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Peer Reviewed Articles by Emma K Atwood
Studies in the Literary Imagination, 2024
Early Modern Literary Studies, 2023
In the first quarto of Hamlet (Q1)—popularly deemed the 'bad quarto'—we are told that Hamlet freq... more In the first quarto of Hamlet (Q1)—popularly deemed the 'bad quarto'—we are told that Hamlet frequents a room at Elsinore Castle called the gallery. In fact, he meets Ofelia in the gallery twice: in the unstaged “ungartered” scene and again in the 'To be, or not to be' scene. Both times their intimacy is betrayed. The first time, Ofelia tells all, and the second time, Claudius and Corambis (Q1’s Polonius) eavesdrop. In the second quarto (Q2) and the first folio (F), however, all references to the gallery are absent. It follows that Hamlet’s gallery has not garnered much critical attention. After all, it can easily be taken for a throwaway reference, swallowed up by the ever-looming dramaturgical convention of the 'unlocalized stage'. But what would happen if we were to take this gallery setting seriously? Attending to the architectural specificity found in playscripts like Hamlet Q1 can help illuminate the social resonances of the spaces these characters inhabit, revealing otherwise unspoken motivations and understandings. In turn, I contend that gallery settings, following their real-life correlatives in early modern great homes, inspired a new dramaturgical technique—the feigned soliloquy. Recovering the social resonances of the gallery can help us better understand a tension central to Hamlet, which is also a tension central to early modernity: the struggle to outwardly represent one’s inner self—'that within which passeth show'—and the limits of accessing another person’s mind.
JSTOR Daily, 2020
This piece examines the historical relationship between plague and protest, connecting to the pre... more This piece examines the historical relationship between plague and protest, connecting to the present day.
Journal of Assessment and Institutional Effectiveness, 2019
This article empirically examines three assumptions that emerged from the lit- erature on using c... more This article empirically examines three assumptions that emerged from the lit- erature on using classroom assignments for institutional assessment. The poten- tial misalignment between the source of evidence (classroom assignments) and the assessment method (institutional rubric) is a serious threat to validity when using course-embedded assessment models. Findings revealed that approaches for faculty development in assignment design were drawing from approaches designed for using assignments in the classroom without an examination of implications for institutional assessment. Findings can inform the practice of individual faculty, approaches used for professional development in assignment design, and the movement for accountability focused on using course-embedded assignments.
Borrowers and Lenders: The Journal of Shakespeare and Appropriation
This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large com... more This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large company dances with a sustained verbal discourse about dance. This pairing creates a rich, embodied metaphor that bridges the gap between text and performance and extends to the larger themes of masquerade and mistaken identity that permeate the play. After this brief textual analysis, this essay then looks particularly at the role of dance in Joss Whedon's 2012 film adaptation to argue that Whedon's production makes a curious connection to popular early modern rope dances and acrobatic performances. This production offers a renewed context for the diversity of early modern dance.
A peer-reviewed long-form encyclopedia entry on the social history of Arundel House, London
Journal of Medieval and Early Modern Studies, 2013
This Rough Magic, Dec 2013
Book and Theater Reviews by Emma K Atwood
Medieval and Renaissance Drama in England, 2022
A book review of Allison Machlis Meyer's Telltale Women
Theatre Journal, 2019
A review of A Warning for Fair Women, directed by Brent Griffin at the Resurgens Theatre Company
Shakespeare Bulletin, 2013
Conference Presentations by Emma K Atwood
Studies in the Literary Imagination, 2024
Early Modern Literary Studies, 2023
In the first quarto of Hamlet (Q1)—popularly deemed the 'bad quarto'—we are told that Hamlet freq... more In the first quarto of Hamlet (Q1)—popularly deemed the 'bad quarto'—we are told that Hamlet frequents a room at Elsinore Castle called the gallery. In fact, he meets Ofelia in the gallery twice: in the unstaged “ungartered” scene and again in the 'To be, or not to be' scene. Both times their intimacy is betrayed. The first time, Ofelia tells all, and the second time, Claudius and Corambis (Q1’s Polonius) eavesdrop. In the second quarto (Q2) and the first folio (F), however, all references to the gallery are absent. It follows that Hamlet’s gallery has not garnered much critical attention. After all, it can easily be taken for a throwaway reference, swallowed up by the ever-looming dramaturgical convention of the 'unlocalized stage'. But what would happen if we were to take this gallery setting seriously? Attending to the architectural specificity found in playscripts like Hamlet Q1 can help illuminate the social resonances of the spaces these characters inhabit, revealing otherwise unspoken motivations and understandings. In turn, I contend that gallery settings, following their real-life correlatives in early modern great homes, inspired a new dramaturgical technique—the feigned soliloquy. Recovering the social resonances of the gallery can help us better understand a tension central to Hamlet, which is also a tension central to early modernity: the struggle to outwardly represent one’s inner self—'that within which passeth show'—and the limits of accessing another person’s mind.
JSTOR Daily, 2020
This piece examines the historical relationship between plague and protest, connecting to the pre... more This piece examines the historical relationship between plague and protest, connecting to the present day.
Journal of Assessment and Institutional Effectiveness, 2019
This article empirically examines three assumptions that emerged from the lit- erature on using c... more This article empirically examines three assumptions that emerged from the lit- erature on using classroom assignments for institutional assessment. The poten- tial misalignment between the source of evidence (classroom assignments) and the assessment method (institutional rubric) is a serious threat to validity when using course-embedded assessment models. Findings revealed that approaches for faculty development in assignment design were drawing from approaches designed for using assignments in the classroom without an examination of implications for institutional assessment. Findings can inform the practice of individual faculty, approaches used for professional development in assignment design, and the movement for accountability focused on using course-embedded assignments.
Borrowers and Lenders: The Journal of Shakespeare and Appropriation
This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large com... more This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large company dances with a sustained verbal discourse about dance. This pairing creates a rich, embodied metaphor that bridges the gap between text and performance and extends to the larger themes of masquerade and mistaken identity that permeate the play. After this brief textual analysis, this essay then looks particularly at the role of dance in Joss Whedon's 2012 film adaptation to argue that Whedon's production makes a curious connection to popular early modern rope dances and acrobatic performances. This production offers a renewed context for the diversity of early modern dance.
A peer-reviewed long-form encyclopedia entry on the social history of Arundel House, London
Journal of Medieval and Early Modern Studies, 2013
This Rough Magic, Dec 2013
Medieval and Renaissance Drama in England, 2022
A book review of Allison Machlis Meyer's Telltale Women
Theatre Journal, 2019
A review of A Warning for Fair Women, directed by Brent Griffin at the Resurgens Theatre Company
Shakespeare Bulletin, 2013
Kalamazoo College English Senior Individualized …, Jan 1, 2008
Are we singular or plural, dearest? Reframing the Literary Complexities of Nathaniel Hawthorne&... more Are we singular or plural, dearest? Reframing the Literary Complexities of Nathaniel Hawthorne's and Sophia Peabody's Epistolary Courtship. DSpace/Manakin Repository. ...
Journal of Assessment and Institutional Effectiveness, 2019
This article empirically examines three assumptions that emerged from the literature on using cla... more This article empirically examines three assumptions that emerged from the literature on using classroom assignments for institutional assessment. The potential misalignment between the source of evidence (classroom assignments) and the assessment method (institutional rubric) is a serious threat to validity when using course-embedded assessment models. Findings revealed that approaches for faculty development in assignment design were drawing from approaches designed for using assignments in the classroom without an examination of implications for institutional assessment. Findings can inform the practice of individual faculty, approaches used for professional development in assignment design, and the movement for accountability focused on using course-embedded assignments.
Thesis advisor: Mary T. CraneThesis advisor: Andrew SoferSpatial Dramaturgy and Domestic Control ... more Thesis advisor: Mary T. CraneThesis advisor: Andrew SoferSpatial Dramaturgy and Domestic Control in Early Modern Drama explores the social components of early modern domestic architecture and the spatial practices that helped to dramatize them. Each chapter examines a particular domestic feature—doors, windows, galleries, studies—and considers its role in a variety of early modern plays. Methodologically, I bridge the gaps between literary study, dramaturgy, and history by analyzing the palimpsest of the physical stage (e.g., the upper playing balcony) and the fictional spaces produced in performance (e.g., Juliet’s window). My work takes its influence from literary scholars, primarily Lena Cowen Orlin and Patricia Fumerton; theater historians, primarily Tim Fitzpatrick, Alan Dessen, Leslie Thompson, and Mariko Ichikawa; and architectural historians, primarily Mark Girouard and Alice T. Friedman. Bringing together these fields of study allows me to reconsider the theory of the unlocalized early modern stage that has largely dominated scholarly and theatrical approaches to early modern theater for half a century. In my first chapter, “Doors and Keys: Enclosure and Spatial Control,” I argue that doors and keys operate in productive tension with the spatial flexibility of the “unlocalized” stage, troubling the fantasy of domestic spatial control in plays such as A Woman Killed With Kindness and The Comedy of Errors. In my second chapter, “Windows: Locus, Platea, and Contested Authority,” I explore the way window scenes in plays such as Romeo and Juliet and Women Beware Women provide a liminal space between house and street where the tiring house façade and the apron of the stage could intersect. My third chapter, “Galleries: Feigned Soliloquy and Interiority,” shows how playwrights used gallery settings to stage feigned soliloquy, exposing the limits of private speech and the struggle to access another person’s most inner thoughts. My final chapter, “Studies: Hauntings and Impossible Privacy,” looks at plays that feature ghosts or devils in studies, such as Doctor Faustus and Friar Bacon and Friar Bungay, to argues that these supernatural elements reflect the ease with which playwrights could violate presumably protected spaces. In turn, these hauntings explore the danger presented in early modern humanism: that the most haunted place of all is one’s own mind.Thesis (PhD) — Boston College, 2015.Submitted to: Boston College. Graduate School of Arts and Sciences.Discipline: English
This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large com... more This essay considers the role of dance in Much Ado About Nothing, a play that pairs two large company dances with a sustained verbal discourse about dance. This pairing creates a rich, embodied metaphor that bridges the gap between text and performance and extends to the larger themes of masquerade and mistaken identity that permeate the play. After this brief textual analysis, this essay then looks particularly at the role of dance in Joss Whedon's 2012 film adaptation to argue that Whedon's production makes a curious connection to popular early modern rope dances and acrobatic performances. This production offers a renewed context for the diversity of early modern dance.
Early Modern Women: An Interdisciplinary Journal, 2017
Since Johan Huizinga and Roger Caillois pioneered the academic study of games, the study of early... more Since Johan Huizinga and Roger Caillois pioneered the academic study of games, the study of early modern games has focused largely on festive folk entertainments or public spectacles. However, as Gina Bloom argues, some scholars treat the relationship between games and play too generally, while others over-emphasize sport, ignoring the contributions of parlor games like cards or chess. Only recently have parlor games — that is, games “suitable for playing indoors” — received due attention. When scholars discuss parlor games, they often align them with gambling, associated with an illicit, masculine context of vice. Indeed, Queen Elizabeth’s
Playwriting Playgoers in Shakespeare's Theater, 2017
Choice Reviews Online, 2016
Journal of Medieval and Early Modern Studies, 2013
This essay responds to queer approaches to Edward II and instead explores the way Marlowe tests t... more This essay responds to queer approaches to Edward II and instead explores the way Marlowe tests the limits of imaginative space by presenting challenging and untenable spaces with which his audience must engage. For example, when Edward II is asked to imagine Killingworth Castle as his court rather than his prison, the audience must reimagine a space they have yet to confront. This effect is magnified by the fact that the historical Kenilworth Castle is ghosted in mimetic or verbal representations of the fictional Killingworth. This essay shows that Marlowe’s spaces are not “empty,” but rather too full, a “problem” that engages the individual subjectivity of active audience participation. Significantly, this frustrates the development of English spatial identity that relies on the collective rather than the individual. In this way, Marlowe’s invocation of spatial imagination intervenes in and provides an alternative to English nation-making, while it fractures the collective effects...
Palgrave Macmillan, 2024
This edited collection considers the task of teaching Shakespeare in general education college co... more This edited collection considers the task of teaching Shakespeare in general education college courses, a task which is often considered obligatory, perfunctory, and ancillary to a professor’s primary goals of research and upper-level teaching. The contributors apply a variety of pedagogical strategies for teaching general education students who are often freshmen or sophomores, non-majors, and/or non-traditional students. Offering instructors practical classroom approaches to Shakespeare’s language, performance, and critical theory, the essays in this collection explicitly address the unique pedagogical situations of today’s general education college classroom.