@inproceedings{simon_2023, title={Archiving and Transcribing: Theorizing the Lady Sedley’s Recipe Book}, booktitle={Renaissance Society of America Annual Conference}, author={Simon, Margaret}, year={2023} }
 @misc{simon_trettien_2023, place={Minneapolis}, title={Cut/Copy/Paste: Fragments from the History of Bookwork}, volume={84}, ISSN={["0026-7929"]}, DOI={10.1215/00267929-10574855}, abstractNote={At once lively and deeply contextualized, Whitney Trettien’s Cut/Copy/Paste weaves together provocative examples of creative intention and material entropy in the literary archive of the English Renaissance. The study is essential reading for understanding the vibrancy of Renaissance textuality and its legacies. In three lengthy chapters Trettien follows the cycles of decay, fragmentation, repair, and re-collection that shape early modern books and assesses how this recursive “bookwork” can inform our own use of texts across today’s media landscape. Cut/Copy/Paste lingers on objects that are “densely intermedial” (9). From the integrative harmonies of Little Gidding to the accretive Theophila, or Loves Sacrifice, these texts complicate histories of the book that have tended to focus on homogeneous categories of texts (manuscripts, printed materials, engravings) or on the shifts in technologies from which they derive. Rejecting the inherited essentialisms, Trettien examines the conceptual, historical, and material processes that inform these literary experiments to argue for Renaissance texts as technologies that can help us consider how we mediate our own histories, stories, and objects in a fragmented present.Each chapter in Cut/Copy/Paste centers on a particular book, process, and conceptual framework. In the first chapter Trettien delves into the processes of cutting by which the women of Little Gidding made publishing tools of their sewing scissors. While some of the history of these women is well known, Trettien brings these texts out of literary isolation and carefully traces how the practices of bookbinding, cutting, pasting, and establishing layout influenced women creators well into the late twentieth century, including Trettien herself. In this sense, the book encourages metamedia thinking: the physical copy of Cut/Copy/Paste functions as another cut, pasted, and bound iteration of the texts she discusses.The second chapter moves from Little Gidding’s subtle feminist practices to what Trettien calls the queer productions of the poet Edward Benlowes. This chapter rehabilitates Benlowes, not so much for his verse as for the environment he established to create Theophila, a text that was profoundly homosocial and that brought together people working across a number of craft and creative specialties. Following the intermedial throughline, Trettien argues that Benlowes’s group experiments with engraving constituted “scribal publishing with plates” (108), a queer analogue to the literary practices at Little Gidding. The book’s final chapter explores print and manuscript scraps compiled into volumes by the antiquarian John Bagford. Bagford’s fortunes, and so the fortunes of his fragments, were shaped by nineteenth-century ideas about both social class and waste. Trettien uses material evidence from Bagford’s compilations to rehabilitate the general integrity of his collecting practices and to demonstrate how his antiquarian impulse marks a distinct shift in the history of the book fragment. The chapter connects his individual program with a more public interest in rarities and collecting that surfaces with the rise of coffeehouses, which became prominent spaces in the marketplace for old books. Trettien thus traces the emergence of a book history focused not just on texts but on specific material forms of texts; in a post-Bagford milieu, even fragments and waste scraps could contribute to this new mode of historical collecting and compiling.Trettien explores bookwork as a temporally and materially expansive process that extends to the media forms of Cut/Copy/Paste itself, as the reader is invited to move from the printed codex to its digital analog and to navigate from the reproduced photos, engravings, manuscripts, and formatted pages assembled in the printed text to the capacious digital surrogates available in the project’s bank of online assets. These resources support and extend the book’s arguments in several ways. High-resolution zoomable scans let the reader explore Bagford’s writing on the history of print, for example, offering an interactive version of the images in the printed version of Trettien’s text. An interactive visualization of the network of Humphrey Moseley, who sold Benlowes’s books, somewhat ironically highlights the collaborative networks involved in textual dissemination for a bookseller whose primary contribution to book history was to reify the concept of a singular author in print. Other digital elements, like pie charts that show the source texts for the Little Gidding affiliate Susanna Collet’s commonplace book, help clarify the structure and contents of complex texts under discussion.Each chapter of Cut/Copy/Paste also includes bespoke digital assets that emerge from the project’s feminist commitments. The codex version is marked with what I came to think of as customized manicules, guiding the reader to interact with the relevant digital tool or digitized archival object. The online edition has linked boxes that bring in a variety of contextual materials. In neither case are these elements disruptive; rather, they are reminiscent of the paraph marks of a medieval manuscript, guiding the reader’s physical and intellectual movement through the text. Toggling between the printed copy and the screen can be cumbersome, but it reveals the limitations of our own media forms and supports the integrative ethos of Trettien’s primary texts. To engage with Cut/Copy/Paste is not just to learn about underrecognized methods of early modern bookwork but to materially experience the author’s own experiments in assembling media.Trettien’s text urges attention to text creation as a cultural practice. The Little Gidding harmonies reveal their makers’ spiritual reading practices. Demonstrating how publishing could work in close-knit circles, the collaborations traced in Benlowes’s Theophila forged a network model that became an alternative to mainstream publisher routines and ideologies. Bagford’s collections of book waste exemplify the first rumblings of material exploration in what we now know as book history. Cut/Copy/Paste brings sustained attention to figures and practices marginalized by literary and sometimes book history; at the same time, it argues for amplifying the collectivity of feminist scholarly projects. Each time Trettien points to a digital edition of the primary sources she attends to, she mentions her collaborators, Zoe Braccia and Penny Bee. This is not just scholarly professionalism but also a reminder that Trettien is recuperating (or bringing back for reuse) not only marginalized texts from the past but the queer, feminist working methods that often produced them. She uses the team’s collaborative praxis to intervene in academic assumptions about authorship and monographs as much as in the academic field of Renaissance bookwork.A text focused on three case studies risks overreliance on microhistories or insufficient context for the period’s prominent figures and concerns. Cut/Copy/Paste is careful to explain how its examples relate to larger literary and historical formations. The text provides much that will be useful to those working on the period’s more recognized figures and histories. Joining Adam Smyth’s (2012) work on cutting in George Herbert’s poetry, Trettien connects Little Gidding’s bookwork, and its reception by King Charles, to Herbert’s claims for scriptural authority. Sometimes these perspectival shifts bring into focus the larger implications of, for example, collecting and organizing book waste, which not only contributes to the material history of the book but helps clarify the role of printing technologies in the increasing bureaucratic paperwork of a post-Restoration, capitalist, and consumer society. While the selective networks and bespoke processes that constitute Trettien’s signal examples are meticulously investigated, the larger formations to which they contribute are always in view. When Benlowes donated his collection of books and other materials to St. John’s College, Cambridge, he prompted a change in the ethos of the scholarly library. Bagford’s compilation of scraps helps unlock a broader exploration of seventeenth-century book markets. Moments like these are abundant in the text, pointing outward to canonical early modern writers while clarifying how the creation and dissemination of physical texts can help us better understand the often dephysicalized, anthologized poems and histories we encounter in our own scholarly research and teaching.By locating texts that push the boundaries of different forms of media and their established bibliographic codes, Trettien combines profound attention to the historical specificity of her case studies with frequent reminders of the project’s longer view, which is to demonstrate how feminist and queer early modern textual projects are inflection points in the development of contemporary book history. In its scrutiny of the implications and legacies of marginalized textual praxis, Cut/Copy/Paste makes experimental forms of bookwork central to the history of the book.}, number={3}, journal={Modern Language Quarterly}, publisher={University of Minnesota Press}, author={Simon, Margaret and Trettien, Whitney}, year={2023}, pages={390–393} }
 @inproceedings{simon_nunn_sperazza_2023, title={Feminist Digital Thinking, I and II}, booktitle={Renaissance Society of America Annual Conference}, author={Simon, Margaret and Nunn, Hillary and Sperazza, Whitney}, year={2023} }
 @misc{simon_2022, title={Early Modern Leaven in Bread, Bodies, and Spirit}, ISBN={9789048552368}, url={http://dx.doi.org/10.2307/j.ctv3142vdg.8}, DOI={10.2307/j.ctv3142vdg.8}, journal={In the Kitchen, 1550-1800}, publisher={Amsterdam University Press}, author={Simon, Margaret}, year={2022}, month={Nov}, pages={91–108} }
 @inproceedings{allen_simon_2022, title={Negotiating the page: Digital annotation and graphic literature}, ISSN={2398-3132}, url={http://dx.doi.org/10.21606/drs.2022.259}, DOI={10.21606/drs.2022.259}, abstractNote={The past ten years have seen an increased acceptance and study of the graphic novel as a literary instrument. More and more authors and designers are using the comic book platform and its shorter, serialized structure, to tell stories about race, class, and gender. In tackling these more complex issues, creators are intentionally or unintentionally making environments where readers are engaging in methods of negotiated reading—discovering an affinity with aspects of the characters and stories, and actively creating a discourse with identity and positionality. Digital annotation and reading platforms offer a unique opportunity to teachers, designers, scholars, and readers to actively examine and enhance the ways this negotiated reading is experienced, but most privilege text-based literature over graphic literature, and few actively connect the texts to real-world, contemporary experiences or evidence. This paper describes an approach for augmenting graphic novels through visual and digital annotation.}, booktitle={Proceedings of DRS}, publisher={Design Research Society}, author={Allen, Tania and Simon, M.}, year={2022}, month={Jun} }
 @book{simon_munroe_nunn_smith_2022, title={Reconstructing Recipes: Recovering Losses, Telling Stories}, volume={8}, journal={Early Modern Studies Journal}, author={Simon, Margaret and Munroe, Jennifer and Nunn, Hillary and Smith, Lisa}, year={2022} }
 @inbook{simon_2021, place={Minneapolis}, title={Access, Touch, and Human Infrastructures in Digital Pedagogy}, booktitle={People, Practice, Power: Digital Humanities outside the Center}, publisher={University of Minnesota Press}, author={Simon, Margaret}, editor={Nieves, Angel David and McGrail, Anne B. and Senier, SiobhanEditors}, year={2021}, pages={255–270} }
 @inproceedings{simon_nunn_munroe_2021, title={Lost in Transcription: EMROC, Recipes Books, and Knowledge in the Making}, booktitle={14th Annual Online Schoenberg Symposium on Manuscript Studies in the Digital Age}, author={Simon, Margaret and Nunn, Hillary and Munroe, Jennifer}, year={2021}, month={Nov} }
 @inproceedings{simon_2021, title={Transatlantic Commodity Metaphors and Agricultural Woodcuts in Gervase Markham's Farewell to Husbandry}, booktitle={Renaissance Society of America Annual Meeting}, author={Simon, Margaret}, year={2021} }
 @misc{simpson-younger_simon_2020, title={Forming Sleep}, ISBN={9780271086569 0271086564 9780271086118}, url={http://dx.doi.org/10.5325/j.ctv14gpd4q}, DOI={10.5325/j.ctv14gpd4q}, publisher={Penn State University Press}, year={2020}, month={Apr} }
 @misc{simon_2020, title={Rest and Rhyme in Thomas Campion’s Poetry}, url={http://dx.doi.org/10.5325/j.ctv14gpd4q.6}, DOI={10.5325/j.ctv14gpd4q.6}, journal={Forming Sleep}, publisher={Penn State University Press}, author={Simon, Margaret}, year={2020}, month={Apr}, pages={51–68} }
 @article{simon_2020, title={The Experience of Scholarly Labor: Recording Affect in Transcription}, volume={7}, journal={Early Modern Studies Journal}, author={Simon, Margaret}, year={2020}, pages={15–29} }
 @inproceedings{simon_2019, title={Rest and Rhyme in the Poetry of Thomas Campion}, booktitle={Renaissance Society of America Annual Meeting}, author={Simon, Margaret}, year={2019} }
 @inproceedings{simon_2019, title={Roundtable: Teaching and Researching the Early Modern with Digital Tools}, booktitle={Renaissance Society of America Annual Meeting}, author={Simon, Margaret}, year={2019} }
 @misc{simon_2018, title={Glossing Authorship:}, url={http://dx.doi.org/10.2307/j.ctv6jmb3r.12}, DOI={10.2307/j.ctv6jmb3r.12}, journal={Renaissance Papers 2017}, publisher={Boydell & Brewer}, author={Simon, Margaret}, year={2018}, month={Dec}, pages={125–138} }
 @book{simon_burgess_2018, place={University of Victoria}, title={Intimate Fields}, volume={4}, journal={Kits for Cultural History}, publisher={Maker Lab in the Humanities}, author={Simon, Margaret and Burgess, Helen}, year={2018} }
 @article{simon_burgess_2018, title={Intimate Fields: A Kit for E-Literature}, volume={6}, ISSN={2182-8830}, url={http://dx.doi.org/10.14195/2182-8830_6-2_14}, DOI={10.14195/2182-8830_6-2_14}, abstractNote={This paper discusses the development of Intimate Fields, an installation work that brings together “near field” technologies from markedly different eras to argue that secrecy, absence, and distance are constituting features of felt human intimacy. Looking back to the sixteenth and seventeenth centuries, our project expands to digital technologies the concept of “the posy” and the practice of its creation and dissemination. Posies are short poems designed to be inscribed on gifted objects, most frequently rings. These bespoke accessories are meant to be worn on the body and to signify or transact amorous relations, act as memento mori, or even enable private and subversive modes of religious devotion. Posies and their objects were widely held to act as reminders of intimacy or as portals to memory. At the same time, the inscriptions themselves, particularly on courtship rings, are often generic and were collected and published in printed books for use and adaptation. By inter-animating today’s methods of near field communication and early modern wearables, this project explores how text and code technologies and the languages they carry can create, interrupt, or re-shape interpersonal connection.}, number={2}, journal={Matlit Revista do Programa de Doutoramento em Materialidades da Literatura}, publisher={Coimbra University Press}, author={Simon, Margaret and Burgess, Helen J.}, year={2018}, month={Aug}, pages={203–216} }
 @article{simon_2018, title={Re-Reading Mary Wroth’s Aubade}, volume={36}, number={1}, journal={Sidney Journal}, author={Simon, Margaret}, year={2018}, pages={53–68} }
 @inproceedings{simon_2018, title={Transcribing and Interpreting Digitized Recipe Manuscripts}, booktitle={Shakespeare Association of America Annual Meeting}, author={Simon, Margaret}, year={2018} }
 @article{simon_2017, title={Collaborative Writing and Lyric Interchange in Philip Sidney’s Old Arcadia}, volume={19}, number={2}, journal={Early Modern Literary Studies}, author={Simon, Margaret}, year={2017} }
 @inproceedings{simon_2017, title={Early Modern 3D: Woodcuts as Models for Today’s 3D Archives}, booktitle={Imagined Forms: Models and Material Culture}, author={Simon, Margaret}, year={2017} }
 @inproceedings{simon_2017, title={Glossing Authorship: Printed Marginalia in Aemilia Lanyer’s Salve Deus Rex Judaeorum}, booktitle={Southeastern Renaissance Conference}, author={Simon, Margaret}, year={2017} }
 @inproceedings{simon_burgess_2017, title={Intimate Fields}, booktitle={Electronic Literature Organization Annual Conference}, author={Simon, Margaret and Burgess, Helen}, year={2017} }
 @inproceedings{simon_2017, title={Material Texts and Digital Interfaces}, booktitle={Shakespeare Association of America Annual Meeting}, author={Simon, Margaret}, year={2017} }
 @misc{simon_2017, title={Sleep in early modern England}, volume={56}, DOI={10.1017/jbr.2017.14}, abstractNote={An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.}, number={2}, journal={Journal of British Studies}, author={Simon, M.}, year={2017}, pages={384–386} }
 @inproceedings{simon_2017, title={The Phenomenality of Digital Transcription}, booktitle={Renaissance Society of America Annual Meeting}, author={Simon, Margaret}, year={2017} }
 @article{simon_2017, title={The Posy as Poetical Fugitive}, url={http://openthresholds.org/}, number={1}, journal={thresholds: a digital journal for criticism}, author={Simon, Margaret}, year={2017} }
 @article{simon_2016, title={Collective Reading and Communities of Practice: Teaching Alison Bechdel’s Fun Home}, volume={26}, ISSN={2377-9578}, url={http://dx.doi.org/10.1353/tnf.2016.0021}, DOI={10.1353/tnf.2016.0021}, abstractNote={Using the concept of “communities of practice,” this essay recounts the impact of foregrounding representations of community in teaching Alison Bechdel’s Fun Home. I argue that the work of collectively reading this text, which itself offers a nuanced perspective on being and belonging, fostered a classroom community self-conscious about its own expectations for membership. Our process reinforced the constant interpretive encounter in graphic narratives between writing and image, facilitating in our class a critique of dominant modes of discourse and fostering a reading practice that helped us probe the limits of communal identity. This was not a process of affiliation with Bechdel’s persona, but a dialectic within the classroom of recognition and difference that ultimately binds communities of practice together. Moving beyond a hermeneutics of suspicion to a communal reading, our engagement with the text enabled members of the class to have both literary critical insights and deeply personal discoveries about the communities to which we willingly belong or into which we are placed. Ultimately, this essay recommends the generic affordances of the graphic narrative for this work, suggesting how communities of literary practice need to focus on texts that open modes of affiliation and recognition for diverse student populations.}, number={2}, journal={Transformations: The Journal of Inclusive Scholarship and Pedagogy}, publisher={Project MUSE}, author={Simon, Margaret}, year={2016}, pages={139–156} }
 @article{simon_2016, title={Mary Wroth's Ephemeral Epitaph}, volume={56}, ISSN={["1522-9270"]}, DOI={10.1353/sel.2016.0007}, abstractNote={This article argues that Mary Wroth, through her lyric sequence’s first song, defines poetic immortality as necessarily multimodal in the broadest sense, equally reliant on its literary intertexts and its material forms. The essay draws attention to the poem’s engagement with material writing practices, memorial customs, and literary connections, culminating with the self-penned epitaph Wroth’s speaker uses to close the poem. In so doing, this essay positions Wroth’s work, often read as self-consciously disengaged from her literary coterie, in a broad conversation about poetry’s capacity to endure as an object of imitation and affiliation.}, number={1}, journal={STUDIES IN ENGLISH LITERATURE 1500-1900}, author={Simon, Margaret}, year={2016}, pages={45–69} }
 @inproceedings{simon_simpson-younger_2016, title={Sleeping Through the Renaissance}, booktitle={Shakespeare Association of America Annual Meeting}, author={Simon, Margaret and Simpson-Younger, Nancy}, year={2016} }
 @inbook{simon_2015, title={Digital Edition of Folger MS V.b.110, Miscellany of Henry Oxinden (1642-1670_}, booktitle={Folger Shakespeare Library}, author={Simon, Margaret}, editor={Housman, Talya and Ruediger, Dylan and Wolfe, HeatherEditors}, year={2015} }
 @inproceedings{simon_2015, title={New Histories of Embodiment}, booktitle={Shakespeare Association of America Annual Meeting}, author={Simon, Margaret}, year={2015} }
 @inproceedings{simon_2015, title={Pamphilia Asleep Among the Philosophers}, booktitle={South-Central Renaissance Society Conference}, author={Simon, Margaret}, year={2015} }
 @inbook{simon_2014, title={Generic Feints and Affecting Forms in Gascoigne’s The Adventures of Master F.J.}, booktitle={Renaissance Papers 2013}, author={Simon, Margaret}, year={2014}, pages={43–54} }
 @inproceedings{simon_2014, title={Pamela and the Poetry of Sleep in Philip Sidney’s Arcadia}, booktitle={Renaissance Society of America Annual Meeting}, author={Simon, Margaret}, year={2014} }
 @inproceedings{simon_2013, title={Authorial Feints and Affecting Forms in Gascoigne’s The Adventures of Master F.J}, booktitle={Southeastern Renaissance Conference}, author={Simon, Margaret}, year={2013} }
 @inproceedings{simon_2013, title={Mary Wroth’s Ephemeral Epitaph}, booktitle={Renaissance Society of America Annual Meeting}, author={Simon, Margaret}, year={2013} }
 @article{simon_2012, title={Refraining Songs: The Dynamics of Form in Sidney's <i>Astrophil and Stella</i>}, volume={109}, ISSN={1543-0383}, url={http://dx.doi.org/10.1353/sip.2012.0000}, DOI={10.1353/sip.2012.0000}, abstractNote={"Refraining Songs" reappraises the role of the songs in Sidney's Astrophil and Stella as they reveal Sidney's own theoretical views on narrative in lyric and strengthen the case for the 1598 ordering of the poems. These formally diverse lyrics interspersed among the sonnets both narrate the more important events of Astrophil and Stella's affair while also acting as interruptions or extended articulations of Astrophil's overburdened emotional state. This essay reconciles these divergent capacities of the songs, arguing that Sidney uses the songs to create an opposition between narrative and lyric in order to explore narrative's effects upon poetic sequence. Complicated by shifts within and juxtapositions of poetic form in the sequence, narrative itself becomes a lyric refrain as events are written and rewritten, creating a recursive narrativity that Sidney exploits for innovative possibilities of genre.}, number={1}, journal={Studies in Philology}, publisher={Project MUSE}, author={Simon, Margaret}, year={2012}, pages={86–102} }
 @misc{simon_2010, title={George Gascoigne}, volume={28}, number={1}, journal={The Sidney Journal}, author={Simon, Margaret}, year={2010}, pages={87–89} }
 @inproceedings{simon_2009, title={Narrative as Absent Presence: The Songs in Sidney’s Astrophil and Stella}, booktitle={International Congress on Medieval Studies: Sidney Sessions}, author={Simon, Margaret}, year={2009} }
 @inbook{simon_2008, place={New York}, title={Astrophil and Stella Sonnet Sequence Overview}, booktitle={Companion to Pre-1600 British Poetry}, publisher={Facts on File}, author={Simon, Margaret}, editor={Sauer, Michelle M.Editor}, year={2008} }
 @inbook{simon_2008, place={New York}, title={Astrophil and Stella Sonnets 2, 45, 60, 106}, booktitle={Companion to Pre-1600 British Poetry}, publisher={Facts on File}, author={Simon, Margaret}, editor={Sauer, Michelle M.Editor}, year={2008} }
 @inproceedings{simon_2006, title={Dissonance and Hybridity in Philip Sidney’s Early Modern Self}, booktitle={International Congress on Medieval Studies: Sidney Sessions}, author={Simon, Margaret}, year={2006} }
 @inproceedings{simon_2005, title={Hapless Divisions: Self, Subject and Identity in Sidney’s New Arcadia}, booktitle={Pacific Northwest Renaissance Society Conference}, author={Simon, Margaret}, year={2005} }
 @inproceedings{simon_2003, title={Economy of the Example in Early Modern Literature}, booktitle={Group for Early Modern Cultural Studies}, author={Simon, Margaret}, year={2003} }
 @inproceedings{simon_2003, title={Searching for Mastery: Montaigne’s ‘On some verses of Virgil’}, booktitle={Group for Early Modern Cultural Studies}, author={Simon, Margaret}, year={2003} }