Canonical Misogyny

Shakespeare and Dramaturgies of Sexual Violence

Inbunden, Engelska, 2024

AvNora J. Williams

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If misogyny is a systemic problem, then in order to understand its influence on canonical works like Shakespeare's, those works must be investigated at their systems level in other words, at the level of their dramaturgies. This landmark study arises from an eight-year practice-as-research (PaR) investigation of sexual violence and rape culture through Shakespeare's Measure for Measure. Moving between analytical and critical-reflective voices, and prioritising knowledge arising from and questions generated by the author's embodied investment in this PaR work, Canonical Misogyny focuses on dramaturgy as a site of ideology and meaning-making. It seeks to address the ways in which contemporary theatre allows producers of Shakespeare to represent gendered violence in unethical and irresponsible ways. It also demonstrates how failures to make meaningful dramaturgical interventions in early modern plays result in the tacit (or even explicit) glorifying and/or trivialising of their problematic approaches to consent and agency, which intersects with questions of race, gender, sexuality and class.

Produktinformation

Utgivningsdatum2024-12-31
Mått156 x 234 x 20 mm
Vikt484 g
FormatInbunden
SpråkEngelska
Antal sidor224
FörlagEdinburgh University Press
ISBN9781399502269

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Nora J. Williams is the Associate Dean for Access and Participation at BIMM University. Her work has previously been published in journals such as Shakespeare Bulletin and PARtake: The Journal of Performance as Research, as well as several edited collections. She is the co-host of Not Another Shakespeare Podcast! and the Notes section editor for Borrowers and Lenders: The Journal of Shakespeare and Appropriation.

Canonical Misogyny is the book that all scholars, creators and teachers of Shakespeare need to read, whether you think Shakespeare desperately needs decolonising or whether you think you’re already one of the allies in that fight. Working from careful scholarship and with a keen practitioner’s eye, Williams demonstrates how to move from “incomplete” dramaturgies that cause more harm than good and toward genuine social justice work in the making and teaching of Shakespeare.