Shakespeare Studies

Shakespeare Studies is an annual peer-reviewed volume featuring work by performance scholars, literary critics and cultural historians. The journal focuses primarily on Shakespeare and his contemporaries but embraces theoretical and historical studies of socio-political, intellectual and artistic contexts that extend well beyond the early modern English theatrical milieu. In addition to articles, Shakespeare Studies offers unique opportunities for extended intellectual exchange through its thematically-focused forums, and includes substantial reviews. An international editorial board maintains the quality of each volume so that Shakespeare Studies may serve as a reliable resource for all students of Shakespeare and the early modern period ¢" for research scholars as well as teachers, actors and directors.

Volume 52 includes a Forum devoted the "Second Acts" of Shakespeare scholars with contributions from Mary Thomas Crane, Ayanna Thompson, Emily C. Bartels, Carla Della Gatta, Mary Jo Kietzman, Gina Bloom, Kevin Windhauser, Brinda Charry, Andrew J. Hartley, and Emma Whipday.

Volume 52 includes contributions from the Next Generation Plenary of the Shakespeare Association of America as well as articles by Kinga F¶ldv¡ry ("From Melodrama to Tragedy and Back ¢" Closing the Melodramatic Gap between Bollywood and Hollywood Shakespeare Adaptations"), Laura Higgins ("Locating Herself, Finding Her Voice: Mapping the Queen''s Story in Shakespeare''s Richard II"), Wesley Kisting ("The Theater of Conscience: Reforming Punishment in Measure for Measure"), Wolfgang G. M¼ller ("The Political Philosophies of Brutus and Cassius in Julius Caesar and the Theory of Preventive Tyrannicide"), and Greg M. Col³n Semenza ("''Please, just no Shakespeare'': Station Eleven''s Utopian Economy of Cultural Distinction").

Book reviews consider important publications on Shakespeare and university drama; Shakespeare and race; textual studies, editing and performance; poetry, science and the sublime; and entertaining uncertainty in early modern theater.