Shakespeare and Theory – serie

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.