The chapters in this book constitute a timely response to an important moment for early modern cultural studies: the academy has been called to attend to questions of social justice.
The chapters in this book constitute a timely response to an important moment for early modern cultural studies: the academy has been called to attend to questions of social justice.
In this volume, Lee Brewer Jones examines Paula Vogel as both a playwright and renowned teacher, analyzing texts and early reviews of Vogel's major plays-including Indecent, Desdemona, How I Learned to Drive, and The Baltimore Waltz-before turning attention to her influence upon other major American playwrights, including Sarah Ruhl, Lynn Nottage, and Quiara Alegr a Hudes.
In this volume, Lee Brewer Jones examines Paula Vogel as both a playwright and renowned teacher, analyzing texts and early reviews of Vogel's major plays-including Indecent, Desdemona, How I Learned to Drive, and The Baltimore Waltz-before turning attention to her influence upon other major American playwrights, including Sarah Ruhl, Lynn Nottage, and Quiara Alegr a Hudes.
Four years before the publication of the First Folio, a group of London printers and booksellers attempted to produce a "e;collected works"e; of William Shakespeare, not in an imposingly large format but as a series of more humble quarto pamphlets.
This book examines the modern performance history of one of Shakespeare's best-loved and most enduring comedies, and one that has given opportunities for generations of theatre-makers and theatre-goers to explore the pleasures of pastoral, gender masquerade and sexual ambiguity.
Free Will: Art and power on Shakespeare's stage is a study of theatre and sovereignty that situates Shakespeare's plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political.
This volume proposes new insights into the uses of classical mythology by Shakespeare and his contemporaries, focusing on interweaving processes in early modern appropriations of myth.
Samuel Beckett and trauma is the first book that specifically addresses the question of trauma in Beckett, taking into account the recent rise of trauma studies in literature.
This book explores how South Africa is negotiating its past in and through various modes of performance in contemporary theatre, public events and memorial spaces.
In exploring links between the early modern English theatre and France, Richard Hillman focuses on Shakespeare's deployment of genres whose dominant Italian models and affinities might seem to leave little scope for French ones.
Samuel Beckett and trauma is the first book that specifically addresses the question of trauma in Beckett, taking into account the recent rise of trauma studies in literature.
New Russian Drama began its rise at the end of the twentieth century, following a decline in dramatic writing in Russia that stemmed back to the 1980s.
This collection of newly commissioned essays explores the extraordinary versatility of Renaissance tragedy and shows how it enables exploration of issues ranging from gender to race to religious conflict, as well as providing us with some of the earliest dramatic representations of the lives of ordinary Englishmen and women.
This collection of newly commissioned essays explores the extraordinary versatility of Renaissance tragedy and shows how it enables exploration of issues ranging from gender to race to religious conflict, as well as providing us with some of the earliest dramatic representations of the lives of ordinary Englishmen and women.
A lively and engaging guide to vital habits of mind that can help you think more deeply, write more effectively, and learn more joyfullyHow to Think like Shakespeare is a brilliantly fun exploration of the craft of thoughtone that demonstrates what we've lost in education today, and how we might begin to recover it.
