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| Acknowledgments | ||
| Introduction | 1 | |
| Romantic Players, Political Theatres | 6 | |
| Readers, Audiences, Players and the Beauties of Shakespeare | 29 | |
| 'Murder Most Foul': Shakespeare in the Detective Novel | 47 | |
| Shakespeare with No Audience | 56 | |
| The Bard and the Dragon: Shakespeare in China | 64 | |
| Noh Hamlet | 74 | |
| Shakespearean Misogyny | 80 | |
| Shakespeare and Politics | 91 | |
| 'What Is Asking and What Is Wondring': Dramatic Punctuation in Shakespeare | 106 | |
| Boy Actors in Women's Roles | 121 | |
| Shakespeare in Translation: The Trial Scene in The Merchant of Venice | 131 | |
| Much Ado About Lying | 140 | |
| Playing Measure for Measure | 168 | |
| The Better Concludes a Worse?: Shakespeare, Macbeth and Disorder | 182 | |
| Journey to the Chapel Perilous: The Quest in Othello | 195 | |
| Putting out the Light: A 'Snuff' Variant? | 207 | |
| Blackface and Madonna: Race and Gender as Conditions of Reception in Recovering Othello | 220 | |
| 'Hear Me Speak': Listening to Coriolanus | 233 | |
| Antigonus's Dream | 248 | |
| The Culture of Slavery: Caliban and Ariel | 260 | |
| Material Magic in The Winter's Tale and The Tempest | 272 | |
| Notes on Contributors | 287 | |
| Index | 291 |
Overview