List of Contributors

Philip Armstrong is an Associate Professor of English at the University of Canterbury in Christchurch, New Zealand. He is the author of Shakespeare’s Visual Regime (2000), Shakespeare in Psychoanalysis (2001), What Animals Mean (2008), and A New Zealand Book of Beasts (with Annie Potts and Deidre Brown, 2013).

Emily C. Bartels is Professor of English at Rutgers University and Director of the Middlebury Bread Loaf School of English. Her publications include Spectacles of Strangeness, Imperialism, Alienation, and Marlowe (1993), which won the 1993–4 Roma Gill Prize for Best Work on Christopher Marlowe, and Speaking of the Moor: From Alcazar to Othello (2008). She has edited Critical Essays on Christopher Marlowe and co-edited with Emma Smith Christopher Marlowe in Context (2013). Her newest project centres on Shakespearean intertextuality.

Crystal Bartolovich is an Associate Professor of English at Syracuse University where she teaches courses in early modern literature and Marxist theory. She is the author of Marx and Freud: Great Shakespeareans (2012) with Jean Howard and David Hillman. With Neil Lazarus, she edited Marx, Modernity and Postcolonial Studies (2003). Her essays have appeared in journals such as PMLA, Shakespeare Studies, Cultural Critique, and New Formations as well as numerous edited collections. From 2000 to 2014 she was the editor of Early Modern Culture.

Shaul Bassi is Associate Professor of English at Ca’ Foscari University of Venice. His publications include Visions of Venice in Shakespeare (with Laura Tosi, 2011), Experiences of Freedom in Postcolonial Literatures and Cultures (with Annalisa Oboe, 2011), and Shakespeare’s Italy and Italy’s Shakespeare. Place, ‘Race’, and Politics (2016).

Catherine Belsey is Professor Emeritus in English at Swansea University and Visiting Professor at the University of Derby. Her books include The Subject of Tragedy (1985), Shakespeare and the Loss of Eden (1999), Why Shakespeare? (2007), Shakespeare in Theory and Practice (2008), and Romeo and Juliet: Language and Writing (2014).

Tom Bishop is Professor of English at the University of Auckland, New Zealand. He is the author of Shakespeare and the Theatre of Wonder (1996), the translator of Ovid’s Amores (2003), and a general editor of The Shakespearean International Yearbook. He has published articles on Elizabethan music, Shakespeare, Jonson, medieval drama, Australian literature, and other topics. He is currently editor of Pericles, Prince of Tyre for the Internet Shakespeare Editions, and is writing a book on Shakespeare’s Theatre Games.

Peter Byrne is Associate Professor of English at Kent State University at Trumbull. He received his doctorate at the University of California, Irvine, in 2004. His research focuses on the role of genre in theatrical composition and performance. His most recent published articles include ‘“Titles are jests”: The Challenge to Generic Dialectic in A King and No King’ in Medieval and Renaissance Drama in England 28 (2015) and ‘“The cunning of their ground”: The Relevance of Sejanus to Renaissance Tragedy’ in Early Theatre (2014).

Pavel Drábek is Professor of Drama and Performance at the University of Hull. His interests range from Shakespeare and early modern theatre in Europe, through drama translation, music theatre to theatre theory. He has published a monograph on cultural history and translations of Shakespeare (České pokusy o Shakespeara (Czech Attempts at Shakespeare), 2012), on John Fletcher (Fletcherian Dramatic Achievement: The Mature Plays of John Fletcher, 2010), on seventeenth-century English comedy in Germany, on puppet theatre, and on theatre structuralism. He is an opera librettist (mostly for composer Ondřej Kyas), playwright and translator.

Pascale Drouet is Professor of English Literature at the University of Poitiers. Her publications include Le vagabond dans l’Angleterre de  Shakespeare (2003), Mise au ban et abus de pouvoir. Essai sur trois pièces tragiques de  Shakespeare (2012), De la filouterie dans l’Angleterre de la Renaissance. Études sur Shakespeare et ses contemporains (2013), Shakespeare’s Love’s Labour’s Lost (2014). She is the general editor of the online journal Shakespeare en devenir and the textual editor of Henry VIII for The Norton Shakespeare (Third Series, 2015). She also translates twentieth and twenty-first-century drama for the French stage.

Lee Edelman, Fletcher Professor of English Literature at Tufts University, is the author of No Future: Queer Theory and the Death Drive (2004) and, most recently, with Lauren Berlant, of Sex, or the Unbearable (2014).

Bridget Escolme is Reader in Drama at Queen Mary University of London where she she teaches and researches early modern drama in historical and recent performance; costume theory and practice; the history of emotions in performance. Her publications include Emotional Excess on the Shakespearean Stage: Passion’s Slaves (2013) and Talking to the Audience: Shakespeare, Performance, Self (2005). She is co-editor of the series Shakespeare in Practice (Palgrave) and Shakespeare in the Theatre (Arden).

William Germano is Professor of English Literature and Dean of the Faculty of Humanities and Social Sciences at Cooper Union. He has written The Tales of Hoffmann (BFI Film Classics) and two books on writing and publishing: Getting It Published and From Dissertation to Book (University of Chicago Press). He is completing a book entitled Shakespeare at the Opera: A History of Impossible Projects and a book-length essay on the history of the eye chart.

John Givens is Associate Professor of Russian at the University of Rochester. He is the author of a study of the Soviet writer and film maker Vasily Shukshin (Prodigal Son: Vasily Shukshin in Soviet Russian Culture), the co-translator of a volume of Shukshin’s prose (Stories from a Siberian Village) and, from 1999 to 2015, the editor of Russian Studies in Literature, a quarterly journal of translations of Russian literary scholarship. He has recently completed his second book, The Image of Christ in Russian Literature: Dostoevsky, Tolstoy, Bulgakov, Pasternak.

Michael Gleicher is a professor in the Department of Computer Sciences at the University of Wisconsin-Madison. He is founder of the department’s Computer Graphics Group. His research interests span the range of visual computing, including data visualization, image and video processing tools, virtual reality, and character animation techniques for films, games, and robotics. Prior to joining the university, he was a researcher at The Autodesk Vision Technology Center and in Apple Computer’s Advanced Technology Group. He earned his PhD in computer science from Carnegie Mellon University and holds a BSE in electrical engineering from Duke University. For the 2013–14 academic year, he was visiting researcher at INRIA Rhone-Alpes. He is an ACM Distinguished Scientist.

Colette Gordon is a Lecturer in the Department of English at the University of the Witwatersrand. The focus of her research is the interaction between early modern credit culture and stage performance, but she has interrogated various aspects of Shakespearean performance in articles in Shakespeare, Cahiers Élisabéthains, African Theatre, Shakespeare in Southern Africa, Borrowers and Lenders, and, most recently, in Shakespeare and the Global Stage (Bloomsbury).

Andrew Hadfield is Professor of English at the University of Sussex and author of a number of works on early modern literature and culture including Edmund Spenser: A Life (2012, paperback 2014) and Shakespeare and Republicanism (2005, paperback 2008). He is working on a study of lying in early modern England and is editing the Works of Thomas Nashe for Oxford University Press with Jennifer Richards, Joe Black, and Cathy Shrank. He is vice-chair of the Society for Renaissance Studies.

Richard Halpern is Erich Maria Remarque Professor of Literature at New York University. He is the author of four books, including The Poetics of Primitive Accumulation (1990), Shakespeare among the Moderns (1997) and Shakespeare’s Perfume (2002).

Sarah Hatchuel is Professor of English Literature and Film at the University of Le Havre (France), President of the Société Française Shakespeare and head of the ‘Groupe de recherche Identités et Cultures’. She has written extensively on adaptations of Shakespeare’s plays. She is the author of Shakespeare and the Cleopatra/Caesar Intertext: Sequel, Conflation, Remake (2011), Shakespeare, from Stage to Screen (2004) and A Companion to the Shakespearean Films of Kenneth Branagh (2000). She also edited Julius Caesar and Antony and Cleopatra in The New Kittredge Shakespeare collection (2008) and from 2003 co-edited, with Nathalie Vienne-Guerrin, the Shakespeare on Screen series.

David Hillman is a Senior Lecturer in the Faculty of English at the University of Cambridge, and Fellow and Director of Studies at King’s College, Cambridge. He is the author of Shakespeare’s Entrails: Belief, Scepticism and the Interior of the Body (2007) and of Shakespeare and Freud in The Great Shakespeareans series (2012); he is the co-editor of The Cambridge Companion to the Body in Literature (2015) and of The Body in Parts: Fantasies of Corporeality in Early Modern Europe (1997). He is currently working on a monograph, Greetings and Partings in Shakespeare and Early Modern England.

Andreas Höfele is Professor of English at Munich University. He is author of Stage, Stake, and Scaffold: Humans and Animals in Shakespeare’s Theatre (2011), which won the 2012 Roland H. Bainton Prize for Literature. His publications in German include books on Shakespeare’s stagecraft, late nineteenth-century parody, and on Malcolm Lowry, as well as six novels. He served as President of the German Shakespeare Society 2002–11.

Peter Holland is McMeel Family Professor in Shakespeare Studies in the Department of Film, Television and Theatre, and Associate Dean for the Arts at the University of Notre Dame. He was Director of the Shakespeare Institute in Stratford-upon-Avon from 1997 to 2002. He is editor of Shakespeare Survey, co-General Editor of Oxford Shakespeare Topics, Great Shakespeareans and the Arden Shakespeare 4th series. His edition of Coriolanus for the Arden 3rd series appeared in 2013.

Jonathan Hope is Professor of Literary Linguistics at Strathclyde University in Glasgow. He has published widely on Shakespeare’s language and the history of the English language. His most recent book, Shakespeare and Language: Reason, Eloquence and Artifice in the Renaissance (2010), seeks to reconstruct the linguistic world of Shakespeare’s England and measure its distance from our own. With Michael Witmore (Folger Shakespeare Library), he is part of a major digital humanities project, funded by the Mellon Foundation, to develop tools and procedures for the linguistic analysis of texts across the period 1450–1800. Early work from this project is blogged at: winedarksea.org.

Mark Houlahan is Senior Lecturer in English at the University of Waikato, Hamilton, New Zealand. Currently he is President of the Australia and New Zealand Shakespeare Association (ANZSA). Recently he has edited Shakespeare and Emotions: Histories, Re-Enactments, Legacies (2015), with R. S.White and Katrina O’Loughlin, and Twelfth Night (2014), with David Carnegie, in the Broadview/Internet Shakespeare series.

Alexa Huang teaches in the English department at George Washington University; she co-founded the GW Digital Humanities Institute and directs the Dean’s Scholars in Shakespeare. Her latest book is Shakespeare and the Ethics of Appropriation (co-edited with Elizabeth Rivlin, 2014). She is co-general editor of The Shakespearean International Yearbook.

Sujata Iyengar, Professor of English at the University of Georgia, is the author of Shades of Difference: Mythologies of Skin Color in Early Modern England (2005), Shakespeare’s Medical Language (2011), and editor of Disability, Health, and Happiness in the Shakespearean Body (2015). She is currently at work on two book projects, a monograph called ‘Shakespeare and the Art of the Book’ and an edited essay collection on Shakespearean transformations, and a suite of essays about Shakespeare, intermediality, and bodily differences. With Christy Desmet, she co-founded and co-edits the award-winning multimedia scholarly periodical Borrowers and Lenders: The Journal of Shakespeare and Appropriation.

MacDonald P. Jackson is an Emeritus Professor of English at the University of Auckland and a Fellow of the Royal Society of New Zealand. He was an associate general editor of the Oxford Middleton and is a co-editor of the Cambridge Webster. His most recent book is Determining the Shakespeare Canon: ‘Arden of Faversham’ and ‘A Lover’s Complaint’.

Russell Jackson is Allardyce Nicoll Professor of Drama in the University of Birmingham. His recent publications include Shakespeare Films in the Making: Vision, Production and Reception (2007), Theatres on Film: how the Cinema Imagines the Stages (2013) and Shakespeare and the English-speaking Cinema (2014).

Bernhard Klein is Professor of English at the University of Kent, United Kingdom. He has published monographs and articles, and edited and co-edited essay collections on various early modern topics, including cartography, the sea, and travel writing. He is currently co-editing one volume in the forthcoming critical edition of Richard Hakluyt’s Principal Navigations.

Paul A. Kottman is Associate Professor of Comparative Literature at the New School for Social Research. He is the author of Tragic Conditions in  Shakespeare (2009), A Politics of the Scene (2008) and the editor of Philosophers on  Shakespeare (2009). He is also the editor of a new book series at Stanford University Press, called Square One: First-Order Questions in the Humanities.

Peter Lake is University distinguished professor of early modern English history at Vanderbilt University. His most recent book (written with Isaac Stephens) is A Northamptonshire Maid’s Tragedy. A revised version of his 2011 Ford Lectures (Bad queen Bess?) will be published by Oxford University Press in 2016. He is currently completing s study of Shakespeare’s history plays and the politics of the 1590s.

Douglas Lanier is Professor of English and Director of the London Program at the University of New Hampshire. He is the author of Shakespeare and Modern Popular Culture (2002) and many articles and chapters on modern appropriation of Shakespeare. He is currently working on a book-length study of Othello on screen and a book on The Merchant of Venice for the Arden Language & Writing series.

Hester Lees-Jeffries is a University Lecturer in English at Cambridge University and a Fellow of St Catharine’s College. She is the author of England’s Helicon: Fountains in Early Modern Literature and Culture (2007) and Shakespeare and Memory (2013), as well as many articles and essays on Shakespeare and early modern literature. Her current project has the working title ‘Textile Shakespeare’.

Courtney Lehmann is the Tully Knoles Professor of the Humanities and Professor of English and Film Studies at the University of the Pacific. She is an award-winning teacher and the author of Shakespeare Remains: Theater to Film, Early Modern to Postmodern (2002), Screen Adaptations: Shakespeare’s  Romeo and Juliet (2010), and co-author of Great Shakespeareans: Welles, Kurosawa, Kozintsev, and Zeffirelli (2013). She is the co-editor of several Shakespeare and film anthologies, as well as The New Kittredge King John and Henry VIII.

Rory Loughnane is Assistant Research Professor and Associate Editor of The New Oxford Shakespeare project at IUPUI. Recent and current book projects include The Memory Arts in Renaissance England: A Critical Anthology (2016) with William E. Engel and Grant Williams, Staged Normality in Shakespeare’s England with Edel Semple, Early Shakespeare with Andrew J. Power, and a monograph entitled Middleton Reading Shakespeare. For the Authorship Companion to The New Oxford Shakespeare he is co-authoring, with Gary Taylor, a new essay about the ‘Canon and Chronology’ of Shakespeare’s works.

Lynne Magnusson is a Professor of English at the University of Toronto, with research interests in Shakespeare’s language and the social rhetoric of the early modern letter. The author of Shakespeare and Social Dialogue: Dramatic Language and Elizabethan Letters, she has recently edited Shakespeare’s Sonnets for The Norton Shakespeare and is working on Shakespeare and the Grammar of Possibility.

Leah S. Marcus is Edwin Mims Professor of English at Vanderbilt University. She is the author of Childhood and Cultural Despair (1978), The Politics of Mirth (1986), Puzzling Shakespeare (1988), Unediting the Renaissance (1996), and has edited works of Queen Elizabeth I (2000 and 2003), John Webster’s Duchess of Malfi (2009), The Merchant of Venice, and As You Like It (both in Norton Critical Editions, 2006 and 2011). She is currently finishing a book provisionally titled How Shakespeare Became Colonial and treating colonial survivals in our current texts of the plays.

Madhavi Menon is Professor of English at Ashoka University, editor of Shakesqueer: A Queer Companion to The Complete Works of  Shakespeare (2011), and author of Indifference: On Queer Universalism (2015).

Alfredo Michel Modenessi is Professor of Comparative Studies at the National University of Mexico (UNAM), as well as stage translator and dramaturge. He has published extensively on Shakespeare, translation, and cinema, and translated over forty plays, including fifteen by Shakespeare. Currently, he is Deputy Director of UNAM’s Centre for Mexican Studies at King’s College London, and is preparing a book on the presence of Shakespeare in Mexican cinema.

Subha Mukherji is Senior Lecturer in English at Cambridge University. Her publications include Law and Representation in Early Modern Drama (2006); Early Modern Tragicomedy (co-ed., 2007); Fictions of Knowledge: Fact, Evidence, Doubt (co-ed., 2012); Thinking on Thresholds: the Poetics of Transitive Spaces (ed., 2011); and numerous articles on Shakespeare and early modern literature. She is leading the ERC-funded project, Crossroads of Knowledge in Early Modern England: The Place of Literature (2014–19), and writing on a monograph on Questioning Knowledge in Early Modern Literature.

Steven Mullaney is Professor of English at the University of Michigan in Ann Arbor. He is the author of The Place of the Stage: License, Play, and Power in Renaissance England (1988; 1994) and most recently, The Reformation of Emotions in the Age of Shakespeare (2015). Currently, he is a co-participant in a multi-disciplinary project, ‘Early Modern Conversions: Religions, Cultures, Ecologies’.

Michael Neill is Professor in Early Modern Literature at the University of Kent and Emeritus Professor of English at the University of Auckland. He is the author of Issues of Death (1997) and Putting History to the Question (2000). He has edited a number of early modern plays, including Anthony and Cleopatra (1994) and Othello (2006) for the Oxford Shakespeare, and (most recently) The Renegado (2010) for Arden Early Modern Drama, as well as The Spanish Tragedy (2014) and The Duchess of Malfi (2015) for Norton Critical Editions.

Avraham Oz received his PhD from the University of Bristol. Professor of Theatre at the Academy of Performing Arts, Tel Aviv and Emeritus Professor at The University of Haifa, where he founded and chaired the Department of Theatre. He chaired the Department of Theatre, Tel Aviv University; taught at drama schools and The Hebrew University in Jerusalem; served as associate artistic director at The Cameri Theatre and dramaturg at the Haifa Theatre; presented TV and radio shows; founded magazines as Assaph and JTD, and published numerous books and articles on Shakespeare, Marlowe, political theatre, and Israeli theatre. His many Hebrew translations of plays and operas for the Hebrew stage include nine Shakespearean plays.

Gail Kern Paster is Director emerita of the Folger Shakespeare Library in Washington, DC and Editor of Shakespeare Quarterly. She is the author of numerous essays in the cultural history of the body and the emotions. Her books include The Body Embarrassed: Drama and The Disciplines of Shame in Early Modern England (1993) and Humoring the Body: Emotions and the Shakespearean Stage (2004). She has edited the Revels editions of Thomas Middleton’s Michaelmas Term and is the textual editor of Twelfth Night for The Norton Shakespeare (2015).

Edward Pechter is Distinguished Professor Emeritus, Concordia University (Montreal), and Adjunct Profesor of English, University of Victoria (British Columbia). His recent work includes Shakespeare Studies Today: Romanticism Lost (2011) and a new Norton Critical Edition of Othello (2016).

Andrew J. Power is Lecturer of Shakespeare and Early Modern Drama in Saint Louis University—Madrid Campus. He is the editor of Late Shakespeare, 1608-1613 with Rory Loughnane and of The Yearbook of English Studies 2014 (special issue on ‘Caroline Literature’ with Rory Loughnane and Peter Sillitoe). His forthcoming monograph is entitled Stages of Madness: Sin, Sickness and Seneca in Shakespearean Drama.

Margie Rauen (Margarida Gandara Rauen, Ph.D.) is a Professor in the Graduate Program of Education at UNICENTRO, Paraná, Brazil, with research on cultural studies and participatory poetics. She has published internationally, and directed performance works about postcolonial and women’s topics, as well as forum theatre projects that were conceived for intervention at urban and community venues. A website is available at [www.margierauen.com].

Nathalie Rivère de Carles is Assistant Professor in Shakespearean Drama at the University of Toulouse. Her research covers material and theatre history and the representation of cultural and political exchanges in early modern plays. She authored a chapter on ‘Performing Materiality: Curtains on the Modern Stage’ in Shakespeare’s Theatres and the Effects of Performance (Arden Shakespeare, 2013), and is the textual editor of The Two Gentlemen of Verona for The Norton Shakespeare, (3rd edn, 2015). Her books include Early Modern Diplomacy, Soft Power and Theatre: the Making of Peace (ed., 2016) and Forms of Diplomacy (co-ed, 2015), and her current project is a monograph on Diplomacy on the Shakespearean Stage.

Daniel Roux is Senior Lecturer in English at the University of Stellenbosch, where he specializes in Shakespeare, Postcolonial Literature, and South African Literature.

Katherine Rowe is Provost and Dean of the Faculty at Smith College, studies the history of reading, writing, and performance, from the Renaissance to the present. She is the author of Dead Hands, Fictions of Agency Renaissance to Modern (1999), co-author of New Wave Shakespeare on Screen (2007), and co-editor of Reading the Early Modern Passions: Essays in the Cultural History of Emotion, with Gail Kern Paster and Mary Floyd-Wilson (2004). A recipient of grants from the NEH, the Mellon Foundation, and the PA Department of Education that support her work in the digital humanities, Prof. Rowe is Associate General Editor of The Cambridge Guide to the Worlds of Shakespeare and served as a Trustee of the Shakespeare Association of America.

David Schalkwyk is currently Academic Director of Global Shakespeare, a joint venture between Queen Mary College, London and the University of Warwick. He was formerly Director of Research at the Folger Shakespeare Library in Washington DC and editor of Shakespeare Quarterly. Before that he was Professor of English at the University of Cape Town, where he held the positions of Head of Department and Deputy Dean in the faculty of the Humanities. His books include Speech and Performance in Shakespeare’s Sonnets and Plays (2002), Literature and the Touch of the Real (2004), and Shakespeare, Love and Service (2008). His most recent book is Hamlet’s Dreams: The Robben Island Shakespeare, published in 2013 by the Arden Shakespeare. He has just completed a monograph on love in Shakespeare.

Emma Smith is Professor of Shakespeare Studies at Hertford College, Oxford. She has published widely on Shakespeare and early modern drama including, most recently, Shakespeare’s First Folio: Four Centuries of an Iconic Book (2016). Her current work is on early modern libraries and the history of the book.

Gay Smith, Theatre Historian and Dramaturg. Professor Emerita Wesleyan University, author Lady Macbeth in America: From the Stage to the White House (2010), George Sand’s Theatre Career (1985); translator and adaptor George Sand’s Gabriel (1992).

Ian Smith is Professor of English at Lafayette College. He is the author of Race and Rhetoric in the Renaissance: Barbarian Errors (2009), and his work on Shakespeare, race, and early modern drama has appeared in several anthologies and journals. He is currently preparing a book on Shakespeare’s unique commitment to the politics of blackness titled Black Shakespeare.

Tiffany Stern is Professor of Early Modern Drama at Oxford University, and author of Rehearsal from Shakespeare to Sheridan (2000), Making Shakespeare (2004), Shakespeare in Parts (with Simon Palfrey, 2007), and Documents of Performance in Early Modern England (2009). She has co-edited a collection of essays with Farah Karim-Cooper, Shakespeare’s Theatres and the Effects of Performance (2013), and has edited King Leir (2001), Sheridan’s The Rivals (2004), Farquhar’s Recruiting Officer (2010), and Brome’s Jovial Crew (2014). She is a general editor of New Mermaids and Arden Shakespeare series 4.

Richard Sugg is Lecturer in English Studies at the University of Durham. He is the author of John Donne (2007); Murder After Death (2007); Mummies, Cannibals and Vampires (2011; 2nd edn 2015); The Secret History of the Soul (2013); The Smoke of the Soul (2013); and A Century of Supernatural Stories (2015). He has just completed The Real Vampires, and is researching a new book on poltergeist phenomena.

Poonam Trivedi was Associate Professor in English at University of Delhi. She has co-edited Re-playing Shakespeare in Asia (2010), India’s Shakespeare: Translation, Interpretation and Performance (2005) and authored a CD-ROM ‘King Lear in India’ (2006). She has published articles on Shakespeare in India, performance and film versions of Shakespeare, on women in Shakespeare and on the theory and performance of Indian theatre. Her current project is a collection of essays on Shakespeare and Indian Cinemas. She is also the vice-chair of the Asian Shakespeare Association.

Nathalie Vienne-Guerrin is Professor in Shakespeare studies at the University Paul-Valéry Montpellier 3 and director of the ‘Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières’ (IRCL, UMR 5186 CNRS). She is co-general editor of the international journal Cahiers Élisabéthains (Sage) and co-director (with Patricia Dorval) of the Shakespeare on Screen in Francophonia Database (shakscreen.org). She has published The Unruly Tongue in Early Modern England, Three Treatises (2012) and is the author of Shakespeare’s Insults: A Pragmatic Dictionary (2016). She is co-editor, with Sarah Hatchuel, of the Shakespeare on Screen series.

Paul Werstine, at King’s University College at Western, Canada, is co-editor, with Barbara A. Mowat, of the 42 volumes of the Folger Library Edition of Shakespeare (1992–2010). He is also general editor, with Richard Knowles and Eric Rasmussen, of the Modern Language Association’s New Variorum Edition of Shakespeare. He’s written Early Modern Playhouse Manuscripts and the Editing of  Shakespeare (2013).

Michael Witmore is Director of the Folger Shakespeare Library, Washington, DC. His publications include Landscapes of the Passing Strange: Reflections from Shakespeare (2010, with Rosamond Purcell); Shakespearean Metaphysics (2008); Pretty Creatures: Children and Fiction in the English Renaissance (2007); and Culture of Accidents: Unexpected Knowledges in Early Modern England (2001). With Jonathan Hope (Strathclyde University, Glasgow), he is part of a major digital humanities project, funded by the Mellon Foundation, to develop tools and procedures for the linguistic analysis of texts across the period 1450–1800. Early work from this project is blogged at: winedarksea.org.

Tzachi Zamir is a philosopher and a literary critic (Associate Professor of English & Comparative Literature) and is currently Chair of Comparative Literature at the Hebrew University of Jerusalem. Zamir is the author of Double Vision: Moral Philosophy and Shakespearean Drama (2006), Ethics and the Beast (2007), and Acts: Theater, Philosophy and the Performing Self (2014).