Literature, Cultural and Media Studies

This book studies satirical protest in today’s Russia, addressing the complex questions of the limits of allowed humor, the oppressive mechanisms deployed by the State and pro-State agents as well as counterstrategies of cultural resistance. What forms of satirical protest are there? Is there State-sanctioned satire? Can satire be associated with propaganda? How is satire related to myth? Is satirical protest at all effective?—these are some of the questions the authors tackle in this book. The first part presents an overview of the evolution of satire on stage, on the Internet and on television on the background of the changing post-Soviet media landscape in the Putin era. Part Two consists of five studies of satirical protest in music, poetry and public protests.

This book proposes a new theorisation when studying cyber dissidents in an African digital sphere. It argues that social media dissidents are a recent development in a long lineage of dissidents in African societies. Using Zimbabwe as a case study, the study locates contemporary dissidents in the same family with other historical dissident figures found in African orature, the Chimurenga wars, through music, poetry and other forms of expression. The book argues against techno-deterministic approaches to studying social media-born digital dissidence in Africa. It is aimed at scholars dedicated to studying social media movements in African contexts and the global south generally, prompting them to re-evaluate their earlier conclusions and adopt a more nuanced and contextspecific approach.

In various ways, Chinese diasporic communities seek to connect and re-connect with their “homelands” in literature, film, and visual culture. The essays in Affective Geographies and Narratives of Chinese Diaspora examine how diasporic bodies and emotions interact with space and place, as well as how theories of affect change our thinking of diaspora. Questions of borders and border-crossing, not to mention the public and private spheres, in diaspora literature and film raise further questions about mapping and spatial representation and the affective and geographical significance of the push-and-pull movement in diasporic communities. The unique experience is represented differently by different authors across texts and media. In an age of globalization, in “the Chinese Century,” the spatial representation and cultural experiences of mobility, displacement, settlement, and hybridity become all the more urgent. The essays in this volume respond to this urgency, and they help to frame the study of Chinese diaspora and culture today.

This volume explores how governments, policymakers and newsrooms have responded to the algorithmic distribution of the news. Contributors analyse the ongoing battle between platforms and publishers, evaluate recent attempts to manage these tensions through policy reform and consider whether algorithms can be regulated to promote media diversity and stop misinformation and hate speech. Chapter authors also interview journalists and find out how their work is changing due to the growing importance of algorithmic systems. Drawing together an international group of scholars, the book takes a truly global perspective offering case studies from Switzerland, Germany, Kenya, New Zealand, Canada, Australia, and China. The collection also provides a series of critical analyses of recent policy developments in the European Union and Australia, which aim to provide a more secure revenue base for news media organisations. A valuable resource for journalism and policy scholars and students, Governing the Algorithmic Distribution of News is an important guide for anyone hoping to understand the central regulatory issues surrounding the online distribution of news.

This book describes the early career outcomes for female creative graduates in Australia and the UK. It applies the international UNESCO model of the Cultural and Creative Industries (CCIs) to national graduate destination survey data in order to compare creative women’s employment outcomes to those of men, as well as non-creative graduates. Chapters focus on opportunities for creative and cultural work, including salaries, geographic mobility, graduate jobs, underemployment, and skills transferability. The model covers a broad range of cultural and creative domains such as heritage, the performing arts, visual arts and craft, publishing and media industries, fashion, architecture and advertising. The book’s purpose is to provide an informed discussion and empirical report to key stakeholders in the topic, such as academic researchers, teachers and students, as well as cultural sector organisations and education departments.

This book analyses the gender roles and political contexts of spy fiction narratives published during the years of the Cold War. It offers an introduction to the development of spy fiction both in England and in the United States and explores the ways in which issues such as the atomic bomb, double agents, paranoia, propaganda and megalomania manifest themselves within the genre. The book examines the ongoing marginalization of women within spy fiction texts, exploring the idea that this unique period in global history is responsible for the active promotion and celebration of masculinity and male superiority. From James Bond to Jason Bourne, the book evaluates the ongoing enforcement of patriarchal ideas and oppressions that, in the name of national security and patriotic duty, have contributed to the development of a genre in which discrimination and bias continue to dominate.

This book explores the form, dynamics, and main reasons for media capture and conspiracy between editors and executive politicians in Central and Eastern Europe (CEE) since 2000. Situated in the literatures on Europeanization, democratization, party studies, and media studies, the book aims to connect these fields by showing that internal party dynamics play an important role in motivating executive politicians to hijack or collaborate with media. Against this backdrop, the book tells the story of Croatian journalism in the context of media-mafia conglomerates, political corruption, and media hijacking, and examines how "traditional" democratic drivers that the literature frequently cites, such as Europeanization and party competition, failed to prevent systematic transgressions by politicians. Methodologically, the book takes a two-pronged approach. First, nearly 50 interviews were conducted with Croatian investigative journalists, from which the narratives about the relationshipsbetween government politicians and editors over 15 years were reconstructed. In a second step, a sample of 40,000 media articles was subjected to a computational sentiment analysis, covering the same 15-year period and showing high levels of cooperation between corrupt politicians and corrupt media outlets.

The book offers a critical map to navigate the field of media governance. A thread of cosmopolitan critique connects the fourteen chapters to enhance media governance literature beyond the West and regional foci. The first part addresses the epistemological and ontological flaws in the use and adaptation of media governance. The second part opens pathways for critique and provides a thorough understanding of the ambivalences that scholars encounter when addressing media governance as a field of study. The third part highlights shortcomings like geographical narrowness and tensions in the use of media governance concepts. The scholarly contributions show that media governance as a field of study is far from being established: its conceptualizations are in flux and need scholarly self-reflection, and ongoing discussions need to leave behind universalist conceptualizations and methods of analysis. The chapters reflect on hegemony, power, sovereignty, and identity as conceptual center points in media governance research. The book uniquely breaks with self-referential Western academia and is part of ongoing collaborative scholarly efforts towards epistemic transformation through dialogue.

This book finds that Al-Jazeera’s coverage of Bahrain and Syria has conformed with Qatar’s foreign policy, throughout the last decade (2011-2021). Al-Jazeera Arabic adopted Qatar’s “double standards” policy in both countries in the beginning of the Arab Spring, framing Bahrain’s protests as a “sectarian movement,” while depicting the Syrian armed conflict as a legitimate “revolution” (2011-2013). The book observes that when ties between Qatar and Bahrain worsened during the 2017 Gulf crisis, Al-Jazeera Arabic has shifted its coverage from being “pro-Bahraini regime” to “pro-protesters,” focusing on violations and giving voice to activists (2014-2021). The book concludes that the lack of “Peace Journalism” framing in Al-Jazeera’s coverage of Bahrain’s uprising and Syria’s chemical weapons attacks has represented “claims” as “facts,” and justified military action against Syria. It also reveals distinctive differences between Al-Jazeera Arabic and English, with theformer lacking “objective reporting standards,” and using more sectarian language than the latter.

This book analyzes how AKP’s embedded intellectuals operate as media spin doctors, exploring their transformation from passionately engaged intellectuals into apparatchiks. This project adapts a post-Soviet geography approach to the media, intelligentsia, and political discourse as derivative of authoritarian regimes to the Turkish context. It offers a fresh look at the Turkish political and intellectual scene and a comparative study of the populist-authoritarian politics of Turkey. 

Situated in the literature on the post-Soviet authoritarian regimes and their ways of governing, as well as their manipulation of public opinion, the book analyzes AKP-aligned intellectuals as apparatchiks. Gürpınar explores the different constellations of pro-AKP intellectuals vindicating the AKP regime from various angles, including: liberal/progressive intellectuals who initially supported the party for its liberal vistas but continued their support by twisting their progressiverhetoric; Islamist intellectuals blending their Islamism with populism; and national security intellectuals who joined after the AKP came to propagate a national security agenda. The book also provides an overview of the mechanisms of political technology, including the media landscape and its running by the AKP, intellectuals themselves as operators of political technology, and the problem of “cultural power.” The book will be of interest to those studying comparative authoritarian politics, populism, political communication, and scholars of Middle East and Eastern Europe. 

This book investigates the role of arts practitioners in cultural policy-making, challenging the perception that arts practitioners have little or no involvement in policy and seeking to discover the extent and form of their engagement. Examining the subject through a case-study of playwriting policy in England since 1945, and paying particular attention to playwrights’ organisations and their history of self-directed activity, the book explores practitioners’ participation in cultural policy-making, encompassing both “invited” and “uninvited” interventions that also weave together policy activity and creative practice. It discusses why their involvement matters, and argues that arts practitioners and their organisations can be understood as participants in civil society whose policy activity contributes to the maintenance and enlargement of democratic practices and values.

This edited book brings together new perspectives on fashion, the body, and politics. The intention of this collection is to explore the cultural intersection between bodies, fashion, and transgression, often in the most unlikely of locations. Bodies are political players in culture and the authors gathered here ask a range of pressing questions. What role do fashioned bodies play in resistance, in meeting governmental boundaries or institutional power? Arguably, fashion is an aspect of modern warfare and style can defend and attack in cultural space. So, how do fashioned bodies occupy the grey area between social control and the resistance to power? This book is interdisciplinary and international, with contributors situated within a broad range of disciplines including Art History and Critical Practice, Cultural Studies, Fashion Critical Studies, Film and Literary Studies, Performance Studies, Politics and International Studies, Sociology, Gender, Queer, LGBTI, andCritical Race Studies. 

Comedy in Crises provides a novel contribution to an emerging comedy studies field, offering a fresh approach and understanding toward both the motivation and reception of humour in diverse contemporary art contexts. Drawing together research by artists, theorists, curators, and historians from around the world (from Palestine, to Greece, Brazil, and Indigenous Australia), it provides new insight into how humour is weaponised in contemporary art – focusing on its role in negotiating complex cultural identities, the expectations of art markets, the impact of historical legacies, as well as its role in bolstering cultural resilience. In so doing, this book explores a vital, yet under-explored, aspect of contemporary art. Over the last decade, we have witnessed an overwhelming emphasis on experiences of precarity and emergency in contemporary art discourse, reflecting a popular view that the decade following the outbreak of the global financial crisis has been marked by an intersection of constant crises (refugee crisis, sovereign debt crisis, environmental disaster, COVID). Comedy in Crises offers innovative analysis of the relationship between this context and the growing use of humour by artists from around the world, making clear the vital role of laughter in mediating the collective trauma that takes shape today in a period of protracted crisis.

This book explores Roman love elegy from postcolonial perspectives, arguing that the tropes, conventions, and discourses of the Augustan genre serve to reinforce the imperial identity of its elite, metropolitan audience. Love elegy presents the phenomena and discourses of Roman imperialism—in terms of visual spectacle (the military triumph), literary genre (epic in relation to elegy), material culture (art and luxury goods), and geographic space—as intersecting with ancient norms of gender and sexuality in a way that reinforces Rome’s dominance in the Mediterranean. The introductory chapter lays out the postcolonial frame, drawing from the work of Edward Said among other theorists, and situates love elegy in relation to Roman Hellenism and the varied Roman responses to Greece and its cultural influences. Four of the six subsequent chapters focus on the rhetorical ambivalence that characterizes love elegy’s treatment of Greek influence: the representation of the domina or mistress assimultaneously a figure for ‘captive Greece’ and a trope for Roman imperialism; the motif of the elegiac triumph, with varying figures playing the triumphator, as suggestive of Greco-Roman cultural rivalry; Rome’s competing visions of an Attic and an Asiatic Hellenism. The second and the final chapter focus on the figures of Osiris and Isis, respectively, as emblematic of Rome’s colonialist and ambivalent representation of Egypt, with the conclusion offering a deconstructive reading of elegy’s rhetoric of orientalism.

This book offers a novel, grounded-theory approach to the study of online comments about Donald Trump and the USA in countries with a turbulent relation with America: China, Mexico and Russia.

Slavtcheva-Petkova advocates for a departure from Jürgen Habermas’s public sphere and democratic deliberative framework, introducing instead the concept of post-deliberative public spheres. The book provides a qualitative thematic analysis via the constant comparison method, coupled with quantitate content analysis of more than 2200 social media comments posted from Trump’s election in 2016 until July 2020. Three empirical chapters are devoted to the countries under study, showing how it is possible to map the comments onto a spectrum of authoritarianism/censored media to democracy/free media. Slavtcheva-Petkova argues that existence and strength of an underpinning ideology and the scope that ideology leaves for constructive political discussions online is of key importance, exploring themes such as identity, patriotism and populism; democracy; power and responsibility.

Timely and innovative, ‘Trump’s America Online’ astutely displays how post-deliberative public spheres are valuable spaces for political talk despite the challenges they face across the globe.

Fundamentally the book answers three questions: How and why did we get here? Given that we are here at this point in time, how do we go about being entrepreneurial? And who has managed to do this in the creative industries and how did they do it? Covering both theoretical debates in detail, and practical case studies in key sub-sectors of creative industries, this truly integrative and far-reaching volume will be of interest to students, researchers and practitioners alike.

This book represents the first extended consideration of contemporary crime fiction as a European phenomenon. Understanding crime fiction in its broadest sense, as a transmedia practice, and offering unique insights into this practice in specific European countries and as a genuinely transcontinental endeavour, this book argues that the distinctiveness of the form can be found in its related historical and political inquiries. It asks how the genre’s excavation of Europe’s history of violence and protest in the twentieth century is informed by contemporary political questions. It also considers how the genre’s progressive reimagining of new identities forged at the crossroads of ethnicity, gender, and sexuality is offset by its bleaker assessment of the corrosive effects of entrenched social inequalities, political corruption, and state violence. The result is a rich, vibrant collection that shows how crime fiction can help us better understand the complex relationship between Europe’s past, present, and future. 

Seven chapters are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com. 

This edited collection considers the significance of Creole cultures within current, changing global contexts. With a particular focus on post-colonial Small Island Developing States, it brings together perspectives from academics, policy makers and practitioners including those based in Dominica, St Lucia, Seychelles and Mauritius. Together they provide a rich exploration of issues that arise in relation to safeguarding the intangible cultural heritage that sustains Creole identities.

This book provides a concise introduction to lists in literature from the early modern period to the twenty-first century. Tracing the changing functions of the literary list across time, it offers a broad range of case studies which situate selected enumerations in their respective contexts and demonstrate the versatility and creative potential of the list form. Starting with a review of previous research on the literary list, the book discusses four main constellations of enumeration: series and the great chain of being; itemization and enumerative realism; ‘letteracettera’ and experimental list-making; ‘white noise’ and creative exploits of enumeration between formal playfulness and existential exploration. The epilogue offers an analytical toolkit for the study of literary lists based on rhetorical theory.

The Art of Dying: 21st Century Depictions of Death and Dying examines how contemporary media platforms are used to produce creative accounts, responses and reflections on the course of dying, death and grief. Outside the public performance of grief at funerals, grief can strike in anticipation of a loss, or it can endure, continuing to interject itself and interrupt a permanently changed life. This book examines the particular affordances possessed by various contemporary creative forms and platforms that capture and illuminate different aspects of the phenomenology of dying and grief. It explores the subversive and unguarded nature of stand-up comedy, the temporal and spatial inventiveness of graphic novels, the creative constructions of documentary filmmaking, the narrative voice of young adult literature, the realism of documentary theatre, alongside more ubiquitous media such as social media, television and games. This book is testament to the power of creative expression to elicit vicarious grief and sharpen our awareness of death.   

This study presents Moby-Dick as a novel with three distinct but interconnecting stories: Ishmael’s, which he shares ten years after it has taken place; Ahab’s, which is Ishmael's account of the memorable captain of a whaling ship; and a third which centres on whales and whaling, which has not received significant critical attention. While each of these perspectives compete for prominence in the narrative, Ahab and Ishmael's stories have often distracted from the vital significance of the whaling narrative as what outlasts Ahab’s obsessive mission. Catalano rights this wrong by coming to a strikingly original and thought-provoking conclusion which becomes the heart of the book's argument: “the unity of Melville’s book comes, first, from the way the numerous literary, philosophical, and religious reflections are rooted in those magnificent beings, whales and in the men and ships that pursue them, and, second, in the way these reflections illuminate our own lives.”

This handbook tackles the understudied relationship between music and comedy cinema by analysing the nature, perception, and function of music from fresh perspectives. Its approach is not only multidisciplinary, but also interdisciplinary in its close examination of how music and other cinematic devices interact in the creation of comedy. The volume addresses gender representation, national identities, stylistic strategies, and employs inputs from cultural studies, musicology, music theory, psychology, cognitivism, semiotics, formal and stylistic film analysis, and psychoanalysis. It is organised in four sections: general introductions, theoretical investigations, music and comedy within national cinemas, and exemplary case studies of films or authors.

Anglo-American Stage and Screen Drama analyses and discusses the contemporary role of stage and screen drama as a critical forum for progressive thinking in an increasingly polarised geopolitical world. The book addresses the cultural politics of socially engaged 21st century stage plays and films, and makes the case for drama as a sociopolitical forum, in which the complex and contentious issues that confront society can be explored and debated. It conceives of Anglophone political drama as a significant intervention in today’s culture wars,  representing the latter as a convenient distraction from the ongoing depredations of neoliberalism. In the main part of the book selected case-study plays and films from each of the first two decades illustrate drama’s capacity to influence critical debate on social justice issues. All of the case-study texts under discussion express a powerful aesthetics of resistance to right-wing ideology, and promote inclusive and enlightened values. This broader orientation underlines drama’s role as a channel for critical agency in today’s putative post-socialist, post-democratic climate.

This book engages with current debates around refugeedom by examining cultural production that represents and interrogates the construction of refugees and the refugee experience on the borders of contemporary Europe. The refugee subject is produced by discursive regimes and border practices inherited from colonial projects that construct the diametrically opposed concepts of citizen and refugee, and their attendant administrative sub-categories. In the early twenty-first century these categories have been strengthened by the politicisation of forced migration and the hardening of ‘Fortress Europe’.

While the predominant response to the increasing numbers of refugees seeking asylum in Europe has been to harden the borders (regime), on the one hand, or to stress the common humanity of those displaced (refuge), on the other, this volume argues that both approaches result in refugees becoming objectified, othered, and abstracted as vectors ofexile. It explores what recent cultural production can achieve in engaging with and representing issues of dispossession, detention and resettlement, and probes the limits of artistic potential to mediate the refugee experience. It examines transnational approaches to cultural production that both occupy and exceed the borders of Europe, with a focus on borderscapes, spaces of detention, and (neo-)colonialism. Bringing together original contributions from an international range of scholars, it analyses contemporary textual and visual representations of forced migration to argue that other forms of solidarity and hospitality towards refugees in Europe and beyond must be possible.

This book traces the emergence and development of cultural and creative industries (CCI) policy in Europe in the last 25 years. Why and how CCI policy has been designed and implemented in Europe is a central question of the book, in particular with regards to negotiations and relations between policy actors across established policy domains. There are many policy publications and reports on best practice and general descriptions of how policy systems work, fewer describe policy development over time and from a comparative perspective. Drawing mainly on research in policy studies, this book aims to improve knowledge of the dynamics of cultural and creative activities as well as that of policymaking in a changing policy landscape and increasingly cross-disciplinary research frameworks.

James Graham is one of the UK’s leading dramatists, a multi-award-winning writer who for almost 20 years has analysed and articulated concepts of power and authority in modern British society. James Graham: State of the Nation Playwright is the first full-length assessment of the writer’s output, applying core thematic areas - Democracy, Anarchy, Famous Faces and Television - to understand how different power bases operate in modern society, their effectiveness and influence, and how they came to pre-eminence during the last 70 years. The book concludes with an evaluation of Graham’s contribution to state-of-the-nation debates, Britain’s cycles of decline and its consequences for understanding contemporary national identity.

This edited collection delves into the multifaceted theme of 'Silenced Voices,' showcasing a diverse array of perspectives from scholars around the globe. From historical reflections to contemporary analyses, the book examines the complex dynamics of voice suppression and enablement across different media landscapes. Divided into four thematic sections, the chapters explore the challenges faced by marginalized and mainstream voices alike. From the portrayal of silenced narratives in the news media to the representation of underrepresented groups in cultural production, the collection spans a wide spectrum of issues. Authors employ varied methodological approaches to investigate the silencing of voices in the realms of politics, society, and professional media practices. Offering fresh insights and critical reflections, this volume serves as a timely contribution to ongoing debates surrounding freedom of expression, fake news, and the complexities of contemporary media environments.

This book sets out to elucidate Conrad’s unique insight into the workings of human emotions for a readership of scholars and graduate students engaged in Conrad studies. It argues that the originality of Conrad’s conception of human emotions lies in his comprehensive grasp of emotions in the broad framework of a contingent world; he regards emotions as fundamentally a manifestation of human defiance towards reality. The book takes up seven of Conrad’s works which are of significance from the perspective of emotions and contingencies, including ‘Heart of Darkness’ and Nostromo.

This book takes a close look at crime fiction set in the interwar period and during the reign of terror of the Nazi regime. Kniesche analyzes historical crime fiction depicting Weimar and Nazi Germany with specific questions in mind: what does the text try to accomplish in regard to transmitting historical knowledge? What history is told? How is historical knowledge represented and conveyed in crime fiction? Does the historical background provide an indispensable setting for the crime story? With consideration to the degree of self-reflexivity in the texts, Kniesche probes how open the text is to an active participation of the reader in evaluating the historical knowledge that the text itself attempts to provide.

Animality and Horror Cinema provides a wide-ranging overview of the role played by animals in the genre of horror cinema. Across four sections that unite affective and generic modes of horror with animals, animality, and the discourse of species, the volume demonstrates the multivalent operation of animality in transnational cinemas that look beyond the trope of monstrous adversity associated with the creature feature. With chapters focusing on the extrusion of animals from horror narratives, the multisensorial dimensions of animal horror, the intrusion of documentary violence, and the horrific contiguity of human and nonhuman flesh, it argues for the concept of creaturely fear as a lens through which to read horror’s blurring of the species barrier. The collection appeals to those interested in the intersection of animal and film studies with memory studies, afropessimism and critical race theory, posthumanism, biopolitics, ecocriticism, queer theory and vegan theory.

This book offers a pioneering study of the national, transnational, and international dimensions of working-class literature. It explores both the historically and geographically varied nature of the relationship between working-class literatures and national ‘canons’, and the importance of international and transnational exchanges in the development of working-class literature. Through a series of detailed case studies (its sixteen essays analyse working-class literatures from the early nineteenth century to the present day and cover thirteen countries across three continents) this collection not only analyses the factors which lead to the incorporation or exclusion of working-class literature from a given national ‘canon’, but also traces the various ways in which working-class literatures participate in international networks of exchange. With its wide historical range, extensive geographical coverage and broad definition of working-class literature, which includes samba poetry as well as socialist realism, this collection charts new territory for the study of working-class literature.

Do you want to design the branding for global clients for a PR Agency? Be the lead anchor for your favorite network sports program? Make headlines by investigating corruption that leads to social change? How do you market yourself for these jobs? This book takes a storytelling approach to help prepare readers for a successful college career in the media industries: public relations, advertising, sports media, broadcast, and journalism.  The book begins with the basics to help orient readers to college life and offer tips for coursework and campus media. Then, the author provides insights from over 14 years working with interns in public relations and his scholarship on internships to prepare readers to apply for competitive internships. The book teaches readers to sift through the fine print of internship and job postings to understand your role and responsibilities, help you prepare for the implicit and explicit expectations at the work site, and become a marketable commodity that can make you an attractive candidate for your ideal career.

This book traces the intertextual genealogy behind Netflix’s new series Ripley, directed by Steve Zaillian, and offers a critical examination of Tom Ripley’s enduring appeal across different media. As the series quickly climbs Netflix’s international charts, this volume provides a timely and insightful contribution to the Ripleyverse, exploring the character’s complex moral and sexual dimensions in today’s cultural context. McEntee investigates Ripley’s role within the televisual antihero genre, engaging with theories from Jason Mittell’s Complex TV and Margrethe Bruun Vaage’s The Antihero in American Television. While Andrew Scott’s portrayal of Ripley aims to generate empathy, this book contends that traditional frameworks for understanding antiheroes are insufficient. Instead, it introduces Eric Leake’s notion of “difficult empathy” as a more appropriate model for analyzing Scott’s Ripley, offering a fresh perspective on the character’s moral ambiguity. This contrasts sharply with Anthony Minghella’s 1999 adaptation, where Matt Damon’s Ripley elicited a more straightforward emotional response. Readers will discover a nuanced discussion of how Ripley both adheres to and subverts the conventions of the antihero genre and comments self-reflexively on the process of adaptation. The book invites scholars and students of television studies, film, and literature to engage with these themes, providing a rich resource for understanding the evolving landscape of media narratives. Whether you are a scholar of media studies or a curious reader intrigued by the complexities of modern narratives, this book promises to deepen your understanding of the cultural significance of Tom Ripley’s latest iteration.

This edited collection explores the mediation between languages, cultures and people that occurs when Shakespeare is translated - in multiple senses - and who is included and excluded in the process. It features contributions from emerging and established critical and creative writers, who offer analysis of a wide range of global cases, spanning Asia, Latin America and the Middle East, as well as Europe and North America. The collection covers numerous languages, both spoken and written (including Dutch, Mandarin, Spanish, Tamil and Welsh), and visual (American Sign Language), and their uses across various multimodal contexts, from page and stage to film dubbing, radio plays and Netflix shows, and from classrooms to refugee camps.