Pub Date : 2023-05-10DOI: 10.1080/17450918.2023.2207553
Mark Kaethler, Toby Malone, Jennifer Roberts-Smith
{"title":"Polychronic Actants: Modern Promptbooks as Anticipated Acts, Unanticipated Acts, and Ideal Assemblages","authors":"Mark Kaethler, Toby Malone, Jennifer Roberts-Smith","doi":"10.1080/17450918.2023.2207553","DOIUrl":"https://doi.org/10.1080/17450918.2023.2207553","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47422052","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 : 2023-05-10DOI: 10.1080/17450918.2023.2207569
M. Collins
{"title":"Review of Shakespeare’s King Lear (Directed by Simon Godwin for the Shakespeare Theatre Company) at the Klein Theatre, Washington, DC, 15 March 2023","authors":"M. Collins","doi":"10.1080/17450918.2023.2207569","DOIUrl":"https://doi.org/10.1080/17450918.2023.2207569","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47392640","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 : 2023-05-03DOI: 10.1080/17450918.2023.2205837
William David Green
{"title":"Review of William Shakespeare’s The Tempest (Directed by Elizabeth Freestone for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 8 February 2023","authors":"William David Green","doi":"10.1080/17450918.2023.2205837","DOIUrl":"https://doi.org/10.1080/17450918.2023.2205837","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46550048","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 : 2023-05-03DOI: 10.1080/17450918.2023.2206374
Bethan Davies
{"title":"Review of Thomas Middleton’s Michaelmas Term (Directed by Perry Mills for Edward’s Boys) at the Inner Temple, London, 17 March 2023","authors":"Bethan Davies","doi":"10.1080/17450918.2023.2206374","DOIUrl":"https://doi.org/10.1080/17450918.2023.2206374","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44532599","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 : 2023-05-03DOI: 10.1080/17450918.2023.2205382
William David Green
{"title":"Review of William Shakespeare’s Julius Caesar (Directed by Atri Banerjee for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 29 March 2023","authors":"William David Green","doi":"10.1080/17450918.2023.2205382","DOIUrl":"https://doi.org/10.1080/17450918.2023.2205382","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46220802","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 : 2023-04-25DOI: 10.1080/17450918.2023.2196968
B. Cooke
{"title":"Waugh’s Green World: Reconceptualising The Ordeal of Gilbert Pinfold as a Transcoded Production of King Lear","authors":"B. Cooke","doi":"10.1080/17450918.2023.2196968","DOIUrl":"https://doi.org/10.1080/17450918.2023.2196968","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45058019","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 : 2023-04-17DOI: 10.1080/17450918.2023.2198992
Kelly Duquette
{"title":"Disabled for England: Crip/Queer Veterans in Henry V","authors":"Kelly Duquette","doi":"10.1080/17450918.2023.2198992","DOIUrl":"https://doi.org/10.1080/17450918.2023.2198992","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49639853","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: 10.1080/17450918.2023.2195830
T. Borlik
Gardens are ideal sites for communing not only with nature but also with the past. Shakespeare’s contemporaries tended to imagine gardens as portals to an Edenic golden age when humans co-existed in harmony with a lush and bountiful environment. In the twenty-first century, Tudor gardens fulfil a similar function, providing access to the vibrant sensory world of Shakespeare and his era and exuding a whiff of the real as powerful as Orsino's odorous violets. Stratford-upon-Avon is positively begemmed with them, from the Birthplace at Henley Street to the knot gardens and mulberry trees of New Place (allegedly descended from a sapling planted by Shakespeare), to the herbaceous borders, willow cabin, and trellis-climbing roses adorning Anne Hathaway’s Cottage. The tally will soon increase by one more. In 2022, the Shakespeare Birthplace Trust received a £ 300,000 grant to recreate the herb garden of Shakespeare’s daughter Susanna and her physician husband John Hall at Hall’s Croft. Never mind the fact these replica gardens are idealised confections or, at best, highly embellished restorations. Most of the land abutting the Hathaway house, for example, would have been a working farmyard, complete with hayricks, dunghills, barking dogs, and squawking geese, and only took on its present quaint appearance in the 1920s when the Birthplace Trust hired the renowned horticulturalist Ellen Willmott to relandscape it as a cottage garden in line with Arts & Crafts ideals. That such places continue to enthral even in our brave new digital world is evident from glossy coffeetable books like Jackie Bennett’s Shakespeare’s Gardens and the trending of ‘cottagecore’ on social media. But the proximity of these teeming gardens to Shakespearean houses is also an act of historical interpretation: curating a past defined by its immediacy to the natural world. A similar moral awaits those who wander inside a Shakespeare Garden, which gathers all (or nearly) of the 175 plants mentioned by the playwright into one pleasant place. While researchers have debunked the legend that a misguided ornithologist and Shakespeare enthusiast imported starlings to America
{"title":"Shakespeare and Gardens: Special Issue Introduction","authors":"T. Borlik","doi":"10.1080/17450918.2023.2195830","DOIUrl":"https://doi.org/10.1080/17450918.2023.2195830","url":null,"abstract":"Gardens are ideal sites for communing not only with nature but also with the past. Shakespeare’s contemporaries tended to imagine gardens as portals to an Edenic golden age when humans co-existed in harmony with a lush and bountiful environment. In the twenty-first century, Tudor gardens fulfil a similar function, providing access to the vibrant sensory world of Shakespeare and his era and exuding a whiff of the real as powerful as Orsino's odorous violets. Stratford-upon-Avon is positively begemmed with them, from the Birthplace at Henley Street to the knot gardens and mulberry trees of New Place (allegedly descended from a sapling planted by Shakespeare), to the herbaceous borders, willow cabin, and trellis-climbing roses adorning Anne Hathaway’s Cottage. The tally will soon increase by one more. In 2022, the Shakespeare Birthplace Trust received a £ 300,000 grant to recreate the herb garden of Shakespeare’s daughter Susanna and her physician husband John Hall at Hall’s Croft. Never mind the fact these replica gardens are idealised confections or, at best, highly embellished restorations. Most of the land abutting the Hathaway house, for example, would have been a working farmyard, complete with hayricks, dunghills, barking dogs, and squawking geese, and only took on its present quaint appearance in the 1920s when the Birthplace Trust hired the renowned horticulturalist Ellen Willmott to relandscape it as a cottage garden in line with Arts & Crafts ideals. That such places continue to enthral even in our brave new digital world is evident from glossy coffeetable books like Jackie Bennett’s Shakespeare’s Gardens and the trending of ‘cottagecore’ on social media. But the proximity of these teeming gardens to Shakespearean houses is also an act of historical interpretation: curating a past defined by its immediacy to the natural world. A similar moral awaits those who wander inside a Shakespeare Garden, which gathers all (or nearly) of the 175 plants mentioned by the playwright into one pleasant place. While researchers have debunked the legend that a misguided ornithologist and Shakespeare enthusiast imported starlings to America","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"143 - 151"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43274970","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: 10.1080/17450918.2023.2195844
Bonnie Lander Johnson
ABSTRACT This article reads Richard II’s garden scene in the context of early modern debates about sacramentalism and the created world. The garden scene reveals its awareness of these debates and the ways in which they occurred in genres both high (learned tracts, printed books) and low (oral cultures, cheap print). The gardener demonstrates his political and theological sophistication through his hands-on knowledge of gardening. In the same way, ordinary people off-stage participated in their culture’s most urgent controversies through popular genre that were frequently dismissed by their social betters.
{"title":"Trees, Ballads, Iconoclasm and the Garden in Shakespeare’s Richard II","authors":"Bonnie Lander Johnson","doi":"10.1080/17450918.2023.2195844","DOIUrl":"https://doi.org/10.1080/17450918.2023.2195844","url":null,"abstract":"ABSTRACT This article reads Richard II’s garden scene in the context of early modern debates about sacramentalism and the created world. The garden scene reveals its awareness of these debates and the ways in which they occurred in genres both high (learned tracts, printed books) and low (oral cultures, cheap print). The gardener demonstrates his political and theological sophistication through his hands-on knowledge of gardening. In the same way, ordinary people off-stage participated in their culture’s most urgent controversies through popular genre that were frequently dismissed by their social betters.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"203 - 221"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48232871","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: 10.1080/17450918.2023.2193566
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":"19 1","pages":"152 - 179"},"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}
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