Volume 68, Issue 3
In All’s Well That Ends Well, Shakespeare imagines a common enough situation—someone you love, if ambivalently, will never love you—and in doing so suggests how unrequited love might become an art, a practice of sustaining relationship with those who prefer no relationship whatsoever and who might not merit our investment...
Read moreIn All’s Well That Ends Well, Shakespeare imagines a common enough situation—someone you love, if ambivalently, will never love you—and in doing so suggests how unrequited love might become an art, a practice of sustaining relationship with those who prefer no relationship whatsoever and who might not merit our investment...
Read moreThis essay contends that Reformation Biblical hermeneutics offer a vital way to understand the relationship between three of Titus Andronicus’s most infamous features: its insistent use of classical texts; its figurative-literal play; and its grotesque violence. In Titus, classical texts offer an oblique way to stage dangerous questions of Biblical interpretation and to...
Read moreIn this essay, I examine Henry Norman Hudson, an understudied yet pivotal figure in the emergence of Shakespeare studies as a discrete and institutionalized academic discipline in the United States. Professionalizing Shakespeare studies in the late nineteenth century, I argue, entailed considerable conflict and negotiation between two methodological approaches—aesthetic humanism...
Read moreThe name of Aaron the Moor in Titus Andronicus has been referred to no historical source and has been usually interpreted as having relation to the biblical Aaron. But Aaron was the name of one of the best known “Moors” of the world: Harun al-Rashid, called “Aaron” in English-language sources.
Read moreEdited by: Patrick Gray and John D. Cox
Reviewed by: Michael Bristol
Written by: Paul A. Kottman
Reviewed by: Ewan Fernie
Written by: Ewan Fernie
Reviewed by: Paul A. Kottman
Reviewed by: Nicholas F. Radel
Written by: Farah Karim-Cooper
Reviewed by: P. A. Skantze
Written by: Katherine Eggert
Reviewed by: Jay Zysk