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date: 17 February 2020

(p. xi) List of Contributors

(p. xi) List of Contributors

Mary Bly is an Associate Professor of English Literature at Fordham University. She is the author of Queer Virgins and Virgin Queans on the Early Modern Stage (Oxford, 2000) and is currently completing The Geography of Puns, a project addressing the geographical, linguistic economies of early modern London with particular attention to the liberties.

Bruce Boehrer lives in Florida, where he sometimes teaches English.

Terri Bourus is an Associate Professor of English Drama at Indiana University Indianapolis, where she is Director of ‘The Shakespeare Underground’ project. She is an Equity actor and has performed in American musical theatre, modern Irish drama, and in many early modern productions, especially Shakespeare. She has edited A Midsummer Night's Dream and Hamlet for the Sourcebook Shakespeare series, has written on Shakespeare and popular culture, and has published several interviews with Shakespearian actors and directors. She is currently completing a monograph on the printing history of Shakespeare's Hamlets. She is also one of three general editors of the New Oxford Shakespeare.

Heidi Brayman Hackel is Associate Professor of English at the University of California, Riverside. She is the author of Reading Material in Early Modern England: Print, Gender, and Literacy (2005) and co-editor of Reading Women: Literacy, Authorship, and Culture in the Atlantic World, 1500–1800 (2008). Her current book project is titled Dumb Eloquence: Deafness, Muteness, and Gesture in Early Modern England.

Karen Britland is Professor of English at the University of Wisconsin–Madison. She worked in the English Department at Keele University before moving to the United States in 2008. Her first book, Drama at the Courts of Queen Henrietta Maria (Cambridge, 2006), considered noblewomen's performances as actresses at the early Stuart court, and Britland continues to be fascinated by early Stuart theatre. She has recently edited Elizabeth Cary's The Tragedy of Mariam (1613)—the first original play written and published in English by a woman—and has also just completed an edition of James Shirley's The Imposture (licensed 1640) for the Oxford Complete Works of James Shirley edition.

Douglas Bruster Professor of English at the University of Texas, is author of a number of critical studies on Shakespeare and his dramatic contemporaries, and has edited The Changeling for the Oxford Middleton.

Regina Buccola is Associate Professor of English and Women's and Gender Studies at Roosevelt University in Chicago. She is the author of Fairies, Fractious Women and the Old Faith: Fairy Lore in Early Modern British Drama and Culture (Susquehanna UP, 2006) and co–editor with Lisa Hopkins of Marian Moments in Early Modern Drama (Ashgate, 2007). She is also the editor of A Midsummer Night's Dream: A Critical Guide (Continuum Press, 2010). Buccola frequently lectures on issues of early modern and contemporary performance practices at Chicago Shakespeare Theatre.

Paul Budra is an Associate Professor in the English Department at Simon Fraser University. He is the author of A Mirror for Magistrates and the de casibus Tradition (Toronto, 2000) and co-editor of the essay collections Part Two: Reflections on the Sequel (Toronto, 1998) and Soldier Talk: Oral Narratives of the Vietnam War (Indiana, 2004). He has published articles on early modern literature and popular culture.

Joseph Campana is a poet and scholar of Renaissance literature. His essays on Spenser, Shakespeare, Nashe, Defoe, poetry and poetics, and the history of sexuality appear in PMLA, Modern Philology, and other venues. He is the author of The Pain of Reformation: Spenser, Vulnerability, and the Ethics of Masculinity (Fordham UP, 2012), and a collection of poetry, The Book of Faces (Graywolf, 2005), with poems in Slate, Kenyon Review, Poetry, and other venues. He has received the Isabel MacCaffrey Prize, the Crompton-Noll Award, and grants from the NEA and the HAA. He teaches literature and creative writing at Rice University.

Celia R. Daileader is Professor of English at Florida State University and author of Eroticism on the Renaissance Stage: Transcendence, Desire, and the Limits of the Visible (CUP, 1998) and Racism, Misogyny, and the Othello Myth: Inter-racial Couples from Shakespeare to Spike Lee (CUP, 2005). She has published widely on Renaissance literature, gender and sexuality studies, and critical race theory.

Lars Engle is Chair and James G. Watson Professor of English at The University of Tulsa. Author of Shakespearean Pragmatism: Market of his Time and numerous essays and book chapters, he is an editor of English Renaissance Drama: A Norton Anthology and has served as a trustee of the Shakespeare Association of America. He was the 2010 Lloyd Davis Memorial Professor of Shakespeare Studies at the University of Queensland.

Ewan Fernie is Chair and Professor of Shakespeare Studies at The Shakespeare Institute, University of Birmingham. He is the author of Shame in Shakespeare, editor of Spiritual Shakespeares, and coordinating editor of Reconceiving the Renaissance. He has recently completed a Macbeth novel with Simon Palfrey, with whom he is also General Editor of the ‘Shakespeare Now!’ series of short, provocative books published by Continuum. He is currently writing a critical book for Routledge on the demonic from Shakespeare to Thomas Mann. And he is Principal Investigator of the AHRC/ESRC funded project ‘The Faerie Queene Now: Remaking Religious Poetry for Today's World’, for which he has written Redcrosse: A New Celebration of England and St George (p. xiii) with the poets Andrew Motion, Michael Symmons Roberts, and Jo Shapcott, and the theologian Andrew Shanks. Redcrosse was premièred at St George's Chapel, Windsor, and Manchester Cathedral in 2011.

Barbara Fuchs is Professor of English and Spanish at UCLA, where she also directs the Center for 17th- and 18th-Century Studies and the W. A. Clark Memorial Library. Her books include Mimesis and Empire: The New World, Islam, and European Identities (2001),Passing for Spain: Cervantes and the Fictions of Identity (2003), Romance (2004), and Exotic Nation: Maurophilia and the Construction of Early Modern Spain (2009). She is currently working on a book on the disavowal of Spanish influence in early modern England.

Gabriel Gbadamosi is a poet, playwright, and essayist. He is a Visiting Research Fellow in Drama at Goldsmiths, University of London, having completed a three-year AHRC Creative and Performing Arts Fellowship involving practice-led research in writing for European and African performance. He was writer in residence as a Judith E. Wilson Fellow at Cambridge University, a Wingate Scholar in African performance, and a presenter for Night Waves, the BBC's flagship arts and ideas programme on Radio 3. His book collaborations with artists include Sun-Shine, Moonshine (2005) and antmothbeetlemillipedespider (2007).

Indira Ghose is Professor of English Literature at the University of Fribourg in Switzerland. Her book on Shakespeare and Laughter: A Cultural History appeared in 2008.

David Glimp is Associate Professor in the Department of English at the University of Colorado–Boulder. He is the author of Increase and Multiply: Governing Cultural Reproduction in Early Modern England (Minnesota) and co-editor of Arts of Calculation: Quantifying Thought in Early Modern Europe (Palgrave Macmillan). He is currently working on two projects: a book on the genres of emergency in Renaissance literature; and a study of early modern creatures.

Stephen Guy-Bray is Professor of English at the University of British Columbia. He is the author of three monographs—most recently, Against Reproduction: Where Renaissance Texts Come From (2009)—and numerous articles and book chapters, chiefly on Renaissance poetry. He is also the co-editor of the collection Queer Renaissance Historiography: Backward Gaze (2009). He has just finished a monograph on difference and sameness in the Renaissance and in studies of the Renaissance. This essay on Middleton is part of a larger project on the importance of paraphrase.

Meredith Molly Hand received her Ph.D. from Florida State University in 2009 after completing a dissertation that examined relationships among magical practices, women and the poor, and the shifting religious and socio-economic climate in early modern English culture. Her article ‘ Now is hell landed here upon the earth”: Renaissance Poverty and Witchcraft in Thomas Middleton's The Black Book’ appears in Renaissance and Reformation/ Renaissance et Réforme, 31.1 (Winter 2008); an essay on early modern (p. xiv) representations of witchcraft as women's work appears in the volume Working Subjects in Early Modern English Drama, edited by Michelle Dowd and Natasha Korda (Ashgate, 2011). Her current research looks at the fraught relationship between early modern conjuring tricks and the deceptive practices of emergent capitalism; and at witches’ familiars, their role as evidence in legal proceedings, and the strange representations of these creatures as lively singing and dancing animals.

Richard F. Hardin recently retired from the University of Kansas as Stiefel Professor of English Literature. His long-standing interest in the relations between classical and modern literature led to his most recent book, Love in a Green Shade: Idyllic Romances Ancient to Modern. His articles on Plautus and Renaissance comedy have appeared in Allegorica, Comparative Drama, Mediterranean Studies, and Renaissance Quarterly.

David Hawkes is Professor of English at Arizona State University. He is the author of five books, most recently The Culture of Usury in Renaissance England (Palgrave Macmillan, 2010), and his work has appeared in such journals as The Nation, the Times Literary Supplement, the Journal of the History of Ideas, Studies in English Literature, and English Literary History.

Trish Thomas Henley is an Assistant Professor of English and Comparative Literature at the University of Cincinnati. She has published in Exemplaria, Journal for Early Modern Cultural Studies, and Theatre Journal, and is currently finishing a book manuscript, Velvet Women Within: The Boy Actor and the Prostitute on the Early English Stage.

Jonathan Hope is Reader in Literary Linguistics at Strathclyde University, Glasgow. His publications include Stylistics: A Practical Coursebook (Routledge; with Laura Wright); The Authorship of Shakespeare's Plays (CUP); Shakespeare's Grammar (Arden); and Shakespeare and Language: Reason, Eloquence and Artifice in the Renaissance (Arden). He is currently engaged in a major project with Michael Witmore (Folger Shakesphere Library) on the digital analysis of Early Modern Texts—ongoing work is first published on Witmore's blog at:

Douglas M. Lanier is Professor of English and Director of the London Program at the University of New Hampshire. His published work on early modern British writing includes articles on Shakespeare, Jonson, Marston, Middleton, and the Jacobean masque. He has also written widely about contemporary adaptation of Shakespeare, including articles on Shakespeare adaptation in film, audio performance, radio, comic books, and advertising. His book Shakespeare and Modern Popular Culture (OUP) appeared in 2002; his articles have appeared in many journals as well as Spectacular Shakespeare, The Cambridge Companion to Shakespeare and Popular Culture, Cambridge Companion to Literature and Film, the Blackwell Companion to Shakespeare in Performance, and Shakespeares after Shakespeare. He currently serves as a trustee of the Shakespeare Association of America. He is completing a book-length study of screen adaptations of Othello, both faithful and free.

Courtney Lehmann is Tully Knowles Professor of the Humanities at University of the Pacific, where she teaches courses in Renaissance Culture, Shakespeare, Film Studies, and Gender Studies. She is the author of Shakespeare Remains: Early Modern to Postmodern (Cornell UP, 2002), as well as editor, with Lisa S. Starks, of two collections: Spectacular Shakespeare: Critical Theory and Popular Cinema and The Reel Shakespeare: Alternative Cinema and Theory (Fairleigh Dickinson UP, 2002). Professor Lehmann has published more than twenty articles and essays on Shakespeare and cinema and has books forthcoming from A&C Black and Indiana University Press.

Eleanor Lowe is Senior Lecturer in Drama in the Department of English at Oxford Brookes University. Eleanor's main research interests in Early Modern drama are divided between textual editing and theatre practice. She edited two plays for the AHRC-funded project Richard Brome Online (Sheffield: HRI Online, 2010) and is preparing a critical edition of George Chapman's A Humorous Day's Mirthfor Digital Renaissance Editions. Eleanor's focus on the practical understanding of clothing and costume is based on researching original clothing in the V&A's special collections and experience of constructing Renaissance clothing for clients including Shakespeare's Globe Theatre. She is preparing a transcription of the Henrician Revels accounts for The Malone Society, and contributed to Ben Jonson in Context, edited by Julie Sanders (CUP, 2010), on clothing and fashion in Jonson's plays.

Laurie Maguire is Professor of English at Oxford University and a Fellow of Magdalen College. She is the author or editor of seven books; her most recent is Helen of Troy: From Homer to Hollywood (Wiley–Blackwell, 2009).

Lucy Munro is a Senior Lecturer in English at Keele University. Her publications include: a monograph, Children of the Queen's Revels: A Jacobean Theatre Repertory; editions of works by Edward Sharpham, Richard Brome, and John Fletcher; and essays on subjects including Shakespeare's Coriolanus, female pirates, and children in film versions of Richard III. She is currently working on a study of literary archaism provisionally entitled The English Archaic: Materialising the Past in Early Modern Literature and Culture, and editions of Thomas Dekker, John Ford, and William Rowley's The Witch of Edmonton, and James Shirley's The Gentleman of Venice.

Gail Kern Paster is Director Emeirtus of the Folger Shakespeare Library in Washington, DC, where until 2009 she also served as Editor of Shakespeare Quarterly. Her scholarly work concentrates on the cultural history of the early modern body and its emotions, including her most recent monograph, Humoring the Body: Emotions and the Shakespearean Stage (2004). She edited Middleton's city comedy Michaelmas Term for the Revels Plays in 1999.

Barbara Ravelhofer is Reader in English at Durham University and Research Associate at the Centre for History and Economics, King's College, Cambridge. She has pursued her studies at Munich, Cambridge, Bologna, Princeton, and Harvard. Her research (p. xvi) interests include early dance, Renaissance drama, book history, and court culture in late medieval and early modern Europe. Her most recent book, The Early Stuart Masque: Dance, Costume, and Music (OUP, 2006), examines performance practice at the English court in comparative perspective. She is currently editing masques and entertainments by James Shirley for OUP and working on a study of Europe's East in manuscript and print.

Thomas Roebuck teaches at Oxford University, where he recently completed a D.Phil. on early modern antiquaries. He has broad interests in intellectual history and is pursuing a post-doctoral project on early modern views of the first century.

Carol Chillington Rutter is Professor of Shakespeare and Performance Studies at the University of Warwick and former Director of the CAPITAL Centre (2006–11), a Centre of Excellence in Teaching and Learning. Widely published, her most recent book is Shakespeare and Child's Play: Performing Lost Boys on Stage and Screen (Routledge, 2007). She contributes the annual review of ‘Shakespeare Performance in England’ to Shakespeare Survey. In 2007, she received a student-nominated Warwick Award for Teaching Excellence, and in 2010 was honoured as a National Teaching Fellow. Her current project is work on Henry Wotton and the idea of the ambassador.

Raphael Seligmann is an independent scholar in Richmond, Virginia. He holds degrees from Cornell University (BA), The Johns Hopkins University (MA), and Brandeis University (Ph.D), where Gary Taylor was his dissertation adviser. He has lectured and published on music in early seventeenth-century drama and has tested his theories of that music's expressiveness in collaboration with musicians who specialize in historically informed performance. He performs on baroque violin and viola with several ensembles. He is also the owner of a business consultancy, a board member of several civic and cultural organizations, and a mentor to at-risk schoolchildren.

Emma Smith is Fellow in English at Hertford College, Oxford, and has published widely on Shakespeare and early modern drama. She is currently editing a collection of revenge plays and writing on the First Folio.

Tiffany Stern is Professor of Early Modern Drama at Oxford University, and the Beaverbrook and Bouverie Fellow and Tutor in English Literature at University College, Oxford. She is author of Rehearsal from Shakespeare to Sheridan (2000), Making Shakespeare (2004), Shakespeare in Parts (2007, co-written with Simon Palfrey, and winner of the 2009 David Bevington Award for Best New Book in Early Drama Studies), and Documents of Performance in Early Modern England (2009), winner of the 2010 David Bevington Award for the Best New Book in Early Drama Studies.

Gary Taylor is George Matthew Edgar Professor of English at Florida State University, founder of the History of Text Technologies programme there, general editor (with Stanley Wells) of the Oxford edition of Shakespeare's Complete Works, and general editor (with John Lavagnino) of the Oxford edition of Middleton's Collected Works.

Paul Yachnin is Tomlinson Professor of Shakespeare Studies and Chair of English at McGill University. He is Past President of the Shakespeare Association of America. He directs the Making Publics Project and co-directs the McGill Shakespeare and Performance Research Team. He is the founder of the McGill Institute for the Public Life of Arts and Ideas. His books include Stage-Wrights and The Culture of Playgoing in Early Modern England (with Anthony Dawson). He has undertaken editorial projects, including contributions to the Oxford edition of The Works of Thomas Middleton, Shakespeare's Richard II (Oxford, forthcoming; with Anthony Dawson), and The Tempest (Broadview Press, forthcoming; with Brent Whitted). Four recent books are Shakespeare and the Cultures of Performance, with Patricia Badir; Shakespeare and the Eighteenth Century, with Peter Sabor; Shakespeare and Character: Theory, History, Performance, and Theatrical Persons, with Jessica Slights; and Making Publics in Early Modern Europe: People, Things, Forms of Knowledge, with Bronwen Wilson. He has also published on Shakespeare and law, Shakespeare and animality, and Middleton. His book-in-progress is A World Coming Out: Making Theatrical Publics in Shakespeare's England.

Julian Yates is Associate Professor of English and Material Culture Studies at University of Delaware. His first book, Error, Misuse, Failure: Object Lessons from the English Renaissance (Minneapolis: University of Minnesota Press, 2003), examined the social and textual lives of relics, portrait miniatures, the printed page, and secret hiding places in Renaissance England, and was a finalist for the MLA Best First Book Prize in 2003. His recent work focuses on questions of ecology, genre, and reading in Renaissance English Literature and beyond. (p. xviii)