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Maidenhead: McGraw-Hill, pp. Paton, G. National Curriculum overhaul: pupils to study more Shakespeare.
The Telegraph, [online]. Powell, Mark Kill Bill: why we must take Shakespeare out of the classroom. The Guardian, [online]. Powell, Mary California English, 15 4 , pp. Reynolds, P. Theatre Topics, 22 2 , pp. Seymour, R. Why not to fear teaching Shakespeare to young learners. British Council, [online].
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Stevens, M. Sutton Trust, White working class boys have lowest GCSE Grades as disadvantaged Bangladeshi, African and Chinese pupils show dramatically improved results, [online]. Thomas, P. Ward, S. Let them eat Shakespeare: prescribed authors and the National Curriculum.
Bastardizing the bard: Appropriations of Shakespeare's plays in postcolonial India
Curriculum Journal, 19 4 , pp. Warner, C. Building Shakespearean Worlds in the Everyday Classroom. In: R. Salomone, J. Davis, eds. Teaching Shakespeare into the Twenty-First Century. Athens: Ohio University Press. Waterman, A. Theories of Cognitive Development, including Piaget and Vygotsky.
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Abstract This paper explores the arguments surrounding Shakespeare's place in the classroom amid recent changes to the National Curriculum. Downloads Download data is not yet available. Blocksidge, M.
Some titles may also be available free of charge in our Open Access Dissertation Collection , so please check there first. Parmita Kapadia , University of Massachusetts Amherst. Shakespeare's dramatic work occupies a strange and double-edged position in the Indian literary consciousness. On the one hand, it is a colonial text that the British imported to India as a tool to illustrate proper 'moral' behavior to their Indian subjects. On the other hand, it has taken on a decidedly Indian identity, an identity marked by the post-colonial conditions of hybridity, subversion, and negotiation.
As a result, the Shakespeare industry as it exists in contemporary India is a multifaceted and even contradictory institution. In this dissertation, I study how Indian directors and scholars have appropriated and adapted the Shakespeare canon to suit their individual needs. In the latter part of the nineteenth century and the first half of the twentieth, the continued teaching of English literature resulted in a growing class of hybrid Indians who, by their successful absorption of English education and culture, persisted in fracturing colonial authority.
In "Signs Taken for Wonders: Questions of Ambivalence and Authority Under a Tree Outside Delhi, May ," Homi Bhabha argues that these subjects articulate a discourse that subverts and alters the colonial status quo through intervention. Subversion and intervention articulated through forms of mimicry offer limited alternatives to colonial subjugation. I have found that Indian productions and interpretation of Shakespeare engage in such mimicry, simultaneously asserting and disrupting colonial authority.
Infusing the English texts with Indian concerns both challenges colonial authority and articulates post-colonial realities. Indian appropriations of Shakespeare's drama are not new, post-colonial phenomena. During the colonial period, the plays were often used to explore cultural and political tensions.