- Title Pages
- Notes on Contributors
- Introduction: Representing “Ovids” on the Early Modern English Stage
Chapter 1Queer Gender Informants in Ovid and Shakespeare
Chapter 2Women in Trees: Adapting Ovid for John Lyly’s Love’s Metamorphosis (1589)
Chapter 3Queer Fidelity: Marlowe’s Ovid and the Staging of Desire in Dido, Queen of Carthage
Chapter 4“Let Rome in Tiber melt”: Hermaphroditic Transformation in Antonius and Antony and Cleopatra
Chapter 5Ovid’s Ghosts: Lovesickness, Theatricality, and Ovidian Spectrality on the Early Modern English Stage
Chapter 6Medea’s Afterlife: Encountering Ovid in The Tempest
Chapter 7Remnants of Virgil, Ovid, and Paul in Titus Andronicus
Chapter 8Power, Emotion, and Appropriation in Ovid’s Tristia and Shakespeare’s Henry V
Chapter 9Appropriating Ovid’s Tyrannical Raptures in Macbeth
Chapter 10Ovid and the Styles of Adaptation in The Two Gentlemen of Verona
Chapter 11“Truly, and very notably discharg’d”: The Metamorphosis of Pyramus and Thisbe and the Place of Appropriation on the Early Modern Stage
Chapter 12The Golden Age Rescored?: Ovid’s Metamorphoses and Thomas Heywood’s The Ages
Chapter 13“Materia conveniente modis”: Early Modern Dramatic Adaptations of Ovid
Chapter 14Worse than Philomel, Worse than Actaeon: Hyperreal Ovid in Shakespeare’s Titus Andronicus
- Ovid and Adaptation in Early Modern English Theatre
- Lisa S. Starks
- Edinburgh University Press
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