In 2012, the University of Leicester in the UK led the search for the remains of King Richard III, the last prince of the House of York, buried in 1485 under what, nearly 450 years later, would turn out to be a municipal car park. This momentous discovery has lent to those of us living or working in Leicester and York a new understanding of the phrase "history in the making," as we took part in the events surrounding the findings, from watching documentaries about the excavation or viewing three-dimensional models of Richard's bones to taking part in the often heated public debate about where he should be reinterred and how the reinterment should be commemorated. There appeared to be a very strange paradox in the nations ability to take these 600-year-old bones so easily into our daily lives, and indeed into our hearts. Unearthing a king from a city-center car park makes for an amusing, if somewhat profane, anecdote--see, for instance, the Facebook conversation noted at the beginning of Erica Sheens essay in this volume--but what is of more interest is the stark confrontation between life and death offered by this not-so-final resting place. The desire to communicate with the dead was a particular concern for Richards contemporaries at a time of crucial transformations in perceptions of both death and the body. (1) Such communications were marked by the recognition of the importance of adhering to cultural norms, especially those pertaining to rites of burial, at a time when doctrine and ritual were permeated by the understanding of what Sharon Emmerich has called "the landscape of death." (2) This unique opportunity to reflect on past and present negotiations between the living and the dead provided the inspiration, first for the Over His Dead Body international research workshop held in King's Manor, University of York, UK, on March 26, 2015--the occasion of Richard's reinterment in Leicester Cathedral and its simultaneous commemoration at York Minster--and then for this collection of essays drawn from the papers presented at that workshop. In memory of the historical figure that inspired one of Shakespeare's most popular incarnations, this collaboration between the Universities of Leicester and York focused on the dead body in Shakespeare, a concentration that was particularly fitting since, in the years either side of the reinterment, literary scholars worldwide have been engaged in the commemorations first of the 450th anniversary of his birth (2014) and then the 400th anniversary of his death (2016). Fascination with the death motif in Shakespeare's plays and interest in the dramaturgical significance of dead bodies has pervaded Shakespearian scholarship since the late nineteenth century, bringing together readings of Shakespeare on the page, on the stage, and in film, as well as in an exhaustive range of other media, including art and even stained glass--all represented in this collection in essays by Nicole Fayard, Gemma Miller, Maria Valentini, and Erica Sheen. (3) Revisiting dead heroes, burial rituals, or ghosts in Shakespeare's plays in the light of the critical understanding of early modern attitudes towards the dead (see the essays here by Katherine Heavey and Lawrence Green) raises questions about the uses and abuses of the past in memory (see Imke Lichterfeld's essay) and education (see Kiki Lindell's essay). (4) Shakespeare's writing about death is informed by historical transformations in the contemporary understanding of the body; as such, it throws light on continuities and discontinuities between past and present. (5) Exploring the cultural meanings of the spaces and places occupied by the dead in his plays leads us to a more profound understanding of the socio-political landscape, not only of Britain at the time of the Reformation, but also of the full global scene addressed by contemporary performance, as in Nicole Fayard's essay on Shakespeare in French street theatre. As this range of subject matter suggests, our concern in the workshop on March 26, 2015 was directed particularly at correspondences between role of the dead in Shakespeare's theatre and their manifestations in our everyday lives. …

中文翻译：

---

简介：在我们的尸体上

2012 年，英国莱斯特大学领导寻找约克家族最后一位王子理查三世的遗骸，他于 1485 年被埋葬在地下，将近 450 年后，这里变成了一个市政停车场. 这一重大发现让我们这些在莱斯特和约克生活或工作的人对“正在形成的历史”这一短语有了新的理解，因为我们参与了围绕这些发现的事件，通过观看关于挖掘的纪录片或观看三个——理查的骨头的三维模型参与经常激烈的公众辩论，关于他应该在哪里重新安葬以及应该如何纪念重新安葬。国家能够如此轻松地将这些 600 年前的骨头带入我们的日常生活，甚至进入我们的内心，这似乎是一个非常奇怪的悖论。从市中心的停车场挖出一位国王是一件有趣的轶事，如果有些亵渎的话——例如，参见本卷埃丽卡·辛斯文章开头提到的 Facebook 对话——但更有趣的是这个不那么最终的安息之地提供了生与死之间的鲜明对抗。在对死亡和身体的看法发生重大转变的时候，与死者交流的愿望是理查兹同时代的人特别关注的问题。(1) 这种交流的特点是承认遵守文化规范的重要性，特别是那些与葬礼有关的规范，当时教义和仪式被莎伦·艾默里奇所说的“死亡景观”的理解所渗透.” (2) 这个独特的机会反思过去和现在生者与死者之间的谈判，为 2015 年 3 月 26 日在英国约克大学国王庄园举办的 Over His Dead Body 国际研究研讨会提供了灵感。 - 理查德在莱斯特大教堂重新安葬之际，同时在约克大教堂举行纪念活动 - 然后是从该研讨会上发表的论文中提取的这篇论文集。为了纪念激发莎士比亚最受欢迎的化身之一的历史人物，莱斯特大学和约克大学之间的这次合作专注于莎士比亚的尸体，这种集中特别合适，因为在重新安葬的那几年，世界各地的文学学者都在进行他诞辰450周年（2014年）和逝世400周年（2016年）的纪念活动。自 19 世纪后期以来，莎士比亚戏剧中的死亡主题的迷恋和对尸体戏剧意义的兴趣一直贯穿莎士比亚的学术研究，将莎士比亚在书页、舞台、电影以及详尽无遗的阅读中汇集在一起其他媒体的范围，包括艺术，甚至彩色玻璃——所有这些都在 Nicole Fayard、Gemma Miller、Maria Valentini 和 Erica Sheen 的文章中出现。(3) 重温莎士比亚中死去的英雄、葬礼或鬼魂 根据对早期现代对死者态度的批判性理解（参见 Katherine Heavey 和 Lawrence Green 的文章），S 戏剧提出了关于过去在记忆中的使用和滥用（参见 Imke Lichterfeld 的文章）和教育（参见Kiki Lindell 的文章）。(4) 莎士比亚关于死亡的写作受到当代对身体理解的历史转变的影响；因此，它揭示了过去和现在之间的连续性和不连续性。(5) 在他的戏剧中探索死者所占据的空间和场所的文化意义，使我们对社会政治景观有更深刻的理解，不仅是宗教改革时期的英国，而且是整个全球由当代表演解决的场景，如妮可·法亚德 法国街头戏剧莎士比亚的散文。正如这一系列主题所暗示的那样，我们在 2015 年 3 月 26 日的研讨会上特别关注莎士比亚戏剧中死者的角色与其在我们日常生活中的表现之间的对应关系。…