Feeling Faint is a book about human consciousness in its most basic sense: the awareness, at any given moment, that we live and feel. Such awareness, it argues, is distinct from the categories of self
A range of mainstream and independent English language film productions of A Midsummer Night's Dream, Romeo and Juliet, Othello, Twelfth Night, and The Merchant of Venice take centre stage in Queering
Queer Shakespeare: Desire and Sexuality draws together 13 essays, which offer a major reassessment of the criticism of desire, body and sexuality in Shakespeare's drama and poetry. Bringing together s
While the dehumanizing effects of technology, modernity, and industrialization have been widely recognized in D. H. Lawrence's works, no book-length study has been dedicated to this topic. This colle
Shakespeare's and Peele's Titus Andronicus has had a theatrical and a critical revival in the last fifteen years; the critical revival was perhaps prompted by Jonathan Bate's Arden edition of the play
Shakespeare Between the World Wars draws parallels between Shakespearean scholarship, criticism, and production from 1920 to 1940 and the chaotic years of the Interwar era. The book begins with the sc
In The Language of Fruit, Liz Bellamy explores how poets, playwrights, and novelists from the Restoration to the Romantic era represented fruit and fruit trees in a period that saw significant changes
From the earliest decades of the nineteenth century, the suburbs were maligned by the aristocratic elite as dull zones of low cultural ambition and vulgarity, as well as generally female spaces isolat
Transnational in scope, this much-needed volume explores how modernist writers and artists address and critique the dramatic changes to food systems that took place in the early twentieth century. Dur
In Shakespeare the Illusionist, Neil Forsyth reviews the history of Shakespeare’s plays on film, using the basic distinction in film tradition between what is owed to Méliès and what to the Lumière br
The grotesque in contemporary British fiction reveals the extent to which the grotesque endures as a dominant artistic mode in British fiction and presents a new way of understanding six authors who h
Despite its name, the real subject of J.G. Farrell’s three-and-a-half-book Empire Series is not the British empire, but the human condition, a state characterized by ‘fall’ – l
In the Shakespeare aftermath—where all things Shakespearean are available for reassembly and reenactment—experimental transactions with Shakespeare become consequential events in their own right, info
The first science fiction course in the American academy was held in the early 1950s. In the sixty years since, science fiction has become a recognized and established literary genre with a significant and growing body of scholarship. The Cambridge History of Science Fiction is a landmark volume as the first authoritative history of the genre. Over forty contributors with diverse and complementary specialties present a history of science fiction across national and genre boundaries, and trace its intellectual and creative roots in the philosophical and fantastic narratives of the ancient past. Science fiction as a literary genre is the central focus of the volume, but fundamental to its story is its non-literary cultural manifestations and influence. Coverage thus includes transmedia manifestations as an integral part of the genre's history, including not only short stories and novels, but also film, art, architecture, music, comics, and interactive media.
Threshold Modernism reveals how changing ideas about gender and race in late nineteenth- and early twentieth-century Britain shaped - and were shaped by - London and its literature. Chapters address key sites, especially department stores, women's clubs, and city streets, that coevolved with controversial types of modern women. Interweaving cultural history, narrative theory, close reading, and spatial analysis, Threshold Modernism considers canonical figures such as George Gissing, Henry James, Dorothy Richardson, H. G. Wells, and Virginia Woolf alongside understudied British and colonial writers including Amy Levy, B. M. Malabari, A. B. C. Merriman-Labor, Duse Mohamed Ali, and Una Marson. Evans argues that these diverse authors employed the 'new public women' and their associated spaces to grapple with widespread cultural change and reflect on the struggle to describe new subjects, experiences, and ways of seeing in appropriately novel ways. For colonial writers of color, those women
Cognition, Mindreading, and Shakespeare's Characters brings cognitive science to Shakespeare, applying contemporary theories of mindreading to Shakespeare’s construction of character. Building on the
Why do we continue to experience many of Shakespeare's dramatic characters as real people with personal histories, individual personalities, and psychological depth? What is it that makes Falstaff see
Shakespeare on Record is a unique guide to major Shakespeare discoveries and the archival insight that made them possible. With contributions from experts at The National Archives, the Folger Shakespe
- How do actors prepare a script of a Shakespeare play for performance?- Where do directors begin?- What do Shakespeare's plays offer a designer or choreographer?- How do the cast and creative team wo
Shakespeare and Queer Theory is an indispensable guide on the ongoing critical debates about queer method both within and beyond Shakespeare and early modern studies. Clearly elucidating the central i
