index | richard burt | publications | syllabi | reviews | history & film | loser theory
| censorship | aBURraTions of theory || psycho-cinem-analysis

• Richard Burt, Professor of Loser Theory, has delivered invited papers at sessions of the Modern Language Association (1989, 1991, 2003, 2008, 2012, 2016), the VII, VIII, IX, and X World Shakespeare Congresses in Valencia, Spain in 2002, Brisbane, Australia in 2006, Prague, in the Czech Republic in July 17 - 22, 2011, and in Stratford-Upon-Avon and London, July 31-August 5, 2016. Burt spoke on "What the Dead Said: Posthumography and the Public Sphere" at the UCI Forum for the Academy and the Public in January 22-24, 2016 at the invitation of Amy Wilentz and on "MacDeth" at the HUDSON STRODE RENAISSANCE STUDIES SYMPOSIUM entitled "Why Isn’t Shakespeare Dead?" at the University of Alabama, February 27-28, 2016. Burt delivered a plenary paper on Orson Welles' Filming Othello at Shakespeare: the Next 400 years" in Kronborg Castle, Elsisnore, Denmark, April 22-24, 2016. Burt has delivered plenary lectures and invited papers at the Japan Shakespeare Society (October 10-11, 2015); George Washington University (2014); "Robinson Crusoe in Asia," Tsukuba University, Tokyo, September 19-21, 2014; the University of the Philippines (2013); Wuhan University, China (2013); Tsukuba University, Tokyo (2012); Donghai University, Shanghai, China (2011); Central Taiwan University (2009) and National Taiwan University (2009 and 2014); the Shakespeare Association of America (2003 and 2008); the British Museum (2008); the ACLA (2008); and the Getty Research Center (1995). Burt has also delivered invited papers at numerous colleges and universities, including Harvard University; Tufts University; New York University; Amherst College (Department of Law, Jurisprudence, and Social Thought); the University of Michigan; the Free University in Berlin; the University of Jena; the University of Tübingen; the University of Morocco; the University of Rouen; the University of Kansas; the University of Reading; the University of Durham; Birbeck University, London; the University of Warwick; U.C. Irvine; the University of Lodz, Poland; the University of Alabama's Hudson Strode Lecture Series (2004; 2005; eventually, February 2016); Columbia University; and Arizona State University.
• Richard Burt is a founding member of the Asian Shakespeare Society.

Publications

Books:

• Authored:

• Medieval and Early Modern Film and Media. (New York and London:  Palgrave Macmillan, 2008), xiv; 279 pp. Paperback edition, 2010.
• Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture.   Revised, paperback edition with a new preface. (New York: St. Martin's Press / London: Macmillan Press, 1999), xxvii. 318 pp.
• Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture. (New York: St. Martin's Press / London: Macmillan Press, 1998), xvii. 318 pp. 
• Licensed by Authority:   Ben Jonson and the Discourses of Censorship. (Ithaca and London: Cornell UP, 1993), xx, 227 pp.

• Co-Authored:

  • What's the Worst Thing You Can Do to Shakespeare? Julian Yates, co-author. (New York and London:  Palgrave Macmillan, 2013)

• Forthcoming Books:

• "Filming Othello: Orson Welles’s Cinemal d’archive and the Post -Faux-pas-calypse of Philm. Punctum Press, Dead Letters Office series

Forthcoming Articles:

• "Shakespeare's Unread Letters," in Borrowers and Lenders 2017.
• "* * * * * * * * Or, DIE-JESTING stURNe’s BURIALLs: Publication, Plagiarism, Pseudonymity, Pseudography, Cenography, Palimpsestuosity, Posthumography, and the Propriety or Pathos of Posterity,”​ in Shakespeare’s Hamlet in an Era of Textual Exhaustion, ed. Allison Kellar Lenhardt and Sonya Loftis. (Routledge, 2017)

Possibly (Perhaps Posthumously) Forthcoming Probably Under One of These Titles (and if if one of them makes you smile somewhat, well not altogther ruefully, but . . . if something like a smile crosses your face as you read one, please email me to let me know at [email protected] I am taking a poll.)

Suspended Sentences: Posthumous Publication in Sterne, Shakespeare, and Shelley 

I Lied: Posthumous Publication and Pseudonymity in Sterne, Shakespeare, and Shelley 

Now That I've Left You: Posthumous Publication in Sterne, Shakespeare, and Shelley

Only A Matter of Time: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Not Even Death Can Save You: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Former Life: Posthumous Publication in Sterne, Shakespeare, and Shelley 

No Man's Land: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Take It or Leave It: Posthumous Publication and Pseudography in Sterne, Shakespeare, and Shelley 

At Death's Door: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Death Benefits: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Sending: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Better Late than Never? Posthumous Publication in Sterne, Shakespeare, and Shelley  

For Better or Worse: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Too Early and Too Late: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Taking Leave: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Given Time: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Data Do Not Exist: Posthumous Publication and Specters of Textuality in Sterne, Shakespeare, and Shelley  

To Be Delivered: Posthumous Publication in Sterne, Shakespeare, and Shelley  

From Dawn til Dusk: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Twilght of the Text: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Reading at Dusk: Posthumous Publication in Sterne, Shakespeare, and Shelley  

It Follows: Posthumous Publication in Sterne, Shakespeare, and Shelley  

The Fate of Words: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Worlds Apart: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Faulty Words: Posthumous Publication and Pseudography in Sterne, Shakespeare, and Shelley  

Yet to Be Read: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Not Dead Yet? Posthumous Publication in Sterne, Shakespeare, and Shelley  

Shipping Soon: Posthumous Publication in Sterne, Shakespeare, and Shelley  

It's Not Over: Posthumous Publication in Sterne, Shakespeare, and Shelley  

In the Mail: Posthumous Publication in Sterne, Shakespeare, and Shelley  

In the Event of Your Death: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Crossing Over: Posthumous Publication and Specters of Authorship in Sterne, Shakespeare, and Shelley 

Fade to Black: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Written Off: Posthumous Publication in Sterne, Shakespeare, and Shelley

The Late: Posthumous Publication in Sterne, Shakespeare, and Shelley 

To Be Expected: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Your Final Destination: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Later: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Too Late? Posthumous Publication in Sterne, Shakespeare, and Shelley 

It's Too Late: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Faute de lecture: Posthumous Publication in Sterne, Shakespeare, and Shelley

Open Books: Posthumous Publication in Sterne, Shakespeare, and Shelley

Mistaken Words: Posthumous Publication in Sterne, Shakespeare, and Shelley

The Ghost of a Chance: Posthumous Publication in Sterne, Shakespeare, and Shelley

Gone: Posthumous Publication in Sterne, Shakespeare, and Shelley

All Gone: Posthumous Publication in Sterne, Shakespeare, and Shelley

Making an End of It: Posthumous Publication in Sterne, Shakespeare, and Shelley

Where You Left It: Posthumous Publication in Sterne, Shakespeare, and Shelley

Where I Left It: Posthumous Publication in Sterne, Shakespeare, and Shelley

Where I Left Off: Posthumous Publication in Sterne, Shakespeare, and Shelley

Where You Left Off: Posthumous Publication in Sterne, Shakespeare, and Shelley

Sooner or Later: Posthumous Publication in Sterne, Shakespeare, and Shelley

On Thin Ice: Posthumous Publication in Sterne, Shakespeare, and Shelley

Wandering Spirits: Posthumous Faux-Publication in Sterne, Shakespeare, and Shelley 

Wandering Spirits: Posthumous Faux-Pas-blication in Sterne, Shakespeare, and Shelley 

Wandering Spirits: Posthumous Publication in Sterne, Shakespeare, and Shelley   

Wandering Spirits: Postfauxmous Publication in Sterne, Shakespeare, and Shelley 

Enveloping Words: Posthumous Publication in Sterne, Shakespeare, and Shelley 

Follow Me: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Life Sentences: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Remains to Be Seen:  Posthumous Publication in Sterne, Shakespeare, and Shelley  

Last Words: Posthumous Publication in Sterne, Shakespeare, and Shelley

Phantom Editors: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Missing Words: Posthumous Publication [and Fraudulent Authorship] in Sterne, Shakespeare, and Shelley

Imperfect Words: Posthumous Publication [and Fraudulent Authorship] in Sterne, Shakespeare, and Shelley

Forthcoming? The [Failed] Promise of Posthumous Publication in Sterne, Shakespeare, and Shelley

Words Fail: Posthumous Publication in Sterne, Shakespeare, and Shelley

Dead Ends: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Dead Calm: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Over My Dead Body: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Wandering Words: Posthumous Publication in Sterne, Shakespeare, and Shelley  

More than Ever: Posthumous Publication in Sterne, Shakespeare, and Shelley  

In the Event of My Death: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Legally Binding?: Posthumous Publication in Sterne, Shakespeare, and Shelley  

To the Last Breath: Posthumous Publication and Pseudonimity in Sterne, Shakespeare, and Shelley

Breathing Room: Posthumous Publication and Pseudonimity in Sterne, Shakespeare, and Shelley

Departings: Posthumous Publication and Provenance in Sterne, Shakespeare, and Shelley  

Now Departing: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Departed: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Departures: Posthumous Publication in Sterne, Shakespeare, and Shelley  

I Left: Posthumous Publication in Sterne, Shakespeare, and Shelley  

I Leave It to You: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Left-Over Literature: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Gone Missing: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Reported Missing: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Missing: Posthumous Publication in Sterne, Shakespeare, and Shelley

Last Judgments: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Parts Unknown: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Dead Ends and Other Faux Pas: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Last Words and Other Dead Ends: Posthumous Publication in Sterne, Shakespeare, and Shelley

Reading Past the End: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Reading Past the Last: Posthumous Publication in Sterne, Shakespeare, and Shelley  

Too Late: Posthumous Publication in Sterne, Shakespeare, and Shelley

 Lost Words: Posthumous Publication in Sterne, Shakespeare, and Shelley

 Last Words: Specters of Publication in Sterne, Shakespeare, and Shelley

 Lost Words: Specters of Publication in Sterne, Shakespeare, and Shelley

 Last Words: Spectral Publication in Sterne, Shakespeare, and Shelley

Missed Readings: Posthumous Publication and Other Faux Pas in Sterne, Shakespeare, and Shelley  

Read in Peace: Posthumous Publication and Ghost-Editing in Sterne, Shakespeare, and Shelley 

Reading to the End: Posthumous Publication and other Faux Pas in Sterne, Shakespeare, and Shelley  

Not Reading to the End: Posthumous Publication and other Faux Pas in Sterne, Shakespeare, and Shelley  

The Dead End of Reading: Posthumous Publication and other Faux Pas in Sterne, Shakespeare, and Shelley  

Reading to the Dead End: Posthumous Publication and other Faux Pas in Sterne, Shakespeare, and Shelley  

 Last Words, Lost Words: Posthumous Publication in Sterne, Shakespeare, and Shelley

 

• Return to Cindre
  Vol 1. Derrida's Pyro-Technics and the Question of the Posthumous
• Return to Cindre
  Vol. 2. Writing Behind Enemy Lines: Derrida's Friendly Fire

Yours, Posthumously Quintet:

• Better Dead then Read
• I Leave It to You
• Perish the Thought
• Editorial Excrecences
• Eco-graph-ologies of Death

Edited and Co-Edited Books:

Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture. 2 vol. Ed. Richard Burt (Westport, CT: Greenwood Press, 2006), viii; 862 pp.

• Shakespeare, the Movie II:   Popularizing the Plays on Film, TV, Video and DVD. Ed. Richard Burt and Lynda Boose (New York and London:   Routledge Press, 2003), xi, 340 pp.
• Shakespeare After Mass Media. Ed. Richard Burt (New York and London: Palgrave, 2002).
• The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere. Ed. Richard Burt (Minneapolis, MN:  U of Minnesota P, 1994), xxx, 386 pp.   
• Shakespeare, the Movie:   Popularizing the Plays on Film, TV, and Video. Ed. Lynda Boose and Richard Burt (New York and London:   Routledge Press, 1997), ix, 280 pp. Korean translation, 2001.
• Enclosure Acts:   Sexuality, Property, and Culture in Early Modern England. Ed. Richard Burt and John Michael Archer. (Ithaca, NY: Cornell UP, 1994), x, 340 pp.

• "Transcription of a Lost Stand-Up Monologue," Los Angeles Review of Books, December 23, 2015.

• Online Monograph:

• "Putting Your Papers in Order: The Matter of Kierkegaard's Writing Desk, Goethe's Files, and Derrida's Typewriter, or the Philology and Philosophy of Publishing After Death" (pdf; 38,000 words,) Rhizomes 20 (Summer 2010).

• Chapters in Books:

• "Writing the Endings of Cinema: Evocations of Authorial Absence and the Saving of Film Authorship in the Cinematic Paratext," in The Writer on Film: Screening Literary Authorship.  Ed. Judith Buchanan. (Palgrave Macmillan, 2013), pp. 178-92. 6,000 words.
• "Duly Noted or Off the Record? Sovereignty and the Secrecy of the Law in Cinema" [pdf] In Secrets of the Law. Ed. Martha Umphrey, Lawrence Douglas, and Austin Sarat (Amherst Series in Law, Jurisprudence, and Social Thought, Stanford UP, 2012), pp. 211-56. 20,266 words.
• "Hamlet 's Hauntographology: Film Philology, Textual Faux-rensics, and Facsimiles" [pdf of uncorrected proofs] In A Companion to Literature, Film, and Adaptation. Ed. Deborah Cartmell (Blackwell, 2012), 216-240. 12,500 words; a shorter version appeared under the same title in the Chinese journal Foreign Literature Studies, Vol. 34 No. 1 February 2012 pp. 19-31.
• "Shakespeare Reverbatin': Spectral Media, Unread -ability, and the Weak Sovereignty of the In/Definitive Edition." In Shakespeare and Culture. Ed. Beatrice Lei. (National Taiwan UP, 2011), pp. 117-45. 7,294 words.
• "Backing Up the Virtual Bayeux Tapestries: Facsimiles as Attachment Disorders, or Turning Over the Other Side of the Underneath" (pdf of uncorrected proofs). In New Research on the Bayeux Tapestry: The Proceedings of a Conference at the British Museu. Ed. M. J. Lewis, G. R. Owen-Crocker, and D. Terkl. (London: Oxbow, 2011), pp. 27-36. For the errata sheet, click here.
• "All That Remains of the Shakespeare Play in Indian Film." In Shakespeare in Asia: Contemporary Performance. Ed. Yong Li Lan and Dennis Kennedy (London: Cambridge UP, 2010), pp. 73-108.
• "Jacques Rivette and Film Adaptation as Dérive-ation: Pericles in Paris Belongs to Us and The Revenger's Tragedy in Noirot," in The English Renaissance in Popular Culture: An Age for All Time. Ed. Gregory Semenza (New York and London:  Palgrave Macmillan, 2010), pp. 167-86.
• "Being your slave": Not Citing Sonnets 57 and 58 and the TraUmisSion of Race in the United States." In Shakespeare's Sonnets Global. Ed. Manfred Pfister and Jurgen Gutsch (Dozwill TG Switzerland: Edition Signature, 2009), pp. 181-92.
• "Epilogue: ObaMacbeth: National Transition as National Traumissino," In Weyward Macbeth: Intersections of Race and Performance. Ed. Scott L. Newstock and Ayanna Thompson, (New York and London: Palgrave Macmillan, 2009), pp. 341-46.
• "Mobilizing Foreign Shakespeares in Media." In Shakespeare in Hollywood, Asia, and Cyberspace. Ed. Alexander C. Y. Huang and Charles Ross (West Lafayette: Purdue UP, 2009), pp. 231-38.
• "Border Skirmishes: Weaving Around the Bayeux Tapestry and Cinema in Robin Hood, Prince of Thieves and El Cid." In Medieval Film. Ed. Anke Bernau and Bettina Bildhauer (Manchester: Manchester UP, 2009), pp. 158-18.
• "My Favorite Shakespeare Films." In The Researcher's Guide to Shakespeare on Film, Radio and Television. Ed. Olwen Terris and Luke Wilson. British Universities Film & Video Council (BUFVC), 2009.
• "Thomas Middleton, Uncut: Castration, Censorship, and the Regulation of Middleton's Dramatic Discourse." In Thomas Middleton and Early Modern Textual Culture: A Companion to the Collected Works , ed. Gary Taylor (Oxford: Oxford UP, 2007), pp. 182-94.
• "Shakespeare 'Tween Media and Markets:  Literacy,  Losers, and Literary Culture from Little Women to Lizzie  McQuire." In Shakespeare and Childhood, ed. Susanne Greenhalgh and Robert Shaughnessy, (Cambridge: Cambridge UP, 2007), pp. 218-32.
• "Civic ShakesPR: Middlebrow Multiculturalism, White Television, and the Color Bind." In Colorblind Shakespeare: New Perspectives on Race and Performance. Ed. Ayanna Thompson, (London and New York: Routledge, 2006), pp. 157-185.
• "Backstage Pass(ing): Stage Beauty, Othello, and the Makeup of Race." In Screening Shakespeare in the Twenty-First Century. Ed. Mark Thornton Burnett and Ramona Wray (Edinburgh University Press / Columbia UP, 2006), pp. .
• "SShockspeare: (Nazi) Shakespeare Goes Heil-lywood," in A Companion to Shakespeare in Performance. Ed. Barbara Hodgdon and W.B. Worthen (Oxford: Blackwell Press, 2005), 437-56.
• "What the Puck?:  Screening the (Ob)Scene in Bardcore Midsummer Night's  Dreams and the Transmediatic Technologies of Tactility."  In Shakespeare on Screen: A Midsummer Night's Dream. Ed. Sarah Hatchuel and Nathalie Vienne-Gurin.  Rouen: Publications de l'Université de Rouen, 2004, pp. 57-86.
• "Shakespeare 'Glo-cali-zation,' Race, and the Small Screens of Post-Popular Culture." In Shakespeare the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD. Ed. Richard Burt and Lynda E. Boose, (New York and London: Routledge Press, 2003), pp. 14-32.
• "Shakespeare in Asian and Post-Disaporic Cinemas: Spinoffs and Citations of the Plays from Bollywood to Hollywood." In Shakespeare the Movie, II : Popularizing the Plays on Film, TV, Video, and DVD. Ed. Richard Burt and Lynda E. Boose (New York and London: Routledge Press, 2003), pp. 265-302.
• "Doing the Queen: Gender, Sexuality, and the Censorship of Elizabeth I's Royal Image from Renaissance Portraiture to Twentieth-Century Mass Media." In Literature and Censorship in Renaissance England. Ed. Andrew Hadfield (London: Macmillan, 2001), pp. 207-228, and The Mysteries of Elizabeth I. Ed. Kathleen Swaim and Kirby Farrell (Amherst: U of Massachusetts P, 2003), pp. 267-77.
• "Shakespeare and the Holocaust: Julie Taymor's Titus is Beautiful, or Shakesploi Meets (the) Camp," The Colby Quarterly, Spring 37 (1), 2001, 78-106, special issue on Shakespeare and Film. Ed. Laurie Osborne; and revised and expanded in Shakespeare After Mass Media. Ed. Richard Burt (New York: Palgrave, 2002), pp. 295-329.
• "T(e)en Things I Hate About Girlene Shakesploitation Flicks in the Late 1990s, or, Not So Fast Times at Shakespeare High," in Screening the Bard: Shakespearean Spectacle, Critical Theory, Film Practice. Ed. Lisa Starks and Courtney Lehmann (New Jersey: American University Presses, 2001), pp. 205-232.
• "No Holes Bard: Homonormativity and the Gay and Lesbian Romance with Romeo and Juliet," Shakespeare Without Class: Misappropriations of Cultural Capital. Ed. Don Hedrick and Bryan Reynolds (New York: Palgrave, 2000), pp. 153-186.
• "Shakespeare in Love and the End of the Shakespearean: Academic and Mass Culture Constructions of Literary Authorship," Shakespeare, Film, Fin de Siecle. Ed. Mark Burnett and Ramona Wray (London: Macmillan / New York: St. Martin's Press, 2000), pp. 203-31.
• "(Un)Censoring in Detail: The Fetish of Censorship in the Early Modern Past and Postmodern Present," Censorship and Silencing: Practices of Cultural Regulation. Ed. Robert Post (Santa Monica, CA; Getty Research Institute Publications, 1998), 17-41. Translated into Czech by Michael Wögerbauer, in Dangerous Literature? (Nebezpečná literatura), Brno, 2012.
• "The Love That Dare Not Speak Shakespeare's Name: New Shakesqueer Cinema," in Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video. Ed. Lynda Boose and Richard Burt (New York and London: Routledge Press, 1997), pp. 240-68.
• "'Degenerate "Art"': Public Aesthetics and the Simulation of Censorship in Postliberal Los Angeles and Berlin," in The Administration of Aesthetics: Censorship, Political Criticism and the Public Sphere. Ed. Richard Burt (Minneapolis: U of Minnesota P, 1994), pp. 216-59.
• "Baroque Down: the Trauma of Censorship in Queer Film Revisions of Marlowe and Shakespeare," in Shakespeare In the New Europe. Ed. Michael Hattaway et al (Sheffield: Sheffield Academic Press, 1993), pp. 328-50.
• "'A Dangerous Rome': Shakespeare's Julius Caesar and the Discursive Determinism of Cultural Politics," in Contending Kingdoms: Historical, Psychological, and Feminist Approaches to the Literature of Sixteenth-Century England and France, ed. Marie-Rose Logan and Peter L. Rudnytsky (Detroit: Wayne State UP, 1990), pp. 109-27.

Articles in Journals:

• What is Called Thinking with ShaXXXspeares and Walter Benjamin? Managing De/Kon/struction, Toying with Letters in The Lego Movie, in Journal for Early Modern Cultural Studies special issue on "Cute Shakespeare" ed. Julia Lupton and Tommy Anderson, Volume 16, 2016, 94-115. (Proofs are here.)
• "Shelf-Life: Biopolitics, the New Media Archive, and 'Paperless' Persons," in New Formations, special issue on "Materialities of Text: Between the Codex and the Net," Eds. Nicholas Thorburn and Says, in New Formations special issue on "Materialities of Text: Between the Codex and the Net," Eds. Nicholas Thorburn and Says May. No. 77, May, 2013. 10,534 words.
• "Shakespeare's Bare (Ruined) Lives ," in Shakespeare After 9/11: How a Social Trauma Reshapes Interpretation a special issue of Shakespeare Yearbook, Vol. 20 Ed. Matthew Biberman, Julia Reinhard Lupton (Edwin Mellen Press, 2011), 213-26. 2,500 words.
• "Digital Film, Asianization, and the Transational Film Remake: Alluding to Shakespeare in L'Appartement, The King Is Alive, Wicker Park A Time to Love, and University of Laughs ," in Shakespeare Yearbook 17, special issue on "Shakespeare and Asia." Ed. YANG Lingui, (Edwin Mellen Press, 2010), 45-78.
• "Becoming Literary, Becoming Historical: The Scale of Female Authorship in Becoming Jane." Adaptation. 1:1. (2008), 58-62.
• "Cutting and Running from the (Medieval) Middle East : The Uncanny Mises-hors-scene of Kingdom of Heaven's Double DVDs," Babel, special issue, "Le Moyen Âge  mise-en-scène: Perspectives contemporaines." Ed. Sandra Gorgievski and Xavier Leroux, N° 15, 1er semestre (2007), 247-298. For PDF, click here. For issue contents, click here.
• "Getting Schmedieval: Of Manuscript and Film Parodies, Prologues, and Paratexts," special issue of Exemplaria on "Movie Medievalism," 19.2. (Summer 2007), 217-42, co-edited by Richard Burt.
• "Re-embroidering the Bayeux Tapestry in Film and Media: the Flip Side of History in Opening and End Title Sequences," special issue of Exemplaria on "Movie Medievalism," 19.2. (Summer 2007), 327-50, co-edited by Richard Burt.
• "Stupid Shit: (In)security in the Age of Twilightenment," ArtUS (formerly Artext) no. 11, February, 2006, 29-37 (lead article). For scans in pdf, click here.
• "Slammin' Shakespeare In Acc(id)ents Yet Unknown: Liveness, Cinem(edi)a, and Racial Dis-integration, " Shakespeare Quarterly , 53 (2) Summer (2002), 201-26, special issue on Shakespeare on film. Ed. Barbara Hodgdon.
• "Getting Off the Subject: Iconoclasm, Queer Sexuality, and the Celebrity Intellectual," Performing Arts Journal 50/51 (May / September 1995): 137-50 (special issue devoted to the Arts and the University).
• "'Tis Writ by Me': Massinger's The Roman Actor and the Politics of Reception in the English Renaissance Theater," Theatre Journal 40 (October 1988), 332-46.
• "Licensed by Authority': Ben Jonson and the Politics of Early Stuart Theater," ELH 54 (Fall 1987), 529-60.
• "Charisma, Coercion, and Comic Form in The Taming of the Shrew," Criticism 26 (Fall 1984), 295-311; reprinted in Modern Critical Interpretations: William Shakespeare's The Taming of the Shrew. Ed. Harold Bloom (New York and New Haven: Chelsea House, 1988), 79-82; reprinted in Shakespearean Criticism . Ed. Marie Lazzari (Detroit: Gale Research, 1996).

Co-Authored Articles:

• "What's the Worst Thing You Can Do to Shak/x/espeare?" co-authored with Julian Yates, Renaissance Drama, n.s. 40 2012, 71-89.
• "Certain Tendencies in Shakespeare Film Criticism," co-authored with Scott Newstock, Shakespeare Studies Vol. 38, special Forum on "After Shakespeare on Film." Ed. Gregory Semenza, 2010, 88-103.
• "Suggested for Mature Readers: Deconstructing Shakespearean Value in Comic Books," co-authored with Josh Heuman, forthcoming in Shakespeare After Mass Media. Ed. Richard Burt (New York: Palgrave, 2002), 150-71.
• "Knowing Better: Sex, Cultural Criticism, and the Pedagogical Imperative in the 1990s," co-authored with Jeffrey Wallen, Diacritics , "Texts / Contexts," Spring 1999, 29 (1): 72-91.
• "Totally Clueless?: Shakespeare Goes Hollywood in the 1990s," co-authored with Lynda Boose, in Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video. (New York and London: Routledge Press, 1997), 8-22; reprinted in Timothy Corrigan, Ed. Film and Literature: An Introduction and Reader (Upper Saddle River, NJ: Prentice Hall, 1999), 340-56; reprinted in Sarah McLanahan. Ed. Shaping Discourses: Readings for University Writers , South Bend, IN: U of Notre Dame P, 2001; reprinted in William Shakespeare. Ed. Laura Marve (Greehaven, 2003).

Book Introductions :

• "Shakespeare, the Movie, the Sequel: Popularizing the Plays on Film, Television, and DVD: Editors' Cut," in Shakespeare the Movie II. Ed. Richard Burt and Lynda E. Boose, (New York and London: Routledge Press, 2003), 1-13.
• "To e- or not to e-? Schlockspeare in the Age of Electronic Mass Media," in Shakespeare After Mass Media. Ed. Richard Burt (New York: Palgrave, 2002), 1-32.
• "The 'New' Censorship," in The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere Ed. Richard Burt (Minneapolis: U of Minnesota P, 1994), xi-xxix.

Co-Authored Book Introductions :

• "Shakespeare, the Movie." Co-authored with Lynda Boose, in Shakespeare, the Movie: Popularizing the Plays on Film,TV, and Video (New York and London: Routledge Press, 1997), 1-7.
• "Introduction," co-authored with John Michael Archer, in Enclosure Acts: Sexuality, Property, and Culture in Early Modern England (Ithaca: Cornell UP, 1994), 1-13.

Media Coverage and Interviews:

• Interviewed by Mexican journalist Lucía Burbano on March 3, 2016 about Shakespeare and popular culture.
• Interviewed by Ellen Lupton, columnist for the New York Times, and quoted in her blog July 13, 2010: http://opinionator.blogs.nytimes.com/2010/07/12/how-to-lose-a-legacy/
• Interviewed by NY Times reporter Celia McGee for a story on Stephen Greenblatt's co-authored play Cardenio in April 2008. The story, "Shakespearean Brushes Up His Playwriting," was published on May 4, 2008.
• Interviewed by Time magazine journalist Jumana Farourky for a story she was writing on "The Shakespeare industry," published in the March 27, 2006 international issue.
• Interviewed by Sally Placksin, for MLA's radio program,"What's the Word?" on Al Pacino and Shakespeare. The interview took place on Wednesday, January 18, 2006 at 10:30am (EST). 
• Interviewed by Krissy Clark of "Weekend America" (airs on more than 100 NPR stations around the U.S.) for a show about Shakespeare's Birthday, April 20, 2005.
• Shakespeare, the Movie II profiled in UF Clasnotes, 2003.
• Interviewed about "Shakespeare and America" on Chicago Public Radio's Odyssey, April 29, 2003.
• Interviewed by reporter David Glenn of the Chronicle of Higher Education for a "Hot Type" story on the fate of the UMass Press, July 7, 2003. The story ran July, 2003.
• National Public Radio interview (Chicago syndicated show "Odysessy" with host Gretchen Helfrich) on "Shakespeare in America," April 28, 2003.
• Interviewed by Seattle Times reporter Misha Berson for a story on Shakespeare and business seminars. The story, "Once More into the Breach, Dear CEOs," ran August 18, 2002.
• January 2001, interviewed by reporter Andy Brown for an issue of Literary Cavalcade devoted to Shakespeare and mass culture.
• Quoted and discussed in "The Pound of Flesh," a story about Shakespeare pornography in Lingua Franca , Volume 11, No. 6 September 2001), 8-9. The story was reprinted on the front page of the London Independent newspaper on August 22, 2001.
• Interviewed by, Jeet Heer, a reporter for the Toronto National Post , about Shakespeare and popular culture, August 14, 2001. The story ran on August 28, 2001.
• June 14, 2000. Interviewed by a Brazilian newspaper journalist about Unspeakable ShaXXXspeares.
• February 2000. Interviewed about Unspeakable ShaXXXspeares on GayBC radio, Seattle, Washington.
• Interviewed by Scott Heller of The Chronicle of Higher Education in October 1998 about Unspeakable ShaXXXspeares for a "Hot Type" essay he wrote about both it and Harold Bloom's Shakespeare and the Invention of the Human .
• Reader for Routledge Press, Blackwell Press, Cornell University Press, Princeton University Press, St. Martin's Press, University of Illinois Press, University of Minnesota Press, Wayne State University Press, Ashgate Press, Adaptation, Borrowers and Lenders, PMLA, and Renaissance Quarterly.

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