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The question is not whether Shakespeare studies needs feminism, but whether feminism needs Shakespeare. This is the explicitly political approach taken in the dynamic and newly updated edition of A Feminist Companion to Shakespeare.
Notes on contributors -- Preface to the second edition -- Introduction -- Part I. The history of feminist Shakespeare criticism: 1. The ladies' Shakespeare; 2. Margaret Cavendish, Shakespeare critic; 3. Misogyny is everywhere -- Part II. Text and language: 4. Feminist editing and the body of the text; 5. Made to write 'whore' upon? Male and female use of the word whore in Shakespeare's canon; 6. A word, sweet Lucrece confession, feminism, and The Rape of Lucrece -- Part III. Social economies: 7. Gender, class, and the ideology of comic form Much Ado about Nothing and Twelfth Night; 8. Gendered gifts in Shakespeare's Belmont: the economies of exchange in early modern England -- Part IV. The great Indian vanishing trick / colonialism, property, and the family in A Midsummer Night's Dream: 9. Race and colonialism; 10. Black ram, white ewe: Shakespeare, race, and women; 11. Sycorax in Algiers: cultural politics and gynecology in early modern England; 12. Black and white, and dread all over: the Shakespeare Theatre's Photonegative Othello and the body of Desdemona -- Part V. Performing sexuality: 13. Women and boys playing Shakespeare; 15. Lovesickness, gender, and subjectivity: Twelfth Night and As You Like It; 17. Duncan's corpse -- Part VI. Religion: 18. Others and lovers in The Merchant of Venice; 19. Between idolatry and astrology: modes of temporal repetition in Romeo and Juliet.
Part VII. Character, genre, history: 20. Putting on the destined livery: Isabella, Cressida and our virgin/whore obsession; 21. The virginity dialogue in All's Well That Ends Well: feminism, editing, and adaptation; 22. Competitive mourning and female agency in Richard III; 23. Bearing death in The Winter's Tale; 24. Monarchs who cry: the gendered politics of weeping in the English history play; 25. Shakespeare's women and the crisis of beauty -- Part VIII. Appropriating women, appropriating Shakespeare: 26. Women and land: Henry VIII; 27. Desdemona: Toni Morrison's response to Othello; 28. Woman-crafted Shakespeares: appropriation, intermediality, and womanist aesthetics; 29. A thousand voices: performing Ariel.
Includes bibliographical references and index.
Chichester, West Sussex : John Wiley & Sons Inc., 2016
Second edition / edited by Dympna Callaghan.
Blackwell companions to literature and culture ; 97