Revisiting The Tempest

1. Front Matter

   Pages i-xii

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2. Introduction

   1. Introduction

      • Silvia Bigliazzi, Lisanna Calvi

      Pages 1-30

3. Prologue

   1. Front Matter

      Pages 31-31

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   2. The Tempest as Theatrical Magic

      • Andrew Gurr

      Pages 33-42

4. Meaning and Genre

   1. Front Matter

      Pages 43-43

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   2. The Tempest and Italian Improvised Theatre

      • Richard Andrews

      Pages 45-62

   3. Pastoral Tragicomedy and The Tempest

      • Robert Henke

      Pages 63-76

   4. The Jonsonian Tempest

      • Roger Holdsworth

      Pages 77-92

5. Meaning and Time-Space

   1. Front Matter

      Pages 93-93

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   2. The Labyrinth and the Oracle

      • Alessandro Serpieri

      Pages 95-110

   3. “Dost thou hear?” On the Rhetoric of Narrative in The Tempest

      • Silvia Bigliazzi

      Pages 111-133

6. Meaning and Spectacle

   1. Front Matter

      Pages 135-135

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   2. A Tempestuous Noise: on the Acoustics and Vocalics of Storms

      • Keir Elam

      Pages 137-150

   3. “Suppos’d to be rais’d by Magick”, or The Tempest ‘made fit’

      • Lisanna Calvi

      Pages 151-170

   4. “Lost in Visual Pleasure”: Charles Kean’s Production of The Tempest

      • Lucia Nigri

      Pages 171-182

7. Meaning and Magical Realism on Screen

   1. Front Matter

      Pages 183-183

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   2. Magical Realism: Raising Storms and Other Quaint Devices

      • Peter Holland

      Pages 185-201

   3. “This is a most majestic vision”: Performing Prospero’s Masque on Screen

      • Eleonora Oggiano

      Pages 202-217

   4. Shakespeare’s Hypertextual Performances: Remediating The Tempest in Prospero’s Books

      • Alessandra Squeo

      Pages 218-235

8. Epilogue

   1. Front Matter

      Pages 237-237

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Revisiting The Tempest offers a lively reconsideration of how The Tempest encourages interpretation and creative appropriation. It includes a wide range of essays on theoretical and practical criticism focusing on the play's original dramatic context, on its signifying processes and its present-time screen remediation.

• Appropriation
• comedy
• drama
• Enzo Paci
• essay
• interpret
• Italy
• media
• noise
• performance
• play
• rhetoric
• theatre
• William Shakespeare
• British and Irish Literature

• University of Verona, Italy

  Silvia Bigliazzi, Lisanna Calvi

Richard Andrews, University of Leeds, UK Silvia Bigliazzi, Verona University, Italy Lisanna Calvi, Verona University, Italy Keir Elam, University of Bologna, Italy Ewan Fernie, University of Birmingham, UK Andrew Gurr, University of Reading, UK Robert Henke, University of Manchester, UK Roger Holdsworth, University of Manchester, UK Peter Holland, University of Notre Dame, USA Kathleen McLuskie, University of Birmingham, UK Lucia Nigri, University of Salford, UK Eleonora Oggiano, Verona University, Italy Alessandro Serpieri, University of Firenze, Italy Alessandra Squeo, University of Bari, Italy

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