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Explores Ivan Turgenev's fascination with Ludwig Tieck's Shakespeare's Predecessors (1823-29) and its Romantic "aesthetic manifesto of German culture," which encouraged him to reconsider his own engagement with Shakespeare's work. Russian summary, 5; English summary, 11.

Traces the arc of Pyotr Petrovich Gnedich's career as a Russian Shakespeare translator for stage and publication. Suggests Gnedich's concern with accuracy and meter set the bar for measuring future Soviet Shakespeare translations. Russian and English summaries, 206-24.

Describes Sigismund Krzyzhanovsky's never-published "Shakesepare Encyclopedia" (1936) and its study of Shakespeare's life and times in the context of Russian Shakespeare studies. Russian and English summaries, 122-23.

Contends that the Seton Guild's Shakespearean cookbook, As You Like It (Maryland, 1959) deploys "Shakespearean aesthetics" and "curates political agendas that ostracize those who do not belong to the communities of (mostly white, upper-class) women who compiled them."

Considers how to calculate historical costs and monetary equivalencies for book prices. Contends that thinking about early value of first folio needs to move beyond "supply-side explanation[s]." Traces provenance of copies of the first folio to "booklover[s]" who also owned slaves, showing overlap between "bibliophile Roxburgh club and anti-abolitionist interests."

Includes Heinz-Uwe Haus's thoughts on his production of Measure for Measure (Nicosia, 1976; Thessaloniki, 1983). Describes Haus's presentation on Measure for Measure (Weimar, 1976), offering an excerpt from Günther Klotz's annual report of of the conference in Weimar and a translation of Nicos Shiafkalis's "Shakespeare and Cyprus" (q.v.). Offers Haus's presentation "Audience Proximity for Hamlet (Kaiserslautern, 1989; Nicosia 1990) with commentary from August Everding, Georg Gölter, and Andreos Filipou. Lists Haus's productions in Cyprus and Greece.

Positions Shakespeare as a "theorist of tragedy," considering the role of history, God, and human nature in his tragedies. Puts Shakspeare's plays in dialogue with philosophical texts, other literary tragedies, and dramatic conventions. Published posthumously; edited by John Grumley, David Roberts, and Pauline Johnson, with introduction by Grumley and Roberts.

Argues that Keats's King Lear sonnet suggests that "to read King Lear is to close up romance."

Shows how textual and visual Romantic caricatures positioned King George IV as both Prince Hal and Falstaff.  

Argues that Edmund Kean's "groundbreaking 'tawny' Othello" reflected nineteenth-century anxieties about race and beliefs that Othello could not be black because of his station and character. Points to history of "bleached" Othello and suggests Kean's "whitened Othello in 1814 set a precedent for what blackness could mean on the stage" that we must still work to dismantle today.