Assistant Professor of EnglishUniversity of Maryland, College Park
My research and teaching focus on early modern literature, media theory and music. I am currently writing a book about literature, song and mediation from Shakespeare and Sidney to Jonson and Milton.
The book traces the development of verse with a musical dimension in the poetic and theatrical cultures of the period, beginning with the renewed interest in musical humanism among Sidney and his peers, and continuing through Milton’s fascination with musical language and experience. Song was an essential part of the literary canon, and it circulated ubiquitously in written format. Yet it was also highly performative, inseparable from the rhythmic, vocal and instrumental conditions of its recital. As such, song brings out the extensive interaction between writing and sound in sixteenth- and seventeeth-century literary culture.
Drawing on media theory, I argue that song reveals a continual struggle to define literature, from Sidney's emphasis on the musical properties of writing in The Defence of Poesie to Milton's conception of the printed book as a profoundly performative medium in Areopagitica. I theorize literature as a process of mediation -- an intersection of technologies, performers, formats and authors in which writing was an important but by no means exclusive component.
I also have research interests in the history of the lyric, early Tudor culture, Renaissance pageants and entertainments, gender studies, the history of formalism, and the digital humanities. My work has been published in Shakespeare Quarterly, Studies in Philology and edited collections. Click here to view my publications and here for a list of presentations.
My research in media studies plays out in my teaching, where I ask students to draw connections between early modern literature and our own historical moment. My courses are grounded in close readings of literary texts, but I incorporate music, film and television into the classroom, and I use course blogs to ask how online interfaces relate to the inter-media literary environment of the early modern period, when the printed book remained a “new” medium.
In the spring of 2017, I'll be co-leading a seminar at the Shakespeare Association of America conference on queer ways of “measuring” language. We'll ask: what non-normative temporalities do meter and versification invite and uncover? How might queer theory and gender studies allow us to return to afresh to “feminine” rhyme, Sapphic verse, the Marlovian line, and other of the period’s metrical kinks? How might disability studies afford another look at Orlando’s “lame” feet or other depictions of versifying as embarrassing or shameful? How might book history and media studies allow us to re-imagine what counts as verse in the first place, and how it is queered through editing and adaptation? And how does Shakespeare’s meter order time or undermine temporal order? Building on period conceptions of meter as quantified language, we are especially interested in how versification functions as a technology for measuring time: regulating it, dividing it, syncopating it, or otherwise giving it shape.
I'm looking forward to the Modern Language Association conference in Austin, TX, where I am participating on a panel with Claire Bourne and Megan Heffernan, called "Deranged Verse: Inter-Media Arrangement in Early Modern England." Reid Barbour will chair the panel and give a response paper; my paper is entitled "Milton the Lady, Milton the Cavalier." Have a look at our panel description and abstracts here (session 740 on the program).
Collaborative Project award
The edited collection Gender and Song in Early Modern England, to which I contributed the opening essay, has won honorable mention from the Society for the Study of Early Modern Women for the best collaborative project of 2014. Have a look at a review of the collection here.
The Sounds of Pageantry
My essay "The Sounds of Pageantry" has just been published on the Map of Early Modern London website The piece offers an introduction to the soundscape of sixteenth- and seventeenth-century royal entries and Lord Mayor’s Shows, which resounded with the piercing blares of trumpets, the clamor of boisterous crowds, the poetry of dramatic performances, and the melodies of virtuosic child singers. It shows how diaries, treatises, plays, poems, and livery company account books can help convey the rich variety of noises that echoed through the streets of London on pageant days. It was a lot of fun to write -- in a style intended for a non-specialist audience including students -- and it features a recording of my colleague Stanley Plumly reading a song from one of Thomas Dekker's pageants.