Notes on Contributors

Abstract

Previous article FreeNotes on ContributorsFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreHannah August is a lecturer in the School of English and Media Studies at Massey University in New Zealand. She undertook her postgraduate study at King's College London, where she specialized in the reception of early modern drama in print and performance. Her work on this topic has appeared in the collection The Senses in Early Modern England, 1558–1660 (Manchester University Press, 2015); she is also preparing a chapter for the forthcoming collection Shakespeare/Text: Contemporary Readings in Textual Studies, Editing and Performance (Arden Shakespeare Intersections, 2021). She is currently working on a monograph on the history of reading commercial drama in quarto, entitled Playbooks and Their Readers in Early Modern England.Jane Hwang Degenhardt is associate professor of English at the University of Massachusetts Amherst. Her work focuses on early modern drama with particular interests in the effects of globalizing processes, constructions of the “human,” and the intersecting histories of race and religion. She is completing a book that explores new understandings of “fortune” that developed in relation to early modern English global expansion. She is also working on a collaborative book project with Henry Turner that explores pluralistic understandings of the concept of “world” in Shakespeare’s plays as a means to imagining alternatives to globalization and an anthropocentric future.Alexander Paulsson Lash is assistant professor at National Taiwan University. His current book project, Theater Worlds: Staging Global London, 1576–1688, shows how early modern theaters shaped the spatial perceptions of playgoers, capturing their experience of disorientation and excitement as London expanded into a global city.Jane Rickard is an associate professor in seventeenth-century English literature at the University of Leeds. She is the author of Writing the Monarch in Jacobean England: Jonson, Donne, Shakespeare and the Works of King James (Cambridge University Press, 2015) and Authorship and Authority: The Writings of James VI and I (Manchester University Press, 2007), and coeditor (with Martin Butler) of Ben Jonson and Posterity: Reception, Reputation, Legacy (Cambridge University Press, forthcoming). She is currently working on a monograph on Ben Jonson and his early readers.Lauren Robertson is assistant professor of English and comparative literature at Columbia University, where she is currently completing her first book, Entertaining Uncertainty: The Phenomenology of the Early Modern English Commercial Theater. In it, she argues that the theater actively cultivated experiences of ambiguity and confusion for its spectators, transforming the period's multifarious cultural confrontations with doubt into deeply satisfactory objects of attention.Suzanne Tartamella is associate professor of English at Henderson State University, where she teaches courses in Renaissance and eighteenth-century literature. She is the author of Rethinking Shakespeare’s Skepticism: The Aesthetics of Doubt in the Sonnets and Plays (Duquesne University Press, 2014), as well as articles appearing in English Literary Renaissance, Studies in Philology, and Travel and Travail: Early Modern Women, English Drama, and the Wider World (University of Nebraska Press, 2019). Her recent projects include a comparative essay on silent women in Jonson and Shakespeare and a monograph on Christian self-identity and the aesthetics of foreignness in Spenser, Shakespeare, Donne, and Milton. Previous article DetailsFiguresReferencesCited by Renaissance Drama Volume 48, Number 1Spring 2020 Article DOIhttps://doi.org/10.1086/709974 Views: 172 © 2020 by Northwestern University. All rights reserved. Crossref reports no articles citing this article.