Ph.D., Northwestern University
Early Modern English Drama and Social Performance, Eighteenth-Century British Studies, Performance Studies, Queer Studies, Gender Studies.
The Gendering of Men, 1600-1750, vol two: Queer Articulations, University of Wisconsin Press, 2008
The Gendering of Men, 1600-1750, vol. one: The English Phallus, University of Wisconsin Press, 2004
"In Defense of Gay/Performance." With Moe Meyer. In Moe Meyer, An archaeology of Posing: Essays on Camp, Drag, and Sexuality. University of Wisconsin Press-Macater Press, 2010.
"The Subject at the End of the Voice." Reprinted in Considering Calamity: Methods for Performance Research. Ed. Linda Ben-Zvi and Tracy C. Davis. Israel: Assaph Books, 2007. 55-95.
"The Subject at the End of the Voice." Assaph: Studies in the Theatre. no. 21: Special Issue: Considering Calamity: Methods for Performance Research, ed. Tracy C. Davis and Linda Ben-Zvi (2007): 55-95.
"How (Not) to Queer Boswell." In Queer People: Negotiations and Expressions of Homosexuality, 1700-1800. Ed. Chris Mounsey and Caroline Gonda. The Bucknell Studies in Eighteenth-Century Literature and Culture. Lewisburg, PA: Bucknell University Press, 2007. 114-58.
"The Castrato's Castration." SEL: Studies in English Literature, 1500-1900. Restoration and Eighteenth Century, 46, no. 3 (Summer 2006): 563-84.
"Gender and Modernity: Male Looks and the Performance of Public Pleasures." Monstrous Dreams of Reason, ed. Choudhury and Rosenthal, 2002
"The Fop, The Canting Queen, and the Deferral of Gender," Presenting Gender, ed. Mounsey, 2001
"M/S, or Making the Scene: An Erotics of Space," Queen: A Journal of Rhetoric and Power, 2000
"Performing 'Akimbo'," The Politics and Poetics of Camp, ed. Morris Meyer, Routledge, 1994
More articles and reviews in The Drama Review; Modern Drama; Strategic Sex, ed D. Travers Scott; Theatre Insight; Theatre Journal; and Theatre Studies.
I am currently pursuing several studies relating the emergence of modern sexual subjectivities to the cultural and literary effect designated as "voice," which was both interiorized following increasing skepticism of rhetoric and rhetorical training on stage and in everyday life and made newly conscious of its unpredictable and even unintended performative effects on others. Studies in progress include Barry's Ear (an exploration of the materialist erotics of the libertine writers Aphra Behn and John Wilmot, Earl of Rochester; their patronage of actor Elizabeth Barry, noted for modernizing stage elocution; and the disavowal of theatricality, the voice, and the actress in Richardson’s rewriting of Rochester’s, his wife Elizabeth Malet’s, and Barry’s histories in his novel Clarissa) and The Subject at the End of the Voice, which takes Shakespeare (Titus Andronicus, Hamlet, The Tempest) as a starting point for renunciations of rhetoric and the emergence of the voice in early modern and eighteenth-century England.
Selected Courses Taught
The Body as Text: Castiglione to Locke (ENG 144b)
Gender Studies (ENG 201a)
Remembering & Dismembering: Staging the Body in Early Modern England (ENG 23a)
Queer Readings: Before Stonewall (ENG 28b)
Queer Readings: Beyond Stonewall (ENG 87b)
From Libertinism to Sensibility: Pleasure and the Theatre, 1660-1800 (ENG 64b)
Queer Studies (ENG 151a)
Theater/Theory: Investigating Performance (ENG 151b)
Making Sex, Performing Gender (ENG 181a)
Performing the Early Modern Self (ENG 231a)
Making it Real: Tactics of Discourse (ENG 280a)