Dean for Curriculum and Faculty Support
Diana Henderson‘s areas of research and interest include Shakespeare, gender studies, early modern poetry and drama, modernism, media studies, and world drama. Her publications include the books Alternative Shakespeares 3, Collaborations with the Past: Reshaping Shakespeare Across Time and Media, A Concise Companion to Shakespeare on Screen, Passion Made Public: Elizabethan Lyric, Gender and Performance, and articles in Shakespeare Survey, Renaissance and Reformation, Shakespeare and Genre, Thomas Middleton in Context, Knowing Shakespeare, Shakespeare and War, Victorian Shakespeare, Shakespeare: The Movie 2, Shakespeare After Mass Media, A New History of Early English Drama, Virginia Woolf: Reading the Renaissance, and numerous volumes in the Cambridge and Blackwell’s Companions series. She has worked as a dramaturg, was a principal participant in MIT’s collaborations with the Royal Shakespeare Company, and is consulting scholar for the Actors’ Shakespeare Project.
Winner of the 2005 Everett Moore Baker Memorial Award For Excellence in Undergraduate Teaching
MacVicar Faculty Fellow, 2009-
Alternative Shakespeares, 3, editor. Routledge, 2008.
Collaborations with the Past: Reshaping Shakespeare Across Time and Media. Cornell University Press, 2006. [paperback release 2012] http://www.amazon.com/Collaborations-Past-Reshaping-Shakespeare-Across/dp/0801444195/
Concise Companion to Shakespeare on Screen, editor. Oxford: Blackwell Publishing, Inc., 2006.
Passion Made Public: Elizabethan Lyric, Gender and Performance. Urbana: University of Illinois Press, 1995.
“Magic in the Chain: material signs and gender transformed in cross-cultural adaptation.” For the Oxford Handbook of Shakespeare and Embodiment. Ed. Valerie Traub. (In progress)
“Ephemeral Echoes and Brash Possibilities: the Liberation of Adapting Shakespeare’s Early Comedies.” Shakespeare in Performance. Eds. Estelle Rivier and Eric Brown. Cambridge Scholars Press, forthcoming 2013.
“Where Had All the Flowers Gone? The Missing Space of Female Sonneteers in Mid-Seventeeth-Century England.” Renaissance and Reformation/Renaissance et Réforme 35.1 (Winter/hiver 2012), eds. Katie Larson and Alysia Kolentsis: 139-165.
“Shakespeare’s Afterlives” for the Cambridge World Shakespeare Encyclopedia (print and online editions). Eds. Andrew Murphy and Bruce Smith. Cambridge University Press. Submitted 2011; publication date 2014.
“Catalysing What? Historical Remediation, the Musical, and what of Love’s Labour’s Lasts.” Shakespeare Survey 64: Shakespeare as Cultural Catalyst. Ed. Peter Holland. Cambridge University Press, 2011: 97-113.
“Shakespearean Comedy, Tempest Toss’d: Genre, Social Transformation, and Contemporary Performance” for Shakespeare and Genre: From Early Modern Inheritances to Postmodern Legacies. Ed. Anthony Guneratne. Palgrave MacMillan, 2011: 137-152.
“Afterlives: stages and beyond.” Thomas Middleton in Context. Ed. Suzanne Gossett. Cambridge University Press, 2011: 325-335.
“The Sonnet, Subjectivity, and Gender.” For The Cambridge Companion to the Sonnet. Ed. A.D. Cousins. Cambridge University Press. 2011: 46-65.
“Mind the Gaps: the Ear, the Eye, and the Senses of a Women in Much Ado About Nothing.” Knowing Shakespeare: Senses, Embodiment, and Cognition. Eds. Lowell Gallagher and Shankar Raman. Palgrave Macmillan, 2010: 192-215.
“Shakespeare’s Laboring Lovers: Lyric and Its Discontents.” [Reprint of the Love's Labour's Lost chapter in Passion Made Public.] Shakespearean Criticism: Criticism of William Shakespeare’s Plays and Poetry, from the First Published Appraisals to Current Evaluations, Vol. 128. Michelle Lee, ed. Gale/Cengage Learning, 2010: 95-119.
“Love Poetry.” A New Companion to English Renaissance Literature and Culture, vol. 2. Ed. Michael Hattaway. Basil Blackwell, 2010: pp. 249-263.
“Re-contextualizing Literary Education: A Multi-Variable Experiment in Learning and Performance.” English Language Notes 47.1 (Spring/Summer 2009): 105-114.
“Meditations in a time of (displaced) war: Henry V and the ethics of performing history.” Shakespeare and War. Eds. Paul Franssen and Rosalind King. Palgrave Macmillan, 2008.
“Alternative Collaborations: Shakespeare, Nahum Tate, Our Academy, and the Science of Probability.” Alternative Shakespeares 3. Ed. Diana E. Henderson. Routledge, 2008: 243-63.
“From Popular Culture to Literature.” For The Cambridge Companion to Shakespeare and Popular Culture. Ed. Robert Shaughnessy. Cambridge University Press, 2007: 6-25
“The Artistic Process: Learning From Campbell Scott’s Hamlet.” A Concise Companion to Shakespeare on Screen. Ed. Diana E. Henderson. Oxford: Blackwell, 2006: 77-95.
“William Shakespeare: The Tragedies.” For The Oxford Encyclopedia of British Literature. David Kastan, Editor-in Chief. Oxford University Press. 2006.
“Performing History: Henry IV, money, and the fashion of the times.” A Companion on Shakespeare and Performance. Eds. Barbara Hodgdon and W. B. Worthen. Oxford: Blackwell. 2005: 376-96.
“Theatre and controversy, 1572-1603.” History of British Theatre, Vol. 1: Origins to 1660. Eds. Jane Milling and Peter Thomson. Cambridge University Press. 2004: 242-263.
“Othello Redux?: Scott’s Kenilworth and the Trickiness of ‘Race’ on the Nineteenth-century Stage.” Victorian Shakespeare, Volume 2: Literature and Culture. Eds. Gail Marshall and Adrian Poole. Palgrave Macmillan, 2003: 14-29.
“A Shrew for the Times, Revisited.” Shakespeare: The Movie II: Popularizing the plays of film, TV, video, and DVD. Eds. Richard Burt and Lynda E. Boose. Routledge, 2003: 120-139. [Earlier version published as well in "Much Ado About Nothing" and "The Taming of the Shrew." Ed. Marion Wynne-Davies. Palgrave New Casebook series, 2001.]
“The Tempest in Performance.” A Companion to Shakespeare, Volume IV: The Poems, Problem Comedies, Late Plays. Eds. Richard Dutton and Jean Howard. Basil Blackwell. 2003: 216-239.
“Sir Philip Sidney.” British Writers: Retrospective Supplement II. Ed. Jay Parini. Scribner’s Sons. 2002: 327-342.
“Shakespeare: The Theme Park.” Shakespeare After Mass Media. Ed. Richard Burt. New York: Palgrave, 2002: 107-126.
“Henry King.” British Writers, Supplement VI. Ed. Jay Parini. New York: Scribner’s Sons, 2001: 149-163.
“King and No King: ‘The Exequy’ as an Antebellum Poem.” The Wit to Know: Essays on English Renaissance Literature for Edward Tayler. Eds. Eugene D. Hill and William Kerrigan. Fairfield, CT: George Herbert Journal Special Studies and Monographs, 2000: 57-75.
“Two Popular Kinsmen? Shakespeare, Stoppard, and the Aesthetics of Film Collaboration.” Originally solicited for inclusion in a volume of proceedings from Shakespeare on Film: The Centenary Conference. Ed. Jose Ramon Diaz Fernandez. Draft available at: http://cla.calpoly.edu/~smarx/courses/431/Two Popular Kinsmen-6.html
“Reading Vernacular Literature” (co-authored with James Siemon). A Companion to Shakespeare. Ed. David Scott Kastan. Basil Blackwell, 1999: 206-222.
“Female Power and the Devaluation of Renaissance Love Lyrics.” Dwelling in Possibility: Women Poets and Critics on Poetry. “Reading Women’s Writing” series. Eds. Yopie Prins and Maeera Shreiber. Ithaca: Cornell Unversity Press, 1997: 38-59.
“The Theater and Domestic Culture.” A New History of Early English Drama. Eds. John D. Cox and David Scott Kastan. New York: Columbia University Press, 1997: 173-194.
“Joyce’s Modernist Woman: Whose Last Word?” Modern Fiction Studies 35.3 [special issue: Feminist Readings of Joyce] (1989): 517-528.
“Many Mansions: Reconstructing A Woman Killed with Kindness.” SEL: Studies in English Literature, 1500-1900 26.2 (1986): 277-294.