Pub Date : 2023-04-03DOI: 10.1080/17450918.2023.2193566
Claire Eager
ABSTRACT This essay contends that Shakespeare locates paradise squarely in the here and now. In this, his speakers’ language resembles that of the garden books and husbandry manuals that have engaged a number of recent studies. Rather than a lost ideal or a conventional commonplace, Eden is an object of present desire, an object that is potentially attainable. However, the plays’ language of desire is also the language of conquest. Paradise is nigh, but it belongs to someone else. In plays as disparate as Richard II and The Tempest, the paradisal garden is reimagined and redeployed for the purposes of the characters at hand. Such transformations of the idea of paradise to meet local circumstances and serve present needs echo nationalist discourses of Eden found in contemporary horticultural publications. Behind the practical instructions lie dreams shared by the dramatic characters: to seek and claim paradise close at hand. Sometimes the books seem as ambitious as any claimant to the English throne; at others they acknowledge the material limitations they face at the hands of weather, climate, and fortune. Underlying this singular focus on paradise is the threat that an Eden so obtained may no longer be Edenic.
{"title":"Paradise Now: Desiring English Eden in Shakespearean Gardens and Early Modern Horticultural Books","authors":"Claire Eager","doi":"10.1080/17450918.2023.2193566","DOIUrl":"https://doi.org/10.1080/17450918.2023.2193566","url":null,"abstract":"ABSTRACT This essay contends that Shakespeare locates paradise squarely in the here and now. In this, his speakers’ language resembles that of the garden books and husbandry manuals that have engaged a number of recent studies. Rather than a lost ideal or a conventional commonplace, Eden is an object of present desire, an object that is potentially attainable. However, the plays’ language of desire is also the language of conquest. Paradise is nigh, but it belongs to someone else. In plays as disparate as Richard II and The Tempest, the paradisal garden is reimagined and redeployed for the purposes of the characters at hand. Such transformations of the idea of paradise to meet local circumstances and serve present needs echo nationalist discourses of Eden found in contemporary horticultural publications. Behind the practical instructions lie dreams shared by the dramatic characters: to seek and claim paradise close at hand. Sometimes the books seem as ambitious as any claimant to the English throne; at others they acknowledge the material limitations they face at the hands of weather, climate, and fortune. Underlying this singular focus on paradise is the threat that an Eden so obtained may no longer be Edenic.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44888697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17450918.2023.2189995
Katherine Walker
{"title":"Horatio in Pieces: Or, How to Deal with Ghosts","authors":"Katherine Walker","doi":"10.1080/17450918.2023.2189995","DOIUrl":"https://doi.org/10.1080/17450918.2023.2189995","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43941405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17450918.2023.2187672
Natalia Khomenko
ABSTRACT Western studies of the Russian response to Shakespeare’s political tragedy after the October Revolution of 1917 have traditionally focused on Hamlet and paid little attention to the fortunes of Macbeth. This article argues that early Soviet Russia saw Macbeth as a play that sent a revolutionary message to its audiences and offered an ideologically useful vision of the world re-made by political violence. It explores the competition for control over the readings of Macbeth in early Soviet Russia by analysing the allusions to Macbeth in texts produced by those troubled by the violence of the October Revolution and the responses to these allusions from the supporters of the Bolshevik regime. Examining the two stage interpretations of Macbeth produced in the first post-revolutionary years, this article suggests that the ideologically minded directors and critics ultimately lost that competition and were forced to abandon the project of locating the October Revolution in the play as unprofitable. I propose that the absence of this tragedy from the central Soviet stages from the mid-1920s and throughout the intensely ideological Stalinist era can then be read not as neutral disinterest but as an active apprehension of its potential for subversive political messaging.
{"title":"The Revolution’s Bloody Hands: Macbeth in Bolshevik Russia","authors":"Natalia Khomenko","doi":"10.1080/17450918.2023.2187672","DOIUrl":"https://doi.org/10.1080/17450918.2023.2187672","url":null,"abstract":"ABSTRACT Western studies of the Russian response to Shakespeare’s political tragedy after the October Revolution of 1917 have traditionally focused on Hamlet and paid little attention to the fortunes of Macbeth. This article argues that early Soviet Russia saw Macbeth as a play that sent a revolutionary message to its audiences and offered an ideologically useful vision of the world re-made by political violence. It explores the competition for control over the readings of Macbeth in early Soviet Russia by analysing the allusions to Macbeth in texts produced by those troubled by the violence of the October Revolution and the responses to these allusions from the supporters of the Bolshevik regime. Examining the two stage interpretations of Macbeth produced in the first post-revolutionary years, this article suggests that the ideologically minded directors and critics ultimately lost that competition and were forced to abandon the project of locating the October Revolution in the play as unprofitable. I propose that the absence of this tragedy from the central Soviet stages from the mid-1920s and throughout the intensely ideological Stalinist era can then be read not as neutral disinterest but as an active apprehension of its potential for subversive political messaging.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49066519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17450918.2023.2195836
Jennifer Munroe
The latest in a growing number of collections that positions Shakespeare’s oeuvre in the context of ‘green studies’, Shakespeare’s Botanical Imagination, edited by Susan C. Staub, is an important contribution to the field. This collection is the first of its kind organised entirely around plants, and as such considers Shakespeare’s works alongside a subject too-often relegated, as Staub persuasively argues in the Introduction, to mere background material. These essays consider, as Staub writes, expansive botanical territory to
{"title":"Shakespeare’s Botanical Imagination","authors":"Jennifer Munroe","doi":"10.1080/17450918.2023.2195836","DOIUrl":"https://doi.org/10.1080/17450918.2023.2195836","url":null,"abstract":"The latest in a growing number of collections that positions Shakespeare’s oeuvre in the context of ‘green studies’, Shakespeare’s Botanical Imagination, edited by Susan C. Staub, is an important contribution to the field. This collection is the first of its kind organised entirely around plants, and as such considers Shakespeare’s works alongside a subject too-often relegated, as Staub persuasively argues in the Introduction, to mere background material. These essays consider, as Staub writes, expansive botanical territory to","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46711580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-30DOI: 10.1080/17450918.2023.2192699
Peter J. Smith
{"title":"Review of Titus Andronicus (Directed by Jude Christian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 18 February 2023","authors":"Peter J. Smith","doi":"10.1080/17450918.2023.2192699","DOIUrl":"https://doi.org/10.1080/17450918.2023.2192699","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43968433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-22DOI: 10.1080/17450918.2023.2189996
Maria Elisa Montironi
{"title":"Mothers, Motherhood and the Feminine in Fiennes’s Coriolanus","authors":"Maria Elisa Montironi","doi":"10.1080/17450918.2023.2189996","DOIUrl":"https://doi.org/10.1080/17450918.2023.2189996","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41394472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-16DOI: 10.1080/17450918.2023.2185484
Qiang Chen, W. Christie
{"title":"Justice or Judgment? On Adaptations of Macbeth in Chinese Traditional Opera","authors":"Qiang Chen, W. Christie","doi":"10.1080/17450918.2023.2185484","DOIUrl":"https://doi.org/10.1080/17450918.2023.2185484","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46789441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1080/17450918.2023.2185485
Lydia Valentine
{"title":"Review of Shakespeare’s Julius Caesar (Directed by Diane Page) at Shakespeare’s Globe, London, 6 September 2022","authors":"Lydia Valentine","doi":"10.1080/17450918.2023.2185485","DOIUrl":"https://doi.org/10.1080/17450918.2023.2185485","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41496436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.1080/17450918.2023.2176719
L. Geddes
{"title":"Celebrity Plays and Embodied Fidelity","authors":"L. Geddes","doi":"10.1080/17450918.2023.2176719","DOIUrl":"https://doi.org/10.1080/17450918.2023.2176719","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43252842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-17DOI: 10.1080/17450918.2023.2176192
Jason Hogue
ABSTRACT Focusing on 1 and 3 Henry VI, this essay analyzes the ‘vegetal’ performances of Shakespeare’s first history tetralogy, informed by insights about the more-than-human world from the fields of new materialism and critical plant studies. Specifically, I argue that the roses the original performers wore onstage should be viewed as vegetal co-stars in Shakespeare’s dramatisation of the wars that bear their name. In close proximity to the players who wore them and mobilised them, the roses are at once highly objectified symbols and agential co-participants in the meaning-making of the plays constructed by both the players and the audience during performances. These roses were plant-agents among Plantagenets, exerting their own volitions and idiosyncrasies onstage, amidst the actors who wore them on their person. Thus, this essay intervenes in conversations about the agency of objects such as props and costumes on the Elizabethan stage, asserting a special place for objects that really should be viewed as subjects, this plant material representing the staged appearances of once living biological entities whose bodily idiosyncrasies could assert a material presence and even resistance to the humans with whom they shared the theatrical space.
{"title":"‘Between the Red Rose and the White’: Staging Vegetal Materiality in the First Tetralogy","authors":"Jason Hogue","doi":"10.1080/17450918.2023.2176192","DOIUrl":"https://doi.org/10.1080/17450918.2023.2176192","url":null,"abstract":"ABSTRACT Focusing on 1 and 3 Henry VI, this essay analyzes the ‘vegetal’ performances of Shakespeare’s first history tetralogy, informed by insights about the more-than-human world from the fields of new materialism and critical plant studies. Specifically, I argue that the roses the original performers wore onstage should be viewed as vegetal co-stars in Shakespeare’s dramatisation of the wars that bear their name. In close proximity to the players who wore them and mobilised them, the roses are at once highly objectified symbols and agential co-participants in the meaning-making of the plays constructed by both the players and the audience during performances. These roses were plant-agents among Plantagenets, exerting their own volitions and idiosyncrasies onstage, amidst the actors who wore them on their person. Thus, this essay intervenes in conversations about the agency of objects such as props and costumes on the Elizabethan stage, asserting a special place for objects that really should be viewed as subjects, this plant material representing the staged appearances of once living biological entities whose bodily idiosyncrasies could assert a material presence and even resistance to the humans with whom they shared the theatrical space.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48755619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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