July
The Shakespeare Conference: SHK 9.0638 Friday, 10 July 1998. From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Jul 1998 09:36:37 -0700 Subject: 9.0628 Re: Shrew Matrimony Question Comment: Re: SHK 9.0628 Re: Shrew Matrimony Question Thanks for an interesting post, Sean, particularly for the final thought, that Shrew is "carnivalesque", and that it turns what ought to be the truth about marriage on its head. I believe most of Shakespeare's comedies were written originally for Christmas holiday entertainments at Court. There are a number of reasons for this, but one is the continual appearance of Revels themes, mumming and disguising, gender reversal, music, feasting, numerous satires of known individuals, a series of mistakes and misunderstandings that get ironed out at the end, a general theme of "all's well that ends well," and the turning upside down of some individual or accepted rule. I had never thought of Shrew in exactly this light until your post. Stephanie Hughes
The Shakespeare Conference: SHK 9.0637 Friday, 10 July 1998. [1] From: Kurt Daw <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 11:04:25 -0400 Subj: Poison [2] From: Stephanie Cowell <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 15:43:04 -0500 Subj: Re: Romeo's Poison, Part II [1]----------------------------------------------------------------- From: Kurt Daw <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 11:04:25 -0400 Subject: Poison With all due respect to Marilyn A. Bonomi, the question about what poison may be implied in the final scene of *Romeo and Juliet* is not really as insubstantial as she assumes and doesn't deserve quite the amount of scorn she heaped upon it. We might well accept it as a plot device, but it is still one that has to be acted. A player is certainly going to want to know the most concrete information possible, even if it involves a good deal of speculation. It is (from the point of view of this actor/director) a perfectly scholarly question to wonder what poisons were in common use, which had a place in the public imagination, and if there is any information available about which poisons Shakespeare might have had a working knowledge. A good deal of time went into trying to find this information out for a production that I directed several years ago, because the Romeo was intelligently concerned about how this scene should be played. His final monologue is actually rather long, especially since we were (for the purposes of scholarly investigation) using the Folio text. We were unable to find the information from "Shakespearean" sources, but did eventually get some help from the medical community about the nature of symptoms of various kinds of poisons. The actor eventually played a rather grimly realistic death scene that was startlingly effective and far from the romantic cliche. I make no claims for this to be the definitive way to play the scene, but it is an interesting way. My point is only that you don't get to production answers by dismissing the questions as a "plot device." The question seems to me quite legitimate, and worth some exploration. [2]----------------------------------------------------------------- From: Stephanie Cowell <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 15:43:04 -0500 Re: Romeo's Poison, Part II I should have mentioned perhaps why I wanted to know the specific poison Romeo used so I would not have been accused of dwelling on tertiary details! A young college student is being encouraged by her biology teacher to write an interdisciplinary paper on Shakespeare/science. She came up with Renaissance poisons and Romeo and Juliet. It's a community college and a way of getting the young woman more interested in Shakespeare, a subject foreign to her and many of her friends. So the cause is worthwhile if the request seems odd. She was deeply moved that the question might be asked of so many serious scholars. So if you know any more poisons Romeo may have imbibed, do let me know. Hemlock?? Who knows? The girl might end up writing a great scholarly book on Shakespeare and plants twenty years down the road and be grateful to the list for starting her! Many thanks! Stephanie Cowell
The Shakespeare Conference: SHK 9.0636 Friday, 10 July 1998. [1] From: Simon Malloch <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Jul 1998 23:02:07 +0800 Subj: Re: Getting Children Interested in Shakespeare [2] From: Tanya Gough <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 11:46:23 -0400 Subj: Getting Children Interested [3] From: Peter S. Donaldson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 12:38:02 -0400 (EDT) Subj: Re: Getting Children Interested in Shakespeare [4] From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Jul 1998 09:50:14 -0700 Subj: Re: SHK 9.0631 Questions, Questions, Questions [5] From: Stuart Manger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 19:44:17 +0100 Subj: Re: Getting Children Interested in Shakespeare [1]----------------------------------------------------------------- From: Simon Malloch <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Jul 1998 23:02:07 +0800 Subject: 9.0633 Re: Getting Children Interested in Shakespeare Comment: Re: SHK 9.0633 Re: Getting Children Interested in Shakespeare For those interested in the issue of getting kids to read in general, and deciding what they perhaps *should* read, I strongly recommend a web-site which contains a feature, by Marion Long, called "Harold Bloom: Western Canon, Jr" - essentially Bloom's reading guide for youngsters. It is quite informal (based on an interview with him) and makes for good reading. For example, Bloom says that "Shakespeare really is beyond children", though he does recommend Charles and Mary Lamb's *Tales from Shakespeare*: "[it's] a wonderful retelling of Shakespeare, wonderfully faithful to the ethos and spirit of the plays, and wonderfully well written." The Web address is: http://homearts.com/depts/relat/hbloomf1.htm And for the grown-ups, I believe that we only have to wait until November for Bloom's major study of Shakespeare, entitled *Shakespeare: the Invention of the Human*. At 800 pages, it should be well worth the wait. Simon Malloch. [2]----------------------------------------------------------------- From: Tanya Gough <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 11:46:23 -0400 Subject: Getting Children Interested One of my friends has an eight year old - a hellish rapscallion impossible to control in most circumstances. And yet, when his father brings him into the store on the occasional Sunday, he marches straight up to the counter and *demands* either the HBO Animated Hamlet or Macbeth. Whereupon he sits transfixed and (mostly) silently for a full half hour. You might also consider picking up the Shakespeare Can Be Fun series by (Stratford's own) Lois Burdett. The series came out of classroom exercises with elementary school kids, who end up with a better sense of the play at the age of ten than most high school kids I know. Our local bookstore, Fanfare, can put you in touch with the author or furnish more information. They can be reached atThis email address is being protected from spambots. You need JavaScript enabled to view it. . Tanya Gough Poor Yorick - CD & Video Emporium [3]----------------------------------------------------------------- From: Peter S. Donaldson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 12:38:02 -0400 (EDT) Subject: 9.0633 Re: Getting Children Interested in Shakespeare Comment: Re: SHK 9.0633 Re: Getting Children Interested in Shakespeare My recommendation: see either a good or a youthful live production (or one that is both youthful and good) with children and discuss it. Pick a play for there is at least one and preferably two films available on tape. Children love to check back, replay, answer and ask "trivia" questions that can take them into the "questions of the play" and expose them to the variety of possible answers in text and performance. The best medium, to date, is laserdisc (low end players are not inexpensive, but they are a fraction of the cost of the overly large TVs people now buy). Even the cheapest provides a superb image and precise access to materials to replay and enjoy. My own children were introduced to Shakespeare through reading aloud, college productions, and CED discs, the needle-run predecessors to laserdisc. Family discussions centered around Modern Times, the Maltese Falcon, Young Frankenstein and Olivier's Hamlet for years, and were structured as games of visual and verbal memory (now commonly referred to as "trivia.") When does the blind flower girl notice the tramp in City Lights? If "To be or not to be" is the question, what is the answer? When my eight year old daughter found interesting answers and could find and play them, I came to believe we'd made a useful investment. My own parents, though literary, were not very theatrical. Gielgud's "Ages of Man" on Caedmon was a good early experience, and high school memorization a somewhat comical one. Reading King Lear on my own in high school (NOT the required Julius Caesar or the expurgated Romeo) was decisive, as was seeing Morris Carnovsky as Lear at Stratford Connecticut. As a child I think I responded most to the ways in which questions of gender and sexuality were suppressed in school yet irrepressible in Shakespeare. [4]----------------------------------------------------------------- From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Jul 1998 09:50:14 -0700 Subject: 9.0631 Questions, Questions, Questions Comment: Re: SHK 9.0631 Questions, Questions, Questions Drew Whitehead asks how to get children interested in Shakespeare: I had the good fortune of having a wonderful Shakespeare Children's Theater group in my neighborhood when my kids were little. My seven year old took me to a performance (of Macbeth), and begged to be allowed to join. My four girls all got involved, the seven year old was a marvelous Puck the following year, the youngest a delightful Peaseblossom. The group did one play per semester, and had performances at local schools and community centers. Children and parents all went together in a group (cheaper that way) to see a performance of Shakespeare in the Park or to the Connecticut Stratford. Lifelong friendships were formed, and a lifelong love of Shakespeare. I suggest you and other Shakespeare enthusiasts start such a group. It's a hell of an alternative to drugs! Stephanie Hughes [5]----------------------------------------------------------------- From: Stuart Manger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Jul 1998 19:44:17 +0100 Subject: Re: Getting Children Interested in Shakespeare Comment: SHK 9.0633 Re: Getting Children Interested in Shakespeare I agree with many who recommend hands-on participation, or live theatre visits, and getting as close to the actors as you possibly can. The sheer vigor and physical presence of actors strutting their stuff, men and women delivering emotions at a pitch of intensity that rarely happens in 'real' life, and for kids of TV age, to be THAT close to real people getting into the interactions that occur on stage is awe-inspiring. Even plays as abstruse as Hamlet can hold many kids for at least half of its inordinate length. I recently took a group of world-weary 16 year olds to the Globe, to see ' Merchant of Venice' a play that I quite deliberately chose simply because they had NEVER studied, nor are likely ever to study for upcoming Literature courses. In the morning, after a four hour train ride, we had a workshop on the Trial scene in Act 4, yes, stumbling around both words and movements. BUT in the theatre that same afternoon, they were intent, asked all the basic quiet questions as we went along - is that another Jew as he's wearing a red hat? And that's the Lady Portia - I know because she's wearing nobby clothes, and everyone bows to her. And it's night because they keep on saying so, and one of them is carrying a flaming torch. And, best of all, one of my team whispered to me as Morocco postured in one of the casket scenes, 'Well, I hope he doesn't get her', but as he trooped off very sad, clearly in tears, my whisperer turned to me and shrugged, saying 'well, that's really sad- he's really hurt - and in front of all these people. What a downer!' So in the space of five minutes, this 16 year old BOY was really struggling to deal with how dramatists manipulate audiences. The Globe is excellent: you can get VERY close, you can walk about, you can ask a neighbouring adult what's going on when you're not sure, and so be kept in touch. The verdict form my team: 'brilliant!' I have to say that it was the ONLY performance I have ever seen which did practically every line of the text - except to one of my lads' intense scorn, that Shylock left out the line about urine being unrestrained when he hears a bagpipe - a bit he had remembered from the workshop in the morning. I suspect that the actor simply omitted out of memory loss rather than sanctioned cut. The sheer length of the show would have deterred all but the hardiest and ardent, but my lads were on the end of thr stick more or less throughout. including an astonishing and majorly ill-judged 'warm-up' in the interval by the Gobbo actor - an otherwise excellent commedia del arte strutter of stuff. 13 year old girls are, en masse, not the least suggestible of audiences, but our Gobbo simplyset about extreme winding up to concert pitch, to the extent that just before the interval ended, the stage was pelted with empty coke bottles. People came from backstage to assist in clear-up, but there was a pretty serious sense of humour failure all round on stage in this process - remember that the Trial Scene actors were behind the rear doors itching to get on, and one can only imagine the rage and spleen of both actors and stage management as this comic mayhem was being unloosed. 'let your clowns say no more than is set down for them' Oh, Will, you never spoke a truer word! As an insightful piece of impromptu theatre within theatre it was a wonderful demo of what the Elizabethan playhouse may well have been like. So, to cut to the chase: get the kids getting their hands dirty; performing, fighting, acting, dating, kissing, spitting the lines - not ALL of them, the best. Then get them to re-tell the story. THEN the video. I am not, as a professional teacher of 12-18 year olds, in favour of passive video-gawping, until the sweat is up after they have been on their feet, getting THEIR heads round the material. They will watch the video with far more active interest and critical judgement than on video alone. To many on the thread, and others, and this is truly sexist, get the boys you own to work at the fights in plays - most plays have one or more. Work at those, explain the characters involved, then the lead up, then the conseqeunces. i.e. contextualise. Get girls to react to the Egeus / Hermia / Demetrius / Lysander spat in Act 1 of MND, or the explosive rage of Mr Capulet with recalcitrant Juliet, or Lear with Cordelia. Try both boys and girls with JUST Macbeth Act 1 sc 7, then the scene in which Lady M waits, then the scene between them when M returns from duffing Duncan, then fast forward to the Banquet scene. Get them to walk it through, telling you what they are doing as they do it, explaining their thoughts. Get two BOYS to act M and Lady M and you get a VERY interesting take on her masculinity - as M actually says of her. Then perhaps get the same scene done between two girls? Watch the differences. this kind of gender reversal works well: girls love to do the fighting too, and they can sometimes illustrate it well. likewise, then ask some boys to one of the kissing ad cuddling scenes: they won't, but the reasons they won't are always interesting, and THEN you can slip in the stuff about boy-actors, and watch them suddenly have to take it all seriously, especially when the girls tell the boys how deadly serious the love bits are, or how desperate the emotions are. THEN challenge the boys to produce the scenes in their own way, away from the prying eyes of the girls You will find some odd, and illuminating solutions being proposed. This is actually easier in families than in the classroom. Mums and Dads can participate too. Sorry, I have gone on a long time, and who reads this far in a posting anyway! But this is a major thread: we can argue scholarly minutiae until the crack of doom, but if there are no young punters to challenge, overturn our prejudices and suppositions, then what on earth are we preaching at them for day in, day out in classrooms? The man has to be real, not because he's a sacred cow fed on incense, but because he's real, and now. Get in touch if I can be of any further help. Here endeth the lesson......... for now!!! Stuart Manger
The Shakespeare Conference: SHK 9.0635 Thursday, 9 July 1998. [1] From: Tom M Mueller <This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Wednesday, 8 Jul 1998 13:37:01 -0400 (EDT) Subj: Re: SHK 9.0628 Re: Shrew Matrimony Question [2] From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Wednesday, 08 Jul 1998 12:09:44 -0700 Subj: Re: SHK 9.0630 Re: Poison [3] From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Wednesday, 08 Jul 1998 12:31:05 -0700 Subj: [Fwd: Ado Fencing Question] [1]----------------------------------------------------------------- From: Tom M Mueller <This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Wednesday, 8 Jul 1998 13:37:01 -0400 (EDT) Subject: 9.0628 Re: Shrew Matrimony Question Comment: Re: SHK 9.0628 Re: Shrew Matrimony Question >From: Tanya Gough <This email address is being protected from spambots. You need JavaScript enabled to view it. >Dear Jad, > The Renaissance wedding was actually comprised of three parts: the >banns, which placed the future marriage into the public sphere, the >ceremony, which solidifies the bond in the eyes of God, and the >consummation, which reinforces the bond between the two individuals. >Couples are forever missing out on one or more aspects of the "accepted" >marriage tradition, and your sister is right to note that there is >definitely something *wrong* with Petrucho and Kate. A wedding accepted >by the public and the church, but not by both individuals is clearly a >farce, much as Romeo and Juliet, who have mutual consent and religious >approval, become tragic figures when they are unable to reconcile their >bond in society. >Whether, and how, Kate and Petruchio consummate their marriage may be a >directorial choice. I'd like to think that Petruchio is a boor, but not >such an animal that he would stoop to rape. Yet the opportunity >certainly is there. When he keeps her "up all night" on their wedding >night, does he force himself on her or is he just throwing pillows >around? In keeping with the "happy ending" version, most modern >productions gloss over that part and imply that they get together, >consentually, at the end. Has anyone ever done a version of Shrew where >Petruchio literally beats, rapes and starves Kate into submission? I >have heard of a feminist version where Kate delivers her final "duties >of the wife" speech with such sincerity that all at the table recoiled >in horror at the transformation. In my opinion, a production such as you put forth would be taking improper liberties with what WS wrote, and intended. Petruchio certainly "could" have "beat, raped and starved" Kate into submission, given the time and prevalent laws. WS pointedly did not choose to allow this in the make up of Petruchio's character. To represent him as doing so would usurp the ideals intended by the author. [2]----------------------------------------------------------------- From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Wednesday, 08 Jul 1998 12:09:44 -0700 Subject: 9.0630 Re: Poison Comment: Re: SHK 9.0630 Re: Poison Romeo's poison is about as significant as whether some 20th century movie villain uses a 38 or a 44 revolver to off the cops. But it has significance. Do you think it mere happenstance that James Bond carries a slim, somewhat elegant Walther PPK 7.65 mm while Dirty Harry carries a ruthlessly powerful and large 44 caliber magnum? Cheers, Sean. [3]----------------------------------------------------------------- From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. Date: Wednesday, 08 Jul 1998 12:31:05 -0700 Subject: [Fwd: Ado Fencing Question] I'm forwarding, with permission, Jay Minnix's comments on swordsmanship and the use of the term "mountano." Jay Minnix wrote: Unfortunately, in looking to Silver, you used the contemporary reference least likely to have an accurate description of a "mountanto." While Silver was a very knowledgeable swordsman in the English Masters of Defense style, he was not a scholar of the "Italianate" rapier styles, and therefore frequently misinterpreted the Italian terminology. The proper source would be Achille Marozzo's "Opera Nova" c. 1536. The montante is listed as a cut (not a thrust) by Marozzo. He has an illustration of a man (essentially spread eagled) with the angled cuts shown with their names. For a right handed fencer, the cuts from the right are called "mandritti" (I am uncertain of the spellings as I am away from my references, so I am working from memory here) with the cuts from the left called "reversi." The cuts (delivered either mandritti or reversi) are: Fendente - vertical downward cut to the head Squalembrato - diagonal downward cut to the neck, shoulder, or elbow Tando - horizontal cut to the midsection ??? (can't remember this one) - diagonal upward cut to the thigh Montante - vertical upward cut to the groin The squalembrato could refer to any downward diagonal cut, even to the thigh or lower, and the unnamed upward diagonal cut could likewise be delivered to other parts of the opponent. The montante was definitely a groin cut. It was not considered a fair blow. Beatrice could be using this cowardly association as an insult to Benedick. Of course, the "mounts-all" interpretation has interesting implications as well. The mandritti montante was typically delivered with the false edge of the blade (the rapier has a flat blade with 2 edges, the edge on the side where your knuckles are is the true edge, and the edge on top [when the weapon is held like you're shaking hands with it] is the false edge). The reversi montante is a true edge blow, but requires raising the elbow. Both are somewhat awkward, and would be considered only of situational utility. What di Grassi is describing in the quoted section is pretty much the standard stoccata and imbrocatta from the low ward. When looking for things in the Italian style, look to di Grassi, Saviolo, or Marozzo or Viggiani. Much better info than Silver. Jay Minnix
Put shaks-69 biografy pw=rarmin S H A K S P E R Shakespeare Electronic Conference Member Biographies - Volume 71 ============================================================= *Conlon, Joe <This email address is being protected from spambots. You need JavaScript enabled to view it. > I am a high school English teacher with 23 years experience. I've loved Shakespeare since my first exposure to Romeo and Juliet as a ninth grader. Shakespeare is my hobby as well as part of my job, and I collect all things related to the man and his plays. I've acted both in civic theater productions and in professional productions. I never let an opportunity to see a Shakespeare play or movie pass. The more I learn about the plays and the time period, the more I want to learn. I participate in a number of Shakespeare newsgroups and correspond with other interested people worldwide. ============================================================= *Lee, Jin-Ah <This email address is being protected from spambots. You need JavaScript enabled to view it. > I got my BA and MA in English in Yonsei University, Seoul, Korea. I got my Ph D in English in the University of South Carolina in May, 1997. My dissertation is about the close relationship between rhetoric and ethics in Edmund Spenser's "Faerie Queene," using Giovani Pontano's "De Sermone" as an interpretative tool. I am interested in all aspects in Renaissance, English as well as Continental. ============================================================= * Martin, Ruth Hazel <This email address is being protected from spambots. You need JavaScript enabled to view it. > I'm an English graduate with a first-class honours degree from Somerville College, Oxford University and a postgraduate qualification in librarianship. I am currently working as a librarian in a law firm, but I am trying to save enough money to do a Masters/Doctoral degree in Shakespeare studies at Bristol University. This newsgroup will be a good way for me to keep in touch with current scholarship while I'm at work. My interests in Shakespeare studies are general, but I am particularly keen to study his influence/impact on Twentieth Century writers. ============================================================= *Downs, Gerald E. <This email address is being protected from spambots. You need JavaScript enabled to view it. > My name is Gerald E. Downs. I am an unaffiliated graduate of San Jose State University (BS, chemistry). I am a member of the SAA and have maintained an interest in a wide range of Shakespearean matters for many years. Most recently I contributed photographs of the original sketch of Shakespeare's monument to the article appearing in the Review of English Studies, May 97. I have also finished an article on <The Book of Sir Thomas More> that examines some overlooked questions of the provenance of the Hand D addition. My primary interests are in textual matters. I have held reader's cards at the Huntington Library, the Bodleian Library and the British Museum. My particular field of interest is in differentiating good argument from bad. My current project is a critical overview of the theories surrounding the first printings of <King Lear>. I am a locomotive engineer by profession. My wife is an airline employee. I am enabled by the perks of these occupations to pursue my interests with less restriction than most. ============================================================= *Sengel, Deniz <This email address is being protected from spambots. You need JavaScript enabled to view it. > Received her Ph.D. in Comparative Literature from NYU and has taught in the fields of the Renaissance, the history of poetics and rhetoric, and contemporary theory at The Catholic University of America and Trinity College in the US and at Bogazici University in Turkey. Published articles on Renaissance authors, the interrelations between literature and the visual arts, literary theory, and has edited a three-volume series exploring the interrelations of artistic practice, the political order, and aesthetic theory [_Art as Knowledge and the Artist as Historical Construct: The New Ontology_, _The Right to Art_, _Contemporary Thought and the Arts_ (Istanbul: PSD-AIAP, 1992, rptd. 1993)]. Has recently completed a book on Philip Sidney and the emergence of poetic theory in sixteenth-century Europe (_The Emergence of Modern Linguistic Disciplines 1: Poetics/Reading and History in Philip Sidney_). Is currently working on its companion volume about the rise of philology in the fifteenth century (_The Emergence of Modern Linguistic Disciplines 2: Philology/Valla, Bruni, Alberti_). Her next research project is law and hermeneutics in Shakespeare's plays and sonnets. ============================================================= *Early, Mary <This email address is being protected from spambots. You need JavaScript enabled to view it. > My interest in Shakespearean and Renaissance studies began as an undergraduate; I found Shakespeare's timeliness and simultaneous timelessness intriguing. As I began my graduate work, I became especially interested in the relations between and development of characters in Elizabethan and Jacobean drama, specifically in how interchangeable some of the characteristics of certain of Shakespeare's characters are, regardless of sex. As my interests in feminist studies increased, I learned to admire the strength of some of the female characters, notably those of Shakespeare and Webster. In my Master's thesis, I explored the relationship between Macbeth and his Lady, arguing that they represent two halves of a whole. During my doctoral studies, my interest in historical and new historical perspectives combined with my interest in characterization. For my dissertation, I researched Shakespeare's use of his own works as sources in *Cymbeline*, which I argue is a play adapted for the occasion of Prince Henry Stuart's investiture as Prince of Wales in 1610. I earned my M.A. and Ph.D. at Arizona State University, where I currently work in Student Development. As I progressed in graduate school, I worked as a research associate, working as a textual editor on 6 volumes of Samuel Johnson and Tobias Smollett; textual editing remains a field in which I have an avid interest. I am completing an article based on my dissertation and am investigating appropriate journals to which to submit it. I am continuing to look into the similarities between Shakespearean characters, with an interest not only in characterization, but in providing support for the plays' dates of composition. ============================================================= *Tomaszewski, Lisa <This email address is being protected from spambots. You need JavaScript enabled to view it. > --I graduated from Villanova University with a BA in English/Honors --I am currently a Masters/PhD Canidate at Drew University --My interests include: Performance Theory, Feminist Literary Theory and Classical Mythology-- all of which I utilize to expand my passion for Shakespeare =============================================================