Inclusive Shakespeares

deadline for submissions: 
November 15, 2021
full name / name of organization: 
Sonya Freeman Loftis and Mardy Philippian
contact email: 

Inclusive Shakespeares


The editors of Inclusive Shakespeares (Sonya Freeman Loftis, Mardy Philippian, and Justin P. Shaw) are seeking new essays to round out this nearly completed edited collection.


Ranging from inclusion for people with disabilities to inclusion for first-generation college students, from pedagogy that embraces universal design to performances that engage specific minority communities, what discoveries are made when scholars, teachers, and directors work to create inclusive texts, classrooms, and theaters? This edited collection invites essays that consider and examine the complex and multifaceted ways in which teachers, scholars, and theater practitioners are (or aren’t) making Shakespeare inclusive and accessible, including (but not limited to):


-       Inclusion for First-Generation Students (What does it mean to foster access and inclusion for first-generation college students in the teaching of Shakespeare?)


-       Disability Access and Inclusion (What new work is being done to make Shakespeare accessible for people with disabilities? How can access for people with disabilities be understood as a part of the art of Shakespeare?)


-       Intersectional Inclusion (What new work can be done regarding the intersectionality of minority identities interfacing with Shakespearean spaces and contexts?)


-       Applied Shakespeare and Inclusion (How does “applied Shakespeare”--Shakespeare in prison, Shakespeare as therapy--make Shakespeare more accessible for specific audiences? Do these efforts aid in inclusion?)


-       Theoretical Approaches (What is the relationship between access and inclusion? What does it mean to make the use and expression of Shakespeare’s work inclusive of a variety of diverse communities and minority identities? What does it mean to practice “radical inclusion” in Shakespeare studies?)


-       Ideologies of Inclusion (What are the ideological frameworks that have taught us that Shakespeare is inherently inaccessible? What do we learn from such ideologies and how do they impact the teaching of Shakespeare and/or Shakespeare in performance?)


-       Misapplying Inclusion and Access (How can inclusive Shakespeare projects avoid the dangers of facile—and false—comparison between one minority experience and another [as theorized by Ellen Samuels] or the possibility of neo-colonial agendas and rhetoric [as outlined by Ayanna Thompson]?)


-       Textual Fidelity and Inclusion (What is the role of textual fidelity--if there is one--in translating and performing Shakespeare’s work in diverse cultural and linguistic contexts?)


-       Technology and Inclusion (How are online Shakespeare texts and other digital Shakespeare projects and resources changing who has access to Shakespeare and how Shakespeare is accessed?)


-       Economics and Inclusion (Is there a relationship between economics and inclusion?)


-       Pedagogical Approaches (What are teachers doing to make Shakespeare more accessible, more inclusive and/or more relatable?)


-       The Limits of Inclusion (What are the potential limits in the endeavor to make Shakespeare inclusive for all?)


Please send a 350-500 word abstract and a short bio to Sonya Freeman Loftis ( and Mardy Phillipian ( by Nov 15.