Although he wrote 400 years ago, Shakespeare's plays continue to be performed by directors and actors interpreting his material for contemporary audiences. This encyclopaedia chronicles the lasting influence of Shakespeare on popular culture. It includes sections on types of media to which Shakespeare has been adapted, with an overview essay. Although he wrote 400 years ago, Shakespeare's plays continue to be performed by directors and actors interpreting his material for contemporary audiences. He also continues to leave his mark on films, comic books, television shows, and popular culture, as modern creative artists adapt and refashion his works. With special emphasis on the last hundred years, this encyclopedia chronicles the lasting influence of Shakespeare on popular culture. It includes broad sections on types of media to which Shakespeare has been adapted, each beginning with an overview essay, followed by sections on individual plays. These present chronologically arranged entries on adaptations. In addition, the work offers stage histories, biographies of actors and directors, and other valuable information. Actors, directors and writers featured include Kenneth Branagh, Ralph Fiennes, John Gielgud, Laurence Olivier, Vanessa Redgrave, Orson Welles, John Barrymore, Peter Brook, Bertolt Brecht, Henry Irving, and Joseph Papp. The encyclopedia also provides entries on the presence of Shakespeare in films, TV series, and books, including "The Avengers", "Alley Oop", "Buffy the Vampire Slayer", "Classics Illustrated", "Dombey and Son", "Forbidden Planet", "Get Over It", "The Lion King", "A Plague of Angels", "Superman", "Tombstone", and "Ulysses". It closes with a selected, general bibliography and an extensive index.

This year publishing its twentieth volume, The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare’s work and his time, across the whole spectrum of his literary output. Contributions are solicited from scholars across the field, from both hemispheres of the globe. New trends are evaluated from the point of view of established scholarship, and emerging work in the field is encouraged. Each issue includes a special section under the guidance of a specialist Guest Editor, along with coverage of the current state of the field in other aspects. An essential reference tool for scholars of early modern literature and culture, this annual publication captures, from year to year, current and developing thought in Shakespeare scholarship and theater practice worldwide. There is a particular emphasis on Shakespeare studies in global contexts.

Providing an alphabetical listing of sexual language and locution in 16th and 17th-century English, this book draws especially on the more immediate literary modes: the theatre, broadside ballads, newsbooks and pamphlets. The aim is to assist the reader of Shakespearean and Stuart literature to identify metaphors and elucidate meanings; and more broadly, to chart, through illustrative quotation, shifting and recurrent linguistic patterns. Linguistic habit is closely bound up with the ideas and assumptions of a period, and the figurative language of sexuality across this period is highly illuminating of socio-cultural change as well as linguistic development. Thus the entries offer as much to those concerned with social history and the history of ideas as to the reader of Shakespeare or Dryden.

More than fifty specialists have contributed to this new edition of volume 1 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.

This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent. Guest editors Ton Hoenselaars and Clara Calvo have constructed this section to highlight both how the spread of 'Shakespeare' throughout Europe has brought together the energies of a wide variety of European cultures across several centuries, and how the inclusion of Shakespeare in European culture has been not only a European but also a world affair. The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Spain, Switzerland and South Africa, Canada, The Netherlands, India, Portugal, Greece, France, and Hungary. In addition to the section on European Shakespeares, this volume includes essays on the genre of romance, issues of character, and other topics.

Shakespeare in Hollywood, Asia, and Cyberspace shows readers how ideas of Asia operate in Shakespeare performances and how Asian and Anglo-European forms of cultural production combine to transcend the mode of inquiry that focuses on fidelity. The result is a new creativity that finds expression in different cultural and virtual locations, including recent films and massively multiplayer online games such as Arden: The World of Shakespeare. The papers in this volume provide a background for these modern developments showing the history of how Shakespeare became a signifier against which Asian and Western cultures definedand continue to definethemselves. Hollywood films, and a century of Asian readings of plays such as Hamlet and Macbeth, are now conjoining in cyberspace making a world of difference in how we experience Shakespeare. The papers, written by experts in the field, provide an introduction to the diverse incarnations and bold sequences of screen and stage that in recent decades have produced new versions of Shakespeare's great comedies and tragedies and new ways of experiencing them. Authors, in the first part of the collection, examine body politics and race in Hollywood Shakespearean films andfilm techniques. It complements the second part of the book, in which the history of Shakespearean readings and stagings in China, Indonesia, Cambodia, Japan, Okinawa, Taiwan, Malaya, Korea, and Hong Kong are discussed. Papers in the third part of the volume contain analyses of the transformation of the idea of Shakespeare in cyberspace, a rapidly expanding world of new rewritings of both Shakespeare and Asia. Together, the three sections of this comparative study show how Asian cultures and Shakespeare affect each other, how one culture is translated to anoth

The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. It also signifies the attitudes towards both author and works determined by their receptions. Throughout the book, specialists aim to situate Shakespeare’s world and what the world is because of him. In adopting a global perspective, the volume arranges thirty-six chapters in five parts: Shakespeare on stage internationally since the late seventeenth century; Shakespeare on film throughout the world; Shakespeare in the arts beyond drama and performance; Shakespeare in everyday life; Shakespeare and critical practice. Through its coverage, The Shakespearean World offers a comprehensive transhistorical and international view of the ways this Shakespeare has not only influenced but has also been influenced by diverse cultures during 400 years of performance, adaptation, criticism, and citation. While each chapter is a freshly conceived introduction to a significant topic, all of the chapters move beyond the level of survey, suggesting new directions in Shakespeare studies – such as ecology, tourism, and new media – and making substantial contributions to the field. This volume is an essential resource for all those studying Shakespeare, from beginners to advanced specialists.

This book is the result of fourteen years research scrutinizing thousands of historical documents. Dr Matthews reveals never before seen facts regarding the earliest quartos and the first folio – even new research into the leather cover of the Bodleian first folio and how that particular copy came into the possession of the Turbutt family. Dr Matthews has forensically dated the majority of the Shakespearean plays twenty years before earlier scholars, such as Rowe, Malone and Chambers – some plays dated as early as 1561, 1559 and 1558 – up to six years before William Shakespeare was born. Dr Matthews’ exemplary philosophical dissertation of the Shakespearean works and its critics, reveals much about the identity of the real authors. A unique reference work essential to Shakespearean scholars and students alike – this crucial work redates the Shakespearean works, scrutinizes each candidate, and definitively answers the authorship debate.