Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Introduction
- 230 Shakespeare’s Books
- 231 Fortunes of the First Folio
- 232 Collecting and Reading Shakespeare’s Quartos
- 233 Shakespeare Anthologies
- 234 Shakespeare in Quotation Marks
- 235 Shakespeare in Quotations in English
- 236 Shakespeare in Quotations in Spanish
- 237 Shakespeare in Quotations in French
- 238 Shakespeare in Quotations in German
- 239 Shakespeare in Quotations in Japanese
- 240 The HyperHamlet Project
- 241 Shakespeare into Fiction
- 242 Shakespeare as Protagonist
- 243 Shakespeare and Children’s Literature
- 244 Self-Help Shakespeare
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
241 - Shakespeare into Fiction
from Part XXIV - Shakespeare and the Book
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Introduction
- 230 Shakespeare’s Books
- 231 Fortunes of the First Folio
- 232 Collecting and Reading Shakespeare’s Quartos
- 233 Shakespeare Anthologies
- 234 Shakespeare in Quotation Marks
- 235 Shakespeare in Quotations in English
- 236 Shakespeare in Quotations in Spanish
- 237 Shakespeare in Quotations in French
- 238 Shakespeare in Quotations in German
- 239 Shakespeare in Quotations in Japanese
- 240 The HyperHamlet Project
- 241 Shakespeare into Fiction
- 242 Shakespeare as Protagonist
- 243 Shakespeare and Children’s Literature
- 244 Self-Help Shakespeare
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
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Keywords
All for LoveAmerican ShakespeareAurora FloydBetween the ActsBottom the WeaverBraddon, Mary ElizabethCardenio“Circe”/NighttownThe Confidence-ManCymbelineDavenant, WilliamDavid CopperfieldDickens, Charlesdistance from Shakespearedouble falsehoodDryden, JohnErickson, Peterfeminist theatrical adaptationsFletcher, JohnGreat ExpectationsHamletThe Heart of MidlothianHe Knew He Was RightIndigoJohn, JulietJoyce, JamesKenilworthKing LearLocke, MatthewMacbethMama DayMaus, KatherineMelville, HermanMoby DickmusicalsMrs. Ramsaynarrative/storytellingThe Nature of BloodNaylor, GloriaOthelloPhillips, CarylPolitics of Adaptationpopular fictionpostmodernismquotationRestoration adaptationsRomanticismRosencrantz and Guildenstern Are DeadScott, Sir WalterShakespeare as characterShakespeare as transcendentSonnetsspin-offsStoppard, Tomstructural allusionTate, NahumThe Tempest, or The Enchanted IslandTheobald, LewisTimon of AthensTo The LighthousetranslationsTrollope, AnthonyTwelfth NightUlyssesWarner, MarinaThe Woman’s Prize, or The Tamer TamedThe Women of Brewster Placewomen writersWoolf, Virginia
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1707 - 1715Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
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Further reading
Fischlin, Daniel, and Fortier, Mark. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. London: Routledge, 2000.Google Scholar
Howard, Jean E., and O’Connor, Marion F., eds. Shakespeare Reproduced: The Text in History and Ideology. New York: Routledge, 1990.Google Scholar
Massai, Sonia, ed. World-wide Shakespeares: Local Appropriations in Film and Performance. London: Routledge, 2005.Google Scholar
Novy, Marianne, ed. Cross-Cultural Performances: Differences in Women’s Re-Visions of Shakespeare. Urbana: U of Illinois P, 1993.Google Scholar
Shaughnessy, Robert, ed. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar