Notes on Contributors

Abstract

Previous article FreeNotes on ContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreRosemary Gaby is an adjunct senior lecturer at the University of Tasmania. Much of her research has focused on performance history, with a particular focus on Australian Shakespeares. She has published several papers on early modern drama and Shakespeare in performance, including articles in SEL, Shakespeare Bulletin, Shakespeare, Multicultural Shakespeare, Shakespearean International Yearbook, and Theatre Notebook. Her 2014 book Open-air Shakespeare: Under Australian Skies was the first title published in Palgrave Macmillan’s Global Shakespeares series. She is currently working on an edition of Henry IV, Part Two for the Internet Shakespeare Editions and has completed an edition of Henry IV, Part One for the ISE and Broadview Press (2013).Sofie Kluge is associate professor of comparative literature at the University of Southern Denmark, specializing in Spanish literature and drama of the Golden Age. The Danish translator of Walter Benjamin’s Ursprung des deutschen Trauerspiels, she holds a PhD and a Higher Doctorate degree in comparative literature from the University of Copenhagen. Her publications include Baroque Allegory Comedia: The Transfiguration of Tragedy in Seventeenth-Century Spain (Kassel: Edition Reichenberger, 2010), Diglossia: The Early Modern Reinvention of Mythological Literature (Kassel: Edition Reichenberger, 2014), and articles on various aspects of Renaissance literature and drama. She is currently working on the book project Histories, about Renaissance historical drama.Alice Leonard is a Marie Curie Cofund postdoctoral fellow at the Institute of Advanced Study, University of Warwick. Her first monograph, Shakespeare in Error: Error in Shakespeare, is in press with Palgrave Macmillan’s Shakespeare Studies series. In her postdoctoral work she has moved her attention to political, textual, and material error into the seventeenth century, focusing on Thomas Browne’s Pseudodoxia Epidemica (1646). This project investigates the invention of error within technology, medicine, and early science, 1500–1800, the output of which will be her second monograph, to be submitted to Oxford University Press’s History of Science and Technology series. She has published peer-reviewed articles on Hamlet and the female gaze and representations of foreignness on the early modern stage.James Mardock is associate professor of English at the University of Nevada, sometime dramaturg for the Lake Tahoe Shakespeare Festival, coordinating editor of the Internet Shakespeare Editions, and the editor of the ISE Henry V. He has published articles on Shakespeare, Spenser, Jonson, and John Taylor, and a monograph, Our Scene Is London: Ben Jonson’s City and the Space of the Author (New York: Routledge, 2008). He is now at work on various critical editions of early modern plays and a book on Calvinism and metatheater in early modern drama.Gordon McMullan is professor of English and director of the London Shakespeare Centre at King’s College London. He is a general editor of Arden Early Modern Drama and a general textual editor of The Norton Shakespeare, Third Edition, for which he edited two texts of Romeo and Juliet. His publications include The Politics of Unease in the Plays of John Fletcher (Amherst: University of Massachusetts Press, 1994), the Arden edition of Henry VIII (London: Arden Bloomsbury, 2000), Shakespeare and the Idea of Late Writing (Cambridge: Cambridge University Press, 2007), the collaborative monograph Antipodal Shakespeare: Remembering and Forgetting in Britain, Australia and New Zealand, 1916–2016 (London: Bloomsbury Arden Shakespeare, 2018), and several collections of essays.Helen Ostovich is professor emerita of English and cultural studies at McMaster University. She is founding general editor of Queen’s Men Editions, a digital series of plays performed by the company between 1584 and 1603. Her research otherwise concentrates on editing plays of Jonson, Brome, Shirley, Marston, and Shakespeare. Her articles on early drama and performance appear in various journals and edited book collections, most recently the digital collection Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context (2015), and she is currently collecting essays on Marston’s The Dutch Courtesan for a guest issue of Early Theatre (June 2020).Gillian Woods is senior lecturer in Renaissance literature and theatre at Birkbeck, University of London. She is the author of Shakespeare’s Unreformed Fictions (Oxford: Oxford University Press, 2013; joint winner of the Shakespeare’s Globe Book Award), Romeo and Juliet: A Reader’s Guide to Essential Criticism (Basingstoke: Palgrave Macmillan, 2012), and various essays on Ford, Marlowe, Munday, and Webster. She has also recently coedited a collection on Stage Directions and Shakespearean Theatre (London: Bloomsbury Arden Shakespeare, 2018). She is currently working on an updated edition of A Midsummer Night’s Dream for Cambridge University Press as well as a Leverhulme-funded monograph about Renaissance Theatricalities, which explores drama’s various representational forms (speech, mime, dance, combat, entr’actes, jigs). She is an editor of Cambridge University Press’s Elements in Shakespeare and Pedagogy series. Previous article DetailsFiguresReferencesCited by Renaissance Drama Volume 47, Number 2Fall 2019 Article DOIhttps://doi.org/10.1086/706911 © 2019 by Northwestern University. All rights reserved.PDF download Crossref reports no articles citing this article.