In this fascinating book, Leah S. Marcus argues that the colonial context in which Shakespeare was edited and disseminated during the heyday of the British Empire has left a mark on Shakespeare's texts to the present day. How Shakespeare Became Colonial offers a unique and engaging argument, including: A brief history of the colonial importance of editing Shakespeare; The colonially inflected racism that hides behind the editing of Othello; The editing of female characters - colonization as sexual conquest; The significance of editions that were specifically created for schools in India during British colonial rule. Marcus traces important ways in which the colonial enterprise of setting forth the best possible Shakespeare for world consumption has continued to be visible in the recent treatment of his playtexts today, despite our belief that we are global or postcolonial in approach.

In this fascinating book, Leah S. Marcus argues that the colonial context in which Shakespeare was edited and disseminated during the heyday of the British Empire has left a mark on Shakespeare's texts to the present day. How Shakespeare Became Colonial offers a unique and engaging argument, including: A brief history of the colonial importance of editing Shakespeare; The colonially inflected racism that hides behind the editing of Othello; The editing of female characters - colonization as sexual conquest; The significance of editions that were specifically created for schools in India during British colonial rule. Marcus traces important ways in which the colonial enterprise of setting forth the best possible Shakespeare for world consumption has continued to be visible in the recent treatment of his playtexts today, despite our belief that we are global or postcolonial in approach.

In his plays, Shakespeare produced a new and unprecedented way of thinking about life, death, power, and their affects. "Philosophical Readings of Shakespeare" offers close readings of "King Lear," "Hamlet," "Macbeth," and "Timon of Athens" to provide insight into the ontological discourse of poverty and money. Following Marxian thought, Margherita Pascucci shows how Shakespeare was the first to depict money as a conceptual persona. Ultimately, the book's analysis of the themes of creation, subjectivity, and value opens new reflections on central questions of our time.

This text traces the changing theatrical and cultural identity of the History plays in the context of postwar social and political conflict, crisis and change. Since the company's inception in the early 1960s, the RSC's commitment to relevance has fostered close relationships between Shakespearean criticism and performance, and between the theatre and its audiences. Through a detailed discussion of key productions, from "The War of the Roses" in 1963 to "The Plantegenets" in 1988, Robert Shaughnessy emphasizes the political dimension of contemporary theatrical representations of Shakespeare, and of the "Shakespearean" modes of history that these plays have been employed to promote; individualist, cyclical, male-dominated, and driven by essentialised, transcendent human nature.

Critical investigation into the rubric of 'Shakespeare and the visual arts' has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries. Drawing on the poetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume's tripartite structure considers instead the relationship between Renaissance material arts, theatre, and emblems as an integrated and intermedial genre, explores the use and function of Italian visual culture in Shakespeare's oeuvre, and questions the appropriation of the arts in the production of the drama of Shakespeare and his contemporaries. By studying the intermediality between theatre and the visual arts, the volume extols drama as a hybrid genre, combining the figurative power of imagery with the plasticity of the acting process, and explains the tri-dimensional quality of the dramatic discourse in the verbal-visual interaction, the stagecraft of the performance, and the natural legacy of the iconographical topoi of painting's cognitive structures. This methodolical approach opens up a new perspective in the intermedial construction of Shakespearean and early modern drama, extending the concept of theatrical intertextuality to the field of pictorial arts and their social-cultural resonance. An afterword written by an expert in the field, a rich bibliography of primary and secondary literature, and a detailed Index round off the volume.

Attention is often given to the performance of a text, but not to the shaping process behind that performance. The question of rehearsal is seldom confronted directly, though important textual moments - like revision - are often attributed to it. This is the first history of the subject, from the sixteenth century to the eighteenth. It examines the nature and changing content of rehearsal, drawing on a mass of autobiographical, textual, and journalistic sources, and in so doing throws new light on textual revision and transforms accepted notions of Renaissance, Restoration, and eighteenth-century theatrical practice.

What can the Globe Theatre tell us about performing Shakespeare? Unearthing Shakespeare is the first book to consider what the Globe, today's replica of Shakespeare's theatre, can contribute to a practical understanding of Shakespeare's plays. Valerie Clayman Pye reconsiders the material evidence of Early Modern theatre-making, presenting clear, accessible discussions of historical theatre practice; stages and staging; and the relationship between actor and audience. She relays this into a series of training exercises for actors at all levels. From "Shakesball" and "Telescoping" to Elliptical Energy Training and The Radiating Box, this is a rich set of resources for anyone looking to tackle Shakespeare with authenticity and confidence.

In Shakespeare, Adaptation, Psychoanalysis, Matthew Biberman analyzes early adaptations of Shakespeare's plays in order to identify and illustrate how both social mores and basic human psychology have changed in Anglo-American culture. Biberman contests the received wisdom that Shakespeare's characters reflect essentially timeless truths about human nature. To the contrary, he points out that Shakespeare's characters sometimes act and think in ways that have become either stigmatized or simply outmoded. Through his study of the adaptations, Biberman pinpoints aspects of Shakespeare's thinking about behavior and psychology that no longer ring true because circumstances have changed so dramatically between his time and the time of the adaptation. He shows how the adaptors' changes reveal key differences between Shakespeare's culture and the culture that then supplanted it. These changes, once grasped, reveal retroactively some of the ways in which Shakespeare's characters do not act and think as we might expect them to act and think. Thus Biberman counters Harold Bloom's claim that Shakespeare fundamentally invents our sense of the human; rather, he argues, our sense of the human is equally bound up in the many ways that modern culture has come to resist or outright reject the behavior we see in Shakespeare's plays. Ultimately, our current sense of 'the human' is bound up not with the adoption of Shakespeare's psychology, perhaps, but its adaption-or, in psychoanalytic terms, its repression and replacement.

First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 - a period that saw a remarkable amount of ground-breaking work. While the primary focus is on feminist studies of Shakespeare, it also includes wide-ranging works on language, desire, role-playing, theatre conventions, marriage, and Elizabethan and Jacobean culture - shedding light on Shakespeare's views on and representation of women, sex and gender. Accompanying the 439 entries are extensive, informative annotations that strive to maintain the original author's perspective, supplying a careful and thorough account of the main points of an article.

This volume documents the course of Shakespeare criticism on King John, from the earliest items of recorded criticism to the beginnings of the modern period around 1920. The introduction traces the history of the play.

This volume addresses dealings with the wondrous, magical, holy, sacred, sainted, numinous, uncanny, auratic, and sacral in the plays of Shakespeare and contemporaries, produced in an era often associated with the irresistible rise of a thinned-out secular rationalism. By starting from the literary text and looking outwards to social, cultural, and historical aspects, it comes to grips with the instabilities of 'enchanted' and 'disenchanted' practices of thinking and knowledge-making in the early modern period. If what marvelously stands apart from conceptions of the world's ordinary functioning might be said to be 'enchanted', is the enchantedness weakened, empowered, or modally altered by its translation to theatre? We have a received historical narrative of disenchantment as a large-scale early modern cultural process, inexorable in character, consisting of the substitution of a rationally understood and controllable world for one containing substantial areas of mystery. Early modern cultural change, however, involves transpositions, recreations, or fresh inventions of the enchanted, and not only its replacement in diminished or denatured form. This collection is centrally concerned with what happens in theatre, as a medium which can give power to experiences of wonder as well as circumscribe and curtail them, addressing plays written for the popular stage that contribute to and reflect significant contemporary reorientations of vision, awareness, and cognitive practice. The volume uses the idea of dis-enchantment/re-enchantment as a central hub to bring multiple perspectives to bear on early modern conceptualizations and theatricalizations of wonder, the sacred, and the supernatural from different vantage points, marking a significant contribution to studies of magic, witchcraft, enchantment, and natural philosophy in Shakespeare and early modern drama.

This volume gives Asia's Shakespeares the critical, theoretical, and political space they demand, offering rich, alternative ways of thinking about Asia, Shakespeare, and Asian Shakespeare based on Asian experiences and histories. Challenging and supplementing the dominant critical and theoretical structures that determine Shakespeare studies today, close analysis of Shakespeare's Asian journeys, critical encounters, cultural geographies, and the political complexions of these negotiations reveal perspectives different to the European. Exploring what Shakespeare has done to Asia along with what Asia has done with Shakespeare, this book demonstrates how Shakespeare helps articulate Asianess, unfolding Asia's past, reflecting Asia's present, and projecting Asia's future. This is achieved by forgoing the myth of the Bard's universality, bypassing the authenticity test, avoiding merely descriptive or even ethnographic accounts, and using caution when applying Western theoretical frameworks. Many of the productions studied in this volume are brought to critical attention for the first time, offering new methodologies and approaches across disciplines including history, philosophy, sociology, geopolitics, religion, postcolonial studies, psychology, translation theory, film studies, and others. The volume explores a range of examples, from exquisite productions infused with ancient aesthetic traditions to popular teen manga and television drama, from state-dictated appropriations to radical political commentaries in areas including Japan, India, Taiwan, Korea, Indonesia, China, and the Philippines. This book goes beyond a showcasing of Asian adaptations in various languages, styles, and theatre traditions, and beyond introductory essays intended to help an unknowing audience appreciate Asian performances, developing a more inflected interpretative dialogue with other areas of Shakespeare studies.

Originally published in 1986. This volume points to the rich variety of critical responses to the Henry IV plays and their complexity. It includes selections from characteristic thought of the neoclassical age, character criticism in the eighteenth and nineteenth centuries, historical and new criticism, theatrical interpretation and other pieces by the likes of Samuel Johnson and W. H. Auden. The editor's introduction explains the collection's relevance and puts the pieces in context. Several chapters look at the character of Falstaff and the changing response and critique through time. Organised chronologically, the collection then ends with two pieces of theatrical criticism.

Originally published in 1984. With selections organised chronologically, this collection presents the best writing on one of Shakespeare's most studied plays. The structure displays the changing responses to the play and includes a wide range of criticism from the likes of Coleridge, Hazlitt, Moulton, Granville-Barker, Orwell, Levin, Stampfer, Gardner and Speaight interspersed with short entries from Keats, Raleigh, Freud and others. The final chapter by the editor elucidates his own thoughts on Lear, building on his commentary in the Introduction which puts the collection in context.

Originally published in 1986. Among the most frequently performed and high admired of Shakespeare's plays, Twelfth Night is examined here in this collection of writings from well-known essayists and scholars. The chapters present to the modern reader discussions of the play to enhance understanding and study of both the text and performances. Opening essays address individual characters; then some accounts of its potential and theatrical reviews are included; finally followed by critical studies looking at various parts and themes. The editor's introduction explains the usefulness of each chapter and gives an overview of the selection.

Originally published in 1991. Collecting together commentary and critique on 'the Scottish play', this book showcases varied discussions of the text and the theatrical productions. From Samuel Johnson's brief 1765 comment to the editor's own piece on the Porter's scene, the texts included here are popular important accounts of thoughts and scholarship on the play over the years. Some pieces address the most famous early Lady Macbeth - Mrs Siddons, while others look at a theme or specific issue such as Lady Macbeth's children. This is a great sample of the voluminous body of work looking at the tragedy, considering its images, symbols, meanings and its challenges for the stage.

Music permeates Shakespeare's plays. This comprehensive study explores the variety of its theatrical functions, situating them in the context of the Early Modern period's understanding of music.From the trumpet calls which animate the battle scenes of the histories and tragedies to the songs which inflect the moods of the comedies and romances, Shakespeare experiments throughout his career with music's potential to contribute to the effect of his dramas. David Lindley sets the musical scene of Shakespeare's England, outlining the period's theoretical understanding of music and discussing the experience of music heard in the streets, alehouses, private residences, courts and theatres, which an audience brought with them to the Globe and Blackfriars. Music could be praised as a symbol of divine and political harmony, or vilified as an incitement to lust and effeminacy; it could heal and cure, or fuel drunken rebellion. Focusing throughout on the plays as theatrical events, this work analyzes Shakespeare's dramatic and thematic exploitation of these conflicting perceptions of music.

.cs95E872D0{text-align: left;text-indent:0pt;margin:0pt 0pt 0pt 0pt} .cs5EFED22F{color: #000000;background-color: transparent;font-family: Times New Roman; font-size:12pt; font-weight: normal; font-style: normal; } .csA62DFD6A{color: #000000;background-color: transparent;font-family: Times New Roman; font-size:12pt; font-weight: normal; font-style: italic; } The hundreds of biblical references in Shakespeare's plays give ample evidence that he was well acquainted with Scripture. Not only is the range of his biblical references impressive, but also the aptness with which he makes them. Hamlet and Othello each have more than fifty biblical references. No study of Shakespeare's plays is complete that ignores Shakespeare's use of scripture. The Bibles that Shakespeare knew, however, were not those that are in use today. By the time the King James Bible appeared in 1611, Shakespeare's career was all but over, and the Anglican liturgy that is evident in his plays is likewise one that few persons are acquainted with. This volume provides a comprehensive survey of the English Bibles of Shakespeare's day, notes their similarities and differences, and indicates which version the playwright knew best.The thorny question of what constitutes a valid biblical reference is also discussed. This study of Shakespeare's biblical references is not based on secondary sources. The author owned one of the world's largest collections of early English bibles, including over one hundred copies of the Geneva bible and numerous editions of other Bibles, prayer books, and books of homilies of Shakespeare's day. To be of real worth, a study of Shakespeare's biblical references should also enable the reader to determine which references Shakespeare borrowed from his plot sources and which he added from his own memory as part of his design for the play. The author studies every source that Shakespeare is known to have read or consulted before writing each play and has examined the biblical references in those sources. Shaheen then points out which biblical references in his literary sources Shakespeare accepted, and how he adapted them in his plays. This information is especially valuable when assessing the theological meanings that are sometimes imposed on his plays, meanings that often go beyond what Shakespeare intended or what his audience must have understood.Biblical References in Shakespeare's Plays is considerably broader in scope than any other study of its kind and provides the scholarly checks and balances in dealing with the subject that previous stud

War is a major theme in Shakespeare's plays. Aside from its dramatic appeal, it provided him with a context in which his characters, steeped in the ideals of chivalry, could discuss such concepts as honor, courage, patriotism, and justice. Well aware of the decline of chivalry in his own era, Shakespeare gave his characters lines calling for civilized behavior, mercy, humanitarian principles, and moral responsibility. In this remarkable new book, eminent legal scholar Theodor Meron looks at contemporary international humanitarian law and rules for the conduct of war through the lens of Shakespeare's plays and discerns chivalry's influence there.
The book comes as a response to the question of whether the world has lost anything by having a system of law based on the Hague and Geneva conventions. Meron contends that, despite the foolishness and vanity of its most extreme manifestations, chivalry served as a customary law that restrained and humanized the conflicts of the generally chaotic and brutal Middle Ages. It had the advantage of resting on the sense that rules arise naturally out of societies, their armed forces, and their rulers on the basis of experience. Against a background of Medieval and Renaissance sources as well as Shakespeare's historical and dramatic settings, Meron considers the ways in which law, morality, conscience, and state necessity are deployed in Shakespeare's plays to promote a society in which soldiers behave humanely and leaders are held to high standards of civilized behavior. Thus he illustrates the literary genealogy of such modern international humanitarian concerns as the treatment of prisoners and of noncombatants and accountability for war crimes, showing that the chivalric legacy has not been lost entirely.
Fresh and insightful, Bloody Constraint will interest scholars of international law, lovers of Shakespeare, and anyone interested in the history of war.

Shakespeare is revered as the greatest writer in the English language, yet education reform in the English-speaking world is informed primarily by the 'market order', rather than the kind of humanism we might associate with Shakespeare. By considering Shakespeare's dramatisation of the principles that inform neoliberalism, this book makes an important contribution to the debate on the moral failure of the market mechanism in schools and higher education systems that have adopted neoliberal policy. The utility of Shakespeare's plays as a means to explore our present socio-economic system has long been acknowledged. As a Renaissance playwright located at the junction between feudalism and capitalism, Shakespeare was uniquely positioned to reflect upon the nascent market order. As a result, this book utilises six of his plays to assess the impact of neoliberalism on education. Drawing from examples of education policy from the UK and North America, it demonstrates that the alleged innovation of the market order is premised upon ideas that are rejected by Shakespeare, and it advocates Shakespeare's humanism as a corrective to the failings of neoliberal education policy. Using Shakespeare's Plays to Explore Education Policy Today will be of key interest to researchers, academics and students in the fields of education policy and politics, educational reform, social and economic theory, English literature and Shakespeare.

Published in the year 1964, On Hamlet is a valuable contribution to the field of Performance.

Marjorie Garber examines the rites of passage and maturation patterns--"coming of age"--in Shakespeare's plays. Citing examples from virtually the entire Shakespeare canon, she pays particular attention to the way his characters grow and change at points of personal crisis. Among the crises Garber discusses are: separation from parent or sibling in preparation for sexual love and the choice of husband or wife; the use of names and nicknames as a sign of individual exploits or status; virginity, sexual initiation and the acceptance of sexual maturity, childbearing and parenthood; and, finally, attitudes toward death and dying.

What does it mean to study Shakespeare within a multicultural society? And who has the power to transform Shakespeare? The Diverse Bard explores how Shakespeare has been adapted by artists born on the margins of the Empire, and how actors of Asian and African-Caribbean origin are being cast by white mainstream directors. It examines how notions of 'race' define the contemporary British experience, including the demands of traditional theatre, and it looks at both the playtexts themselves and contemporary productions. Editor Delia Jarrett-Macauley assembles a stunning collection of classic texts and new scholarship by leading critics and practitioners, to provide the first comprehensive critical and practical analysis of this field.

Addressing for the first time Shakespeare's place in counter-cultural cinema, this book examines and theorizes counter-hegemonic, postmodern, and post-punk Shakespeare in late 20th and early 21st century film. Drawing on a diverse range of case studies, Grant Ferguson presents an interdisciplinary approach that offers new theories on the nature and application of Shakespearean appropriations in the light of postmodern modes of representation. The book considers the nature of the Shakespearean inter-text in subcultural political contexts concerning the politicized aesthetics of a Shakespearean 'body in pieces,' the carnivalesque, and notions of Shakespeare as counter-hegemonic weapon or source of empowerment. Representative films use Shakespeare (and his accompanying cultural capital) to challenge notions of capitalist globalization, dominant socio-cultural ideologies, and hegemonic modes of expression. In response to a post-modern culture saturated with logos and semiotic abbreviations, many such films play with the emblematic imagery and references of Shakespeare's texts. These curious appropriations have much to reveal about the elusive nature of intertextuality in late postmodern culture and the battle for cultural ownership of Shakespeare. As there has yet to be a study that isolates and theorizes modes of Shakespearean production that specifically demonstrate resistance to the social, political, ideological, aesthetic, and cinematic norms of the Western world, this book expands the dialogue around such texts and interprets their patterns of appropriation, adaptation, and representation of Shakespeare.

This study contends that folly is of fundamental importance to the implicit philosophical vision of Shakespeare's drama. The discourse of folly's wordplay, jubilant ironies, and vertiginous paradoxes furnish Shakespeare with a way of understanding that lays bare the hypocrisies and absurdities of the serious world. Like Erasmus, More, and Montaigne before him, Shakespeare employs folly as a mode of understanding that does not arrogantly insist upon the veracity of its own claims - a fool's truth, after all, is spoken by a fool. Yet, as this study demonstrates, Shakespearean folly is not the sole preserve of professional jesters and garrulous clowns, for it is also apparent on a thematic, conceptual, and formal level in virtually all of his plays. Examining canonical histories, comedies, and tragedies, this study is the first to either contextualize Shakespearean folly within European humanist thought, or to argue that Shakespeare's philosophy of folly is part of a subterranean strand of Western philosophy, which itself reflects upon the folly of the wise. This strand runs from the philosopher-fool Socrates through to Montaigne and on to Nietzsche, but finds its most sustained expression in the Critical Theory of the mid to late twentieth-century, when the self-destructive potential latent in rationality became an historical reality. This book makes a substantial contribution to the fields of Shakespeare, Renaissance humanism, Critical Theory, and Literature and Philosophy. It illustrates, moreover, how rediscovering the philosophical potential of folly may enable us to resist the growing dominance of instrumental thought in the cultural sphere.