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Title: THE SEXUALITY OF ANGELO, OTHELLO, AND ANTONY: ITS EFFECTS.
Creator: SCHOOLEY, DONNA MARIE., Florida Atlantic University, Nathan, Norman
Abstract/Description: The three men become examples of the devastating effects that occur when sexualities reflect a denial of natural expression (Angelo), a psychological insecurity that is played upon by a malevolent (Othello), and a vacillation between two contrary commitments (Antony). Angelo's sexuality is governed by a deep-seated repression fostered by the Puritan ethic. That of Othello demonstrates a psychological insecurity in relation to his sexual identity. And Antony's sexuality displays a paradox of...
Show moreThe three men become examples of the devastating effects that occur when sexualities reflect a denial of natural expression (Angelo), a psychological insecurity that is played upon by a malevolent (Othello), and a vacillation between two contrary commitments (Antony). Angelo's sexuality is governed by a deep-seated repression fostered by the Puritan ethic. That of Othello demonstrates a psychological insecurity in relation to his sexual identity. And Antony's sexuality displays a paradox of weakness and virtue. These effects of their sexuality are triggered by their relationships with Isabella, Desdemona, and Cleopatra respectively. This leads Angelo to lust and humiliation. It drives Othello to an uncharitable love that commits murder and ends in his suicide. And it causes Antony his vanquishment and suicide, but not before he realizes a true love. What follows is an exposition of their sexuality, its differentiation, and its effects upon the protagonists and those close to them.
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Date Issued: 1978
PURL: http://purl.flvc.org/fcla/dt/13923
Subject Headings: Shakespeare, William,--1564-1616--Characters, Shakespeare, William,--1564-1616--Othello, Shakespeare, William,--1564-1616--Antony and Cleopatra, Shakespeare, William,--1564-1616--Measure for measure
Format: Document (PDF)

Title: THE TRAGEDY OF AMBITION IN THE FIRST AND SECOND TETRALOGIES OF SHAKESPEARE'S HISTORY PLAYS.
Creator: CREWS, JAMES MCRAE, JR., Florida Atlantic University, Nathan, Norman
Date Issued: 1970
PURL: http://purl.flvc.org/fcla/dt/13632
Subject Headings: Shakespeare, William,--1564-1616--Histories, Shakespeare, William,--1564-1616--Criticism and interpretation, Ambition
Format: Document (PDF)

Title: THE GHOST IN "HAMLET": A CULTURAL APPROACH.
Creator: NIXON, DAVID HALL., Florida Atlantic University, Nathan, Norman
Abstract/Description: Uncertainty about the Ghost's role lies at the heart of controversy over Hamlet. No previous study has established the Ghost's full significance as a focus for ethical conflict. Eschewing assumptions that the Ghost must be an instrument of God or Satan, the text is given a closer look. A Herculean image keys the exploration of Old Hamlet's voluntary ghostly appearances in heroic conflict with purgatory. Parallels of this feat with Hercules' harrowing of Hades reinforce the bearing of that...
Show moreUncertainty about the Ghost's role lies at the heart of controversy over Hamlet. No previous study has established the Ghost's full significance as a focus for ethical conflict. Eschewing assumptions that the Ghost must be an instrument of God or Satan, the text is given a closer look. A Herculean image keys the exploration of Old Hamlet's voluntary ghostly appearances in heroic conflict with purgatory. Parallels of this feat with Hercules' harrowing of Hades reinforce the bearing of that image. An expiatory mask implies purgatorial sanction for restoring universal order. But that concept proves ironic, a cultural mirror for ghostly dissembling. Underlying conflict reverberates both in symbol and in ironic treatment of Hercules' role as a Renaissance analog of Christ. Revenge cannot be reconciled with Christ's rule of forgiveness; the conflict focused in Old Hamlet's bolt from purgatory implicitly reveals a Christian God as overseer of the play.
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Date Issued: 1978
PURL: http://purl.flvc.org/fcla/dt/13937
Subject Headings: Shakespeare, William,--1564-1616--Hamlet, Shakespeare, William,--1564-1616--Characters--Ghosts
Format: Document (PDF)

Title: Using a new historical approach in the Shakespeare classroom.
Creator: Brunner, Tracy Anne., Florida Atlantic University, Childrey, John
Abstract/Description: Two main approaches dominate the literature about and the practice of teaching Shakespeare. These include performance pedagogy and teacher led line by-line interpretation of the text. Although both methods have advantages, class performance can be difficult to manage and line-by-line interpretation tends to kill the text for students. Used in conjunction with other pedagogical methods, New Historical study allows students the freedom of pursuing their own interests without straying into...
Show moreTwo main approaches dominate the literature about and the practice of teaching Shakespeare. These include performance pedagogy and teacher led line by-line interpretation of the text. Although both methods have advantages, class performance can be difficult to manage and line-by-line interpretation tends to kill the text for students. Used in conjunction with other pedagogical methods, New Historical study allows students the freedom of pursuing their own interests without straying into overly personal territory. Most importantly, New Historicism can help students to ground difficult texts into more understandable historical contexts. A New Historical reading of Hamlet is included, discussing the ways in which everyday tensions about Queen Elizabeth I's reign are reflected in Hamlet's character, particularly in many of his actions or characteristics that we often consider interpretively problematic.
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Date Issued: 2003
PURL: http://purl.flvc.org/fcla/dt/13022
Subject Headings: Shakespeare, William,--1564-1616--Study and teaching, Shakespeare, William,--1564-1616--Hamlet, Shakespeare, William,--1564-1616--Criticism and interpretation, Historicism
Format: Document (PDF)

Title: TIME IN "ROMEO AND JULIET.".
Creator: RAUSCH, MARCIA SHIRLEY., Florida Atlantic University, Nathan, Norman
Abstract/Description: Time is a major theme in Shakespeare's tragedy of Romeo and Juliet, and time is the basis for the characterization, atmosphere, and plot in the tragedy. Each character's words depict his place in time-whether he is very young or very old. An atmosphere of time movement prevails continually in Romeo and Juliet with the imagery of lightness and darkness and of the heavens including the sun, moon and stars. All action in the plot depends on time--some situations occur too early, others occur too...
Show moreTime is a major theme in Shakespeare's tragedy of Romeo and Juliet, and time is the basis for the characterization, atmosphere, and plot in the tragedy. Each character's words depict his place in time-whether he is very young or very old. An atmosphere of time movement prevails continually in Romeo and Juliet with the imagery of lightness and darkness and of the heavens including the sun, moon and stars. All action in the plot depends on time--some situations occur too early, others occur too late. The story is compressed into a very few days so that time becomes most important. Shakespeare is concerned with time throughout the tragedy.
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Date Issued: 1982
PURL: http://purl.flvc.org/fcla/dt/14098
Subject Headings: Shakespeare, William,--1564-1616--Romeo and Juliet
Format: Document (PDF)

Title: Plato and Shakespeare: The Influence of Phaedrus and Symposium on A Midsummer Night’s Dream.
Creator: Urmi, Tahmina Begum, Stockard, Emily, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: Many scholars who study Plato and Shakespeare together focus only on erotic love between lovers or nonsexual love between others. A closer study of A Midsummer Night’s Dream shows that Shakespeare uses Plato’s concepts of the soul in addition to the Forms, the guide, as well as staging the varieties of love that can exist between two individuals and the dangers of loving the physical more than the mind. Shakespeare takes these ideas embedded in Symposium and Phaedrus and not only crafts his...
Show moreMany scholars who study Plato and Shakespeare together focus only on erotic love between lovers or nonsexual love between others. A closer study of A Midsummer Night’s Dream shows that Shakespeare uses Plato’s concepts of the soul in addition to the Forms, the guide, as well as staging the varieties of love that can exist between two individuals and the dangers of loving the physical more than the mind. Shakespeare takes these ideas embedded in Symposium and Phaedrus and not only crafts his play accordingly, but also creates his own versions through his unique interpretations. These alterations appear reflected in the play’s sequence of events, the characters’ actions, and the merging of the faerie and human realms.
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Date Issued: 2017
PURL: http://purl.flvc.org/fau/fd/FA00005937
Subject Headings: Dissertations, Academic -- Florida Atlantic University, Shakespeare, William, 1564-1616--Criticism and interpretation., Plato. Phaedrus., Plato. Symposium., Shakespeare, William, 1564-1616. Midsummer night's dream.
Format: Document (PDF)

Title: The gentle gender?: Shakespeare's Tamora and Lady Macbeth as models of revenge.
Creator: Fitzgerald, Jenna., Harriet L. Wilkes Honors College
Abstract/Description: Twelve years separate the plays Titus Andronicus and Macbeth and yet the similarities between Tamora and Lady Macbeth seem to indicate that the former served as a model for the latter female revenge character. Despite the many characteristics that connect the two powerful women, Shakespeare not only intensifies Tamora but questions her maternal traits, exaggerates her competition with the male characters, and replaces her motives for madness in order to create Lady Macbeth. While it is often...
Show moreTwelve years separate the plays Titus Andronicus and Macbeth and yet the similarities between Tamora and Lady Macbeth seem to indicate that the former served as a model for the latter female revenge character. Despite the many characteristics that connect the two powerful women, Shakespeare not only intensifies Tamora but questions her maternal traits, exaggerates her competition with the male characters, and replaces her motives for madness in order to create Lady Macbeth. While it is often assumed that a female's identity is defined through her male counterpart, the opposite is true of the male characters in Titus Andronicus and Macbeth who are defined through the strength and personality of Tamora and Lady Macbeth, respectively. Analyzing the characteristics of these two women offers a new perspective on the characters, challenging the traditional observation that they are cruel and evil. Rather than viewing them as supernatural, controlling beings, my analysis allows the characters to simply be considered as driven, yet flawed women equal to the tragic heroes they encounter in the plays.
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Date Issued: 2008
PURL: http://purl.flvc.org/FAU/77665
Subject Headings: Characters, Tragedies, Literary style, Women in literature
Format: Document (PDF)

Title: The Mosaic Law in William Shakespeare's "The Merchant of Venice".
Creator: Kahl, Murray., Florida Atlantic University, Collins, Robert A.
Abstract/Description: Shakespeare's Merchant of Venice is examined on an allegorical level, with Shylock the Jew portrayed as representing the Mosaic Law, and Antonio the Merchant of Venice portrayed as a Christ figure who represents the New Law. The religious convictions of the era are presented by examining the works of Richard Hooker as representative of his milieu. Traditional religious theology, both Jewish and Christian, is examined to establish a basis for the battle that ensues. Evidence is presented to...
Show moreShakespeare's Merchant of Venice is examined on an allegorical level, with Shylock the Jew portrayed as representing the Mosaic Law, and Antonio the Merchant of Venice portrayed as a Christ figure who represents the New Law. The religious convictions of the era are presented by examining the works of Richard Hooker as representative of his milieu. Traditional religious theology, both Jewish and Christian, is examined to establish a basis for the battle that ensues. Evidence is presented to establish a Jewish presence in England prior to their admission by Oliver Cromwell. This presence is argued to have influenced Shakespeare in his writing and precipitates a battle in which the two opposing philosophies do battle. The sides are carefully drawn and a celestial battle takes place. The allegories are described and then used to define the antagonists in terms that fit their allegorical nature.
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Date Issued: 1989
PURL: http://purl.flvc.org/fcla/dt/14521
Subject Headings: Shakespeare, William,--1564-1616--Merchant of Venice, Judaism in literature
Format: Document (PDF)

Title: Time, space, and Shakespeare: Temporal and spatial disturbances at the point of cultural contact.
Creator: Murray, Jessica L., Florida Atlantic University, Low, Jennifer A.
Abstract/Description: Cultural geographic theory uses dramatic language (place ballets , time-space routines, temporal rhythms , etc.) to describe how humans sense and dwell in places. Because the theory contemplates human behavior enacted upon a stage, it is applicable to theater studies. This thesis asserts that Hamlet's, Othello's, and Antony's treacherous lifeworlds undermine their spatiotemporal senses and initiate quests similar to those described by Anne Buttimer as searches "for order, predictability, and...
Show moreCultural geographic theory uses dramatic language (place ballets , time-space routines, temporal rhythms , etc.) to describe how humans sense and dwell in places. Because the theory contemplates human behavior enacted upon a stage, it is applicable to theater studies. This thesis asserts that Hamlet's, Othello's, and Antony's treacherous lifeworlds undermine their spatiotemporal senses and initiate quests similar to those described by Anne Buttimer as searches "for order, predictability, and routine, as well as [...] for adventure and change" ("Grasping" 285). Hamlet's revenge plot is a pursuit of order and reclamation of his identity at Elsinore. Desdemona's murder is Othello's attempt to salvage his character, which he believed sullied by infidelity. Alexandria offers Antony a life opposite Rome's and sets him on a course of indecisiveness. These plays demonstrate that, at the point of cultural contact, routines are interrupted and identities destabilize. Tragically, the characters lose themselves in the turmoil.
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Date Issued: 2004
PURL: http://purl.flvc.org/fcla/dt/13141
Subject Headings: Human geography, Psychology, Comparative, Cognitive science, Time perception, Shakespeare, William,--1564-1616--Plays, Intersensory effects
Format: Document (PDF)

Title: Unearthing the witch: Diversion and device in Shakespeare's "The Tempest" and Middleton's "The Witch".
Creator: Hutcheson, Anna Capri., Florida Atlantic University, Low, Jennifer A.
Abstract/Description: Renaissance ideology positioned the witch as deviant and dangerous. Using common cultural perceptions, Shakespeare's and Middleton's dramas help both to define and to produce alternative notions of the witch. Analyzing the function of the witch as cultural icon reveals why the cultural community scapegoated certain women, particularly "wise women." These women were often older and unattached, uncanny in their powers of perception and unruly in their refusal to conform to societal norms. Such...
Show moreRenaissance ideology positioned the witch as deviant and dangerous. Using common cultural perceptions, Shakespeare's and Middleton's dramas help both to define and to produce alternative notions of the witch. Analyzing the function of the witch as cultural icon reveals why the cultural community scapegoated certain women, particularly "wise women." These women were often older and unattached, uncanny in their powers of perception and unruly in their refusal to conform to societal norms. Such women challenged the discourse of power employed by patriarchy. The Tempest requires the reader to read through Prospero's propaganda to examine his motive for vilifying Sycorax. In The Witch, the witch is associated with the "masterless woman" who, in defying masculine authority, inverts the status quo, transgressing established boundaries of acceptable behavior. The witches in both these plays mirror Renaissance mores and belief structures, exposing the hypocrisy behind their civilized facades.
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Date Issued: 2002
PURL: http://purl.flvc.org/fcla/dt/12909
Subject Headings: Shakespeare, William,--1564-1616--Tempest, Witches in literature, Middleton, Thomas,--d 1627--Witch
Format: Document (PDF)

Title: Reimaginging Shakespeare in the Young Adult Contemporary Novel.
Creator: Turchin, Jodi Lyn, Stockard, Emily, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description: This research focuses on how Young Adult (YA) novelists adapt Shakespeare’s plays to address the concerns of a contemporary teenage audience. Through the qualitative method of content analysis, I examined adaptations of the three most commonly read texts in the high school curriculum: Romeo and Juliet, Macbeth, and Hamlet. The research looked for various patterns in the adaptations and analyzed the choices made by the authors in aligning their texts to or deviating from the original plays. A...
Show moreThis research focuses on how Young Adult (YA) novelists adapt Shakespeare’s plays to address the concerns of a contemporary teenage audience. Through the qualitative method of content analysis, I examined adaptations of the three most commonly read texts in the high school curriculum: Romeo and Juliet, Macbeth, and Hamlet. The research looked for various patterns in the adaptations and analyzed the choices made by the authors in aligning their texts to or deviating from the original plays. A final chapter addresses practical classroom application in using adaptations to teach the plays to high school students.
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Date Issued: 2017
PURL: http://purl.flvc.org/fau/fd/FA00004995, http://purl.flvc.org/fau/fd/FA00004985
Subject Headings: Dissertations, Academic -- Florida Atlantic University, Shakespeare, William, 1564-1616--Adaptations--Fiction., Young adult fiction., Content analysis.
Format: Document (PDF)

Title: A JUNGIAN JOURNEY TO INDIVIDUATION IN "THE TEMPEST" (SHAKESPEARE).
Creator: ZUCKER, SCOTT., Florida Atlantic University, Faraci, Mary
Abstract/Description: The characterizations in The Tempest resemble the archetypes of the collective unconscious and appear to gather their momentum from Shakespeare's understanding of the individuation process. In depicting the unfolding dynamics of psychic change, the playwright anticipates Jung's theory of individuation by showing the compensatory influence these numinous figures have on the characters' conscious orientations as they move from separation to subsequent union. The characters' agitated and...
Show moreThe characterizations in The Tempest resemble the archetypes of the collective unconscious and appear to gather their momentum from Shakespeare's understanding of the individuation process. In depicting the unfolding dynamics of psychic change, the playwright anticipates Jung's theory of individuation by showing the compensatory influence these numinous figures have on the characters' conscious orientations as they move from separation to subsequent union. The characters' agitated and irrational responses to the archetypal manifestations are a reflection of the psychic division characteristic of the individuating mind. Harmony and reason are achieved as the characters heal their division by integrating the conscious contents of their projections. This enlarging of the personality and broadening of collective relationships transform The Tempest into a variation on the quest for individuation offering a psychic stage for the Jungian notions of process and renewal.
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Date Issued: 1985
PURL: http://purl.flvc.org/fcla/dt/14254
Subject Headings: Shakespeare, William,--1564-1616--Tempest, Jung, C G--(Carl Gustav),--1875-1961--Psychology, Individuation (Philosophy)
Format: Document (PDF)

Title: " Hover through the fog and filthy air": weather witching in Macbeth.
Creator: Clifford, Brooke., Harriet L. Wilkes Honors College
Abstract/Description: This paper examines early modern climatology in order to analyze a correlation between weather, witchcraft, and their combined effects on Shakespeare's Macbeth. Contemporary climactic patterns including hailstorms, tempests, and other unusual phenomena drastically affected not only England but much of Europe. Religious and scientific texts of the period examined links between weather phenomena and witchcraft, suggesting that the weather afflictions were caused by witchcraft. Shakespeare...
Show moreThis paper examines early modern climatology in order to analyze a correlation between weather, witchcraft, and their combined effects on Shakespeare's Macbeth. Contemporary climactic patterns including hailstorms, tempests, and other unusual phenomena drastically affected not only England but much of Europe. Religious and scientific texts of the period examined links between weather phenomena and witchcraft, suggesting that the weather afflictions were caused by witchcraft. Shakespeare incorporates this suggestion into Macbeth, as well, but takes the connection even further ; the witches in the play not only use their weather magic to afflict Scotland but also control the events of the play.
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Date Issued: 2012
PURL: http://purl.flvc.org/FAU/3359303
Subject Headings: Criticism and literature, Symbolism in literature, Witchcraft in literature, Witchcraft, History
Format: Document (PDF)

Title: Time, place, and agency in "Richard II".
Creator: Goddard, Jennifer Sunshine., Florida Atlantic University, Faraci, Mary
Abstract/Description: In Richard II, Shakespeare left lessons for us on the effects of speech acts by leaders on the public stage. The "I" in Richard's speeches is always new: "Thus play I in one person many people" (5.5.31). Recent theories of pardons and promises made in the public sphere call attention to the layers of voices, heretofore hidden, in the first-person utterances of Richard as he attempts to interrupt the rush of history toward vengeance. Employing speech-act theory, we discover today that...
Show moreIn Richard II, Shakespeare left lessons for us on the effects of speech acts by leaders on the public stage. The "I" in Richard's speeches is always new: "Thus play I in one person many people" (5.5.31). Recent theories of pardons and promises made in the public sphere call attention to the layers of voices, heretofore hidden, in the first-person utterances of Richard as he attempts to interrupt the rush of history toward vengeance. Employing speech-act theory, we discover today that Shakespeare lets each utterance create a new voice and history for England. Shakespeare gives Richard time to begin to speak and study the world that each "I" utterance produces. The play, known for its rich language, reveals even more voices behind the public face of a king about to die: a confessor, a subject, a prisoner, a Christian, a husband, and a soldier. In every syllable spoken as first-person speaker, Richard moves the audience in images of mirrors and music through a drama of attempts to study a life.
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Date Issued: 2004
PURL: http://purl.flvc.org/fcla/dt/13159
Subject Headings: Richard,--II,--King of England,--1367-1400., Great Britain--History--Richard II, 1377-1399., Speech acts (Linguistics), Semantics., Discourse analysis., Shakespeare, William,--1564-1616--Language.
Format: Document (PDF)

Title: William Shakespeare and Herman Melville: emotional manipulation through verbal performance.
Creator: Murphy, Nicole E., Harriet L. Wilkes Honors College
Abstract/Description: This thesis considers the role of two rhetoricians, Petruchio from William Shakespeare's The Taming of the Shrew and Captain Ahab from Herman Melville's Moby-DIck, and analyzes their use of verbal performances. BOth Petruchio and Captain Ahab use pathologically manipulative rhetoric to manipulate others emotionally. Through this manipulation, they attempt to gain control, power, and authority. While both Petrucio and Ahab appear to succeed in manipulating others, they actually fail. Petruchio...
Show moreThis thesis considers the role of two rhetoricians, Petruchio from William Shakespeare's The Taming of the Shrew and Captain Ahab from Herman Melville's Moby-DIck, and analyzes their use of verbal performances. BOth Petruchio and Captain Ahab use pathologically manipulative rhetoric to manipulate others emotionally. Through this manipulation, they attempt to gain control, power, and authority. While both Petrucio and Ahab appear to succeed in manipulating others, they actually fail. Petruchio attempts to manipulate Katherine, but fails to attain mental submission from her, and Captain Ahab attempts to manipulate the crew to pursue hunting the whale, but as the narrative progresses, the crew becomes too disillusioned with the hunt to be persuaded by Ahab's rhetoric. In conclusion, both Petruchio and Captain Ahab are unable to sustain rhetorical control, and they both fall into demagoguery, therby suggesting that while they are alike as rhetoricians, they both fail similarly as rhetoricians.
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Date Issued: 2012
PURL: http://purl.flvc.org/FAU/3359309
Subject Headings: Criticism and interpretation, Criticism and interpretation, Rhetoric, Oral communication
Format: Document (PDF)

Title: Silence, Expression, Manifestation: Developing Female Desire and Gender Balance in Early Modern Italian, English, and Spanish Drama.
Creator: Baccinelli, Mitchel, Conrod, Frédéric, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of Languages, Lingustics and Comparative Literature
Abstract/Description: Renaissance and Baroque drama offers a view into gender dynamics of the time. What is seen is a development in the allowed expression and manifestation of desire by females, beginning from a point of near silence, and arriving at points of verbal statement and even physical violence. Specifically, in La Mandragola by Niccolò Machiavelli, Romeo and Juliet by William Shakespeare, and Fuenteovejuna by Lope de Vega, there appears a chronological progression, whereby using desire and its...
Show moreRenaissance and Baroque drama offers a view into gender dynamics of the time. What is seen is a development in the allowed expression and manifestation of desire by females, beginning from a point of near silence, and arriving at points of verbal statement and even physical violence. Specifically, in La Mandragola by Niccolò Machiavelli, Romeo and Juliet by William Shakespeare, and Fuenteovejuna by Lope de Vega, there appears a chronological progression, whereby using desire and its expression as a metric in conjunction with modern concepts of gender and sexuality to measure a shift in relation to what is and is not allowed to be expressed by women.
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Date Issued: 2016
PURL: http://purl.flvc.org/fau/fd/FA00004717, http://purl.flvc.org/fau/fd/FA00004717
Subject Headings: Baroque literature -- Criticism and interpretation, Desire in literature, English literature -- Early modern, 1500-1700 -- Criticism and interpretation, Italian literature -- 17th century -- Criticism and interpretation, Machiavelli, Niccolò -- 1469-1527 -- Mandragola -- Criticism and interpretation, Shakespeare, William -- 1564-1616 -- Romeo and Juliet -- Criticism and interpretation, Spanish literature -- Classical period, 1500-1700 -- Criticism and interpretation, Vega, Lope de -- 1562-1635 -- Fuente Ovejuna -- Criticism and interpretation
Format: Document (PDF)

FAU Theses and Dissertations (13)	+ -
Honors Student Theses (3)	+ -

Dissertations, Academic -- Florida Atlantic University (2)	+ -
Shakespeare, William,--1564-1616--Criticism and interpretation (2)	+ -
Shakespeare, William,--1564-1616--Hamlet (2)	+ -
Shakespeare, William,--1564-1616--Tempest (2)	+ -
Ambition (1)	+ -

Baroque literature -- Criticism and interpretation (1)	+ -
Characters (1)	+ -
Cognitive science (1)	+ -
Content analysis. (1)	+ -
Criticism and interpretation (1)	+ -
Criticism and literature (1)	+ -
Desire in literature (1)	+ -
Discourse analysis. (1)	+ -
English literature -- Early modern, 1500-1700 -- Criticism and interpretation (1)	+ -
Great Britain--History--Richard II, 1377-1399. (1)	+ -
Historicism (1)	+ -
History (1)	+ -
Human geography (1)	+ -
Individuation (Philosophy) (1)	+ -
Intersensory effects (1)	+ -
Italian literature -- 17th century -- Criticism and interpretation (1)	+ -
Judaism in literature (1)	+ -
Jung, C G--(Carl Gustav),--1875-1961--Psychology (1)	+ -
Literary style (1)	+ -
Machiavelli, Niccolò -- 1469-1527 -- Mandragola -- Criticism and interpretation (1)	+ -
Middleton, Thomas,--d 1627--Witch (1)	+ -
Oral communication (1)	+ -
Plato. Phaedrus. (1)	+ -
Plato. Symposium. (1)	+ -
Psychology, Comparative (1)	+ -

Macbeth. (2)	+ -
Moby Dick. (1)	+ -
Taming of the shrew. (1)	+ -
Titus Andronicus. (1)	+ -

Electronic Thesis or Dissertation (13)	+ -
thesis (3)	+ -

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