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Publishing its nineteenth volume, The Shakespearean International
Yearbook surveys the present state of Shakespeare studies,
addressing issues that are fundamental to our interpretive
encounter with Shakespeare's work and his time, across the whole
spectrum of his literary output. Contributions are solicited from
scholars across the field, from both hemispheres of the globe. New
trends are evaluated from the point of view of established
scholarship, and emerging work in the field is encouraged. Each
issue includes a special section under the guidance of a specialist
Guest Editor, along with coverage of the current state of the field
in other aspects. An essential reference tool for scholars of early
modern literature and culture, this annual publication captures,
from year to year, current and developing thought in Shakespeare
scholarship and theater practice worldwide. There is a particular
emphasis on Shakespeare studies in global contexts.
The Arden Research Handbook of Shakespeare and Adaptation explores
the dynamics of adapted Shakespeare across a range of literary
genres and new media forms. This comprehensive reference and
research resource maps the field of Shakespeare adaptation studies,
identifying theories of adaptation, their application in practice
and the methodologies that underpin them. It investigates current
research and points towards future lines of enquiry for students,
researchers and creative practitioners of Shakespeare adaptation.
The opening section on research methods and problems considers
definitions and theories of Shakespeare adaptation and emphasises
how Shakespeare is both adaptor and adapted.A central section
develops these theoretical concerns through a series of case
studies that move across a range of genres, media forms and
cultures to ask not only how Shakespeare is variously transfigured,
hybridised and valorised through adaptational play, but also how
adaptations produce interpretive communities, and within these
potentially new literacies, modes of engagement and sensory
pleasures. The volume’s third section provides the reader with
uniquely detailed insights into creative adaptation, with writers
and practice-based researchers reflecting on their close
collaborations with Shakespeare’s works as an aesthetic, ethical
and political encounter. The Handbook further establishes the
conceptual parameters of the field through detailed, practical
resources that will aid the specialist and non-specialist reader
alike, including a guide to research resources and an annotated
bibliography.
There is a long history in Ireland of performing, studying and
responding to Shakespeare's plays. Transposed to an Irish context,
Shakespeare has continued to be a source of creative engagement and
discussion for Irish writers. This new collection of essays
explores the dynamic responses to Shakespeare by Irish writers, in
both English and in Irish, since the early twentieth century.
Written by leading Irish and international scholars in the fields
of Shakespeare and Irish studies "Shakespeare and the Irish Writer"
addresses the engagement with Shakespeare and his plays in the
works of Yeats, Wilde, Joyce, Bowen, Shaw, Beckett and McGuinness
as well as Irish language writers. It surveys Shakespeare's
reception in Ireland and suggests new ways of interpreting his work
and his cultural associations in and from Ireland. Indeed, the
collection reveals how the category 'Shakespeare and the Irish
Writer' discloses a level of cultural continuity across the
contours of the history of Ireland and Britain. What emerges is an
interaction with Shakespeare's plays that, whether emulative or
parodic, iconoclastic or subtly allusive, or a combination of
these, is complex and creative.These essays provide new insight
into Shakespeare's reception in Ireland, illustrating how his plays
have initiated a dialogue in Irish writing, and continue to do so.
They show how Irish responses to his work constitute a legitimate
form of criticism, enlarging understanding of Shakespeare in a
broader than national context. "Shakespeare and the Irish Writer"
will appeal to scholars of modern Irish writing and to Shakespeare
scholars, particularly those interested in the appropriation of the
many plays and their cultural afterlife.
The video-sharing platform YouTube signals exciting opportunities
and challenges for Shakespeare studies. As patron, distributor and
archive, YouTube occasions new forms of user-generated
Shakespeares, yet a reduced Bard too, subject to the distractions
of the contemporary networked mediascape. This book identifies the
genres of YouTube Shakespeare, interpreting them through theories
of remediation and media convergence and as indices of
Shakespeare's shifting cultural meanings. Exploring the
intersection of YouTube's participatory culture - its invitation to
'Broadcast Yourself' - with its corporate logic, the book argues
that YouTube Shakespeare is a site of productive tension between
new forms of self-expression and the homogenizing effects of mass
culture. Stephen O'Neill unfolds the range of YouTube's Bardic
productions to elaborate on their potential as teaching and
learning resources. The book importantly argues for a critical
media literacy, one that attends to identity constructions and to
the politics of race and gender as they emerge through
Shakespeare's new media forms. Shakespeare and YouTube will be of
interest to students and scholars of Shakespearean drama, poetry
and adaptations, as well as to new media studies.
This volume of essays contributes to current debates about
Shakespeare in new media. It importantly develops the field by
providing a comparativist approach to Shakespeare's dynamic media
history. Contributors to Broadcast Your Shakespeare address the
variety of ways Shakespeare texts have been expressed through
different media and continue to be. Writing at the intersection of
Shakespeare studies and media studies, these international
contributors also consider the role of a particular media in
producing Shakespeare's effect on us - as readers, viewers and
users. The volume suggests how current analyses of new media
Shakespeare have much to learn from older media, and that an
awareness both of media specificity and also continuity can enhance
Shakespeare pedagogy and research.
Performing Shakespearean Appropriations explores the production and
consumption of Shakespeare in acts of adaptation and appropriation
across time periods and through a range of performance topics. The
ten essays, moving from the seventeenth to the twenty-first
century, address uses of Shakespeare in the novel, television,
cinema, and digital media. Drawing on Christy Desmet's work,
several contributors figure appropriation as a posthumanist
enterprise that engages with electronic Shakespeare by dismantling,
reassembling, and recreating Shakespearean texts in and for digital
platforms. The collection thus looks at media and performance
technologies diachronically in its focus on Shakespeare's
afterlives. Contributors also construe the notion of "performance"
broadly to include performances of selves, of communities, of
agencies, and of authenticity-either Shakespeare's, or the user's,
or both. The essays examine both specific performances and larger
trends across media, and they consider a full range of modes: from
formal and professional to casual and amateur; from the fixed and
traditional to the ephemeral, the itinerant, and the irreverent.
This volume of essays contributes to current debates about
Shakespeare in new media. It importantly develops the field by
providing a comparativist approach to Shakespeare's dynamic media
history. Contributors to Broadcast Your Shakespeare address the
variety of ways Shakespeare texts have been expressed through
different media and continue to be. Writing at the intersection of
Shakespeare studies and media studies, these international
contributors also consider the role of a particular media in
producing Shakespeare's effect on us - as readers, viewers and
users. The volume suggests how current analyses of new media
Shakespeare have much to learn from older media, and that an
awareness both of media specificity and also continuity can enhance
Shakespeare pedagogy and research.
The video-sharing platform YouTube signals exciting opportunities
and challenges for Shakespeare studies. As patron, distributor and
archive, YouTube occasions new forms of user-generated
Shakespeares, yet a reduced Bard too, subject to the distractions
of the contemporary networked mediascape. This book identifies the
genres of YouTube Shakespeare, interpreting them through theories
of remediation and media convergence and as indices of
Shakespeare's shifting cultural meanings. Exploring the
intersection of YouTube's participatory culture - its invitation to
'Broadcast Yourself' - with its corporate logic, the book argues
that YouTube Shakespeare is a site of productive tension between
new forms of self-expression and the homogenizing effects of mass
culture. Stephen O'Neill""unfolds the range of YouTube's Bardic
productions to elaborate on their potential as teaching and
learning resources. The book importantly argues for a critical
media literacy, one that attends to identity constructions and to
the politics of race and gender as they emerge through
Shakespeare's new media forms. "Shakespeare and YouTube" will be of
interest to students and scholars of Shakespearean drama, poetry
and adaptations, as well as to new media studies.
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