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From the 1620s to the 1630s, John Ford revisited Shakespeare and made him strange. 'Tis Pity She's a Whore inverts Romeo and Juliet by making its core relationship endogamous rather than exogamous. Perkin Warbeck is a sequel to Richard III, but undoes its original by telling a story fundamentally incompatible with Shakespeare's. The Lover's Melancholy echoes both Twelfth Night and King Lear, collapsing the distinction between comedy and tragedy. Above all, Ford reworks Othello, which lies behind the plots of four of his plays. The estranging effect produced by these reshapings is underlined by Perkin Warbeck's subtitle 'A Strange Truth' and the word 'strange' appears forty-nine times in his plays. Ford uses familiar Shakespearean stories to highlight the strangeness of the stories which he himself tells.

Hutchinson examines the character Insulso Sogliardo in Ben Jonson' 1599 play Every Man Out of His Humour which has long been seen by many Shakespeare scholars as being a lampoon of William Shakespere. Richard Malim writes that Every Man \"contains the most direct and complete refutation of the pretensions of William Shakespeare as author\" (Malim 200). Less recognized is Jonson's association of Sogliardo with a member of the corvid (crow) family.

This essay maps the complex intersubjective dynamics of confession as illuminated in William Shakespeare's Romeo and Juliet and John Ford's 'Tis Pity She's a Whore, plays in which the ritual of shrift has a pivotal narrative and thematic role. The essay focuses on the friar characters and the office of shrift with which they were associated, and argues that Shakespeare and Ford draw on the durable cultural currency of auricular confession in post-Reformation England to ultimately disruptive ends, as characters consistently and increasingly reconfigure the intersubjective scripts of confession, using its conventions to draft new architectures of performative power.

This article discusses the adaptation film, Shakespeare Retold: The Taming of the Shrew, as compared to original play, The Taming of the Shrew, by Shakespeare by highlighting the different modern perspective of the film. Likely to be interpreted as a valuable addition to the play with the ending it proposes and the way it handles the issue of taming, the film brings the play to the attention of the modern audience by clarifying the vague details and contextualising it in the modern English. In this respect, the article aims to bring the film and the play into focus by introducing a fresh and lively re-interpretation of The Taming of the Shrew to the Shakespearean drama studies. Keywords: Shakespeare, adaptation, film, modern interpretation, feminism Clanek se ukvarja s filmsko adaptacijo Shakespeare Retold: Taming of the Shrew (2005) v primerjavi z izvirno igro in se osredinja na moderno perspektivo filma.Clanek skusa v studije o Shakespearu vnesti nov focus pri interpretaciji filma in komedije Ukrocena trmoglavka. Kljucne besede: Shakespeare, adaptacija, film, sodobna interpretacija, feminizem