By Jennifer Hulbert, Robert York, Kevin J. Wetmore
This quantity deconstructs the underlying assumptions in the back of youth-culture Shakespeare after which analyzes particular "texts," from 10 issues I Hate approximately You to The Bomb-itty of blunders, from The Sandman to Reviving Ophelia. The authors discover the appropriation of Shakespeare via adolescence tradition and the expropriation of teenage tradition within the manufacture and advertising of "Shakespeare." contemplating the relief, translation, and referencing of the performs and the fellow, the amount engages the issues of confluence among Shakepop and rock, rap, toys, picture novels, youngster movies, and dad psychology.
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Extra info for Shakespeare and Youth Culture
No Fear Shakespeare: Hamlet (New York: Spark Publishing, 2003), p. 139. 45. Alan Durband, Shakespeare Made Easy: Hamlet (Hauppauge: Barron’s, 1986), p. 143. 46. Crowther, No Fear Shakespeare: Hamlet, p. 143. 47. Durband, Shakespeare Made Easy: Hamlet, 148. 48. Crowther, No Fear Shakespeare: Hamlet, p. 151. 49. Durband, Shakespeare Made Easy: Hamlet, p. 153. 50. John Crowther, No Fear Shakespeare: Macbeth (New York: Spark Publishing, 2003), p. 3. 51. ” the line has become a cornerstone of Shakespeare parody, especially in youth culture.
What is being mocked is the high culture that surrounds the idea of Shakespeare the man as well as linking 28 Introduction Shakespeare to Edward G. Robinson’s Rico, an absurd connection that requires a third level of reference for the viewer. Similarly, in another “Treehouse of Horror,” this time number XIII, a parody of The Island of Dr. Moreau is enacted in which Dr. ” The man is being referenced here, although no longer is high culture the object of parody. Instead, Shakespeare is the means for an absurdist parody of Wells’s novel and the various film versions of it.
3. 8. Herbert J. Gans, Popular Culture and High Culture (New York: Basic Books, 1999), p. 120. 9. Lewis, The Road to Romance, p. 4. 10. James B. Twitchell, Branded Nation (New York: Simon and Schuster, 2004), p. 203. 11. , p. 210. 12. Gans, Popular Culture, p. 12. 13. Wheeler Winston Dixon, “Fighting and Violence and Everything That’s Always Cool: Teen Films in the 1990s,” in Film Genre 2000, edited by Wheeler Winston Dixon (Albany: State University Press of New York, 2000), p. 126. 14. , p. 127.