Global Shakespeare and Social Injustice Towards a Transformative Encounter
Produktdetaljer
Om bidragsyterne
Chris Thurman is the Director of the Tsikinya-Chaka Centre at Wits University, South Africa. He is the editor of Shakespeare in Southern Africa, president of the Shakespeare Society of Southern Africa and founder of Shakespeare ZA. He edited South African Essays on ‘Universal’ Shakespeare (2014).
Sandra Young is Professor of English Literary Studies at the University of Cape Town, South Africa. Her publications include Shakespeare in the Global South: Stories of Oceans Crossed in Contemporary Adaptation (The Arden Shakespeare, 2019) and The Early Modern Global South in Print: Textual Form and the Production of Human Difference as Knowledge (2015).
A vibrant, relevant and thoughtful selection of essays which highlight both the potential and the pitfalls in working with Shakespeare to address the challenges that face us today. We need many more of these books.
- Coen Heijes, University of Groningen, the Netherlands, Multicultural Shakespeare
The chapters in this book constitute a timely response to an important moment for early modern cultural studies: the academy has been called to attend to questions of social justice. It requires a revision of the critical lexicon to be able to probe the relationship between Shakespeare studies and the intractable forms of social injustice that infuse cultural, political and economic life. This volume helps us to imagine what radical and transformative pedagogy, theatre-making and scholarship might look like. The contributors both invoke and invert the paradigm of Global Shakespeare, building on the vital contributions of this scholarly field over the past few decades but also suggesting ways in which it cannot quite accommodate the various ‘global Shakespeares’ presented in these pages.
A focus on social justice, and on the many forms of social injustice that demand our attention, leads to a consideration of the North/South constructions that have tended to shape Global Shakespeare conceptually, in the same way the material histories of ‘North’ and ‘South’ have shaped global injustice as we recognise it today. Such a focus invites us to consider the creative ways in which Shakespeare’s imagination has been taken up by theatre-makers and scholars alike, and marshalled in pursuit of a more just world.
List of Illustrations
Notes on Contributors
Editors' Introduction
1. Global Shakespeare and its Confrontation with Social Justice, Chris Thurman (Wits University, South Africa) and Sandra Young (University of Cape Town, south Africa)
Section One: Scholarship and Social Justice: Questions for the Field
2. Re-thinking 'Global Shakespeare' for Social Justice, Susan Bennett (University of Calgary, Canada)
3. Caliban in an Era of Mass Migration, Linda Gregerson (University of Michigan, USA)
4. What Makes Global Shakespeares an Exercise in Ethics? Alexa Alice Joubin (George Washington University, USA)
Section Two: Resisting Racial Logics
5. Making Whiteness out of 'Nothing': The Recurring Comedic Torture of (Pregnant) Black Women from Medieval to Modern, Dyese Elliott-Newton (UCLA, USA)
6. Feeling in Justice: Racecraft and The Merchant of Venice, Derrick Higginbotham (University of Hawai’i at Manoa, USA)
7. Marking Muslims: The Prince of Morocco and the Racialization of Islam in The Merchant of Venice, Hassana Moosa (Kings College, London, UK)
Section Three: Imagining Freedom with Shakespeare
8. Signing for Justice: Politicized Reading and Performative Writing in the Robben Island Shakespeare, Kai Wiegandt (Barenboim-Said Akademie, Berlin)
9. 'Men at some times are masters of their fates': The Gallowfield Players perform Julius Caesar, Rowan Mackenzie (independent scholar, UK)
Section Four: Placing Sex and Gender under Scrutiny
10. The 'sign and semblance of her honour': Petrarchan Slander and Gender-based Violence in Three Shakespearean Plays, Kirsten Dey (University of Pretoria, South Africa)
11. Open-gendered Casting in Shakespeare Performance, Abraham Stoll (University of San Diego, USA)
12. Teaching Titus Andronicus and Ovidian Myth when Sexual Violence is on the Public Stage, Wendy Beth Hyman (Oberlin College, USA)
Notes
Index
Global Shakespeare Inverted challenges any tendency to view Global Shakespeare from the perspective of ‘centre’ versus ‘periphery’. Although the series may locate its critical starting point geographically, it calls into question the geographical bias that lurks within the very notion of the ‘global’. It provides a timely, constructive criticism of the present state of the field and establishes new and alternative methodologies that invert the relation of Shakespeare to the supposed ‘other’.
Advisory board
Supriya Chaudhuri, Professor Emerita, Department of English, Jadavpur University, India
Chanita Goodblatt, Professor of Foreign Literatures and Linguistics, Ben-Gurion University of the Negev, Israel
Douglas Lanier, Professor of English, University of New Hampshire, United States
Sonia Massai, Professor of Shakespeare Studies, Sapienza University of Rome, Italy
Alfredo Michel Modenessi, Professor of English Literature, Drama and Translation, National Autonomous University of Mexico (UNAM), Mexico
Anne Sophie Refskou, Assistant Professor, Comparative Literature and Rhetoric, Aarhus University, Denmark
Motohashi Tetsuya, Professor of Cultural Studies, Tokyo Keizai University, Japan
Chris Thurman, Director of the Tsikinya-Chaka Centre, University of the Witwatersrand, South Africa
Sandra Young, Professor of English Literary Studies, University of Cape Town, South Africa
Produktdetaljer
Om bidragsyterne
Chris Thurman is the Director of the Tsikinya-Chaka Centre at Wits University, South Africa. He is the editor of Shakespeare in Southern Africa, president of the Shakespeare Society of Southern Africa and founder of Shakespeare ZA. He edited South African Essays on ‘Universal’ Shakespeare (2014).
Sandra Young is Professor of English Literary Studies at the University of Cape Town, South Africa. Her publications include Shakespeare in the Global South: Stories of Oceans Crossed in Contemporary Adaptation (The Arden Shakespeare, 2019) and The Early Modern Global South in Print: Textual Form and the Production of Human Difference as Knowledge (2015).