Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-22T21:02:59.058Z Has data issue: false hasContentIssue false

Chapter 13 - Screen Magic in Greenaway's Prospero's Books and Taymor's The Tempest

Published online by Cambridge University Press:  16 June 2017

By
Victoria Bladen
Edited by
Sarah Hatchuel  and
Nathalie Vienne-Guerrin
Sarah Hatchuel
Affiliation:
Université du Havre, France
Nathalie Vienne-Guerrin
Affiliation:
Université Paul Valéry, Montpellier
Get access
Type
Chapter
Information
Shakespeare on Screen
<I>The Tempest</I> and Late Romances
 , pp. 215 - 231
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Abraham, L., A Dictionary of Alchemical Imagery (Cambridge: Cambridge University Press, 1998).Google Scholar
Almond, P. C., England's First Demonologist: Reginald Scot & ‘The Discoverie of Witchcraft’ (London, New York: I. B. Tauris, 2011).CrossRefGoogle Scholar
Cavecchi, M., ‘Peter Greenaway's Prospero's Books: A Tempest between Word and Image’, Literature/Film Quarterly 25:2 (1997), 83–9.Google Scholar
Coudert, A. P., ‘The Myth of the Improved Status of Protestant Women: The Case of the Witchcraze’, in Brink, J. R., Coudert, A. P. and Horowitz, M. C. (eds.), The Politics of Gender in Early Modern Europe (Kirksville, MO: Sixteenth Century Journal Pubs., 1989), 61–89.Google Scholar
Crowl, S., ‘The Tempest (Review)’, Shakespeare Bulletin 29:2 (2011), 177–81.CrossRefGoogle Scholar
Donaldson, P. S, ‘Shakespeare in the Age of Post-Mechanical Reproduction: Sexual and Electronic Magic in Prospero's Books’, in Burt, R. and Boose, L. E. (eds.), Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (London: Routledge, 2003), 105–19.Google Scholar
Elliott, B. and Purdy, A., Peter Greenaway: Architecture and Allegory (Chichester: Academy Editions, 1997).Google Scholar
Friedman, J. B., The Monstrous Races in Medieval Art and Thought (Syracuse, NY: Syracuse University Press, 2000).Google Scholar
Friedman, M. D., ‘Where Was He Born? Speak! Tell Me!: Julie Taymor's Tempest, Hawaiian Slavery and the Birther Controversy’, Shakespeare Bulletin 31:3 (2013), 431–52.CrossRefGoogle Scholar
Greenblatt, S., Cohen, W., Howard, J. E., Maus, K. Eisaman (eds.), The Norton Shakespeare: Based on the Oxford Edition, 2nd ed. (New York: Norton, 2008).Google Scholar
Hatchuel, S., Shakespeare from Stage to Screen (Cambridge: Cambridge University Press, 2004).CrossRefGoogle Scholar
Hopkins, L., Screen Adaptations: Shakespeare's The Tempest: The Relationship between Text and Film (London: Methuen Drama, 2008).CrossRefGoogle Scholar
Howard Traister, B., Heavenly Necromancers: The Magician in English Renaissance Drama (Columbia, MO: University of Missouri Press, 1984).Google Scholar
Jackson, R., ‘Shakespeare's Comedies on Film’, in Davies, A. and Wells, S. (eds.), Shakespeare and the Moving Image: The Plays on Film and Television (Cambridge: Cambridge University Press, 1994), 99–120.Google Scholar
Kieckhefer, R., Magic in the Middle Ages (Cambridge: Cambridge University Press, 2000).Google Scholar
Levack, B. P., The Witch-Hunt in Early Modern Europe, 3rd ed. (Harlow: Pearson, 2006).Google Scholar
Lindley, D., ‘Introduction’, in Lindley, D. (ed.), The Tempest, The New Cambridge Shakespeare. 2nd ed. (Cambridge: Cambridge University Press, 2013), 1–101.Google Scholar
Mebane, J. S., Renaissance Magic and the Return of the Golden Age (Lincoln, NE: University of Nebraska Press, 1989).Google Scholar
Munoz Simmonds, P., ‘“My Charms Crack Not”: The Alchemical Structure of The Tempest’, Comparative Drama 32 (1998), 538–70.Google Scholar
Ovid, , Metamorphoses, trans. Lombardo, S. (Indianapolis: Hackett Publishing, 2010).Google Scholar
Pascoe, D., Peter Greenaway: Museums and Moving Images (London: Reaktion Books, 1997).Google Scholar
Ryle, S., Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language (Houndsmills, Basingstoke, Hampshire, New York: Palgrave Macmillan, 2014).CrossRefGoogle Scholar
Vaughan, V. M. and Vaughan, A. T., ‘Introduction’, in Vaughan, V. M. and Vaughan, A. T. (eds.), Shakespeare, William, The Tempest, The Arden Shakespeare. Third Series (London: Arden Shakespeare, 1999), 1–138.Google Scholar
Wilson, M.-F., ‘English Epicures and Scottish Witches’, Shakespeare Quarterly 57:2 (2006), 131–61.Google Scholar
Zika, C., The Appearance of Witchcraft: Print and Visual Culture in Sixteenth-Century Europe (London, New York: Routledge, 2007).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×