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Classics, Medieval & Renaissance 2012 - University of Toronto ...

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THEATRE AND MUSIC<br />

NEW<br />

EDITED BY IRENA R. MAKARYK<br />

AND MARISSA McHUGH<br />

Shakespeare and the Second World War<br />

Theatre, Culture, Identity<br />

SHAKESPEARE AND THE<br />

SECOND WORLD WAR<br />

THEATRE CULTURE IDENTITY<br />

Edited by Irena R. Makaryk and Marissa McHugh<br />

Shakespeare’s works occupy a prismatic and<br />

complex position in world culture: they straddle<br />

both the high and the low, the national and the<br />

foreign, literature and theatre. The Second World<br />

War presents a fascinating case study <strong>of</strong> this<br />

phenomenon: most, if not all, <strong>of</strong> its combatants<br />

have laid claim to Shakespeare and have called upon<br />

his work to convey their society’s self-image.<br />

In wartime, such claims frequently brought to<br />

the fore a crisis <strong>of</strong> cultural identity and <strong>of</strong> competing<br />

ownership <strong>of</strong> this ‘universal’ author. Despite this,<br />

the role <strong>of</strong> Shakespeare during the Second World<br />

War has not yet been examined or documented in<br />

any depth. Shakespeare and the Second World War<br />

provides the first sustained international, collaborative<br />

incursion into this terrain. The essays demonstrate<br />

how the wide variety <strong>of</strong> ways in which Shakespeare<br />

has been recycled, reviewed, and reinterpreted<br />

from 1939–1945 are both illuminated by and<br />

continue to illuminate the war today.<br />

Irena R. Makaryk is a pr<strong>of</strong>essor in the Department<br />

<strong>of</strong> English at the <strong>University</strong> <strong>of</strong> Ottawa. Marissa<br />

McHugh is an doctoral candidate in the Department<br />

<strong>of</strong> English at the <strong>University</strong> <strong>of</strong> Ottawa.<br />

Approx. 296 pp / 34 illustrations / 6 x 9 / September <strong>2012</strong><br />

Cloth 978-1-4426-4402-1 $65.00 (£45.99)<br />

NEW<br />

NEW<br />

SHakESpEarE<br />

adaptation<br />

ModErn draMa<br />

Essays in Honour <strong>of</strong> Jill L. Levenson<br />

Edited by Randall MaRtin and KathERinE SchEil<br />

Shakespeare/Adaptation/Modern Drama<br />

Essays in Honour <strong>of</strong> Jill L. Levenson<br />

Edited by Randall Martin and Katherine Scheil<br />

Shakespeare/Adaptation/Modern Drama is the first<br />

book-length international study to examine the<br />

critical and theatrical connections among these<br />

fields, including the motivations, methods, and limits<br />

<strong>of</strong> adaptation in modern performance media.<br />

Top scholars including Peter Holland, Alexander<br />

Leggatt, Brian Parker, and Stanley Wells examine<br />

such topics as the relationship between Shakespeare<br />

and modern drama in the context <strong>of</strong> current literary<br />

theories, and historical accounts <strong>of</strong> adaptive and<br />

appropriative practices. Among the diverse and<br />

intriguing examples studied are the authorial selfadaptations<br />

<strong>of</strong> Tom Stoppard and Tennessee<br />

Williams, and the generic and political appropriations<br />

<strong>of</strong> Shakespeare’s texts in television, musical theatre,<br />

and memoir.<br />

Seeing Things<br />

From Shakespeare to Pixar<br />

Randall Martin is a pr<strong>of</strong>essor in the Department <strong>of</strong><br />

English at the <strong>University</strong> <strong>of</strong> New Brunswick.<br />

Katherine Scheil is an associate pr<strong>of</strong>essor in the<br />

Department <strong>of</strong> English at the <strong>University</strong> <strong>of</strong><br />

Minnesota, Twin Cities.<br />

‘Reading these theoretically astute essays, I found<br />

myself constantly intrigued, informed, challenged,<br />

entertained, and stretched – and imagining my<br />

students devouring this book and gaining<br />

enormously from it.’<br />

Carol Chillington Rutter, Warwick <strong>University</strong><br />

288 pp / 4 illustrations / 6 x 9 / 2011<br />

Cloth 978-1-4426-4174-7 $65.00 (£45.99)<br />

Alan Ackerman<br />

How do the acts <strong>of</strong> seeing and believing remain<br />

linked Alan Ackerman charts the dynamic history<br />

<strong>of</strong> interactions between showing and knowing in<br />

Seeing Things, a richly interdisciplinary study which<br />

illuminates changing modes <strong>of</strong> perception and<br />

modern representational media.<br />

Seeing Things demonstrates that the airy<br />

nothings <strong>of</strong> A Midsummer Night’s Dream, the Ghost<br />

in Hamlet, and soulless bodies in Beckett’s media<br />

experiments, alongside Toy Story’s digitally<br />

animated toys, all serve to illustrate the modern<br />

problem <strong>of</strong> visualizing, as Hamlet put it, ‘that within<br />

which passes show.’<br />

Alan Ackerman is an associate pr<strong>of</strong>essor in the<br />

Department <strong>of</strong> English at the <strong>University</strong> <strong>of</strong> <strong>Toronto</strong>.<br />

‘In these elegant essays, at once theatrical and<br />

philosophical, Alan Ackerman <strong>of</strong>fers a probing<br />

meditation on sight and on the lingering mysteries<br />

<strong>of</strong> the invisible.’<br />

Martin Puchner, Harvard <strong>University</strong><br />

160 pp / 6 x 9 / 2011<br />

Cloth 978-1-4426-4364-2 $50.00 (£34.99)<br />

Paper 978-1-4426-1210-5 $21.95 (£15.99)<br />

10 <strong>University</strong> <strong>of</strong> <strong>Toronto</strong> Press

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