The Shakespearean International Yearbook
Disability Performance and Global Shakespeare
Herausgeber: Joubin, Alexa Alice; Schaap Williams, Katherine; Khomenko, Natalia
The Shakespearean International Yearbook
Disability Performance and Global Shakespeare
Herausgeber: Joubin, Alexa Alice; Schaap Williams, Katherine; Khomenko, Natalia
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The Shakespearean International Yearbook surveys the present state of Shakespeare studies in global contexts, addressing issues that are fundamental to our interpretive encounter with Shakespeare's work and his time.
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The Shakespearean International Yearbook surveys the present state of Shakespeare studies in global contexts, addressing issues that are fundamental to our interpretive encounter with Shakespeare's work and his time.
Produktdetails
- Produktdetails
- Verlag: Taylor & Francis
- Seitenzahl: 206
- Erscheinungstermin: 18. April 2024
- Englisch
- Abmessung: 229mm x 152mm x 14mm
- Gewicht: 463g
- ISBN-13: 9781032649214
- ISBN-10: 1032649216
- Artikelnr.: 70148996
- Verlag: Taylor & Francis
- Seitenzahl: 206
- Erscheinungstermin: 18. April 2024
- Englisch
- Abmessung: 229mm x 152mm x 14mm
- Gewicht: 463g
- ISBN-13: 9781032649214
- ISBN-10: 1032649216
- Artikelnr.: 70148996
Alexa Alice Joubin, Professor of English, George Washington University, and Research Affiliate, Massachusetts Institute of Technology, USA. Natalia Khomenko teaches English Literature at York University (Toronto). Her ongoing research project focuses on the reception, interpretation, and adaptation of Shakespearean drama in early Soviet Russia.
Part I: Disability Performance and Global Shakespeare; 1. Introduction:
Disability Performance and Global Shakespeare; 2. Concealing, Simulating,
or Re-Defining Disability?: Richard III and Performing (with) Disability in
Arabian Gulf Theatre; 3. "A body like this can't play Richard": Embodied
Representation and Welshness in richard iii redux [or] Sara Beer is/not
Richard III; 4. "Baroque Staring": Caliban in Polish Theatre; 5. Making
Meaning of the (Ab)normal Body: Reading Caesar's Body as a Palimpsest in
Julius Caesar and Sri Lankan Performance; 6. "Audience to this Act":
Audience as Disabling in Stagings of Deafness in Hamlet; 7. "What's with
Him?": Reading Hamlet and Haider through the Lens of Disability-Craft; 8.
Intellectual Disability, Madness, and Gender in Karim-Masihi's
Tardid/Doubt: A Rewriting of Shakespeare's Hamlet; 9. "Cast[e]ing
Shakespeare": Intersections of Disability and Race in Vishal Bhardwaj's
Maqbool; 10. Against White Cripistemology: Seeing Race and Global
Disability in King Lear; Part II: The Year in Review; 11. Access and Global
Shakespeares: The State of the Field, 2022-23
Disability Performance and Global Shakespeare; 2. Concealing, Simulating,
or Re-Defining Disability?: Richard III and Performing (with) Disability in
Arabian Gulf Theatre; 3. "A body like this can't play Richard": Embodied
Representation and Welshness in richard iii redux [or] Sara Beer is/not
Richard III; 4. "Baroque Staring": Caliban in Polish Theatre; 5. Making
Meaning of the (Ab)normal Body: Reading Caesar's Body as a Palimpsest in
Julius Caesar and Sri Lankan Performance; 6. "Audience to this Act":
Audience as Disabling in Stagings of Deafness in Hamlet; 7. "What's with
Him?": Reading Hamlet and Haider through the Lens of Disability-Craft; 8.
Intellectual Disability, Madness, and Gender in Karim-Masihi's
Tardid/Doubt: A Rewriting of Shakespeare's Hamlet; 9. "Cast[e]ing
Shakespeare": Intersections of Disability and Race in Vishal Bhardwaj's
Maqbool; 10. Against White Cripistemology: Seeing Race and Global
Disability in King Lear; Part II: The Year in Review; 11. Access and Global
Shakespeares: The State of the Field, 2022-23
Part I: Disability Performance and Global Shakespeare; 1. Introduction:
Disability Performance and Global Shakespeare; 2. Concealing, Simulating,
or Re-Defining Disability?: Richard III and Performing (with) Disability in
Arabian Gulf Theatre; 3. "A body like this can't play Richard": Embodied
Representation and Welshness in richard iii redux [or] Sara Beer is/not
Richard III; 4. "Baroque Staring": Caliban in Polish Theatre; 5. Making
Meaning of the (Ab)normal Body: Reading Caesar's Body as a Palimpsest in
Julius Caesar and Sri Lankan Performance; 6. "Audience to this Act":
Audience as Disabling in Stagings of Deafness in Hamlet; 7. "What's with
Him?": Reading Hamlet and Haider through the Lens of Disability-Craft; 8.
Intellectual Disability, Madness, and Gender in Karim-Masihi's
Tardid/Doubt: A Rewriting of Shakespeare's Hamlet; 9. "Cast[e]ing
Shakespeare": Intersections of Disability and Race in Vishal Bhardwaj's
Maqbool; 10. Against White Cripistemology: Seeing Race and Global
Disability in King Lear; Part II: The Year in Review; 11. Access and Global
Shakespeares: The State of the Field, 2022-23
Disability Performance and Global Shakespeare; 2. Concealing, Simulating,
or Re-Defining Disability?: Richard III and Performing (with) Disability in
Arabian Gulf Theatre; 3. "A body like this can't play Richard": Embodied
Representation and Welshness in richard iii redux [or] Sara Beer is/not
Richard III; 4. "Baroque Staring": Caliban in Polish Theatre; 5. Making
Meaning of the (Ab)normal Body: Reading Caesar's Body as a Palimpsest in
Julius Caesar and Sri Lankan Performance; 6. "Audience to this Act":
Audience as Disabling in Stagings of Deafness in Hamlet; 7. "What's with
Him?": Reading Hamlet and Haider through the Lens of Disability-Craft; 8.
Intellectual Disability, Madness, and Gender in Karim-Masihi's
Tardid/Doubt: A Rewriting of Shakespeare's Hamlet; 9. "Cast[e]ing
Shakespeare": Intersections of Disability and Race in Vishal Bhardwaj's
Maqbool; 10. Against White Cripistemology: Seeing Race and Global
Disability in King Lear; Part II: The Year in Review; 11. Access and Global
Shakespeares: The State of the Field, 2022-23