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Published to commemorate 400th anniversary of Shakespeare's death in April 2016, a breathtaking exploration into Shakespeare as a Global poet. Whilst travelling in Luxor, Edward Wilson-Lee encountered a man who called out to him from the summer shade with lines from Shakespeare's Macbeth: 'Tomorrow, and tomorrow, and tomorrow...' Unable to resist the temptation, Wilson-Lee responded with the next line and so began a fascination with unexpected cultural encounters, especially those made memorable by the poignancy of discovering beauty out of place. Shakespeare may have heard of Luxor (although he would have known it as Thebes) but it is unlikely that he imagined his lines ever being spoken there, close by the feluccas sailing on the Nile and the acres of pharaonic ruins beyond. This radical, breath-taking book combines travel, history, biography and satire in an ode to Shakespeare. Wilson-Lee teaches Shakespeare at Cambridge but grew up in East Africa and Shakespeare in Swahililand explores Shakespeare's global legacy like no other book before it. In these pages explorers stagger through Africa's interior accompanied by Shakespeare; eccentrics live out their dreams on the African Savannah with Shakespeare by their side; decadent emigres, railway labourers, Indian settler communities, African intellectuals and rebels all turned to Shakespeare and adapted his plays to fit their needs. The book examines how Shakespeare influenced the first African leaders of independent nations, Cold War intrigues and even Che Guevara. With its extraordinary sequence of stories and momentous travels from Zanzibar, through Kenya, Tanzania, Uganda, Ethiopia and Sudan, this literary adventure throws high culture and the wild together in celebration of Shakespeare's legacy as a poet of the world.
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• Life
• Theatres and Players
• Controversies
• Shakespeare the Writer
• Facts and Figures
• Shakespeare and Language
• Afterlife
• Chronology of Shakespeare's Plays
• A Biographical Chronology.
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An ideal reference companion for students and enthusiasts of Shakespeare, this informative and entertaining Miscellany gives a wealth of contextual and biographical information to enhance your understanding and enjoyment of his work. There is an entry for every play, summarising its plot and outlining its major characters and themes. Whether you need to know the plot of Cymbeline, the names of characters in As You Like It, or something about the actors Shakespeare wrote for, this book provides the perfect quick reference. If you need to know more about Shakespeare's life and times, details are given of the debates surrounding his identity and appearance, the known and fanciful facts of his life, the theatres in which he worked and the acting companies of which he was a member. The book is arranged thematically rather than alphabetically, with a full index making it easy to navigate if you want an answer to a particular question, or intriguing just to dip in and out of. The core topics covered are: Theatres and Players; Controversies; Shakespeare the Writer; Facts and Figures; Shakespeare and Language; Afterlife; Chronology of Shakespeare's Plays; A Biographical Chronology.
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• Cover; Half-title; Title; Contents; Volume X: Marx and Freud; Half-title; Title; Copyright; Contents; Series Editors' Preface; Notes on Contributors; Note on References to Shakespeare; Introduction; Part I: Marx;
• Chapter 1 Marx's Shakespeare;
• Chapter 2 Marxism and Shakespeare;
• Chapter 3 Afterword; Part II: Freud;
• Chapter 4 Introduction: Freud and Shakespeare;
• Chapter 5 Freud's Shakespeare;
• Chapter 6 Shakespeare and Freud; Notes; Select Bibliography; Index; Volume XI: Berlioz, Verdi, Wagner, Britten; Half-title; Title; Copyright; Contents; Series Editors' Preface; Notes on Contributors.

• List of AbbreviationsNote on References to Shakespeare; Introduction;
• Chapter 1 Berlioz;
• Chapter 2 Verdi;
• Chapter 3 Individuation as Worship: Wagner and Shakespeare;
• Chapter 4 Britten as Another: Six Notes on a Mystic Writing Pad; Notes; Select Bibliography; Index; Volume XII: Joyce, T.S. Eliot, Auden, Beckett; Half-title; Title; Copyright; Contents; Series Editors' Preface; Notes on Contributors; Note on References to Shakespeare; Copyright Permissions; Introduction;
• Chapter 1 James Joyce;
• Chapter 2 T.S. Eliot;
• Chapter 3 W.H. Auden;
• Chapter 4 Samuel Beckett; Notes; Select Bibliography.

• IndexVolume XIII: Empson, Wilson Knight, Barber, Kott; Half-title; Title; Copyright; Dedication; Contents; Series Editors' Preface; Notes on Contributors; Introduction: The Dynamics of Shakespeare Criticism in the Twentieth Century;
• Chapter 1 William Empson;
• Chapter 2 G. Wilson Knight;
• Chapter 3 C.L. Barber;
• Chapter 4 Jan Kott; Kott in the East; Kott in the West; Notes; Selected Bibliography; Index.

Great Shakespeareans presents a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. This major project offers an unprecedented scholarly analysis of the contribution made by the most important Shakespearean critics, editors, actors and directors as well as novelists, poets, composers, and thinkers from the seventeenth to the twentieth century. An essential resource for students and scholars in Shakespeare studies.

• TABLE OF CONTENTS; FOREWORD; PREFACE; PART ONE; CHAPTER ONE; CHAPTER TWO; CHAPTER THREE; CHAPTER FOUR; CHAPTER FIVE; CHAPTER SIX; PART TWO; CHAPTER SEVEN; CHAPTER EIGHT; CHAPTER NINE; CHAPTER TEN; CHAPTER ELEVEN; CONTRIBUTORS; INDEX.

Dr Peter Orford and his editing team have collected articles from the next generation of Shakespeare scholars to offer a glimpse into the future of Renaissance Studies. The essays included were presented at the International British Graduate Shakespeare Conference and represent research from around the globe, either exploring new territory, or redefining the work of those before them. In his foreword, Professor Stanley Wells states that 'The essays printed here demonstrate that the future of early modern dramatic scholarship and criticism is in good hands." The articles included are: * "Seldom Seene: Observations from Editing The Launching of the Mary, or the Seaman's Honest Wife" by Matteo Pangallo * "Thomas Heywood and the Construction of Taste in the Repertory of Queen Henrietta's Men" by Eleanor Collins * "Bawdiness, Crime and Low Characters in Late Elizabethan Comedy" by Shelly Hsin-Yi Hsieh * "Print and Elizabethan Military Culture" by Dong-Ha Seo * "Actors, Audiences and Authors: The Competition for Control in Brome's The Antipodes" by Audrey Birkett * "Shakespeare's King Richard III: The Perverted Machiavel" by Conny Loder * "Women in the Shakespearean Audience - Recognition and Authority" by Brian Schneider * "Dis-playing History: The Case of Shakespeare's Globe" by Kelly Jones * "'Ever Holy and Unstained': Illuminating the Feminist Cenci Through Mary Wollstonecraft and Shakespeare's Titus Andronicus" by Kristine Johansan * "Narcissus and Modernity in Shakespeare's Sonnets" by Will McKenzie * "Cowboys and Romans: Cymbeline and Paradigmatic Change in the Theatre" by Miles Gregory.
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• Introduction / Ton Hoenselaars
• 'If I know the letters and the language' : translation as a dramatic device in Shakespeare's plays / Dirk Delabastita
• Engendering anew : Shakespeare, gender and translation / Susan Bassnett
• 'Our language of love' : Shakespeare in Japanese translation / Tetsuo Kishi
• Translating Shakespeare under Communism : Bulgaria and beyond / Alexander Shurbanov and Boika Sokolova
• A mirror up to 'human' nature : the case of the Chinese translator Liang Shi Qiu / Shen Lin
• The feast and the scraps : translating Love's labour's lost into Portuguese / Rui Carvalho Homem
• Translating Shakespeare's stagecraft / Jean-Michel Déprats
• Translating and copyright / Maik Hamburger
• The translator as editor : the Quartos of Hamlet / Alessandro Serpieri
• Think-along edition : the bilingual Studienausgabe of Shakespeare / Werner Brönnimann
• Interpreting Shakespeare's plays into British Sign Language / Peter Llewellyn-Jones
• Scots for Shakespeare / J. Derrick McClure
• 'A double tongue within your mask' : translating Shakespeare in/to Spanish-speaking Latin America / Alfredo Michel Modenessi
• 'Cette belle langue' : the 'tradaptation' of Shakespeare in Quebec / Leanore Lieblein
• 'I am the tusk of an elephant' : Macbeth, Titus and Caesar in Johannesburg / Martin Orkin
• Shakespeare and translation : a guide to further reading / Dirk Delabastita.

Shakespeare's international status as a literary icon is largely based on his masterful use of the English language, yet beyond Britain his plays and poems are read and performed mainly in translation. Shakespeare and the Language of Translation addresses this apparent contradiction and is the first major survey of its kind. Covering the many ways in which the translation of Shakespeare's works is practised and studied from Bulgaria to Japan, South Africa to Germany, it also discusses the translation of Macbeth into Scots and of Romeo and Juliet into British Sign Language. The collection places renderings of Shakespeare's works aimed at the page and the stage in their multiple cultural contexts, including gender, race and nation, as well as personal and postcolonial politics. Shakespeare's impact on nations and cultures all around the world is increasingly a focus for study and debate. As a result, the international performance of Shakespeare and Shakespeare in translation have become areas of growing popularity for both under- and post-graduate study, for which this book provides a valuable companion.
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• Part One: Literary contexts
• 'The wheel is come full circle': origins and new directions
• Recycled narratives
• 'This great stage of fools': King Lear in performance
• Dominant readings of King Lear: a tale of redemption or fall?
• The adaptation debate
• Part Two: Production contexts
• From play text to silver screen
• Screen Lears: an overview
• The changing face of King Lear
• New ways of reading screen Lears
• Part Three: Readings of key versions
• From the canon to Hollywood
• East meets West: King Lear and the canon. Peter Brook's King Lear (1971): ' a Hollywood showman's nightmare'
• On the road: reclaiming Kozinstev's Korol Lir (1970)
• Chaos on the Western frontier: Akira Kurosawa's Ran (1985)
• King Lear and genre cinema
• King Lear as western elegy: Ed Dmytryk's Broken Lance (1954)
• King Lear and the urban gangster movie: the 'tragic' gangster
• Displacing the patriarchal family: Joseph Mankiewicz's House of Strangers (1949)
• Mafia father figures: Francis Ford Coppola's The Godfather trilogy (1972, 1974, 1990)
• Gangster Lear as morality tale: Don Boyd's My Kingdom (2001)
• King Lear as melodrama: Jocelyn Moorhouse's A Thousand Acres (1997)
• King Lear goes art house: acts of reconstruction
• 'Meantime we shall express our darker purpose': Jean-Luc Godard's King Lear (1987)
• 'Radical art phalanx' versus 'a clever flag of PR convenience': Kristian Levring's The King is Alive (2000)
• Part 4: The afterlife ...
• The afterlife of King Lear: recent developments in the visual medium
• Adaptation: the debate goes on.

This close study of film adaptations of King Lear looks at several different versions (mainstream, art-house and cinematic `offshoots'') and discusses: the literary text in its historical context, key themes and dominant readings of the text, how the text is adapted for screen and how adaptations have changed our reading of the original text. There are many references to the literary text and screenplays and the book also features quotations from directors and critics. There is plenty of discursive material here to support student work on both film and literature courses.

• Shakespeare's exploration of the human comedy
• The comedy of errors
• The two gentlemen of Verona
• Love's labor's lost
• A midsummer night's dream
• The merchant of Venice
• The taming of the shrew
• The merry wives of Windsor
• Much ado about nothing
• As you like it
• Twelfth night
• Troilus and Cressida
• All's well that ends well and Measure for measure
• Cymbeline and The winter's tale
• The tempest.

In Shakespeare's hand the comic mode became an instrument for exploring the broad territory of the human situation, including much that had normally been reserved for tragedy. Once the reader recognizes that justification for such an assumption is presented repeatedly in the earlier comedies -- from The Comedy of Errors to Twelfth Night -- he has less difficulty in dispensing with the currently fashionable classifications of the later comedies as problem plays and romances or tragicomedies and thus in seeing them all as manifestations of a single impulse. Bryant shows how Shakespeare, early a.

• Introduction; part one: directors; the three shakespeare films of orson welles; the three shakespeare films of franco zeffirelli; the three shakespeare films of laurence olivier; the five shakespeare films of kenneth branagh; part two: plays; the comedy of errors; henry vi; titus andronicus; the taming of the shrew; the two gentlemen of verona; love's labour's lost; richard iii; the merchant of venice; a midsummer night's dream; as you like it; king john; richard ii; henry iv part i; henry iv part ii; henry v; romeo and juliet; julius caesar; hamlet; macbeth; much ado about nothing.

• Troilus and cressidatwelfth night; othello; measure for measure; all's well that ends well; the merry wives of windsor; king lear; timon of athens; antony and cleopatra; coriolanus; cymbeline; pericles; the winter's tale; the tempest; henry viii; part three: shakespeare adaptations; introduction; yellow sky (william wellman, 1948); house of strangers (joseph l.mankiewicz, 1949); broken lance (edward dmytryk, 1954); joe macbeth (ken hughes, 1955); forbidden planet (fred m.wilcox, 1956); jubal (delmer daves, 1956); throne of blood (akira kurosawa, 1957).

• The bad sleep well (akira kurosawa, 1960)age of consent (michael powell, 1969); heil caesar! (ronald smedley, 1973); a midsummer night's sex comedy (woody allen, 1982); tempest (paulmazursky, 1982); ran (akira kurosawa, 1985); hamlet goes business (aki kaurismaki, 1987); the godfather part iii (francis ford coppola, 1990); men of respect (william c. reilly, 1990); prospero's books (peter greenaway, 1991); my own private idaho (gus van sant, 1991); a thousand acres (jocelyn moorhouse, 1997); the tempest (jack bender, 1998); 10 things i hate about you (gill junger, 1999); o (aka the one.

• Tim blake nelson, 2001)king of texas (uli edel, 2002); shakespeare retold; she's the man (andy fickman, 2006); part four: films with shakespearean references; introduction; men are not gods (walter reisch, 1936); to be or not to be (ernst lubitsch, 1942; and alan johnson, 1983); les enfants du paradis (marcel carné, 1945); a double life (george cukor, 1947); paris nous appartient (jacques rivette, 1961); shakespeare-wallah (james ivory, 1965); the deadly affair (sidney lumet, 1966); theatre of blood (douglas hickox, 1973); the goodbye girl (herbert ross, 1977); mephisto (istván szabó, 1981).

• Withnail and i (bruce robinson, 1986)dead poets society (peter weir, 1989); rosencrantz and guildenstern are dead (tom stoppard, 1990); the house of cards (paul seed: 1990); in the bleak midwinter (aka a midwinter's tale: kenneth branagh, 1995); shakespeare in love (johnmadden, 1998); the king is alive (kristian levring, 2000); thewest wing, series three, episodes 20-2 (christopher misiano, thomas schlamme, alex graves, 2002); stage beauty (richard eyre, 2004); slings and arrows (peter wellington, 2003-6); anonymous (roland emmerich, 2011); cesare deve morire (paolo and vittorio taviani, 2012).

Small-Screen Shakespeare is a guide to all the Shakespeare productions available for viewing on computer or TV. From Beerbohm Tree's silent scene from King John, to Helen Mirren as Prospera and Simon Russell Beale as Falstaff, Peter Cochran gives an expert opinion on the best and the worst, basing his judgements on a lifetime of viewing, teaching, acting and directing. The book covers films, television productions, plays on YouTube, and DVDs of videoed stage productions, as well as cinematic Shakespearean spin-offs such as Throne of Blood and Joe Macbeth. The book is composed of five sections: one on film directors who have specialised in Shakespeare; one on screen versions of individual plays; one on films remaking Shakespeare's plots in a different idiom; one on films which contain creative references to Shakespeare; and a final review of two famous stage productions.
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• Epigraph [Series Forward] Acknowledgements List of Figures Introduction
• Chapter 1:
• Breaking Silence: Ophelia in the Lyric Tradition of Spain and the Pioneer Innovations of Blanca
• de los Rios
• Chapter 2: Talking Back: Ophelia in Turn-of-the-Millennium Poetry
• Chapter 3: The Myth of Ophelia in the Narratives of Clara Janes and Menchu Gutierrez
• Chapter 4:
• Ophelia Takes Center Stage
• Chapter 5: From Madwoman to Cyborg: Artist Marina Nunez's Ophelias
• Chapter 6: Ophelia in Front of the Camera Epilogue: Ophelia: Refigurations in the Arts, Reiterations in the Fashion Industry Bibliography.
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It is astonishing how deeply the figure of Ophelia has been woven into the fabric of Spanish literature and the visual arts - from her first appearance in eighteenth-century translations of Hamlet, through depictions by seminal authors such as Espronceda, Becquer and Lorca, to turn-of-the millennium figurations. This provocative, gendered figure has become what both male and female artists need her to be - is she invisible, a victim, mad, controlled by the masculine gaze, or is she an agent of her own identity? This well-documented study addresses these questions in the context of Iberia, whose poets, novelists and dramatists writing in Spanish, Catalan and Galician, as well as painters and photographers, have brought Shakespeare's heroine to life in new guises. Ophelia performs as an authoritative female author, as new perspectives reflect and authorise the gender diversity that has gained legitimacy in Spanish society since the political Transition.
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• Preface Introduction The Politics of History / The History of Politics: Shakespeare and Machiavelli Leonidas Donskis: Machiavelli vs. Shakespeare: Love, Hatred, and the Emergence of the Modern Individual David Coombes: Politics as Tragedy: Shakespearian Treatment of Machiavellian Themes Circumscribing the Political Cory Stockwell: Othello, the Secret of the Political Bartholomew Ryan: Deception, Nature and Nihilism in Politics: King Lear and Kurosawa's Ran Ervin Beck: Platonism and Politics in The Tempest J. D. Mininger and Jason Michael Peck: Six Currencies of Love: Political and Ethical Economies of Language in Shakespeare Governance, Law, Public Politics Tomas Berkmanas: Images of the Crown: Depersonified Governmentalities, a New Multitude, and Primitive Thinking Tomas Kavaliauskas and Ruta Bagdanaviciute: Katyn Does Not Happen Twice Shakespeare and the Politics of Translation J. D. Mininger and Justas Patkauskas: An Interview with Tomas Venclova Contributors Index.
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The book is comprised of essays that utilize Shakespeare as a productive window into topics of contemporary social and political relevance. Its interdisciplinary qualities make the book relevant for students of political studies, literature, philosophy, cultural studies, and history.
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• Introduction 1.Hamlet and the eyases
• 2. Portraits of the Iron Age: Troilus and Cressida
• 3. 'The Word will bring on summer:' All's Well that Ends Well and Chapman's mythic comedy
• 4. Othello, a man killed with kindness
• 5. Royal Measures: Measure for Measure and Middleton's comedy of disillusionment
• 6. Anger's priviledge, Timon of Athens and King Lear.
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David Farley-Hills argues that Shakespeare did not work in splendid isolation, but responded as any other playwright to the commercial and artistic pressures of his time. In this book he offers an interpretation of seven of Shakespeare's plays in the light of pressures exerted by his major contemporary rivals. The plays discussed are Hamlet, Troilus and Cressida, All's Well That Ends Well, Othello, Measure for Measure, Timon of Athens, and King Lear.
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• pt. I. Language and style
• pt. II. Myths, monsters and the grotesque
• pt. III. Philosophy, satire
• pt. IV. Exile, sexuality.

This collection of provocative new essays, mainly by French scholars, on Shakespeare's great tragedy, focuses on linguistic, aesthetic and philosophical issues with specific attention paid to the dimension of early modern desire, sexuality and gender relations. King Lear is here re-examined in the perspective of Lucrece, Montaigne, Renaissance medicine and anatomy, the grotesque, myth and imagery as well as negative theology. It is hoped that this will serve to update our approaches to this elusive, undecided play, neither Christian nor as completely nihilistic as some critics have argued, which nevertheless remains quite popular on French and English stages alike.
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• Democratic vistas
• Nativism, nationalism, and the common man in American constructions of Shakespeare
• Shakespeare at Hull House: Jane Addams's "A Modern Lear" and the 1894 Pullman Strike
• Shakespeare, 1916: Caliban by the Yellow Sands and the new dramas of democracy
• Prospero's books
• Prospero in Africa: The Tempest as colonialist text and pretext
• After The Tempest: Shakespeare, postcoloniality, and Michelle Cliff's new, New World Miranda
• The Othello complex
• Enslaving the Moor: Othello, Oroonoko, and the recuperation of intractability
• "Like Othello": Tayeb Salih's Season of Migration and postcolonial self-fashioning
• Conclusion--Decolonizing Shakespeare: My Son's Story, Children of Light, and late imperial romance.

Repositioning Shakespeare offers an original assessment of a broad range of texts and cultural events that appropriate Shakespeare. Examining these materials within the context of 'the nation' in a postcolonial era, Thomas Cartelli considers: * essays by Walt Whitman * the nineteenth-century play, 'Jack Cade' * novels by Aphra Behn, Ngugi Wa Thiong'o, Michelle Cliff, Tayeb Salih, Nadine Gordimer and Robert Stone * the 1849 Astor Place Riot Cartelli places particular emphasis on redefining the 'postcolonial' in order to find a place for America. In doing so, Repositioning Shakespeare makes a considerable contribution to the continuing debate about the uses we make of Shakespeare.
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• Introduction; chapter one; chapter two; chapter three; chapter four; chapter five; chapter six; chapter seven; chapter eight; chapter nine; chapter ten; chapter eleven; chapter twelve; chapter thirteen; notes on contributors.

This book brings together a selection of essays on the reception and dissemination of Shakespeare's plays in England and beyond from the 17th century to the present. Written from the perspective of a nation or cluster of nations in which Shakespeare has been used either to reflect, legitimize or challenge different versions of authoritarian rule, each of the chapters offers a picture of Shakespeare as unwitting commentator on some of the most significant and unsettling political events in Europe and elsewhere. Illustrating and analyzing changing attitudes to Shakespeare and his work in various tyrannical and post-tyrannical contexts in both Western and Eastern Europe, North Africa and South America, the volume provides insights into issues like the role of censorship and self-censorship in the revision and production of Shakespearean material; institutional controls on the dissemination and publication of Shakespeare's work; assumptions and techniques in the staging of his plays; state intervention in the elaboration of a Shakespeare "canon"; the role of Shakespeare in the construction of identity under tyranny; and the pertinence or otherwise of the subversion/containment paradigm following events such as the collapse of communism and the so-called "Arab Spring".
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Against a recent tendency to exaggerate Shakespeare's classical learning, this study examines how the playwright used his relatively restricted knowledge to create an unusually convincing picture of Rome.
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• 1. Henry VI
• 2. Richard III
• 3. Richard II
• 4. Henry IV
• 5. Henry V
• 6. Julius Caesar
• 7. Antony and Cleopatra
• 8. Coriolanus
• 9. Henry VIII.

Shakespeare is consistently interested in rulers, law, questions of authority and obedience. In this study, Alexander Leggatt examines the depiction of state and public power in the English and Roman histories.
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• Introduction-- Abbreviations-- Stanley Wells: The study of Shakespeare-- Norman Sanders: Shakespeare's text-- Michael Jamieson: Shakespeare in performance-- Katherine Duncan-Jones: The non-dramatic poems-- D. J. Palmer: The early comedies-- R. L. Smallwood: The middle comedies-- John Wilders: The problem plays: Troilus and Cressida, All's Well That Ends Well, Measure for Measure-- Michael Taylor: The late comedies-- R. S. White: Titus Andronicus and Romeo and Juliet-- David Daniell: Hamlet-- Robert Hapgood: Othello-- Kenneth Muir: King Lear-- R. A. Foakes: Macbeth-- R. J. A. Weis: Julius Caesar and Antony and Cleopatra-- Maurice Charney: Coriolanus and Timon of Athens-- Michael Hattaway: The First Tetralogy and King John-- Richard Dutton: The Second Tetralogy-- G. R. Proudfoot: Henry VIII (All is True), The Two Noble Kinsmen, and the Apocryphal plays-- Jonathan Dollimore: Critical developments: cultural materialism, feminism and gender critique, and new historicism.
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This volume, an updated and revised version of the "Bibliographical Guide" published in 1974, includes nine new chapters. Like its predecessor, it aims to help readers deal with the immense amount of scholarly and critical writings on Shakespeare. The contributors provide critical guides to reading in their allotted areas. The bulk of the volume is made up of chapters on separate works or groups of works. Other chapters are devoted to the studies of Shakespeare, to studies of his text and of his plays in relation to the theatre both of his own time and of later ages, and to recent developments in theoretical criticism. Full references are given for all the writings mentioned.
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