Titlebook: Shakespearean Adaptation, Race and Memory in the New World; Joyce Green MacDonald Book 2020 The Editor(s) (if applicable) and The Author(s

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macular-edema

,Echoes of Harlem: Women’s Memories in , and ,th the historical void that has absorbed so much of the history of black women in the Atlantic world, Sears’ play uses Othello’s handkerchief as a recurring marker of romantic loss, a vagrant symbol of what Billie wanted, and what she cannot achieve.

Vulnerable

BOLUS

,Introduction: “A Cemetery Inhabited by Highly Vocal Ghosts”,nity visible and valuable. The introduction outlines some of the historical circumstances that worked to make black women invisible within the archive of the transatlantic slave trade beginning during Shakespeare’s lifetime, circumstances that would come to augment the habits of erasure already evid

啮齿动物

绊住

Uncrossed Lovers: Remembering Race in , and , Mira Nair’s 1991 film about a love affair between the daughter of Indian immigrants and a black man in modern-day Greenwood, Mississippi as a response to the Renaissance love tragedy. Reading the languages of blackness and sexual desire that mark the Shakespeare play, the sonnets that are contempor

数量

,Bodies, Race, and Performance in Antony and Cleopatra and Derek Walcott’s ,: Memory’s Signatures, postcolonial subjects and the culture of their former colonizers, as a Trinidadian theatre company tries to stage an indigenized .. As well as the heritage of shame attached to his heroine’s dark skin because of its reminder of black women’s abjection during slavery, Walcott’s revision of . also ta

Gullible

宏伟

,‘The Right Foundation’: Re-racing Romance from , to ,03 film . not only dispenses with .’s enshrinement of fathers’ authority but also—and more importantly—legitimizes black women as desiring (and desirable) social subjects. In the process of reflecting backwards on the ways in which . subordinates the possibility of romantic love to money, family, an

ESPY

,Afterword: Adapting Shakespeare, Forgetting Race in ,—Future History?,ion and the royal family thrown into crisis after the death of Queen Elizabeth II. Bartlett’s play mediates this crisis through race, as Prince Harry’s passion for a young black republican gets caught up in a building political confrontation over freedom of the press. Oddly, however, the interracial