Research & Innovation

Simon Inescort is no longer bodily present in his marriage. It’s been several months since he keeled over the rail of a Nova Scotia–bound ferry, a massive heart attack to blame. Simon's widow, Lorca Pell, has sold their farmhouse to newlyweds Zachary and Muriel—after revealing that the deed contains a “ghost clause,” an actual legal clause, not unheard of in Vermont, allowing for reimbursement if a recently purchased home turns out to be haunted.

Educational Development: Identity and Diversity, special issue of New Directions for Teaching and Learning.

In each case, the event of injury conveys an eager insistence on the truth of some taken-for-granted assertion about the injured party. I discuss the role of comic atmosphere in encouraging such performative incuriosity, and I describe those strategies by which cruel pranksters enlist the participation of readers and spectators. Ultimately, I show that Shakespeare parts ways with Rabelais by undermining epistemological security, the desire for which helps motivate both the prank and whatever affirmation it elicits from witnesses.

Three-week residency, Summer 2019

Newton s statement made one year after Stonewall and the same month Newton was released from prison takes the unorthodox step of suggesting the importance of black radical organizations and collectives.

Nominees must be professional track faculty (lecturers, senior lecturers, or principal lecturers) who have taught in the English department for at least four consecutive semesters, inclusive of the current semester, with no minimum number of courses required

Fraistat considers these changes in the context of the DH center as an institution.

In the Radigund episode of Book V, Spenser explores the gender dynamics of this trope, as the subjected body is male and the monarch, female. These scenes act as a powerful counter-narrative to the poem’s earlier representations of erotic subjection by showing that external obedience cannot be equated with consent. Radigund forces Artegall to wear women’s clothing and to do women’s work, but this submission constitutes nothing more than slavery. The narrative blends political domination with sexual conquest to demonstrate that compliance is not loyalty and violence cannot elicit love.

Pitching potential articles to Harper's Magazine editor Lewis Lapham over "a $30 lunch at some understated French country-style place," Ehrenreich recalls the conversation shifting to how "women about to be booted into the labor market by welfare reform [were] going to make it on $6 or $7 an hour" (1). (1) Ehrenreich suggests that '"[s]omeone ought to do the old-fashioned kind of journalism--you know, go out there and try it for themselves.' I meant someone much younger than myself, some hungry neophyte journalist with time on her hands" (1-2). When Lapham insists that she investigate low-wage work herself, Ehrenreich admits misgivings about doing work she is positioned to avoid. Citing her successful career despite having grown up not far removed from "the low-wage way of life," Ehrenreich values her "gloriously autonomous, if not always well-paid, writing life" (2). Although she eventually agrees to take the assignment, Ehrenreich's ambivalence marks the difference between work as a writer and work as a service worker manipulating affect for a wage.

By putting early modern accounts of the humoral constitution of the night air in conversation with modern theories of apostrophe, I argue that the Macbeths’ experiences of night theorize political action as inseparable from the nonhuman forces in the play. Shakespeare reworks his source material to explore the borders of the human, imagining a more complex relationship between treasonous violence and the darkness that enshrouds Scotland.