Elisabeth Dutton

Ordentliche_r Professor_in
Departement für Englisch

MIS 05 bu. 5127
Av. de l'Europe 20
1700 Fribourg

Forschung und Publikationen

  • liste de publications

    • Books

    Hadewijch: Writer, Beguine and Love-Mystic  (Leuven: Peeters, 2004) Paul Mommaers, with Elisabeth Dutton.  I substantially revised and re-shaped the translation of Professor Mommaers’ prize-winning Flemish book: this book is now the first in English on Hadewijch.

    Julian of Norwich: the Influence of Late-Medieval Devotional Compilations (Cambridge: D.S. Brewer, 2008). 

    Julian of Norwich’s Revelation of Love, edited, modernized and introduced by Elisabeth Dutton (Yale: University of Yale Press, 2008)

    John Gower: Trilingual Poet, ed. Elisabeth Dutton, with John Hines and R.F. Yeager (Cambridge: D.S. Brewer, 2010)

    Drama and Pedagogy in Medieval and Early Modern England, Swiss Papers in English Language and Literature vol. 31 ed. Elisabeth Dutton and James McBain (Tübingen: Narr, 2015)

    Medieval Theories of the Creative Act, ed. Elisabeth Dutton and Martin Rohde (Wiesbaden: Reichart Verlag, 2017)

    Religious Drama and Community, a special issue of Medieval English Theatre, ed. Elisabeth Dutton and Olivia Robinson, in press (Cambridge: Boydell and Brewer, 2021)

    Refereed Articles and Chapters

    • ‘Introduction to Richard Rolle’, Chadwyck-Healy Medieval Authors database (2000)
    •  ‘Textual disunities and ambiguities of mise-en-page in the manuscripts containing Book to a Mother.’  Journal of the Early Book Society, 6 (2003) 140-59
    • ‘Christ as Codex: Compilation as Literary Device in Book to a Mother.’  Leeds Studies in English, New Series 35 (2004) 81-100
    • ‘Augustine Baker and Two Manuscripts of Julian of Norwich’s Revelation of Love,’ Notes and Queries, New Series 52, no.3 (Sep. 2005) 329-37
    • Henry Medwall’s Fulgens and Lucres: Words and Sense in the Staging of Late Medieval Drama’.  The Medieval Translator 10  (Turnhout: Brepols, 2007) 435-48
    • Invited response to Elizabeth Archibald, ‘Incest between Adults and Children in the Medieval World,’ in Children and Sexuality from the Greeks to the Great War, ed. George Rousseau (Palgrave Macmillan, 2007) 103-8
    • ‘The Seventeenth-Century Manuscript Tradition and the Influence of Augustine Baker’, in A Companion to Julian of Norwich, ed. Liz Herbert McAvoy (Cambridge, 2008) 127-38
    • ‘Secular Medieval Drama’, in The Oxford Handbook to Medieval Literature, eds. Elaine Treharne and Greg Walker (Oxford: OUP, 2010) 384-94.
    • ‘The Blood Libel: Literary Representations of Ritual Child Murder in Medieval England’, in Children and Violence, ed. Laurence Brockliss and Heather Montgomery (Oxford: Oxbow Books, 2010) 32-6
    • ‘Staging the N-Town Plays: Theatre and Liturgy’, Clare Smout and Elisabeth Dutton, with Matthew Cheung Salisbury.  Research Opportunities in Medieval and Renaissance Drama, 49 (2010) 1-30
    • ‘Augustine Baker and the Medieval Mystical Canon’, Elisabeth Dutton and Victoria Van Hyning, in Dom Augustine Baker 1575-1641, ed. Geoffrey Scott (Gracewing, 2012) 85-110
    •  ‘The Croxton Play of the Sacrament,’ in The Oxford Handbook of Tudor Drama, eds. Thomas Betteridge and Greg Walker (Oxford: OUP, 2012) 55-71
    • ‘“Whan Foly cometh, all is past”: Revisiting the Drama of Fools in Magnyfycence’, Theta X, Théâtre Tudor (2013) 53-68


    • ‘John Heywood, Henry, and Hampton Court Palace’, in Performing Environments: Site Specificity in Medieval & Early Modern English Drama, eds. Susan Bennett and Mary Polito (Basingstoke: Palgrave MacMillan, 2014) 36-55
    • ‘Lydgate’s Mumming for the Mercers of London’, Meg Twycross and Elisabeth Dutton, in The Medieval Merchant: Proceedings of the 2012 Harlaxton Symposium, eds. Caroline M. Barron and Anne F. Sutton.  Harlaxton Medieval Studies, XXIV (Donington: Shaun Tyas, 2014) 310-49
    • ‘Staging and Filming John Bale’s Three Laws’, Elisabeth Dutton, Maria Sachiko Cecire and James McBain, in Shakespeare Bulletin 32.1 (2014) 65-84
    • ‘A neglected witness to Chaucer’s Boece in a medieval devotional commentary on The Consolation of Philosophy’, in Carmina Philosophiae: Journal of the International Boethius Society (2015) 1-34.
    • Paradise Lost: A Staged Reading in New College Chapel, Oxford’, Erica Longfellow and Elisabeth Dutton, Milton Quarterly, 49.3 (2015) 208-14
    •  ‘Seeing and Recognizing in the Sacred and New: The Latin Scriptural Plays of Nicholas Grimald’, Elisabeth Dutton and Stephanie Allen, in Staging Scripture: Biblical Drama 1350-1600, eds Peter Happé and Wim Hüsken (Leiden: Brill, 2016) 204-34
    • ‘Fart for Fart’s Sake: Fooling through the Body in Grobiana’s Nuptials, Elisabeth Dutton and James McBain, Theta XII, Théâtre Tudor (2016) 149-70


    •  ‘Rehabilitating Academic Drama’, Stephanie Allen, Elisabeth Dutton and James McBain, in The Routledge Companion to Early Drama and Performance, ed. Pamela King (London and New York: Routledge, 2016) 221-36
    • The Historie van Jan van Beverley: precedents for the sensational story of rape, murder and a hairy hermit’, Elisabeth Dutton and Tamara Haddad, in Medieval Saints: Proceedings of the 2015 Harlaxton Symposium, ed. Sue Powell.  Harlaxton Medieval Studies, XXVII (Donington: Shaun Tyas, 2017) 381-98
    • ‘ “My boy shall knowe himself from other men”: active spectating, annunciation and the St John’s College Narcissus’, Medieval English Theatre 36 (2017) 68-83
    • 'Macbeth and the Croxton Play of the Sacrament: Blood and Belief in Early English Stagecraft', in Blood Matters: Studies in European Literature and Thought, 1400-1700, ed. Bonnie Lander Johnson and Eleanor Decamp (Philadelphia, PA: University of Pennsylvania Press, 2018) 183-97
    • 'The Oxford Ghost Walk: Staging the Supernatural in Oxford University Drama', in Theta XIII, Théâtre Tudor (2018) 147-70
    •  ‘Elizabeth, Dido and Oxford: Staging Power in the University Drama’, in Théâtralisation des arts et des lettres de la Renaissance anglaise, ed. Yona Dureau (Paris: Classiques Garnier, 2018) 193-206
    • 'Skelton, Voice and Performance', in A Companion to John Skelton, eds John Scattergood and Sebastian Sobecki (Cambridge: Boydell and Brewer, 2018) 114-26
    • 'Medieval Convent Drama: Translating Scripture and Transforming the Liturgy', Matthew Cheung-Salisbury, Elisabeth Dutton and Olivia Robinson, in A Companion to Medieval Translation, ed. Jeanette Beer (Michigan: Medieval Institute Publications, 2019) 63-74
    • 'Drama, Performance and Touch in the Medieval Convent and Beyond', Olivia Robinson and Elisabeth Dutton, in Touching, Devotional Practice and Visionary Experience in the Late Middle Ages, ed. David Carillo-Rangel, Delfi I Nieto-Isabel, and Pablo Acosta Garcia (New York: Palgrave Macmillan, 2019) 43-68
    • 'A Manifesto for Performance Research', in The Methuen Drama Handbook to Theatre History and Historiography, eds Claire Cochrane and Joanna Robinson (London: Bloomsbury, 2019) 249-60
    • 'Staging John Redford's Wit and Science in 2019', Elisabeth Dutton and Perry Mills, Medieval English Theatre 41 (2019) 191-20
    • 'Medieval Multilingualisms', Rory Critten and Elisabeth Dutton, in Language Learning (2020)
    • 'The Christmas Drama of the Household of St John's College, Oxford', in Household Knowledges, eds Glenn Burger and Rory Critten (Manchester: Manchester UP, 2020) 100-28
    • Protestant Place, Protestant Props in the Plays of Nicholas Grimald', in Enacting the Bible in Medieval and Early Modern Drama, eds Chanita Goodblatt and Eva van Contzen (Manchester: Manchester UP, 2020) 155-74
    • ' "Looking after them, reading in Homer": Thomas Goffe’s Turk Plays in Oxford', in European Medieval Drama 22 (2020 for 2018) 171-88
    • 'Helvetic Henry? A Swiss adaptation of Henry V, or something near enough', forthcoming in History and European Drama up to 1600 eds Peter Happé and Wim Hüsken (Leiden: Brill, 2021)
    • 'Swiss Shakespeare: creative translation as research and appropriation', forthcoming in Making New: the creative and the critical in encounters with early English, eds Helen Brookman and Olivia Robinson (Leeds: ARC Humanities Press, 2021)
    • 'Julian of Norwich', article for Wiley Encyclopedia of Philosophy of Religion (accepted, forthcoming)
    • 'Julian of Norwich', article for Routledge Medieval Encyclopedia Online (submitted)


    • Propagation of research through drama

    Staging of productions:

    • Henry Medwall, Fulgens and Lucres, (Magdalen College, Dec. 2002)
    • Thomas Middleton, The Changeling (Magdalen College, March 2003)
    • Rituals in Blood: Drama of medieval anti-semitism, a double-bill of the late-medieval Croxton Play of the Sacrament with Steven Berkoff’s Rituals in Blood (Magdalen College, Nov. 2005), a performance which Berkoff attended. I was asked to revive my 2004 production, this time with a cast from the University of York, for the conference ‘York 1190: Jews and Others in the Wake of Massacre’.  Funded by York Centre for Medieval Studies (York Hospitium, March 2010). I then revived the Croxton Play of the Sacrament in a professional production sponsored by the Wellcome Trust for the Oxford Blood Conference (St John’s College, Oxford, Jan. 2014)
    • John Skelton, Magnyfycence, a production which I had been invited to stage at the Medieval English Theatre conference (Sheffield, March 2007); production subsequently also staged at Worcester College (Dec. 2007).

    This production was reviewed by Peter Happé in Ben Jonson Journal vol.15 no. 1 (2008) pp.100-106.

    • ‘B.J.’, The Tragical History of Guy of Warwick, the play published 1661 but probably written in the 1590s: at the request of the Malone Society, I staged this play for the Malone Society Conference, Magdalen College, Sep. 2008.

    This production was discussed by Adam Smyth in the Times Literary Supplement, Nov. 28th 2008.  I have written a short piece reflecting on the production for Research Opportunities in Medieval and Renaissance Drama, at the request of the editors.

    • The Mary Plays from N-Town, with members of the choir of Worcester College, Oxford (Worcester College Chapel, Dec. 2009)
    • The Passion Plays from N-Town, with members of the choir of Worcester College, Oxford (Worcester College Chapel, March 2010)
    • A double-bill of the late-medieval Croxton Play of the Sacrament with Steven Berkoff’s Rituals in Blood
    • Magnyfycence, at Hampton Court Palace, May 2010 (see Research Grants and Sponsorship, above)
    • Henry Chettle, The Tragedy of Hoffman.  I staged this play, using a mixed cast of professional actors and Conference delegates, for the Malone Society Conference, Magdalen College, Sep. 2010.

    This production is discussed by Peter Kirwen at http://blogs.warwick.ac.uk/pkirwan/entry/the_tragedy_of/

    Footage of the production is available at http://media.podcasts.ox.ac.uk/engfac/hoffman/hoffman_act1.mp4

    • John Bale, Three Laws, at Magdalen College, Oxford (March 2012) – an EDOX production
    • John Lydgate, Mumming for the Mercers of London, Harlaxton Manor (July 2012).  This production was repeated, by invitation, at the launch of REED London, Skinners’ Hall, London (September 2015)
    • Robert Tailor, The Hogge Hath Lost His Pearle, for the Malone Society Conference, Corpus Christi College, Oxford (September 2012)
    • Anthony Minghella, Two Planks and a Passion, The University Church of St Mary the Virgin, Oxford (February 2013)
    • The Diaries of a Christmas Prince, St John’s College, Oxford (September 2013) – a performance devised as part of the Early Drama at Oxford (EDOX) project, based on contemporary accounts of plays performed at St John’s in 1596.
    • William Gager, Dido, Christ Church, Oxford (September 2013) – a staging of Gager’s play of 1583, performed in its original setting and with an all-male cast, in a new translation from the Latin, as part of the EDOX project.  Sponsored by the British Academy. This production was revived for the Drama and Pedagogy conference, University of Fribourg, September 2014, when it was staged in the Salle de la Grande Société.   
    • The Chester Shepherds’ Play, at the University of Fribourg (December 2013)
    • Shakespeare’s Love’s Labour’s Lost: the Fribourg adaptation – a production incorporating original translation of Shakespeare’s script into six different languages, reflecting the linguistic diversity of Switzerland. Aula Magna, University of Fribourg, and on tour. Funded by the Fribourg Jubilee Committee as part of celebrations for the University of Fribourg’s jubilee. (April-May, 2014).  Subsequent sponsorship from the Institute of Multilingualism funded a professional film-maker to shoot the script, this time in various locations around the city
    • Shakespeare’s Merchant of Venice: the Fribourg adaptation – like Love’s Labour’s Lost, a multilingual version reflecting Swiss linguistic diversity, performed at the University and on location: sponsored by the University of Fribourg and local business Scout 24 (May 2015).
    • John of Beverly, an anonymous Dutch play staged in English translation with professional actors, for the SNF-funded workshop, Emotions and Medieval Media (Lausanne, June 2015), further developed and restaged at Harlaxton Medieval Symposium (July 2015) and the Medieval English Theatre conference (Canterbury, March 2016). 
    • Milton’s Paradise Lost, Chapel of New College, Oxford, sponsored by Eugene Ludwig Fund (May 2015). An experimental research project exploring the dramatic qualities of Milton’s epic poem, which he first attempted to write as a play.  This production is described in Erica Longfellow and Elisabeth Dutton, ‘Paradise Lost: A Staged Reading in New College Chapel, Oxford’, in Milton Quarterly, Oct. 2015.
    • Multilingual Shakespeare Mash-Up.  A devised piece using scenes from the Love's Labour's LostThe Merchant of Venice, and Henry V in multilingual translation, performed at the invitation of, and with sponsorship from, King's College London, as part of the Shakespeare400 celebrations (King's Anatomy Theatre, May 2016).  The production was staged again at the Lausanne Shakespeare Festival (June 2016) and in Fribourg as part of the University's Explora event which encourages public access to Friboug University. 
    • The Fall: Medieval and Early Modern (Zurich, Spice Guildhall, September 2016). A professional production, sponsored by the University of Zurich and the Swiss Association of Medieval and Early Modern English Studies (SAMEMES), of a double bill of the York Fall of Man and a dramatization of Milton's Paradise Lost, book IX. 
    • The Digby Play of Herod's Killing of the Children and Digby Candlemas Play (Chapel of New College, Oxford, February 2017). Collaboration with girls' choir Frideswide Voices.  
    • Nicholas Grimald, Archipropheta (Christ Church Cathedral, Oxford, March 2017).  Collaboration with Atlantic College, presenting the play partly in Latin, partly in Modern English translation, using an international cast drawn from 15 nations. 
    • The Huy play of The Nativity (Fribourg, Dec. 2017).  Staging in medieval French of a nuns' play, at the University of Fribourg, the Ursuline convent, Fribourg and Carmelite convent, Le Paquier. 
    • Shakespeare's Henry V - more or less.  A multilingual adaptation reflecting Swiss linguistic diversity, performed at the Gutenburg Museum and Fri-Art Gallery, Fribourg (Nov-Dec 2018).
    • As Producer: John Redford's Wit and Science, staged by Edward's Boys, dir. Perry Mills, performed at New College, Oxford, The Chapel of the Order of St John, Clerkenwell, London, and the Palazzo Ducale, Genoa, Italy. 


    Theatre Reviews:

    • For The Times Literary Supplement: Review of All's Well, dir. Caroline Byrne at the Sam Wanamaker (Feb. 1st, 2018)
    • Marlowe’s Dido and Aeneas, Angels in the Architecture, dir. Rebecca McCutcheon, Marlowe Society Newsletter 31 (Autumn 2008)
    • Dekker and Webster’s Westward Ho!, Edward’s Boys, dir. Perry Mills, Cahiers Elisabéthains 82 (Autumn 2012) 68-71


    • For the Times Literary Supplement.  A commentary piece based on the Globe conference, Outside In / Inside Out: Shakespeare, the Globe and the Blackfriars (Dec. 19th 2008); review of Katherine Zieman, Singing the New Song: Literacy and Liturgy in late medieval England (July 31st, 2009)
    • For The Times Higher Education Supplement: Yves Bonnefoy, Shakespeare and the French Poet, ed. John Naughton (April 15th, 2005); The New Penguin Shakespeare Series, General Ed. Stanley Wells, (Aug. 5th 2005); Blackwell Companion to Shakespeare, ed. Richard Dutton and Jean E. Howard, in THES, Textbook Review (May 25th 2006); Henry S. Turner, The English Renaissance Stage (Aug. 24th, 2006); David Crystal, Think On My Words: Exploring Shakespeare’s Language (July 31st, 2008)
    • For Notes and Queries: Julia Crick and Alexandra Walsingham, eds., The Uses of Script and Print, 1300-1700 (Dec. 2005)Kim M. Phillips, Medieval Maidens: Young Women and Gender in England, 1270-1540 (Dec. 2005); Naoë Kukita Yoshikawa, Margery Kempe’s Meditations (March 2009)Marilyn Corrie, ed. Concise Companion to Middle English Literature (vol. 58, 2011)
    • For The Journal of the Early Book Society: Edith Snook, Women, Reading and the Cultural Politics of Early Modern England (2007)
    • For Review of English Studies: Peter Happé, The Towneley Cycle (July 24th, 2008)
    • For English, Mike Pincombe and Cathy Shrank, eds., The Oxford Handbook of Tudor Literature 1485-1603 (Spring 2012, vol. 61 (232) 1-5)
    • For Journal of English and Germanic Philology: Penny Granger, The N-Town Play: Drama and Liturgy in Medieval East Anglia (April 2012, vol. 111 no. 2, 246-8)
    • For The Heythrop Journal: F.C. Bauerschmidt, Julian of Norwich and the Mystical Body Politic of Christ, (April 2000); C.L.Carlson and A.J. Weisl, eds., Constructions of Widowhood and Virginity in the Middle Ages (April 2002)
    • For Medium Aevum, Joanne Findon, Lady, Hero, Saint: The Digby Play’s Mary Magdalene, (LXXXII.2 (2013) 339-40
    • For Speculum: Theresa M. Kenney and Mary Dzon, eds., The Christ Child in Medieval Culture: “Alpha es et O!” (89.4, Oct. 2014); Richard Beadle, ed., The York Plays: A Critical Edition of the York Corpus Christi Play as Recorded in British Library Additional MS 35290 (91.2, April 2016), 461-2
    • For Early Theatre: Tamara Atkin, The Drama of Reform: Theology and Theatricality,1461–1553 (18.1, 2015), 133–5
    • For The American Historical Review: Claire Sponsler, The Queen’s Dumbshows: John Lydgate and the Making of Early Theater (120.4, 2015) 1545-6.
    Published Interviews:
    • on music in medieval drama, in Jonathan Arnold, Music and Faith: Conversations in a Post-Secular Age (Woodbridge: Boydell Press, 2019).