Inspired by ongoing movements for social justice, equality, accountability, and truth, the scholars in this volume resituate Much Ado About Nothing in a contemporary critical context. From fake news to #MeToo, these essays explore how vital concerns of the present offer new ways of reading, performing, and understanding Much Ado.
Inspired by ongoing movements for social justice, equality, accountability, and truth, the scholars in this volume resituate Much Ado About Nothing in a contemporary critical context. From fake news to #MeToo, these essays explore how vital concerns of the present offer new ways of reading, performing, and understanding Much Ado.
W. Reginald Rampone, Jr. is associate professor of English at South Carolina State University. Nicholas Utzig is lecturer at Sarah Lawrence College.
Inhaltsangabe
Introduction: W. Reginald Rampone, Jr. and Nicholas Utzig Section I: Epistemology and Truth in Much Ado About Nothing Chapter 1: "Change Slander to Remorse": Acknowledgement and (Self)-Recognition in Shakespeare's Much Ado About Nothing, Sélima Lejri Chapter 2: "Deceivers Ever": Much Ado About Nothing and Cultures of Deception, Kathleen Kalpin Smith Section II: Present and Past in Much Ado About Nothing Chapter 3: The Threat of the Stranger in Much Ado About Nothing, Stephanie Chamberlain Chapter 4: "In Messina Here": Shakespeare's Use of Setting in Much Ado About Nothing, Philip Goldfarb Styrt Chapter 5: "A Bird of My Tongue is Better than a Beast of Yours": Metamorphosis and Moral Relativism in Much Ado About Nothing and #MeToo, Christine Hoffman Section III: Crime and Punishment in Much Ado About Nothing Chapter 6: Punishing Wrongdoers and Other Things I Didn't Know I Needed From A Romantic Comedy: Messina as a Post-Conflict Society, Kelsey Ridge Chapter 7: Slut Shaming, Revenge Porn, and the Making of Meaning by Shakespeare in Much Ado About Nothing, Anthony Guy Patricia Chapter 8: Margaret's Complicated Consent: An Overlooked Victim in Much Ado About Nothing, Jolene Mendel Section IV: Shakespearean Adaptation and Performance Chapter 9: "Till all graces be in one woman": Archetypes of Womanhood in YA Adaptations of Much Ado About Nothing, Anna Graham Chapter 10: Much Ado About Nothing, Performance and Cultural Identity, Jami Rogers Chapter 11: Teaching "Kill Claudio" in the Age of Streamed Shakespeare, Joseph Sullivan Chapter 12: "Almost the copy of my child that's dead": Ghosts and Adaptation in Joss Whedon's Much Ado About Nothing, Jim Casey Afterword About the Authors
Introduction: W. Reginald Rampone, Jr. and Nicholas Utzig Section I: Epistemology and Truth in Much Ado About Nothing Chapter 1: "Change Slander to Remorse": Acknowledgement and (Self)-Recognition in Shakespeare's Much Ado About Nothing, Sélima Lejri Chapter 2: "Deceivers Ever": Much Ado About Nothing and Cultures of Deception, Kathleen Kalpin Smith Section II: Present and Past in Much Ado About Nothing Chapter 3: The Threat of the Stranger in Much Ado About Nothing, Stephanie Chamberlain Chapter 4: "In Messina Here": Shakespeare's Use of Setting in Much Ado About Nothing, Philip Goldfarb Styrt Chapter 5: "A Bird of My Tongue is Better than a Beast of Yours": Metamorphosis and Moral Relativism in Much Ado About Nothing and #MeToo, Christine Hoffman Section III: Crime and Punishment in Much Ado About Nothing Chapter 6: Punishing Wrongdoers and Other Things I Didn't Know I Needed From A Romantic Comedy: Messina as a Post-Conflict Society, Kelsey Ridge Chapter 7: Slut Shaming, Revenge Porn, and the Making of Meaning by Shakespeare in Much Ado About Nothing, Anthony Guy Patricia Chapter 8: Margaret's Complicated Consent: An Overlooked Victim in Much Ado About Nothing, Jolene Mendel Section IV: Shakespearean Adaptation and Performance Chapter 9: "Till all graces be in one woman": Archetypes of Womanhood in YA Adaptations of Much Ado About Nothing, Anna Graham Chapter 10: Much Ado About Nothing, Performance and Cultural Identity, Jami Rogers Chapter 11: Teaching "Kill Claudio" in the Age of Streamed Shakespeare, Joseph Sullivan Chapter 12: "Almost the copy of my child that's dead": Ghosts and Adaptation in Joss Whedon's Much Ado About Nothing, Jim Casey Afterword About the Authors
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