Current Projects:
An introduction to and edition (co-edited by Cristina A. Cowley) of Soror Maria do Céu’s first extant manuscript, the short allegory, Escarmentos de flores.
Forthcoming Article:
“’Estas son letras también’: Chamizal Outreach and the BYU Golden Age Theater Project,” co-authored with Dale J. Pratt, will appear in the 2027 special issue of Comedia Performance on the history of the Chamizal Siglo de Oro festival.
Forthcoming Book Chapters:
“Virginity and Motherhood: Mary in Christmas Plays Written and Performed by Spanish Nuns for Their Communities,” will appear in Rethinking Mary in Early-Modern Culture: Women’s Voice and the Virgin Mary in Christian Community, edited by Eleonora Carinci, to be published by Turnhout, Brepols.
Articles and Book Chapters:
“Monjas en escena: El teatro en los conventos españoles de la temprana modernidad,” in Mujeres de ingenio: Plumas de Oro en el Siglo de las Letras, edited by Esther Borrego Gutiérrez (Madrid: Comunidad de Madrid, 2026), 123-33.
“More Than Muses: Digital Archive as Pedagogical Tool.” Co-authored with Anna-Lisa Halling. Feminist Pedagogy 6.5 (2026): Article 8.
“Staging Gender Norms, Sexual Harrassment and Assault, and the Mujer Varonil.” Comedia Performance 21 (2024): 110-25.
“A Conjunction of Stars and a Nun’s Horoscope: Sor Francisca de Santa Teresa’s ‘Coloquio para representar en la profesión de Sor Ángela María de San José.’” Early Modern Women: An Interdisciplinary Journal 18.2 (2024): 1-32.
“‘Streleros’ buenos y malos: Staging Astrology in Early Modern Spanish Theater.” Co-authored with Dale J. Pratt, in Staging and Stage Décor: Early Modern Spanish Theater, edited by Barbara Mujica (Wilmington, DE: Vernon P, 2022), 189-205.
“Teaching the Mujer Varonil as the Wonder Woman of Early Modern Spain” in Reconsidering Early Modern Spanish Literature through Mass and Pop Culture: Contemporizing the Classics in the Classroom, edited by Mindy Badia and Bonnie Gasior (Newark, DE: Juan de la Cuesta Hispanic Monographs, 2021), 193-208.
“Traducir las cartas de la Marquesa de Alorna (1750-1839).” Co-authored with Vanda Anastácio, in En otras palabras: género, traducción y relaciones de poder, edited by María D. Martos Pérez, Marina Sanfilippo and Mariángel Soláns García (Madrid: UNED, 2020), 29-40.
“‘La décima musa portuguesa’ and Her Soledades de Buçaco: Gendered Landscape Poetry Dedicated to the Nuns of Santo Alberto.” Calíope: Journal of the Society for Renaissance and Baroque Hispanic Poetry 22.2 (2017): 145-64.
“Mentoring Spanish Theater Performance and Service Learning: The BYU Spanish Golden Age Theater Project’s Production of Guillén de Castro’s El Narciso en su opinión,” co-authored with Dale J. Pratt, in Religious and Secular Theater in Golden Age Spain: Essays in Honor of Donald T. Dietz, edited by Susan Paun de García and Donald Larson (New York: Peter Lang, 2017), 175-87.
“Gendered Matters: Engaging Research on Early Modern Dramaturgas in the Classroom,” co-authored with Amy R. Williamsen, in Teaching Gender through Latin American, Latino and Iberian Texts and Culture, edited by Leila Gómez, Asunción Horno-Delgado, Mary K. Long, and Núria Silleras-Fernández (Rotterdam: Sense Publishers, 2015), 99-124.
“Early Modern Dramaturgas: A Contemporary Performance History,” co-authored with Amy R. Williamsen, in Remaking the Comedia: Spanish Classical Theater in Adaptation, edited by Harley Erdman and Susan Paun de García (Woodbridge, Suffolk: Tamesis, 2015), 83-92.
“El convento como espacio escénico y la monja como actriz: montajes teatrales en tres conventos de Valladolid, Madrid y Lisboa” in Letras en la celda: Cultura escrita de los conventos femeninos en la España moderna, edited by Nieves Baranda Leturio and María Carmen Marín Pina (Madrid: Iberoamericana – Vervuert, 2014), 363-78.
“Comedia Scholarship and Performance: El muerto disimulado from the Archive to the Stage.” Comedia Performance 4.1 (2007): 152-78.
“Mentoring Environments and Golden Age Theater Production,” co-authored with Dale J. Pratt, in Approaches to Teaching Early Modern Spanish Drama, edited by Margaret Greer and Laura Bass (New York: Modern Language Association, 2006), 198-205.
“Women and Secular Theater.” Engendering the Early Modern Stage: Women Playwrights in the Spanish Empire, edited by Valerie Hegstrom and Amy R. Williamsen (New Orleans: University Press of the South, 1999), 107-18.
“Theater in the Convent.” Engendering the Early Modern Stage: Women Playwrights in the Spanish Empire, edited by Valerie Hegstrom and Amy R. Williamsen (New Orleans: University Press of the South, 1999), 211-17.
“Chaotic Night Scenes by Tirso,” in Tirso de Molina: His Originality Then and Now, edited by Henry W. Sullivan and Raúl Galoppe (Ottawa: Dovehouse Editions Canada, 1996), 113-32.
“The Bildung of Manolo and his Narrator in Alfredo Bryce Echenique’s Huerto cerrado,” in Los mundos de Alfredo Bryce Echenique, edited by César Ferreira and Ismael P. Márquez (Lima: Fondo Editorial de la Pontificia Universidad Católica del Perú, 1994), 97-116.
“The Fallacy of False Dichotomy in María de Zayas’s La traición en la amistad.” Bulletin of the Comediantes 46.1 (1994): 59-70.
Published Translations:
In the Caves by Emilia Pardo Bazán. Translation, Introduction, and Notes by Valerie Hegstrom. Hélice: Reflexiones críticas sobre ficción especulativa 5.1 (no. 26) (2019): 98-123.
“Four Centuries of Good Government: A Story about the Modern Age” by Nilo María Fabra. Translation, Introduction, and Notes by Valerie Hegstrom. Hélice: Reflexiones críticas sobre ficción especulativa 3.8 (no. 22) (2017): 73-83.
Valerie Hegstrom, PhD 