Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-06T12:55:20.677Z Has data issue: false hasContentIssue false

Podcasts and Feminist Shakespeare Pedagogy

Published online by Cambridge University Press:  28 October 2022

Varsha Panjwani
Affiliation:
New York University, London

Summary

Scores of women feel excluded from Shakespeare Studies because the sound of this field (whether it is academics giving papers at conferences or actors sharing performance insights) is predominantly male. In contrast, women are well represented in Shakespeare podcasts. Noting this trend, this Element envisions and urges a feminist podagogy which entails utilizing podcasts for feminism in Shakespeare pedagogy. Through detailed case studies of teaching women characters in Hamlet, A Winter's Tale, The Merchant of Venice, and As You Like It, and through road-tested assignments and activities, this Element explains how educators can harness the functionalities of podcasts, such as amplification, archiving, and community building to shape a Shakespeare pedagogy that is empowering for women. More broadly, it advocates paying greater attention to the intersection of Digital Humanities and anti-racist feminism in Shakespeare Studies.
Get access
Type
Element
Information
Online ISBN: 9781108973311
Publisher: Cambridge University Press
Print publication: 01 December 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Arizona, ACMRS. (2020). It’s Time to End the Publishing Gatekeeping!: A letter from RaceB4Race Executive Board, The Sundial, https://medium.com/the-sundial-acmrs/its-time-to-end-the-publishing-gatekeeping-75207525f587.Google Scholar
Aebischer, P. (1999). ‘Yet I’ll speak’: Silencing the Female Voice in Titus Andronicus and Othello. Actes des congrès de la Société française Shakespeare, 17, 2746.Google Scholar
Ahmed, S. (2017). Living a Feminist Life. Croydon: Duke University Press.Google Scholar
Anderson, S. in conversation with Cassidy, C. (2019). Susan Anderson on Disability in Shakespeare’s England. That Shakespeare Life [Podcast], Ep. 76. www.cassidycash.com/ep-76-susan-anderson-on-disability-in-shakespeares-england/.Google Scholar
Archard, S., & Merry, R. (2010). Podcasts as a Conversational Pedagogy. Computers in New Zealand Schools: Learning, leading, Technology, 22(3), 111.Google Scholar
Battershill, C., & Ross, S. (2017). Using Digital Humanities in the Classroom: A Practical Introduction for Teachers, Lecturers, and Students. London: Bloomsbury.Google Scholar
Bauman, H.-D. L., & Murray, J. J. (2014). Deaf Gain: An Introduction. In Bauman, H.-D. L. & Murray, J. J., eds., Deaf Gain: Raising the Stakes for Human Diversity. Minneapolis: University of Minnesota Press, pp. xvxlii.Google Scholar
Beard, M. (2014). The Public Voice of Women. London Review of Books, 36(6), 1114.Google Scholar
Belton, E. (2000). Speech in Dumbness: Female Eloquence and Male Authority in The Winter’s Tale. In Rodeheffer, J. K., Sokolowski, D. & Lee, J. S., eds., Core Texts in Conversation. New York: University Press of America, pp. 157–63.Google Scholar
Benjamin, R. (2017). But … There Are New Suns!. Palimpsest: A Journal on Women, Gender, and the Black International, 6(1), 103–5.Google Scholar
Benjamin, R. (2019). Race after Technology: Abolitionist Tools for the New Jim Code. Cambridge: Polity Press.Google Scholar
Boose, L. E. (1991). Scolding Brides and Bridling Scolds: Taming the Woman’s Unruly Member. Shakespeare Quarterly, 42(2), 179213.Google Scholar
Boyd, M. interviewed by J. Bate and K. Wright (2010). The Director’s Cut: Interviews with Dominic Cooke and Michael Boyd. In Bate, J. & Rasmussen, E., eds., As You Like It. London: Macmillan, pp. 144–56.Google Scholar
Brockbank, P. (1989). Introduction: Abstracts and Brief Chronicles. In Broackbank, P., ed. Players of Shakespeare 1: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, pp. 110.Google Scholar
Brown, D. S. (2021). (Early) Modern Literature: Crossing the ‘Sonic Color Line’. Shakespeare, Race & Pedagogy [Conference Talk]. www.shakeracepedagogy.com/.Google Scholar
Brown, K., & Kirwan, P. (2010). The Merchant of Venice in Performance: The RSC and Beyond. In J. Bate and E. Rasmussen, eds., The Merchant of Venice. London: Macmillan, pp. 114–39.Google Scholar
Brown, K., & Sewell, J. (2010). As You Like It in Performance: The RSC and Beyond. In Bate, J. & Rasmussen, E., eds., As You Like It. London: Macmillan, pp. 113–43.Google Scholar
Callaghan, D. (ed.). (2016). A Feminist Companion to Shakespeare. New Jersey: John Wiley & Sons.CrossRefGoogle Scholar
Carson, C., & Kirwan, P. (eds.). (2014). Shakespeare and the Digital World: Redefining Scholarship and Practice. Cambridge: Cambridge University Press.Google Scholar
Caswell, M. L. (2016). “The Archive” Is Not an Archives: On Acknowledging the Intellectual Contributions of Archival Studies. Reconstruction: Studies in Contemporary Culture, 16 (1), https://escholarship.org/uc/item/7bn4v1fk.Google Scholar
Ciston, S. (2019). ladymouth: Anti-Social-Media Art As Research. Ada: A Journal of Gender, New Media, and Technology, 15, https://doi.org/10.5399/uo/ada.2019.15.5.Google Scholar
Coles, K., Hall, K., & Thompson, A. (n.d.). BlacKKKShakespearean: A Call to Action for Medieval and Early Modern Studies. MLA Profession, https://profession.mla.org/blackkkshakespearean-a-call-to-action-for-medieval-and-early-modern-studies/.Google Scholar
Crenshaw, K. (2016). The Urgency of Intersectionality. TED Talk, www.ted.com/talks/kimberle_crenshaw_the_urgency_of_intersectionality?language=en.Google Scholar
Croll, D. in conversation with Panjwani, V. (2020). Doña Croll on Cleopatra, John of Gaunt, Black Actors in Britain. Women & Shakespeare [Podcast], Series 1, Ep. 2, http://womenandshakespeare.com/.Google Scholar
Cusack, S. (1989). Portia in The Merchant of Venice. In Broackbank, P., ed. Players of Shakespeare 1: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, pp. 2940.Google Scholar
Daniels, J. (2009). Rethinking Cyberfeminism (s): Race, Gender, and Embodiment. Women’s Studies Quarterly, 37(1/2), 101–24.Google Scholar
Das, N., & Price, E. in conversation with Lennon, W. (2021). Shakespeare, Race & Pedagogy [Conference Session]. www.shakeracepedagogy.com/.Google Scholar
Davis, A. Y. (1981). Women, Race, & Class. New York: Random House.Google Scholar
Dever, M. (2017). Archives and New Modes of Feminist Research. Australian Feminist Studies, 32 (91–2), 14.CrossRefGoogle Scholar
Dor, Y. in conversation with Panjwani, V. (2022). Yarit Dor on Fighting and Intimacy on the Shakespeare Stage in Hamlet, As You Like It, and Romeo & Juliet. Women & Shakespeare [Podcast], Series 3, Ep. 3, http://womenandshakespeare.com/.Google Scholar
Döring, N., & Mohseni, M. R. (2019). Male Dominance and Sexism on YouTube: Results of Three Content Analyses. Feminist Media Studies, 19(4), 512–24.Google Scholar
Research, Edison & Digital, Triton. (2019). She Listens: Insights on Women Podcast Listeners. www.edisonresearch.com/wp-content/uploads/2019/10/She-Podcasts-2019.pdf.Google Scholar
Eichhorn, K. (2013). The Archival Turn in Feminism: Outrage in Order. Philadelphia: Temple University Press.Google Scholar
Findlay, D. (1993). Portia in The Merchant of Venice. In Jackson, R. & Smallwood, R., eds., Players of Shakespeare 3: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, pp. 5267.Google Scholar
Fischer, S. K. (1990). Hearing Ophelia: Gender and Tragic Discourse in Hamlet. Renaissance and Reformation/Renaissance et Réforme, 14(1), 110.Google Scholar
Florini, S. (2015). The Podcast “Chitlin’ Circuit”: Black Podcasters, Alternative Media, and Audio Enclaves. Journal of Radio & Audio Media, 22(2), 209–19.Google Scholar
Forcepoint. (n.d.). What is a Firewall?: Firewalls Defined, Explained, and Explored. Cyber Edu, www.forcepoint.com/cyber-edu/firewall.Google Scholar
Friedman, M. D. (2002). The World Must Be Peopled: Shakespeare’s Comedies of Forgiveness. London: Associated University Press.Google Scholar
Friend, C. (2016). Winona Ryder and the Internet of Things. Hybrid Pedagogy, https://hybridpedagogy.org/winona-ryder-internet-things/.Google Scholar
Frizzell, N. (2016). ‘I felt like morse tapping his first code’ – the Man who Invented the Podcast. The Guardian, www.theguardian.com/tv-and-radio/2016/nov/03/christopher-lydon-podcast-inventor-open-source-mp3-files-interview.Google Scholar
Gajjala, R. (2003). South Asian Digital Diasporas and Cyberfeminist Webs: Negotiating Globalization, Nation, Gender, and Information Technology Design. Contemporary South Asia, 12(1), 4156.CrossRefGoogle Scholar
Gajjala, R., & Oh, Y. J. (eds.). (2012). Cyberfeminism 2.0. New York: Peter Lang.Google Scholar
Gay, P. (2002). Portia Performs: Playing the Role in the Twentieth-Century English Theatre. In Mahon, J. W. & Mahon, E. M., eds., The Merchant of Venice: New Critical Essays. London: Routledge, pp. 431–54.Google Scholar
Giglio, K., & Venecek, J. (2009). The Radical Historicity of Everything: Exploring Shakespearean Identity with Web 2.0. Digital Humanities Quarterly, 3 (3), http://digitalhumanities.org:8081/dhq/vol/3/3/000063/000063.html.Google Scholar
Glitch & The End Violence Against Women Coalition. (2020). The Ripple Effect: COVID-19 and the Epidemic of Online Abuse, https://glitchcharity.co.uk/wp-content/uploads/2021/04/Glitch-The-Ripple-Effect-Report-COVID-19-online-abuse.pdf.Google Scholar
Education, Globe. (1998). Lilo Baur: Activities [Activity Sheet for Schools]. Adopt an Actor (GB 3316 SGT/ED/LRN/2/1/4). The Shakespeare Globe Trust, London.Google Scholar
Greer, G. (2007). Shakespeare’s Wife. New York: Bloomsbury.Google Scholar
Gumbs, A. P. (2011). Seek the Roots: An Immersive and Interactive Archive of Black Feminist Practice. Feminist Collections: A Quarterly of Women’s Studies Resources, 32(1), 1721.Google Scholar
Hall, K. F. (1992). Guess Who’s Coming to Dinner? Colonization and Miscegenation in The Merchant of Venice. Renaissance Drama, 23, 87111.Google Scholar
Hall, K. F. (1995). Things of Darkness: Economies of Race and Gender in Early Modern England. London: Cornell University Press.Google Scholar
Harcourt, W. (1999). Conclusion: Local/Global Encounters: WoN Weaving Together the Virtual and Actual. In Harcourt, W., ed. Women@ Internet: Creating New Cultures in Cyberspace. London: Zed Books, p. 219.Google Scholar
Henderson, D., & Vitale, K. S. (eds.). (2022). Shakespeare and Digital Pedagogy: Case Studies and Strategies. London: Bloomsbury.Google Scholar
Henderson, D. E. (2006). The Artistic Process: Learning from Campbell Scott’s Hamlet. In Henderson, D., ed. A Concise Companion to Shakespeare on Screen. Oxford: Blackwell, pp. 7795.Google Scholar
HESA. (2021). Higher Education Staff Data: What Areas Do They Work In? www.hesa.ac.uk/data-and-analysis/staff/areas.Google Scholar
Hirsch, B. (2012). Digital Humanities Pedagogy: Practices, Principles and Politics. Open Book. www.openbookpublishers.com/books/10.11647/obp.0024.Google Scholar
Hogan, M. (2008). Dykes on Mykes: Podcasting and the Activist Archive. Topia: Canadian Journal of Cultural Studies, 20, 199215.Google Scholar
Jackson, S. J., Bailey, M., & Welles, B. F. (2020). # HashtagActivism: Networks of Race and Gender Justice. London: MIT Press.CrossRefGoogle Scholar
Jarrett-Macauley, D. (ed.) (2017). Shakespeare, Race and Performance: The Diverse Bard. London: Routledge.Google Scholar
Jarrett-Macauley, D. in conversation with Panjwani, V. (2020). Delia Jarrett-Macauley on Moses, Citizen & Me, Shakespeare, Race and Performance. Women & Shakespeare [Podcast], Series 1, Ep. 1. http://womenandshakespeare.com/.Google Scholar
Juhasz, A. (2014). Conclusion: It’s Our Collective, Principled Making That Matters Most: Queer Feminist Media Praxis@ Ada. Ada: A Journal of Gender, New Media, and Technology, 5, https://doi.org/10.7264/N3610XMD.Google Scholar
Kai, M. (2019). ‘There Is Rhythm in the Language’: Actress Christiana Clark Finds the ‘Jazz’ in Shakespeare in The Winter’s Tale. The Root, www.theroot.com/there-is-rhythm-in-the-language-actress-christiana-cla-1834875286.Google Scholar
Kamaralli, A. (2007). Female Characters on the Jacobean Stage Defying Type: When is a Shrew Not a Shrew?. Literature Compass, 4(4), 1122–32.Google Scholar
Karim-Cooper, F. in conversation with Panjwani, V. (2020). Farah-Karim Cooper on Shakespeare’s Globe, Sam Wanamaker Playhouse, Cosmetics, Gestures. Women & Shakespeare [Podcast], Series 1, Ep. 4, http://womenandshakespeare.com/.Google Scholar
Kill, M. (2012). Teaching Digital Rhetoric: Wikipedia, Collaboration, and the Politics of Free Knowledge. In Hirsch, B., ed., Digital Humanities Pedagogy: Practices, Principles and Politics. Open Book, pp. 389405.Google Scholar
Kim, D. (2018). How to #DecolonizeDH: Actionable Steps for an Antifascist DH. In Kim, D. & Stommel, J., eds., Disrupting the Digital Humanities. Punctum Books, pp. 479–93.Google Scholar
Kim, D., & Stommel, J. (eds.). (2018). Disrupting the Digital Humanities. Punctum Books.Google Scholar
Kimbro, D., Noschka, M., & Way, G. (2019). Lend Us Your Earbuds: Shakespeare/ Podcasting/ Poesis. Humanities, 8(2), 67, https://doi.org/10.3390/h8020067.Google Scholar
Kirwan, P. (2014a). ‘From the table of my memory’: Blogging Shakespeare in/out of the Classroom. In Carson, C. & Kirwan, P., eds., Shakespeare and the Digital World: Redefining Scholarship and Practice. Cambridge: Cambridge University Press, pp. 100–12.Google Scholar
Kirwan, P. (2014b). Introduction: Pedagogy. In Carson, C. & Kirwan, P., eds., Shakespeare and the Digital World: Redefining Scholarship and Practice. Cambridge: Cambridge University Press, pp. 5862.Google Scholar
Kirwan, P. (2018). As You Like It @ Shakespeare’s Globe. The Bardathon [Blog], https://blogs.nottingham.ac.uk/bardathon/2018/07/01/like-shakespeares-globe/.Google Scholar
Kirwan, P., & Prince, K. (eds.). (2021). The Arden Research Handbook of Shakespeare and Contemporary Performance. London: Bloomsbury Publishing.Google Scholar
Korda, N. (2011). Labors Lost: Women’s Work and the Early Modern English Stage. Philadelphia: University of Pennsylvania Press.CrossRefGoogle Scholar
Kothari, A. (2021). Women & Shakespeare Podcast. Teaching Shakespeare, 20, 57.Google Scholar
Lennon, W. (2021). Shakespeare, Race & Pedagogy. Teaching Shakespeare, 21, 47.Google Scholar
Losh, E., & Wernimont, J. (eds.). (2019). Bodies of Information: Intersectional Feminism and the Digital Humanities. Minneapolis: University of Minnesota Press.Google Scholar
Luiggi, C. M. (2016). ‘She May Strew Dangerous Conjectures’: The Political Sedition and Social Potency of Hamlet’s Ophelia. Selected Papers of the Ohio Valley Shakespeare Conference, 9(1), 7786.Google Scholar
McKay, A. (2000). Speaking Up: Voice Amplification and Women’s Struggle for Public Expression. In Mitchell, C., ed., Women and Radio: Airing Differences. New York: Routledge, pp. 1528.Google Scholar
McMillin, S. (2004). The Sharer and His Boy: Rehearsing Shakespeare’s Women. In Holland, P. & Orgel, S., eds., From Script to Stage in Early Modern England. Basingstoke: Palgrave, pp. 231–45.Google Scholar
Mesmer, R., & Plann-Curley, A. in conversation with Grant, N. (2016). ‘To Repair Should Be Thy Chief Desire’. Shakespeare Unlimited [Podcast], Ep. 44. www.folger.edu/shakespeare-unlimited/conservation-lab.Google Scholar
Middleton, I. (2015). A Jew’s Daughter and a Christian’s Wife: Performing Jessica’s Multiplicity in The Merchant of Venice. Shakespeare Bulletin, 33(2), 293317.Google Scholar
Moberly, D. C. (2018). ‘Once more to the breach!’: Shakespeare, Wikipedia’s Gender Gap, and the Online, Digital Elite. In O’Neill, S., ed., Broadcast Your Shakespeare: Continuity and Change Across Media. London: Bloomsbury, pp. 87104.Google Scholar
Mond, F. (1910 quoted 2015). Letter to Israel Gollancz, Secretary of the British Academy quoted in Frida Mond: A Good friend to the British Academy. British Academy Review, 25, 52–5.Google Scholar
Mottram, C. (2016). Finding a Pitch that Resonates: An Examination of Gender and Vocal Authority in Podcasting. Voice and Speech Review, 10(1), 5369.Google Scholar
Mulready, C. (2022). Shakespeare Students as Scribes: Documenting the Classroom through Collaborative Digital Note-taking. In E. Henderson, D. & Vitale, K. S., eds., Shakespeare and Digital Pedagogy: Case Studies and Strategies. London: Bloomsbury, pp. 1324.Google Scholar
Nadarajah, N. in conversation with Panjwani, V. (2021). Nadia Nadarajah on Shakespeare in Sign Language (BSL), Celia, Titania, Guildenstern, Cleopatra. Women & Shakespeare [Podcast], Series 2, Ep. 3, http://womenandshakespeare.com/.Google Scholar
Ng-Gagneux, E. (2022). Reading Interculturality in Class: Contexualising and Studying Global Shakespeares in/through A|S|I|A. In E. Henderson, D. & Vitale, K. S., eds., Shakespeare and Digital Pedagogy: Case Studies and Strategies. London: Bloomsbury, pp. 89103.Google Scholar
Novy, M. (2017). Shakespeare and Feminist Theory. London: Bloomsbury.Google Scholar
Olive, S. (2015). Shakespeare Valued: Education Policy and Pedagogy 1989–2009. Chicago: Intellect Books.Google Scholar
Olive, S. in conversation with Panjwani, V. (2021). Sarah Olive on Shakespeare in Education. Women & Shakespeare [Podcast], Series 3, Ep. 1, http://womenandshakespeare.com/.Google Scholar
O’Neill, S. (2014). Shakespeare and YouTube: New Media Forms of the Bard. London: Bloomsbury.Google Scholar
Pogson, K. in conversation with Panjwani, V. (2020). Kathryn Pogson on Portia, Ophelia, Lady Anne. Women & Shakespeare [Podcast], Series 1, Ep. 5, http://womenandshakespeare.com/.Google Scholar
Pramaggiore, M., & Hardin, B. (1999). Webbed Women: Information Technology in the Introduction to Women’s Studies Classroom. In Winkler, B. & DiPalma, C., eds., Teaching Introduction to Women’s Studies: Expectations and Strategies. London: Bergin & Garvey, pp. 163–73.Google Scholar
Refskou, A. S. (2021). Introduction: Representing Richard: Shakespeare, Otherness and Diversity in Global Settings. Otherness: Essays and Studies, 8(2). www.otherness.dk/journal/otherness-essays-studies-82/.Google Scholar
Reynolds, P. M. (2018). Performing Shakespeare’s Women: Playing Dead. London: Bloomsbury.Google Scholar
Richards, J., & Thorne, A. (2007). Introduction. In Richards, J. & Thorne, A., eds., Rhetoric, Women and Politics in Early Modern England. New York: Routledge, pp. 124.Google Scholar
Richards, R. S. (2011). ‘I Could Have Told You That Wouldn’t Work’: Cyberfeminist Pedagogy in Action. Feminist Teacher, 22(1), 522.Google Scholar
Richardson, S., & Green, H. (2018). Talking Women/Women Talking: the Feminist Potential of Podcasting for Modernist Studies. Feminist Modernist Studies, 1(3), 282–93.Google Scholar
Rogers, J. (2022). The British Black and Asian Shakespeare Performance Database: Reclaiming Theatre History. In Henderson, D. E. & Vitale, K. S., eds., Shakespeare and Digital Pedagogy: Case Studies and Strategies. London: Bloomsbury, pp. 7888.Google Scholar
Rooney, E. (2006). Introduction. In Rooney, E., ed., The Cambridge Companion to Feminist Literary Theory. Cambridge: Cambridge University Press, pp. 110.Google Scholar
Rosenberg, M. (1992). The Masks of Hamlet. London: University of Delaware Press.Google Scholar
Ross, S. C., & Smith, R. (2020). Beyond Ovid: Early Modern Women’s Complaint. In Ross, S. C. & Smith, R., eds., Early Modern Women’s Complaint: Gender, Form, and Politics. Cham: Palgrave, pp. 126.Google Scholar
Rutter, C. (1988). Clamorous Voices: Shakespeare’s Women Today. London: Women’s Press.Google Scholar
Sadler, R., & Cox, A. M. (2018). ‘Civil disobedience’ in the Archive: Documenting Women’s Activism and Experience through the Sheffield Feminist Archive. Archives and Records, 39(2), 158–73.Google Scholar
Sample, I. (2020) Internet ‘is not working for women and girls’, says Berners-Lee: The Guardian, www.theguardian.com/global/2020/mar/12/internet-not-working-women-girls-tim-berners-lee.Google Scholar
Saraf, S. in conversation with Greenberg, I. (2018). The Ensemble Experiment. Such Stuff [Podcast], Series 1, Ep. 3.Google Scholar
Sassen, S. (2002). Towards a Sociology of Information Technology. Current Sociology, 50(3), 365–88.Google Scholar
Scheil, K. W. (2012). She Hath Been Reading: Women and Shakespeare Clubs in America. New York: Cornell University Press.Google Scholar
Segal, J. (2008). ‘And browner than her brother’: ‘Misprized’ Celia’s Racial Identity and Transversality in As You Like It. Shakespeare, 4(1), 121.Google Scholar
Shakespeare, W. (1999). Hamlet. Hapgood, R., ed., Cambridge: Cambridge University Press.Google Scholar
Shakespeare, W. (2002). Hamlet. Watts, C., ed. Hertfordshire: Wordsworth Editions.Google Scholar
Shakespeare, W. (2006a). Hamlet. Thompson, A. and Taylor, N., eds., London: Bloomsbury.Google Scholar
Shakespeare, W. (2006b). Hamlet: The Texts of 1603 and 1623. Thompson, A. and Taylor, N., eds., London: Bloomsbury.Google Scholar
Shakespeare, W. (2007). The Winter’s Tale. Snyder, S. and Curren-Aquino, D. T., eds. New York: Cambridge University Press.Google Scholar
Shakespeare, W. (2009). As You Like It. Hattaway, M., ed. Cambridge: Cambridge University Press.Google Scholar
Shakespeare, W. (2010). The Merchant of Venice. Bate, J. and Rasmussen, E., eds. London: Macmillan.Google Scholar
Shaw, F., & Stevenson, J. (1988). Celia and Rosalind in As You Like It. In Brockbank, P., Jackson, R. & Smallwood, R., eds., Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, pp. 5572.Google Scholar
Sher, A. interviewed by J. Bate and K. Wright (2010). Playing Shylock: Interviews with Antony Sher and Henry Goodman. In Bate, J. and Rasmussen, E., eds., The Merchant of Venice. London: Macmillan, pp. 156–74.Google Scholar
Siebers, T. (2016). Shakespeare Differently Disabled. In Traub, V., ed., The Oxford Handbook of Shakespeare and Embodiment: Gender, Sexuality, and Race. Oxford: Oxford University Press, pp. 435–54.Google Scholar
Smith, K. (2017). Gender, Speech, and Audience Reception in Early Modern England. New York: Routledge.Google Scholar
Spender, D. (1981). The Gatekeepers: A Feminist Critique of Academic Publishing. In Roberts, H., ed., Doing Feminist Research. London: Routledge, pp. 186202.Google Scholar
Spinelli, M., & Dann, L. (2019). Podcasting: The Audio Media Revolution. New York: Bloomsbury.Google Scholar
Stallybrass, P. (1986). Patriarchal Territories: The Body Enclosed. In Ferguson, M., Quilligan, M. & Vickers, N., eds., Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe. Chicago: University of Chicago Press, pp. 123–42.Google Scholar
Sterne, J., Morris, J., Baker, M. B., & Freire, A. M. (2008). The Politics of Podcasting. The Fibreculture Journal, 13, https://thirteen.fibreculturejournal.org/fcj-087-the-politics-of-podcasting/.Google Scholar
Stommel, J. (2014). Critical Digital Pedagogy: A Definition. Hybrid Pedagogy, https://hybridpedagogy.org/critical-digital-pedagogy-definition/.Google Scholar
Sullivan, E. (2014). Internal and External Shakespeare: Constructing the Twenty-First-Century Classroom. In Carson, C. & Kirwan, P., eds., Shakespeare and the Digital World: Redefining Scholarship and Practice. Cambridge: Cambridge University Press, pp. 6374.Google Scholar
Thompson, S. (1993). Rosalind (and Celia) in As You Like It. In Jackson, R. & Smallwood, R., eds., Players of Shakespeare 3: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, pp. 7786.Google Scholar
Tiku, N., & Newton, C. (2015). Twitter CEO: ‘We suck at dealing with abuse’: Dick Costolo says Trolls are Costing Twitter Users. The Verge. www.theverge.com/2015/2/4/7982099/twitter-ceo-sent-memo-taking-personal-responsibility-for-theGoogle Scholar
Verma, N. (2021). Sound and Pedagogy: Taking Podcasting into the Classroom. In Bull, M. & Cobussen, M., eds., The Bloomsbury Handbook of Sonic Methodologies. New York: Bloomsbury Academic, pp. 140–54.Google Scholar
Vives, J. L. (c.1528). Instruction of a Christen Woman. R. Hyrde, trans. London.Google Scholar
Vrikki, P., & Malik, S. (2019). Voicing Lived-experience and Anti-racism: Podcasting as a Space at the Margins for Subaltern Counterpublics. Popular Communication, 17(4), 273–87.Google Scholar
Walter, H. (2016). Brutus and Other Heroines: Playing Shakespeare’s Roles for Women. London: Nick Hern Books.Google Scholar
Warren, R. (1986). Shakespeare in Britain, 1985. Shakespeare Quarterly, 37(1), 114–20.Google Scholar
Watters, A. (2014). Men Explain Technology to Me: On Gender, Ed-Tech, and the Refusal to Be Silent. Hack Education, http://hackeducation.com/2014/11/18/gender-and-ed-tech.Google Scholar
Waugh, D. (1656). The Lambs Defence Against Lyes. London: Giles Calvert.Google Scholar
Wernimont, J. (2013). Whence Feminism? Assessing Feminist Interventions in Digital Literary Archives. DHQ: Digital Humanities Quarterly, 7(1). www.digitalhumanities.org/dhq/vol/7/1/000156/000156.html.Google Scholar
Wernimont, J. (2015). No More Excuses [Blog], https://jwernimont.wordpress.com/category/toofew/.Google Scholar
Williams, D. (2012). Enter Ofelia Playing on a Lute. In Peterson, K. and Williams, D., eds., The Afterlife of Ophelia. New York: Palgrave, pp. 119–36.Google Scholar
Williams, D. in conversation with Grant, N. (2016). ‘Why, Here’s a Girl!’. Shakespeare Unlimited [Podcast], Ep. 60. www.folger.edu/shakespeare-unlimited/girlhood.Google Scholar
Williams, N. (2016). The Taming of the Shrew, Cymbeline, and the World Shakespeare Congress. Notinourstars [Blog], https://notinourstars.wordpress.com/2016/08/09/the-taming-of-the-shrew-cymbeline-and-the-world-shakespeare-congress/.Google Scholar
Wittek, S., & McInnis, D. (eds.) (2021). Shakespeare and Virtual Reality. Cambridge: Cambridge University Press.Google Scholar
Woolf, V. (1929). A Room of One’s Own. London: Hogarth Press.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Podcasts and Feminist Shakespeare Pedagogy
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Podcasts and Feminist Shakespeare Pedagogy
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Podcasts and Feminist Shakespeare Pedagogy
Available formats
×