{"id":6507,"date":"2018-08-30T10:51:52","date_gmt":"2018-08-30T14:51:52","guid":{"rendered":"https:\/\/www.bu.edu\/english\/?post_type=profile&#038;p=6507"},"modified":"2025-03-17T13:08:33","modified_gmt":"2025-03-17T17:08:33","slug":"james-siemon","status":"publish","type":"profile","link":"https:\/\/www.bu.edu\/english\/profile\/james-siemon\/","title":{"rendered":"James Siemon"},"content":{"rendered":"<p>For CV\u00a0<a href=\"\/english\/files\/2023\/10\/Siemon-CV-10.30.23.pdf\">click here<\/a><\/p>\n<p>James Siemon has concentrated his research, teaching and publication on the literature of early modern England, with particular focus on drama, especially by Shakespeare. He has written two books on Shakespeare and has edited plays by Shakespeare (<em>Richard III<\/em> and <em>Julius Caesar<\/em>) and Christopher Marlowe (<em>The Jew of Malta<\/em>). He has articles and essays on various aspects of Renaissance literature and culture, and is currently editing Thomas Preston\u2019s <em>Cambises<\/em> for <em>The Routledge Anthology of Early Modern Drama<\/em>. He is interested in social history and theory, and especially in the socio-linguistic interaction between early modern literature and practical, everyday discourse. He is working on a book-length project that brings together close examinations of ordinary utterances (as found in letters, depositions, libels, reports of civic meetings, etc.) with explorations in the language of the early modern stage to consider the complex representations of hierarchy and social distinction in Shakespeare and his contemporaries, inspired by some simple questions. How did English audiences and readers recognize and express rank and standing onstage and off? How did they know when one should put on or take off a hat, whether to walk to the right or left, when to speak first or only answer when addressed, when to look others in the eye or lower one\u2019s gaze, where to take a seat at table or when to use formal or informal pronouns? Students in his classes should expect to consider similar questions of early modern micropolitics in their literary, theatrical and practical embodiments.<\/p>\n<h5>Selected Books<\/h5>\n<ul class=\"facultystripe\">\n<li>Editor,\u00a0<em><a href=\"http:\/\/sites.bu.edu\/shakespearestudies\/\" title=\"Shakespeare Studies\">Shakespeare Studies<\/a>,<\/em> 2013-present<\/li>\n<li>Editor,\u00a0<em>Julius Caesar<\/em>. (The Norton Complete Works), 2015<\/li>\n<li>Editor, William Shakespeare, <em>Richard III<\/em>. (The Arden Shakespeare), 2009<\/li>\n<li>Editor, Christopher Marlowe, <em>Jew of Malta<\/em>. Third edition (New Mermaid), 2009<\/li>\n<li><em>Word Against Word: Shakespearean Utterance<\/em>, 2002<\/li>\n<li>Editor, Christopher Marlowe, <em>The Jew of Malta<\/em>. Second edition (New Mermaid) 1994\/rev. 1997<\/li>\n<li><em>Shakespearean Iconoclasm<\/em>, 1985<\/li>\n<\/ul>\n<h5>Selected Articles and Chapters<\/h5>\n<ul class=\"facultystripe\">\n<li>\u201c\u2019Over-peered\u2019 and Understated: Conforming Transgressions and <em>Edward II<\/em>\u201d <em>Edward II: A Critical Reader<\/em>, ed. Kirk Melnikoff (2016)<\/li>\n<li>\u201cMaking Ambition Virtue? <em>Othello<\/em>, Small Wars and Martial Profession,\u201d Othello<em>: The State of Play<\/em>, ed. Lena Cowen Orlin (2014)<\/li>\n<li>\u201cMarlowe and Social Distinction,\u201d <em>Marlowe<\/em> <em>in Context<\/em>, ed. Emily Bartels and Emma Smith (2013)<\/li>\n<li>\u201cMark(et)ing Differences on the Elizabethan Stage: Malta\u2019s Slave Market, Venice\u2019s Rialto, London\u2019s Exchange,\u201d <em>English Past and Present<\/em>, ed. Wolfgang Viereck (2012)<\/li>\n<li>\u201cDead Men Talking: Elegiac Utterance, Monarchical Republicanism, and <em>Richard II<\/em>,\u201d<em> Richard II: New Critical Essays<\/em>, ed. Jeremy Lopez (2012)<\/li>\n<li>\u201cHistoricisms, Histories, Now,\u201d <em>A Companion to the English Renaissance<\/em>,<em> <\/em>ed. Michael Hattaway (2010)<\/li>\n<li>\u201cHalting Modernity: Richard III\u2019s Preposterous Body and History,\u201d <em>Shakespeare in Europe: History and Memory<\/em>, ed. Marta Gibinska (2008)<\/li>\n<li>\u201cThe power of hope? An Early Modern Reader of <em>Richard III<\/em>,\u201d <em>A Companion to Shakespeare\u2019s History Plays<\/em>, ed. Richard Dutton and Jean E. Howard (2003)<\/li>\n<li>\u201cBetween the Lines: Bodies\/Languages\/Times,\u201d <em>Shakespeare Studies <\/em>28 (2000)<\/li>\n<li>\u201cHistory, Histories, Historicism: Constructing the Past,\u201d <em>A Companion to the Renaissance<\/em>, ed. Michael Hattaway (2000)<\/li>\n<li>\u201cDream of Fields: Early Modern (Dis)Positions,\u201d <em>Historicism, Psychoanalysis and Early Modern Culture<\/em>, ed. Carla Mazzio and Doug Trevor (1999)<\/li>\n<li>\u201c\u2018Perplexed Beyond Self-explication\u2019: <em>Cymbeline <\/em>in Early Modern\/Post-modern Europe,\u201d <em>Shakespeare in the New Europe<\/em>, ed. Derek Roper and Michael Hattaway (1994)<\/li>\n<li>\u201cSign, Cause or General Habit,\u201d <em>The European Legacy <\/em>2 (1997);<\/li>\n<li>\u201cSporting Kyd,\u201d <em>ELR <\/em>24 (1994)<\/li>\n<li>\u201c\u2018The Word Itself Against the Word\u2019: Close Reading After Voloshinov,\u201d <em>Shakespeare Reread<\/em>, ed. Russ McDonald (1994)<\/li>\n<li>\u201c\u2018Landlord not King\u2019: Agrarian Change and Interarticulation,\u201d <em>Enclosure Acts<\/em>, ed. Richard Burt and John Michael Archer (1993)<\/li>\n<li>\u201cDialogical Formalism: Word, Action, and Object in <em>The Spanish Tragedy<\/em>,\u201d <em>Medieval and Renaissance Drama <\/em>5 (1990)<\/li>\n<li>\u201cSubjected thus: Utterance, Character and <em>Richard II<\/em>,\u201d <em>Shakespeare Jahrbuch <\/em>(DDR) 126 (1990)<\/li>\n<li>\u201c\u2018Nay, that\u2019s not next\u2019: <em>Othello<\/em> V.ii. in Performance, 1760<span><em>\u2013<\/em><\/span>1900,\u201d <em>Shakespeare Quarterly <\/em>(1986)<\/li>\n<\/ul>\n<h5>Work in Progress<\/h5>\n<ul class=\"facultystripe\">\n<li>A book-length study of social hierarchy and distinction in Shakespeare and early modern English drama<\/li>\n<\/ul>\n<h5>Honors, Grants, Offices, etc.<\/h5>\n<ul class=\"facultystripe\">\n<li>Trustee, Shakespeare Association of America (2010<span><em>\u2013<\/em><\/span>13)<\/li>\n<li>Editorial Board, <em>The New Variorum Shakespeare <\/em>(2009<span><em>\u2013<\/em><\/span>12)<\/li>\n<li>Editorial Board<em>, Shakespeare Studies<\/em> (2007<span><em>\u2013<\/em><\/span>)<\/li>\n<li>Delegate Assembly, MLA (2004<span><em>\u2013<\/em><\/span>07)<\/li>\n<li>Seminar Co-leader (with Keith Wrightson) Folger Library Institute (2010<span><em>\u2013<\/em><\/span>11)<\/li>\n<li>Jeffrey Henderson Fellow, Boston University\u00a0 (2010, 2007)<\/li>\n<li>Executive Committee, Folger Library Institute (1999<span><em>\u2013<\/em><\/span>)<\/li>\n<li>Folger Seminar Member (1999, 2003, 2007)<\/li>\n<li>Folger Library Short-Term Fellowship (1999)<\/li>\n<li>NEH travel grant (1985)<\/li>\n<li>NEH Institute (1982)<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"author":12176,"template":"","_links":{"self":[{"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/profile\/6507"}],"collection":[{"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/profile"}],"about":[{"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/types\/profile"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/users\/12176"}],"version-history":[{"count":3,"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/profile\/6507\/revisions"}],"predecessor-version":[{"id":9247,"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/profile\/6507\/revisions\/9247"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/english\/wp-json\/wp\/v2\/media?parent=6507"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}