Valerie M. Fazel, Instructor at Arizona State University, is co-editor of The Shakespeare User: Critical and Creative Appropriation in a Networked Culture and co-author of the Shakespeare Multiverse: Fandom as Literary Praxis. Her essays on Shakespeare, social media, and fandom appear in Borrowers and Lenders and the forthcoming Shakespeare’s Audiences. Louise Geddes is Professor of English at Adelphi University, USA. She is the author of Appropriating Shakespeare: A Cultural History of Pyramus and Thisbe and with Valerie M. Fazel she has co-authored The Shakespeare Multiverse: Fandom as Literary Praxis and co-edited The Shakespeare User: Creative and Critical Appropriation in Networked Culture and Variable Objects: Speculative Shakespeare Appropriation. She has had articles published in Shakespeare Bulletin, Medieval and Renaissance Drama in England, Shakespeare and Shakespeare Survey. She is currently general co-editor of the open access journal Borrowers and Lenders: The Journal of Shakespeare Appropriation.

• List of IllustrationsContributorsAcknowledgmentsIntroduction: Bound in a Nutshell: Shakespeare’s Vibrant Matter, Valerie M. Fazel and Louise GeddesPART I: DISCIPLINARY OBJECTS Beds, Handkerchiefs, and Moving Objects in Othello, Sujata Iyengar The Collectible Ofelia:　Object-Oriented Feminisms and the Un-Human Corpus of Q1’s Dispensaniac, Molly Seremet Bitcoin, Blockchains, and the Bard, Robert Sawyer PART II: MEDIA OBJECTS 'Were I human:’　Beingness and the Postcolonial Object in　Westworld’s Appropriation of The Tempest, L. Monique Pittman, Vanessa I. Corredera, Kristin N. Denslow, Karl G. Bailey Finding Ludonarrative Harmony in the Limited Agency of Ophelia in Elsinore, Andrew DarrSympathise with the Losers: Performing Intellectual Loserdom in Shakespearian Biopic, Anna BlackwellProsthetic Properties: The Materiality of Race and Gender in The Hollow Crown: The Wars of the Roses, Emily MacLeodPART III: HUMAN OBJECTS‘Intermission!’: Reading Race in the Objects of Key & Peele’s ‘Othello Tis My Shite’, Shanelle E. Kim Sight Unseen: Visualizing variability through ontological representations in Macbeth’, Valerie Clayman Pye and Cara GarganoThe Thing Itself: Performance and the Celebrity Text, Louise Geddes11. 'The Promised End': Shakespeare and Extinction, Michael Lutz

This extraordinary collection will have a profound impact on Shakespeare and appropriation studies. Using object-oriented methodology, the authors develop a speculative approach that refigures Shakespeare as a vibrant, multifarious "thing" that actively participates in the creation of limitless interpretations and appropriations. The volume opens up new possibilities for the field.

Valerie M. Fazel, Instructor at Arizona State University, is co-editor of The Shakespeare User: Critical and Creative Appropriation in a Networked Culture and co-author of the Shakespeare Multiverse: Fandom as Literary Praxis. Her essays on Shakespeare, social media, and fandom appear in Borrowers and Lenders and the forthcoming Shakespeare’s Audiences. Louise Geddes is Professor of English at Adelphi University, USA. She is the author of Appropriating Shakespeare: A Cultural History of Pyramus and Thisbe and with Valerie M. Fazel she has co-authored The Shakespeare Multiverse: Fandom as Literary Praxis and co-edited The Shakespeare User: Creative and Critical Appropriation in Networked Culture and Variable Objects: Speculative Shakespeare Appropriation. She has had articles published in Shakespeare Bulletin, Medieval and Renaissance Drama in England, Shakespeare and Shakespeare Survey. She is currently general co-editor of the open access journal Borrowers and Lenders: The Journal of Shakespeare Appropriation.

• List of IllustrationsContributorsAcknowledgmentsIntroduction: Bound in a Nutshell: Shakespeare’s Vibrant Matter, Valerie M. Fazel and Louise GeddesPART I: DISCIPLINARY OBJECTS Beds, Handkerchiefs, and Moving Objects in Othello, Sujata Iyengar The Collectible Ofelia:　Object-Oriented Feminisms and the Un-Human Corpus of Q1’s Dispensaniac, Molly Seremet Bitcoin, Blockchains, and the Bard, Robert Sawyer PART II: MEDIA OBJECTS 'Were I human:’　Beingness and the Postcolonial Object in　Westworld’s Appropriation of The Tempest, L. Monique Pittman, Vanessa I. Corredera, Kristin N. Denslow, Karl G. Bailey Finding Ludonarrative Harmony in the Limited Agency of Ophelia in Elsinore, Andrew DarrSympathise with the Losers: Performing Intellectual Loserdom in Shakespearian Biopic, Anna BlackwellProsthetic Properties: The Materiality of Race and Gender in The Hollow Crown: The Wars of the Roses, Emily MacLeodPART III: HUMAN OBJECTS‘Intermission!’: Reading Race in the Objects of Key & Peele’s ‘Othello Tis My Shite’, Shanelle E. Kim Sight Unseen: Visualizing variability through ontological representations in Macbeth’, Valerie Clayman Pye and Cara GarganoThe Thing Itself: Performance and the Celebrity Text, Louise Geddes11. 'The Promised End': Shakespeare and Extinction, Michael Lutz

This extraordinary collection will have a profound impact on Shakespeare and appropriation studies. Using object-oriented methodology, the authors develop a speculative approach that refigures Shakespeare as a vibrant, multifarious "thing" that actively participates in the creation of limitless interpretations and appropriations. The volume opens up new possibilities for the field.

Valerie M. Fazel, Instructor at Arizona State University, is co-editor of The Shakespeare User: Critical and Creative Appropriation in a Networked Culture and co-author of the Shakespeare Multiverse: Fandom as Literary Praxis. Her essays on Shakespeare, social media, and fandom appear in Borrowers and Lenders and the forthcoming Shakespeare’s Audiences. Louise Geddes is Professor of English at Adelphi University, USA. She is the author of Appropriating Shakespeare: A Cultural History of Pyramus and Thisbe and with Valerie M. Fazel she has co-authored The Shakespeare Multiverse: Fandom as Literary Praxis and co-edited The Shakespeare User: Creative and Critical Appropriation in Networked Culture and Variable Objects: Speculative Shakespeare Appropriation. She has had articles published in Shakespeare Bulletin, Medieval and Renaissance Drama in England, Shakespeare and Shakespeare Survey. She is currently general co-editor of the open access journal Borrowers and Lenders: The Journal of Shakespeare Appropriation.

• List of IllustrationsContributorsAcknowledgmentsIntroduction: Bound in a Nutshell: Shakespeare’s Vibrant Matter, Valerie M. Fazel and Louise GeddesPART I: DISCIPLINARY OBJECTS Beds, Handkerchiefs, and Moving Objects in Othello, Sujata Iyengar The Collectible Ofelia:　Object-Oriented Feminisms and the Un-Human Corpus of Q1’s Dispensaniac, Molly Seremet Bitcoin, Blockchains, and the Bard, Robert Sawyer PART II: MEDIA OBJECTS 'Were I human:’　Beingness and the Postcolonial Object in　Westworld’s Appropriation of The Tempest, L. Monique Pittman, Vanessa I. Corredera, Kristin N. Denslow, Karl G. Bailey Finding Ludonarrative Harmony in the Limited Agency of Ophelia in Elsinore, Andrew DarrSympathise with the Losers: Performing Intellectual Loserdom in Shakespearian Biopic, Anna BlackwellProsthetic Properties: The Materiality of Race and Gender in The Hollow Crown: The Wars of the Roses, Emily MacLeodPART III: HUMAN OBJECTS‘Intermission!’: Reading Race in the Objects of Key & Peele’s ‘Othello Tis My Shite’, Shanelle E. Kim Sight Unseen: Visualizing variability through ontological representations in Macbeth’, Valerie Clayman Pye and Cara GarganoThe Thing Itself: Performance and the Celebrity Text, Louise Geddes11. 'The Promised End': Shakespeare and Extinction, Michael Lutz

This extraordinary collection will have a profound impact on Shakespeare and appropriation studies. Using object-oriented methodology, the authors develop a speculative approach that refigures Shakespeare as a vibrant, multifarious "thing" that actively participates in the creation of limitless interpretations and appropriations. The volume opens up new possibilities for the field.