Lingue e Linguaggi

“My Kingdom for an Iphone”. Shakespeare and Mobile Phones

Abstract

Aguado J.M. and Martinez I.J. 2008, The Construction of the Mobile Experience: the Role of Advertising Campaigns in the Appropriation of Mobile Phone Technologies, in Gerard G. (ed.), Mobile Phone Cultures, Routledge, New York, pp. 1-12.

Bark J. 2011, Portraiture, Authorship, and the Authentication of Shakespeare, in Bolens G. and Erne L. (eds.), “Medieval and Early Modern Authorship, SPELL”: “Swiss Papers in English Language and Literature” 25, Narr, Tübingern, pp. 215-229.

Bennett S. 1996, Performing Nostalgia: Shifting Shakespeare and the Contemporary Past, Routledge, London and New York.

Blackwell A. 2018, ‘#DifferenceMakesUs’: Selling Shakespeare Online (and the Commerce Platform Etsy), in “English Literature” 5, pp. 23-37. https://edizionicafoscari.unive.it/en/edizioni4/riviste/english-literature/2018/5/differencemakesus-selling-shakespeare-online (25.8.2020).

Burt R. (ed.) 2007, Shakespeares after Shakespeare. An Encyclopaedia of the Bard in Mass Media and Popular Culture, 2 vols., Greenwood, Westport (CT) and London.

Cartelli T. 2019, Reenacting Shakespeare in the Shakespeare Aftermath: The Intermedial Turn and Turn to Embodiment, Palgrave Macmillan, New York.

Cavecchi C. and Soncini S. 2002, Shakespeare Graffiti. Il Cigno di Avon nella cultura di massa, Cuem, Milan.

Charity C. 2001, Advertising, in Dobson M. and Wells S. (eds.), The Oxford Companion to Shakespeare, Oxford University Press, Oxford, pp. 3-4.

Colipcă-Ciobanu G.I. 2016, Shakespeare in Contemporary Romanian Advertising, in “Cultural Intertexts” 3, pp. 25-46.

Collins E. 2014, Unlocking Scholarship in Shakespeare Studies: Gatekeeping, Guardianship and Open-Access Journal Publication, in Carson C. and Kirwan P. (eds.), Shakespeare and the Digital World: Redefining Scholarship and Practice, Cambridge University Press, Cambridge, pp. 132-143.

Duffett M. 2013, Understanding Fandom: An Introduction to the Study of Media Fan Culture, Bloomsbury, New York and London.

Fazel V. and Geddes L. (eds.) 2017, The Shakespeare User. Critical and Creative Appropriations in a Networked Culture, Palgrave, New York, pp. 1-22.

Fischlin D. 2014, Introduction: OuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation, in Fischlin D. (ed.), OuterSpeares: Shakespeare, Intermedia and the Limits of Adaptation, University of Toronto Press, Toronto, pp. 3-50.

Garber M. 2008, Shakespeare and Modern Culture, Pantheon Books, New York.

Hodgdon B. 2009, The Last Shakespeare Picture Show or Going to the Barricades, in Shand G.B. (ed.) Teaching Shakespeare: Passing It On, Blackwell, Oxford, pp. 105-120.

Holderness G. (ed.) 1988, The Shakespeare Myth, Manchester University Press, Manchester.

Holderness G. 2011, Nine Lives of William Shakespeare, Continuum, London and New York.

Holderness G. 2018, ‛Beauty too rich for use?’ Shakespeare and Advertising, in Maxwell J. and Rumbold K. (eds.), Shakespeare and Quotation, Cambridge University Press, Cambridge, pp. 260-274.

Holderness G. and Loughrey B. 1991, Shakespearean Features, in Marsden J. E. (ed.), The Appropriation of Shakespeare, Harvester Wheatsheaf, Hemel Hempstead, pp. 141–159.

Holderness G. and Loughrey B. 2016, Ales, Beers, Shakespeares, in Shellard D. and Keenan S. (eds.), Shakespeare’s Cultural Capital: His Economic Impact from the Sixteenth to the Twenty-first Century, Palgrave, London, pp. 99-125.

Iyengar S. 2014, Upcycling Shakespeare: Crafting Cultural Capital, in Fischlin D. (ed.), OuterSpeares: Shakespeare, Intermedia and the Limits of Adaptation, University of Toronto Press, Toronto, pp. 347-371.

Lanier D. 2002, Shakespeare and Modern Popular Culture, Oxford University Press, New York.

Lanier D. 2012, Marketing, in Kinney A.F. (ed.), The Oxford Handbook of Shakespeare, Oxford University Press, Oxford, pp. 498-514.

Mancewicz, A. 2014, Intermedial Shakespeare on European Stages, Palgrave, London.

Maxwell J. 2018, Creative Writing: Quoting Shakespeare in Theory and Practice, in Maxwell J. and Rumbold K. (eds.), Shakespeare and Quotation, Cambridge University Press, Cambridge, pp. 215-230.

Minutella, V. 2013, Reclaiming Romeo and Juliet: Italian Translations for Page, Stage and Screen, Rodopi, Amsterdam and New York.

Mulvey M.S. and Medina C. 2003, Invoking the Rhetorical Power of Character to Create Identifications, in Scott L.M. and Batra R. (eds.), Persuasive Imagery. A Consumer Response Perspective, Lawrence Erlbaum Associates, Mahawah (NJ) and London.

O’Neill S. (ed.) 2018, Broadcast Your Shakespeare, Bloomsbury, London.

Pennacchia Punzi M. 2012, Shakespeare intermediale: i drammi romani, Editoria & Spettacolo, Spoleto.

Pope J.H. 2020, Shakespeare’s Fans: Adapting the Bard in the Age of Media Fandom, Palgrave, New York.

Prensky M. 2001, Digital Natives, Digital Immigrants, Part I, in “On the Horizon” 9 [5], pp. 1-6.

Pressly W.L. 1993, The Ashbourne Portrait of Shakespeare: Through the Looking Glass, in “Shakespeare Quarterly” 44 [1], pp. 54-72.

Sanders J. 2006, Adaptation and Appropriation, Routledge, London and New York.

Shakespeare W. 2005, The Oxford Shakespeare: The Complete Works, Wells S. [et al], Clarendon Press, Oxford.

Sutherland M. 2008, Advertising and the Mind of the Consumer, 3rd ed., Allen & Unwin, Crows Nest.

Teague K. 2007, Nextel. Done. Campaign, in Riggs T. (ed.), Encyclopedia of Major Marketing Campaigns, vol. 2, Thomson Gale, New York and London, pp. 1550-1553.

Wellman B. and Rainie L. 2013, If Romeo and Juliet had Mobile Phones, in “Mobile Media & Communication” 1 [1], pp. 166-171, available at https://doi.org/10.1177/2050157912459505 (25.8.2020).