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xi q Acknowledgments The research and writing of this book have been made possible by the support of family, friends, colleagues, and teachers , and I am glad to have the opportunity to thank them here. An earlier version of chapter 3 appeared as “Sidney’s ‘Insertour’: Arcadia, Parenthesis, and the Formation of English Eloquence,”English Literary Renaissance 30, no. 3 (Autumn 2009): 460–98. A version of chapter 5 appeared as “The‘Figure of Exchange’:Shakespeare’s‘Master Mistress,’ Jonson’s Epicoene, and the English Art of Rhetoric,” Renaissance Drama 38 (2010): 173–98. I would like to acknowledge Arthur Kinney and the editors of English Literary Renaissance at Blackwell Publishing, and Will West and the editors of Renaissance Drama at Northwestern University Press. For their support of my work I am grateful to the Departments of English at Northwestern University and Cornell University. Financial support has been generously provided by grants from the Andrew W. Mellon Foundation , Weinberg College at Northwestern University, the Presidential Fellowship at Northwestern University, the Center for Renaissance Studies at the Newberry Library, the Folger Shakespeare Library, the Society for the Humanities at Cornell University, and the President’s Council of Cornell Women at Cornell University. When I was undergraduate at Yale University, Joseph Roach took me on as a thesis advisee, and tolerantly allowed me to spend an entire year sharing my every thought on Shakespeare’s The Winter’s Tale. Even more important, he encouraged me to pursue graduate work in the English Department at Northwestern University, now one of the finest places in the country to obtain a doctorate in early modern literary studies. I am grateful to the faculty there who read and responded to the manuscript,including Kasey Evans, Jeffrey Masten, Martin Mueller, Wendy Wall, and Will West. I also thank my fellow graduate students, especially the participants in the Northwestern Early Modern Colloquium and my dear friend Coleman Hutchison. In 2004 I had the good fortune to participate in a Folger Institute seminar on “The Fate of Rhetoric in Early Modern England,” led by John Guillory. xii     Acknowledgments I had long admired John’s work, and through this seminar I learned that he is also a generous teacher. Much of the early conceptualization of this book derives from the conversations of this seminar, and I thank the other participants , especially Cathy Nicholson and Kirsten Tranter. I also thank the archivists at the Folger Shakespeare Library as well as the staff of the Folger Institute for making my time in the archive so productive, both in 2004 and on a subsequent fellowship in 2010. The arguments of this book have benefited from conversations, suggestions ,and insights offered by a generous group of scholars at Cornell University . I am grateful for the contributions of many colleagues, including Rick Bogel, Barbara Correll, Walter Cohen, Stuart Davis, Debby Fried, Philip Lorenz, Bill Kennedy, and Tim Murray. I also thank the participants in the Cornell Society for the Humanities seminar on “Historicizing the Global Postmodern,”including Matt Hart,Suman Seth,and Philip Stern. I am especially grateful to Rayna Kalas and Bernie Meyler for reading the entire manuscript and providing invaluable direction for revision. Rayna I also thank for her friendship and guidance. Jonathan Culler has been my faculty mentor since I arrived at Cornell, and I thank him in particular for directing me to Cornell University Press. I also want to acknowledge all of the friends who have made living in Ithaca for the last five years such a pleasure. This book has been greatly improved by the scrutiny of Cornell University Press reviewers, including Wayne Rebhorn and two anonymous readers. I am grateful for their thorough attention and insightful suggestions. I thank Marie Flaherty-Jones for her attentive copyediting, Kate Mertes for compiling the index, and Susan Specter for her thoughtfulness in steering the book through production. I also offer my sincere thanks to Peter Potter, who has generously read multiple versions of the manuscript and provided invaluable feedback at every stage. I feel lucky to have completed the manuscript under his careful guidance. I would like to close by thanking two scholars in particular for helping to bring this book into existence. Wendy Wall has been my most exacting reader, and I always knew a chapter was doing its job when I had finally persuaded her of the logic of its argument. I also owe her a debt of gratitude for discouraging me from specializing in Renaissance tragicomedy. I thank Jeffrey...

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