Shakespeare is a cultural phenomenon and arguably the most renowned playwright in history. In this edited collection, Shellard and Keenan bring together a collection of essays from international scholars that examine the direct and indirect economic and cultural impact of Shakespeare in the marketplace in the UK and beyond. From the marketing of Shakespeare’s plays on and off stage, to the wider impact of Shakespeare in fields such as education, and the commercial use of Shakespeare as a brand in the advertising and tourist industries, this volume makes an important contribution to our understanding of the Shakespeare industry 400 years after his death. With a foreword from the celebrated cultural economist Bruno Frey and nine essays exploring the cultural and economic impact of Shakespeare in his own day and the present, Shakespeare’s Cultural Capital forms a unique offering to the study of cultural economics and Shakespeare.

Shakespeare in Children's Literature looks at the genre of Shakespeare-for-children, considering both adaptations of his plays and children's novels in which he appears as a character. Drawing on feminist theory and sociology, Hateley demonstrates how Shakespeare for children utilizes the ongoing cultural capital of "Shakespeare," and the pedagogical aspects of children's literature, to perpetuate anachronistic forms of identity and authority.

This study simultaneously supports and challenges Shakespeare's universality. It does this by showing that Shakespeare is not universal insofar as his poetry speaks to all people of all classes, beyond class distinctions, but by demonstrating just how deeply entrenched Shakespeare is across a spectrum of socioeconomic structures and class, gender and ethnic struggles. The subjects of these essays range from Shakespeare's own appropriation of the sonnet form from Elizabethan couriers to reinterpretations of Shakespeare's plays in 19th-century African theatre to Brecht's political reworkings of Shakespeare's plays to pedagogical uses of Shakespeare in cultural studies courses to adaptations of Shakespeare in gay porn films.

SHAKESPEARE STUDIES is an international volume published every year in hard cover that contains essays and studies by critics and cultural historians from both hemispheres. Although the journal maintains a focus on the theatrical milieu of Shakespeare and his contemporaries, it is also concerned with Britain's intellectual and cultural connections to the continent, its socio-political history, and its place in the emerging globalism of the period. In addition to articles, the journal includes substantial reviews of significant publications dealing with these issues, as well as theoretical studies relevant to scholars of early modern literature. Volume XXXVIII features another in the journal's ongoing series of Forums on an issue of importance to Renaissance studies. Organised and introduced by Greg Colon Semenza, this Forum, 'After Shakespeare and Film', includes the interdisciplinary perspectives of nine contributors on the positioning of Shakespeare studies in digital and other contemporary technologies. The volume also features an article on representing 'blackness' in Shakespearean productions from 1821 to 1844, and another on the influence of 19th-century melodrama on the Shakespeare critical tradition, as well as a review article on 'Shakespeare and the Gothic Strain'. Reviews in this issue address such disparate topics as Shakespeare and the problem of adaptation, Renaissance culture and the rise of the machine, and locating privacy in Tudor England.

Shakespeare's vast cultural capital does not often translate easily to financial capital. Whether those who invest in Shakespeare seek financial, educational, or cultural gain, an understanding of capital conversion as it relates to Shakespeare industries can inform decisions and clarify goals. After clarifying and delineating what we have and know of Shakespeare before 1616 and what has been created by culture regarding him after 1616, we label the latter Shakesaltation, then seek the key to converting his cultural capital to financial capital. Applying Pierre Bourdieu's states of cultural capital to the Shakespeare industry illustrates why many investments fail, few succeed, and why: cultural capital must be in its institutionalized state in order to be convertible to profit. Juxtaposing three case studies of Shakespeare industries (Film, Cultural Destination Tourism, and the Bard Branding practice in various industries), analyzed using Bourdieu, confirms that Shakesaltation - the ideals and myths that have been created around Shakespeare beyond his death - are the key to profiting from Shakespeare.

This innovative collection explores uses of Shakespeare in a wide variety of 21st century contexts, including business manuals, non-literary scholarship, database aggregation, social media, gaming, and creative criticism. Essays in this volume demonstrate that users’ critical and creative uses of the dramatist’s works position contemporary issues of race, power, identity, and authority in new networks that redefine Shakespeare and reconceptualize the ways in which he is processed in both scholarly and popular culture. While The Shakespeare User contributes to the burgeoning corpus of critical works on digital and Internet Shakespeares, this volume looks beyond the study of Shakespeare artifacts to the system of use and users that constitute the Shakespeare network. This reticular understanding of Shakespeare use expands scholarly forays into non-academic practices, digital discourse communities, and creative critical works manifest via YouTube, Twitter, blogs, databases, websites, and popular fiction.

Shakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power. In doing so, the contributions to the collection provide tools for thinking about appropriation and cultural appropriation as spectrums constantly evolving and renegotiating between the poles of exploitation and appreciation. This collection argues that the concept of cultural appropriation is one of the most undertheorized yet evocative frameworks for Shakespeare appropriation studies to address the relationships between power, users, and uses of Shakespeare. By robustly theorizing cultural appropriation, this collection offers a foundation for interrogating not just the line between exploitation and appreciation, but also how distinct values, biases, and inequities determine where that line lies. Ultimately, this collection broadly employs cultural appropriation to rethink how Shakespeare studies can redirect attention back to power structures, cultural ownership and identity, and Shakespeare’s imbrication within those networks of power and influence. Throughout the contributions in this collection, which explore twentieth and twenty-first century global appropriations of Shakespeare across modes and genres, the collection uncovers how a deeper exploration of cultural appropriation can reorient the inquiries of Shakespeare adaptation and appropriation studies. This collection will be of great interest to students and scholars in theatre and performance studies, Shakespeare studies, and adaption studies.

An introduction to economic literary theory as applied to Shakespeare, concentrating on the shifting relations between economics and literature in both the Renaissance and postmodern eras.

An engaging, illustrated overview, Culture and Society in Shakespeare's Day gives valuable historical context to Shakespeare's works, explaining what daily life was like in the country, in the city, and among the nobility, since all of these settings feature prominently in his plays. Major events from the time period, including the exploration of the New World and the clashes between the British Navy and the Spanish Armada, add important perspective for students studying Shakespeare and his varied works. Coverage includes: Catholicism Rituals of birth, marriage, and death The universities Folklore, superstition, and witchcraft Puritanism Crime Plague Medicine The Spanish Armada Exploration of the New World The Gunpowder Plot And much more.

From one of the world's premier Shakespeare scholars comes a magisterial new study whose premise is "that Shakespeare makes modern culture and that modern culture makes Shakespeare." Shakespeare has determined many of the ideas that we think of as "naturally" true: ideas about human character, individuality and selfhood, government, leadership, love and jealousy, men and women, youth and age. Marjorie Garber delves into ten plays to explore the interrelationships between Shakespeare and contemporary culture, from James Joyce's Ulysses to George W. Bush's reading list. From the persistence of difference in Othello to the matter of character in Hamlet to the untimeliness of youth in Romeo and Juliet, Garber discusses how these ideas have been re-imagined in modern fiction, theater, film, and the news, and in the literature of psychology, sociology, political theory, business, medicine, and law. Shakespeare and Modern Culture is a brilliant recasting of our own mental and emotional landscape as refracted through the prism of the protean Shakespeare.