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MemberDaniel Keegan

…“Shakespeare and Dramatic Theatre,” Conference on Global Shakespeare, 1623-1919, NYU Abu Dhabi. October 8-11, 2017….

I teach in the English Department at the American University of Sharjah in the UAE. My research concerns the political dynamics of performance, especially but not only Shakespeare performance. I am currently writing about the philosophical concept of potentiality through The Method Gun by Kirk Lynn and the Austin, TX-based Rude Mechs.

MemberAlexa Alice Joubin

…th, Mostly Mozart Festival, Lincoln Center New York, Stanley H. Kaplan Penthouse, Samuel B. and David Rose Building, 165 West 65th Street, 10th Floor, New York, NY 10023:   6:15 pm Saturday July 21, 2018   ::: open to the public :::   https://www.lincolncenter.org/mostly-mozart-festival/show/ninagawa-macbeth

 

 

 

“MIT Global Shakespeares: A New Interface.” Digital Exhibit, Shakespeare Association of America annual convention, Thursday, March 29, 2018 @ 10 am – 1:30 pm, Westin Bonaventure, Los Angeles

 

La Société Française Shakespeare conference, Paris, 19 January, 2018: “‘Double Kisses’: Ophelia as an Assertive Victim in Asian…
…MIT Global Shakespeares open-access digital video archive, http://globalshakespeares.mit.edu/…

Alexa teaches Shakespeare, performance, film, literary theory and globalization studies at George Washington University in Washington, D.C. Her teaching and publications are unified by a commitment to understanding the mobility of early modern and postmodern cultures in their literary, performative, and digital forms of expression.

MemberSteve Mentz

Steve Mentz is Professor of English at St. John’s University in New York City. His work explores Early Modern Literature, Ecocriticism, Shakespeare, and the Blue Humanities. Most recently he is the author of Shipwreck Modernity: Ecologies of Globalization 1550 – 1719 (U Minn P, 2015) and co-editor of The Sea and Nineteenth-Century Anglophone Literary Culture (Routledge, 2016). He is a Series Editor for Environmental Humanities in Premodern Culture (EHPC) for Amsterdam University Press.

MemberMarina Gerzic

ECR based at UWA. Lover of all things Shakespearean. I work for the ARC Centre for Excellence for the History of Emotions (1100-1800) as its National Administrative Officer. I also work as the Executive Administrator for the Australian and New Zealand Association for Medieval and Early Modern Studies Inc., as the editorial assistant for the academic journal Parergon, and for the Centre for Medieval and Early Modern Studies at The University of Western Australia in both research and administrative roles.   My current research project examines popular culture depictions of Richard III, and analyses how these works interpret and visually embody Richard and his disability. My research explores and analyses the clash between Early Modern performance texts and youth culture/popular culture, in particular the appropriation of Shakespeare by youth culture/popular culture and the expropriation of youth culture in the manufacture and marketing of Shakespeare. I have taught courses in Shakespeare, film adaptation, and Australian literature. My doctoral work concerned millennial Shakespearean cinematic adaptations, specifically the intersection of Shakespeare and popular culture, as well as the function of music within these films. As well as the analysis of film versions of Shakespeare, I am also interested in how Shakespeare is adapted in new media, such as music, advertising, television, graphic novels and children’s literature. In particular, I am interested at how Australian authors adapt Shakespeare for children via a variety of forms and genres.

MemberAndrew Keener

Drawing on book history methods, translation studies, and theater and performance studies, I research how bilingual and multilingual dictionaries, grammars, and conversation guides printed in early modern England shaped and were shaped by cosmopolitan dramatic works by William Shakespeare, Thomas Kyd, Ben Jonson, and other playwrights. I am also beginning a new project interested in the developing vocabularies of mixing, combination, and diversity as they manifest in tragicomedy and other dramatic subgenres. I also teach courses on Shakespeare, book history, critical thinking, and writing in English.

MemberKendra Leonard

…ethan Drama,” Borrowers and Lenders (Autumn 2016).

 

“History Faux/Real: The 2006 Ur-Hamlet,” kadar koli 10.

 

2014

“From ‘Angel of Music’ to ‘that Monster’: Music for the Human Uncanny in The Phantom of the Opera (1925/1929),” Studies in Gothic Fiction, vol. 3 no. 1 (Spring 2014).

 

2013

“Listening to Global Shakespeare,” Global Shakespeares, July 2013.

 

“‘Cheer up, Hamlet!’: Using Shakespearean Burlesque to Teach the Bard,” This Rough Magic, Summer 2013.

 

“Significations of Religious Desire in Louise Talma’s The Alcestiad,” Religion and the Arts, vol. 17, no. 3, 2013, 289-310.

 

“Rosalind’s Musical I…

Kendra Preston Leonard is a musicologist and music theorist whose work focuses on women and music in the twentieth and twenty-first centuries; and music and screen history, particularly music and adaptations of Shakespeare; and a librettist and poet. She is the Executive Director of the Silent Film Sound and Music Archive (www.sfsma.org) and the Head of Scholarship and Research for the Institute for Composer Diversity (www.composerdiversity.com).