This first material history of how Shakespeare has been used in wartime tells a fresh and compelling story about how he has been 'recruited' across centuries of military activity, drawing upon scholarly expertise in Shakespeare and War Studies, first-hand experience from public military figures and insights from prominent theatre directors.
This first material history of how Shakespeare has been used in wartime tells a fresh and compelling story about how he has been 'recruited' across centuries of military activity, drawing upon scholarly expertise in Shakespeare and War Studies, first-hand experience from public military figures and insights from prominent theatre directors.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Introduction: A Material History Amy Lidster and Sonia Massai; 1. 'The truth for which we are fighting': David Garrick's The Tempest (1756) and inclusive Britishness during the seven years' war Sonia Massai; 2. The seven years' war (1756-1763) and Garrick's Shakespearean Nationalism Jonathan Crimmins; 3. Revolutionary Shakespeare: Julius Caesar and the rhetorical fashioning of ideologies of freedom Esther B. Schupak; 4. Hamlet mobilized: political parody during the Napoleonic wars Amy Lidster; 5. Shakespeare, the north-west passage, and the Russian war Irena R. Makaryk; 6. Now for our Irish wars': Shakespeare, colonialism, and nationalism in Ireland Andrew Murphy; 7. Shakespeare and the survival of middle England: weekly journals, 1914-18 Stuart Sillars; 8. Ellen Terry stars at the Shakespeare hut Ailsa Grant Ferguson; 9. The 1916 Shakespeare tercentenary at N¿ 1 camp in Calais Monika Smialkowska; 10. Shakespeare does his bit for the war effort: authorship and material culture in the 1917 British Red Cross Shakespeare exhibition Clara Calvo; 11. Germanizing Shakespeare during the First World War Marius S. Ostrowski; 12. Readers and rebels: Ireland, Shakespeare and the 1916 easter rising Katherine Hennessey; 13. Forgotten histories: the barnbow lasses in Maggie Smales's Henry V (upstage centre, 41 Monkgate, York, 2015) an interview with Maggie Smales; 14. Now good or bad, 'tis but the chance of war': counter-punching against appeasement Robert Sawyer; 15. 'Precurse of feared events': a pre-war hamlet at Elsinore, 1939 Anne Sophie Refskou; 16. But what are we fighting for? The role of Shakespeare and the arts in wartime Britain Ros King; 17. Henry V and the battle of powerscourt Edward Corse; 18. Unser Shakespeare in Nazi Germany Richard Ned Lebow; 19. Framing the Jew: Julia Pascal's The Shylock play (Arcola theatre, London, 2007) an interview with Julia Pascal; 20. G. Wilson Knight's 'Royal Propaganda' in 'This Sceptred Isle' (1941) Reiko Oya; 21. Shakespeare's desert camouflage Ramona Wray; 22. 'May I with right and conscience make this claim?': Testing the 'just war' tradition in Nicholas Hytner's Henry V (National Theatre, 2003) An interview with Nicholas Hytner; 23. Henry V and the invasion of Iraq Tim Collins; 24. Who pays the price: Maria Aberg on Roy Williams's days of significance (Royal Shakespeare Company, 2007) an interview with Maria Aberg; 25. 'Mere prattle, without practice, is all his soldiership': shaping the soldier in Nicholas Hytner's Othello (National Theatre, 2013) Jonathan Shaw; 26. 'Thou hast set me on the Rack': torture and modern warfare in Iqbal Khan's Othello (Royal Shakespeare company, 2015) an interview with Iqbal Khan; Afterword Emma Smith.
Introduction: A Material History Amy Lidster and Sonia Massai; 1. 'The truth for which we are fighting': David Garrick's The Tempest (1756) and inclusive Britishness during the seven years' war Sonia Massai; 2. The seven years' war (1756-1763) and Garrick's Shakespearean Nationalism Jonathan Crimmins; 3. Revolutionary Shakespeare: Julius Caesar and the rhetorical fashioning of ideologies of freedom Esther B. Schupak; 4. Hamlet mobilized: political parody during the Napoleonic wars Amy Lidster; 5. Shakespeare, the north-west passage, and the Russian war Irena R. Makaryk; 6. Now for our Irish wars': Shakespeare, colonialism, and nationalism in Ireland Andrew Murphy; 7. Shakespeare and the survival of middle England: weekly journals, 1914-18 Stuart Sillars; 8. Ellen Terry stars at the Shakespeare hut Ailsa Grant Ferguson; 9. The 1916 Shakespeare tercentenary at N¿ 1 camp in Calais Monika Smialkowska; 10. Shakespeare does his bit for the war effort: authorship and material culture in the 1917 British Red Cross Shakespeare exhibition Clara Calvo; 11. Germanizing Shakespeare during the First World War Marius S. Ostrowski; 12. Readers and rebels: Ireland, Shakespeare and the 1916 easter rising Katherine Hennessey; 13. Forgotten histories: the barnbow lasses in Maggie Smales's Henry V (upstage centre, 41 Monkgate, York, 2015) an interview with Maggie Smales; 14. Now good or bad, 'tis but the chance of war': counter-punching against appeasement Robert Sawyer; 15. 'Precurse of feared events': a pre-war hamlet at Elsinore, 1939 Anne Sophie Refskou; 16. But what are we fighting for? The role of Shakespeare and the arts in wartime Britain Ros King; 17. Henry V and the battle of powerscourt Edward Corse; 18. Unser Shakespeare in Nazi Germany Richard Ned Lebow; 19. Framing the Jew: Julia Pascal's The Shylock play (Arcola theatre, London, 2007) an interview with Julia Pascal; 20. G. Wilson Knight's 'Royal Propaganda' in 'This Sceptred Isle' (1941) Reiko Oya; 21. Shakespeare's desert camouflage Ramona Wray; 22. 'May I with right and conscience make this claim?': Testing the 'just war' tradition in Nicholas Hytner's Henry V (National Theatre, 2003) An interview with Nicholas Hytner; 23. Henry V and the invasion of Iraq Tim Collins; 24. Who pays the price: Maria Aberg on Roy Williams's days of significance (Royal Shakespeare Company, 2007) an interview with Maria Aberg; 25. 'Mere prattle, without practice, is all his soldiership': shaping the soldier in Nicholas Hytner's Othello (National Theatre, 2013) Jonathan Shaw; 26. 'Thou hast set me on the Rack': torture and modern warfare in Iqbal Khan's Othello (Royal Shakespeare company, 2015) an interview with Iqbal Khan; Afterword Emma Smith.
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