Table Of ContentSHAKESPEARE /
NOT SHAKESPEARE
Christy Desmet,
Edited by
Natalie Loper, Jim Casey
Reproducing Shakespeare
Series Editors
Thomas Cartelli
Muhlenberg College
Allentown, PA, USA
Katherine Rowe
Smith College
Northampton, MA, USA
Reproducing Shakespeare marks the turn in adaptation studies toward
recontextualization, reformatting, and media convergence. It builds on
two decades of growing interest in the “afterlife” of Shakespeare, show-
casing some of the best new work of this kind currently being produced.
The series addresses the repurposing of Shakespeare in different techni-
cal, cultural, and performance formats, emphasizing the uses and effects
of Shakespearean texts in both national and global networks of reference
and communication. Studies in this series pursue a deeper understand-
ing of how and why cultures recycle their classic works, and of the media
involved in negotiating these transactions.
More information about this series at
http://www.springer.com/series/14505
Christy Desmet · Natalie Loper · Jim Casey
Editors
Shakespeare / Not
Shakespeare
Editors
Christy Desmet Jim Casey
Department of English Department of English
University of Georgia Arcadia University
Athens, GA, USA Glenside, PA, USA
Natalie Loper
Department of English
University of Alabama
Tuscaloosa, AL, USA
Reproducing Shakespeare
ISBN 978-3-319-63299-5 ISBN 978-3-319-63300-8 (eBook)
DOI 10.1007/978-3-319-63300-8
Library of Congress Control Number: 2017948715
© The Editor(s) (if applicable) and The Author(s) 2017
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction
on microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and
information in this book are believed to be true and accurate at the date of publication.
Neither the publisher nor the authors or the editors give a warranty, express or implied,
with respect to the material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional claims in published
maps and institutional affiliations.
Cover illustration: National Portrait Gallery, London and ‘The Cobbe Portrait of William
Shakespeare, c. 1610; Artist unknown’, Cobbe Collection, Hatchlands Park, reproduced by
permission of United Agents LLP
Printed on acid-free paper
This Palgrave Macmillan imprint is published by Springer Nature
The registered company is Springer International Publishing AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Dedicated to the memory of
Kevin Scott Crawford
(April 25, 1970–December 2, 2013)
… and when I shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
Romeo and Juliet (3.2.21–25)
P
ermissions
Portions of Graham Holderness’s “This is not Shakespeare!” were
previously published as “The Seeds of Time,” Critical Survey 25,
no. 3 (2013): 88–113. Permission to republish granted by Graham
Holderness.
Portions of Kristin Denslow’s “Guest Starring Hamlet: The
Proliferation of the Shakespeare Meme on American Television” are
from A State of Arrested Development: Critical Essays on the Innovative
Television Comedy © 2015 Edited by Kristin M. Barton by permission
of McFarland & Company, Inc., Box 611, Jefferson NC 28640. www.
mcfarlandpub.com.
vii
A
cknowledgements
We would like to thank our friends, families, and colleagues for all
their support during the process of preparing this collection. We would
also like to express our tremendous gratitude to the contributors to
this collection and all the participants and auditors of the Accidental
Shakespeare Seminar at the Shakespeare Association of America Annual
Meeting in St. Louis, Missouri (April 9–12, 2014).
ix
c
ontents
1 Introduction 1
Christy Desmet, Natalie Loper, and Jim Casey
Part I Networks and Pastiches
2 “This is not Shakespeare!” 25
Graham Holderness
3 Chasing Shakespeare: The Impurity of the “Not Quite”
in Norry Niven’s From Above and Abbas Kiarostami’s
Where Is My Romeo 43
Maurizio Calbi
4 HypeRomeo & Juliet: Postmodern Adaptation and
Shakespeare 59
Jim Casey
xi
xii CONTENTS
Part II Memes and Echoes
5 “I’ll Always Consider Myself Mechanical”: Cyborg
Juliette and the Shakespeare Apocalypse in Hugh
Howey’s Silo Saga 79
Charles Conaway
6 Guest Starring Hamlet: The Proliferation of the
Shakespeare Meme on American Television 97
Kristin N. Denslow
7 Romeo Unbound 111
Kirk Hendershott-Kraetzer
Part III Texts and Paratexts
8 Chaste Thinking, Cultural Reiterations: Shakespeare’s
Lucrece and The Letter 131
Barbara Correll
9 Paratextual Shakespearings: Comics’ Shakespearean
Frame 149
Brandon Christopher
10 “Thou Hast It Now”: One-on-Ones and the Online
Community of Punchdrunk’s Sleep No More 169
Caitlin McHugh
Part IV Celebrities and Afterlives
11 Dirty Rats, Dead for a Ducat: Shakespearean Echoes
(and an Accident) in Some Films of James Cagney 187
Scott Hollifield
12 YouShakespeare: Shakespearean Celebrity 2.0 203
Jennifer Holl
