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Notes on Contributors Kevin Gilmartin works on late eighteenth- and early nineteenthcentury British literature, with a particular interest in the politics of print culture and the history of print media. He is Professor of Litera­ ture at the California Institute of Technology, and a regular visiting professor in English at the Centre for Eighteenth Century Studies at the University ofYork, England. His most recent book is William Hazlitt: Political Essayist (Oxford UP, 2015), and his articles have ap­ peared in edited collections and in such journals as Studies in Romanti­ cism, ELH, Representations, and the Journal of British Studies. Jeffrey N. Cox is Vice Provost and Associate Vice Chancellor for Faculty Affairs at the University ofColorado, Boulder where he is also an Arts and Sciences Professor ofDistinction and Professor ofEnglish, of Comparative Literature, and ofHumanities. He is the author or ed­ itor often books, including In the Shadows ofRomance: Romantic Tragic Drama in Germany, England, and France (1987) and Poetry and Politics in the Cockney School: Shelley, Keats, Hunt, and their Circle, winner of the 2000 South Central Modern Language Association Best Book Award. His most recent book, Romanticism in the Shadow of War: The Culture of the Napoleonic War Years, was published by Cambridge UP in 2014. He is the author of more than forty articles that have appeared in such journals as Comparative Literature, ELH, and Studies in Romanticism. In 2009, he received the Distinguished Scholar Award from the KeatsShelley Association of America. Julie A. Carlson is Professor of English and co-director of Litera­ ture and the Mind at the University of California, Santa Barbara. She is the author of In the Theatre of Romanticism: Coleridge, Nationalism, Women (Cambridge UP, 1994), England’s First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley (Johns Hopkins UP, 2007), editor of Domestic/Tragedy, South Atlantic Quarterly (1997), and co-editor with Elisabeth Weber of Speaking About Torture (Fordham UP, 2012). Author of articles on Romantic-era drama and theater, the Godwin-Shelley circle, Romantic-era women writers, and the cul­ tural politics ofpoetry, she is writing a book on friendship and creativ­ ity in post-i790s British radical culture. 299 300 NOTES ON CONTRIBUTORS Daniel O’Quinn is a Professor in the School ofEnglish and Theatre Studies at the University of Guelph. He is the author of Entertaining Crisis in the Atlantic Imperium, 2770-1790 (Johns Hopkins UP, 2011) and Staging Governance: Theatrical Imperialism in London, 1770-1800 (Johns Hopkins UP, 2005). He also co-edited with Jane Moody the Cambridge Companion to British Theatre, 1730—1830 (2007). Georgian Theatre in an Information Age, a new collection of essays co-edited with Gillian Russell, has recently appeared in Eighteenth-Century Fiction. He is currently working on a new book entitled “After Peace: The Art of Engaging the Ottoman Empire.” Gillian Russell is Gerry Higgins Professor of Irish Studies at the University ofMelbourne, Australia and is currently completing a proj­ ect on printed ephemera, sociability, and the cultures of collecting. Diego Saglia teaches English Literature at the University of Parma, Italy. He is the author of Poetic Castles in Spain: British Romanticism and Figurations of Iberia (2000) and has recently published the first critical edition of Robert Southey’s Roderick, the Last of the Goths (2012). His chapter on “The Gothic Stage: Visions of Instability, Performances of Anxiety” in Romantic Gothic: An Edinburgh Companion, eds. Dale Townshend and Angela Wright, will be forthcoming in late 2015. Greg Kucich is Professor of English and Director of Undergraduate Studies in English at the University of Notre Dame. His publications include Keats, Shelley, and Romantic Spenserianism, Nineteenth-Century Worlds: Global Formations Past and Present (co-edited with Keith Han­ ley), and Volumes 1—2 of Selected Writings of Leigh Hunt (co-edited with Jeffrey N. Cox). He has published extensively on Romantic era drama and on women writers of the Romantic era. His current proj­ ect is a monograph on the “Politics of Women’s Historical Writing During the Romantic Era.” He served for 14 years as co-editor, with Keith Hanley, of Nineteenth-Century Contexts. He also Directed the University of Notre Dame’s London Program from 2008—2013. ...


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