In 2022-23, the primary text for Term 1 will be Henry IV Part 1Link opens in a new window, which students should purchase in the Arden edition (ed. David Scott Kastan, third series 2002).

Week 1: Introduction

Primary texts:

• Shakespeare, William, Henry IV Part 1Link opens in a new window (Arden Shakespeare Third Series), ed. David Scott Kastan, 2002 – please purchase this edition and not any other. The text is available to purchase on Amazon Link opens in a new windowLink opens in a new window(£11.15), resellers such as AbeBooksLink opens in a new windowLink opens in a new window, and can be accessed digitally on Drama OnlineLink opens in a new windowLink opens in a new window with your Warwick login.
• Kidnie, Margaret Jane (2005) ‘Where is Hamlet? Text, Performance, and Adaptation’ Link opens in a new windowin Barbara Hodgdon & W. B. Worthen [eds] A Companion to Shakespeare and Performance, Chichester: Blackwell, pp. 101-20.
• Sanders, Julie (2016) ‘What is Adaptation?’Link opens in a new window and ‘What is Appropriation?’Link opens in a new window in Adaptation and AppropriationLink opens in a new window, Abingdon: Routledge, pp. 17-41.

Secondary texts:

• I would recommend listening to the late Dame Hilary Mantel's talk on Adaptation which formed part of her Reith Lecture series in 2017. The lecture is accessible via BBC Sounds: https://www.bbc.co.uk/sounds/play/b08x9947.
• Kastan, David Scott (2002) ‘Introduction’Link opens in a new window to The Arden Shakespeare: 1 Henry IV, London and New York: Bloomsbury Arden Shakespeare, pp. 1-132.
• Leitch, Thomas (2012) ‘Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter?’Link opens in a new windowin Deborah Cartmell [ed.] A Companion to Literature, Film and Adaptation, Chichester: Blackwell, pp. 87-104.

Week 2: Shakespeare's intertextuality

Primary texts:

• Holinshed, Raphael, Chronicles (1577). Please read the extracts 'Owen Glendower and the Welsh rebellion' and 'The Battle of Shrewsbury', which are accessible hereLink opens in a new window.
• Daniel, Samuel, The Civil Wars Between the Two Houses of Lancaster and York (1595). Please read sections 85-115, which are accessible hereLink opens in a new window.
• Anonymous, The Famous Victories of Henry V (circa 1580). A modern language version of the text is accessible hereLink opens in a new window.

Secondary texts:

• Kastan, David Scott (2002), ‘Appendix 1: The Sources of 1 Henry IV’Link opens in a new window inThe Arden Shakespeare: 1 Henry IV, London and New York: Bloomsbury Arden Shakespeare, pp. 339-44.

Further texts:

• Heal, Felicity, Archer, Ian W. and Kewes, Paulina [eds] (2013), The Oxford Handbook of Holinshed's ChroniclesLink opens in a new window, Oxford: Oxford University Press.
• Norwich, John Julius (2018) Shakespeare's Kings, London: Faber & Faber.
• Patterson, Annabel M. (1994) Reading Holinshed's ChroniclesLink opens in a new window, Chicago and London: University of Chicago Press, 1994.
• Woolf, Daniel & Chui, Jane Wong Yeang (2016) English Vernacular Historical Writing and Holinshed’s ChroniclesLink opens in a new window, in Malcolm Smuts [ed.] The Oxford Handbook of the Age of Shakespeare, Oxford: Oxford University Press, pp. 213–230.

Archival material: Early European Books

Week 3: Early adaptations

Primary texts:

• Cox, Robert and Francis Kirkman (1932) 'The Bouncing Knight, or, the Robers Rob'dLink opens in a new window' in John James Elson [ed.], The Wits: or, Sport Upon Sport, Cornell University Press, pp. 47-59.

Secondary texts:

• Craik, T.W. (1997) 'The Further Fortunes of FalstaffLink opens in a new window' in John Batchelor, Tom Cain, Claire Lamont [eds] Shakespearean Continuities, London: Palgrave Macmillan, pp. 348-60.
• Depledge, Emma (2018) 'Shakespeare in the Civil War and Interregnum Years, 1642–1659'Link opens in a new window in Shakespeare's Rise to Cultural Prominence, Cambridge: Cambridge University Press, pp. 13-38.
• Elson, John James (1932) 'The Drolls'Link opens in a new window in The Wits: or, Sport Upon Sport, Cornell University Press, pp. 18-26.

Further texts:

• Kahan, Jeffrey [ed.] (2004) 'General Introduction' in Shakespeare Imitations, Parodies and Forgeries: 1710-1820, Volume 1, London and New York: Routledge, pp. xv-xlvi.
• Kenrick, William (1766) Falstaff’s Wedding: A Comedy. Being a sequel to the second Part of the Play of King Henry the Fourth. Written in Imitation of ShakespeareLink opens in a new window, London.
• Lanier, Douglas (2002) 'Unpopularizing Shakespeare: A Short History' in Shakespeare and Modern Popular Culture, Oxford: Oxford University Press, pp. 21-49.
• Škrobánková, Klára (2017) 'Enter the Clowns: Adapting Shakespeare After 1642'Link opens in a new window in Linguaculture 8:2, pp. 43-57.
• Sutherland, James R. (1993) 'Shakespeare's Imitators in the Eighteenth Century'Link opens in a new window in The Modern Language Review 28: 1, pp. 21-36.

Archival material: Folger Digital Image Collection

Week 4: Auteur Shakespeare

Primary text:

• Welles, Orson, dir. (1966) Chimes at MidnightLink opens in a new window, Internacional Films and Alpine Films. Available on KanopyLink opens in a new window with your university log-in.

Secondary texts:

• Hilb, Benjamin (2015) 'Contesting Olivier and JFK: The Opposition to Wartime Propaganda in Orson Welles’s Chimes at Midnight'Link opens in a new window in Interdisciplinary Literary Studies 17: 2, pp. 164-88.
• Horton, Robert (2017), An American in King Henry's Court: Orson Welles' Chimes at Midnight'Link opens in a new window in Linguaculture 2, pp. 32-41.
• Smith, Emma (2020) ‘The Shakespeare Films of Orson Welles’Link opens in a new window in Russell Jackson [ed.] The Cambridge Companion to Shakespeare on Screen, Cambridge: Cambridge University Press, pp. 187-99.

Week 5: Queering Shakespeare

Primary text:

• Van Sant, Gus, dir. (1991), My Own Private Idaho, New Line Cinema. Available on Box of BroadcastsLink opens in a new window.

Secondary texts:

• Barnaby, Andrew (2004) 'Imitation as Originality in Gus Van Sant's My Own Private Idaho'Link opens in a new window in Almost Shakespeare: Reinventing His Works for Cinema and Television, London: McFarland & Co, pp. 22-41.
• Davis, Hugh H. (2001) "Shakespeare, he's in the alley': My Own Private Idaho and Shakespeare in the streets'Link opens in a new window in Literature/Film Quarterly 29: 2, pp. 116-21.
• O’Dair, Sharon (2015) 'Cursing the Queer Family: Shakespeare, Psychoanalysis and My Own Private Idaho'Link opens in a new window in Shakespearean Echoes, London: Palgrave Macmillan, pp. 130-41.

Further texts:

• Ferguson, Ailsa Grant (2011) '"An anagram of the body": Shakespeare and the Body/Text Commodified in My Own Private Idaho'Link opens in a new window in Borrowers and Lenders: The Journal of Shakespeare and Appropriation 6: 2, pp. 1-26.
• Patricia, Anthony Guy (2016), 'Introduction: The Presence of the Queer in the Shakespeare Film'Link opens in a new window in Queering the Shakespeare Film, London and New York: Bloomsbury Arden Shakespeare, pp. xvii-xxvii.

Week 7: Novel Shakespeare

Primary text:

• Nye, Robert (1976) Falstaff, Hamish Hamilton Ltd.

Secondary texts:

• Holderness, Graham (2016) ‘Shakespeare and the Novel’ in Paul Edmondson and Peter Holbrook [eds] Shakespeare’s Creative Legacies, London and New York: Bloomsbury Arden Shakespeare, pp. 93-105.
  
• Klein, Holger (2012) ‘Robert Nye’s Falstaff: A Remarkable Case of Creative Reception’Link opens in a new window in Alicante Journal of English Studies 25, pp. 209-23.

Week 8: Gendering Shakespeare

Primary text:

• Lloyd, Phyllida, dir. (2016), The Donmar Warehouse's All-Female Shakespeare Trilogy: Henry IVLink opens in a new window, Donmar Warehouse. Available on Digital Theatre+Link opens in a new window.

Secondary texts:

• Miller, Gemma (2015) ‘What a piece of work is (wo)man: the revelations of cross-gendered Shakespeare’Link opens in a new window in Shakespeare 11: 1, Taylor & Francis, pp. 94-100.
• Walter, Harriet (2016) ‘Introduction’ and ‘Henry IV’ in Brutus and Other Heroines - Playing Shakespeare’s Roles for WomenLink opens in a new window, London: Nick Hern Books.

Further texts:

• Reason, Matthew (2019) ‘A prison audience: women prisoners, Shakespeare and spectatorship’Link opens in a new window in Cultural Trends 28:2-3, Taylor & Francis, pp. 86-102.
• Power, Terri (2015) Shakespeare and Gender in PracticeLink opens in a new window, Basingstoke: Palgrave Macmillan. Note for studentsFor a detailed account of another play in Lloyd's trilogy, I recommend reading Chapter 4: 'Case Study - An All-Female Julius Caesar'.

Week 9: Celebrity Shakespeare

Primary text:

• Eyre, Richard, dir. (2012) The Hollow Crown, Series 1, Henry IV - Part 1Link opens in a new window, BBC. Available on Box of Broadcasts.

Secondary texts:

• Földváry, Kinga (2020) "Sad Stories of the Death of Kings': The Hollow Crown and the Shakespearean History Play on Screen'Link opens in a new window in Russell Jackson [ed.] The Cambridge Companion to Shakespeare on Screen, Cambridge: Cambridge University Press, pp. 105-18.
• Kolkovich, Elizabeth Zeman (2018) ‘Queering Poins: Masculinity and Friendship in Henry IV, The Hollow Crown, and the RSC’s “King and Country”’Link opens in a new window in Shakespeare Bulletin 36: 4, Johns Hopkins University Press, pp. 635-56.
• Pittman, L. Monique (2016) ‘Shakespeare and the Cultural Olympiad: Contesting Gender and the British Nation in the BBC’s The Hollow Crown’Link opens in a new window in Borrowers and Lenders 9:2, pp. 1-30.

Week 10: Superhero Shakespeare

Primary text:

• Branagh, Kenneth, dir. (2011), Thor, Marvel Studios. Available on Box of BroadcastsLink opens in a new window and Disney+Link opens in a new window with a subscription.

Secondary texts:

• Blackwell, Anna (2018) ‘Performing the Shakespearean Body: Tom Hiddleston Onstage and Online’Link opens in a new window in Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Basingstoke: Palgrave Macmillan, pp. 55-96.
• Hatfull, Ronan (2019) ‘“Shakespeare in the Park?”: William Shakespeare and the Marvel Cinematic Universe’Link opens in a new window in Foundation 48: 4, pp. 45-57.

Further texts:

• Coogler, Ryan (2018) 'The Ancestral Plane'Link opens in a new window scene in Black Panther, Marvel Studios.
• Cretton, Destin Daniel (2021) 'Shang-Chi Meets Trevor & Morris'Link opens in a new window scene in Shang-Chi and The Legend of The Ten Rings, Marvel Studios.
• Waititi, Taika (2017) 'The Tragedy of Loki'Link opens in a new window scene in Thor: Ragnarok, Marvel Studios.
• Watts, Jon (2019), 'Uneasy Lies the Head That Wears the Crown'Link opens in a new window scene from Spider-Man: Far From Home, Marvel Studios.
• Wheon, Joss, dir. (2012) 'Shakespeare in the Park' scene in The Avengers (2012), Marvel Studios.