Was Shakespeare really the original genius he has appeared to be since the eighteenth century, a poet whose words came from nature itself? The contributors to Shakespeare’s World of Words (Bloomsbury, 2014) propose that Shakespeare was not the poet of nature, but rather that he is a genius of rewriting and re-creation, someone able to generate a new language and new ways of seeing the world by orchestrating existing social and literary vocabularies.
Shakespeare and Character (Palgrave Macmillan, 2009) brings together leading scholars in theory, literary criticism, and performance studies in order to redress a serious gap in Shakespeare studies and to put character back at the centre of our understanding of Shakespeare’s achievement as an artist and thinker.
Shakespeare and Modern Theatre: The Performance of Modernity (Routledge, 2001) presents a collection of essays exploring the institutional practices that shape contemporary performances of Shakespeare’s plays.
In Shakespeare in Québec (University of Toronto Press, 2014), Jennifer Drouin analyses representations of nation and gender in Shakespearean adaptations written in Québec since the Quiet Revolution. Using postcolonial and gender theory, Drouin traces the evolution of discourses of nation and gender in Québec from the Conquest of New France to the present, and she elaborates a theory of adaptation specific to Shakespeare studies.
A Certain William (Playwrights Canada Press, 2010) is a collection of plays in English translation by some of Francophone Canada’s most distinguished playwrights. Chronicling their fraught and changing relationship with Shakespeare, these plays emerge from a context in which language is tied to both personal and political identity.
Wes Folkerth’s The Sound of Shakespeare (Routledge, 2002) reveals the surprising extent to which Shakespeare’s art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture.
Shakespeare and Moral Agency (Bloomsbury, 2010) presents a collection of new essays by literary scholars and philosophers considering character and action in Shakespeare’s plays as heuristic models for the exploration of some salient problems in the field of moral inquiry. Together they offer a unified presentation of an emerging orientation in Shakespeare studies, drawing on recent work in ethics, philosophy of mind, and analytic aesthetics.
Shakespeare commentary and performance today present us with a multiplicity of interpretations constructed and reconstructed from such diverse origins that the underlying evidence has become hidden by layers of reconceptualized meanings. What can or should count as evidence for the claims made by scholars and performers, and how should this evidence be organized? In Textual and Theatrical Shakespeare (University of Iowa Press, 1996), ten essayists answer these stimulating questions by exploring the possibilities for and the constraints upon useful communication among critics who come to Shakespeare from so many different directions.