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This book examines Shakespearean adaptations through the critical lens of fan studies and asks what it means to be a fan of Shakespeare in the context of contemporary media fandom. Although Shakespeare studies and fan studies have remained largely separate from one another for the past thirty years, this book establishes a sustained dialogue between the two fields. In the process, it reveals and seeks to overcome the problematic assumptions about the history of fan cultures, Shakespeare’s place in that history, and how fan works are defined. While fandom is normally perceived as a recent phenomenon focused primarily on science fiction and fantasy, this book traces fans’ practices back to the eighteenth century, particularly David Garrick’s Shakespeare Jubilee in 1769. Shakespeare’s Fans connects historical and scholarly debates over who owns Shakespeare and what constitutes an appropriate adaptation of his work to online fan fiction and commercially available fan works.

Film --- Literature --- literatuur --- Shakespeare, William

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This book explores ways in which Shakespeare’s writing strategies shape our embodied perception of objects – both real and imaginary – in four of his plays. Taking the reader on a series of perceptual journeys, it engages in an exciting dialogue between the disciplines of phenomenology, cognitive studies, historicist research and modern acting techniques, in order to probe our sentient and intuitive responses to Shakespeare’s language. What happens when we encounter objects on page and stage; and how we can imagine that impact in performance? What influences might have shaped the language that created them; and what do they reveal about our response to what we see and hear? By placing objects under the phenomenological lens, and scrutinising them as vital conduits between lived experience and language, this book illuminates Shakespeare’s writing as a rich source for investigation into the way we think, feel and communicate as embodied beings.

Theatrical science --- Literature --- theater --- literatuur --- Shakespeare, William

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The Rational Shakespeare: Peter Ramus, Edward de Vere, and the Question of Authorship examines William Shakespeare’s rationality from a Ramist perspective, linking that examination to the leading intellectuals of late humanism, and extending those links to the life of Edward de Vere, Seventeenth Earl of Oxford. The application to Shakespeare’s plays and sonnets of a game-theoretic hermeneutic, an interpretive approach that Ramism suggests but ultimately evades, strengthens these connections in further supporting the Oxfordian answer to the question of Shakespearean authorship.

Logic --- Literature --- History --- literatuur --- literatuurgeschiedenis --- logica --- Shakespeare, William

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Every storyteller soon discovers the difference between putting a story inside children and trying to extract it with comprehension questions and putting children inside a story and having them act it out. Teachers may experience this as a difference in “difficulty”, or in the level of motivation and enthusiasm, or even in the engagement of creativity and imagination, and leave it at that. This book explores the divide more critically and analytically, finding symmetrical and even complementary problems and affordances with both approaches. First, we examine what teachers actually say and do in each approach, using the systemic-functional grammar of M.A.K. Halliday. Secondly, we explore the differences developmentally, using the cultural-historical psychology of L.S. Vygotsky. Thirdly, we explain the differences we find in texts by considering the history of genres from the fable through the plays of Shakespeare. “Inside” and “Outside” the story turn outto be two very different modes of experiencing—the one reflective and narrativizing and the other participatory and dialogic. These two modes of experience prove to be equally valuable, and even mutually necessary, but only in the long run—different approaches are necessary at different moments in the lesson, different points in development, and even different times in human history. In the final analysis, though, this distinction is meaningless to children and to their teachers unless it is of practical use. Each chapter employs only the most advanced technology ever developed for making sense of human experience, namely thinking and talking--though not necessarily in that order. So every story has a specific narrative to tell, a concrete set of dialogues to try, and above all a practicable time and a practical space for children, their teachers, and even their teachers’ teachers, to talk and to think.

Teaching --- storytelling --- onderwijs --- creativiteit --- Shakespeare, William --- Halliday, Michael --- Vygotsky, Lev Semënovic

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This volume bears potent testimony, not only to the dense complexity of Hamlet’s emotional dynamics, but also to the enduring fascination that audiences, adaptors, and academics have with what may well be Shakespeare’s moodiest play. Its chapters explore emotion in Hamlet, as well as the myriad emotions surrounding Hamlet’s debts to the medieval past, its relationship to the cultural milieu in which it was produced, its celebrated performance history, and its profound impact beyond the early modern era. Its component chapters are not unified by a single methodological approach. Some deal with a single emotion in Hamlet, while others analyse the emotional trajectory of a single character, and still others focus on a given emotional expression (e.g., sighing or crying). Some bring modern methodologies for studying emotion to bear on Hamlet, others explore how Hamlet anticipates modern discourses on emotion, and still others ask how Hamlet itself can complicate and contribute to our current understanding of emotion.

Affective and dynamic functions --- Theatrical science --- Literature --- History --- theater --- geschiedenis --- literatuur --- emoties --- Shakespeare, William