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Author: Grafiati

Published: 18 August 2021

Last updated: 8 February 2022

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1

Booth, Paul. Game play: Paratextuality in contemporary board games. New York: Bloomsbury Academic, 2015.

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2

Shakespeare, William. Hamlet: With contemporary essays. San Francisco: Ignatius Press, 2008.

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3

Shakespeare, William. Hamlet: With contemporary essays. San Francisco: Ignatius Press, 2008.

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4

Shakespeare, William. A midsummer night's dream: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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5

Gans, Sharon. A Chekhov concert: Duets and arias from the plays of Anton Chekhov. New York: Applause, 1997.

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6

Gans, Sharon. A Chekhov concert: Duets and arias from the major plays of Anton Chekhov. New York: S. French, 1993.

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7

Shakespeare, William. The tragedy of Hamlet, Prince of Denmark: A facing-pages translation into contemporary English. Los Angeles, CA: Lorenz Educational Publishers, 1996.

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8

Shakespeare, William. The tragedy of Macbeth: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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9

Shakespeare, William. The tragedy of Julius Caesar: A facing pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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10

Shakespeare, William. Hamlet: Complete, authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. Boston: Bedford Books of St. Martin's Press, 1994.

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11

Shakespeare, William. Hamlet: Complete,authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. London: Macmillan, 1994.

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12

Wangui, Edna. Adaptation to Current and Future Climate in Pastoral Communities Across Africa. Oxford University Press, 2018. http://dx.doi.org/10.1093/acrefore/9780190228620.013.604.

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Pastoralists around the world are exposed to climate change and increasing climate variability. Various downscaled regional climate models in Africa support community reports of rising temperatures as well as changes in the seasonality of rainfall and drought. In addition to climate, pastoralists have faced a second exposure to unsupportive policy environments. Dating back to the colonial period, a lack of knowledge about pastoralism and a systemic marginalization of pastoral communities influenced the size and nature of government investments in pastoral lands. National governments prioritized farming communities and failed to pay adequate attention to drylands and pastoral communities. The limited government interventions that occurred were often inconsistent with contemporary realities of pastoralism and pastoral communities. These included attempts at sedentarization and modernization, and in other ways changing the priorities and practices of pastoral communities.The survival of pastoral communities in Africa in the context of this double exposure has been a focus for scholars, development practitioners, as well as national governments in recent years. Scholars initially drew attention to pastoralists’ drought-coping strategies, and later examined the multiple ways in which pastoralists manage risk and exploit unpredictability. It has been learned that pastoralists are rational land managers whose experience with variable climate has equipped them with the skills needed for adaptation. Pastoralists follow several identifiable adaptation paths, including diversification and modification of their herds and herding strategies; adoption of livelihood activities that did not previously play a permanent role; and a conscious decision to train the next generation for nonpastoral livelihoods. Ongoing government interventions around climate change still prioritize cropping over herding. Sometimes, such nationally supported adaptation plans can undermine community-based adaptation practices, autonomously evolving within pastoral communities. Successful adaptation hinges on recognition of the value of autonomous adaptation and careful integration of such adaptation with national plans.

13

Hand, Richard. Radio Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.19.

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Radio, older than television but newer than cinema, has had to fight for acknowledgment of its power as an autonomous medium rather than a blind version of these other media. Yet it is in some ways more interesting for adapters than either of them because it encourages audiences to visualize scenes and spectacles that producers do not have to stage visually, empowering audiences to become more active even as it keeps down production costs. From its earliest days, radio depended on adaptations of earlier novels, stories, poems, plays, and movies. This adaptive impulse survives in contemporary podcasts, torrents, and audio streamed online, all of them relying on audiences whose experiences with other media make them co-creators of the experiences radio offers.

14

Cox, Fiona. Ovid's Presence in Contemporary Women's Writing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779889.001.0001.

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This monograph explores an understudied aspect of classical reception—the extraordinary response to Ovid on the part of contemporary women writers. To date, work on classical reception has focused predominantly upon the second-wave feminism preoccupations of recovering the silenced female voices and establishing a woman’s perspective within canonical works. This monograph extends this work by examining the intersections between Ovid’s imaginative universe and the political and aesthetic agenda of third-wave feminism. Ovid enters a new phase of feminism which emphasizes the imperatives of social responsibility and democratization of learning, while also exploring the fluidity of gender boundaries and the ways in which new virtual universes have modified our attitudes to both sexuality and fame. Authors selected for particular case studies include A. S. Byatt, Ali Smith, Marina Warner, Yoko Tawada, Alice Oswald, Saviana Stanescu, Mary Zimmerman, Jo Shapcott, Marie Darrieussecq, Josephine Balmer, Averill Curdy, Clare Pollard, Michèle Roberts, and Jane Alison. Through an analysis of the novels, memoirs, short stories, poems, plays, and translations/adaptations of these writers, Cox opens up the field of classical reception to third-wave feminism, while also casting new light upon the extraordinary plasticity of Ovid’s writing and the acuity of his psychological imagination.

15

Matin, Samiha. Private Femininity, Public Femininity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0007.

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This chapter examines the contemporary costume film's unique interrelationship of femininity and privacy by focusing on how the historical constraints of privacy force the post-feminist heroine to make herself anew as a feminine subject. It uses the two poles of privacy and publicness to organize relationships between gender, feeling, time, aesthetics, and identity, worked through and re-envisioned by costume films for present-day viewers. By these means, the values of privacy and publicness are recalibrated to accommodate a mutable femininity that uses aesthetics and feeling as creative methods of adaptation. The heroine's process of identity construction consists of tests, experiments, and play with self-presentation to find and utilize the sanctioned meanings and covert privileges afforded by femininity. In reassembling elements of gender and galvanizing their force to new ends, spaces for covert resistance and pressure-release emerge. This course is one of “tactical aesthetics,” or the deployment of style to access power which makes use of gendered acts, expressions, dress, and etiquette to design new advantages. To explore this concept, the chapter analyzes two films, Elizabeth (1997) and Marie Antoinette (2006), as divergent visions of femininity.

16

Huang, Alexa. ‘It is the East’. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.54.

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Shakespearean tragedies have played an important part in modern and contemporary East Asian engagements with Western cultures. Japanese, Korean, Chinese, and Singaporean translations, rewritings, films, and theatre productions have three important shared characteristics, namely hybridization of genres, intra-regional and trans-historical allusions, and spirituality. These adaptations tend to present the plays in hybrid performative genres, sometimes turning tragedy into comedy or parody. These adaptations are also informed by intra-regional borrowing and allusions that matter to each separate cultural location and to East Asia as a whole. They tend to interpret Shakespearean tragedies through issues of spirituality and through the artists’ personal, rather than national, identities, giving primacy to personal life stories and to the interaction with the audience, rather than attempting ‘authentic’ representations either of Shakespearean tragedy or indeed of ‘Asia’.

17

Lee Hall Plays: 2 Adaptations: A Servant to Two Masters, The Good Hope, Mr. Puntila and His Man Matti, Mother Courage and Her Children (Methuen Contemporary Dramatists). Methuen, 2004.

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18

Shakespeare, William. Hamlet (Case Studies in Contemporary Criticism). Tandem Library, 1994.

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19

Shakespeare, William. Hamlet (Case Studies in Contemporary Criticism). Bedford/St. Martin's, 1993.

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20

1961-, Pearce Joseph, ed. Merchant of Venice: With contemporary criticism. San Francisco: Ignatius Press, 2009.

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21

Shakespeare, William. Hamlet: Second Edition (Case Studies in Contemporary Criticism). 2nd ed. Palgrave Macmillan, 2009.

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22

Allsopp, Niall. Poetry and Sovereignty in the English Revolution. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861065.001.0001.

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This book presents a new interpretation of the poetry of the English Revolution, by focusing on royalist poets who left royalism behind following the execution of the king. These poets reimagined the traditional language of allegiance, articulating a flexible yet absolute form of sovereignty, applicable to a republic, or even to a Cromwellian monarchy. This sovereignty was artificial, and generated through the poetic imagination. Several chapters chart the poets’ close acquaintance with Thomas Hobbes, offering new readings of the reception and adaptation of Hobbes’s ideas in contemporary poetry. This context yields new insights into well-known poems by Andrew Marvell, Edmund Waller, and John Dryden. But it also newly opens up major works that have been neglected, including the two original English epics of the Commonwealth period, by William Davenant and Abraham Cowley, along with the early career of Margaret Cavendish, and the plays of Roger Boyle, Earl of Orrery. A final chapter traces how the poets survived the restoration of Stuart monarchy, showing how they continued to apply their ideas in the heroic drama of the 1660s. The book builds on recent work in both literary criticism and the history of political thought, to contextualize the poets within a distinctive strain of absolutism inflected by reason of state, neostoicism, scepticism, and anti-clericalism. It demonstrates a vivid poetic effort to imagine the expanded state delivered by the English Revolution.

23

Shakespeare, William. Hamlet: Complete, Authoritative Text With Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives (Case Studies in Contemporary Criticism). Palgrave Macmillan, 1993.

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24

Charney, Jordan, and Sharon Gans. A Chekhov Concert: Duets and Arias Conceived and Composed by Sharon Gans and Jordan Charney. Applause Books, 2000.

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25

(Editor), William Shakespeare, and Jonnie Patricia Mobley (Editor), eds. Hamlet: Original text and facing-pages translation into contemporary English (Access to Shakespeare). Lorenz Educational Publishers, 1996.

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26

Shakespeare, William. Julius Caesar: Original text and facing-pages translation into contemporary English. Lorenz Educational Publishers, 1995.

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27

Manual for Hamlet: Original text and facing-pages translation into contemporary English (Access to Shakespeare). Lorenz Educational Publishers, 1996.

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28

Mobley, Jonnie Patricia, and William Shakespeare. Manual for Julius Caesar: Original text and facing-pages translation into contemporary English. Lorenz Educational Pub, 1995.

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29

Shakespeare, William. Macbeth: Original text and facing-pages translation into contemporary English (Access to Shakespeare). Lorenz Educational Publishers, 2004.

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