Alessandra Petrina
Introduction: A Dance Routine Set in a Library

(pagine: 7-14)

DOI: 10.7370/92483

Abstract

Manfred Pfister
Sonnet 18

(pagine: 15-16)

DOI: 10.7370/92484

Abstract

Mariangela Tempera
Beyond the Balcony Scene: Retelling Romeo and Juliet on Italian Television

(pagine: 17-30)

DOI: 10.7370/92485

Abstract

Section I: Cinema

Serena Parisi
Che Cosa Sono le Nuvole?: Filmic Appropriation and the Rediscovery of Material Reality

(pagine: 30-33)

DOI: 10.7370/92486

Abstract

Maurizio Calbi
The Boundaries of Citation and Allusion: Shakespeare in Davide Ferrario’s Tutta colpa di Giuda (2008), Alfredo Peyretti’s Moana (2009), and C

(pagine: 51-70)

DOI: 10.7370/92487

Abstract

Section II: Music

Fernando Cioni
When the Lovers Meet Prospero. Jeremy Sams’s The Enchanted Island, a Shakespearean Pastiche

(pagine: 73-96)

DOI: 10.7370/92488

Abstract

Sara Soncini
“O O O O that Shakespeherian Rap”: Reimagining Othello through Contemporary Popular Music

(pagine: 97-118)

DOI: 10.7370/92489

Abstract

Section III: Text and Performance

Gilberta Golinelli
“Like a cook, placing the dishes”: Performance of “Eating” Practices in Titus Andronicus

(pagine: 121-138)

DOI: 10.7370/92490

Abstract

Beatrice Montorfano
Shakespeare, a Basketball Court and Felicità. Collettivo Teatro Metropopolare in La Dogaia Prison, Prato

(pagine: 139-152)

DOI: 10.7370/92491

Abstract

Section IV: Fiction and Advertising

Laura Tosi
Rosalind and Celia as the Victorians Liked Them: Womanly Heroines in the Forest of Arden

(pagine: 155-174)

DOI: 10.7370/92492

Abstract

Clara Calvo
Shakespeare and the Edwardian Turn of Mind:Textual Poaching and Mis-citation

(pagine: 175-194)

DOI: 10.7370/92493

Abstract