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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Shakespearean Drama</h1><div class="u-tcGrayDark">28,555 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Shakespearean Drama</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Shakespearean_Drama/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Shakespearean_Drama/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Shakespearean_Drama/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Shakespearean_Drama">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12726816" data-work_id="12726816" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12726816/Renaissance_Literature_and_the_Posthuman">Renaissance Literature and the Posthuman</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Early literary instances of artificial humanoid and intelligent systems anticipate in a general way the kinds of thematic issues that cyborgs, androids, and intelligent networks like supercomputers bring up for the contemporary notion of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12726816" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Early literary instances of artificial humanoid and intelligent systems anticipate in a general way the kinds of thematic issues that cyborgs, androids, and intelligent networks like supercomputers bring up for the contemporary notion of the posthuman, understood as a condition in which the human and the machine are becoming increasingly intermingled. Humans have never really been autonomous entities, but rather have always been intimately interdependent upon their environments and tools. And their dreams of intelligent tools even extend back into the era of ancient Rome and Greece, as I will describe below. Thus the seemingly modern idea of a reciprocal dependency upon mechanical devices is just a variation of a much older theme.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12726816" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="134e2ec9567c6268d3aacffc1fce8d11" rel="nofollow" data-download="{"attachment_id":37795636,"asset_id":12726816,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37795636/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="240525" href="https://nyit.academia.edu/KevinLaGrandeur">Kevin LaGrandeur</a><script data-card-contents-for-user="240525" type="text/json">{"id":240525,"first_name":"Kevin","last_name":"LaGrandeur","domain_name":"nyit","page_name":"KevinLaGrandeur","display_name":"Kevin LaGrandeur","profile_url":"https://nyit.academia.edu/KevinLaGrandeur?f_ri=18452","photo":"https://0.academia-photos.com/240525/93253/1463856/s65_kevin.lagrandeur.jpg"}</script></span></span></li><li class="js-paper-rank-work_12726816 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12726816"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12726816, container: ".js-paper-rank-work_12726816", }); 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$(".js-view-count[data-work-id=12726816]").text(description); $(".js-view-count-work_12726816").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12726816").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12726816"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2019" rel="nofollow" href="https://www.academia.edu/Documents/in/Aristotle">Aristotle</a><script data-card-contents-for-ri="2019" type="text/json">{"id":2019,"name":"Aristotle","url":"https://www.academia.edu/Documents/in/Aristotle?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12726816]'), work: {"id":12726816,"title":"Renaissance Literature and the Posthuman","created_at":"2015-06-01T08:59:25.237-07:00","url":"https://www.academia.edu/12726816/Renaissance_Literature_and_the_Posthuman?f_ri=18452","dom_id":"work_12726816","summary":"Early literary instances of artificial humanoid and intelligent systems anticipate in a general way the kinds of thematic issues that cyborgs, androids, and intelligent networks like supercomputers bring up for the contemporary notion of the posthuman, understood as a condition in which the human and the machine are becoming increasingly intermingled. Humans have never really been autonomous entities, but rather have always been intimately interdependent upon their environments and tools. And their dreams of intelligent tools even extend back into the era of ancient Rome and Greece, as I will describe below. Thus the seemingly modern idea of a reciprocal dependency upon mechanical devices is just a variation of a much older theme. ","downloadable_attachments":[{"id":37795636,"asset_id":12726816,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":240525,"first_name":"Kevin","last_name":"LaGrandeur","domain_name":"nyit","page_name":"KevinLaGrandeur","display_name":"Kevin LaGrandeur","profile_url":"https://nyit.academia.edu/KevinLaGrandeur?f_ri=18452","photo":"https://0.academia-photos.com/240525/93253/1463856/s65_kevin.lagrandeur.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=18452","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=18452","nofollow":true},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":2019,"name":"Aristotle","url":"https://www.academia.edu/Documents/in/Aristotle?f_ri=18452","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452"},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=18452"},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=18452"},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452"},{"id":3612,"name":"Renaissance","url":"https://www.academia.edu/Documents/in/Renaissance?f_ri=18452"},{"id":10101,"name":"Critical Posthumanism","url":"https://www.academia.edu/Documents/in/Critical_Posthumanism?f_ri=18452"},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=18452"},{"id":14868,"name":"Literature And Science","url":"https://www.academia.edu/Documents/in/Literature_And_Science?f_ri=18452"},{"id":17916,"name":"Renaissance literature","url":"https://www.academia.edu/Documents/in/Renaissance_literature?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":22585,"name":"English Renaissance Literature","url":"https://www.academia.edu/Documents/in/English_Renaissance_Literature?f_ri=18452"},{"id":22591,"name":"Elizabethan Literature","url":"https://www.academia.edu/Documents/in/Elizabethan_Literature?f_ri=18452"},{"id":25257,"name":"Christopher Marlowe","url":"https://www.academia.edu/Documents/in/Christopher_Marlowe?f_ri=18452"},{"id":34273,"name":"Transhumanism/Posthumanism","url":"https://www.academia.edu/Documents/in/Transhumanism_Posthumanism?f_ri=18452"},{"id":101759,"name":"Doctor Faustus Christopher Marlowe","url":"https://www.academia.edu/Documents/in/Doctor_Faustus_Christopher_Marlowe?f_ri=18452"},{"id":957210,"name":"Posthumanism and Transhumanism","url":"https://www.academia.edu/Documents/in/Posthumanism_and_Transhumanism?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40537803" data-work_id="40537803" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40537803/THE_FUNCTIONS_AND_THE_IMPORTANCE_OF_DREAMS_IN_SHAKESPEAREAN_DRAMA">THE FUNCTIONS AND THE IMPORTANCE OF "DREAMS" IN SHAKESPEAREAN DRAMA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">From the ancient times onwards, the definition and the concept of dreams have always been open to discussions and various interpretations. They have been defined as the messages we receive from the macrocosms(heavens or the forces warning... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40537803" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">From the ancient times onwards, the definition and the concept of dreams have always been open to discussions and various interpretations. They have been defined as the messages we receive from the macrocosms(heavens or the forces warning us from up above) until Freud disbanded their stereotypical perception by which they were considered as the reflection of individual's hidden self and all undisclosed desires. Before that time of the crucial breakdown about dreams, the approach towards it was a way more primitive and metaphysical one, leading the individual to observe them as a message, a lesson to be learned, and a more meaningful term rather than a flash memory card which is to reveal our obscurity, as some of us still utilize them with that manner. Until this shift of perception, dreams have also been the indispensible element for literature, guiding the characters to recognitions or simply affecting them in all terms, especially in Shakespeare's plays. So this paper is going to extend the title and analize the "dream" as a vital element by means of Shakespearean drama, with regards to Romeo and Juliet, Julius Caesar and Macbeth. Biography: Sena Hilal Zaganor is a third-grade student at the department of Western Languages and Literatures at Kocaeli University. She participated in the 5 th Student Conference at Karadeniz Technical University in May 18, 2016 with a paper titled "Romanticism and Christianity in Rime of the Ancient Mariner". She is one of the board members of the English Language and Literature Club at Kocaeli University. Her literary concerns are poetry, drama, English Romantic Poetry, English Gothic Literature, Renaissance art and subconscious through poetry and she also studies works of Shakespeare as an undergraduate student this year, which has a significant impact on her to attend the conference which will be held this year.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40537803" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5631ae6c8ea36e83c205e6b70813051a" rel="nofollow" data-download="{"attachment_id":60812721,"asset_id":40537803,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60812721/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="41234207" href="https://ugr.academia.edu/SHilalZaganor">Sena H Zaganor</a><script data-card-contents-for-user="41234207" type="text/json">{"id":41234207,"first_name":"Sena","last_name":"Zaganor","domain_name":"ugr","page_name":"SHilalZaganor","display_name":"Sena H Zaganor","profile_url":"https://ugr.academia.edu/SHilalZaganor?f_ri=18452","photo":"https://0.academia-photos.com/41234207/11937614/35988201/s65_s._hilal.zaganor.jpg"}</script></span></span></li><li class="js-paper-rank-work_40537803 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40537803"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40537803, container: ".js-paper-rank-work_40537803", }); 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They have been defined as the messages we receive from the macrocosms(heavens or the forces warning us from up above) until Freud disbanded their stereotypical perception by which they were considered as the reflection of individual's hidden self and all undisclosed desires. Before that time of the crucial breakdown about dreams, the approach towards it was a way more primitive and metaphysical one, leading the individual to observe them as a message, a lesson to be learned, and a more meaningful term rather than a flash memory card which is to reveal our obscurity, as some of us still utilize them with that manner. Until this shift of perception, dreams have also been the indispensible element for literature, guiding the characters to recognitions or simply affecting them in all terms, especially in Shakespeare's plays. So this paper is going to extend the title and analize the \"dream\" as a vital element by means of Shakespearean drama, with regards to Romeo and Juliet, Julius Caesar and Macbeth. Biography: Sena Hilal Zaganor is a third-grade student at the department of Western Languages and Literatures at Kocaeli University. She participated in the 5 th Student Conference at Karadeniz Technical University in May 18, 2016 with a paper titled \"Romanticism and Christianity in Rime of the Ancient Mariner\". She is one of the board members of the English Language and Literature Club at Kocaeli University. Her literary concerns are poetry, drama, English Romantic Poetry, English Gothic Literature, Renaissance art and subconscious through poetry and she also studies works of Shakespeare as an undergraduate student this year, which has a significant impact on her to attend the conference which will be held this year.","downloadable_attachments":[{"id":60812721,"asset_id":40537803,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":41234207,"first_name":"Sena","last_name":"Zaganor","domain_name":"ugr","page_name":"SHilalZaganor","display_name":"Sena H Zaganor","profile_url":"https://ugr.academia.edu/SHilalZaganor?f_ri=18452","photo":"https://0.academia-photos.com/41234207/11937614/35988201/s65_s._hilal.zaganor.jpg"}],"research_interests":[{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=18452","nofollow":true},{"id":5540,"name":"Literary Symbolism","url":"https://www.academia.edu/Documents/in/Literary_Symbolism?f_ri=18452","nofollow":true},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=18452","nofollow":true},{"id":16461,"name":"Psychoanalysis And Literature","url":"https://www.academia.edu/Documents/in/Psychoanalysis_And_Literature?f_ri=18452","nofollow":true},{"id":16925,"name":"Visions And Dreams","url":"https://www.academia.edu/Documents/in/Visions_And_Dreams?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":21313,"name":"Dreams (Psychology)","url":"https://www.academia.edu/Documents/in/Dreams_Psychology_?f_ri=18452"},{"id":22585,"name":"English Renaissance Literature","url":"https://www.academia.edu/Documents/in/English_Renaissance_Literature?f_ri=18452"},{"id":191755,"name":"Freudian Literary Theory","url":"https://www.academia.edu/Documents/in/Freudian_Literary_Theory?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43840475" data-work_id="43840475" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43840475/Shakespeare_s_Twelfth_Night_or_What_You_Will_Introduction_and_Analysis">Shakespeare’s Twelfth Night or What You Will- Introduction and Analysis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Twelfth Night or What You Will is a comedy by William Shakespeare which was originated as an entertainment for the close of the Christmas season in 1601. The play expanded on the musical interludes expected on the occasion. Twelfth Night... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43840475" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Twelfth Night or What You Will is a comedy by William Shakespeare which was originated as an entertainment for the close of the Christmas season in 1601. The play expanded on the musical interludes expected on the occasion. Twelfth Night was written possibly in 1599 but it is dated usually in 1601. The first record of this play is found in the performance in 1603 at the Middle Temple. Shakespeare was most likely influenced by the Italian plays of his age. Written most likely after his comedies Much Ado About Nothing and As You Like It and before the great tragedies Hamlet, Macbeth and King Lear, this comedy of Shakespeare are considered to be the highest comic piece.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43840475" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bfe9ca3b0be3212353307a0ecc42689c" rel="nofollow" data-download="{"attachment_id":64160196,"asset_id":43840475,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64160196/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5574344" href="https://mcjmumbai.academia.edu/preetioza">Preeti Oza</a><script data-card-contents-for-user="5574344" type="text/json">{"id":5574344,"first_name":"Preeti","last_name":"Oza","domain_name":"mcjmumbai","page_name":"preetioza","display_name":"Preeti Oza","profile_url":"https://mcjmumbai.academia.edu/preetioza?f_ri=18452","photo":"https://0.academia-photos.com/5574344/6129735/41872941/s65_preeti.oza.jpg"}</script></span></span></li><li class="js-paper-rank-work_43840475 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43840475"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43840475, container: ".js-paper-rank-work_43840475", }); 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The play expanded on the musical interludes expected on the occasion. Twelfth Night was written possibly in 1599 but it is dated usually in 1601. The first record of this play is found in the performance in 1603 at the Middle Temple. Shakespeare was most likely influenced by the Italian plays of his age. Written most likely after his comedies Much Ado About Nothing and As You Like It and before the great tragedies Hamlet, Macbeth and King Lear, this comedy of Shakespeare are considered to be the highest comic piece.","downloadable_attachments":[{"id":64160196,"asset_id":43840475,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5574344,"first_name":"Preeti","last_name":"Oza","domain_name":"mcjmumbai","page_name":"preetioza","display_name":"Preeti Oza","profile_url":"https://mcjmumbai.academia.edu/preetioza?f_ri=18452","photo":"https://0.academia-photos.com/5574344/6129735/41872941/s65_preeti.oza.jpg"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=18452","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":104686,"name":"Twelfth Night","url":"https://www.academia.edu/Documents/in/Twelfth_Night?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19577491" data-work_id="19577491" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19577491/Effetti_della_traduzione_indiretta_sul_testo_darrivo_Variazioni_di_registro_e_stile_nella_trasposizione_in_italiano_di_Der_Park_di_Botho_Strau%C3%9F">Effetti della traduzione indiretta sul testo d'arrivo. Variazioni di registro e stile nella trasposizione in italiano di "Der Park" di Botho Strauß</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19577491" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8ccce88fffd68686ccac7d0779ef31e4" rel="nofollow" data-download="{"attachment_id":40708017,"asset_id":19577491,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40708017/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="37272673" href="https://unito.academia.edu/GAntonioli">Giorgio Antonioli</a><script data-card-contents-for-user="37272673" type="text/json">{"id":37272673,"first_name":"Giorgio","last_name":"Antonioli","domain_name":"unito","page_name":"GAntonioli","display_name":"Giorgio Antonioli","profile_url":"https://unito.academia.edu/GAntonioli?f_ri=18452","photo":"https://0.academia-photos.com/37272673/10948203/12218318/s65_giorgio.antonioli.jpg"}</script></span></span></li><li class="js-paper-rank-work_19577491 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19577491"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19577491, container: ".js-paper-rank-work_19577491", }); 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Variazioni di registro e stile nella trasposizione in italiano di \"Der Park\" di Botho Strauß","created_at":"2015-12-09T05:49:32.718-08:00","url":"https://www.academia.edu/19577491/Effetti_della_traduzione_indiretta_sul_testo_darrivo_Variazioni_di_registro_e_stile_nella_trasposizione_in_italiano_di_Der_Park_di_Botho_Strau%C3%9F?f_ri=18452","dom_id":"work_19577491","summary":null,"downloadable_attachments":[{"id":40708017,"asset_id":19577491,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":37272673,"first_name":"Giorgio","last_name":"Antonioli","domain_name":"unito","page_name":"GAntonioli","display_name":"Giorgio Antonioli","profile_url":"https://unito.academia.edu/GAntonioli?f_ri=18452","photo":"https://0.academia-photos.com/37272673/10948203/12218318/s65_giorgio.antonioli.jpg"}],"research_interests":[{"id":384,"name":"German Studies","url":"https://www.academia.edu/Documents/in/German_Studies?f_ri=18452","nofollow":true},{"id":2524,"name":"Sociolinguistics","url":"https://www.academia.edu/Documents/in/Sociolinguistics?f_ri=18452","nofollow":true},{"id":3979,"name":"English language","url":"https://www.academia.edu/Documents/in/English_language?f_ri=18452","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452","nofollow":true},{"id":11876,"name":"Deixis","url":"https://www.academia.edu/Documents/in/Deixis?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":26041,"name":"Drama Translation","url":"https://www.academia.edu/Documents/in/Drama_Translation?f_ri=18452"},{"id":50804,"name":"Literary translation","url":"https://www.academia.edu/Documents/in/Literary_translation?f_ri=18452"},{"id":94782,"name":"Botho Strauss","url":"https://www.academia.edu/Documents/in/Botho_Strauss?f_ri=18452"},{"id":254313,"name":"Social Deixis","url":"https://www.academia.edu/Documents/in/Social_Deixis?f_ri=18452"},{"id":278870,"name":"English Studies","url":"https://www.academia.edu/Documents/in/English_Studies?f_ri=18452"},{"id":467375,"name":"Translation Studies, Drama/Theater Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies_Drama_Theater_Studies?f_ri=18452"},{"id":658539,"name":"Language Register","url":"https://www.academia.edu/Documents/in/Language_Register?f_ri=18452"},{"id":895349,"name":"A Midsummer Nights Dream","url":"https://www.academia.edu/Documents/in/A_Midsummer_Nights_Dream-1?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31452068" data-work_id="31452068" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31452068/Bergetto_The_Prodigal_Son_Abroad_in_The_Iron_Age">Bergetto -The Prodigal Son Abroad in 'The Iron Age'</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper examines the character of Bergetto from John Ford’s play, ’Tis Pity She’s a Whore, and suggests that the foolish figure is an evolution of the humanum genus stock-character. As such, Bergetto encapsulates moral and ethical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31452068" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper examines the character of Bergetto from John Ford’s play, ’Tis Pity She’s a Whore, and suggests that the foolish figure is an evolution of the humanum genus stock-character. As such, Bergetto encapsulates moral and ethical paradigms, most notably the parable of the prodigal son and Aristotle’s golden mean. In the morality tradition the representative of humanity is aided and hindered by opposing forces of Virtue and Vice, led into sin by the latter before being persuaded to repent by the former, and thus finding the path to salvation. Aristotle’s ethical vision of virtue as a moderate point between vices of excess and defect was frequently overlaid upon this psychomachian concept; fallen humanity becoming the vice of defect and the forces of evil that seek to corrupt him or her the vices of excess. In Ford’s debased Parma there are no virtuous figures (with the possible exception of Bergetto’s would-be wife Philotis) and Bergetto offers the sole representative of frail humanity. Surrounded in a city that has been overrun by vice and excess, he is ultimately murdered moments before his marriage, an event that often signified redemption in the Stuart period. Ford uses Bergetto to exploit and pervert traditional morality themes in order to portray a society so corrupt that innocence and virtue cannot survive. Bergetto therefore plays a vital and underestimated role in conveying the depth of this dark vision. <br /><br />Real, Julian. 2017. ‘Bergetto - The Prodigal Son Abroad in “The Iron Age”.’ Early Modern Literary Studies 0 (0). <a href="https://extra.shu.ac.uk/emls/journal/index.php/emls/article/view/377" rel="nofollow">https://extra.shu.ac.uk/emls/journal/index.php/emls/article/view/377</a>.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31452068" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7774511b003c01248e77fc0e633cc504" rel="nofollow" data-download="{"attachment_id":51810423,"asset_id":31452068,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51810423/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5107355" href="https://auckland.academia.edu/JulianReal">Julian Real</a><script data-card-contents-for-user="5107355" type="text/json">{"id":5107355,"first_name":"Julian","last_name":"Real","domain_name":"auckland","page_name":"JulianReal","display_name":"Julian Real","profile_url":"https://auckland.academia.edu/JulianReal?f_ri=18452","photo":"https://0.academia-photos.com/5107355/2235679/2615873/s65_julian.real.jpg"}</script></span></span></li><li class="js-paper-rank-work_31452068 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31452068"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31452068, container: ".js-paper-rank-work_31452068", }); 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As such, Bergetto encapsulates moral and ethical paradigms, most notably the parable of the prodigal son and Aristotle’s golden mean. In the morality tradition the representative of humanity is aided and hindered by opposing forces of Virtue and Vice, led into sin by the latter before being persuaded to repent by the former, and thus finding the path to salvation. Aristotle’s ethical vision of virtue as a moderate point between vices of excess and defect was frequently overlaid upon this psychomachian concept; fallen humanity becoming the vice of defect and the forces of evil that seek to corrupt him or her the vices of excess. In Ford’s debased Parma there are no virtuous figures (with the possible exception of Bergetto’s would-be wife Philotis) and Bergetto offers the sole representative of frail humanity. Surrounded in a city that has been overrun by vice and excess, he is ultimately murdered moments before his marriage, an event that often signified redemption in the Stuart period. Ford uses Bergetto to exploit and pervert traditional morality themes in order to portray a society so corrupt that innocence and virtue cannot survive. Bergetto therefore plays a vital and underestimated role in conveying the depth of this dark vision. \n\nReal, Julian. 2017. ‘Bergetto - The Prodigal Son Abroad in “The Iron Age”.’ Early Modern Literary Studies 0 (0). https://extra.shu.ac.uk/emls/journal/index.php/emls/article/view/377.\n","downloadable_attachments":[{"id":51810423,"asset_id":31452068,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5107355,"first_name":"Julian","last_name":"Real","domain_name":"auckland","page_name":"JulianReal","display_name":"Julian Real","profile_url":"https://auckland.academia.edu/JulianReal?f_ri=18452","photo":"https://0.academia-photos.com/5107355/2235679/2615873/s65_julian.real.jpg"}],"research_interests":[{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=18452","nofollow":true},{"id":2019,"name":"Aristotle","url":"https://www.academia.edu/Documents/in/Aristotle?f_ri=18452","nofollow":true},{"id":11791,"name":"Early Modern Literature","url":"https://www.academia.edu/Documents/in/Early_Modern_Literature?f_ri=18452","nofollow":true},{"id":18281,"name":"Allegory","url":"https://www.academia.edu/Documents/in/Allegory?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":33870,"name":"John Ford","url":"https://www.academia.edu/Documents/in/John_Ford?f_ri=18452"},{"id":100024,"name":"Classical Literature","url":"https://www.academia.edu/Documents/in/Classical_Literature?f_ri=18452"},{"id":334410,"name":"Humoralism","url":"https://www.academia.edu/Documents/in/Humoralism?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11677844" data-work_id="11677844" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11677844/Richard_II_and_Dramaturgy">Richard II and Dramaturgy</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11677844" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f022083df3e89dde418ed6ebe42915c0" rel="nofollow" data-download="{"attachment_id":37127547,"asset_id":11677844,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37127547/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7075036" href="https://wayne.academia.edu/AlisaMullaj">Alisa Mullaj</a><script data-card-contents-for-user="7075036" type="text/json">{"id":7075036,"first_name":"Alisa","last_name":"Mullaj","domain_name":"wayne","page_name":"AlisaMullaj","display_name":"Alisa Mullaj","profile_url":"https://wayne.academia.edu/AlisaMullaj?f_ri=18452","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_11677844 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11677844"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11677844, container: ".js-paper-rank-work_11677844", }); 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King Richard the Second is a renowned history play written by the greatest playwright William Shakespeare. In this paper, we observe the central character... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_18948558" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">History plays are plays representing events drawn wholly or partly from recorded. King Richard the Second  is a renowned history play written by the greatest playwright William Shakespeare. In this paper, we observe  the central character King Richard as an unfit ruler and at the same time  he also takes our close look towards his beautiful poetic speeches.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/18948558" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="72d8a2ed16c5b5021b2c349efb473421" rel="nofollow" data-download="{"attachment_id":40345603,"asset_id":18948558,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40345603/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9966127" href="https://bracu.academia.edu/ArafatHabib">Md Arafat Habib</a><script data-card-contents-for-user="9966127" type="text/json">{"id":9966127,"first_name":"Md Arafat","last_name":"Habib","domain_name":"bracu","page_name":"ArafatHabib","display_name":"Md Arafat Habib","profile_url":"https://bracu.academia.edu/ArafatHabib?f_ri=18452","photo":"https://0.academia-photos.com/9966127/7506658/18470236/s65_arafat.habib.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-18948558">+1</span><div class="hidden js-additional-users-18948558"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://bracu.academia.edu/mahzabinalvina">mahzabin alvina</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-18948558'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-18948558').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_18948558 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="18948558"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 18948558; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=18948558]").text(description); $(".js-view-count-work_18948558").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_18948558").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="18948558"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a><script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=18948558]'), work: {"id":18948558,"title":"The more King Richard diminishes as a ruler, the more his poetic capability grows up","created_at":"2015-11-24T13:32:32.253-08:00","url":"https://www.academia.edu/18948558/The_more_King_Richard_diminishes_as_a_ruler_the_more_his_poetic_capability_grows_up?f_ri=18452","dom_id":"work_18948558","summary":"History plays are plays representing events drawn wholly or partly from recorded. King Richard the Second is a renowned history play written by the greatest playwright William Shakespeare. In this paper, we observe the central character King Richard as an unfit ruler and at the same time he also takes our close look towards his beautiful poetic speeches.","downloadable_attachments":[{"id":40345603,"asset_id":18948558,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9966127,"first_name":"Md Arafat","last_name":"Habib","domain_name":"bracu","page_name":"ArafatHabib","display_name":"Md Arafat Habib","profile_url":"https://bracu.academia.edu/ArafatHabib?f_ri=18452","photo":"https://0.academia-photos.com/9966127/7506658/18470236/s65_arafat.habib.jpg"},{"id":39718670,"first_name":"mahzabin","last_name":"alvina","domain_name":"bracu","page_name":"mahzabinalvina","display_name":"mahzabin alvina","profile_url":"https://bracu.academia.edu/mahzabinalvina?f_ri=18452","photo":"https://0.academia-photos.com/39718670/10933884/12207263/s65_mahzabin.alvina.jpg"}],"research_interests":[{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38123968" data-work_id="38123968" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38123968/Literary_Twinship_from_Shakespeare_to_the_Age_of_Cloning">Literary Twinship from Shakespeare to the Age of Cloning</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book addresses the motif of literary twinship from the Shakespearean age until today. Twins have all too often been discussed as mere footnotes to the allegedly more nuanced motif of the doppelganger, or as a kind of 'embarrassing'... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38123968" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book addresses the motif of literary twinship from the Shakespearean age until today. Twins have all too often been discussed as mere footnotes to the allegedly more nuanced motif of the doppelganger, or as a kind of 'embarrassing' secret of literary history that is said to occur merely in inferior genres like farce or horror fiction. This study, by contrast, makes a case for the complexity of literary twinship across the literary spectrum, and it demonstrates that twinship articulates bodily anxieties, dynastic troubles, and genetic concerns that the classic double trope cannot ac-commodate. While the book does not deliver a complete and unabridged history of literary twin-ship (as such a history would inevitably be one marked by long gaps), it still examines twinship in a diachronic fashion and in different historical periods in order to show how the category of twinship is frequently re-negotiated as part of larger discursive shifts. Some historical periods understand twins mainly as a biological conundrum that threatens to expose the arbitrary laws of dynastic kin-ship, others as an epistemological problem that challenges any attempt to impose clear-cut definitions.<br />The individual case studies trace the development of the category of twinship over time, demonstrating how the twin was repeatedly (re-)invented as a cultural and pathological type when other discursive areas (including the fields of criminology and eugenics) constituted themselves, and how it served as the battleground for ideological disputes. It is in-midst of these discursive processes that I locate literary twinship, and my goal is not to demonstrate that literature 'mirrors' scientific debates of the day. Not only is it evident that literature frequently prefigured the discussions of modern twin scholarship, it has also been instrumental in facilitating these debates and in contributing to the negotiation of power shifts, for instance by setting the stage for debates regarding kinship systems in the Shakespearean age, by engaging in the Victorian reformulation of the criminal as genetically/pathologically evil, or by contributing to the dystopian quality of cloning discourse in the 20th century.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38123968" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7a9f2aeca53abb3db0c20744423c04cb" rel="nofollow" data-download="{"attachment_id":63145936,"asset_id":38123968,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63145936/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17136748" href="https://independent.academia.edu/WSchwanebeck">Wieland Schwanebeck</a><script data-card-contents-for-user="17136748" type="text/json">{"id":17136748,"first_name":"Wieland","last_name":"Schwanebeck","domain_name":"independent","page_name":"WSchwanebeck","display_name":"Wieland Schwanebeck","profile_url":"https://independent.academia.edu/WSchwanebeck?f_ri=18452","photo":"https://0.academia-photos.com/17136748/5769163/166111841/s65_wieland.schwanebeck.jpg"}</script></span></span></li><li class="js-paper-rank-work_38123968 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38123968"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38123968, container: ".js-paper-rank-work_38123968", }); });</script></li><li class="js-percentile-work_38123968 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38123968; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38123968"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38123968 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38123968"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38123968; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38123968]").text(description); $(".js-view-count-work_38123968").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38123968").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38123968"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2107" rel="nofollow" href="https://www.academia.edu/Documents/in/Comedy">Comedy</a>, <script data-card-contents-for-ri="2107" type="text/json">{"id":2107,"name":"Comedy","url":"https://www.academia.edu/Documents/in/Comedy?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5677" rel="nofollow" href="https://www.academia.edu/Documents/in/Adaptation">Adaptation</a>, <script data-card-contents-for-ri="5677" type="text/json">{"id":5677,"name":"Adaptation","url":"https://www.academia.edu/Documents/in/Adaptation?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7299" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Literature">Victorian Literature</a><script data-card-contents-for-ri="7299" type="text/json">{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38123968]'), work: {"id":38123968,"title":"Literary Twinship from Shakespeare to the Age of Cloning","created_at":"2019-01-10T00:29:08.384-08:00","url":"https://www.academia.edu/38123968/Literary_Twinship_from_Shakespeare_to_the_Age_of_Cloning?f_ri=18452","dom_id":"work_38123968","summary":"This book addresses the motif of literary twinship from the Shakespearean age until today. Twins have all too often been discussed as mere footnotes to the allegedly more nuanced motif of the doppelganger, or as a kind of 'embarrassing' secret of literary history that is said to occur merely in inferior genres like farce or horror fiction. This study, by contrast, makes a case for the complexity of literary twinship across the literary spectrum, and it demonstrates that twinship articulates bodily anxieties, dynastic troubles, and genetic concerns that the classic double trope cannot ac-commodate. While the book does not deliver a complete and unabridged history of literary twin-ship (as such a history would inevitably be one marked by long gaps), it still examines twinship in a diachronic fashion and in different historical periods in order to show how the category of twinship is frequently re-negotiated as part of larger discursive shifts. Some historical periods understand twins mainly as a biological conundrum that threatens to expose the arbitrary laws of dynastic kin-ship, others as an epistemological problem that challenges any attempt to impose clear-cut definitions.\nThe individual case studies trace the development of the category of twinship over time, demonstrating how the twin was repeatedly (re-)invented as a cultural and pathological type when other discursive areas (including the fields of criminology and eugenics) constituted themselves, and how it served as the battleground for ideological disputes. It is in-midst of these discursive processes that I locate literary twinship, and my goal is not to demonstrate that literature 'mirrors' scientific debates of the day. Not only is it evident that literature frequently prefigured the discussions of modern twin scholarship, it has also been instrumental in facilitating these debates and in contributing to the negotiation of power shifts, for instance by setting the stage for debates regarding kinship systems in the Shakespearean age, by engaging in the Victorian reformulation of the criminal as genetically/pathologically evil, or by contributing to the dystopian quality of cloning discourse in the 20th century. ","downloadable_attachments":[{"id":63145936,"asset_id":38123968,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17136748,"first_name":"Wieland","last_name":"Schwanebeck","domain_name":"independent","page_name":"WSchwanebeck","display_name":"Wieland Schwanebeck","profile_url":"https://independent.academia.edu/WSchwanebeck?f_ri=18452","photo":"https://0.academia-photos.com/17136748/5769163/166111841/s65_wieland.schwanebeck.jpg"}],"research_interests":[{"id":2107,"name":"Comedy","url":"https://www.academia.edu/Documents/in/Comedy?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":5677,"name":"Adaptation","url":"https://www.academia.edu/Documents/in/Adaptation?f_ri=18452","nofollow":true},{"id":7299,"name":"Victorian Literature","url":"https://www.academia.edu/Documents/in/Victorian_Literature?f_ri=18452","nofollow":true},{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=18452"},{"id":12060,"name":"Detective Fiction","url":"https://www.academia.edu/Documents/in/Detective_Fiction?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":37217,"name":"Twin Studies","url":"https://www.academia.edu/Documents/in/Twin_Studies?f_ri=18452"},{"id":44151,"name":"Twins","url":"https://www.academia.edu/Documents/in/Twins?f_ri=18452"},{"id":46735,"name":"Human Cloning","url":"https://www.academia.edu/Documents/in/Human_Cloning?f_ri=18452"},{"id":59676,"name":"Zadie Smith","url":"https://www.academia.edu/Documents/in/Zadie_Smith?f_ri=18452"},{"id":65561,"name":"Charles Dickens","url":"https://www.academia.edu/Documents/in/Charles_Dickens?f_ri=18452"},{"id":65832,"name":"Wilkie Collins","url":"https://www.academia.edu/Documents/in/Wilkie_Collins?f_ri=18452"},{"id":93541,"name":"Comedy of Errors","url":"https://www.academia.edu/Documents/in/Comedy_of_Errors?f_ri=18452"},{"id":144470,"name":"Charlie Kaufman","url":"https://www.academia.edu/Documents/in/Charlie_Kaufman?f_ri=18452"},{"id":163335,"name":"Doppelgänger","url":"https://www.academia.edu/Documents/in/Doppelg%C3%A4nger?f_ri=18452"},{"id":198790,"name":"Double","url":"https://www.academia.edu/Documents/in/Double?f_ri=18452"},{"id":199720,"name":"Adaptation and Appropriation Theory","url":"https://www.academia.edu/Documents/in/Adaptation_and_Appropriation_Theory?f_ri=18452"},{"id":210534,"name":"Cloning","url":"https://www.academia.edu/Documents/in/Cloning?f_ri=18452"},{"id":686157,"name":"Zadie Smith White teeth","url":"https://www.academia.edu/Documents/in/Zadie_Smith_White_teeth?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_76414150" data-work_id="76414150" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/76414150/Discussion_of_Hamlet_s_to_be_or_not_to_be_soliloquy">Discussion of Hamlet’s “to be or not to be” soliloquy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Hamlet's "to be or not to be" soliloquy is almost as varied and divergent as interpretations of the play itself.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76414150" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a58e9cefb92fc6ed54720059f90e64ab" rel="nofollow" data-download="{"attachment_id":84130182,"asset_id":76414150,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84130182/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="138944519" href="https://independent.academia.edu/InjamamulHoque13">Injamamul Hoque</a><script data-card-contents-for-user="138944519" type="text/json">{"id":138944519,"first_name":"Injamamul","last_name":"Hoque","domain_name":"independent","page_name":"InjamamulHoque13","display_name":"Injamamul Hoque","profile_url":"https://independent.academia.edu/InjamamulHoque13?f_ri=18452","photo":"https://0.academia-photos.com/138944519/49779263/113378706/s65_injamamul.hoque.jpg"}</script></span></span></li><li class="js-paper-rank-work_76414150 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76414150"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76414150, container: ".js-paper-rank-work_76414150", }); });</script></li><li class="js-percentile-work_76414150 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76414150; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_76414150"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_76414150 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="76414150"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76414150; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76414150]").text(description); $(".js-view-count-work_76414150").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_76414150").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="76414150"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a>, <script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57381" rel="nofollow" href="https://www.academia.edu/Documents/in/Hamlet">Hamlet</a>, <script data-card-contents-for-ri="57381" type="text/json">{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="99418" rel="nofollow" href="https://www.academia.edu/Documents/in/William_Shakespeare">William Shakespeare</a><script data-card-contents-for-ri="99418" type="text/json">{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=76414150]'), work: {"id":76414150,"title":"Discussion of Hamlet’s “to be or not to be” soliloquy","created_at":"2022-04-14T04:29:45.121-07:00","url":"https://www.academia.edu/76414150/Discussion_of_Hamlet_s_to_be_or_not_to_be_soliloquy?f_ri=18452","dom_id":"work_76414150","summary":"Hamlet's \"to be or not to be\" soliloquy is almost as varied and divergent as interpretations of the play itself. ","downloadable_attachments":[{"id":84130182,"asset_id":76414150,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":138944519,"first_name":"Injamamul","last_name":"Hoque","domain_name":"independent","page_name":"InjamamulHoque13","display_name":"Injamamul Hoque","profile_url":"https://independent.academia.edu/InjamamulHoque13?f_ri=18452","photo":"https://0.academia-photos.com/138944519/49779263/113378706/s65_injamamul.hoque.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=18452","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452","nofollow":true},{"id":180693,"name":"Shakespere's Hamlet","url":"https://www.academia.edu/Documents/in/Shakesperes_Hamlet?f_ri=18452"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37263719" data-work_id="37263719" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37263719/The_Theatre_of_Imagining_A_Cultural_History_of_Imagination_in_the_Mind_and_on_the_Stage">The Theatre of Imagining: A Cultural History of Imagination in the Mind and on the Stage</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“This is an extremely bold attempt to investigate the cultural history of imagination in a European context and to analyse the cultural enactment of imagination in dramatic texts as potential performance. As a concept imagination is more... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37263719" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“This is an extremely bold attempt to investigate the cultural history of imagination in a European context and to analyse the cultural enactment of imagination in dramatic texts as potential performance. As a concept imagination is more often assumed than actually investigated or historicised, both which  this study very definitely does.” (Christopher Balme, Chair of Theatre Studies at LMU Munich, Germany) <br /> <br />This book is the first comprehensive analysis of the fascinating and strikingly diverse history of imagination in the context of theatre and drama. Key questions that the book explores are: How do spectators engage with the drama in performance, and how does the historical context influence the dramaturgy of imagination? In addition to offering a study of the cultural history and theory of imagination in a European context including its philosophical, physiological, cultural and political implications, the book examines the cultural enactment of imagination in the drama text and offers practical strategies for analyzing the aesthetic practice of imagination in drama texts. It covers the early modern to the late modernist period and includes three in-depth case studies: William Shakespeare’s Macbeth (c.1606); Henrik Ibsen’s A Doll’s House (1879); and Eugène Ionesco’s The Killer (1957).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37263719" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e0f867afa6633465003c8d9de74de0a0" rel="nofollow" data-download="{"attachment_id":57217355,"asset_id":37263719,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57217355/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="281756" href="https://uib.academia.edu/UllaKallenbach">Ulla Kallenbach</a><script data-card-contents-for-user="281756" type="text/json">{"id":281756,"first_name":"Ulla","last_name":"Kallenbach","domain_name":"uib","page_name":"UllaKallenbach","display_name":"Ulla Kallenbach","profile_url":"https://uib.academia.edu/UllaKallenbach?f_ri=18452","photo":"https://0.academia-photos.com/281756/69243/9088623/s65_ulla.kallenbach.jpg"}</script></span></span></li><li class="js-paper-rank-work_37263719 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37263719"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37263719, container: ".js-paper-rank-work_37263719", }); 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$(".js-view-count[data-work-id=37263719]").text(description); $(".js-view-count-work_37263719").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37263719").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37263719"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1332" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_History">Theatre History</a>, <script data-card-contents-for-ri="1332" type="text/json">{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3294" rel="nofollow" href="https://www.academia.edu/Documents/in/Dramaturgy">Dramaturgy</a>, <script data-card-contents-for-ri="3294" type="text/json">{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12216" rel="nofollow" href="https://www.academia.edu/Documents/in/Eugene_Ionesco_absurd_theatre">Eugene Ionesco absurd theatre</a><script data-card-contents-for-ri="12216" type="text/json">{"id":12216,"name":"Eugene Ionesco absurd theatre","url":"https://www.academia.edu/Documents/in/Eugene_Ionesco_absurd_theatre?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37263719]'), work: {"id":37263719,"title":"The Theatre of Imagining: A Cultural History of Imagination in the Mind and on the Stage","created_at":"2018-08-20T04:00:37.828-07:00","url":"https://www.academia.edu/37263719/The_Theatre_of_Imagining_A_Cultural_History_of_Imagination_in_the_Mind_and_on_the_Stage?f_ri=18452","dom_id":"work_37263719","summary":"“This is an extremely bold attempt to investigate the cultural history of imagination in a European context and to analyse the cultural enactment of imagination in dramatic texts as potential performance. As a concept imagination is more often assumed than actually investigated or historicised, both which this study very definitely does.” (Christopher Balme, Chair of Theatre Studies at LMU Munich, Germany)\r\n\r\nThis book is the first comprehensive analysis of the fascinating and strikingly diverse history of imagination in the context of theatre and drama. Key questions that the book explores are: How do spectators engage with the drama in performance, and how does the historical context influence the dramaturgy of imagination? In addition to offering a study of the cultural history and theory of imagination in a European context including its philosophical, physiological, cultural and political implications, the book examines the cultural enactment of imagination in the drama text and offers practical strategies for analyzing the aesthetic practice of imagination in drama texts. It covers the early modern to the late modernist period and includes three in-depth case studies: William Shakespeare’s Macbeth (c.1606); Henrik Ibsen’s A Doll’s House (1879); and Eugène Ionesco’s The Killer (1957).","downloadable_attachments":[{"id":57217355,"asset_id":37263719,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":281756,"first_name":"Ulla","last_name":"Kallenbach","domain_name":"uib","page_name":"UllaKallenbach","display_name":"Ulla Kallenbach","profile_url":"https://uib.academia.edu/UllaKallenbach?f_ri=18452","photo":"https://0.academia-photos.com/281756/69243/9088623/s65_ulla.kallenbach.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=18452","nofollow":true},{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=18452","nofollow":true},{"id":12216,"name":"Eugene Ionesco absurd theatre","url":"https://www.academia.edu/Documents/in/Eugene_Ionesco_absurd_theatre?f_ri=18452","nofollow":true},{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":98083,"name":"Henrik Ibsen","url":"https://www.academia.edu/Documents/in/Henrik_Ibsen?f_ri=18452"},{"id":205885,"name":"Drama, Performance, History of Theatre","url":"https://www.academia.edu/Documents/in/Drama_Performance_History_of_Theatre?f_ri=18452"},{"id":554542,"name":"Dramaturgy and playwriting","url":"https://www.academia.edu/Documents/in/Dramaturgy_and_playwriting?f_ri=18452"},{"id":1004951,"name":"Philosophy of Mind: Imagination","url":"https://www.academia.edu/Documents/in/Philosophy_of_Mind_Imagination?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49129039" data-work_id="49129039" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/49129039/Disrupted_Dialogues_Exploring_Misgendered_Diagnoses_and_Experiences_of_Melancholia_and_Depression_Through_the_Lens_of_Pericles_and_Contemporary_Psychiatric_Practice">Disrupted Dialogues: Exploring Misgendered Diagnoses and Experiences of Melancholia and Depression Through the Lens of Pericles and Contemporary Psychiatric Practice</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article disrupts present-day readings of women’s experience of and diagnoses with depression by reading them in the light of the patriarchally inscribed experience of melancholia in the early modern period as explored in Shakespeare... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49129039" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article disrupts present-day readings of women’s experience of and diagnoses with depression by reading them in the light of the patriarchally inscribed experience of melancholia in the early modern period as explored in Shakespeare and Wilkins’ Pericles. It reads the paralleled experiences of Pericles and Marina and early modern proto-medical treatises in the light of contemporary psychiatric diagnostic practice and psychosocial research. It considers how norms, gendering, and privilege can affect the way an individual’s expression of their experience is read, received, diagnosed, and treated, as eroticised cures are laid against talking therapies in Pericles, and the gendered application of the labels of melancholia and depression and the gendered assumptions undergirding therapeutic interventions are probed. In so doing, it shows the value of reading early modern drama through a medical humanities lens to underline the biases which still have a measurable impact in mental health diagnostic settings today. The stark consequences of these biases for women emerge when these texts are brought into interdisciplinary and transhistorical dialogue. The early modern and present strands are pulled together by exploring how Pericles pushes back against the way gender can be leveraged to mistreat, exploit or silence.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49129039" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25782393" href="https://buckingham.academia.edu/SarahWaters">Sarah Waters</a><script data-card-contents-for-user="25782393" type="text/json">{"id":25782393,"first_name":"Sarah","last_name":"Waters","domain_name":"buckingham","page_name":"SarahWaters","display_name":"Sarah Waters","profile_url":"https://buckingham.academia.edu/SarahWaters?f_ri=18452","photo":"https://0.academia-photos.com/25782393/7118803/110458784/s65_sarah.waters.jpg"}</script></span></span></li><li class="js-paper-rank-work_49129039 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49129039"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49129039, container: ".js-paper-rank-work_49129039", }); 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$(".js-view-count[data-work-id=49129039]").text(description); $(".js-view-count-work_49129039").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49129039").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49129039"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="635" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychiatry">Psychiatry</a>, <script data-card-contents-for-ri="635" type="text/json">{"id":635,"name":"Psychiatry","url":"https://www.academia.edu/Documents/in/Psychiatry?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2827" rel="nofollow" href="https://www.academia.edu/Documents/in/Mental_Health">Mental Health</a>, <script data-card-contents-for-ri="2827" type="text/json">{"id":2827,"name":"Mental Health","url":"https://www.academia.edu/Documents/in/Mental_Health?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3217" rel="nofollow" href="https://www.academia.edu/Documents/in/Depression">Depression</a><script data-card-contents-for-ri="3217" type="text/json">{"id":3217,"name":"Depression","url":"https://www.academia.edu/Documents/in/Depression?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49129039]'), work: {"id":49129039,"title":"Disrupted Dialogues: Exploring Misgendered Diagnoses and Experiences of Melancholia and Depression Through the Lens of Pericles and Contemporary Psychiatric Practice","created_at":"2021-06-04T13:41:01.996-07:00","url":"https://www.academia.edu/49129039/Disrupted_Dialogues_Exploring_Misgendered_Diagnoses_and_Experiences_of_Melancholia_and_Depression_Through_the_Lens_of_Pericles_and_Contemporary_Psychiatric_Practice?f_ri=18452","dom_id":"work_49129039","summary":"This article disrupts present-day readings of women’s experience of and diagnoses with depression by reading them in the light of the patriarchally inscribed experience of melancholia in the early modern period as explored in Shakespeare and Wilkins’ Pericles. It reads the paralleled experiences of Pericles and Marina and early modern proto-medical treatises in the light of contemporary psychiatric diagnostic practice and psychosocial research. It considers how norms, gendering, and privilege can affect the way an individual’s expression of their experience is read, received, diagnosed, and treated, as eroticised cures are laid against talking therapies in Pericles, and the gendered application of the labels of melancholia and depression and the gendered assumptions undergirding therapeutic interventions are probed. In so doing, it shows the value of reading early modern drama through a medical humanities lens to underline the biases which still have a measurable impact in mental health diagnostic settings today. The stark consequences of these biases for women emerge when these texts are brought into interdisciplinary and transhistorical dialogue. The early modern and present strands are pulled together by exploring how Pericles pushes back against the way gender can be leveraged to mistreat, exploit or silence.","downloadable_attachments":[],"ordered_authors":[{"id":25782393,"first_name":"Sarah","last_name":"Waters","domain_name":"buckingham","page_name":"SarahWaters","display_name":"Sarah Waters","profile_url":"https://buckingham.academia.edu/SarahWaters?f_ri=18452","photo":"https://0.academia-photos.com/25782393/7118803/110458784/s65_sarah.waters.jpg"}],"research_interests":[{"id":635,"name":"Psychiatry","url":"https://www.academia.edu/Documents/in/Psychiatry?f_ri=18452","nofollow":true},{"id":2827,"name":"Mental Health","url":"https://www.academia.edu/Documents/in/Mental_Health?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":3217,"name":"Depression","url":"https://www.academia.edu/Documents/in/Depression?f_ri=18452","nofollow":true},{"id":6557,"name":"Medical Humanities","url":"https://www.academia.edu/Documents/in/Medical_Humanities?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":86074,"name":"Pericles","url":"https://www.academia.edu/Documents/in/Pericles?f_ri=18452"},{"id":99973,"name":"History of Medicine in Medieval and Early Modern Europe","url":"https://www.academia.edu/Documents/in/History_of_Medicine_in_Medieval_and_Early_Modern_Europe?f_ri=18452"},{"id":186481,"name":"Melancholia","url":"https://www.academia.edu/Documents/in/Melancholia?f_ri=18452"},{"id":712639,"name":"Lived experience of living with mental health diagnosis","url":"https://www.academia.edu/Documents/in/Lived_experience_of_living_with_mental_health_diagnosis?f_ri=18452"},{"id":777209,"name":"Diagnosing Mental Health Disorders","url":"https://www.academia.edu/Documents/in/Diagnosing_Mental_Health_Disorders?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31937337" data-work_id="31937337" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31937337/Review_of_Shakespeare_s_Macbeth_directed_for_the_stage_by_Antoni_Cimolino_and_for_film_by_Shelagh_O_Brien_for_the_Stratford_Festival_at_Cineplex_Cinemas_Toronto_18_March_2017">Review of Shakespeare’s Macbeth (directed for the stage by Antoni Cimolino and for film by Shelagh O’Brien for the Stratford Festival) at Cineplex Cinemas, Toronto, 18 March 2017</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Shakespeare 13.3 (2017): 285-87. Print.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31937337" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c8a3957844148588bd02eb8e5107e30f" rel="nofollow" data-download="{"attachment_id":53648793,"asset_id":31937337,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53648793/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28917127" href="https://cbu-ca.academia.edu/TomUeFRHistS">Tom Ue, FRHistS</a><script data-card-contents-for-user="28917127" type="text/json">{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=18452","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_31937337 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31937337"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31937337, container: ".js-paper-rank-work_31937337", }); });</script></li><li class="js-percentile-work_31937337 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31937337; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31937337"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31937337 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31937337"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31937337; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31937337]").text(description); $(".js-view-count-work_31937337").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31937337").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31937337"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5118" rel="nofollow" href="https://www.academia.edu/Documents/in/Applied_Theatre">Applied Theatre</a>, <script data-card-contents-for-ri="5118" type="text/json">{"id":5118,"name":"Applied Theatre","url":"https://www.academia.edu/Documents/in/Applied_Theatre?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6152" rel="nofollow" href="https://www.academia.edu/Documents/in/Applied_Drama_Theatre">Applied Drama/Theatre</a><script data-card-contents-for-ri="6152" type="text/json">{"id":6152,"name":"Applied Drama/Theatre","url":"https://www.academia.edu/Documents/in/Applied_Drama_Theatre?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31937337]'), work: {"id":31937337,"title":"Review of Shakespeare’s Macbeth (directed for the stage by Antoni Cimolino and for film by Shelagh O’Brien for the Stratford Festival) at Cineplex Cinemas, Toronto, 18 March 2017","created_at":"2017-03-19T22:13:09.679-07:00","url":"https://www.academia.edu/31937337/Review_of_Shakespeare_s_Macbeth_directed_for_the_stage_by_Antoni_Cimolino_and_for_film_by_Shelagh_O_Brien_for_the_Stratford_Festival_at_Cineplex_Cinemas_Toronto_18_March_2017?f_ri=18452","dom_id":"work_31937337","summary":"Shakespeare 13.3 (2017): 285-87. Print.","downloadable_attachments":[{"id":53648793,"asset_id":31937337,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28917127,"first_name":"Tom","last_name":"Ue, FRHistS","domain_name":"cbu-ca","page_name":"TomUeFRHistS","display_name":"Tom Ue, FRHistS","profile_url":"https://cbu-ca.academia.edu/TomUeFRHistS?f_ri=18452","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":5118,"name":"Applied Theatre","url":"https://www.academia.edu/Documents/in/Applied_Theatre?f_ri=18452","nofollow":true},{"id":6152,"name":"Applied Drama/Theatre","url":"https://www.academia.edu/Documents/in/Applied_Drama_Theatre?f_ri=18452","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452"},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=18452"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=18452"},{"id":57382,"name":"Macbeth","url":"https://www.academia.edu/Documents/in/Macbeth?f_ri=18452"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=18452"},{"id":159457,"name":"Theatre Arts","url":"https://www.academia.edu/Documents/in/Theatre_Arts?f_ri=18452"},{"id":222644,"name":"Lady Macbeth","url":"https://www.academia.edu/Documents/in/Lady_Macbeth?f_ri=18452"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=18452"},{"id":240915,"name":"Shakespeare Macbeth","url":"https://www.academia.edu/Documents/in/Shakespeare_Macbeth?f_ri=18452"},{"id":302074,"name":"Drama and theatre studies","url":"https://www.academia.edu/Documents/in/Drama_and_theatre_studies-1?f_ri=18452"},{"id":330806,"name":"Kingship and Tyranny in Macbeth","url":"https://www.academia.edu/Documents/in/Kingship_and_Tyranny_in_Macbeth?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2242007" data-work_id="2242007" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2242007/As_You_Like_It_Directors_Playbook">As You Like It Director's Playbook</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2242007" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="569a970d35ebab16f856da35a8006e41" rel="nofollow" data-download="{"attachment_id":30293835,"asset_id":2242007,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30293835/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="54561" href="https://independent.academia.edu/BirdieNewborn">Birdie Newborn</a><script data-card-contents-for-user="54561" type="text/json">{"id":54561,"first_name":"Birdie","last_name":"Newborn","domain_name":"independent","page_name":"BirdieNewborn","display_name":"Birdie Newborn","profile_url":"https://independent.academia.edu/BirdieNewborn?f_ri=18452","photo":"https://0.academia-photos.com/54561/937391/18109546/s65_birdie.newborn.jpg"}</script></span></span></li><li class="js-paper-rank-work_2242007 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2242007"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2242007, container: ".js-paper-rank-work_2242007", }); });</script></li><li class="js-percentile-work_2242007 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2242007; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2242007"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_2242007 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="2242007"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2242007; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2242007]").text(description); $(".js-view-count-work_2242007").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2242007").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2242007"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6222" rel="nofollow" href="https://www.academia.edu/Documents/in/Drama">Drama</a>, <script data-card-contents-for-ri="6222" type="text/json">{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a>, <script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="29102" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre">Theatre</a><script data-card-contents-for-ri="29102" type="text/json">{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2242007]'), work: {"id":2242007,"title":"As You Like It Director's Playbook","created_at":"2012-12-05T01:58:29.390-08:00","url":"https://www.academia.edu/2242007/As_You_Like_It_Directors_Playbook?f_ri=18452","dom_id":"work_2242007","summary":null,"downloadable_attachments":[{"id":30293835,"asset_id":2242007,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":54561,"first_name":"Birdie","last_name":"Newborn","domain_name":"independent","page_name":"BirdieNewborn","display_name":"Birdie Newborn","profile_url":"https://independent.academia.edu/BirdieNewborn?f_ri=18452","photo":"https://0.academia-photos.com/54561/937391/18109546/s65_birdie.newborn.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=18452","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43891652" data-work_id="43891652" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43891652/From_Political_Theology_to_Political_Aesthetics_in_A_Midsummer_Night_s_Dream">From Political Theology to Political Aesthetics in A Midsummer Night’s Dream</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“Bottom’s Dream” at the end of act 4 of Shakespeare’s A Midsummer Night’s Dream has long been recognized as an extended allusion to Saint Paul’s First Letter to the Corinthians. This passage also develops a complex version of political... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43891652" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“Bottom’s Dream” at the end of act 4 of Shakespeare’s A Midsummer Night’s Dream has long been recognized as an extended allusion to Saint Paul’s First Letter to the Corinthians. This passage also develops a complex version of political aesthetics. In this essay, I trace how the peculiar aesthetics of Bottom’s discourse are intertwined with the theological and political concerns of the Pauline text. The aesthetics of “Bottom’s Dream” are intrinsically linked to the way that Paul’s epistle composes the mystical body, a major trope for religious and social order in premodern Europe. Paul’s text develops the incarnational and eschatological elements of the mystical body that will form the foundation for a liturgical tradition that remained resonant into the sixteenth century. Bottom’s allusive vision maintains an essential relation to the eschatological aspects of the Pauline original even as its synesthetic elements reimagine the incarnational dimensions of Paul’s text. “Bottom’s Dream” merges aesthetics with politics and theology, but this aesthetics cannot be reduced to either pure politics or theology. Ultimately, the multifaceted character of this aesthetic vision resists becoming assimilated to the instrumental politics of the Athenian elite at the end of the play.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43891652" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7a6197cd66f58bd7683192b15d2f66bd" rel="nofollow" data-download="{"attachment_id":64214373,"asset_id":43891652,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64214373/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3548149" href="https://slu.academia.edu/JenniferRust">Jennifer Rust</a><script data-card-contents-for-user="3548149" type="text/json">{"id":3548149,"first_name":"Jennifer","last_name":"Rust","domain_name":"slu","page_name":"JenniferRust","display_name":"Jennifer Rust","profile_url":"https://slu.academia.edu/JenniferRust?f_ri=18452","photo":"https://0.academia-photos.com/3548149/1223449/1607149/s65_jennifer.rust.jpg"}</script></span></span></li><li class="js-paper-rank-work_43891652 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43891652"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43891652, container: ".js-paper-rank-work_43891652", }); });</script></li><li class="js-percentile-work_43891652 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43891652; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43891652"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43891652 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43891652"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43891652; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43891652]").text(description); $(".js-view-count-work_43891652").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43891652").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43891652"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3511" rel="nofollow" href="https://www.academia.edu/Documents/in/Theodor_Adorno">Theodor Adorno</a>, <script data-card-contents-for-ri="3511" type="text/json">{"id":3511,"name":"Theodor Adorno","url":"https://www.academia.edu/Documents/in/Theodor_Adorno?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5145" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Reformation">English Reformation</a><script data-card-contents-for-ri="5145" type="text/json">{"id":5145,"name":"English Reformation","url":"https://www.academia.edu/Documents/in/English_Reformation?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43891652]'), work: {"id":43891652,"title":"From Political Theology to Political Aesthetics in A Midsummer Night’s Dream","created_at":"2020-08-18T13:41:18.374-07:00","url":"https://www.academia.edu/43891652/From_Political_Theology_to_Political_Aesthetics_in_A_Midsummer_Night_s_Dream?f_ri=18452","dom_id":"work_43891652","summary":"“Bottom’s Dream” at the end of act 4 of Shakespeare’s A Midsummer Night’s Dream has long been recognized as an extended allusion to Saint Paul’s First Letter to the Corinthians. This passage also develops a complex version of political aesthetics. In this essay, I trace how the peculiar aesthetics of Bottom’s discourse are intertwined with the theological and political concerns of the Pauline text. The aesthetics of “Bottom’s Dream” are intrinsically linked to the way that Paul’s epistle composes the mystical body, a major trope for religious and social order in premodern Europe. Paul’s text develops the incarnational and eschatological elements of the mystical body that will form the foundation for a liturgical tradition that remained resonant into the sixteenth century. Bottom’s allusive vision maintains an essential relation to the eschatological aspects of the Pauline original even as its synesthetic elements reimagine the incarnational dimensions of Paul’s text. “Bottom’s Dream” merges aesthetics with politics and theology, but this aesthetics cannot be reduced to either pure politics or theology. Ultimately, the multifaceted character of this aesthetic vision resists becoming assimilated to the instrumental politics of the Athenian elite at the end of the play.","downloadable_attachments":[{"id":64214373,"asset_id":43891652,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3548149,"first_name":"Jennifer","last_name":"Rust","domain_name":"slu","page_name":"JenniferRust","display_name":"Jennifer Rust","profile_url":"https://slu.academia.edu/JenniferRust?f_ri=18452","photo":"https://0.academia-photos.com/3548149/1223449/1607149/s65_jennifer.rust.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":3511,"name":"Theodor Adorno","url":"https://www.academia.edu/Documents/in/Theodor_Adorno?f_ri=18452","nofollow":true},{"id":5145,"name":"English Reformation","url":"https://www.academia.edu/Documents/in/English_Reformation?f_ri=18452","nofollow":true},{"id":8760,"name":"Jacques Rancière","url":"https://www.academia.edu/Documents/in/Jacques_Ranci%C3%A8re?f_ri=18452"},{"id":12788,"name":"Political aesthetics","url":"https://www.academia.edu/Documents/in/Political_aesthetics?f_ri=18452"},{"id":14104,"name":"Political Theology","url":"https://www.academia.edu/Documents/in/Political_Theology?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":110414,"name":"A Midsummer Night's Dream","url":"https://www.academia.edu/Documents/in/A_Midsummer_Nights_Dream?f_ri=18452"},{"id":1037786,"name":"Early modern Aesthetics","url":"https://www.academia.edu/Documents/in/Early_modern_Aesthetics?f_ri=18452"},{"id":1223637,"name":"Early Modern English Literature and Drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_Literature_and_Drama?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43672541" data-work_id="43672541" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43672541/Chapter_7_Chinese_Shakespeares_Two_Centuries_of_Cultural_Exchange_Columbia_University_Press_2009_2011_2015_Modern_Language_Association_Aldo_and_Jeanne_Scaglione_Prize_for_Comparative_Literary_Studies">Chapter 7, Chinese Shakespeares: Two Centuries of Cultural Exchange (Columbia University Press, 2009, 2011, 2015). Modern Language Association Aldo and Jeanne Scaglione Prize for Comparative Literary Studies</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Chapter 7, "Disowning Shakespeare and China," delineates the theoretical and political consequences of disowning “Shakespeare” and “China” in the present time. Part of the question of consequence necessarily remains open-ended, as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43672541" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Chapter 7, "Disowning Shakespeare and China," delineates the theoretical and political consequences of disowning “Shakespeare” and “China” in the present time. Part of the question of consequence necessarily remains open-ended, as international circumstances continue to change. However, a number of new trends in performance since 1990 have gained momentum. Stan Lai’s Lear and the Thirty-seven-fold Practice of a Bodhisattva (Pusa zhi sanshiqizhong xiuxing zhi Li’er wang) and Wu Hsing-kuo’s Lear Is Here (Li’er zai ci) exemplify performances that are framed by the artists’ autobiography and religious discourse. They signal the arrival of a new Asian identity in the global marketplace of cultures. The grand narrative of East meets West now coexists with an account of the living, contemporary directors’ personal engagement with Shakespeare, and with new but equally elusive categories such as “I” and “Shakespeare.”</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43672541" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="57bc491f569ebff8deb6278b4f57d249" rel="nofollow" data-download="{"attachment_id":63974461,"asset_id":43672541,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63974461/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="239992" href="https://gwu.academia.edu/Joubin">Alexa Alice Joubin</a><script data-card-contents-for-user="239992" type="text/json">{"id":239992,"first_name":"Alexa Alice","last_name":"Joubin","domain_name":"gwu","page_name":"Joubin","display_name":"Alexa Alice Joubin","profile_url":"https://gwu.academia.edu/Joubin?f_ri=18452","photo":"https://0.academia-photos.com/239992/52381/13698313/s65_alexa.huang.jpg"}</script></span></span></li><li class="js-paper-rank-work_43672541 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43672541"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43672541, container: ".js-paper-rank-work_43672541", }); });</script></li><li class="js-percentile-work_43672541 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43672541; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43672541"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43672541 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43672541"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43672541; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43672541]").text(description); $(".js-view-count-work_43672541").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43672541").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43672541"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2906" rel="nofollow" href="https://www.academia.edu/Documents/in/Buddhist_Studies">Buddhist Studies</a>, <script data-card-contents-for-ri="2906" type="text/json">{"id":2906,"name":"Buddhist Studies","url":"https://www.academia.edu/Documents/in/Buddhist_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6860" rel="nofollow" href="https://www.academia.edu/Documents/in/Intercultural_Performance">Intercultural Performance</a>, <script data-card-contents-for-ri="6860" type="text/json">{"id":6860,"name":"Intercultural Performance","url":"https://www.academia.edu/Documents/in/Intercultural_Performance?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8223" rel="nofollow" href="https://www.academia.edu/Documents/in/East_Asian_Studies">East Asian Studies</a><script data-card-contents-for-ri="8223" type="text/json">{"id":8223,"name":"East Asian Studies","url":"https://www.academia.edu/Documents/in/East_Asian_Studies?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43672541]'), work: {"id":43672541,"title":"Chapter 7, Chinese Shakespeares: Two Centuries of Cultural Exchange (Columbia University Press, 2009, 2011, 2015). Modern Language Association Aldo and Jeanne Scaglione Prize for Comparative Literary Studies","created_at":"2020-07-20T11:08:47.515-07:00","url":"https://www.academia.edu/43672541/Chapter_7_Chinese_Shakespeares_Two_Centuries_of_Cultural_Exchange_Columbia_University_Press_2009_2011_2015_Modern_Language_Association_Aldo_and_Jeanne_Scaglione_Prize_for_Comparative_Literary_Studies?f_ri=18452","dom_id":"work_43672541","summary":"Chapter 7, \"Disowning Shakespeare and China,\" delineates the theoretical and political consequences of disowning “Shakespeare” and “China” in the present time. Part of the question of consequence necessarily remains open-ended, as international circumstances continue to change. However, a number of new trends in performance since 1990 have gained momentum. Stan Lai’s Lear and the Thirty-seven-fold Practice of a Bodhisattva (Pusa zhi sanshiqizhong xiuxing zhi Li’er wang) and Wu Hsing-kuo’s Lear Is Here (Li’er zai ci) exemplify performances that are framed by the artists’ autobiography and religious discourse. They signal the arrival of a new Asian identity in the global marketplace of cultures. The grand narrative of East meets West now coexists with an account of the living, contemporary directors’ personal engagement with Shakespeare, and with new but equally elusive categories such as “I” and “Shakespeare.” ","downloadable_attachments":[{"id":63974461,"asset_id":43672541,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":239992,"first_name":"Alexa Alice","last_name":"Joubin","domain_name":"gwu","page_name":"Joubin","display_name":"Alexa Alice Joubin","profile_url":"https://gwu.academia.edu/Joubin?f_ri=18452","photo":"https://0.academia-photos.com/239992/52381/13698313/s65_alexa.huang.jpg"}],"research_interests":[{"id":2906,"name":"Buddhist Studies","url":"https://www.academia.edu/Documents/in/Buddhist_Studies?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":6860,"name":"Intercultural Performance","url":"https://www.academia.edu/Documents/in/Intercultural_Performance?f_ri=18452","nofollow":true},{"id":8223,"name":"East Asian Studies","url":"https://www.academia.edu/Documents/in/East_Asian_Studies?f_ri=18452","nofollow":true},{"id":18313,"name":"Tibetan Buddhism","url":"https://www.academia.edu/Documents/in/Tibetan_Buddhism?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":19468,"name":"Chinese Cinema","url":"https://www.academia.edu/Documents/in/Chinese_Cinema?f_ri=18452"},{"id":22763,"name":"Adaptation (Film Studies)","url":"https://www.academia.edu/Documents/in/Adaptation_Film_Studies_?f_ri=18452"},{"id":25021,"name":"Hong Kong","url":"https://www.academia.edu/Documents/in/Hong_Kong?f_ri=18452"},{"id":25452,"name":"Intercultural Theatre","url":"https://www.academia.edu/Documents/in/Intercultural_Theatre?f_ri=18452"},{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=18452"},{"id":85841,"name":"King Lear","url":"https://www.academia.edu/Documents/in/King_Lear?f_ri=18452"},{"id":137280,"name":"Richard III","url":"https://www.academia.edu/Documents/in/Richard_III?f_ri=18452"},{"id":149466,"name":"Visuality","url":"https://www.academia.edu/Documents/in/Visuality?f_ri=18452"},{"id":714242,"name":"Global Shakespeare","url":"https://www.academia.edu/Documents/in/Global_Shakespeare?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38838591" data-work_id="38838591" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38838591/Female_Protagonism_on_the_Early_Modern_European_Stage">Female Protagonism on the Early Modern European Stage</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Female Protagonism on the Early Modern European Stage One of the major differences between the commercial theatre cultures of early modern England and continental Europe was that, whereas in England the female roles were performed by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38838591" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Female Protagonism on the Early Modern European Stage One of the major differences between the commercial theatre cultures of early modern England and continental Europe was that, whereas in England the female roles were performed by young cross-dressed boys, elsewhere female performers were prominent figures in their industry. Indeed, actresses in countries such as Italy and Spain played an active role in the creative process of theatre-making, and could rise to lead their own acting companies and even write their own plays. With this distinctive factor in mind, this paper comparatively explores from a quantitative standpoint how playwrights across early modern Europe depicted female characters in their plays, with particular focus on Shakespearean England and Golden Age Spain. The number of lines pronounced by female characters as opposed to male ones in the works of dramatists from one or the other country indicates a significant disparity between the two, which in turn might suggest that the presence and absence of actresses in one and another theatrical culture directly affected the amount of speech, protagonism and agency allocated to female characters in their plays.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38838591" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cd0d2a249257b2d01a51150cb63e3b0f" rel="nofollow" data-download="{"attachment_id":58932694,"asset_id":38838591,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58932694/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11074512" href="https://uam.academia.edu/DavidAmelang">David J Amelang</a><script data-card-contents-for-user="11074512" type="text/json">{"id":11074512,"first_name":"David","last_name":"Amelang","domain_name":"uam","page_name":"DavidAmelang","display_name":"David J Amelang","profile_url":"https://uam.academia.edu/DavidAmelang?f_ri=18452","photo":"https://0.academia-photos.com/11074512/5199291/94118573/s65_david.amelang.png"}</script></span></span></li><li class="js-paper-rank-work_38838591 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38838591"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38838591, container: ".js-paper-rank-work_38838591", }); 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Indeed, actresses in countries such as Italy and Spain played an active role in the creative process of theatre-making, and could rise to lead their own acting companies and even write their own plays. With this distinctive factor in mind, this paper comparatively explores from a quantitative standpoint how playwrights across early modern Europe depicted female characters in their plays, with particular focus on Shakespearean England and Golden Age Spain. The number of lines pronounced by female characters as opposed to male ones in the works of dramatists from one or the other country indicates a significant disparity between the two, which in turn might suggest that the presence and absence of actresses in one and another theatrical culture directly affected the amount of speech, protagonism and agency allocated to female characters in their plays.","downloadable_attachments":[{"id":58932694,"asset_id":38838591,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11074512,"first_name":"David","last_name":"Amelang","domain_name":"uam","page_name":"DavidAmelang","display_name":"David J Amelang","profile_url":"https://uam.academia.edu/DavidAmelang?f_ri=18452","photo":"https://0.academia-photos.com/11074512/5199291/94118573/s65_david.amelang.png"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=18452","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452","nofollow":true},{"id":7354,"name":"Early Modern Europe","url":"https://www.academia.edu/Documents/in/Early_Modern_Europe?f_ri=18452"},{"id":11791,"name":"Early Modern Literature","url":"https://www.academia.edu/Documents/in/Early_Modern_Literature?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=18452"},{"id":40516,"name":"Spain","url":"https://www.academia.edu/Documents/in/Spain?f_ri=18452"},{"id":64636,"name":"Spanish Golden Age","url":"https://www.academia.edu/Documents/in/Spanish_Golden_Age?f_ri=18452"},{"id":203243,"name":"Spanish Golden Age Theater","url":"https://www.academia.edu/Documents/in/Spanish_Golden_Age_Theater?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10401930" data-work_id="10401930" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10401930/_State_Power_Cultural_Dissidence_Transversal_Power_in_Becoming_Criminal_Transversal_Performance_and_Cultural_Dissidence_in_Early_Modern_England">"State Power, Cultural Dissidence, Transversal Power" in Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">b e g i n n i n g i n sixteenth-century England, a distinct criminal culture of rogues, vagabonds, gypsies, beggars, cony-catchers, cutpurses, and prostitutes emerged and Xourished. This community was self-deWned by the criminal conduct... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10401930" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">b e g i n n i n g i n sixteenth-century England, a distinct criminal culture of rogues, vagabonds, gypsies, beggars, cony-catchers, cutpurses, and prostitutes emerged and Xourished. This community was self-deWned by the criminal conduct and dissident thought promoted by its members, and oYcially deWned by and against the dominant preconceptions of English cultural normality. In this book I argue that this amalgamated criminal culture, consisting of a diverse population with much racial, ethnic, and etiological ambiguity, was united by its own aesthetic, ideology, language, and lifestyle. In eVect, this criminal culture constituted a subnation that illegitimately occupied material and conceptual space within the English nation. With its own laws and customs, it was both independent of and dependent on England's oYcial (mainstream) culture. It was selfgoverning but needed the law-abiding populace for food and shelter and as a social entity against which to deWne itself. I also argue that the enduring presence of this criminal culture markedly aVected the oYcial culture's aesthetic sensibilities, systems of belief, and socioeconomic organization. It was both conducted by and a conductor for what I call "transversal power." 1 Before describing my "transversal theory" that explains "transversal power" and accounts for the terms, methods, and arguments that drive this study, I want to consider, as a point of entrance, the remarkable resemblance between discussions of the sociohistorical actuality, representation, and inXuence of early modern England's organized crime and that c h a p t e r o n e</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10401930" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d00bb64c08f7b0f88de5743eb5649b46" rel="nofollow" data-download="{"attachment_id":36455899,"asset_id":10401930,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36455899/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="226423" href="https://uci.academia.edu/BryanReynolds">Bryan Reynolds</a><script data-card-contents-for-user="226423" type="text/json">{"id":226423,"first_name":"Bryan","last_name":"Reynolds","domain_name":"uci","page_name":"BryanReynolds","display_name":"Bryan Reynolds","profile_url":"https://uci.academia.edu/BryanReynolds?f_ri=18452","photo":"https://0.academia-photos.com/226423/6992645/34183315/s65_bryan.reynolds.jpg"}</script></span></span></li><li class="js-paper-rank-work_10401930 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10401930"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10401930, container: ".js-paper-rank-work_10401930", }); 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This community was self-deWned by the criminal conduct and dissident thought promoted by its members, and oYcially deWned by and against the dominant preconceptions of English cultural normality. In this book I argue that this amalgamated criminal culture, consisting of a diverse population with much racial, ethnic, and etiological ambiguity, was united by its own aesthetic, ideology, language, and lifestyle. In eVect, this criminal culture constituted a subnation that illegitimately occupied material and conceptual space within the English nation. With its own laws and customs, it was both independent of and dependent on England's oYcial (mainstream) culture. It was selfgoverning but needed the law-abiding populace for food and shelter and as a social entity against which to deWne itself. I also argue that the enduring presence of this criminal culture markedly aVected the oYcial culture's aesthetic sensibilities, systems of belief, and socioeconomic organization. It was both conducted by and a conductor for what I call \"transversal power.\" 1 Before describing my \"transversal theory\" that explains \"transversal power\" and accounts for the terms, methods, and arguments that drive this study, I want to consider, as a point of entrance, the remarkable resemblance between discussions of the sociohistorical actuality, representation, and inXuence of early modern England's organized crime and that c h a p t e r o n e","downloadable_attachments":[{"id":36455899,"asset_id":10401930,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":226423,"first_name":"Bryan","last_name":"Reynolds","domain_name":"uci","page_name":"BryanReynolds","display_name":"Bryan Reynolds","profile_url":"https://uci.academia.edu/BryanReynolds?f_ri=18452","photo":"https://0.academia-photos.com/226423/6992645/34183315/s65_bryan.reynolds.jpg"}],"research_interests":[{"id":8,"name":"Critical 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class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">a review of KIng Lear in the National Theatre (Warsaw) in 1998; one of the first productions of the play in the post-communist Poland 1998; shows the difficulties with Shakespeare's texts when the famous Polish political theatre of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11994649" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">a review of KIng Lear in the National Theatre (Warsaw) in 1998; one of the first productions of the play in the post-communist Poland 1998; shows the difficulties with Shakespeare's texts when the famous Polish political theatre of allusions and metaphors was struggling with finding its new identity; Maciej Prus as a Shakespeare's plays director</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item 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I draw upon eighteenth-century jurist William Blackstone's notion of trespass, sixteenth-century jurist Jean Bodin's notion of sovereignty, in order to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7989780" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article reads the problem of trespass within William Shakespeare's King Lear.  I draw upon eighteenth-century jurist William Blackstone's notion of trespass, sixteenth-century jurist Jean Bodin's notion of sovereignty, in order to understand the question of property rights that emerges in Lear's abdication of his sovereignty.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7989780" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="29dfa2b25e033d221018decf1ab8d88d" rel="nofollow" data-download="{"attachment_id":37406260,"asset_id":7989780,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37406260/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3347206" href="https://bufalo.academia.edu/AlanLopez">Alan Lopez</a><script data-card-contents-for-user="3347206" type="text/json">{"id":3347206,"first_name":"Alan","last_name":"Lopez","domain_name":"bufalo","page_name":"AlanLopez","display_name":"Alan Lopez","profile_url":"https://bufalo.academia.edu/AlanLopez?f_ri=18452","photo":"https://0.academia-photos.com/3347206/1158418/168630169/s65_alan.lopez.jpg"}</script></span></span></li><li class="js-paper-rank-work_7989780 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7989780"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7989780, container: ".js-paper-rank-work_7989780", }); 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I draw upon eighteenth-century jurist William Blackstone's notion of trespass, sixteenth-century jurist Jean Bodin's notion of sovereignty, in order to understand the question of property rights that emerges in Lear's abdication of his sovereignty. ","downloadable_attachments":[{"id":37406260,"asset_id":7989780,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3347206,"first_name":"Alan","last_name":"Lopez","domain_name":"bufalo","page_name":"AlanLopez","display_name":"Alan Lopez","profile_url":"https://bufalo.academia.edu/AlanLopez?f_ri=18452","photo":"https://0.academia-photos.com/3347206/1158418/168630169/s65_alan.lopez.jpg"}],"research_interests":[{"id":542,"name":"Jurisprudence","url":"https://www.academia.edu/Documents/in/Jurisprudence?f_ri=18452","nofollow":true},{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=18452","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=18452","nofollow":true},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=18452"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452"},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452"},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452"},{"id":6223,"name":"English","url":"https://www.academia.edu/Documents/in/English?f_ri=18452"},{"id":6574,"name":"Family","url":"https://www.academia.edu/Documents/in/Family?f_ri=18452"},{"id":6728,"name":"Philosophy Of Law","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Law?f_ri=18452"},{"id":10187,"name":"Love","url":"https://www.academia.edu/Documents/in/Love?f_ri=18452"},{"id":13802,"name":"Epic Literature","url":"https://www.academia.edu/Documents/in/Epic_Literature?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":18900,"name":"Philosophy of Love","url":"https://www.academia.edu/Documents/in/Philosophy_of_Love?f_ri=18452"},{"id":19560,"name":"Friendship","url":"https://www.academia.edu/Documents/in/Friendship?f_ri=18452"},{"id":22585,"name":"English Renaissance Literature","url":"https://www.academia.edu/Documents/in/English_Renaissance_Literature?f_ri=18452"},{"id":56281,"name":"English language and literature","url":"https://www.academia.edu/Documents/in/English_language_and_literature?f_ri=18452"},{"id":62582,"name":"Tragedy","url":"https://www.academia.edu/Documents/in/Tragedy?f_ri=18452"},{"id":85841,"name":"King Lear","url":"https://www.academia.edu/Documents/in/King_Lear?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":418782,"name":"William Shakepeare","url":"https://www.academia.edu/Documents/in/William_Shakepeare?f_ri=18452"},{"id":964632,"name":"William Blackstone","url":"https://www.academia.edu/Documents/in/William_Blackstone?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38895938" data-work_id="38895938" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38895938/LHEROISME_DE_LA_VANITE_OTHELLO_OU_LES_VICISSITUDES_DU_HEROS_NOIR_SUR_LA_SCENE_FRANCAISE_DE_BUTINI_A_VIGNY_1785_1829_">L'HEROISME DE LA VANITE. OTHELLO OU LES VICISSITUDES DU HEROS NOIR SUR LA SCENE FRANCAISE DE BUTINI A VIGNY (1785-1829)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La traduction en français par Antoine La Place d’un choix de drames de William Shakespeare a permis de mettre sur le devant de la scène les grands héros de son théâtre. Parmi ceux-ci, Othello, le More de Venise, va inspirer plusieurs... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38895938" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La traduction en français par Antoine La Place d’un choix de drames de William Shakespeare a permis de mettre sur le devant de la scène les grands héros de son théâtre. Parmi ceux-ci, Othello, le More de Venise, va inspirer plusieurs dramaturges au tournant des Lumières : Butini, Ducis et Vigny, via le trio formé par Radet, Barré et Desfontaines. Via l’analyse de leurs œuvres, ce sont les formes et enjeux de la représentation du Héros noir sur la scène française dont il va être ici question.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38895938" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c960ebc02fa10ce77ef06896caa45891" rel="nofollow" data-download="{"attachment_id":58994227,"asset_id":38895938,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58994227/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4382976" href="https://malta.academia.edu/DominiqueLanni">Dominique Lanni</a><script data-card-contents-for-user="4382976" type="text/json">{"id":4382976,"first_name":"Dominique","last_name":"Lanni","domain_name":"malta","page_name":"DominiqueLanni","display_name":"Dominique Lanni","profile_url":"https://malta.academia.edu/DominiqueLanni?f_ri=18452","photo":"https://0.academia-photos.com/4382976/24625201/23502059/s65_dominique.lanni.jpg"}</script></span></span></li><li class="js-paper-rank-work_38895938 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38895938"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38895938, container: ".js-paper-rank-work_38895938", }); 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$(".js-view-count[data-work-id=38895938]").text(description); $(".js-view-count-work_38895938").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38895938").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38895938"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a>, <script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="56581" rel="nofollow" href="https://www.academia.edu/Documents/in/Othello">Othello</a>, <script data-card-contents-for-ri="56581" type="text/json">{"id":56581,"name":"Othello","url":"https://www.academia.edu/Documents/in/Othello?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="178986" rel="nofollow" href="https://www.academia.edu/Documents/in/Alfred_de_Vigny">Alfred de Vigny</a><script data-card-contents-for-ri="178986" type="text/json">{"id":178986,"name":"Alfred de Vigny","url":"https://www.academia.edu/Documents/in/Alfred_de_Vigny?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38895938]'), work: {"id":38895938,"title":"L'HEROISME DE LA VANITE. OTHELLO OU LES VICISSITUDES DU HEROS NOIR SUR LA SCENE FRANCAISE DE BUTINI A VIGNY (1785-1829)","created_at":"2019-04-22T14:19:08.075-07:00","url":"https://www.academia.edu/38895938/LHEROISME_DE_LA_VANITE_OTHELLO_OU_LES_VICISSITUDES_DU_HEROS_NOIR_SUR_LA_SCENE_FRANCAISE_DE_BUTINI_A_VIGNY_1785_1829_?f_ri=18452","dom_id":"work_38895938","summary":"La traduction en français par Antoine La Place d’un choix de drames de William Shakespeare a permis de mettre sur le devant de la scène les grands héros de son théâtre. Parmi ceux-ci, Othello, le More de Venise, va inspirer plusieurs dramaturges au tournant des Lumières : Butini, Ducis et Vigny, via le trio formé par Radet, Barré et Desfontaines. Via l’analyse de leurs œuvres, ce sont les formes et enjeux de la représentation du Héros noir sur la scène française dont il va être ici question.","downloadable_attachments":[{"id":58994227,"asset_id":38895938,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4382976,"first_name":"Dominique","last_name":"Lanni","domain_name":"malta","page_name":"DominiqueLanni","display_name":"Dominique Lanni","profile_url":"https://malta.academia.edu/DominiqueLanni?f_ri=18452","photo":"https://0.academia-photos.com/4382976/24625201/23502059/s65_dominique.lanni.jpg"}],"research_interests":[{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":56581,"name":"Othello","url":"https://www.academia.edu/Documents/in/Othello?f_ri=18452","nofollow":true},{"id":178986,"name":"Alfred de Vigny","url":"https://www.academia.edu/Documents/in/Alfred_de_Vigny?f_ri=18452","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39549212" data-work_id="39549212" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39549212/Le_processus_de_mise_en_representation_par_le_d%C3%A9cor_dans_le_lieu_th%C3%A9%C3%A2tral_Macbeth_1888_">Le processus de mise en representation par le décor dans le lieu théâtral : Macbeth (1888)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">FR : Prolongement de l'espace domestique ou lieu de monstration extraordinaire, la scène de théâtre convoque des artistes variés travaillant à la matérialisation de l'environnement d'une performance. Véritable ensemble décoratif animé,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39549212" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">FR : Prolongement de l'espace domestique ou lieu de monstration extraordinaire, la scène de théâtre convoque des artistes variés travaillant à la matérialisation de l'environnement d'une performance. Véritable ensemble décoratif animé, l'espace scénique devient le mirascope d'un monde fictionnel qui, lors de la seconde moitié du XIX e siècle, se veut le plus réaliste possible. Néanmoins, le lieu théâtral oblige les artistes décorateurs à s'adapter à ses contraintes : il est éphémère, distancié du spectateur, et doit évoquer un univers précis en relation avec la performance. L'ensemble décoratif participe ainsi, dans le lieu scénique, au processus actif d'une mise en représentation de la pièce. Aussi, la scène devient une oeuvre et un lieu en soi, fusionnant les décors, les costumes et les acteurs dans la création d'un ta-bleau visuel, en transformant la matérialité de l'ensemble décoratif en un support en deux dimensions. L'artisanat théâ-tral questionne la relation du spectateur au lieu de la représentation. Quel rapport entretient le public à la réalité des dé-cors dans un lieu où tout est fiction ? La scène montre-t-elle l'objet décoratif ou bien ce qu'il représente ? La communication se concentrera sur le dernier élan du théâtre réaliste et spectaculaire, dans lequel le sens du détail et la profusion décorative sont inhérents à la conception des décors, avec l'exemple de Macbeth (1888) au Lyceum Theatre. de Londres. Cette tendance de « pictorialisation » (BOOTH) dans la création dramatique se poursuit jusqu'au tournant conceptuel qui s'opère avec E.G. Craig. Depuis les avant-gardes, le décor théâtral continue néanmoins à être représenta-tif d'ensembles décoratifs réels. L'espace scénique peut s'observer comme un « topos de notre imaginaire collectif », selon le collectif Encheval qui crée en 2018 une exposition pour la Société d'Histoire du Théâtre, à partir d'une pensée attribuée à Walter Benjamin « Rien ne condense mieux une époque que la mise en scène qu'elle fait d'elle-même. Fan-tasmes comme matérialité n'y font qu'un. » <br />Abstract EN: Extension of the domestic sphere or an extraordinary exhibition space, the theatrical stage features works from various artists materialising of the performance environment. As an animated decorative ensemble, the sce</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39549212" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="26ee7adcb04a661d5b15fe63f23cfe41" rel="nofollow" data-download="{"attachment_id":59700778,"asset_id":39549212,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59700778/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="51217120" href="https://nyu.academia.edu/BarbaraBessac">Barbara Bessac</a><script data-card-contents-for-user="51217120" type="text/json">{"id":51217120,"first_name":"Barbara","last_name":"Bessac","domain_name":"nyu","page_name":"BarbaraBessac","display_name":"Barbara Bessac","profile_url":"https://nyu.academia.edu/BarbaraBessac?f_ri=18452","photo":"https://0.academia-photos.com/51217120/13560125/77878249/s65_barbara.bessac.jpg"}</script></span></span></li><li class="js-paper-rank-work_39549212 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39549212"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39549212, container: ".js-paper-rank-work_39549212", }); 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$(".js-view-count[data-work-id=39549212]").text(description); $(".js-view-count-work_39549212").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39549212").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39549212"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1305" rel="nofollow" href="https://www.academia.edu/Documents/in/Victorian_Studies">Victorian Studies</a>, <script data-card-contents-for-ri="1305" type="text/json">{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a>, <script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="53409" rel="nofollow" href="https://www.academia.edu/Documents/in/Arts_and_Crafts">Arts and Crafts</a><script data-card-contents-for-ri="53409" type="text/json">{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39549212]'), work: {"id":39549212,"title":"Le processus de mise en representation par le décor dans le lieu théâtral : Macbeth (1888)","created_at":"2019-06-13T06:00:15.031-07:00","url":"https://www.academia.edu/39549212/Le_processus_de_mise_en_representation_par_le_d%C3%A9cor_dans_le_lieu_th%C3%A9%C3%A2tral_Macbeth_1888_?f_ri=18452","dom_id":"work_39549212","summary":"FR : Prolongement de l'espace domestique ou lieu de monstration extraordinaire, la scène de théâtre convoque des artistes variés travaillant à la matérialisation de l'environnement d'une performance. Véritable ensemble décoratif animé, l'espace scénique devient le mirascope d'un monde fictionnel qui, lors de la seconde moitié du XIX e siècle, se veut le plus réaliste possible. Néanmoins, le lieu théâtral oblige les artistes décorateurs à s'adapter à ses contraintes : il est éphémère, distancié du spectateur, et doit évoquer un univers précis en relation avec la performance. L'ensemble décoratif participe ainsi, dans le lieu scénique, au processus actif d'une mise en représentation de la pièce. Aussi, la scène devient une oeuvre et un lieu en soi, fusionnant les décors, les costumes et les acteurs dans la création d'un ta-bleau visuel, en transformant la matérialité de l'ensemble décoratif en un support en deux dimensions. L'artisanat théâ-tral questionne la relation du spectateur au lieu de la représentation. Quel rapport entretient le public à la réalité des dé-cors dans un lieu où tout est fiction ? La scène montre-t-elle l'objet décoratif ou bien ce qu'il représente ? La communication se concentrera sur le dernier élan du théâtre réaliste et spectaculaire, dans lequel le sens du détail et la profusion décorative sont inhérents à la conception des décors, avec l'exemple de Macbeth (1888) au Lyceum Theatre. de Londres. Cette tendance de « pictorialisation » (BOOTH) dans la création dramatique se poursuit jusqu'au tournant conceptuel qui s'opère avec E.G. Craig. Depuis les avant-gardes, le décor théâtral continue néanmoins à être représenta-tif d'ensembles décoratifs réels. L'espace scénique peut s'observer comme un « topos de notre imaginaire collectif », selon le collectif Encheval qui crée en 2018 une exposition pour la Société d'Histoire du Théâtre, à partir d'une pensée attribuée à Walter Benjamin « Rien ne condense mieux une époque que la mise en scène qu'elle fait d'elle-même. Fan-tasmes comme matérialité n'y font qu'un. » \nAbstract EN: Extension of the domestic sphere or an extraordinary exhibition space, the theatrical stage features works from various artists materialising of the performance environment. As an animated decorative ensemble, the sce","downloadable_attachments":[{"id":59700778,"asset_id":39549212,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":51217120,"first_name":"Barbara","last_name":"Bessac","domain_name":"nyu","page_name":"BarbaraBessac","display_name":"Barbara Bessac","profile_url":"https://nyu.academia.edu/BarbaraBessac?f_ri=18452","photo":"https://0.academia-photos.com/51217120/13560125/77878249/s65_barbara.bessac.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=18452","nofollow":true},{"id":159457,"name":"Theatre Arts","url":"https://www.academia.edu/Documents/in/Theatre_Arts?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31806043" data-work_id="31806043" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31806043/Review_of_Duncan_Salkeld_Shakespeare_Among_the_Courtesans_Prostitution_Literature_and_Drama_1500_1650_Ashgate_2012_and_Kay_Stanton_Shakespeare_s_Whores_Erotics_Politics_and_Poetics_Palgrave_2014_in_Renaissance_Quarterly_69_3_2016_1199_1202">Review of Duncan Salkeld, Shakespeare Among the Courtesans: Prostitution, Literature, and Drama, 1500-1650 (Ashgate, 2012) and Kay Stanton, Shakespeare’s ‘Whores’: Erotics, Politics, and Poetics (Palgrave, 2014) in Renaissance Quarterly 69.3 (2016), 1199-1202.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31806043" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51bbf582dc683296e2b77f7101d97b5c" rel="nofollow" data-download="{"attachment_id":52104446,"asset_id":31806043,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52104446/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18296779" href="https://babson.academia.edu/StephenSpiess">Stephen Spiess</a><script data-card-contents-for-user="18296779" type="text/json">{"id":18296779,"first_name":"Stephen","last_name":"Spiess","domain_name":"babson","page_name":"StephenSpiess","display_name":"Stephen Spiess","profile_url":"https://babson.academia.edu/StephenSpiess?f_ri=18452","photo":"https://0.academia-photos.com/18296779/5678623/6460360/s65_stephen.spiess.jpg"}</script></span></span></li><li class="js-paper-rank-work_31806043 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31806043"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31806043, container: ".js-paper-rank-work_31806043", }); 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$(".js-view-count[data-work-id=31806043]").text(description); $(".js-view-count-work_31806043").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31806043").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31806043"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a>, <script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="91991" rel="nofollow" href="https://www.academia.edu/Documents/in/Prostitution">Prostitution</a>, <script data-card-contents-for-ri="91991" type="text/json">{"id":91991,"name":"Prostitution","url":"https://www.academia.edu/Documents/in/Prostitution?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="630023" rel="nofollow" href="https://www.academia.edu/Documents/in/Courtesans_In_Literature">Courtesans In Literature</a><script data-card-contents-for-ri="630023" type="text/json">{"id":630023,"name":"Courtesans In Literature","url":"https://www.academia.edu/Documents/in/Courtesans_In_Literature?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31806043]'), work: {"id":31806043,"title":"Review of Duncan Salkeld, Shakespeare Among the Courtesans: Prostitution, Literature, and Drama, 1500-1650 (Ashgate, 2012) and Kay Stanton, Shakespeare’s ‘Whores’: Erotics, Politics, and Poetics (Palgrave, 2014) in Renaissance Quarterly 69.3 (2016), 1199-1202.","created_at":"2017-03-10T09:01:02.945-08:00","url":"https://www.academia.edu/31806043/Review_of_Duncan_Salkeld_Shakespeare_Among_the_Courtesans_Prostitution_Literature_and_Drama_1500_1650_Ashgate_2012_and_Kay_Stanton_Shakespeare_s_Whores_Erotics_Politics_and_Poetics_Palgrave_2014_in_Renaissance_Quarterly_69_3_2016_1199_1202?f_ri=18452","dom_id":"work_31806043","summary":null,"downloadable_attachments":[{"id":52104446,"asset_id":31806043,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":18296779,"first_name":"Stephen","last_name":"Spiess","domain_name":"babson","page_name":"StephenSpiess","display_name":"Stephen Spiess","profile_url":"https://babson.academia.edu/StephenSpiess?f_ri=18452","photo":"https://0.academia-photos.com/18296779/5678623/6460360/s65_stephen.spiess.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":91991,"name":"Prostitution","url":"https://www.academia.edu/Documents/in/Prostitution?f_ri=18452","nofollow":true},{"id":630023,"name":"Courtesans In Literature","url":"https://www.academia.edu/Documents/in/Courtesans_In_Literature?f_ri=18452","nofollow":true},{"id":1282330,"name":"Courtesans","url":"https://www.academia.edu/Documents/in/Courtesans?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_76568768" data-work_id="76568768" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/76568768/Comment_on_the_opening_scene_of_The_tempest">Comment on the opening scene of The tempest.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Shakespeare uses this short opening scene to immediately grab his audience and yank them into his play. The setting is a ship at sea being violently tossed about by the sea-storm that, in part, gives the play its name. it carries with it... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_76568768" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Shakespeare uses this short opening scene to immediately grab his audience and yank them into his play. The setting is a ship at sea being violently tossed about by the sea-storm that, in part, gives the play its name. it carries with it metaphoric and symbolic value. In technical terms, this scene contains the crisis that sets the action of the play in motion.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76568768" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0524714c79297c5de3f147295600d98e" rel="nofollow" data-download="{"attachment_id":84237265,"asset_id":76568768,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84237265/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="138944519" href="https://independent.academia.edu/InjamamulHoque13">Injamamul Hoque</a><script data-card-contents-for-user="138944519" type="text/json">{"id":138944519,"first_name":"Injamamul","last_name":"Hoque","domain_name":"independent","page_name":"InjamamulHoque13","display_name":"Injamamul Hoque","profile_url":"https://independent.academia.edu/InjamamulHoque13?f_ri=18452","photo":"https://0.academia-photos.com/138944519/49779263/113378706/s65_injamamul.hoque.jpg"}</script></span></span></li><li class="js-paper-rank-work_76568768 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76568768"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76568768, container: ".js-paper-rank-work_76568768", }); 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The setting is a ship at sea being violently tossed about by the sea-storm that, in part, gives the play its name. it carries with it metaphoric and symbolic value. In technical terms, this scene contains the crisis that sets the action of the play in motion.","downloadable_attachments":[{"id":84237265,"asset_id":76568768,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":138944519,"first_name":"Injamamul","last_name":"Hoque","domain_name":"independent","page_name":"InjamamulHoque13","display_name":"Injamamul Hoque","profile_url":"https://independent.academia.edu/InjamamulHoque13?f_ri=18452","photo":"https://0.academia-photos.com/138944519/49779263/113378706/s65_injamamul.hoque.jpg"}],"research_interests":[{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":6223,"name":"English","url":"https://www.academia.edu/Documents/in/English?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":161041,"name":"The Tempest","url":"https://www.academia.edu/Documents/in/The_Tempest?f_ri=18452"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_66446565" data-work_id="66446565" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/66446565/_Cultivating_Expertise_Glossing_Shakespeare_and_Race_in_Race_Before_Race_Premodern_Critical_Race_Studies_ed_Ayanna_Thompson_special_issue_Literature_Compass_18_10_2021_10_pp">“Cultivating Expertise: Glossing Shakespeare and Race,” in “Race Before Race: Premodern Critical Race Studies,” ed. Ayanna Thompson, special issue Literature Compass 18.10 (2021), 10 pp.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tracing connections between research methodologies and classroom practices in the study of Shakespeare and race, this essay argues for the importance of offering students’ opportunities to build and demonstrate expertise. The essay... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_66446565" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tracing connections between research methodologies and classroom practices in the study of Shakespeare and race, this essay argues for the importance of offering students’ opportunities to build and demonstrate expertise. The essay discusses the use of a glossary exercise in classes on race and early modern literature, and the learning objectives for such courses. Finally, the essay offers a critique of such courses as commonly structured and suggestions for new directions in teaching race in literature from this period.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/66446565" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="63588180" href="https://folger.academia.edu/PatriciaAkhimie">Patricia Akhimie</a><script data-card-contents-for-user="63588180" type="text/json">{"id":63588180,"first_name":"Patricia","last_name":"Akhimie","domain_name":"folger","page_name":"PatriciaAkhimie","display_name":"Patricia Akhimie","profile_url":"https://folger.academia.edu/PatriciaAkhimie?f_ri=18452","photo":"https://0.academia-photos.com/63588180/16506852/18962844/s65_patricia.akhimie.jpg"}</script></span></span></li><li class="js-paper-rank-work_66446565 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="66446565"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 66446565, container: ".js-paper-rank-work_66446565", }); 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Ayanna Thompson, special issue Literature Compass 18.10 (2021), 10 pp.","created_at":"2021-12-29T14:38:05.696-08:00","url":"https://www.academia.edu/66446565/_Cultivating_Expertise_Glossing_Shakespeare_and_Race_in_Race_Before_Race_Premodern_Critical_Race_Studies_ed_Ayanna_Thompson_special_issue_Literature_Compass_18_10_2021_10_pp?f_ri=18452","dom_id":"work_66446565","summary":"Tracing connections between research methodologies and classroom practices in the study of Shakespeare and race, this essay argues for the importance of offering students’ opportunities to build and demonstrate expertise. The essay discusses the use of a glossary exercise in classes on race and early modern literature, and the learning objectives for such courses. Finally, the essay offers a critique of such courses as commonly structured and suggestions for new directions in teaching race in literature from this period.","downloadable_attachments":[],"ordered_authors":[{"id":63588180,"first_name":"Patricia","last_name":"Akhimie","domain_name":"folger","page_name":"PatriciaAkhimie","display_name":"Patricia Akhimie","profile_url":"https://folger.academia.edu/PatriciaAkhimie?f_ri=18452","photo":"https://0.academia-photos.com/63588180/16506852/18962844/s65_patricia.akhimie.jpg"}],"research_interests":[{"id":1851,"name":"Expertise","url":"https://www.academia.edu/Documents/in/Expertise?f_ri=18452","nofollow":true},{"id":2432,"name":"Critical Race Studies","url":"https://www.academia.edu/Documents/in/Critical_Race_Studies?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=18452","nofollow":true},{"id":9491,"name":"Pedagogy","url":"https://www.academia.edu/Documents/in/Pedagogy?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":43150,"name":"Anti-Racism","url":"https://www.academia.edu/Documents/in/Anti-Racism?f_ri=18452"},{"id":56581,"name":"Othello","url":"https://www.academia.edu/Documents/in/Othello?f_ri=18452"},{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=18452"},{"id":93541,"name":"Comedy of Errors","url":"https://www.academia.edu/Documents/in/Comedy_of_Errors?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":513307,"name":"The Merchant of Venice","url":"https://www.academia.edu/Documents/in/The_Merchant_of_Venice?f_ri=18452"},{"id":546638,"name":"Glossary","url":"https://www.academia.edu/Documents/in/Glossary?f_ri=18452"},{"id":3386185,"name":"Premodern Critical Race Studies","url":"https://www.academia.edu/Documents/in/Premodern_Critical_Race_Studies?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40050669" data-work_id="40050669" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40050669/CRITICAL_INSIGHTS_Hamlet">CRITICAL INSIGHTS Hamlet</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A collection of essays on Shakespeare's Hamlet.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40050669" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cdea40fee99c221ee3440f8f6a1881ba" rel="nofollow" data-download="{"attachment_id":60250217,"asset_id":40050669,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60250217/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2778960" href="https://aum.academia.edu/BobEvans">Robert C . Evans</a><script data-card-contents-for-user="2778960" type="text/json">{"id":2778960,"first_name":"Robert","last_name":"Evans","domain_name":"aum","page_name":"BobEvans","display_name":"Robert C . 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Evans","profile_url":"https://aum.academia.edu/BobEvans?f_ri=18452","photo":"https://0.academia-photos.com/2778960/906571/10969433/s65_bob.evans.jpg"}],"research_interests":[{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452","nofollow":true},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44026685" data-work_id="44026685" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44026685/The_Transgender_Reading_of_Twelfth_Night_and_Critical_Comparison_of_Cesario_as_Shakespeare_s_Himself">The Transgender Reading of Twelfth Night and Critical Comparison of Cesario as Shakespeare’s Himself</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Twelfth Night (or What You Will) is one of other famous comedies written by William Shakespeare about 1599-1601. Its main characters can be said as Orsino, Viola (Cesario), Olivia, Sebastian, and Clown (Feste). This essay is divided into... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44026685" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Twelfth Night (or What You Will) is one of other famous comedies written by William Shakespeare about 1599-1601. Its main characters can be said as Orsino, Viola (Cesario), Olivia, Sebastian, and Clown (Feste). This essay is divided into two parts. The first part is about love relationship, marriage and transgender issues throughout discussing characters, especially Viola (Cesario), Orsino and Olivia, in the play Twelfth Night. The second part is about resemblance between character Cesario and playwright William Shakespeare and his personal life, sexuality, relationship with “Fair Young Man” and love triangle in his sonnets.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44026685" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e9272f48ba553a2828adffea55a5f54e" rel="nofollow" data-download="{"attachment_id":64363571,"asset_id":44026685,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64363571/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="130051004" href="https://comu.academia.edu/SelenayY%C4%B1ld%C4%B1r%C4%B1m">Selenay Yıldırım</a><script data-card-contents-for-user="130051004" type="text/json">{"id":130051004,"first_name":"Selenay","last_name":"Yıldırım","domain_name":"comu","page_name":"SelenayYıldırım","display_name":"Selenay Yıldırım","profile_url":"https://comu.academia.edu/SelenayY%C4%B1ld%C4%B1r%C4%B1m?f_ri=18452","photo":"https://0.academia-photos.com/130051004/47317830/133623029/s65_selenay.y_ld_r_m.jpg"}</script></span></span></li><li class="js-paper-rank-work_44026685 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44026685"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44026685, container: ".js-paper-rank-work_44026685", }); 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$(".js-view-count[data-work-id=44026685]").text(description); $(".js-view-count-work_44026685").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44026685").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44026685"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="972" rel="nofollow" href="https://www.academia.edu/Documents/in/Self_and_Identity">Self and Identity</a>, <script data-card-contents-for-ri="972" type="text/json">{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2624" rel="nofollow" href="https://www.academia.edu/Documents/in/Transgender_Studies">Transgender Studies</a><script data-card-contents-for-ri="2624" type="text/json">{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44026685]'), work: {"id":44026685,"title":"The Transgender Reading of Twelfth Night and Critical Comparison of Cesario as Shakespeare’s Himself","created_at":"2020-09-06T02:49:57.327-07:00","url":"https://www.academia.edu/44026685/The_Transgender_Reading_of_Twelfth_Night_and_Critical_Comparison_of_Cesario_as_Shakespeare_s_Himself?f_ri=18452","dom_id":"work_44026685","summary":"Twelfth Night (or What You Will) is one of other famous comedies written by William Shakespeare about 1599-1601. Its main characters can be said as Orsino, Viola (Cesario), Olivia, Sebastian, and Clown (Feste). This essay is divided into two parts. The first part is about love relationship, marriage and transgender issues throughout discussing characters, especially Viola (Cesario), Orsino and Olivia, in the play Twelfth Night. The second part is about resemblance between character Cesario and playwright William Shakespeare and his personal life, sexuality, relationship with “Fair Young Man” and love triangle in his sonnets.","downloadable_attachments":[{"id":64363571,"asset_id":44026685,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":130051004,"first_name":"Selenay","last_name":"Yıldırım","domain_name":"comu","page_name":"SelenayYıldırım","display_name":"Selenay Yıldırım","profile_url":"https://comu.academia.edu/SelenayY%C4%B1ld%C4%B1r%C4%B1m?f_ri=18452","photo":"https://0.academia-photos.com/130051004/47317830/133623029/s65_selenay.y_ld_r_m.jpg"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=18452","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452"},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=18452"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38590013" data-work_id="38590013" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38590013/Air_Bubble_and_the_Horrid_Image_The_Representation_of_Fear_and_the_Supernatural_in_Macbeth_Neophilologus_An_International_Journal_of_Modern_and_Medieval_Language_and_Literature_First_Published_Online_18_March_2019">Air, Bubble and the Horrid Image: The Representation of Fear and the Supernatural in Macbeth, Neophilologus: An International Journal of Modern and Medieval Language and Literature, First Published Online: 18 March 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">[Full text in Link <a href="https://rdcu.be/brKbD" rel="nofollow">https://rdcu.be/brKbD</a> or Ask for A Copy] This article examines the representations of the supernatural in Shakespeare’s Macbeth, which served as a significant source for later horror literature. It shows that the play’s... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38590013" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">[Full text in Link <a href="https://rdcu.be/brKbD" rel="nofollow">https://rdcu.be/brKbD</a> or Ask for A Copy] This article examines the representations of the supernatural in Shakespeare’s Macbeth, which served as a significant source for later horror literature. It shows that the play’s rhetoric of horror and of the supernatural depends on its shifting discourse of nature. Nature in Macbeth refers to an external, nonhuman nature of cosmic events and elemental figures (air, bubble and fire) as well as to an internal, human nature of “horrid” images and surmises. Supernatural elements derive from the ontological instability in both external and internal nature, and relate particularly to those actions or events, through which nature becomes disturbed and duplicated. As the imaginary dagger scene indicates, the most terrifying source of the supernatural in the play is the human-made image that duplicates nature internally.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38590013" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a9c7cbea16c7fc4fe598e3f8a96a1fbe" rel="nofollow" data-download="{"attachment_id":58704875,"asset_id":38590013,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58704875/download_file?st=MTc0MDYyNTQxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="75537586" href="https://yasar.academia.edu/ahmetsuner">Ahmet Süner</a><script data-card-contents-for-user="75537586" type="text/json">{"id":75537586,"first_name":"Ahmet","last_name":"Süner","domain_name":"yasar","page_name":"ahmetsuner","display_name":"Ahmet Süner","profile_url":"https://yasar.academia.edu/ahmetsuner?f_ri=18452","photo":"https://0.academia-photos.com/75537586/19834749/20605708/s65_ahmet.s_ner.jpg"}</script></span></span></li><li class="js-paper-rank-work_38590013 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38590013"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38590013, container: ".js-paper-rank-work_38590013", }); });</script></li><li class="js-percentile-work_38590013 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38590013; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38590013"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38590013 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38590013"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38590013; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38590013]").text(description); $(".js-view-count-work_38590013").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38590013").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38590013"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8296" rel="nofollow" href="https://www.academia.edu/Documents/in/Gothic_Literature">Gothic Literature</a>, <script data-card-contents-for-ri="8296" type="text/json">{"id":8296,"name":"Gothic Literature","url":"https://www.academia.edu/Documents/in/Gothic_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17896" rel="nofollow" href="https://www.academia.edu/Documents/in/Supernatural">Supernatural</a>, <script data-card-contents-for-ri="17896" type="text/json">{"id":17896,"name":"Supernatural","url":"https://www.academia.edu/Documents/in/Supernatural?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a><script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38590013]'), work: {"id":38590013,"title":"Air, Bubble and the Horrid Image: The Representation of Fear and the Supernatural in Macbeth, Neophilologus: An International Journal of Modern and Medieval Language and Literature, First Published Online: 18 March 2019","created_at":"2019-03-20T07:20:51.328-07:00","url":"https://www.academia.edu/38590013/Air_Bubble_and_the_Horrid_Image_The_Representation_of_Fear_and_the_Supernatural_in_Macbeth_Neophilologus_An_International_Journal_of_Modern_and_Medieval_Language_and_Literature_First_Published_Online_18_March_2019?f_ri=18452","dom_id":"work_38590013","summary":"[Full text in Link https://rdcu.be/brKbD or Ask for A Copy] This article examines the representations of the supernatural in Shakespeare’s Macbeth, which served as a significant source for later horror literature. It shows that the play’s rhetoric of horror and of the supernatural depends on its shifting discourse of nature. Nature in Macbeth refers to an external, nonhuman nature of cosmic events and elemental figures (air, bubble and fire) as well as to an internal, human nature of “horrid” images and surmises. Supernatural elements derive from the ontological instability in both external and internal nature, and relate particularly to those actions or events, through which nature becomes disturbed and duplicated. As the imaginary dagger scene indicates, the most terrifying source of the supernatural in the play is the human-made image that duplicates nature internally.","downloadable_attachments":[{"id":58704875,"asset_id":38590013,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":75537586,"first_name":"Ahmet","last_name":"Süner","domain_name":"yasar","page_name":"ahmetsuner","display_name":"Ahmet Süner","profile_url":"https://yasar.academia.edu/ahmetsuner?f_ri=18452","photo":"https://0.academia-photos.com/75537586/19834749/20605708/s65_ahmet.s_ner.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":8296,"name":"Gothic Literature","url":"https://www.academia.edu/Documents/in/Gothic_Literature?f_ri=18452","nofollow":true},{"id":17896,"name":"Supernatural","url":"https://www.academia.edu/Documents/in/Supernatural?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":23424,"name":"Philosophy and Literature","url":"https://www.academia.edu/Documents/in/Philosophy_and_Literature?f_ri=18452"},{"id":25613,"name":"Philosophy of Nature","url":"https://www.academia.edu/Documents/in/Philosophy_of_Nature?f_ri=18452"},{"id":57382,"name":"Macbeth","url":"https://www.academia.edu/Documents/in/Macbeth?f_ri=18452"},{"id":57489,"name":"Horror Literature","url":"https://www.academia.edu/Documents/in/Horror_Literature?f_ri=18452"},{"id":73608,"name":"Human nature","url":"https://www.academia.edu/Documents/in/Human_nature?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34160166" data-work_id="34160166" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/34160166/Shakespeare_on_Film_Undergraduate_Course">Shakespeare on Film - Undergraduate Course</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Shakespeare’s plays have been adapted for the cinema since 1899 in multiple film genres, including silent film, film noire, Western, theatrical film, and Hollywood films. This course examines Shakespeare’s romance play, histories,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34160166" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Shakespeare’s plays have been adapted for the cinema since 1899 in multiple film genres, including silent film, film noire, Western, theatrical film, and Hollywood films. <br />    This course examines Shakespeare’s  romance play, histories, tragedies, and comedies, including the lesser-known plays, and their adaptations on screen, with a focus on the themes of race, gender, sexuality, and colonialism. <br /> <br />PLAYS & FILMS <br /> <br />• Love’s Labour’s Lost (comedy; Branagh) <br />• King John (history; Dickson & Dando, 1899) <br />• Henry V (history; Olivier; Branagh) <br />• A Midsummer Night’s Dream (comedy; <br />Hoffman; Reinhaardt; Taymor) <br />• Titus Andronicus (tragedy; Taymor) <br />• Othello (tragedy; Oliver Parker; Pier Paolo <br />Pasolini) <br />• Richard III (history; Richard Loncraine) <br />• Winter’s Tale (romance; Howell; Rohmer)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34160166" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="77b536c7428ab52f13b80259c7c97187" rel="nofollow" data-download="{"attachment_id":54082749,"asset_id":34160166,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54082749/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="239992" href="https://gwu.academia.edu/Joubin">Alexa Alice Joubin</a><script data-card-contents-for-user="239992" type="text/json">{"id":239992,"first_name":"Alexa Alice","last_name":"Joubin","domain_name":"gwu","page_name":"Joubin","display_name":"Alexa Alice Joubin","profile_url":"https://gwu.academia.edu/Joubin?f_ri=18452","photo":"https://0.academia-photos.com/239992/52381/13698313/s65_alexa.huang.jpg"}</script></span></span></li><li class="js-paper-rank-work_34160166 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34160166"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34160166, container: ".js-paper-rank-work_34160166", }); });</script></li><li class="js-percentile-work_34160166 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34160166; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_34160166"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_34160166 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="34160166"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34160166; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34160166]").text(description); $(".js-view-count-work_34160166").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34160166").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34160166"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5453" rel="nofollow" href="https://www.academia.edu/Documents/in/Race_and_Ethnicity">Race and Ethnicity</a>, <script data-card-contents-for-ri="5453" type="text/json">{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8079" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Adaptation">Film Adaptation</a><script data-card-contents-for-ri="8079" type="text/json">{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34160166]'), work: {"id":34160166,"title":"Shakespeare on Film - Undergraduate Course","created_at":"2017-08-07T18:39:10.900-07:00","url":"https://www.academia.edu/34160166/Shakespeare_on_Film_Undergraduate_Course?f_ri=18452","dom_id":"work_34160166","summary":"Shakespeare’s plays have been adapted for the cinema since 1899 in multiple film genres, including silent film, film noire, Western, theatrical film, and Hollywood films. \r\n This course examines Shakespeare’s romance play, histories, tragedies, and comedies, including the lesser-known plays, and their adaptations on screen, with a focus on the themes of race, gender, sexuality, and colonialism.\r\n\r\nPLAYS \u0026 FILMS\r\n\r\n• Love’s Labour’s Lost (comedy; Branagh)\r\n• King John (history; Dickson \u0026 Dando, 1899)\r\n• Henry V (history; Olivier; Branagh)\r\n• A Midsummer Night’s Dream (comedy;\r\nHoffman; Reinhaardt; Taymor)\r\n• Titus Andronicus (tragedy; Taymor)\r\n• Othello (tragedy; Oliver Parker; Pier Paolo\r\nPasolini)\r\n• Richard III (history; Richard Loncraine)\r\n• Winter’s Tale (romance; Howell; Rohmer)\r\n","downloadable_attachments":[{"id":54082749,"asset_id":34160166,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":239992,"first_name":"Alexa Alice","last_name":"Joubin","domain_name":"gwu","page_name":"Joubin","display_name":"Alexa Alice Joubin","profile_url":"https://gwu.academia.edu/Joubin?f_ri=18452","photo":"https://0.academia-photos.com/239992/52381/13698313/s65_alexa.huang.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=18452","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=18452","nofollow":true},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=18452","nofollow":true},{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=18452","nofollow":true},{"id":12003,"name":"Shakespeare and film","url":"https://www.academia.edu/Documents/in/Shakespeare_and_film?f_ri=18452"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":22763,"name":"Adaptation (Film Studies)","url":"https://www.academia.edu/Documents/in/Adaptation_Film_Studies_?f_ri=18452"},{"id":578816,"name":"Shakespeare on Screen","url":"https://www.academia.edu/Documents/in/Shakespeare_on_Screen?f_ri=18452"},{"id":714242,"name":"Global Shakespeare","url":"https://www.academia.edu/Documents/in/Global_Shakespeare?f_ri=18452"},{"id":1357126,"name":"Shakespearean Romances","url":"https://www.academia.edu/Documents/in/Shakespearean_Romances?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41805170" data-work_id="41805170" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41805170/ONOMASTICS_AND_SHAKESPEARE">ONOMASTICS AND SHAKESPEARE</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41805170" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="22af816caee846789ce158ca51029b3c" rel="nofollow" data-download="{"attachment_id":61952311,"asset_id":41805170,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61952311/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="275650" href="https://independent.academia.edu/fabriziospiotta">Fabrizio Spiotta</a><script data-card-contents-for-user="275650" type="text/json">{"id":275650,"first_name":"Fabrizio","last_name":"Spiotta","domain_name":"independent","page_name":"fabriziospiotta","display_name":"Fabrizio Spiotta","profile_url":"https://independent.academia.edu/fabriziospiotta?f_ri=18452","photo":"https://0.academia-photos.com/275650/5796634/71556784/s65_fabrizio.spiotta.jpg"}</script></span></span></li><li class="js-paper-rank-work_41805170 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41805170"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41805170, container: ".js-paper-rank-work_41805170", }); 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$(".js-view-count[data-work-id=41805170]").text(description); $(".js-view-count-work_41805170").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41805170").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41805170"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="12173" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_performance_history">Shakespearean performance history</a>, <script data-card-contents-for-ri="12173" type="text/json">{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a><script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41805170]'), work: {"id":41805170,"title":"ONOMASTICS AND SHAKESPEARE","created_at":"2020-01-31T08:04:03.729-08:00","url":"https://www.academia.edu/41805170/ONOMASTICS_AND_SHAKESPEARE?f_ri=18452","dom_id":"work_41805170","summary":null,"downloadable_attachments":[{"id":61952311,"asset_id":41805170,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":275650,"first_name":"Fabrizio","last_name":"Spiotta","domain_name":"independent","page_name":"fabriziospiotta","display_name":"Fabrizio Spiotta","profile_url":"https://independent.academia.edu/fabriziospiotta?f_ri=18452","photo":"https://0.academia-photos.com/275650/5796634/71556784/s65_fabrizio.spiotta.jpg"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29218842" data-work_id="29218842" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29218842/Refugees_and_Anti_Alien_Sentiment_in_Sir_Thomas_More_c_1600_and_the_Contemporary_Public_Debate">Refugees and Anti-Alien Sentiment in Sir Thomas More (c. 1600) and the Contemporary Public Debate</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The play Sir Thomas More ( c. 1600) has been subjected to extensive research, though the reason why it has gained popularity over the last twelve months outside the academic world in relation to the current refugee crisis has not been... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29218842" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The play Sir Thomas More ( c. 1600) has been subjected to extensive research, though the reason why it has gained popularity over the last twelve months outside the academic world in relation to the current refugee crisis has not been studied. This thesis focuses on what role the play and especially the speech by Sir Thomas More attributed to William Shakespeare has on the contemporary public debate concerning refugees and anti-alien sentiment. Next to contemporary directors and actors, contemporary media and institutes like the British Library make use of the political relevance of the play. The relevance of Shakespeare's historical reasoning in the Sir Thomas More speech is therefore carefully analysed and put in perspective of both historical context and contemporary examples and appropriations.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29218842" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0a8faf417947a833bc8e0b6308fc9b4f" rel="nofollow" data-download="{"attachment_id":49670140,"asset_id":29218842,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49670140/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6705358" href="https://uu.academia.edu/AnneBoeschoten">Anne Boeschoten</a><script data-card-contents-for-user="6705358" type="text/json">{"id":6705358,"first_name":"Anne","last_name":"Boeschoten","domain_name":"uu","page_name":"AnneBoeschoten","display_name":"Anne Boeschoten","profile_url":"https://uu.academia.edu/AnneBoeschoten?f_ri=18452","photo":"https://0.academia-photos.com/6705358/2896945/15414500/s65_anne.boeschoten.jpg"}</script></span></span></li><li class="js-paper-rank-work_29218842 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29218842"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29218842, container: ".js-paper-rank-work_29218842", }); });</script></li><li class="js-percentile-work_29218842 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29218842; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_29218842"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_29218842 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="29218842"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29218842; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29218842]").text(description); $(".js-view-count-work_29218842").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29218842").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29218842"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1332" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_History">Theatre History</a>, <script data-card-contents-for-ri="1332" type="text/json">{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10588" rel="nofollow" href="https://www.academia.edu/Documents/in/16th_Century_History_">16th Century (History)</a><script data-card-contents-for-ri="10588" type="text/json">{"id":10588,"name":"16th Century (History)","url":"https://www.academia.edu/Documents/in/16th_Century_History_?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29218842]'), work: {"id":29218842,"title":"Refugees and Anti-Alien Sentiment in Sir Thomas More (c. 1600) and the Contemporary Public Debate","created_at":"2016-10-17T12:05:19.081-07:00","url":"https://www.academia.edu/29218842/Refugees_and_Anti_Alien_Sentiment_in_Sir_Thomas_More_c_1600_and_the_Contemporary_Public_Debate?f_ri=18452","dom_id":"work_29218842","summary":"The play Sir Thomas More ( c. 1600) has been subjected to extensive research, though the reason why it has gained popularity over the last twelve months outside the academic world in relation to the current refugee crisis has not been studied. This thesis focuses on what role the play and especially the speech by Sir Thomas More attributed to William Shakespeare has on the contemporary public debate concerning refugees and anti-alien sentiment. Next to contemporary directors and actors, contemporary media and institutes like the British Library make use of the political relevance of the play. The relevance of Shakespeare's historical reasoning in the Sir Thomas More speech is therefore carefully analysed and put in perspective of both historical context and contemporary examples and appropriations.","downloadable_attachments":[{"id":49670140,"asset_id":29218842,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6705358,"first_name":"Anne","last_name":"Boeschoten","domain_name":"uu","page_name":"AnneBoeschoten","display_name":"Anne Boeschoten","profile_url":"https://uu.academia.edu/AnneBoeschoten?f_ri=18452","photo":"https://0.academia-photos.com/6705358/2896945/15414500/s65_anne.boeschoten.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":10588,"name":"16th Century (History)","url":"https://www.academia.edu/Documents/in/16th_Century_History_?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":21112,"name":"16th and 17th c.","url":"https://www.academia.edu/Documents/in/16th_and_17th_c?f_ri=18452"},{"id":142179,"name":"Sir Thomas More","url":"https://www.academia.edu/Documents/in/Sir_Thomas_More?f_ri=18452"},{"id":199873,"name":"Anthony Munday","url":"https://www.academia.edu/Documents/in/Anthony_Munday?f_ri=18452"},{"id":526025,"name":"History Plays","url":"https://www.academia.edu/Documents/in/History_Plays?f_ri=18452"},{"id":609150,"name":"Thomas More","url":"https://www.academia.edu/Documents/in/Thomas_More?f_ri=18452"},{"id":628246,"name":"Thomas More Works/Humanism","url":"https://www.academia.edu/Documents/in/Thomas_More_Works_Humanism?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9597606" data-work_id="9597606" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9597606/History_as_Hypothesis_Anatomy_of_a_Ghost_final_response_to_Shakespeare_and_Embodiment_An_E_Conversation_Literature_Compass_">History as Hypothesis: Anatomy of a Ghost (final response to "Shakespeare and Embodiment: An E-Conversation," Literature Compass).</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This article presents a brief skeptical response by Richard Strier and an extended reflection by Carla Mazzio on 'Shakespeare and Embodiment: An E-Conversation' (</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9597606" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9f645b6a82130f6aa2604517219dfbce" rel="nofollow" data-download="{"attachment_id":35806580,"asset_id":9597606,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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js-work-link" rel="nofollow" href="https://www.academia.edu/80268934/The_politics_of_occasion_in_King_Lear">The politics of "occasion"in King Lear</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper explores the role of &amp;quot;occasion&amp;quot; as a &amp;quot;Machiavellian&amp;quot; tool of political &amp;quot;practice&amp;quot; and &amp;quot;counter practice&amp;quot; in King Lear, and looks at the influence of Justus... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_80268934" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores the role of &amp;quot;occasion&amp;quot; as a &amp;quot;Machiavellian&amp;quot; tool of political &amp;quot;practice&amp;quot; and &amp;quot;counter practice&amp;quot; in King Lear, and looks at the influence of Justus Lipsius&amp;#39; stoical concept of &amp;quot;constancy&amp;quot; as a countermeasure.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/80268934" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5339385" href="https://hju.academia.edu/DavidHurley">David Hurley</a><script data-card-contents-for-user="5339385" 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seeing.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Augustinian Vision in Shakespeare’s The Tempest: Actor, Audience and the power of seeing.<br /><br />A paper given on Thursday 26th May 2011 at the BritGrad Conference – Shakespeare Institute. <br /><br />Feel free to use, but please credit :-)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36075500" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a9645c8e2d7efc56bb1dec9b4bcfc624" rel="nofollow" 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type="text/json">{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10711" rel="nofollow" href="https://www.academia.edu/Documents/in/Augustine">Augustine</a>, <script data-card-contents-for-ri="10711" type="text/json">{"id":10711,"name":"Augustine","url":"https://www.academia.edu/Documents/in/Augustine?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a><script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36075500]'), work: {"id":36075500,"title":"Augustinian 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7927224/Winters_Tale_and_Wild_Children">Winter's Tale and Wild Children</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7927224" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="62d94256df06c00a69ea764daef678a2" rel="nofollow" data-download="{"attachment_id":34405479,"asset_id":7927224,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button 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Reconstruction and Spanish Golden Age Drama: Reviving and Revising the Comedia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Taking into account the ephemeral nature of performance, this book develops innovative approaches to the reconstruction of historical staging practices through the lens of Spanish classical theater. While poststructuralism and other... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1416508" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Taking into account the ephemeral nature of performance, this book develops innovative approaches to the reconstruction of historical staging practices through the lens of Spanish classical theater. While poststructuralism and other theories problematize previous studies in performance historiography, this book argues that an interdisciplinary approach to staging reconstruction can produce illuminating conclusions. In this study, Vidler emphasizes the need to take into account, not only structures of culture, but also the human capacity to manipulate those structures for both individual and group expression. Through a detailed analysis of approaches to space, the body, the stage object and the spectator, it is possible to discern analyzable artifacts that permit us to reconstruct significant aspects of early modern stagings. Furthermore, because it actively engages and intertwines both objective and subjective modes of interpretation, Vidler argues that performance theory itself will be the locus of the next breakthroughs in interpretive studies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1416508" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="732e3db51605781da8bb0a251a209a6b" rel="nofollow" data-download="{"attachment_id":40845337,"asset_id":1416508,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40845337/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1226172" href="https://southdakota.academia.edu/LauraVidler">Laura Lynn Vidler</a><script data-card-contents-for-user="1226172" type="text/json">{"id":1226172,"first_name":"Laura Lynn","last_name":"Vidler","domain_name":"southdakota","page_name":"LauraVidler","display_name":"Laura Lynn Vidler","profile_url":"https://southdakota.academia.edu/LauraVidler?f_ri=18452","photo":"https://0.academia-photos.com/1226172/444049/28882891/s65_laura_lynn.vidler.jpg"}</script></span></span></li><li class="js-paper-rank-work_1416508 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1416508"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1416508, container: ".js-paper-rank-work_1416508", }); 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While poststructuralism and other theories problematize previous studies in performance historiography, this book argues that an interdisciplinary approach to staging reconstruction can produce illuminating conclusions. In this study, Vidler emphasizes the need to take into account, not only structures of culture, but also the human capacity to manipulate those structures for both individual and group expression. Through a detailed analysis of approaches to space, the body, the stage object and the spectator, it is possible to discern analyzable artifacts that permit us to reconstruct significant aspects of early modern stagings. Furthermore, because it actively engages and intertwines both objective and subjective modes of interpretation, Vidler argues that performance theory itself will be the locus of the next breakthroughs in interpretive studies.","downloadable_attachments":[{"id":40845337,"asset_id":1416508,"asset_type":"Work","always_allow_download":false},{"id":36200963,"asset_id":1416508,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1226172,"first_name":"Laura Lynn","last_name":"Vidler","domain_name":"southdakota","page_name":"LauraVidler","display_name":"Laura Lynn Vidler","profile_url":"https://southdakota.academia.edu/LauraVidler?f_ri=18452","photo":"https://0.academia-photos.com/1226172/444049/28882891/s65_laura_lynn.vidler.jpg"}],"research_interests":[{"id":237,"name":"Cognitive Science","url":"https://www.academia.edu/Documents/in/Cognitive_Science?f_ri=18452","nofollow":true},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=18452","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=18452","nofollow":true},{"id":2083,"name":"New Historicism","url":"https://www.academia.edu/Documents/in/New_Historicism?f_ri=18452"},{"id":2206,"name":"Genre studies","url":"https://www.academia.edu/Documents/in/Genre_studies?f_ri=18452"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=18452"},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=18452"},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452"},{"id":9491,"name":"Pedagogy","url":"https://www.academia.edu/Documents/in/Pedagogy?f_ri=18452"},{"id":10821,"name":"Cultural Materialism","url":"https://www.academia.edu/Documents/in/Cultural_Materialism?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":18911,"name":"Curriculum Development","url":"https://www.academia.edu/Documents/in/Curriculum_Development?f_ri=18452"},{"id":22847,"name":"Performance Theory","url":"https://www.academia.edu/Documents/in/Performance_Theory?f_ri=18452"},{"id":26040,"name":"Spanish Siglo de Oro Drama","url":"https://www.academia.edu/Documents/in/Spanish_Siglo_de_Oro_Drama?f_ri=18452"},{"id":28552,"name":"Early Modern/Siglo de Oro","url":"https://www.academia.edu/Documents/in/Early_Modern_Siglo_de_Oro?f_ri=18452"},{"id":56595,"name":"New Economic Criticism","url":"https://www.academia.edu/Documents/in/New_Economic_Criticism?f_ri=18452"},{"id":118570,"name":"Staging of Classical drama on Modern Stage","url":"https://www.academia.edu/Documents/in/Staging_of_Classical_drama_on_Modern_Stage?f_ri=18452"},{"id":200463,"name":"Comedia barroca","url":"https://www.academia.edu/Documents/in/Comedia_barroca?f_ri=18452"},{"id":299451,"name":"Early Modern Staging Practices","url":"https://www.academia.edu/Documents/in/Early_Modern_Staging_Practices?f_ri=18452"},{"id":1223637,"name":"Early Modern English Literature and Drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_Literature_and_Drama?f_ri=18452"},{"id":1223638,"name":"History of the Theater","url":"https://www.academia.edu/Documents/in/History_of_the_Theater?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_46521291" data-work_id="46521291" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/46521291/_Once_more_unto_the_breach_dear_friends_once_more_Examining_The_Debate_over_Modernizing_Shakespeares_Language_and_Exploring_Viable_Solutions">"Once more unto the breach, dear friends, once more" : Examining The Debate over Modernizing Shakespeare's Language and Exploring Viable Solutions</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Throughout the decades, the efforts of making Shakespeare's plays more accessible through translation have often met with significant opposition. Translating plays from Elizabethan-era English to a more contemporary English is not without... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_46521291" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Throughout the decades, the efforts of making Shakespeare's plays more accessible through translation have often met with significant opposition. Translating plays from Elizabethan-era English to a more contemporary English is not without controversy and sometimes leads to heated debate flare-ups. This paper attempts to explore the ongoing debate through the lens of both education and performance, analyze both sides of the debate for their legitimacy, and offer possible approaches to Shakespeare's text in the realm of educating students and entertaining audiences.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/46521291" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fed4a9ff515e22c39ad9ccb167501b2d" rel="nofollow" data-download="{"attachment_id":66230218,"asset_id":46521291,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66230218/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24990964" href="https://usf.academia.edu/BAVarghese">B. 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Translating plays from Elizabethan-era English to a more contemporary English is not without controversy and sometimes leads to heated debate flare-ups. This paper attempts to explore the ongoing debate through the lens of both education and performance, analyze both sides of the debate for their legitimacy, and offer possible approaches to Shakespeare's text in the realm of educating students and entertaining audiences.","downloadable_attachments":[{"id":66230218,"asset_id":46521291,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24990964,"first_name":"B. A.","last_name":"Varghese","domain_name":"usf","page_name":"BAVarghese","display_name":"B. A. 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Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=18452"},{"id":714242,"name":"Global Shakespeare","url":"https://www.academia.edu/Documents/in/Global_Shakespeare?f_ri=18452"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3767854" data-work_id="3767854" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3767854/The_Mirror_of_Princes_and_the_Distorting_Mirror_in_Shakespeares_Chronicle_Plays">The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3767854"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3767854, container: ".js-paper-rank-work_3767854", }); });</script></li><li class="js-percentile-work_3767854 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3767854; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3767854"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3767854 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3767854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3767854; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3767854]").text(description); $(".js-view-count-work_3767854").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3767854").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3767854"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2853" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Studies">Medieval Studies</a>, <script data-card-contents-for-ri="2853" type="text/json">{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a><script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3767854]'), work: {"id":3767854,"title":"The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays","created_at":"2013-06-22T20:57:37.542-07:00","url":"https://www.academia.edu/3767854/The_Mirror_of_Princes_and_the_Distorting_Mirror_in_Shakespeares_Chronicle_Plays?f_ri=18452","dom_id":"work_3767854","summary":null,"downloadable_attachments":[{"id":32310188,"asset_id":3767854,"asset_type":"Work","always_allow_download":false},{"id":31435569,"asset_id":3767854,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1519797,"first_name":"Teresa","last_name":"Bałuk-Ulewiczowa","domain_name":"jagiellonian","page_name":"TeresaBałukUlewiczowa","display_name":"Teresa Bałuk-Ulewiczowa","profile_url":"https://jagiellonian.academia.edu/TeresaBa%C5%82ukUlewiczowa?f_ri=18452","photo":"https://0.academia-photos.com/1519797/538452/8220752/s65_teresa.ba_uk-ulewiczowa.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=18452","nofollow":true},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=18452","nofollow":true},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452"},{"id":4066,"name":"Medievalism","url":"https://www.academia.edu/Documents/in/Medievalism?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":22591,"name":"Elizabethan Literature","url":"https://www.academia.edu/Documents/in/Elizabethan_Literature?f_ri=18452"},{"id":23690,"name":"Shakespeare's Political Thought","url":"https://www.academia.edu/Documents/in/Shakespeares_Political_Thought?f_ri=18452"},{"id":27982,"name":"Theories of Sovereignty","url":"https://www.academia.edu/Documents/in/Theories_of_Sovereignty?f_ri=18452"},{"id":45468,"name":"Raphael Holinshed","url":"https://www.academia.edu/Documents/in/Raphael_Holinshed?f_ri=18452"},{"id":62800,"name":"Medieval Chronicles","url":"https://www.academia.edu/Documents/in/Medieval_Chronicles?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":105579,"name":"King Henry V","url":"https://www.academia.edu/Documents/in/King_Henry_V?f_ri=18452"},{"id":128396,"name":"Shakespeare's History Plays","url":"https://www.academia.edu/Documents/in/Shakespeares_History_Plays?f_ri=18452"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=18452"},{"id":249454,"name":"Elizabethan drama","url":"https://www.academia.edu/Documents/in/Elizabethan_drama?f_ri=18452"},{"id":296189,"name":"Elizabethan and Jacobean England and Europe","url":"https://www.academia.edu/Documents/in/Elizabethan_and_Jacobean_England_and_Europe?f_ri=18452"},{"id":318369,"name":"Mirrors for princes","url":"https://www.academia.edu/Documents/in/Mirrors_for_princes?f_ri=18452"},{"id":571680,"name":"Elizabethan and Jacobean drama","url":"https://www.academia.edu/Documents/in/Elizabethan_and_Jacobean_drama?f_ri=18452"},{"id":901716,"name":"Mirrors-of-Princes Literature","url":"https://www.academia.edu/Documents/in/Mirrors-of-Princes_Literature?f_ri=18452"},{"id":1632869,"name":"Shakespearean Studies","url":"https://www.academia.edu/Documents/in/Shakespearean_Studies?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9663713" data-work_id="9663713" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9663713/The_Bellicose_Brides_of_Coriolanus">The Bellicose Brides of Coriolanus</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay delves into the inescapably close interpersonal relationships that exist among the male characters in William Shakespeare’s The Tragedy of Coriolanus. Through this close examination, we will find the relationships to be less... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9663713" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay delves into the inescapably close interpersonal relationships that exist among the male characters in William Shakespeare’s The Tragedy of Coriolanus. Through this close examination, we will find the relationships to be less homoerotic than they are often described in criticism concerning this play, but instead they are based on an unconventional marriage to war itself. This polyamorous marriage links all of the characters in a web of war, blood, and lust.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9663713" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="776a22cfff5f84ea2bb874553698a34d" rel="nofollow" data-download="{"attachment_id":35860526,"asset_id":9663713,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35860526/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6624960" href="https://ucberkeley.academia.edu/ChristopherKorp">Christopher Korp</a><script data-card-contents-for-user="6624960" type="text/json">{"id":6624960,"first_name":"Christopher","last_name":"Korp","domain_name":"ucberkeley","page_name":"ChristopherKorp","display_name":"Christopher Korp","profile_url":"https://ucberkeley.academia.edu/ChristopherKorp?f_ri=18452","photo":"https://0.academia-photos.com/6624960/3460321/4066751/s65_christopher.korp.jpg"}</script></span></span></li><li class="js-paper-rank-work_9663713 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9663713"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9663713, container: ".js-paper-rank-work_9663713", }); });</script></li><li class="js-percentile-work_9663713 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9663713; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_9663713"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_9663713 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="9663713"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9663713; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9663713]").text(description); $(".js-view-count-work_9663713").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9663713").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9663713"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11791" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Modern_Literature">Early Modern Literature</a>, <script data-card-contents-for-ri="11791" type="text/json">{"id":11791,"name":"Early Modern Literature","url":"https://www.academia.edu/Documents/in/Early_Modern_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a>, <script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22585" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Renaissance_Literature">English Renaissance Literature</a><script data-card-contents-for-ri="22585" type="text/json">{"id":22585,"name":"English Renaissance Literature","url":"https://www.academia.edu/Documents/in/English_Renaissance_Literature?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9663713]'), work: {"id":9663713,"title":"The Bellicose Brides of Coriolanus","created_at":"2014-12-07T13:32:23.264-08:00","url":"https://www.academia.edu/9663713/The_Bellicose_Brides_of_Coriolanus?f_ri=18452","dom_id":"work_9663713","summary":"This essay delves into the inescapably close interpersonal relationships that exist among the male characters in William Shakespeare’s The Tragedy of Coriolanus. Through this close examination, we will find the relationships to be less homoerotic than they are often described in criticism concerning this play, but instead they are based on an unconventional marriage to war itself. This polyamorous marriage links all of the characters in a web of war, blood, and lust.\n","downloadable_attachments":[{"id":35860526,"asset_id":9663713,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6624960,"first_name":"Christopher","last_name":"Korp","domain_name":"ucberkeley","page_name":"ChristopherKorp","display_name":"Christopher Korp","profile_url":"https://ucberkeley.academia.edu/ChristopherKorp?f_ri=18452","photo":"https://0.academia-photos.com/6624960/3460321/4066751/s65_christopher.korp.jpg"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":11791,"name":"Early Modern Literature","url":"https://www.academia.edu/Documents/in/Early_Modern_Literature?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":22585,"name":"English Renaissance Literature","url":"https://www.academia.edu/Documents/in/English_Renaissance_Literature?f_ri=18452","nofollow":true},{"id":165654,"name":"Coriolanus","url":"https://www.academia.edu/Documents/in/Coriolanus?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37133262" data-work_id="37133262" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37133262/Shakespearean_Musicscapes_Notes_for_Approaching_Shakespeare_through_Music">Shakespearean Musicscapes: Notes for Approaching Shakespeare through Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Shakespeare’s presence in contemporary culture is ubiquitous, yet his works seem to be tangled up in a sort of elitist, highbrow veneer, which teachers may struggle to brush off. As a consequence, educational practitioners often resort to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37133262" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Shakespeare’s presence in contemporary culture is ubiquitous, yet his works seem to be tangled up in a sort of elitist, highbrow veneer, which teachers may struggle to brush off. As a consequence, educational practitioners often resort to rewritings, adaptations and appropriations of Shakespeare’s works in an attempt to reach their young audience. YouTube and other file-sharing platforms, such as Tumblr, Daily Motion and TED Talks, however, may prove extremely useful for designing new approaches to Shakespeare that rely on the manifold connections between the Bard and music. Accordingly, this essay proposes some teaching strategies drawing on hip-hop, rap and contemporary music to introduce Shakespeare's sonnets and plays in the classroom. Although it does not aim to provide an actual lesson plan, this essay explores some of the connections between the Bard and music that teachers may exploit. This may be done through warm-up, lead-in and wind-down activities, or through student-centred tasks. These affinities are investigated in both directions, from Shakespeare’s texts and contexts to music, and vice versa, paying specific attention to the work of the American poet Erik Didriksen and the British rapper Akala before dwelling on the role of music in "The Merchant of Venice".</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37133262" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1538891eb78fc2b6f44399f3e4fe05b4" rel="nofollow" data-download="{"attachment_id":57083819,"asset_id":37133262,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57083819/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="984266" href="https://unimi.academia.edu/MarcoCanani">Marco Canani</a><script data-card-contents-for-user="984266" type="text/json">{"id":984266,"first_name":"Marco","last_name":"Canani","domain_name":"unimi","page_name":"MarcoCanani","display_name":"Marco Canani","profile_url":"https://unimi.academia.edu/MarcoCanani?f_ri=18452","photo":"https://0.academia-photos.com/984266/374902/33819955/s65_marco.canani.jpg"}</script></span></span></li><li class="js-paper-rank-work_37133262 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37133262"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37133262, container: ".js-paper-rank-work_37133262", }); });</script></li><li class="js-percentile-work_37133262 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37133262; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37133262"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37133262 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37133262"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37133262; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37133262]").text(description); $(".js-view-count-work_37133262").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37133262").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37133262"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1007" rel="nofollow" href="https://www.academia.edu/Documents/in/Teaching_English_as_a_Second_Language">Teaching English as a Second Language</a>, <script data-card-contents-for-ri="1007" type="text/json">{"id":1007,"name":"Teaching English as a Second Language","url":"https://www.academia.edu/Documents/in/Teaching_English_as_a_Second_Language?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2936" rel="nofollow" href="https://www.academia.edu/Documents/in/Didactics">Didactics</a><script data-card-contents-for-ri="2936" type="text/json">{"id":2936,"name":"Didactics","url":"https://www.academia.edu/Documents/in/Didactics?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37133262]'), work: {"id":37133262,"title":"Shakespearean Musicscapes: Notes for Approaching Shakespeare through Music","created_at":"2018-07-27T04:13:14.434-07:00","url":"https://www.academia.edu/37133262/Shakespearean_Musicscapes_Notes_for_Approaching_Shakespeare_through_Music?f_ri=18452","dom_id":"work_37133262","summary":"Shakespeare’s presence in contemporary culture is ubiquitous, yet his works seem to be tangled up in a sort of elitist, highbrow veneer, which teachers may struggle to brush off. As a consequence, educational practitioners often resort to rewritings, adaptations and appropriations of Shakespeare’s works in an attempt to reach their young audience. YouTube and other file-sharing platforms, such as Tumblr, Daily Motion and TED Talks, however, may prove extremely useful for designing new approaches to Shakespeare that rely on the manifold connections between the Bard and music. Accordingly, this essay proposes some teaching strategies drawing on hip-hop, rap and contemporary music to introduce Shakespeare's sonnets and plays in the classroom. Although it does not aim to provide an actual lesson plan, this essay explores some of the connections between the Bard and music that teachers may exploit. This may be done through warm-up, lead-in and wind-down activities, or through student-centred tasks. These affinities are investigated in both directions, from Shakespeare’s texts and contexts to music, and vice versa, paying specific attention to the work of the American poet Erik Didriksen and the British rapper Akala before dwelling on the role of music in \"The Merchant of Venice\".","downloadable_attachments":[{"id":57083819,"asset_id":37133262,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":984266,"first_name":"Marco","last_name":"Canani","domain_name":"unimi","page_name":"MarcoCanani","display_name":"Marco Canani","profile_url":"https://unimi.academia.edu/MarcoCanani?f_ri=18452","photo":"https://0.academia-photos.com/984266/374902/33819955/s65_marco.canani.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":1007,"name":"Teaching English as a Second Language","url":"https://www.academia.edu/Documents/in/Teaching_English_as_a_Second_Language?f_ri=18452","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true},{"id":2936,"name":"Didactics","url":"https://www.academia.edu/Documents/in/Didactics?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452"},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=18452"},{"id":5677,"name":"Adaptation","url":"https://www.academia.edu/Documents/in/Adaptation?f_ri=18452"},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452"},{"id":8887,"name":"Sonnets","url":"https://www.academia.edu/Documents/in/Sonnets?f_ri=18452"},{"id":14904,"name":"Hip-Hop/Rap","url":"https://www.academia.edu/Documents/in/Hip-Hop_Rap?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":19471,"name":"Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Poetry?f_ri=18452"},{"id":22419,"name":"Adaptation (Literature)","url":"https://www.academia.edu/Documents/in/Adaptation_Literature_?f_ri=18452"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=18452"},{"id":34139,"name":"Hip-Hop Studies","url":"https://www.academia.edu/Documents/in/Hip-Hop_Studies?f_ri=18452"},{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=18452"},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":131068,"name":"Hip Hop Culture","url":"https://www.academia.edu/Documents/in/Hip_Hop_Culture?f_ri=18452"},{"id":199644,"name":"Shakespeare's Sonnets","url":"https://www.academia.edu/Documents/in/Shakespeares_Sonnets?f_ri=18452"},{"id":199720,"name":"Adaptation and Appropriation Theory","url":"https://www.academia.edu/Documents/in/Adaptation_and_Appropriation_Theory?f_ri=18452"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35725189" data-work_id="35725189" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35725189/Australian_Literature_Assessment_Task_1_Alistair_14_December_2017_">Australian Literature Assessment Task 1 (Alistair 14 December 2017)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This is an assignment in four parts, analysing excerpts from several key Australian literary and filmic texts.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35725189" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3286a014a889fefd882d2daf7cccb37b" rel="nofollow" data-download="{"attachment_id":55599454,"asset_id":35725189,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55599454/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="75107048" href="https://independent.academia.edu/AlistairMacKenzie3">Alistair MacKenzie</a><script data-card-contents-for-user="75107048" type="text/json">{"id":75107048,"first_name":"Alistair","last_name":"MacKenzie","domain_name":"independent","page_name":"AlistairMacKenzie3","display_name":"Alistair MacKenzie","profile_url":"https://independent.academia.edu/AlistairMacKenzie3?f_ri=18452","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_35725189 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35725189"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35725189, container: ".js-paper-rank-work_35725189", }); });</script></li><li class="js-percentile-work_35725189 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35725189; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35725189"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35725189 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35725189"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35725189; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35725189]").text(description); $(".js-view-count-work_35725189").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35725189").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35725189"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="18452" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespearean_Drama">Shakespearean Drama</a><script data-card-contents-for-ri="18452" type="text/json">{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35725189]'), work: {"id":35725189,"title":"Australian Literature Assessment Task 1 (Alistair 14 December 2017)","created_at":"2018-01-21T20:45:14.537-08:00","url":"https://www.academia.edu/35725189/Australian_Literature_Assessment_Task_1_Alistair_14_December_2017_?f_ri=18452","dom_id":"work_35725189","summary":"This is an assignment in four parts, analysing excerpts from several key Australian literary and filmic texts.","downloadable_attachments":[{"id":55599454,"asset_id":35725189,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":75107048,"first_name":"Alistair","last_name":"MacKenzie","domain_name":"independent","page_name":"AlistairMacKenzie3","display_name":"Alistair MacKenzie","profile_url":"https://independent.academia.edu/AlistairMacKenzie3?f_ri=18452","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26805360" data-work_id="26805360" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26805360/From_Prince_Hal_to_King_Henry_V_Shakespeare_Modern_Media_and_the_Evolution_of_a_Character">From Prince Hal to King Henry V - Shakespeare, Modern Media, and the Evolution of a Character</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">From Prince Hal to King Henry V: Shakespeare, Modern Media, and the Evolution of a</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26805360" data-share-source="work_strip" 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42499404" href="https://somerset-kctcs.academia.edu/MartinSmith">Martin E . Smith</a><script data-card-contents-for-user="42499404" type="text/json">{"id":42499404,"first_name":"Martin","last_name":"Smith","domain_name":"somerset-kctcs","page_name":"MartinSmith","display_name":"Martin E . Smith","profile_url":"https://somerset-kctcs.academia.edu/MartinSmith?f_ri=18452","photo":"https://0.academia-photos.com/42499404/13280088/14543755/s65_martin.smith.jpg"}</script></span></span></li><li class="js-paper-rank-work_26805360 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26805360"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26805360, container: ".js-paper-rank-work_26805360", }); });</script></li><li class="js-percentile-work_26805360 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26805360; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_26805360"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_26805360 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="26805360"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26805360; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26805360]").text(description); $(".js-view-count-work_26805360").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26805360").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26805360"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="885" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Literature">English Literature</a>, <script data-card-contents-for-ri="885" type="text/json">{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12003" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_and_film">Shakespeare and film</a><script data-card-contents-for-ri="12003" type="text/json">{"id":12003,"name":"Shakespeare and film","url":"https://www.academia.edu/Documents/in/Shakespeare_and_film?f_ri=18452","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26805360]'), work: {"id":26805360,"title":"From Prince Hal to King Henry V - Shakespeare, Modern Media, and the Evolution of a Character","created_at":"2016-07-07T05:41:17.679-07:00","url":"https://www.academia.edu/26805360/From_Prince_Hal_to_King_Henry_V_Shakespeare_Modern_Media_and_the_Evolution_of_a_Character?f_ri=18452","dom_id":"work_26805360","summary":"From Prince Hal to King Henry V: Shakespeare, Modern Media, and the Evolution of a","downloadable_attachments":[{"id":47079034,"asset_id":26805360,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":42499404,"first_name":"Martin","last_name":"Smith","domain_name":"somerset-kctcs","page_name":"MartinSmith","display_name":"Martin E . Smith","profile_url":"https://somerset-kctcs.academia.edu/MartinSmith?f_ri=18452","photo":"https://0.academia-photos.com/42499404/13280088/14543755/s65_martin.smith.jpg"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=18452","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=18452","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":12003,"name":"Shakespeare and film","url":"https://www.academia.edu/Documents/in/Shakespeare_and_film?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":56598,"name":"Henry V","url":"https://www.academia.edu/Documents/in/Henry_V?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":105579,"name":"King Henry V","url":"https://www.academia.edu/Documents/in/King_Henry_V?f_ri=18452"},{"id":157095,"name":"A Clockwork Orange","url":"https://www.academia.edu/Documents/in/A_Clockwork_Orange?f_ri=18452"},{"id":1285160,"name":"Braveheart","url":"https://www.academia.edu/Documents/in/Braveheart?f_ri=18452"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14954807" data-work_id="14954807" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14954807/A_Dialectics_and_Aesthetics_of_Tragic_Will_and_Fate">A Dialectics and Aesthetics of Tragic Will and Fate</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay is in two parts. The first identifies a dialectic of “fate” and “will” operating in Shakespeare’s Macbeth and analyses the necessitarian features of that play against, first, the Freudian program, and second, Kierkegaard’s... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14954807" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay is in two parts. The first identifies a dialectic of “fate” and “will” operating in Shakespeare’s Macbeth and analyses the necessitarian features of that play against, first, the Freudian program, and second, Kierkegaard’s “concept of anxiety”. The second part of the essay builds on the foregoing analysis of necessity, and the “aesthetic of fate” that emerges from the issue of sufficiency in Macbeth, to define the terms of a general aesthetic of “tragic will and fate” using as its central text Joseph Conrad’s Lord Jim.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14954807" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="529e30f3a2eeb3cabc047828190985c5" rel="nofollow" data-download="{"attachment_id":38487364,"asset_id":14954807,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38487364/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33948334" href="https://independent.academia.edu/JimPacker">Jim G . Packer</a><script data-card-contents-for-user="33948334" type="text/json">{"id":33948334,"first_name":"Jim","last_name":"Packer","domain_name":"independent","page_name":"JimPacker","display_name":"Jim G . 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The first identifies a dialectic of “fate” and “will” operating in Shakespeare’s Macbeth and analyses the necessitarian features of that play against, first, the Freudian program, and second, Kierkegaard’s “concept of anxiety”. The second part of the essay builds on the foregoing analysis of necessity, and the “aesthetic of fate” that emerges from the issue of sufficiency in Macbeth, to define the terms of a general aesthetic of “tragic will and fate” using as its central text Joseph Conrad’s Lord Jim.","downloadable_attachments":[{"id":38487364,"asset_id":14954807,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33948334,"first_name":"Jim","last_name":"Packer","domain_name":"independent","page_name":"JimPacker","display_name":"Jim G . Packer","profile_url":"https://independent.academia.edu/JimPacker?f_ri=18452","photo":"https://0.academia-photos.com/33948334/9979722/11129581/s65_jim.packer.jpg"}],"research_interests":[{"id":6790,"name":"Conrad, Joseph","url":"https://www.academia.edu/Documents/in/Conrad_Joseph?f_ri=18452","nofollow":true},{"id":8487,"name":"Sigmund Freud","url":"https://www.academia.edu/Documents/in/Sigmund_Freud?f_ri=18452","nofollow":true},{"id":14945,"name":"Kierkegaard","url":"https://www.academia.edu/Documents/in/Kierkegaard?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":29777,"name":"Free Will and Moral Responsibility","url":"https://www.academia.edu/Documents/in/Free_Will_and_Moral_Responsibility?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12653625" data-work_id="12653625" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12653625/Laura_Monr%C3%B3s_Gaspar_Boscovos_tromuldo_boscovos_a_case_study_in_the_translation_of_William_Shakespeares_Alls_well_that_Ends_Well_">Laura Monrós Gaspar, "“Boscovos tromuldo boscovos”: a case study in the translation of William Shakespeare's All's well that Ends Well"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The presence of an artificial language in All’s Well that Ends Well 4.1 and 4.3, being an extraordinary instance in William Shakespeare’s literary production, is a key device both for the humor of the play and for the depiction of one... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12653625" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The presence of an artificial language in All’s Well that Ends Well 4.1 and 4.3, being an extraordinary instance in William <br />Shakespeare’s literary production, is a key device both for the humor of the play and for the depiction of one of its most memorable characters, Parolles. The purpose of this paper, <br />therefore, is to present a translation that aims to transmit the linguistic interaction established between the characters of the drum-plot and the audience to a modern Spanish-speaking context. In order to do so, first, I will examine the approaches of Luis Astrana and José María Valverde in their translations. Then, I will analyse the most representative examples of rhetorical iteration in this language that are relevant for the orallity of the play, so as to describe the adaptations considered in the final copy of the forthcoming translation by the Instituto Shakespeare.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12653625" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b7d396b9450acaeff675f5e564ba29f2" rel="nofollow" data-download="{"attachment_id":37762981,"asset_id":12653625,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37762981/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19793229" href="https://sederi.academia.edu/SEDERISpanishPortugueseSocietyforEnglishRenaissanceStudies">SEDERI Yearbook</a><script data-card-contents-for-user="19793229" type="text/json">{"id":19793229,"first_name":"SEDERI","last_name":"Yearbook","domain_name":"sederi","page_name":"SEDERISpanishPortugueseSocietyforEnglishRenaissanceStudies","display_name":"SEDERI Yearbook","profile_url":"https://sederi.academia.edu/SEDERISpanishPortugueseSocietyforEnglishRenaissanceStudies?f_ri=18452","photo":"https://0.academia-photos.com/19793229/6557051/31971167/s65_sederi.yearbook.jpg"}</script></span></span></li><li class="js-paper-rank-work_12653625 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12653625"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12653625, container: ".js-paper-rank-work_12653625", }); 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The purpose of this paper, \r\ntherefore, is to present a translation that aims to transmit the linguistic interaction established between the characters of the drum-plot and the audience to a modern Spanish-speaking context. In order to do so, first, I will examine the approaches of Luis Astrana and José María Valverde in their translations. Then, I will analyse the most representative examples of rhetorical iteration in this language that are relevant for the orallity of the play, so as to describe the adaptations considered in the final copy of the forthcoming translation by the Instituto Shakespeare. ","downloadable_attachments":[{"id":37762981,"asset_id":12653625,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":19793229,"first_name":"SEDERI","last_name":"Yearbook","domain_name":"sederi","page_name":"SEDERISpanishPortugueseSocietyforEnglishRenaissanceStudies","display_name":"SEDERI Yearbook","profile_url":"https://sederi.academia.edu/SEDERISpanishPortugueseSocietyforEnglishRenaissanceStudies?f_ri=18452","photo":"https://0.academia-photos.com/19793229/6557051/31971167/s65_sederi.yearbook.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":9792,"name":"Translation of Poetry","url":"https://www.academia.edu/Documents/in/Translation_of_Poetry?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":754602,"name":"Text Analysis for Translation","url":"https://www.academia.edu/Documents/in/Text_Analysis_for_Translation?f_ri=18452","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12614414" data-work_id="12614414" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12614414/Shakespeares_Theater_der_Geister_Spiritus_Konzepte_in_The_Tempest">Shakespeares Theater der Geister: Spiritus-Konzepte in 'The Tempest'</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12614414" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="59d0eff11fbaec35bc3c575dc18d6bbd" rel="nofollow" data-download="{"attachment_id":57061014,"asset_id":12614414,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57061014/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="750087" href="https://xn--universitt-stuttgart-jzb.academia.edu/SibylleBaumbach">Sibylle Baumbach</a><script data-card-contents-for-user="750087" type="text/json">{"id":750087,"first_name":"Sibylle","last_name":"Baumbach","domain_name":"xn--universitt-stuttgart-jzb","page_name":"SibylleBaumbach","display_name":"Sibylle Baumbach","profile_url":"https://xn--universitt-stuttgart-jzb.academia.edu/SibylleBaumbach?f_ri=18452","photo":"https://0.academia-photos.com/750087/255087/301481/s65_sibylle.baumbach.jpg"}</script></span></span></li><li class="js-paper-rank-work_12614414 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12614414"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12614414, container: ".js-paper-rank-work_12614414", }); 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Reynolds","profile_url":"https://uci.academia.edu/BryanReynolds?f_ri=18452","photo":"https://0.academia-photos.com/226423/6992645/34183315/s65_bryan.reynolds.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=18452","nofollow":true},{"id":383,"name":"European Studies","url":"https://www.academia.edu/Documents/in/European_Studies?f_ri=18452","nofollow":true},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=18452","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=18452","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=18452"},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452"},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=18452"},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=18452"},{"id":7680,"name":"Avant-Garde Theater","url":"https://www.academia.edu/Documents/in/Avant-Garde_Theater?f_ri=18452"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=18452"},{"id":9043,"name":"Performance","url":"https://www.academia.edu/Documents/in/Performance?f_ri=18452"},{"id":17330,"name":"Affect Theory","url":"https://www.academia.edu/Documents/in/Affect_Theory?f_ri=18452"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452"},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=18452"},{"id":26527,"name":"Drama and Theater","url":"https://www.academia.edu/Documents/in/Drama_and_Theater?f_ri=18452"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=18452"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":444241,"name":"Theater and Performance Studies","url":"https://www.academia.edu/Documents/in/Theater_and_Performance_Studies?f_ri=18452"},{"id":588617,"name":"Theater Arts","url":"https://www.academia.edu/Documents/in/Theater_Arts?f_ri=18452"},{"id":1212744,"name":"Theater","url":"https://www.academia.edu/Documents/in/Theater-21?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35439759" data-work_id="35439759" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35439759/Shakespeares_Use_of_Staged_and_Literary_Mirrors_in_Henry_IV_Part_One">Shakespeare's Use of Staged and Literary Mirrors in Henry IV, Part One</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Through his use of stage compositions, Shakespeare could make visual motifs reverberate with audiences by mirroring these images again within the same play. The playwright's history, "Henry IV, Part One" contains one noteworthy example... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35439759" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Through his use of stage compositions, Shakespeare could make visual motifs reverberate with audiences by mirroring these images again within the same play.  The playwright's history, "Henry IV, Part One" contains one noteworthy example which occurs in two separate acts, both involving the character of Hotspur.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35439759" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c6a0037e88f0ba0840bfa4536e59ad84" rel="nofollow" data-download="{"attachment_id":55300794,"asset_id":35439759,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55300794/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2817931" href="https://204.academia.edu/WilliamLeavy">William Leavy</a><script data-card-contents-for-user="2817931" type="text/json">{"id":2817931,"first_name":"William","last_name":"Leavy","domain_name":"204","page_name":"WilliamLeavy","display_name":"William Leavy","profile_url":"https://204.academia.edu/WilliamLeavy?f_ri=18452","photo":"https://0.academia-photos.com/2817931/920731/52429785/s65_william.leavy.jpg"}</script></span></span></li><li class="js-paper-rank-work_35439759 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35439759"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35439759, container: ".js-paper-rank-work_35439759", }); 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The playwright's history, \"Henry IV, Part One\" contains one noteworthy example which occurs in two separate acts, both involving the character of Hotspur. ","downloadable_attachments":[{"id":55300794,"asset_id":35439759,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2817931,"first_name":"William","last_name":"Leavy","domain_name":"204","page_name":"WilliamLeavy","display_name":"William Leavy","profile_url":"https://204.academia.edu/WilliamLeavy?f_ri=18452","photo":"https://0.academia-photos.com/2817931/920731/52429785/s65_william.leavy.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=18452","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=18452","nofollow":true},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=18452","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=18452","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=18452"},{"id":159457,"name":"Theatre Arts","url":"https://www.academia.edu/Documents/in/Theatre_Arts?f_ri=18452"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37575055" data-work_id="37575055" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37575055/Oxymoronic_Ethos_the_Rhetoric_of_Honor_and_Its_Performance_in_Shakespeare_s_Julius_Caesar">Oxymoronic Ethos: the Rhetoric of Honor and Its Performance in Shakespeare’s Julius Caesar</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">(Philological Quarterly, Summer 2018) This article reads Shakespeare’s play Julius Caesar using the framework of classical rhetorical writings of Aristotle, Cicero, Quintilian, and their Renaissance commentators. Topics include the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37575055" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">(Philological Quarterly, Summer 2018) <br />This article reads Shakespeare’s play Julius Caesar using the framework of classical rhetorical writings of Aristotle, Cicero, Quintilian, and their Renaissance commentators. Topics include the peculiar oxymoronic nature of orator’s ethos, the uneasy relationship between the performativity of rhetoric and its ethical ends, and the Renaissance anxiety over the hypocrisy and deception potentially involved in the rhetorical representation of one’s self.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37575055" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="82d6b1e062252010c5f0e2258fdcaacc" rel="nofollow" data-download="{"attachment_id":57677600,"asset_id":37575055,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57677600/download_file?st=MTc0MDYyNTQxOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1572045" href="https://utexas.academia.edu/XinyaoXiao">Xinyao Xiao</a><script data-card-contents-for-user="1572045" type="text/json">{"id":1572045,"first_name":"Xinyao","last_name":"Xiao","domain_name":"utexas","page_name":"XinyaoXiao","display_name":"Xinyao Xiao","profile_url":"https://utexas.academia.edu/XinyaoXiao?f_ri=18452","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_37575055 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37575055"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37575055, container: ".js-paper-rank-work_37575055", }); 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