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<p>Notes on Contributors x</p> <p>Preface to the Second Edition xvii</p> <p>Introduction 1<br /><i>Dympna Callaghan</i></p> <p><b>Part I The History of Feminist Shakespeare Criticism 19</b></p> <p>1 The Ladies’ Shakespeare 21<br /><i>Juliet Fleming</i></p> <p>2 Margaret Cavendish, Shakespeare Critic 39<br /><i>Katherine M. Romack</i></p> <p>3 Misogyny Is Everywhere 60<br /><i>Phyllis Rackin</i></p> <p><b>Part II Text and Language 75</b></p> <p>4 Feminist Editing and the Body of the Text 77<br /><i>Laurie E. Maguire</i></p> <p>5 “Made to write ‘whore’ upon?”: Male and Female Use of the Word “Whore” in Shakespeare’s Canon 98<br /><i>Kay Stanton</i></p> <p>6 “A word, sweet Lucrece”: Confession, Feminism, and The Rape of Lucrece 121<br /><i>Margo Hendricks</i></p> <p><b>Part III Social Economies 137</b></p> <p>7 Gender, Class, and the Ideology of Comic Form: Much Ado about Nothing and Twelfth Night 139<br /><i>Mihoko Suzuki</i></p> <p>8 Gendered “Gifts” in Shakespeare’s Belmont: The Economies of Exchange in Early Modern England 162<br /><i>Jyotsna G. Singh</i></p> <p><b>Part IV Race and Colonialism 179</b></p> <p>9 The Great Indian Vanishing Trick – Colonialism, Property, and the Family in A Midsummer Night’s Dream 181<br /><i>Ania Loomba</i></p> <p>10 Black Ram, White Ewe: Shakespeare, Race, and Women 206<br /><i>Joyce Green MacDonald</i></p> <p>11 Sycorax in Algiers: Cultural Politics and Gynecology in Early Modern England 226<br /><i>Rachana Sachdev</i></p> <p>12 Black and White, and Dread All Over: The Shakespeare Theatre’s “Photonegative” Othello and the Body of Desdemona 244<br /><i>Denise Albanese</i></p> <p><b>Part V Performing Sexuality 267</b></p> <p>13 Women and Boys Playing Shakespeare 269<br /><i>Juliet Dusinberre</i></p> <p>14 Mutant Scenes and “Minor” Conflicts in Richard II 281<br /><i>Molly Smith</i></p> <p>15 Lovesickness, Gender, and Subjectivity: Twelfth Night and As You Like It 294<br /><i>Carol Thomas Neely</i></p> <p>16 … in the Lesbian Void: Woman–Woman Eroticism in Shakespeare’s Plays 318<br /><i>Theodora A. Jankowski</i></p> <p>17 Duncan’s Corpse 339<br /><i>Susan Zimmerman</i></p> <p><b>Part VI Religion 359</b></p> <p>18 Others and Lovers in The Merchant of Venice 361<br /><i>M. Lindsay Kaplan</i></p> <p>19 Between Idolatry and Astrology: Modes of Temporal Repetition in Romeo and Juliet 378<br /><i>Philippa Berry</i></p> <p><b>Part VII Character, Genre, History 393</b></p> <p>20 Putting on the Destined Livery: Isabella, Cressida, and our Virgin/Whore Obsession 395<br /><i>Anna Kamaralli</i></p> <p>21 The Virginity Dialogue in All’s Well That Ends Well: Feminism, Editing, and Adaptation 411<br /><i>Rory Loughnane</i></p> <p>22 Competitive Mourning and Female Agency in Richard III 428<br /><i>Mario DiGangi</i></p> <p>23 Bearing Death in The Winter’s Tale 440<br /><i>Amy K. Burnette</i></p> <p>24 Monarchs Who Cry: The Gendered Politics of Weeping in the English History Play 457<br /><i>Jean E. Howard</i></p> <p>25 Shakespeare’s Women and the Crisis of Beauty 467<br /><i>Farah Karim?]Cooper</i></p> <p><b>Part VIII Appropriating Women, Appropriating Shakespeare 481</b></p> <p>26 Women and Land: Henry VIII 483<br /><i>Lisa Hopkins</i></p> <p>27 Desdemona: Toni Morrison’s Response to Othello 494<br /><i>Ayanna Thompson</i></p> <p>28 Woman?]Crafted Shakespeares: Appropriation, Intermediality, and Womanist Aesthetics 507<br /><i>Sujata Iyengar</i></p> <p>29 A Thousand Voices: Performing Ariel 520<br /><i>Amanda Eubanks Winkler</i></p> <p>Index 539</p>

<b>Dympna Callaghan</b> is William L. Safire Professor of Modern Letters at Syracuse University, New<ins cite="mailto:Morgan,%20Louise%20-%20Oxford" datetime="2015-09-02T13:56"> </ins>York. Her books inlcude <i>Shakespeare Without Women</i> (2000), <i>The Impact of Feminism in English Renaissance Culture</i> (2006), <i>Shakespeare’s Sonnets</i> (2007), <i>Who Was William Shakespeare</i> (Wiley Blackwell, 2013), and <i>Hamlet: Language and Writing</i> (2015). She is a past president of Shakespeare Association of America.

The question is not whether Shakespeare studies needs feminism, but whether feminism needs Shakespeare. This is the explicitly political approach taken by the contributors to <i>A Feminist Companion to Shakespeare</i>. In the new edition of this award-winning book,contributors come from across the feminist generations and from various stages in their careers to address what is new in the field in terms of historical and textual discovery, and especially in analyses of recent performances and appropriationsof Shakespeare. Essays offer fresh insights into Shakespeare's plays and poems as well as the early modern world in which they were written. In addition, they acknowledge and confront the historical facts around dynamics of the gender hierarchy in early modern England, examining the restrictions imposed uponwomen as a group no matter what degree of latitude they were able to achieve in the exercise of personal or political agency. Throughout the volume, essays cover the history of feminist Shakespeare criticism, text and language, social economies, raceand colonialism, performing sexuality, religion, character genre and history. The new edition also covers issues that bring it right up to the present day by exploring some of the newest theatrical and creative engagements with Shakespeare.

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