Douglas Bruster

Thereafter he attended Harvard University, where he studied English Renaissance literature with such professors as G. Blakemore Evans, Marjorie B. Garber, and Roland Greene.

during the course of his studies, he received his Ph.D. in 1990, writing on commercial themes and images in the plays of the early modern era in England.

[10] In addition to these studies, Bruster has edited such early modern plays as Thomas Middleton and William Rowley's The Changeling for the Oxford University Press edition of Thomas Middleton: The Collected Works (2008),[11] the morality plays Everyman and Mankind for the Arden Early Modern Drama series Shakespeare's (with Eric Rasmussen),[12] and A Midsummer Night's Dream for Houghton Mifflin Harcourt (2012).

In 2013, Bruster's 'Shakespearean Spellings and Handwriting in the Additional Passages Printed in the 1602 Spanish Tragedy' drew on orthographical evidence to argue for Shakespeare's authorship of the approximately 325 lines of the so-called Additional Passages printed in the 1602 quarto of Thomas Kyd's The Spanish Tragedy.

[14][15]This research was featured in a front-page story of The New York Times,[16] and profiled in numerous outlets of the popular press, including National Public Radio,[17] The Guardian,[18] and The Atlantic[19] Other significant articles include 'A New Chronology for Shakespeare's Plays' (2014) with Geneviève Smith, which advances a revised timeline for Shakespeare's drama on the basis of a constrained correspondence analysis of the plays' punctuated pause patterns,[20][21] and, the following year, ' Shakespeare's Lady 8,' which identifies and analyzes as a Shakespearean 'brand' the attractive printers' headpiece that adorned both Venus and Adonis and The Rape of Lucrece upon first publication.