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Shows how Ljubiša Georgievski's Hamlet (q.v.) as "memory politics" and "political theatre" speaking to turmoil in "former Yugoslavia in the 1980s and early 1990s."
Takes "reception-related aesthetic approac[h]" to "cultural analysis" of Slobodan Šnajder's Gamllet. English and Serbian summaries, 59. Translation of title, online.
Play. Adaptation of Hamlet.
Suggests that with Love's Labour's Lost, Shakespeare "debunk[s] the excesses of humanist eloquence" and offers theatre as a "new resource." Considers falseness and entertainment in Troilus and Cressida. Contends that Cymbeline asserts a continuity between the middle ages and Shakespeare's England. Argues that Othello "is concerned not with the squalid distortions of sins such as jealousy, but rather with the perception of human excellence."
Includes one essay on Shakespeare.
Argues that Hamlet "contrasts two different models of the relation between the outward performance of emotion and the experience of it." Considers "acted passion" in terms of revenge tragedy tradition. English summary, 93.
Includes one essay on Shakespeare.
Considers monstrosity in Shakespeare's works, with an emphasis on political monstrosity and class in 2 Henry VI and Coriolanus.
Links "emerging sense of English power within an Ottoman context to the rise of William Shakespeare in the popular imagination as a representative of English cultural greatness." "Explores ... representations of race, religion, and class" in Shakespeare's sources (Cinthio), King James's herioc poem "Othello: The Lepanto," eighteenth-century adaptations, and performances by David Garrick and John Philip Kemble.
Considers enargaeia (vivid descriptions) in Shakespeare's works including Antony and Cleopatra, Tempest, Hamlet, Winter's Tale, and Rape of Lucrece in terms of verisimilitude and decorum, truth, and "imaginary presence."