Podcasts about modern philology

What if the words we use every day still carry the weight of our ancestors' hopes, rituals, and wisdom? In this thought-provoking talk, we explore Modern Philology—not as academic study, but as a living practice of listening, discerning, and reconnecting with the deeper meanings beneath language. From ancient Hebrew prayers to sumo wrestling chants, from Buddhist cushions to battlefield banners, this journey reveals how forgotten etymologies and cultural echoes can help us rebuild the temple of the human spirit—together, in dialogue, and in truth.

Beowulf is the product of a profoundly religious imagination, but the significance of the poem's Christianity has been downplayed or denied altogether. The Word-Hoard Beowulf: A Translation with Commentary (Angelico Press, 2023) is the first translation and popular commentary to take seriously the religious dimension of this venerable text. While generations of students know that Beowulf represents a confluence of Christianity and paganism, this version—informed by J. R. R. Tolkien's theory of language as the repository of myth—opens the hood to track the poem's inner religious workings. It brings to light the essential Old English vocabulary, incorporating into the translation the divine titles used for God, specific names for evil and nonhuman creatures, and the precise language employed for providence and fate, along with terminology for kinship and heroism. Such features are not found in any other modern English translation, including Tolkien's, whose text was never intended for publication. The Word-Hoard Beowulf draws upon Tolkien's ideas and commentaries, however, to render a poem whose metaphysical vision takes front and center, delivering a richly restorative version of this early medieval masterpiece. The text is preceded by an introduction detailing the poem's religious motivations and cultural context, and is accompanied by an expansive commentary. In short, this version allows readers to perceive precisely how in Beowulf (as Tolkien puts it) “the new Scripture and the old tradition touched and ignited” to produce the earliest English epic. Peter Ramey is Associate Professor of English at Northern State University, where he teaches courses on medieval English literature, Latin, and linguistics. He has published articles on Beowulf and on Old and Middle English in Modern Philology, Philological Quarterly, and other scholarly journals, while also writing for a broader audience in his essays in Public Discourse and Front Porch Republic. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Beowulf is the product of a profoundly religious imagination, but the significance of the poem's Christianity has been downplayed or denied altogether. The Word-Hoard Beowulf: A Translation with Commentary (Angelico Press, 2023) is the first translation and popular commentary to take seriously the religious dimension of this venerable text. While generations of students know that Beowulf represents a confluence of Christianity and paganism, this version—informed by J. R. R. Tolkien's theory of language as the repository of myth—opens the hood to track the poem's inner religious workings. It brings to light the essential Old English vocabulary, incorporating into the translation the divine titles used for God, specific names for evil and nonhuman creatures, and the precise language employed for providence and fate, along with terminology for kinship and heroism. Such features are not found in any other modern English translation, including Tolkien's, whose text was never intended for publication. The Word-Hoard Beowulf draws upon Tolkien's ideas and commentaries, however, to render a poem whose metaphysical vision takes front and center, delivering a richly restorative version of this early medieval masterpiece. The text is preceded by an introduction detailing the poem's religious motivations and cultural context, and is accompanied by an expansive commentary. In short, this version allows readers to perceive precisely how in Beowulf (as Tolkien puts it) “the new Scripture and the old tradition touched and ignited” to produce the earliest English epic. Peter Ramey is Associate Professor of English at Northern State University, where he teaches courses on medieval English literature, Latin, and linguistics. He has published articles on Beowulf and on Old and Middle English in Modern Philology, Philological Quarterly, and other scholarly journals, while also writing for a broader audience in his essays in Public Discourse and Front Porch Republic. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Beowulf is the product of a profoundly religious imagination, but the significance of the poem's Christianity has been downplayed or denied altogether. The Word-Hoard Beowulf: A Translation with Commentary (Angelico Press, 2023) is the first translation and popular commentary to take seriously the religious dimension of this venerable text. While generations of students know that Beowulf represents a confluence of Christianity and paganism, this version—informed by J. R. R. Tolkien's theory of language as the repository of myth—opens the hood to track the poem's inner religious workings. It brings to light the essential Old English vocabulary, incorporating into the translation the divine titles used for God, specific names for evil and nonhuman creatures, and the precise language employed for providence and fate, along with terminology for kinship and heroism. Such features are not found in any other modern English translation, including Tolkien's, whose text was never intended for publication. The Word-Hoard Beowulf draws upon Tolkien's ideas and commentaries, however, to render a poem whose metaphysical vision takes front and center, delivering a richly restorative version of this early medieval masterpiece. The text is preceded by an introduction detailing the poem's religious motivations and cultural context, and is accompanied by an expansive commentary. In short, this version allows readers to perceive precisely how in Beowulf (as Tolkien puts it) “the new Scripture and the old tradition touched and ignited” to produce the earliest English epic. Peter Ramey is Associate Professor of English at Northern State University, where he teaches courses on medieval English literature, Latin, and linguistics. He has published articles on Beowulf and on Old and Middle English in Modern Philology, Philological Quarterly, and other scholarly journals, while also writing for a broader audience in his essays in Public Discourse and Front Porch Republic. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices

Beowulf is the product of a profoundly religious imagination, but the significance of the poem's Christianity has been downplayed or denied altogether. The Word-Hoard Beowulf: A Translation with Commentary (Angelico Press, 2023) is the first translation and popular commentary to take seriously the religious dimension of this venerable text. While generations of students know that Beowulf represents a confluence of Christianity and paganism, this version—informed by J. R. R. Tolkien's theory of language as the repository of myth—opens the hood to track the poem's inner religious workings. It brings to light the essential Old English vocabulary, incorporating into the translation the divine titles used for God, specific names for evil and nonhuman creatures, and the precise language employed for providence and fate, along with terminology for kinship and heroism. Such features are not found in any other modern English translation, including Tolkien's, whose text was never intended for publication. The Word-Hoard Beowulf draws upon Tolkien's ideas and commentaries, however, to render a poem whose metaphysical vision takes front and center, delivering a richly restorative version of this early medieval masterpiece. The text is preceded by an introduction detailing the poem's religious motivations and cultural context, and is accompanied by an expansive commentary. In short, this version allows readers to perceive precisely how in Beowulf (as Tolkien puts it) “the new Scripture and the old tradition touched and ignited” to produce the earliest English epic. Peter Ramey is Associate Professor of English at Northern State University, where he teaches courses on medieval English literature, Latin, and linguistics. He has published articles on Beowulf and on Old and Middle English in Modern Philology, Philological Quarterly, and other scholarly journals, while also writing for a broader audience in his essays in Public Discourse and Front Porch Republic. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. You can also find his writing about books and films on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Many early modern humanists would balk at the proposition that what they did amounted to housework. They were far more likely to reach for the heroic image of a farmer striving in the fields, as immortalized in the ancient Roman poet Virgil's Georgics. But, as shown in Katie Kadue's book Domestic Georgic: Labors of Preservation from Rabelais to Milton (University of Chicago, 2021), the domestic practice of preservation offered a powerful metaphor for the often-menial, often-overlooked labor. These labors from pickling to correcting to tempering were largely imperceptible but were essential to ward off disorder. Domestic Georgic offers fresh close readings of Francois Rabelais's Gargantua and Pantagruel, Edmund Spenser's Faerie Queene, Andrew Marvell's “Upon Appleton House,” Montaigne's Essays, and John Milton's Paradise Lost. Through these readings, this study provides a compelling new framework for our understanding of early modern poetics, gender, and labor. Katie Kadue is an incoming professor at SUNY Binghamton and a former Harper-Schmidt Fellow in the University of Chicago Society of Fellows. Her scholarly articles have appeared in Modern Philology, Montaigne Studies, and Studies in Philology, and public-facing work can be found at The Philosopher and the Chronicle of Higher Education. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Many early modern humanists would balk at the proposition that what they did amounted to housework. They were far more likely to reach for the heroic image of a farmer striving in the fields, as immortalized in the ancient Roman poet Virgil's Georgics. But, as shown in Katie Kadue's book Domestic Georgic: Labors of Preservation from Rabelais to Milton (University of Chicago, 2021), the domestic practice of preservation offered a powerful metaphor for the often-menial, often-overlooked labor. These labors from pickling to correcting to tempering were largely imperceptible but were essential to ward off disorder. Domestic Georgic offers fresh close readings of Francois Rabelais's Gargantua and Pantagruel, Edmund Spenser's Faerie Queene, Andrew Marvell's “Upon Appleton House,” Montaigne's Essays, and John Milton's Paradise Lost. Through these readings, this study provides a compelling new framework for our understanding of early modern poetics, gender, and labor. Katie Kadue is an incoming professor at SUNY Binghamton and a former Harper-Schmidt Fellow in the University of Chicago Society of Fellows. Her scholarly articles have appeared in Modern Philology, Montaigne Studies, and Studies in Philology, and public-facing work can be found at The Philosopher and the Chronicle of Higher Education. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

What a delight this was, to talk to my friend Walt Hunter about the marvelous Gwendolyn Brooks poem "kitchenette building." Walt is an associate professor and the Chair of the Department of English at Case Western Reserve University. He is the author of two books of criticism: Forms of a World: Contemporary Poetry and the Making of Globalization (Fordham UP, 2019) and The American House Poem, 1945 - 2021 (Oxford UP, forthcoming in 2023). He is also the author of a book of poems, Some Flowers (Mad Hat Press, 2022), and the translator, with Lindsay Turner, of Frédéric Neyrat's Atopias: Manifesto for a Radical Existentialism (Fordham UP, 2017). He edits poetry for The Atlantic, where he is also a frequent contributor, and has published in such journals as New Literary History, American Literary History, Essays in Criticism, Modern Philology, and ASAP/Journal. Please follow, rate, and review the podcast if you like what you hear—and share an episode with a friend! Follow my Substack to get news of the podcast.

In this episode, we explore Shakespeare's use of political satire within the pastoral comedy genre, focusing on A Midsummer Night's Dream. The pastoral genre, which originated in ancient Greek literature, involves stories set in a rustic, rural world that idealizes the simplicity and harmony of nature. During the Renaissance through Elizabethan and Stuart England, writers continued to use the pastoral setting to explore social and political issues of their time, and Shakespeare was no exception. We'll examine how Shakespeare drew on the political tensions and intrigues of the Elizabethan court to shape the plot and characters of A Midsummer Night's Dream, revealing the complex politics of the time. Through characters such as Titania and Oberon, we'll explore how Shakespeare used the dynamics of power and authority to comment on the political struggles of the Elizabethan court. We'll also examine how the character of Bottom can be read as a charicature of several Elizabethan political figures. Through our analysis of A Midsummer Night's Dream, we'll gain new insights into the political and cultural context that shaped one of Shakespeare's most beloved plays. So join us for a fascinating discussion of Shakespeare's use of political satire in the pastoral comedy genre, and some piping hot tea about the Elizabethan court.  Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Andrews, Richard. "A Midsummer Night's Dream and Italian Pastoral." Transnational Exchange in Early Modern Theater. Routledge, 2016. 65-78. (if I have time) Hunt, Maurice. "A Speculative Political Allegory in A Midsummer Night's Dream." Comparative Drama 34.4 (2000): 423-453. Montrose, Louis Adrian. “Of Gentlemen and Shepherds: The Politics of Elizabethan Pastoral Form.” ELH, vol. 50, no. 3, 1983, pp. 415–59. JSTOR, https://doi.org/10.2307/2872864. Accessed 4 Mar. 2023. Rickert, Edith. “Political Propaganda and Satire in ‘A Midsummer Night's Dream.' II.” Modern Philology, vol. 21, no. 2, 1923, pp. 133–54. JSTOR, http://www.jstor.org/stable/433740. Accessed 29 Dec. 2022. Swann, Marjorie. “The Politics of Fairylore in Early Modern English Literature.” Renaissance Quarterly, vol. 53, no. 2, 2000, pp. 449–73. JSTOR, https://doi.org/10.2307/2901875. Accessed 4 Mar. 2023.  

What do poems require of the persons who make them, in order for those persons to be known in them? Oren Izenberg joins the podcast to talk about that question and a strange and wonderful poem by Allen Grossman that takes it on, "The Life and Death Kisses."Oren Izenberg is an Associate Professor of English at the University of California, Irvine. He is the author of a monograph, Being Numerous: Poetry and the Ground of Social Life (Princeton UP, 2012). He is currently completing another book, How to Know Everything, about the philosophical significance of poetry's engagement with “ordinary” mental actions like believing, desiring, perceiving, remembering, and intending.Oren's teaching spans the long history of the art (from the Iliad to the poem someone is working on right now). He is the author of many essays on poetry and poetics, which have appeared in a variety of journals and collections (Critical Inquiry, Modernism/modernity, PMLA, Modern Philology, Lana Turner, nonsite, and others). He is a poetry editor at nonsite.org, an online journal of art and ideas. You can follow Oren on Twitter.As ever, if you're enjoying the podcast, make sure you're following it. Leave a rating or review, and share an episode with a friend. Subscribe to my Substack for thoughts and links to go with each episode.

"I can't get over / how it all works in together." That's the poet James Schuyler, towards the end of today's poem, "February," a favorite of mine, which I had the great fortune to talk about with an old and beloved friend, Eric Lindstrom.Eric is Professor of English at the University of Vermont and the author of two books: Romantic Fiat: Demystification and Enchantment in Lyric Poetry (Palgrave, 2011) and Jane Austen and Other Minds: Ordinary Language Philosophy in Literary Fiction (Cambridge UP, 2022). He's also the guest editor of two collections of essays: Stanley Cavell and the Event of Romanticism (Romantic Circles, 2014) and Ostensive Moments and the Romantic Arts: Essays in Honor of Paul Fry (Essays in Romanticism, forthcoming in March 2023). His essays have appeared in such journals as ELH, Studies in Romanticism, Criticism, Modern Philology, and Modernism/modernity. His most recent article, "Promethean Ethics and Nineteenth-Century Ecologies," published and available open access at Literature Compass online, was co-written with Kira Braham. Eric is completing a third book, James Schuyler and the Poetics of Attention: Romanticism Inside Out, and, from the gleanings of that project, assembling an uncreative, marginally scholarly commonplace called "'Now and Then': A Poetics and Commonplace of Intermittence."As ever, if you're enjoying the podcast, make sure you're following it and consider leaving a rating and review. Share it with a friend! And subscribe to my Substack, where you'll get a newsletter (with more links, thoughts, images) to go with each episode.

In this week's episode, we are taking a look at how the patriarchal society and patrilineal anxieties of early modern English society influenced the sexist representations of gender in Shakespeare's King Lear, and how much further more recent productions have comes in terms of representation...or not. Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Aughterson, Kate, and Ailsa Grant Ferguson. Shakespeare and Gender: Sex and Sexuality in Shakespeare's Drama. The Arden Shakespeare, 2020, pp. 153-171. Accessed 11 Jan. 2022.  Kelly, Philippa. “See What Breeds about Her Heart: ‘King Lear', Feminism, and Performance.” Renaissance Drama, vol. 33, [University of Chicago Press, Northwestern University], 2004, pp. 137–57, Accessed 12 Jan. 2022 from http://www.jstor.org/stable/41917389. Rudnytsky, Peter L. “‘The Darke and Vicious Place': The Dread of the Vagina in ‘King Lear.'” Modern Philology, vol. 96, no. 3, University of Chicago Press, 1999, pp. 291–311, http://www.jstor.org/stable/439219. Schwarz, Kathryn. “‘Fallen Out With My More Headier Will': Dislocation in King Lear.” What You Will: Gender, Contract, and Shakespearean Social Space, University of Pennsylvania Press, 2011, pp. 181–208, http://www.jstor.org/stable/j.ctt3fh7rv.12.

In today's episode, we explore Shakespeare's Twelfth Night through the lens of Gender and Queer Theory. We take a look at how Early Modern concepts of gender and queerness may have influenced the writing of Twelfth Night and how modern productions use the play to explore themes related to gender and queer identity.  In the second half of the episode, we are joined by our first ever guest of the pod, Dr. Sawyer Kemp to continue our discussion on Gender and Queer Theory.  Dr. Sawyer Kemp (they/them) is a Chancellor's Postdoctoral Fellow in Transgender Studies with the Gender & Women's Studies department at the University of Illinois, Urbana-Champaign. Sawyer's current book project investigates the rhetoric and industry of “accessibility” in contemporary Shakespeare performance. Exploring access as a tool for feminist and queer critique, this project analyzes theatres' impact on and outreach to communities of trans and gender non-conforming people, sexual assault survivors, and people with disabilities. Sawyer's work has appeared in Shakespeare Quarterly, Shakespeare Studies, The Journal for Early Modern Cultural Studies, and the edited collection Teaching Social Justice Through Shakespeare. Their most recent article, “Two Othellos: Transitioning Anti-Blackness” is forthcoming in Shakespeare Bulletin.   Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com   Works referenced: Ake, Jami. “Glimpsing a ‘Lesbian' Poetics in ‘Twelfth Night.'” Studies in English Literature, 1500-1900, vol. 43, no. 2, 2003, pp. 375–394. JSTOR, www.jstor.org/stable/4625073. Accessed 20 June 2021. Aughterson, Kate, and Ailsa Grant Ferguson. Shakespeare and Gender: Sex and Sexuality in Shakespeare's Drama. The Arden Shakespeare, 2020, pp. 97-121. Accessed 19 June 2021. Barker, Roberta. “The ‘Play-Boy,' the Female Performer, and the Art of Portraying a Lady.” Shakespeare Bulletin, vol. 33, no. 1, 2015, pp. 83–97. JSTOR, www.jstor.org/stable/26355090. Accessed 19 June 2021. Charles, Casey. “Gender Trouble in ‘Twelfth Night.'” Theatre Journal, vol. 49, no. 2, 1997, pp. 121–141. JSTOR, www.jstor.org/stable/3208678. Accessed 19 June 2021. Coontz, Stephanie, et al. “Marriage vs Friendship.” Call Your Girlfriend, 2 Aug. 2009, www.callyourgirlfriend.com/episodes/2019/08/02/marriage-vs-friendship.  Dekkar, Thomas, and Thomas Middleton. “The Roaring Girl. OR Moll Cutpurse.” Folger Shakespeare Library, 21 July 2017. https://emed.folger.edu/sites/default/files/folger_encodings/pdf/EMED-Roaring-reg-3.pdf “Introduction.” Twelfth Night, edited by Keir Elam, The Arden Shakespeare, 2008, pp. 57-68, 111-119. Third. McManus, Clare. “When Is a Woman Not a Woman? Or, Jacobean Fantasies of Female Performance (1606–1611).” Modern Philology, vol. 105, no. 3, 2008, pp. 437–474. JSTOR, www.jstor.org/stable/10.1086/591257. Accessed 18 June 2021. “Volume 19, Number 4, Fall 2019 Special Issue: Early Modern Trans Studies Guest Editors: Simone Chess, Colby Gordon, and Will Fisher.” Journal for Early Modern Cultural Studies, Project MUSE, 24 Sept. 2020, muse.jhu.edu/issue/42946.  

Revenge! Murder! Incest! In episode 7 of Sparking Connections, Esmé and Kim discuss the Caroline revenge tragedy 'Tis Pity She's A Whore,' by John Ford. Show Notes: For more information and Transcripts please visit: https://pleaseholdfor.squarespace.com Boehrer, Bruce, ‘“Nice Philosophy”: 'Tis Pity She's a Whore and the Two Books of God', Studies in English Literature, 1500-1900, 24.2 (1984), 355–71 Bowers, Rick, ‘John Ford and the Sleep of Death', Texas Studies in Literature and Language, 28.4 (1986), 353–87 Champion, Larry S., ‘Ford's 'Tis Pity She's a Whore and the Jacobean Tragic Perspective', PMLA, 90.1 (1975), 78–87 Clerico, Terri, ‘The Politics of Blood: John Ford's “ 'Tis Pity She's a Whore”', English Literary Renaissance, 22.3 (1992), 405–34 Cooper, Farah Karim, and Tiffany Stern, Shakespeare's Theatres and the Effects of Performance (Bloomsbury Publishing, 2015) Diehl, Huston, ‘Inversion, Parody, and Irony: The Visual Rhetoric of Renaissance English Tragedy', Studies in English Literature, 1500-1900, 22.2 (1982), 197–209 Forker, Charles R., ‘“A Little More Than Kin, and Less Than Kind”: Incest, Intimacy, Narcissism, and Identity in Elizabethan and Stuart Drama', Medieval & Renaissance Drama in England, 4 (1989), 13–51 Gleason, John B., ‘The Dutch Humanist Origins of The De Witt Drawing of the Swan Theatre', Shakespeare Quarterly, 32.3 (1981), 324–38 Hopkins, Lisa, ‘Speaking Sweat: Emblems in the Plays of John Ford', Comparative Drama, 29.1 (1995), 133–46 Hoy, Cyrus, ‘“Ignorance in Knowledge”: Marlowe's Faustus and Ford's Giovanni', Modern Philology, 57.3 (1960), 145–54 Jephson, Valerie L., and Bruce Boehrer, ‘Mythologizing the Middle Class: “'Tis Pity She's a Whore” and the Urban Bourgeoisie', Renaissance and Reformation / Renaissance et Réforme, 18.3 (1994), 5–28 Kaufmann, R. J., ‘FORD'S TRAGIC PERSPECTIVE', Texas Studies in Literature and Language, 1.4 (1960), 522–37 Kistner, Arthur L., and M. K. Kistner, ‘The Dramatic Functions of Love in the Tragedies of John Ford', Studies in Philology, 70.1 (1973), 62–76 Martin, Matthew R., ‘The Raw and the Cooked in Ford's “ 'Tis Pity She's a Whore”', Early Theatre, 15.2 (2012), 131–46 Maus, Katharine Eisaman, ‘Horns of Dilemma: Jealousy, Gender, and Spectatorship in English Renaissance Drama', ELH, 54.3 (1987), 561–83 Mikesell, Margaret, ‘The Formative Power of Marriage in Stuart Tragedy', Modern Language Studies, 12.1 (1982), 36–44 Sasayama, Takashi, ‘The Decadence of John Fordʹs Tragedies', in English Criticism in Japan: Essays by Younger Japanese Scholars on English and American Literature, ed. by EARL ROY MINER (Princeton University Press, 1972), pp. 101–14 Sensabaugh, G. F., ‘John Ford and Platonic Love in the Court', Studies in Philology, 36.2 (1939), 206–26 Silverstone, Catherine, ‘Sexing Death: Giuseppe Patroni Griffi's “ 'Tis Pity She's a Whore”', Shakespeare Bulletin, 29.4 (2011), 559–72 Smith, Emma, and Garrett A. Sullivan Jr, The Cambridge Companion to English Renaissance Tragedy (Cambridge University Press, 2010)