Examines the aesthetics, concepts and politics of chaotic and obscured moving images.

Shakespeare's History Plays boldly moves criticism of Shakespeare's history plays beyond anti-humanist theoretical approaches. This important intervention in the critical and theoretical discourse of Shakespeare studies summarises, evaluates and ultimately calls time on the mode of criticism that has prevailed in Shakespeare studies over the past thirty years. It heralds a new, more dynamic way of reading Shakespeare as a supremely intelligent and creative political thinker, whose history plays address and illuminate the very questions with which cultural historicists have been so preoccupied since the 1980s. In providing bold and original readings of the first and second tetralogies (Henry VI, Richard III, Richard II and Henry IV, Parts 1 & 2), the book reignites old debates and re-energises recent bids to humanise Shakespeare and to restore agency to the individual in the critical readings of his plays

The theme for Shakespeare Survey 53 is Shakespeare and Narrative.

In Gothic Shakespeares, Shakespeare is considered alongside major Gothic texts and writers - from Horace Walpole, Ann Radcliffe, Matthew Lewis and Mary Shelley, up to and including contemporary Gothic fiction and horror film. This volume offers a highly original and truly provocative account of Gothic reformulations of Shakespeare, and Shakespeare’s significance to the Gothic.

This book is an annotated edition of The Correspondents: An Original Novel (1775), a work, as the introduction argues, derived from A Sentimental Journey, and one of the best of the many later efforts to capture Sterne’s unique blend of sensibility and sensuality. The introduction will make the case for its authorship being an actual exchange of love letters between George Lord Lyttelton (1709–1773) and Apphia Peach Lyttelton (1743–1840), his daughter-in-law, 30 years younger than her father-in-law at the time of the exchange. In our inability to understand precisely what happened between the two is the genius of their imitation of Sterne. It is an ambiguity that results from the conscious reshaping of the original letters into a narrative, probably by Apphia Peach in the 2 years between Lyttelton’s death and its publication.