Notes on Contributors

Abstract

Previous article FreeNotes on ContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreAndrew Barnaby is an associate professor of English at the University of Vermont specializing in early modern English literature and intellectual history. His current research includes a study of Shakespeare’s plays, entitled “Working Through: The Comic Endings of Shakespeare’s Tragedies,” and a study of the Bible, entitled “The Great Divide: Reading the Bible as a Non-believer.” His most recent work on Shakespeare includes two essays, “Tardy Sons: Hamlet, Freud, and Filial Ambivalence” and “‘It is the cause … Let me not name it!’: (mis)Reading Memento through Othello.”Christy Pichichero is an assistant professor of French at George Mason University. She received an AB in comparative literature from Princeton University, a bachelor’s of music in opera singing from the Eastman School of Music, and a PhD in French Studies from Stanford University. She has held fellowships at Cambridge University (King’s College), the École Normale Supérieure (Paris), and West Point Military Academy. She is the recipient of the 2015 Tyree-Lamb Fellowship from the Society of the Cincinnati and won Georges Lurcy, Geballe Dissertation Prize, and G. J. Liebermann Fellowship awards for her dissertation. Her work focuses on early modern French literature, history (intellectual, political, social), and cultures of war and has appeared in French Historical Studies and the edited volume France and Its Spaces of War: Experience, Memory, Image (Palgrave, 2009). She is finishing a monograph tentatively entitled The Military Enlightenment: War and Culture in France and America from Louis XIV to Napoleon.Patricia Wareh is an assistant professor in the Department of English at Union College in Schenectady, New York. She has written articles on such topics as the relationship between presentations of courtesy and the reader’s judgment in The Faerie Queene (in Spenser Studies) and the relationship between tokens of recognition and female virtue in Cymbeline (in Renaissance Papers). A forthcoming article in Modern Philology argues that Shakespeare’s portrait of masculinity in Much Ado about Nothing is fundamentally indebted to The Faerie Queene. She is currently at work on a book-length project exploring the relationship between reader and audience engagement in Renaissance England.Robert N. Watson is Distinguished Professor of English and associate dean of humanities at UCLA; he also holds the Neikirk Term Chair for Educational Innovation. His books explore ambition in Shakespeare, parody in Ben Jonson, the fear of death in Renaissance culture, the Renaissance roots of environmentalism (in the multiple-prize-winning Back to Nature), and Kurosawa’s film adaptation of Macbeth. He has edited several volumes of and about Jonson’s drama, including a new collection of the major comedies from Bloomsbury, and published articles on a wide range of topics, as well as poems in the New Yorker and many other journals. He has won Guggenheim, NEH, and ACLS senior research fellowships, as well as UCLA’s Distinguished Teaching award and Gold Shield Faculty Prize. He is currently working on books about the interplay of human and other life in the Renaissance and about the role of the arts and humanities in cultural evolution. Previous article DetailsFiguresReferencesCited by Renaissance Drama Volume 43, Number 1Spring 2015 Article DOIhttps://doi.org/10.1086/681601 Views: 104Total views on this site © 2015 Northwestern University. All rights reserved.PDF download Crossref reports no articles citing this article.