COURTNEY LEHMANN
1636 N. Baker St.University of the Pacific
Stockton, CA 95204English Dept., Knoles 206
(209) 466-6847 (H)Stockton, CA 95211
(209) 946-2609 (W)
PROFESSIONAL POSITIONS:
Associate Professor of English, University of the Pacific 2003-
Assistant Professor of English, University of the Pacific1998-2003
Associate Instructor, English, IndianaUniversity1993-97
ADMINISTRATIVE EXPERIENCE:
Director, PacificHumanitiesCenter, July 2002––
Coordinator of the Mentor One Program, University of the Pacific, Fall 2000-02.
EDUCATION:
Doctor of PhilosophyEnglish, IndianaUniversity, Bloomington
May 1998.
The School of Criticism and TheoryDartmouthCollege, June-July 1996
Seminars with Stephen Greenblatt and Elaine Scarry.
Master of ArtsEnglish, IndianaUniversity, Bloomington,
May 1994.
Bachelor of ArtsEnglish, University of North Carolina at Chapel Hill, May 1991, summa cum laude, Phi Beta Kappa.
PUBLICATIONS:
Books:
Shakespeares AfterShakespeare: An Encyclopedia of the Bard in Mass Media and Popular
Culture.Edited byRichard Burt. 2 Vols. Volume 1: Film Adaptations. Westport, CT:
Greenwood Press, 2007. 80-131.
Shakespeare Remains: Theater to Film, Early Modern to Postmodern. Ithaca and London:
CornellUniversity Press. 2002.
Spectacular Shakespeare: Critical Theory and Popular Cinema. Edited byCourtney Lehmann
and Lisa S. Starks. Madison, NJ: FairleighDickinsonUniversity Press. 2002.
The Reel Shakespeare: Alternative Cinema and Theory. Edited byCourtney Lehmann and Lisa
S. Starks. Madison, NJ: FairleighDickinsonUniversity Press. 2002.
Articles:
"Dancing in a (Cyber)net: Renaissance Women, Systems Theory, and the War of the Cinemas."
Renaissance Drama. Special issue on "Media, Technology, and Performance," edited by
Wendy Wall, Jeffrey Masten, and W. B. Worthen. Spring 2007. Forthcoming.
“What is a Film Adaptation? Or, Shakespeare Du Jour.” Shakespeares After Shakespeare: An
Encyclopedia of the Bard in Mass Media and Popular Culture.Edited byRichard Burt. 2
Vols. Westport, CT: Greenwood Press, 2007. 74-80.
“As Performed: Kenneth Branagh’s Much Ado About Nothing.” The Sourcebooks Shakespeare:
Much Ado About Nothing. Advisory Editors David Bevington and Peter Holland, in
collaboration with Sir Derek Jacobi. Naperville, IL: Sourcebooks, Inc. 13-24.
“Faux Show: Falling into History in Love’s Labours Lost.” Colorblind Shakespeare: New
Perspectives on Race and Performance. Ayanna Thompson, ed. London and New York:
Routledge, 2006. 69-88.
“The Passion of the ‘W’: Provincializing Shakespeare, Globalizing Manifest Density from King
Lear to Kingdom Come.” The Upstart Crow. 2006. 16-32.
“The Postnostalgic Renaissance: The ‘Place’ of Liverpool in DonBoyd’s My Kingdom.” Filming
Shakespeare in the Twenty-First Century. Mark Thornton Burnett and Ramona Wray,
eds. Edinburgh: EdinburghUniversity Press, 2006. 72-89.
Lehmann, Courtney and Bryan Reynolds. "Awakening the Werewolf Within: Self-help, Vanishing
Mediation, and Transversality in The Duchess of Malfi." Transversal Enterprises in theDrama of Shakespeare and His Contemporaries: Fugitive Explorations London: Palgrave
Macmillan, 2006. 227-39.
"A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, the Escapefrom
Iceland." The Blackwell Companion to Shakespeare and Performance. Edited by Barbara Hodgdon and W. B. Worthen. London: Blackwell, 2005. 588-609.
"Out Damned Scot: Dislocating Macbeth in Transnational Film and Media Culture." Shakespeare,
The Movie II: Popularizing the Plays on Film, TV, Video, and DVD. Edited by Lynda
Boose and Richard Burt. London and New York: Routledge, 2003. 231-251.
Lehmann, Courtney, Bryan Reynolds, and Lisa S. Starks. "'For such a sight will blind afather's
eye': The Spectacle of Suffering in Taymor's Titus." Shakespeare and Transversal
Theory. London: Palgrave Macmillan, 2003. 215-43.
"Crouching Tiger, Hidden Agenda: How Shakespeare and the Renaissance are Taking the Rage
Out of Feminism." Shakespeare Quarterly 52 (Summer 2002): 260-79.
Lehmann, Courtney, and Lisa S. Starks. "Are We in Love with Shakespeare?" Introduction.
Spectacular Shakespeare: Critical Theory and Popular Cinema. Edited by Courtney
Lehmann and Lisa S. Starks. London: Associated UniversityPresses, 2002. 9-20.
"Shakespeare in Love: Romancing the Author, Mastering the Body." Spectacular Shakespeare:
Critical Theory and Popular Cinema. Edited by Courtney Lehmannand Lisa S. Starks.
London: Associated University Presses, 2002. 125-45.
"Strictly Shakespeare? Dead Letters, Ghostly Fathers, and the Cultural Pathologyof Authorship
in Baz Lurhmann’s William Shakespeare’s Romeo + Juliet.” Shakespeare Quarterly 52
(Summer 2001): 189-221.
"Shakespeare the Savior or Phantom Menace? Kenneth Branagh's Midwinter's Tale and the
Critique of Cynical Reason." Colby Quarterly 37.1 (March 2001): 54-77.
"Brave New Bard: The Emerging Field of Shakespeare and Cinema." Featured Survey of the
Field and Review of Nine New Books. Cineaste (Winter 2000): 62-66 (4000 words).
Lehmann, Courtney, with Lisa S. Starks. "Making Mother Matter: Repression, Revision, and the
Stakes of 'Reading Psychoanalysis Into' Kenneth Branagh's Hamlet.'" Early Modern
Literary Studies 6.1 (May 2000). Special on-line issue,
1/lehmham.1.htm.
"Much Ado about Nothing? Shakespeare, Branagh, and the 'National-Popular' in the Ageof
Multinational Capital." Textual Practice 12.1 (Spring 1998): 1-22.
"Kenneth Branagh at the Quilting Point: Shakespearean Adaptation, Postmodern
Auteurism, and the (schizophrenic) fabric of 'everyday life.'" Post Script: Essays in Film
and the Humanities 17.1 (Fall 1997): 6-27.
Reviews:
"Even Better than the Real Thing: Orson Welles's Citizen Kane on DVD." Cineaste (Spring
2002): 45.
Review of The Cambridge Companion to Shakespeare on Film. Solicited by Essays in
Theater/Études Théâtricales, 2003. 179-82.
In Progress (and Under Contract)
Books:
Out of Sight: A Century of Women Filmmakers and Shakespeare. Bloomington: Indiana
University Press. 2008.
Romeo and Juliet: Adaptations. New Mermaids Series on Film and Literature. London: A&C
Black, 2007.
In Progress:
Articles:
“Shakespeare Behind Bars, Women Behind Men.” Analysis and interviews conducted during week-long stay at Luther-Luckett prison in Kentucky, as all-male inmates rehearse for their April 2007 production of Measure for Measure. Essay includes interviews with Curt Tofteland, artistic director of the SBB project, and Hank Rogers, director of the Sundance-film selection Shakespeare Behind Bars (2006).
TEACHING EXPERIENCE: University of the Pacific, 1998-2004.
*Indicates course is cross-listed with the Gender Studies curriculum
**Indicates course is cross-listed with the Ethnic Studies curriculum
***Indicates course is cross-listed with the Film Studies curriculum
*-**-***English 131: Shakespeare, "Symptoms of Culture," Spring 1999.
Shakespeare and Cinema: "Sex, Lies, and Videotape," Spring 2000.
Shakespeare and Cinema: "Bastards, Moors, and Whores," Spring 2001-7.
Intensive, upper-division survey of Shakespeare's comedies, histories, tragedies, romances, and "problem plays" as both literary and performance texts. Theoretical
inquiries focus on the complex ways in which Shakespeare's minor characters, in their
dramatic and cinematic incarnations, emerge as "symptoms"––scapegoats of and
solutions to–-the treacherous, risqué, and frequently repressive culture of the English
Renaissance.
*English 133: Milton, Fall 2001
Framed by the Protestant Reformation on the one side and the English Civil War and the
Restoration on the other, this course spans one of the most formative periodsin Western
history, locating its philosophical foothold in the cavernous intellect and compassionate
gaze of one individual. Throughout the semester, Milton's religious and political tracts are
paired with the tantalizing fictions of Comus, Paradise Lost, and Sampson Agonistes, and
we take frequent breaks along the way to read Milton's light-hearted Italian sonnets and
other, similarly "humanizing" works, such as Milton's melancholy reflections on his
blindness and the sudden loss of his beloved wife. Course emphasis lies in reading
Paradise Lost as political and religiousallegory, tackling topics such as the problem free
will versus God's omnipotence, predestination versus Arminianism, and democracy
versus the divine right of kings.
*English 25: Introduction to the Study of Literature, "Monsters and Their Masters,"
Spring 1999.
Introduction to the discipline of English, covering a broad range of literary modes,
interpretive methods, and historical periods, based around a particular theme. This
version of the course explores the relationship between "masterpieces" and
"monsterpieces," focusing on the dialectic between creation and discrimination.
*-**English 25: Introduction to the Study of Literature, "Sports and Scandal,"
Spring 2006; Honors: Spring 2007.
This version of the English Department’s gateway course examines the scandalous culture of sport in literature and film, focusing on the racial, class, and gender-specific ways in which athletes are made, marketed, and undone.
*English 140: Renaissance Literature, "Self-Fashioning and Its Discontents: 1500-1610," Fall 1998. Humanities Initiative, "Renaissance Literature and Culture: 1500-1660" (linked with "Tudor and Stuart History") Fall 1999.
Intensive, upper-division survey of Renaissance Literature and Culture. Special attention to the emergence of "self-fashioning" as a means of negotiating the overwhelming demand for social conformity associated with Renaissance standards of political, religious, and sexual decorum.
*English 140: Renaissance Literature, "Penitence and Perversion," Fall 2000.
Upper-division survey focusing on the rise of evangelical Protestantism
and its literary manifestation in England, 1517-1670. This course offers an in-depth exploration of the confessional ethos of early Protestantism and the fine-line it generates between devotion and debauchery, penitence and perversion, in the works of Wyatt, Marlowe, Webster, Donne, and Milton.
*English 140: Renaissance Drama, “Bloody, Bawdy Villains: Revenge . . . Renaissance Style,”
Fall 2003. Upper-division survey of the social and sexual politics of revenge in the
theater and culture of the English Renaissance, with a concluding analysis of the
relationshipbetween Shakespeare’s Hamlet and Thomas Pynchon’s The Crying of Lot
49.
*English 41: British Literature before 1800, Fall 1998-99. Spring 2000-03. Fall 2006.
Survey of British Literature from its putative beginnings through the work of Swift, Gay
and, ocassionally, Austen. The course explores a variety of literary modes, including
chivalric romance, prose satire, epic andlyric poetry, drama, the essay, and the novel,
focusing on the ways in which "major" authors are constituted by the intersection of
history, culture, gender, and genre. Of particular interest are the Celtic “outliers”—the
Britons, Bretons, and Britains—whose contribution to the making of the “British” Literary
Canon is often overlooked.
Mentor One Seminar, Fall 1998. Honors Mentor One Seminar, Fall 1999-2002.
Analyses through an interdisciplinary lens of "Timeless Questions" concerning the
origins, value, meaning, and future of human existence. Also includes weekly faculty
roundtable discussions on course issues.
PROFESSIONAL SERVICE (External):
Reader: Shakespeare Quarterly(US)
Shakespeare Journal(UK)
University of Texas Press
IndianaUniversity Press
FairleighDickinsonUniversity Press
HONORS:
Featured Presenter: Oxford Round Table on Women’s Rights and Freedoms, England2007
Inaugural Speaker: Marsh 3 Endowed Series in Shakespeare Studies, Texas A&M2007
JNT (Journal of Narrative Theory) Speaker, Eastern Michigan University2006
Strode Lecturer, University of Alabama2006
Plenary Speaker, The Clemson Shakespeare Festival2005
Phi Kappa Phi National Honors Society Inductee2004
Eberhardt Teacher-Scholar Award, University of the Pacific2003
Plenary Speaker, DenverUniversity Lecture Series2003
Plenary Speaker, Shakespeare in the Spring Festival, University of Akron2000
Zuckerman Lecturer, The San Francisco Psychoanalytic Institute1999
James A. Work Award for Outstanding Graduate Student in English1997
IndianaUniversity Departmental Excellence in Teaching Award1997
Unanimous Distinction for Ph. D. Qualifying Examinations1996
Fellowship to the DartmouthSchool of Criticism and Theory1996
Phi Beta Kappa1989
Summa Cum Laude1991
University of North Carolina Scholar-Athlete Award1991
GRANTS (Internal):
Eberhart Summer Research Grant, $3500, for project titled “Seen but not heard: The Aboriginal
Voice in Baz Lurhmann’s William Shakespeare’s Romeo + Juliet.” 2006.
Colliver Foundation Grant, $500, for initiating the first-ever Iranian Film Festival at University of
the Pacific through the Pacific Humanities Center, intended to challenge students and members
of the Stockton community toembrace cultural diversity through the arts. Grant intended to
defray film-licensing fees and advertising expenditures, Fall 2002.
Irvine Foundation Diversity Grant, $2500, for semester-long study of racial profiling from
Shakespeare's plays to the culture of contemporary literacy. Project, sponsored by the Pacific Humanities Center involved studentsand Professors in the Stockton Public Library's
"Reach Out and Read" program. Participants are trained in promoting literacy as well as cultural
sensitivity; they are then sent to waiting rooms in local medical clinics, where they read for
parents and children who are (often apprehensively) awaiting treatment. The objective is not
merely to entertain but to engage parents' interest in reading to their own children, even if they
come from illiterate or non-English-speaking households. Students, meanwhile, were
encouraged to consider, throughout this process, their own relationship to entitlement, privilege,
and literacy.
Asian Studies Foundation Grant, $500, for initiating a TaiChiCenter at University of the Pacific,
as part of the student-centered programming offered by the Pacific Humanities Center,
Jan.-May 2003. Grant intended to defray costs of expert instruction from local Tai Chi
Masters.
Eberhardt Institutional Priorities Grant, $3500, for project sponsoring student learningoutside the
Classroom through the Pacific Humanities Center, assessing the extent to which exposure to
and participation in theatrical performance enhances the learning curve for Shakespeare and
stimulates broader interest in the Humanities disciplines, April-May 2001.
Teaching with Technology: Online Course Development Initiative, sponsored by the Office of
Continuing and Professional Education, $2000, Spring 2002.
University of the Pacific Long Foundation Fellow, $5000 (shared with Professor Lou Matz), for
long-term proposal to improve the quality of the Mentor One General Sessions, Aug-Dec.
2001.
Eberhardt Summer Research Grant, $3500, for project entitled “Shakespeare(s) in Love: The
Multiple Texts of Romeo and Juliet.” 2000.
CAPD Grant, $1000, sponsoring travel with Shakespeare class to the Oregon Shakespeare
Festival. University of the Pacific, May 2000.
Participant, National Endowment for the Humanities Group Grant for Pilot Program in the
Humanities, $400, for participation in workshops focused on fostering links across the
Humanities disciplines. Co-developed, as a prelude to workshop participation, a pilot
course in English Renaissance Literature taught in tandem with acourse in Tudor and
Stuart History. Students are encouraged to take both classes aswell as to participate in
"linked" activities like madrigal workshops, fencing lessons, paleography seminars, film
screenings, and other social events designed to create a humanities-based learning
community. Assessment techniques are employed to determine the benefits students
derive from interdisciplinary learning communities. Workshop, May 2000; Course, Fall
Semester, 1999.
Irvine Foundation Learning Assessment Team Grant, $5000 (proposed in conjunction with
Professors Diane Borden and Reinhart Lutz) for assessment project titled "From Play to
Film in Shakespeare and Kurosawa: Across Time/Across Culture/Across Genre.” Granted to
explore the impact of interdisciplinary studies, team-teaching, and learning communities on
student learning outcomes. Spring, 1999.
PROFESSIONAL SERVICE (Internal):
Chair, Subcommitee for Gender Equity, Diversity Issues, and Student-Athlete Welfare, NCAA Recertification and Compliance, 2005-07.
Faculty Advisor, Calliope: The Literary-Arts Journal of the University of the Pacific, Produced by the PacificHumanitiesCenter, 2002--
Member, Steering Committee for NCAA Recertification and Compliance, 2005-07.
Member, Steering Committee for 2007 Japanese Symposium, 2005-2007.
Member, EnglishDepartment Hiring Committee, Film Studies Search, 2005-06.
Member, English Department Hiring Committee, Medieval/Linguistics Search, 2005-06.
Panelist, “The Great Debate: Machado vs. Podesto,” Sponsored by the School of International Studies in cooperation with DeltaCollege, Televised from Faye Spanos Concert Hall, Fall 2004.
Member, Humanities Task Force, Ad Hoc Committee Appointed by Dean Gary Miller to Explore
the Future of the Humanities Disciplines at Pacific, Spring 2004.
Panel Moderator and Co-Organizer, “Title IX: Swifter, Higher, Stronger” Art Exhibition and Panel,
Sponsored by the Reynolds Gallery, the Department of Athletics, and Gender Studies, Spring
2004.
Dramaturg:King Lear, 2004; Twelfth Night, 2002, Department of Theatre Arts.
Participant, The Vagina Monologues, February 2004. (Raised more than $10,000 for The
Women’s Center of San Joaquin County.)
Member, COP Capital Campaign Leadership Committee, Humanities Representative, 2003-05
Presidential Appointee,Athletics Advisory Council, University of the Pacific, 1999-2008.
Faculty Sponsor, PacificYoung Democrats Organization, 2000-02.
Member, Theatre Arts Program Review Committee, 2000-01.
Member, General Education Committee, 1999-2002.
Member, English Department Hiring Committee: 19th Century Literature and Technical Writing
Search, 2000-01.
Juror, Queer Art Exhibition, Reynolds Gallery, Spring 2000.
Member, Gender Studies Board, University of the Pacific, 1999-2001.
Member, Mentor One Planning Committee, University of the Pacific, 1999-2002.
Participant, "Linked" Course for the Pacific Humanities Initiative (with Professor Ken Albala,
History), Fall 1999.
Member, COP Fall Faculty Retreat Committee, 1999.
Mentor One Representative to the Ad hoc Committee on Ethics Across the Curriculum,
University of the Pacific, 1999.
Replacement Member, College of the Pacific Council, Spring 1999.
Faculty Sponsor, TheEnglish Club, University of the Pacific, 1998-2000.
Member, Program and Curriculum Committee, English Department, 1998-2000.
Member, English Department Hiring Committee: Composition and Rhetoric Search, 1998-1999.
Member, English DepartmentCurriculum and Program Review Committee, 1998-2001.
Judge, San Joaquin Arts Commission Poetry Contest, Stockton, California, 1999.
PROFESSIONAL AFFILIATIONS:
Modern Language Association
Shakespeare Association of America
Group for Early Modern Cultural Studies
International Shakespeare Association
OTHER TEACHING INTERESTS:
Film History and Theory
Early Modern Women's Writing
Literary Criticism and Theory
Cultural Studies
MISCELLANEOUS ACHIEVEMENT:
Four-time NCAA Division One National Champion as Member of the University of
North Carolina Women's Soccer Team.
Orange Belt in Karate.
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