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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

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Biography and Shakespeare’s Money

Portraits of an Economic Persona

Paola Pugliatti

challenge of Shakespeare’s lives Let me now move on to Shakespeare and his biographers, to see how they have met the vicissitudes of biography as a genre; and, finally, further narrowing my perspective, how they have narrated and evaluated Shakespeare’s

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Shakespeare's Fools

A Piece in a Peacebuilding Mosaic

Maja Milatovic-Ovadia

young people strung across the Omarska community theatre space. Lengthy applause. Forty young people storm the stage and bow. This was the end of a four-month-long theatre project entitled Shakespeare's Comedies – A Midsummer Night's Dream (2013), run

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Shakespeare in Yosemite

Applied Theatre in a National Park

Katherine Steele Brokaw and Paul Prescott

-first-century, more of the present cultural moment, than Applied Shakespeare. 1 This article is about Shakespeare in Yosemite, a project co-founded by the authors that attempts to apply Shakespeare to the crises of environmental disaster and the exploitation of

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Adam Hansen

Shakespeare in an ‘age of terror’, that is, at a time of growing violent political and religious extremism. 1 As part of the current UK Conservative government’s ongoing efforts to maintain the prosperity and security of hard-working ordinary people in the

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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

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Hussein A. Alhawamdeh

The dethroning and beheading of Charles I in 1649 caused the banishment not only of Charles II and his brother James II but also of Shakespeare. 1 The imprisoned king, Charles I, found relief in the company of Shakespeare's works at Carisbrooke

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John Drakakis

Shakespeare, and a possible collaborator, Thomas Middleton, 26 focused more particularly on representing from a critical standpoint the internal state of Athens on the cusp of an encroaching tide of commodification. Of course, they were looking at the

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Franziska Quabeck

words 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