文艺复兴研究的十位Enfant Terrible

王敖

<span id="showcontent">KAREN&nbsp;BRITLAND&nbsp;(33,&nbsp;Keele&nbsp;University)&nbsp;for&nbsp;feminist&nbsp;and&nbsp;archival&nbsp;work&nbsp;on<br/>the&nbsp;drama&nbsp;of&nbsp;the&nbsp;1630s<br/>---\'"All&nbsp;emulation&nbsp;cease,&nbsp;and&nbsp;jars":&nbsp;political&nbsp;possibilities&nbsp;in<br/>_Chloridia_,&nbsp;Queen&nbsp;Henrietta&nbsp;Maria\'s&nbsp;masque&nbsp;of&nbsp;1631\',&nbsp;_The&nbsp;Ben&nbsp;Jonson<br/>Journal_&nbsp;9&nbsp;(2002),87-108<br/>---\'An&nbsp;under-stated&nbsp;mother-in-law:&nbsp;Marie&nbsp;de&nbsp;Médicis&nbsp;and&nbsp;the&nbsp;last<br/>Caroline&nbsp;court&nbsp;masque\',&nbsp;_Women&nbsp;and&nbsp;Culture&nbsp;in&nbsp;the&nbsp;Courts&nbsp;of&nbsp;the&nbsp;&nbsp;Stuart<br/>Queens_,&nbsp;ed.&nbsp;Clare&nbsp;McManus&nbsp;(Palgrave:&nbsp;2003),&nbsp;204-23<br/><br/>LUKAS&nbsp;ERNE&nbsp;(36,&nbsp;University&nbsp;of&nbsp;Neuchatel,&nbsp;Switzerland)&nbsp;for&nbsp;work&nbsp;on<br/>Shakespeare&nbsp;as&nbsp;a&nbsp;"literary&nbsp;dramatist"<br/>---\'Shakespeare&nbsp;and&nbsp;the&nbspublication&nbsp;of&nbsp;His&nbsplays\',&nbsp;in&nbsp;his&nbsp;_Shakespeare<br/>as&nbsp;Literary&nbsp;Dramatist_&nbsp;(Cambridge&nbsp;UP,&nbsp;2003),&nbsp;78-100<br/>---\'_Don&nbsp;Horatio_&nbsp;and&nbsp;_The&nbsp;First&nbspart&nbsp;of&nbsp;Hieronimo_,&nbsp;in&nbsp;his_Beyond&nbsp;*The<br/>Spanish&nbsp;Tragedy*:&nbsp;A&nbsp;Study&nbsp;of&nbsp;the&nbsp;Works&nbsp;of&nbsp;Thomas&nbsp;Kyd_&nbsp;(Manchester&nbsp;UP,<br/>2001),&nbsp;14-46<br/><br/>EWAN&nbsp;FERNIE&nbsp;(33,&nbsp;Royal&nbsp;Holloway&nbsp;University&nbsp;of&nbsp;London)&nbsp;for&nbsp;work&nbsp;on<br/>"presentist"&nbsp;criticism&nbsp;and&nbsp;the&nbsp;power&nbsp;of&nbsp;Shakespeare&nbsp;now<br/>---"Introduction,"&nbsp;_Shame&nbsp;in&nbsp;Shakespeare_(Routledge,&nbsp;2002),&nbsp;1-23<br/>---"Shakespeare&nbsp;and&nbsp;the&nbsp;Prospect&nbsp;of&nbsp;Presentism",&nbsp;forthcoming&nbsp;in<br/>_Shakespeare&nbsp;Survey_58&nbsp;(2005)<br/><br/>CARLA&nbsp;MAZZIO&nbsp;(38,&nbsp;University&nbsp;of&nbsp;Chicago)&nbsp;for&nbsp;work&nbsp;on&nbsp;quantification,<br/>sensation&nbsp;and&nbsp;affect&nbsp;in&nbsp;drama<br/>---"The&nbsp;Three&nbsp;Dimensional&nbsp;Self:&nbsp;Geometry,&nbsp;Melancholy,&nbsp;Drama,"&nbsp;in&nbsp;_Arts<br/>of&nbsp;Calculation:&nbsp;Numerical&nbsp;Thought&nbsp;in&nbsp;Early&nbsp;Modern&nbsp;Europe_,&nbsp;ed.&nbsp;David<br/>Glimp&nbsp;and&nbsp;Michelle&nbsp;R.&nbsp;Warren&nbsp;(Palgrave,&nbsp;2004),&nbsp;39-65<br/>---"Acting&nbsp;with&nbsp;Tact:&nbsp;Touch&nbsp;and&nbsp;Theater&nbsp;in&nbsp;the&nbsp;English&nbsp;Renaissance,"&nbsp;in<br/>_Sensible&nbsp;Flesh:&nbsp;On&nbsp;Touch&nbsp;in&nbsp;Early&nbsp;Modern&nbsp;Culture_,&nbsp;ed.&nbsp;Elizabeth&nbsp;Harvey<br/>(University&nbsp;of&nbsp;Pennsylvania,&nbsp;2003),&nbsp;&nbsp;159-186<br/><br/>BRYAN&nbsp;REYNOLDS&nbsp;(39,&nbsp;University&nbsp;of&nbsp;California,&nbsp;Irvine)&nbsp;for&nbsp;work&nbsp;on<br/>"transversal&nbsp;poetics"<br/>---"State&nbsp;Power,&nbsp;Cultural&nbsp;Dissidence,&nbsp;Transversal&nbsp;Power,"&nbsp;in&nbsp;his&nbsp;book<br/>_Becoming&nbsp;Criminal:&nbsp;Transversal&nbsp;Performance&nbsp;and&nbsp;Cultural&nbsp;Dissidence&nbsp;in<br/>Early&nbsp;Modern&nbsp;England_&nbsp;(Johns&nbsp;Hopkins&nbsp;University&nbsp;Press,&nbsp;2002).<br/>---"Transversal&nbsp;Performance:&nbsp;Shakespace,&nbsp;the&nbsp;September&nbsp;11&nbsp;Attacks,&nbsp;and<br/>the&nbsp;Critical&nbsp;Future,"&nbsp;in&nbsp;his&nbsp;book&nbsp;_Performing&nbsp;Transversally:&nbsp;Reimagining<br/>Shakespeare&nbsp;and&nbsp;the&nbsp;Critical&nbsp;Future_&nbsp;(Palgrave,&nbsp;2003).<br/><br/>TIFFANY&nbsp;STERN&nbsp;(36,&nbsp;Oxford&nbsp;Brookes&nbsp;University)&nbsp;for&nbsp;archival&nbsp;and<br/>theoretical&nbsp;work&nbsp;on&nbsp;early&nbsp;performance<br/>---"A&nbsp;small-beer&nbsp;health&nbsp;to&nbsp;his&nbsp;second&nbsp;day":&nbsp;Playwrights,&nbsp;Prologues,&nbsp;and<br/>first&nbsp;Performances&nbsp;in&nbsp;the&nbsp;Early&nbsp;Modern&nbsp;Theater,"&nbsp;_Studies&nbsp;in&nbsp;Philology_<br/>(2004),&nbsp;172-199<br/>---\'Prologues,&nbsp;Songs,&nbsp;and&nbsp;Actors\'&nbsp;Parts\'&nbsp;in&nbsp;her&nbsp;book&nbsp;_Making<br/>Shakespeare_&nbsp;(Routledge,&nbsp;2004),&nbsp;113-36</span>

王敖

这是几年前该领域的权威投票评出的，现在看来，风头最劲的是BRYAN&nbsp;REYNOLDS，出身哈佛，师从新历史主义的几位大家，自己提出了一套理论，而且写书的方式与众不同，近期的书都是找一帮人跟他合写，每人跟他合作一篇文章，结果变成雷诺兹和大家一起著。

曾园

<p>这份名单不错。可作以后买书的参考。</p><p>说到哈佛，最近北大毕业的一个女生拿到了那里的比较文学全额奖学金。</p>

王敖

是北大英语系的吗，我有中文系师弟也拿到了好几份全奖。

曾园

<p>哦是的，英语系的。</p><p>师弟拿的也是全奖？博士研究生？那对北大倒真要刮目相看了。</p>

王敖

<p>当然是啊。北大中文系的比较所，一直是名校的专业户，送出去的人很多，已经持续了大概有十几年了吧。这还有什么奇怪的吗？</p><p></p>

王敖

英语系的情况我不清楚，但中文系的比较所，一般每年都有人拿到名校的全奖，这种情况持续了有至少十几年了，前几年尤其是哈佛要得多。

曾园

<p>以前没有留意到这些。这可是北大的硬指标啊。我与比较所的车教授有过来往，他翻译鲍德里亚的一本书曾花了三年。以前我还不明白为什么这么慢——看来教书在北大的确不像在别处那么容易吧。</p>