Complementing other volumes in the Shakespeare Criticism Series, this collection of twenty original essays will expand the critical contexts in which Antony and Cleopatra can be enjoyed as both literature and theater. The essays will cover a wide spectrum of topics and utilize a diversity of scholarly methodologies, including textual and performance-oriented approaches, intertextual studies, as well as feminist, psychoanalytical, Marxist, and postcolonial inquiries. The volume will also feature an extensive introduction by the editor surveying the under-examined performance history and critical trends/legacy of this complex play. Contributors include prominent Shakespeare scholars David Bevington, Dympna Callaghan, Leeds Barroll, David Fuller, Dorothea Kehler, and Linda Woodbridge.

Viewing artistic works through the lens of both contemporary gerontological theory and postmodernist concepts, the contributing scholars examine literary treatments, cinematic depictions, and artistic portraits of aging from Shakespeare to Hemingway, from Horton Foote to Disney, from Rembrandt to Alice Neale, while also comparing the attitudes toward aging in Native American, African American, and Anglo American literature. The examples demonstrate that long before gerontologists endorsed a Janus-faced model of aging, artists were celebrating the diversity of the elderly, challenging the bio-medical equation of senescence with inevitable senility. Underlying all of this discussion is the firm conviction that cultural texts construct as well as encode the conventional perceptions of their society; that literature, the arts, and the media not only mirror society's mores but can also help to create and enforce them.

Complementing other volumes in the Shakespeare Criticism Series, this collection of twenty original essays will expand the critical contexts in which Antony and Cleopatra can be enjoyed as both literature and theater. The essays will cover a wide spectrum of topics and utilize a diversity of scholarly methodologies, including textual and performance-oriented approaches, intertextual studies, as well as feminist, psychoanalytical, Marxist, and postcolonial inquiries. The volume will also feature an extensive introduction by the editor surveying the under-examined performance history and critical trends/legacy of this complex play. Contributors include prominent Shakespeare scholars David Bevington, Dympna Callaghan, Leeds Barroll, David Fuller, Dorothea Kehler, and Linda Woodbridge.