Evelyn Gajowski - Böcker

The Merry Wives of Windsor has recently experienced a resurgence of critical interest. At times considered one of Shakespeare’s weaker plays, it is often dismissed or marginalized; however, developments in feminist, ecocritical and new historicist criticism have opened up new perspectives and this collection of 18 essays by top Shakespeare scholars sheds fresh light on the play. The detailed introduction by Phyllis Rackin and Evelyn Gajowski provides a historical survey of the play and ties into an evolving critical and cultural context. The book’s sections look in turn at female community/female agency; theatrical alternatives; social and theatrical contexts; desire/sexuality; nature and performance to provide a contemporary critical analysis of the play.

The Merry Wives of Windsor has recently experienced a resurgence of critical interest. At times considered one of Shakespeare’s weaker plays, it is often dismissed or marginalized; however, developments in feminist, ecocritical and new historicist criticism have opened up new perspectives and this collection of 18 essays by top Shakespeare scholars sheds fresh light on the play. The detailed introduction by Phyllis Rackin and Evelyn Gajowski provides a historical survey of the play and ties into an evolving critical and cultural context. The book’s sections look in turn at female community/female agency; theatrical alternatives; social and theatrical contexts; desire/sexuality; nature and performance to provide a contemporary critical analysis of the play.

This volume argues that, given a Western propensity to identify Shakespeare’s work with “the human”, his drama plays a crucial and constitutive part in the ways race is theorized today. Offering the very first critical overview of the work that has been carried out in Shakespeare and race studies, Arthur L. Little, Jr.’s study reinvigorates the field by suggesting new directions this scholarship may take in the future.

Why do Shakespeare’s texts resonate so powerfully for us in the 21st century, 400 years after he wrote and produced them? Why is he more popular today than ever before? Why is that popularity now occurring in a global context, rather than a Western context? Surely, the comprehensiveness of Shakespeare’s ethical vision is one of the reasons. His skill as a playwright elicits reader and audience empathy for his characters and the dramatic situations in which he situates them. Yet the political, economic, and social practices, discourses, and events of our present moment, and our inevitable 'situatedness' in them, constitute another, untheorized part of the story.Presentism views Shakespeare’s texts as infinitely flexible, elastic entities. It empowers readers, directors, actors, and audience members alike as endlessly capable of opening up new meanings in Shakespeare’s texts – meanings that are inflected both temporally, in different periods of time, and spatially, in different cultures around the globe. This new study defines, explains, and analyses the significance of presentism as a 21st century theoretical and critical approach to Shakespeare’s texts.

Shakespeare and Adaptation Theory reconsiders, after 20 years of intense critical and creative activity, the theory and practice of adapting Shakespeare to different genres and media. Organized around clusters of key metaphors, the book explicates the principal theories informing the field of Shakespearean adaptation and surveys the growing field of case studies by Shakespeare scholars. Each chapter also looks anew at a specific Shakespeare play from the perspective of a prevailing set of theories and metaphors. Having identified the key critics responsible for developing these metaphors and for framing the discussion in this way, Iyengar moves on to analyze afresh the implications of these critical frames for adaptation studies as a whole and for particular Shakespeare plays. Focusing each chapter around a different play, the book contrasts comic, tragic, and tragicomic modes in Shakespeare's oeuvre and within the major genres of adaptation (e.g., film, stage-production, novel and digital media). Each chapter seasons its theoretical discussions with a lively sprinkling of allusions to Shakespeare - ranging from TikTok to tissue-boxes, from folios and fine arts to fan work. To conclude each chapter, the author provides a case-study of three or four significant and interesting adaptations from different genres or media. A glossary of terms compiled by Philip Gilreath and the author completes the book.

Shakespeare and Adaptation Theory reconsiders, after 20 years of intense critical and creative activity, the theory and practice of adapting Shakespeare to different genres and media. Organized around clusters of key metaphors, the book explicates the principal theories informing the field of Shakespearean adaptation and surveys the growing field of case studies by Shakespeare scholars. Each chapter also looks anew at a specific Shakespeare play from the perspective of a prevailing set of theories and metaphors. Having identified the key critics responsible for developing these metaphors and for framing the discussion in this way, Iyengar moves on to analyze afresh the implications of these critical frames for adaptation studies as a whole and for particular Shakespeare plays. Focusing each chapter around a different play, the book contrasts comic, tragic, and tragicomic modes in Shakespeare's oeuvre and within the major genres of adaptation (e.g., film, stage-production, novel and digital media). Each chapter seasons its theoretical discussions with a lively sprinkling of allusions to Shakespeare - ranging from TikTok to tissue-boxes, from folios and fine arts to fan work. To conclude each chapter, the author provides a case-study of three or four significant and interesting adaptations from different genres or media. A glossary of terms compiled by Philip Gilreath and the author completes the book.

The Arden Research Handbook of Contemporary Shakespeare Criticism is a wide-ranging, authoritative guide to research on critical approaches to Shakespeare by an international team of leading scholars. It contains chapters on 20 specific critical practices, each grounded in analysis of a Shakespeare play. These practices range from foundational approaches including character studies, close reading and genre studies, through those that emerged in the 1970s and 1980s that challenged the preconceptions on which traditional liberal humanism is based, including feminism, cultural materialism and new historicism. Perspectives drawn from postcolonial, queer studies and critical race studies, besides more recent critical practices including presentism, ecofeminism and cognitive ethology all receive detailed treatment.In addition to its coverage of distinct critical approaches, the handbook contains various sections that provide non-specialists with practical help: an A–Z glossary of key terms and concepts, a chronology of major publications and events, an introduction to resources for study of the field and a substantial annotated bibliography.

Arden Shakespeare and Theory provides a comprehensive analysis of the theoretical developments that have dominated Shakespeare studies in recent years, as well as those that are emerging at the present moment. Each volume provides:· a clear definition of a particular theory;· a survey of its major theorists and critics;· an analysis of its significance in Shakespeare studies;· a summary of relevant political, social and economic contexts;· a wealth of suggested resources for further investigation.Reception Theory provides readers with a unique overview and understanding of the ways in which both audiences and readers have reacted to Shakespeare's works historically and in the present. This study demonstrates how recent emphases on a reader’s and a spectator's role in the creation of meaning might allow us to contemplate Shakespeare’s work in fresh and often provocative ways. Among the plays included as case studies are A Midsummer Night's Dream, Hamlet, The Tempest, King Lear and Henry V. Shakespeare and Reception Theory pays close attention to early modern modes of interaction in the playhouse alongside more recent assumptions that underlie spectating and performing.

There is no Shakespeare without text. Yet readers often do not realize that the words in the book they hold, like the dialogue they hear from the stage, has been revised, augmented and emended since Shakespeare’s lifetime. An essential resource for the history of Shakespeare on the page, Shakespeare and Textual Theory traces the explanatory underpinnings of these changes through the centuries. After providing an introduction to early modern printing practices, Suzanne Gossett describes the original quartos and folios as well as the first collected editions. Subsequent sections summarize the work of the ‘New Bibliographers’ and the radical challenge to their technical analysis posed by poststructuralist theory, which undermined the presumed stability of author and text. Shakespeare and Textual Theory presents a balanced view of the current theoretical debates, which include the nature of the surviving texts we call Shakespeare’s; the relationship of the author ‘Shakespeare’ and of authorial intentions to any of these texts; the extent and nature of Shakespeare’s collaboration with others; and the best or most desirable way to present the texts - in editions or performances. The book is illustrated throughout with examples showing how theoretical decisions affect the text of Shakespeare’s plays, and case studies of Hamlet and Pericles demonstrate how different theories complicate both text and meaning, whether a play survives in one version or several. The conclusion summarizes the many ways in which beliefs about Shakespeare’s texts have changed over the centuries.

There is no Shakespeare without text. Yet readers often do not realize that the words in the book they hold, like the dialogue they hear from the stage, has been revised, augmented and emended since Shakespeare’s lifetime. An essential resource for the history of Shakespeare on the page, Shakespeare and Textual Theory traces the explanatory underpinnings of these changes through the centuries. After providing an introduction to early modern printing practices, Suzanne Gossett describes the original quartos and folios as well as the first collected editions. Subsequent sections summarize the work of the ‘New Bibliographers’ and the radical challenge to their technical analysis posed by poststructuralist theory, which undermined the presumed stability of author and text. Shakespeare and Textual Theory presents a balanced view of the current theoretical debates, which include the nature of the surviving texts we call Shakespeare’s; the relationship of the author ‘Shakespeare’ and of authorial intentions to any of these texts; the extent and nature of Shakespeare’s collaboration with others; and the best or most desirable way to present the texts - in editions or performances. The book is illustrated throughout with examples showing how theoretical decisions affect the text of Shakespeare’s plays, and case studies of Hamlet and Pericles demonstrate how different theories complicate both text and meaning, whether a play survives in one version or several. The conclusion summarizes the many ways in which beliefs about Shakespeare’s texts have changed over the centuries.

Arden Shakespeare and Theory provides a comprehensive analysis of the theoretical developments that have dominated Shakespeare studies in recent years, as well as those that are emerging at the present moment. Each volume provides:· a clear definition of a particular theory;· a survey of its major theorists and critics;· an analysis of its significance in Shakespeare studies;· a summary of relevant political, social and economic contexts;· a wealth of suggested resources for further investigation.Reception Theory provides readers with a unique overview and understanding of the ways in which both audiences and readers have reacted to Shakespeare's works historically and in the present. This study demonstrates how recent emphases on a reader’s and a spectator's role in the creation of meaning might allow us to contemplate Shakespeare’s work in fresh and often provocative ways. Among the plays included as case studies are A Midsummer Night's Dream, Hamlet, The Tempest, King Lear and Henry V. Shakespeare and Reception Theory pays close attention to early modern modes of interaction in the playhouse alongside more recent assumptions that underlie spectating and performing.

Sandra Logan’s Shakespeare and Theories of Political Theology provides a clear, nuanced explication of modern theories of political theology and the early modern theories that ground them. This accessible overview shows how these theories have contributed to new ways of interpreting Shakespeare’s works. Logan demonstrates the centrality of political theology to our understanding of sovereign authority across history, tracing debates about political theology and modern sovereignty through Schmitt, Benjamin, Derrida, and Agamben, alongside its early modern aspects through Luther, Calvin, de Vitoria, Smith, and Bodin.She then turns to Shakespearean scholarship to reveal how scholars have employed those theories to show that Shakespeare himself drew on and critiqued concepts of political theology through his plays, such as sovereign authority and impunity, sovereign/subject relations, questions of obedience and resistance, and conditions of exceptionalism and banishment. Plays covered include Hamlet, Macbeth, As You Like It, Measure for Measure, The Tempest, and The Winter’s Tale. Logan also offers a bold new interpretation of Shakespeare’s Richard II that is rooted in political-theological theories of resistance to tyranny and Benjamin’s concept of messianic history. Shakespeare and Theories of Political Theology serves as a powerful tool for understanding theories of political theology and richly demonstrates how such theories have been taken up by the field.

The Arden Research Handbook of Contemporary Shakespeare Criticism is a wide-ranging, authoritative guide to research on critical approaches to Shakespeare by an international team of leading scholars. It contains chapters on 20 specific critical practices, each grounded in analysis of a Shakespeare play. These practices range from foundational approaches including character studies, close reading and genre studies, through those that emerged in the 1970s and 1980s that challenged the preconceptions on which traditional liberal humanism is based, including feminism, cultural materialism and new historicism. Perspectives drawn from postcolonial, queer studies and critical race studies, besides more recent critical practices including presentism, ecofeminism and disability all receive detailed treatment.In addition to its coverage of distinct critical approaches, the handbook contains various sections that provide non-specialists with practical help: an A–Z glossary of key terms and concepts, a chronology of major publications and events, an introduction to resources for study of the field and a substantial annotated bibliography.

Shakespeare and Disability Theory serves as a guide to the intersections of Shakespeare studies and disability studies. Intervening in contemporary critical debates about recognizing disability representations in dramatic texts, Genevieve Love explores the stakes of embodying disability in Shakespearean performance.After tracking the emergence of critical disability studies as a field, Love maps out how claims from disability theory influence and continue to transform Shakespeare studies. Through methodologies of literary disability studies, the volume provides fresh readings of a range of Shakespeare texts, illustrating the power of disability theory to reframe familiar ideas in Shakespeare and to illuminate unfamiliar ones. While the archetypal Richard III provides an extended case study that highlights performance choices by disabled actors and contemporary appropriations of disability, Love’s close readings move beyond Shakespeare’s representations of singular disabled characters. Plays such as Julius Caesar and King Lear display the expansive networks through which we recognize Shakespearean disability, including neurodiversity. Subsequent chapters underscore disability’s intersectionality, recognized through dynamics of incorporation, care, and community in Othello and Henry V, and demonstrate how plays such as The Tempest and Titus Andronicus mobilize disability as a resource for theatricality through stage properties and theatrical prostheses. All these approaches point to engagements with literary and theatrical disability representations that challenge outmoded methods for Shakespeare students, scholars and practitioners.

Kelsey Ridge provides a thorough overview of how we can use trauma theory to understand Shakespeare through its intellectual and practical application. Ridge covers the history of trauma theory from Freud and shell shock to Holocaust studies and PTSD, drawing on psychoanalytic theory, feminist theory, post-colonial theory and disability studies. She also looks at the expansive and growing history of trauma-informed Shakespeare productions and adaptations, which furthers our understanding of key plays and productions. Ridge offers a number of instructive case studies, including The Tempest; R+J, which adapted Romeo and Juliet; and Cry Havoc!, a trauma-focused appropriation of Shakespeare’s work that led to the development of the DE-CRUIT program.These case studies suggest how trauma theory can be used as a tool for analyzing Shakespeare as well as engaging with the lived experience of trauma itself. By exploring these interpretations, Ridge provides a set of tools for those wanting to conduct their own trauma theory analyses of Shakespeare, productions, and adaptations. A dynamic resource for academics, students, and theatre practitioners, Shakespeare and Trauma Theory includes suggested readings and resources as well as discussion of key terms to support understanding of an important and growing field in Shakespeare studies.

Now available in paperback, Shakespeare and Postcolonial Theory is an up-to-date guide to contemporary debates in postcolonial studies and how these shape our understanding of Shakespeare’s politics and poetics. Taking a historical perspective, it covers early modern discourses of colonialism, ‘race’, gender and globalization, through to contemporary intercultural appropriations and global adaptations of Shakespeare. Showing how the dialogue between Shakespeare criticism and postcolonial studies has evolved, this book offers a critical vocabulary that connects contemporary and early modern cultural struggles. Shakespeare and Postcolonial Theory also provides guides to further reading and online resources which make this an essential resource for students and scholars of Shakespeare.

Now available in paperback, Shakespeare and Postcolonial Theory is an up-to-date guide to contemporary debates in postcolonial studies and how these shape our understanding of Shakespeare’s politics and poetics. Taking a historical perspective, it covers early modern discourses of colonialism, ‘race’, gender and globalization, through to contemporary intercultural appropriations and global adaptations of Shakespeare. Showing how the dialogue between Shakespeare criticism and postcolonial studies has evolved, this book offers a critical vocabulary that connects contemporary and early modern cultural struggles. Shakespeare and Postcolonial Theory also provides guides to further reading and online resources which make this an essential resource for students and scholars of Shakespeare.

Combining the latest scientific and philosophical understanding of humankind’s place in the world with interpretative methods derived from other politically inflected literary criticism, ecocriticism is providing new insights into literary works both ancient and modern. With case-study analyses of the tragedies, comedies, histories and late romances, this book is a wide-ranging introduction to reading Shakespeare in the light of contemporary ecocritical theory.

Although psychoanalytic criticism of Shakespeare is a prominent and prolific field of scholarship, the analytic methods and tools, theories, and critics who apply the theories have not been adequately assessed. This book fills that gap. It surveys the psychoanalytic theorists who have had the most impact on studies of Shakespeare, clearly explaining the fundamental developments and concepts of their theories, providing concise definitions of key terminology, describing the inception and evolution of different schools of psychoanalysis, and discussing the relationship of psychoanalytic theory (especially in Shakespeare) to other critical theories. It chronologically surveys the major critics who have applied psychoanalysis to their readings of Shakespeare, clarifying the theories they are enlisting; charting the inception, evolution, and interaction of their approaches; and highlighting new meanings that have resulted from such readings. It assesses the applicability of psychoanalytic theory to Shakespeare studies and the significance and value of the resulting readings.

Are Shakespeare’s plays dramatizations of patriarchy or representations of assertive and eloquent women? Or are they sometimes both? And is it relevant, and if so how, that his women were first played by boys? This book shows how many kinds of feminist theory help analyze the dynamics of Shakespeare’s plays. Both feminist theory and the plays deal with issues such as likeness and difference between the sexes, the complexity of relationships between women, the liberating possibilities of desire, what marriage means and how much women can remake it, how women can use and expand their culture’s ideas of motherhood and of women’s work, and how women can have power through language. This lively exploration of these and related issues is an ideal introduction to the field of feminist readings of Shakespeare.

Are Shakespeare’s plays dramatizations of patriarchy or representations of assertive and eloquent women? Or are they sometimes both? And is it relevant, and if so how, that his women were first played by boys? This book shows how many kinds of feminist theory help analyze the dynamics of Shakespeare’s plays. Both feminist theory and the plays deal with issues such as likeness and difference between the sexes, the complexity of relationships between women, the liberating possibilities of desire, what marriage means and how much women can remake it, how women can use and expand their culture’s ideas of motherhood and of women’s work, and how women can have power through language. This lively exploration of these and related issues is an ideal introduction to the field of feminist readings of Shakespeare.

Cultural materialism is one of the most important and one of the most provocative theories to have emerged in the last thirty years. Combining close attention to Shakespearean texts and the conditions of their production with an explicit left-wing political affiliation, cultural materialism offers readers a radical avenue through which to engage with Shakespeare and his world. Shakespeare and Cultural Materialist Theory charts the inception and development of this theory, setting out its central tenets and analysing the work of key thinkers such as Alan Sinfield, Jonathan Dollimore, Terence Hawkes and Catherine Belsey. Unlike most literary theories, cultural materialism attempts to use the study of Shakespeare to intervene in the politics of the present day, and its unsettling approach has not passed without objection, both within academia and without. This book considers the debates, scandals and controversies caused by cultural materialism, and by applying it to Shakespeare afresh, demonstrates that the theory is still very much alive and kicking.

Arden Shakespeare and Theory provides a comprehensive analysis of thetheoretical developments that have dominated Shakespeare studies in recentyears, as well as those that are emerging at the present moment. Eachvolume provides:a clear definition of a particular theory;a survey of its major theorists and critics;an analysis of its significance in Shakespeare studies;a summary of relevant political, social, and economic contexts;a wealth of suggested resources for further investigation.Combining close attention to Shakespearean texts and the conditions oftheir production with an explicit left-wing political affiliation, culturalmaterialism offers readers a radical avenue through which to engage withShakespeare and his world. Shakespeare and Cultural Materialist Theorycharts the inception and development of this theory, setting out its centraltenets and analysing the work of key thinkers such as Alan Sinfield, JonathanDollimore, Raymond Williams and Ania Loomba.

Over the last 20 years, the concept of 'economic' activity has come to seem inseparable from psychological, semiotic and ideological experiences. In fact, the notion of the 'economy' as a discrete area of life seems increasingly implausible. This returns us to the situation of Shakespeare's England, where the financial had yet to be differentiated from other forms of representation. This book shows how concepts and concerns that were until recently considered purely economic affected the entire range of sixteenth and seventeenth century life. Using the work of such critics as Jean-Christophe Agnew, Douglas Bruster, Hugh Grady and many others, Shakespeare and Economic Theory traces economic literary criticism to its cultural and historical roots, and discusses its main practitioners. Providing new readings of Timon of Athens, King Lear, The Winter’s Tale, The Merchant of Venice, Measure for Measure, Julius Caesar, Macbeth and The Tempest, David Hawkes shows how it can reveal previously unappreciated qualities of Shakespeare’s work.

Over the last 20 years, the concept of 'economic' activity has come to seem inseparable from psychological, semiotic and ideological experiences. In fact, the notion of the 'economy' as a discrete area of life seems increasingly implausible. This returns us to the situation of Shakespeare's England, where the financial had yet to be differentiated from other forms of representation. This book shows how concepts and concerns that were until recently considered purely economic affected the entire range of sixteenth and seventeenth century life. Using the work of such critics as Jean-Christophe Agnew, Douglas Bruster, Hugh Grady and many others, Shakespeare and Economic Theory traces economic literary criticism to its cultural and historical roots, and discusses its main practitioners. Providing new readings of Timon of Athens, King Lear, The Winter’s Tale, The Merchant of Venice, Measure for Measure, Julius Caesar, Macbeth and The Tempest, David Hawkes shows how it can reveal previously unappreciated qualities of Shakespeare’s work.

Ecofeminism has been an important field of theory in philosophy and environmental studies for decades. It takes as its primary concern the way the relationship between the human and nonhuman is both material and cultural, but it also investigates how this relationship is inherently entangled with questions of gender equity and social justice.Shakespeare and Ecofeminist Theory engagingly establishes a history of ecofeminist scholarship relevant to early modern studies, and provides a clear overview of this rich field of philosophical enquiry. Through fresh, detailed readings of Shakespeare’s poetry and drama, this volume is a wholly original study articulating the ways in which we can better understand the world of Shakespeare’s plays, and the relationships between men, women, animals, and plants that we see in them.

Shakespeare and Posthumanist Theory charts challenges in the field of Shakespeare studies to the assumption that the category “human” is real, stable, or worthy of privileging in discussions of the playwright’s work. Drawing on a variety of methodologies - cognitive theory, systems theory, animal studies, ecostudies, the new materialisms - the volume investigates the world of Shakespeare’s plays and poems in order to represent more thoroughly its variety, its ethics of inclusion, and its resistance to human triumphalism and exceptionalism. Karen Raber, a leading scholar in the field, clearly and cogently guides the reader through complex theoretical terrain, providing fresh, exciting readings of plays including Othello, The Tempest, Titus Andronicus, Troilus and Cressida and Henry IV Part 1.

Shakespeare and Posthumanist Theory charts challenges in the field of Shakespeare studies to the assumption that the category “human” is real, stable, or worthy of privileging in discussions of the playwright’s work. Drawing on a variety of methodologies – cognitive theory, systems theory, animal studies, ecostudies, the new materialisms – the volume investigates the world of Shakespeare’s plays and poems in order to represent more thoroughly its variety, its ethics of inclusion, and its resistance to human triumphalism and exceptionalism. Karen Raber, a leading scholar in the field, clearly and cogently guides the reader through complex theoretical terrain, providing fresh, exciting readings of plays including Othello, The Tempest, Titus Andronicus, Troilus and Cressida and Henry IV Part 1.

Over the past three decades, no critical movement has been more prominent in Shakespeare Studies than new historicism. And yet, it remains notoriously difficult to pin down, define and explain, let alone analyze. Shakespeare and New Historicist Theory provides a comprehensive scholarly analysis of new historicism as a development in Shakespeare studies while asking fundamental questions about its status as literary theory and its continued usefulness as a method of approaching Shakespeare’s plays.