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Sali Said

Antony and Cleopatra is one of the most divisive plays written by William Shakespeare, with its complex character of Cleopatra either labelled a ‘femme fatale’ or described as ‘the perfect and everlasting woman’. 1 Of course, other critics

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A Kingdom for a Mirth

Shakespeare's ‘Fatal Cleopatra’ and the Worm's Turn

Roger Stritmatter and Shelly Maycock

change our way of being wrong. —T. S. Eliot to the Shakespeare Association, 1927 La verité sort de la bouche des calembours. —P. Nisan, Aden Arabie Over many decades Antony and Cleopatra has attracted its well-deserved share of critical

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Daniel Gallimore

directed contain potentially (if perversely) ecstatic elements: the sadism of Aaron and Tamora in Titus Andronicus , the love and loathing of the rabble for Coriolanus, the affair of Antony and Cleopatra, and the assassination of Julius Caesar. My own

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Graham Holderness

. Critical interest has to some extent shifted from the historicist Roman plays based on Plutarch, Julius Caesar and Antony and Cleopatra , and the pseudo-historical Coriolanus , to the outlying Roman plays that evidence greater generic diversity and

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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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Shakespeare’s Orientalism Revisited

A Postcolonial Study of the Appropriation of Arabic/Islamic Allusions and Matters in the Bard’s Oeuvre

Mahmoud F. Al-Shetawi

tribes who moved across the desert where the sword is the only form of law. However, in Antony and Cleopatra , Shakespeare suggests that Arabia is a kingdom. Octavius Caesar informs his sister that Antony, her husband, is not in Athens as she assumes

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‘As a Stranger Give it Welcome’

Foreignness and Wonder in Jacobean London

Lois Potter

it comes. The ubiquitous sound effect is one that Shakespeare would use again. In Antony and Cleopatra , the soldiers hear what they say is ‘Music i'th’ air’ and ‘Under the earth’ (4.3.16, 17), 34 and Ferdinand in The Tempest hears Ariel's songs

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Safi Mahmoud Mahfouz

and adaptation, or ‘transadaptation’, of Shakespeare’s Antony and Cleopatra , as exemplary in inciting the common people’s political awakening and patriotic nationalism. Shawqi wrote the play in response to the 1919 Egyptian Revolution against the

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Challenging Hegemonic Patriarchy

A Feminist Reading of Arab Shakespeare Appropriations

Safi M. Mahfouz

, Cleopatra in Antony and Cleopatra , Portia in The Merchant of Venice , Lady Macbeth in Macbeth , Beatrice in Much Ado About Nothing , Juliet in Romeo and Juliet , Desdemona in Othello , Viola in Twelfth Night and Hermia in A Midsummer Night's Dream

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‘We read Hamlet together’

Shakespearean Intertextuality in Edward Said's Out of Place

Bilal Hamamra and Sanaa Abusamra

relationship between him and his mother. Said tells readers that his reading of Hamlet was ‘one of the great moments in my childhood’ (52), creating ‘a sustaining intimacy’ (155) between Said and his mother. Said refers to watching Antony and Cleopatra with