Speakers

Speaker bios are arranged by date and time of presentation. Further bios are forthcoming.

Monday

Brett Greatley-Hirsch is University Academic Fellow in Textual Studies and Digital Editing at the University of Leeds. He is Coordinating Editor of Digital Renaissance Editions, and Co-Editor of Shakespeare (for the British Shakespeare Association and Routledge). His book, Style, Computers, and Early Modern Drama: Beyond Authorship (2017, co-authored with Hugh Craig), brings together his research interests in early modern drama, computational stylistics, and literary history.

Erin A. McCarthy is a postdoctoral researcher on the ERC-funded project “RECIRC: The Reception and Circulation of Early Modern Women’s Writing, 1550-1700.” Her research focuses on the transmission and reception of women’s writing in manuscript miscellanies. She is also completing a book, “Print, Poetry, and the Reading Public in Early Modern England,” which examines early modern publishers’ critical and editorial efforts and argues that these interventions have had an enduring impact on our canons, texts, and literary histories.

Alan H. Nelson is Professor Emeritus in the Department of English at the University of California, Berkeley. His specializations are paleography, bibliography, and the reconstruction of the literary life and times of medieval and Renaissance England from documentary sources. He is author of Monstrous Adversary: The Life of Edward de Vere, Seventeenth Earl of Oxford (Liverpool University Press, 2003). He is editor of Cambridge, Records of Early English Drama, 2 vols. (Toronto: University of Toronto Press, 1989). He is one of four editors of Oxford, Records of Early English Drama, 2 vols. (Toronto: University of Toronto Press, 2004). (The other editors are John R. Elliott, Jr.; Alexandra F. Johnston; and Diana Wyatt.) He is co-editor, with John R. Elliott, Jr., of Inns of Court, 3 vols., Records of Early English Drama (D.S. Brewer, 2010). He is co-editor with William Ingram of the website The Parish of St Saviour, Southwark, 1550-1650 and has recently contributed essays to Shakespeare Documented, a project sponsored by the Folger Shakespeare Library, Washington, D.C.

Stacey Redick is the Digital Strategist at the Folger Shakespeare Library, where she oversees information architecture of digital properties, leads user experience research and design, and manages institutional partnerships. Previously, she created digital information resources at the International Monetary Fund. She holds an M.A. in Ancient History and Italian (University of St Andrews), and an M.I. in Library and Information Science with Book History and Print Culture (University of Toronto).

Mary Erica Zimmer is a PhD Candidate within The Editorial Institute at Boston University and a Research Associate at MIT. Her work to develop a digitized model of the bookshops and stalls surrounding Paul’s Cross Churchyard reflects a broader interest in existing and emerging archival practices surrounding the study of early modern texts. Readerly engagement with these texts also informs her dissertation, which will serve as a companion to selected poems of Geoffrey Hill.

Barry Houlihan is Archivist, National University of Ireland, Galway. He a project board member of the Abbey Theatre and Gate Theatre Digitisation projects at NUIG; an EX Comm member of APAC (Association of Performing Arts Collections). He is the editor of the forthcoming volume, “Navigating Ireland’s Theatre Archive: Theory, Performance, Practice” (Peter Lang Academic Press) and is in the final year of a Phd focusing on archives of Irish theatre and society in modernising Ireland.

Noam Lior is a PhD candidate at the University of Toronto’s Centre for Drama, Theatre and Performance Studies. His dissertation focuses on the emerging category of multimedia Shakespeare apps, and their use of digital spaces to combine text, performance, readership, and spectatorship. Noam is co-founder and dramaturge/editor for Shakespeare at Play, an app which combines Shakespeare’s play-texts with full-video productions of the plays, for which he has dramaturged, edited, and co-directed productions of Romeo and Juliet, Macbeth, Hamlet, and A Midsummer Night’s Dream. As a dramaturge and director, Noam has worked on plays by Shakespeare, Webster, and Marivaux as well as developing productions of new Canadian plays. He has worked as a scholar/artist on performance-as-research productions in Toronto, directing New Custom in collaboration with Poculi Ludique Societas and the Drama Centre at the University of Toronto, directing Robert Daborne’s A Christian Turn’d Turk as a presentation of the CRRS/JHI conference Early Modern Migrations: Exiles, Expulsion, and Religious Refugees 1400-1700. Most recently, he served as a dramaturge/judge for Spur-of-the-Moment Shakespeare Collective’s ShakesBeers Showdown.

Iain Emsley has recently completed a Masters in Software Engineering and is taking up a PhD place to study sonification and Digital Humanities. His research interests include sustainability, Digital Humanities, and museums.

Tuesday

Beatrice Montedoro has a BA in English and Art History and an MA in English from the University of Geneva, where she wrote a thesis on the dramatisation of witchcraft in Early Modern drama under the guidance of Prof Lukas Erne. She is now pursuing a DPhil (PhD) on the early modern commonplacing of English drama at the University of Oxford,  previously under the supervision of Prof Tiffany Stern, and currently of Prof Adam Smyth. She is the Associate Editor of the digital project DEx: A Database of Dramatic Extracts. She also attended DHOxSS 2016, where she presented a poster on the use of TEI in DEx.

Claudine Nightingale is a senior development editor at Adam Matthew Digital.

Franziska Ritter studied architecture, film and photography at Technical University Berlin and University of North London from 1999 till 2007 (diploma with distinction, thesis on “Poetic Space”), scholarships by German National Academic Foundation, DAAD and Erasmus. Since 2004 freelancer in the field of architecture communication and culture management, 2004-2007 stage design assistances at Bayerische Staatsoper München, Staatsoper Berlin, Opera du Rhin Strasbourg. 2006 founding of architectural office “studio ritter”, worked as an architect. Since 2008 founder, project director and assistent professor at TU Berlins master program “Bühnenbild_Szenischer Raum”, additional: lecturer at Beuth University of Applied Sciences Berlin – theatre engineering, TU Berlin Architecture master degree course, UDK Berlin and Design Academy Berlin. Since 1986 musical education as flutist (national award Jugend Musiziert), freelancing in several orchestras and ensembles, founder of wood wind quintet Ensemble Opus 45.  Since 2014 Franziska Ritter is leading the DFG research project “Collection of Theatre Architecture“. She lives and works in Berlin, Germany.

Julian Meyrick is Professor of Creative Arts at Flinders University, Artistic Counsel of the State Theatre Company of South Australia, and a member of the boards of both Currency House Press (editorial) and CHASS. He is the director of many award-winning theatre productions, and is a Chief Investigator on two ARC projects: AusStage, and Laboratory Adelaide: The Value of Culture.  Has has written extensively in the areas of Australian theatre and Australian cultural policy.  His next book “Australian Theatre after the New Wave” will be published by Brill later this year.

Christie Carson is Reader in Shakespeare and Performance in the Department of English at Royal Holloway University of London. Over the past ten years she has developed a hybrid approach to criticism which combines the detail and specificity of an English close reading of performance with the desire to situate that close study politically, historically and socially, in line with the methods of theatre history research. She is the co-editor of four collections of essays for Cambridge University Press:  Shakespeare’s Globe: A Theatrical Experiment with Farah Karim-Cooper (2008), Shakespeare in Stages: New Theatre Histories with Christine Dymkowski (2010), Shakespeare Beyond English with Susan Bennett (2013), and Shakespeare and the Digital World with Peter Kirwan (2014).

Irina Pavlova has a BA in Fundamental and Applied Linguistics (NRU Higher School of Economics, Moscow 2016) and is pursuing her MA in Computational Linguistics (NRU Higher School of Economics, Moscow). She participates in several projects in digital humanities field including “Tolstoy Digital” and “Live Pages“. Her academic interests include the digital humanities, automatic narrative processing, digital editions, and TEI.

Ivan Lupić is Assistant Professor of English at Stanford University. He has recently completed a book manuscript entitled Subjects of Advice: Drama and Counsel from More to Shakespeare and has begun work on a new project, under the tentative title Shakespeare and the End of Editing. In 2017/18 he will be a research fellow at the Beinecke Rare Book and Manuscript Library, the Huntington Library, and the Folger Shakespeare Library.

Meaghan Brown, Data Curation Fellow for Early Modern Studies, is the project manager for the Folger’s Digital Anthology of Early Modern English Drama. She completed her PhD on early modern printers and their formulation of English nationhood at Florida State University in 2013. Her personal research focuses printer’s epistles and what they can tell us about the cultural positioning of print in early modern England. She also researches modern citation practices, and what they can tell us about libraries in humanities scholarship.

Sonia Massai is Professor of Shakespeare Studies in the English Department at King’s College London. She has published widely on the history of the transmission of Shakespeare on the stage and on the page. Her publications include her book, Shakespeare and the Rise of the Editor (Cambridge University Press, 2007), collections of essays on Shakespeare and Textual Studies (Cambridge University Press, 2015) and World-Wide Shakespeares: Local Appropriations in Film and Performance (Routledge, 2005), and critical editions of The Paratexts in English Printed Drama to 1642 (Cambridge University Press, 2014) and John Ford’s Tis Pity She’s a Whore for Arden Early Modern Drama (2011).

Dr. Heidi Craig recently completed her PhD at the University of Toronto; this coming year she will take up short-term fellowships at the Huntington and Newberry Libraries. She has an article forthcoming in English Literary Renaissance, and is working on her first book project, on English renaissance drama during the theatre ban of 1642 to 1660. She is also mad for dramatic paratexts.

Wednesday

Diana E. Henderson is Professor of Literature at MIT, a co-leader of the Global Shakespeares Curriculum Initiative there, co-editor of Shakespeare Studies, and author of two monographs, two edited collections, and 40+ articles on Shakespeare, early modern poetry, culture, and drama, as well as their subsequent performances. She has also worked as a dramaturg and scholarly collaborator with the RSC, Actors’ Shakespeare Project, NYTW, PTP, and others.  She was the 2014 President of the Shakespeare Association of America, and served as an SAA Trustee for six years.

Pip Willcox is Head of the Centre for Digital Scholarship, Bodleian Libraries, and a Senior Researcher at the University of Oxford e-Research Centre where she works on the SOCIAM: Theory and Practice of Social Machines project. Her interests include the intersection of book history, text, and digital technologies, and bringing people together to share ideas and stimulate new partnerships and research agendas, particularly Experimental Humanities on which she is working with David De Roure.

David De Roure is Professor of e-Research and the Director of the
University of Oxford e-Research Centre. His multidisciplinary, applied,
digital research embraces wide fields of knowledge, and currently focusses
in particular on musicology, Social Machines, and the Internet of Things.
His work on Ada Lovelace and a simulation of Babbage’s Analytical Engine’s
as part of the Fusing Audio and Semantic Technologies project informs his
work with Pip Willcox on Experimental Humanities.

Victoria Lane is a Registered Member of the Association of Archives and Records. She has been Archivist at the Globe since 2015 and also runs the Art Archives Consultancy with her partner, Judy Vaknin. Prior to this she has mainly worked with Fine Art archives and was the co-editor of ‘All This Stuff: Archiving the Artist’ (Libri 2013).

Eric Johnson is the first Director of Digital Access at the Folger Shakespeare Library. He manages the Folger’s various digital programs, and oversees the journal Shakespeare Quarterly and Folger Editions series of Shakespeare’s complete works. He became known to the Shakespearean community as the creator of Open Source Shakespeare, one of the most widely-used resources in the field. Before coming to the Folger, he developed successful online initiatives for a wide variety of public- and private-sector organizations. He holds an MA in English and a BA in history, and heads the board of advisors for the College of Humanities and Social Sciences at George Mason University. He is also a veteran of the US Marine Corps. Mr. Johnson has a distinguished track record of anticipating the digital use and dissemination of literary texts.