Studies in the Literary Imagination最新文献

• Inside Out: Early Modern Domestic Tragedy and the Dramaturgy of Extrusion
• Emma K. Atwood (bio)

Domestic tragedy has constituted a distinct genre of study for the past hundred years, beginning with a 1925 dissertation by Edward Ayers Taylor, who sought to categorize a number of largely forgotten and lost plays (Orlin, “Domestic” 390). Since the 1980s and into the twenty-first century, scholars like Catherine Belsey, Lena Cowen Orlin, Laura Gowing, Catherine Richardson, and Ann Christensen have offered a series of exciting approaches to the genre and its constitutive relationship to early modern culture. In her recent monograph Separation Scenes: Domestic Drama in Early Modern England, Christensen clearly defines the genre:

popular at the end of the sixteenth century and most often set in contemporary England, domestic tragedy is a generic grouping that modern scholars have recognized for a number of innovations: chiefly the middling or bourgeois status of their characters and concerns (as distinct from the nobility and the poor); a “reduction in scale” from tragedies of state; and the violent, often “true” crimes depicted.

(4)

In short, she explains, these plays stage “domestic life in crisis” (Separation 5). This depiction of domestic crisis has proved especially useful for scholars invested in questions related to early modern gender, class, violence, and the economies of everyday life. As Orlin notes in her overview “Domestic Tragedy: Private Life on the Public Stage,” “in a growing body of scholarship, domestic tragedy has since proved itself to be a site in which historicist, feminist, and materialist approaches are profitably practiced” (“Domestic” 392). Entire seminars are now being offered on the topic, like Ellen MacKay’s 2022 course “Housekeeping: Domestic Drama and Material Culture” at the University of Chicago. And Emma Whipday’s recent monograph Shakespeare’s Domestic Tragedies: Violence in the Early Modern Home has sought to bring this genre into conversation with more mainstream Shakespearean plays such as Othello, Hamlet, The Taming of the Shrew, and King Lear. [End Page 1]

Arden of Faversham, A Warning for Fair Women, Two Lamentable Tragedies 1 and 2, Edward IV, A Yorkshire Tragedy, A Woman Killed with Kindness, and The Witch of Edmonton make up the core canon of domestic tragedy (Orlin, “Domestic” 391). But despite the rich and persistent scholarly interest in the genre, these plays are rarely staged. Arden has perhaps had the most theatrical luck, likely stemming from its association with Shakespeare: the Royal Shakespeare Company offered an Arden in 1982 and again in 2014; the Boston Univ

• The Role of the Reluctant Harbinger in Arden of Faversham and A Woman Killed with Kindness
• Joseph L. Kelly (bio)

Arden of Faversham (Anonymous 1592) and A Woman Killed with Kindness (Thomas Heywood 1607), two very different plays that exemplify the distinctive sub-genre of “domestic tragedy,” both feature a unique supporting role, each of which serves a similar purpose—that of a reluctant harbinger.

In the respective plays, each serves the household of a country gentleman. The one, Thomas Arden’s personal friend and counselor on the trip to London, Franklin. The other is Master John Frankford’s manservant, Nicholas. Soon after the plays begin, both counselor and manservant find themselves thrust into unexpectedly onerous dilemmas, chiefly pertaining to the infidelity of the respective gentlemen’s wives with a household rival. Both voluntarily but reluctantly engage the seemingly bootless effort to inform and protect either the insouciant friend or disbelieving master, as the case may be.

Largely invented, neither role as written appears in the source material, nor do other domestic tragedies of the period feature roles that similarly augur disguised ill for the principal character.¹ Critical commentators tend to treat the roles as primarily incidental to the plot and ancillary to the main characters’ actions rather than as influential agents, serving simply as instruments for commentary on the action rather than as plot participants.² That the role stands apart, even aloof, from the plays’ other characters allows each to maintain a close, informed, and conflict-free relationship with the master of the established provincial household. This, in turn, lends a measure of audience credibility with which to serve as commentator and confidant to reinforce moments of anticipation and irony in the unfolding dramatic plot.

Thus, I argue that these seemingly forgotten characters uniquely serve the narrative of either play as an often compromised front line of defense for the greater household, as well as a crucial plot device, that strengthens these respective plays’ immediate audience impact as well as their enduring theatrical influence. Franklin, despite his frequent but unheeded [End Page 23] warnings, fails to prevent his friend Arden’s murder conspired by his wife Alice and her lover Mosby. Yet, in the end, despite his reluctance along the way, Franklin becomes the play’s essential instrument of final justice and retribution. Nicholas, the manservant, reluctantly reveals a solely witnessed affair between his master’s wife and her lover Wendoll in Woman Killed. His discovery and disclosure initiate the cascade of events that drive the play’s climax and conclusion.

I

• “Sworn to sweat”: Witchcraft, Labor, and Wicked Consumption in Middleton’s The Witch
• Molly Hand (bio)

I am cooking as I write this, preparing dinner for my husband and me (with a morsel reserved for Beatrice, our “canine daughter,” of course). I can write while I cook because I have a device that does the work for me: I just place the ingredients in a slow cooker, turn it on, and set the timer. Now, we wait; now, I write. I do not have to spend my time sweating over a cauldron. Nor did I have to go out of my way to source ingredients: I purchased some from our local farmers’ market online (with convenient delivery to my home), others from the grocery store. So whose labor made my dinner possible? This is a question that Thomas Middleton’s play The Witch (c. 1616) calls our attention to.¹ Who grew the things, or sourced them, raised them, killed them, packaged them, and brought them from elsewhere to a vendor for us to buy? In the sweat of whose faces do we eat our bread?²

We can read sweat as the saline solution through which The Witch’s themes are distilled. Though “sweat” and its variant “sweating” appear only four times in the play, it is evoked in each plotline, emblematic of the various types of labor and activity illuminated or elided throughout the play. Sweat attunes us to other repeated sounds and figures that haunt and conjure one another: “sweat,” “sweet,” “surfeit,” “sucket,” “sudden,” “subtle,” “swear,” “sister,” and their variants together constitute a hissy dialogue whose echoes evoke Hecate’s tangle of serpents (1.2.0.2n). Sweat is human effluvium, a bodily response to physical activity, heat, and hard work (like cooking over a kitchen fire, vigorous sex, and the labor of childbirth), and an ingredient in Hecate’s cauldron. In the ducal palace and Antonio’s household, labor is conspicuously absent: that is, the domestic labor of those responsible for producing the confections of the banquet table and other comestibles and concoctions, as well as the indentured and enslaved labor involved with producing or procuring the particular commodities—especially sugar and spice—that are key ingredients in banqueting stuff. This hidden sweat is revealed by contrast to the visible labor of Hecate’s realm, where we find her and her witchy kin “sweating at the vessel” (1.2.6). This essay, accordingly, offers a reappraisal of Middleton’s [End Page 111] play as a domestic drama that explicitly emphasizes domestic production and consumption, the circulation of items sourced and produced, and the often invisible labor of producers. The play juxtaposes wicked consumption, epitomized in surfeit and cannibalism, with effortful, sweaty labor in the witches’ careful preparation of receipts.

Hecat

• Death and Domesticity: Reassessing Domestic Dramas of the Renaissance
• Brent Griffin (bio)

“[T]o call back yesterday; / That Time could turn up his swift sandy glass / To untell the days, and to redeem these hours” (13.48–50): Thomas Heywood’s poignant lines from A Woman Killed with Kindness provide a sentiment familiar to all those who seek the present moment through the sounds of the past, who hear the voices of yesteryear in the melodies of early modern poetics. Such are the recurrent chords played by Resurgens Theatre Company, a professional original practices troupe that performs rarely produced plays of the English Renaissance. The essays collected in this special issue of Studies in the Literary Imagination developed from their Death and Domesticity Conference at the Shakespeare Tavern Playhouse in Atlanta, Georgia, on September 28 and 29, 2018. The occasion marked Resurgens’ second academic conference on the verse dramas of Shakespeare’s contemporaries,¹ and called for submissions that examined some aspect of Renaissance-era domestic tragedies, including topics involving the effect of murder plays on performance and/or early modern print culture. Participants traveled from across the US, as well as the UK, each presenting diverse material that matched Resurgens’ deep-cut ethos admirably.²

Highly popular during the period, domestic dramas have been long since overshadowed by genres more typically associated with the Elizabethan/Jacobean stage, specifically, those derived from categories listed in Shakespeare’s 1623 Folio—comedies, histories, and tragedies. Indeed, the Bard’s status as the premier cultural paradigm for “not [only] an age, but for all time” continues to govern our institutionalized understanding of Renaissance drama (not surprisingly, with a substantial Shakespeare industry working nonstop to shape the content of our conferences, course offerings, journals, monographs, textbooks, etc.). Nevertheless, as these essays illustrate, recent scholarship suggests a move away from narrow bardocentric interests and toward a renewed examination of non-Shakespearean playwrights, playing companies, playing conditions, and types of plays. The busy workshops of early modern poet-practitioners—the numerous playhouses of London (more than just the Globe [End Page v] and Blackfriars, to be sure)—supply the inspiration and innovation necessary for generations of theatre artists to thrive, and a strong argument can be made that the greater dramatic influence belongs to Shakespeare’s rival dramatists, brand name recognition notwithstanding. At the very least, we cannot hope to evaluate the merits of their disparate output (or Shakespeare’s, for that matter) without analyzing the comparative traits and dis

• Finding Her Conscience: Auditing Female Confession in A Warning for Fair Women
• Cheryl Birdseye (bio)

The anonymous A Warning for Fair Women dates from the late-sixteenth century and was based on the real murder of George Sanders by George Browne (who was in love with Sanders’s wife, Anne) in 1573. Significant attention has been paid to the play’s authorship, notably the possibility of Thomas Heywood, by Charles Dale Cannon, Joseph Quincy Adams, and, most recently, Gemma Leggott. The rest of this article will assume Heywood as playwright.¹ Details surrounding Sanders’s murder were recorded in a pamphlet by Arthur Golding, A briefe discourse of the late murther of master George Saunders, a worshipfull Citizen of London (1573), which documented material from the trial, in addition to the confession and scaffold prayer of Anne Sanders who was found guilty of conspiring with Browne. In addition to the pamphlet, at least one ballad was composed to retell Anne’s story, “The wofull lamentacon of mrs. Anne Saunders,” which focuses on her confession and desire for forgiveness.² A Warning for Fair Women presents an interesting variation from these accounts, reflecting the ambiguity surrounding Anne’s guilt, which had been hinted at by Golding at the start of his pamphlet: “some were brought in a blinde beliefe, that either she was not giltie at al, or else had but brought hir selfe in danger of lawe through ignorance, and not through pretenced malice” (11). The play’s penultimate act features a curious exchange of fantastical anecdotes between the trial’s witnesses and the Lords who will preside over the hearing. One of these stories, shared by Master James, reflects on another case of petty treason and is strangely prescient of another tract that would be written just over a decade later in Heywood’s An Apology for Actors:

Ile tell you (sir) one more to quite your tale,A woman that had made away her husband,And sitting to behold a tragedAt Linne a town in Norffolke,Acted by Players travelling that way,Wherein a woman that had murtherd hersWas ever haunted with her husbands ghost: [End Page 57] .............................................................She was so mooved with the sight thereof,As she cryed out, the Play was made by her,And openly confesst her husbands murder.

(xv. 2036–48)

Master James’s remarkable account considers the possibility of compulsive, unwilling auditor reactions and sits conspicuously within a play that was inherently interested in audience response and, particularly, the experience of

• Fair Women, Red Hands, Black Will(s): Domestic Tragedy’s Racial Logic
• Ariane M. Balizet (bio)

In Thomas Middleton’s 1608 A Yorkshire Tragedy, the protagonist—a profligate, ferocious householder known only as the “Husband”—is in a gambling-induced rage when his eldest son enters the room and attempts to spin a top at his feet. As the Husband grabs his son and threatens him with a knife, the child exclaims,

Oh, what will you do, father?—I am your white boy.

[Strikes him] Thou shalt be my red boy. Take that! (4.98–9)

“White boy,” as many editors note, was a relatively common term of endearment in the Renaissance for a darling or beloved child. In Henry Porter’s 1599 Two Angry Women of Abington, a young woman expresses her romantic interest in a neighbor by asking, “Whose white boy is that same? Know ye his mother?” (8.76). In Francis Beaumont’s Knight of the Burning Pestle, Mistress Merrythought addresses her son Michael: “What says my white boy?” (2.87). The clownish Bergetto, in John Ford’s ‘Tis Pity She’s a Whore, boasts of the fortune he is sure to inherit at his uncle’s death: “I am his white boy,” he says, “and will not be gulled” (1.3.82–83). In these latter and less violent examples, the phrase “white boy” connotes affection and familiarity by way of affirming the value of lineage; these boys are made White when claimed by familial relations or designated a worthy heir.

Scholars and editors have registered the use of “white boy” as a marker of innocence and pride without acknowledging, however, how these qualities naturalize whiteness as the ideal against which the Husband’s unnatural actions are made visible. As the child cries for mercy, his father insists that infanticide is an act of charitable protection from loss of wealth and status:

Oh, you hurt me, father.

My eldest beggar, thou shalt not live to ask an usurer bread, to cry at a great man’s gate, or follow ‘Good your Honour’ by a couch. No, nor your brother; ’tis charity to brain [End Page 41] you.

How shall I learn now my head’s broke?

(Stabs him) Bleed, bleed, rather than beg, beg! (4.102–07)

Whiteness, in this scene, comprises not only the privileges of familial affection—including the child’s purported innocence and the unquestioned paternity that the father should protect—but also a domestic identity based on racial logics of lineage, purity, and property. These racial logics are rarely acknowledged as such in studies of early modern domestic tragedy, an omission that perpetuates the notion that racial dynamics are not salient within the domain of early modern domesticity or, analogously, within the domestic concerns of sixtee

• Interrogating Genre: Domestic Tragedy, Closet Drama, and the Case of Elizabeth Cary’s The Tragedy of Mariam, Fair Queen of Jewry (1613)
• Barbara Sebek (bio)

At the conference that was the genesis of this special issue, I deliberately discussed tragic plays that deviate from the key features of English domestic tragedy that scholars ordinarily use to describe the genre. With a non-English, non-contemporary setting in ancient Judea and a focus on a courtly milieu and dynastic politics rather than the middling ethos that usually inflects domestic tragedy, Elizabeth Cary’s The Tragedy of Mariam, Fair Queen of Jewry (1613) seems at first glance to be a complete outlier to the kind of play that we gathered in Atlanta to discuss, perform, and watch. The impetus to interrogate genre and test the boundaries of domestic tragedy via Cary’s play emerges from a notion of genre as something that is done, both by writers and performers and by critics, readers, and professors. By reflecting on the ways that an outlier-but-adjacent play does and does not align with plays that more fully evince the usual features of a genre, we can enact this notion of genre as a doing rather than a fixed or essential state of being. After all, an intensified interest in experimenting with dramatic genre characterized the early modern period itself, which Jean Howard describes as “one of intense generic theorization and experimentation” (Shakespeare 300). Kim Hall points out that the genre that we’ve come to call “domestic tragedy” emerged at a historical juncture when classic definitions of genre, especially tragedy, “fail to accommodate important groups and concerns” (17). It is with notable self-consciousness that early modern plays that fit the emergent schema for domestic tragedy enter the fray.

Consider, for example, how the prologue to one of the period’s salient examples of domestic tragedy, A Warning for Fair Women (1599), attests to contemporary scrutiny of generic choice and subject matter. In this prologue, personified figures of Tragedy, History, and Comedy engage in what Ann Christensen rightly calls “a vicious insult exchange” (3) as Tragedy resorts to violence to stave off the challenges of the other genres to take over the stage.¹ For early modern writers and audiences, the treatment of what Shakespeare’s Christopher Sly in the opening frame story of [End Page 97] The Taming of the Shrew calls “household stuff” (Induction 2.135) raises particularly pressing questions about genre. In comedies and tragedies alike, “household stuff” disrupts expectations about the appropriate style, theme, and matter of plays and points to the unsettled and unsettling status of the theatre more generally. In an essay a

• Student-Friendly Editions—a Pedagogical and Scholarly Experiment with A Warning for Fair Women
• Ann Christensen (bio)

This essay documents a yearlong process to involve undergraduates in research, writing, and performance relating to the play I was editing at the time, A Warning for Fair Women, the unattributed 1599 true-crime domestic drama similar to the frequently anthologized Arden of Faversham.¹ My purpose is to illustrate strategies for instructors of Shakespeare and other early modern texts to explore hands-on options for getting students involved in, if not excited about, the materials that we work on but with which they are unfamiliar. I present assignments and sample student writing and presentations that show how their beginners’ mind experiences yielded often-keen critical insights that helped me edit the play for student audiences. Following the trend that Jeremy Lopez calls expanding the canon beyond “the Shakespeare aesthetic,” students eagerly participated in the not-Shakespeare experiment; they were discerning readers as well as creative collaborators in part because the text was fresh to them (109).² The tragedy, based on Arthur Golding’s pamphlet, A briefe discourse of the late murther of master George Sanders (1573), recounts the recent murder of London merchant George Sanders, and a servant, John Beane, by George Browne, Sanders’s wife’s lover, along with the adultery preceding it and the legal proceedings and executions that follow. The play can feel episodic with two unsuccessful murder attempts, but it also develops poignant relationships (such as Beane’s friends) and moments of both real pathos and high hilarity—from Browne’s smitten soliloquies to a pair of carpenters building the gallows on stage.

Although my deadline for A Warning for Fair Women: Adultery and Murder in Shakespeare’s Theatre was a useful prompt to get a draft into students’ hands, I believe that intellectual curiosity is a great teaching tool. Even if we are not sure where a new (to us) text will lead in terms of our own research projects and publication, we can let students explore it. With genuine questions about a find, we can model to students how sometimes serendipity leads the critical process. For example, one hears about an undiscovered writer at a conference—as was the case with Hester [End Page 81] Pulter that led to the Pulter Project³—and brings the news home to the classroom; one randomly finds a compelling bit in an archive or on Early English Books Online (EEBO) or tracks down a reference to a lesser-known figure, as happened to me with the indomitable Anthony Mundy, whose A View of Sundry Examples refers to the crime on which A Warning i

• Selected SLI Back Issues

53.1 & 2	The Mirror Trope in Contemporary Experimental Literature (Saloua Karoui-Elounelli)
52.1 & 2	Literature and Medicine (Shu-Fang Lai & Peih-Ying Lu)
51.1	Suicidal Romanticism: Origins and Influences (Michelle Faubert)
51.2	Reading Love with Murdoch: Philosophy and Literature in the Work of Iris Murdoch (Rossitsa Terzieva-Artemis)
51.1	Suicidal Romanticism: Origins and Influences (Michelle Faubert)
50.2	Twenty-First-Century American Crises: Reflections, Representations, Transformations (Part 2) (Anna M. Brígido-Corachán)
50.1	Twenty-First-Century American Crises: Reflections, Representations, Transformations (Part 1) (Ana Fernández-Caparrós)
49.2	Voice of Reason: The Literary Influence of John Henry Newman (Paul H. Schmidt)
49.1	New Criticisms on the Works of Ernest J. Gaines (Lillie Anne Brown)
48.2	Subterranean Histories: Constantine Cavafy and the Poetics of Memory (Louis A. Ruprecht, Jr.)
48.1	Representing and Expressing States of Mind (Anita O’Connel & Leigh Wetherall-Dickson)
47.2	Novel Genders: Women Writing Women in the Eighteenth Century (Kristine Jennings)
47.1	Reading with Kristeva: Philosophy, Literature, Psychoanalysis, and Twentieth-Century Women Writers (Rossitsa Terzieva-Artemis)
46.1	James Thomson’s The Seasons, Textuality, & Print Culture (Sandro Jung)
45.2	Ungovernable Hearts: Anarchism and Literature (Jeff Shantz)
45 以下是内容的简要摘录，以代替摘要： SLI 过期期刊精选 53.1 & 2 当代实验文学中的镜花水月 (Saloua Karoui-Elounelli) 52.1 & 2 文学与医学 (Shu-Fang Lai & Peih-Ying Lu) 51.1 自杀浪漫主义：51.2 与默多克共读爱情：艾里斯-默多克作品中的哲学与文学 (Rossitsa Terzieva-Artemis) 51.1 自杀浪漫主义：起源与影响 (Michelle Faubert) 51.2 与默多克共读爱情：艾里斯-默多克作品中的哲学与文学 (Rossitsa Terzieva-Artemis) 51.1 自杀浪漫主义：起源与影响》（Michelle Faubert） 50.2 《二十一世纪的美国危机：50.2 二十一世纪美国危机：反思、表述、转变（第二部分）（Anna M. Brígido-Corachán）50.1 二十一世纪美国危机：反思、表述、变革（第一部分）（Ana Fernández-Caparrós）49.1 Ernest J. Gaines 作品新评（Lillie Anne Brown） 48.2 Subterranean Histories：Constantine Cavafy and the Poetics of Memory (Louis A. Ruprecht, Jr.) 48.1 Representing and Expressing States of Mind (Anita O'Connel & Leigh Wetherall-Dickson) 47.2 Novel Genders：47.2 Novel Genders: Women Writing Women in the Eighteenth Century (Kristine Jennings) 47.1 Reading with Kristeva：46.1 James Thomson's The Seasons, Textuality, & Print Culture (Sandro Jung) 45.2 Ungovernable Hearts：45.1 Thomas Carlyle & the Totalitarian Temptation (Tom Toremans & Tamara Gosta) 44.1 & 2 Enlightenment Depression I & II (Richard Terry) 43.2 Charles W. Chesnutt：43.1 《19 世纪英国文学中的性别作品》（Martin A. Danahay） 42.2 《文学想象力的生物制约因素》（Katja Mellman & Anja Müller-Wood ） 42.1 《威廉-吉尔摩-西姆斯笔下的世界》（Matthew Brennan） 41.2 《余波中的文学与宗教》：41.1 Scripting Urban Culture II (Robert Brazeau & Michael Borshuk) 40.2 Leaping into Fire：39.2 妇女、年龄与差异（Victoria Bazin、Hilary Fawcett、Rosie White） 39.1 墓园文学（June Hadden Hobbs） 38.1 亚历山大-波普（Alexander Pope：37.1 Cross Wire：37.1 Cross Wire: Asian American Literary Criticism（Shirley Lim 等） 36.2 Crossing Borders：35.1 新南方的书写（欧内斯特-苏亚雷斯） 33.1 墨西哥小说中的边界与身份（曼努埃尔-梅迪纳） 32.1 档案诗学（保罗-沃斯& 玛尔塔-维尔纳） 30.1 唯物主义与文本性（特伦斯-豪格伍德） 29.1 十九世纪现实主义：Theory and Practice (William B. Thesing) sli.gsu.edu [End Page i] Copyright © 2023 佐治亚州立大学英语系 ... 求助PDF {"title":"Selected SLI Back Issues","authors":"","doi":"10.1353/sli.2021.a917132","DOIUrl":"https://doi.org/10.1353/sli.2021.a917132","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Selected <em>SLI</em> Back Issues <!-- /html_title --></li> </ul> <table frame=\"void\" rules=\"none\"> <tr> <td align=\"left\" valign=\"top\">53.1 &amp; 2</td> <td align=\"left\" valign=\"top\"><em>The Mirror Trope in Contemporary Experimental Literature</em> (Saloua Karoui-Elounelli)</td> </tr> <tr> <td align=\"left\" valign=\"top\">52.1 &amp; 2</td> <td align=\"left\" valign=\"top\"><em>Literature and Medicine</em> (Shu-Fang Lai &amp; Peih-Ying Lu)</td> </tr> <tr> <td align=\"left\" valign=\"top\">51.1</td> <td align=\"left\" valign=\"top\"><em>Suicidal Romanticism: Origins and Influences</em> (Michelle Faubert)</td> </tr> <tr> <td align=\"left\" valign=\"top\">51.2</td> <td align=\"left\" valign=\"top\"><em>Reading Love with Murdoch: Philosophy and Literature in the Work of Iris Murdoch</em> (Rossitsa Terzieva-Artemis)</td> </tr> <tr> <td align=\"left\" valign=\"top\">51.1</td> <td align=\"left\" valign=\"top\"><em>Suicidal Romanticism: Origins and Influences</em> (Michelle Faubert)</td> </tr> <tr> <td align=\"left\" valign=\"top\">50.2</td> <td align=\"left\" valign=\"top\"><em>Twenty-First-Century American Crises: Reflections, Representations, Transformations (Part 2)</em> (Anna M. Brígido-Corachán)</td> </tr> <tr> <td align=\"left\" valign=\"top\">50.1</td> <td align=\"left\" valign=\"top\"><em>Twenty-First-Century American Crises: Reflections, Representations, Transformations (Part 1)</em> (Ana Fernández-Caparrós)</td> </tr> <tr> <td align=\"left\" valign=\"top\">49.2</td> <td align=\"left\" valign=\"top\"><em>Voice of Reason: The Literary Influence of John Henry Newman</em> (Paul H. Schmidt)</td> </tr> <tr> <td align=\"left\" valign=\"top\">49.1</td> <td align=\"left\" valign=\"top\"><em>New Criticisms on the Works of Ernest J. Gaines</em> (Lillie Anne Brown)</td> </tr> <tr> <td align=\"left\" valign=\"top\">48.2</td> <td align=\"left\" valign=\"top\"><em>Subterranean Histories: Constantine Cavafy and the Poetics of Memory</em> (Louis A. Ruprecht, Jr.)</td> </tr> <tr> <td align=\"left\" valign=\"top\">48.1</td> <td align=\"left\" valign=\"top\"><em>Representing and Expressing States of Mind</em> (Anita O’Connel &amp; Leigh Wetherall-Dickson)</td> </tr> <tr> <td align=\"left\" valign=\"top\">47.2</td> <td align=\"left\" valign=\"top\"><em>Novel Genders: Women Writing Women in the Eighteenth Century</em> (Kristine Jennings)</td> </tr> <tr> <td align=\"left\" valign=\"top\">47.1</td> <td align=\"left\" valign=\"top\"><em>Reading with Kristeva: Philosophy, Literature, Psychoanalysis, and Twentieth-Century Women Writers</em> (Rossitsa Terzieva-Artemis)</td> </tr> <tr> <td align=\"left\" valign=\"top\">46.1</td> <td align=\"left\" valign=\"top\"><em>James Thomson’s</em> The Seasons, <em>Textuality, &amp; Print Culture</em> (Sandro Jung)</td> </tr> <tr> <td align=\"left\" valign=\"top\">45.2</td> <td align=\"left\" valign=\"top\"><em>Ungovernable Hearts: Anarchism and Literature</em> (Jeff Shantz)</td> </tr> <tr> <td align=\"left\" valign=\"top\">45","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0} 引用次数: 0 引用 批量引用 Contributors 贡献者 Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917128 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 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 ... 求助PDF {"title":"Contributors","authors":"","doi":"10.1353/sli.2021.a917128","DOIUrl":"https://doi.org/10.1353/sli.2021.a917128","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Contributors <!-- /html_title --></li> </ul> <p><strong>Emma K. Atwood</strong> 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 <em>Comparative Drama, the Journal of Medieval and Early Modern Studies, Early Modern Women: An Interdisciplinary Journal, Borrowers and Lenders</em>, and <em>This Rough Magic</em>. 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","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0} 引用次数: 0 引用 批量引用 1 2 下一页 尾页 类型 全部 化学•材料 生命科学 医学 物理 工程技术 环境•农林 材料科学 地球科学 法学 管理学 化学 环境科学与生态学 计算机科学 教育学 经济学 农林科学 人文科学 生物学 数学 物理与天体物理 心理学 综合性期刊 其他 工业工程 理学 历史学 农学 文学 信息工程 数据库 全部 ACS Publications Elsevier ieeexplore Springer The Royal Society of Chemistry Wiley 期刊 Studies in the Literary Imagination 全部 Acc. Chem. Res. ACS Applied Bio Materials ACS Appl. Electron. Mater. ACS Appl. 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