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’s creative conception of ‘a decolonized or decommissioned Shakespeare, relieved of his obligation to circulate as a fixed object of scorn or emulation in the orbit of postcolonial applications’. 39 But we would add a ‘devolved Shakespeare’, a Shakespeare whose understudied Englishness or problematic Britishness is open to question and subject to scrutiny. ‘Shakespeare’ occupies a place on the global
” begins at the precise moment when European imperial and colonial expansion begins. The Middle Ages is Europe’s Dark Continent of History, even as Africa is its Dark Age of Geography’. (J. Dagenais and M. R. Greer, ‘Decolonizing the Middle Ages: introduction,’ Journal of Medieval and Early Modern Studies , 30 (2000), 431–48, 431