The epilogue tackles the ramifications of these new modes of inscribing temporally and visually ambiguous articulations of Shakespeare and China into a global vernacular in theater (Lin Zhaohua’s Richard III) and cinema (Feng Xiaogang’s The Banquet). A paradox of infatuation with Asian visuality and rejection of ethnic authenticity emerged in the…[Read more]

Named the Writer of the Millennium, Shakespeare has come full circle and become a cliché, embraced by marketers and contested by intellectuals. Similar narratives about China’s rise in global stature have been told with equal gusto, championed and denounced in turn by optimists and critics. If Shakespeare now has worldwide currency, how is the se…[Read more]

Lightening Talk: Brown Skin, White Masks: Predictive Technology, Colonial Histories, and Queer Sexuality Today

Thanks to Karl Marx’s references in his political treatises, Shakespeare held a significant place in a number of communist and other left-authoritarian countries, including China and the USSR. And although there were themes in Shakespeare that turned out to be inconvenient for communist ideology, other Shakespearean plays were put into service. I…[Read more]

A lo largo de la obra de Manuel Vázquez Montalbán, tanto en las obras dentro de la serie Carvalho como fuera y en la producción de libros no-ficción, el viaje sirve para como ímpetu narrativo además de eje temático para indagar las contradicciones de la globalización y explorar la memoria como estrategia de resistencia. Por un lado, el viaje o…[Read more]

a bibliography-in-progress for cognitive literary, film, theater, and media studies

Online at: https://screen-queens.com/2020/04/14/listening-and-female-intimacy-in-portrait-of-a-lady-on-fire/

Online at: https://screen-queens.com/2020/04/14/listening-and-female-intimacy-in-portrait-of-a-lady-on-fire/

A write-up of my contribution to a roundtable panel that took place at King’s College London on 26th September 2019 to celebrate the English translation of Chantal Akerman’s My Mother Laughs. The speakers were Ros Murray (KCL), Jenny Chamarette (QMUL), Albertine Fox (Bristol), Frances Morgan (author of the Afterword, My Mother Laughs), Sarah Shi…[Read more]

In this essay Queen Margaret’s curses in Richard III become part of a feminist ethics on the early modern stage. As a parrhesiast, in Foucault’s terms, Margaret speaks truth to power and claims a right of citizenship. That Margaret elicits universal revulsion from the other characters while also holding a unique, though not untroubled, pos…[Read more]

Apocalyptic themes handled by Spanish directors of the current century, including Jaume Balagueró, Paco Plaza, Juan Carlos Fresnadillo, David and Álex Pastor, Álex de la Iglesia, Juan Antonio Bayona, Jorge Torregrossa, and Alfonso Cortés-Cavanillas, and F. Javier Gutiérrez.

Apocalyptic themes handled by Spanish directors of the current century, including Jaume Balagueró, Paco Plaza, Juan Carlos Fresnadillo, David and Álex Pastor, Álex de la Iglesia, Juan Antonio Bayona, Jorge Torregrossa, and Alfonso Cortés-Cavanillas, and F. Javier Gutiérrez.

Though the verbal icon has a long and robust multisensory history extending beyond Milton, my goal here is to challenge ableist readings of Milton’s poetry by linking his poetic ekphrasis to the politics and aesthetics of disability.

How does a woman become a whore? What are the discursive dynamics making a woman a whore? And, more importantly, what are the discursive mechanics of unmaking? In Women and Shakespeare’s Cuckoldry Plays: Shifting Narratives of Marital Betrayal, Cristina León Alfar pursues these questions to tease out familiar cultural stories about female se…[Read more]