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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

the Crusades. 1 Drawing on the varied treatment of the Orient in English literary studies, this article attempts to explore Shakespeare's representations of the Orient in his oeuvre. Shakespeare reflects in his drama and poetry the vibrant spirit of

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Mohamed Enani

A puzzle: why should all translators the world over and down the centuries translate verse into verse, while we Arabs, who boast a rich tradition of verse, use prose to render Shakespeare’s sonnets? After many decades in which Shakespeare’s Arab

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Biography and Shakespeare’s Money

Portraits of an Economic Persona

Paola Pugliatti

, then, the residuum that, as the first Greek biographer reminds us, should not be dissolved, is its capacity to describe ‘the general historical meaning of an individual’s life’. 11 The challenge of Shakespeare’s lives Let me now move on to Shakespeare

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Adam Hansen

To arrest the meanings of words once and for all, that is what Terror wants. —Jean-François Lyotard, Rudiments païens This article joins the contributions of others in exploring some of the challenges of talking and thinking about Shakespeare in an

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‘Shakespeare Had the Passion of an Arab’

The Appropriation of Shakespeare in Fadia Faqir’s Willow Trees Don’t Weep

Hussein A. Alhawamdeh

This article traces William Shakespeare’s echo in Willow Trees Don’t Weep (2014) by Fadia Faqir, a Jordanian/British novelist, to examine the function of Faqir’s appropriation of Shakespeare’s Othello (1604) and Cymbeline (1611) in creating

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Shakespeare's Fools

A Piece in a Peacebuilding Mosaic

Maja Milatovic-Ovadia

In November 2017, Ratko Mladic, a war-time leader and a commander of the Bosnian Serb Army, was sentenced by the United Nations International Criminal Tribunal to life imprisonment for the genocide and crimes against humanity committed during the 1992–1995 war in Bosnia and Herzegovina. In the region the verdict was received with conflicting reactions, emphasising yet again how extensive the ethnic division is within the society. Through close analysis of the theatre project Shakespeare’s Comedies performed by ethnically segregated youth in Bosnia-Herzegovina, this article aims to understand how Shakespeare’s work functions as a vehicle to address the consequences of war and to support the complex process of reconciliation under circumstances in which the issues of war crimes cannot be tackled in a straightforward and direct manner. The study takes a cross-disciplinary approach to research, drawing from theory of reconciliation, applied theatre practice and comedy studies.

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Shakespeare in Yosemite

Applied Theatre in a National Park

Katherine Steele Brokaw and Paul Prescott

Shakespeare in Yosemite, founded in 2017, consists of an annual outdoor production of Shakespeare in Yosemite National Park on the weekend closest to World Earth Day and Shakespeare’s birthday. The productions are site-specific and heavily adapted for a general audience; admission is free. In this article, the co-founders describe the origins and aims of the festival within the contexts of applied theatre, eco-criticism and the American tradition of free outdoor Shakespeare. In describing the festival’s inaugural show – a collage piece that counterpointed Shakespeare’s words with those of early environmentalist John Muir – we make the case for leveraging Shakespeare’s cultural currency to play a part (however small or unknowable) in encouraging environmental awareness and activism.

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John Drakakis

’ translation offers some hints as to how we might read Athenian benevolence, liberality and aristocratic modesty, transplanted into early modern political and social discourse. Indeed, it is in Timon of Athens (c.1606) that Shakespeare, and a possible

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Franziska Quabeck

equally address the audience. We judge. And in this play, we cannot help but judge the incredible futility of what is allegedly the most glamorous war of all time. In Shakespeare’s retelling, this legendary conflict is a cynical endeavour in which both

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Shadowing Shakespeare

Akira Kurosawa's Kagemusha (1980) and William Shakespeare's English History Plays (c. 1591–98)

Alex Watson

and royal succession, and featuring supernatural devices such as prophetic dreams and fulfilled prophecies. At the same time, Kurosawa creatively reworks Japanese historical sources in a manner paralleling Shakespeare's dramatisations of English