(p. xiii) Notes on Contributors
(p. xiii) Notes on Contributors
Anna Riehl Bertolet is Associate Professor at Auburn University. She is the author of The Face of Queenship: Early Modern Representations of Elizabeth I (Palgrave Macmillan, 2010) and co-editor of Tudor Court Culture (Susquehanna University Press, 2010). Her articles have appeared in English Literary Renaissance, The Foreign Relations of Elizabeth I (ed. Charles Beem, Palgrave Macmillan, 2011), and Queens and Power in Medieval and Early Modern England (ed. Carole Levin and Robert Bucholz, Bison Books, 2009).
Thomas Betteridge is Professor of English Literature and Drama at Oxford Brookes University. His books include Tudor Histories of the English Reformations (Manchester University Press, 1999), Literature and Politics in the English Reformation (Manchester University Press, 2004), and Shakespearean Fantasy and Politics (University of Hertfordshire Press, 2005). He is currently working on a study of Sir Thomas More's writing to be published by University of Notre Dame Press (2012). Professor Betteridge was project leader of the Arts and Humanities Research Council funded research project Staging the Henrician Court and the Wellcome Trust funded project Medicine, Birth and Death at the Tudor Court.
Sarah Carpenter is Senior Lecturer in English Literature at the University of Edinburgh. She researches and publishes on medieval and early modern drama and practices of performance. Author, with Meg Twycross, of Masks and Masking in Medieval and Early Tudor England (Ashgate, 2002), she is currently working on sixteenth-century performance at the Scottish royal court.
Dermot Cavanagh teaches literature at the University of Edinburgh. He is the author of Language and Politics in the Sixteenth-Century History Play (Palgrave Macmillan, 2003) and co-editor, with Stuart Hampton-Reeves and Stephen Longstaffe, of Shakespeare's Histories and Counter Histories (Manchester University Press, 2006). He is currently editing King John for the third edition of the Norton Shakespeare.
Sheila Christie is an Assistant Professor at Cape Breton University where she teaches both dramatic literature and practical theatre. Her research focuses on aspects of popular culture ranging from cycle drama to fan fiction. She is currently working on a monograph, The City's Stories: The Chester Play as Civic Transformation, and has an article forthcoming on Roman references in the Chester cycle (in The Chester Cycle in Context, 1555–1575: Religion, Drama, and the Impact of Change). She has also published articles on the York and Coventry plays, and is developing material on the Newcastle plays.
(p. xiv) Janette Dillon is Professor of Drama at the University of Nottingham and author of The Language of Space in Court Performance, 1400–1625 (Cambridge, 2010), The Cambridge Introduction to Shakespeare's Tragedies (Cambridge, 2007), The Cambridge Introduction to Early English Theatre (Cambridge, 2006), Performance and Spectacle in Hall's Chronicle (Society for Theatre Research, 2002), Theatre, Court and City, 1595–1610 (Cambridge, 2000), and Language and Stage in Medieval and Renaissance England (Cambridge, 1998). She is currently working on a book on Shakespeare's English histories.
Elisabeth Dutton is Professor of Medieval English at the University of Fribourg, Switzerland. She has published on medieval drama, particularly Tudor interludes, as well as on medieval mystical and devotional texts: she is the author of Julian of Norwich: The Influence of Late-Medieval Devotional Compilations (Cambridge, 2008) as well as an edition of Julian with Yale University Press, and editor of John Gower: Trilingual Poet (Cambridge, 2010). She has directed numerous productions of medieval drama, including the Croxton Play of the Sacrament and a recent professional production at Hampton Court of Skelton's Magnyfycence.
Alison Findlay is Professor of Renaissance Drama and Director of the Shakespeare Programme at Lancaster University (UK). She is the author of Illegitimate Power (Manchester University Press, 1994, repr. 2010), A Feminist Perspective on Renaissance Drama (Blackwell, 1998), Women in Shakespeare: A Dictionary (Continuum, 2010), and, most recently, Much Ado About Nothing: A Guide to the Text and the Play in Performance (Palgrave Macmillan, 2011). Alison was co-director of a research project on early women's drama, producing a series of filmed performances and a co-authored book Women and Dramatic Production 1550–1700 (Longman, 2000). Her specialized study of site-specific production, Playing Spaces in Early Women's Drama, came out in 2006 (Cambridge). She has published essays on Shakespeare and his contemporaries and is a General Editor of the Revels Plays.
Alan J. Fletcher is Professor of Medieval and Renaissance English Language and Literature at University College Dublin and Member of the Royal Irish Academy. His wide research interests centre on early theatre, performance history, and the poetry of the medieval period. Among his many publications are the revised and much expanded second edition of The Cambridge Companion to Medieval English Theatre (Cambridge, 2007), co-edited with Richard Beadle, Drama, Performance, and Polity in Pre-Cromwellian Ireland (University of Toronto Press, 2000), Late Medieval Popular Preaching in Britain and Ireland: Texts, Studies, and Interpretations (Brepols, 2009), and The Presence of Medieval English Literature (Brepols, 2012). He is currently working on a critical edition of the entire corpus of Latin liturgical drama extant from the British Isles.
Vincent Gillespie is J. R. R. Tolkien Professor of English Literature and Language at the University of Oxford, and Executive Secretary of the Early English Text Society. He works on catechetical, devotional, and contemplative texts produced in England in the Middle Ages. He is also interested in medieval literary theory and the psychology of (p. xv) literary response. His edition of the brethren's library registrum of the Birgittine house of Syon Abbey was published in 2001 as part of the Corpus of British Medieval Library Catalogues. He co-edited and contributed to The Cambridge Companion to Medieval English Mysticism (Cambridge, 2011). A selection of his articles has been published as Looking in Holy Books: Essays on Late-Medieval Religious Writing in England (Brepols, 2011). He is co-editing and contributing to After Arundel: Religious Writing in Fifteenth-Century England (Brepols, 2012), Probable Truth Editing Medieval Texts from Britain in the Twenty-First Century (forthcoming, Brepols), and A Companion to the Early Printed Book in Britain (forthcoming, Boydell and Brewer).
Jane Griffiths is a Lecturer in English Literature at the University of Oxford, and a Fellow of Wadham College. She has published on fifteenth- and sixteenth-century poetry and drama in journals including Medievalia et Humanistica, the Huntington Library Quarterly, Review of English Studies, and the Yearbook of English Studies. Her first book, John Skelton and Poetic Authority: Defining the Liberty to Speak, was published by Oxford University Press in 2006. Her second, The Marginal Gloss from Manuscript to Print, is forthcoming, also with Oxford University Press.
Andrew Hadfield is Professor of English at the University of Sussex and Visiting Professor at the University of Granada. He is the author of a number of works on early modern literature, including Shakespeare and Republicanism (Cambridge, 2005, paperback, 2008); Literature, Travel and Colonialism in the English Renaissance, 1540–1625 (Oxford University Press, 1998, paperback, 2007); Literature, Politics and National Identity: Reformation to Renaissance (Cambridge, 1994); and Edmund Spenser: A Life (Oxford University Press, forthcoming, 2012). He was editor of Renaissance Studies (2006–11) and is a regular reviewer for The Times Literary Supplement. He directs the Centre for Early Modern Studies at Sussex, which he founded in 2003–4.
Peter Happé, retired Principal of Barton Peveril Sixth Form College, is a Visiting Fellow in the English Department of Southampton University. His recent publications include Cyclic Form and the English Mystery Plays (Rodopi, 2004) and The Towneley Cycle: Unity and Diversity (University of Wales Press, 2007), and he has co-edited essay collections on Urban Theatre in the Low Countries 1400–1625 (Brepols, 2006) and Interludes and Early Modern Society: Studies in Gender, Power and Theatricality (Rodopi, 2007). He has edited The Trial of Treasure (Manchester University Press, 2010) and The Tide Tarrieth No Man (forthcoming) for The Malone Society, and he is a contributing editor to the current collected editions of Ben Jonson (Cambridge University Press) and James Shirley (Oxford University Press).
Richard Hillman is Professor at the Université François-Rabelais, Tours, France. His books include Self-Speaking in Medieval and Early Modern English Drama: Subjectivity, Discourse and the Stage (Macmillan, 1997) and several works focusing on links between early modern England and France: Shakespeare, Marlowe and the Politics of France (Palgrave Macmillan, 2002), French Origins of English Tragedy and French Reflections in the Shakespearean Tragic (Manchester University Press, 2010 and 2012). He has also (p. xvi) published translations of early modern French plays, including L’histoire tragique de la Pucelle de Domrémy, by Fronton Du Duc (Dovehouse Editions, 2005), La tragédie de feu Gaspard de Colligny (François de Chantelouve), together with La Guisiade, by Pierre Matthieu (Dovehouse Editions, 2005), and Coriolan, by Alexandre Hardy (Presses Universitaires François-Rabelais, 2010 [on-line]).
Andreas Höfele is Professor of English at Munich University. He is author of Stage, Stake, and Scaffold: Humans and Animals in Shakespeare's Theatre (Oxford University Press, 2011). His publications in German include books on Shakespeare's stagecraft, late nineteenth-century parody and on Malcolm Lowry, as well as six novels. He served as President of the German Shakespeare Society 2002–11.
Alice Hunt is a Senior Lecturer in English Literature at the University of Southampton. She is the author of The Drama of Coronation: Medieval Ceremony in Early Modern England (Cambridge, 2008) and the editor, with Anna Whitelock, of Tudor Queenship: The Reigns of Mary and Elizabeth (Palgrave Macmillan, 2010).
Claire Jowitt is Professor of English at Nottingham Trent University. Her principal publications include Voyage Drama and Gender Politics 1589–1642: Real and Imagined Worlds (Manchester University Press, 2003) and The Culture of Piracy: English Literature and Seaborne Crime 1580–1630 (Ashgate, 2010) as well as a range of essays on early modern travel writing, conceptions of ‘race’ and religion, and cross-cultural encounter. She is a General Editor for Richard Hakluyt's The Principal Navigations (1598–1600), which Oxford University Press is publishing in fourteen volumes.
Pamela King is Professor of Medieval Studies in the University of Bristol. She is an interdisciplinary medievalist who publishes on medieval theatre and drama, as well as manuscripts, poetry, tombs, and other aspects of the material culture of the late medieval period. She also works on present-day civic festivals that revive or recreate the medieval festive tradition in Europe. Her major publications include the double-prize winning monograph, The York Mystery Cycle and the Worship of the City (D. S. Brewer, 2006), editions of the York and Coventry plays, and most recently Medieval Literature, 1300–1500 (Edinburgh University Press, 2011).
Ros King is Professor of English Studies at the University of Southampton. A musician and theatre director as well as an academic, she has worked as a dramaturg with Shakespeare's Globe in London, the English Shakespeare Company, and Shakespeare Santa Cruz (California), and has extensive experience giving workshops and talks to school students and teachers. She has edited a range of early modern plays and poems, including Marlowe's Faustus (Methuen, 2005), and The Works of Richard Edwards (Manchester University Press, 2001), and was co-editor of the collection Shakespeare and War (Palgrave Macmillan, 2005). Her other books include Shakespeare: A Beginner's Guide (Oneworld Publications, 2011), and Cymbeline: Constructions of Britain (Ashgate, 2005).
(p. xvii) Sarah Knight is Senior Lecturer in Shakespeare and Renaissance Literature, School of English, University of Leicester. She works on early modern English and Latin literature, particularly student writing and academic drama. She has edited and translated Leon Battista Alberti's Momus (I Tatti Renaissance Library, 2003), the accounts of Elizabeth I's progress visits to Oxford for the new critical edition of John Nichols's Progresses (Oxford University Press, 2013), and John Milton's Prolusions (Oxford University Press, forthcoming). She has co-edited two essay collections, The Intellectual and Cultural World of the Early Modern Inns of Court (Manchester University Press, 2011) and A Companion to Ramism: An Intellectual Phenomenon (forthcoming, Brill).
David Lawton is Professor of English at Washington University in St Louis, was Leverhulme Visiting Professor at Oxford 2009–10, and is currently Executive Director of the New Chaucer Society (2002–12). He has published widely on medieval literature, the Bible, and blasphemy.
Stephen Longstaffe is a Senior Lecturer in English at Cumbria University. His main interests are the English history play, clowning, and performance. His most recent publications, as editor, are 1 Henry IV: A Critical Guide (Continuum, 2011) and, with Andrew Hiscock, The Shakespeare Handbook (Continuum, 2009). He also edited Jack Straw, the Elizabethan history play dealing with the Peasants’ Revolt of 1381, for the Edwin Mellen Press in 2002.
John J. McGavin is Professor of Medieval Literature and Culture at the University of Southampton. He has written a number of articles in the areas of rhetoric, and English and Scottish early drama, and two books, Chaucer and Dissimilarity (Fairleigh Dickinson University Press, 2000) and Theatricality and Narrative in Medieval and Early Modern Scotland (Ashgate, 2007). With Dr Eila Williamson, he is currently editing the pre-1642 records of drama, ceremony, and secular music in south-east Scotland.
Mike Pincombe is Professor of Tudor and Elizabethan Literature at Newcastle University. He has written books on The Plays of John Lyly (Manchester University Press, 1996) and Elizabethan Humanism (Longman, 2001), and is the co-editor, with Cathy Shrank, of The Oxford Handbook of Tudor Literature (Oxford University Press, 2009). His current work is mainly based in mid-Tudor and early Elizabethan poetry.
Kent Rawlinson is the Curator of the Historic Buildings at Hampton Court Palace, where he contributes to the research, conservation, and interpretation of the palace. His academic interests and published research encompass the architecture of English royal palaces in the medieval and early modern periods, the history and architecture of the medieval household chapel, and court ceremony in the late medieval and early modern period.
Jennifer Richards is Professor of Early Modern Literature and Culture at Newcastle University. She is the author of Rhetoric and Courtliness in Early Modern Literature (Cambridge, 2003) and Rhetoric: The New Critical Idiom (Routledge, 2007) as well as (p. xviii) essays on sixteenth-century literature and culture in Criticism, Renaissance Quarterly, Huntington Library Quarterly, and The Journal of the History of Ideas. With Professor Andrew Hadfield she is editing the works of Thomas Nashe for a new edition to be published by Oxford University Press in 2015, and she is writing a new monograph, Useful Books: Literature and Health in Early Modern England.
Eleanor Rycroft is a Lecturer in Early Modern Literature at Lancaster University. She has published articles and essays in Medieval English Theatre, Locating the Queen´s Men, 1583–1603, and Richard Brome Online on practice-based research into the early modern theatre, its social and political contexts, and the material culture of the Renaissance. She has forthcoming work in the Blackwell Encyclopaedia of English Renaissance Literature, Literature Compass, and Henry VIII and the Tudor Court, and is also writing her first monograph. She has taught English and Drama at the Universities of Sussex, Oxford Brookes, and Reading.
Philip Schwyzer is Professor of Renaissance Literature and Culture at the University of Exeter. He is the author of Literature, Nationalism and Memory in Early Modern England and Wales (Cambridge, 2004) and Archaeologies of English Renaissance Literature (Oxford University Press, 2007). He has recently published an edition of Humphrey Llwyd's The Breviary of Britain (MHRA, 2011). His current projects include a monograph on Shakespeare and the Remains of Richard III and a study of the history of memory in English and Welsh cathedrals.
Leah Scragg is an Honorary Senior Research Fellow at the University of Manchester, where she was a Senior Lecturer until her retirement in 2004. Among her many contributions to Lylian studies are editions of three of Lyly's plays (Love's Metamorphosis, Mother Bombie, and The Woman in the Moon) for the Revels Plays series, an edition of the two parts of Euphues for the Revels Plays Companion Library series, and bibliographical editions of two of the plays (Galatea and Sappho and Phao) for The Malone Society. She has also published three books on Shakespeare and is Chairman of the Council of The Malone Society.
James Simpson is Donald P. and Katherine B. Loker Professor of English at Harvard University (2004–). Formerly Professor of Medieval and Renaissance English at the University of Cambridge, he is an Honorary Fellow of the Australian Academy of the Humanities. He was educated at Scotch College Melbourne, and the Universities of Melbourne and Oxford. His most recent books are Reform and Cultural Revolution, being volume 2 in the Oxford English Literary History (Oxford University Press, 2002), Burning to Read: English Fundamentalism and its Reformation Opponents (Harvard University Press, 2007), and Under the Hammer: Iconoclasm in the Anglo-American Tradition (Oxford University Press, 2010).
Tracey Sowerby is the CMRS Career Development Fellow in Renaissance History at Keble College, Oxford. She is the author of Renaissance and Reform in Tudor England: (p. xix) The Careers of Sir Richard Morison, c.1513–1556 (Oxford University Press, 2010) and has also published articles and essays on the history of print culture, the politics of translation, and Tudor diplomacy. While researching her contribution she was a British Academy Post-Doctoral Fellow and would like to acknowledge the generous support of both the British Academy and Pembroke College, Oxford where she concurrently held a junior research fellowship.
Erzsébet Stróbl is lecturer in English Literature at Karoli Gaspar University, Budapest. Her interests include early modern cultural history, political theory, urban history, and discourses on feminine authority. Among her principal publications are articles on the progresses of Queen Elizabeth I, the symbolism of the figure of the ‘wild man’ in Tudor courtly and civic performances, the early modern printed prayers about and for Queen Elizabeth, and the significance of the dance macabre motif in radical Protestant rhetoric and devotional works. Her book Ideology, Representation and Ritual: The Cult of Queen Elizabeth I is to be published in 2012.
Meg Twycross is Emeritus Professor of English Medieval Studies at Lancaster University. She is Executive Editor of the journal Medieval English Theatre, and has published widely on medieval and early Renaissance theatre and pageantry. In pursuit of performance research, she has directed the productions of many medieval and Tudor plays, including Redford's Wit and Science, in historic buildings resembling the original venues. Her current work using ‘virtual restoration’ techniques on high-resolution digital images of manuscripts is casting new light on the origins of the York Corpus Christi play, and on the composition of the Journal of George Fox the Quaker.
Daniel Wakelin is Jeremy Griffiths Professor of Medieval English Palaeography at the University of Oxford and Fellow of St Hilda's College. He is the author of Humanism, Reading and English Literature, 1430–1530 (Oxford University Press, 2007) and co-editor, with Alexandra Gillespie, of The Production of Books in England 1350–1500 (Cambridge, 2011).
Greg Walker is Regius Professor of Rhetoric and English Literature at the University of Edinburgh. He has published widely on the literature, drama, and history of England and Scotland in the medieval and Renaissance periods. Among his recent publications are Writing Under Tyranny: English Literature and the Henrician Reformation (Oxford University Press, 2005) and Medieval Drama: An Anthology (Blackwell, 2000). He is co-editor, with Elaine Treharne, of The Oxford Handbook of Medieval Literature in English (Oxford University Press, 2010), and, with Thomas Betteridge, of the companion to this volume, The Oxford Anthology of Tudor Drama (Oxford University Press, 2012). He is currently working on a study of early modern drama and spectatorship with Professor John J. McGavin.
Allyna E. Ward is Assistant Professor of Early Modern Literature at Booth University College in Manitoba. She has published articles on Tudor literature and has an essay on (p. xx) Nashe and Marlowe that will appear in Marlowe Studies: An Annual in 2012. She also has an essay on Anne Dowriche coming out in a collection on Identity in 2013 and is working on an article that examines Lewes Lavater's use of Book VI of Lucan's epic The Civil War. Her current research project examines Lucan and the Tudors and she is the convener of a new symposium, Lucan in the Early Modern Period.
Sam Wood has lectured at the University of Leeds and Manchester Metropolitan University. His principal publications include ‘Courtly Pride and Christian Virtue: Utopia as a Guide to Speaking to Erasmus’ “half-Christian” Turk’, in Tudor Court Culture (ed. Tom Betteridge, Susquehanna University Press, 2010) and ‘Where Iago Lies: Home, Honesty and the Turk in Othello’ (EMLS 14.3). He is currently working on the early modern representation of homelessness.
Clare Wright teaches Drama and Middle English Literature at the University of Nottingham. Her research interests focus on late medieval and early Tudor drama, in particular the corporeal experience of the medium and the effects and meanings it produces. Her interests also include performance space, audience studies, East Anglian drama, performance theory, and the body in performance. Her current work considers the recent connections forged between performance studies and cognitive neuroscience and the possible implications for the study of early theatre.