Les auteurs/Contributors

Donald BEECHER is Professor of English at Carleton University in Ottawa, Canada. His scholarly interests and publications range from early music to the history of Renaissance medicine. He is series director of the Carleton Renaissance Plays and the publications of The Barnabe Riche Society (early English prose fiction), to which he has contributed several critical editions. His most recent project is an anthology of sixteenth-century Italian comedy for the University of Toronto Press.

Gilles BERTHEAU, after completing his doctoral thesis on "George Chapman's French Tragedies: From Royal Absolutism to the Absolute Man" ("Les tragédies françaises de George Chapman: de l'absolutisme royal à l'homme absolu", University of Paris III — Sorbonne Nouvelle), was appointed lecturer at the University of Tours and the CESR in September 2003. His publications include several articles on literary and ideological aspects of Chapman's plays, especially in relation to contemporary English (Shakespeare, Marlowe, Heywood) or French (Matthieu) playwrights. His edition of Sir Thomas More (Munday, Shakespeare et al.) in Shakespeare's Complete Works is to be published in 2006 (Gallimard — La Pléiade).

Pauline BLANC, Maître de Conférences at the Université Jean Moulin — Lyon III, is the author of a number of articles on Shakespeare and his predecessors. She is a member of the Research Groups IRIS (EA 2289) and CERAN (EA 655) and is currently preparing a monograph, Du théâtre du Vice à Shakespeare: l'évolution du genre tragic-comique sur la scène tudor.

Gaëlle BRANFORD, having recently completed a doctoral thesis on the visual strategies at work in the staging of a selection of Mystery Plays, is particularly interested in the use of religious images onstage. Whether they be stage, discursive or mental images, they offer different levels of reading in the context of late medieval devotion. The analysis of the dramatic text as a performance text and a semiotic approach to drama are fundamental in her work.

Jean-Paul DEBAX is Professor Emeritus in the University of Toulouse II. His recent work includes the edition of a volume of essays on As You Like It and an article on that play; further articles on translating medieval drama, the Vice in English interludes, and Henry Medwall; and papers on medieval interludes as "moral literature", Mankind and Misogonus. He is currently working on translations of early interludes.

Frédérique FOUASSIER is currently completing her doctoral thesis on the character of the prostitute on the Elizabethan and Jacobean stage at the Centre des Études Supérieures de la Renaissance in Tours. She teaches translation and English literature at the English department of the University of Tours. She was awarded a prize by the Société Française Shakespeare in 2000 for her mémoire de Maîtrise on the Renaissance female theatre audience and received the Agrégation in 2001, after a year spent as a teaching assistant at the French Department of the University of Bristol.

Bob GODFREY, formerly Field Chair for Drama at University College Northampton now retired, has made the plays and performance of the early Tudor period his area of research. His interest and personal involvement lie most in the practice of theatre. In recent years he has directed performances of Calisto and Melebea, Fulgens and Lucres and Gentleness and Nobility, and created for himself a solo performance, An Interlude of Folly, based upon Erasmus's Moriae encomium. He is currently working on an adaptation of The Pageant of the Shearmen and Taylors for performance in December 2005.

Francis GUINLE is Professor of Elizabethan theatre at the University of Lyon II. In his former capacity as director of Théâtre Lumière, he has staged several sixteenth-century plays, including Youth, Mankind, Gallathea, Dr. Faustus, and Twelfth Night. He is also a musician and a singer, and his field of research concerns essentially the relationship between music and the theatre. His book, The Concord of this Discord: la structure musicale du Songe d'une nuit d'été, is concerned with establishing parallels between musical and theatrical composition.

Peter HAPPE retired as Principal of Barton Peveril Sixth Form College in 1989 and is now Visiting Fellow in the English Department of Southampton University. His most recent publications include English Drama before Shakespeare, Cyclic Form and the English Mystery Plays, and a Revels edition of Jonson's The Magnetic Lady. He is a contributor to the Oxford Dictionary of National Biography and the Cambridge History of British Theatre. His current interests include a book on the Towneley Plays and an edition of A Tale of a Tub and a bibliographical survey of Jonson's Third Volume for the New Cambridge Works of Ben Jonson.

Michael HATTAWAY is now Professor Emeritus of English Literature in the University of Sheffield. He is the author of Elizabethan Popular Theatre (1982), Hamlet: The Critics Debate (1987), and Renaissance and Reformations: An Introduction to Early Modern English Literature (2005), and is the editor of As You Like It and 1-3 Henry VI for the New Cambridge Shakespeare, as well as of plays by Jonson and Beaumont, A Companion to English Renaissance Literature and Culture (2000), and The Cambridge Companion to Shakespeare’s History Plays (2002).

Richard HILLMAN is Professor of English Literature at the Université François-Rabelais, Tours, France (Department of English and CESR). His chief specialty is early modern theatre, on which he has published numerous articles and five books, including Self-Speaking in Medieval and Early Modern English Drama: Subjectivity, Discourse and the Stage (1997) and Shakespeare, Marlowe and the Politics of France (2002). Dovehouse Editions, Ottawa, has just published two volumes comprising his translations with introduction and notes of three sixteenth-century French political plays: Fronton Du Duc, The Tragic History of La Pucelle of Domrémy, Otherwise Known as the Maid of Orléans (Carleton Renaissance Plays in Translation, 39), and The Tragedy of the Late Admiral Coligny, by François de Chantelouve, and The Guisiade, by Pierre Matthieu (Carleton Renaissance Plays in Translation, 40).

André LASCOMBES, formerly Professor of English Literature in the Department of English and the Centre d'Études Supérieures de la Renaissance, Université de Tours, has taught Tudor and Elizabethan Poetry, Drama and Culture. He initiated the Tudor Round Tables of Tours, previously published in the THETA Collection (Bern, Peter Lang Editions), and has essentially published on the cultural and spectacular aspects of English Renaissance drama.

Catherine LISAK has been Maître de conférences at the Université Michel de Montaigne — Bordeaux III since 1999. She has published a variety of articles on Shakespeare in several French journals, and is currently editing Richard II for the Internet Shakespeare Editions. She is also working on an essay entitled, "The tendentious and the puritanical in Twelfth Night", for a collection of essays on the play to be published by Routledge in 2006.

Roberta MULLINI is professor of English Literature, has published widely on late medieval Renaissance English drama and theatre. She is also interested in theoretical issues connected with theatrical reception. She has written volumes on Shakespeare’s fools (1983 and 1997), on the material culture of the theatre (1992), on early modern plays (1992), on John Heywood (1997). In 1995 she was “professeur invité” at the “Université François-Rabelais” in Tours. At present she is studying the possible influences of relationships between the court of Duke of Montefeltro (Urbino) and the court of Henry VIII on John Heywood’s plays.

Howard B. NORLAND is Professor Emeritus at the University of Nebraska. He has published widely on Renaissance English and Neo-Latin drama and critical theory. His most recent publications include Drama in Early Tudor Britain 1485-1558 (University of Nebraska Press, 1995) and articles on Elizabethan tragedies, translations of Seneca, and Thomas More.

Norah Yvonne PHOENIX is a lecturer in the English department of the University of Tours. Her doctoral thesis, supervised by André Lascombes and Peter Happé, concerns the treatment of time and space in Tudor theatre and examines five prominent Tudor plays (Johan Johan, The Play of the Weather, Gammer Gurton's Needle, Apius and Virginia and Cambises). She has also published articles on censorship in the sixteenth century and the treatment of night and darkness on the stage.

Mike PINCOMBE is Professor of Tudor and Elizabethan Literature at the University of Newcastle (UK). He is the author of The Plays of John Lyly: Eros and Eliza (1996) and Elizabethan Humanism: Literature and Learning in the Later Sixteenth Century (2001). As the Convenor of the Tudor Symposium, he is the editor of three volumes of proceedings and selected papers from international conferences held at Newcastle. Current work includes a monograph on mid-Tudor tragic poetry and a government-funded project to set up an electronic bibliographical database of English literature 1519-1579 (with Dr Cathy Shrank).

Nathalie RIVÈRE DE CARLES is a Teaching Assistant at the University of Poitiers. She is currently completing a PhD on the scenographical and textual perspectives of the arras in Renaissance theatre, under the supervision of Professor Yves Peyré at the Université Paul-Valéry — Montpellier III. She is also a research member of that university's Institut de recherches sur la Renaissance, L'âge Classique et les Lumières.

Greg WALKER is Professor of Early-Modern Literature and Culture and a Director of the Medieval Research Centre at the University of Leicester. He has published widely on the literature and history of the late-medieval and early Renaissance periods in England and Scotland, most recently in The Politics of Performance in Early Renaissance Drama (Cambridge University Press, 1998), Medieval Drama: An Anthology (Blackwell, 2000), and "The Renaissance in Britain", in Patrick Collinson, ed., The Short Oxford History of the British Isles: The Sixteenth Century (Oxford University Press, 2002). He has also published on the work of the film director, Sir Alexander Korda, most substantially in The Private Life of Henry VIII (IB Tauris, 2003). His Writing under Tyranny: English Literature and the Henrician Reformation will be published by Oxford University Press in late 2005.