This chapter argues that cultural appropriation can be an exploitative act but need not be; it all depends on what users do with Shakespeare. Due to the unequal status of the parties engaged in appropriative exchange, some appropriations deploy Shakespeare to protect conventional power structures. Appropriations are rarely negotiated on a level…[Read more]

This chapter argues that cultural appropriation can be an exploitative act but need not be; it all depends on what users do with Shakespeare. Due to the unequal status of the parties engaged in appropriative exchange, some appropriations deploy Shakespeare to protect conventional power structures. Appropriations are rarely negotiated on a level…[Read more]

Collaborative learning as a pedagogical method effectively reflects the communal character of the performing arts. By creating knowledge about Shakespearean performance collaboratively, students and educators lay claim to the ethics and ownership of that knowledge, an act that is particularly urgent and meaningful in the age of COVID-19 when we…[Read more]

Collaborative learning as a pedagogical method effectively reflects the communal character of the performing arts. By creating knowledge about Shakespearean performance collaboratively, students and educators lay claim to the ethics and ownership of that knowledge, an act that is particularly urgent and meaningful in the age of COVID-19 when we…[Read more]

Literary translations work with, rather than out of, the space between languages. Translations evolve not only across linguistic and cultural borders but also across time. It is notable that Shakespeare’s own play texts feature translational properties that can be amplified in translation. This translingual property makes Shakespeare’s text inh…[Read more]

Literary translations work with, rather than out of, the space between languages. Translations evolve not only across linguistic and cultural borders but also across time. It is notable that Shakespeare’s own play texts feature translational properties that can be amplified in translation. This translingual property makes Shakespeare’s text inh…[Read more]

Transatlantic literary exchange depended, during the 19th and earlier 20th centuries, on the ocean liner. Books and periodicals were exported via sea routes, lent among passengers or through ships’ libraries, and even bought and sold on board. The High Seas Bookshops, established on some Anchor Line vessels in the 1920s, strikingly demonstrate the…[Read more]

Abstract of presentation at 2023 MLA Convention session “193 – Poetics, Poiesis, Poeticity”

Humor has always been important in Chinese drama. The four major role-types in traditional Chinese drama include the chou (usually translated as “clown”), the others being male roles, female roles, and “painted face” roles. Although placed last in the four-tier hierarchy, the humble clown with his comical facial makeup and humorous speech is an i…[Read more]

The metatheatricality of A Midsummer Night’s Dream has invited recent directors to tell particular kinds of socially progressive stories. This article uses the notion of “social reparation” to theorize remedial uses of Shakespeare in adaptations that give artists and audiences more moral agency. By imagining more inclusive local habitations and s…[Read more]