The Tempest Edited by Stephen Orgel (Oxford World's Classics, 1998)
Notes Introduction 1. Reprinted from William Shakespeare: The Tempest edited by Stephen Orgel (Oxford World’s Classics, 1998) by permission of Oxford University Press. All references are to this edition © Oxford University Press 1987. 2. See, for instance, Peter Holland, English Shakespeares: Shakespeare on the Eng- lish Stage in the 1990s (Cambridge: Cambridge University Press, 1997); and Charles Marowitz, Recycling Shakespeare (London: Macmillan, 1991). 3. See Alan Sinfield, “Introduction: Reproductions, Interventions,” in Political Shakespeare: Essays in Cultural Materialism (1985), eds. Jonathan Dollimore & Alan Sinfield (Manchester: Manchester University Press, 1994), p. 154. See also his “Making Space: Appropriation and Confrontation in Renais- sance British Plays,” in Graham Holderness, ed. & pref., The Shakespeare Myth (Manchester: Manchester University Press, 1988), pp. 128–144. 4. I have, in several articles, outlined a methodology to make sense of all these Tempest-rewrites beyond a postcolonial reading and encouraged criss-cross- ings over linguistic boundaries (francophone studies being neatly separated from Anglophone studies) and over genre boundaries to consider literature and film. Since I wrote the first article on Canadian, Québécois, and Caribbean Tempests in 1985, a few articles were published but they invari- ably addressed issues in isolated fashion, i.e., dealing exclusively with either postcoloniality (Jolly 1986; Brydon 1989) or postmodernism (Donaldson 1988; Skura 1992); with a particular country (Canada: Laframboise 1991) or countries (the Caribbean: Wynter 1990). More recently, books have ap- proached a character and provided its “historiography” (the Vaughans’ Shakespeare’s Caliban, 1991; Harold Bloom’s Caliban, 1992; Theo D’Haen & Nadia Lie, eds., Constellation Caliban, 1997) or the history of the play’s production (Christine Dymkowski, The Tempest: Shakespeare in Produc- tion, 2000) or within the “Shakespeare Studies” paradigm (The Tempest and Its Travels, eds.
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