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Edmund Campos
Visiting Assistant Professor of English
Ph.D Stanford University
215 Sanborn House
Edmund
Campos@dartmouth.edu
Interests
Transatlantic Renaissance: travel, colonization, and empire
Renaissance race and ethnicity
Renaissance drama: gender, performance, theatricality
Early modern witchcraft and magic
Early modern epic and romance
Publications
(2008) “English Chocolate Consumption and the Circulation of Cacao in the
Early Modern Atlantic World”, Journal of Medieval and Early Modern
Studies.
(2008) “West of Eden: American Gold, Spanish Greed and the Discourses of
English Imperialism”, Rereading the Black Legend, Maureen Quilligan,
Margaret Greer, and Walter Mignolo, eds., (The University of
Chicago Press).
2007 “Imperial Lexicography and the Anglo-Spanish War”, Remapping
the Mediterranean World in Early Modern English Writings, Goran
Stanivukovic, ed., (Palgrave Press).
Teaches
07F
English 24, Shakespeare I
08W
English 65: Renaissance Witchcraft and Magic
Renaissance magic assumed two basic forms: one is witchcraft, a crime
associated with women; and the other is occult philosophy, a controversial
scientific practice pursued by men. In this course we will investigate
both sides of magic as they are spectacularly represented on the Renaissance
public stage. Our guiding question: how is Renaissance magic
inherently theatrical and how is theater inherently magical? Topics
include folklore beliefs, ideologies of gender and power, early modern language
theory, theatrical spectacle, and politics. Texts include Marlowe's
Doctor Faustus, Jonson's The Alchemist, and Shakespeare's
Macbeth, The Winter's Tale, and The Tempest.
08S
English 70: Race in Early Modern England
The word "race" as it’s used to denote a phenotypic determinant of identity did
not exist in Shakespeare's England. Indeed, the notion of race (and
racism) as we know it today was only slowly emerging from the large-scale
historical shifts that we associate with the Renaissance. The rise of far-flung
exploration, global trade, transatlantic slavery, colonization, and imperial
expansion (at home and overseas) brought the English into contact with an array
of cultural others. This confrontation with Turk, Jew, African, and
Indian precipitated a need for the English to elaborate categories for
understanding the other, and, also, a need for the English to define themselves
in the face of such alterity. The primary focus of this course will be the
Renaissance stage where the fantasies of otherness were performed for the
English public in plays dealing with exotic peoples and fantastic
locations. Plays include Marlowe's The Jew of Malta, Behn's
Oroonoko, Fletcher's The Island Princess, and Shakespeare's
The Merchant of Venice, Othello, and Antony and
Cleopatra. To what extent are these plays representing England’s
cultural others and to what extent do they represent England to itself?
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