{"id":19,"date":"2012-09-05T11:22:25","date_gmt":"2012-09-05T15:22:25","guid":{"rendered":"https:\/\/people.clas.ufl.edu\/template\/?page_id=19"},"modified":"2026-03-19T09:06:46","modified_gmt":"2026-03-19T13:06:46","slug":"publications","status":"publish","type":"page","link":"https:\/\/people.clas.ufl.edu\/burt\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"\r\n<section class=\"fullwidth-text-block\">\r\n\t<div class=\"container px-0 pt-5\">\r\n\t\t<div class=\"row align-items-start\">\r\n\t\t\t<div class=\"col-12\">\r\n\t\t\t\t\n<h1 class=\"wp-block-heading\">Publications<\/h1>\n\n\n\n<ul class=\"wp-block-list\"><li>Richard Burt, Professor of Loser Theory, has delivered invited papers at sessions of the Modern Language Association (1989, 1991, 2003, 2008, 2012, 2016), the VII, VIII, IX, and X World Shakespeare Congresses in Valencia, Spain in 2002,\u00a0<a href=\"http:\/\/www.shakespeare2006.net\/index.html?page=39631&amp;pid=39488\" target=\"_blank\" rel=\"noopener\">Brisbane, Australia in 2006<\/a>,\u00a0<a href=\"http:\/\/www.shakespeare2011.net\/\">Prague, in the Czech Republic<\/a>\u00a0in July 17 &#8211; 22, 2011, and in\u00a0<a href=\"http:\/\/www.wsc2016.info\/\" target=\"_blank\" rel=\"noopener\">Stratford-Upon-Avon and London, July 31-August 5, 2016<\/a>.\n<p>Burt will be a keynote speaker, delivering three lectures at the 2nd Annual Shakespeare Swan Lectures Sponsored by CSS (Chongqing Shakespeare Society) &amp; Center for Shakespeare Studies\u00a0<a href=\"http:\/\/www.swu.edu.cn\/\" target=\"_blank\" rel=\"noopener\">Southwest University, Chongqing<\/a>, China April 15-19, 2019 and a fourth lecture at\u00a0<a href=\"http:\/\/www.hznu.edu.cn\/\" target=\"_blank\" rel=\"noopener\">Hangzhou Normal University<\/a>\u00a0on April 21, 2019. Burt delivered &#8220;Posthumous Shakespeare: The Mourning After&#8221; at the Rose Theater, Kingston College London conference on &#8220;Infinite Jest: Shakespeare Afterlives&#8221; on March 11, 2018, at the invitation of of Richard Wilson.<\/p><!--PARAGRAPH_SEPARATOR--><p>Burt spoke on\u00a0<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;What the Dead Said: Posthumography and the Public Sphere&#8221;\u00a0<\/a>at the\u00a0<a href=\"http:\/\/sites.uci.edu\/forum\/2015\/09\/17\/january-22-24-2016-freedom-of-expression-in-a-changing-world-what-cannot-be-said\/\" target=\"_blank\" rel=\"noopener\">UCI Forum for the Academy and the Public<\/a>\u00a0in January 22-24, 2016 at the invitation of\u00a0<a href=\"http:\/\/amywilentz.com\/\" target=\"_blank\" rel=\"noopener\">Amy Wilentz<\/a>\u00a0and on\u00a0<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;MacDeth&#8221;<\/a>\u00a0at the HUDSON STRODE RENAISSANCE STUDIES SYMPOSIUM entitled &#8220;Why Isn\u2019t Shakespeare Dead?&#8221; at the University of Alabama, February 27-28, 2016. Burt also delivered a plenary paper on Orson Welles&#8217;\u00a0<em>Filming Othello<\/em>\u00a0at\u00a0<a href=\"https:\/\/www.tees.ac.uk\/elsinore\/\" target=\"_blank\" rel=\"noopener\">Shakespeare: the Next 400 years&#8221;\u00a0<\/a>in Kronborg Castle, Elsisnore, Denmark, April 22-24, 2016. <\/p><!--PARAGRAPH_SEPARATOR--><p>Burt has delivered plenary lectures and invited papers at the Japan Shakespeare Society (October 10-11, 2015);\u00a0<a href=\"http:\/\/www.gwu.edu\/~acyhuang\/globalshakespeare2014.html#burt\" target=\"_blank\" rel=\"noopener\">George Washington University<\/a>\u00a0(2014); &#8220;Robinson Crusoe in Asia,&#8221; Tsukuba University, Tokyo, September 19-21, 2014; the\u00a0<a href=\"http:\/\/conference.up.edu.ph\/shakespeareinasia2013\/\" target=\"_blank\" rel=\"noopener\">University of the Philippines<\/a>\u00a0(2013); Wuhan University, China (2013); Tsukuba University, Tokyo (2012); Donghai University, Shanghai, China (2011); Central Taiwan University (2009) and National Taiwan University (2009 and 2014); the Shakespeare Association of America (2003 and 2008);\u00a0<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\">the British Museum (2008)<\/a>; the\u00a0<a href=\"http:\/\/www.acla.org\/acla2008\/\" target=\"_blank\" rel=\"noopener\">ACLA<\/a>\u00a0(2008); and the\u00a0<a href=\"http:\/\/shop.getty.edu\/products\/censorship-and-silencing-978-0892364848\" target=\"_blank\" rel=\"noopener\">Getty Research Center\u00a0<\/a>(1995).<\/p><!--PARAGRAPH_SEPARATOR--><p>Burt has also delivered invited papers at numerous colleges and universities, including Harvard University; Tufts University; New York University; Amherst College (<a href=\"http:\/\/www.amherst.edu\/~ljst\/\" target=\"_blank\" rel=\"noopener\">Department of Law, Jurisprudence, and Social Thought)<\/a>; the University of Michigan; the Free University in Berlin; the University of Jena; the University of T\u00fcbingen; the University of Morocco; the University of Rouen; the University of Kansas; the University of Reading; the University of Durham; Birbeck University, London; the University of Warwick; U.C. Irvine; the University of Lodz, Poland; the University of Alabama&#8217;s Hudson Strode Lecture Series (2004; 2005; eventually, February 2016); Columbia University; and Arizona State University.<\/p><\/li>\n<li>Richard Burt was a founding member of the\u00a0<a href=\"http:\/\/asianshakespeare.org\/\" target=\"_blank\" rel=\"noopener\">Asian Shakespeare Society<\/a>.<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Books<\/h3>\n\n\n\n<h4 class=\"wp-block-heading\">Authored<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><em><a href=\"http:\/\/www.amazon.com\/Medieval-Early-Modern-Film-Media\/dp\/0230601251\/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1202318303&amp;sr=1-1\" target=\"_blank\" rel=\"noopener\">Medieval and Early Modern Film and Media<\/a><\/em>. (New York and London: \u00a0<a href=\"http:\/\/www.palgrave-usa.com\/\" target=\"_blank\" rel=\"noopener\">Palgrave Macmillan<\/a>, 2008), xiv; 279 pp. Paperback edition, 2010.<\/li>\n<li><em><a href=\"http:\/\/www.amazon.com\/Unspeakable-ShaXXXspeares-Theory-American-Culture\/dp\/0312226853\/sr=1-1\/qid=1169342155\/ref=sr_1_1\/102-6707639-5896914?ie=UTF8&amp;s=books\" target=\"_blank\" rel=\"noopener\">Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture<\/a><\/em>. \u00a0 Revised, paperback edition with a new preface. (New York: St. Martin&#8217;s Press \/ London: Macmillan Press, 1999), xxvii. 318 pp.<\/li>\n<li><em>Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture.<\/em>\u00a0(New York: St. Martin&#8217;s Press \/ London: Macmillan Press, 1998), xvii. 318 pp.<\/li>\n<li><em>Licensed by Authority: Ben Jonson and the Discourses of Censorship.<\/em>\u00a0(Ithaca and London: Cornell UP, 1993), xx, 227 pp.<\/li><\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Co-Authored<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><em>What&#8217;s the Worst Thing You Can Do to Shakespeare?<\/em> Julian Yates, co-author. (New York and London: \u00a0<a href=\"http:\/\/www.palgrave-usa.com\/\" target=\"_blank\" rel=\"noopener\">Palgrave Macmillan<\/a>, 2013)<\/li><\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Forthcoming Books<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><em>Loser Theory I: An Exhibition of the Complete Footnotes, and More!<\/em><\/li>\n<li><em>Orson Welles\u2019s Cin<\/em>e<em>mal d\u2019archive and the Post -Faux-Pas-Calypse of Philm.<\/em>\u00a0Under contract with Punctum Press, Dead Letters Office Series<\/li>\n<li><em>Yours Posthumously: The Metaphysics of Publication<\/em><\/li><\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Edited and Co-Edited Books<\/h4>\n\n\n\n<p><em><a href=\"http:\/\/www.greenwood.com\/catalog\/GR3116.aspx\" target=\"_blank\" rel=\"noopener\">Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture.<\/a><\/em><a href=\"http:\/\/www.greenwood.com\/catalog\/GR3116.aspx\" target=\"_blank\" rel=\"noopener\">\u00a02 vol. Ed. Richard Burt (Westport, CT: Greenwood Press, 2006), viii; 862 pp.<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>Shakespeare, the Movie II: \u00a0 Popularizing the Plays on Film, TV, Video and DVD<\/em>. Ed. Richard Burt and Lynda Boose (New York and London: \u00a0 Routledge Press, 2003), xi, 340 pp.<\/li>\n<li><em>Shakespeare After Mass Media<\/em>. Ed. Richard Burt (New York and London: Palgrave, 2002).<\/li>\n<li><em>The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere<\/em>. Ed. Richard Burt (Minneapolis, MN: \u00a0U of Minnesota P, 1994), xxx, 386 pp.<\/li>\n<li><em>Shakespeare, the Movie: \u00a0 Popularizing the Plays on Film, TV, and Video<\/em>. Ed. Lynda Boose and Richard Burt (New York and London: \u00a0 Routledge Press, 1997), ix, 280 pp. Korean translation, 2001.<\/li>\n<li><em>Enclosure Acts: \u00a0 Sexuality, Property, and Culture in Early Modern England<\/em>. Ed. Richard Burt and John Michael Archer. (Ithaca, NY: Cornell UP, 1994), x, 340 pp.<\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li>&#8220;<a href=\"http:\/\/blog.lareviewofbooks.org\/provocations\/transcript-lost-stand-monologue\/\" target=\"_blank\" rel=\"noopener\">Transcription of a Lost Stand-Up Monologue<\/a>,&#8221;\u00a0<em><a href=\"http:\/\/blog.lareviewofbooks.org\/provocations\/transcript-lost-stand-monologue\/\" target=\"_blank\" rel=\"noopener\">Los Angeles Review of Books<\/a><\/em>, December 23, 2015.<\/li><\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Online Monograph<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Putting Your Papers in Order: The Matter of Kierkegaard&#8217;s Writing Desk, Goethe&#8217;s Files, and Derrida&#8217;s Typewriter, or the Philology and Philosophy of Publishing After Death&#8221;<\/a>\u00a0(pdf; 38,000 words,)<em>\u00a0<a href=\"http:\/\/www.rhizomes.net\/issue20\/\" target=\"_blank\" rel=\"noopener\">Rhizome<\/a><\/em><a href=\"http:\/\/www.rhizomes.net\/issue20\/\" target=\"_blank\" rel=\"noopener\"><em>s<\/em>\u00a020 (Summer 2010)<\/a>.<\/li><\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Chapters in Books<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;DIE-JESTING stURNe\u2019s BURIALLs: Publication, Plagiarism, Pseudonymity, Pseudography, Cenography, Palimpsestuosity, Posthumography, and the Propriety or Pathos of Posterity,\u201d\u200b\u00a0<\/a>in\u00a0<em>Shakespeare\u2019s\u00a0<\/em>Hamlet\u00a0<em>in an Era of Textual Exhaustion<\/em>, ed. Allison\u00a0Kellar Lenhardt,\u00a0Sonya Loftis, and Lisa Ulevich. (New York and London:\u00a0Routledge, 2018), 199-243.<\/li>\n<li>&#8220;Writing the Endings of Cinema: Evocations of Authorial Absence and the Saving of Film Authorship in the Cinematic Paratext<em>,<\/em>&#8221; in\u00a0<em><a href=\"http:\/\/www.palgrave.com\/products\/title.aspx?pid=521508\" target=\"_blank\" rel=\"noopener\">The Writer on Film: Screening Literary Authorship<\/a><\/em>.\u00a0 Ed. Judith Buchanan. (Palgrave Macmillan, 2013), pp. 178-92. 6,000 words.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Duly Noted or Off the Record? Sovereignty and the Secrecy of the Law in Cinema&#8221;\u00a0<\/a>[pdf] In\u00a0<em><a href=\"http:\/\/www.sup.org\/book.cgi?id=16809\" target=\"_blank\" rel=\"noopener\">Secrets of the Law.<\/a><\/em><a href=\"http:\/\/www.sup.org\/book.cgi?id=16809\" target=\"_blank\" rel=\"noopener\">\u00a0Ed. Martha Umphrey, Lawrence Douglas, and Austin Sarat (Amherst Series in Law, Jurisprudence, and Social Thought, Stanford UP, 2012), pp. 211-56.<\/a>\u00a020,266 words.<\/li>\n<li>&#8220;<em><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">Hamlet\u00a0<\/a><\/em><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\">&#8216;s Hauntographology: Film Philology, Textual Faux-rensics, and Facsimiles<\/a>&#8221; [pdf of uncorrected proofs] In<em>\u00a0<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\">A Companion to Literature, Film, and Adaptation<\/a><\/em>. Ed. Deborah Cartmell (Blackwell, 2012), 216-240. 12,500 words; a shorter version appeared under the same title in the Chinese journal\u00a0<em>Foreign Literature Studies<\/em>, Vol. 34 No. 1 February 2012 pp. 19-31.<\/li>\n<li><a href=\"http:\/\/www.clas.ufl.edu\/users\/burt\/BurtShakespeareReverbatin'.pdf\" target=\"_blank\" rel=\"noopener\">&#8220;Shakespeare Reverbatin&#8217;: Spectral Media, Unread -ability, and the Weak Sovereignty of the In\/Definitive Edition.&#8221;<\/a>\u00a0In\u00a0<em>Shakespeare and Culture<\/em>. Ed. Beatrice Lei. (National Taiwan UP, 2011), pp. 117-45. 7,294 words.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Backing Up the Virtual Bayeux Tapestries: Facsimiles as Attachment Disorders, or Turning Over the Other Side of the Underneath&#8221; (pdf of uncorrected proofs).\u00a0<\/a>In\u00a0<em>New Research on the Bayeux Tapestry: The Proceedings of a Conference at the British Museu<\/em>. Ed. M. J. Lewis, G. R. Owen-Crocker, and D. Terkl. (London: Oxbow, 2011), pp. 27-36.<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">\u00a0For the errata sheet, click here.<\/a><\/li>\n<li>&#8220;All That Remains of the Shakespeare Play in Indian Film.&#8221; In\u00a0<em>Shakespeare in Asia: Contemporary Performance<\/em>. Ed. Yong Li Lan and Dennis Kennedy (London: Cambridge UP, 2010), pp. 73-108.<\/li>\n<li>&#8220;Jacques Rivette and Film Adaptation as D\u00e9rive-ation:<em>\u00a0Pericles<\/em>\u00a0in\u00a0<em>Paris Belongs to Us<\/em>\u00a0and\u00a0<em>The Revenger&#8217;s Tragedy<\/em>\u00a0in\u00a0<em>Noirot,&#8221;\u00a0<\/em>in\u00a0<em>The English Renaissance in Popular Culture: An Age for All Time.<\/em>\u00a0Ed. Gregory Semenza (New York and London: \u00a0Palgrave Macmillan, 2010), pp. 167-86.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Being your slave&#8221;: Not Citing\u00a0<em>Sonnets\u00a0<\/em>57 and 58 and the TraUmisSion of Race in the United States.&#8221;\u00a0<\/a>In\u00a0<em>Shakespeare&#8217;s Sonnets Global<\/em>. Ed. Manfred Pfister and Jurgen Gutsch (Dozwill TG Switzerland: Edition Signature, 2009), pp. 181-92.<\/li>\n<li><a href=\"https:\/\/books.google.com\/books?id=oKUYDAAAQBAJ&amp;printsec=frontcover&amp;dq=Weyward+Macbeth:+Intersections+of+Race+and+Performance&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwjtlaOumOHUAhXC24MKHZynCGIQ6AEIJDAA#v=onepage&amp;q&amp;f=false\" target=\"_blank\" rel=\"noopener\">&#8220;Epilogue: ObaMacbeth: National Transition as National Traumissino,&#8221; In W<em>eyward Macbeth: Intersections of Race and Performance<\/em>. Ed. Scott L. Newstock and Ayanna Thompson, (New York and London: Palgrave Macmillan, 2009), pp. 341-46.<\/a><\/li>\n<li>&#8220;Mobilizing Foreign Shakespeares in Media.&#8221; In\u00a0<em>Shakespeare in Hollywood, Asia, and Cyberspace.\u00a0<\/em>Ed. Alexander C. Y. Huang and Charles Ross (West Lafayette: Purdue UP, 2009), pp. 231-38.<\/li>\n<li>&#8220;Border Skirmishes: Weaving Around the Bayeux Tapestry and Cinema in\u00a0<em>Robin Hood, Prince of Thieves<\/em>\u00a0and\u00a0<em>El Cid<\/em>.&#8221; In\u00a0<em><a href=\"http:\/\/www.amazon.com\/Medieval-Film-Anke-Bernau\/dp\/0719086477\/\" target=\"_blank\" rel=\"noopener\">Medieval Film<\/a><\/em><a href=\"http:\/\/www.amazon.com\/Medieval-Film-Anke-Bernau\/dp\/0719086477\/\">. Ed. Anke Bernau and Bettina Bildhauer<\/a>\u00a0(Manchester: Manchester UP, 2009), pp. 158-18.<\/li>\n<li>&#8220;My Favorite Shakespeare Films.&#8221; In\u00a0<em>The Researcher&#8217;s Guide to Shakespeare on Film, Radio and Television.<\/em>\u00a0Ed. Olwen Terris and Luke Wilson. British Universities Film &amp; Video Council (BUFVC), 2009.<\/li>\n<li><a href=\"http:\/\/www.oup.com\/uk\/catalogue\/?ci=9780198185703\" target=\"_blank\" rel=\"noopener\">&#8220;Thomas Middleton, Uncut: Castration, Censorship, and the Regulation of Middleton&#8217;s Dramatic Discourse.&#8221; In\u00a0<em>Thomas Middleton and Early Modern Textual Culture: A Companion to the Collected Works\u00a0<\/em>, ed. Gary Taylor (Oxford: Oxford UP, 2007), pp. 182-94.<\/a><\/li>\n<li>&#8220;Shakespeare &#8216;Tween Media and Markets:\u00a0 Literacy, \u00a0Losers, and Literary Culture from\u00a0<em>Little Women<\/em>\u00a0to\u00a0<em>Lizzie \u00a0McQuire<\/em>.&#8221; In\u00a0<em><a href=\"http:\/\/www.amazon.com\/Shakespeare-Childhood-Kate-Chedgzoy\/dp\/0521871255\/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1205088737&amp;sr=1-1\" target=\"_blank\" rel=\"noopener\">Shakespeare and Childhood<\/a><\/em><a href=\"http:\/\/www.amazon.com\/Shakespeare-Childhood-Kate-Chedgzoy\/dp\/0521871255\/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1205088737&amp;sr=1-1\">,<\/a>\u00a0ed. Susanne Greenhalgh and Robert Shaughnessy, (Cambridge: Cambridge UP, 2007), pp. 218-32.<\/li>\n<li>&#8220;Civic ShakesPR: Middlebrow Multiculturalism, White Television, and the Color Bind.&#8221; In\u00a0<em><a href=\"http:\/\/www.amazon.com\/Colorblind-Shakespeare-Perspectives-Race-Performance\/dp\/0415978025\/sr=8-1\/qid=1169341809\/ref=sr_1_1\/102-6707639-5896914?ie=UTF8&amp;s=books\" target=\"_blank\" rel=\"noopener\">Colorblind Shakespeare: New Perspectives on Race and Performance<\/a><\/em>. Ed. Ayanna Thompson, (London and New York: Routledge, 2006), pp. 157-185.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\">&#8220;Backstage Pass(ing):\u00a0<em>Stage Beauty<\/em>,\u00a0<em>Othello<\/em>, and the Makeup of Race.&#8221;<\/a>\u00a0In\u00a0<em><a href=\"http:\/\/www.amazon.com\/Screening-Shakespeare-Twenty-first-Century-Thornton\/dp\/0748623515\/sr=1-1\/qid=1169341857\/ref=sr_1_1\/102-6707639-5896914?ie=UTF8&amp;s=books\" target=\"_blank\" rel=\"noopener\">Screening Shakespeare in the Twenty-First Century<\/a><\/em>. Ed. Mark Thornton Burnett and Ramona Wray (Edinburgh University Press \/ Columbia UP, 2006), pp. .<\/li>\n<li>&#8220;<em>SS<\/em>hockspeare: (Nazi) Shakespeare Goes Heil-lywood,&#8221; in\u00a0<em><a href=\"http:\/\/www.blackwellpublishing.com\/contents.asp?ref=1405111046\">A Companion to Shakespeare in Performance<\/a><\/em>. Ed. Barbara Hodgdon and W.B. Worthen (Oxford: Blackwell Press, 2005), 437-56.<\/li>\n<li>&#8220;What the Puck?:\u00a0 Screening the (Ob)Scene in Bardcore\u00a0<em>Midsummer Night&#8217;s\u00a0 Dreams<\/em>\u00a0and the Transmediatic Technologies of Tactility.&#8221;\u00a0 In\u00a0<em>Shakespeare on Screen: A Midsummer Night&#8217;s Dream<\/em>. Ed. Sarah Hatchuel and Nathalie Vienne-Gurin.\u00a0 Rouen: Publications de l&#8217;Universit\u00e9 de Rouen, 2004, pp. 57-86.<\/li>\n<li>&#8220;Shakespeare &#8216;Glo-cali-zation,&#8217; Race, and the Small Screens of Post-Popular Culture.&#8221; In\u00a0<em>Shakespeare the Movie, II: Popularizing the Plays on Film, TV, Video<\/em>,\u00a0<em>and DVD<\/em>. Ed. Richard Burt and Lynda E. Boose, (New York and London: Routledge Press, 2003), pp. 14-32.<\/li>\n<li>&#8220;Shakespeare in Asian and Post-Disaporic Cinemas: Spinoffs and Citations of the Plays from Bollywood to Hollywood.&#8221; In\u00a0<em>Shakespeare the Movie, II : Popularizing the Plays on Film, TV, Video<\/em>,\u00a0<em>and DVD<\/em>. Ed. Richard Burt and Lynda E. Boose (New York and London: Routledge Press, 2003), pp. 265-302.<\/li>\n<li>&#8220;Doing the Queen: Gender, Sexuality, and the Censorship of Elizabeth I&#8217;s Royal Image from Renaissance Portraiture to Twentieth-Century Mass Media.&#8221; In\u00a0<em>Literature and Censorship in Renaissance England.\u00a0<\/em>Ed. Andrew Hadfield (London: Macmillan, 2001), pp. 207-228, and\u00a0<em>The Mysteries of Elizabeth I.<\/em>\u00a0Ed. Kathleen Swaim and Kirby Farrell (Amherst: U of Massachusetts P, 2003), pp. 267-77.<\/li>\n<li>&#8220;Shakespeare and the Holocaust: Julie Taymor&#8217;s\u00a0<em>Titus\u00a0<\/em>is Beautiful, or Shakesploi Meets (the) Camp,&#8221;\u00a0<em>The Colby Quarterly<\/em>, Spring 37 (1), 2001, 78-106, special issue on Shakespeare and Film. Ed. Laurie Osborne; and revised and expanded in\u00a0<em>Shakespeare After Mass Media.\u00a0<\/em>Ed. Richard Burt (New York: Palgrave, 2002), pp. 295-329.<\/li>\n<li>&#8220;T(e)en Things I Hate About Girlene Shakesploitation Flicks in the Late 1990s, or, Not So Fast Times at Shakespeare High,&#8221; in\u00a0<em>Screening the Bard: Shakespearean Spectacle, Critical Theory, Film Practice.\u00a0<\/em>Ed. Lisa Starks and Courtney Lehmann (New Jersey: American University Presses, 2001), pp. 205-232.<\/li>\n<li>&#8220;No Holes Bard: Homonormativity and the Gay and Lesbian Romance with Romeo and Juliet,&#8221;\u00a0<em>Shakespeare Without Class: Misappropriations of Cultural Capital.\u00a0<\/em>Ed. Don Hedrick and Bryan Reynolds (New York: Palgrave, 2000), pp. 153-186.<\/li>\n<li>&#8220;<em>Shakespeare in Love\u00a0<\/em>and the End of the Shakespearean: Academic and Mass Culture Constructions of Literary Authorship,&#8221;\u00a0<em>Shakespeare, Film, Fin de Siecle<\/em>. Ed. Mark Burnett and Ramona Wray (London: Macmillan \/ New York: St. Martin&#8217;s Press, 2000), pp. 203-31.<\/li>\n<li>&#8220;(Un)Censoring in Detail: The Fetish of Censorship in the Early Modern Past and Postmodern Present,&#8221;<em>\u00a0Censorship and Silencing: Practices of Cultural Regulation<\/em>. Ed. Robert Post (Santa Monica, CA; Getty Research Institute Publications, 1998), 17-41. Translated into Czech by Michael W\u00f6gerbauer, in<em>\u00a0Dangerous Literature?\u00a0<\/em>(Nebezpe\u010dn\u00e1 literatura), Brno, 2012.<\/li>\n<li>&#8220;The Love That Dare Not Speak Shakespeare&#8217;s Name: New Shakesqueer Cinema,&#8221; in\u00a0<em>Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video<\/em>. Ed. Lynda Boose and Richard Burt (New York and London: Routledge Press, 1997), pp. 240-68.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;&#8216;Degenerate &#8220;Art&#8221;&#8216;: Public Aesthetics and the Simulation of Censorship in Postliberal Los Angeles and Berlin,&#8221; in\u00a0<em>The Administration of Aesthetics: Censorship, Political Criticism and the Public Sphere<\/em>. Ed. Richard Burt (Minneapolis: U of Minnesota P, 1994), pp. 216-59.\u00a0<\/a>[See the exhibition catalogue I discuss online here\u00a0<em><a href=\"https:\/\/archive.org\/stream\/degenerateartfa00barr#page\/n0\/mode\/2up\" target=\"_blank\" rel=\"noopener\">Degenerate art: the fate of the avant-garde in Nazi Germany<\/a><\/em>.]<\/li>\n<li>&#8220;Baroque Down: the Trauma of Censorship in Queer Film Revisions of Marlowe and Shakespeare,&#8221; in\u00a0<em>Shakespeare In the New Europe<\/em>. Ed. Michael Hattaway et al (Sheffield: Sheffield Academic Press, 1993), pp. 328-50.<\/li>\n<li>&#8220;&#8216;A Dangerous Rome&#8217;: Shakespeare&#8217;s\u00a0<em>Julius Caesar\u00a0<\/em>and the Discursive Determinism of Cultural Politics,&#8221; in\u00a0<em>Contending Kingdoms: Historical, Psychological, and Feminist Approaches to the Literature of Sixteenth-Century England and France<\/em>, ed. Marie-Rose Logan and Peter L. Rudnytsky (Detroit: Wayne State UP, 1990), pp. 109-27.<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Articles in Journals<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>&#8220;<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">Welles Worth Seeing? Teorie dell\u2019attribuzione, titoli di film falsi e diffusione simultanea via Netflix di<em>\u00a0The Other Side of the Wind<\/em>\u00a0e\u00a0<em>They\u2019ll Love Me When I\u2019m Dead<\/em>&#8220;<\/a>\u00a0<em>Cabiria: Studi di Cinema<\/em>, a special issue edited by Alberto Anile, Maggio-Aogosto Nouva Serie N. 192, 2019, 65-74, in English and Italian. (Attribution Theory, Fake Film Titles, and the Netflix Simultaneous Release of\u00a0<em>The Other Side of the Wind<\/em>\u00a0and\u00a0<em>They\u2019ll Love Me When I\u2019m Dead<\/em>)<\/li>\n<li>&#8220;<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">Reading Madness in the Archive: Shakespeare&#8217;s Unread Letters,&#8221;\u00a0<\/a>in<em>\u00a0Borrowers and Lenders<\/em>, special issue on &#8220;Global Shakespeares in World Markets and Archives,&#8221;\u00a0VOLUME XI \u00b7 NUMBER 2.\u00a0September 2017.<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">\u00a0(proofs)<\/a><\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;What is Called Thinking with ShaXXXspeares and Walter Benjamin? Managing De\/Kon\/struction, Toying with Letters in\u00a0<em>The<\/em>\u00a0<em>Lego Movie,<\/em><\/a><em>&#8221;\u00a0<\/em>in\u00a0<em>Journal for Early Modern Cultural Studies<\/em>\u00a0special issue on &#8220;Cute Shakespeare&#8221; ed. Julia Lupton and Tommy Anderson, Volume 16, 2016, 94-115. (<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\">Proofs are here<\/a>.)<\/li>\n<li>&#8220;<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">Shelf-Life: Biopolitics, the New Media Archive, and &#8216;Paperless&#8217; Persons<\/a>,&#8221; in\u00a0<em>New Formations<\/em>, special issue on &#8220;Materialities of Text: Between the Codex and the Net,&#8221; Eds. Nicholas Thorburn and Says, in\u00a0<em><a href=\"http:\/\/www.newformations.co.uk\/\" target=\"_blank\" rel=\"noopener\">New Formations<\/a><\/em>\u00a0special issue on &#8220;Materialities of Text: Between the Codex and the Net,&#8221; Eds. Nicholas Thorburn and Says May. No. 77, May, 2012. 10,534 words.<\/li>\n<li>&#8220;Shakespeare&#8217;s Bare (Ruined) Lives ,&#8221; in\u00a0<em><a href=\"http:\/\/www.mellenpress.com\/mellenpress.cfm?bookid=8357&amp;pc=9\" target=\"_blank\" rel=\"noopener\">Shakespeare After 9\/11: How a Social Trauma Reshapes Interpretation<\/a><\/em>\u00a0a special issue of<em>\u00a0Shakespeare Yearbook<\/em>, Vol. 20 Ed. Matthew Biberman, Julia Reinhard Lupton (Edwin Mellen Press, 2011), 213-26. 2,500 words.<\/li>\n<li>&#8220;Digital Film, Asianization, and the Transational Film Remake: Alluding to Shakespeare in\u00a0<em>L&#8217;Appartement<\/em>,\u00a0<em>The King Is Alive<\/em>,\u00a0<em>Wicker Park A Time to Love<\/em>, and\u00a0<em>University of Laughs<\/em>,&#8221; in\u00a0<em>Shakespeare Yearbook<\/em>\u00a017, special issue on &#8220;Shakespeare and Asia.&#8221; Ed. YANG Lingui, (Edwin Mellen Press, 2010), 45-78.<\/li>\n<li>&#8220;Becoming Literary, Becoming Historical: The Scale of Female Authorship in\u00a0<em>Becoming Jane<\/em>.&#8221;\u00a0<em>Adaptation.<\/em>\u00a01:1. (2008), 58-62.<\/li>\n<li>&#8220;<a href=\"http:\/\/babel.revues.org\/815\" target=\"_blank\" rel=\"noopener\">Cutting and Running from the (Medieval) Middle East : The Uncanny\u00a0Mises-hors-scene of\u00a0<em>Kingdom of Heaven&#8217;s\u00a0<\/em>Double DVDs<\/a>,&#8221;\u00a0<em>Babel<\/em>, special issue, &#8220;Le Moyen \u00c2ge\u00a0 mise-en-sc\u00e8ne: Perspectives contemporaines.&#8221; Ed. Sandra Gorgievski and Xavier Leroux, N\u00c2\u00b0 15, 1er semestre (2007), 247-298. For PDF,\u00a0<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">click here<\/a>.\u00a0<a href=\"http:\/\/babel.revues.org\/113\" target=\"_blank\" rel=\"noopener\">For issue contents, click here.<\/a><\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Getting Schmedieval: Of Manuscript and Film Parodies, Prologues, and Paratexts,&#8221;\u00a0<\/a>special issue of\u00a0<em><a href=\"http:\/\/www.english.ufl.edu\/exemplaria\/movie\/FP.htm\" target=\"_blank\" rel=\"noopener\">Exemplaria<\/a><\/em>\u00a0on &#8220;Movie Medievalism,&#8221; 19.2. (Summer 2007), 217-42, co-edited by Richard Burt.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Re-embroidering the Bayeux Tapestry in Film and Media: the Flip Side of History in Opening and End Title Sequences,&#8221;<\/a>\u00a0special issue of\u00a0<em>Exemplaria<\/em>\u00a0on &#8220;Movie Medievalism,&#8221; 19.2. (Summer 2007), 327-50, co-edited by Richard Burt.<\/li>\n<li>&#8220;Stupid Shit: (In)security in the Age of Twilightenment,&#8221;<a href=\"http:\/\/www.artext.org\/\" target=\"_blank\" rel=\"noopener\">\u00a0ArtUS<\/a>\u00a0(formerly\u00a0<em>Artext<\/em>) no. 11, February, 2006, 29-37 (lead article).\u00a0<a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">For scans in pdf, click here.<\/a><\/li>\n<li>&#8220;Slammin&#8217; Shakespeare In Acc(id)ents Yet Unknown: Liveness, Cinem(edi)a, and Racial Dis-integration, &#8221;\u00a0<em>Shakespeare Quarterly\u00a0<\/em>, 53 (2) Summer (2002), 201-26, special issue on Shakespeare on film. Ed. Barbara Hodgdon.<\/li>\n<li>&#8220;Getting Off the Subject: Iconoclasm, Queer Sexuality, and the Celebrity Intellectual,&#8221;\u00a0<em>Performing Arts Journal\u00a0<\/em>50\/51 (May \/ September 1995): 137-50 (special issue devoted to the Arts and the University).<\/li>\n<li>&#8220;&#8216;Tis Writ by Me&#8217;: Massinger&#8217;s\u00a0<em>The Roman Actor\u00a0<\/em>and the Politics of Reception in the English Renaissance Theater,&#8221;\u00a0<em>Theatre Journal\u00a0<\/em>40 (October 1988), 332-46.<\/li>\n<li>&#8220;Licensed by Authority&#8217;: Ben Jonson and the Politics of Early Stuart Theater,&#8221;\u00a0<em>ELH\u00a0<\/em>54 (Fall 1987), 529-60.<\/li>\n<li>&#8220;Charisma, Coercion, and Comic Form in\u00a0<em>The Taming of the Shrew<\/em>,&#8221;\u00a0<em>Criticism\u00a0<\/em>26 (Fall 1984), 295-311; reprinted in\u00a0<em>Modern Critical Interpretations: William Shakespeare&#8217;s The Taming of the Shrew<\/em>. Ed. Harold Bloom (New York and New Haven: Chelsea House, 1988), 79-82; reprinted in\u00a0<em>Shakespearean Criticism\u00a0<\/em>. Ed. Marie Lazzari (Detroit: Gale Research, 1996).<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Co-Authored Articles<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;What&#8217;s the Worst Thing You Can Do to Shak\/x\/espeare?&#8221; co-authored with Julian Yates,<em>\u00a0Renaissance Drama<\/em>, n.s. 40 2012, 71-89.<\/a><\/li>\n<li>&#8220;Certain Tendencies in Shakespeare Film Criticism,&#8221; co-authored with Scott Newstock,\u00a0<em>Shakespeare Studies\u00a0<\/em>Vol. 38, special Forum on &#8220;After Shakespeare on Film.&#8221; Ed. Gregory Semenza, 2010, 88-103.<\/li>\n<li>&#8220;Suggested for Mature Readers: Deconstructing Shakespearean Value in Comic Books,&#8221; co-authored with Josh Heuman, forthcoming in\u00a0<em>Shakespeare After Mass Media<\/em>. Ed. Richard Burt (New York: Palgrave, 2002), 150-71.<\/li>\n<li><a href=\"https:\/\/people.clas.ufl.edu\/burt\/content-removed\/\" target=\"_blank\" rel=\"noopener\">&#8220;Knowing Better: Sex, Cultural Criticism, and the Pedagogical Imperative in the 1990s,&#8221;\u00a0<\/a>co-authored with Jeffrey Wallen,\u00a0<em>Diacritics\u00a0<\/em>, &#8220;Texts \/ Contexts,&#8221; Spring 1999, 29 (1): 72-91.<\/li>\n<li>&#8220;Totally Clueless?: Shakespeare Goes Hollywood in the 1990s,&#8221; co-authored with Lynda Boose, in\u00a0<em>Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video<\/em>. (New York and London: Routledge Press, 1997), 8-22; reprinted in Timothy Corrigan, Ed.\u00a0<em>Film and Literature: An Introduction and Reader<\/em>\u00a0(Upper Saddle River, NJ: Prentice Hall, 1999), 340-56; reprinted in Sarah McLanahan. Ed.\u00a0<em>Shaping Discourses: Readings for University Writers\u00a0<\/em>, South Bend, IN: U of Notre Dame P, 2001; reprinted in\u00a0<em>William Shakespeare<\/em>. Ed. Laura Marve (Greehaven, 2003).<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Book Introductions<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>&#8220;Shakespeare, the Movie, the Sequel: Popularizing the Plays on Film, Television, and DVD: Editors&#8217; Cut,&#8221; in\u00a0<em>Shakespeare the Movie II<\/em>. Ed. Richard Burt and Lynda E. Boose, (New York and London: Routledge Press, 2003), 1-13.<\/li>\n<li>&#8220;To e- or not to e-? Schlockspeare in the Age of Electronic Mass Media,&#8221; in\u00a0<em>Shakespeare After Mass Media<\/em>. Ed. Richard Burt (New York: Palgrave, 2002), 1-32.<\/li>\n<li>&#8220;The &#8216;New&#8217; Censorship,&#8221; in\u00a0<em>The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere\u00a0<\/em>Ed. Richard Burt (Minneapolis: U of Minnesota P, 1994), xi-xxix.<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Co-Authored Book Introductions<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>&#8220;Shakespeare, the Movie.&#8221; Co-authored with Lynda Boose, in\u00a0<em>Shakespeare, the Movie: Popularizing the Plays on Film,TV, and Video\u00a0<\/em>(New York and London: Routledge Press, 1997), 1-7.<\/li>\n<li>&#8220;Introduction,&#8221; co-authored with John Michael Archer, in\u00a0<em>Enclosure Acts: Sexuality, Property, and Culture in Early Modern England\u00a0<\/em>(Ithaca: Cornell UP, 1994), 1-13.<\/li><\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Media Coverage and Interviews<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>Interviewed by Mexican journalist Luc\u00eda Burbano on March 3, 2016 about Shakespeare and popular culture.<\/li>\n<li>Interviewed by Ellen Lupton, columnist for the\u00a0<em>New York Times<\/em>, and quoted in her blog July 13, 2010: http:\/\/opinionator.blogs.nytimes.com\/2010\/07\/12\/how-to-lose-a-legacy\/<\/li>\n<li>Interviewed by\u00a0<em>NY Times<\/em>\u00a0reporter Celia McGee for a story on Stephen Greenblatt&#8217;s co-authored play\u00a0<em>Cardenio<\/em>\u00a0in April 2008. The story, &#8220;<a href=\"http:\/\/www.nytimes.com\/2008\/05\/04\/theater\/04mcge.html?partner=rssyahoo&amp;emc=rss\" target=\"_blank\" rel=\"noopener\">Shakespearean Brushes Up His Playwriting<\/a>,&#8221; was published on May 4, 2008.<\/li>\n<li>Interviewed by\u00a0<em>Time<\/em>\u00a0magazine journalist Jumana Farourky for a story she was writing on &#8220;The Shakespeare industry,&#8221; published in the March 27, 2006 international issue.<\/li>\n<li>Interviewed by Sally Placksin, for<a href=\"http:\/\/www.mla.org\/radio\" target=\"_blank\" rel=\"noopener\">\u00a0MLA&#8217;s radio program,&#8221;What&#8217;s the Word?<\/a>&#8221; on Al Pacino and Shakespeare. The interview took place on Wednesday, January 18, 2006 at 10:30am (EST).<\/li>\n<li>Interviewed by Krissy Clark of &#8220;Weekend America&#8221; (airs on more than 100 NPR stations around the U.S.) for a show about Shakespeare&#8217;s Birthday, April 20, 2005.<\/li>\n<li><em>Shakespeare, the Movie II<\/em>\u00a0profiled in UF\u00a0<a href=\"http:\/\/clasnews.clas.ufl.edu\/news\/clasnotes\/0402\/bookbeat.shtml\">Clasnotes<\/a>, 2003.<\/li>\n<li>Interviewed about &#8220;Shakespeare and America&#8221; on Chicago Public Radio&#8217;s\u00a0<a href=\"http:\/\/www.chicagopublicradio.org\/audio_library\/od_raapr03.asp\" target=\"_blank\" rel=\"noopener\">Odyssey<\/a>, April 29, 2003.<\/li>\n<li>Interviewed by reporter David Glenn of the\u00a0<em>Chronicle of Higher Education\u00a0<\/em>for a &#8220;Hot Type&#8221; story on the fate of the UMass Press, July 7, 2003. The story ran July, 2003.<\/li>\n<li>National Public Radio interview (Chicago syndicated show &#8220;Odysessy&#8221; with host Gretchen Helfrich) on &#8220;Shakespeare in America,&#8221; April 28, 2003.<\/li>\n<li>Interviewed by\u00a0<em>Seattle Times\u00a0<\/em>reporter Misha Berson for a story on Shakespeare and business seminars. The story, &#8220;Once More into the Breach, Dear CEOs,&#8221; ran August 18, 2002.<\/li>\n<li>January 2001, interviewed by reporter Andy Brown for an issue of\u00a0<em>Literary Cavalcade\u00a0<\/em>devoted to Shakespeare and mass culture.<\/li>\n<li>Quoted and discussed in &#8220;The Pound of Flesh,&#8221; a story about Shakespeare pornography in\u00a0<em>Lingua Franca\u00a0<\/em>, Volume 11, No. 6 September 2001), 8-9. The story was reprinted on the front page of the London\u00a0<em>Independent\u00a0<\/em>newspaper on August 22, 2001.<\/li>\n<li>Interviewed by, Jeet Heer, a reporter for the Toronto\u00a0<em>National Post\u00a0<\/em>, about Shakespeare and popular culture, August 14, 2001. The story ran on August 28, 2001.<\/li>\n<li>June 14, 2000. Interviewed by a Brazilian newspaper journalist about\u00a0<em>Unspeakable ShaXXXspeares<\/em>.<\/li>\n<li>February 2000. Interviewed about\u00a0<em>Unspeakable ShaXXXspeares\u00a0<\/em>on GayBC radio, Seattle, Washington.<\/li>\n<li>Interviewed by Scott Heller of\u00a0<em>The Chronicle of Higher Education\u00a0<\/em>in October 1998 about\u00a0<em>Unspeakable ShaXXXspeares\u00a0<\/em>for a &#8220;Hot Type&#8221; essay he wrote about both it and Harold Bloom&#8217;s\u00a0<em>Shakespeare and the Invention of the Human\u00a0<\/em>.<\/li>\n<li>Reader for Routledge Press, Blackwell Press, Cornell University Press, Princeton University Press, St. Martin&#8217;s Press, University of Illinois Press, University of Minnesota Press, Wayne State University Press, Ashgate Press,\u00a0<em>Adaptation<\/em>,\u00a0<em>Borrowers and Lenders<\/em>,\u00a0<em>PMLA<\/em>, and\u00a0<em>Renaissance Quarterly<\/em>.<\/li><\/ul>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\r\n\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/section>\r\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":11,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"featured_post":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-19","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/pages\/19","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/comments?post=19"}],"version-history":[{"count":12,"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/pages\/19\/revisions"}],"predecessor-version":[{"id":294,"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/pages\/19\/revisions\/294"}],"wp:attachment":[{"href":"https:\/\/people.clas.ufl.edu\/burt\/wp-json\/wp\/v2\/media?parent=19"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}