Shakespeare and Cultural Appropriation

Vanessa I. Corredera is Chair of and Associate Professor in the Department of English at Andrews University, USA. L. Monique Pittman is Professor of English and Director of the J. N. Andrews Honors Program at Andrews University, USA.Geoffrey Way is the Manager of Publishing Futures for the Arizona Center for Medieval and Renaissance Studies at Arizona State University, USA.

• Contributors BioAcknowledgementForeword by Valerie M. Fazel and Louise GeddesIntroduction: Shakespeare and Cultural Appropriation in the Third MillenniumVanessa I. Corredera, L. Monique Pittman, and Geoffrey WayAppropriation Conversation #1 with Sujata IyengarChapter 1. Romanian Hamlet: Translated Shakespeare as Soft Power for the Post-Communist NationIngrid Radulescu and L. Monique PittmanChapter 2. Taking Centre Stage: Shakespearean Appropriations on Spanish Television in Franco’s SpainElena BandínChapter 3. Rescuing Othello: Early Soviet Stage and Cultural AuthorityNatalia KhomenkoAppropriation Conversation #2 with Ruben EspinosaChapter 4. "Othello Was a Lie": Wrestling with Shakespeare’s OthelloAmbereen DadabhoyChapter 5. Prospero in Prison: Adaptation and Appropriation in Margaret Atwood’s Hag-SeedElizabeth CharleboisChapter 6. Motherhoods and Motherlands: Gender, Nation, and Adaptation in We That Are YoungTaarini MookherjeeAppropriation Conversation #3 with Ayanna ThompsonChapter 7. Hijacking Shakespeare: Archival Absences, Textual Accidents, and Revisionist Repair in Aditi Brennan Kapil’s Imogen Says NothingKathryn Vomero SantosChapter 8. "Fortune reigns in gifts of the world": Appropriation and Power in the Shakespeare Birthplace Trust’s International CollectionsHelen A. HopkinsChapter 9. Remediating White, Patriarchal Violence in Caridad Svich’s Twelve OpheliasKatherine GillenAppropriation Conversation #4 with Joyce Green MacDonaldChapter 10. Remedial Uses of Shakespeare: An AfterwordAlexa Alice Joubin and Elizabeth RivlinIndex