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The Taming of the Tigress

Faṭima Rushdī and the First Performance of Shrew in Arabic

David C. Moberly

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 vocalize its

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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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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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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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Egypt between Two Shakespeare Quadricentennials 1964–2016

Reflective Remarks in Three Snapshots

Hazem Azmy

El-Fakharany. Snapshot Three: Reading The Taming of the Shrew in Cairo? In 2016 Egypt, a university course in Shakespeare affords many opportunities to engage with present-day realities. The ideology of filial piety, as pitted against the struggle

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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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Katherine Hennessey and Margaret Litvin

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 decision to use

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Shakespeare in Sarajevo

Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

prevailing commercial logic which stifles experimental work in favour of the hollow entertainment dished up by mainstream theatre, represented in the film by the lavish production of The Taming of the Shrew being staged by Franco Turco, the all-powerful and

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A Rose by Any Other Name May Smell Different

Why Are the Japanese Titles of Shakespearean Films So Odd?

Kitamura Sae

high school. Subsequently, several canonical works of literature were made into teen films, and Shakespeare became a high-profile screenwriter. After The Taming of the Shrew was adapted into the high school romantic comedy 10 Things I Hate about You

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Exit, pursued by a fan

Shakespeare, Fandom, and the Lure of the Alternate Universe

Kavita Mudan Finn and Jessica McCall

, needs to create and follow some kind of internal logic. Nobody gets married, for instance, at the end of the 1999 film 10 Things I Hate about You , an adaptation of The Taming of the Shrew , because the internal logic of a twentieth-century American