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.