From fantasy and sci-fi to graphic novels, from boy scouts to board games, from blockbuster films to the cult of theatre, Shakespeare is everywhere in popular culture. Where there is popular culture there are fans and nerds and geeks. The essays in this collection on Shakespeare and Geek Culture take an innovative approach to the study of Shakespeare’s cultural presences, situating his works, his image and his brand to locate and explore the nature of that geekiness that, the authors argue, is a vital but unrecognized feature of the world of those who enjoy and are obsessed by Shakespeare, whether they are scholars, film fans, theatre-goers or members of legions of other groupings in which Shakespeare plays his part. Working at the intersections of a wide range of fields – including fan studies and film analysis, cultural studies and fantasy/sci-fi theory – the authors demonstrate how the particularities of the connection between Shakespeare and geek culture generate new insights into the plays, poems and their larger cultural legacy in the 21st century.

This volume offers a practical, accessible and thought-provoking guide to this Roman tragedy, 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 earliest known staging in 1599, including an analysis of the 2013 film Caesar Must Die starring Italian inmates, and an assessment of why the play is now coming back into vogue on stage. Moving through to four new critical essays, it opens up cutting-edge perspectives on the work, and finishes with a guide to pedagogical approaches by the experienced teacher and leading academic Jeremy Lopez. 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 challenging play.

What makes a Shakespeare production political? Can Shakespeare's plays ever be truly radical?
Revealing the unspoken politics of Shakespeare's plays on stage, Andrew Hartley examines their nature, agenda, limits and potential. In considering key theoretical issues, analysing a wide range of productions, and engaging in a collaborative debate with Professor Ayanna Thompson, Hartley highlights a more consciously political approach to making theatre out of Shakespeare's scripts - and to experiencing it as an audience. Dynamic and provocative, this book is a crucial text for students and theatre practitioners alike.

Academic Writing and Publishing will show academics (mainly in the social sciences) how to write and publish research articles. Its aim is to supply examples and brief discussions of recent work in all aspects of the area in short, sharp chapters. It should serve as a handbook for postgraduates and lecturers new to publishing. The book is written in a readable and lively personal style. The advice given is direct and based on up-to-date research that goes beyond that given in current textbooks. For example, the chapter on titles lists different kinds of titles and their purposes not discussed in other texts. The chapter on abstracts instructs the reader on writing structured abstracts from the start.

Early Modern Drama in Performance is a collection of essays in honor of Lois Potter, the distinguished author of five monographs, including most recently The Life of William Shakespeare (2012), and numerous articles, edited collections, and editions. This collection's emphasis on Shakespearean and early modern drama reflects the area for which Potter is most widely known, as a performance critic, editor, and literary scholar. The essays by a diverse group of scholars who have been influenced by Potter address recurring themes in her work: Shakespeare and non-Shakespearean early modern drama, performance history and theatre practice, theatrical performance across cultures, play reviewing, and playreading. What unifies them most, though, is that they carry on the spirit of Potter's work: her ability to meet a text, a performance, or a historical period on its own terms, to give scrupulous attention to specific details and elegantly show how these details generate larger meaning, and to recover and preserve the fleeting and the ephemeral.

Real Business Cycle theory combines the remains of monetarism with the new classical macroeconomics, and has become one of the dominant approaches within contemporary macroeconomics today. This volume presents:
* the authoritative anthology in RBC. The work contains the major articles introducing and extending the theory as well as critical literature
* an extensive introduction which contains an expository summary and critical evaluation of RBC theory
* comprehensive coverage and balance between seminal papers and extensions; proponents and critics; and theory and empirics.
Macroeconomics is a compulsory element in most economics courses, and this book will be an essential guide to one of its major theories.

Real Business Cycle theory combines the remains of monetarism with the new classical macroeconomics, and has become one of the dominant approaches within contemporary macroeconomics today. This volume presents:
* the authoritative anthology in RBC. The work contains the major articles introducing and extending the theory as well as critical literature
* an extensive introduction which contains an expository summary and critical evaluation of RBC theory
* comprehensive coverage and balance between seminal papers and extensions; proponents and critics; and theory and empirics.
Macroeconomics is a compulsory element in most economics courses, and this book will be an essential guide to one of its major theories.

How do writers of contemporary fiction incorporate Shakespeare - the man, his work and his cultural legacy? This collection brings together some of the leading voices in the scholarship of Shakespearean adaptation and appropriation to examine the ways in which writers have used literary culture's most prominent historical figure to their own ends since the year 2000. The essays consider the representation of the man himself, the rethinking of his stories - often in pointed defiance of the original - and explorations of the plays radically repositioned in time and space. In the process the collection reveals which versions of Shakespeare are most current in contemporary culture and education, even as they remake them in the terms of the present, often exploiting the new notions of genre, of publishing technologies, and of political identity which have evolved so drastically since the turn of the last century.

How do writers of contemporary fiction incorporate Shakespeare - the man, his work and his cultural legacy? This collection brings together some of the leading voices in the scholarship of Shakespearean adaptation and appropriation to examine the ways in which writers have used literary culture's most prominent historical figure to their own ends since the year 2000. The essays consider the representation of the man himself, the rethinking of his stories - often in pointed defiance of the original - and explorations of the plays radically repositioned in time and space. In the process the collection reveals which versions of Shakespeare are most current in contemporary culture and education, even as they remake them in the terms of the present, often exploiting the new notions of genre, of publishing technologies, and of political identity which have evolved so drastically since the turn of the last century.

Featuring essays from seventeen international scholars, this exciting new collection is the first sustained study of Shakespeare on the university and college stage. Treating the subject both historically and globally, the essays describe theatrical conditions that fit neither the professional nor the amateur models and show how student performances provide valuable vehicles for artistic construction and intellectual analysis. The book redresses the neglect of this distinctive form of Shakespeare performance, opening up new ways of thinking about the nature and value of university production and its ability to draw unique audiences. Looking at productions across the world - from Asia to Europe and North America - it will interest scholars as well as upper-level students in areas such as Shakespeare studies, performance studies and theatre history.

Featuring essays from seventeen international scholars, this exciting new collection is the first sustained study of Shakespeare on the university and college stage. Treating the subject both historically and globally, the essays describe theatrical conditions that fit neither the professional nor the amateur models and show how student performances provide valuable vehicles for artistic construction and intellectual analysis. The book redresses the neglect of this distinctive form of Shakespeare performance, opening up new ways of thinking about the nature and value of university production and its ability to draw unique audiences. Looking at productions across the world - from Asia to Europe and North America - it will interest scholars as well as upper-level students in areas such as Shakespeare studies, performance studies and theatre history.

'The book deserves a huge readership: every teacher in higher education who would like to make his/her teaching as economical, efficient and effective as possible should spend a few hours with it.' - British Journal of Educational Technology

The Invisible Hand is about a boy, Sam, who has just started life at a boarding school and finds himself able to travel back in time to medieval Scotland. There he meets a girl, Leana, who can travel to the future, and the two of them become wrapped up in events in /Macbeth/, the Shakespeare play, and in the daily life of the school. The book is the first part of a series called Shakespeare's Moon. Each book is set in the same boarding school but focuses on a different Shakespeare play.

Academic Writing and Publishing will show academics (mainly in the social sciences) how to write and publish research articles. Its aim is to supply examples and brief discussions of recent work in all aspects of the area in short, sharp chapters. It should serve as a handbook for postgraduates and lecturers new to publishing. The book is written in a readable and lively personal style. The advice given is direct and based on up-to-date research that goes beyond that given in current textbooks. For example, the chapter on titles lists different kinds of titles and their purposes not discussed in other texts. The chapter on abstracts instructs the reader on writing structured abstracts from the start.

From fantasy and sci-fi to graphic novels, from boy scouts to board games, from blockbuster films to the cult of theatre, Shakespeare is everywhere in popular culture. Where there is popular culture there are fans and nerds and geeks. The essays in this collection on Shakespeare and Geek Culture take an innovative approach to the study of Shakespeare's cultural presences, situating his works, his image and his brand to locate and explore the nature of that geekiness that, the authors argue, is a vital but unrecognized feature of the world of those who enjoy and are obsessed by Shakespeare, whether they are scholars, film fans, theatre-goers or members of legions of other groupings in which Shakespeare plays his part. Working at the intersections of a wide range of fields - including fan studies and film analysis, cultural studies and fantasy/sci-fi theory - the authors demonstrate how the particularities of the connection between Shakespeare and geek culture generate new insights into the plays, poems and their larger cultural legacy in the 21st century.

Julius Caesar stands at the changing of the tide in Shakespeare's career. By 1599, when he wrote the play, he had penned only two experimental tragedies (Romeo and Juliet and Titus Andronicus), neither of which had the profound richness of those he would write next - Hamlet, Macbeth, Othello and King Lear. There is a scale to Caesar which is unmatched by anything he had written before it and it lays the groundwork for the master works to follow. As such, it stands not just at the turn of the century, but at the point in which its author emerged as the language's foremost writer. Our sense of the play has evolved over the centuries, and we tend to be less overawed by all the characters' claims to personal nobility and quicker to see the darker side of their political machinations. We are also less likely to see the Roman model of life and virtue as something being offered up for emulation. Indeed it now seems to most critics that Shakespeare was deeply critical of ancient Rome, seeing much of what its characters celebrate as principle as the root cause of all that goes wrong in the play. But that is the nature of scholarship and the theatre - each period finds in the play what interests it most - Julius Caesar remains a powerful study in political gamesmanship, the morality of assassination, and the ways in which people build a sense of who they are.

Daisy Hudson is a newly reinstated plainclothes cop, but more importantly, she has just come to the realization that she's a witch. Not just any witch, but a very powerful witch. After reuniting with her partner Inspector Herb Farrell who eventually catches on to Daisy's powers-as well as falls for her charms-together they conclude that the ordinary crimes of their city have become overshadowed by the evil conspiracy of a sinister group of gray men. From petty crimes to those committed at the highest level of government, it becomes apparent that these tall, ugly, gray-skinned men known as the Warlocks harbor a far-reaching, ominous plot...an alien takeover of the Earth. Even with the aid of the forceful local coven, will Daisy and Herb have the fire power to prevent the Warlocks' impending overthrow of the government?