M. G. Aune

California University of Pennsylvania, English, Faculty Member

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Phone: 724.938.4341
Address: California University of Pennsylvania
Box 100
250 University Ave.
California, Pennsylvania 15419

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Claus Tieber

Musik und Kunst Privatuniversität der Stadt Wien (MUK)

David Seamon

Kansas State University

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Aix-Marseille University

Can Candan

Bogazici University

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Ucla

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Harvard University

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University of Salamanca

Antonio Musarra

Sapienza University of Roma

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Università Europea di Roma

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University of Messina

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Papers by M. G. Aune

A review of "Travels in Africa Persia, and Asia the Great" by Sir Thomas Herbert, edited and with an introduction by John Anthony Butler

A review of "The Collected Writings Volume 2: The Port Nelson Relations" by Pierre-Esprit Radisson

Performing Early Modern Drama Today. Edited by Pascale Aebischer and Kathryn Prince. Cambridge: Cambridge University Press, 2012. Pp. xiii + 247 + 5 illus. £60/$99 Hb

Theatre Research International, 2014

Borders and Travellers in Early Modern Europe (review)

Biography, 2008

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The Revenger's Tragedy

Shakespeare Bulletin, 2006

The Revenger's Tragedy Presented by Doublethink Theatre and Halflight, at the Southwark Playh... more The Revenger's Tragedy Presented by Doublethink Theatre and Halflight, at the Southwark Playhouse, London. March 7-25, 2006. Adapted by Meredith Oakes. Directed by Gavin McAlinden. Designed by Paul Colwell, Costumes designed by Lara Booth. With Kris Marshall (Vindici), James Howard (Hippolito), Linda Marlowe (Gratiana), Catherine Murray (Castiza), William Whymper (Duke), Sheila Ruskin (Duchess), Patrick Myles (Lussorioso), Tom Davey (Ambitioso), Mark Hesketh (Spurio), Oliver Kieran-Jones (Junior), Ben Lambert (Supervacuo), and Charles Pemberton (Antonio). Situated on the South Bank, the Southwark Playhouse, formerly a Victorian-era tea warehouse, has hosted and produced a rich variety of new plays and twentieth-century repertory in the past several years. Despite competition from Shakespeare's Globe just a few blocks away, the Southwark also offers plays by Shakespeare and his contemporaries, as well as educational programs through its Shakespeare for Schools program. How th...

Mandeville's Medieval Audiences: A Study on the Reception of the "Book of Sir John Mandeville" (1371-1550)

The Sixteenth Century Journal, 2004

Global Connections and Monetary History, 1470-1800. Ed. Dennis 0. Flynn, Arturo Giraldez, and Ric... more

Early Modern European Travel Writing After Orientalism

Journal for Early Modern Cultural Studies, 2005

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Visions of Persia: Mapping the Travels of Adam Olearius

Renaissance Quarterly, 2005

... Visions of Persia: Mapping the Travels of Adam Olearius. Autores: MG Aune; Localización: Sixt... more

Sir Thomas Herbert. Travels in Africa Persia, and Asia the Great

Sir Thomas Herbert. Travels in Africa Persia, and Asia the Great. Ed. and Intro. John Anthony But... more Sir Thomas Herbert. Travels in Africa Persia, and Asia the Great. Ed. and Intro. John Anthony Butler. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2012. xcvii + 904 pp. + 18 illus. $120.00. Sir Thomas Herbert (1606-1682) is best known as a companion to Charles I in the last years of the monarch's life. Herbert was also one of a group of English and Scotsmen who emerged in the seventeenth century, journeying great distances and returning to write lengthy travel narratives about their experiences. Thomas Coryate (1579-1618), William Lithgow (1582-1645), and Henry Blount (1602-1682) among others, traveled east, alone or in small groups and returned to write accounts of their adventures with themselves at the center of their narratives. Their books were typically encyclopedic, indebted to humanist conventions of the previous century. Herbert's Travels was among the most popular, appearing in five printings between 1634 and 1677. A distant relative of the earls...

Ophelia's Space: Characterizing Shakespeare's Women in Popular Film

Journal of Popular Film and Television

Responding to audience expectations about female characters' scarcity, the filmmakers of four pop... more Responding to audience expectations about female characters' scarcity, the filmmakers of four popular adaptations of Hamlet-Laurence Olivier (1948), Franco Zeffirelli (1990), Kenneth Branagh (1996), and Michael Almereyda (2000)-attempted to enhance Ophelia's character. By providing additional scenes and denser miseen-scène, they tried to give the character greater agency.

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Moryson, Fynes

The Encyclopedia of English Renaissance Literature

Passengers, Spies, Emissaries, and Merchants: Travel and Early Modern English Identity

DIH 2.5: Beyond the Classroom: Building Community in Honors

Shakespeare in Pittsburgh

Shakespeare Bulletin, 2009

... animated short features stock characters and situations and humor derived from inversions suc... more

The Stratford Shakespeare Festival 2011

Shakespeare, 2012

Review of Shakespeare’s The Merry Wives of Windsor (directed by Frank Galati for the Stratford Sh... more Review of Shakespeare’s The Merry Wives of Windsor (directed by Frank Galati for the Stratford Shakespeare Festival) at the Festival Theatre, 20 July 2011 Review of Shakespeare’s Richard III (directed by Miles Potter for the Stratford Shakespeare Festival) at the Tom Patterson Theatre, 21 July 2011 Review of Shakespeare’s Twelfth Night (directed by Des McAnuff for the Stratford Shakespeare Festival) at the Festival Theatre, 22 July 2011 Review of Shakespeare’s Titus Andronicus (directed by Darko Tresnjak for the Stratford Shakespeare Festival) at the Tom Patterson Theatre, 23 July 2011

Francis Davey, ed. and trans. The Itineraries of William Wey. Bodleian Library, University of Oxford. Oxford: Oxford University Press, 2010. 272 pp. index. append. map. bibl. $39. ISBN: 978–1–85124–304–4

Renaissance Quarterly, 2011

Voyage, Drama and Gender Politics 1589-1642: Real and Imagined Worlds

Notes and Queries, 2004

a chance opportunity. Perhaps Hirsh becomes rather too confined by a rigorous logical analysis, a... more a chance opportunity. Perhaps Hirsh becomes rather too confined by a rigorous logical analysis, and a literal reading of the texts he deals with. He tends to brush aside all alternatives with an appeal to a logical certainty that does not really exist. A dramatist like Shakespeare is always interested in the dramatic potential of the moment, and may not always be thinking in terms of plot. (But as I suggest above, the textual evidence from plot is ambiguous in the scene.) Perhaps the sentimentalisation of Hamlet's character (which the author rightly dwells on) is the cause for so many unlikely post-renaissance interpretations of this celebrated soliloquy. But logical rigour can only take us so far, and Hamlet, unlike Brutus, for example, does not think in logical, but emotional terms. 'How all occasions do inform against me / And spur my dull revenge' he remarks.

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Coryate, Thomas

The Encyclopedia of English Renaissance Literature

Cymbeline , presented by the Orlando Shakespeare Theater at the Margeson Theater, Orlando, Florida, 9 March 2012

Early Modern Literary Studies, 2013

How does a theater company approach Shakespeare in a city that boasts Walt Disney World, Sea Worl... more How does a theater company approach Shakespeare in a city that boasts Walt Disney World, Sea World, Universal Studios, and a raft of additional competitors for leisure dollars? Collaboratively. Since its inception in 1989, the Orlando Shakespeare Theater has successfully presented a variety of plays while relying on the range of resources that the area's exceptional level of theme park (and education) density provides. A partnership with the University of Central Florida has been foundational. In the mid-1970s, faculty from UCF began a series of Shakespeare workshops for local teachers. By 1989, after receiving several National Endowment for the Humanities grants, these workshops evolved into a festival, which presented its debut season in the Walt Disney Bandshell-a venue created with donations from Walt Disney World. The relationship with Disney has continued via the corporation's support of the arts patronage organization, the United Arts of Central Florida, which in turn provides money for the OST and other local cultural groups. The OST's first season featured The Tempest and Taming of the Shrew with costumes rented from the Royal Shakespeare Company (the first time the RSC had allowed such an

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