Contributors
- Contributors
Kent Cartwright, Professor of English at the University of Maryland, is currently editing The Comedy of Errors for the Arden Shakespeare, Third Series.
Jane Donawerth, Professor of English and affiliate faculty in Women's Studies at the University of Maryland, has published widely on Shakespeare and early modern women; among her recent publications is a co-translation of the rhetorical writings of Madeleine de Scudéry, and she is currently enjoying an NEH Fellowship to work on a critical study of rhetorical theory by women between 1600 and 1900.
Richard Dutton is Humanities Distinguished Professor of English at Ohio State University.
Charles Edelman has recently edited The Merchant of Venice for Cambridge's Shakespeare in Production series (2002). His editions of The Battle of Alcazar and Captain Thomas Stukeley are soon to be published in a single volume by the Revels Plays Companion Library under the title The Stukeley Plays.
Jean Feerick, Assistant Professor of English at Brown University is completing a book about Renaissance literature, race, and the fear of degeneration.
Hugh Grady, Professor of English at Arcadia University, is the author of The Modernist Shakespeare: Critical Texts in a Material World (1991) and, most recently, Shakespeare, Machiavelli, and Montaigne: Power and Subjectivity from "Richard II” to "Hamlet" (2002).
Matthew Greenfield is an Assistant Professor of English at the College of Staten Island, City University of New York. He coedited Edmund Spenser: Essays on Culture and Allegory (2000) and has published articles in PMLA, Shakespeare Quarterly, Raritan, English Literary Renaissance, and anthologies including British Identities and English Renaissance Literature.
Elizabeth Hanson is Associate Professor of English at Queen’s University, Canada.
R. Chris Hassel Jr., Professor Emeritus of English at Vanderbilt University, is the author of numerous books and articles on Christian motifs in Shakespeare's [End Page 242] plays, including Renaissance Drama and the English Church Year (1979) and Faith and Folly in Shakespeare’s Romantic Comedies (1980). Forthcoming this year is Shakespeare's Religious Language: A Dictionary, part of the Athlone Shakespeare Dictionary series.
Skiles Howard teaches at Rutgers University; she is the author of The Politics of Courtly Dancing in Early Modern England (1998) and the coeditor, with Gail Kern Paster, of A Midsummer Night's Dream for Bedford Books' Texts and Contexts series (1999).
Russell Jackson is Allardyce Nicoll Chair in Drama at the University of Birmingham.
Jeremy Lopez is Assistant Professor of English Literature at the College of William and Mary.
Jane O. Newman, Professor of Comparative Literature at University of California at Irvine, is the author of Pastoral Conventions (1990), The Intervention of Philology (2000), and essays on feminist theory, Shakespeare's The Rape of Lucrece, intertextuality, and sixteenth-and seventeenth-century Central European literature and culture. She is currently completing a book entitled "Benjamin’s Library: A Material History of the Baroque."
Ben Saunders, Assistant Professor of English at the University of Oregon, is the author of Desiring Donne: Poetry, Sexuality, Interpretation (forthcoming) and coeditor, with Roger Beebe and Denise Fulbrook, of Rock Over the Edge: Transformations in popular music culture (2002).
David Schalkwyk, Professor of English at the University of Cape Town, is the author of Speech and Performance in Shakespeare's Sonnets and Plays (2002) and Literature and the Touch of the Real (2004); he is currently working on a book-length study of love and service in the works of Shakespeare and his contemporaries.
Laurie Shannon, E. Blake Byrne Associate Professor of English at Duke University, is the author of Sovereign Amity: Figures of Friendship in Shakespearean Contexts (2002) and is at work on a book about the species concept and early modern zoographic writing.
Brian Walsh, Assistant Professor of English at the University of Illinois, Urbana-Champaign, is currently writing a book-length study of theoretical performance issues in Shakespeare's early history plays. [End Page 243]
