John R. Ford
200 South Bolivar Avenue Phone: 662-843-1461 (home)
Cleveland, MS 38732 662-846-4108 (office)
Education: 1978-1983 Advanced Study, University of Michigan, Ann Arbor
1976 M.A., University of Maine
1968 B.A., Boston College
Academic Honors: 1981 Carrye and Abraham S. Hart Fellowship
Phi Kappa Phi
Teaching:
1983- Assistant Professor, Delta State University
Courses include: Shakespeare, Renaissance Drama, Milton (graduate seminar), Renaissance Backgrounds (interdisciplinary course), Renaissance Non-Dramatic Poetry, Modern Drama, Introduction to Poetry and Drama, Introduction to Short Story and Novel, and Composition (all levels)
1977-83 Lecturer and Teaching Assistant, University of Michigan
1980-82 Assistant to the Director of Composition, University of Michigan
1975-78 Instructor, University of Maine
1972-75 Teaching Assistant, University of Maine
Publications:
ASportful Malice? Shakespeare=s and Trevor Nunn=s Mixing of Genres in Othello and Twelfth Night.@ Shakespeare Bulletin 20.3 (Sum. 2002): 7-11.
ADreaming and Remembering: The Performances of Clemson Shakespeare Festival X.@ The Upstart Crow 21 (2001): 85-91.
Rev. Shakespeare: Text and Theater: Essays in Honor of Jay L. Halio. Comparative Drama: forthcoming.
AWhat Learning Is: The Blackfriars Playhouse Inaugural Conference, 2001.@ Shakespeare and the Classroom 9.1-2 (2001): 6-11.
AFinding Young Hamlet.@ Shakespeare Magazine: 6.1 (Win.. 2002): 12-14. Rpt. in POMPA 2002: 1-7.
APlaying Spaces at the Blackfriars.@ Rev. of Blackfriars Inaugural Conference. Shakespeare Magazine: 6.1 (Win. 2002): 2.
AEloquent Spaces.@ Rev. of Blackfriars Inaugural Conference. Shakespeare Newsletter: 51.4.250 (Win. 2002/2002.
AWords and performances=: Roderigo and the Mixed Dramaturgy of Race and Gender.@ Othello: New Critical Essays. Ed. Philip C. Kolin. New York: Routledge, 2002. 147-68.
Rev. Shakespeare: The Two Traditions by H. R. Coursen. Shakespeare Quarterly 52 (2001): 167-70.
AWords, words, words: ACTER and Shenandoah Perform for Clemson Shakespeare Festival 2000.@ The Upstart Crow 20 (2000): 154-66.
AThe qualities o= th= isle=: The Clemson Players Perform The Tempest.@ The Upstart Crow 19 (1999): 169-73.
ATranslating Audiences and their Bottoms: Filming A Midsummer Night=s Dream.@ POMPA 2000: 1-9.
AProspero=s Release: Exorcising Anger and Sexuality in ACTER=s The Tempest.@ Shakespeare Bulletin 17.4 ( Fall 1999): 19-21.
AThe Condition of my Estate=: Conjuring Identity and Estrangement in as As You Like It.@ The Upstart Crow 18 (1998): 56-66.
ABetter than reportingly=: How to Create Much Ado out of Next to Nothing.@ POMPA 1998: 11-15.
APursuing the Story: Piecing out Conventions in Loncraine=s Richard III, Luhrmann=s Romeo + Juliet, and Pacino=s Looking for Richard.@ Shakespeare and the Classroom 6.1 (Spring 1998): 62-69.
AThe winds did sing it to me=: Renewing Language and Memory in The Tempest.@ POMPA 1994: 81-86.
AReporting His Cause Aright: Two Hamlets.@ Journal of the Mississippi Council of Teachers of English 14.1 (Fall 1991): 9-17.
AVery Reverend Sport, Truly.@ Rev. of Teaching Shakespeare: New Approaches from the Folger Shakespeare Library. Journal of the Mississippi Council of Teachers of English 10.2 (Spring 1988): 21-25.
Rev. of Shakespeare in the South: Essays in Performance, ed. Philip C. Kolin. Journal of Mississippi History 45 (1984): 262-64.
AThe Sentimental Irony of Country Music, Or, If a Singer=s Gasp Exceeds His Reach, What=s a Metaphor?@ LSA 4.3 (Spring 1981): 18-21.
Miscellaneous poetry published in Discoveries (1997), Tapestry (1989, 1990), and Best of Poetry Night (1999).
Papers Presented:
A=Sportful malice=: Trevor Nunn=s Filmed Tragicomedies of Othello and Twelfth Night.@ (Shakespeare Association of America 2002)
AFinding Young Hamlet.@ (Mississippi Philological Association 2002)
ATo anger him we=ll have the bear again=: Staging Orsino’s Recognition Scene in Twelfth Night” (South-Central Renaissance Conference 2002)
ATo anger him we=ll have the bear again=: Recognizing Orsino.@ (Blackfriars Conference 2001)
AAlmost a miracle=: Playing at Belief in King Lear and The Winter=s Tale.@ (South-Central Renaissance Conference 2001)
AI am the man=: Performing the Ambiguity of Sex and Gender in Twelfth Night.@ (Shakespeare Association of America 2001, SCMLA 2001)
APurging Mortal Dreamers and Dreams in Films of A Midsummer Night=s Dream.@ (Popular Culture Association 2001)
AThe Commodity of Strangers=: Competing Differences in The Merchant of Venice.@ (South Central Modern Language Association 2001)
AShining Substitutes: Mediating Value in The Merchant of Venice.@ (Shakespeare Association of America 1999, SCRC 2000)
AShow me thy thoughts=: Teaching Shakespeare Through Film and Video.@ (South Central Modern Language Association 2000)
AProspero=s Release: Exorcising Anger and Sexuality in The Tempest.@ (South-Central Renaissance Conference, MPA 1999)
AHaply for I am Black=: Performing Race and Gender in Two Othellos.@ (South Central Modern Language Association 1998)
AThe Great Globe itself [and] all which it inherit=: Rediscovering Shakespeare=s Theatre,@ with Susan Allen Ford. (Mississippi Council of Teachers of English 1999)
AOcular Proof =: Creating Race, Gender, and Audience in Filmed Performances of Othello.@ (Shakespeare Association of America 1998)
AStrange Power of Speech: Performing Julius Caesar.@ (Mississippi Philological Association 1998)
A[T]he likeness of a sigh=: Re-inventing Romeo and Juliet at Century=s End.@ (South Central Modern Language Association 1997)
AThe Shapes of the Chameleon: Looking for Shakespeare=s Richard III in Contemporary Popular Films.@ (International Popular Culture Conference, York, United Kingdom 1977)
APursuing the Story: Piecing out Conventions in Loncraine=s Richard III, Luhrmann=s Romeo + Juliet, and Pacino=s Looking for Richard.@ (Shakespeare Association of America 1997)
AThe condition of my estate=: Conjuring Identity and Estrangement in As You Like It.@ (South-Central Renaissance Conference 1997)
ABetter than reportingly=: How to Create Much Ado out of Next to Nothing.@ (Mississippi Philological Association 1997)
AMastering Revelry: Feste and the Exchange of Mirth in Twelfth Night.@ (South-Central Renaissance Conference 1996, MPA 1996)
AGuilty Creatures Sitting at a Play.@ (Conference of the Center for Renaissance and Shakespearean Staging 1995)
AWhich be the Malefactors?= Comprehending Villainy in Much Ado About Nothing.@ (South-Central Renaissance Conference 1995, MPA 1995)
AThe winds did sing it to me=: Renewing Language and Memory in The Tempest.@ (South Central Modern Language Association 1994, MPA 1994)
AReporting His Cause Aright: Two Hamlets.@ (South-Central Renaissance Conference 1992)
AThe Decreed Burden: Tuning Human Voices in The Temple.@ (SAMLA 1987)
AThe Sentimental Irony of Country Music; Or, if Singer=s Gasp Exceeds his Reach, What=s a Metaphor?@ (American Popular Culture Association 1980)
Other:
AShakespeare: Text and Performance@ (participated in week-long course sponsored by University of Nevada and the Shakespeare Centre, Stratford-upon-Avon, 2002)
AShakespeare: Text and Performance@ (participated in week-long course sponsored by University of Nevada and the Shakespeare Centre, Stratford-upon-Avon, 2001)
AShakespeare: Text and Performance@ (participated in week-long course sponsored by University of Nevada and the Shakespeare Centre, Stratford-upon-Avon, 2000)
AShakespeare: Text and Performance@ (participated in week-long course sponsored by University of Nevada and the Shakespeare Centre, Stratford-upon-Avon, 1999)
AThe Great Globe itself [and] all which it inherit=: Rediscovering Shakespeare=s Theatre@ with Susan Allen Ford (DSU=s First Tuesday 1998, Delta Penwomen 1999)
ARenaissance and Shakespearean Staging,@ NEH Summer Institute directed by Ralph Alan Cohen, 1995
Reviewer for Brenda Spatt=s Writing From Sources, 4th ed. (St. Martin=s) 1995
Coordinated Interdisciplinary Course ABrave New Worlds: Columbus and the Spirit of Discovery, Exploration, Encounter@ (1992)
AThe Theatre in History: The Social Function of Renaissance Dramatic Genres,@ NEH Summer Institute directed by Jean Howard, 1992
Reviewer for Charles Bazerman=s The Informed Writer, 3rd ed. (Houghton Mifflin) 1989
Faculty participant in Interdisciplinary Honors Seminar (1983-92)
Faculty participant in Interdisciplinary Course APerspectives on the French Revolution@ (1989)
Academic Service:
South-Central Renaissance Conference: President (1999-2000); Vice-President (1998-1999); Program Chair (1998); Executive Committee (1995-2001)
South Central Modern Language Association: Chair, Renaissance Drama (2002, 1996); Secretary, Renaissance Drama (2001, 1995)
Popular Culture Association: Evaluating committee for Russell B. Nye Award (2001)
Delta State University: Special Programs Committee (1983- ), Educational Program Committee for SACS Self Study (2002- ), Composition Committee (1983- ), Library Acquisitions Committee (1991- ), English Scholarship Committee (1993- ), Curriculum Committee (1983- ), Educational Support Services Committee for SACS Self Study (1992-94), Sophomore Literature Committee (1985-88), Personnel and Policy Committee (1989-90, 1997-98, 2002-03)