Of Shakespeare's thirty-seven plays, fifteen include queens. This collection gives these characters their due as powerful early modern women and agents of change, bringing together new perspectives from scholars of literature, history, theater, and the fine arts. Essays span Shakespeare's career and cover a range of famous and lesser-known queens, from the furious Margaret of Anjou in the Henry VI plays to the quietly powerful Hermione in The Winter's Tale; from vengeful Tamora in Titus Andronicus to Lady Macbeth. Early chapters situate readers in the critical concerns underpinning any discussion of Shakespeare and queenship: the ambiguous figure of Elizabeth I, and the knotty issue of gender presentation. The focus then moves to analysis of issues such as motherhood, intertextuality, and contemporary political contexts; close readings of individual plays; and investigations of rhetoric and theatricality. Featuring twenty-five chapters witha rich variety of themes and methodologies, this handbook is an invaluable reference for students and scholars, and a unique addition to the fields of Shakespeare and queenship studies.

Autorentext
Kavita Mudan Finn has taught medieval and early modern literature at Georgetown, University of Maryland, George Washington University, and Simmons College, USA. She is the author of The Last Plantagenet Consorts (Palgrave 2012).
Valerie Schutte is the author of Mary I and the Art of Book Dedications: Royal Women, Power, and Persuasion (Palgrave 2015) and has edited several collections on early modern kings and queens. 

Inhalt

1. Introduction
   I. General Studies
2. Stagecraft and Statecraft: Queenship and Theatricality on the Shakespearean Stage
3. Shakespeare's Queens and Collective Forces: Facing Aristocracy, Dealing with Crowds.- II. Queenship & Sovereignty
4. "I trust I may not trust thee": Queens and Royal Women's Visions of the World in King John
5. Cordelia, Foreign Queenship, and the Commonweal
6. "Tremble at patience": Constant Queens and Female Solidarity in The Two Noble Kinsmen and The Winter's Tale.- III. Queenship & Motherhood
7. "...to beare the name of a queene": Eleanor, Duchess of Gloucester, and Lady Macbeth: Queens and Motherhood
8. Womb Rhetoric: The Martial Maternity of Volumnia, Tamora, and Elizabeth I
9. "Good queen, my lord, good queen": Royal Mothers in Shakespeare's Plays
   IV. Queenship & Rhetoric
10. Margaret of Anjou and the Rhetoric of Sovereign Violence
11. "I can no longer hold me patient!": Margaret, Anger, and Political Voice in Richard III
12. Shakespeare's Cleopatra as Metatheatrical Monarch
    V. Absent/Missing Queens
13. "Nothing Hath Begot My Something Grief": Invisible Queenship in Shakespeare's Second Tetralogy
14. The Queen's Two Bodies in The Winter's Tale
15. The Political Aesthetics of Anne Boleyn's Queenship in Henry VIII, or All is True
16. The Fortification and Containment of Queen Elizabeth I's Rhetoric and Performance in Shakespeare and Fletcher's Henry VIII
    VI. Staging Queens & Contemporary Politics
17. The Princess' Political Mission in Love Labour's Lost: The Embassy to get Aquitaine and "all that is" Navarre's
    18. Katherine of Aragon, Protestant Purity, and the Anxieties of Cultural Mixing in Shakespeare and Fletcher's King Henry VIII
    19. The Ambition in my Love: The Theatre of Courtly Conduct in All's Well That Ends Well
    VII. Queenship & Intertextuality
    20. As Wise as She is Beautiful: Reconciling Shakespeare's Fairy Queen and Spenser's Faerie Queene
    21.  The Princess of France: Difference and Dif(fé)rance in Love's Labour's Lost
    22. A gap in nature: Re-writing Cleopatra Through Antony and Cleopatra's Cosmology
    23. En un infierno los dos: Catherine of Aragon and Anne Boleyn in Shakespeare & Fletcher's Henry VIII and Calderón's La cisma de Inglaterra
    VIII. Performing Queenship
18. Margaret of Anjou: Shakespeare's Adapted Heroine
    25. The Bard, the Bride, and the Muse Bemused: Katherine de Valois on Film in Shakespeare's Henry V
19. The squeaking Cleopatra boy: Performance of the Queen's Two Bodies on the Early Modern Stage