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Showing how generations of critics - and Shakespeare himself - have rewritten the ending of King Lear, this sixteenth Approaching Shakespeare lecture engages with the question of tragedy and why it gives...
Asking ‘what happens in As You Like It’, this lecture considers the play’s dramatic structure and its ambiguous use of pastoral, drawing on performance history, genre theory, and eco-critical approaches.
The fact that father and son share the same name in Hamlet is used to investigate the play’s nostalgia, drawing on biographical criticism and the religious and political history of early modern England.
This lecture on A Midsummer Night’s Dream uses modern and early modern understandings of dreams to uncover a play less concerned with marriage and more with sexual desire.
Emma Smith uses evidence of early reception and from more recent productions to discuss the question of whether Katherine is tamed at the end of the play.
This lecture on The Merchant of Venice discusses the ways the play’s personal relationships are shaped by models of financial transaction, using the casket scenes as a central example.
A detailed examination of the nature of this Shakespearean tragedy given its rare feature of having two central characters.
Focusing in detail on one particular scene, and on critical responses to it, this sixth Approaching Shakespeare lecture on Titus Andronicus deals with violence, rhetoric, and the nature of dramatic...
The seventh Approaching Shakespeare lecture takes a minor character in Twelfth Night - Antonio - and uses his presence to open up questions of sexuality, desire and the nature of romantic comedy.
That the character of Prospero is a Shakespearean self-portrait is a common reading of The Tempest: this tenth Approaching Shakespeare lecture asks whether that is a useful reading of the play.
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