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  • Contributors

Ranjan Ghosh teaches in the Department of English at the University of North Bengal, India. He has published in leading international journals such as Oxford Literary Review, History and Theory, parallax, Rethinking History, Comparatist, South Asia, SubStance, symploke, Angelaki, and is author/editor of several books, including Globalizing Dissent (Routledge, 2008), Edward Said: The Literary, Social and the Political World (Routledge, 2009), Making Sense of the Secular (Routledge, 2012), A Lover's Quarrel with the Past: Romance, Representation, Reading (Berghahn Books, 2012), and Presence: Philosophy, History and Cultural Theory for the 21st Century (Cornell University Press, forthcoming, with Ethan Kleinberg). His website is: http://www.ranjanghosh.com.

Stephen Barker is Associate Dean in the Claire Trevor School of the Arts at the University of California at Irvine. Formerly chair of both the Drama and Studio Art Departments, his focus is critical, aesthetic, and performance theory. He has written on Nietzsche, Derrida, Beckett, Blanchot, Lyotard, Artaud, and others and done numerous translations of Bernard Stiegler and of François-David Sebbah for Stanford. Books include Autoaesthetics: Strategies of the Self after Nietzsche (Humanities Press, 1992); Signs of Change: Premodern→ Modern→ Postmodern (SUNY Press, Albany, 1996); and Excavations and Their Objects: Freud's Collection of Antiquity (SUNY Press, Albany, 1996). His most recent book, Thresholds: The Art of Limit-Play in and after Derrida, is forthcoming.

Natasha Distiller was, until recently, Associate Professor of English at the University of Cape Town. She remains a Research Associate of the Institute for the Humanities in Africa at UCT. She has published extensively, both monographs and in peer-reviewed journals. Her most recent book is Shakespeare and the Coconuts: On Post-Apartheid South African Culture (Wits University Press, 2012). She currently lives in Berkeley, California.

Les Essif is a Professor of French and Francophone Studies at the University of Tennessee-Knoxville. His most recent work, American "Unculture" in Post-1960 French Drama, will be published by Palgrave MacMillan in 2013. [End Page 425]

Kyle Gillette is an Assistant Professor in the Department of Human Communication and Theater at Trinity University and the Artistic Director of the Overtime Theater. Before Trinity, he taught at Stanford University, the American Conservatory Theater, and summer programs in Berkeley and Oxford. Primarily guided by questions of phenomenology, he has written about Pirandello, Ibsen, Marinetti, Witkiewicz, and Handke, and his scholarship appears in Modern Drama, Performance Research, and Theatre/Practice. His current monograph in progress is Stages of Locomotion: The Space and Time of Railway Travel in Twentieth-Century Experimental Theater. As a director, he has staged plays by Beckett, Euripides, Will Eno, Paula Vogel, and Tom Stoppard, among others.

Robert Gordon is Professor of Drama and Director of the Pinter Centre for Research in Performance and Creative Writing at Goldsmiths College, University of London. He is currently Principal Investigator for Beyond the Linear Narrative, a project that focuses on the fracturing of narrative in postcolonial performance and literature. He has written essays on postwar British theater, South African theater, Shakespeare, Wilde, Strindberg and Pirandello, and is the author of Stoppard: Text and Performance (Macmillan, 1991). His experience as an actor and director informs a critical approach to modern acting theory elaborated in The Purpose of Playing (University of Michigan Press, 2006). His monograph Harold Pinter: the Theatre of Power, was published by the University of Michigan Press in 2012. He is currently editing the Oxford Handbook of Sondheim Studies.

Sidney Homan, Professor of English at the University of Florida, is also a Visiting Professor at Jilin University in the People's Republic of China. Author of some ten books on Shakespeare and the modern theater, he is an actor and director in commercial and university theaters. In A Fish in the Moonlight (Purdue University Press, 2006), he offers stories of his youth in South Philly and his experience telling them to children in the bone marrow unit of his university's hospital.

Loren Kruger is Professor of Comparative and English Literature, and Theater and Performance Studies at the University of Chicago. Her books include The National Stage (University of Chicago, 1992), The Drama of South Africa (Psychology Press, 1999), and Post-Imperial Brecht (Cambridge University Press, 2004 [MLA Scaglione...

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Additional Information

ISSN
1936-1637
Print ISSN
0010-4078
Pages
pp. 425-426
Launched on MUSE
2012-10-18
Open Access
No
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