Kate Flaherty
Biographic Data
| ID | 5636142 |
|---|---|
| NAME | Kate Flaherty |
| GIVEN NAMES | Kate |
| FAMILY NAME | Flaherty |
| SIGNATURE | FLAHERTY K |
| AFFILIATIONS | Australian National University |
| ORCID | 0000-0003-1495-1782 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 7 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Ellen Terry, Shakespeare, and Suffrage in Australia and New Zealand
While the life and career of Ellen Terry (1847–1928) have attracted decades of attention from theatre historians and feminist biographers, one chapter remains hidden: Terry's tour of her solo Shakespeare lectures to Australia and New Zealand in 1914. This bold venture, made at the age of sixty-six, has been interpreted as an indication of Terry's declining physical andmental health following her 1906 Jubilee. Yet Terry claimed that 'while in Aust…
Shakespeare and the Comedy of Enchantment
Treating HPHD disorder—Shakespeare, law, and public life
The serious play of the Shakespeare Moot Project—a graduate course at McGill University in Montreal that choreographed a cross-over genre involving students and faculty in both Law and Literary Studies—provides a space for creative thought about how to make the PhD more useful, more mobile, and more worldly, while at the same time strengthening the core values of humanities research and teaching (For more about the Shakespeare Moot Court (Citatio…
“Not stones but men”
This essay utilises the representation of publics in William Shakespeare’s Roman plays to reflect on Shakespearean pedagogy and questions of public value. Through the use of a complexivist framework, this essay demonstrates how distinct areas of enquiry—the publics of Shakespeare’s Roman plays and pedagogical theory—can usefully illuminate each other and reflect on questions of Shakespeare as a public good. Peripheral publics in Titus Andronicus …
Autodidactic sonnets
True to one of the themes in this issue of our journal, my essay raises two broadly pedagogical questions. First, what did Shakespeare learn about writing sonnets from his most accomplished contemporaries, Sidney and Spenser, and secondly what does he teach his own readers about how to read his sonnets? A single answer to both is proposed: he learned and taught that the abiding and primary subject of the sonnet is the sonnet itself and the kind o…
Public and personal
The third edition of the Cambridge School Shakespeare series draws on over twenty years of research and practice to consolidate an approach to Shakespeare which enlivened the way the plays were taught in secondary school classrooms. The third Cambridge School Shakespeare series was released in 2014 and 2015 with new features and a companion website with supplementary resources. A short history of the series, an overview of current research and th…
Prosperous teaching and the thing of darkness
This essay uses Shakespeare’s The Tempest as a way of conceptualising modern institutional education. The over-systematisation of formal education which characterises professional teaching and learning in the twenty-first century is designated “SysEd.” The flaws in SysEd are discussed and a less structured space of educational experience, named “ardenspace,” is described in theoretical and practical terms. The idea of an institutional counterpubl…
“Damn him and the spikes”
On 26 December 1833, the first licensed theatre in New South Wales offered its first Shakespeare play—Colley Cibber’s adaptation of Richard III. The event entailed a riot and the lead actor being charged with assault for hurling an audience member from the stage. Using insights drawn from scholarship on the Covent Garden “Old Price Riots” in 1809, this essay investigates the Sydney Theatre Royal’s 1833 disturbance as an indicative phase in the de…
A discriminating audience
The 1850s were a defining decade for colonial Tasmania, encompassing the cessation of convict transportation, the establishment of a House of Assembly and the jettisoning of the island’s old identity as Van Diemen’s Land. Many Tasmanian settlers were dedicated to the task of raising the cultural standing of the colony and Shakespeare became an integral part of this process. A steady stream of visiting players from America and England brought Shak…
Teaching Shakespeare Beyond the Centre
Showcasing a wide array of recent, innovative and original research into Shakespeare and learning in Australasia and beyond, this volume argues the value of the 'local' and provides transferable and a
No prominent works on this page.
Teaching Shakespeare Beyond the Centre
Showcasing a wide array of recent, innovative and original research into Shakespeare and learning in Australasia and beyond, this volume argues the value of the 'local' and provides transferable and a
Treating HPHD disorder—Shakespeare, law, and public life
The serious play of the Shakespeare Moot Project—a graduate course at McGill University in Montreal that choreographed a cross-over genre involving students and faculty in both Law and Literary Studies—provides a space for creative thought about how to make the PhD more useful, more mobile, and more worldly, while at the same time strengthening the core values of humanities research and teaching (For more about the Shakespeare Moot Court (Citatio…
“Not stones but men”
This essay utilises the representation of publics in William Shakespeare’s Roman plays to reflect on Shakespearean pedagogy and questions of public value. Through the use of a complexivist framework, this essay demonstrates how distinct areas of enquiry—the publics of Shakespeare’s Roman plays and pedagogical theory—can usefully illuminate each other and reflect on questions of Shakespeare as a public good. Peripheral publics in Titus Andronicus …
Autodidactic sonnets
True to one of the themes in this issue of our journal, my essay raises two broadly pedagogical questions. First, what did Shakespeare learn about writing sonnets from his most accomplished contemporaries, Sidney and Spenser, and secondly what does he teach his own readers about how to read his sonnets? A single answer to both is proposed: he learned and taught that the abiding and primary subject of the sonnet is the sonnet itself and the kind o…
Public and personal
The third edition of the Cambridge School Shakespeare series draws on over twenty years of research and practice to consolidate an approach to Shakespeare which enlivened the way the plays were taught in secondary school classrooms. The third Cambridge School Shakespeare series was released in 2014 and 2015 with new features and a companion website with supplementary resources. A short history of the series, an overview of current research and th…
Prosperous teaching and the thing of darkness
This essay uses Shakespeare’s The Tempest as a way of conceptualising modern institutional education. The over-systematisation of formal education which characterises professional teaching and learning in the twenty-first century is designated “SysEd.” The flaws in SysEd are discussed and a less structured space of educational experience, named “ardenspace,” is described in theoretical and practical terms. The idea of an institutional counterpubl…
“Damn him and the spikes”
On 26 December 1833, the first licensed theatre in New South Wales offered its first Shakespeare play—Colley Cibber’s adaptation of Richard III. The event entailed a riot and the lead actor being charged with assault for hurling an audience member from the stage. Using insights drawn from scholarship on the Covent Garden “Old Price Riots” in 1809, this essay investigates the Sydney Theatre Royal’s 1833 disturbance as an indicative phase in the de…
A discriminating audience
The 1850s were a defining decade for colonial Tasmania, encompassing the cessation of convict transportation, the establishment of a House of Assembly and the jettisoning of the island’s old identity as Van Diemen’s Land. Many Tasmanian settlers were dedicated to the task of raising the cultural standing of the colony and Shakespeare became an integral part of this process. A steady stream of visiting players from America and England brought Shak…
Ellen Terry, Shakespeare, and Suffrage in Australia and New Zealand
While the life and career of Ellen Terry (1847–1928) have attracted decades of attention from theatre historians and feminist biographers, one chapter remains hidden: Terry's tour of her solo Shakespeare lectures to Australia and New Zealand in 1914. This bold venture, made at the age of sixty-six, has been interpreted as an indication of Terry's declining physical andmental health following her 1906 Jubilee. Yet Terry claimed that 'while in Aust…
Shakespeare and the Comedy of Enchantment
Art (7 works) · Sociology (7 works) · Shakespeare, Adaptation, and Literary Criticism (6 works) · Aesthetics (5 works) · Law (5 works) · Political science (5 works) · History (4 works) · Literature (4 works) · Media studies (4 works) · Philosophy (3 works)