Titlebook: Shakespeare and Youth Culture; Jennifer Hulbert,Kevin J. Wetmore,Robert L. York Book 2006 Palgrave Macmillan, a division of Nature America

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irreducible

內(nèi)行

乞丐

,“Smells Like Teen Shakespirit” Or, the Shakespearean Films of Julia Stiles,ay in a format that was likely to usurp Zeffirelli’s vision of Verona in the eyes of the era’s freshmen in the classroom—and if not in the classroom at least in whatever hip collective psyche that prevailed among youth culture in 1996.

使饑餓

Book 2006speare‘. Considering the reduction, translation and referencing of the plays and the man, the volume examines the confluence between Shakepop and rock, rap, graphic novels, teen films and pop psychology.

殺人

,“Dude, Where’s My Bard?”,ools, used as raw material for film, television, and stage adaptations, re-created as graphic novels, referenced in commercials and advertisements, and used as a framework to understand adolescent girls, contemporary cultural and social conflicts, and business practices. We no longer have “Shakespea

implore

,“Great Reckonings in Little Rooms,” or Children’s Playtime: Shakespeare and Performing Object Theatnew, original, self-generated narratives. Beyond reenacting the original narrative, action figures mean one can create one’s own fun with characters one knows well from other media, oftentimes blending two completely separate narratives into one. In such child’s play, Luke Sky walker fights Captain

Cognizance

harbinger

Longitude

,“Big Willie Style” Staging Hip-Hop Shakespeare and Being Down with the Bard,op and dance performers for his CD . .! Among those gathered was MC Hamlet, a “Dancin’ Black Indian Poet” whose name played on then- popular MC Hammer’s, as well as the Shakespeare play. MC Hamlet rapped a track entitled “II Be or Not II Be,” which played on the famous soliloquy. The first verse of