Janice Valls-Russell – författare

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals’ staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today’s audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references.Mythological figures, creatures, places and stories crowd Shakespeare’s plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare’s spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals'' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare''s use of mythological references in an early modern context, while bringing them to life for today''s audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references.Mythological figures, creatures, places and stories crowd Shakespeare''s plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare''s spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals'' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare''s use of mythological references in an early modern context, while bringing them to life for today''s audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references.Mythological figures, creatures, places and stories crowd Shakespeare''s plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare''s spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally.Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English.In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019.In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of ''the stranger'' and ''the other''. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally. Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent''s turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English. In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019. In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare''s Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of ''the stranger'' and ''the other''. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally. Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent''s turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English. In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019. In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare''s Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally.Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English.In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019.In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals’ staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today’s audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references.Mythological figures, creatures, places and stories crowd Shakespeare’s plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare’s spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.

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. Its 11 essays show how early modern writing intertwines diverse myths and plays with variant versions of individual myths that derive from multiple classical sources, as well as medieval, Tudor and early modern retellings and translations. Works discussed include poems and plays by William Shakespeare, Christopher Marlowe and others. Essays concentrate on specific plays including The Merchant of Venice and Dido Queen of Carthage, tracing interactions between myths, chronicles, the Bible and contemporary genres. Mythological figures are considered to demonstrate how the weaving together of sources deconstructs gendered representations. New meanings emerge from these readings, which open up methodological perspectives on multi-textuality, artistic appropriation and cultural hybridity.

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. Its 11 essays show how early modern writing intertwines diverse myths and plays with variant versions of individual myths that derive from multiple classical sources, as well as medieval, Tudor and early modern retellings and translations. Works discussed include poems and plays by William Shakespeare, Christopher Marlowe and others. Essays concentrate on specific plays including The Merchant of Venice and Dido Queen of Carthage, tracing interactions between myths, chronicles, the Bible and contemporary genres. Mythological figures are considered to demonstrate how the weaving together of sources deconstructs gendered representations. New meanings emerge from these readings, which open up methodological perspectives on multi-textuality, artistic appropriation and cultural hybridity.

This volume offers the first in-depth investigation of Thomas Heywood’s engagement with the classics. Its introduction and twelve essays trace how the classics shaped Heywood’s work in a variety of genres across a writing career of over forty years, ranging from drama, epic and epyllion, to translations, compendia and the design of a warship for Charles I. Close readings demonstrate the influence of a capaciously conceived classical tradition that included continental editions and translations of Latin and Greek texts, early modern mythographies and the medieval tradition of Troy. They attend to Heywood’s thought-provoking imitations and juxtapositions of these sources, his use of myth to interrogate gender and heroism, and his turn to antiquity to celebrate and defamiliarise the theatrical or political present. Heywood’s better-known works are discussed alongside critically neglected ones, making the collection valuable for undergraduates and researchers alike.

This volume offers the first in-depth investigation of Thomas Heywood’s engagement with the classics. Its introduction and twelve essays trace how the classics shaped Heywood’s work in a variety of genres across a writing career of over forty years, ranging from drama, epic and epyllion, to translations, compendia and the design of a warship for Charles I. Close readings demonstrate the influence of a capaciously conceived classical tradition that included continental editions and translations of Latin and Greek texts, early modern mythographies and the medieval tradition of Troy. They attend to Heywood’s thought-provoking imitations and juxtapositions of these sources, his use of myth to interrogate gender and heroism, and his turn to antiquity to celebrate and defamiliarise the theatrical or political present. Heywood’s better-known works are discussed alongside critically neglected ones, making the collection valuable for undergraduates and researchers alike.

This volume offers the first in-depth investigation of Thomas Heywood’s engagement with the classics. Its introduction and twelve essays trace how the classics shaped Heywood’s work in a variety of genres across a writing career of over forty years, ranging from drama, epic and epyllion, to translations, compendia and the design of a warship for Charles I. Close readings demonstrate the influence of a capaciously conceived classical tradition that included continental editions and translations of Latin and Greek texts, early modern mythographies and the medieval tradition of Troy. They attend to Heywood’s thought-provoking imitations and juxtapositions of these sources, his use of myth to interrogate gender and heroism, and his turn to antiquity to celebrate and defamiliarise the theatrical or political present. Heywood’s better-known works are discussed alongside critically neglected ones, making the collection valuable for undergraduates and researchers alike.