"Shakespeare in 2016," Public Books, May 1, 2016. Public Books is an online multimedia site affiliated with the print journal Public Culture (Duke University Press). Public Books is an initiative of the Institute for Public Knowledge at New York University.
"Striking Our Debt to Moral Tragedy: Retributive Economics in Julius Caesar," in Julius Caesar: A Critical Reader. Ed. A.J. Hartley, the Arden Early Modern Drama Guides series, London: Bloomsbury Publishing (forthcoming in October, 2016, solicited by editor)
“The Tempest’s ‘Standing Water’: Echoes of Early Modern Cosmographies in Lost," in Shakespearean Echoes. Eds. Kevin J. Wetmore Jr., and Adam Hansen (Palgrave Macmillan UK, 2014, article solicited by editor)
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"Hamlet on the Potomac: Anti-Intellectualism in American Political Discourse Before and After ‘the Decider’," in Hamlet Handbook: Subject Matter, Adaptations Interpretations. Ed. Peter W. Marx (Stuttgart/Weimar: Verlag J.B. Metzler, April 2013) (article solicited by the editor)
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“Hip Hop Macbeths, “Digitized Blackness,” and the Millennial Minstrel: Illegal Culture Sharing in the Virtual Classroom” in Weyward Macbeth: Intersections of Race and Performance. Eds. Ayanna Thompson and Scott Newstok. New York: Palgrave, 2009 (solicited by the editor) Click here for reviews.
“The African-American Shakespeare Company’s Macbeth Project” (Performance Review), Shakespeare Bulletin Special Issue: African-American Shakespeares, Ed. Ayanna Thompson. 27.3 (Fall 2009) Washington: Johns Hopkins University Press, 462-468 (refereed journal)
“George W. Bush’s ‘Three Shakespeares’: Macbeth, Macbush, and the Theater of War,” Shakespeare Bulletin 26.3 (Fall 2008) Washington: Johns Hopkins University Press, 1-29 (refereed journal)
Shakespeare and Counterinsurgent Performance, book manuscript (in progress): Shakespeare and Counterinsurgent Performance examines Shakespeare’s role in American arts, educational, and military initiatives during two historical moments—the 1960s and the present, during the Cold War and during the Global War on Terror. The project moves between three domains of performance: theatrical performance, military performance, and scholastic performance. My project concerns itself equally with literary, theatrical, filmic and digital technologies, looking at how each helps us materially and figuratively remediate, record, overdub, imprint, and choreograph Shakespeare for new audiences. It also examines analogous processes in the early modern world. This framework entails a series of interlocking, close, rhetorical readings of particular performances, intermedial technologies, arts/educational legislation, and the institutional discourses accompanying each. Read more here.
