COURTNEY LEHMANN
University of the Pacific
English Dept., WPC Annex
Stockton, CA 95211
(209) 946-2609 (W)
clehmann@pacific.edu
PROFESSIONAL POSITIONS:
Ad Hoc Member of the Graduate Faculty, University of Kansas
2009—
Professor of English Department, University of the Pacific
2008—
Associate Professor of English, University of the Pacific
2003-2008
Assistant Professor of English, University of the Pacific
1998-2002
Associate Instructor, English, Indiana University
1993-97
ADMINISTRATIVE POSITIONS:
Director, Pacific Humanities Center, July 2002––
Coordinator of the Mentor One Program, University of the Pacific, Fall 2000-02.
EDUCATION:
Doctor of Philosophy
English, Indiana University, Bloomington
May 1998, with Highest Distinction.
The School of Criticism and Theory
Dartmouth College, June-July 1996
Seminars with Stephen Greenblatt and Elaine Scarry.
Master of Arts
English, Indiana University, Bloomington,
May 1994.
Bachelor of Arts
English, University of North Carolina at Chapel Hill,
May 1991, summa cum laude, Phi Beta Kappa (1989).
PUBLICATIONS:
Books:
Romeo and Juliet: Adaptations. London and New York: A&C Black (forthcoming Nov. 2010).
Shakespeare Remains: Theater to Film, Early Modern to Postmodern. Ithaca and London:
Cornell University Press. 2002.
Spectacular Shakespeare: Critical Theory and Popular Cinema. Edited by Courtney Lehmann
and Lisa S. Starks. Madison, NJ: Fairleigh Dickinson University Press. 2002.
The Reel Shakespeare: Alternative Cinema and Theory. Edited by Courtney Lehmann and Lisa
S. Starks. Madison, NJ: Fairleigh Dickinson University Press. 2002.
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Other Books:
Lehmann, Courtney. Film Adaptations. Shakespeares After Shakespeare: An Encyclopedia of the Bard
in Mass Media and Popular Culture. Volume 1 (2 Vols). Edited by Richard Burt.
Greenwood Press, 2007. 80-131. (50,000 words.)
In Progress (and Under Contract)
Books:
Lehmann, Courtney, Mark Burnett, Marguerite Rippy, and Ramona Wray. Great
Shakespeareans: Welles, Kozintsev, Kurosawa, Zeffirelli. Great Shakespeareans
Volume 12 (14 Vols). Edited by Peter Holland and Adrian Poole. London: Continuum,
2012.
Out of Sight: A Century of Women Filmmakers and Shakespeare. Bloomington: Indiana
University Press. 2011. (80,000 words completed)
Articles and Essays:
“Shakespeare by the Numbers: Inmates Speaking Out.” Shakespeare, Appropriation, and the
Ethical. Edited by Ton Hoenselaars and Alexander Huang. London and New York:
Palgrave Macmillan. (Forthcoming, 2012).
“’Old Dad Dead?’ The Rise of the Neo-Noir ‘Heritage’ Film, or, Middleton with a View.” New
Critical Essays on Thomas Middleton. Edited by Gary Taylor. Oxford and New York:
Oxford University Press (In press: forthcoming 2010).
“’Live’ Cinema: Memory and Mediatization in Alex Cox’s The Revenger’s
Tragedy.” New Directions for Renaissance Drama. Edited by Sarah
Werner. London and New York: Palgrave Macmillan. (In press: forthcoming, 2010).
“Looking for Mr Goodbard: Shakespeare Films as Counter-Memory.” Shakespeare Studies. Fall:
2009 issue: 77-87 (Forthcoming, Spring 2010).
“Where the Maps End: Elizabeth: The Golden Age of Simulacra.” An Age for All Time: The
English Renaissance in and Beyond Popular Shakespeare. Edited by Gregory
Semenza. London and New York: Palgrave Macmillan. (In press: forthcoming, 2010).
“Semper Die: Marines Incarnadine in Nina Menkes’s The Bloody Child: An Interior of Violence.”
Weyward Macbeth: Intersections of Race and Performance. Edited by Ayanna
Thompson and Scott Newstock, London and New York: Palgrave
Macmillan. 2010. 185-191.
“Apocalyptic Paternalism, Family Values, and the War of the Cinemas or, How Shakespeare
Became Posthuman.” Apocalyptic Shakespeare. Edited by Melissa Croteau and
Carolyn Jess-Cooke. London and New York: MacFarland, 2009. 47-69.
“What is a Film Adaptation? Or, Shakespeare Du Jour.” Shakespeares After Shakespeare: An
Encyclopedia of the Bard in Mass Media and Popular Culture. Edited by Richard Burt. 2
Vols. Westport, CT: Greenwood Press, 2007. 74-80.
“As Performed: Kenneth Branagh’s Much Ado About Nothing.” The Sourcebooks Shakespeare:
Much Ado About Nothing. David Bevington and Peter Holland, Advisory Editors. Audio
performance by Sir Derek Jacobi. Naperville, IL: Sourcebooks, Inc. 13-24. 2007.
“Faux Show: Falling into History in Love’s Labours Lost.” Colorblind Shakespeare: New
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Perspectives on Race and Performance. Ayanna Thompson, ed. London and New York:
Routledge, 2006. 69-88.
"Dancing in a (Cyber)net: Renaissance Women, Systems Theory, and the War of the Cinemas."
Renaissance Drama 34. Special Issue on "Media, Technology, and Performance."
Edited by Jeffrey Masten, Wendy Wall, and W. B. Worthen. Spring 2005 (Published
2006): 121-161.
“The Passion of the ‘W’: Provincializing Shakespeare, Globalizing Manifest Density from King
Lear to Kingdom Come.” The Upstart Crow XXV 2005. (Published 2006) 16-32.
“The Postnostalgic Renaissance: The ‘Place’ of Liverpool in Don Boyd’s My Kingdom.” Filming
Shakespeare in the Twenty-First Century. Mark Thornton Burnett and Ramona Wray,
eds. Edinburgh: Edinburgh University Press, 2006. 72-89.
Lehmann, Courtney and Bryan Reynolds. "Awakening the Werewolf Within: Self-help, Vanishing
Mediation, and Transversality in The Duchess of Malfi." Transversal Enterprises in the
Drama of Shakespeare and His Contemporaries: Fugitive Explorations. London: Palgrave
Macmillan, 2006. 227-39.
"A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, the Escape from
Iceland." The Blackwell Companion to Shakespeare and Performance. Edited by
Barbara Hodgdon and W. B. Worthen. London: Blackwell, 2005. 588-609.
"Out Damned Scot: Dislocating Macbeth in Transnational Film and Media Culture." Shakespeare,
The Movie II: Popularizing the Plays on Film, TV, Video, and DVD. Edited by Lynda
Boose and Richard Burt. London and New York: Routledge, 2003. 231-251.
Lehmann, Courtney, Bryan Reynolds, and Lisa S. Starks. "'For such a sight will blind a father's
eye': The Spectacle of Suffering in Taymor's Titus." Shakespeare and Transversal
Theory. London: Palgrave Macmillan, 2003. 215-43.
"Crouching Tiger, Hidden Agenda: How Shakespeare and the Renaissance are Taking the Rage
Out of Feminism." Shakespeare Quarterly 53.2 (Summer 2002): 260-79.
Lehmann, Courtney, and Lisa S. Starks. "Are We in Love with Shakespeare?" Introduction.
Spectacular Shakespeare: Critical Theory and Popular Cinema. Edited by Courtney
Lehmann and Lisa S. Starks. London: Associated University Presses, 2002. 9-20.
"Shakespeare in Love: Romancing the Author, Mastering the Body." Spectacular Shakespeare:
Critical Theory and Popular Cinema. Edited by Courtney Lehmann and Lisa S. Starks.
London: Associated University Presses, 2002. 125-45.
"Strictly Shakespeare? Dead Letters, Ghostly Fathers, and the Cultural Pathology of Authorship
in Baz Lurhmann’s William Shakespeare’s Romeo + Juliet.” Shakespeare Quarterly 52.2
(Summer 2001): 189-221.
"Shakespeare the Savior or Phantom Menace? Kenneth Branagh's Midwinter's Tale and the
Critique of Cynical Reason." Colby Quarterly 37.1 (March 2001): 54-77.
"Brave New Bard: The Emerging Field of Shakespeare and Cinema." Featured Survey of the
Field and Review of Nine New Books. Cineaste (Winter 2000): 62-66 (4000 words).
Lehmann, Courtney, with Lisa S. Starks. "Making Mother Matter: Repression, Revision, and the
Stakes of 'Reading Psychoanalysis Into' Kenneth Branagh's Hamlet.'" Early Modern
Literary Studies 6.1 (May 2000). Special on-line issue, http://purl.oclc.org/emls/Q6-
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1/lehmham.1.htm.
"Much Ado about Nothing? Shakespeare, Branagh, and the 'National-Popular' in the Age of
Multinational Capital." Textual Practice 12.1 (Spring 1998): 1-22. Reprinted in The
Norton Critical Edition of Much Ado about Nothing, edited by Patricia Parker
(forthcoming).
"Kenneth Branagh at the Quilting Point: Shakespearean Adaptation, Postmodern
Auteurism, and the (schizophrenic) fabric of 'everyday life.'" Post Script: Essays in Film
and the Humanities 17.1 (Fall 1997): 6-27.
Reviews:
Review of Russell Jackson’s Shakespeare Films in the Making: Vision, Production and
Reception. Shakespeare Quarterly 60 (Fall 2009): 385-88..
Review of The Cambridge Companion to Shakespeare on Film. Solicited by Essays in
Theater/Études Théâtricales, 2003. 179-82.
"Even Better than the Real Thing: Orson Welles's Citizen Kane on DVD." Cineaste (Spring
2002): 45.
Other Publications:
Film Entries for The Shakespeare Encyclopedia. Patricia Parker, General Editor.
5 Volumes. London and New York: Houghton Mifflin. In press: forthcoming, 2010.
(15,000 words.)
Film Entries for Shakespeare on Film, Television, and Radio: the Researcher’s Guide. Edited by
Olwen Terris, Eve-Marie Oesterlen, and Luke McKernan. London: British Universities
Film and Video Council, 2008.
Featured Interviewee, with Stephen Greenblatt and Jonathan Bate. “Timely, Timeless
Shakespeare” by Donna Howell, Leaders & Success columnist for Investor’s Business
Daily. 2 March 2005.
PRESENTATIONS:
Elected Seminar Leader, “Shakespeare Silenced,” Shakespeare Association of America Meeting,
Seattle, WA, April 2011.
Plenary Speaker, “2B or not 2B: The Second Coming of Shakespeare in Hamlet 2.”
Hamlet on Screen Symposium, Le Havre, France, March 2010.
Invited Presenter, “Semper Die: Marines Incarnadine in Nina Menkes’s The Bloody Child.”
Shakespeare Association of America, Seminar on “Shakespeare Spinoffs.” Washington,
DC, April 2009.
Keynote Speaker, “Macbeth: The Reality.” University of South Dakota English Department
Coloquium. Vermillion, South Dakota, April 2008.
Keynote Speaker, “Kiss Me Katrina: Cold Wars, Global Warming, and Compassionate
Capitalism.” The Marsh 3 Endowed Lecture Series, West Texas A&M University,
Canyon, Texas, April 2007.
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Invited Presenter, “An Orchid in the Land of Technology: Hearing Asta Nielsen’s Hamlet with Our
Eyes.” Shakespeare Association of America, Seminar on “Shakespeare and the Ethical.”
San Diego, California, April 2007.
Invited Presenter and Delegate, “Free Enterprise or Old Boys’ Network? Women Filmmakers and
Shakespeare in the Global Economy.” The Oxford Roundtable: “Women’s Rights and
Freedoms.” Oxford University, England, April 2007.
Invited Presenter, “The Passion of the ‘W’: Provincializing Shakespeare, Globalizing Manifest
Density from King Lear to Kingdom Come.” The World Shakespeare Congress, Seminar
on “Filming Shakespeare in the Global Economy.” Brisbane, Australia 2006.
Invited Presenter, “Colorblind Casting Faux Show? Falling into History in Kenneth Branagh’s
Love’s Labour’s Lost. Shakespeare Association of America, Seminar on “Cross-Racial
Casting.” Philadelphia, Pennsylvania, April 2006.
Keynote Speaker, Journal of Narrative Theory Colloquium, Eastern Michigan University.
“Colorblind Casting Faux Show? Falling into History in Kenneth Branagh’s Love’s
Labour’s Lost. Ypsilanti, Michigan, April 2006.
Keynote Speaker, Hudson Strode Program in Renaissance Studies, University of Alabama.
“Colorblind Casting or Faux Show? Falling into History in Love’s Labour’s Lost.”
Tuscaloosa, Alabama, April 2006.
Major Session Presenter, Shakespeare Association of America, “The Passion of the W:
Provincializing Shakespeare, Globalizing Manifest Density from King Lear to Sacred
Cow(boy)s.” Bermuda, April 2005.
Guest Panelist, with the Actors from the London Stage, Albert Hamilton Holt Colloquium on
“Shakespeare Across the Arts.” Clemson Shakespeare Festival XIV. Clemson, South
Carolina, March 2005.
Keynote Speaker, Clemson Shakespeare Festival XIV, “The Passion of the W: Provincializing
Shakespeare, Globalizing Manifest Density from King Lear to Sacred Cow(boy)s.”
Clemson, South Carolina, March 2005.
Invited Presenter, “Dancing in a (Cyber)net: Renaissance Women, Systems Theory, and the War
of the Cinemas, or, How Shakespeare Became Posthuman.” Shakespeare Association
of America, Seminar on “Apocalyptic Shakespeare.” New Orleans, Louisiana, April 2004.
"Home on the Range: Cinenomadicism, Millennial Macbeths, and the Noir Western."
Shakespeare Association of America Seminar, Victoria, British Columbia, April 2003.
Invited Presenter, Denver University Lecture Series, "Out Damned Scot: Dislocating Macbeth in
Transnational Film and Media Culture." Denver, Colorado, May 2002.
Invited Presenter, "No Laughing Matter: Pop Feminism and the Flockhart Effect in Michael
Hoffman's William Shakespeare's A Midsummer Night's Dream." Shakespeare
Association of America, Seminar on “Filming Shakespeare’s Comedies.” Minneapolis,
Minnesota, March 2002.
"Getting Published." Seminar on Academic Publishing. Shakespeare Association of
America Seminar, Miami, Florida, April 2001.
Keynote Speaker, Shakespeare in the Spring Festival, University of Akron. "Masterpiece Cinema:
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Sex, Authorship, and the Hollywood HardBardy in Shakespeare in Love." Akron, Ohio,
April 2000.
Invited Panelist, "Brave New Bard: Shakespeare in the New Millenium." Panelist with
Peter S. Donaldson and Jim Slowiak. Shakespeare in the Spring Festival, University of
Akron, Akron, Ohio, April 2000.
"From Piece of Ass to Masterpiece: Sex, Authorship, and The Hollywood HardBardy in
Shakespeare in Love." Shakespeare Association of America Seminar, Montreal,
Canada, April 2000.
Invited Presenter, "Dead Letters, Ghostly Fathers, and the Cultural Pathology of
Authorship in Baz Luhrmann's William Shakespeare's Romeo + Juliet." The
International Centenary Conference on Shakespeare and Screen, Malaga, Spain,
September 1999.
Invited Book Presentation, Spectacular Shakespearea: Critical Theory and Popular Cinema. The
International Centenary Conference on Shakespeare and Screen, Malaga, Spain,
September 1999.
Seminar Leader, "Screening the Bard: Shakespearean Spectacle, Critical Theory, Film
Practice." Shakespeare Association of America, San Francisco, CA, April 1999.
Invited Zuckerman Film Lecturer, "Hysterical Hardbodies, (Male)volent Mothers, and the
Law of the Father in Mary Shelley's Frankenstein." The Annual Zuckerman
Lecture and Film Series, sponsored by the San Francisco Psychoanalytic Institute,
San Francisco, CA, April 1999.
"In the Bleak Midwinter of Branagh's Discontent: Shakespeare in the '90s and the Critique
of Cynical Reason." Shakespeare Association of America, Seminar on "The
Filmed Hamlets," Cleveland, Ohio, March 1998.
Invited Presenter, "On the Market: Interviewing for the Academic Job." Preparing Future
Faculty Conference, Bloomington, Indiana, March 1998.
Invited Respondent, "Lacan and Film: Challenging Lacanian Legacies." Indiana University
Conference in the Humanities, Bloomington, Indiana, March 1998.
"Activism, Ambivalence, or Much Ado about Nothing? Don Pedro and the PC Wars from
Shakespeare to Branagh." Group for Early Modern Cultural Studies, Chapel Hill,
North Carolina, December 1997.
"Bodies and Texts that Matter: Historicizing versus Hypostatizing Shakespearean
Authorship." Midwest Conference on British Studies, Lawrence, Kansas, October
1997.
"Tragedy 'by the book': Source and Subjectivization in Romeo and Juliet, or, why the
letter always arrives at its destination." Ohio Shakespeare Conference, Columbus,
Ohio, May 1997.
"Much Ado about Nothing? Shakespeare, Branagh, and the 'National-Popular' in the Age
of Multinational Capital." Shakespeare Association of America, Seminar on
"Kenneth Branagh and His Contemporaries," Washington D.C., March 1997.
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Panel Organizer, "Much Ado About Something: Shakespeare, Hollywood, and the New
Bardolatry." Midwest Modern Language Association, Minneapolis, Minnesota,
November 1996.
Co-Coordinator of the first Annual Cultural Studies Conference at Indiana University,
"Crossing the Jordan: Cultural Studies as Interdisciplinary Practice at Indiana
University," February 1996.
"'Che Vuoi?' The Logic of Fantasy in Dante's Paradiso." Arizona Center for Medieval
and Renaissance Studies, Tempe, Arizona, February 1995.
"Letters in the Male: Negotiating Love Between Women in the Epistolary Poetry of
Katherine Philips." Rocky Mountain Medieval and Renaissance Association,
Jackson, Wyoming, May 1994.
"'(Eve)n Lines': Tilling and Re-telling the Garden in the Poetry of Katherine
Philips." Conference of the Group for Early Modern Cultural Studies, Norman,
Oklahoma, October 1993.
"Desire, Death, and Doubling: Mythological Fact and Fantasy in A Midsummer Night's
Dream." Moderated by Susan Gubar. Indiana University Interdisciplinary Conference on
Desiring Violence and Violent Desire, Bloomington, Indiana, March 1993.
OTHER PRESENTATIONS: (Internal)
Panel Moderator, “Bollywood and Gender.” Gender and the Performing Arts Festival, April 2009.
“The Fetish of the University Press Book—Landing a Contract.” Forum on Scholarly Publishing,
Sponsored by the Center for Excellence in Teaching and Learning. April 2008.
New Faculty Orientation. “Ten Things New Faculty Need to Know—Now.” August 2007.
Presentation to the Regents for Student Life. Report on Gender Equity Findings for NCAA
Recertification. Spring Meeting of the Board of Regents, Sacramento. April 2006.
“Making the Most of Pacific’s Research Environment.” New Faculty Orientation. August 2004.
“King of Texas, or, the Passion of the ‘W’: The Return of the King from the Bush Administration to
Mel Gibson.” English Department, Critical Colloquium. October 2004.
“King Lear: Enterprise for all Ages.” Presentation for Theater Alumni Night. April
2004.
“How Title IX Changed My Life.” Pacific Women’s Leadership Conference. April 2004.
“The Academy and its Language of Gender Discrimination.” Winter Meeting of the Board
of Regents. San Francisco. January 2003.
“A Brief History of the Book.” Humanities Center and Pacific Library “Celebration of the Book.”
Opening Remarks. October 2003.
“Doing It Lying—Down: The Distorted Legacy of Shekhar Kapur’s Elizabeth.” Gender Studies
Course Presentation. 2003.
“Creating Meaningful Online Discussions using Blackboard Technology.” Presentation to the
Council of Deans. December 2002.
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“What Can You Do with a Humanities Major?” Fall Open House. 2002-4.
“Why the Personal is also the Political.” Parents’ Weekend Presentation on the Mentor I
Program. Fall 2002.
“The Value of Pacific’s General Education Program.” Profile Day Presentation. Spring 2001.
“Hysterical Hardbodies in Shakespeare in Love.” Gender Studies Course Presentation. 2002.
"Why the Personal is also the Political." Mentor One General Session, General
Education Program. August 2002.
"Hysterical Hardbodies, (Male)volent Mothers, and the Law of the Father in Mary Shelley's
Frankenstein." Critical Colloquium, English Department. November 2001.
"Seeing Big Daddy through Shades of Noir: Conrad's Heart of Darkness, or, Why There
Are Always Two Fathers." Critical Colloquium, English Department. October 1999,
November 2000.
"Welcome to the Best Game in Town." Freshman Orientation Speech. Summer 2000.
"Where Are You Going? Why Ask Y?" Mentor One General Session, General Education
Program. November 1999.
"Who's Afraid of the Big Bad Wolf? Psychoanalysis and the Family in The Duchess of
Malfi." Critical Colloquium, English Department. October 1998.
"Generation X: No More Excuses." Mentor One General Session, General
Education Program. November 1998.
TEACHING EXPERIENCE: University of the Pacific, 1998-2008.
*
Indicates course is cross-listed with the Gender Studies curriculum
**
Indicates course is cross-listed with the Ethnic Studies curriculum
***
Indicates course is cross-listed with the Film Studies curriculum
*-**-***English 131: Shakespeare, "Symptoms of Culture," Spring 1999.
Shakespeare and Cinema: "Sex, Lies, and Videotape," Spring 2000.
Shakespeare and Cinema: "Bastards, Moors, and Whores," Spring 2001-8.
Shakespeare and Cinema: “She/He’s and Wannabes,” Spring 2009.
Intensive, upper-division survey of Shakespeare's comedies, histories, tragedies,
romances, and "problem plays" as both literary and performance texts. Theoretical
inquiries focus on the complex ways in which Shakespeare's minor characters, in their
dramatic and cinematic incarnations, emerge as "symptoms"––scapegoats of and
solutions to–-the treacherous, risqué, and frequently repressive culture of the English
Renaissance.
*English 133: Milton, Fall 2001
Framed by the Protestant Reformation on the one side and the English Civil War and the
Restoration on the other, this course spans one of the most formative periods in Western
history, locating its philosophical foothold in the cavernous intellect and compassionate
gaze of one individual. Throughout the semester, Milton's religious and political tracts
8
are paired with the tantalizing fictions of Comus, Paradise Lost, and Sampson Agonistes,
and we take frequent breaks along the way to read Milton's light-hearted Italian sonnets
and other, similarly "humanizing" works, such as Milton's melancholy reflections on his
blindness and the sudden loss of his beloved wife. Course emphasis lies in reading
Paradise Lost as political and religious allegory, tackling topics such as the problem of
Free will versus God's omnipotence, predestination versus Arminianism, and democracy
versus the divine right of kings.
*English 25: Introduction to the Study of Literature, "Monsters and Their Masters,"
Spring 1999.
Introduction to the discipline of English, covering a broad range of literary modes,
interpretive methods, and historical periods, based around a particular theme. This
version of the course explores the relationship between "masterpieces" and
"monsterpieces," focusing on the dialectic between creation and discrimination.
*-**English 25: Introduction to the Study of Literature, "Sports and Scandal,"
Spring 2006, 2008-09; Honors: Spring 2007.
This version of the English Department’s gateway course examines the scandalous
culture of sport in literature and film, focusing on the racial, class, and gender-specific
ways in which athletes are made, marketed, and undone.
*English 140: Renaissance Literature, "Self-Fashioning and Its Discontents: 1500-1610,"
Fall 1998. Humanities Initiative, "Renaissance Literature and Culture: 1500-1660"
(linked with "Tudor and Stuart History") Fall 1999.
Intensive, upper-division survey of Renaissance Literature and Culture. Special
attention to the emergence of "self-fashioning" as a means of negotiating the
overwhelming demand for social conformity associated with Renaissance standards of
political, religious, and sexual decorum.
*English 140: Renaissance Literature, "Penitence and Perversion," Fall 2000.
Upper-division survey focusing on the rise of evangelical Protestantism
and its literary manifestation in England, 1517-1670. This course offers an in-depth
exploration of the confessional ethos of early Protestantism and the fine-line it generates
between devotion and debauchery, penitence and perversion, in the works of Wyatt,
Marlowe, Webster, Donne, and Milton.
*English 140: Renaissance Drama, “Bloody, Bawdy Villains: Revenge . . . Renaissance Style,”
Fall 2003; Fall 2007. Upper-division survey of the social and sexual politics of revenge in
the theater and culture of the English Renaissance, with a concluding analysis of the
relationship between Shakespeare’s Hamlet and Thomas Pynchon’s The Crying of Lot
49.
*English 41: British Literature before 1800, Fall 1998-99. Spring 2000-03. Fall 2006-07, 09.
Survey of British Literature from its putative beginnings through the work of Swift, Gay
and, occasionally, Austen. The course explores a variety of literary modes, including
chivalric romance, prose satire, epic and lyric poetry, drama, the essay, and the novel,
focusing on the ways in which "major" authors are constituted by the intersection of
history, culture, gender, and genre. Of particular interest are the Celtic “outliers”—the
Britons, Bretons, and Britains—whose contribution to the making of the “British” Literary
Canon is often overlooked.
Mentor One Seminar, Fall 1998. Honors Mentor One Seminar, Fall 1999-2002.
Analyses through an interdisciplinary lens of "Timeless Questions" concerning the
origins, value, meaning, and future of human existence. Also includes weekly faculty
roundtable discussions on course issues.
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SUPERVISION OF STUDENT RESEARCH:
GRADUATE: Dissertation Advisor, Alicia Sutliff-Benusis, Based on Shakespeare: Shakespearean Film
and the Search for a ‘Normative’ Twenty-First Century America (Defense Expected: Fall 2010)
SELECTED UNDERGRADUATE RESEARCH PROJECTS:
Having supervised more than forty undergraduate research theses and internships over the last 10 years,
I have chosen only a selection of the more challenging and intellectually rewarding projects.
1. “Paradise Lost: The Construction and Interpretation of John Milton’s ‘Heretical’ Neo-Theology.”
2. “Witchcraft and Masculinity: 1400-1800.”
3. “The Preposterous Future Anterior: Rushdie’s The Moor’s Last Sigh as Othello’s ‘Prequel.’”
4. “Postmodernism, or, The Cultural Politics of Ho Xuan Huong’s Poetry.”
5. “Sacred Devotion, Secular Desire and the Medieval Anchoress: A Tale of Two Identities.”
6. “Orwell’s Big Brother? Shakespeare and the Ontology of Power in 1984.”
7. “The Nature of Disclosure: Secrets, Code, and Forbidden Desire in the Editing of Emily
Dickinson’s Poetry.”
8. “Secrets and Whispers in Cavendish’s Blazing World.”
9. “Tragedy Tempered: Rewriting King Lear for Children.”
10. . “Drama in the Shakespeare Classroom—A Study in Pedagogy.”
11. “Homoeroticism in Renaissance England: The Epistemology of the Closet Revisited.”
12. “From Discarded Shreds to Narrative Threads: Sumptuary Legislation in Shakespeare’s
Plays”
13. “’Tis Pity He’s a Bore: The Rise of the Female Avenger from Kyd to Ford.”
HONORS:
Plenary Speaker: at the University of Le Havre, France
Keynote Speaker: at the University of South Dakota English Department Colloquium
Featured Presenter: Oxford Round Table on Women’s Rights and Freedoms, England
Inaugural Speaker: Marsh 3 Endowed Series in Shakespeare Studies, Texas A&M
JNT (Journal of Narrative Theory) Speaker, Eastern Michigan University
Hudson Strode Lecturer, University of Alabama
Keynote Speaker, The Clemson Shakespeare Festival
Phi Kappa Phi National Honors Society Inductee
Eberhardt Teacher-Scholar Award, University of the Pacific
Keynote Speaker, Denver University Lecture Series
Keynote Speaker, Shakespeare in the Spring Festival, University of Akron
Zuckerman Lecturer, The San Francisco Psychoanalytic Institute
James A. Work Award for Outstanding Graduate Student in English
Indiana University Departmental Excellence in Teaching Award
Unanimous Distinction for Ph. D. Qualifying Examinations
Fellowship to the Dartmouth School of Criticism and Theory
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2010
2008
2007
2007
2006
2006
2005
2004
2003
2003
2000
1999
1997
1997
1996
1996
Phi Beta Kappa
Summa Cum Laude
University of North Carolina Scholar-Athlete Award
1989
1991
1991
GRANTS (External):
Finalist: NEH Digital Humanities Start-up Grant ($50,000 pending decision) for project
titled: “Stockton Commons: Gateway to the Delta”
2010
GRANTS (Internal):
Eberhart Summer Research Grant, $3500, for project titled “Seen but not heard: The Aboriginal
Voice in Baz Lurhmann’s William Shakespeare’s Romeo + Juliet.” 2006.
Colliver Foundation Grant, $500, for initiating the first-ever Iranian Film Festival at University of
the Pacific through the Pacific Humanities Center, intended to challenge students and members
of the Stockton community to embrace cultural diversity through the arts. Grant intended to
defray film-licensing fees and advertising expenditures, Fall 2002.
Irvine Foundation Diversity Grant, $2500, for semester-long study of racial profiling from
Shakespeare's plays to the culture of contemporary literacy. Project, sponsored by the Pacific
Humanities Center involved students and Professors in the Stockton Public Library's
"Reach Out and Read" program. Participants are trained in promoting literacy as well as cultural
sensitivity; they are then sent to waiting rooms in local medical clinics, where they read for
parents and children who are (often apprehensively) awaiting treatment. The objective is not
merely to entertain but to engage parents' interest in reading to their own children, even if they
come from illiterate or non-English-speaking households. Students, meanwhile, were
encouraged to consider, throughout this process, their own relationship to entitlement, privilege,
and literacy.
Asian Studies Foundation Grant, $500, for initiating a Tai Chi Center at University of the Pacific,
as part of the student-centered programming offered by the Pacific Humanities Center, Grant
intended to defray costs of expert instruction from local Tai Chi Masters. Spring 2003.
Teaching with Technology: Online Course Development Initiative, sponsored by the Office of
Continuing and Professional Education, $2000, Spring 2002.
Eberhardt Institutional Priorities Grant, $3500, for project sponsoring student learning outside the
Classroom through the Pacific Humanities Center, assessing the extent to which exposure to
and participation in theatrical performance enhances the learning curve for Shakespeare and
stimulates broader interest in the Humanities disciplines, April-May 2001.
University of the Pacific Long Foundation Fellow, $5000 (shared with Professor Lou Matz), for
long-term proposal to improve the quality of the Mentor One General Sessions, Aug-Dec.
2001.
Eberhardt Summer Research Grant, $3500, for project entitled “Shakespeare(s) in Love: The
Multiple Texts of Romeo and Juliet.” 2000.
CAPD Grant, $1000, sponsoring travel with Shakespeare class to the Oregon Shakespeare
Festival. University of the Pacific, May 2000.
Participant, National Endowment for the Humanities Group Grant for Pilot Program in the
Humanities, $400, for participation in workshops focused on fostering links across the
Humanities disciplines. Co-developed, as a prelude to workshop participation, a pilot
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course in English Renaissance Literature taught in tandem with a course in Tudor and
Stuart History. Students are encouraged to take both classes as well as to participate in
"linked" activities like madrigal workshops, fencing lessons, paleography seminars, film
screenings, and other social events designed to create a humanities-based learning
community. Assessment techniques are employed to determine the benefits students
derive from interdisciplinary learning communities. Workshop, May 2000; Course, Fall
Semester, 1999.
Irvine Foundation Learning Assessment Team Grant, $5000 (proposed in conjunction with
Professors Diane Borden and Reinhart Lutz) for assessment project titled "From Play to
Film in Shakespeare and Kurosawa: Across Time/Across Culture/Across Genre.” Granted to
explore the impact of interdisciplinary studies, team-teaching, and learning communities on
student learning outcomes. Spring, 1999.
PROFESSIONAL SERVICE (External):
Reader: Shakespeare Quarterly (US)
Shakespeare Journal (UK)
Journal of Narrative Theory
University of Texas Press
Indiana University Press
Fairleigh Dickinson University Press
Northwestern University Press
PROFESSIONAL SERVICE (Internal):
Research Peer Reviewer, Promotion to Full for Xiaojing Zhou. Fall 2009.
Outside Peer Research Reviewer, Third Year Review for Macelle Mahala. Fall 2009.
Research Peer Reviewer, Third Year Review for Andreea Boboc, English. Fall 2008.
Member, Steering Committee for 2009 Italian Symposium and Festival. 2007-09.
Outside Peer, Promotion and Tenure Committee for Cathie McClellan, Theatre Arts. Fall 2007.
Chair, Subcommitee for Gender Equity, Diversity Issues, and Student-Athlete Welfare, NCAA
Recertification and Compliance. 2005-07.
Faculty Advisor, Calliope: The Literary-Arts Journal of the University of the Pacific, Produced by
the Pacific Humanities Center. 2002—
Member, Steering Committee for NCAA Recertification and Compliance. 2005-07.
Member, Steering Committee for 2007 Japanese Symposium and Festival. 2005-2007.
Member, English Department Hiring Committee, Film Studies Search. 2005-06.
Member, English Department Hiring Committee, Medieval/Linguistics Search. 2005-06.
Invited Faculty Panelist, “The Great Debate: Machado vs. Podesto,” Sponsored by the School of
International Studies in cooperation with Delta College, Televised from Faye Spanos Concert
Hall. Fall 2004.
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Member, Humanities Task Force, Ad Hoc Committee Appointed by Dean Gary Miller to Explore
the Future of the Humanities Disciplines at Pacific. Spring 2004.
Panel Moderator and Co-Organizer, “Title IX: Swifter, Higher, Stronger” Art Exhibition and Panel,
Sponsored by the Reynolds Gallery, the Department of Athletics, and Gender Studies. Spring
2004.
Dramaturg: King Lear, 2004; Twelfth Night, 2002, Department of Theatre Arts.
Participant, The Vagina Monologues, February 2004. (Raised more than $10,000 for The
Women’s Center of San Joaquin County.)
Member, COP Capital Campaign Leadership Committee, Humanities Representative. 2003-05
Presidential Appointee, Athletics Advisory Council, University of the Pacific. 1999-2008.
Faculty Sponsor, Pacific Young Democrats Organization. 2000-02.
Member, Theatre Arts Program Review Committee. 2000-01.
Member, General Education Committee. 1999-2002.
Member, English Department Hiring Committee: 19th Century Literature and Technical Writing
Search. 2000-01.
Juror, Queer Art Exhibition, Reynolds Gallery. Spring 2000.
Member, Gender Studies Board, University of the Pacific. 1999-2001.
Member, Mentor One Planning Committee, University of the Pacific. 1999-2002.
Participant, "Linked" Course for the Pacific Humanities Initiative (with Professor Ken Albala,
History). Fall 1999.
Member, COP Fall Faculty Retreat Committee. 1999.
Mentor One Representative to the Ad hoc Committee on Ethics Across the Curriculum,
University of the Pacific. 1999.
Replacement Member, College of the Pacific Council, Spring 1999.
Faculty Sponsor, The English Club. 1998-2000.
Member, Program and Curriculum Committee, English Department. 1998-2000.
Member, English Department Hiring Committee: Composition and Rhetoric Search. 1998-1999.
Member, English Department Curriculum and Program Review Committee. 1998-2001.
Judge, San Joaquin Arts Commission Poetry Contest, Stockton, California. 1999.
PROFESSIONAL AFFILIATIONS:
Modern Language Association
Shakespeare Association of America
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Group for Early Modern Cultural Studies
International Shakespeare Association
OTHER TEACHING INTERESTS:
Film History and Theory
Women's Writing
Literary Criticism and Theory
Cultural Studies
MISCELLANEOUS ACHIEVEMENT:
Four-time NCAA Division One National Champion as Member of the University of
North Carolina Women's Soccer Team.
Purple Belt in Karate.
LETTERS OF REFERENCE:
Professor Camille Norton, Chair, English Department, University of the Pacific.
Professor Barbara Hodgdon, English Department, University of Michigan.
Professor Mark Thornton Burnett, English Department, The Queens University of Belfast;
Director, The Kenneth Branagh Film Archive.
ADDITIONAL REFERENCES:
Professor Peter Holland, McMeel Family Professor in Shakespeare Studies; Chair, Film,
Television, and Theater Department, Notre Dame University; Outgoing President,
Shakespeare Association of America.
Professor Patricia Parker, Margery Bailey Professor in English and Dramatic Literature, Stanford
University.
Professor Gail Kern Paster, Director, The Folger Shakespeare Library, Washington DC.
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