Anne Sophie Refskou – författare

Drawing on critical insights from the history of emotion and Shakespearean emotion studies, this Element offers a pedagogy rooted in a historicist approach as a stimulating alternative to the teaching of Shakespeare's emotions as universally and transhistorically relatable. It seeks to provide a roadmap - by way of contextual and analytical frameworks and suggested learning activities - for teaching students how to mind the gap between Shakespeare's emotional moment and their own. The benefits to this approach include not only students' enhanced understanding of Shakespeare's plays in the context of early modern emotion culture but also their enhanced ability to think historically and critically about emotions, both in Shakespeare's day and now.

Eating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives – including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage – it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural ‘centre’ that still dominates the study of Shakespearean translations and adaptations from a ‘periphery’ of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of ‘Cultural Anthropophagy’ is advanced by the authors as an original methodology within the field currently understood as ‘Global Shakespeare’. Through a broad range of examples drawn from theatre, film and education, and from both within Brazil and beyond, the volume offers illuminating perspectives on what Global Shakespeare may mean today.

Eating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives – including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage – it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural ''centre'' that still dominates the study of Shakespearean translations and adaptations from a ''periphery'' of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of ''Cultural Anthropophagy'' is advanced by the authors as an original methodology within the field currently understood as ''Global Shakespeare''. Through a broad range of examples drawn from theatre, film and education, and from both within Brazil and beyond, the volume offers illuminating perspectives on what Global Shakespeare may mean today.

Eating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives – including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage – it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural ''centre'' that still dominates the study of Shakespearean translations and adaptations from a ''periphery'' of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of ''Cultural Anthropophagy'' is advanced by the authors as an original methodology within the field currently understood as ''Global Shakespeare''. Through a broad range of examples drawn from theatre, film and education, and from both within Brazil and beyond, the volume offers illuminating perspectives on what Global Shakespeare may mean today.

Eating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives – including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage – it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural ‘centre’ that still dominates the study of Shakespearean translations and adaptations from a ‘periphery’ of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of ‘Cultural Anthropophagy’ is advanced by the authors as an original methodology within the field currently understood as ‘Global Shakespeare’. Through a broad range of examples drawn from theatre, film and education, and from both within Brazil and beyond, the volume offers illuminating perspectives on what Global Shakespeare may mean today.

This book shows that Shakespeare’s dramatization of compassion, far from expressing a sense of universal empathy, stages a conflicted emotion available to be solicited, manipulated and at times even monopolized as a discursive vehicle for the exclusion of others.Drawing on the history of emotions and on Shakespearean classical studies, Anne Sophie Refskou argues both that Shakespeare’s compassion expresses his own historical and cultural moment and is at the same time the product of his close engagement with literature from the classical past. In so doing, she traces a set of recurrent strands in Shakespeare’s engagement with discourses of compassion throughout his playwriting career, situating them in relation to plays written for the early modern stage by contemporaries, including Thomas Kyd, George Peele, Christopher Marlowe, Thomas Nashe, John Fletcher and Philip Massinger. Individual chapters offer readings of Titus Andronicus, Richard III, Hamlet and King Lear by way of comparative analysis of key classical texts – including Euripides’ Hecuba and The Trojan Women, Vergil’s Aeneid and Ovid’s Metamorphoses – from which Shakespeare and his fellow playwrights drew sustained inspiration. Together, the chapters demonstrate how Shakespeare’s engagement with the classical literature, from which he inherited a spacious understanding of the social efficacy of emotion, enables his dramatization of issues that are central to the current critical field, including questions of race, gender, sexuality and the relationship between human beings and nonhuman animals.

This book shows that Shakespeare''s dramatization of compassion, far from expressing a sense of universal empathy, stages a conflicted emotion available to be solicited, manipulated and at times even monopolized as a discursive vehicle for the exclusion of others.Drawing on the history of emotions and on Shakespearean classical studies, Anne Sophie Refskou argues both that Shakespeare''s compassion expresses his own historical and cultural moment and is at the same time the product of his close engagement with literature from the classical past. In so doing, she traces a set of recurrent strands in Shakespeare''s engagement with discourses of compassion throughout his playwriting career, situating them in relation to plays written for the early modern stage by contemporaries, including Thomas Kyd, George Peele, Christopher Marlowe, Thomas Nashe, John Fletcher and Philip Massinger. Individual chapters offer readings of Titus Andronicus, Richard III, Hamlet and King Lear by way of comparative analysis of key classical texts – including Euripides'' Hecuba and The Trojan Women, Vergil''s Aeneid and Ovid''s Metamorphoses – from which Shakespeare and his fellow playwrights drew sustained inspiration. Together, the chapters demonstrate how Shakespeare''s engagement with the classical literature, from which he inherited a spacious understanding of the social efficacy of emotion, enables his dramatization of issues that are central to the current critical field, including questions of race, gender, sexuality and the relationship between human beings and nonhuman animals.

This book shows that Shakespeare''s dramatization of compassion, far from expressing a sense of universal empathy, stages a conflicted emotion available to be solicited, manipulated and at times even monopolized as a discursive vehicle for the exclusion of others.Drawing on the history of emotions and on Shakespearean classical studies, Anne Sophie Refskou argues both that Shakespeare''s compassion expresses his own historical and cultural moment and is at the same time the product of his close engagement with literature from the classical past. In so doing, she traces a set of recurrent strands in Shakespeare''s engagement with discourses of compassion throughout his playwriting career, situating them in relation to plays written for the early modern stage by contemporaries, including Thomas Kyd, George Peele, Christopher Marlowe, Thomas Nashe, John Fletcher and Philip Massinger. Individual chapters offer readings of Titus Andronicus, Richard III, Hamlet and King Lear by way of comparative analysis of key classical texts – including Euripides'' Hecuba and The Trojan Women, Vergil''s Aeneid and Ovid''s Metamorphoses – from which Shakespeare and his fellow playwrights drew sustained inspiration. Together, the chapters demonstrate how Shakespeare''s engagement with the classical literature, from which he inherited a spacious understanding of the social efficacy of emotion, enables his dramatization of issues that are central to the current critical field, including questions of race, gender, sexuality and the relationship between human beings and nonhuman animals.