JOHN D. COX is the DuMez Professor of English at Hope College. He is the author, most recently, of Seeming Knowledge: Shakespeare and Skeptical Faith. With Patrick Gray, he is coeditor of a forthcoming essay collection, Shakespeare and Renaissance Ethics.
ANDREA CROW is a PhD student at Columbia University. Her research focuses on seventeenth-century literature, textual communities, and sexuality studies.
LARS ENGLE, James G. Watson Professor of English at the University of Tulsa, is the coauthor with Eric Rasmussen of Studying Shakespeare’s Contemporaries (2014) and is also an editor of English Renaissance Drama: A Norton Anthology.
BRIDGET ESCOLME is Reader in Drama at Queen Mary University of London where she teaches and researches theater and performance history and historical theater in contemporary performance practice. Her most recent monograph is Emotional Excess on the Shakespearean Stage (2013).
ELIZABETH D. HARVEY is the author of Ventriloquized Voices: Feminist Theory and Renaissance Texts, coeditor of Luce Irigaray and Premodern Culture: Thresholds of History, and editor of Sensible Flesh: On Touch in Early Modern Culture. She is currently completing a book (with Tim Harrison) on early modern literature and the discourses of science and medicine, John Donne’s Physics, and a book on early modern air, spirits, and the passions, Shakespeare’s Spirit World.
ANDREW S. KEENER is a doctoral student in English at Northwestern University. His research concerns language learning, literary translation, and the publication and use of bilingual dictionaries and grammar books in Renaissance England.
GILLIAN KNOLL received her PhD from the University of Maryland, College Park, and is currently working on a book about eros and cognition in early modern drama. Her essay on the erotics of place in Antony and Cleopatra is forthcoming in Criticism. [End Page 236]
JEREMY LOPEZ is Associate Professor of English at the University of Toronto. He is the author most recently of Constructing the Canon of Early Modern Drama (2014).
NEDDA MEHDIZADEH, Production Associate for Shakespeare Quarterly, completed her doctoral dissertation, “Translating Persia: Safavid Iran and Early Modern English Writing,” at George Washington University. Her publications include “‘Ruinous Monument’: Transporting Objects in Herbert’s Persepolis,” which appeared in the collection Animal, Vegetable, Mineral: Ethics and Objects (2012).
ALAN H. NELSON is Professor Emeritus in the Department of English at the University of California, Berkeley. His specializations are paleography, bibliography, and the reconstruction of the literary life and times of medieval and Renaissance England from documentary sources.
MICHAEL SCHOENFELDT is the John Knott Professor of English and Chair of the Department of English at the University of Michigan. He is the author of Prayer and Power: George Herbert and Renaissance Courtship (1991), Bodies and Selves in Early Modern England: Physiology and Inwardness in Spenser, Shakespeare, Herbert, and Milton (1999), and The Cambridge Introduction to Shakespeare’s Poetry (2010). He is currently researching a book-length study of pain and pleasure in early modern England.
JESSICA SLIGHTS is Associate Professor of English at Acadia University. She is coeditor with Paul Yachnin of Shakespeare and Character: Theory, History, Performance, and Theatrical Persons (2009) and is currently preparing an edition of Othello for ISE/Broadview Press.
JENNIFER C. VAUGHT is Professor of English at the University of Louisiana at Lafayette. She is the author of Masculinity and Emotion in Early Modern English Literature (2008) and Carnival and Literature in Early Modern England (2012). She is the coeditor of Grief and Gender: 700–1700 (2003) and Shakespeare and Donne: Generic Hybrids and the Cultural Imaginary (2013) and the editor of Rhetorics of Bodily Disease and Health in Medieval and Early Modern England (2010).
MAGGIE VINTER is an Assistant Professor of English at Case Western Reserve University. She is currently working on a book about the art of dying well and early modern drama. [End Page 237]