












































Notes on Contributors

Caron Cadle is an author, translator, and editor. She holds an AB from Princ-
eton University and an MBA from the University of California at Berkeley.

Peter W. Ferran is associate professor emeritus of Theatre and Drama, Uni-
versity of Michigan, and professor emeritus of Performing Arts, College of 
Liberal Arts, Rochester Institute of Technology. He has taught drama and 
theatre, and has directed campus play productions, at both institutions. He was 
co- founder and artistic director of The Brecht Company of Ann Arbor, Mich-
igan (1979– 1989). He holds a PhD in comparative literature from the Univer-
sity of Michigan.

Susan Ingram is professor in the Department of Humanities at York Univer-
sity, Toronto, where she coordinates the Graduate Diploma in Comparative 
Literature and is affiliated with the Canadian Centre for German and Euro-
pean Studies and the Research Group on Language and Culture Contact. She 
is the general editor of Intellect Book’s Urban Chic series and co- author of 
the volumes on Berlin, Vienna, and Los Angeles. A past president of the 
Canadian Comparative Literature Association, her research interests revolve 
around the institutions of European cultural modernity and their legacies.

Mina Kyounghye Kwon is an associate professor of world and comparative 
literature at the University of North Georgia. Her teaching and research areas 
include world literature and film, Asian studies, performance studies, transla-
tion studies, and gender studies. She is co- editor of the Compact Anthology of 
World Literature, Parts 1, 2, 3 and Parts 4, 5, 6 (open access textbooks funded 
by the University System of Georgia). Her articles have appeared in Puppetry 
International, Women and Puppetry, Asian Theatre Journal, Journal of Dra-
matic Theory and Criticism, Pinter Et Cetera, and Text & Presentation. Her 
current research focuses on Korean traditional puppetry.

Charles A. Perrone is professor emeritus of Portuguese and Luso- Brazilian 
culture and literature in the Department of Spanish and Portuguese Studies 
at the University of Florida. He is the author of Masters of Contemporary 
Brazilian Song: MPB 1965– 1985 (1989), Seven Faces: Brazilian Poetry since 
Modernism (1996), and Brazil, Lyric, and the Americas (2010). In addition to 



Delos    117

many articles and book chapters on Brazilian literature and popular music, he 
has translated numerous contemporary Brazilian writers, most notably poets 
Augusto de Campos and Paulo Leminski. His own poetry has appeared in 
numerous venues since the 1970s; the chapbooks are open access at http:// 
moriapoetry . com and published on demand by Moria Books.

Ralf Remshardt is professor of theatre at the University of Florida. He 
received an MA in German from the Freie Universität Berlin and a PhD in 
dramatic art from the University of California at Santa Barbara. His publica-
tions have appeared in many journals and in several edited collections. He 
recently co- edited Intermedial Performance and Politics in the Public Sphere 
(Palgrave, 2018). His book, Staging the Savage God: The Grotesque in Per-
formance, was published in 2004. In 2014, he co- produced a documentary 
film about Latinx theatres in New York. He has directed at university and pro-
fessional theatres, including plays by Euripides, Shakespeare, Brecht, and 
Beckett.

Crediting his medical education (MD, 1969), psychiatric training, and forty 
years of practice for his efforts to pay full attention to nuance and patterns in 
narratives, Stephen Rojcewicz has broadened his life- long interest in lan-
guages and literature with an MA degree in classics (Latin and Greek, 2012) 
and a PhD in comparative literature (2017). He is the coauthor of a textbook 
on supportive psychotherapy, and has published numerous papers and book 
reviews on classical reception and on the intersection of psychiatry and the 
humanities. Steve has published poetry translations (vol. 31), reviews, and sev-
eral articles on the relationships between classical literature and modern 
thought in Delos.

Colleen Rua is assistant professor of theatre studies at the University of Flor-
ida. Her book project, Coming Home: Latinx Representations on Broadway, 
focuses on three Broadway musicals (West Side Story, The Capeman, and In 
the Heights) to explore (re)construction of home spaces in relation to lan-
guage and translation, memory, and public space. Conference presentations 
include, “Gender, Environmentalism, and Secularization in Sor Juana’s El 
divino narciso,” and “Translation and Adaptation Challenges in Ana Caro’s 
Valor, agravio y una mujer.” Publications include “Navigating Neverland and 
Wonderland: Audience as Spect- Character,” in Theatre History Studies Jour-
nal and “Pop Operas, or, Broadway sells T- shirts!” in American Literature in 
Translation 1980– 1990.

http://moriapoetry.com
http://moriapoetry.com


118    Notes on Contributors

Francesca Spedalieri is a visiting assistant professor of English and 
 Women’s, Gender, and Sexuality Studies at Stony Brook University. She is 
scholar, translator, director, and a founding member of the International Net-
work of Italian Theatre. Her research focuses on contemporary Italian theatre, 
women directors, and physical theatre. Her most recent essay, “Inside Palermo: 
Economic Disenfranchisement and Gender Inequality in Emma Dante’s mPal-
ermu” is forthcoming in an edited collection on twenty-first- century women 
playwrights (ed. Ferris and Farfan, 2020). Her translations of Dante’s plays 
appear in mPalermu, Dancers, and Other Plays (2020). She is currently trans-
lating and adapting Stefano Massini’s 7 Minutes for New York City- based 
company Waterwell.


