MLA 2018: Recognition and Identity in Early Modern English Drama How do dress, voice, actions, etc cause a character to be "recognized" (or not recognized) as him/herself or as another in early modern English drama? Is the "recognition" of a character equal to a character's "identity"? How do reading and misreading shape our understanding of the connection between a character's individual "identity" and who he is perceived to be? How is identity and/or recognition read or understood on the early modern English stage? Please submit 250-word abstracts to cms531@nyu.edu by Friday, March 10th, 2017. Thanks!