Curriculum Vitae

The following are selected entries from my curriculum vitae. For more detail on these sections and additional information, please see my full CV (PDF). My teaching portfolio is also available on request.

Academic Employment

  • 2021–. Associate Professor of Renaissance Literature and Textual Studies, University of Leeds.
  • 2016–2021. University Academic Fellow in Textual Studies and Digital Editing, University of Leeds
  • 2013-2016. Assistant Professor of English and Cultural Studies, University of Western Australia
  • 2013-2016. ARC Discovery Early Career Research Fellow, University of Western Australia
  • 2010-2013. University Postdoctoral Research Fellow, Centre for Medieval and Early Modern Studies, University of Western Australia
  • 2009-2010. Postdoctoral Fellow in Early Modern Textual Studies and Digital Humanities, University of Victoria, Canada
  • 2009-2010. Adjunct Assistant Professor of English, University of Victoria, Canada
  • 2007. Assistant Lecturer of English, University of Otago

Education

  • 2009. Ph.D. in English and Cultural Studies, University of Western Australia
  • 2005. B.A. (Hons) in English and Cultural Studies, University of Western Australia

Research

Work-in-progress (see also current projects)

  • A critical edition of Fair Em for Digital Renaissance Editions.
  • (with Hugh Craig) An attribution study for the Oxford Complete Works of John Marston.
  • (with Mark Houlahan) An edition of Hyde Park for the Oxford Complete Works of James Shirley.
  • A critical introduction for the New Oxford Shakespeare single-volume Oxford World's Classics edition of The Merchant of Venice.
  • Reproducing Renaissance Drama, a book-length study of the editing and publishing of early modern English plays since the eighteenth century.

Monographs

  • (with Hugh Craig) Style, Computers, and Early Modern Drama: Beyond Authorship. Cambridge UP, 2017. PDF.

Selected articles

  • (with Rachel White), “Ass-troll-ogical Nashe: Revisiting Two Dangerous Comets and A Wonderful Prognostication.” Renaissance Studies 38.3 (2024): 335–62. PDF and data.
  • Epicene and the Bearded Woman Saint.” Ben Jonson Journal 31.1 (2024): 94–103. PDF.
  • (with Matteo Pangallo and Rachel White), “ ‘Text up his name’: The Authorship of the Manuscript Play Dick of Devonshire.” Studies in Philology 121.1 (2024): 163–87. Project Muse. Data.
  • (with Ivan Lupić) “ ‘What stuff is here?’ Edmond Malone and the 1778 Edition of Beaumont and Fletcher.” Papers of the Bibliographical Society of America 111.3 (2017): 287–315. PDF.
  • “Jewish Questions in Robert Wilson’s The Three Ladies of London.” Early Theatre 19.1 (2016): 37–56. PDF.
  • (with Janelle Jenstad) “Beyond the Text: Digital Editions and Performance.” Shakespeare Bulletin 34.1 (2016): 107–27. PDF.
  • “Moving Targets: Constructing Canons, 2013-2014.” Early Theatre 18.1 (2015): 115-31. PDF
  • (with Hugh Craig) “‘Mingled Yarn’: The State of Computing in Shakespeare 2.0.” Digital Shakespeares: Innovations, Interventions, Mediations, ed. Brett D. Hirsch and Hugh Craig. Special issue of The Shakespearean International Yearbook 14 (2014): 3–35. PDF.
  • “‘To see the Playes of Theatre newe wrought’: Electronic Editions and Early Tudor Drama.” Early Theatre 16.2 (2013): 211–49. PDF.
  • “The Kingdom Has Been Digitized: Electronic Editions of Renaissance Drama and the Long Shadows of Shakespeare and Print.” Literature Compass 8.9 (2011): 568–91. PDF.
  • “Bringing Richard Brome Online.” Early Theatre 13.1 (2010): 137–53. PDF.
  • (with David McInnis) “Embodying Shakespeare: Introduction.” Early Modern Literary Studies, Spec. Issue 19 (2009): 1.1–13. Full text.
  • “Counterfeit Professions: Jewish Daughters and the Drama of Failed Conversion in Marlowe’s The Jew of Malta and Shakespeare’s The Merchant of Venice.” Early Modern Literary Studies, Spec. Issue 19 (2009): 4.1–37. Full text.
  • “ ‘A Gentle and No Jew’: The Difference Marriage Makes in The Merchant of Venice.” Parergon, 23.1 (2006): 119–129. PDF.
  • “An Italian Werewolf in London: Lycanthropy and The Duchess of Malfi.” Early Modern Literary Studies, 11.2 (2005): 2.1–34. Full text.
  • “ ‘In the likeness of a Jew’: Kabbalah and The Merchant of Venice.” The Ben Jonson Journal, 12 (2005): 119–40. PDF.

Selected chapters

  • (with Rachel White), “Doubting Thomas: Attributing the Nashe Dubia.” The Complete Works of Thomas Nashe. Gen. ed. Joseph L. Black, Andrew Hadfield, Jennifer Richards, and Cathy Shrank. 6 vols. Oxford UP, 2026. [In press.]
  • (with Sarah Neville), “Genre.” The Oxford Handbook of Shakespeare and Authorship. Ed. Rory Loughnane and Will Sharpe. Oxford UP, 2024. [In press.]
  • (with Toby Malone) “Digital Shakespeare.” The Oxford Research Encyclopedia of Literature. Gen. ed. Paula Rabinowitz. Oxford UP, 2015–. Published 28 June 2021. Web.
  • “Computational Studies.” The Arden Research Handbook of Contemporary Shakespeare Criticism. Ed. Evelyn Gajowski. Arden Shakespeare, 2020. 205–21. PDF.
  • (with Laurie Johnson) “Shakespeare Source Study in the Age of Google: Revisiting Greenblatt’s Graveyard and Horatio’s Ground.” Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies. Ed. Dennis Austin Britton and Melissa Walter. Routledge, 2018. 253–78. PDF.
  • (with Sarah Neville) “‘How apt it is to learn’ – Studying and Teaching Much Ado About Nothing.” Much Ado About Nothing: A Critical Reader. Ed. Deborah Cartmell and Peter J. Smith. Arden Shakespeare, 2018. 175–204. PDF
  • (with Michael Best) “‘Within this Wooden [2.]O’: Shakespeare and New Media in the Digital Age.” The Shakespearean World. Ed. Jill L. Levenson and Robert Ormsby. Routledge, 2017. 443–62. PDF.
  • (with Jack Elliott) “Arden of Faversham, Shakespearean Authorship, and ‘the print of many.’” The New Oxford Shakespeare: Authorship Companion. Ed. Gary Taylor and Gabriel Egan. Oxford UP, 2017. 139–81. PDF.
  • The White Devil: The State of the Art.” The White Devil: A Critical Reader. Ed. Paul Frazer and Adam Hansen. Arden Shakespeare, 2016. 83–106. PDF.
  • “Judaism and Jews.” The Cambridge Guide to the Worlds of Shakespeare. Vol. 1. Shakespeare’s World, 1500-1660. Gen. ed. Bruce R. Smith. Cambridge UP, 2016. 709–20. PDF.
  • “Three Wax Images, Two Italian Gentlemen, and One English Queen.” Magical Transformations on the Early Modern English Stage. Ed. Lisa Hopkins and Helen Ostovich. Ashgate, 2014. 155–68. PDF.
  • “The Taming of the Jew: Spit and the Civilizing Process in The Merchant of Venice.” Staged Transgression in Shakespeare's England. Ed. Rory Loughnane and Edel Semple. Palgrave, 2013. 136–52. PDF.
  • “‹/Parentheses›: Digital Humanities and the Place of Pedagogy.” Digital Humanities Pedagogy: Practices, Principles, and Politics. Ed. Brett D. Hirsch. Open Book Publishers, 2012. 3–30. Full text.
  • “From Jew to Puritan: The Emblematic Owl in Early English Culture.” ‘This Earthly Stage’: World and Stage in Late Medieval and Early Modern England. Ed. Brett D. Hirsch and Christopher Wortham. Brepols, 2010. 131–72. PDF.
  • “‘What are these faces?’ Interpreting Bearded Women in Macbeth.” Renaissance Drama and Poetry in Context: Essays for Christopher Wortham. Ed. Andrew Lynch and Anne M. Scott. Cambridge Scholars Press, 2008. 91–114. PDF.

Essay collections

  • (with Hugh Craig) Digital Shakespeares: Innovations, Interventions, Mediations. Special issue of The Shakespearean International Yearbook 14 (2014).
  • Digital Humanities Pedagogy: Practices, Principles, and Politics. Open Book Publishers, 2012. Full text.
  • (with Christopher Wortham) ‘This Earthly Stage’: World and Stage in Late Medieval and Early Modern England. Brepols, 2010. Cursor Mundi 13.
  • (with David McInnis) Embodying Shakespeare. Special issue 19 of Early Modern Literary Studies (2009). Full text.

Selected digital projects

  • Coordinating editor (2006–present). Digital Renaissance Editions (DRE). A project to publish critical editions of early modern drama and related texts.
  • General editor (2013–present). Bibliography of Editions of Early English Drama (BEEED). A project to develop a comprehensive bibliographical database of editions of early English drama (re)produced since the eighteenth century.
  • Co-general editor (2020–present, with Rory Loughnane). CADRE: Co-Authored Drama in Renaissance England. A refereed database of co-authored drama in English, c.1576–1642, with detailed summaries of the attribution literature.
  • General textual editor (2019–present, with James Mardock and Sarah Neville). Linked Early Modern Drama Online (LEMDO). A TEI encoding, editing, and anthology-building platform. Director: Janelle Jenstad.
  • Coordinating editor (2018–present, with Janelle Jenstad, James Mardock, and Sarah Neville). New Internet Shakespeare Editions (NISE). The successor to the Internet Shakespeare Editions, producing open-access critical editions of Shakespeare’s works published on the LEMDO platform, with facsimiles and transcriptions of early textual witnesses; linked data with Encyclopedia of Early Modern England, DEEP, BEEED, DRE, and the World Shakespeare Bibliography.
  • Editorial board (2011–present). The Map of Early Modern London. A project to publish an interactive map of Shakespeare's London, linked to scholarly articles about the history and culture of the city, its streets and landmarks. Director: Janelle Jenstad.
  • Contributor (2010–present). Lost Plays Database. A peer-reviewed Wiki-style forum for scholars to share information about lost plays in England, 1570-1642. Editors: Roslyn L. Knutson, David McInnis, Matthew Steggle, and Misha Teramura.

Dr Brett Greatley-Hirsch
School of English, University of Leeds
Woodhouse Lane, Leeds, LS2 9JT
United Kingdom

Email: b.d.greatleyhirsch@leeds.ac.uk

Me
Arden Research Handbook of Contemporary Shakespeare Criticism
Style, Computers, and Early Modern Drama
New Oxford Shakespeare: Authorship Companion
Digital Humanities Pedagogy