Nicoletta Caputo teaches English Literature at the University of Pisa. She holds a PhD in English Studies from the Universities of Pisa and Florence and she has been Folger Shakespeare Library Research Fellow. She has published articles and a volume on Tudor drama (Playing with Power, 1998); essays on Shakespeare, on 19th-century stage history and on contemporary English theatre and fiction (on Angela Carter, on Martin Amis and on feminist rewritings of history), as well as a monograph on Carter’s Nights at the Circus (New Wine in Old Bottles , 2010). Her most recent book is Richard III as a Romantic Icon: Textual, Cultural and Theatrical Appropriations (Peter Lang, 2018).
Her recent essays and articles
- “Angela Carter’s The Passion of New Eve (1977): Sexual Transmutation as Psycho-physical Exile”, in Ouditt, ed. Displaced Persons: Conditions of Exile in European Culture (Ashgate, 2002);
- “A ‘Deformed’ Christianity: Ethical Transubstantiation in English Reformation Plays”, in Burnham and Giaccherini, eds. The Poetics of Transubstantiation: From Theology to Metaphor (Ashgate, 2005);
- “‘Which play was of a king how he should rule his realm’: Tudor Interludes Advising the Ruler”, HJEAS. Hungarian Journal of English and American Studies 11.1 (Spring 2005);
- “‘I can add colours to the chameleon’: King Richard III’s Metamorphic History”, in Dente, Ferzoco, Gill and Spunta, eds. Proteus. The Language of Metamorphosis (Ashgate, 2005);
- “Entertainers ‘on the Vagabond Fringe’: Jugglers in Tudor and Stuart England”, in Serpieri and Pugliatti, eds. English Renaissance Scenes: From Canon to Margins (Lang, 2008);
- “Edmund Kean or ‘the Romantic Actor’”, in Crisafulli and Pietropoli, eds. The Languages of Performance in British Romanticism (Lang, 2008);
- “The Defence of Religious Orthodoxy in John Heywood’s The Pardoner and the Frere”, The Yearbook of English Studies 38.1- 2 (2008);
- “Performing the Passions: David Garrick and Edmund Kean in King Richard The Third”, Assaph. Studies in the Theatre 24 (2010);
- “Looking for Richard III in Romantic Times: Thomas Bridgman’s and William Charles Macready’s Abortive Stage Adaptations”, Theatre Survey 52.2 ( 2011);
- “Melodrama Gets to the Heart of Shakespeare: The “Ogreish” King Richard III of George Frederick Cooke”, Textus 34.1 (2011); - “A ‘Marketplace Prince’: The Hybridity of the Character of King Richard III and Its Popular Roots in the Vice.” In Carla Dente and Jesús Tronch, eds. Offstage and Onstage. Liminal Forms of Theatre and Their Enactments in Early Modern English Drama to the Licensing Act (1737). Pisa: ETS, 2015: 145-163;
- “Angela Carter”. In Andrew Hadfield, ed. Oxford Bibliographies in “British and Irish Literature”. New York: Oxford University Press, 10/03/2015. http://www.oxfordbibliographies.com/view/document/obo-9780199846719/obo-9780199846719-0097.xml?rskey=Bu845B&result=10. ISBN: 978-01-9984-671-9;
- “‘Beware of Rome’. The Italian Villainous Priest in Tudor Drama”. In Carla Dente and Francesca Fedi, eds. Journeys through Changing Landscapes. Literature, Language, Culture and Their Transnational Dislocations. Pisa: Pisa University Press 2017: 317-335.
- “‘All you that be young, whom I do now represent’: Doctrine, Deception and Discontent in Lusty Juventus”, Renaissance Studies (2020), https://doi.org/10.1111/rest.12677
- “'The Farcical Tragedies of King Richard III': The Nineteenth-Century Burlesques", Theatre Survey 62.1 (2021)