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]

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]

In the Late Elizabethan Period, factionalism complicated the notion of, especially, male friendship. The scarcity of
financial resources of the royal patronage, the arbitrary distribution of favours, and bottom-up pressures of patronees
further problematized a healthy relationship among patrons and patronees and among friends. The horizontal…[Read more]

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]

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]

The adaptations of King George VI’s and Stephen Hawking’s life stories show their uneasy relationship to the “troubled-white-male-genius” genre and to the vocal embodiment of their subjects who lose and gain a voice through therapy, technology, and their will to live a full life. The films carefully skirt the edges of public disgust and pity of…[Read more]

This chapter theorizes global Shakespeare through two interrelated concepts: performance as an act of citation and the ethics of citation. Bringing the concept of performance as citation and the ethics of citation together, this chapter argues that acts of appropriation carry with them strong ethical implications. A crucial, ethical component of…[Read more]

Cultural memory is actively constructed through embodied and political performances. Tang Xianzu and William Shakespeare, two “national poets” of unequal global stature, have recently become vehicles for British and Chinese cultural diplomacy and exchange during their quatercentenary in 2016. The culture of commemoration is a key factor in Tang’s…[Read more]

As a work that survives and appears in more than one form, King Lear has a vexing problem of interpretation and a rich opportunity for the study of textual and cultural variants. The play begins with an aging monarch staging a fantastical, paradoxical final act as a king. It lures us toward a final act of interpretation to nail down the nature of…[Read more]

In As You Like It, Shakespeare glorifies the social bandits that survive in the Forest of Arden, likening them to Robin Hood outlaws. Near-contemporary pseudo-biographies also record Shakespeare’s early life as a poacher and youthful renegade. Shakespeare’s play might suggest his advocacy of food sovereignty and social justice, a romanticized ima…[Read more]

Moon-Crossed reimagines the central plot of Shakespeare’s All’s Well That Ends Well as a means to examining the female monstrous in early modern drama, literature, and though. Why doesn’t Bertram like Helena? Because she’s a werewolf. But as he learns, she’s of a very noble line of werewolves. She saves the King of France, he learns a bit more…[Read more]

“Excellence in Execution” and “Fitness for Teaching”: Assessments of Women at the Conservatoire Américain