This book shows how 'local', 'non-metropolitan' knowledge and experience might extend our understanding of various aspects of Shakespeare's plays, using as a particular example the presentation of masculinity in the late plays.
This book shows how 'local', 'non-metropolitan' knowledges and experiences might extend our understanding of various aspects of Shakespeare's plays, using as a particular example the presentation of masculinity in the late plays.
Welcome to the George Inn near London Bridge; a cosy, wood-pannelled, galleried coaching house a few minutes' walk from the Thames. Grab yourself a pint, listen to the chatter of the locals and lean back, resting your head against the wall. And then consider this: who else has rested their head against that wall, over the last 600 years? Chaucer and his fellow pilgrims almost certainly drank in the George on their way out of London to Canterbury. It's fair to say that Shakespeare will have popped in from the nearby Globe for a pint, and we know that Dickens certainly did. Mail carriers changed their horses here, before heading to all four corners of Britain -- while sailors drank here before visiting all four corners of the world... The pub, as Pete Brown points out, is the 'primordial cell of British life' and in the George he has found the perfect case study. All life is here, from murderers, highwaymen and ladies of the night to gossiping pedlars and hard-working clerks. So sit back and watch as buildings rise and fall over the centuries, and 'the beer drinker's Bill Bryson' (TLS) takes us on an entertaining tour through six centuries of history, through the stories of everyone that ever drank in one pub.
Explored in this essay collection is how Shakespeare is rewritten, reinscribed and translated to fit within the local tradition, values, and languages of the world's various communities and cultures. Contributors show that Shakespeare, regardless of the medium - theater, pedagogy, or literary studies - is commonly 'rooted' in the local customs of a people in ways that challenge the notion that his drama promotes a Western idealism. Native Shakespeares examines how the persistent indigenization of Shakespeare complicates the traditional vision of his work as a voice of Western culture and colonial hegemony. The international range of the collection and the focus on indigenous practices distinguishes Native Shakespeares from other available texts.
World-Wide Shakespeares brings together an international team of leading scholars in order to explore the appropriation of Shakespeare's plays in film and performance around the world.
This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare’s plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson’s Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns.
Local/ Global Shakespeare and Advertising examines the local/ global and rhizomatic phenomenon of Shakespeare as advertised and Shakespeare as advertising. Starting from the importance and the awareness of advertising practices in the early modern period, the volume follows the evolution of the use of Shakespeare as a promotional catalyst up to the twenty-first century. The volume considers the pervasiveness of Shakespeare’s marketability in Anglophone and non-Anglophone cultures and its special engagement with creative and commercial industries. With its inter-and transdisciplinary perspective and its international scope, this book brings new insights into Shakespeare’s selling power, Shakespeare as the object of advertising and Shakespeare as part of the advertising vehicle, in relation to a range of crucial cultural, ideological and political issues.
Featuring an outstanding list of contributors, this collection of readings adopt a new approach to Shakespeare by focusing on the principles of ‘presentism’ – a critical movement that takes account of the continual dialogue between past and present.
The Arden Research Handbook of Shakespeare and Social Justice is a wide-ranging, authoritative guide to research on Shakespeare and issues of social justice and arts activism by an international team of leading scholars, directors, arts activists, and educators. Across four sections it explores the relevance and responsibility of art to the real world ? to the significant teaching and learning, performance and practice, theory and economies that not only expand the discussion of literature and theatre, but also open the gates of engagement between the life of the mind and lived experience. The collection draws from noted scholars, writers and practitioners from around the globe to assert the power of art to question, disrupt and re-invigorate both the ties that bind and the barriers that divide us. A series of interviews with theatre practitioners and scholars opens the volume, establishing an initial portfolio of areas for research, exploration, and change. In Section 2 'The Practice of Shakespeare and Social Justice' contributors examine Shakespeare's place and possibilities in intervening on issues of race, class, gender and sexuality. Section 3 'The Performance of Shakespeare and Social Justice' traces Shakespeare and social justice in multiple global contexts; engaging productions grounded in the politics of Mexico, India, South Africa, China and aspects of Asian politics broadly, this section illuminates the burgeoning field of global production while keeping as a priority the political structures that make advocacy and resistance possible. The last section on 'Economies of Shakespeare' describes socio-economic and community issues that come to light in Shakespeare, and their potential to catalyse ongoing discussion and change in respect to wealth, distribution, equity, and humanity. An annotated bibliography provides further guidance to those researching the subject.