- Notes on Contributors
Rosemarie McGerr received her Ph.D. in Medieval Studies from Yale University. She teaches for the Comparative Literature Department and the Medieval Studies Institute at Indiana University, Bloomington. Her publications include Chaucer’s Open Books: Resistance to Closure in Medieval Discourse, a critical edition of the Middle English dream vision The Pilgrimage of the Soul, and articles on Guyart Desmoulins’ Bible historiale, the illustrations in a fifteenth-century Dutch book of hours, and gender role reversals in Wolfram von Eschenbach’s Parzival. Most recently, she has completed a study of allusions to medieval texts in J. L. Carr’s novel A Month in the Country and the film version directed by Pat O’Connor.
William L. Davis is an independent scholar and a former translator of scriptural texts. His previous work on Shakespeare’s structural patterns includes “Better a Witty Fool than a Foolish Wit: The Art of Shakespeare’s Chiasmus”, in Text and Performance Quarterly (2003), and “Structural Secrets: Shakespeare’s Complex Chiasmus”, in Style (2005). He is currently working on a book addressing the origins of the 1603 “Bad Quarto” of Hamlet.
A. W. Barnes is Assistant Professor and Director of Graduate Studies at William Paterson University in New Jersey. He has published work on John Skelton, and his book-length manuscript, Reading Masculinity in Early Modern England, is currently under consideration. Barnes is working on a theory of erotic theology in George Herbert’s poetry.
Nadia Altschul is Lecturer in Medieval Spanish Literature and Culture and holds a Mellon Postdoctoral Fellowship in the Roman de la Rose Digital Surrogates Project at The Johns Hopkins University. She received her Ph.D. in the Department of Spanish and Portuguese at Yale University in 2002. She is the author of La literatura, el autor y la crítica textual (Madrid: Pliegos, 2005), and her articles include “Difracción, collatio externa y diasistemas: de [End Page 211] la cultura del manuscrito y la crítica textual” (La corónica 2003) and “Un acercamiento cultural a la edición de textos medievales: método y mental-idad nacional en Alemania, Francia y España” (Neophilologus 2006). Her current book project on Latin American medievalism focuses on Andrés Bello’s Spanish medieval studies in Romantic London.
Marcello Ciccuto is Professor of Italian Literature at the University of Pisa. He has focused much of his research on the relationship between literature and the arts and has published essays on Dante, Petrarch, Boccaccio, Humanism and the Renaissance, and nineteenth- and twentieth-century Italian literature. He is the editor of the scholarly journals Studi rinascimentali, Letteratura & Arte, and Humanistica. The author of over ninety articles in journals such as Intersezioni, the Rivista di storia della miniatura, the Giornale storico della letteratura italiana, Aevum, and Rara Volumina, his critical monographs include Figure del Petrarca (Giotto, Simone Martini, Franco bolognese) (Napoli 1991), Icone della parola. Immagine e scrittura nella letteratura delle origini (Modena 1995); I segni incrociati. Letteratura italiana del ‘900 e arte figurativa, I e II (Lucca 1998 and 2001); and Figure d’artista. La nascita delle immagini alle origini della letteratura (Firenze 2002). Among the editions he has published are Guido Cavalcanti’s Rime (Milano 1978), De rebus in Oriente mirabilibus [Le meraviglie dell’Oriente] (Pisa 1994), and Marco Polo’s Milione (Milano 1998).
Gregory Heyworth is Assistant Professor of English at the University of Mississippi. With a Ph.D. in Comparative Literature (Princeton, 2001), Heyworth specializes in medieval literature and classical influence, insular and continental romance, cultural history, and genre theory. His book, Ovidian Romance and the Cult of Form, forthcoming with the University of Notre Dame Press, is a study of the relationship of bodies to texts in a range of medieval and early modern authors including Marie de France, Chaucer, Petrarch, and Shakespeare. With Daniel O’Sullivan, he is finishing the first of a three-volume edition of Les Esches Amoureux ou Raisons et Sensualites for Droz. [End Page 212]