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177 - Iconic Characters: Ophelia

from Part XVIII - Shakespeare and Popular Culture

Published online by Cambridge University Press:  17 August 2019

By
Sujata Iyengar
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

appropriationburlesqueChinadrowningFacebookHamletIndiaJapanOpheliavisual artswateryoung adult fiction
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1322 - 1325
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Aasand, Hardin. “‘The Young, the Beautiful, the Harmless, and the Pious’: Contending with Ophelia in the Eighteenth Century.” Reading Readings: Essays on Shakespeare Editing in the Eighteenth Century. Ed. Gondris, Joanna. Madison: Fairleigh Dickinson UP; London: Associated UP, 1998. 224–43.Google Scholar
Cartmell, Deborah. “Reading and Screening Ophelia: 1948–1996.” Hamlet on Screen. Ed. Klein, Holger and Daphinoff, Dimiter. Shakespeare Yearbook 8. Lewiston: Edwin Mellen, 1997. 28–41.Google Scholar
Chandrashekhar, Lakshmi. “‘A Sea Change into Something Rich and Strange’: Ekbal Ahmed’s Macbeth and Hamlet.” India’s Shakespeare: Translation, Interpretation, and Performance. Ed. Trivedi, Poonam and Bartholomeusz, Dennis. Newark: U of Delaware P, 2005. 194–202.Google Scholar
Huang, Alexa. “The Paradox of Female Agency: Ophelia and East Asian Sensibilities.” The Afterlife of Ophelia. Ed. Peterson, Kaara and Williams, Deanne. London: Palgrave Macmillan, 2012. 79–99.CrossRefGoogle Scholar
Iyengar, Sujata, and Desmet, Christy. “Rebooting Ophelia: Social Media and the Rhetorics of Appropriation.” The Afterlife of Ophelia. Ed. Peterson, Kaara and Williams, Deanne. London: Palgrave Macmillan, 2012. 59–78.Google Scholar
Lerer, Seth. “I’ve Got a Feeling for Ophelia: Childhood and Performance.” The Afterlife of Ophelia. Ed. Peterson, Kaara and Williams, Deanne. London: Palgrave Macmillan, 2012. 11–28.CrossRefGoogle Scholar
Poole, John. Hamlet Travestie. London: 1810.Google Scholar
Rhodes, Kimberly. Ophelia and Victorian Visual Culture. Aldershot: Ashgate, 2008.Google Scholar
Showalter, Elaine. “Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism.” Shakespeare and the Question of Theory. Ed. Parker, Patricia and Hartman, Geoffrey. London: Routledge, 1985. 77–94.Google Scholar

Further reading

Desmet, Christy. “Paying Attention in Shakespeare Parody: From Tom Stoppard to YouTube.” Shakespeare Survey 61 (2008): 227–38.Google Scholar
Floyd-Wilson, Mary. “Ophelia and Femininity in the Eighteenth Century: ‘Dangerous Conjectures in Ill-Breeding Minds.’” Women’s Studies 21 (1992): 397–409.CrossRefGoogle Scholar
Kiefer, Carol Solomon, introd. and ed. The Myth and Madness of Ophelia. Exhibition Catalog. Amherst: Mead Art Museum/Amherst College, 2001.Google Scholar
Schoch, Richard W. Not Shakespeare: Bardolatry and Burlesque in the Nineteenth Century. Cambridge: Cambridge University Press, 2002.Google Scholar
Vest, James M. The French Face of Ophelia from Belleforest to Baudelaire. Lanham: UP of America, 1989.Google Scholar
Young, Alan. “The Death of Shakespeare’s Ophelia, Popular Culture, and Web 2.0.” http://www.opheliapopularculture.com/home. Accessed 2 June 2013.Google Scholar

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