Andrew Sofer

Associate Professor B.A., Hebrew University of Jerusalem M.F.A. Boston University School of Theatre Arts Ph.D., University of Michigan  Carney Hall 438 Boston College Chestnut Hill, MA 02467 Phone: 617-552-1653 Fax: 617-552-4220 Email: sofer@bc.edu

Courses

• EN082.07 - Literature and Society
• EN310.01 - Shakespeare
• EN617.01 - Advanced Poetry Workshop
• EN743.01 - Elizabethan and Jacobean Drama

Academic Profile

Specializes in dramatic literature, especially Renaissance and modern drama. Professor Sofer holds an M.F.A. in Directing and is interested in performance as an aid to textual interpretation. A widely published poet, he also teaches creative writing.

Additional Professional Information

Poetry Awards

• First Prize, Iambs & Trochees Poetry Contest, 2005
• Erika Mumford Prize, New England Poetry Club, 2004
• Morton Marr Poetry Prize, Southwest Review, 2001
• Margaret Haley Carpenter Prize, The Lyric, 1998
• International Merit Award, Atlanta Review Poetry Competition, 1997
• International Publication Prize, Atlanta Review International Poetry Competion,
  2006, 2008
• Gretchen Warren Award, New England Poetry Club, 2005
• Boyle/Farber Prize, New England Poetry Prize, 2005

Teaching Awards

• "Influential Voice," Sub Turri Yearbook, Boston College, 2002
• Moscow Prize for Excellence in Teaching English Composition, U. of Michigan, 1998

Academic Honors

• First Runner-Up, Barnard Hewitt Award for Excellence in Theatre History, American Society for Theatre Research, 2004
• Faculty Fellowship, Boston College, 2003
• Research Incentive Grant, Boston College, 2001
• Rackham Predoctoral Fellowship, University of Michigan, 1997-1998
• Andrew Mellon Dissertation Candidacy Fellowship, 1996
• Heberle Essay Prize, University of Michigan, 1995
• Graduate Fellowship for Academic Excellence, Hebrew University, 1987-1988

Publications

Research, Books

• The Stage Life of Props (University of Michigan Press, 2003).

Articles in Refereed Journals

• “How To Do Things With Demons: Conjuring Performatives in Doctor Faustus,” Theatre Journal 61 (2009): 1-22.
• “Something Cloudy, Something Queer: Eugene O’Neill’s Ah, Wilderness! and Tennessee Williams’s Period of Adjustment as Problem Comedies,” Journal of Dramatic Theory and Criticism 18 (2004): 37-58.
• “The Cheese-Roll Under the Cocktail Cabinet: Pinter’s Object Lessons,” The Pinter Review Collected Essays 2003 and 2004, ed. Francis Gillen and Steven H. Gale. Tampa: University of Tampa Press, 2004: 29-38.
• “Absorbing Interests: Kyd’s Bloody Handkerchief as Palimpsest,” Comparative Drama 34 (2000): 127-53.
• “No Ideas But In Things: Beckett’s Uncanny Props,” Text & Presentation: Journal of the Comparative Drama Conference 19 (1998): 123-29.
• “The Skull on the Renaissance Stage: Imagination and the Erotic Life of Props,” English Literary Renaissance 28 (1998): 47-74.
• “Felt Absences: The Stage Properties of Othello’s Handkerchief,” Comparative Drama 31 (1997): 367-93.
• “Self-Consuming Artifacts: Power, Performance, and the Body in Tennessee Williams’ Suddenly Last Summer,” Modern Drama 38 (1995): 336-47.

Essays in Edited Collections

• “Properties,” The Oxford Handbook of Early Modern Theatre, ed. Richard Dutton. Oxford: Oxford University Press, 009.
• “From Technology to Trope: The Archbishop’s Ceiling and Arthur Miller’s Prismatic Drama,” in Arthur Miller’s America: Theater & Culture in a Time of Change, ed. Enoch Brater (Ann Arbor: University of Michigan Press, 2005): 94-108.
• “Maria Irene Fornes: Acts of Translation,” in A Companion to Twentieth Century American Drama, ed. David Krasner (Oxford: Blackwell, 2005): 440-55.