When, where and why books were produced.

Though films on Shakespeare have been made in India since 1923, it is Vishal Bhardwaj’s tragic trilogy, Maqbool (2004), Omkara (2006) and Haider (2014) that has caught international critical attention. The essay examines Bhardwaj’s predilection for Shakespeare, the reception of his films and his auteur’s style of filmmaking and adaptation, which straddles both the global and the local. It argues that his remaking of Shakespeare deploys popular features of Bollywood cinema, e.g. adding back stories and songs, but adjusts them to enable the narrative of the plays to speak to the situations of today. His versions radicalise the women, intervene in Indian contexts and modify the tragic endings. They reflect a poetic sensibility that delves deep into Shakespeare to produce perceptive and layered cinematic visualisations of the plays.

The art historical component of the manuscript: how we can describe images; what materials and techniques were used; the limitations of facsimile and digital editions; and how images affect our perception of the manuscript and its contexts of production

This essay deals first with individual prayers of the daily liturgy that excel in distinctive theological affirmations followed by that of the Shema Liturgy as a whole. In discerning the theological patterns of the liturgy and the relationship between the whole and the parts, it focuses on the centrality of Divine kingship and the move from individual to community to humanity especially as expressed in hopes for redemption. It concludes with the peculiarities of a post-temple liturgy.

Rabbinic theology, in the various Midrashim, reveals an intense attentiveness to God as a divine relational subject in the figures of king, a father, a husband, sometime a mother, and a judge. If God is, indeed, a relational subject capable of intentionality and responsiveness seeking a partner, the perfections attributed to him by the philosophers are actually flaws and imperfections from the perspective of Rabbinic theology.

This essay introduces the collected essays in the Cambridge Companion to Jewish Theology that run from the Biblical to Contemporary Periods. Jewish theology is distinguished by its textual or hermeneutical focus. The volume includes essays on both negative and positive theology and concludes with essays on “constructive Jewish theology.”

On the trade in and commodification of medieval books and fragments, both in the Middle Ages and through to the present day.

Description techniquesand methods of membrane preparation; uses and arrangement of medieval paper manuscripts; how to collate quires; how to describe decorative features of the mise-en-page; scribal characteristics, including abbreviation and correction; and binding practices

The chapter considers tropes of violence in Coriolanus and The Taming of the Shrew. It examines some of the ways these have been shaped by cross-pollination among stage, cinema, and television. For Coriolanus this includes cinema’s increase in realistic cinematic violence and the profitable rise of action hero films. The screen makes highly visible the play’s physical violence marked by signifiers of masculinity: bleeding wounds (received or given in battle) and the scars they leave.Screen versions discussed include: televised Coriolanus broadcasts, one in Italy on RAI television (1965) and the other seen internationally through the BBC Shakespeare Series (1984); stage productions by France’sNational Populaire Villeurbanne (2006), and England’s Royal Shakespeare Company (2018); and Ralph Fiennes’s film (2011). The major films of The Taming of the Shrew include two mass-market movies starring celebrity couples, Mary Pickford/Douglas Fairbanks, directed by Sam Taylor (1927) and Elizabeth Taylor/Richard Burton directed by Franco Zeffirelli (1966), the BBC Shakespeare Series’ Shrew directed by Jonathan Miller (1980) and the Shakespeare Globe’s stage production (2012).

Focussing on Welles’ canon of completed Shakespeare films, this chapter uses specific sequences to identify his characteristic cinematic poetry. It argues for the interest of Macbeth (1948), Othello (1952), and Chimes at Midnight (1965) as creative acts of critical interpretation, and treats them as visually dynamic Shakespearean criticism. In Macbeth, Welles’ cinematography addresses questions of the central character’s agency, describing him as both puppet and perpetrator, and tracing the chiaroscuro balance between Macbeth and Lady Macbeth. Othello’s much-discussed problems of production have the effect of prioritising the visual, in a tragedy demanding ‘ocular proof’, and the radical bricolage of the film’s construction has parallels with the improvisatory energy of Iago within the play. In Chimes at Midnight Welles participates in a centuries-old critical debate about the moral character of Falstaff and the question of reformation in the cycle of history plays, replacing this telos with an extended, melancholic farewell to Falstaff himself.