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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 performance history</h1><div class="u-tcGrayDark">10,032 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Shakespearean performance history</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_performance_history">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Shakespearean_performance_history/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Shakespearean_performance_history/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Shakespearean_performance_history/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Shakespearean_performance_history">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_42009659" data-work_id="42009659" 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/42009659/King_Lear_RSC_Stratford_upon_Avon_2004_">King Lear, RSC, Stratford-upon-Avon (2004)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Review of King Lear, RSC, Stratford-upon-Avon (2004), for Rogues and Vagabonds</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/42009659" 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="5ef9febf81ff56415326493cc062f2a9" rel="nofollow" data-download="{"attachment_id":62134174,"asset_id":42009659,"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/62134174/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_42009659 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42009659"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42009659, container: ".js-paper-rank-work_42009659", }); 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$(".js-view-count[data-work-id=42009659]").text(description); $(".js-view-count-work_42009659").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42009659").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="42009659"><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57385" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_in_Performance">Shakespeare in Performance</a><script data-card-contents-for-ri="57385" type="text/json">{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42009659]'), work: {"id":42009659,"title":"King Lear, RSC, Stratford-upon-Avon (2004)","created_at":"2020-02-18T12:25:43.163-08:00","url":"https://www.academia.edu/42009659/King_Lear_RSC_Stratford_upon_Avon_2004_?f_ri=12173","dom_id":"work_42009659","summary":"Review of King Lear, RSC, Stratford-upon-Avon (2004), for Rogues and Vagabonds","downloadable_attachments":[{"id":62134174,"asset_id":42009659,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","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_15964138" data-work_id="15964138" 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/15964138/A_wood_near_Athens_whose_wood_is_it_anyway">A wood near Athens – whose wood is it anyway?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">The paper – given at this year's annual IFTR conference in Hyderabad – discusses the question of cultural ownership in the German discourse about Shakespeare.</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/15964138" 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="14afe2bcc3954c0d5bc0c0aaeceec398" rel="nofollow" data-download="{"attachment_id":38836163,"asset_id":15964138,"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/38836163/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="4322778" href="https://uni-koeln.academia.edu/PeterWMarx">Peter W. Marx</a><script data-card-contents-for-user="4322778" type="text/json">{"id":4322778,"first_name":"Peter W.","last_name":"Marx","domain_name":"uni-koeln","page_name":"PeterWMarx","display_name":"Peter W. Marx","profile_url":"https://uni-koeln.academia.edu/PeterWMarx?f_ri=12173","photo":"https://0.academia-photos.com/4322778/1925622/17441028/s65_peter_w..marx.jpg"}</script></span></span></li><li class="js-paper-rank-work_15964138 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15964138"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15964138, container: ".js-paper-rank-work_15964138", }); });</script></li><li class="js-percentile-work_15964138 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 = 15964138; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_15964138"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_15964138 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="15964138"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 15964138; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=15964138]").text(description); $(".js-view-count-work_15964138").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15964138").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="15964138"><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=12173","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=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57385" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_in_Performance">Shakespeare in Performance</a><script data-card-contents-for-ri="57385" type="text/json">{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15964138]'), work: {"id":15964138,"title":"A wood near Athens – whose wood is it anyway?","created_at":"2015-09-21T01:54:09.522-07:00","url":"https://www.academia.edu/15964138/A_wood_near_Athens_whose_wood_is_it_anyway?f_ri=12173","dom_id":"work_15964138","summary":"The paper – given at this year's annual IFTR conference in Hyderabad – discusses the question of cultural ownership in the German discourse about Shakespeare.","downloadable_attachments":[{"id":38836163,"asset_id":15964138,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4322778,"first_name":"Peter W.","last_name":"Marx","domain_name":"uni-koeln","page_name":"PeterWMarx","display_name":"Peter W. Marx","profile_url":"https://uni-koeln.academia.edu/PeterWMarx?f_ri=12173","photo":"https://0.academia-photos.com/4322778/1925622/17441028/s65_peter_w..marx.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true},{"id":1001587,"name":"Cultural Ownership","url":"https://www.academia.edu/Documents/in/Cultural_Ownership?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34345219" data-work_id="34345219" 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/34345219/Review_of_Catharine_Arnolds_Globe_Shakespeares_London">Review of Catharine Arnold's Globe: Shakespeare's London</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Promising to 'take the reader on a virtual tour of [London] through Shakespeare's life and work' (2), Arnold's book makes a similar claim to Crawford, Dustagheer and Young's Shakespeare and London (2015) which is that the life of the Bard... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34345219" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Promising to 'take the reader on a virtual tour of [London] through Shakespeare's life and work' (2), Arnold's book makes a similar claim to Crawford, Dustagheer and Young's Shakespeare and London (2015) which is that the life of the Bard was 'inextricably linked' with that of his adopted city. Yet, although certainly succeeding in bringing Shakespeare's city-in all its gory and glorious detail-to life for the reader, Arnold does not fully succeed in providing proof of how exactly London, specifically that 'Bohemian enclave' in Shoreditch to which he belonged, 'provided Shakespeare with a rich seam of authentic lowlife which he mined for years to come' (96). While suggestions that the tragic fate of a Jewish doctor called Rodrigo Lopez inspired The Merchant of Venice, and the scene of a young girl out of her wits who had drowned in a ditch at Moorfields influenced the creation of Ophelia, are provocative and definitely not improbable, they are largely conjectural and often devoid of citation or factual content. Thus, Arnold's claims that London served as Shakespeare's main muse so much so that his drama is primarily shaped and colored by the sites, events and characters he encountered in the burgeoning metropolis are not only unsupported by concrete evidence, but contradicted through her own admission that Shakespeare 'rare[ly]' made 'topical reference to recent events' (186).</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/34345219" 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="b15337b4523bc06265e71f9463ef7587" rel="nofollow" data-download="{"attachment_id":54238493,"asset_id":34345219,"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/54238493/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="218544" href="https://emerson.academia.edu/AdeleLee">Adele Lee</a><script data-card-contents-for-user="218544" type="text/json">{"id":218544,"first_name":"Adele","last_name":"Lee","domain_name":"emerson","page_name":"AdeleLee","display_name":"Adele Lee","profile_url":"https://emerson.academia.edu/AdeleLee?f_ri=12173","photo":"https://0.academia-photos.com/218544/49647/45710/s65_adele.lee.jpg"}</script></span></span></li><li class="js-paper-rank-work_34345219 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34345219"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34345219, container: ".js-paper-rank-work_34345219", }); 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$(".js-view-count[data-work-id=34345219]").text(description); $(".js-view-count-work_34345219").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34345219").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="34345219"><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18807" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Modern_London_theatre">Early Modern London theatre</a><script data-card-contents-for-ri="18807" type="text/json">{"id":18807,"name":"Early Modern London theatre","url":"https://www.academia.edu/Documents/in/Early_Modern_London_theatre?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34345219]'), work: {"id":34345219,"title":"Review of Catharine Arnold's Globe: Shakespeare's London","created_at":"2017-08-24T16:32:39.959-07:00","url":"https://www.academia.edu/34345219/Review_of_Catharine_Arnolds_Globe_Shakespeares_London?f_ri=12173","dom_id":"work_34345219","summary":"Promising to 'take the reader on a virtual tour of [London] through Shakespeare's life and work' (2), Arnold's book makes a similar claim to Crawford, Dustagheer and Young's Shakespeare and London (2015) which is that the life of the Bard was 'inextricably linked' with that of his adopted city. Yet, although certainly succeeding in bringing Shakespeare's city-in all its gory and glorious detail-to life for the reader, Arnold does not fully succeed in providing proof of how exactly London, specifically that 'Bohemian enclave' in Shoreditch to which he belonged, 'provided Shakespeare with a rich seam of authentic lowlife which he mined for years to come' (96). While suggestions that the tragic fate of a Jewish doctor called Rodrigo Lopez inspired The Merchant of Venice, and the scene of a young girl out of her wits who had drowned in a ditch at Moorfields influenced the creation of Ophelia, are provocative and definitely not improbable, they are largely conjectural and often devoid of citation or factual content. Thus, Arnold's claims that London served as Shakespeare's main muse so much so that his drama is primarily shaped and colored by the sites, events and characters he encountered in the burgeoning metropolis are not only unsupported by concrete evidence, but contradicted through her own admission that Shakespeare 'rare[ly]' made 'topical reference to recent events' (186).","downloadable_attachments":[{"id":54238493,"asset_id":34345219,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":218544,"first_name":"Adele","last_name":"Lee","domain_name":"emerson","page_name":"AdeleLee","display_name":"Adele Lee","profile_url":"https://emerson.academia.edu/AdeleLee?f_ri=12173","photo":"https://0.academia-photos.com/218544/49647/45710/s65_adele.lee.jpg"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":18807,"name":"Early Modern London theatre","url":"https://www.academia.edu/Documents/in/Early_Modern_London_theatre?f_ri=12173","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_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="2f7109535c3021a654cb2ac6a45805dd" 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=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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=12173","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", }); 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$(".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=12173","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=12173","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=12173","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=12173","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=12173","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=12173","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=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":5118,"name":"Applied Theatre","url":"https://www.academia.edu/Documents/in/Applied_Theatre?f_ri=12173","nofollow":true},{"id":6152,"name":"Applied Drama/Theatre","url":"https://www.academia.edu/Documents/in/Applied_Drama_Theatre?f_ri=12173","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=12173"},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=12173"},{"id":57382,"name":"Macbeth","url":"https://www.academia.edu/Documents/in/Macbeth?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":159457,"name":"Theatre Arts","url":"https://www.academia.edu/Documents/in/Theatre_Arts?f_ri=12173"},{"id":222644,"name":"Lady Macbeth","url":"https://www.academia.edu/Documents/in/Lady_Macbeth?f_ri=12173"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=12173"},{"id":240915,"name":"Shakespeare Macbeth","url":"https://www.academia.edu/Documents/in/Shakespeare_Macbeth?f_ri=12173"},{"id":302074,"name":"Drama and theatre studies","url":"https://www.academia.edu/Documents/in/Drama_and_theatre_studies-1?f_ri=12173"},{"id":330806,"name":"Kingship and Tyranny in Macbeth","url":"https://www.academia.edu/Documents/in/Kingship_and_Tyranny_in_Macbeth?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42009683" data-work_id="42009683" 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/42009683/The_Two_Gentlemen_of_Verona_Adaptation_in_Portuguese_by_N%C3%B3s_do_Morro_Bite08_Barbican_Pit_London_2008_">The Two Gentlemen of Verona, Adaptation in Portuguese by Nós do Morro, Bite08, Barbican Pit, London (2008)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Review of The Two Gentlemen of Verona, an adaptation in Portuguese by Nós do Morro, Bite08, Barbican Pit, London (2008), for Rogues and Vagabonds</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/42009683" 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="933f9abca15c093abf74eb08339957c6" rel="nofollow" data-download="{"attachment_id":62134197,"asset_id":42009683,"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/62134197/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_42009683 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42009683"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42009683, container: ".js-paper-rank-work_42009683", }); });</script></li><li class="js-percentile-work_42009683 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget 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history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57385" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_in_Performance">Shakespeare in Performance</a>, <script data-card-contents-for-ri="57385" type="text/json">{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="66122" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_adaptation">Shakespeare adaptation</a><script data-card-contents-for-ri="66122" type="text/json">{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42009683]'), work: {"id":42009683,"title":"The Two Gentlemen of Verona, Adaptation in Portuguese by Nós do Morro, Bite08, Barbican Pit, London (2008)","created_at":"2020-02-18T12:25:44.711-08:00","url":"https://www.academia.edu/42009683/The_Two_Gentlemen_of_Verona_Adaptation_in_Portuguese_by_N%C3%B3s_do_Morro_Bite08_Barbican_Pit_London_2008_?f_ri=12173","dom_id":"work_42009683","summary":"Review of The Two Gentlemen of Verona, an adaptation in Portuguese by Nós do Morro, Bite08, Barbican Pit, London (2008), for Rogues and Vagabonds","downloadable_attachments":[{"id":62134197,"asset_id":42009683,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A 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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="6c3d70ed3e71da86dbefc34ace7e2b8c" 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=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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=12173","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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$(".js-view-count[data-work-id=10401930]").text(description); $(".js-view-count-work_10401930").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10401930").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="10401930"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">76</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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="136" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=12173","nofollow":true}</script><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=12173","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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10401930]'), work: {"id":10401930,"title":"\"State Power, Cultural Dissidence, Transversal Power\" in Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England","created_at":"2015-01-30T21:32:17.978-08:00","url":"https://www.academia.edu/10401930/_State_Power_Cultural_Dissidence_Transversal_Power_in_Becoming_Criminal_Transversal_Performance_and_Cultural_Dissidence_in_Early_Modern_England?f_ri=12173","dom_id":"work_10401930","summary":"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","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=12173","photo":"https://0.academia-photos.com/226423/6992645/34183315/s65_bryan.reynolds.jpg"}],"research_interests":[{"id":8,"name":"Critical 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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="e4b33e5bc8b44a37740a586ee0e6b9a7" 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" 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$(".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=12173","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=12173","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=12173","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=12173","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 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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=12173","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=12173","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=12173","nofollow":true},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=12173","nofollow":true},{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=12173","nofollow":true},{"id":12003,"name":"Shakespeare and 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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="d44c0d3c5f8444165992f8c927f700c1" rel="nofollow" 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}); });</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=12173","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=12173","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=12173","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 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Koopman van Venetië in Naoorlogs Nederland: Over Lichaam en Geest van Shylock</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A short Dutch stage history of The Merchant of Venice, focusing on the portrayal of Shylock 'after the Holocaust' (in Dutch)</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/32280212" 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="1f2bac759bdd0cf7f820e4a133aa2560" rel="nofollow" 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var workId = 32280212; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_32280212"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_32280212 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="32280212"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32280212; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32280212]").text(description); $(".js-view-count-work_32280212").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32280212").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="32280212"><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="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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11452" rel="nofollow" href="https://www.academia.edu/Documents/in/Memory_Studies">Memory Studies</a>, <script data-card-contents-for-ri="11452" type="text/json">{"id":11452,"name":"Memory Studies","url":"https://www.academia.edu/Documents/in/Memory_Studies?f_ri=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="49917" rel="nofollow" href="https://www.academia.edu/Documents/in/Dutch_History">Dutch History</a><script data-card-contents-for-ri="49917" type="text/json">{"id":49917,"name":"Dutch History","url":"https://www.academia.edu/Documents/in/Dutch_History?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32280212]'), work: {"id":32280212,"title":"De Koopman van Venetië in Naoorlogs Nederland: Over Lichaam en Geest van Shylock","created_at":"2017-04-05T12:54:56.092-07:00","url":"https://www.academia.edu/32280212/De_Koopman_van_Veneti%C3%AB_in_Naoorlogs_Nederland_Over_Lichaam_en_Geest_van_Shylock?f_ri=12173","dom_id":"work_32280212","summary":"A short Dutch stage history of The Merchant of Venice, focusing on the portrayal of Shylock 'after the Holocaust' (in Dutch)","downloadable_attachments":[{"id":52497115,"asset_id":32280212,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7432572,"first_name":"Remco","last_name":"Ensel","domain_name":"radboud","page_name":"REnsel","display_name":"Remco Ensel","profile_url":"https://radboud.academia.edu/REnsel?f_ri=12173","photo":"https://0.academia-photos.com/7432572/5973841/23783630/s65_remco.ensel.jpg"}],"research_interests":[{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":11452,"name":"Memory Studies","url":"https://www.academia.edu/Documents/in/Memory_Studies?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":49917,"name":"Dutch History","url":"https://www.academia.edu/Documents/in/Dutch_History?f_ri=12173","nofollow":true},{"id":77293,"name":"Holocaust and Genocide Studies","url":"https://www.academia.edu/Documents/in/Holocaust_and_Genocide_Studies?f_ri=12173"},{"id":513307,"name":"The Merchant of Venice","url":"https://www.academia.edu/Documents/in/The_Merchant_of_Venice?f_ri=12173"}]}, }) } })();</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="2ba8d4234227d21ba9eb9ac303d3e96f" 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=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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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Vor diesem Horizont entsteht ein politisches Theater, das sich einmischt und... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41285405" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">1919 steht für einen politischen Neuanfang und gleichzeitig für ein krisenhaftes, immer wieder scheiterndes Ringen um Demokratie und eine liberale Gesellschaft. Vor diesem <br />Horizont entsteht ein politisches Theater, das sich einmischt und sich als Reflexionsraum von Machverhältnissen versteht. <br />Macht| Spiele beschreibt anhand markanter Stationen die Geschichte dieses politischen Theaters von 1919 bis in die Gegenwart. Dabei werden so unterschiedliche Formen beleuchtet wie die Shakespeare’schen Königsdramen, etwa am Beispiel der Inszenierungen von Leopold Jessner, Jürgen Fehling, Saladin Schmitt, Peter Palitzsch oder Peter Zadek, Schillers »Räuber« (in ikonischen Inszenierungen von Erwin Piscator und Hansgünter Heyme) oder die Orestie-Inszenierung von Peter Stein. <br />Mit Arbeiten von Karin Beier, William Kentridge, Brigitte Maria Mayer, Luk Perceval, Maya Krishna Rao und Robert Wilson zieht sich die Perspektive bis in die Gegenwart.</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/41285405" 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="d2595ecb59a811032eea9754c0dd5bb9" rel="nofollow" data-download="{"attachment_id":61504618,"asset_id":41285405,"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/61504618/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="4322778" href="https://uni-koeln.academia.edu/PeterWMarx">Peter W. 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Vor diesem\r\nHorizont entsteht ein politisches Theater, das sich einmischt und sich als Reflexionsraum von Machverhältnissen versteht. \r\nMacht| Spiele beschreibt anhand markanter Stationen die Geschichte dieses politischen Theaters von 1919 bis in die Gegenwart. Dabei werden so unterschiedliche Formen beleuchtet wie die Shakespeare’schen Königsdramen, etwa am Beispiel der Inszenierungen von Leopold Jessner, Jürgen Fehling, Saladin Schmitt, Peter Palitzsch oder Peter Zadek, Schillers »Räuber« (in ikonischen Inszenierungen von Erwin Piscator und Hansgünter Heyme) oder die Orestie-Inszenierung von Peter Stein.\r\nMit Arbeiten von Karin Beier, William Kentridge, Brigitte Maria Mayer, Luk Perceval, Maya Krishna Rao und Robert Wilson zieht sich die Perspektive bis in die Gegenwart.","downloadable_attachments":[{"id":61504618,"asset_id":41285405,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4322778,"first_name":"Peter W.","last_name":"Marx","domain_name":"uni-koeln","page_name":"PeterWMarx","display_name":"Peter W. 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What materials were available to them and how did they influence staging and writing? What impact did the sensations of theatre have on early modern... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13182647" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">How did Elizabethan and Jacobean acting companies create their visual and aural effects? What materials were available to them and how did they influence staging and writing? What impact did the sensations of theatre have on early modern audiences? How did the construction of the playhouses contribute to technological innovations in the theatre? What effect might these innovations have had on the writing of plays?<br /><br />Shakespeare's Theatres and The Effects of Performance is a landmark collection of essays by leading international scholars addressing these and other questions to create a unique and comprehensive overview of the practicalities and realities of the theatre in the early modern 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/13182647" 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="0b2f068277080292c7bd035a3a4a5533" rel="nofollow" data-download="{"attachment_id":37973051,"asset_id":13182647,"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/37973051/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="636790" href="https://bham.academia.edu/TiffanyStern">Tiffany Stern</a><script data-card-contents-for-user="636790" type="text/json">{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.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-13182647">+1</span><div class="hidden js-additional-users-13182647"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://globe.academia.edu/FarahKarimCooper">Farah Karim-Cooper</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-13182647'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-13182647').html(); 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Drama","url":"https://www.academia.edu/Documents/in/Teaching_Shakespearean_Drama?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39686443" data-work_id="39686443" 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/39686443/A_Midsummer_Nights_Dream_and_Early_Modern_Magic">A Midsummer Night's Dream and Early Modern Magic</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/39686443" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19990" rel="nofollow" href="https://www.academia.edu/Documents/in/Magic_and_the_Occult_Anthropology_Of_Religion_">Magic and the Occult (Anthropology Of Religion)</a>, <script data-card-contents-for-ri="19990" type="text/json">{"id":19990,"name":"Magic and the Occult (Anthropology Of Religion)","url":"https://www.academia.edu/Documents/in/Magic_and_the_Occult_Anthropology_Of_Religion_?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="895349" rel="nofollow" href="https://www.academia.edu/Documents/in/A_Midsummer_Nights_Dream-1">A Midsummer Nights Dream</a><script data-card-contents-for-ri="895349" type="text/json">{"id":895349,"name":"A Midsummer Nights Dream","url":"https://www.academia.edu/Documents/in/A_Midsummer_Nights_Dream-1?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39686443]'), work: {"id":39686443,"title":"A Midsummer Night's Dream and Early Modern Magic","created_at":"2019-06-24T16:43:10.401-07:00","url":"https://www.academia.edu/39686443/A_Midsummer_Nights_Dream_and_Early_Modern_Magic?f_ri=12173","dom_id":"work_39686443","summary":null,"downloadable_attachments":[{"id":59855294,"asset_id":39686443,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40077645,"first_name":"Kaitlyn","last_name":"Culliton","domain_name":"upol","page_name":"KaitlynCulliton","display_name":"Kaitlyn 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data-work_id="11343167" 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/11343167/Book_Review_Shakespeares_Theatres_and_the_Effects_of_Performance_ed_Tiffany_Stern_and_Farah_Karim_Cooper_Cahiers_%C3%89lisab%C3%A9thains_85_2014_133_6">Book Review. "Shakespeare's Theatres and the Effects of Performance, ed. Tiffany Stern and Farah Karim-Cooper," Cahiers Élisabéthains, 85 (2014): 133–6</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/11343167" 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="847f0c5a18b5c117054df853bd9725af" rel="nofollow" data-download="{"attachment_id":61196406,"asset_id":11343167,"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/61196406/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_11343167 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11343167"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11343167, container: ".js-paper-rank-work_11343167", }); 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$(".js-view-count[data-work-id=11343167]").text(description); $(".js-view-count-work_11343167").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11343167").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="11343167"><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="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=12173","nofollow":true}</script><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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11343167]'), work: {"id":11343167,"title":"Book Review. \"Shakespeare's Theatres and the Effects of Performance, ed. Tiffany Stern and Farah Karim-Cooper,\" Cahiers Élisabéthains, 85 (2014): 133–6","created_at":"2015-03-09T13:59:40.728-07:00","url":"https://www.academia.edu/11343167/Book_Review_Shakespeares_Theatres_and_the_Effects_of_Performance_ed_Tiffany_Stern_and_Farah_Karim_Cooper_Cahiers_%C3%89lisab%C3%A9thains_85_2014_133_6?f_ri=12173","dom_id":"work_11343167","summary":null,"downloadable_attachments":[{"id":61196406,"asset_id":11343167,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","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_1684505" data-work_id="1684505" 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/1684505/The_Rise_and_Fall_of_Hotspur_in_Henry_IV_Part_One">The Rise and Fall of Hotspur 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">Hotspur was once the most popular character in Henry IV, the focus for actor-managers and a hero for the audience. This paper looks at how the introduction of the history cycle to the English stage in the twentieth century completely... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1684505" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Hotspur was once the most popular character in Henry IV, the focus for actor-managers and a hero for the audience. This paper looks at how the introduction of the history cycle to the English stage in the twentieth century completely reversed the fortunes of Henry Percy as the focus was pushed instead onto his rival Henry Monmouth. The 1951 production by Anthony Quayle is marked as a key turning point in Hotspur's fortunes, and Michael Redgrave's portrayal is contrasted with Laurence Olivier's at the Old Vic just six years before to show how far Hotspur has fallen. After a brief review of subsequent productions, the paper concludes by showing how the structure of the play is all about the contrast between the two Harrys, and not the court and tavern as so often thought. <br /> <br />See also:  <a href="http://www.academia.edu/770456/Rewriting_History_Exploring_the_Individuality_of_Shakespeares_history_plays" rel="nofollow">http://www.academia.edu/770456/Rewriting_History_Exploring_the_Individuality_of_Shakespeares_history_plays</a> <br /> <br /><a href="http://www.academia.edu/688988/The_Ladys_Percy_Challenging_Expectations_of_Structure_and_Gender_in_Henry_the_Fourth" rel="nofollow">http://www.academia.edu/688988/The_Ladys_Percy_Challenging_Expectations_of_Structure_and_Gender_in_Henry_the_Fourth</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/1684505" 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="1b9e7a1391f6c45d721404e51c7e8637" rel="nofollow" data-download="{"attachment_id":3848649,"asset_id":1684505,"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/3848649/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="387587" href="https://buckingham.academia.edu/PeteOrford">Pete Orford</a><script data-card-contents-for-user="387587" type="text/json">{"id":387587,"first_name":"Pete","last_name":"Orford","domain_name":"buckingham","page_name":"PeteOrford","display_name":"Pete Orford","profile_url":"https://buckingham.academia.edu/PeteOrford?f_ri=12173","photo":"https://0.academia-photos.com/387587/98086/113609/s65_pete.orford.jpg"}</script></span></span></li><li class="js-paper-rank-work_1684505 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1684505"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1684505, container: ".js-paper-rank-work_1684505", }); 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$(".js-view-count[data-work-id=1684505]").text(description); $(".js-view-count-work_1684505").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1684505").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="1684505"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</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=12173","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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12172" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_drama">Renaissance drama</a><script data-card-contents-for-ri="12172" type="text/json">{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1684505]'), work: {"id":1684505,"title":"The Rise and Fall of Hotspur in Henry IV Part One","created_at":"2011-04-03T23:51:53.339-07:00","url":"https://www.academia.edu/1684505/The_Rise_and_Fall_of_Hotspur_in_Henry_IV_Part_One?f_ri=12173","dom_id":"work_1684505","summary":"Hotspur was once the most popular character in Henry IV, the focus for actor-managers and a hero for the audience. This paper looks at how the introduction of the history cycle to the English stage in the twentieth century completely reversed the fortunes of Henry Percy as the focus was pushed instead onto his rival Henry Monmouth. The 1951 production by Anthony Quayle is marked as a key turning point in Hotspur's fortunes, and Michael Redgrave's portrayal is contrasted with Laurence Olivier's at the Old Vic just six years before to show how far Hotspur has fallen. After a brief review of subsequent productions, the paper concludes by showing how the structure of the play is all about the contrast between the two Harrys, and not the court and tavern as so often thought.\r\n\r\nSee also: http://www.academia.edu/770456/Rewriting_History_Exploring_the_Individuality_of_Shakespeares_history_plays \r\n\r\nhttp://www.academia.edu/688988/The_Ladys_Percy_Challenging_Expectations_of_Structure_and_Gender_in_Henry_the_Fourth ","downloadable_attachments":[{"id":3848649,"asset_id":1684505,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":387587,"first_name":"Pete","last_name":"Orford","domain_name":"buckingham","page_name":"PeteOrford","display_name":"Pete Orford","profile_url":"https://buckingham.academia.edu/PeteOrford?f_ri=12173","photo":"https://0.academia-photos.com/387587/98086/113609/s65_pete.orford.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":154719,"name":"Stratford-upon-Avon","url":"https://www.academia.edu/Documents/in/Stratford-upon-Avon?f_ri=12173"},{"id":182515,"name":"Laurence Olivier","url":"https://www.academia.edu/Documents/in/Laurence_Olivier?f_ri=12173"},{"id":243347,"name":"Falstaff","url":"https://www.academia.edu/Documents/in/Falstaff?f_ri=12173"},{"id":243351,"name":"Henry IV","url":"https://www.academia.edu/Documents/in/Henry_IV?f_ri=12173"},{"id":360081,"name":"Henry VI","url":"https://www.academia.edu/Documents/in/Henry_VI?f_ri=12173"},{"id":451537,"name":"Sir Richard Burton","url":"https://www.academia.edu/Documents/in/Sir_Richard_Burton?f_ri=12173"},{"id":494332,"name":"1 Henry IV","url":"https://www.academia.edu/Documents/in/1_Henry_IV?f_ri=12173"},{"id":494333,"name":"2 Henry IV","url":"https://www.academia.edu/Documents/in/2_Henry_IV?f_ri=12173"},{"id":516808,"name":"Royal Shakespeare Company","url":"https://www.academia.edu/Documents/in/Royal_Shakespeare_Company?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13501852" data-work_id="13501852" 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/13501852/Adelaide_Ristori_e_la_ri_creazione_scenica_di_Lady_Macbeth">Adelaide Ristori e la (ri)creazione scenica di (Lady) Macbeth</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/13501852" 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="255b564616f6a984a38cc0eaba04e69b" rel="nofollow" data-download="{"attachment_id":65349551,"asset_id":13501852,"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/65349551/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down 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class="js-view-count-work_13501852 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="13501852"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13501852; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13501852]").text(description); $(".js-view-count-work_13501852").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13501852").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="13501852"><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="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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57382" rel="nofollow" href="https://www.academia.edu/Documents/in/Macbeth">Macbeth</a>, <script data-card-contents-for-ri="57382" type="text/json">{"id":57382,"name":"Macbeth","url":"https://www.academia.edu/Documents/in/Macbeth?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="222644" rel="nofollow" href="https://www.academia.edu/Documents/in/Lady_Macbeth">Lady Macbeth</a>, <script data-card-contents-for-ri="222644" type="text/json">{"id":222644,"name":"Lady Macbeth","url":"https://www.academia.edu/Documents/in/Lady_Macbeth?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="240915" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_Macbeth">Shakespeare Macbeth</a><script data-card-contents-for-ri="240915" type="text/json">{"id":240915,"name":"Shakespeare Macbeth","url":"https://www.academia.edu/Documents/in/Shakespeare_Macbeth?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13501852]'), work: {"id":13501852,"title":"Adelaide Ristori e la (ri)creazione scenica di (Lady) Macbeth","created_at":"2015-07-01T08:43:01.023-07:00","url":"https://www.academia.edu/13501852/Adelaide_Ristori_e_la_ri_creazione_scenica_di_Lady_Macbeth?f_ri=12173","dom_id":"work_13501852","summary":null,"downloadable_attachments":[{"id":65349551,"asset_id":13501852,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3039063,"first_name":"Antonella","last_name":"Valoroso","domain_name":"independent","page_name":"ValorosoA","display_name":"Antonella Valoroso","profile_url":"https://independent.academia.edu/ValorosoA?f_ri=12173","photo":"https://0.academia-photos.com/3039063/998811/18584595/s65_antonella.valoroso.jpg"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":57382,"name":"Macbeth","url":"https://www.academia.edu/Documents/in/Macbeth?f_ri=12173","nofollow":true},{"id":222644,"name":"Lady Macbeth","url":"https://www.academia.edu/Documents/in/Lady_Macbeth?f_ri=12173","nofollow":true},{"id":240915,"name":"Shakespeare Macbeth","url":"https://www.academia.edu/Documents/in/Shakespeare_Macbeth?f_ri=12173","nofollow":true},{"id":422331,"name":"Shakespeare and Italy","url":"https://www.academia.edu/Documents/in/Shakespeare_and_Italy?f_ri=12173"},{"id":1154032,"name":"Adelaide Ristori","url":"https://www.academia.edu/Documents/in/Adelaide_Ristori?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10299337" data-work_id="10299337" 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/10299337/Sof%C3%ADa_Mu%C3%B1oz_Valdivieso_Mine_ear_is_much_enamour_d_of_thy_note_Shakespeare_s_intercultural_dream_in_the_Indian_subcontinent_">Sofía Muñoz Valdivieso. "'Mine ear is much enamour’d of thy note:' Shakespeare’s intercultural dream in the Indian subcontinent"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tim Supple's 2006 production of A Midsummer Night's Dream has been hailed by some critics as the successor of Peter Brook's revolutionary 1970 version, a vision that changed perceptions of the play and became a classic in the history of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10299337" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tim Supple's 2006 production of A Midsummer Night's Dream has been hailed by some critics as the successor of Peter Brook's revolutionary 1970 version, a vision that changed perceptions of the play and became a classic in the history of its performance. Supple's Midsummer uses about half of Shakespeare's English text, with the rest translated into Hindi, Bengali, Marathi, Malayalam, Tamil, Sanskrit and Sinhala. It maintains the plot and characters intact, although it includes elements of local theatrical traditions in music, dance, martial arts and acrobatics. The production defies attempts at classification, since it presents features of "foreign" Shakespeare plays yet it braids the Indianlanguage dialogues into Shakespeare's original English and extends the alienation effect of a foreign language production to audiences throughout the world. The international success of this production since it premiered in Britain as part of the</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/10299337" 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="3f124eab0f01e23008dc3566a14ec538" rel="nofollow" data-download="{"attachment_id":36375240,"asset_id":10299337,"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/36375240/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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=12173","photo":"https://0.academia-photos.com/19793229/6557051/31971167/s65_sederi.yearbook.jpg"}</script></span></span></li><li class="js-paper-rank-work_10299337 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10299337"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10299337, container: ".js-paper-rank-work_10299337", }); 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Supple's Midsummer uses about half of Shakespeare's English text, with the rest translated into Hindi, Bengali, Marathi, Malayalam, Tamil, Sanskrit and Sinhala. It maintains the plot and characters intact, although it includes elements of local theatrical traditions in music, dance, martial arts and acrobatics. The production defies attempts at classification, since it presents features of \"foreign\" Shakespeare plays yet it braids the Indianlanguage dialogues into Shakespeare's original English and extends the alienation effect of a foreign language production to audiences throughout the world. The international success of this production since it premiered in Britain as part of the","downloadable_attachments":[{"id":36375240,"asset_id":10299337,"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=12173","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=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=12173","nofollow":true},{"id":570014,"name":"Asian Shakespeare adaptations","url":"https://www.academia.edu/Documents/in/Asian_Shakespeare_adaptations?f_ri=12173","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_22531473" data-work_id="22531473" 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/22531473/_Local_Tempest_">"Local 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">This essay examines "The Tempest" as a fully materialized instance of metatheater. Taking seriously the idea of Prospero as a playwright figure, it untangles various correspondences between the structures of Shakespeare's late romance and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22531473" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay examines "The Tempest" as a fully materialized instance of metatheater. Taking seriously the idea of Prospero as a playwright figure, it untangles various correspondences between the structures of Shakespeare's late romance and the private theater in which it was primarily staged. Special attention is paid to Ariel's relation to the boy actor, Caliban's similarities to the boisterous tradition of clowning that Shakespeare had earlier criticized, and Miranda's doubling of audience functionality.</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/22531473" 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="8e5f53796196c54e8d52be6053f424d4" rel="nofollow" data-download="{"attachment_id":43145297,"asset_id":22531473,"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/43145297/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="564187" href="https://utexas.academia.edu/DouglasBruster">Douglas Bruster</a><script data-card-contents-for-user="564187" type="text/json">{"id":564187,"first_name":"Douglas","last_name":"Bruster","domain_name":"utexas","page_name":"DouglasBruster","display_name":"Douglas Bruster","profile_url":"https://utexas.academia.edu/DouglasBruster?f_ri=12173","photo":"https://0.academia-photos.com/564187/202119/235731/s65_douglas.bruster.jpg"}</script></span></span></li><li class="js-paper-rank-work_22531473 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22531473"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22531473, container: ".js-paper-rank-work_22531473", }); 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Taking seriously the idea of Prospero as a playwright figure, it untangles various correspondences between the structures of Shakespeare's late romance and the private theater in which it was primarily staged. Special attention is paid to Ariel's relation to the boy actor, Caliban's similarities to the boisterous tradition of clowning that Shakespeare had earlier criticized, and Miranda's doubling of audience functionality.","downloadable_attachments":[{"id":43145297,"asset_id":22531473,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":564187,"first_name":"Douglas","last_name":"Bruster","domain_name":"utexas","page_name":"DouglasBruster","display_name":"Douglas Bruster","profile_url":"https://utexas.academia.edu/DouglasBruster?f_ri=12173","photo":"https://0.academia-photos.com/564187/202119/235731/s65_douglas.bruster.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true},{"id":93738,"name":"The tempest and post/colonialism","url":"https://www.academia.edu/Documents/in/The_tempest_and_post_colonialism?f_ri=12173","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":161041,"name":"The Tempest","url":"https://www.academia.edu/Documents/in/The_Tempest?f_ri=12173"},{"id":1357126,"name":"Shakespearean Romances","url":"https://www.academia.edu/Documents/in/Shakespearean_Romances?f_ri=12173"},{"id":1988348,"name":"Blackfriars Playhouse","url":"https://www.academia.edu/Documents/in/Blackfriars_Playhouse?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40443470" data-work_id="40443470" 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/40443470/Madness_and_Metaphor_in_Lisa_Klein_s_and_Claire_McCarthy_s_Ophelia">Madness and Metaphor in Lisa Klein’s and Claire McCarthy’s Ophelia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Soviet Shakespeare. Ed. Tom Bishop, Alexa Alice Joubin, and Natalia Khomenko. Spec. Issue of The Shakespearean International Yearbook 18. London: Routledge, 2020. 203-16. 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/40443470" 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="984b753cd08ccddf3abec5fe6b5c1934" rel="nofollow" data-download="{"attachment_id":63709806,"asset_id":40443470,"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/63709806/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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=12173","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_40443470 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40443470"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40443470, container: ".js-paper-rank-work_40443470", }); 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Ed. Tom Bishop, Alexa Alice Joubin, and Natalia Khomenko. Spec. Issue of The Shakespearean International Yearbook 18. London: Routledge, 2020. 203-16. 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It would be natural to expect, as some authors have written, that The Merchant of Venice would lend itself to Nazi antisemitism and that the play would enjoy a particular currency on German stages after 1933, while one would expect Othello, with its theme of inter-racial sex, to disappear from the stage under the Nazi régime. These assumptions were not borne out by the reality, however, and the stage histories of the two plays under the Nazi régime were more complex. The way in which the Jew Shylock and the Moor Othello were portrayed on the German stage after 1933 was nonetheless tightly constrained by the prescriptions of Nazi racial ideology.</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/12018065" 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="0afef7caf52cfe54f4ad453eb69dc070" rel="nofollow" data-download="{"attachment_id":46402221,"asset_id":12018065,"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/46402221/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="29933863" href="https://uq.academia.edu/AndrewBonnell">Andrew Bonnell</a><script data-card-contents-for-user="29933863" type="text/json">{"id":29933863,"first_name":"Andrew","last_name":"Bonnell","domain_name":"uq","page_name":"AndrewBonnell","display_name":"Andrew Bonnell","profile_url":"https://uq.academia.edu/AndrewBonnell?f_ri=12173","photo":"https://0.academia-photos.com/29933863/18022237/18028298/s65_andrew.bonnell.jpg"}</script></span></span></li><li class="js-paper-rank-work_12018065 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12018065"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12018065, container: ".js-paper-rank-work_12018065", }); 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It would be natural to expect, as some authors have written, that The Merchant of Venice would lend itself to Nazi antisemitism and that the play would enjoy a particular currency on German stages after 1933, while one would expect Othello, with its theme of inter-racial sex, to disappear from the stage under the Nazi régime. These assumptions were not borne out by the reality, however, and the stage histories of the two plays under the Nazi régime were more complex. The way in which the Jew Shylock and the Moor Othello were portrayed on the German stage after 1933 was nonetheless tightly constrained by the prescriptions of Nazi racial ideology.","downloadable_attachments":[{"id":46402221,"asset_id":12018065,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":29933863,"first_name":"Andrew","last_name":"Bonnell","domain_name":"uq","page_name":"AndrewBonnell","display_name":"Andrew Bonnell","profile_url":"https://uq.academia.edu/AndrewBonnell?f_ri=12173","photo":"https://0.academia-photos.com/29933863/18022237/18028298/s65_andrew.bonnell.jpg"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":24464,"name":"German Theatre","url":"https://www.academia.edu/Documents/in/German_Theatre?f_ri=12173","nofollow":true},{"id":43023,"name":"Nazi Germany","url":"https://www.academia.edu/Documents/in/Nazi_Germany?f_ri=12173","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_5360974" data-work_id="5360974" 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/5360974/_As_the_Cony_That_You_See_Rosalinds_Risqu%C3%A9_Rabbits_in_As_You_Like_It_Shakespeare_6_2010_153_64">"'As the Cony That You See': Rosalind's Risqué Rabbits in As You Like It," Shakespeare, 6 (2010): 153–64</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In As You Like It, Rosalind makes a passing comment in response to Orlando's questioning which seems, in all innocence, to refer to rabbits gambolling contentedly in Arden's idyllic forest. Assuring him that she is native to the place,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5360974" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In As You Like It, Rosalind makes a passing comment in response to Orlando's questioning which seems, in all innocence, to refer to rabbits gambolling contentedly in Arden's idyllic forest. Assuring him that she is native to the place, Rosalind invokes the image of the “coney” that dwells near where it is kindled as proof of her local heritage. Twenty-first-century actors delivering this line regularly use a pronunciation for “coney” that would, for any early modern audience, seem particularly alien. This article traces the history of the word “coney”, its banishment from later editions of Bowdler's Family Shakspeare, as well as its reinstatement following alteration by a nineteenth-century lexicographer who sought to make it sound acceptable for family reading. In doing so, it highlights the overtly sexual meaning of the word, linked as it appears to slang terminology for the female pudenda and thus the commodification of the female body, so restoring its potential as Rosalind's cryptic pun about the hidden truth of her “Ganymede” disguise.</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/5360974" 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="315cf121bbec127663bb5fe6e860af70" rel="nofollow" data-download="{"attachment_id":61195178,"asset_id":5360974,"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/61195178/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_5360974 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5360974"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5360974, container: ".js-paper-rank-work_5360974", }); 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$(".js-view-count[data-work-id=5360974]").text(description); $(".js-view-count-work_5360974").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5360974").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="5360974"><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=12173","nofollow":true}</script><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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57385" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_in_Performance">Shakespeare in Performance</a><script data-card-contents-for-ri="57385" type="text/json">{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5360974]'), work: {"id":5360974,"title":"\"'As the Cony That You See': Rosalind's Risqué Rabbits in As You Like It,\" Shakespeare, 6 (2010): 153–64","created_at":"2013-12-08T22:17:26.699-08:00","url":"https://www.academia.edu/5360974/_As_the_Cony_That_You_See_Rosalinds_Risqu%C3%A9_Rabbits_in_As_You_Like_It_Shakespeare_6_2010_153_64?f_ri=12173","dom_id":"work_5360974","summary":"In As You Like It, Rosalind makes a passing comment in response to Orlando's questioning which seems, in all innocence, to refer to rabbits gambolling contentedly in Arden's idyllic forest. Assuring him that she is native to the place, Rosalind invokes the image of the “coney” that dwells near where it is kindled as proof of her local heritage. Twenty-first-century actors delivering this line regularly use a pronunciation for “coney” that would, for any early modern audience, seem particularly alien. This article traces the history of the word “coney”, its banishment from later editions of Bowdler's Family Shakspeare, as well as its reinstatement following alteration by a nineteenth-century lexicographer who sought to make it sound acceptable for family reading. In doing so, it highlights the overtly sexual meaning of the word, linked as it appears to slang terminology for the female pudenda and thus the commodification of the female body, so restoring its potential as Rosalind's cryptic pun about the hidden truth of her “Ganymede” disguise.","downloadable_attachments":[{"id":61195178,"asset_id":5360974,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_688988" data-work_id="688988" 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/688988/The_Ladys_Percy_Challenging_Expectations_of_Structure_and_Gender_in_Henry_the_Fourth">The Lady's Percy: Challenging Expectations of Structure and Gender in Henry the Fourth</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 focuses on an all-female production of Henry the Fourth Part One performed in Hull and York in 2008. It uses the production and the author's previous work to explore the issue of how a history play can be performed successfully... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_688988" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper focuses on an all-female production of Henry the Fourth Part One performed in Hull and York in 2008. It uses the production and the author's previous work to explore the issue of how a history play can be performed successfully on its own without incurring anticipation of Part Two. It looks at how the director Simon Benson tackled the theoretical arguments of the author in a practical scenario, and how in particular his decision to make the cast all-female enlightened the play, allowed a freer approach to structure and provided new (and forgotten) readings of the characters. <br /> <br />See also: <br /> <br /><a href="http://www.academia.edu/770456/Rewriting_History_Exploring_the_Individuality_of_Shakespeares_history_plays" rel="nofollow">http://www.academia.edu/770456/Rewriting_History_Exploring_the_Individuality_of_Shakespeares_history_plays</a> <br /> <br /><a href="http://www.academia.edu/1684505/The_Rise_and_Fall_of_Hotspur_in_Henry_IV_Part_One" rel="nofollow">http://www.academia.edu/1684505/The_Rise_and_Fall_of_Hotspur_in_Henry_IV_Part_One</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/688988" 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="068c6aeab66cb56c260b3108ca9bba3a" rel="nofollow" data-download="{"attachment_id":3847368,"asset_id":688988,"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/3847368/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="387587" href="https://buckingham.academia.edu/PeteOrford">Pete Orford</a><script data-card-contents-for-user="387587" type="text/json">{"id":387587,"first_name":"Pete","last_name":"Orford","domain_name":"buckingham","page_name":"PeteOrford","display_name":"Pete Orford","profile_url":"https://buckingham.academia.edu/PeteOrford?f_ri=12173","photo":"https://0.academia-photos.com/387587/98086/113609/s65_pete.orford.jpg"}</script></span></span></li><li class="js-paper-rank-work_688988 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="688988"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 688988, container: ".js-paper-rank-work_688988", }); });</script></li><li class="js-percentile-work_688988 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 = 688988; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_688988"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_688988 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="688988"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 688988; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=688988]").text(description); $(".js-view-count-work_688988").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_688988").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="688988"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</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=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=12173","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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=688988]'), work: {"id":688988,"title":"The Lady's Percy: Challenging Expectations of Structure and Gender in Henry the Fourth","created_at":"2011-06-21T19:08:28.709-07:00","url":"https://www.academia.edu/688988/The_Ladys_Percy_Challenging_Expectations_of_Structure_and_Gender_in_Henry_the_Fourth?f_ri=12173","dom_id":"work_688988","summary":"This paper focuses on an all-female production of Henry the Fourth Part One performed in Hull and York in 2008. It uses the production and the author's previous work to explore the issue of how a history play can be performed successfully on its own without incurring anticipation of Part Two. It looks at how the director Simon Benson tackled the theoretical arguments of the author in a practical scenario, and how in particular his decision to make the cast all-female enlightened the play, allowed a freer approach to structure and provided new (and forgotten) readings of the characters.\r\n\r\nSee also:\r\n\r\nhttp://www.academia.edu/770456/Rewriting_History_Exploring_the_Individuality_of_Shakespeares_history_plays \r\n\r\nhttp://www.academia.edu/1684505/The_Rise_and_Fall_of_Hotspur_in_Henry_IV_Part_One ","downloadable_attachments":[{"id":3847368,"asset_id":688988,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":387587,"first_name":"Pete","last_name":"Orford","domain_name":"buckingham","page_name":"PeteOrford","display_name":"Pete Orford","profile_url":"https://buckingham.academia.edu/PeteOrford?f_ri=12173","photo":"https://0.academia-photos.com/387587/98086/113609/s65_pete.orford.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=12173","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=12173"},{"id":9394,"name":"Modern Drama","url":"https://www.academia.edu/Documents/in/Modern_Drama?f_ri=12173"},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=12173"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":89467,"name":"Shakespeare and Modern Theatre","url":"https://www.academia.edu/Documents/in/Shakespeare_and_Modern_Theatre?f_ri=12173"},{"id":128396,"name":"Shakespeare's History Plays","url":"https://www.academia.edu/Documents/in/Shakespeares_History_Plays?f_ri=12173"},{"id":243347,"name":"Falstaff","url":"https://www.academia.edu/Documents/in/Falstaff?f_ri=12173"},{"id":243351,"name":"Henry IV","url":"https://www.academia.edu/Documents/in/Henry_IV?f_ri=12173"},{"id":494332,"name":"1 Henry IV","url":"https://www.academia.edu/Documents/in/1_Henry_IV?f_ri=12173"},{"id":494333,"name":"2 Henry IV","url":"https://www.academia.edu/Documents/in/2_Henry_IV?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41983600" data-work_id="41983600" 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/41983600/The_Island_Princess_by_John_Fletcher_RSC_The_Gielgud_Theatre_London_2002_">The Island Princess, by John Fletcher, RSC, The Gielgud Theatre, London (2002)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Review of John Fletcher's The Island Princess, RSC, Gielgud Theatre London transfer, 2002, for Rogues and Vagabonds.</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/41983600" 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="4b627afefa31c5447c7859eb1c150784" rel="nofollow" data-download="{"attachment_id":62108122,"asset_id":41983600,"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/62108122/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_41983600 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41983600"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41983600, container: ".js-paper-rank-work_41983600", }); });</script></li><li class="js-percentile-work_41983600 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 = 41983600; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_41983600"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_41983600 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="41983600"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41983600; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41983600]").text(description); $(".js-view-count-work_41983600").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41983600").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="41983600"><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="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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57385" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_in_Performance">Shakespeare in Performance</a>, <script data-card-contents-for-ri="57385" type="text/json">{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="60394" rel="nofollow" href="https://www.academia.edu/Documents/in/John_Fletcher">John Fletcher</a><script data-card-contents-for-ri="60394" type="text/json">{"id":60394,"name":"John Fletcher","url":"https://www.academia.edu/Documents/in/John_Fletcher?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41983600]'), work: {"id":41983600,"title":"The Island Princess, by John Fletcher, RSC, The Gielgud Theatre, London (2002)","created_at":"2020-02-15T10:51:25.380-08:00","url":"https://www.academia.edu/41983600/The_Island_Princess_by_John_Fletcher_RSC_The_Gielgud_Theatre_London_2002_?f_ri=12173","dom_id":"work_41983600","summary":"Review of John Fletcher's The Island Princess, RSC, Gielgud Theatre London transfer, 2002, for Rogues and Vagabonds.","downloadable_attachments":[{"id":62108122,"asset_id":41983600,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true},{"id":60394,"name":"John Fletcher","url":"https://www.academia.edu/Documents/in/John_Fletcher?f_ri=12173","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_14920853" data-work_id="14920853" 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/14920853/_Behind_the_Arras_The_Prompter_s_Place_in_the_Shakespearean_Theatre_Theatre_Notebook_2001_55_110_18">‘Behind the Arras: The Prompter’s Place in the Shakespearean Theatre’, Theatre Notebook (2001), 55, 110-18</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">It has long been an open question as to where the early modern prompter sat—or, indeed, stood—in the early modern theatre. From his position, was he visible to the audience? Could he watch and hear the play? And could he be seen and heard... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14920853" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">It has long been an open question as to where the early modern prompter sat—or, indeed, stood—in the early modern theatre. From his position, was he visible to the audience? Could he watch and hear the play? And could he be seen and heard by the actors? This paper argues that the prompter was situated behind a curtain between tiring-room and stage; from here his commands and prompts could easily be heard; from here he was also able, when necessary, to peep out at the action.</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/14920853" 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="8d3a576e005b69b2deae4cf1ec21df61" rel="nofollow" data-download="{"attachment_id":38473942,"asset_id":14920853,"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/38473942/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="636790" href="https://bham.academia.edu/TiffanyStern">Tiffany Stern</a><script data-card-contents-for-user="636790" type="text/json">{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.jpg"}</script></span></span></li><li class="js-paper-rank-work_14920853 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="14920853"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 14920853, container: ".js-paper-rank-work_14920853", }); 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$(".js-view-count[data-work-id=14920853]").text(description); $(".js-view-count-work_14920853").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_14920853").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="14920853"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" rel="nofollow" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a>, <script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14920853]'), work: {"id":14920853,"title":"‘Behind the Arras: The Prompter’s Place in the Shakespearean Theatre’, Theatre Notebook (2001), 55, 110-18","created_at":"2015-08-14T06:37:36.804-07:00","url":"https://www.academia.edu/14920853/_Behind_the_Arras_The_Prompter_s_Place_in_the_Shakespearean_Theatre_Theatre_Notebook_2001_55_110_18?f_ri=12173","dom_id":"work_14920853","summary":"It has long been an open question as to where the early modern prompter sat—or, indeed, stood—in the early modern theatre. From his position, was he visible to the audience? Could he watch and hear the play? And could he be seen and heard by the actors? This paper argues that the prompter was situated behind a curtain between tiring-room and stage; from here his commands and prompts could easily be heard; from here he was also able, when necessary, to peep out at the action.","downloadable_attachments":[{"id":38473942,"asset_id":14920853,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":13817,"name":"Theatrical Space","url":"https://www.academia.edu/Documents/in/Theatrical_Space?f_ri=12173"},{"id":16795,"name":"London theatres and playhouses","url":"https://www.academia.edu/Documents/in/London_theatres_and_playhouses?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":18807,"name":"Early Modern London theatre","url":"https://www.academia.edu/Documents/in/Early_Modern_London_theatre?f_ri=12173"},{"id":19454,"name":"Early Modern theatre studies","url":"https://www.academia.edu/Documents/in/Early_Modern_theatre_studies?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":205885,"name":"Drama, Performance, History of Theatre","url":"https://www.academia.edu/Documents/in/Drama_Performance_History_of_Theatre?f_ri=12173"},{"id":302074,"name":"Drama and theatre studies","url":"https://www.academia.edu/Documents/in/Drama_and_theatre_studies-1?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24585814" data-work_id="24585814" 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/24585814/_Make_it_a_word_and_a_blow_the_duel_and_its_rhetoric_in_William_Shakespeare_s_Romeo_and_Juliet">“Make it a word and a blow”: the duel and its rhetoric in William Shakespeare’s Romeo and Juliet</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/24585814" 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="b0399ffe3db1289d75efd7f7f5930490" rel="nofollow" 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type="text/json">{"id":30072863,"first_name":"Ladan","last_name":"Niayesh","domain_name":"univ-paris7","page_name":"LadanNiayesh","display_name":"Ladan Niayesh","profile_url":"https://univ-paris7.academia.edu/LadanNiayesh?f_ri=12173","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_24585814 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24585814"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24585814, container: ".js-paper-rank-work_24585814", }); });</script></li><li class="js-percentile-work_24585814 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 = 24585814; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_24585814"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_24585814 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="24585814"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 24585814; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=24585814]").text(description); $(".js-view-count-work_24585814").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24585814").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="24585814"><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="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=12173","nofollow":true}</script><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=12173","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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24585814]'), work: {"id":24585814,"title":"“Make it a word and a blow”: the duel and its rhetoric in William Shakespeare’s Romeo and Juliet","created_at":"2016-04-20T03:00:57.375-07:00","url":"https://www.academia.edu/24585814/_Make_it_a_word_and_a_blow_the_duel_and_its_rhetoric_in_William_Shakespeare_s_Romeo_and_Juliet?f_ri=12173","dom_id":"work_24585814","summary":null,"downloadable_attachments":[{"id":44914800,"asset_id":24585814,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":30072863,"first_name":"Ladan","last_name":"Niayesh","domain_name":"univ-paris7","page_name":"LadanNiayesh","display_name":"Ladan Niayesh","profile_url":"https://univ-paris7.academia.edu/LadanNiayesh?f_ri=12173","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173","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_486469" data-work_id="486469" 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/486469/English_Verse_Forms">English Verse Forms</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 is an overview of the development of English verse from its beginnings to the end of the twentieth century. It discusses the origins and structure of the major traditional forms of ballads, blank verse, sonnets, odes, elegies... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_486469" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article is an overview of the development of English verse from its beginnings to the end of the twentieth century. It discusses the origins and structure of the major traditional forms of ballads, blank verse, sonnets, odes, elegies and modern free-verse. Examples referred to are taken from The Norton Anthology of Poetry 4th Edition (1996)</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/486469" 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="fe7a7dec3445d4a865f339e6ec92d76e" rel="nofollow" data-download="{"attachment_id":2218209,"asset_id":486469,"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/2218209/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="88951" href="https://independent.academia.edu/DawnLewcock">Dawn Lewcock</a><script data-card-contents-for-user="88951" type="text/json">{"id":88951,"first_name":"Dawn","last_name":"Lewcock","domain_name":"independent","page_name":"DawnLewcock","display_name":"Dawn Lewcock","profile_url":"https://independent.academia.edu/DawnLewcock?f_ri=12173","photo":"https://0.academia-photos.com/88951/60042/223743/s65_dawn.lewcock.jpg"}</script></span></span></li><li class="js-paper-rank-work_486469 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="486469"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 486469, container: ".js-paper-rank-work_486469", }); 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Part","created_at":"2010-07-07T10:12:20.989-07:00","url":"https://www.academia.edu/258159/Sarah_Siddonss_Performances_As_Hamlet_Breaching_the_Breeches_Part?f_ri=12173","dom_id":"work_258159","summary":null,"downloadable_attachments":[{"id":34344961,"asset_id":258159,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":213960,"first_name":"Celestine","last_name":"Woo","domain_name":"bard","page_name":"CelestineWoo","display_name":"Celestine Woo","profile_url":"https://bard.academia.edu/CelestineWoo?f_ri=12173","photo":"https://0.academia-photos.com/213960/2370246/2761487/s65_celestine.woo.jpg"}],"research_interests":[{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":42823,"name":"Theater History","url":"https://www.academia.edu/Documents/in/Theater_History?f_ri=12173","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_203594" data-work_id="203594" 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/203594/Conversing_with_the_Audience_in_the_Restoration_Theatre">Conversing with the Audience in the Restoration Theatre</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Conversing with the Audience in the Restoration Theatre. Summary This article argues that the Restoration theatre audience were partners in an ongoing conversation, using conversation in the way that Thompson suggests when writing of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_203594" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Conversing with the Audience in the Restoration Theatre. <br /> <br />Summary <br />This article argues that the Restoration theatre audience were partners in an ongoing conversation, using conversation in the way that Thompson suggests when writing of Wycherley’s plays. <br />He emphasises the importance of conversation at the time and says, <br /> <br />We need to understand Restoration concepts of discourse in their terms, not ours, for though we judge characters by their words, the criteria for what can or ought to be done with words are too often those of the twentieth century and not those of the seventeenth. <br /> <br />He points out that at this time conversation still had the meaning of ‘living amongst people’ or ‘mode of life’ and not its more specific modern sense of ‘talk’. <br /> <br /> This article explores this idea, and suggests that the dramatists at the time exploited varying styles of dialogue with other signifiers of meaning, particularly social connotations, and thus deliberately changed the aural and spatial dynamics of the total theatrical experience, making the audience as much a part of the performance as the action on stage, and causing the audience to react to, or perceive, the play in ways particular to the period 1660-c 1700. <br /> <br /> <br />Key words. Conversation. Wit. Repartee. Aside. Soliloquy. Perception. Confidant. Participant.</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/203594" 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="a9db0701a632ec6afe7bdb0a67e31115" rel="nofollow" data-download="{"attachment_id":1883988,"asset_id":203594,"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/1883988/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="88951" href="https://independent.academia.edu/DawnLewcock">Dawn Lewcock</a><script data-card-contents-for-user="88951" type="text/json">{"id":88951,"first_name":"Dawn","last_name":"Lewcock","domain_name":"independent","page_name":"DawnLewcock","display_name":"Dawn Lewcock","profile_url":"https://independent.academia.edu/DawnLewcock?f_ri=12173","photo":"https://0.academia-photos.com/88951/60042/223743/s65_dawn.lewcock.jpg"}</script></span></span></li><li class="js-paper-rank-work_203594 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="203594"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 203594, container: ".js-paper-rank-work_203594", }); 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$(".js-view-count[data-work-id=203594]").text(description); $(".js-view-count-work_203594").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_203594").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="203594"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="945" rel="nofollow" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="951" rel="nofollow" href="https://www.academia.edu/Documents/in/Humanities">Humanities</a><script data-card-contents-for-ri="951" type="text/json">{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=203594]'), work: {"id":203594,"title":"Conversing with the Audience in the Restoration Theatre","created_at":"2009-12-20T20:43:26.887-08:00","url":"https://www.academia.edu/203594/Conversing_with_the_Audience_in_the_Restoration_Theatre?f_ri=12173","dom_id":"work_203594","summary":"Conversing with the Audience in the Restoration Theatre.\r\n\r\nSummary\r\nThis article argues that the Restoration theatre audience were partners in an ongoing conversation, using conversation in the way that Thompson suggests when writing of Wycherley’s plays.\r\nHe emphasises the importance of conversation at the time and says, \r\n\r\nWe need to understand Restoration concepts of discourse in their terms, not ours, for though we judge characters by their words, the criteria for what can or ought to be done with words are too often those of the twentieth century and not those of the seventeenth. \r\n\r\nHe points out that at this time conversation still had the meaning of ‘living amongst people’ or ‘mode of life’ and not its more specific modern sense of ‘talk’. \r\n\r\n This article explores this idea, and suggests that the dramatists at the time exploited varying styles of dialogue with other signifiers of meaning, particularly social connotations, and thus deliberately changed the aural and spatial dynamics of the total theatrical experience, making the audience as much a part of the performance as the action on stage, and causing the audience to react to, or perceive, the play in ways particular to the period 1660-c 1700.\r\n\r\n\r\nKey words. Conversation. Wit. Repartee. Aside. Soliloquy. Perception. Confidant. Participant.","downloadable_attachments":[{"id":1883988,"asset_id":203594,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":88951,"first_name":"Dawn","last_name":"Lewcock","domain_name":"independent","page_name":"DawnLewcock","display_name":"Dawn Lewcock","profile_url":"https://independent.academia.edu/DawnLewcock?f_ri=12173","photo":"https://0.academia-photos.com/88951/60042/223743/s65_dawn.lewcock.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=12173","nofollow":true},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=12173","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173"},{"id":6526,"name":"Scenography","url":"https://www.academia.edu/Documents/in/Scenography?f_ri=12173"},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":13817,"name":"Theatrical Space","url":"https://www.academia.edu/Documents/in/Theatrical_Space?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13222634" data-work_id="13222634" 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/13222634/The_Disguised_Ruler_in_Shakespeare_and_His_Contemporaries_Aldershot_Ashgate_2012_reprinted_in_paperback_New_York_Routledge_2016_">The Disguised Ruler in Shakespeare and His Contemporaries (Aldershot: Ashgate, 2012; reprinted in paperback, New York: Routledge, 2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13222634" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The Malcontent and The Fawn, Middleton's The Phoenix, and Sharpham's The Fleer. Commonly dated to the arrival of James I, these plays are typically viewed as synchronic commentaries on the Jacobean regime. <br /> <br />Kevin A. Quarmby demonstrates that the disguised ruler motif actually evolved in the 1580s. It emerged from medieval folklore and balladry, Tudor Chronicle history and European tragicomedy. Familiar on the Elizabethan stage, these incognito rulers initially offered light-hearted, romantic entertainment, only to suffer a sinister transformation as England awaited its ageing queen's demise. The disguised royal had become a dangerously voyeuristic political entity by the time James assumed the throne. <br /> <br />Traditional critical perspectives also disregard contemporary theatrical competition. Market demands shaped the repertories. Rivalry among playing companies guaranteed the motif's ongoing vitality. The disguised ruler's presence in a play reassured audiences; it also facilitated a subversive exploration of contemporary social and political issues. Gradually, the disguised ruler's dramatic currency faded, but the figure remained vibrant as an object of parody until the playhouses closed in the 1640s.</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/13222634" 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="1a6c113bbdb4734b9960fb7a5fbe378d" rel="nofollow" data-download="{"attachment_id":84235051,"asset_id":13222634,"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/84235051/download_file?st=MTc0MDYzNjY5MCw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_13222634 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13222634"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13222634, container: ".js-paper-rank-work_13222634", }); });</script></li><li class="js-percentile-work_13222634 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 = 13222634; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_13222634"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_13222634 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="13222634"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13222634; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13222634]").text(description); $(".js-view-count-work_13222634").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13222634").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="13222634"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</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=12173","nofollow":true}</script><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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18456" rel="nofollow" href="https://www.academia.edu/Documents/in/Thomas_Middleton">Thomas Middleton</a><script data-card-contents-for-ri="18456" type="text/json">{"id":18456,"name":"Thomas Middleton","url":"https://www.academia.edu/Documents/in/Thomas_Middleton?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13222634]'), work: {"id":13222634,"title":"The Disguised Ruler in Shakespeare and His Contemporaries (Aldershot: Ashgate, 2012; reprinted in paperback, New York: Routledge, 2016)","created_at":"2015-06-23T12:56:31.457-07:00","url":"https://www.academia.edu/13222634/The_Disguised_Ruler_in_Shakespeare_and_His_Contemporaries_Aldershot_Ashgate_2012_reprinted_in_paperback_New_York_Routledge_2016_?f_ri=12173","dom_id":"work_13222634","summary":"In the early seventeenth century, the London stage often portrayed a ruler covertly spying on his subjects. Traditionally deemed 'Jacobean disguised ruler plays', these works include Shakespeare's Measure for Measure, Marston's The Malcontent and The Fawn, Middleton's The Phoenix, and Sharpham's The Fleer. Commonly dated to the arrival of James I, these plays are typically viewed as synchronic commentaries on the Jacobean regime. \r\n\r\nKevin A. Quarmby demonstrates that the disguised ruler motif actually evolved in the 1580s. It emerged from medieval folklore and balladry, Tudor Chronicle history and European tragicomedy. Familiar on the Elizabethan stage, these incognito rulers initially offered light-hearted, romantic entertainment, only to suffer a sinister transformation as England awaited its ageing queen's demise. The disguised royal had become a dangerously voyeuristic political entity by the time James assumed the throne. \r\n\r\nTraditional critical perspectives also disregard contemporary theatrical competition. Market demands shaped the repertories. Rivalry among playing companies guaranteed the motif's ongoing vitality. The disguised ruler's presence in a play reassured audiences; it also facilitated a subversive exploration of contemporary social and political issues. Gradually, the disguised ruler's dramatic currency faded, but the figure remained vibrant as an object of parody until the playhouses closed in the 1640s.","downloadable_attachments":[{"id":84235051,"asset_id":13222634,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173","nofollow":true},{"id":18456,"name":"Thomas Middleton","url":"https://www.academia.edu/Documents/in/Thomas_Middleton?f_ri=12173","nofollow":true},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=12173"},{"id":45297,"name":"Robin Hood","url":"https://www.academia.edu/Documents/in/Robin_Hood?f_ri=12173"},{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":191959,"name":"Disguise Plays","url":"https://www.academia.edu/Documents/in/Disguise_Plays?f_ri=12173"},{"id":205818,"name":"John Marston","url":"https://www.academia.edu/Documents/in/John_Marston?f_ri=12173"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=12173"},{"id":240914,"name":"King James I","url":"https://www.academia.edu/Documents/in/King_James_I?f_ri=12173"},{"id":810454,"name":"Shakespeare Henry v","url":"https://www.academia.edu/Documents/in/Shakespeare_Henry_v?f_ri=12173"},{"id":1543772,"name":"Análisis Shakespeare","url":"https://www.academia.edu/Documents/in/Analisis_Shakespeare?f_ri=12173"},{"id":1921936,"name":"King James VI/I","url":"https://www.academia.edu/Documents/in/King_James_VI_I?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20037374" data-work_id="20037374" 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/20037374/Shakespeares_Rome_a_study_in_Coriolanus">Shakespeare's Rome: a study in 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 paper intends to stablish connections between Plutarch's Ancient Rome and Shakespeare's Rome as seen in one particular play, Coriolanus. From then on, it shows what are the imaginaries associated to the theatrical representation of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20037374" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper intends to stablish connections between Plutarch's Ancient Rome and Shakespeare's Rome as seen in one particular play, Coriolanus. From then on, it shows what are the imaginaries associated to the theatrical representation 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/20037374" 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="de09633524ed9856cc7973aef2a13b47" rel="nofollow" data-download="{"attachment_id":40969926,"asset_id":20037374,"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/40969926/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="33864737" href="https://independent.academia.edu/danverdejo">Daniela Verdejo</a><script data-card-contents-for-user="33864737" type="text/json">{"id":33864737,"first_name":"Daniela","last_name":"Verdejo","domain_name":"independent","page_name":"danverdejo","display_name":"Daniela Verdejo","profile_url":"https://independent.academia.edu/danverdejo?f_ri=12173","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_20037374 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20037374"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20037374, container: ".js-paper-rank-work_20037374", }); 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$(".js-view-count[data-work-id=20037374]").text(description); $(".js-view-count-work_20037374").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20037374").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="20037374"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</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=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15865" rel="nofollow" href="https://www.academia.edu/Documents/in/Plutarch">Plutarch</a>, <script data-card-contents-for-ri="15865" type="text/json">{"id":15865,"name":"Plutarch","url":"https://www.academia.edu/Documents/in/Plutarch?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22591" rel="nofollow" href="https://www.academia.edu/Documents/in/Elizabethan_Literature">Elizabethan Literature</a><script data-card-contents-for-ri="22591" type="text/json">{"id":22591,"name":"Elizabethan Literature","url":"https://www.academia.edu/Documents/in/Elizabethan_Literature?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20037374]'), work: {"id":20037374,"title":"Shakespeare's Rome: a study in Coriolanus","created_at":"2016-01-05T07:09:28.702-08:00","url":"https://www.academia.edu/20037374/Shakespeares_Rome_a_study_in_Coriolanus?f_ri=12173","dom_id":"work_20037374","summary":"This paper intends to stablish connections between Plutarch's Ancient Rome and Shakespeare's Rome as seen in one particular play, Coriolanus. From then on, it shows what are the imaginaries associated to the theatrical representation of the play.","downloadable_attachments":[{"id":40969926,"asset_id":20037374,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33864737,"first_name":"Daniela","last_name":"Verdejo","domain_name":"independent","page_name":"danverdejo","display_name":"Daniela Verdejo","profile_url":"https://independent.academia.edu/danverdejo?f_ri=12173","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":15865,"name":"Plutarch","url":"https://www.academia.edu/Documents/in/Plutarch?f_ri=12173","nofollow":true},{"id":22591,"name":"Elizabethan Literature","url":"https://www.academia.edu/Documents/in/Elizabethan_Literature?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":69792,"name":"Ancient Rome","url":"https://www.academia.edu/Documents/in/Ancient_Rome?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35445834" data-work_id="35445834" 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/35445834/Y_entonces_lleg%C3%B3_Fortinbras_Variaciones_sobre_el_final_de_Hamlet">Y entonces llegó Fortinbras -Variaciones sobre el final de Hamlet</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El presente ensayo busca explorar las principales tradiciones interpretativas con las que se ha entendido el final de Hamlet, especialmente, el arribo de Fortinbras. ¿Debería consolarnos en alguna medida la llegada de Fortinbras, al que... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35445834" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El presente ensayo busca explorar las principales tradiciones <br />interpretativas con las que se ha entendido el final de Hamlet, especialmente, el arribo de Fortinbras. ¿Debería consolarnos en alguna medida la llegada de Fortinbras, al que Hamlet le otorga <br />su beneplácito con su “dying voice”? ¿Amortigua este fenómeno la tragicidad de la historia o por el contrario la potencia? ¿Podemos decir que “la casa está en orden”? ¿Se trata simplemente de la puesta en escena de aquel viejo supuesto/mecanismo por el cual Shakespeare, siempre restituye el orden al finalizar las tragedias? ¿Es acaso un futuro venturoso lo que aguarda a Dinamarca, ahora en proceso de ser absorbida bajo la égida del imperio Noruego? ¿O capaz el hecho de que el invasor extranjero, que acechaba desde el comienzo <br />la obra y por el cual -y contra el cual- las defensas eran preparadas febrilmente, finalmente termine quedándose con todo sin disparar un sólo tiro nos está mostrando una suerte de “historia con moraleja” respecto a lo que puede suceder cuando proliferan las luchas intestinas2? ¿Será que Hamlet y Fortinbras, trabajando en conjunto sin <br />saberlo, ayudaron a purgar a Dinamarca de sus males y venenos? ¿O capaz debamos entender más bien que Hamlet junior no ha hecho más que deshacer todo lo que su padre lograra, ayudando a entregar el reino llave en mano al histórico enemigo de su reino al asesinar a un gobernante que, si bien de indudable arribo ilegítimo, la obra nos da algunas pistas que, en una de esas, no estaba gobernando tan mal (otro dilema político clásico)?  Posiblemente, veremos, no se trate de elegir excluyendo, sino de ver cómo todas ellas conviven, y que Shakespeare, más que ser un “bajalínea”, era un gran presentador de problemáticas que le interesaban. Y como en un juego de roles, era capaz de dar voz y verdad a varias de esas posiciones.mostrar sus distancias, sus acentos y posicionamientos, sus consolaciones optimistas y sus enconadas diatribas pesimistas.</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/35445834" 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="57b18c715e057738405f4c00497d59f0" rel="nofollow" data-download="{"attachment_id":55307063,"asset_id":35445834,"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/55307063/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="4964212" href="https://independent.academia.edu/ArielGulluni">Ariel Gulluni</a><script data-card-contents-for-user="4964212" type="text/json">{"id":4964212,"first_name":"Ariel","last_name":"Gulluni","domain_name":"independent","page_name":"ArielGulluni","display_name":"Ariel Gulluni","profile_url":"https://independent.academia.edu/ArielGulluni?f_ri=12173","photo":"https://0.academia-photos.com/4964212/17208775/17342404/s65_ariel.gulluni.jpg"}</script></span></span></li><li class="js-paper-rank-work_35445834 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35445834"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35445834, container: ".js-paper-rank-work_35445834", }); 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$(".js-view-count[data-work-id=35445834]").text(description); $(".js-view-count-work_35445834").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35445834").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="35445834"><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5709" rel="nofollow" href="https://www.academia.edu/Documents/in/Politics">Politics</a>, <script data-card-contents-for-ri="5709" type="text/json">{"id":5709,"name":"Politics","url":"https://www.academia.edu/Documents/in/Politics?f_ri=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22547" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_and_Political_Philosophy">Social and Political Philosophy</a><script data-card-contents-for-ri="22547" type="text/json">{"id":22547,"name":"Social and Political Philosophy","url":"https://www.academia.edu/Documents/in/Social_and_Political_Philosophy?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35445834]'), work: {"id":35445834,"title":"Y entonces llegó Fortinbras -Variaciones sobre el final de Hamlet","created_at":"2017-12-16T10:47:09.861-08:00","url":"https://www.academia.edu/35445834/Y_entonces_lleg%C3%B3_Fortinbras_Variaciones_sobre_el_final_de_Hamlet?f_ri=12173","dom_id":"work_35445834","summary":"El presente ensayo busca explorar las principales tradiciones \ninterpretativas con las que se ha entendido el final de Hamlet, especialmente, el arribo de Fortinbras. ¿Debería consolarnos en alguna medida la llegada de Fortinbras, al que Hamlet le otorga \nsu beneplácito con su “dying voice”? ¿Amortigua este fenómeno la tragicidad de la historia o por el contrario la potencia? ¿Podemos decir que “la casa está en orden”? ¿Se trata simplemente de la puesta en escena de aquel viejo supuesto/mecanismo por el cual Shakespeare, siempre restituye el orden al finalizar las tragedias? ¿Es acaso un futuro venturoso lo que aguarda a Dinamarca, ahora en proceso de ser absorbida bajo la égida del imperio Noruego? ¿O capaz el hecho de que el invasor extranjero, que acechaba desde el comienzo \nla obra y por el cual -y contra el cual- las defensas eran preparadas febrilmente, finalmente termine quedándose con todo sin disparar un sólo tiro nos está mostrando una suerte de “historia con moraleja” respecto a lo que puede suceder cuando proliferan las luchas intestinas2? ¿Será que Hamlet y Fortinbras, trabajando en conjunto sin \nsaberlo, ayudaron a purgar a Dinamarca de sus males y venenos? ¿O capaz debamos entender más bien que Hamlet junior no ha hecho más que deshacer todo lo que su padre lograra, ayudando a entregar el reino llave en mano al histórico enemigo de su reino al asesinar a un gobernante que, si bien de indudable arribo ilegítimo, la obra nos da algunas pistas que, en una de esas, no estaba gobernando tan mal (otro dilema político clásico)? Posiblemente, veremos, no se trate de elegir excluyendo, sino de ver cómo todas ellas conviven, y que Shakespeare, más que ser un “bajalínea”, era un gran presentador de problemáticas que le interesaban. Y como en un juego de roles, era capaz de dar voz y verdad a varias de esas posiciones.mostrar sus distancias, sus acentos y posicionamientos, sus consolaciones optimistas y sus enconadas diatribas pesimistas. ","downloadable_attachments":[{"id":55307063,"asset_id":35445834,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4964212,"first_name":"Ariel","last_name":"Gulluni","domain_name":"independent","page_name":"ArielGulluni","display_name":"Ariel Gulluni","profile_url":"https://independent.academia.edu/ArielGulluni?f_ri=12173","photo":"https://0.academia-photos.com/4964212/17208775/17342404/s65_ariel.gulluni.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":5709,"name":"Politics","url":"https://www.academia.edu/Documents/in/Politics?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":22547,"name":"Social and Political Philosophy","url":"https://www.academia.edu/Documents/in/Social_and_Political_Philosophy?f_ri=12173","nofollow":true},{"id":180693,"name":"Shakespere's Hamlet","url":"https://www.academia.edu/Documents/in/Shakesperes_Hamlet?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_947136" data-work_id="947136" 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/947136/Hamlet_Masculinity_and_the_Nineteenth_Century_Nationalism">Hamlet, Masculinity and the Nineteenth-Century Nationalism</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Magda Romanska argues that with the rise of nationalism in late nineteenth-century Europe, the pattern of the patriarchal covenant in Hamlet paralleled the process of nation-building. Hamlet’s filial loyalty toward his Father’s ghost was... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_947136" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Magda Romanska argues that with the rise of nationalism in late nineteenth-century Europe, the pattern of the patriarchal covenant in Hamlet paralleled the process of nation-building. Hamlet’s filial loyalty toward his Father’s ghost was perceived as a symbol of <br />patriotic loyalty towards one’s nation/Father-land. Conversely, as a “gift of death” that cements the patriarchal contract, Ophelia became a model of the nineteenth-century feminine ideal." - Editor, Ghost Stories and Alternative Histories, 2007</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/947136" 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="c20875bfddf67154351d6397aeebbbc9" rel="nofollow" data-download="{"attachment_id":32949248,"asset_id":947136,"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/32949248/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="784461" href="https://emerson.academia.edu/MagdaRomanska">Magda Romanska</a><script data-card-contents-for-user="784461" type="text/json">{"id":784461,"first_name":"Magda","last_name":"Romanska","domain_name":"emerson","page_name":"MagdaRomanska","display_name":"Magda Romanska","profile_url":"https://emerson.academia.edu/MagdaRomanska?f_ri=12173","photo":"https://0.academia-photos.com/784461/265911/31272532/s65_magda.romanska.jpg"}</script></span></span></li><li class="js-paper-rank-work_947136 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="947136"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 947136, container: ".js-paper-rank-work_947136", }); 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$(".js-view-count[data-work-id=947136]").text(description); $(".js-view-count-work_947136").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_947136").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="947136"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">31</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=12173","nofollow":true}</script><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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" rel="nofollow" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a><script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=947136]'), work: {"id":947136,"title":"Hamlet, Masculinity and the Nineteenth-Century Nationalism","created_at":"2011-09-24T16:04:21.771-07:00","url":"https://www.academia.edu/947136/Hamlet_Masculinity_and_the_Nineteenth_Century_Nationalism?f_ri=12173","dom_id":"work_947136","summary":"\"Magda Romanska argues that with the rise of nationalism in late nineteenth-century Europe, the pattern of the patriarchal covenant in Hamlet paralleled the process of nation-building. Hamlet’s filial loyalty toward his Father’s ghost was perceived as a symbol of\r\npatriotic loyalty towards one’s nation/Father-land. Conversely, as a “gift of death” that cements the patriarchal contract, Ophelia became a model of the nineteenth-century feminine ideal.\" - Editor, Ghost Stories and Alternative Histories, 2007","downloadable_attachments":[{"id":32949248,"asset_id":947136,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":784461,"first_name":"Magda","last_name":"Romanska","domain_name":"emerson","page_name":"MagdaRomanska","display_name":"Magda Romanska","profile_url":"https://emerson.academia.edu/MagdaRomanska?f_ri=12173","photo":"https://0.academia-photos.com/784461/265911/31272532/s65_magda.romanska.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=12173","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","nofollow":true},{"id":2521,"name":"Dramatic Literature","url":"https://www.academia.edu/Documents/in/Dramatic_Literature?f_ri=12173"},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173"},{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=12173"},{"id":5878,"name":"Nationalism","url":"https://www.academia.edu/Documents/in/Nationalism?f_ri=12173"},{"id":6222,"name":"Drama","url":"https://www.academia.edu/Documents/in/Drama?f_ri=12173"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender?f_ri=12173"},{"id":7067,"name":"Cultural History Of Ghosts","url":"https://www.academia.edu/Documents/in/Cultural_History_Of_Ghosts?f_ri=12173"},{"id":9043,"name":"Performance","url":"https://www.academia.edu/Documents/in/Performance?f_ri=12173"},{"id":10422,"name":"National Identity","url":"https://www.academia.edu/Documents/in/National_Identity?f_ri=12173"},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":13965,"name":"18th \u0026 19th Centuries","url":"https://www.academia.edu/Documents/in/18th_and_19th_Centuries?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":23519,"name":"19th-century German philosophy","url":"https://www.academia.edu/Documents/in/19th-century_German_philosophy?f_ri=12173"},{"id":23690,"name":"Shakespeare's Political Thought","url":"https://www.academia.edu/Documents/in/Shakespeares_Political_Thought?f_ri=12173"},{"id":29102,"name":"Theatre","url":"https://www.academia.edu/Documents/in/Theatre?f_ri=12173"},{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=12173"},{"id":73584,"name":"Dramaturgia","url":"https://www.academia.edu/Documents/in/Dramaturgia?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":105521,"name":"Hamlet Studies; Poetry; Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Hamlet_Studies_Poetry_Interdisciplinary_Studies?f_ri=12173"},{"id":180693,"name":"Shakespere's Hamlet","url":"https://www.academia.edu/Documents/in/Shakesperes_Hamlet?f_ri=12173"},{"id":199649,"name":"Shakespeare and gender","url":"https://www.academia.edu/Documents/in/Shakespeare_and_gender?f_ri=12173"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=12173"},{"id":289016,"name":"Death and Suicide in Hamlet","url":"https://www.academia.edu/Documents/in/Death_and_Suicide_in_Hamlet?f_ri=12173"},{"id":427480,"name":"Dramatic Theory and Criticism","url":"https://www.academia.edu/Documents/in/Dramatic_Theory_and_Criticism?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31025243" data-work_id="31025243" 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/31025243/_Caesar_as_Comic_Antichrist_Shakespeares_Julius_Caesar_and_the_Medieval_English_Stage_Tyrant_Comparative_Drama_50_2016_1_31">"Caesar as Comic Antichrist: Shakespeare's Julius Caesar and the Medieval English Stage Tyrant," Comparative Drama 50 (2016):1-31.</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 representation of Julius Caesar differs notably from those of his contemporaries, as well as from the picture of Caesar that emerges from his most obvious classical source, Plutarch’s Lives. Plutarch’s Caesar is shrewd,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31025243" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Shakespeare’s representation of Julius Caesar differs notably from those of his contemporaries, as well as from the picture of Caesar that emerges from his most obvious classical source, Plutarch’s Lives. Plutarch’s Caesar is shrewd, resilient, and relatively dignified; Shakespeare’s, in contrast, is physically weak and surprisingly obtuse, prey to laughable grandiosity. Other early modern authors such as Marc-Antoine Muret and William Alexander model their versions of Caesar on Seneca’s Hercules as well as Plutarch’s biography. Shakespeare, however, seems to draw inspiration for his departure from Plutarch from the conventional depiction of Julius Caesar’s successor Augustus, as well as other tyrants such as Herod the Great, in medieval English mystery plays. Over the course of these pageants depicting Christian salvation history, protagonists such as Moses and Isaac set up a typology of Christ. Meanwhile, however, secular antagonists such as the Pharaoh of Egypt establish a contrary pattern: a typology of Antichrist. Like Lucifer, as well as Antichrist himself, “Caesar” in the mystery plays is typecast as a blustering, comically inadequate parody of Godhead. Vaunting speeches proclaiming his supreme worldly might echo the language of God the Father. These boasts are then belied, however, by his inability to forestall the coming of Christ, whom he fears as a potential political rival. Mystery plays, naturally enough, tend to focus on Augustus Caesar, emperor of Rome at the time of Christ’s Nativity. Shakespeare’s Julius Caesar, however, stands in the same medieval tradition. As a type of Antichrist, he is a foil for the future Christ. His failure sets the stage for a different and paradoxically more powerful Messiah.</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/31025243" 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="da787ed0241e81a8ab1c6db6ab93de21" rel="nofollow" data-download="{"attachment_id":51456360,"asset_id":31025243,"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/51456360/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="58425538" href="https://durham.academia.edu/PatrickGray">Patrick Gray</a><script data-card-contents-for-user="58425538" type="text/json">{"id":58425538,"first_name":"Patrick","last_name":"Gray","domain_name":"durham","page_name":"PatrickGray","display_name":"Patrick Gray","profile_url":"https://durham.academia.edu/PatrickGray?f_ri=12173","photo":"https://0.academia-photos.com/58425538/15453637/16073137/s65_patrick.gray.jpg"}</script></span></span></li><li class="js-paper-rank-work_31025243 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31025243"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31025243, container: ".js-paper-rank-work_31025243", }); 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Plutarch’s Caesar is shrewd, resilient, and relatively dignified; Shakespeare’s, in contrast, is physically weak and surprisingly obtuse, prey to laughable grandiosity. Other early modern authors such as Marc-Antoine Muret and William Alexander model their versions of Caesar on Seneca’s Hercules as well as Plutarch’s biography. Shakespeare, however, seems to draw inspiration for his departure from Plutarch from the conventional depiction of Julius Caesar’s successor Augustus, as well as other tyrants such as Herod the Great, in medieval English mystery plays. Over the course of these pageants depicting Christian salvation history, protagonists such as Moses and Isaac set up a typology of Christ. Meanwhile, however, secular antagonists such as the Pharaoh of Egypt establish a contrary pattern: a typology of Antichrist. Like Lucifer, as well as Antichrist himself, “Caesar” in the mystery plays is typecast as a blustering, comically inadequate parody of Godhead. Vaunting speeches proclaiming his supreme worldly might echo the language of God the Father. These boasts are then belied, however, by his inability to forestall the coming of Christ, whom he fears as a potential political rival. Mystery plays, naturally enough, tend to focus on Augustus Caesar, emperor of Rome at the time of Christ’s Nativity. Shakespeare’s Julius Caesar, however, stands in the same medieval tradition. As a type of Antichrist, he is a foil for the future Christ. His failure sets the stage for a different and paradoxically more powerful Messiah.","downloadable_attachments":[{"id":51456360,"asset_id":31025243,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":58425538,"first_name":"Patrick","last_name":"Gray","domain_name":"durham","page_name":"PatrickGray","display_name":"Patrick Gray","profile_url":"https://durham.academia.edu/PatrickGray?f_ri=12173","photo":"https://0.academia-photos.com/58425538/15453637/16073137/s65_patrick.gray.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":8528,"name":"Medieval Drama","url":"https://www.academia.edu/Documents/in/Medieval_Drama?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":15750,"name":"Medieval Cycle Drama","url":"https://www.academia.edu/Documents/in/Medieval_Cycle_Drama?f_ri=12173","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=12173"},{"id":22599,"name":"Classical Reception Studies","url":"https://www.academia.edu/Documents/in/Classical_Reception_Studies?f_ri=12173"},{"id":22846,"name":"Early English Drama","url":"https://www.academia.edu/Documents/in/Early_English_Drama?f_ri=12173"},{"id":39073,"name":"Reception of Antiquity","url":"https://www.academia.edu/Documents/in/Reception_of_Antiquity?f_ri=12173"},{"id":104311,"name":"Julius Caesar","url":"https://www.academia.edu/Documents/in/Julius_Caesar?f_ri=12173"},{"id":168284,"name":"Mystery Plays","url":"https://www.academia.edu/Documents/in/Mystery_Plays?f_ri=12173"},{"id":253274,"name":"Classical reception","url":"https://www.academia.edu/Documents/in/Classical_reception?f_ri=12173"},{"id":302386,"name":"Passion Plays","url":"https://www.academia.edu/Documents/in/Passion_Plays?f_ri=12173"},{"id":650412,"name":"Julius Caesar as god","url":"https://www.academia.edu/Documents/in/Julius_Caesar_as_god?f_ri=12173"},{"id":1034941,"name":"Reception of Classics In English Literature","url":"https://www.academia.edu/Documents/in/Reception_of_Classics_In_English_Literature?f_ri=12173"},{"id":1223637,"name":"Early Modern English Literature and Drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_Literature_and_Drama?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40551268" data-work_id="40551268" 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/40551268/La_estructura_de_la_obra_Hamlet_y_el_personaje_del_Espectro_como_eje_articulador_y_movilizador_de_la_acci%C3%B3n">La estructura de la obra Hamlet y el personaje del Espectro como eje articulador y movilizador de la acción</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Este estudio surge a raíz de la puesta en escena de una de las últimas versiones de Hamlet exhibidas en Buenos Aires, en que el director presentó al fantasma del Rey Hamlet suspendido en lo alto de unos rieles, con una actuación en... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40551268" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Este estudio surge a raíz de la puesta en escena de una de las últimas versiones de Hamlet exhibidas en Buenos Aires, en que el director presentó al fantasma del Rey Hamlet suspendido en lo alto de unos rieles, con una actuación en extremo estilizada y una expresión vocal propia de otros géneros teatrales que le quitaron profundidad al personaje del Espectro, que es quien provoca en Hamlet la tan contemporánea duda del "Ser o no ser". Las risas de la audiencia al ver al actor simulando ser un fantasma, evidenciaron el desacierto de la elección. Es decir, el hecho de mostrar de forma inverosímil y cómica las escenas que dan origen a la peripecia del protagonista, debilitaron la puesta en escena completa, haciendo surgir la pregunta acerca de si el montaje fue concebido como una tragedia realmente. Si atendemos a las referencias bibliográficas, cinematográficas y teóricas de la obra Hamlet, el denominador común y fuerza temática más significativa en todas ellas, es la venganza que debe emprender el príncipe para restituir el honor de su padre, el Rey Hamlet. Asimismo, se debe entender que el factor desequilibrante del orden inicial, es la aparición de La Sombra o El Espectro, puesto que es quien induce a Hamlet a la venganza. Lo fascinante del texto dramático Hamlet está en que se estructura (luego del acontecimiento que precede) en las formas confusas que pueden asumir los valores que dan cuenta de las relaciones de poder en una familia (que es la que gobierna Dinamarca), como lo son, el amor de pareja y el amor filial, la lealtad y la sinceridad; valores que son trastocados por la primacía de inclinaciones y deseos egoístas, y por la futilidad de las acciones resultantes. Esta futilidad pretende dejar la impresión global de que, en definitiva, los valores ideales en que dichas acciones se basan, son aparentes y su realización es fallida.</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/40551268" 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="cca4e7b08b0df75319821f9c0a956dc2" rel="nofollow" data-download="{"attachment_id":60827892,"asset_id":40551268,"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/60827892/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="27756995" href="https://independent.academia.edu/VallejosValentina">Valentina Vallejos</a><script data-card-contents-for-user="27756995" type="text/json">{"id":27756995,"first_name":"Valentina","last_name":"Vallejos","domain_name":"independent","page_name":"VallejosValentina","display_name":"Valentina Vallejos","profile_url":"https://independent.academia.edu/VallejosValentina?f_ri=12173","photo":"https://0.academia-photos.com/27756995/10275418/29866551/s65_valentina.vallejos.jpg"}</script></span></span></li><li class="js-paper-rank-work_40551268 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40551268"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40551268, container: ".js-paper-rank-work_40551268", }); 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$(".js-view-count[data-work-id=40551268]").text(description); $(".js-view-count-work_40551268").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40551268").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="40551268"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</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=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="56582" rel="nofollow" href="https://www.academia.edu/Documents/in/Teaching_Shakespeare">Teaching Shakespeare</a>, <script data-card-contents-for-ri="56582" type="text/json">{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="57385" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_in_Performance">Shakespeare in Performance</a><script data-card-contents-for-ri="57385" type="text/json">{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40551268]'), work: {"id":40551268,"title":"La estructura de la obra Hamlet y el personaje del Espectro como eje articulador y movilizador de la acción","created_at":"2019-10-07T15:16:17.355-07:00","url":"https://www.academia.edu/40551268/La_estructura_de_la_obra_Hamlet_y_el_personaje_del_Espectro_como_eje_articulador_y_movilizador_de_la_acci%C3%B3n?f_ri=12173","dom_id":"work_40551268","summary":"Este estudio surge a raíz de la puesta en escena de una de las últimas versiones de Hamlet exhibidas en Buenos Aires, en que el director presentó al fantasma del Rey Hamlet suspendido en lo alto de unos rieles, con una actuación en extremo estilizada y una expresión vocal propia de otros géneros teatrales que le quitaron profundidad al personaje del Espectro, que es quien provoca en Hamlet la tan contemporánea duda del \"Ser o no ser\". Las risas de la audiencia al ver al actor simulando ser un fantasma, evidenciaron el desacierto de la elección. Es decir, el hecho de mostrar de forma inverosímil y cómica las escenas que dan origen a la peripecia del protagonista, debilitaron la puesta en escena completa, haciendo surgir la pregunta acerca de si el montaje fue concebido como una tragedia realmente. Si atendemos a las referencias bibliográficas, cinematográficas y teóricas de la obra Hamlet, el denominador común y fuerza temática más significativa en todas ellas, es la venganza que debe emprender el príncipe para restituir el honor de su padre, el Rey Hamlet. Asimismo, se debe entender que el factor desequilibrante del orden inicial, es la aparición de La Sombra o El Espectro, puesto que es quien induce a Hamlet a la venganza. Lo fascinante del texto dramático Hamlet está en que se estructura (luego del acontecimiento que precede) en las formas confusas que pueden asumir los valores que dan cuenta de las relaciones de poder en una familia (que es la que gobierna Dinamarca), como lo son, el amor de pareja y el amor filial, la lealtad y la sinceridad; valores que son trastocados por la primacía de inclinaciones y deseos egoístas, y por la futilidad de las acciones resultantes. Esta futilidad pretende dejar la impresión global de que, en definitiva, los valores ideales en que dichas acciones se basan, son aparentes y su realización es fallida. ","downloadable_attachments":[{"id":60827892,"asset_id":40551268,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27756995,"first_name":"Valentina","last_name":"Vallejos","domain_name":"independent","page_name":"VallejosValentina","display_name":"Valentina Vallejos","profile_url":"https://independent.academia.edu/VallejosValentina?f_ri=12173","photo":"https://0.academia-photos.com/27756995/10275418/29866551/s65_valentina.vallejos.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173","nofollow":true},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=12173"},{"id":73584,"name":"Dramaturgia","url":"https://www.academia.edu/Documents/in/Dramaturgia?f_ri=12173"},{"id":180693,"name":"Shakespere's Hamlet","url":"https://www.academia.edu/Documents/in/Shakesperes_Hamlet?f_ri=12173"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=12173"},{"id":1248957,"name":"Hamlet a Man Unfit to Be a Kind?","url":"https://www.academia.edu/Documents/in/Hamlet_a_Man_Unfit_to_Be_a_Kind?f_ri=12173"},{"id":1248958,"name":"Hamlet King","url":"https://www.academia.edu/Documents/in/Hamlet_King?f_ri=12173"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=12173"},{"id":1543772,"name":"Análisis Shakespeare","url":"https://www.academia.edu/Documents/in/Analisis_Shakespeare?f_ri=12173"},{"id":1826520,"name":"Dramaturgias","url":"https://www.academia.edu/Documents/in/Dramaturgias?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39150890" data-work_id="39150890" 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/39150890/Review_of_Ophelia_directed_by_Claire_McCarthy">Review of Ophelia, directed by Claire McCarthy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Labor in Contemporary Shakespeare Performance. Ed. Amy Borsuk, Alessandro Simari, and Martin Young. Special issue of Shakespeare Bulletin 38.1 (2020): 160-64. 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/39150890" 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="22d3d05db090af6c59a4a7669a136872" rel="nofollow" data-download="{"attachment_id":66209313,"asset_id":39150890,"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/66209313/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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=12173","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}</script></span></span></li><li class="js-paper-rank-work_39150890 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39150890"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39150890, container: ".js-paper-rank-work_39150890", }); 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$(".js-view-count[data-work-id=39150890]").text(description); $(".js-view-count-work_39150890").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39150890").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="39150890"><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="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=12173","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=12173","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=12173","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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39150890]'), work: {"id":39150890,"title":"Review of Ophelia, directed by Claire McCarthy","created_at":"2019-05-16T08:49:35.298-07:00","url":"https://www.academia.edu/39150890/Review_of_Ophelia_directed_by_Claire_McCarthy?f_ri=12173","dom_id":"work_39150890","summary":"Labor in Contemporary Shakespeare Performance. Ed. Amy Borsuk, Alessandro Simari, and Martin Young. Special issue of Shakespeare Bulletin 38.1 (2020): 160-64. Print.","downloadable_attachments":[{"id":66209313,"asset_id":39150890,"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=12173","photo":"https://0.academia-photos.com/28917127/8899650/166135131/s65_tom.ue_frhists.png"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":5677,"name":"Adaptation","url":"https://www.academia.edu/Documents/in/Adaptation?f_ri=12173","nofollow":true},{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=12173","nofollow":true},{"id":12003,"name":"Shakespeare and film","url":"https://www.academia.edu/Documents/in/Shakespeare_and_film?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":22419,"name":"Adaptation (Literature)","url":"https://www.academia.edu/Documents/in/Adaptation_Literature_?f_ri=12173"},{"id":22763,"name":"Adaptation (Film Studies)","url":"https://www.academia.edu/Documents/in/Adaptation_Film_Studies_?f_ri=12173"},{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":62582,"name":"Tragedy","url":"https://www.academia.edu/Documents/in/Tragedy?f_ri=12173"},{"id":66122,"name":"Shakespeare adaptation","url":"https://www.academia.edu/Documents/in/Shakespeare_adaptation?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":105521,"name":"Hamlet Studies; Poetry; Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Hamlet_Studies_Poetry_Interdisciplinary_Studies?f_ri=12173"},{"id":128259,"name":"Romance","url":"https://www.academia.edu/Documents/in/Romance?f_ri=12173"},{"id":180693,"name":"Shakespere's Hamlet","url":"https://www.academia.edu/Documents/in/Shakesperes_Hamlet?f_ri=12173"},{"id":199720,"name":"Adaptation and Appropriation Theory","url":"https://www.academia.edu/Documents/in/Adaptation_and_Appropriation_Theory?f_ri=12173"},{"id":222745,"name":"Shakespeare Studies","url":"https://www.academia.edu/Documents/in/Shakespeare_Studies?f_ri=12173"},{"id":1263380,"name":"Shakespearean Tragedy","url":"https://www.academia.edu/Documents/in/Shakespearean_Tragedy?f_ri=12173"},{"id":1322195,"name":"Shakespearean literature","url":"https://www.academia.edu/Documents/in/Shakespearean_literature?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43418425" data-work_id="43418425" 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/43418425/Book_Review_Commercial_Shakespeares_Globe_A_Theatrical_Experiment_by_Christie_Carson_and_Farah_Karim_Cooper_Cambridge_University_Press_Rogues_and_Vagabonds_2008">Book Review (Commercial). "Shakespeare's Globe: A Theatrical Experiment, by Christie Carson and Farah Karim-Cooper, Cambridge University Press," Rogues and Vagabonds, 2008</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 Globe: A Theatrical Experiment will appeal to all who have enjoyed performances at the Globe and who wish to understand more fully the way the theatre approaches its plays. It will, of course, also appeal to an academic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43418425" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Shakespeare's Globe: A Theatrical Experiment will appeal to all who have enjoyed performances at the Globe and who wish to understand more fully the way the theatre approaches its plays. It will, of course, also appeal to an academic audience, but this is certainly no cold, scholarly text. Sumptuous colour photographs of actors in period costume adorn its pages, reinvigorating memories of performances past. After reading this wonderful book, the true extent of the dedication and commitment of those who first saw, and continue to see, the potential of this Bankside resource comes shining through. A fitting tribute and one which should grace any theatre-lover's bookshelves.</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/43418425" 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="e423d83a94d1639568a204de516b684f" rel="nofollow" data-download="{"attachment_id":63719726,"asset_id":43418425,"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/63719726/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="7448708" href="https://css.academia.edu/KevinQuarmby">Kevin A Quarmby</a><script data-card-contents-for-user="7448708" type="text/json">{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}</script></span></span></li><li class="js-paper-rank-work_43418425 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43418425"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43418425, container: ".js-paper-rank-work_43418425", }); 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$(".js-view-count[data-work-id=43418425]").text(description); $(".js-view-count-work_43418425").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43418425").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="43418425"><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=12173","nofollow":true}</script><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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="56582" rel="nofollow" href="https://www.academia.edu/Documents/in/Teaching_Shakespeare">Teaching Shakespeare</a><script data-card-contents-for-ri="56582" type="text/json">{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43418425]'), work: {"id":43418425,"title":"Book Review (Commercial). \"Shakespeare's Globe: A Theatrical Experiment, by Christie Carson and Farah Karim-Cooper, Cambridge University Press,\" Rogues and Vagabonds, 2008","created_at":"2020-06-23T11:07:52.067-07:00","url":"https://www.academia.edu/43418425/Book_Review_Commercial_Shakespeares_Globe_A_Theatrical_Experiment_by_Christie_Carson_and_Farah_Karim_Cooper_Cambridge_University_Press_Rogues_and_Vagabonds_2008?f_ri=12173","dom_id":"work_43418425","summary":"Shakespeare's Globe: A Theatrical Experiment will appeal to all who have enjoyed performances at the Globe and who wish to understand more fully the way the theatre approaches its plays. It will, of course, also appeal to an academic audience, but this is certainly no cold, scholarly text. Sumptuous colour photographs of actors in period costume adorn its pages, reinvigorating memories of performances past. After reading this wonderful book, the true extent of the dedication and commitment of those who first saw, and continue to see, the potential of this Bankside resource comes shining through. A fitting tribute and one which should grace any theatre-lover's bookshelves.","downloadable_attachments":[{"id":63719726,"asset_id":43418425,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7448708,"first_name":"Kevin","last_name":"Quarmby","domain_name":"css","page_name":"KevinQuarmby","display_name":"Kevin A Quarmby","profile_url":"https://css.academia.edu/KevinQuarmby?f_ri=12173","photo":"https://0.academia-photos.com/7448708/2723536/35613359/s65_kevin.quarmby.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173","nofollow":true},{"id":56582,"name":"Teaching Shakespeare","url":"https://www.academia.edu/Documents/in/Teaching_Shakespeare?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12835121" data-work_id="12835121" 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/12835121/_Hamlet_the_Dumb_Show_Shakespeare_Up_Close_Reading_Early_Modern_Texts_ed_Russ_McDonald_Nicholas_Nace_and_Travis_Williams_for_Arden_Shakespeare_London_Methuen_2012_">‘Hamlet: the Dumb Show’, Shakespeare Up Close: Reading Early Modern Texts ed. Russ McDonald, Nicholas Nace and Travis Williams, for Arden Shakespeare (London: Methuen, 2012)</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 same story – of the murder of a king by poison – is presented three times in Hamlet: as the Ghost’s single-person blank verse narrative in 1.5.59-79; as the players’ dumb show between 3.2.137 and 3.2.138; and as the players’ rhymed... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12835121" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The same story – of the murder of a king by poison – is presented three times in Hamlet: as the Ghost’s single-person blank verse narrative in 1.5.59-79; as the players’ dumb show between 3.2.137 and 3.2.138; and as the players’ rhymed playlet in 3.2.157-262.  Of these, the dumb show is seemingly the most unnecessary, as it presents in pantomime what will immediately be narrated in dialogue as The Murder of Gonzago, and enacts a wordless version of the tale already told by the Ghost in Act 1. The first half of this essay analyses, in performance terms, what the dumb show contributes to Hamlet, and why it is there; the second half looks at the words of the dumb show as found in two printed texts of Hamlet, Quarto 2 (Q2, 1604), and Folio (F, 1623) (the earliest Hamlet text, Quarto 1 [1603], seems to recall performance rather than dictate it, so its stage-directions are unlikely to be authorial). Since the text for the dumb show has been altered and, this essay will argue, authorially revised between Q2 and F, consideration will be given what the dumb show adds, textually, to a reading of Hamlet.</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/12835121" 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="999a2e44c6c105fd6f3ed9decda539b0" rel="nofollow" data-download="{"attachment_id":37845576,"asset_id":12835121,"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/37845576/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="636790" href="https://bham.academia.edu/TiffanyStern">Tiffany Stern</a><script data-card-contents-for-user="636790" type="text/json">{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.jpg"}</script></span></span></li><li class="js-paper-rank-work_12835121 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12835121"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12835121, container: ".js-paper-rank-work_12835121", }); 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Russ McDonald, Nicholas Nace and Travis Williams, for Arden Shakespeare (London: Methuen, 2012)","created_at":"2015-06-06T14:43:12.457-07:00","url":"https://www.academia.edu/12835121/_Hamlet_the_Dumb_Show_Shakespeare_Up_Close_Reading_Early_Modern_Texts_ed_Russ_McDonald_Nicholas_Nace_and_Travis_Williams_for_Arden_Shakespeare_London_Methuen_2012_?f_ri=12173","dom_id":"work_12835121","summary":"The same story – of the murder of a king by poison – is presented three times in Hamlet: as the Ghost’s single-person blank verse narrative in 1.5.59-79; as the players’ dumb show between 3.2.137 and 3.2.138; and as the players’ rhymed playlet in 3.2.157-262. Of these, the dumb show is seemingly the most unnecessary, as it presents in pantomime what will immediately be narrated in dialogue as The Murder of Gonzago, and enacts a wordless version of the tale already told by the Ghost in Act 1. The first half of this essay analyses, in performance terms, what the dumb show contributes to Hamlet, and why it is there; the second half looks at the words of the dumb show as found in two printed texts of Hamlet, Quarto 2 (Q2, 1604), and Folio (F, 1623) (the earliest Hamlet text, Quarto 1 [1603], seems to recall performance rather than dictate it, so its stage-directions are unlikely to be authorial). Since the text for the dumb show has been altered and, this essay will argue, authorially revised between Q2 and F, consideration will be given what the dumb show adds, textually, to a reading of Hamlet.","downloadable_attachments":[{"id":37845576,"asset_id":12835121,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":15765,"name":"Early Modern Drama: Text and Performance","url":"https://www.academia.edu/Documents/in/Early_Modern_Drama_Text_and_Performance?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=12173"},{"id":57381,"name":"Hamlet","url":"https://www.academia.edu/Documents/in/Hamlet?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":57827,"name":"Paratexts","url":"https://www.academia.edu/Documents/in/Paratexts?f_ri=12173"},{"id":302074,"name":"Drama and theatre studies","url":"https://www.academia.edu/Documents/in/Drama_and_theatre_studies-1?f_ri=12173"},{"id":665376,"name":"Stage Directions","url":"https://www.academia.edu/Documents/in/Stage_Directions?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33292737" data-work_id="33292737" 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/33292737/Feminists_frequently_explore_the_idea_that_women_in_literature_are_presented_as_cute_but_essentially_helpless_To_what_extent_does_William_Shakespeares_Richard_III_subvert_this_description">Feminists frequently explore the idea that women in literature are presented as 'cute but essentially helpless.' To what extent does William Shakespeare's Richard III subvert this description?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">English Literature A-Level piece on feminism and female characters in Shakespeare's Richard III.</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/33292737" 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="550e9ceb91ca20945e192cadf16209c9" rel="nofollow" data-download="{"attachment_id":53360069,"asset_id":33292737,"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/53360069/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="26159073" href="https://independent.academia.edu/AlishaRogerson">Alisha Rogerson</a><script data-card-contents-for-user="26159073" type="text/json">{"id":26159073,"first_name":"Alisha","last_name":"Rogerson","domain_name":"independent","page_name":"AlishaRogerson","display_name":"Alisha Rogerson","profile_url":"https://independent.academia.edu/AlishaRogerson?f_ri=12173","photo":"https://0.academia-photos.com/26159073/15254220/18759988/s65_alisha.rogerson.jpg"}</script></span></span></li><li class="js-paper-rank-work_33292737 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33292737"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33292737, container: ".js-paper-rank-work_33292737", }); 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To what extent does William Shakespeare's Richard III subvert this description?","created_at":"2017-06-01T12:28:10.897-07:00","url":"https://www.academia.edu/33292737/Feminists_frequently_explore_the_idea_that_women_in_literature_are_presented_as_cute_but_essentially_helpless_To_what_extent_does_William_Shakespeares_Richard_III_subvert_this_description?f_ri=12173","dom_id":"work_33292737","summary":"English Literature A-Level piece on feminism and female characters in Shakespeare's Richard III.","downloadable_attachments":[{"id":53360069,"asset_id":33292737,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26159073,"first_name":"Alisha","last_name":"Rogerson","domain_name":"independent","page_name":"AlishaRogerson","display_name":"Alisha Rogerson","profile_url":"https://independent.academia.edu/AlishaRogerson?f_ri=12173","photo":"https://0.academia-photos.com/26159073/15254220/18759988/s65_alisha.rogerson.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=12173","nofollow":true},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=12173","nofollow":true},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=12173","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173"},{"id":5910,"name":"Stereotypes","url":"https://www.academia.edu/Documents/in/Stereotypes?f_ri=12173"},{"id":6245,"name":"Stereotypes and Prejudice","url":"https://www.academia.edu/Documents/in/Stereotypes_and_Prejudice?f_ri=12173"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender?f_ri=12173"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=12173"},{"id":10588,"name":"16th Century (History)","url":"https://www.academia.edu/Documents/in/16th_Century_History_?f_ri=12173"},{"id":10802,"name":"Subversion","url":"https://www.academia.edu/Documents/in/Subversion?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":14943,"name":"Social Norms","url":"https://www.academia.edu/Documents/in/Social_Norms?f_ri=12173"},{"id":31281,"name":"Debate","url":"https://www.academia.edu/Documents/in/Debate?f_ri=12173"},{"id":46846,"name":"Curses","url":"https://www.academia.edu/Documents/in/Curses?f_ri=12173"},{"id":56281,"name":"English language and literature","url":"https://www.academia.edu/Documents/in/English_language_and_literature?f_ri=12173"},{"id":56360,"name":"Gender stereotypes","url":"https://www.academia.edu/Documents/in/Gender_stereotypes?f_ri=12173"},{"id":99418,"name":"William Shakespeare","url":"https://www.academia.edu/Documents/in/William_Shakespeare?f_ri=12173"},{"id":105580,"name":"Historical Plays","url":"https://www.academia.edu/Documents/in/Historical_Plays?f_ri=12173"},{"id":109690,"name":"Literature and Gender","url":"https://www.academia.edu/Documents/in/Literature_and_Gender?f_ri=12173"},{"id":137280,"name":"Richard III","url":"https://www.academia.edu/Documents/in/Richard_III?f_ri=12173"},{"id":157904,"name":"Queen Elizabeth I","url":"https://www.academia.edu/Documents/in/Queen_Elizabeth_I?f_ri=12173"},{"id":352052,"name":"Wars of the Roses","url":"https://www.academia.edu/Documents/in/Wars_of_the_Roses?f_ri=12173"},{"id":483804,"name":"Female Characters","url":"https://www.academia.edu/Documents/in/Female_Characters?f_ri=12173"},{"id":812151,"name":"Queen Margaret of Anjou","url":"https://www.academia.edu/Documents/in/Queen_Margaret_of_Anjou?f_ri=12173"},{"id":1012816,"name":"King Richard III","url":"https://www.academia.edu/Documents/in/King_Richard_III?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38908117" data-work_id="38908117" 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/38908117/_Reconciliation_Shakespeare_Aboriginal_Presence_in_Australian_Shakespeare_Production_">‘Reconciliation Shakespeare? Aboriginal Presence in Australian Shakespeare Production’</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the lead-up to the millennium several Australian productions of Shakespeare featured Aboriginal presence in ways that invited reflection on contemporary Reconciliation politics. These production raised important issues about the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38908117" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the lead-up to the millennium several Australian productions of Shakespeare featured Aboriginal presence in ways that invited reflection on contemporary Reconciliation politics. These production raised important issues about the history of Aboriginal participation in Shakespeare production, and Reconciliation Shakespeare can be seen to be a completely unique Australian contribution to the stage history of 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/38908117" 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="7c33fa65e52dec2c0e09f33fbbddf12d" rel="nofollow" data-download="{"attachment_id":59007200,"asset_id":38908117,"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/59007200/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="105644602" href="https://royalholloway.academia.edu/ElizabethSchafer">Elizabeth Schafer</a><script data-card-contents-for-user="105644602" type="text/json">{"id":105644602,"first_name":"Elizabeth","last_name":"Schafer","domain_name":"royalholloway","page_name":"ElizabethSchafer","display_name":"Elizabeth Schafer","profile_url":"https://royalholloway.academia.edu/ElizabethSchafer?f_ri=12173","photo":"https://gravatar.com/avatar/7185eee4760a63a945eac5839178f32c?s=65"}</script></span></span></li><li class="js-paper-rank-work_38908117 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38908117"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38908117, container: ".js-paper-rank-work_38908117", }); 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$(".js-view-count[data-work-id=38908117]").text(description); $(".js-view-count-work_38908117").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38908117").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="38908117"><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="2860" rel="nofollow" href="https://www.academia.edu/Documents/in/Postcolonial_Studies">Postcolonial Studies</a>, <script data-card-contents-for-ri="2860" type="text/json">{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=12173","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=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14072" rel="nofollow" href="https://www.academia.edu/Documents/in/Australian_Indigenous_Studies">Australian Indigenous Studies</a><script data-card-contents-for-ri="14072" type="text/json">{"id":14072,"name":"Australian Indigenous Studies","url":"https://www.academia.edu/Documents/in/Australian_Indigenous_Studies?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38908117]'), work: {"id":38908117,"title":"‘Reconciliation Shakespeare? Aboriginal Presence in Australian Shakespeare Production’","created_at":"2019-04-23T13:08:26.027-07:00","url":"https://www.academia.edu/38908117/_Reconciliation_Shakespeare_Aboriginal_Presence_in_Australian_Shakespeare_Production_?f_ri=12173","dom_id":"work_38908117","summary":"In the lead-up to the millennium several Australian productions of Shakespeare featured Aboriginal presence in ways that invited reflection on contemporary Reconciliation politics. These production raised important issues about the history of Aboriginal participation in Shakespeare production, and Reconciliation Shakespeare can be seen to be a completely unique Australian contribution to the stage history of Shakespeare.","downloadable_attachments":[{"id":59007200,"asset_id":38908117,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":105644602,"first_name":"Elizabeth","last_name":"Schafer","domain_name":"royalholloway","page_name":"ElizabethSchafer","display_name":"Elizabeth Schafer","profile_url":"https://royalholloway.academia.edu/ElizabethSchafer?f_ri=12173","photo":"https://gravatar.com/avatar/7185eee4760a63a945eac5839178f32c?s=65"}],"research_interests":[{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":14072,"name":"Australian Indigenous Studies","url":"https://www.academia.edu/Documents/in/Australian_Indigenous_Studies?f_ri=12173","nofollow":true},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":2177956,"name":"Australian Theatre History","url":"https://www.academia.edu/Documents/in/Australian_Theatre_History?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43290807" data-work_id="43290807" 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/43290807/Cap%C3%ADtulo_de_libro_El_teatro_isabelino_">Capítulo de libro "El teatro isabelino"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En la historia del teatro y de la literatura, la “época isabelina” o “del teatro isabelino” es el periodo que va de los años 1576 a 1642, donde floreció el género dramático en Inglaterra y particularmente la obra de William Shakespeare.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43290807" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En la historia del teatro y de la literatura, la “época isabelina”<br />o “del teatro isabelino” es el periodo que va de los años 1576<br />a 1642, donde floreció el género dramático en Inglaterra y<br />particularmente la obra de William Shakespeare. Sin embargo,<br />y como ocurre con toda periodificación histórica, se<br />trata de una convención: las fechas no coinciden exacta ni<br />enteramente con el reinado de quien debe su nombre, la<br />reina Isabel I Tudor (nacida en 1533; reinó entre 1558 y<br />1603, año de su muerte) y exceden con mucho la vida de<br />Shakespeare (1564-1616).<br />1576 es el año de la construcción del primer teatro público<br />propiamente tal en Londres1 desde los anfiteatros<br />romanos: el Theatre (“Teatro”); 1642 es el año en que el Parlamento<br />inglés, de mayoría puritana, clausuró todos los teatros<br />del país (se volverían a abrir veinte años después, tras<br />la restauración de la monarquía en 1660 con Carlos II).</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/43290807" 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="e826ef8548c4a0ce86fcc6a6ebef92e7" rel="nofollow" data-download="{"attachment_id":63567562,"asset_id":43290807,"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/63567562/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="13341592" href="https://uandes.academia.edu/BraulioFern%C3%A1ndezBiggs">Braulio Fernández-Biggs</a><script data-card-contents-for-user="13341592" type="text/json">{"id":13341592,"first_name":"Braulio","last_name":"Fernández-Biggs","domain_name":"uandes","page_name":"BraulioFernándezBiggs","display_name":"Braulio Fernández-Biggs","profile_url":"https://uandes.academia.edu/BraulioFern%C3%A1ndezBiggs?f_ri=12173","photo":"https://0.academia-photos.com/13341592/29154481/27164735/s65_braulio.fern_ndez-biggs.png"}</script></span></span></li><li class="js-paper-rank-work_43290807 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43290807"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43290807, container: ".js-paper-rank-work_43290807", }); });</script></li><li class="js-percentile-work_43290807 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 = 43290807; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43290807"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43290807 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43290807"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43290807; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43290807]").text(description); $(".js-view-count-work_43290807").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43290807").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="43290807"><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="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=12173","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43290807]'), work: {"id":43290807,"title":"Capítulo de libro \"El teatro isabelino\"","created_at":"2020-06-08T14:29:18.435-07:00","url":"https://www.academia.edu/43290807/Cap%C3%ADtulo_de_libro_El_teatro_isabelino_?f_ri=12173","dom_id":"work_43290807","summary":"En la historia del teatro y de la literatura, la “época isabelina”\no “del teatro isabelino” es el periodo que va de los años 1576\na 1642, donde floreció el género dramático en Inglaterra y\nparticularmente la obra de William Shakespeare. Sin embargo,\ny como ocurre con toda periodificación histórica, se\ntrata de una convención: las fechas no coinciden exacta ni\nenteramente con el reinado de quien debe su nombre, la\nreina Isabel I Tudor (nacida en 1533; reinó entre 1558 y\n1603, año de su muerte) y exceden con mucho la vida de\nShakespeare (1564-1616).\n1576 es el año de la construcción del primer teatro público\npropiamente tal en Londres1 desde los anfiteatros\nromanos: el Theatre (“Teatro”); 1642 es el año en que el Parlamento\ninglés, de mayoría puritana, clausuró todos los teatros\ndel país (se volverían a abrir veinte años después, tras\nla restauración de la monarquía en 1660 con Carlos II).","downloadable_attachments":[{"id":63567562,"asset_id":43290807,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13341592,"first_name":"Braulio","last_name":"Fernández-Biggs","domain_name":"uandes","page_name":"BraulioFernándezBiggs","display_name":"Braulio Fernández-Biggs","profile_url":"https://uandes.academia.edu/BraulioFern%C3%A1ndezBiggs?f_ri=12173","photo":"https://0.academia-photos.com/13341592/29154481/27164735/s65_braulio.fern_ndez-biggs.png"}],"research_interests":[{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","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_346273" data-work_id="346273" 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/346273/Early_Drama_and_the_English_Renaissance">Early Drama and the English Renaissance</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 artistic and cultural changes, informed by the growing interest in classical literature, that occurred in Italy in the fifteenth and sixteenth century, happened much later in England and even then not to the same extent. England’s... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_346273" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The artistic and cultural changes, informed by the growing interest in classical literature, that occurred in Italy in the fifteenth and sixteenth century, happened much later in England and even then not to the same extent. England’s political and cultural development had not followed the same pattern as most of the continental nations. This meant that as well as the later development of an appreciation of renaissance visual imagery, there was a cultural difference in attitudes towards humanism in general and drama in particular. This paper discusses this different cultural development and its effect on the resulting drama.</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/346273" 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="32b657448c8b9ab9ba65ec1197a1fddd" rel="nofollow" data-download="{"attachment_id":2032530,"asset_id":346273,"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/2032530/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="88951" href="https://independent.academia.edu/DawnLewcock">Dawn Lewcock</a><script data-card-contents-for-user="88951" type="text/json">{"id":88951,"first_name":"Dawn","last_name":"Lewcock","domain_name":"independent","page_name":"DawnLewcock","display_name":"Dawn Lewcock","profile_url":"https://independent.academia.edu/DawnLewcock?f_ri=12173","photo":"https://0.academia-photos.com/88951/60042/223743/s65_dawn.lewcock.jpg"}</script></span></span></li><li class="js-paper-rank-work_346273 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="346273"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 346273, container: ".js-paper-rank-work_346273", }); 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$(".js-view-count[data-work-id=346273]").text(description); $(".js-view-count-work_346273").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_346273").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="346273"><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="833" rel="nofollow" href="https://www.academia.edu/Documents/in/Greek_Tragedy">Greek Tragedy</a>, <script data-card-contents-for-ri="833" type="text/json">{"id":833,"name":"Greek Tragedy","url":"https://www.academia.edu/Documents/in/Greek_Tragedy?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="945" rel="nofollow" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=12173","nofollow":true}</script><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=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=346273]'), work: {"id":346273,"title":"Early Drama and the English Renaissance","created_at":"2010-10-06T23:18:37.137-07:00","url":"https://www.academia.edu/346273/Early_Drama_and_the_English_Renaissance?f_ri=12173","dom_id":"work_346273","summary":"The artistic and cultural changes, informed by the growing interest in classical literature, that occurred in Italy in the fifteenth and sixteenth century, happened much later in England and even then not to the same extent. England’s political and cultural development had not followed the same pattern as most of the continental nations. This meant that as well as the later development of an appreciation of renaissance visual imagery, there was a cultural difference in attitudes towards humanism in general and drama in particular. This paper discusses this different cultural development and its effect on the resulting drama.","downloadable_attachments":[{"id":2032530,"asset_id":346273,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":88951,"first_name":"Dawn","last_name":"Lewcock","domain_name":"independent","page_name":"DawnLewcock","display_name":"Dawn Lewcock","profile_url":"https://independent.academia.edu/DawnLewcock?f_ri=12173","photo":"https://0.academia-photos.com/88951/60042/223743/s65_dawn.lewcock.jpg"}],"research_interests":[{"id":833,"name":"Greek Tragedy","url":"https://www.academia.edu/Documents/in/Greek_Tragedy?f_ri=12173","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=12173","nofollow":true},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=12173","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities?f_ri=12173"},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173"},{"id":6526,"name":"Scenography","url":"https://www.academia.edu/Documents/in/Scenography?f_ri=12173"},{"id":12172,"name":"Renaissance drama","url":"https://www.academia.edu/Documents/in/Renaissance_drama?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":13817,"name":"Theatrical Space","url":"https://www.academia.edu/Documents/in/Theatrical_Space?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12834925" data-work_id="12834925" 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/12834925/_The_Theatre_of_Shakespeare_s_London_The_New_Cambridge_Companion_to_Shakespeare_ed_Margreta_de_Grazia_and_Stanley_Wells_Cambridge_Cambridge_University_Press_2010_">‘The Theatre of Shakespeare’s London’, The New Cambridge Companion to Shakespeare ed. Margreta de Grazia and Stanley Wells (Cambridge: Cambridge University Press, 2010)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Actors, theatres, playgoers and court vs playhouse in the time of Shakespeare</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/12834925" 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="8c9b6d1122b2496b3c1e9146dca7d154" rel="nofollow" data-download="{"attachment_id":37845482,"asset_id":12834925,"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/37845482/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="636790" href="https://bham.academia.edu/TiffanyStern">Tiffany Stern</a><script data-card-contents-for-user="636790" type="text/json">{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.jpg"}</script></span></span></li><li class="js-paper-rank-work_12834925 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12834925"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12834925, container: ".js-paper-rank-work_12834925", }); 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$(".js-view-count[data-work-id=12834925]").text(description); $(".js-view-count-work_12834925").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12834925").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="12834925"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</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=12173","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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" rel="nofollow" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a>, <script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3143" rel="nofollow" href="https://www.academia.edu/Documents/in/Audience_Studies">Audience Studies</a><script data-card-contents-for-ri="3143" type="text/json">{"id":3143,"name":"Audience Studies","url":"https://www.academia.edu/Documents/in/Audience_Studies?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12834925]'), work: {"id":12834925,"title":"‘The Theatre of Shakespeare’s London’, The New Cambridge Companion to Shakespeare ed. Margreta de Grazia and Stanley Wells (Cambridge: Cambridge University Press, 2010)","created_at":"2015-06-06T14:10:05.983-07:00","url":"https://www.academia.edu/12834925/_The_Theatre_of_Shakespeare_s_London_The_New_Cambridge_Companion_to_Shakespeare_ed_Margreta_de_Grazia_and_Stanley_Wells_Cambridge_Cambridge_University_Press_2010_?f_ri=12173","dom_id":"work_12834925","summary":"Actors, theatres, playgoers and court vs playhouse in the time of Shakespeare","downloadable_attachments":[{"id":37845482,"asset_id":12834925,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":636790,"first_name":"Tiffany","last_name":"Stern","domain_name":"bham","page_name":"TiffanyStern","display_name":"Tiffany Stern","profile_url":"https://bham.academia.edu/TiffanyStern?f_ri=12173","photo":"https://0.academia-photos.com/636790/9711328/10816842/s65_tiffany.stern.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=12173","nofollow":true},{"id":1332,"name":"Theatre History","url":"https://www.academia.edu/Documents/in/Theatre_History?f_ri=12173","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=12173","nofollow":true},{"id":3143,"name":"Audience Studies","url":"https://www.academia.edu/Documents/in/Audience_Studies?f_ri=12173","nofollow":true},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173"},{"id":5583,"name":"Audience and Reception Studies","url":"https://www.academia.edu/Documents/in/Audience_and_Reception_Studies?f_ri=12173"},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":16795,"name":"London theatres and playhouses","url":"https://www.academia.edu/Documents/in/London_theatres_and_playhouses?f_ri=12173"},{"id":18452,"name":"Shakespearean Drama","url":"https://www.academia.edu/Documents/in/Shakespearean_Drama?f_ri=12173"},{"id":18807,"name":"Early Modern London theatre","url":"https://www.academia.edu/Documents/in/Early_Modern_London_theatre?f_ri=12173"},{"id":19454,"name":"Early Modern theatre studies","url":"https://www.academia.edu/Documents/in/Early_Modern_theatre_studies?f_ri=12173"},{"id":19456,"name":"Early Modern English drama","url":"https://www.academia.edu/Documents/in/Early_Modern_English_drama?f_ri=12173"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance?f_ri=12173"},{"id":302074,"name":"Drama and theatre studies","url":"https://www.academia.edu/Documents/in/Drama_and_theatre_studies-1?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26207001" data-work_id="26207001" 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/26207001/Antiquity_Theatre_and_the_Painting_of_Henry_Fuseli">Antiquity, Theatre, and the Painting of Henry Fuseli</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A new classicism was afoot in the second half of the eighteenth century. The rediscovery of Pompeii and Herculaneum challenged European assumptions about ancient life; just as influential, if slower-acting, were the translations of Greek... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26207001" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A new classicism was afoot in the second half of the eighteenth century. The rediscovery of Pompeii and Herculaneum  challenged European assumptions about ancient life; just as influential, if slower-acting, were the translations of Greek tragedy. Art of the mid-eighteenth to early nineteenth centuries dealt with the seemingly irrational violence of tragedy, be it ancient or Shakespearean,  as a means of understanding the habits and beliefs of alien cultures. This had aesthetic as well as political implications: in recognizing tragedy as an foreign cultural form, modern Europe recognized its own historical status as one culture among many.</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/26207001" 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="301e3befcd7df6168f7f70b2aa273db6" rel="nofollow" data-download="{"attachment_id":46679865,"asset_id":26207001,"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/46679865/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="1016323" href="https://chicago.academia.edu/AndreiPop">Andrei Pop</a><script data-card-contents-for-user="1016323" type="text/json">{"id":1016323,"first_name":"Andrei","last_name":"Pop","domain_name":"chicago","page_name":"AndreiPop","display_name":"Andrei Pop","profile_url":"https://chicago.academia.edu/AndreiPop?f_ri=12173","photo":"https://0.academia-photos.com/1016323/358791/7528298/s65_andrei.pop.jpg"}</script></span></span></li><li class="js-paper-rank-work_26207001 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26207001"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26207001, container: ".js-paper-rank-work_26207001", }); 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$(".js-view-count[data-work-id=26207001]").text(description); $(".js-view-count-work_26207001").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26207001").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="26207001"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="833" rel="nofollow" href="https://www.academia.edu/Documents/in/Greek_Tragedy">Greek Tragedy</a>, <script data-card-contents-for-ri="833" type="text/json">{"id":833,"name":"Greek Tragedy","url":"https://www.academia.edu/Documents/in/Greek_Tragedy?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5180" rel="nofollow" href="https://www.academia.edu/Documents/in/Historicism">Historicism</a>, <script data-card-contents-for-ri="5180" type="text/json">{"id":5180,"name":"Historicism","url":"https://www.academia.edu/Documents/in/Historicism?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6027" rel="nofollow" href="https://www.academia.edu/Documents/in/Enlightenment">Enlightenment</a><script data-card-contents-for-ri="6027" type="text/json">{"id":6027,"name":"Enlightenment","url":"https://www.academia.edu/Documents/in/Enlightenment?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26207001]'), work: {"id":26207001,"title":"Antiquity, Theatre, and the Painting of Henry Fuseli","created_at":"2016-06-15T23:01:29.400-07:00","url":"https://www.academia.edu/26207001/Antiquity_Theatre_and_the_Painting_of_Henry_Fuseli?f_ri=12173","dom_id":"work_26207001","summary":"A new classicism was afoot in the second half of the eighteenth century. The rediscovery of Pompeii and Herculaneum challenged European assumptions about ancient life; just as influential, if slower-acting, were the translations of Greek tragedy. Art of the mid-eighteenth to early nineteenth centuries dealt with the seemingly irrational violence of tragedy, be it ancient or Shakespearean, as a means of understanding the habits and beliefs of alien cultures. This had aesthetic as well as political implications: in recognizing tragedy as an foreign cultural form, modern Europe recognized its own historical status as one culture among many.","downloadable_attachments":[{"id":46679865,"asset_id":26207001,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1016323,"first_name":"Andrei","last_name":"Pop","domain_name":"chicago","page_name":"AndreiPop","display_name":"Andrei Pop","profile_url":"https://chicago.academia.edu/AndreiPop?f_ri=12173","photo":"https://0.academia-photos.com/1016323/358791/7528298/s65_andrei.pop.jpg"}],"research_interests":[{"id":833,"name":"Greek Tragedy","url":"https://www.academia.edu/Documents/in/Greek_Tragedy?f_ri=12173","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=12173","nofollow":true},{"id":5180,"name":"Historicism","url":"https://www.academia.edu/Documents/in/Historicism?f_ri=12173","nofollow":true},{"id":6027,"name":"Enlightenment","url":"https://www.academia.edu/Documents/in/Enlightenment?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173"},{"id":16572,"name":"British art","url":"https://www.academia.edu/Documents/in/British_art?f_ri=12173"},{"id":26020,"name":"Antiquarianism","url":"https://www.academia.edu/Documents/in/Antiquarianism?f_ri=12173"},{"id":29686,"name":"Winckelmann","url":"https://www.academia.edu/Documents/in/Winckelmann?f_ri=12173"},{"id":60366,"name":"Sympathy","url":"https://www.academia.edu/Documents/in/Sympathy?f_ri=12173"},{"id":62322,"name":"Cultural Relativism","url":"https://www.academia.edu/Documents/in/Cultural_Relativism?f_ri=12173"},{"id":66034,"name":"Eighteenth-Century British Art","url":"https://www.academia.edu/Documents/in/Eighteenth-Century_British_Art?f_ri=12173"},{"id":82903,"name":"Neoclassicism","url":"https://www.academia.edu/Documents/in/Neoclassicism?f_ri=12173"},{"id":211486,"name":"Emma Hamilton","url":"https://www.academia.edu/Documents/in/Emma_Hamilton?f_ri=12173"},{"id":421577,"name":"Henry Fuseli","url":"https://www.academia.edu/Documents/in/Henry_Fuseli?f_ri=12173"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37619235" data-work_id="37619235" 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/37619235/Understanding_the_Gender_Complexities_of_Shakespeare">Understanding the Gender Complexities of Shakespeare</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 dramatists of Shakespeare are often characterized as being feminists because of the frankness of Cordelia in King Lear, the shrewdness or Portia in The Merchant of Venice, and the psychological manipulation of Volumnia in Coriolanus.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37619235" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The dramatists of Shakespeare are often characterized as being feminists because of the frankness of Cordelia in King Lear, the shrewdness or Portia in The Merchant of Venice, and the psychological manipulation of Volumnia in Coriolanus. For over four hundred years we have performed the incredible representations of men and women and their various roles and responsibilities in society during the latter Renaissance period, where male actors would have pretended to be the character of Viola in Twelfth Night, while pretending to be her brother Sebastian, as a male character. This seems to be quite a complex idea in the latter sixteenth century. Some scholars have suggested that feminism did not exist during this era. I will prove in this paper that these assertions are fatally flawed – feminism was alive and well during that era. However, the dramatists of Shakespeare were not feminists, per say, they were in fact Master Kabbalists teaching the gender complexities of the ancient Zohar and the Tree of Life, where one can allow ego to ruin one’s life, or shut down our reactive system and be transformed to the supernal (heavenly) realm of perfection beyond human perception and repair the world.</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/37619235" 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="c7d067f840c28c2b289b6fe895cc6c46" rel="nofollow" data-download="{"attachment_id":57602568,"asset_id":37619235,"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/57602568/download_file?st=MTc0MDYzNjY5MSw4LjIyMi4yMDguMTQ2&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="5148106" href="https://independent.academia.edu/PeterMatthews3">Peter D Matthews</a><script data-card-contents-for-user="5148106" type="text/json">{"id":5148106,"first_name":"Peter","last_name":"Matthews","domain_name":"independent","page_name":"PeterMatthews3","display_name":"Peter D Matthews","profile_url":"https://independent.academia.edu/PeterMatthews3?f_ri=12173","photo":"https://0.academia-photos.com/5148106/2261596/16045049/s65_peter.matthews.jpg"}</script></span></span></li><li class="js-paper-rank-work_37619235 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37619235"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37619235, container: ".js-paper-rank-work_37619235", }); 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$(".js-view-count[data-work-id=37619235]").text(description); $(".js-view-count-work_37619235").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37619235").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="37619235"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</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=12173","nofollow":true}</script><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=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="199649" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare_and_gender">Shakespeare and gender</a>, <script data-card-contents-for-ri="199649" type="text/json">{"id":199649,"name":"Shakespeare and gender","url":"https://www.academia.edu/Documents/in/Shakespeare_and_gender?f_ri=12173","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2198157" rel="nofollow" href="https://www.academia.edu/Documents/in/Bassano_family_musicians">Bassano family musicians</a><script data-card-contents-for-ri="2198157" type="text/json">{"id":2198157,"name":"Bassano family musicians","url":"https://www.academia.edu/Documents/in/Bassano_family_musicians?f_ri=12173","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37619235]'), work: {"id":37619235,"title":"Understanding the Gender Complexities of Shakespeare","created_at":"2018-10-20T23:04:41.278-07:00","url":"https://www.academia.edu/37619235/Understanding_the_Gender_Complexities_of_Shakespeare?f_ri=12173","dom_id":"work_37619235","summary":"The dramatists of Shakespeare are often characterized as being feminists because of the frankness of Cordelia in King Lear, the shrewdness or Portia in The Merchant of Venice, and the psychological manipulation of Volumnia in Coriolanus. For over four hundred years we have performed the incredible representations of men and women and their various roles and responsibilities in society during the latter Renaissance period, where male actors would have pretended to be the character of Viola in Twelfth Night, while pretending to be her brother Sebastian, as a male character. This seems to be quite a complex idea in the latter sixteenth century. Some scholars have suggested that feminism did not exist during this era. I will prove in this paper that these assertions are fatally flawed – feminism was alive and well during that era. However, the dramatists of Shakespeare were not feminists, per say, they were in fact Master Kabbalists teaching the gender complexities of the ancient Zohar and the Tree of Life, where one can allow ego to ruin one’s life, or shut down our reactive system and be transformed to the supernal (heavenly) realm of perfection beyond human perception and repair the world.","downloadable_attachments":[{"id":57602568,"asset_id":37619235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5148106,"first_name":"Peter","last_name":"Matthews","domain_name":"independent","page_name":"PeterMatthews3","display_name":"Peter D Matthews","profile_url":"https://independent.academia.edu/PeterMatthews3?f_ri=12173","photo":"https://0.academia-photos.com/5148106/2261596/16045049/s65_peter.matthews.jpg"}],"research_interests":[{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=12173","nofollow":true},{"id":12173,"name":"Shakespearean performance history","url":"https://www.academia.edu/Documents/in/Shakespearean_performance_history?f_ri=12173","nofollow":true},{"id":199649,"name":"Shakespeare and gender","url":"https://www.academia.edu/Documents/in/Shakespeare_and_gender?f_ri=12173","nofollow":true},{"id":2198157,"name":"Bassano family musicians","url":"https://www.academia.edu/Documents/in/Bassano_family_musicians?f_ri=12173","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_42009696" data-work_id="42009696" 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/42009696/Hamlet_National_Theatre_Live_from_Londons_Barbican_Theatre_Screened_at_the_Douglass_Theatre_Macon_GA_2015_">Hamlet, National Theatre Live from London's Barbican Theatre, Screened at the Douglass Theatre, Macon, GA (2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Review of Hamlet, starring Benedict Cumberbatch, National Theatre Live from London's Barbican Theatre, Screened at the Douglass Theatre, Macon, GA (2015), for Big Q Reviews</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/42009696" 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="cf91af4b8127011e3d9739a1a5874b0e" rel="nofollow" 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