Clare Carroll is both Professor of Comparative Literature Department and Director of Honors in the Humanities. She does research in Renaissance Studies, with particular interests in early modern colonialism, epic poetry, and historiography. Her most recent book is Ireland and Postcolonial Theory (Cork University Press and Notre Dame University Press, 2003). She is also the author of Circe’s Cup: Cultural Transformations in Early Modern Writing about Ireland (Cork University Press, 2002) and The Orlando Furioso, A Stoic Comedy (Medieval and Renaissance Texts & Studies, 1997). With Vincent Carey, she edited Richard Beacon’s humanist dialogue on the colonization of Ireland, Solon His Follie(1996). She is also the editor of the Early Modern Period in theLongman Anthology of British Literature (2003) and of theLongman Cultural Edition of Othello and Tragedy of Mariam(2003).
In addition to teaching courses in Comparative, Classical, Medieval, and Renaissance literatures, she has taught both the advanced seminar and the introductory Irish language course in Irish Studies. When Carroll won the President’s Award for Excellence in Teaching back in 1993, one of her students commented: “She encourages us to disagree, debate, and discuss. Most important, she gets us to think.”
Herman L. Bennett is a Professor of History. As a student of the early modern African diaspora, he primarily focuses on how dispossessed peoples navigate power and stake claims within the structures of dominance. At its core, his work engages the earliest formations of blackness, experiences that he views as inseparable from the historical configuration of the West. Writing the history of the West from its margins plays a considerable role in his relationship to the historical profession. As a perspective, it has meant that he constantly searches for ways to assist students and colleagues in seeing themselves as stakeholders so as to negotiate the workings of institutions and cultural formations with the ability to effect change in existing structures. Bennett has received fellowships from the Institute for Advanced Study at Princeton, the Mellon Foundation, the National Endowment for the Humanities, and the American Council of Learned Societies. He has lectured widely in Europe and the Americas, and comes to the Graduate Center from Rutgers University after starting his scholarly career at Johns Hopkins University. Bennett holds a Ph.D. in Latin American history from Duke University where he was a Mellon Scholar of the Humanities.
Monica Calabritto received her “Laurea” degree in Classics at the Università degli Studi di Pisa and her Ph.D. in Comparative Literature, with a specialization in Renaissance Studies, from the Graduate Center of the City University of New York. Her research focuses on the interaction between medicine and literature and between medicine and law in early modern Italy and Europe, as well as on the relation between visual and verbal media in early modern European culture.
Presently, she is completing two books. One is the result of archival research performed in good part during a year spent in Italy with a I Tatti Fellowship (2004-2005) from the Harvard University Center for Italian Renaissance Studies in Florence. Her study focuses on the analysis and interpretation of the tensions between legal theory and practice and among legal, medical and social perspectives vis-à-vis the notion of insanity. The other book is a collection of essays, “Emblems of Death in the Early Modern Period,” co-edited with Peter Daly, on emblems andimprese of death produced in Europe between the sixteenth and the eighteenth century.
She is the author of the introduction to the first modern English translation, by John Crayton and Daniela Pastina, of Tomaso Garzoni’s The Hospital of Incurable Madness (Tempe, Arizona: Arizona Center for Medieval and Renaissance Studies, 2009) and of numerous essays and articles on Garzoni, imprese, gendered madness, melancholy, the relationship between literature and medicine in literary and medical texts, and the structure and function of various medical genres vis-à-vis the illness of melancholy in the early modern period.
The Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies. His research and teaching interests include dramatic theory and Western European theatre history and dramatic literature, especially of the 18th, 19th, and 20th centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Barnard Hewitt prize, the George Freedley Award, the Edgar Rosenblum Award, the Oscar G. Brockett Prize, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a Fellow of the Institute for Advanced Studies at Indiana University, a Visiting Professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (Cornell University Press, 1993), has been translated into seven languages. His 2001 book, The Haunted Stage won the Callaway Prize. His newest book is the Theatres of Morocco, Algeria and Tunisia with Khalid Amine (Palgrave 2011).
Sarah Covington is Professor of History, specializing in early modern Britain and Ireland. She earned her PhD in history at the Graduate Center of the City University of New York and is the author of two books: *The Trail of Martyrdom: Persecution and Resistance in Sixteenth-Century England* (University of Notre Dame Press, 2004) and *Wounds, Flesh, and Metaphor in Seventeenth-Century England* (Palgrave-McMillan, 2009). She has been awarded a 2012-13 Mellon Fellowship at the CUNY Graduate Center, where she will continue work on her two book projects. The first, “The Black-Billed Birds and the Battling Seas: Oliver Cromwell, Memory, and the Dislocations of Ireland”, traces Oliver Cromwell and memory in the Irish historical, literary and folkloric imagination over three centuries. The second examines the reinterpretations of problematic biblical characters and episodes (Judas, Gethsemane) in the wake of the sixteenth-century reformation. Professor Covington also currently serves as the book review editor of the Renaissance Quarterly.
Martin Elsky is Professor in the Ph.D. Programs in English and in Comparative Literature, and in the Renaissance Studies Certificate Program, at The Graduate Center of the City University of New York, and Professor of English at Brooklyn College, CUNY. He is former Articles Editor of Renaissance Quarterly, and former director of the Renaissance Studies Certificate Program, an interdisciplinary program for doctoral students at the CUNY Graduate Center. He serves as Counselor on the Board of Directors of the Renaissance Society of America, and is on the Editorial Board of Epistèmé (Paris III). His interests have included English Reformation poetry, scientific prose, language theory, and, more recently, the English adaptation of Italian architecture as the setting of English Renaissance literature. His current interests revolve around the work and career of Erich Auerbach, including the post-World War I German reception of Dante, and Auerbach’s relation to Walter Benjamin. With Martin Vialon and Robert Stein, he has collaborated on a translation of selected letters of Auerbach.
Mario DiGangi is Professor of English at the Graduate Center and Lehman College. He has published two books: Sexual Types: Embodiment, Agency, and Dramatic Character from Shakespeare to Shirley (University of Pennsylvania Press, 2011), and The Homoerotics of Early Modern Drama (Cambridge: Cambridge University Press, 1997). His research interests include feminist, materialist, and queer criticism; lesbian and gay studies; history of sexuality; early modern period, especially the drama of Shakespeare and his contemporaries; gender and sexuality in the Renaissance; historicism in Renaissance studies.
Will Fisher is Professor of English at the Graduate Center and Lehman College. He is currently working on two different book-length projects: the first is a book about sexual practices in early modern English culture (with chapters on kissing, chinchucking, intercrural sex, cunnilingus, the use of dildos, and flogging), and the second is a book about “bisexuality” and notions of sexual orientation. His research interests include the literature and culture of early modern England; the history of gender, sexuality, and race; early modern cultural studies.
Erika T. Lin specializes in early modern English theatre and culture with particular attention to embodied performance, affect, spectacle, and audience. Her research examines dramatic texts, performance theory, and theatre historiography by incorporating approaches from many fields, including literature, social history, visual culture studies, anthropology, religion, and the history of science. In addition, she has written and taught on topics related to medieval theatre, gender and sexuality, the history of dance, folklore and popular culture, and Asian American studies.
Her first book, Shakespeare and the Materiality of Performance, won the 2013 David Bevington Award for Best New Book in Early Drama Studies. Drawing on sixteenth- and seventeenth-century scientific treatises, murder pamphlets, travel narratives, dream manuals, religious sermons, legal records, and other primary sources, this book reconstructs playgoers’ typical ways of thinking and feeling and demonstrates how these culturally trained habits of mind shaped not only dramatic narratives but also the presentational dynamics of onstage action. She is now working on her second book, tentatively titled Seasonal Festivity and Commercial Performance in Early Modern England, which analyzes May Games, Robin Hood gatherings, morris dances, and other popular practices to explore how performance as a ubiquitous mode of sociality transformed into the institutionalized aesthetic mode that we think of today as “theatre.” In addition, with Gina Bloom and Tom Bishop, she is currently co-editing a volume of essays titled Games and Theatre in Early Modern England.
Lin’s research has appeared in many venues, including Theatre Journal and New Theatre Quarterly. Her article “Performance Practice and Theatrical Privilege: Rethinking Weimann’s Concepts of Locus and Platea” received the 2008 Martin Stevens Award for Best New Essay in Early Drama Studies. Her work has also been recognized by various honors and grants, including from the American Society for Theatre Research and the Shakespeare Association of America, and she was most recently the recipient of an Andrew W. Mellon Long-Term Fellowship at the Folger Shakespeare Library. She currently serves on the Executive Council of the Medieval and Renaissance Drama Society, the Program Committee of the Shakespeare Association of America, and the MLA Committee for the New Variorum Shakespeare.
Richard McCoy is Distinguished Professor at Queens College and the Graduate Center. He is a critical voice in the study of the interrelationship of literature and politics in the Elizabethan period. He is also recognized as a major cultural historian of the Early Modern period in England and as a distinguished voice in the field of Elizabethan drama. His most recent book, Faith in Shakespeare, attests to his central position in Shakespeare studies. His research interests include late medieval and early modern periods; 16th- and 17th-century English literature; Skelton, More, Sidney, Shakespeare, Spenser, Milton; Renaissance and Reformation politics, religion, and culture; ritual and iconography; new historicism and cultural poetics; early modern stage and performance theory.
Feisal Mohamed’s current work focuses on seventeenth-century contributions to sovereignty as an idea and practice. This includes the persistence of theological language around the sovereign as deciding instance, and also the parceling of sovereign power in relatively autonomous bureaucracies, such as courts and corporations. As reflection and contribution to the period’s political imaginary, literary texts offer fundamental insights into the shaping of this aggravatingly persistent modern political formation.
He has been awarded a Mellon Foundation New Directions Fellowship; the Milton Society of America’s James Holly Hanford Award for Milton and the Post-Secular Present; and, with co-editor Mary Nyquist, its Irene Samuel Award for the collection Milton and Questions of History. In addition to scholarly venues, his writing has appeared in The Chronicle Review, Dissent Magazine, The Huffington Post, the website of The New Republic, and The New York Times. Mohamed is a past president and current secretary of the Milton Society of America.
With Marcus Keller and Ellen McCLure, he edits the Northwestern University Press series “Rethinking the Early Modern.”
Tanya Pollard has a Ph.D. in Comparative Literature from Yale University and an M.A. in Classics and English from Magdalen College, Oxford, where she studied as a Rhodes Scholar. Her books include Shakespeare’s Theater: A Sourcebook (Blackwell, 2003), Drugs and Theater in Early Modern England (Oxford, 2005), and Shakespearean Sensations: Experiencing Literature in Early Modern England, co-edited with Katharine Craik (Cambridge, 2013). She’s currently completing a book titled Greek Tragic Women on Shakespearean Stages, forthcoming with Oxford University Press; with Tania Demetriou, she has co-edited two forthcoming special journal issues, Milton, Drama, and Greek Texts, and Greek Texts and Early Modern English Theater. Research and teaching interests include Shakespeare, early modern drama, Greek drama, classical reception, genre theory, theater in performance, history of medicine, science, bodies, emotions, and gender.
Professor Pollard serves on the Council of Scholars for Theatre for a New Audience, and has appeared in conversation with Ethan Hawke in Shakespeare Uncovered: Macbeth (PBS, 2013) and Christopher Plummer in Shakespeare Uncovered: King Lear (PBS, 2015). In conversation with actors, directors, and other scholars, she has spoken to New York City theater audiences on early modern plays by Shakespeare, Jonson, Middleton, Marston, and others. Recent articles include “Tragicomedy” in the Oxford History of Classical Reception in English Literature (2015); “Hecuba” in A Dictionary of Shakespeare’s Classical Mythology, ed. Yves Peyré (2015); “Greek Plays and English Dramatic Genres,” in Formal Matters: Reading the Materials of English Renaissance Literature, ed. Allison Deutermann and Andras Kisery (Manchester, 2013), 99-123; and “What’s Hecuba to Shakespeare?,” Renaissance Quarterly 65:4 (2012), 1060-1093. For more publications, see here.
Francesca Sautman is Professor of French at the Graduate Center and Hunter College. She has authored La Religion du Quotidien: Rites et croyances populaires de la fin du Moyen Age (Biblioteca di Lares, 1995), and has edited Encyclopedia of Sex and Gender (Scribner/Gale/Macmillan, 2007), Same-Sex Love and Desire Among Medieval Women (St. Martins’ Press/Palgrave, 2001), and Telling Tales: Medieval Narratives and the Folk Tradition (St. Martin’s Press, 1998). Her research interests include Medieval and 16th Century Literature and Folklore, Gender and Queer Theory, French and Francophone Cultural Studies, Historical Anthropology, and Folklore.
Domna D. Stanton
A French faculty member, Stanton is completing The Monarchy, The Nation and Its Others: France in the Age of Louis XIVth. She is also working on a 150-page section, on the seventeenth century, for Les femmes en littérature, 2 vols, edited by Martine Reid, to be published by Gallimard in 2016. Her most recent book, Dynamics of Gender in Early-Modern France: Women Writ, Women Writing (Ashgate) was published in autumn of 2014. Her research interests include seventeenth-Century French literature and culture; Early-Modern Studies; Women Writers; Critical Theory; Feminist theory; Human Rights.
Emily Wilbourne is a musicologist specializing in theatrical music and sound in seventeenth-century Italy. Her work engages with questions of gender, performance and sexuality and with repertories of the commedia dell’arte and Italian opera; she is currently at work on a monograph entitled Seventeenth-Century Opera and the Legacy of the Commedia dell’arte. In 2008-9, Emily was an Andrew W. Mellon Postdoctoral Fellow in Music at Columbia University, and, more recently, her article, “Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love,” was awarded the 2011 Philip Brett Award of the LGBTQ Study Group of the American Musicological Society.
Professor Amanda Wunder’s research focuses on the art and culture of early modern Spain. She also is a professor in the History Department at Lehman College, CUNY, and has taught at the University of Wisconsin-Madison and the University of New Hampshire. She has been a Fulbright scholar in Spain (1999-2000) and was a senior fellow in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art (2005-2006). Her book manuscript, “Worldly Glory: Artists, Aristocrats, and the Construction of Golden-Age Seville,” explores artistic and social transformations in Spain’s Atlantic port city from 1503 to 1717. Her current book project, “The Spanish Style: The Politics of Extreme Fashion in an Age of Empire, 1492-1700,” focuses on textiles, tailoring, and the meaning of clothes in Imperial Spain; this research is being supported by PSC-CUNY research grants and by a summer stipend from the National Endowment for the Humanities (2012).