SHAKESPEARE’S HAMLET IN AN ERA OF TEXTUAL EXHAUSTION

Sonya Freeman Loftis is an Associate Professor of English at Morehouse College.Allison Kellar is an Assistant Professor of English and Director of Honors at Wingate University.Lisa Ulevich received her Ph.D. from Georgia State University in 2016. Her research interests include the poetics of allusion, narrative theory, and the mediation of identity through poetic and other formal structures.

• AcknowledgmentsNotes on ContributorsChapter 1. Introduction: Post-HamletSonya Freeman Loftis, Allison Kellar, and Lisa UlevichSection I: Post-Hamlet AppropriationsChapter 2. Posthuman Hamlets: Ghosts in the MachineTodd Andrew BorlikChapter 3. Or Not to Be: Dancing Beyond Hamlet in Christopher Wheeldon’s Misericordes/ElsinoreElizabeth Klett Chapter 4. "It’s the Opheliac in me": Ophelia, Emilie Autumn, and the role of Hamlet in Discussing Mental DisabilityChloe OwenChapter 5. "I the matter will reword": The Ghost of Hamlet in Translation Jim Casey Chapter 6. Locating Hamlet in Kashmir: Haider, Terrorism, and Shakespearean TransmissionAmrita SenSection II: Post-Hamlet PerformancesChapter 7. "Denmark is a Prison": Hamlet for Inclusive and Incarcerated AudiencesSheila T. CavanaghChapter 8. Revisionist Q1 and the Poetics of Alternatives: Vindicating Hamlet’s "Bad" Quarto on Page and Stage in Japan and BeyondYi-Hsin HsuChapter 9. "Poem Unlimited, Space Unlimited": The Case of the Naked HamletAdam Sheaffer Section III: Post-Hamlet ClassroomsChapter 10. After Words: Hamlet’s Unfinished Business in the Liberal Arts ClassroomDeneen SenasiChapter 11. "Read freely, my dear": Education and Agency in Lisa Klein’s OpheliaVictoria R. FarmerChapter 12. To Relate or Not to Relate: Questioning the Pedagogical Value of Relatable HamletErin M. PresleySection IV: Post-Hamlet Post-ScriptChapter 13. DIE-JESTING stURNe’s BURIALLs: Publication, Plagiarism, Pseudonymity, Pseudography, Cenography, Palimpsestuosity, Posthumography, and the Propriety or Pathos of PosterityRichard BurtIndex