A large number of women writers, directors, and performers have created works that talk back to Shakespeare, or to more earlier and more traditional interpretations of his plays, in the late-20th century. For example, Jane Smiley's A Thousand Acres, which rewrites King Lear, and Marina Warner's Indigo, which rewrites The Tempest, protest biases against women and colonialist attitudes that Shakespeare's plays have come to symbolize.

This book offers a look at the lives of Elizabethan era women in the context of the great female characters in the works of William Shakespeare. Like the other entries in this fascinating series, Women in the Age of Shakespeare shows the influence of the world William Shakespeare lived in on the worlds he created for the stage, this time by focusing on women in the Elizabethan and Jacobean eras in general and in Shakespeare's works in particular. Women in the Age of Shakespeare explores the ancient and medieval ideas that Shakespeare drew upon in creating his great comedic and tragic heroines. It then looks at how these ideas intersected with the lived experiences of women of Shakespeare's time, followed by a close look at the major female characters in Shakespeare's plays and poems. Later chapters consider how these characters have been enacted on stage and in film, interpreted by critics and scholars, and re-imagined by writers in our own time.

Shakespeare Studies is an international volume published every year in hardcover, containing more than three hundred pages of essays and studies by critics from both hemispheres.

Re-Visions of Shakespeare: Essays in Honor of Robert Ornstein is a tribute to one of the most prominent Shakespeareans in the last half of the twentieth century, past president of the Shakespeare Association of America, and author of Shakespeare's Comedies: From Roman Farce to Romantic Mystery, and Other texts. Twelve original contributions by an international group of scholars, including some of the most prominent working in Shakespeare studies today, use a variety of theoretical perspectives to address issues of contemporary import in the dramatic texts. Janus-like, the collection suggests the directions of Shakespeare studies at the outset of the new millennium while considering their roots in the last.

DIVExplores the relation between nineteenth-century American interest in ancient Egypt in architecture, literature, and science, and the ways Egypt was deployed by advocates for slavery and by African American writers./div

Ancient Rome has always been considered a compendium of City and World. In the Renaissance, an era of epistemic fractures, when the clash between the 'new science' (Copernicus, Galileo, Vesalius, Bacon, etcetera) and the authority of ancient texts produced the very notion of modernity, the extended and expanding geography of ancient Rome becomes, for Shakespeare and the Elizabethans, a privileged arena in which to question the nature of bodies and the place they hold in a changing order of the universe. Drawing on the rich scenario provided by Shakespeare's Rome, and adopting an interdisciplinary perspective, the authors of this volume address the way in which the different bodies of the earthly and heavenly spheres are re-mapped in Shakespeare's time and in early modern European culture. More precisely, they investigate the way bodies are fashioned to suit or deconstruct a culturally articulated system of analogies between earth and heaven, microcosm and macrocosm. As a whole, this collection brings to the fore a wide range of issues connected to the Renaissance re-mapping of the world and the human. It should interest not only Shakespeare scholars but all those working on the interaction between sciences and humanities.

What part did Shakespeare play in the construction of a 'white people' and how has his work been enlisted to define and bolster a white cultural and racial identity? Since the court of Queen Elizabeth I, through the early modern English theatre to the storming of the United States Capitol on 6 January 2021, white people have used Shakespeare to define their cultural and racial identity and authority. White People in Shakespeare unravels this complex cultural history to examine just how crucial Shakespeare's work was to the early modern development of whiteness as an embodied identity, as well as the institutional dissemination of a white Shakespeare in contemporary theatres, politics, classrooms and other key sites of culture. Featuring contributors from a wide range of disciplines, the collection moves across Shakespeare's plays and poetry and between the early modern and our own time to interrogate these relationships. Split into two parts, 'Shakespeare's White People' and 'White People's Shakespeare', it explores a variety of topics, ranging from the education of the white self in Hamlet, or affective piety and racial violence in Measure for Measure, to Shakespearean education and the civil rights era, and interpretations of whiteness in more contemporary work such as American Moor and Desdemona.