In lieu of an abstract, here is a brief excerpt of the content:

  • Brief Notices
Daniel Fischlin, ed. OuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation. Toronto: University of Toronto Press, 2014. Pp. xii + 401. $80.00 cloth, $34.95 paper.

This volume begins with a list of illustrations (ix–x), acknowledgments (xi–xii), and an introduction by the editor (3–52). The primary text includes essays in four parts. Part 1, “‘Strange Invention’: Shakespeare in the New Media,” includes: Christy Desmet, “YouTube Shakespeare, Appropriation, and Rhetorics of Invention” (53–74); Jennifer L. Ailles, “‘Is There an App for That?’: Mobile Shakespeare on the Phone and in the Cloud” (75–114). Part 2, “‘These Violent Delights Have Violent Ends’: Shakespearean Adaptations and Film Intermedia,” includes: Don Moore, “Melted into Media: Reading Julie Taymor’s Film Adaptation of The Tempest in the Wake of 9/11 and the War on Terror” (115–51); Daniel Fischlin, Tom Magill, and Jessica Riley, “Transgression and Transformation: Mickey B and the Dramaturgy of Adaptation: An Interview with Tom Magill” (152–204). Part 3, “‘All the Uses of This World’: TV, Radio, Popular Music, Theatre, and the Uses of Intermedia,” includes: Kim Fedderson and J. Michael Richardson, “Slings and Arrows: An Intermediated Shakespearean Adaptation” (205–29); Andrew Bretz, “Your Master’s Voice: The Shakespearean Narrator as Intermedial Authority on 1930s American Radio” (230–56); Daniel Fischlin, “Sounding Shakespeare: Intermedial Adaptation and Popular Music” (257–89); James McKinnon, “‘Playing the Race Bard’: How Shakespeare and Harlem Duet Sold (at) the 2006 Stratford Shakespeare Festival” (290–320). Part 4, “‘Give No Limits to My Tongue…I Am Privileged to Speak’: The Limits of Adaptation?,” includes: Monika Smialkowska, “Patchwork Shakespeare: Community Events at the American Shakespeare Tercentenary (1916)” (321–46); Sujata Iyengar, “Upcycling Shakespeare: Crafting Cultural Capital” (347–71); Mark Fortier, “Beyond Adaptation” (372–86). The text concludes with contributors (387–92) and an index (393–401). [End Page 251]

Eileen Kearney and Charlotte Headrick, eds. Irish Women Dramatists, 1908–2001. Syracuse: Syracuse University Press, 2014. Pp. xi + 343. $34.95.

This volume begins with acknowledgments (ix–x), credits and performance rights (xi), and an introduction by the editors (1–28). The primary text includes the following plays: The Workhouse Ward (1908), by Lady Augusta Gregory (29–40); The King of Spain’s Daughter (1935), by Teresa Deevy (41–58); I Do Like to Be Beside the Seaside (1984), by Anne Le Marquand Hartigan (59–104); The Stranded Hours Between (1989), by Dolores Walshe (105–70); Eclipsed (1992), by Patricia Burke Brogan (171–230); Twinkletoes (1993), by Jennifer Johnston (231–50); Heritage (2001), by Nicola McCartney (251–343).

Tomaž Onič, ed. Harold Pinter on International Stages. Frankfurt: Peter Lang Edition, 2014. Pp. 213. $60.95.

This volume begins with acknowledgments (7–8) and a preface by the editor (9–14). The primary text includes essays in four parts. Part 1, “Pinter in the UK,” includes: Mark Taylor-Batty, “The Company of Men: Pinter’s Gendered Conflict” (17–28). Part 2, “Pinter in Italy,” includes: Nick Ceramella, “‘Silence Symphony’ Conducted by Pinter and Eduardo, Two World Theatre Maestri” (31–52); Pia Vittoria Colombo, “The Italian Anatomy of Pinter: With their Pinter’s Anatomy, Italian Contemporary Playwrights ricci/forte Pay Their Dues to the British Nobel Laureate” (53–66); Eve Marine Dauvergne, “An International Approach to A Slight Ache” (67–74). Part 3, “Pinter Further East,” includes: Tomaž Onič, “Early Productions of Pinter on the Slovene Stage” (77–88); Acija Alfirević, “Harold Pinter’s Reception in Croatia” (89–102); Benjamin Keatinge, “Pinter in Macedonia: Productions, Translations and Critical Reception” (103–18); Andrea P. Balogh, “Harold’s Pinter’s Authorial Image: Negotiating between the West and Hungary” (119–40); Anna Suwalska-Kołecka, “Rediscovering Pinter—a few comments on the most recent Polish productions of Pinter’s plays” (141–52); Nursen Gomceli, “Harold Pinter’s ‘Room’ on Turkish Stages: a ‘Dilemma’ between Art and Politics?” (153–66). Part 4, “Pinter across the Atlantic,” includes: Susan Hollis Merritt, “Being and Not Being Harold Pinter: Pinter Still in Play in the USA” (169–204). The volume concludes with an index (205–13).

Michele Marrapodi, ed. Shakespeare and the Italian Renaissance: Appropriation, Transformation, Opposition. Farnham: Ashgate, 2014. Pp. xiii + 373. $129.95.

This volume begins with a list...


Additional Information

Print ISSN
pp. 251-254
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.