Special issues:

Literature and Linguistics (Vol. 1 No. 2); Literature and Violence (Vol. 3 Nos. 1-2)

Women, Consumption and Popular Culture (Vol. 4 No. 1); Life, Community, and Ethics (Vol. 4. No. 2)

The Making of Barbarians in Western Literature (Vol. 5 No. 1); Chaos and Fear in Contemporary British Literature (Vol. 5 No. 2)

Taiwan Cinema before Taiwan New Wave Cinema (Vol. 6 No. 1); Catastrophe and Cultural Imaginaries (Vol. 6 No. 2)

Affective Perspectives from East Asia (Vol. 9 No. 2); Longing and Belonging (Vol. 10 No. 2, produced in collaboration with the European Network for Comparative Literary Studies)

Transatlantic Literary and Cultural Relations, 1776 to the Present (Vol. 11 No. 2). 


By taking Virginia Woolf’s Judith Shakespeare story as a point of departure, and by invoking the question of whether a crossdressed Judith Shakespeare would make it to the theater, this paper explores the social pressures on women presented in three contemporary Shakespeare-related reproductions and adaptations on screen—Baz Luhrmann’s William Shakespeare’s Romeo and Juliet, Andy Fickman’s She’s the Man and John Madden’s Shakespeare in Love. It associates the pressures on the heroines presented in these cinematic works to Juliet Dusinberre’s description of the subsuming of women in academia into “he” and her anxiety under mainstream criticism. The paper underscores the interconnection between Shakespeare’s cultural potency and feminist Shakespeare criticism.

KEY WORDS: Shakespeare, crossdressing, women, Judith