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    <title type="main">Selimus: Acknowledgements</title>
    <title type="short">Sel: Acknowledgements</title>
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     <persName ref="pers:MELN2">Kirk Melnikoff</persName>
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                    <orgName><reg>Queen’s Men Editions</reg><abbr>QME</abbr></orgName>
                    <note><p>The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)</p></note>
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    <funder>Social Sciences and Humanities Research Council of Canada</funder>
    <funder>McMaster University</funder>
    <funder>Poculi Ludique Societas</funder>
    <funder>University of Waterloo</funder>
    <funder>University of Toronto Centre for Drama, Theatre &amp; Performance Studies</funder>
    <funder>University of Victoria</funder>
    <funder>Friends of the ISE</funder>
    <funder>UNC Charlotte</funder>
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     <p>Intellectual copyright in this edition is held by the editor, <persName ref="pers:MELN2">Kirk Melnikoff</persName>. The critical paratexts, including these <title level="a">Acknowledgements</title>, are licensed under a <ref target="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC_ND 4.0 license</ref>, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom.</p>
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   <p xml:id="emdSel_acknowledgements_p1">Over the last five years, this edition benefitted greatly
    from a number of conversations that the editor had with his colleagues and students. He would
    like to thank Andrew Hartis and Justina Vasquez for their extensive work on the old spelling
    and/or modernized texts of the play. He also owes a significant debt of gratitude to <persName ref="pers:COCK1">Peter
    Cockett</persName>, <persName ref="pers:GRIF1">Andrew Griffin</persName>, and <persName ref="pers:MART1">Mathew Martin</persName> for their detailed and thoughtful feedback on this
    edition’s modernized text and paratexts. Lastly, he would be terribly remiss not to thank
    <persName ref="pers:HOUL3">Navarra Houldin</persName>, <persName ref="pers:HOLM1">Martin Holmes</persName>, <persName ref="pers:SHOR2">Kim Shortreed</persName>, <persName ref="pers:VATC1">Nicole Vatcher</persName>, and especially <persName ref="pers:JENS1">Janelle Jenstad</persName>
    for their tireless, always prompt help with the seemingly neverending technical challenges
    associated with an online project. Work on this edition was in part made possible by a 2020
    Faculty Research Grant from UNC Charlotte.</p>
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