": Editorial Giving And Taking In Shakespeare's As You Like It, Jennifer Jean Thorup
Theses and Dissertations
In As You Like It 5.4.107-08 we receive Rosalind returning as herself”a woman”no longer in the guise of Ganymede, the boy page. Her first lines upon returning are repetitive: To you I give myself, for I am yours [To Duke Senior] / To you I give myself, for I am yours [To Orlando]. However, comparing Folio versions of these lines produces a provocative variant. In the third and fourth folios, these lines are no longer a repetitious patriarchal pledging, but a tender dialogic exchange "much like vows" between Rosalind and Orlando. While none of our modern Shakespeare editions make a …
Women Wooing Men, Aisha Elizabeth Ratanapool
Women Wooing Men, Aisha Elizabeth Ratanapool
UNLV Theses, Dissertations, Professional Papers, and Capstones
Although many early modern English plays portray women courting men, I contend that there are significant resonances between the methods of Rosalind, the female protagonist from a Shakespearean comedy, and those of the Duchess, from a Websterian tragedy. Rosalind and the Duchess woo, propose to, and arrange the marriage ceremony between them and their love interests. The witty dialogue which permeates the wooing scenes helps establish a strong mental connection between Rosalind and Orlando and the Duchess and Antonio. I examine the motives behind wooing and comparatively analyze the strategies of these female characters. Through this analysis, I present Rosalind …
Shakespeare's Art And Artifice: Passing For Real In As You Like It, Kristen Nicole Cardon
Shakespeare's Art And Artifice: Passing For Real In As You Like It, Kristen Nicole Cardon
Theses and Dissertations
Gender performativity, detailed by Judith Butler and accepted by most contemporary queer theorists, rests on an agentive model of gender wherein “genders are appropriated, theatricalized, worn, and done” (“Imitation and Gender Insubordination” 716). This academic orthodoxy is challenged, however, by the increasing presence of transgender persons joining the theoretical discourse, many of whom experience an essential gender as a central facet of their identity. I respond to Katie R. Horowitz’s recent modification of Butler’s theories—a theory of omniperformance to dissolve the distinction between performance and performativity, and thereby between artifice and “real life.” I argue that gender-as-art, a schema that …
“Much Virtue In If”: Ethics And Uncertainty In Hamlet And As You Like It, David Summers
“Much Virtue In If”: Ethics And Uncertainty In Hamlet And As You Like It, David Summers
Selected Papers of the Ohio Valley Shakespeare Conference
No abstract provided.
"Sit Back Down Where You Belong, In The Corner Of My Bar With Your High Heels On": The Use Of Cross-Dressing In Order To Achieve Female Agency In Shakespeare's Transvestite Comedies, Heather Lynn Wright
"Sit Back Down Where You Belong, In The Corner Of My Bar With Your High Heels On": The Use Of Cross-Dressing In Order To Achieve Female Agency In Shakespeare's Transvestite Comedies, Heather Lynn Wright
MA in English Theses
In taking on their male disguises, Viola (Twelfth Night ), Rosalind (As You Like It ), and Portia (The Merchant of Venice ) are able to transcend the confines of their social roles and achieve agency and voice as both females and males. With their male disguises, they gain power and agency as lower-class males and as aristocratic females. This power correlates to the fact that they are not fully male. Their female attributes, ideas, and nature (the essence of their femininity) still come through. They are limited and marginalized as women not because of their intelligence …
“Suit Me All Points Like A Man”: Gender And Performance In As You Like It And Richard Iii, Taylor Burns
“Suit Me All Points Like A Man”: Gender And Performance In As You Like It And Richard Iii, Taylor Burns
The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English
No abstract provided.
The Transforming Power Of Breeches: The Merging Of Rosalind's Two Selves In As You Like It, Stephanie Eddleman
The Transforming Power Of Breeches: The Merging Of Rosalind's Two Selves In As You Like It, Stephanie Eddleman
The Oswald Review: An International Journal of Undergraduate Research and Criticism in the Discipline of English
No abstract provided.
"That Reason Wonder May Diminish": As You Like It, Androgyny, And The Theater Wars, Grace C. Tiffany
"That Reason Wonder May Diminish": As You Like It, Androgyny, And The Theater Wars, Grace C. Tiffany
English Faculty Publications
No abstract provided.
Matter Made Even: As You Like It, Paul Nadler
Matter Made Even: As You Like It, Paul Nadler
Honors Papers
George Bernard Shaw, writing in 1890, complained that a new production of As You Like It had been ruined by the producer's having attempted to reduce the play's length by the common method of "cutting out a bit here and chunk there until the lines are few enough to fit. But somehow," he went on, "the shorter you make your play in this fashion, the more tedious it becomes."