"Presentist Shakespeares "constitutes the first extended exposition and exploration of the principles and the practice of presentism. Although an emphasis on history or historical context has been very important in recent Shakespeare scholarship, no critic is able to make direct contact with a past uncontaminated by their own contemporary concerns. By the same token, all experience of the present is moulded by the past. "Presentism," as elaborated in this volume, takes account of the never-ending dialogue between past and present, scrupulously seeking out salient aspects of the present as a crucial trigger for its investigations and arguing that an intrusive, shaping awareness of ourselves deserves our closest attention.The distinguished team of contributors to this volume demonstrate the way in which presentist readings make possible a fuller engagement with the ironies generated by our inescapable involvement in time. These ironies, the contributors argue, are a fruitful, necessary and inescapable aspect of any text's being, which also function as agents of change, flowing unstoppably back into the events of the past, coloring how we perceive them, modifying our sense of what they signify. In respect of Shakespeare, they point to shades of implication suddenly available here and now within the wide range of plays examined, subtly challenging, changing and adding to our sense of what they are able to tell us. Perhaps, it is suggested, they offer the only effective purchase on these texts that we are able to make.Presentist criticism is an open-ended and on-going project, located at a particularly interesting and demanding juncture in modern Shakespeare studies. Itsboundaries remain to be defined. It is envisaged, however, that the new essays of this collection will establish a landmark: one which reflects, develops and even rejoices in this indeterminacy.

General Editor's Preface. Introduction: Presenting Presentism. Band of Brothers. Historicising New Historicism. ' . . . And I'm the King of France'. Shakespeare, and Belief, in the Future. Present Text: Editing The Merchant of Venice. Action! Henry V. Lavinia as 'Blank Page' and the Presence of Feminist Critical Practices. Hamlet and the Present: Notes on the Moving Aesthetic 'Now'. Troilus and Cressida: The Perils of Presentism. Notes. Bibliography. Index