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CONTRIBUTORS
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Patrick Armstrong is a PhD candidate in English (Modern and Contemporary
Literature) at the University of Cambridge, where he is completing a
dissertation on the relation between technologies of vision (especially
microscopes) and literary modernism. His essay “Instrumental Optics:
Microscopic and Telescopic Lenses in Thomas Hardy’s Two on a Tower” was
published in the Winter edition ofthe Thomas Hardy Journal in 2017.
Enda Bates is an Assistant Professor of Music Technology and deputy
director of the Music & Media Technology programme at Trinity College
Dublin, Ireland. His research work includes spatial music composition and
performance, spatial audio, the aesthetics of electro-acoustic music, and the
augmented electric guitar. His work has been performed by, among others,
the Crash Ensemble, RTE National Symphony Orchestra, Paul Hillier/
Chamber Choir Ireland, Anne La Berge, the Doelen Quartet, Trio Scordatura,
Ensemble Mise-en, Concorde, Darragh Morgan, and New Dublin Voices. See
www.endabates.net for full credits.
Linda Ben-Zvi is Professor Emeritae, Colorado State and Tel Aviv Universities;
John Stern Distinguished Professor, Colorado; Lady Davis Professor, Hebrew
University; twice president ofthe International Beckett Society; founder and for
fourteen years convener ofthe Beckett Working Group, International Federation
of Theatre Research; and chair ofthe Annual Beckett Lecture, Tel Aviv University.
She has authored and edited thirteen books, including four on Samuel Beckett
— Samuel Beckett, Women in Beckett, Drawing on Beckett, Beckett at 100, with
Angela Moorjani — and four on Susan Glaspell. Her Glaspell biography was
recipient of the Jury Prize ofthe American Iheatre Library Association.
Jonathan Bignell is Professor of Television and Film at the University of
Reading. His writing on Beckett includes the book Beckett on Screen: The
Television Plays and articles in Samuel Beckett Today / Aujourd’hui and
the Journal of Beckett Studies. Jonathan has published chapters on Beckett
in the collections Writing and Cinema (which he also edited), Beckett and
Nothing (ed. Daniela Caselli), and Drawing on Beckett (ed. Linda Ben-Zvi). He