VITA
1. Personal: Name: Clifford Davidson. Born: 29 October 1932 at Faribault, Minnesota. Married Audrey Ekdahl, 1954 (deceased 2006). Religious affiliation: Episcopalian (Anglican). Military service: U.S. Army, 1956-58.
2. Office: The Medieval Institute, 100E Walwood Hall, Western Michigan University, Kalamazoo, MI 49008, USA. FAX (616) 387-8750. Cell phone: 616-330-2278. Preferred e-mail: [email protected]
3. Home address: 2006 Argyle Ave., Kalamazoo, MI 49008. Phone: (616) 381-6705. Preferred address.
4. Education: Elementary schools in Rice and Crow Wing counties, Minnesota, 1939-46; Brainerd (Minnesota) High School, 1946-50; St. Cloud State University (B.Sc., 1954); University of Minnesota Graduate School; Wayne State University (M.A., 1961; Ph.D., 1966).
5. Employment: High School Teacher, 1955-56, 1958-59; Military service, U.S. Army, 1956–58; Graduate Assistant, Wayne State University, 1959-61. Instructor in English, Wayne State University, 1961-65. Assistant Professor of English, Western Michigan University, 1965-72; Associate Professor of English, 1972-79; Professor of English, 1979-89; Professor of English and Medieval Studies, 1989–2003; Professor of English and Medieval Studies Emeritus, 2003– ; Distinguished Faculty Scholar, 1985–.
6. Publications: a. Books, Monographs, and Editions:
The Primrose Way: A Study of Shakespeare’s Macbeth (Westburg and Associates, 1970). Excerpt published in Harold Bloom, ed., William Shakespeare’s Macbeth, Bloom’s Guides (Philadelphia: Chelsea House, 2004), 52–56.
Drama and Art: An Introduction to the Use of Evidence from the Visual Arts for the Study of Early Drama, EDAM Monograph Ser., 1 (Medieval Institute, 1977); handbook prepared for Early Drama, Art, and Music project; Supplement contained in EDAM Newsletter, 4, No. 2 (1982), 25-50.
(with David E. O’Connor) York Art: A Subject List of Extant and Lost Art Including Items Relevant to Early Drama, EDAM Reference Ser., 1 (Medieval Institute Publications, 1978).
(ed., with C. J. Gianakaris and John H. Stroupe) Drama in the Middle Ages (New York: AMS Press, 1982). Contributed Introduction (pp. xi-xxi); rpt. “On the Uses of Iconographic Study: The Example of the Sponsus from St. Martial of Limoges” (pp. 43-62). Book contains papers chosen from items previously published in Comparative Drama.
From Creation to Doom: The York Cycle of Mystery Plays (New York: AMS Press, 1984). Includes previously published papers in revised or modified form: “After the Fall,” “Civic Patronage and the York
Realist,” “Northern Spirituality and the Late Medieval Drama of York,” “From Tristia to Gaudium.”
(ed.) Word, Picture, and Spectacle, EDAM Monograph Series 5 (Medieval Institute Publications, 1984; contributed extended essay on “Space and Time in Medieval Drama: Meditations on Orientation in the Early Theater,” pp. 39-93, pls. 36-50).
(ed., with C. J. Gianakaris and John H. Stroupe) Drama in the Twentieth Century: Critical and Comparative Essays (New York: AMS Press, 1984). Papers reprinted from Comparative Drama.
(ed., with Audrey Ekdahl Davidson) Sacra/Profana: Studies in Music for Johannes Riedel (Minneapolis: Friends of Minnesota Music, 1985). Festschrift.
(with Jennifer Alexander) The Early Art of Coventry, Stratford-upon-Avon, Warwick, and Lesser Sites in Warwickshire, Including Items Relevant to Early Drama, EDAM Reference Series 4 (Medieval Institute Publications, 1985).
(ed., with Thomas Campbell) The Fleury Playbook: Essays and Studies, EDAM Monograph Series 7 (Medieval Institute Publications, 1985).
(ed.) The Saint Play in Medieval Europe, EDAM Monograph Series 8 (Medieval Institute Publications, 1986). Contributions includes Introduction (pp. 1-10) and essay on “The Middle English Saint Play” (pp. 31-122, pls. 2-14).
(ed., with C. J. Gianakaris and John H. Stroupe) Drama in the Renaissance (New York: AMS Press, 1986). Collection of essays selected from Comparative Drama.
The Guild Chapel Wall Paintings at Stratford-upon-Avon (New York: AMS Press, 1988).
Visualizing the Moral Life: A Study of the Iconography of the Macro Morality Plays (New York: AMS Press, 1989).
(ed., with Ann Eljenholm Nichols) Iconoclasm vs. Art and Drama, EDAM Monograph Series 11 (Medieval Institute Publications, 1989). Contributions include essay on “The Anti-Visual Prejudice” (pp. 33-46) and “‘The Devil’s Guts’: Allegations of Superstition and Fraud in Drama and Art during the Reformation” (pp. 92-144).
Illustrations of the Stage and Acting in England to 1580, EDAM Monograph Series 16 (Medieval Institute Publications, 1991).
(ed., with John H. Stroupe) Drama in the Middle Ages: Second Series (New York: AMS Press, 1991). Papers chosen from previously published articles in Comparative Drama.
(ed., with John H. Stroupe) Iconographic and Comparative Studies in Medieval Drama (Medieval Institute Publications, 1991). Contributions include essay, “Positional Symbolism and Medieval English Drama” (pp. 66-76). Rpt. of Comparative Drama, 25, No. 1: Proceedings of the Lancaster Colloquium on Medieval Theater.
(ed., with Thomas Seiler) The Iconography of Hell, EDAM Monograph Series 17 (Medieval Institute Publications, 1992). Contributions include essay, “The Fate of the Damned” (pp. 41-56).
On Tradition: Essays on the Use and Valuation of the Past (AMS Press, 1992). Contains previously published articles in revised or abbreviated form: “The Sociology of Visual Forms, Tradition, and the Late Medieval Theater,” “What hempen homespuns have we swagg’ring here?” “Jonson’s Bartholomew Fair, Stage Plays, and Anti-Traditionalism,” “George Herbert and Painted Glass Windows,” and “T. S. Eliot’s Murder in the Cathedral: Reviving the Saint Play Tradition.”
(ed.) A Tretise of Miraclis Pleyinge, EDAM Monograph Series 19 (Medieval Institute Publications, 1993). Revised edition (Medieval Institute Publications, 2011).
(ed., with John H. Stroupe) Medieval Drama on the Continent of Europe (Medieval Institute Publications, 1993). Rpt. of Comparative Drama, 27, No. 1 (Spring 1993).
(ed., with John H. Stroupe and Rand Johnson) Drama and the Classical Heritage: Comparative and Critical Essays (New York: AMS Press, 1993). Articles reprinted from Comparative Drama.
(ed., with John H. Stroupe) Early and Traditional Drama: Africa, Asia, and the New World (Medieval Institute Publications, 1994). Rpt. of Comparative Drama, 28, No. 1 (Spring 1994).
(ed.) The Iconography of Heaven, EDAM Monograph Series 21 (Medieval Institute Publications, 1994). Includes the following contributions: “Saints and Angels” (pp. 1-39), “Heaven’s Fragrance” (pp. 110-27), and (with J. T. Rhodes) “The Garden of Paradise” (pp. 69-109).
(ed., with Luis Gámez and John H. Stroupe) Emblem, Iconography, and Drama (Medieval Institute Publications, 1995). Rpt. of Comparative Drama, 29, No. 1 (Spring 1995).
(ed.) Fools and Folly, EDAM Monograph Series 22 (Medieval Institute Publications, 1996).
Technology, Guilds, and Early English Drama, EDAM Monograph Series 23 (Medieval Institute Publications, 1997).
(with Audrey Ekdahl Davidson) Performing Medieval Music Drama (Medieval Institute Publications, for The Society for Old Music, 1998).
(ed.) Material Culture and Medieval Drama (Medieval Institute Publications, 1999).
(ed., with Peter Happé) The Worlde and the Chylde (Medieval Institute Publications, 1999).
Baptism, the Three Enemies, and T. S. Eliot (Stamford, Lincolnshire: Shaun Tyas, 1999).
(ed., with Pamela King) The Coventry Corpus Christi Plays (Medieval Institute Publications, 2000).
(ed.) Gesture in Medieval Drama and Art (Medieval Institute Publications, 2001). Includes essay “Gesture in Medieval English Drama.”
History, Religion, and Violence: Cultural Contexts for Medieval and Renaissance Drama, Variorum Series (Ashgate Publishing, 2002). Reprinted essays, except for “Marlowe, the Papacy, and Doctor
Faustus.”
Deliver Us from Evil: Essays on Symbolic Engagement in Early Drama (AMS Press, 2004).
(ed.) The Medieval Dramatic Tradition (AMS Press, 2005). Essays reprinted from The Early Drama, Art, and Music Review.
Selected Studies in Drama and Renaissance Literature (AMS Press, 2006). Reprinted essays except for “Memory, the Resurrection, and Early Drama.”
(ed., with Martin Walsh and Ton Broos) Everyman, and Its Dutch Original, Elckerlijc (TEAMS/Medieval Institute Publications, 2007).
Festivals and Plays in Late Medieval Britain (Ashgate Publishing, 2007). Includes reprinted essays “‘Corpus Christi Play’ and the Feast of Corpus Christi,” “Suffering and the York Plays,” and “The Vernacular Plays for Good Friday and Easter from MS. e Museo 160.”
Norwegians in Michigan. Peoples of Michigan Series. East Lansing: Michigan State University Press, 2010.
(ed.) The York Corpus Christi Plays. TEAMS Middle English Texts Series. Kalamazoo: Medieval Institute Publications, 2011.
Corpus Christi Plays at York: A Context for Religious Drama. New York: AMS Press, 2013. Includes reprinted chapters “York Guilds and the Corpus Christi Plays” and “The York Plays and Visual Piety.”
(ed.) Studies in the Medieval Dramatic Tradition. New York: AMS Press, in press. Includes “Drama, Censorship, and “Vernacular Theology.” Volume reprints papers from The Early Drama, Art, and Music Review and includes new material.
(ed., with Ton Broos and Martin Walsh) Mary of Nemmigen, with Its Dutch Analogue Mariken van Nieumeghen. Kalamazoo: Medieval Institute Publications, in press.
(ed.) Further Studies in the Medieval Dramatic Tradition (tentative title). New York: AMS Press, in press. Includes “Drama, Censorship, and ‘Vernacular Theology’.” b. Articles, arranged by period:
ANGLO-SAXON
“‘Women’s Songs’ in Anglo-Saxon England,” Neophilologus 59 (1975): 451-62.
MEDIEVAL DRAMA
“The Unity of the Wakefield Mactacio Abel,” Traditio 23 (1967): 494-500.
“The Interpretation of the Wakefield Judicium,” Annuale Mediaevale 10 (1969): 104-19.
“The Digby Mary Magdalene and the Magdalene Cult of the Middle Ages,” Annuale Mediaevale 13 (1972): 70-87.
“The End of the World in Medieval Drama and Art,” Michigan Academician 5 (1972): 257-63.
“Thomas Aquinas, the Feast of Corpus Christi, and the English Cycle Plays,” Michigan Academician 7 (1974): 103-10.
“Civic Concern and Iconography in the York Passion,” Annuale Mediaevale 15 (1974): 125-49. Revision rpt. in From Creation to Doom (see above).
“The Realism of the York Realist and the York Passion,” Speculum 50 (1975): 270-83; rpt. in Medieval English Drama, ed. Peter Happé (London: Macmillan, 1984), pp. 101-17, and in revised form in From Creation to Doom (see above).
“After the Fall: Design in the Old Testament Plays in the York Cycle,” Mediaevalia 1 (1975): 1-24 (inaugural article). Revision rpt. in From Creation to Doom (see above).
“Northern Spirituality and the Late Medieval Drama of York,” in The Spirituality of Western Christendom, ed. E. Rozanne Elder (Kalamazoo: Cistercian Publications, 1976), pp. 125-51, 204-08. Rpt. in revised form in On Tradition (see above).
(with Nona Mason) “Staging the York Creation, and Fall of Lucifer,” Theatre Survey 17 (1976): 162-78.
“From Tristia to Gaudium: Iconography and the York-Towneley Harrowing of Hell,” American Benedictine Review 28 (1977): 260-75. Revised version rpt. in From Creation to Doom (see above).
“Early Drama, Art, and Music: A New Project,” Research Opportunities in Renaissance Drama 20 (1977): 91-94.
“Thomas Sharp and the Stratford Hell Mouth,” EDAM Newsletter 1, No. 1 (Dec. 1978): 6-8.
“The Devotional Impulse and Drama at York,” EDAM Newsletter 1, No. 2 (April 1979): 2-4.
“On the Uses of Iconographic Study: The Example of the Sponsus from St. Martial of Limoges,” Comparative Drama 13 (1979-80): 300-19; rpt. in Drama in the Middle Ages.
“The Concept of Purpose and Early Drama,” EDAM Newsletter 2, No. 2 (April 1980): 17-20.
“Interdisciplinary Drama Research at Western Michigan University,” Treteaux 2 (1980): 17-20.
“The Visual Arts and Drama, with Special Emphasis on the Lazarus Plays of the Middle Ages,” in Le Théâtre au Moyen Age, ed. Gari Muller (Montreal: Editions Univers, 1981), pp. 44-59.
“Of Woodcut and Play,” EDAM Newsletter 3, No. 2 (April 1981): 14-17.
“Gesture in Medieval Drama with Special Reference to the Doomsday Plays in the Middle English Cycles,” EDAM Newsletter 6 (1983): 8-17.
“Women and Medieval Drama,” Women’s Studies 11 (1984): 99-113.
“Stage Gesture in Medieval Drama,” Atti del IV Colloquio della Société Internationale pour l’Etude du Théâtre Médiéval, ed. M. Chiabò, F. Doglio, and M. Maymone (Viterbo, Italy: Centro Studi sul Teatro Medioevale e Rinascimentale, 1984), pp. 465-78.
“Jest and Earnest: Comedy in the Work of the Wakefield Master,” Annuale Mediaevale 22 (1982 [1985]): 65-83.
“Medieval Puppet Theater at Witney, Oxfordshire, and Pentecost Ceremony at St. Paul’s, London,” EDAM Newsletter 9 (1986): 15-16.
“The Lost Coventry Drapers’ Play and Its Iconographic Context,” Leeds Studies in English 27 (1986): 141-58. Rpt. in part in revised form in The Coventry Corpus Christi Plays, ed. King and Davidson (see above).
“Toward a Sociology of Visual Forms in the English Medieval Theater,” Fifteenth Century Studies 13 (1988): 221-35. Revised version rpt. in On Tradition.
“The Contribution of W. L. Hildburgh,” EDAM Newsletter 11 (1989): 30-37.
“When Actors Play God,” American Benedictine Review 41 (1990): 339-47. Revised version in On Tradition (see above).
“Medieval Drama,” in The Spenser Encyclopedia, ed. A. C. Hamilton et al. (Toronto: University of Toronto Press, 1990), p. 224.
“Positional Symbolism and Medieval English Drama,” Comparative Drama 25, No. 1 [Proceedings of Lancaster SITM colloquium] (1991): 66-76. Rpt. in Iconographic and Comparative Studies (see above).
“Hildegard of Bingen’s Ordo Virtutum: A Note on Production,” in Hildegard of Bingen’s Ordo Virtutum: Critical Studies, ed. Audrey Ekdahl Davidson, EDAM Monograph Series 18 (Medieval Institute Publications, 1992), pp. 111-12.
(with Lynette Muir, Stephen Spector, and John Tailby) “Mysterienspiele,” in Theologische Real- enzyklopädie, vol. 23 (Berlin: Walter de Gruyter, 1994), pp. 527-33.
“Stage Properties and Iconography in Early English Drama,” Mediaevalia 15 (1993 [for 1989]): 241-54.
“The Towneley Plays,” in Dictionary of Literary Biography: Old and Middle English Literature, ed. Jeffrey Helterman and Jerome Mitchell (Gale Research, 1994), pp. 432-40.
“Idol and Image in Late Medieval Art and Drama,” Early Drama, Art, and Music Review, 17 (1995), 89- 99. Rpt. in History, Religion, and Violence, pp. 240-50 (see above).
“Saints in Play: English Theater and Saints’ Lives,” in Saints: Studies in Medieval Hagiography, ed. Sandro Sticca (Medieval and Renaissance Texts and Studies, 1996), pp. 143-58. Rpt. in History,
Religion, and Violence, pp. 251-66 (see above).
“Carnival, Lent, and Early English Drama,” Research Opportunities in Renaissance Drama 36 (1997): 123-42. Rpt. in History, Religion, and Violence, pp. 207-25 (see above).
“The Medieval Stage and the Anti-Theatrical Prejudice, Parergon 14, No. 2 (1997): 1–15. Rpt. in History, Religion, and Violence, pp. 226-39 (see above).
“Sacred Blood and the Late Medieval Stage,” Comparative Drama 31 (1997): 436–58. Rpt. in History, Religion, and Violence, pp. 180-204 (see above).
“Civic Drama for Corpus Christi at Coventry: Some Lost Plays,” in The Stage as Mirror, ed. Alan E. Knight (Woodbridge: D. S. Brewer, 1997), 145–64. Rpt. in part in revised form in The Coventry Corpus Christi Plays, ed. King and Davidson (see above).
“The Sacrifice of Isaac in Medieval English Drama,” Papers on Language and Literature 35 (1999): 28– 55. Rpt. in History, Religion, and Violence, pp. 124-48 (see above).
“British Saint Play Records: Coping with Ambiguity,” Early Theatre 2 (1999): 97–106. Also in the same issue, “Response to Professor Clopper,” p. 106.
“Nudity, the Body, and Early English Drama,” Journal of English and Germanic Philology (1999): 500– 22. Rpt. in History, Religion, and Violence, pp. 149-79 (see above).
“Cain in the Mysteries: The Iconography of Violence,” Fifteenth Century Studies, 25 (2000): 204–27. Rpt. in History, Religion, and Violence, pp. 97-123 (see above).
“Signs of Doomsday in Drama and Art,” Historical Reflections 26 (2000): 223–45. Rpt. in History, Religion, and Violence, pp. 267-92 (see above).
“Violence and the Saint Play,” Studies in Philology 108 (2001): 292–314. Rpt. in Selected Studies, 38– 69.
“Suffering and the York Plays,” Philological Quarterly 81 (2002): 1–31. Rpt. in Festivals and Plays, 141–67.
“Improvisation in Medieval British Drama,” in Improvisation in the Arts of the Middle Ages and Renaissance, ed. Timothy McGee (Medieval Institute Publications, 2003), 193–221.
“The Bodley Christ’s Burial and Christ’s Resurrection: Vernacular Dramas for Good Friday and Easter,” European Medieval Drama 7 (2003): 51–67. Reprint in Festivals and Plays, 169–85.
“‘Corpus Christi Play’ and the Feast of Corpus Christi,” Research Opportunities in Renaissance Drama 44 (2005): 1–37. Rpt. in Festivals and Plays, 161–67.
“York Guilds and the Corpus Christi Plays: Unwilling Participants?” Early Theatre 9, no. 2 (2006): 11– 33. Rpt. in revised form in Corpus Christi Plays at York, 7–33.
“The York Corpus Christi Plays and Visual Piety,” Research Opportunities in Medieval and Renaissance Drama 46 (2007): 25–50. Reprinted in revised form in Corpus Christi Plays at York, 33– 62.
“Symbolic Engagement in Everyman,” Text, Language and Interpretation: Essays in Honour of Keiko Ikegami, ed. Yshiyuki Nakao et al. (Tokyo: Eihosha, 2007), 29–41.
(With Eric Strand and Matthew Steel) “Demonstration Performance of the Cividale Planctus Mariae: A Report,” Comparative Drama 42 (2008): 287–300.
“Dux Moraud: Criminality and Salvation in an East Anglian Play,” Medieval and Renaissance Drama in England 22 (2009): 128–43.
(With Sheila White) “Bullying in the York Corpus Christi Plays,” Research Opportunities in Medieval and Renaissance Drama,” 49 (2010): 40–59.
“Memory and Remembering: Sacred History and the York Plays.” In Peter Happé and Wim Hüsken, eds., The Bible on Stage: Theatrical Traditions in Medieval England (Leiden: Brill, in press).
OTHER MEDIEVAL TOPICS
“The Sins of the Flesh in the Fourteenth-Century Middle English ‘Land of Cokaygne’,” Ball State University Forum, 11, No. 4 (1970), 21-26.
MEDIEVAL ART AND ICONOGRAPHY “The Early Drama, Art, and Music Project and English Churches,” Churchscape 3 (1983-84): 42-45.
“The Musical Iconography of Warwickshire,” EDAM Newsletter 7 (1985): 31-35.
“Curtius and the Primacy of the Book,” EDAM Newsletter 10 (1987): 1-6.
SHAKESPEARE
“Coriolanus: A Study in Political Dislocation,” Shakespeare Studies 4 (1968): 263-74.
“The Witches’ Dances in Macbeth,” Shakespeare Newsletter 18 (1968): 37.
“The Triumph of Time,” Dalhousie Review 50 (1970): 170-81 (on Hamlet).
“Falstaff’s Catechism on Honor,” Neuphilologische Mitteilungen 72 (1971): 283-86.
“Organic Unity and Shakespearian Tragedy,” Journal of Aesthetics and Art Criticism 30 (1971): 171-76.
“Death in His Court: Iconography in Shakespeare’s Tragedies,” Studies in Iconography 1 (1975): 74-86; rpt. in Drama and Art (see above); trans. by Gy. Szönyi as “A Képzömüvészet és a Reneszanz Drama: Shakespeare Példaja,” in Ikonológia és Műértelmezés, I: Az Ikonológia Elmélete, Pt. II (Szeged,
Hungary: Attila Jozsef Univ., 1986), pp. 385-405.
“The Masque within The Tempest,” Notre Dame English Journal 10 (1976): 12-17.
“Ariel and the Magic of Prospero in The Tempest,” Susquehanna University Studies 10, No. 4 (1978): 229-37.
“Timon of Athens: The Iconography of False Friendship,” Huntington Library Quarterly 43 (1980): 181- 200.
“Antony and Cleopatra: Circe, Venus, and the Whore of Babylon,” in Shakespeare: Contemporary Critical Approaches, ed. Harry Garvin (Lewisburg, Pennsylvania: Bucknell Univ. Press, 1981), pp. 31- 55. Selection rpt. in Shakespeare’s Christian Dimension, ed. Roy Battenhouse (Bloomington: Indiana Univ. Press, 1994), pp. 497-99; revised version of this paper rpt. in History, Religion, and Violence, pp. 64-94.
“The Iconography of Illusion and Truth in The Winter’s Tale,” in Shakespeare and the Arts, ed. Cecile Williamson Cary and Henry S. Limouze (Washington, D.C.: University Press of America, 1982), pp. 73- 91. Revised version rpt. in Selected Studies, 108–33.
“La phénoménologie de la souffrance, le drame médiéval, et ‘King Lear’,” Revue d’Histoire du Théâtre (1985): 343-57 (trans. Richard Wyatt). English text published in On Tradition (see above).
“The Iconography of Wisdom and Folly in King Lear,” in Shakespeare and the Emblem, ed. Tibor Fabiny, Papers in English and American Studies, 3 (Szeged, Hungary: Dept. of English, Attila József Univ., 1984), pp. 189-214; trans. by Győry Szönyi under title “A bölosesség és a bolondság ikonográfíaja a Lear kiralyban,” in Színháztudományi Szemle 19 (Budapest, 1986): 5-24.
“‘What hempen homespuns have we swagg’ring here?’ Amateur Actors in Midsummer Night’s Dream and the Coventry Civic Plays and Pageants,” Shakespeare Studies 19 (1987): 87-99. Rpt. in On Tradition (see above).
“The History of King Lear and the Problem of Belief,” Christianity and Literature 45 (1996): 285-301; rpt. in History, Religion, and Violence, pp. 24-41 (see above).
“The Anxiety of Power and Shakespeare’s Macbeth,” in The Iconography of Power: Ideas and Images of Rulership on the English Renaissance Stage, ed. Györy Szőnyi and Rowland Wymer, Papers in English and American Studies 8 (Szeged: JATE Press, University of Szeged, 2000), 181–204; rpt. in History, Religion, and Violence, pp. 42-63 (see above).
“The Coventry Mysteries and Shakespeare’s Histories,” in Shakespeare’s Second Tetralogy, ed. Beatrice Batson (West Cornwall, Conn.: Locust Hill Press, 2004), 3–25.
OTHER RENAISSANCE DRAMA
“Doctor Faustus of Wittenberg,” Studies in Philology 59 (1962): 514-23.
“Doctor Faustus at Rome,” Studies in English Literature 9 (1969): 231-39.
(with Audrey Ekdahl Davidson) “The Function of Rhetoric, Marlowe’s Tamburlaine, and ‘Reciprocal Illumination’,” Ball State University Forum 22, No. 1 (1981): 20-29.
“Renaissance Dramatic Forms, Cosmic Perspective, and Alienation,” Cahiers Elisabethains 27 (April 1985): 1-16.
“Iconography and Some Problems of Terminology in the Study of Drama and Theater of the Renaissance,” Research Opportunities in Renaissance Drama 29 (1986-87): 7-14.
“Judgment, Iconoclasm, and Anti-Theatricalism in Jonson’s Bartholomew Fair,” Papers on Language and Literature 25 (1989), 349–63. Rpt. in On Tradition (see above).
OTHER RENAISSANCE LITERATURE
“The Dialectic of Temptation,” Ball State University Forum 8, No. 3 (1967): 11-16 (on Milton’s Paradise Regained).
“Style and the Heavenly Ladder,” Gordon Review 11 (1968): 159-67 (on Puritan homiletic style).
“Thomas Hooker’s First Publication?” American Notes and Queries 6 (1968): 69-71.
“Sceptre and Keys as Visual Images in Paradise Lost,” Dalhousie Review 48 (1968-69): 539-49.
“Barnabe Barnes’ A Divine Centurie of Spirituall Sonnets,” Lock Haven Review 11 (1969): 3–16.
“The Idol of Isis Church,” Studies in Philology 66 (1969): 70-86 (on The Faerie Queene, Book V).
“Nature and Judgment in the Old Arcadia,” Papers on Language and Literature 6 (1970): 348-65.
“Herbert’s ‘The Temple’: Conflicts, Submission, and Freedom,” English Miscellany 25 (1975-76):163- 81.
“The Young Milton, Orpheus, and Poetry,” English Studies 59 (1978): 27-34.
“George Herbert and Stained Glass Windows,” George Herbert Journal 12 (1988): 29-39. Rpt. in On Tradition (see above).
“Isis Church,” The Spenser Encyclopedia, ed. A. C. Hamilton et al. (Toronto: University of Toronto Press, 1990), pp. 407-08.
“Repentance and the Fountain: The Transformation of Symbols in English Emblem Books,” in The Art of the Emblem: Essays in Honor of H. J. Höltgen, ed. Michael Bath, J. R. Manning, and Alan R. Young (New York, AMS Press, 1992), pp. 1-37. Rpt. in Selected Studies, 157–84.
“Robert Southwell: Lyric Poetry, the Restoration of Images, and Martyrdom,” Ben Jonson Journal 7 (2000): 157–86. Rpt. in Selected Studies, 185–219.
“The Anglican Setting of Richard Crashaw’s Devotional Verse,” Ben Jonson Journal 8 (2001): 259–76. Rpt. in Selected Studies, 244–66.
“George Herbert and the Architecture of Anglican Worship,” Anglican Theological Review 84 (2002): 853–71. Rpt. in Selected Studies, 220–43.
MODERN LITERATURE
“Types of Despair in ‘Ash Wednesday’,” Renascence 18 (1966): 216-18.
“Jonathan Edwards and Mysticism,” CLA Journal 11 (1967): 149-56.
“[Charles] Williams’ All Hallows’ Eve: The Way of Perversity,” Renascence 20 (1968): 86-93.
“Yeats: The Active and Contemplative Modes of Life,” Renascence 23 (1971): 192-97.
“Blake’s Songs of Innocence and ‘Rebel Nature’,” Research Studies 44 (1976): 35-41.
“T. S. Eliot’s Murder in the Cathedral and the Saint’s Play Tradition,” Papers on Language and Literature 21 (1985): 152-69; rpt. (without notes) in T. S. Eliot’s Murder in the Cathedral, ed. Harold Bloom (New Haven: Chelsea Press, 1988), and in On Tradition (see above).
“Thomas Cranmer and the Vision of Historical Drama” [article on 1936 Canterbury Festival play], in The Rhetoric of Vision: Essays on Charles Williams, ed. Charles Huttar and Peter Schakel (Bucknell University Press, 1996), pp. 217–37. Rpt. in Selected Studies, 134–53. c. Reviews:
Rev. of Peter Saccio, The Court Comedies of John Lyly, in Shakespeare Studies 6 (1970): 373-75.
Rev. of Medieval and Renaissance Studies, V, ed. O. B. Hardison, Jr., in South Atlantic Bulletin (1972): 88-90.
Rev. of Stanley Kahrl, Traditions of Medieval English Drama and Records of Plays and Players in Lincolnshire 1300-1585 (Malone Society Collections), in Comparative Drama 9 (1975): 269-72.
Rev. of Richard J. Collier, Poetry and Drama in the York Corpus Christi Play, in Comparative Drama 12 (1978): 273-77.
Rev. of Alexandra F. Johnston and Margaret Rogerson, eds., Records of Early English Drama: York, in Comparative Drama 14 (1980): 79-81.
Rev. of Peter W. Travis, Dramatic Design in the Chester Cycle, in Modern Philology 80 (1983): 408-10.
Rev. of James Siemon, Shakespearean Iconoclasm, in Comparative Drama 19 (1985): 189-92.
Rev. of Richard Beadle and Pamela King, eds., York Mystery Plays: A Selection in Modern Spelling, in
Speculum 60 (1985): 1042.
Rev. of Roland M. Frye, The Renaissance Hamlet, in Hamlet Studies (New Delhi) 7 (1985): 118-21.
Rev. article: “Renaissance Plays and Their Contexts,” Medieval and Renaissance Drama in England 3 (1986): 245-53.
Rev. of Harry Morris, Last Things in Shakespeare, in Shakespeare Quarterly 38 (1987): 102-03.
Rev. of Alexandra F. Johnston, ed., Editing Early English Drama, in Comparative Drama 22 (1988): 82- 84.
Rev. of Peter Greenfield and Audrey Douglas, Records of Early English Drama: Gloucestershire, Westmorland, and Cumberland, in Medieval and Renaissance Drama in England 4 (1989): 237-40.
Rev. article: “The ‘New Historicism’ and Early Modern Drama,” Comparative Drama 22 (1988-89): 359-69.
Rev. of Ronald W. Vince, ed., A Companion to the Medieval Theatre, in Speculum 65 (1990): 1071-73.
Rev. of John R. Elliott, Jr., Playing God, in University of Toronto Quarterly 60 (1990): 108-09.
Rev. of John N. King, Tudor Royal Iconography, in South Central Review 8 (1991): 71-72.
Rev. of Alfred Harbage, Annals of English Drama, 975-1700, 3rd ed., in The Early Drama, Art, and Music Review 13 (1991): 52-53.
Rev. of Gail McMurray Gibson, The Theater of Devotion, in Fifteenth-Century Studies 18 (1991): 374- 77.
Rev. of David Freedberg, The Power of Images, in The Early Drama, Art, and Music Review 14 (1991): 28-29.
Rev. of David Klausner, Records of Early English Drama: Herefordshire, Worcestershire, in Comparative Drama 26 (1992): 78-80.
Rev. of Alan Young, Tudor and Jacobean Tournaments, in Emblematica 5 (1991): 398-401.
Rev. article: “Reflections in Response to Sandra Billington, Mock Kings in Medieval Society and Renaissance Drama,” in Connotations 2 (1992): 166-71.
Rev. of Eamon Duffy, The Stripping of the Altars: Traditional Religion in England 1400-1600, in Studies in the Age of Chaucer (1994): 185-88.
Rev. of Jean E. Howard, The Stage and Social Struggle in Early Modern England, in The Sixteenth Century Journal 25 (1994): 705-06.
Rev. of Marianne Briscoe and John C. Coldewey, eds., Contexts for Early English Drama, in Fifteenth-
Century Studies 21 (1994): 347–50.
Rev. of Arthur Sherbo, Shakespeare’s Midwives, in Renaissance Quarterly 48 (1995): 393-94.
Rev. of Peter Thomson, Shakespeare’s Professional Career, and Gamini Salgado, The Elizabethan Underworld, in Renaissance Quarterly 48 (1995): 641-44.
Rev. of Richard Beadle, ed., Cambridge Companion to Medieval Drama, in Speculum 70 (1995): 877– 78.
Rev. of Peggy Muñoz Simonds, Iconographic Research in English Renaissance Literature, in Renaissance Quarterly 49 (1996): 644–45.
Rev. of David Scott Kastan and John D. Cox, eds., A New History of Early English Drama, in The Sixteenth Century Journal 29 (1998): 134–38.
Rev. of Martin Stevens and A. C. Cawley, eds., The Towneley Plays, in Journal of English and Germanic Philology (1998): 244–46. Rev. of David Mills, Recycling the Cycle, in The Sixteenth Century Journal 30 (1999): 300–02.
Rev. of Nick de Somogyi, Shakespeare’s Theatre of War, and Heather James, Shakespeare’s Troy: Drama, Politics, and Translation of Empire, in Renaissance Quarterly 52 (1999): 1177–79.
Rev. of Sally L. Joyce et al., Records of Early English Drama: Dorset, Cornwall, in The Sixteenth Century Journal 30 (1999): 1165–67.
Rev. of Michael O’Connell, The Idolatrous Eye: Iconoclasm and Theater in Early-Modern England, in Christianity and Literature 49 (2000): 533–35.
Rev. of Lois A. Cuddy, T. S. Eliot and the Poetics of Evolution, in Christianity and Literature 51 (2001):129–31.
Rev. of Lynn Forest-Hill, Transgressive Language in Medieval English Drama, in Speculum 77 (2002): 526–27.
Rev. of Tim Spiekerman, Shakespeare’s Political Realism: The English History Plays, in Renaissance Quarterly 55 (2002): 766–67.
Rev. of Sarah Beckwith, Signifying God: Social Relations and Symbolic Act in the York Corpus Christi Plays, in Sixteenth Century Journal 33 (2002): 902–04.
Rev. of Kathleen Ashley and Wim Hüsken, Moving Subjects: Processional Performance in the Middle Ages and the Renaissance, in Comparative Drama 36 (2002): 232–37.
Rev. of Anne Lancashire, London Civic Theatre, and Meg Twycross and Sarah Carpenter, Masks and Masking in Medieval and Early Tudor England, in Comparative Drama 37 (2003): 241–47.
Rev. of Constance Brown Kuriyama, Christopher Marlowe: A Documentary Life, in Ben Jonson Journal
11 (2004): 291–96.
Rev. of Warren Edminster, The Preaching Fox: Subversion in the Plays of the Wakefield Master, in Ben Jonson Journal 12 (2005): 287–91.
Rev. of Patrick Cheney, ed., The Cambridge Companion to Christopher Marlowe, in Comparative Drama 39 (2005): 247–50.
Rev. of Theresa Coletti, Mary Magdalene and the Drama of Saints, in Journal of English and Germanic Philology (2006): 469–71.
Rev. of Frederick Kiefer, Shakespeare’s Visual Theatre: Staging the Personified Characters, in Modern Philology 103 (2006): 542–45.
Rev. of Roger Lundin, Believing Again: Faith and Doubt in a Secular Age, in Christianity and Literature, 59 (2010): 738–41.
Rev. of Clayton G. MacKenzie, Deadly Experiments: A Study of Icons and Emblems of Mortality in Christopher Marlowe’s Plays, in Comparative Drama 45 (2011): 289–91.
Rev. of Karen Hodder and Brendan O’Connell, Transmission and Generation in Medieval and Renaissance Literature: Essays in Honour of John Scattergood, in TMR: The Medieval Review 5 (2013): no. 12 (on-line journal).
Rev. of Richard Beadle, ed., The York Plays: A Critical Edition of the York Corpus Christi Plays [2nd ed.], vol. 2 (Commentary and Glossary), in Medium Ævum, 82 (2014): 360–61.
Rev. of Tamara Atkin, The Drama of Reform: Theology and Theatricality, 1461–1553, in Comparative Drama 49 (2015): 95–98. d. Web Site
Revision of York Art, prepared in collaboration with David O’Connor (1978):
(Book, with Sophie Oosterwijk). Edition of the Dance of Death (under contract to AMS Press).
(Monograph) A Study of wall paintings, manuscript illuminations, and texts, mainly relating to the Carthusians. f. Editing:
Co-Editor: Comparative Drama, 1967–98; Editor Emeritus, 1998– .
Executive Editor, Early Drama, Art, and Music, 1976–2003.
Associate Editor, Medieval Bibliography (on-line), Oxford University Press, 20011–13. g. Creative Writing:
The Apocalyptic Adventures of Private Winfred Scott Biegle; or, Bullying to the End (Logres, 2012); revised edition, with a new Afterword under pseudonym Oscar Haugen; paperbound distributed by Amazon.com. Originally privately published in 1991.
In the House of Memory (John H. Stroupe and Associates, 2000) (privately printed novel). h. Other:
(Memoir.) Remembering a Life. Kalamazoo, 2011 (privately printed).
Contributor to the International Bibliography of Theatre; International Dictionary of Theatre (entries on Towneley Plays, York Plays, Everyman, The Winter’s Tale); Encyclopedia of Religion, 2nd ed.
Contributor (model bibliographies) to the Oxford Bibliographies On-Line, 2010.
7. Research grants, fellowships, and sabbatical leaves: 14 research grants and fellowships between 1967 and 2001, Western Michigan University. Sabbatical leaves: Winter semester, 1973; 1983–84.
8. Honors: Distinguished Scholar Award, Western Michigan University, 1985; Phi Kappa Phi (faculty inductee, 1990); dedication to retiring editors of special issue of Comparative Drama, vol. 33, no. 1; dedicatee of special session (Early Drama, Art, and Music Retrospective) at 35th International Congress on Medieval Studies, published as In Honor of Clifford Davidson (Medieval Institute, 2002); dedicatee (with Audrey Davidson) of Hans-Jürgen Diller, The Middle English Mystery Play (CUP, 1992), and Keiko Ikegami, Barlaam and Josephat: A Transcription of MS Egerton 876 with . . . Comparative Study of the Middle English and Japanese Versions (AMS Press, 1999). Visiting Scholar in residence, at University of Szeged, Hungary, 28 Nov.- 4 Dec. 1982; at Queens College, Charlotte, NC, 17-18 Oct. 1983; and St. Cloud State University, 30-31 Oct. 1990; Dean’s Appreciation Award, 1996.
9. Professional papers read: “A Critical Approach to Coriolanus,” Michigan Academy, Ann Arbor, 1967. “An Interpretation of the Wakefield Judicium,” Festspiel for Hardin Craig, Waterloo, Ontario, 1967. “The Sins of the Flesh in the Middle English `Land of Cokaygne’,” Michigan Academy, Ann Arbor, 1969. “The Treatment of the Love of God in Some Medieval Mystics,” Michigan Academy, Detroit, 1970. “Cupid Have Mercy,” English Department Lecture Series, WMU, 1970. “The Digby Mary Magdalene: Iconography and Its Social Implications,” Society in Ferment, Ball State University, 1971. “New Directions in the Study of Medieval Drama,” Conference on Medieval Studies, WMU, 1972. “The End of the World,” Michigan Academy, 1972. “Shakespeare’s Cleopatra: Venus, Circe, and the Whore of Babylon,” Midwest Modern Language Association, St. Louis, MO, 1972. “Thomas Aquinas, the Feast of Corpus Christi, and the York Passion,” Michigan Academy, Grand
Valley State College, 1974. “The Realism of the York Realist,” Northeast Modern Language Association, Penn State University, 1974. (with Nona Mason) “Staging the York Creation,” International Medieval Conference, WMU, 1975. “Northern Piety and the York Cycle,” lecture for participants in Medieval Institute/Cistercian Studies Institute summer workshop, 1975. “Iconography in the Lazarus Plays of the Middle Ages,” Second SITM Colloquium on Medieval Drama, Alençon, France, 1977. Respondent: “Drama and Art” (prepared response to paper by Pamela Sheingorn), Medieval Academy of America, 1982. “King Lear and the World Upside Down,” lecture presentation at the Institute for the Study of Theater, Budapest, November 1982, and the University of Szeged, December 1982. “Gesture in Medieval Drama, with special reference to the Middle English Doomsday Play,” Symposium on Gesture, International Congress on Medieval Studies, WMU, May 1983. “Stage Gesture and Medieval Drama, with Special Reference to the Peregrinus and Creation Plays,” Fourth International Colloquium on Medieval Drama, Viterbo, Italy, July 1983. “The Middle English Saint Play,” International Congress on Medieval Studies, WMU, May 1984. “Iconography and Play Production,” Symposium on the Production of Medieval Corpus Christi Drama, University of California, Irvine, Sept. 1985. “Tradition and the Individual Scholar,” Distinguished Scholar Colloquium, Western Michigan University, Nov. 1985. “Toward a Sociology of Visual Forms in the English Medieval Theater,” Fifth International Colloquium on Medieval Drama, Perpignan, France, 1986. (with Audrey Ekdahl Davidson) “Staging Two Early Hungarian Music-Dramas,” New Perspectives on the Renaissance in Hungary, Indiana University–Bloomington, 1986. “The Anti-Visual Prejudice,” International Congress on Medieval Studies, WMU, May 1987. “Medieval Dramaturgy and Modern Drama,” Symposium on Perceptions of the Middle Ages In and Out of Context, Emory University Art Museum, Atlanta, Georgia, Dec. 1987. “The Contribution of W. L. Hildburgh,” International Congress on Medieval Studies, WMU, May 1988. “Playing God,” Midwest American Academy of Religion, Midwest Regional Meeting, Indiana University, April 1989. “Positional Symbolism and Medieval English Drama,” Sixth International Colloquium on Medieval Drama, Lancaster, England, July 1989. “Saints in Play: English Theatre and Saints’ Lives,” 23rd Annual Binghamton Conference, Oct. 1989. Plenary address. “Religion and Power: Charles Williams’ Thomas Cranmer,” American Academy of Religion (Midwest Region), Western Michigan University, March March 1990. “Lost Souls,” 25th International Congress on Medieval Studies, May 1990. “Repentance and the Fountain: The Transformation of Symbols in English Emblem Books,” International Emblem Conference, Glasgow, Scotland, July 1990. “When Actors Play God,” Distinguished Alumni Lecture, St. Cloud State University, Oct. 1990. “The Iconography of Hell,” DePaul University, Feb. 1992. “T. S. Eliot and Baptism,” American Academy of Religion, Midwest Regional Meeting, Western Michigan University, 1993. “Images False and True,” 29th International Congress on Medieval Studies, May 1994. “King Lear and the Crisis of Belief,” Shakespeare Institute, Wheaton College, May 1994. “The Medieval Actor and the Antitheatrical Prejudice,” Eighth International (SITM) Colloquium on Medieval Drama, University of Toronto, August 1995.
(with Audrey Davidson) “Hildegard of Bingen: A Subversive in the Service of Music,” Conference, Reverberations, Women and Music, The New School, March 1995. “Some Observations on Violence in Medieval English Drama,” 33rd International Congress on Medieval Studies, May 1998. “The Coventry Mysteries and Shakespeare’s Histories,” Shakespeare Institute, Wheaton College, May 2001. “York Mysteries: Seeing and Listening,” International Association of Professors of English, Medieval Colloquium, Ystad, Sweden, August 2007. “The York Mysteries: Carnivalesque?” Center for Medieval Studies, Institute of Advanced Studies, University of Minnesota, Sept. 2007. (with Sheila White) “Bullying in York’s Corpus Christi Plays,” 45th International Congress on Medieval Studies, May 2010. “Introduction to the Session ‘The End of Times’,” 47th International Congress on Medieval Studies, May 2012. “Memory and Remembering: Sacred History and the York Plays,” 49th International Congress on Medieval Studies, May 2014.
Chairman: Session on medieval vernacular drama at Third International Colloquium on Medieval Theater, Dublin, Ireland, 1980; concluding session at Fifth International Colloquium on Medieval Theater, Perpignan, France, 1986; session at International Emblem Conference, July 1990; conference on the York Plays, Toronto, 1998. Chairman and/or organizer for numerous sessions and concerts at International Congress on Medieval Studies, WMU, 1966–2012; organizer of session on Yorkshire Art and Drama, Congress on Medieval Studies, Leeds, 1994; co-organizer of sessions on Drama and Saints, Leeds Congress, for 1999.
10. Directing: Co-director (dramatic director) of ten medieval music-dramas: The Raising of Lazarus and Peregrinus, in 1980 and 1982-83 respectively; the Ordo Virtutum of Hildegard of Bingen, in 1984; the Tractus Stellae and Visitatio from Hungary, in 1985; the Sponsus from St. Martial of Limoges, in May 1987; The Three Daughters and The Three Clerks (based on legends of St. Nicholas), in Dec. 1987; a Visitatio Sepulchri and related Holy Week and Easter ceremonies from Sweden, in May 1988; the Beauvais Daniel, in Dec. 1990 and May 2002; the Cividale Planctus Mariae (demonstration performance), in May 2006. The Lazarus was presented for the national convention of the Music and Liturgy Commissions of the Episcopal Church, and the Peregrinus for the International Congress on Medieval Studies in addition to presentations for local audiences with a performance also for the Colloquium on Medieval Drama at Viterbo, Italy. The Ordo Virtutum, the Hungarian plays, the Swedish plays and ceremonies, and the Sponsus as well as the 2002 Daniel were presented both for local audiences and for the Congress on Medieval Studies. The two St. Nicholas plays were presented for local audiences in Kalamazoo and Battle Creek.
11. Supervision of student research and teaching: Directed study; service on thesis committees. Courses taught: Medieval Drama, Iconography, Medieval Literature, Sixteenth-Century Literature, Bibliography/ Research Methods, Research and Report Writing, Renaissance Literature, Shakespeare, Medieval and Renaissance Lyric, Medieval and Renaissance Drama, Drama Seminar, Seventeenth- Century Literature, History of Drama, Development of Verse, Introduction to Poetry and Drama, British Literature I, Literature and the Other Arts. External examiner (Ph.D. committees): University of Toronto, University of Ottawa.
12. Major committees: Medieval Institute Board, 1969-74, 1975-78 (Chairman, 1976-77), 1988-91;
1993-96 (Chairman, 1994-95); University Library Committee, 1967-70; English Department Library Committee, 1967-70 (Chairman); English Department Graduate Committee, 1971-74; Distinguished Scholar Selection Committee, 1988– ; Gründler Prize Committee, 2000–06.
13. Refereeing: Frequent referee for various university and academic presses — Ashgate, Notre Dame University Press, Cambridge University Press, Catholic University of America Press, etc.; and academic journals — Speculum, Christianity and Literature, Early Theatre, Parergon, Journal of English and Germanic Philology, Comparative Drama (following retirement as editor), Journal of Religious History, etc.
14. Memberships: Medieval Academy of America; International Association of University Professors of English (resigned); Renaissance Society of America (membership suspended); Société Internationale pour l’etude du Théâtre Médiéval (SITM) (membership suspended); Medieval and Renaissance Drama Society.
15. Biographies: Directory of American Scholars; Contemporary Authors; Répertoire international des médiévistes; Who’s Who in the Midwest, 25th ed.; and a memoir: Remembering a Life (privately printed, 2011).