This year publishing its twentieth 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.
The first full length treatment of how men of different professions, social ranks and ages are empowered by their emotional expressiveness in early modern English literary works, this study examines the profound impact of the cultural shift in the English aristocracy from feudal warriors to emotionally expressive courtiers or gentlemen on all kinds of men in early modern English literature.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
Shakespearean Drama, Disability, and the Filmic Stare synthesizes Laura Mulvey's male gaze and Rosemarie Garland-Thomson's stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama.
Opening up a new window to see Shakespeare's words in a different light and gathering his intentions in a simple, clear way, this book presents the Cue Scripts from the Tragedies in Shakespeare's First Folio.
The Routledge Handbook of Shakespeare and Memory introduces this vibrant field of study to students and scholars, whilst defining and extending critical debates in the area.
Iago's 'I am not what I am' epitomises how Shakespeare's work is rich in philosophy, from issues of deception and moral deviance to those concerning the complex nature of the self, the notions of being and identity, and the possibility or impossibility of self-knowledge and knowledge of others.
Through exciting and unconventional approaches, including critical/historical, printing/publishing and performance studies, this study mines Shakespeare's Romeo and Juliet to produce new insights into the early modern family, the individual, and society in the context of early modern capitalism.
The 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture.
This book argues that Shakespeare was permanently preoccupied with the brutality, corruption, and ultimate groundlessness of the political order of his state, and that the impact of original Tudor censorship, supplemented by the relatively depoliticizing aesthetic traditions of later centuries, have together obscured the consistent subversiveness of his work.
Shakespeare and Terrorism delves into how extremists have responded to Shakespeare - whether they've attacked him or been inspired by him - and investigates what the playwright and his works can tell us about the nature, psychology, and consequences of terror.
This is the first collection of criticism on Shakespeare's romances to register the impact of modern literary theory on interpretations of these plays.
This is a collection of original essays about how Shakespeare and how his plays are increasingly being used as a means of furthering literacy, language arts, creative and dramatic learning for children in and out of the classroom.
Concerning itself with the complex interplay between iconoclasm against images of the Virgin Mary in post-Reformation England and stage representations that evoke various 'Marian moments' from the medieval, Catholic past, this collection answers the call for further investigation of the complex relationship between the fraught religio-political culture of the early modern period and the theater that it spawned.
This volume in the Shakespeare Criticism series offers a range of approaches to Twelfth Night, including its critical reception, performance history, and relation to early modern culture.
The Oxford Handbooks to Shakespeare are designed to record past and present investigations and renewed and revised judgments by both familiar and younger Shakespeare specialists.
Shakespeare's Suicides: Dead Bodies That Matter is the first study in Shakespeare criticism to examine the entirety of Shakespeare's dramatic suicides.
The One-Hour Shakespeare series is a collection of abridged versions of Shakespeare's plays, designed specifically to accommodate both small and large casts.
Curating material from Applauses Shakescenes: Shakespeare for Two by John Russell Brown, Once More unto the Speech, Dear Friends by Neil Freeman, The Applause Shakespeare Library, and Applause First Folio Editions, weve created the must-have workbook series for Shakespeare plays.
This book will constitute an original intervention into longstanding but insistently relevant debates around the significance of notions of 'performativity' to the critical analysis of early modern drama.
In Shakespeare's Language, Keith Johnson offers an overview of the rich and dynamic history of the reception and study of Shakespeare's language from his death right up to the present.
This book lays bare the dialogue between Shakespeare and critics of the stage and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators.
This book explores historical, socio-political, and metatheatrical readings of a whole host of dying bodies and risen corpses, each part of a long tradition of living death on stage.
