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Loving Shakespeare

Anne Tyler's Vinegar Girl and the Hogarth Shakespeare Project

Elizabeth Rivlin

Shakespeare. A feature piece by Ron Charles in the Washington Post begins: ‘Anne Tyler hates Shakespeare's plays. All of them. But she hates “The Taming of the Shrew” the most. So she rewrote it’. 6 Given her antipathy, why did she agree to join the project

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‘Failed Feminism’

Anne Tyler's Vinegar Girl in the Chinese Market

Yingjie Duan and Junwu Tian

When asked about the decision to rewrite The Taming of the Shrew among Shakespeare's plays, Anne Tyler said that she hated it the most because it is ‘such a crazy story … People behave so inexplicably’. 1 The Taming of the Shrew is indeed a

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Modernising Misogyny in Shakespeare's Shrew

Natalie K. Eschenbaum

An NPR review of Vinegar Girl states that Anne Tyler's modernisation of Shakespeare's The Taming of the Shrew is a ‘fizzy cocktail of a romantic comedy, far more sweet than acidic, about finding a mate who appreciates you for your

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The Taming of the Tigress

Faṭima Rushdī and the First Performance of Shrew in Arabic

David C. Moberly

great Arab nation.’ 1 The Taming of the Shrew occupies a unique place in Egyptian theatre, standing at the intersection of its colonial and revolutionary history, framing the clashes between its westernized elites and its lower classes, and helping

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Going Rogue

Bianca at Large

Elizabeth Mazzola

This article explores how Shakespeare transforms his early picture of female virtue embodied by Bianca Minola – safely stowed in her chambers in The Taming of the Shrew – into the freedom we find in Othello's Bianca, who is an emblem of the larger world; her movements aligned with integrity, the ability to reason, and mastery of her body. I investigate how Bianca's 'nomadic' status guarantees her safety and speech, and also locate her agency and mobility alongside the movements of female characters like Moll Cutpurse, Isabella Whitney's dejected maidservant, and Spenser's Britomart – all guardians of a world to which they only peripherally belong.

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Canonising Shakespeare in 1920s Japan

Tsubouchi Shōyō and the Translator's Choice

Daniel Gallimore

), Henry IV , Parts 1 and 2 (June and July 1919) and The Taming of the Shrew (November 1920) in Volume 4, and Antony and Cleopatra (May 1915), Measure for Measure (July 1918) and Macbeth (February 1916) in Volume 5. Volume 5 also includes a

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Egypt between Two Shakespeare Quadricentennials 1964–2016

Reflective Remarks in Three Snapshots

Hazem Azmy

to respect their parents and elders is screenwriter and commentator Lamis Gaber, the wife of none other than Yehia El-Fakharany. Snapshot Three: Reading The Taming of the Shrew in Cairo? In 2016 Egypt, a university course in Shakespeare

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Katherine Hennessey and Margaret Litvin

geographic locations, a testament to the vibrancy of this field. We begin with Egyptian actress Faṭima Rushdī’s groundbreaking production and performance of The Taming of the Shrew in Egypt in 1930. As David C. Moberly argues, Rushdī’s controversial

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Shakespeare and the Modern Novel

Graham Holderness

the play: the love triangle of Gertrude, Claudius and King Hamlet. Natalie Eschenbaum considers how Anne Tyler's novel Vinegar Girl (Hogarth Press, 2016) adopts and adapts the critical debate concerning misogyny in Shakespeare's Taming of the Shrew

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Shakespeare in Sarajevo

Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

of The Taming of the Shrew . Although they each illustrate distinctive creative possibilities and modes of intervention, these Balkan Shakespeares all share an explicit focus on the war in Bosnia, the material and symbolical epicentre of the Yugoslav