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What Rosalind Likes Paul J. Hecht full chapter instant download
What Rosalind Likes Paul J. Hecht full chapter instant download
What Rosalind Likes Paul J. Hecht full chapter instant download
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What Rosalind Likes
What Rosalind Likes
PAU L J. H E C H T
Great Clarendon Street, Oxford, OX2 6DP,
United Kingdom
Impression: 1
ISBN 978–0–19–285720–0
DOI: 10.1093/oso/9780192857200.001.0001
Links to third party websites are provided by Oxford in good faith and for
information only. Oxford disclaims any responsibility for the materials contained in
any third party website referenced in this work.
For Heather
Acknowledgements
This book has been a long time coming and I owe debts of gratitude
to many people, as well as several institutions; I am pleased to
acknowledge a number of them here.
I have been lucky to have had wonderful teachers who
encouraged my interests and obsessions. These include those who
introduced me to poetry and literary possibilities: Ransom Griffin,
David Sofield, William Pritchard, April Bernard, Caryl Phillips, Leslie
Katz, Andrew Parker, and Karen Sanchez-Eppler. My studies
continued with A. R. Ammons and Robert Morgan, and with
Jonathan Culler, Reeve Parker, Roger Gilbert, Carol Kaske, and
especially with Scott McMillin and Debra Fried. My dissertation
advisor and lifelong mentor, Gordon Teskey, did his best to feed my
desire to consume all of world literary history and theory; I am
grateful for his patience and encouragement through the years. My
knowledge of Roman poetry, such as it is, as well as shining
examples to me of scholarship and devotion to teaching, I owe to
the much-mourned Reginald Foster, and to Danuta Shanzer.
I am also grateful for generous and brilliant colleagues, many of
whom have also been mentors in ways large and small. At
Kalamazoo I met a supportive community of Spenserians and
Sidneyans, including Anne Lake Prescott, Melissa E. Sanchez, Jeff
Dolven, David Wilson-Okamura, Andrew Escobedo, Beth Quitslund,
Ilona Bell, and Mary Ellen Lamb. At the Shakespeare Association I
gained support from Timothy Billings, Kimberly Anne Coles, Stephen
Guy-Bray, Richard Rambuss, Colleen Ruth Rosenfeld, Peter Holland,
Russ McDonald, and Marion Wynne-Davies. My brief time in North
Carolina gave me rich friendships with Louise Gossett, Allen
Mandelbaum, Charles Ross, and Jeff Holdridge. I have benefitted
enormously from the welcoming and encouraging community of the
Chicago Area Renaissance Faculty Seminar, to whom I presented an
early version of my work on Rosalind. I am particularly grateful to
Richard Strier’s benign leadership of this seminar, and the feedback
from its rich and varied membership, including Bradin Cormack,
William West, Jeff Masten, Suzanne Gossett, Michael Shapiro, Clark
Gilpen, and Andrew Cutrofello. David Bevington was a frequent
presence at the seminar, and the loss of his endless hospitality and
energy I feel especially keenly. I am likewise grateful for the larger
Chicagoland scholarly community, including Paula McQuade, Caterina
Mongiat-Farina, Lara Crowley, Timothy Crowley, Timothy Harrison,
David Simon, Megan Heffernan, and James Knapp.
A number of institutions have supported this work, including the
Newberry Library, which gave me opportunities to try out ideas on
Chicago area teachers, and also the opportunity to develop a digital
exhibition. Much of my research depended on the University of
Chicago’s Regenstein Library with its splendid collections and expert
staff. I am grateful to the Huntington Library for help in accessing
the papers of Zoë Akins during the pandemic. Purdue University
Northwest gave me supportive colleagues and supervisors, including
particularly Michael Lynn, Colette Morrow, Angie Prinz, Liz Rodriguez,
and Elaine Carey; I was also awarded a sabbatical leave that was
crucial to the early drafting and development of the project, as well
as consistent support and confidence in my research and writing in
the years that followed. Fairleigh Dickinson University Press, and
Rowman and Littlefield, gave me and my colleague J. B. Lethbridge
a marvelous opportunity to press the limits of an essay collection in
which a number of ideas for this project were in embryo. A
conversation almost a decade ago with Jacqueline Norton of Oxford
University Press gave me substantial encouragement through its
long development. Since completing the manuscript, I have
benefitted immensely from the expert guidance of Eleanor Collins
and Karen Raith as well as Aimee Wright. I am also grateful for the
many improvements to the text suggested by my project manager
Hariharan Siva and copyeditor Rowena Anketell. I am especially
grateful for the insightful and generous reports from my two readers
for Oxford, one anonymous, and the other from Melissa E. Sanchez;
the book is much improved through their detailed feedback and rich
suggestions.
The book has also benefitted from many scholars whom I have
never had the opportunity to meet but who, more and more, I
realize have paved the way for my growth as a reader and writer.
They include scholars in feminist and queer studies, who created
those “studies” from whole cloth in the midst of skepticism,
resentment, and outright resistance. Indeed, my growth as a scholar
seems as much a gradual deepening and widening of my sense of
those whose sacrifices and small victories have made this work
possible.
I want to thank the students who participated in ten years of
productions of early modern drama, especially Holly Trott, Aram
Arden, Jeremy Harris, Eileen Long, Lillianna Pollnow, and Alexis
Ulrich. My colleagues Jesse Cohn, Bethany Lee, Sara Gerend, and
Jason and Lilliana Curtis, made innumerable contributions as well. At
an earlier stage for me were formative experiences with
Shakespeare and Company, and Jonathan Epstein’s marvelous
sonnet workshops, as well as unforgettable experiences with Jeremy
Lopez, Genevieve Love, and the casts of various non-Shakespearean
drama projects in the early 2000s. I am also deeply grateful to Gerry
Peters and the Canterbury Theatre as well as the Chicago arts
community that supported our shows in Indiana with their
experience, creativity, and generosity. In particular, I thank Rick
Gilbert, Ariane Dolan, Rob Clearfield, Ada Palmer, and Lauren
Schiller.
I have been lucky in friendship as well, with many who have
provided mentorship too at various stages of this project and my
career. Jake Adam York, my lost friend, is among those I most would
like to give a copy of this book to provoke and bemuse him. Jeremy
Lopez read a very early draft of a chapter and gave detailed advice
and encouragement at several stages of its evolution. Matthew
Harrison joined me in doing battle with the forces that prevent books
from being written. Many conversations with Rachel Hile and Jeff
Turco also kept me moving forward at various stages. And then
there are my friends and extended family, including Donna Ng,
Amber and Marlon Kuzmick, Paul and Cordelia Gover and Jasmine
and my goddaughter Eleanor, Jonas Kellner, Tatyana Mamut, Joseph
Braude, Will Hacker, Dina Bishara, Ron Corthell, Laura Bartolo, Susan
Bussey, Emanuela Binello, and my sisters Suzanne Juhasz, Kathy
Lawrence, my niece Alexandra Juhasz, my New Mexico family,
Suzanne and David Fielding, Erin White and Lily Brooks. I know how
much pleasure it would give my parents, Philip and Alcee, to see this
work now entering the world, and I also have the keen pleasure of
knowing that it would not much surprise them, such was their love
and confidence. But my greatest debt I save for last, for my great
love and partner, my wife Heather, who created with me the space
for this book to be realized, and welcomed into our lives those who
have given us endless love and support: Winnie, Franny, Agatha,
Jeannie, Dasha, and Frankie. I dedicate this book to her.
Chapter 2, on Spenser, includes work that was originally published
in two articles:
“Spenser Out of His Stanza.” This article appeared in Style 39 (Fall 2005):
316–35. Copyright © 2005 The Pennsylvania State University Press. This
article is used by permission of The Pennsylvania State University Press.
“Letters for the Dogs: Chasing Spenserian Alliteration.” This article was
published in Spenser Studies 25 (2010): 263–85. Copyright © The University
of Chicago, https://doi.org/10.7756/spst.025.011.263-285.
Other previously published essays include starting points, and ideas
and observations that have been expanded and developed
throughout the book. These include the following:
“Receiving and Rendering: Notes on the Edited Shakespeare Page.” This
article was published in Textual Cultures 9, no. 1 (2014): 142–59.
https://doi.org/10.14434/tc.v9i1.20118.
“Rosalind and Wroth: Tyranny and Domination.” This essay first appeared in
Mary Wroth and Shakespeare, edited by Marion Wynne-Davies and Paul
Salzman, 115–24. New York: Routledge, 2014.
“Distortion, Aggression, and Sex in Mary Wroth’s Sonnets.” This article first
appeared in SEL Studies in English Literature 1500-1900 53, no. 1 (2013): 91–
115.
A Note on Texts
Bibliography
Index
1
Introduction
What Rosalind Likes