138,701 entries in:
Advocates for criticism that attends to racial dimensions of sound, and that “race” is enacted among white people. Offers reading of sound in Macbeth, arguing that “racialized sounds of whiteness abound” in play.
Considers role of patronage in early modern theater, interrogating extent to which players’ promoted interests of their patrons. Offer case study of John Dudley, contrasting his approach to theatrical patronage with better-studied models of patronage for Shakespeare’s Lord Chamberlain’s Men.
Illuminates how whiteness is constructed in and disseminated by Shakespeare's corpus to interrogate how to attend to these "imaginings of whiteness . . . to challenge paradigms of white supremacy." Offers reflective analysis over critical race scholarship in Shakespearean studies and asks burgeoning and veteran scholars entering field to consider "what is [their] endgame?" Advocates for renewed focus on combatting notions of whiteness and white-centered scholarship in Shakespeare's corpus and contends these anti-racist strategies will create more earnest scholars in research, teaching, and lived daily praxis.
Considers curious temporal features of Tempest alongside its engagements with colonialism and race, arguing that play’s colonial discourse is fundamentally linked to its treatment of time. Juxtaposes subtle references to colonialism in Tempest with more overt references in Restoration adaptations of play.
Explores matter of truth in Much Ado About Nothing, noting its preoccupations within distinctions between truth and falsehood, and proof and belief. Argues that play test limits of circulation of knowledge even if it is based on "nothing", and contends play "enacts a theatrical sociability of truth, which is primarily interested in the problem of how truth is constructed, rather than in its stabilization."
Compares illustrations of Hamlet in John Austen’s 1922 edition with earlier depictions of Prince Hamlet in nineteenth- and twentieth-century visual art, film and theater. Argues Austen’s images of Prince Hamlet present darker vision of prince than typical romanticized images of earlier era.
Studies bibliographical practices of Henrietta Bartlett, who gathered information about Shakespeare quartos including those held by private owners, information presented in Bartlett’s Census of Shakespeare’s Plays in Quarto, 1594–1709 (1916). Focuses on paradoxical relation between democratized access to Shakespeare’s plays and privatization of early English printed books.
Presents critical review essay of live-online reading of Hamlet directed by Neil Coppen in 2021, presented by DGC, VRT, KKNK, in association with Wits University’s Tsikinya-Chaka Centre and University of KwaZulu-Natal’s Centre for Creative Arts. Discusses production in context of COVID-19 pandemic which delayed production, originally slated for June 2020.
Examines how the Naija (previously known as Nigerian Pidgin) translation Hamlet for Pidgin (Oga Pikin) recontextualizes Hamlet story for Nigerian audiences. Studies translation’s particular lexico-semantic choices and argues that translation veers away from tragedy towards comedy. English summary, 44.
Considers role of Shakespeare in Mauritian culture, examining adaptations by Dev Virahsawmy (such as Toufann [1991]), and use of YouTube to teach Shakespeare to undergraduates at University of Mauritius. Argues for Shakespeare’s continued relevance in Mauritius, while also interrogating his so-called “universal” or “timeless” quality.