Contributors

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She is an editor of the forthcoming digital critical edition of <em>The Court and Kitchin of Elizabeth Cromwell</em> and is co-editor of the collection <em>Teaching Shakespeare Beyond the Major</em>.</p> <p><strong>Ariane M. Balizet</strong> is Professor of English and Associate Dean for Faculty and DEI at Texas Christian University. Her teaching and research interests include games and colonial competition in the early modern literary Caribbean, Shakespeare in adaptation, and intersectional approaches to teaching Renaissance literature. She is the author of two monographs: <em>Shakespeare and Girls’ Studies</em> (2029) and <em>Blood and Home in Early Modern Drama: Domestic Identity on the Renaissance Stage</em> (2014).</p> <p><strong>Cheryl Birdseye</strong> is an Associate Lecturer at Oxford Brookes University. Her research considers the performance and reception of female testimony on the early modern stage, particularly relating to texts that take real crimes as their source.</p> <p><strong>Ann Christensen</strong>, professor of English at the University of Houston, is the author of <em>Separation Scenes: Domestic Drama in Early Modern England 1590-1630</em> (U. Nebraska 2017) and <em>A Warning for Fair Women: Adultery and Murder in Shakespeare’s Theater</em> (U. Nebraska 2021), which is a modern critical edition of an anonymous 1599 play. Her work appears in <em>Early Modern Studies Journal, Early Modern Literary Studies, Studies in English Literature, Marlowe Studies Annual</em>, and <em>Early Modern Women</em>, as well as <em>Gendered Routes and Spaces in the Early Modern World</em> (Ashgate, 2015) and <em>Global Traffic: Discourses and Practices of Trade in English Literature and Culture from 1550-1700</em> (Palgrave, 2008). Her most recent essays, “Editing the Renaissance for an Anti-Racist Classroom” with Laura B. Turchi appears in <em>Teaching Race in the Renaissance</em>, edited by Matthieu Chapman and Anna Wainwright and “Using Caste to Teach Intersectionality with Three Opening Scenes” is forthcoming in <em>Design and Discomfort in Anti-Racist Shakespeare Classrooms</em> both Arizona Center of Medieval and Renaissance Studies Press.</p> <p><strong>Brent Griffin</strong> is the artistic director of Resurgens Theatre Company. A past member of the research staff at Shakespeare’s Globe Theatre, as well as a recent recipient of <em>The Ben Jonson Journal</em>’s Ben Jonson Discoveries Award, he holds a Ph.D. in Renaissance drama and performance studies from Florida State University, and serves as the founder and chair of Resurgens’ biennial academic conference on the verse dramas of Shakespeare’s contemporaries.</p> <p><strong>Molly Hand</strong> is an associate lecturer and director of the editing internship program in English at Florida State University. She co-edited <em>Animals, Animality, and Literature</em> (Cambridge University Press, 2018), and recent essays appear in <em>Early Theatre</em> and <em>Preternature</em>. Her current research focuses on animals, ecocriticism, and early modern English witchcraft..</p> <p><strong>Joseph L. Kelly</strong> has enjoyed careers on the stage, in the classroom, and the courtroom. A regular performer with the Resurgens Theatre Company, his recent teachings includes Georgia State University, Morehouse College, and Emory University at Oxford. He earned his PhD from Georgia State University in 2021.</p> <p><strong>Barbara Sebek</strong> is Professor of English at Colorado State University. Her essay, “Edmund Hosts William: Appropriation, Polytemporality, and Postcoloniality in Frank McGuinness’s <em>Mutabilitie</em>,” appears in <em>The Routledge Handbook of Shakespeare and Global Appropriation</em> (Routledge 2019). She co-edited and wrote the introduction to <em>Global Traffic: Discourses and Practices of Trade in English Literature and Culture, 1550-1700</em> (Palgrave 2008) and has published numerous essays on global approaches to Shakespeare and the economic contexts of early modern drama.</p> Copyright © 2023 Department of English, Georgia State University ... </p>","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"2 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in the Literary Imagination","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/sli.2021.a917128","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

In lieu of an abstract, here is a brief excerpt of the content:

  • Contributors

Emma K. Atwood Emma K. Atwood is Associate Professor of English at the University of Montevallo, Alabama’s only public liberal arts university. At Montevallo, she directs the graduate program in English and teaches courses on Shakespeare, Renaissance drama, and early modern women and gender. She has published articles in Comparative Drama, the Journal of Medieval and Early Modern Studies, Early Modern Women: An Interdisciplinary Journal, Borrowers and Lenders, and This Rough Magic. She is an editor of the forthcoming digital critical edition of The Court and Kitchin of Elizabeth Cromwell and is co-editor of the collection Teaching Shakespeare Beyond the Major.

Ariane M. Balizet is Professor of English and Associate Dean for Faculty and DEI at Texas Christian University. Her teaching and research interests include games and colonial competition in the early modern literary Caribbean, Shakespeare in adaptation, and intersectional approaches to teaching Renaissance literature. She is the author of two monographs: Shakespeare and Girls’ Studies (2029) and Blood and Home in Early Modern Drama: Domestic Identity on the Renaissance Stage (2014).

Cheryl Birdseye is an Associate Lecturer at Oxford Brookes University. Her research considers the performance and reception of female testimony on the early modern stage, particularly relating to texts that take real crimes as their source.

Ann Christensen, professor of English at the University of Houston, is the author of Separation Scenes: Domestic Drama in Early Modern England 1590-1630 (U. Nebraska 2017) and A Warning for Fair Women: Adultery and Murder in Shakespeare’s Theater (U. Nebraska 2021), which is a modern critical edition of an anonymous 1599 play. Her work appears in Early Modern Studies Journal, Early Modern Literary Studies, Studies in English Literature, Marlowe Studies Annual, and Early Modern Women, as well as Gendered Routes and Spaces in the Early Modern World (Ashgate, 2015) and Global Traffic: Discourses and Practices of Trade in English Literature and Culture from 1550-1700 (Palgrave, 2008). Her most recent essays, “Editing the Renaissance for an Anti-Racist Classroom” with Laura B. Turchi appears in Teaching Race in the Renaissance, edited by Matthieu Chapman and Anna Wainwright and “Using Caste to Teach Intersectionality with Three Opening Scenes” is forthcoming in Design and Discomfort in Anti-Racist Shakespeare Classrooms both Arizona Center of Medieval and Renaissance Studies Press.

Brent Griffin is the artistic director of Resurgens Theatre Company. A past member of the research staff at Shakespeare’s Globe Theatre, as well as a recent recipient of The Ben Jonson Journal’s Ben Jonson Discoveries Award, he holds a Ph.D. in Renaissance drama and performance studies from Florida State University, and serves as the founder and chair of Resurgens’ biennial academic conference on the verse dramas of Shakespeare’s contemporaries.

Molly Hand is an associate lecturer and director of the editing internship program in English at Florida State University. She co-edited Animals, Animality, and Literature (Cambridge University Press, 2018), and recent essays appear in Early Theatre and Preternature. Her current research focuses on animals, ecocriticism, and early modern English witchcraft..

Joseph L. Kelly has enjoyed careers on the stage, in the classroom, and the courtroom. A regular performer with the Resurgens Theatre Company, his recent teachings includes Georgia State University, Morehouse College, and Emory University at Oxford. He earned his PhD from Georgia State University in 2021.

Barbara Sebek is Professor of English at Colorado State University. Her essay, “Edmund Hosts William: Appropriation, Polytemporality, and Postcoloniality in Frank McGuinness’s Mutabilitie,” appears in The Routledge Handbook of Shakespeare and Global Appropriation (Routledge 2019). She co-edited and wrote the introduction to Global Traffic: Discourses and Practices of Trade in English Literature and Culture, 1550-1700 (Palgrave 2008) and has published numerous essays on global approaches to Shakespeare and the economic contexts of early modern drama.

Copyright © 2023 Department of English, Georgia State University ...

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以下是内容的简要摘录,以代替摘要: 撰稿人 艾玛-K-阿特伍德 艾玛-K-阿特伍德是阿拉巴马州唯一一所公立文科大学蒙特瓦洛大学的英语副教授。在蒙特瓦洛大学,她负责指导英语研究生课程,并教授莎士比亚、文艺复兴时期戏剧以及早期现代女性与性别等课程。她曾在《比较戏剧》、《中世纪与早期现代研究期刊》、《早期现代女性》、《跨学科期刊》、《借用》、《现代女性》等杂志上发表文章:An Interdisciplinary Journal》、《Borrowers and Lenders》和《This Rough Magic》等杂志上发表过文章。她是即将出版的数字批判版《伊丽莎白-克伦威尔的宫廷与基钦》的编辑,也是《莎士比亚专业以外的教学》一书的共同编辑。Ariane M. Balizet 是德克萨斯基督教大学英语系教授兼学院与发展研究院副院长。她的教学和研究兴趣包括加勒比早期现代文学中的游戏和殖民竞争、莎士比亚的改编以及文艺复兴时期文学教学的交叉方法。她著有两部专著:莎士比亚与女孩研究》(2029 年)和《早期现代戏剧中的血缘与家庭》:文艺复兴舞台上的家庭身份》(2014 年)。谢丽尔-伯德塞伊是牛津布鲁克斯大学的副讲师。她的研究涉及现代早期舞台上女性证词的表演和接受,尤其是以真实犯罪为来源的文本。休斯顿大学英语系教授安-克里斯滕森(Ann Christensen)是《分离场景》一书的作者:1590-1630 年早期现代英格兰的家庭戏剧》(内布拉斯加大学,2017 年)和《对美丽女性的警告》:内布拉斯加大学 2021 年出版的《莎士比亚戏剧中的通奸与谋杀》(A Warning for Fair Women: Adultery and Murder in Shakespeare's Theater)是对 1599 年一部匿名戏剧的现代评论版。她的作品散见于《早期现代研究期刊》、《早期现代文学研究》、《英国文学研究》、《马洛研究年刊》、《早期现代女性》以及《早期现代世界中的性别路线和空间》(Ashgate,2015 年)和《全球交通》:1550-1700 年英国文学和文化中的贸易话语与实践》(Palgrave,2008 年)。她最近发表的论文《编辑文艺复兴时期的反种族主义课堂》(Editing the Renaissance for an Anti-Racist Classroom)与劳拉-B-图尔奇(Laura B. Turchi)合著,收录于《文艺复兴时期的种族教学》(Teaching Race in the Renaissance)一书,由马蒂厄-查普曼(Matthieu Chapman)和安娜-温莱特(Anna Wainwright)编辑;《利用种姓来教授三个开场场景的交叉性》(Using Caste to Teach Intersectionality with Three Opening Scenes)即将收录于《反种族主义莎士比亚课堂的设计与不适》(Design and Discomfort in Anti-Racist Shakespeare Classrooms)一书,亚利桑那中世纪与文艺复兴研究中心出版社均有出版。布伦特-格里芬是 Resurgens 剧团的艺术总监。他曾是莎士比亚环球剧院的研究人员,最近还获得了《本-琼森期刊》的本-琼森发现奖,拥有佛罗里达州立大学文艺复兴时期戏剧和表演研究博士学位,是 Resurgens 两年一度的莎士比亚同时代诗剧学术会议的创始人和主席。莫莉-汉德(Molly Hand)是佛罗里达州立大学副讲师兼英语编辑实习项目主任。她与人合编了《动物、动物性与文学》(剑桥大学出版社,2018 年),最近的论文发表在《早期戏剧》和《先天性》上。她目前的研究重点是动物、生态批评和早期现代英国巫术。约瑟夫-L.-凯利(Joseph L. Kelly)曾在舞台、课堂和法庭上大显身手。他是 Resurgens 剧团的常客,近期讲授的课程包括佐治亚州立大学、莫豪斯学院和牛津埃默里大学。2021 年,他从佐治亚州立大学获得博士学位。Barbara Sebek 是科罗拉多州立大学的英语教授。她的论文 "Edmund Hosts William: Appropriation, Polytemporality, and Postcoloniality in Frank McGuinness's Mutabilitie "收录于《莎士比亚与全球挪用问题路特利奇手册》(The Routledge Handbook of Shakespeare and Global Appropriation, Routledge 2019)。她与《全球贸易》(Global Traffic:Discourses and Practices of Trade in English Literature and Culture, 1550-1700 》(帕尔格雷夫出版社,2008 年),并发表了多篇关于莎士比亚的全球研究方法和早期现代戏剧的经济背景的论文。Copyright © 2023 佐治亚州立大学英语系 ...
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