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date: 05 August 2020

(p. xiii) List of Contributors

(p. xiii) List of Contributors

Oliver Arnold is Associate Professor of English at the University of California, Berkeley. He is the author of The Third Citizen: Shakespeare’s Theater and the Early Modern House of Commons (2007) and the editor of Julius Caesar: A Longman Cultural Edition (2010).



Amanda Bailey , Professor of English at the University of Maryland, is the author of Of Bondage: Debt, Property, and Personhood in Early Modern England (2013); Affect Theory and Early Modern Texts: Politics, Ecologies, and Form, co-edited with Mario DiGangi (2017); Masculinity and the Metropolis of Vice, 1550–1650, co-edited with Roze Hentschell (Palgrave, 2010); and Flaunting: Style and the Subversive Male Body in Renaissance England (2007). Her essays have appeared in Criticism, Renaissance Drama, English Literary Renaissance, and Shakespeare Quarterly, as well as in numerous collections, including A New Companion to Renaissance Drama and The Oxford Handbook of Shakespeare and Embodiment: Gender, Sexuality, and Race. Her current book project, tentatively titled A Natural History of Politics: Shakespeare, Sympathy, and the Stars, examines early modern conceptions of political affinity.



Simon Barker is Professor of English Literature at the University of Chichester. His books include an edition of John Ford’s ‘Tis Pity She’s a Whore in the Routledge English Texts series; Thomas Deloney’s The Gentle Craft for Ashgate Press; Shakespeare’s Problem Plays for Palgrave Macmillan; The Routledge Anthology of Renaissance Drama (edited with Hilary Hinds); War and Nation in the Theatre of Shakespeare and his Contemporaries for Edinburgh University Press; and Literature as History for Continuum.



James P. Bednarz is Professor of English at Long Island University, specializing in Shakespeare and English Renaissance culture. His work focuses primarily on issues of historical intertextuality concerning Shakespeare and his contemporaries. His first book, Shakespeare and the Poets’ War (2001), was selected as an ‘International Book of the Year’ by The Times Literary Supplement. His second book, Shakespeare and the Truth of Love: The Mystery of ‘The Phoenix and Turtle’ (2012), which explores Shakespeare’s collaboration on the Poetical Essays in Love’s Martyr, received the Krasnoff Award for Scholarship. His articles on early modern literary relations have appeared in a wide range of publications which include ELH, Shakespeare Studies, Shakespeare Survey, Renaissance Drama, Medieval and Renaissance Drama in England, Comparative Drama, The Huntington Library Quarterly, Spenser Studies, The Ben Jonson Journal, Notes and Queries, The Cambridge Companion to Christopher Marlowe, and The Cambridge Companion to Shakespeare’s Poetry.



(p. xiv) Kent Cartwright is Professor of English at the University of Maryland. He is the editor of The Comedy of Errors, Arden Shakespeare, Series Three (2017) and the author of, among other works, Theatre and Humanism: English Drama in the Sixteenth Century (1999). His academic career has included service as a trustee of the Shakespeare Association of America, department chair, and president of the Association of Departments of English.



Helen Cooper is Emeritus Professor of Medieval and Renaissance English at the University of Cambridge. She holds Emeritus and Honorary Fellowships at University College, Oxford, and a Life Fellowship at Magdalene College, Cambridge. She has particular interests in the cultural continuations across the medieval and early modern periods. Her books include Pastoral: Mediaeval into Renaissance (1978); Oxford Guides to Chaucer: The Canterbury Tales (1989); The English Romance in Time (2004); Shakespeare and the Medieval World (2010); and an edition of Malory’s Morte Darthur for Oxford World’s Classics (1998). She also co-edited (with Ruth Morse and Peter Holland) Medieval Shakespeare: Pasts and Presents (2013).



Kevin Curran is Professor of Early Modern Literature at the University of Lausanne in Switzerland and editor of the book series ‘Edinburgh Critical Studies in Shakespeare and Philosophy’. He is the author of Shakespeare’s Legal Ecologies: Law and Distributed Selfhood (2017) and Marriage, Performance, and Politics at the Jacobean Court (2009). He is the editor of Shakespeare and Judgment (2016) and co-editor, with James Kearney, of a special issue of the journal Criticism on ‘Shakespeare Phenomenology’ (2012). In 2017, Curran was named Distinguished International Visiting Fellow at the Centre for the History of Emotions in Australia. He is the founder and Director of the Lausanne Shakespeare Festival.



Joanne Diaz is Associate Professor of English at Illinois Wesleyan University, where she teaches courses in literature and creative writing. She is the author of two poetry collections—My Favorite Tyrants and The Lessons—and with Ian Morris, she is the co-editor of The Little Magazine in Contemporary America. Her work on using early modern archives with undergraduates has appeared in Pedagogy. She is the recipient of fellowships from the Illinois Arts Council, the National Endowment for the Arts, the Bread Loaf Writers Conference, and the Sustainable Arts Foundation.



Michelle M. Dowd is Hudson Strode Professor of English and Director of the Hudson Strode Program in Renaissance Studies at the University of Alabama. She is the author of Women’s Work in Early Modern English Literature and Culture (2009), which won the Sara A. Whaley Book Award from the National Women’s Studies Association, and of The Dynamics of Inheritance on the Shakespearean Stage (2015). She has co-edited Genre and Women’s Life Writing in Early Modern England with Julie E. Eckerle (2007); Working Subjects in Early Modern English Drama with Natasha Korda (2011); Early Modern Women on the Fall: An Anthology with Thomas Festa (2012); and Historical Affects and the Early Modern Theater with Ronda Arab and Adam Zucker (2015), and her articles on early modern drama and women’s writing have appeared in such journals as Modern (p. xv) Philology, English Literary Renaissance, Renaissance Drama, and Shakespeare Studies. Her current book project is tentatively titled Shakespeare’s Working Words.



Bridget Escolme is Reader in Drama at Queen Mary University of London, where she researches and teaches early modern drama in performance, histories of emotion, and histories of costume and clothing. Her published work, particularly Talking to the Audience (2005), has explored the relationship between performer and audience in Shakespeare production, and her monograph, Emotional Excess on the Shakespearean Stage: Passion’s Slaves (2013) examines the ways in which theatre reflects, produces, regulates and celebrates extremes of emotion. Her research is underpinned by theatre practice: she has published work on her promenade production of Coriolanus in Shakespeare Survey and has worked as a dramaturge, a director, and a Theatre in Education practitioner. She is co-editor of two book series—Shakespeare in Practice with Palgrave and Shakespeare in the Theatre with Arden Shakespeare. Her next book, Shakespeare and Costume in Practice, will explore how costume produces and critiques constructions of the past and will be published by Palgrave Macmillan in 2018.



Kenneth J. E. Graham is Professor of English at the University of Waterloo, where he co-organizes the Shakespearean Theatre Conference, a collaboration with Canada’s Stratford Festival. He is author of The Performance of Conviction: Plainness and Rhetoric in the Early English Renaissance (1994) and Disciplinary Measures from the Metrical Psalms to Milton (2016). With Philip Collington, he edited Shakespeare and Religious Change (2009). His current research focuses on Shakespeare’s religious language.



Judith Haber is Professor of English at Tufts University. She is the author of Desire and Dramatic Form in Early Modern Drama (2009) and Pastoral and the Poetics of Self-Contradiction: Theocritus to Marvell (1994). She has published articles on early modern texts in numerous anthologies and journals, including Renaissance Drama, English Literary Renaissance, Representations, and Shakespeare Studies. She is currently working on a book-length manuscript, tentatively entitled Adoptive Strategies: Imagining Paternity in Early Modern England.



Heather Hirschfeld is Professor of English at the University of Tennessee. She is the author of The End of Satisfaction: Drama and Repentance in the Age of Shakespeare (2014) and Joint Enterprises: Collaborative Drama and the Institutionalization of the English Renaissance Theater (2004). Her essays have appeared in journals including PMLA, Shakespeare Quarterly, Renaissance Drama, ELH, The Journal of Medieval and Early Modern Studies, and The Review of English Studies and in collections including Shakespeare and Textual Studies and The Oxford Handbook of Early Modern Theatre. Her new Introduction to the New Cambridge Series Hamlet is forthcoming.



Lisa Hopkins is Professor of English at Sheffield Hallam University. She is a co-editor of Shakespeare, the journal of the British Shakespeare Association, of the Arden Guides to Early Modern Drama, and of Arden Studies in Early Modern Drama. Her (p. xvi) most recent publication is From the Romans to the Normans on the English Renaissance Stage (2017).



Andy Kesson is a Reader in Renaissance Literature at the University of Roehampton, London. He is the author of John Lyly and Early Modern Authorship (2014) and, with Emma Smith, the co-editor of The Elizabethan Top Ten: Defining Print Popularity in Early Modern England (2013). He is currently leading a project on London’s earliest Elizabethan playhouses: essays, documents, and films from the project can be consulted at www.beforeshakespeare.com.



Frederick Kiefer is University Distinguished Professor at the University of Arizona. His work includes Fortune and Elizabethan Tragedy (1983), Writing on the Renaissance Stage (1996), Shakespeare’s Visual Theatre (2003), Masculinities and Femininities (2009), and English Drama from ‘Everyman’ to 1660: Performance and Print (2015).



Douglas M. Lanier is Professor of English at the University of New Hampshire, where he teaches courses in early modern drama, performance and adaptation, literary theory, and film history. He is author of Shakespeare and Modern Popular Culture (2002), as well as many articles on Shakespearean adaptation in modern mass media. From 2016–17 he served as the Fulbright Global Shakespeare Centre Distinguished Chair. He is currently completing two projects, one on screen adaptation of Othello, the other on The Merchant of Venice for the Arden Language and Writing series.



Erika T. Lin is an Associate Professor in the PhD Program in Theatre and Performance at the Graduate Center, CUNY. She is the author of Shakespeare and the Materiality of Performance (2012), which won the 2013 David Bevington Award for Best New Book in Early Drama Studies. She is currently writing a book on seasonal festivities and early modern commercial theatre, a project supported by an Andrew W. Mellon Long-Term Fellowship at the Folger Shakespeare Library. In addition, she is co-editing a volume of essays on early modern games and theatre. She serves on the Board of Trustees for the Shakespeare Association of America and as the Book Review Editor for Theatre Survey.



Jeremy Lopez is Professor of English at the University of Toronto, and the editor of Shakespeare Quarterly. His publications include Theatrical Convention and Audience Response in Early Modern Drama (2003), Constructing the Canon of Early Modern Drama (2014), and numerous essays on the drama of Shakespeare and his contemporaries.



Kirk Melnikoff is an Associate Professor in the Department of English at the University of North Carolina at Charlotte and President of the Marlowe Society of America. He is the author of Elizabethan Book Trade Publishing and the Makings of Literary Culture (2018) and has edited four collections of essays: Writing Robert Greene (2008), with Edward Gieskes; Robert Greene (2011); Edward II: A Critical Reader (2017); and Christopher Marlowe, Theatrical Commerce, and the Book Trade (2018), with Roslyn L. Knutson. He is a 2013 winner of the Hoffman Prize for Distinguished Publication on Christopher Marlowe, and his essays have appeared in a number of journals and (p. xvii) essay collections. He is currently editing Robert Greene’s James IV for The Routledge Anthology of Early Modern Drama and Selimus for Queen’s Men Editions.



Steve Mentz is Professor of English at St John’s University in New York City. His most recent book is Shipwreck Modernity: Ecologies of Globalization, 1550–1719 (2015). He is the author of two earlier monographs, At the Bottom of Shakespeare’s Ocean (2009) and Romance for Sale in Early Modern England (2006), and also editor or co-editor of four collections: The Sea in Nineteenth-Century Anglophone Literary Culture (2017), Oceanic New York (2015), The Age of Thomas Nashe (2013), and Rogues and Early Modern English Culture (2004). He has written numerous articles on ecocriticism, Shakespeare, and maritime literature and curated an exhibition at the Folger Shakespeare Library, ‘Lost at Sea: The Ocean in the English Imagination, 1550–1750’ (2010). He blogs at The Bookfish, www.stevementz.com.



Erin Minear is Associate Professor of English at the College of William & Mary. She is the author of Reverberating Song in Shakespeare and Milton: Language, Memory, and Musical Representation (2011), and has written articles on topics including music and gender in Troilus and Cressida, memory and subjectivity in Shakespearean comedy, and eavesdropping and interpretation in Othello. Her current project examines the intersection of dramatic and narrative modes in Shakespeare’s plays.



Robert S. Miola is the Gerard Manley Hopkins Professor of English and a Lecturer in Classics at Loyola University Maryland. He has edited Macbeth (2004) and Hamlet (2011), Ben Jonson’s Every Man In His Humour (2000) and The Case is Altered (2012), among other plays. On the reception of classical antiquity he has published Shakespeare’s Rome (1983), Shakespeare and Classical Tragedy (1992), Shakespeare and Classical Comedy (1994), an edition of Chapman’s Iliad (2017), as well as articles on Aristophanes, Homer, and the Greek tragedians in later incarnations. He has also published Early Modern Catholicism: An Anthology of Primary Sources (2007) along with articles on Robert Southwell, Mary at the foot of the Cross, Jesuit publications, and Catholic manuscript and print poetry. His second edition of Hamlet is forthcoming (2018).



Anne M. Myers is Associate Professor of English at the University of Missouri, where she teaches courses in British Literature including Shakespeare and Milton, as well as Renaissance poetry and drama. She is the author of Literature and Architecture in Early Modern England (2013), and her essays have appeared in edited collections as well as ELH and ELR.



David L. Orvis is Professor of English at Appalachian State University. He is editor, with Linda Phyllis Austern and Kari Boyd McBride, of Psalms in the Early Modern World (2011), and, with Ryan Singh Paul, of The Noble Flame of Katherine Philips: A Poetics of Culture, Politics, and Friendship (2015), and author of essays on Shakespeare, Lyly, Marlowe, Herbert, and Milton. His current book project focuses on the legacy of Anteros in classical, medieval, and early modern literature and culture.



(p. xviii) John Parker is Associate Professor of English at the University of Virginia. He taught at Harvard University (2001–6) and Macalester College (2007–8), and was a winner of the Rome Prize from the American Academy in Rome (2008–9). He is the author of The Aesthetics of Antichrist: From Christian Drama to Christopher Marlowe (2007), along with several book chapters, articles, and reviews.



Catherine Richardson is Professor of Early Modern Studies at the University of Kent. She has published books on theatre and material culture, including Domestic Life and Domestic Tragedy in Early Modern England (2006), Shakespeare and Material Culture (2011) and, with Tara Hamling (University of Birmingham), A Day at Home in Early Modern England: Material Culture and Domestic Life, 1500–1700 (2017); with Tara she has also edited Everyday Objects: Medieval and Early Modern Material Culture and its Meanings (2010) and (also with David Gaimster) The Routledge Handbook of Material Culture in Early Modern Europe (2016).



Carolyn Sale is Associate Professor in the Department of English and Film Studies at the University of Alberta (Canada). Her work on Shakespeare’s engagement with the law includes chapters in The Law in Shakespeare (2007; paperback, 2010), Shakespeare and the Law (2008), and Shakespeare and Judgment (2017). Her most recently published work is ‘The Literary Thing: The Imaginary Holding of Isabella Whitney’s “Wyll” to London (1573)’ in The Oxford Handbook of English Law and Literature, 1500–1700. She is currently completing the book manuscript ‘The Literary Commons: The Law and the Writer in Early Modern England, 1528–1628’.



Julie Sanders is Professor of English Literature and Drama and Deputy Vice-Chancellor at Newcastle University. She has published widely on early modern literature and has previously edited works by Ben Jonson, James Shirley, and Richard Brome. Her monograph The Cultural Geography of Early Modern Drama, 1620–1650 (2011) won the British Academy’s Rose Mary Crawshay Prize for international women’s scholarship in 2012 and she also co-authored Ben Jonson’s Walk to Scotland with James Loxley and Anna Groundwater (2014). Her current project is provisionally entitled ‘Making Spaces in Early Modern Drama’ and aims to think through material objects and their modes of production to understand the presence of lived practice and experience on the page and stage in the period. She is co-editor with Garrett A. Sullivan, Jr of the Oxford University Press series on Early Modern Literary Geographies.



Katherine Scheil is Professor of English at the University of Minnesota. She is the author of Imagining Shakespeare’s Wife: The Afterlife of Anne Hathaway (2018); She Hath Been Reading: Women and Shakespeare Clubs in America (2012); and The Taste of the Town: Shakespearian Comedy and the Early Eighteenth-Century Theater (2003). She co-edited, with Randall Martin, Shakespeare/Adaptation/Modern Drama (2011).



Laurie Shannon is Franklyn Bliss Snyder Professor of Literature at Northwestern University. She has chaired the MLA Division on Shakespeare and served as a trustee of the Shakespeare Association of America. Her first book, Sovereign Amity: Figures of (p. xix) Friendship in Shakespearean Contexts, concerns Renaissance uses of the classical trope; her second book, The Accommodated Animal: Cosmopolity in Shakespearean Locales, charts the creaturely dispensation against which Cartesianism intervened, arguing that early modern thinkers drew on natural history and Genesis to place animals within the privileged language of politics. In a new project entitled ‘Hamlet’s Kindness’, she is turning back to consider a dethroned figure of ‘human being’ from the comparative perspective afforded by early modern natural history.



Geraldo U. de Sousa is Professor of English at the University of Kansas. His research focuses on Shakespeare, early modern British Studies, gender and race, social justice, the Mediterranean region, and the cross-cultural experience. His publications include At Home in Shakespeare’s Tragedies (2010), Shakespeare’s Cross-Cultural Encounters (1999), and numerous articles. He served as editor of the journal Mediterranean Studies for ten years and has published on Luso-Brazilian, Mediterranean, and Global Studies. For many years, he also helped organize the international congresses of the Mediterranean Studies Association, and he has travelled extensively.



Matthew Steggle is Professor of Early Modern English Literature at the University of Bristol. He has published four books on early modern drama, and worked as a contributing editor to scholarly editions including The Cambridge Works of Ben Jonson (2012) and the Norton Shakespeare, third edition (2015). He is co-editor, with Roslyn L. Knutson and David McInnis, of the Lost Plays Database (www.lostplays.org); and co-general editor, with Martin Butler, of the AHRC-funded The Complete Works of John Marston, forthcoming from Oxford University Press.



Lina Perkins Wilder is Associate Professor of English at Connecticut College and the author of Shakespeare’s Memory Theatre: Recollection, Properties, and Character (2010) as well as co-editor, with Andrew Hiscock, of The Routledge Handbook of Shakespeare and Memory (2017). Her essays have been published in Shakespeare Quarterly, Renaissance Drama, and Modern Drama. Her current book project is on shorthand and recording technology in seventeenth-century England.



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