The Arden Research Handbook of Shakespeare and Adaptation

Description

The Arden Research Handbook of Shakespeare and Adaptation is the first comprehensive reference resource to explore the dynamics of adapted Shakespeare across a range of media forms. The volume maps the field of Shakespeare adaptation studies, identifying theories of adaptation, their application in practice, and the methodologies that underpin them. It considers how adaptation is a key driver of Shakespeare’s ongoing vitality in the contemporary world as Shakespeare is encountered through novels, films, television, and internet culture. It investigates current research and points towards future lines of inquiry for students, researchers and practitioners of Shakespeare adaptation. The opening section on research methods and problems considers definitions of adaptation. A central section develops these theoretical concerns through a series of case studies that move across a range of genres, media forms, and locations to ask not only how Shakespeare is variously transfigured, hybridised and valorised through adaptational play, but also how adaptations produce interpretive communities, and within these potentially new literacies, modes of engagement, and sensory pleasures. The Handbook devotes separate chapters to artists and practitioners of Shakespeare adaptation, including novelists, dramatists and YouTube vloggers, and thus provides a uniquely detailed insight for the reader into the creative impulses and energies at work in adapted Shakespeare. The Handbook establishes the conceptual parameters of the field through detailed, practical resources that will aid the specialist and non-specialist reader alike, including an A-Z of key terms in Shakespeare adaptation studies, a chronology of the field, a guide to research resources, and an annotated bibliography. Cover Contents List of Figures Notes on Contributors Acknowledgements Introduction Diana E. Henderson and Stephen O’Neill Part One: Research methods and problems 1.1 Shakespeare as adaptor Emma Smith 1.2 Shakespeare and adaptation theory: unfinished business Douglas M. Lanier 1.3 What is Shakespeare adaptation?: Why Pericles? Why Cloud? Why now? Julie Sanders Part Two: Current research and issues Histories and politics of adaptation 2.1 Politics, adaptation, Macbeth William C. Carroll 2.2 Animating an archive of Black performance: swing, William Alexander Brown and The African Company Presents ‘Richard III’ Joyce Green MacDonald 2.3 ‘Does anyone know another text?’: Post-migratory Othello adaptations on the German-speaking stage Sabine Schülting 2.4 Japanese novelizations of Shakespeare’s Hamlet and Macbeth: the culture of hon’an as adaptational practice Yukari Yoshihara Shakespeare in parts 2.5 Shakespeare Live! and the commemorative gala revue: rhetoric, festivity and fragmented adaptation Ailsa Grant Ferguson 2.6 ‘What burgeons in the memory …’: transgression, culture and canon in postmodern adaptations of the Sonnets Rui Carvalho Homem 2.7 ‘Play on’, or the memeing of Shakespeare: adaptation and internet
culture
Anna Blackwell 2.8 Bollywood Gertrudes and Global Shakespeares
Varsha Panjwani Media lenses and digital
cultures 2.9 Screening dreamy LA: reading genre in Casey Wilder Mott’s
Hollywood A Midsummer Night’s Dream (2018)
Melissa Croteau 2.10 Televisual adaptation of Shakespeare in a multi-platform age
Susanne Greenhalgh 2.11 On location in Asian Shakespeare stage adaptations
Yong Li Lan 2.12 ‘And we will ship him hence’: The case for Shakespeare fan studies
Valerie M. Fazel and Louise Geddes Part Three: New directions 3.1 Reduce, rewrite, recycle: adapting A Midsummer Night’s Dream
for Yosemite
Katherine Steele Brokaw and Paul Prescott 3.2 Hamlet in the age of algorithmic production
Annie
Dorsen interviewed by Miriam Felton-Dansky 3.3 A King Lear sutra
Preti Taneja Resources Vanessa I. Corredera Annotated Bibliography Kavita Mudan Finn Index