AnnotatedBibliography: "Richard III" by Shakespeare
WilliamShakespeare is by far the most famous poetand playwright of the last few centuries. His works have been studiedfar and wide assessing particular works such as the Robert III play.The current bibliography looks at four different articles discussingthe Richard III play where different authors assess various aspectsof the play from a literature angle. Specifically, the differentauthors generally analyze how Shakespeare’s style as a playwrightand wording on different passages in the play conjure differentimages on the audience and how they create ‘different’ knowledgeand images in the audience. As will be indicated, the articles usedifferent tones, languages and approaches to the same play.
Carlson,David. The Princes` Embrace in "Richard III" ShakespeareQuarterly, Vol. 41, No. 3
(Autumn,1990), pp. 344-347
Thisarticle compares the different wording on narrating the occurrencesof one incidence as told by two ballads by an Elizabethanballad-monger and romance-write, Richard Johnson and by Shakespearein Richard III text. The author notes some differences amongst thethree texts in narrating the events. On the similarities, there is noconclusive evidence on whether the texts borrowed from the other. Thearticle thus targets scholars in literature keen to emphasize on theimportance of choice of wording in creating knowledge.
Theauthor addresses literature enthusiasts and scholars to highlight theneed to be clear on language choices in narrating. Though the articleitself does not list the credentials of the author, similar articlesby the same author indicate that he is Professorof English and Adjunct Professor of Classical Studies at theUniversity of Ottawa, Canada. He presents his arguments in a rathercomplex language for laymen readers to follow. He employs freightingand telescoping to create long complex sentences, which, nonetheless,are within the grasp of undergraduate literature students.
Thearticle heavily borrows from other texts as indicated by the ratherlong footnotes. This is very essential for any research paper as itgives it the needed credibility and offers additional information forany additional research by the audience. This is in spite of thepaper being relatively brief but loaded. To break the monotony of thewriting, the author uses direct quotes from the ballads and alignsthem centrally as a poem would appear.
Packard,Bethany, Richard III’s Baby Teeth. RenaissanceDrama,Vol. 41, No. 1/2 (Fall 2013),
Thelanguage and tone used in this article makes it appealing to allliterature students. Just like the others discussed here, it makes apresumption that the audience is familiar with the play Richard III.The author, who only indicates his affiliation to TransylvaniaUniversity rightly labels the article alongside its thesis which isto show that Richard III’s baby teeth serve to authorize histransgression of moral, familial, and generational bounds as detailedby his persona and that of other children in the play. The text thusaddresses audiences of Richard III, the play.
Thearticle is concise and articulate in how the ideas are presentedmaking it an outstanding source in literature. The author shows hisanalytical mind in the manner that the text explores the actions ofRichard III and how he exploits his adult side and childish side tostick to the throne. Here, the author keenly highlights Shakespeare’sskills in building strong characters in simple language usingnumerous examples. This can mean that the text can be used in thegeneral literature studies of Shakespeare’s work. On presentation,the over 20 page paper is divided into just four subtopics. Thiscreates monotony in the paper as though direct quotations provideessential breaks.
Slotkinm,Joel Elliot, Honeyed Toads: Sinister Aesthetics in Shakespeare’sRichard III. The
Journalfor Early Modern Cultural StudiesVol. 7, No. 1 Spring/Summer 2007).
Thisarticle with a very formal format highlighted by an abstract exploresthe range of moral and aesthetic appeals used by Shakespeare increating an evil and ugly character in Richard III who issurprisingly a hero to many audiences. The author differs with manycritics of the play who argue such a response from audiences portrayssocietal moral decay to claim that Richard III is Shakespeare’s useof “sinister aesthetic”. In presenting the argument, the languageis easy and the author takes time to explain the play and charactersshowing that he targets a wider audience even that unfamiliar withthe play. Most importantly, the article can contribute well tocotemporary discussions of film and TV viewers aping movie heroes.
Althoughthe text does not indicate the author’s credentials, the use of endnotes and references widely give the paper a lot of scholarly supportin terms of research conducted by the author. Additionally, use ofsubheadings and quotations from the play break monotony in the over20 pages paper. Despite the formal tone of the paper, the authoremploys humor repeatedly by highlighting and analyzing the characterof Robert III.
Zamir,Tzachi, A Case of Unfair Proportions: Philosophy in Literature. New Literary History,
Vol.29, No. 3, Theoretical Explorations (Summer, 1998), pp.501-520.
Inthis highly technical paper, the author explores relationship betweenliterature and philosophy. Specifically, it details how literature isemployed in Richard III to communicate philosophical concepts throughcognitive and emotive elements. The author, though the articleindicates his affiliations with Tel-Aviv University does not indicatehis credentials. However, the author has carried out extensiveresearch as indicated by the cited courses and the foot notesincluded which basically qualifies the paper. The addresses scholarsand students in literature. Though the topic of philosophy may appearcomplex for literature, he breaks it down into simple conceptspresented in Richard III. The article is very specific t the RichardIII play hence cannot be recommended for wider reading especiallythose unfamiliar with the play despite his attempts to provideexcerpts from the play.
Thearticle is fairly long roughly 17 pages. The style used isconversational which makes it fairly easy to read and follow.However, the author makes a grand assumption of knowledge of theRichard III play which technically locks out wider audiences. Thedifferent philosophical concepts from the play are covered assubtopics which makes it very easy for readers to locate information.