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Romeo and Juliet and romantic tragedy

(Cukor), and one from an Australian (Luhrmann). 11 As a related point, it is noteworthy that the play has always had an intimate connection with music, and this tradition also hails from the European continent rather than Britain. Peter Conrad has entertainingly traced adaptations into operas by Bellini, Keller, Delius, and Gounod, into a dramatic symphony by Berlioz, a ‘fantasy overture’ by Tchaikovsky

in Shakespeare’s cinema of love
Shakespeare, Harington, Reynolds and the metamorphosis of scatology

journalism, writing and speaking engagements – he died in Australia in 1958 while, among other topics, he was ‘gathering material on the plight of the Australian Aborigine’ 86 – he also demonstrated throughout his work a concern for environmental issues which, with hindsight, establishes him as one of the prophets of modern ecological debate. In particular, he was frustrated that the recycling of human

in Between two stools
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Then with Scotland first begin

Festival featuring Australian soap star Dannii Minogue as Lady Macbeth. 4 If Scotland has engaged with Shakespeare, so too, of course, has Shakespeare engaged with Scotland. An elusive traditional tale suggests that Shakespeare once paid a visit to Scotland, in the company of the English comedian Lawrence Fletcher — yet another tantalizing image projected onto the blank screen of the

in Shakespeare and Scotland

. 33 Ibid., p. 343. REFERENCES Anonymous , ‘ The House that Jack Built ’, in R. Fotherigham (ed.), Australian Plays for the Colonial Stage 1834–1899 ( St Lucia : University of Queensland Press , 2006 ), pp. 217–314 . Bate , J. , ‘ The case for the Folio ’, 2007 . www

in Doing Kyd
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Our Lyly?

productions and theatre-based staged readings of Lyly’s work in the UK, Australia and the US. But Mills’s memory of undergraduate study suggests that modern encounters with Lyly tend towards pedagogical rites-of-passage, part of the teleological build-up to Shakespeare. Mills also suggests that his required reading was Lyly’s first work, surely the least attractive for Lyly’s modern readers. Euphues: The

in John Lyly and Early Modern Authorship

continually co-produced by brands and institutions in an increasingly complex dance of the ultimately inseparable forces of culture and the market. Notes 1 Tim Heberden, managing director of Brand Finance in Australia, quoted in ‘Shakespeare’s brand worth valued at $600 million – double the combined value of

in Cultural value in twenty-first-century England
Shakespeare, Harington and onomastic scatology

instance being 1623 but undoubtedly the word was in common parlance with shepherds before this date. ‘Dagging’ is the process of removing the encrusted wool (and incidentally is still known by this name today, especially in Australia). As far as the second half of the name is concerned, Geoffrey Hughes notes the presence of the word ‘fartleberries’ in Francis Grose’s A Classical

in Between two stools

than their male counterparts to brave the play’s challenges, perhaps because their opportunities to produce Shakespeare’s tragedies were otherwise severely limited. Assistant director Buzz Goodbody took over Trevor Nunn’s production of Titus when it transferred to the Aldwych in 1973, and since that time, Jane Howell, Deborah Warner, Jeannette Lambermont, Julie Taymor, and Lucy Bailey (Shakespeare’s Globe, 2006) have all had their chances to direct major productions. Most recently, Australian Gale Edwards, whose

in Titus Andronicus
Sir Wa’ter’s two Books of Mutabilitie and their subject’s allegorical presence in select Spenserean narratives and complaints

the third scene of the second part of Marlowe’s Tamburlaine anachronistically depicts the Tartar conqueror as the master of a sixteenth-century Ottoman Turk, a Spanish conquistador, and a Portuguese navigator. Indeed, a fourth potentate under Tamburlaine’s control has defeated Prester John in Abyssinia and virtually reached the source of the Nile. Marlowe’s play even refers to the invasion of the unmapped Australia as a future imperial project (Part 2, I.vi.154)! Marlowe’s hero predicts, in his way, England’s Captain Cook, the Circumnavigator. That is, Marlowe

in Literary and visual Ralegh

Christian Platonic hierarchy shapes Spenser’s epic: a hierarchic family triad, three stages of fall and of recovery. Spenser radically revises this allegory, blaming man, whom woman lovingly seeks to cure. Books 3-5 show Britomart’s chaste power defeating all males, freeing woman from mastery and self-induced suffering. The intellective allegory of books 1 and 2 reform higher reason, then lower reason, each in tripartite form: a triadic family, triple temptings, three-phase training of the spiritual and then natural bodies, ending with a triadic Eden. The passional allegory of books 3 and 4 is again transcendent, then immanent. Britomart brings female ascendancy by chaste skill with arms and providential goals. She unfolds in three heroic Graces (Florimell, Belphoebe, Amoret). In these passional books the male counterparts (Artegall, Marinell, Timias, Scudamour) are paralyzed; virtuous reunion comes by female prowess and endurance, aided by mothers and female deities. A female theology rests on virginity and marriage, immaculate conception, Trinitarian identity, epiphanic unveilings, female endurance of a Passion. The sensate allegory of books 5 and 6 subject even Gloriana/Mercilla and Arthur to confusing materialism. Does the ontological ‘dilation’ of books 1-6 (narrowing images of Duessa, Timias, and satyrs-salvages) show despondency about Irish terrors, or prepare for reversal in books 7-12?

in Renaissance psychologies