Currently in phased retirement, Professor Stroud has been teaching at Trinity since 1977. His area of specialization is sixteenth and seventeenth-century Spain, but he considers every aspect of his academic life from the point of view of the humanities in the broadest sense: what does it mean to be human, and how do we relate to each other?
Students are often amazed at the relevance to today's world of the issues that arise in the discussion of the Spanish epic, El poema de Mio Cid, Lope de Vega's play, Fuenteovejuna, nineteenth-century Spanish history, and even Spanish grammar. In addition to his courses in Spanish, Stroud has also taught French and Latin, and has offered several different topics in the First-Year Seminar program. In 1999, he received the Dr. and Mrs. Z. T. Scott Faculty Fellowship for Outstanding Teaching and Advising. More recently, he was the 2014 recipient of the Distinguished Achievement Award for Scholarship
The Phantom Lady. By Pedro Calderón del Barca. Trans. Matthew D. Stroud. This translation has been recently staged in Fresno (Fresno Pacific University, 2010) and Los Angeles (X Repertory Theatre Company, 2011). A selection of the text has been included in Out of the Wings, a website devoted to Hispanic theater in English translation, created and maintained by King’s College London, Oxford University, and Queen’s University Belfast (United Kingdom).
Fatal Union: A Puralistic Approach to the Spanish Wife-Murder Comedias. Lewisburg, PA: Bucknell University Press, 1990.
The Play in the Mirror: Lacanian Perspectives on Spanish Baroque Theater. Lewisburg, PA: Bucknell University Press, 1996.
Plot Twists and Critical Turns: Queer Approaches to Early Modern Spanish Theater. Lewisburg, PA: Bucknell University Press, 2007.
Recent Articles, Chapters and Papers:
“The Play of Means and Ends: Justice in Lope’s Fuenteovejuna.” Neophilologus 92.2 (2008): 247-62. Print.
“Supersession, the Comedianueva, and Tirso’s La mejor espigadera.” Bulletin of the Comediantes 61.1 (2009): 35-50. Print.
“Israel in the Theater of Imperial Spain: Supersession and Mira de Amescua’s El clavo de Jael.” Atrium: First International Conference on Literature, Culture and Religion in the Hispanic World. San Antonio, February 2009. Revised and published as “De la Biblia hebrea a la comedia española: El clavo de Jael de Mira de Amescua.” Hipertexto 12 (2010): 86-97. Web.
“Tragedy or Soap Opera: The Comedia as High Art or Popular Culture.” Association for Hispanic Classical Theater Symposium. El Paso, March 2010.
“Imperial Allegiance and Cultural Identity: Juan Antonio Correa’s La pérdida y restauración de Bahía de Todos los Santos.” South Central Modern Language Association Convention. Fort Worth, November 2010.
“Between Admiration and Condemnation: Lope de Vega’s El robo de Dina.” Modern Language Association Convention. Los Angeles, January 2011. Revised and published as “Genesis 31-34 as Spanish Comedia: Lope de Vega’s El robo de Dina.” Neophilologus 96.2 (2012): 233-45.
“Ruth as Dama Principal: Tirso’s La mejor espigadera.” Bulletin of the Comediantes 64.2: 1-13 (2012). Print.
“Unlucky, Unwise, or Just Unworthy: The Monarchy in Mira de Amescua’s Las desgracias del rey don Alfonso el Casto.” Association for Hispanic Classical Theater Symposium. El Paso, March 2012.
“Taking Matters into Their Own Hands: Heroic Women of the Early Reconquest in the Spanish Comedia.” Association for Hispanic Classical Theater Symposium. El Paso, March 2013.
“The Wife-Murder Plays.” A Companion to Early Modern Hispanic Theater. Ed. Hilaire Kallendorf. Renaissance Society of America Texts and Studies Series 2. Leiden, NL: Brill, 2014. 91-103.