Exploring the interactions between Shakespeare and popular music, this book links these seeming polar opposites, showing how musicians have woven the Bard into their sounds. How have Shakespearean characters, words, texts and iconography been represented and reworked through popular music? Do all types of popular music represent Shakespeare in the same ways? And how do the links between Shakespeare and popular music challenge what we think we know about both Shakespeare and popular music? One of the enduring myths about how Shakespeare and popular music relate is that they don't - after all the antagonism between high culture and pop music could be considered mutual. In the first book of its kind, Adam Hansen shows what happens to Shakespeare when he exists in and becomes popular music, in all its diverse and glorious forms. Exploring these interactions reveals as much about the functions of the diverse genres of popular music as it does about Shakespeare as a global cultural form. Discussing a wide range of examples in a critically-informed but lively and accessible style, this book brings something new to Shakespeare and popular music, capturing the excitement and energy of both for its readers.

Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs 'literary' writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. 'Making Litpop' explores how hybrids of writing and popular music have been created by musicians and authors. 'Thinking Litpop' considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, 'Consuming Litpop' examines how writers deal with music's influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making 'Litpop' happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.

Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs 'literary' writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. 'Making Litpop' explores how hybrids of writing and popular music have been created by musicians and authors. 'Thinking Litpop' considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, 'Consuming Litpop' examines how writers deal with music's influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making 'Litpop' happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition retains Giorgio Melchiori's text of Shakespeare's The Second Part of King Henry IV. Melchiori argues that the play forms an unplanned sequel to the First Part, itself a 'remake' of an old, non-Shakespearean play. In the Second Part, Shakespeare deliberately exploits Falstaff's popular appeal and the resulting rich humour adds a comic dimension to the play, rendering it a unique blend of history, morality play and comedy. Among modern editions, Melchiori's is the one most firmly based on the quarto. This second edition includes a new section by Adam Hansen on recent stage, film and critical interpretations.

This exciting collection of original essays critically assesses the significance of locality in Shakespearean plays. Considering how Shakespeare and his contemporaries understood the 'North', it brings together diverse voices to define what the 'North' meant and means in relation to Shakespeare. The book also situates Shakespeare's works alongside less canonical texts and media, as well as detailed case studies of new material from rich but rarely-used local, municipal and performance archives. It provides an opportunity to critically reflect on links and differences between the past and present, England and Scotland, the local and the global.

This exciting collection of original essays critically assesses the significance of locality in Shakespearean plays. Considering how Shakespeare and his contemporaries understood the 'North', it brings together diverse voices to define what the 'North' meant and means in relation to Shakespeare. The book also situates Shakespeare's works alongside less canonical texts and media, as well as detailed case studies of new material from rich but rarely-used local, municipal and performance archives. It provides an opportunity to critically reflect on links and differences between the past and present, England and Scotland, the local and the global.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition retains Giorgio Melchiori's text of Shakespeare's The Second Part of King Henry IV. Melchiori argues that the play forms an unplanned sequel to the First Part, itself a 'remake' of an old, non-Shakespearean play. In the Second Part, Shakespeare deliberately exploits Falstaff's popular appeal and the resulting rich humour adds a comic dimension to the play, rendering it a unique blend of history, morality play and comedy. Among modern editions, Melchiori's is the one most firmly based on the quarto. This second edition includes a new section by Adam Hansen on recent stage, film and critical interpretations.

The White Devil is one of the most violent and most fascinating plays in English theatrical history. It is also a notoriously challenging work; this volume offers a practical, accessible and thought-provoking guide to the play, surveying its major themes and critical reception. It also provides a detailed and up-to-date history of the play's performance, beginning with its first staging in 1611 staging and ending with the RSC's 2014 revival. Moving through to four new critical essays, it opens up cutting-edge perspectives on the work, and finishes with a practical guide to pedagogical approaches and resources. Detailing web-based and production-related resources, and including an annotated bibliography of critical works, the guide will equip teachers and facilitate students' understanding of this complex play.

Exploring the interactions between Shakespeare and popular music, this book links these seeming polar opposites, showing how musicians have woven the Bard into their sounds. How have Shakespearean characters, words, texts and iconography been represented and reworked through popular music? Do all types of popular music represent Shakespeare in the same ways? And how do the links between Shakespeare and popular music challenge what we think we know about both Shakespeare and popular music? One of the enduring myths about how Shakespeare and popular music relate is that they don't - after all the antagonism between high culture and pop music could be considered mutual. In the first book of its kind, Adam Hansen shows what happens to Shakespeare when he exists in and becomes popular music, in all its diverse and glorious forms. Exploring these interactions reveals as much about the functions of the diverse genres of popular music as it does about Shakespeare as a global cultural form. Discussing a wide range of examples in a critically-informed but lively and accessible style, this book brings something new to Shakespeare and popular music, capturing the excitement and energy of both for its readers.

The White Devil is one of the most violent and most fascinating plays in English theatrical history. It is also a notoriously challenging work; this volume offers a practical, accessible and thought-provoking guide to the play, surveying its major themes and critical reception. It also provides a detailed and up-to-date history of the play's performance, beginning with its first staging in 1611 staging and ending with the RSC's 2014 revival. Moving through to four new critical essays, it opens up cutting-edge perspectives on the work, and finishes with a practical guide to pedagogical approaches and resources. Detailing web-based and production-related resources, and including an annotated bibliography of critical works, the guide will equip teachers and facilitate students' understanding of this complex play.