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Who we are

Keith Gregor Keith Gregor (Project Leader)
e-mail: gregork@um.es

Keith Gregor holds a BA in Modern Languages and MA in Critical Theory from the University of Nottingham. He also has a Licenciatura from the University of Seville and a PhD from the University of Murcia, where he presented a thesis on Sir Philip Sidney. He has lectured at Murcia since 1984 and since 1998 has been a senior lecturer specializing in the teaching of English and comparative literature. His research and publications on Shakespeare in Spain cover a broad spectrum, ranging from the location, comparison and edition of the first Spanish versions of Hamlet, Macbeth, Romeo and Juliet and Othello to the history of Spanish stage productions of Shakespeare, especially from the Francoist and transitional period. With Dirk Delabastita he is currently general editor of “Shakespeare in European Culture”, a book series published by John Benjamins.

 
Elena Bandín Elena Bandín
e-mail: ebandin@flog.uned.es

Elena Bandín graduated from the University of León in 2002 with a degree in English Philology. Between 2003 and 2006, she was awarded a predoctoral research scholarship from the Spanish Ministry of Education and Science. In 2007, she completed her PhD thesis on the translation, reception and censorship of classical English theatre in Franco’s Spain. As part of her thesis, she compiled the TRACEtci Catalogue (1939-1985), translations censored of classical English plays published and/or performed in Spain between 1939 and 1985. She has done further research at Universities of Ottawa, Bristol, Massachusets at Amherst, Warwick and King’s College London.

In 2008 she joined the English Department at the University of Murcia, where she lectured in Degree Courses on English Philology and Translating and Interpreting. She currently lectures English Literature at the Departamento de Filologías Extranjeras y sus Lingüísticas of the Universidad Nacional de Educación a Distancia (UNED). Her recent publications focus on the translation and performance of Shakespeare’s plays under Franco’s dictatorship: “The role of the censor in the reception of Shakespearean drama in Francoist Spain: the strange case of The Taming of the Shrew”. En Alberto Lázaro & Catherine O’Leary (eds.), Censorship Across Borders. Newcastle: Cambridge Scholars Press.143-160, 2011; “Performing Shakespeare in a conflicting cultural context: Othello in Francoist Spain”. SEDERI Yearbook 21,119-132, 2011.

She has been a member of the research projects and “Translations Censored (TRACE 1939-1985): Studies on Catalogues and Corpus” “Shakespeare in Spain within the Framework of his Reception in Europe” (www.um.es/shakespeare).

 
Laura Campillo Laura Campillo
e-mail: lcarnaiz@um.es

Laura Campillo Arnaiz graduated in English Philology at the University of Murcia (1999), where she later obtained an MA in Translating and Interpreting (2002-2004) and a PhD (2005). She has done further research at King’s College (London) and at the Universities of Basle (Switzerland), Utrecht (Holland) and Namur (Belgium). After teaching English Literature for two years at the University of Alicante, she joined the University of Murcia in 2006, where she is currently lecturing in the English Degree.

Her research centres on the field of Shakespearean studies, and is particularly concerned with theoretical and practical aspects of the reception of Shakespeare in Spain through translations. “Shakespeare en España: Textos 1764-1916” is one of her recent publications, a book which she has edited with Ángel-Luis Pujante (2006). She has also created “SH·ES·TRA”, an online database which records more than 500 Shakespearean translations that have been done in Spain from 1772 until 2006 (http://www.um.es/shakespeare/shestra/). She has written extensively about the first Spanish translators of Shakespeare in Spain (Moratín, Clark, Macpherson), and belongs to the research projects "Shakespeare en España" and "Great War Shakespeare".

Her latest research is focused on Shakespeare and popular culture, and deals with the appropriations of Shakesperean topics and characters by the Star Trek slash fandom.

 
Juan Francisco Cerdá Juan Francisco Cerdá
e-mail: juanfcerda@um.es

Juan F. Cerdá holds a BA in English Philology and MA in Comparative European Literature from the University of Murcia, and MA in Shakespeare and Theatre from the Shakespeare Institute/University of Birmingham. He also holds a PhD from the University of Murcia since 2010, when he presented a thesis on Shakespeare’s role in Spanish Theatrical Culture in the first decades of the twentieth century. Now he is Lecturer in English at the University of Murcia and mostly writes about the reception of Shakespeare’s plays in Spanish culture. His articles have been published in journals such as Shakespeare, Cahiers Élisabéthains, Borrowers and Lenders: The Journal of Shakespeare and Appropriation and Atlantis. He has contributed to The Taming of the Shrew: The State of Play (Arden, 2020), Shakespeare and Conflict: A European Perspective (Palgrave, 2013), Shakespeare Beyond English: A Global Experiment (CUP, 2013) and he has co-edited Shakespeare in Spain. An Annotated Bilingual Bibliography (Universidad de Granada/Murcia, 2015) and Romeo and Juliet in European Cultures (John Benjamins, 2017).

 
Ángel-Luis Pujante Ángel-Luis Pujante
e-mail: apujante@um.es

Ángel-Luis Pujante is Emeritus Professor at the University of Murcia, where he taught English Literature from 1981. He graduated in English and German at the University of Barcelona and read his doctoral thesis at the University of Salamanca. He did further studies at the Universities of Liverpool, Manchester, Warwick and Oxford, among others, and has done research at the Universities of Manchester, the Shakespeare Institute in Stratford and the Shakespeare Folger Library in Washington, D.C.
He has lectured at numerous Spanish universities, as well as at the Universities of Manchester, Leeds, Hull, Oxford, Lisbon, Oporto, Coimbra, Mexico (Nacional Autónoma), Pisa, Bucharest and La Plata, and at various institutions such as the Globe Theatre in London, the European Comission (Brussels and Luxemburg), the ‘Museo del Libro y de la Lengua’ in Buenos Aires and the National Library of Uruguay.
He has published mainly on fantasy and science fiction, English Renaissance drama (Middleton and Shakespeare), and literary translation, especially of Shakespeare’s plays. He is the author of Realismo y ciencia-ficción en la obra de John Wyndham (1980) and of an annotated Spanish translation of Thomas Middleton’s A Game at Chess (1983). His publications on the works of Shakespeare include articles, editions of Spanish neoclassical versions of Shakespeare’s plays and, recently, his book Shakespeare llega a España. Ilustración y Romanticismo (Shakespeare Comes to Spain. Enlightment and Romanticism. 2019). His translations of Shakespeare’s plays are published by Espasa (Austral series, Teatro Selecto and Teatro Completo) —see the complete list of his publications at: https://www.um.es/shakespeare/publicaciones/angel_pujante.php. In 1998 he was granted the “National Prize for the Best Translation” for his Spanish translation of The Tempest.
From 2000 to 2008 he directed the research project which is the subject of this webpage, and in which he continues to collaborate. He is honorary president of ESRA (European Shakespeare Research Assosciation) (www.um.es/shakespeare/esra).

 
Francesca Rayner Francesca Rayner (Collaborator)

Francesca Rayner is Assistant Professor at the Universidade do Minho, Portugal, where she teaches undergraduate and postgraduate courses in Theatre and Performance. Her doctoral thesis “Caught in the Act: The Representation of Sexual Transgression in Three Portuguese Productions of Shakespeare” was published by the University’s Centro de Estudos Humanísticos in 2006. She is a member of the European Shakespeare Research Association and also of the international research network “La presencia de Shakespeare en España en el marco de su recepción europea,” coordinated by the University of Murcia in Spain.

 She has published widely on the performance of Shakespeare in both national and international publications, including “History recycled: Contemporary Performances of Shakespeare’s Richard II at Portuguese national theatres” in London: Modern Humanities Research Association Portuguese Studies 26.2 (forthcoming), Performance Review of Nuno Cardoso’s Ricardo II in Shakespeare (Journal of British Shakespeare Association) London & New York: Routledge , vol 4. nº.2, December 2008, pp. 192-3., “How was it for You? A Mulher e a Representação de Shakespeare na Viragem do Novo Milénio” (How was it for You? Women and the Performance of Shakespeare at the Turn of the New Millennium”) published on the CD of the proceedings of the 2nd Feminist Conference in Portugal, in 2009, “Rearticulating a Culture of Links: Peter Brook’s European Shakespeare” in Graham Bradshaw & Tom Bishop (eds.) The Shakespeare International Yearbook Aldershot & Burlington N.T.: Ashgate, pp. 71-81 in 2008 and “Shakespeare and the Censors: Translation and Performance Strategies under the Portuguese dictatorship” in Teresa Seruya e Maria Lin Moniz (coord.), Translation and Censorship in different times and landscapes, Newcastle: Cambridge Scholars Publishing, pp. 61-73, also from 2008. She has a particular research interest in the cultural politics of Portuguese performances of Shakespeare and the intersections between gender, sexuality and performance.

 
Noemí Vera Jennifer Ruiz-Morgan
e-mail: jennifersalud.ruiz@um.es

Jennifer Ruiz-Morgan is a PhD candidate at the University of Murcia, where she graduated in English Studies in 2014, and was awarded a Third National Prize in the field of Arts and Humanities as a result of her academic record. In 2015 she completed her MA in European Comparative Literature at the University of Murcia. She has done research at the Shakespeare Institute (Stratford-upon-Avon), the Folger Shakespeare Library (Washington D.C.), the Fundación Juan March (Madrid), and the Spanish National Library (Madrid). She is currently working on her PhD dissertation, which focuses on Juliet and her representation in Spanish adaptations of Romeo and Juliet published and/or performed during the seventeenth, the nineteenth and the twentieth centuries.