Professor of English and Film Studies
Office: Center for the Arts 263
- 1979 Ph.D., Literature, University of California at Santa Cruz
- 1975 M.A., Literature, University of California at Santa Cruz
- 1973 B.A., Literature, Bennington College
Select Awards, Publications and Presentations:
Class of ’32 Research Professor, 2018-2017
Class of 1932 Research Professorship, 2009-10; 1992-93 Donald C. Hoffman Research Fellowship, 2004-05
Shire Prize for Excellence in Teaching, 2000-01
Long-Term Fellow, Folger shakespeare Library, Spring, 1993
Calvin Hoffman Prize for Distinguished Publication on Christopher Marlowe, 1991
Lindback Prize for Distinguished Teaching, 1986
Reenacting Shakespeare in the Shakespeare Aftermath: The Intermedial Turn & Turn to Embodiment. New York: Palgrave Macmillan, 2019.
Editor, Norton Critical Edition of Shakespeare’s Richard III. New York: W.W. Norton, 2009.
New Wave Shakespeare on Screen. Co-authored with Katherine Rowe. Cambridge, UK: Polity Press, 2007.
Repositioning Shakespeare: National Formations, Postcolonial Appropriations. London: Routledge, 1999.
Marlowe, Shakespeare, and the Economy of Theatrical Experience. Philadelphia: UPenn Press, 1991.
“’Marvelously Changed’: Shakespeare’s Repurposing of Fiorentino’s Doting Godfather in The Merchant of Venice.” In Lindsay Kaplan (ed), The Merchant of Venice: The State of Play, Bloomsbury, 2019.
“The Speaking Silence of Citizens in Shakespeare’s Richard III: Hidden and Public Transcripts,” in Chris Fitter (ed), Shakespeare & the Politics of Commoners: Rethinking the Plays with the New Social History, Oxford University Press, 2016.
“High Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies and the Problem of Spectatorship,” in James Bulman (ed), The Oxford Companion to Shakespeare and Performance, 2016.
“Marlowe and Shakespeare Revisited,” in Emily Bartels & Emma Smith (eds), Marlowe in Context, Cambridge: Cambridge University Press, 2013, 285-95.
“’The Killing Stops Here’: Unmaking the Myths of Troy in the Wooster Group/RSC Troilus & Cressida (2012),” Shakespeare Quarterly 64:2 (2013): 233-43.
“Punchdrunk’s Sleep No More: Masks, Unmaskings, One-on-Ones,” Borrowers & Lenders: the Journal of Shakespeare & Appropriation (2012).
“The Spell of the West in Orhan Pamuk’s Snow and Amitav Ghosh’s In an Antique Land,” in David Buyze & Mehnaz Mafridi. eds., Global Perspectives on Orhan Pamuk. New York: Palgrave-Macmillan, 2012, 176-193.
“Beyond the Pale: Difference and Disorder in Sir Henry Sidney’s Memoir of Service in Ireland and John Derricke’s Image of Irelande (1581),” Shakespeare International Yearbook 11 (2011): 149-176.
“Doing It Slant: Reconceiving Shakespeare in the Shakespeare Aftermath,” Shakespeare Studies XXXVIII (2010): 26-36.
“Channeling the Ghosts: the Wooster Group’s Remediation of the 1964 Electronovision Hamlet,” in Shakespeare Survey, 61 (2008): 147-160.
“The Face in the Mirror: Joyce’s Ulysses and the Lookingglass Shakespeare,” in Craig Dionne & Parmita Kapadia, eds. Native Shakespeares: Indigenous Appropriations on a Global Stage, Aldershot, UK: Ashgate, 2008, 19-36
“Surviving Shakespeare: Kristian Levring’s The King is Alive” (co-authored with Katherine Rowe) Borrowers & Lenders: the Journal of Shakespearean Appropriation, 1.2 (2006). http://atropos.english.uga.edu/cocoon/borrowers/request?id=250344
“Taymor’s Titus in Time and Space: Surrogation and Interpolation,” Renaissance Drama, N.S. 34 (2006): 163-184.
“Shakespeare and the Street: Pacino’s Looking for Richard, Bedford’s The Street King, and the Common Understanding.” In Richard Burt and Lynda Boose, eds. Shakespeare the Movie II. New York & London: Routledge, 2003, pp. 186-199.
“Shakespeare in Pain: Edward Bond’s Lear and the Ghosts of History,” Shakespeare Survey, 55 (2002): 159-69.
"Queer Edward II: Postmodern Sexualities and the Early Modern Subject." In Paul W. White, ed. Marlowe, History,and Sexuality: New Critical Essays on Christopher Marlowe. New York: AMS Press, 1998, 213-23. Reprinted in Avraham Oz, ed., Marlowe: Contemporary Critical Essays (New York: Palgrave, 2003), pp. 200-12.
"Jack Cade in the Garden: Class Consciousness and Class Conflict in 2 Henry VI." In Richard Burt and John M. Archer (eds) Enclosure Acts: Sexuality, Property and Culture in Early Modern England. Ithaca, NY: Cornell University Press, 1994, 48-67.
"Prospero in Africa: The Tempest as Colonialist Text and Pretext," in Shakespeare Reproduced: The Text in History and Ideology, Jean Howard and Marion O'Connor, eds., London: Methuen [Routledge], 1987, 99-115.
"Homini Homo Lupus: Silvano Arieti and Giorgio Agamben on the Wolf in Man" at "The Library of Memory," a 2-day symposium sponsored by The Center for the Humanities and Social Change, Ca' Foscari University, Venice, 19-20 September 2019. Symposium organized in collaboration with "psalm," Edmund de Waal's two-part installation at the 2019 Venice Art Biennale.
"Uncanny Resurgence: the Othello Complex Reconfigured in Jordan Peele's Get Out (2017),” Shakespeare on Screen in the Digital Era, Université Paul Valéry Montpellier 3, France, 26-28 September, 2019.
“Disassembly, Meaning-Making, and Montage in The Rub, an experimental disintegration of Hamlet,” panel session “New Spaces/Places for Shakespeare Performance and Reproduction,” European Shakespeare Research Association Conference, Roma Tre University, July, 2019.
"Playing the Cut: Shakespeare Staged Three Ways in Annie Dorsen’s A Piece of Work, Dmitry Krymov’s Midsummer Night’s Dream, and Matias Piñeiro’s Viola,” Plenary Session, Annual Meeting of Shakespeare Association of America, Vancouver, BC, April, 2015.
Master Class Presentation: “Forgetting Hamlet,” Global Shakespeare Student Festival, NYU/Abu Dhabi, March, 2013.
Plenary lecture: “High Tech Shakespeare in a Mediatized Globe,” conference on “Shakespeare in the Maze of Contemporary Culture,” University of Milano, Milano, Italy, March, 2012.
Cartelli teaches Shakespeare, Shakespeare Reproduced, Medieval Literature, Caribbean Writing, Reading India, and seminars on Joyce’s Ulysses, and the fictions of J.M. Coetzee for the English Department; and Contemporary World Cinemas, Film Cultures of North Africa & the Middle-East, and New Asian Cinemas for the Film Studies program. He occasionally teaches or team-teaches Renaissance Plays in Process, a course that mixes intensive reading and research with applied work in acting, directing, dramaturgy, and design. He often collaborates with colleagues in Theater and English in the supervision of Honors theses written by cross-over Theater/English majors in the emerging field of Performance Studies.