For its eighteenth volume, The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare’s work and his time, across the whole spectrum of his literary output. Contributions are solicited from among the most active and insightful scholars in the field, from both hemispheres of the globe. New trends are evaluated from the point of view of established scholarship, and emerging work in the field is encouraged. Each issue includes a special section under the guidance of a specialist guest editor, along with coverage of the current state of the field. An essential reference tool for scholars of early modern literature and culture, this annual publication captures, from year to year, current and developing thought in Shakespeare scholarship and theater practice worldwide. There is a particular emphasis on Shakespeare studies in global contexts.
Table of Contents
Part I: Soviet Shakespeare: Guest Editor
1 Introduction: Shakespeare After the October Revolution
Early Soviet Context
2 Ivan Aksenov and Soviet Shakespeare
3 Stalin and Shakespeare
Irena R. Makaryk
4 Shakespeare, Formalism, and Socialist Realism: The Censured Hamlets of Mikhail Chekhov and Nikolai Akimov
Kim Axline Morgan
Late Soviet Context
5 Feeling Love in Soviet Russia: The Slippery Lessons of Romeo and Juliet
6 Hamlet’s Soviet Operatic Afterlife: Between Individuality and Allegory
Soviet but Not Russian: Language and National Identity
7 Negotiating With the Socialist Realist Discourse: The Case of Romanian Shakespeare Scholarship
8 WHO IZ HOO ΣND WHAT IZ WATT? Between ΣFΣZ, CCCP and USSR
Jana B. Wild
The Soviet Past After the Collapse
9 Laughing at Tragedy: Elena Chizhova’s Critique of Popular Shakespeare
10 Anti-Stratfordianism in Twentieth-Century Russia: Post-Soviet Melancholy and the Haunted Imagination
11 Madness and Metaphor in Lisa Klein’s and Claire McCarthy’s Ophelia
Tom Ue12. Innovation and Retrospection: Some Books About Shakespeare and His Times, 2015–2016
Tom Bishop is a professor of English at the University of Auckland, New Zealand. He is the author of Shakespeare and the Theatre of Wonder (Cambridge, 1996), the translator of Ovid’s Amores (Carcanet, 2003), the editor of Pericles, Prince of Tyre (Internet Shakespeare Editions), and a general editor of The Shakespearean International Yearbook. He has published articles on Elizabethan music, Shakespeare, Jonson, Australian literature, and other topics, and is currently writing a book on Shakespeare’s Theatre Games.
Alexa Alice Joubin is a professor of English, women’s, gender and sexuality studies; theatre; and international affairs at George Washington University, in Washington, DC, US, where she serves as founding codirector of the Digital Humanities Institute. Her latest books include Race in Routledge’s New Critical Idiom series (with Martin Orkin, 2019), Local and Global Myths in Shakespearean Performance (coedited, 2018), and Shakespeare and the Ethics of Appropriation (coedited, 2014). Alexa holds the Middlebury College John M. Kirk Jr chair in medieval and Renaissance literature at the Bread Loaf School of English. She is a general editor of The Shakespearean International Yearbook.
Natalia Khomenko is a lecturer in English literature at York University (Toronto), Canada. Her dissertation traced the evolution of the virgin martyr vita from the late Middle Ages to the Renaissance in England. She has published articles in Early Theatre and Borrowers and Lenders, and is a contributor to the MIT Global Shakespeares Video and Performance Archive. Her current research project, funded by a Social Sciences and Humanities Council of Canada Insight Development Grant, focuses on the reception and interpretation of Shakespearean drama in early Soviet Russia.