“The Humorous Courtier” (1640), Collected Works of James Shirley. OUP. The first authoritative edition of Shirley’s work since the mid nineteenth century, created in cooperation with The James Shirley Project. Anticipated completion 2015.

A Semi-Diplomatic Edition of the Letters of Anthony Bagot (1558-122). Edited with Kristen Deiter, Rebecca Fall, Meghan Davis Mercer, Elizabeth Rodriguez, Susan Stafinbil, and J. Case Tompkins. Mellon Intensive Paleography Institute. The Folger Shakespeare Library, 2012.

Articles and Chapters

“Actaeon on Trial: Ovidian Hybridity & Animal Trials in Titus Andronicus.” The Shakespearean International Yearbook, Forthcoming 2015.

“Digital Research and the Public Performance of Scholarship: Website Creation within the Literature Classroom,” in Technology in the Literature Classroom: Assignments and Materials, ed. Timothy Hetland. Forthcoming with Bedford St. Martin’s.

“Performative Education and Educational Disruption: The Taming of the Shrew & The Tamer Tamed.” This Rough Magic (Summer 2012):

“Closeted Authority in The Tragedy of Mariam.” Studies in English Literature 52:2 (Spring 2012): 363-85.

“’What Once I Was, & What am Now’: Narrative & Identity Constructions in Samson Agonistes.” JNT: Journal of Narrative Theory 37:1 (Winter 2007): 1-26.

“Review: Drama and the Succession to the Crown, 1561-1633.” Theatre Survey 54:3 (September 2013): 452.

“Review: What You Will: Gender, Contract, and Shakespearean Social Space.” Early Modern Women: An Interdisciplinary Journal 7 (Fall 2012) 320-23.

“Review: Renaissance Earwitnesses: Rumor and Early Modern Masculinity.” Renaissance Quarterly 63:4 (Winter 2010): 1430-31.


“Actaeon on Trial: Ovidian Hybridity and Animal Trials in Titus Andronicus.” Panel Organizer. Renaissance Conference of Southern California. The Huntington Library. May 2013.

“Performing Educational Disruption: The Taming of the Shrew and The Tamer Tamed.” Seminar: Non-Shakespearean Drama. Shakespeare Association of America. April 2012.

“Elizabethan Echoes in The Vision of the Twelve Goddesses.” Panel Co-Organizer. Group for Early Modern Cultural Studies. Southern Methodist University. October 2009.

“Remembering Women’s Voices in Queen Anna’s Masques.” Seminar: Sites of Memory/Sites of Performance. Shakespeare Association of America. April 2009.

“Closet Drama, Conduct Literature, and Performing Silence.” Seminar: Gender and Instruction in Early Modern England.  Shakespeare Association of America. March 2008.

“Divided Duties, Divided Desires: Triangulation in Shakespeare’s Othello.”  Seminar: Talking About Sex.  Shakespeare Association of America.  April 2007.

“A Tragedy of Manners: Criseyde and the Impossibility of Ideal Femininity.” Panel Organizer. South Eastern Medieval Association.  Stetson University.  September 2005.

“What the Dagger’s Point Plows Up: ‘Tis Pity She’s a Whore and the Metadrama of Gendered Violence.” University of California, Riverside’s 12th Annual Humanities Conference. April 2005.

“Confronting the Leviathan: God’s Politics in Milton’s Paradise Lost.” University of California, Riverside’s 12th Annual Humanities Conference. April 2005.

“Eating the Flesh that She Hath Bred: Titus Andronicus and the Problem of Civic Violence.”  Medieval-Renaissance Conference.  University of Virginia.  September 2003.

“The Cataclysmic vs. the Antiseptic: Political Violence in Titus Andronicus and Sejanus, His Fall.” Shakespeare in Popular Culture. University of New Mexico. April 2002.

Manuscript: Disruptive Compliance and Silent Women in Stuart Drama

This book argues that Stuart women subversively appropriated conduct exhortations of silence to license their own literary and dramatic activities.  Early modern conduct literature represented the household as a “silent and private” site for reading, writing, and performance that could teach women ideal behaviors. Yet as women wrote, published, and participated in closet drama and masque, they actively engaged with public literary communities. As a result of this disruptive compliance, women’s texts traveled beyond the home, and London playwrights including Shakespeare and Ford began borrowing themes and representing women’s dramatic efforts in commercial plays. Women were thus able to significantly shape Stuart drama, undermining the very structures that sought to deny their public expression.


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