Reviewed by:

• Approaches to Teaching Shakespeare’s English History Plays ed. by Laurie Ellinghausen
• Marina J. Bergenstock

Google the term “Teaching Shakespeare” and among the top hits will be: “How to Teach Shakespeare so Your Students Won’t Hate It,” “Teaching Shakespeare the Fun Way,” “How to Teach Shakespeare and Make It Understandable for Your Students,” and “Using Humor to Teach Shakespeare.” If this search is any indication, it seems clear that instructors want (or are required to) include Shakespeare in their curriculum, but how to do it in a way that engages students is not always evident. That’s where Laurie Ellinghausen’s Approaches to Teaching Shakespeare’s English History Plays comes in. In this book, Ellinghausen has assembled a selection of excellent essays that collectively provide a thorough and innovative guide to bringing Shakespeare’s history plays to life in the modern classroom.

The book is broken up into two parts. Part 1, “Materials,” provides instructors with resources for primary texts, performance, many branches of critical tradition based on the instructor’s interests, and digital resources. Part 2, “Approaches,” presents nearly thirty essays that provide exciting new material that is informative and accessible for everyone from a novice teacher to even the most seasoned instructor of Shakespeare, covering everything from the geography of the still-emerging Britain of Shakespeare’s time to land use, political power, ecological stewardship, and visualizing stagecraft. In Rebecca Ann Bach’s essay “Queering Richard II: Teaching Love, Sex, and Gender Historically,” the author takes us through an example close read of the text with a class. Bach points out that, in recent years, so much has changed in the United States in regards to gender and sexuality that students must take care not to make one-to-one comparisons in our modern thinking with what people in England thought four hundred years ago. In Lisa Siefker Bailey’s essay “Hustling Masculinity: Teaching 1 Henry IV with My Own Private Idaho,” the reader learns about the experiences Bailey’s students have had putting these two works in conversation with each other. Bailey notes that confronting the issues presented to them in Shakespeare’s text and Gus Van Sant’s movie emboldens students to engage in challenging dialogues.

When asked about the challenges this particular aspect of Shakespeare’s canon poses for students, one respondent talked about the fact that, when it comes to the comedies, students seem to come in with relatively positive ideas about them and “with tragedies, students seem to come to class knowing they [End Page 239] are important and that they will be good” (24). However, with the history plays, students come in not understanding them or wanting to read them. Shakespeare’s history plays were written in a particular political and religious context that isn’t generally taught to students in the twenty-first century. Also, the issues don’t just begin and end there. It’s not difficult to see why students would be frustrated, with so many kinds of history at work in Shakespeare’s plays including (but not limited to) “medieval fabulae, urban history, chronicle history, classical allusion, and typological biblical history” (24). The essays compiled by Ellinghausen provide readers with specific approaches, relevant topic expansion, and additional resources.

Moreover, the book is laid out in a way that is both intuitive and user-friendly. Each essay offers unique perspectives and arguments that contribute to the reader’s sense of security and possibility. Using each essay as a jumping-off point leaves readers easily able to imagine additional activities and topics for exploration on their own. Hugh Macrae Richmond’s essay, “Teaching Shakespeare’s Histories Using the Internet,” provides a remarkably clear and concrete path to using the internet in tandem with the history plays. In “Teaching Shakespeare’s History Plays in the Composition Classroom,” by Diane K. Jakacki, the reader is presented with specific examples of assignments and even evaluation from Jakacki’s own classroom. With this essay in particular, it’s easy to see how an instructor can...

审核人：

• 莎士比亚英语历史剧教学方法ed。通过劳里·埃林豪森（Laurie Ellinghausen）
• 玛丽娜·J·卑尔根斯托克（Marina J.Bergenstock）

Google的“莎士比亚教学”一词，在热门歌曲中将是：“如何教莎士比亚，这样您的学生就不会讨厌它”，“教莎士比亚有趣的方式”，“如何教莎士比亚并使之为学生所理解”和“使用幽默感教莎士比亚”。如果可以从中寻找到某种迹象，似乎很明显讲师希望（或被要求）将莎士比亚纳入他们的课程，但是如何以一种吸引学生的方式做到这一点并不总是显而易见的。这就是劳瑞·艾林豪森（Laurie Ellinghausen）教授莎士比亚英语历史剧的教学方法的地方。在这本书中，艾林豪森汇编了一系列优秀论文，共同为莎士比亚的历史剧在现代课堂中的生活提供了全面而创新的指南。

这本书分为两部分。第1部分（“材料”）为讲师提供了主要教材，表演，基于讲师兴趣的许多批判传统分支以及数字资源的资源。第2部分“方法”介绍了近30篇文章，这些文章提供了令人振奋的新材料，从新手老师到经验丰富的莎士比亚导师，每个人都可以从中获得丰富的信息，内容涵盖了从莎士比亚时代的英国时代开始到现在为止的所有情况。土地使用，政治权力，生态管理和可视化舞台设备。在丽贝卡·安·巴赫（Rebecca Ann Bach）的论文“ Queering Richard II”中：“从历史上讲授爱，性和性别的知识”，作者将我们带给我们一个与班级一起仔细阅读课文的示例。巴赫指出，近年来，美国在性别和性方面发生了很大变化，学生必须注意不要在我们的现代思想中与英国人四百年来的思想进行一对一的比较。前。读者在Lisa Siefker Bailey的文章“挑战男性气概：与我自己的爱达荷州个人教1亨利四世”中，了解了Bailey的学生将这两部作品互相交谈的经历。Bailey指出，面对莎士比亚课本中呈现给他们的问题，以及Gus Van Sant的电影鼓励学生进行富有挑战性的对话。

当被问及莎士比亚教规对学生的这一特定方面带来的挑战时，一位受访者谈到了这样一个事实，当涉及到喜剧时，学生似乎对他们产生了相对积极的想法，而“悲剧中，学生似乎就来了。上课知道他们[结束页239]重要的是，他们将是好的”（24）。但是，随着历史剧的发展，学生会变得不了解它们或不想阅读它们。莎士比亚的历史剧是在特定的政治和宗教背景下写成的，在二十一世纪通常不向学生传授。此外，问题不只是从那里开始和结束。不难发现为什么学生会感到沮丧，莎士比亚的戏剧中有如此多的历史，包括（但不限于）“中世纪神话，城市历史，编年史，古典典故和类型学圣经历史”（24） 。Ellinghausen撰写的论文为读者提供了特定的方法，相关的主题扩展以及其他资源。

此外，本书的布局方式既直观又易于使用。每篇文章都提供了独特的观点和论点，有助于读者提高安全感和可能性。使用每篇文章作为起点，读者可以轻松想象自己要探索的其他活动和主题。休·麦克雷奇·里士满（Hugh Macrae Richmond）的论文“使用互联网教授莎士比亚的历史”提供了一条清晰而具体的途径，以结合历史剧目使用互联网。黛安·贾卡奇（Diane K. Jakacki）的“在莎士比亚的历史剧《课堂教学中的戏剧教学》”中，向读者展示了作业的具体示例，甚至来自贾卡奇自己教室的评估。特别是在这篇文章中，很容易看到讲师如何...