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The Routledge Handbook of Shakespeare and Global Appropriation
brings together a variety of different voices to examine the ways
that Shakespeare has been adapted and appropriated onto stage,
screen, page, and a variety of digital formats. The thirty-nine
chapters address topics such as trans- and intermedia performances;
Shakespearean utopias and dystopias; the ethics of appropriation;
and Shakespeare and global justice as guidance on how to approach
the teaching of these topics. This collection brings into dialogue
three very contemporary and relevant areas: the work of women and
minority scholars; scholarship from developing countries; and
innovative media renderings of Shakespeare. Each essay is clearly
and accessibly written, but also draws on cutting edge research and
theory. It includes two alternative table of contents, offering
different pathways through the book - one regional, the other by
medium - which open the book up to both teaching and research.
Offering an overview and history of Shakespearean appropriations,
as well as discussing contemporary issues and debates in the field,
this book is the ultimate guide to this vibrant topic. It will be
of use to anyone researching or studying Shakespeare, adaptation,
and global appropriation.
The vitality of our culture is still often measured by the status
Shakespeare has within it. Contemporary readers and writers
continue to exploit Shakespeare's cultural afterlife in a vivid and
creative way. This collection of essays shows how writers' efforts
to intimate, contradict, compete with and reproduce Shakespeare
keep him in the cultural conversation. The contributors analyze the
methods and motives of Shakespearean appropriation by looking at a
wide range of works and people including: Kenneth Branagh's
"Hamlet"; "A Thousand Acres" by Jane Smiley; "Mama Day" by Gloria
Naylor; Robert Browning; the Disney films "The Little Mermaid" and
"The Lion King"; and Sir Arthur Quiller-Couch.
Features three female actors who were significant in their
development of new and innovative ways of performing Shakespeare.
Features three female actors who were significant in their
development of new and innovative ways of performing Shakespeare.
This title offers a unique opportunity to view the creation of
Shakespeare's after-life and reputation through the works of his
major theatrical interpreters. This facsimile edition is backed up
by full scholarly apparatus and will appeal to those undertaking
research in Shakespearian Studies, Nineteenth-Century Studies and
the History of the Theatre and Performance.
Features three female actors who were significant in their
development of new and innovative ways of performing Shakespeare.
This essay collection addresses the paradox that something may at
once "be" and "not be" Shakespeare. This phenomenon can be a matter
of perception rather than authorial intention: audiences may detect
Shakespeare where the author disclaims him or have difficulty
finding him where he is named. Douglas Lanier's "Shakespearean
rhizome," which co-opts Deleuze and Guattari's concept of artistic
relations as rhizomes (a spreading, growing network that sprawls
horizontally to defy hierarchies of origin and influence) is
fundamental to this exploration. Essays discuss the fine line
between "Shakespeare" and "not Shakespeare" through a number of
critical lenses-networks and pastiches, memes and echoes, texts and
paratexts, celebrities and afterlives, accidents and intertexts-and
include a wide range of examples: canonical plays by Shakespeare,
historical figures, celebrities, television performances and
adaptations, comics, anime appropriations, science fiction novels,
blockbuster films, gangster films, Shakesploitation and teen films,
foreign language films, and non-Shakespearean classic films.
The Routledge Handbook of Shakespeare and Global Appropriation
brings together a variety of different voices to examine the ways
that Shakespeare has been adapted and appropriated onto stage,
screen, page, and a variety of digital formats. The thirty-nine
chapters address topics such as trans- and intermedia performances;
Shakespearean utopias and dystopias; the ethics of appropriation;
and Shakespeare and global justice as guidance on how to approach
the teaching of these topics. This collection brings into dialogue
three very contemporary and relevant areas: the work of women and
minority scholars; scholarship from developing countries; and
innovative media renderings of Shakespeare. Each essay is clearly
and accessibly written, but also draws on cutting edge research and
theory. It includes two alternative table of contents, offering
different pathways through the book - one regional, the other by
medium - which open the book up to both teaching and research.
Offering an overview and history of Shakespearean appropriations,
as well as discussing contemporary issues and debates in the field,
this book is the ultimate guide to this vibrant topic. It will be
of use to anyone researching or studying Shakespeare, adaptation,
and global appropriation.
The vitality of our culture is still often measured by the status Shakespeare has within it. Contemporary readers and writers continue to exploit Shakespeare's cultural afterlife in a vivid and creative way. This fascinating collection of original essays shows how writers' efforts to imitate, contradict, compete with, and reproduce Shakespeare keep him in the cultural conversation. The essays: * analyze the methods and motives of Shakespearean appropriation * investigate theoretically the return of the repressed author in discussions of Shakespeare's cultural function * put into dialogue theoretical and literary responses to Shakespeare's cultural authority * analyze works ranging from nineteenth century to the present, and genres ranging from poetry and the novel to Disney movies.
This essay collection addresses the paradox that something may at
once "be" and "not be" Shakespeare. This phenomenon can be a matter
of perception rather than authorial intention: audiences may detect
Shakespeare where the author disclaims him or have difficulty
finding him where he is named. Douglas Lanier's "Shakespearean
rhizome," which co-opts Deleuze and Guattari's concept of artistic
relations as rhizomes (a spreading, growing network that sprawls
horizontally to defy hierarchies of origin and influence) is
fundamental to this exploration. Essays discuss the fine line
between "Shakespeare" and "not Shakespeare" through a number of
critical lenses-networks and pastiches, memes and echoes, texts and
paratexts, celebrities and afterlives, accidents and intertexts-and
include a wide range of examples: canonical plays by Shakespeare,
historical figures, celebrities, television performances and
adaptations, comics, anime appropriations, science fiction novels,
blockbuster films, gangster films, Shakesploitation and teen films,
foreign language films, and non-Shakespearean classic films.
This collection of essays explores the thesis that Shakespeare as
we know him today was born in the eighteenth century, at the same
time as the Gothic tradition, first named by Horace Walpole in
1764. The two are inextricable. Writers interested in pursuing
'Gothic' themes and forms (the supernatural events and generic
hybrids decried by French neoclassicism) justified their aesthetic
choices as following the example of their great - and emphatically
English - precursor. They cited him in their epigraphs and
appropriated his narratives. They echoed his language and imitated
his dramatic devices. Like Shakespeare, they explored the ways in
which familial ghosts may haunt the present. Like him, they mixed
modes and genres: tragedy and comedy, verse and prose. Together,
critics of Shakespeare and creators of the Gothic (often one and
the same author) not only canonized England's secular saint and
created a new literary mode; they collectively initiated a mode of
subjectivity that remains with us today in both high and popular
culture.
This collection of essays explores the thesis that Shakespeare as
we know him today was born in the eighteenth century, at the same
time as the Gothic tradition, first named by Horace Walpole in
1764. The two are inextricable. Writers interested in pursuing
'Gothic' themes and forms (the supernatural events and generic
hybrids decried by French neoclassicism) justified their aesthetic
choices as following the example of their great - and emphatically
English - precursor. They cited him in their epigraphs and
appropriated his narratives. They echoed his language and imitated
his dramatic devices. Like Shakespeare, they explored the ways in
which familial ghosts may haunt the present. Like him, they mixed
modes and genres: tragedy and comedy, verse and prose. Together,
critics of Shakespeare and creators of the Gothic (often one and
the same author) not only canonized England's secular saint and
created a new literary mode; they collectively initiated a mode of
subjectivity that remains with us today in both high and popular
culture.
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