Search & Browse

Evaluates key Spanish-language translations of Shakespeare's poems. By engaging with Joseph Blanco White in particular, maintains that "the recurrent claim that Shakespeare's poetry is universal . . . has less to do with the invariable shared values translators find in his writings and more with certain interpretive shifts they want to propose."

Discusses 1930s talkie-film adaptations of Shakespeare, noting how the marketing for these films as pedagogical and accessible did not match with the film's actual content. Argues that, ironically, the spoken words interfere with enjoyment of the adaptation.

Discusses the "paradoxes" of Branagh's cinema, arguing that in his version of Hamlet and elsewhere, he uses theatrical artifice "to intensify the impression of reality."

Analyzes deliberately poor renditions of Shakespeare ("bad Shakespeare") in movie adaptations of novels where the bad Shakespeare appears. Contends that "bad Shakespeare shifts the focus from the original source and its ostensible purpose, and puts it on the very idea of representation, and on the potential appeal of interesting failure."

Argues that speculation surrounding Shakespeare's influence on the King James Bible comes from nineteenth-century criticism and that Shakespeare's direct involvement was unlikely.

Argues that "rabble" in Hamlet are the actual Elizabethan audience members from "whom [Hamlet] has to win to sympathy if the play is to succeed."

Using Taming of the Shrew as a case study, discusses effective pedagogical methods for teaching classic English literature to Brazilian high school students in order to supplement foreign language learning. Portuguese and English summaries, 306.

Traces the reception of the "Willow Song" from Othello to an operatic version in the nineteenth century, with emphasis on the performer's gender. Concludes that the opera versions "restor[e] an adult voice to a character that had long been reduced to a child-bride almost devoid of vocal identity." French and English summaries, online.

Analyzes Falstaff in 1 and 2 Henry VI, concluding that he "functions very well as an example of multiplicity [and] . . . is also poly-temporal." Notes that Hal needs to banish Falstaff and what he represents in order to legitimize his own reign as a type of regal self-fashioning. French summary, online.

Examines the character of Hamlet, arguing that it is a collage of personae from disconnected theatrical traditions and that the play, thus, transforms traditional ideas of meaning and being.