SPEAKER BIOS

Marlowe Society of America

Ninth International Conference

DEPTFORD UK

9 to 12 July 2024

KEYNOTE SPEAKERS

PANELISTS

ROS BARBER is a three-time winner of the Calvin Hoffman Prize for distinguished work on Christopher Marlowe. Her articles on early modern literary biography and computational stylistics have been published in Christopher Marlowe: The Craftsman, Rethinking History, Journal of Early Modern Studies, Digital Scholarship in the Humanities, Critical Survey, Notes & Queries, American Notes & Queries, and Early Modern Digital Review / Renaissance & Reformation. ¶ A senior lecturer in the Department of English and Creative Writing at Goldsmiths, University of London, she is the author and presenter of the University of London’s MOOC (Massive Open Online Course) on the Shakespeare authorship question, in which over 15,000 people have enrolled to date (coursera.org/learn/Shakespeare). She is author of Shakespeare: The Evidence (leanpub/shakespeare) as well as editor and co-author of 30-Second Shakespeare (2015), Know-it-all Shakespeare (2017) in the US. ¶ Her novel The Marlowe Papers (2012) won the Desmond Elliot Prize and the Authors’ Club Best First Novel Award, and was longlisted for the Women’s Fiction Prize. Her novel Devotion (2015) was shortlisted for the Royal Society of Literature’s Encore Aware. She is the Patron of the Marlowe Society UK.

LISA M. BARKSDALE-SHAW is an Assistant Professor in the Department of English and an Affiliated Faculty in the Sandra Day O’Connor College of Law at Arizona State University. She is a member of the Arizona Center for Medieval and Renaissance Studies. In 2016, she studied trauma in-residence during a post-doctoral fellowship as the Erikson Scholar in the Erikson Institute for Education and Research at the Austen Riggs Center in Stockbridge, Massachusetts. She examines narratives of justice using law, literature, race, and medicine. Currently, she is working on her first book that highlights the burgeoning, diverse subfields of law and how literature, material culture—through legal exhibits and stage properties—and history demonstrate this phenomenon in a nuanced way. In addition to invited talks and international conferences, she has published in articles, edited collections, and reviews on several subjects, including, but not limited to: law and literature; letters, cryptography, and the trial Mary Queen of Scots; evidence, legal spaces, and racial trauma; and wills and South African land reform in Shakespeare in Southern Africa, Routledge’s A Material History of Medieval and Early Modern Ciphers: Cryptography and the History of Literacy, Renaissance Quarterly, and a special edition on Othello in Shakespeare Survey.

TODD BORLIK is Professor of Shakespeare Studies and Renaissance Literature at the University of Huddersfield. He is the author of over thirty articles and three books, including the recent Shakespeare Beyond the Green World (OUP, 2023), which explores the eco-politics of Shakespeare's late plays at the Jacobean court. He is currently editing collections on Early Modern Witch Plays, The Winter's Tale (with Pete Kirwan), and the Oxford Handbook of Shakespeare and the Natural World (with Karen Raber). He has two monographs in progress. The first is tentatively entitled Supernatural Ecologies on the Early Modern Stage and the second Shakespeare and the Energy Humanities.

PAUL BUDRA is professor of English at Simon Fraser University where he teaches Shakespeare and early modern literature. He has published seven books and numerous articles on Renaissance literature and contemporary popular culture. He is the author of the play The Very Book Indeed about the printing of Shakespeare's First Folio. He is a past president of the Pacific Northwest Renaissance Society, former Associate Dean of the Faculty of Arts and Social Sciences, former Chair of the English Department, and winner of the SFU Excellence in Teaching Award for 2004. He is the director of SFU Publications.

DARRYL CHALK is Theatre Discipline Convenor and a Senior Lecturer at the University of Southern Queensland in Toowoomba, Australia. He serves as Treasurer on the Executive of the Australian and New Zealand Shakespeare Association. He is co-editor of Contagion and the Shakespearean Stage (with Mary Floyd-Wilson, Palgrave, 2019), Rapt in Secret Studies: Emerging Shakespeares (with Laurie Johnson, Cambridge Scholars, 2010), and has published a range of articles and book chapters on contagion, emotion, and theatricality in Shakespearean drama. Imminent publications include “‘You May Look Pale’: Whiteness and Love Melancholia in Love’s Labour’s Lost” (in Shakespeare/Skin, edited by Ruben Espinosa, Arden, 2024) and “‘If all the world could have seen’t’: Imagination and the Unseen in The Winter’s Tale (in Historicizing the Embodied Imagination in Early Modern English Literature, edited by Mark Kaethler and Grant Williams, Palgrave, 2024). His current project is Caregiving in Shakespeare’s Changing World, a volume for Arden Shakespeare, co-edited with Rebecca Totaro (Florida Gulf Coast University) and forthcoming in 2025.

KERRY COOKE is the Associate Dean of the School of Visual and Performing Arts at Mary Baldwin University. At MBU, she oversees a range of programs in the Arts, including the Shakespeare and Performance graduate program. In addition, she is the Chair of undergraduate Theatre where she has led work on the decolonization and diversification of its curriculum and programming. In Theatre, she teaches a number of courses, especially on canonicity, Shakespeare, and early modern drama. Her research takes two forms. She studies and writes about teaching Shakespeare and canonical writers at first-generation institutions. On this topic, she has published in journals like Early Modern Culture. In addition, she researches and writes about early modern epistolary culture, particularly the ways in which this culture informs the drama of the time period. On this topic, she has published in journals like the Journal for Early Modern Studies. She is currently working on a piece on Marlowe's letters for The Oxford Handbook of Christopher Marlowe.

GEORGIE CRESPI is a PhD Student at the University of Reading who's work looks at Vices, Demons and Lucifer within Medieval and Renaissance Drama. The first year of her PhD studies has predominantly been focused on Doctor Faustus, but she has now moved onto morality plays. Her work aims to look at drama in the fifteenth and sixteenth centuries to determine how politics and the political is interconnected with drama through the concepts of obedience and allegiance. She has also recently awarded a scholarship by the University of Geneva's Summer School to attend their summer school on Divine Will, Predestination, and Human Freedom: Historical Perspectives on a Perennial Question (1500-1650).

ROBERT CRIGHTON is Artistic Director of the Beyond Shakespeare Company and host of its affiliated podcast.

DREW DANIEL is Professor in the Department of English at Johns Hopkins University, and has served as Program Director of the Program for the Study of Women, Gender and Sexuality at Johns Hopkins. In addition to numerous essays and articles which have appeared in journals such as Shakespeare Quarterly, Film Quarterly, Opera Quarterly, Social Text, TELOS, Art in America, and Studies in English Literature as well as many chapters in edited collections on race, affect, political theology, Shakespeare studies and sound studies, he is the author of three books: 20 Jazz Funk Greats (Bloomsbury, 2008), The Melancholy Assemblage: Affect and Epistemology in the English Renaissance (Fordham, 2013), and Joy of the Worm: Suicide and Pleasure in Early Modern English Literature (Chicago, 2022). He has book chapters in recent or forthcoming edited collections on the future of Shakespeare studies and on “new directions” in psychoanalytic Shakespeare criticism, and is currently co-editing a volume of premodern queer and trans poetry with Melissa Sanchez and Stephanie Burt for Columbia University Press. He lives in Baltimore with his husband Martin and together they are the electronic group Matmos.

ALYS DAROY is Academic Chair of Theatre at Murdoch University, Australia. Forthcoming books include Shakespeare, Ecology and Adaptation (Arden Shakespeare) and Feeding the Harbour City: Agriculture, Planning, Sustainability (Palgrave Macmillan). She is Artistic Director of Shakespeare South and a classical actor, theatre-maker and researcher in the environmental humanities.

TYLER DUNSTON is a PhD candidate in English Language and Literature at the University of Michigan in Ann Arbor, where he also serves as the poetry editor for the Michigan Quarterly Review.

PATRICK DURDEL is a PhD student in English Literature at the University of Lausanne (Switzerland) and Doctoral Assistant in the the SNSF-funded research project “Theater and Judgment in Early Modern England.” In his dissertation, Patrick investigates “dramaturgies of judgment” in sixteenth-century English drama. Patrick’s work has appeared in the Journal of Medieval and Early Modern Studies and is forthcoming in a special issue on closet drama and in Shakespeare Survey.

SARAH DUSTAGHEER is Reader of Early Modern Literature at the University of Kent, where she researches playwriting, performance and theatre space in early modern London, as well as contemporary Shakespearean performance. She is the author of Shakespeare’s Two Playhouses: Repertory and Theatre Space at the Globe and Blackfriars, 1599-1613 (Cambridge University Press, 2017), which was shortlisted for Shakespeare’s Globe Book Award 2018. She is the co-author of Shakespeare in London (Bloomsbury, 2014) and co-editor (with Gillian Woods) of Stage Directions and the Shakespearean Stage (Bloomsbury, 2017). Her essays on early modern playwriting and theatre space and contemporary Shakespearean performance have appeared in Shakespeare Jahrbuch, Literature Compass, Cahiers Élisabéthains, and Shakespeare Bulletin. 

JOEL M. DODSON is an associate professor of early modern English literature and the director of Arts Administration and Cultural Advocacy at Southern CT State University (New Haven, CT). He is currently working to complete a book manuscript entitled The Poverty of Aesthetics in Early Modern England, on Marlowe’s sphere of influence from Boccaccio to John Taylor the Water Poet.

ANDREW DUXFIELD is a senior lecturer at the University of Liverpool. He is co-editor, with Lisa Hopkins, of The Journal of Marlowe Studies, and has published widely on Marlowe. His monograph, Christopher Marlowe and the Failure to Unify, was published in 2015, and incorporates work for which he won the Calvin and G. Rose Hoffman prize in 2009. In addition to his interest in Marlowe, he has worked on Margaret Cavendish, producing a scholarly edition of her play The Unnatural Tragedy, and he is currently working on a project on islands and islandness in Renaissance literature.

LILY FREEMAN-JONES is the incoming Postdoctoral Research Fellow on the ERC project ‘TextDiveGlobal’ at Queen Mary University of London, where she also completed her doctorate this spring. Her thesis, ‘Touching difference: human and animal skin in early modern drama,’ investigated how parchment, pelts, and dermal prosthetics were used to figure human difference in premodern performance and was funded by a Principal’s Scholarship and the Leathersellers’ Company. She previously studied at the University of Cambridge. Her work is forthcoming in an Arizona Centre for Medieval and Renaissance Studies volume on early modern trans drama edited by Simone Chess and Sawyer Kemp, and in an edited collection on premodern Europe and its global connections, published by Oxford University Press.

BRETT GREATLEY-HIRSCH is Associate Professor of Renaissance Literature and Textual Studies at the University of Leeds. He is co-coordinating editor of Digital Renaissance Editions, co-editor of the Routledge journal Shakespeare and the CADRE database, and a Trustee of the British Shakespeare Association. For more details, see https://notwithoutmustard.net/

PHILIP GOLDFARB STYRT is an assistant professor of English at St. Ambrose University. He is the author of Shakespeare's Political Imagination: The Historicism of Setting (2021) and Shakespeare in the Present: Political Lessons Under Biden (2022). His work focuses on cultural and political understandings of early modern drama in context: both their context and ours. His current project (Imperial Concerns) looks at skeptical re-examinations of empire in early modern drama in light of emerging colonial, imperial, and racial rhetorics related to the push towards English empire. 

CARLOS PONS GUERRA is an independent choreographer. Working in classical ballet and contemporary dance, he has created work for companies including Ballet Hispanico of New York, Rambert, Nashville Ballet, Northern Ballet, Sadler's Wells, Northern Opera, the National Ballet of the Dominican Republic, the Metropolitan Ballet of Medellín, and more. He is the founder and artistic director of DeNada Dance Theatre, a company dedicated to representing the LGBTQIA+ community through dance, since 2012. Carlos began his PhD at the School of English in 2023 and his research focuses on developing queer methodologies for adapting early modern literature into dance, with a particular focus on Christopher Marlowe’s Edward II. ¶ Funded by Arts Council England, Carlos is currently working on a full-length dance adaptation of Edward II for his company, DeNada Dance Theatre. His research interests include queer theory, early modern drama, early modern material culture, queer Renaissance studies, adaptation studies and dance history. ¶ His choreographic work has been performed across the globe at venues like The Joyce Theatre (NYC), Sadler's Wells and the Royal Opera House (London), the Chennai Music Academy, the Palace of Fine Art of Santo Domingo, the International ballet Festival of Cali, Colombia, Brighton International Festival, and more.

MATT HAYNES, having been one half of independent record label Sarah Records, and all of its successor Shinkansen Recordings, co-founded Smoke: a London Peculiar, a magazine of words and images inspired by his home city of London. Smoke also produced From the Slopes of Olympus to the Banks of the Lea, a book about the effect the 2012 Olympics had on the city. His latest project is Unchartered Streets, a series of books singing the praises of London’s more unsung quarters.

DIANA E. HENDERSON, Arthur J. Conner Professor of Literature at MIT, is the author of the books Collaborations with the Past: Reshaping Shakespeare Across Time and Media and Passion Made Public: Elizabethan Lyric, Gender, and Performance, as well as more than 50 essays in and beyond early modern studies. She edited Alternative Shakespeares 3 and A Concise Companion to Shakespeare on Screen; co-edited the recent collections Shakespeare and Digital Pedagogy and The Arden Research Handbook of Shakespeare and Adaptation; and is co-editor of the annual Shakespeare Studies (Volumes XLII- ). She has worked as a professional and university dramaturg, collaborated with the RSC in the creation of an original play, and served as the 2013-14 President of the Shakespeare Society of America. She produced a documentary, Filming with Shakespeare, involving Compagnia de’ Colombari and MIT’s Council for the Arts, is PI for the open-access MITx course “Global Shakespeares: Re-Creating 'The Merchant of Venice',” and co-leads MIT’s aligned Global Shakespeares initiatives.

TRACEY HILL is Professor Emerita of Early Modern Literature and Culture at Bath Spa University. She is a Fellow of the Royal Historical Society and a specialist in the pageantry and entertainments of the sixteenth and seventeenth-century City of London. She is currently editor-in-chief of the Records of Early English Drama collection, Civic London, 1558-1642, Freeman of the City of London, and a Liveryman of the Worshipful Company of Founders. She is author of two monographs — Anthony Munday and Civic Culture (Manchester University Press 2004) and Pageantry and Power: a cultural history of the early modern Lord Mayor’s Show (Manchester University Press 2010; winner of the David Bevington Prize) — as well as a number of book chapters and journal articles. She is also a Director of Larkhall Athletic FC. 

ROBIN HIZME recently defended her PhD in English with certificates in medieval and early modern studies. Research interests include intersections among the depiction of collective violence in drama, affective and performative potentialities, trauma theories, and communal Identity formation, with an eye to implications for our own cultural mediascape. When not teaching, Robin directs the humanities curriculum for a college bridge program and coordinates collaborative programs in the social sciences and robotics.

LINDEN HOGARTH is a first-year PhD student at Stanford University, where he works on early modern drama and poetry. He holds a BA from Balliol College, Oxford, and an MA from the University of British Columbia.

LISA HOPKINS is Professor Emerita of English at Sheffield Hallam University. She is a co-editor of The Journal of Marlowe Studies and of Shakespeare, the journal of the British Shakespeare Association, and a series editor of Arden Critical Readers and Arden Studies in Early Modern Drama. Her most recent publications are The Edge of Christendom on the Early Modern English Stage (De Gruyter, 2022) and A Companion to the Cavendishes, with Tom Rutter (ARC Humanities Press, 2020), and her edition of John Ford’s The Queen is forthcoming from Manchester University Press in 2024. She also writes about detective fiction and her book Ocular Proof and the Spectacled Detective in British Crime Fiction was published by Palgrave in 2023.

HELEN L. HULL is an Associate Professor in the Department of English at Queens University of Charlotte (NC). Dr. Hull teaches Early Modern, First-Year Writing, and General Education literature courses. Her research interests include the representation of urban societies, the representation of politics (particularly the dichotomy of subjecthood and emerging modes of citizenship), and the role of stage properties in Early Modern literature, as well as the scholarship of teaching and learning. Current projects include an examination of the dramatic representation of cities in Early Modern drama and a consideration of violence and gender in Shakespeare’s Twelfth Night. Dr. Hull has served in administrative positions at Queens and in the Southeastern Renaissance Conference and the Marlowe Society of America. She is currently co-director of QLIT (Queens Literary Studies Undergraduate Research Program).

LAURIE JOHNSON is Professor of English and Cultural Studies at the University of Southern Queensland, and Fellow of both the Society of Antiquaries of London and the Royal Historical Society. His books include Leicester’s Men and Their Plays: An Early Elizabethan Playing Company and its Legacy (2023) and Shakespeare’s Lost Playhouse: Eleven Days at Newington Butts (2018), along with four other titles and more than sixty relevant journal articles and book chapters. Laurie is an Academic Adviser for the Museum of Shakespeare development in Shoreditch and was recently added to the Oxford Marlowe project team to research touring companies with Marlowe’s plays, which his paper at this conference will address. His other projects include research for the Weather Extremes in England’s Little Ice Age, 1500-1700 database (Madeline Bassnett), a book on the impact of climate on the rise of Elizabethan playhouse culture (with Elizabeth Tavares), and books on Atomic Shakespeare and Weird Shakespeare (with Anne-Maree Wicks), as well as leading a project team exploring syllabus formation and canonicity in Australian schools and universities.

JOSEPH KHOURY is Professor and Chair of English at St Francis Xavier University in Antigonish, Nova Scotia, Canada. He studied Political Philosophy and Comparative Literature and specializes in Machiavelli, Marlowe, and Shakespeare. Joseph also teaches, and has published on, the contemporary Arabic novel. His critical edition of Barnabe Riche’s The Adventures of Brusanus, Prince of Hungaria (1592), a political romance used as a source by Shakespeare in several of his plays, has garnered highly favourable reviews. He is currently working on a monograph on Machiavelli and his influence on Shakespeare and Marlowe, and on an article on Marlowe's The Massacre at Paris. Joseph has published articles on Machiavelli, Marlowe, Shakespeare, Aimé Césaire, and William Thomas (tutor to Edward VI). Joseph is involved in theatre administration and in 2015 served as Juror for the Governor-General’s Literary Prize (English Non-Fiction). Joseph received the Outstanding Teaching Award in 2016.

PETER KIRWAN is Professor of Shakespeare & Performance at Mary Baldwin University, in collaboration with the American Shakespeare Center. He is the general editor of Shakespeare Bulletin and a co-general editor of The Revels Plays Companion Library. His research interests include early modern playing practices, the editorial history of Shakespeare, and contemporary performance of early modern plays. ¶ His books include Shakespeare and the Idea of Apocrypha (Cambridge UP, 2015) and Shakespeare in the Theatre: Cheek by Jowl (Bloomsbury, 2019), and the co-edited collections Shakespeare and the Digital World (Cambridge UP, 2014), Canonising Shakespeare (Cambridge UP, 2017), The Arden Research Handbook of Shakespeare and Contemporary Performance (Bloomsbury, 2021), Shakespeare’s Audiences (Routledge, 2021); and Arden of Faversham: A Critical Reader (Bloomsbury, 2023). He is currently editing The Winter’s Tale for the fourth series of the Arden Shakespeare, and his co-edited collection The Winter’s Tale: A Critical Reader (with Todd Andrew Borlik) will be published in 2025. ¶ Work on Marlowe includes a stage history of Tamburlaine, an edition of Doctor Faustus in The Routledge Anthology of Early Modern Drama (2020), and reviews of productions of all of Marlowe’s plays on his long-running review blog, The Bardathon (https://drpeterkirwan.com/the-bardathon/).

ANDRÁS KISÉRY is associate professor of English at The City College of New York (CUNY). He has published on early modern textual and political cultures, including Hamlet’s Moment: Drama and Political Knowledge in Early Modern England (OUP 2016), and the volume he co-edited with Allison Deutermann, Formal Matters: Reading the Materials of English Renaissance Literature (Manchester UP 2013). He is now writing a book about media and remediation in early modern England. An essay taken from this project came out in Critical Inquiry in Summer 2024. With David Nee, he also coedited the Winter 2023 special issue of MLQ on old new media and 20th-century humanities. With Jane Raisch, he is contracted to edit Christopher Marlowe’s works for the 21st-Century Oxford Authors series. In addition to his early modern work, he is also collaborating on a DH project on the sociology of literary translations in the 19th and 20th centuries.

KITAMURA SAE is Professor of English Literature at Musashi University, Tokyo, Japan. She completed her PhD at King’s College London in 2013. The title of her PhD thesis is ‘The Role of Women in the Canonisation of Shakespeare: From Elizabethan Theatre to the Shakespeare Jubilee.’ She has been interested in incorporating women’s history and fan studies into Shakespeare studies. She is also an active Wikipedian. Her current research topic is gender and public speaking in seventeenth-century British Isles. Her publications include ‘The Curious Incident of Shakespeare Fans in NTLive: Public Screenings and Fan Culture in Japan,’ in Shakespeare and the ‘Live’ Theatre Broadcast Experience, ed. Pascale Aebischer, Susanne Greenhalgh and Laurie Osborne (Bloomsbury Arden, 2018); ‘How Should You Perform and Watch Othello and Hairspray in a Country Where You Could Never Hire Black Actors? Shakespeare and Casting in Japan,’ Multicultural Shakespeare 22 (2020); and ‘A Rose by Any Other Name May Smell Different: Why Are the Japanese Titles of Shakespearean Films So Odd?’, Critical Survey 33.1 (2021). Currently (from April 2024 to March 2025), she is a visiting research fellow at Trinity College Dublin.

ANOUSKA LESTER is a cultural historian with a particular interest in the intersection of material and textual histories. Her PhD from the University of Roehampton, which examined the props, costumes, and effects of early modern performance, was awarded the Malone Society’s John Edward Kerry Prize. She is currently researching Marlowe's performance history (funded by the Society for Theatre Research), eighteenth-century library catalogues (funded by the Bibliographical Society), and the women who curated Shakespeare's Stratford-upon-Avon (funded by the Louis Marder Scholarship). She has worked with the V&A, Shakespeare Birthplace Trust, Society of Antiquaries, National Theatre, and London Academy of Music and Dramatic Art, and she has shared her research on the BBC’s Free Thinking, Woman’s Hour, and Midlands Today. She is the co-editor, with Martin Wiggins, of Marlowe and Nashe’s Dido, Queen of Carthage (Oxford University Press, 2028).

RORY LOUGHNANE is Reader in Early Modern Studies at the University of Kent. He has published widely on Shakespeare and Marlowe. He is a Series Editor of Studies in Early Modern Authorship and Shakespeare and Text, and a General Editor of The Revels Plays and the forthcoming Oxford Marlowe edition.

GEORGIE LUCAS is Lecturer in English Literature at Edinburgh Napier University. Her work has appeared in Early Theatre and the Journal of the British Academy. Her monograph, Massacres in Early Modern Drama, is forthcoming with Manchester University Press; the Folger Shakespeare Library supported this work with a short-term fellowship. Atrocity in Early Modern Drama – a collection co-edited by Georgie and Sarah E. Johnson – is currently in press with Bloomsbury, where it will appear as part of the Arden Early Modern Drama Series.

RUTH LUNNEY is Honorary Lecturer at the University of Newcastle, Australia. Her new Revels Plays edition of Dido, Queen of Carthage was published in 2023. Publications include Marlowe and the Popular Tradition: Innovation in the English Drama before 1595 (2002; 2011), the first-ever collection of essays on John Lyly (2011), essays on Marlowe, Shakespeare, and Lyly, and an online glossary on the authorship of Dido (2019). She has won both the Roma Gill and Hoffman Prizes; and an essay (with Hugh Craig) was commended for the Hoffman Prize in 2019. Her current project is a monograph on the soliloquy from 1560 to 1600, exploring what really lies behind Hamlet.

TARA L. LYONS is Professor of English at Illinois State University where she teaches early modern English literature, bibliography, and Shakespeare. Lyons’ scholarship on bibliography, early modern literature, and early libraries has been published in Shakespeare Quarterly, PBSA, ELR, Philological Quarterly, and a number of edited collections. She is currently editing The First Part of the Contention for the New Oxford Marlowe. Her research has been supported by grants from the Folger and Bodleian Libraries, and most recently, she received the Katharine Pantzer Senior Fellowship in the British Book Trades from the Bibliographical Society of America and a Huntington Library fellowship for this coming academic year.

LAURIE MAGUIRE is Professor emerita at Oxford University and fellow of Magdalen College. Her most recent book is The Rhetoric of the Page (2020). She is currently writing a biography of Judith Shakespeare and, with Emma Smith, is writing a collaborative book on collaboration in early modern drama.

KIRK MELNIKOFF is Professor of English at the University of North Carolina at Charlotte. Along with publishing a number of book chapters and articles, he is the author of Elizabethan Publishing and the Makings of Literary Culture and has edited four essay collections, most recently (with Roslyn L. Knutson) Christopher Marlowe, Theatrical Commerce, and the Book Trade. He has also edited Selimus and Robert Greene's James IV. He is currently finalizing (with Aaron Pratt and Breanne Weber) Playbook Wills, 1529– 1692 for the Revels Play Companion Library, editing Edward II for Oxford Marlowe: Collected Works, and completing a monograph on bookselling in early modern England.

JENNIFER MILLARD is currently an assistant lecturer at the University of Alberta, Canada where she received her PhD in 2016. Her research interests include Early Modern apocalyptic literature, global literary approaches to witches and witchcraft, and renaissance representations of adoption and non-biological parenting.

LUCY MUNRO is Professor of Shakespeare and Early Modern Literature at King’s College London and current President of the Marlowe Society of America. She has written three books, Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge UP, 2005); Archaic Style in English Literature, 1590-1674 (Cambridge UP, 2013); and Shakespeare in the Theatre: The King’s Men (Bloomsbury Arden Shakespeare, 2020). Her most recent essay, ‘The Names of the Actors: The First Folio and Theatre History,’ was published last year in Shakespeare Quarterly. She is currently editing Marston, Barksted, and Machin’s The Insatiate Countess for the Oxford edition of Marston’s works and 1 Henry IV for the Arden Shakespeare Fourth Series. In 2024-25 she will take up a Leverhulme Trust Research Fellowship to write a new history of the Globe and Blackfriars playhouses.

JENNIFER E. NICHOLSON is an early career scholar working in early modern drama, considering how locating Shakespeare and Marlowe at the porous edges of French and English generates new readings of uncertainty. She is also working on critical whiteness studies and ‘The Winter’s Tale’. Jennifer can be found online @justjenerally.

LIZ OAKLEY-BROWN works in the Department of English Literature and Creative Writing at Lancaster University, UK. Her most recent publication is the book Shakespeare on the Ecological Surface (2024). She’s editing Marlowe’s Elegies for The Oxford Marlowe Project. Her talk at MSA 2024 brings Marlowe and her Surface Studies-related research together.

CHLOE KATHLEEN PREEDY is an Associate Professor in Early Modern Drama at the University of Exeter. Her publications include Marlowe's Literary Scepticism: Politic Religion and Post-Reformation Polemic (2013), which won the Marlowe Society of America’s biennial Roma Gill Prize, and Representing Aerial Environments on the Early Modern Stage: Theatres of the Air, 1576-1609 (2023), which she wrote as part of the AHRC-funded project Atmospheric Theatre: Open-Air Performance and the Environment (2018-21). She also recently co-edited Marlowe's The Jew of Malta for Arden Early Modern Drama with Professor William Sherman and co-edited a forthcoming collection of essays on Thomas Nashe and literary performance with Dr Rachel Willie (2024).

PAUL QUINN is Senior Lecturer in English Literature in the Department of Humanities at the University of Chichester. He is also the director of the Chichester Centre for Fairy Tales, Fantasy, and Speculative Fiction.

CRISTIANO RAGNI is Assistant Professor of English Literature at the University of Verona. After earning a PhD in Comparative Literature at the University of Perugia and carrying out part of his research at the Warburg Institute, he was a post-doc at the Universities of Turin and Genoa. His main research interests lie in the relations among theater, politics, and theology in Elizabethan England. He is also interested in the receptions of classical antiquity in modern and contemporary literature. For the project ‘In The Margin of Theater’ at the University of Verona, he is working on printed marginalia in early modern playbooks. Among his publications: the Italian editions of Christopher Marlowe’s The Massacre of Paris (2017) and Hero and Leander (2023), and the book La Nazione e il Teatro. Alberico Gentili, Shakespeare e l’Inghilterra elisabettiana (2020). Dr. Ragni is Member of the Editorial Board of Skenè. Journal of Theatre and Drama Studies and Managing Editor of Skenè. Texts and Studies. He also contributes to The Year's Work in English Studies (YWES, Oxford University Press) for the section dedicated to Christopher Marlowe.

JANE RAISCH is a Lecturer in Renaissance and Early Modern Literature in the department of English and Related Literatures at the University of York. She works on the reception of Greek antiquity in sixteenth and seventeenth-century England and Europe, and her current book project explores the influence of Hellenistic and Second Sophistic Greek literature on early modern practices of fiction and scholarship. Her work has been published in ELH, LIAS, and elsewhere and she has received fellowships from the New York Public Library; the Society for the History of Authorship, Reading, and Publication; the Huntington Library, and other institutions. She is also currently developing a grant project that explores the interactivity of game-playing and historical knowledge-making.

BRADLEY D. RYNER is an Associate Professor of English at Arizona State University. His scholarship has dealt primarily with the relationship between drama and the history and rhetoric of economics. He is the author of Performing Economic Thought: English Drama and Mercantile Writing, 1600-1642 (University of Edinburgh Press, 2014) and essays that have appeared in English Studies, Early Modern Literary Studies, Renaissance Drama, Early Theatre, and various edited collections. His next book project examines the stories of socio-economic change that early English plays tell when they rework earlier conventions, forms, and traditions.

WILL SHARPE is Teaching Fellow in Shakespeare at the University of Birmingham. He is the author of Shakespeare and Collaborative Writing (2023) for the Oxford Shakespeare Topics series, and contributed a monograph-length study on ‘Authorship and Attribution’ to the RSC/Palgrave edition William Shakespeare and Others: Collaborative Plays (2013). He is the editor of All Is True: Or, King Henry VIII for The New Oxford Shakespeare, and has published essays on Shakespeare’s authorial activities in Shakespeare Survey (2014) and in the Cambridge University Press volume Early Shakespeare, 1588-1594 (2020). He is, with Rory Loughnane, co-editor of The Oxford Handbook of Shakespeare and Early Modern Authorship (forthcoming, 2025), and is currently preparing an edition of Henry VI Part 3 for the Arden 4 Shakespeare series which will explore, among other things, Shakespeare's collaboration with Marlowe on the play.

ABIGAIL SHINN is a lecturer in Early Modern Literature and Culture at Goldsmiths, University of London. She is the author of Conversion Narratives in Early Modern England: Tales of Turning (Palgrave, 2018) and has recently co-edited the volume Edmund Spenser and Animal Life with Rachel Stenner (Palgrave: 2024). She has published articles in Renaissance Studies, The Journal for Early Modern Cultural Studies, Modern Philology, and Spenser Studies. Her current book project is The Architecture of Conversion and the Early Modern Stage c. 1592-1613.

EMMA SMITH is Professor of Shakespeare Studies at the University of Oxford, and a Fellow of Hertford College.

SIMON SMITH, FSA, is Associate Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute, University of Birmingham. He works on early modern theatre, music, and sensory culture. His monograph, Musical Response in the Early Modern Playhouse, 1603-1625 (Cambridge, 2017), won the Shakespeare’s Globe Book Award and the University English Book Prize. He has edited three essay collections, most recently Playing and Playgoing in Early Modern England (Cambridge, 2022; with Emma Whipday). He has worked as a historical music, theatre and language consultant for Shakespeare’s Globe, the BBC, the Independent and the RSC. Current projects include an edition of Twelfth Night for Cambridge Shakespeare Editions, a Leverhulme-funded monograph on early modern theatre audiences, The Cambridge Companion to Shakespeare & Sound (with Carla Della Gatta), and a short book, Shakespeare and Music, for the ‘Oxford Shakespeare Topics’ series.

JADE STANDING teaches undergraduate and graduate courses on early modern English literature at Queen’s University in Canada. Her book, The Play of Conscience in Shakespeare’s England, was published by Routledge in 2023. Her current work focuses on sword-fighting in the playhouse and considers the role of conscience in fencing training.

MATTHEW STEGGLE is Professor of Early Modern English Literature at the University of Bristol. His current projects include co-editing (with Martin Butler) The Complete Works of John Marston for Oxford University Press; co-editing (with David McInnis and Misha Teramura) the Lost Plays Database, www.lostplays.org; and a biography of Shakespeare for Reaktion Books. His paper at this conference arises from his recent book, Speed and Flight in Shakespeare (Palgrave Macmillan, 2022).

JESÚS TRONCH is a university teacher and researcher at the Universitat de València, where he teaches English literature and creative translation. His research focuses on the transmission and editing of early modern English drama (often in comparison with Spanish play-texts), on the reception and translation of Shakespeare in Spain, and on the use of digital technologies in this research. His monographs include A Synoptic ‘Hamlet’ (2002), a co-edition, with Clara Calvo, of The Spanish Tragedy for Arden Early Modern Drama (2013), and English-Spanish co-editions of The Tempest (1994) and Antony and Cleopatra (2001). He has published commissioned essays in book collections by Routledge, Palgrave, University of Delaware Press, Iter Press, Peter Lang, Cambridge UP, Firenze UP; and articles and reviews on journals such as TEXT, SEDERI, Shakespeare Survey, Critical Survey, Hipogrifo, Shakespeare Quarterly, Cahiers Élisabéthains, and Atlantis. He is co-director, with Joan Oleza, of the open-access EMOTHE database and digital library of Early Modern European Theatre. He is editing Timon of Athens for the New Internet Shakespeare Editions at the LEMDO project; and The Third Part of Henry VI and Richard Duke of York for the Oxford Marlowe Collected Works.

CHRISTINE VARNADO is Associate Professor in the departments of English and of Global Gender & Sexuality Studies at the State University of New York-Buffalo. She is the author of The Shapes of Fancy: Reading for Queer Desire in Early Modern Literature (Minnesota University Press, 2020), as well as essays on the preposition "Post-" (forthcoming in Logomotives, Edinburgh UP), "The Quality of Whiteness in The Thief of Bagdad and The Merchant of Venice" (Exemplaria 2019), "Queer Nature, or The Weather in Macbeth" (Queer Shakespeare, Bloomsbury 2017), "Getting Used, and Liking It" (Renaissance Drama 2016), and "Invisible Sex!" (Sex Before Sex, Minnesota 2013). Her current book project, Queering Birth, Queering Death: The Problem of Life in Literature, Pre- and Post-Modern, takes the spectral and dead children of Shakespeare's Macbeth as an entry point into the problem of what counts as alive, and how life is recognizable, in texts and in the material world. She has never published on the work of Christopher Marlowe before, although her first essay for a college class, at age 15, was on Doctor Faustus.

IRÈNE VILQUIN is a funded doctoral student at Sorbonne Nouvelle University. Her dissertation, titled “’Untimely Deaths’: Suicide, Imitation and Heterodoxy in Christopher Marlowe’s Plays,” focuses on suicides, self-harm and self-annihilation in Marlowe's plays, and pays a close attention to the European and extra-European circulation of heterodox ideas in relation to Marlowe’s writings. Irène’s research is supervised by Anne-Marie Miller-Blaise (Sorbonne Nouvelle University) and Rory Loughnane (University of Kent), and is associated with the Oxford Marlowe editorial project. In parallel with her thesis, Irène is currently working on two book contributions: one on violence in Twelfth Night, and the other on feminine suicide in fiction.

DANIEL VITKUS holds the Rebeca Hickel Endowed Chair in Early Modern Literature at the University of California, San Diego. He is the author of Turning Turk: English Theater and the Multicultural Mediterranean, 1570-1630 (Palgrave) and of numerous articles and book chapters on the literature and cultural history of the sixteenth and seventeenth centuries. Vitkus has also edited Three Turk Plays from Early Modern England (Columbia UP) and Piracy, Slavery and Redemption: Barbary Captivity Narratives from Early Modern England (Columbia UP). His interests include Shakespeare, early modern theater, Renaissance literature, travel writing, literary and cultural theory, Islamic culture and its representation in the West, the origins of global capitalism, and the cultural history of empire. He has just completed a book, co-authored with Jyotsna Singh, called A Contextual Guide to Shakespeare’s Antony and Cleopatra, to be published by Edinburgh University Press. His book-length work-in-progress is titled Solarpunk Shakespeare: Political Ecology, Materialism, and the Human.

KATHERINE WALKER is an Assistant Professor at the University of Nevada Las Vegas. Katherine’s current book project, Instinct, Knowledge and the Occult Sciences on the Early Modern English Stage, situates embodied ways of knowing in sixteenth and seventeenth century culture. She is the author of Shakespeare and Science: A Dictionary and is a co-editor of the forthcoming Oxford Handbook to Christopher Marlowe. Katherine has published in numerous journals on topics such as Shakespeare, mathematics, astrology, and the occult. Her next book project, The Grift of Renaissance Magic, will examine how the stage capitalized on an emergent marketplace, a magiconomy, of occult services.

SARAH WALL-RANDELL is a professor of English and Medieval/Renaissance Studies at Wellesley College. She is the author of The Immaterial Book: Reading and Romance in Early Modern England (University of Michigan Press, 2013). She has also published several essays and book chapters on topics such as early modern editing practices, books as stage-props, Sibylline prophecy, and gender in performance, including ‘Marlowe and the Sibyl’s Leaves,’ in Christopher Marlowe, Theatrical Commerce, and the Book Trade, ed. Roslyn Knutson and Kirk Melnikoff (Cambridge University Press, 2018), and ‘“The proper false”: “Original Practices” and Transmisogyny,’ in Twelfth Night: The State of Play, ed. Emma Smith (Arden Shakespeare, Bloomsbury, forthcoming). She is at work on a book about Shakespeare performance at American women’s colleges in the 19th century, and is the editor of Marlowe’s translation of Lucan’s Civil War for the forthcoming Oxford Marlowe Collected Works.

GINA WALTER is completing a PhD in early modern drama at the University of Bristol, looking at the props that surround death and grief on the Elizabethan and Jacobean stage: from ghost costumes to fake bodies. She is interested in the cultural history of death, and how we use material things to work through both difficult personal emotions and disruptive cultural changes. Her PhD is funded by the AHRC (South, West & Wales Doctoral Training Partnership). Gina has also been an academic/creative consultant for a theatre production based on Shakespeare’s sonnets, and contributes to contemporary research on bereavement as part of a project exploring the impact of creative activities on grief.

CECILIA LINDSKOG WHITELEY is a doctoral candidate at Uppsala University specialising on early modern drama. Her thesis investigates the impact of the establishment of the permanent playhouses in London, arguing that they allowed the development of a localised meta- and intertheatrical culture. This is tested through readings across the extant corpus of the 1580s. Canonical plays are juxtaposed with less-read texts in ways that seek to uncover links, with readings anchored in the playhouses and their immediate surroundings. Chapters discuss aspects like props, costume, staging, audiences, and the negotiation of authority. She will defend her thesis in November. ¶ Beyond her thesis, she has published articles and essays on Nicholas Breton, Shakespeare, London’s early modern playhouses, Ben Jonson and city comedy, and the Jacobean macabre. Recent publications include an essay on early Swedish translations of Hamlet for Arden Shakespeare, and a chapter on ‘The Rose and the Riverside,’ to be published in August in a collection with Edinburgh University Press. In addition, she has work forthcoming on Romeo and Juliet’s nineteenth-century reception, and on Lyly’s decadent heritage.

RACHEL WIFALL received her Ph.D., with a focus on Shakespearean drama, from New York University in 1999. She also studied Shakespearean acting at London’s Royal Academy of Dramatic Art and New York’s American Globe Theatre. While she has taught at Saint Peter’s University in Jersey City, New Jersey since 2004, she has published academic articles on the staging and adaptation of Shakespearean drama and the intersecting cultural legacies of Shakespeare and Jane Austen, as well as theater and book reviews and journalistic articles on pedagogy and issues in Jesuit higher education. She is also a writer of creative fiction and poetry.

RACHEL WILLIE is Reader in Early Modern Literary Studies at Liverpool John Moores University. She is author of Staging the Revolution: Drama, Reinvention and History, 1647-72 (MUP, 2015, pbk 2019) and has co-edited with Kevin Killeen and Helen Smith of The Oxford Handbook of the Bible in Early Modern England, c. 1530-1700 (OUP, 2015, pbk 2018); Travel and Conflict in the Early Modern World (Routledge 2020, pbk 2022) with Gábor Gelléri, and an HLQ special issue on "Performance and the Paper Stage" with Emma Depledge (2022). She has most recently co-edited Thomas Nashe and Literary Performance with Chloe Preedy, which will be published by MUP in July 2024.

HANNAH WILSON has recently defended her doctoral thesis on the training of boy actors in the early modern period. Her interests focus on actor skill and enskillment, the figure of the boy actor, performativity, the practicalities of theatrical production and cultural materialism.

DANIEL YABUT is a Research Associate for the French National Centre for Scientific Research (CNRS), in association with the Institute for Research on the Renaissance, the Neo-Classical Age, and the Enlightenment (IRCL) and Université Paul-Valéry Montpellier 3. He specialises in sixteenth-seventeenth-century early modern theatre and book history, and serves as Performance Reviews editor of Cahiers Élisabéthains. He is an actor and teaching artist, with theatre, film, and television credits in the United States, England, and France.

YAO YINRUI is a PhD student majoring in Comparative Literature and World Literature at Sun Yat-sen University, China. She specializes in Renaissance English literature with an interest in the classical reception and erotic writings in early modern literature. Her current research centers on the erotic writings of Christopher Marlowe. ¶ Prior to her doctoral studies, Yao Yinrui devoted to the classical literature and translation study, her master dissertation focus on Vergil’s portrayal of the underworld in Aeneid VI, and her essay discussing Plutarch’s reception in Shakespeare’s Antony and Cleopatra won a second prize in an academic competition. Her original romantic fiction “Had we but world enough, and time” also won a second prize in the 15th Hong Lou modern literature award. She holds a Bachelor’s degree from Hunan Normal University and a Master’s in Comparative Literature and World Literature from SYSU.