Notes on Contributors

Abstract

Previous article FreeNotes on ContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreMeghan C. Andrews is assistant professor of English at Lycoming College, where she specializes in Shakespeare and early modern literature. Her work, which focuses on the literary, social, and material conditions of production of Renaissance drama, has previously been published in Shakespeare Quarterly, SEL, and Marlowe Studies. Her current book project argues that Shakespeare’s social networks and institutional affiliations were strongly influential on his plays and poems, examining how the discourses of the social environments he inhabited during his works’ composition shaped the works and how they then contributed to those discourses in turn.Catherine Belsey is professor emeritus in English at Swansea University and visiting professor at the University of Derby. Her latest book is Criticism (Profile, 2016). Her other books include Shakespeare in Theory and Practice (Edinburgh University Press, 2008), Why Shakespeare? (Palgrave, 2007), Shakespeare and the Loss of Eden (Rutgers, 1999), and The Subject of Tragedy: Identity and Difference in Renaissance Drama (Methuen, 1985).Allison K. Deutermann is associate professor of English at Baruch College, City University of New York, where she specializes in Shakespeare and early modern drama. She is the author of Listening for Theatrical Form in Early Modern England (Edinburgh University Press, 2016) and, with András Kiséry, coeditor of Formal Matters: Reading the Materials of English Renaissance Literature (Manchester University Press, 2013).Alanna Skuse is a Wellcome Trust Research Fellow at the University of Reading. She is the author of Constructions of Cancer in Early Modern England, 1580–1720: Ravenous Natures (Palgrave, 2015). Her current research focuses on the experience and perception of surgically altered bodies in early modern England, arguing that amputee, castrate, and other “altered” corporealities stimulated the literary and public imagination in debates about embodiment, identity, and subjectivity.Sara B. T. Thiel is a visiting assistant professor of theater arts at the University of Pittsburgh. Her current project and first book, “Great Bellies and Boy Actors: Pregnancy Plays on the Stuart Stage, 1603–1642,” interrogates the popularity of pregnancy as a performance convention on seventeenth-century London stages and establishes the pregnancy play as a subgenre of early modern drama. Her recent essay, “‘Cushion Come Forth’: Materializing Pregnancy on the Stuart Stage,” appeared in Stage Matters: Props, Bodies, and Space in Shakespearean Performance (Fairleigh Dickinson University Press, 2017) and interrogates the prosthetic construction of pregnancy on boy actors’ bodies. Previous article DetailsFiguresReferencesCited by Renaissance Drama Volume 45, Number 2Fall 2017 Article DOIhttps://doi.org/10.1086/694730 © 2017 by Northwestern University. All rights reserved.PDF download Crossref reports no articles citing this article.