Shakespeare最新文献

{"title":"Horatio in Pieces: Or, How to Deal with Ghosts","authors":"Katherine Walker","doi":"10.1080/17450918.2023.2189995","DOIUrl":"https://doi.org/10.1080/17450918.2023.2189995","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43941405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Revolution’s Bloody Hands: Macbeth in Bolshevik Russia","authors":"Natalia Khomenko","doi":"10.1080/17450918.2023.2187672","DOIUrl":"https://doi.org/10.1080/17450918.2023.2187672","url":null,"abstract":"ABSTRACT Western studies of the Russian response to Shakespeare’s political tragedy after the October Revolution of 1917 have traditionally focused on Hamlet and paid little attention to the fortunes of Macbeth. This article argues that early Soviet Russia saw Macbeth as a play that sent a revolutionary message to its audiences and offered an ideologically useful vision of the world re-made by political violence. It explores the competition for control over the readings of Macbeth in early Soviet Russia by analysing the allusions to Macbeth in texts produced by those troubled by the violence of the October Revolution and the responses to these allusions from the supporters of the Bolshevik regime. Examining the two stage interpretations of Macbeth produced in the first post-revolutionary years, this article suggests that the ideologically minded directors and critics ultimately lost that competition and were forced to abandon the project of locating the October Revolution in the play as unprofitable. I propose that the absence of this tragedy from the central Soviet stages from the mid-1920s and throughout the intensely ideological Stalinist era can then be read not as neutral disinterest but as an active apprehension of its potential for subversive political messaging.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"222 - 245"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49066519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shakespeare’s Botanical Imagination","authors":"Jennifer Munroe","doi":"10.1080/17450918.2023.2195836","DOIUrl":"https://doi.org/10.1080/17450918.2023.2195836","url":null,"abstract":"The latest in a growing number of collections that positions Shakespeare’s oeuvre in the context of ‘green studies’, Shakespeare’s Botanical Imagination, edited by Susan C. Staub, is an important contribution to the field. This collection is the first of its kind organised entirely around plants, and as such considers Shakespeare’s works alongside a subject too-often relegated, as Staub persuasively argues in the Introduction, to mere background material. These essays consider, as Staub writes, expansive botanical territory to","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"246 - 247"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46711580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of Titus Andronicus (Directed by Jude Christian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 18 February 2023","authors":"Peter J. Smith","doi":"10.1080/17450918.2023.2192699","DOIUrl":"https://doi.org/10.1080/17450918.2023.2192699","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43968433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mothers, Motherhood and the Feminine in Fiennes’s Coriolanus","authors":"Maria Elisa Montironi","doi":"10.1080/17450918.2023.2189996","DOIUrl":"https://doi.org/10.1080/17450918.2023.2189996","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41394472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Justice or Judgment? On Adaptations of Macbeth in Chinese Traditional Opera","authors":"Qiang Chen, W. Christie","doi":"10.1080/17450918.2023.2185484","DOIUrl":"https://doi.org/10.1080/17450918.2023.2185484","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46789441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of Shakespeare’s Julius Caesar (Directed by Diane Page) at Shakespeare’s Globe, London, 6 September 2022","authors":"Lydia Valentine","doi":"10.1080/17450918.2023.2185485","DOIUrl":"https://doi.org/10.1080/17450918.2023.2185485","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41496436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Celebrity Plays and Embodied Fidelity","authors":"L. Geddes","doi":"10.1080/17450918.2023.2176719","DOIUrl":"https://doi.org/10.1080/17450918.2023.2176719","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43252842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Between the Red Rose and the White’: Staging Vegetal Materiality in the First Tetralogy","authors":"Jason Hogue","doi":"10.1080/17450918.2023.2176192","DOIUrl":"https://doi.org/10.1080/17450918.2023.2176192","url":null,"abstract":"ABSTRACT Focusing on 1 and 3 Henry VI, this essay analyzes the ‘vegetal’ performances of Shakespeare’s first history tetralogy, informed by insights about the more-than-human world from the fields of new materialism and critical plant studies. Specifically, I argue that the roses the original performers wore onstage should be viewed as vegetal co-stars in Shakespeare’s dramatisation of the wars that bear their name. In close proximity to the players who wore them and mobilised them, the roses are at once highly objectified symbols and agential co-participants in the meaning-making of the plays constructed by both the players and the audience during performances. These roses were plant-agents among Plantagenets, exerting their own volitions and idiosyncrasies onstage, amidst the actors who wore them on their person. Thus, this essay intervenes in conversations about the agency of objects such as props and costumes on the Elizabethan stage, asserting a special place for objects that really should be viewed as subjects, this plant material representing the staged appearances of once living biological entities whose bodily idiosyncrasies could assert a material presence and even resistance to the humans with whom they shared the theatrical space.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"180 - 202"},"PeriodicalIF":0.3,"publicationDate":"2023-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48755619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of Hannah Khalil’s Adaptation of Shakespeare and Fletcher’s Henry VIII (Directed by Amy Hodge) at Shakespeare’s Globe, London, 16 September 2022","authors":"Emma Rose Kraus","doi":"10.1080/17450918.2023.2173986","DOIUrl":"https://doi.org/10.1080/17450918.2023.2173986","url":null,"abstract":"Upon arrival at the Globe there was no mistaking the spectacle of the English monarchy and its hold on the British public. The queue of people who had gathered on that crisp autumn day waiting to view the Queen’s coffin was but metres from the playhouse’s gate, making it impossible for any of the approaching audience members to ignore. Those involved in the theatre’s 2022 production ofHenry VIII could not have anticipated that it would, for a time, coincide with the pomp and circumstance surrounding the death of the United Kingdom’s longest-reigning monarch. The performance – a reworking by Hannah Khalil of William Shakespeare and John Fletcher’s collaboration – was based on a text that originally explicitly celebrated the English monarchy, functioning as a piece of royal propaganda. As Mark Rankin has suggested, the entertainment was likely ‘designed specifically with a Stuart royal audience in mind’. However, in taking the position of third author, Khalil revised Henry VIII – rewriting, realigning, and even crafting new scenes – as a play for the common person, critical of the crown and other organisations of power. In her version of the script, Khalil added two women (Debbie Korley and Anna Savva) to act as semi-choral characters and audience surrogates. By clearly coding both of these women as much lower in status than the other – generally named – characters of the play, the new script positioned itself as a play for the British public interested in its relationship to modern structures of power, especially the English crown. Even without the Queen’s death being so present in the minds of the modern audience, Khalil’s script already offered an explicitly timely critique of excessive spending and its effects on the general public. The first dialogue of the play took place between the two women, who complained about England’s investment in the expensive and yet politically futile Field of the Cloth of Gold. In lines repurposed from Henry VIII’s Duke of Norfolk, one of the two women remarked, ‘I think / The peace between the French and us not values / The cost that did conclude it’ (1.1.87–89). This exchange was directly relevant to the current fears of","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"423 - 427"},"PeriodicalIF":0.3,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45269069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}