Monday, June 28, 2010
ROMAN Books, a leading publisher of literature and literary criticism, is planning to publish a collection of critical essays on William Shakespeare’s TWELFTH NIGHT. We are presently seeking articles on any topic related to TWELFTH NIGHT for possible publication in this critical anthology. The collection will be edited by Suman Chakraborty.
This CfP is also available at http://www.romanbooks.co.in/riderscfp.php
1. The article should be electronically typed and printed on one side of an A4 sized paper with 1.5 line spacing, 12 pt Palatino Linotype font and a minimum of 1” margin on each side.
2. The article MUST strictly follow the house style of ROMAN Books which can be downloaded from http://www.romanbooks.co.in/housestyle.pdf.
3. The author MUST follow the Arden edition of the text of TWELFTH NIGHT, edited by Lothian and Craik, for textual referencing.
4. The maximum word limit permissible for each article is 3000. Longer articles or articles with less than 1500 words may also be accepted with prior arrangements with the editor.
5. The article MUST be directly related to TWELFTH NIGHT. The author may, if necessary, include discussions on any other related texts written by Shakespeare. But the predominant discussion MUST be linked to TWELFTH NIGHT.
6. Previously published articles are welcome if the contributor owns the copyright of the article. Please mention in your covering e-mail where the article was first published.
7. Please use endnotes and NOT footnotes.
8. Please use UK English spellings.
9. Please send your articles as an MS Word attachment with a covering e-mail to the editor firstname.lastname@example.org.
10. In your covering e-mail please mention clearly your name, contact details and your institutional affiliation (if any).
31st March 2010. Early submission appreciated.
In accordance with the requirement of the publisher, the author has to transfer the copyright of his / her contribution to the appropriate authority. However, if requested, the author will be given necessary UNRESTRICTED PERMISSION to copy / publish / reproduce his / her article anywhere. The Copyright Assignment Form will be sent to the author after the acceptance of his / her article.
The author will be given two copies of the book as honorarium. Special discounts will be given if he / she wishes to buy more copies.
ABOUT THE EDITOR
Suman Chakraborty studied English at the Universities of Calcutta and Glasgow. He is the author of "Creative Writing: A Practical Approach", editor of "Oscar Wilde’s The Importance of Being Earnest", and co-editor of "C.U. English Honours Questions: An Essential Companion". His articles, monographs and academic contributions have appeared in a number of publications of international repute including The Dictionary of Literary Characters, Indian Review of World Literature in English and IACLALS Newsletter. He presented his research papers in London and Scotland and is an advisory editor of "Parnassus: An Innovative Journal of Literary Criticism" (ISSN 0975-0266) and "The Journal of Contemporary Literature" (ISSN 0975-1637).
For any assistance and / or article submission, please contact the editor of the anthology Mr Suman Chakraborty at email@example.com.
42nd Annual Convention, Northeast Modern Language Association (NeMLA)
April 7-10, 2011
New Brunswick, NJ – Hyatt New Brunswick
Host Institution: Rutgers University
Approved NeMLA sessions are now listed online and accepting abstracts:http://www.nemla.org/convention/2011/cfp.html
These 370 sessions cover the full spectrum of scholarly and teaching interests in the modern languages.
Convenient by train to Newark Airport and New York City, Rutgers University is welcoming NeMLA to the beautiful university town of New Brunswick for its 2011 Convention. The NeMLA Board and Rutgers are working together to bring top scholars as speakers and to create special events that will draw on the rich resources of the area. Sessions will run Thursday afternoon through Sunday midday, with pre-convention workshops under consideration. This year's slate offers a higher number of sessions in drama and on Middle Eastern literatures in various languages.
Abstract deadline: September 30, 2010
Please include with your abstract:
Name and Affiliation
A/V requirements (if any; $10 handling fee with registration)
Interested participants may submit abstracts to more than one NeMLA session; however panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable. If your abstract is accepted, do not confirm your participation if you may cancel for another NeMLA session.
• Transition - New roles for archives: From repository to activity, engagement, and performance
• Navigation – The changing legal, regulatory, professional, and ethical landscape of digital cultural heritage
• Curation – The future of archives as knowledge references and authorities; issues of selection, sorting, choice, and exclusion/forgetting
Deadline for 500-word abstracts: August 1, 2010
Acceptance notification by September 1, 2010
Symposium: November 12-14, 2010 at UCLA (Los Angeles)
Organized by: UCLA Film & Television Archive, UCLA MA Program in Moving Image Archive Studies, Institut National de l'Audiovisuel, INA SUP European Centre for research, training and education in Digital Media
Queries and submissions (attachments to email): firstname.lastname@example.org
Student submissions are strongly encouraged
Proposals will be considered as they are received
Wednesday, June 23, 2010
in honour of Professor Toshiyuki Takamiya
3-7 July 2011
Centre for Medieval Studies
University of York
The Early Book Society will hold its twelfth biennial conference in collaboration with the York Manuscripts Conference, at the Centre for Medieval Studies, University of York, from the 3rd to the 7th of July 2011. The theme of this year's conference will be Out of Bounds: Mobility, Movement and Use of Manuscripts and Printed Books, 1350-1550. This theme may be interpreted literally or figuratively: papers might consider unbound or rebound MSS and books, or MSS and books without bindings (rolls), or marginalia beyond the boundaries of the text, or the ways in which such boundaries might be created, or even MSS and books that travel from their place of origin. Secondary threads running through the conference will be related to Prof. Takamiya's manuscripts or Nicholas Love (the conference includes a visit to Mount Grace Priory). Please submit proposals for 20-minute papers relating to the conference themes either to Martha Driver or Linne Mooney by 1 December 2010. Proposals sent via email should be copied to both (LRM3@york.ac.uk and MDriver@pace.edu) or by post to Martha:
Prof Martha Driver
41 Park Row, 15th floor
New York, NY 10038
Please include your name, title and affiliation, the proposed title of your paper, a brief abstract of your paper, and indication of any electronic aids requested (data projector, overhead, and/or slide
University of Minnesota
Merchants and Pirates in the Medieval Mediterranean:
A Question of Identity
The University of Virginia’s College at Wise Medieval-Renaissance Conference promotes scholarly discussion in all disciplines of Medieval and Renaissance studies. The conference welcomes proposals for papers and panels on Medieval or Renaissance literature, language, history, philosophy, science, pedagogy, and the arts. Abstracts for papers should be 300 or fewer words. Proposals for panels should include: a) title of the panel; b) names and institutional affiliations of the chair and all panelists; c) abstracts for papers to be presented (300 or fewer words). A branch campus of the University of Virginia, the University of Virginia’s College at Wise is a public four-year liberal arts college located in the scenic Appalachian Mountains of Southwest Virginia.
NEW Deadline for Submissions: June 28, 2010
Please direct submissions on English Language and Literature and requests for general information to:
Kenneth J. Tiller
Department of Language and Literature
UVA’s College at Wise
Wise, VA 24293
Submissions on Art, Music, and Continental Literature:
Amelia J. Harris
UVA’s College at Wise
Wise, VA 24293
Submissions on History or Philosophy:
Department of History and Philosophy
UVA’s College at Wise
Wise, VA 24293
Monday, June 21, 2010
This collection begins with the historical and theoretical recognition of the ways in which space both constitutes and represents identity. As Henri Lefebvre has pointed out, historically the temporal and spatial have been gendered masculine and feminine. At the same time, however, scholars such as Lefebvre, Michel Foucault and Pierre Bourdieu have demonstrated that the early modern period, specifically the eighteenth century, was a turning point in the redefinition of the geographical landscape and the social terrain of Western Europe. Transformations in foundational British structures including class, politics, economics, and print culture during the long eighteenth century reconfigured and created new concepts of both space and gender. What did these reconfigurations demand and what opportunities did they provide for men and for women? In particular, how do women (re)define, occupy, negotiate, inscribe and create new spaces, cross borders and construct both concrete and abstract new cartographies during this period in Britain?
Possible topics of exploration include but are not limited to:
*The City and/or the Countryside
*The Space(s) of the Nation or Beyond
*Space and Revolution
*Border Crossings, Exile and Migrations
*Sacred/Profane Places and Spaces
*Space and Genre (ex. satire, poetry, the novel, the Gothic, non-fictional prose)
Please send a 1-page abstract and a 2-page CV as a .doc or .docx attached to an email to email@example.com and to firstname.lastname@example.org by September 1, 2010.
This session examines the unique challenges in the process of adapting Shakespeare’s plays to the screen: How best to edit the script in such a way that it satisfies the needs of a movie script and yet at the same time is faithful to the beauty and imagery of the Bard’s famous poetry and tells an interesting, rip-roaring story. For example; comparison could be made between the Mel Gibson/Zefferelli HAMLET (which contained interesting scene re-juxtapositions but at the same time cut the play to very ribbons, not even sparing some very famous speeches) compared to the fast and furious hip South Beach/Mardi Gras feel of the Leonardo DiCaprio/Claire Danes’ “SHAKESPEARE’S R + J” to the unutterably pretentious and far too long (and yet welcome to have such a thing exist) version of Hamlet, produced, directed by and starring Kenneth Brannagh. By July 5, 2010, please send one-page abstracts along with a short C.V., including complete contact information and affiliation, to Herb Parker, East Tennessee State University, at email@example.com.
Wednesday, June 16, 2010
May 6 and 7, 2011 at the University of Maryland, College Park
Conference Organizers: Kimberly Coles , Ralph Bauer, Zita Nunes, Carla L. Peterson
This conference will explore how conceptions of the blood—one of the four bodily fluids known as humors in the early modern period—permeate discourses of human difference from 1500 to 1900. “Bloodwork” begins with the assumption that the concept of “race” is still under construction and that our understanding of the term would profit through an engagement with its long, evolving, history. Specifically, it asks how fluid transactions of the body have been used in different eras and different cultures to justify existing social arrangements.
Recent scholarship has opened up the question of the continuities and discontinuities between early modern and modern rationalizations of human difference. In early modern England, “race” commonly referred to family lineage, or bloodline, and relied upon pervasive notions of what were believed to constitute the properties of blood. The anxieties anatomized in Thomas Elyot’s Boke named the Governour (1537) about the degradation of “race,” or the corruption of noble blood, describe the physical technologies by which virtue—both physical and moral—was thought to be conveyed through bloodlines. Daniel Defoe’s later satire “A True-Born Englishman” (1708) echoes this rationale for difference. The language of his poem not only insinuates the crossover of the term “race” from family lines to national groups, but also supplies evidence that both kinds of racial ideology—whether affirming social hierarchy or national superiority—rest upon the invisible qualities of the blood. In late eighteenth-century Anglo-America, Thomas Jefferson invokes such notions as "White," "Indian," and "Negro" blood in order to suggest an essential difference between what he calls "the races," a difference that he sees as "fixed in nature," thereby anticipating modern racialism.
A comparative conference such as ours, that is trans-historical and transnational and draws literary critics and historians of cultures on both sides of the Atlantic world, will make a significant contribution to this ongoing debate about the “invention” of race.
Colin Dayan, Department of English, Vanderbilt University
Michael Hanchard, Department of Political Science, Johns Hopkins University
Ruth Hill, Department of Spanish, Italian & Portuguese, The University of Virginia
Mary Floyd-Wilson, Department of English, University of North Carolina at Chapel Hill
•How does blood rationalize bodily difference in the period in which you work?
•How is blood used as a metaphor in your period? How is it contested?
•How—and why—is the idea of blood transforming? How does it operate in the body?
•What are the physical technologies of the body and how are these pressed into the service of difference? Conversely, how is the rationalization of bodily difference embedded in “scientific” discourse?
•Is religious difference figured in cultural or somatic terms?
•Does the body have a moral constitution?
PLEASE SUBMIT ABSTRACTS OF 500 WORDS FOR COMPLETE PANELS (ABSTRACTS PLUS PANEL DESCRIPTIONS), INCOMPLETE PANELS, OR INDIVIDUAL PAPERS BY OCTOBER 15, 2010 TO: firstname.lastname@example.org.
In his Apology for Poetry, Sir Philip Sidney defines poetry as “an art of imitation”, a form of “mimesis”; he describes it as not only a “representing, counterfeiting, or figuring forth” but more importantly as a “speaking picture.” This attribution of aural and visual elements to the poet’s pen delineates poetry as a medium able to integrate seemingly disparate elements: a site of necessary hybridity. As a “speaking picture”, poetry mirrors the visual arts by imagistically portraying the verba (signifier) or form which conveys, transmutes, or mimics the res (signified) or Platonic Idea. The visual arts, which mirror or embody the spoken word, serve to access this elusive signified. It seems that Sidney finds it more difficult to imagine a verbal construct shadowing forth an “Idea” than he does a picture.
This graduate conference questions the representation of art in literature and art as literature. These correlations between art, poetry, and performance become increasingly prevalent throughout the later Medieval and early modern periods, and self-reflexive preoccupation with artistic representation permeates each medium. With the advent of print culture and with the movement of alphabets, spelling and language towards standardization, the relationship between the senses (between what is seen, heard, spoken and written) and written language becomes a site for exploration.
How does one re-negotiate the boundaries between the visual and the “read”? How does this translate to the different mediums of poetry, drama, the visual arts and print culture—what are the interstices between literature as drama and drama as literature, for instance, and how can this help us reconfigure a hermeneutics of the “visual”? What is lost in translation and what is gained in a cross-pollination of artistic genres and methods of production? What is the aesthetic, didactic, fiscal or commercial value of art in these periods and how does this affect the desire to frame poetry as picture and vice versa? In light of new artistic technologies, to what extent does the intimate relationship between episteme and techne influence and motivate art in this period? The crucial question we seek to explore is: how do poets, playwrights and artists in the late Medieval and early modern periods understand the separation or conflation of media in mimetic representation?
Topics may include, but are not limited to:
• Production vs. (re)production
• The self-reflexivity of the author: meta-drama, meta-poetry, meta-fiction
• The material book
• Language as art
• Illuminated lettering
• The relationship between letters and sound
• Symbol vs. image
• Staging language: rhetoric, sprezzatura, the dramatic interpretation of character, etc.
• Poetomachia: the artist as compromised/ satirized/parodied
• The gendering of production and reproduction
• Mimesis vs. diegesis
• Ekphrasis, blazon, emblem, allegory, etc.
• Form vs. content
• The value of art
• The mechanics of (re)production
The extended deadline for abstracts is now WEDNESDAY, JULY 7th. Abstracts should not exceed 350 words and should be sent to email@example.com along with any A/V requirements. Presentations should be 15 to 20 minutes long. Please visit the conference website for more information: http://tinyurl.com/queens2010renaissance
Opuscula: Short Texts of the Middle Ages and Renaissance (OSTMAR)
is pleased to announce the official launch of its website.
We seek single-witness editions of Medieval and Renaissance texts under 6,000 words accompanied by a brief introduction (1000-1500 words) and translation. We invite submission of a broad range of pre-modern texts including but not limited to literary and philosophical works, letters, charters, court documents, and notebooks. Texts should be previously unedited and the edition must represent a discrete text in its entirety.
For more information or to view a sample edition, go to opuscula.usask.ca or write Frank Klaassen, General Editor at firstname.lastname@example.org.
OSTMAR is an on-line and open-access journal published by Classical, Medieval, and Renaissance Studies at the University of Saskatchewan under a creative commons license. All submissions are subject to a double-blind peer review and must be accompanied by readable digital facsimiles of the original documents.
12-15 May 2011
Abstracts are invited on any subject dealing with Philip Sidney and his circle. As always, we encourage proposals from newcomers as well as established scholars.
Papers should be limited to twenty minutes in reading time. Please do not submit an abstract to two different sessions of the conference in the same year.
Abstracts (250-500 words) should be submitted electronically and should indicate clearly your mailing address and phone number. If you need special equipment for the talk (digital projector, etc.), let us know when you submit your abstract, rather than later, please.
Deadline for abstracts: 15 September 2010.
Please send your abstracts (email preferably) to:
Joel B Davis
Coordinator, MA Program in English
421 N Woodland Blvd Unit 8300
DeLand FL 32723
Editors: Deborah Uman (St. John Fisher College) and Sara Morrison (William Jewell College)
Early modern literature is crowded with images of dismembered bodies. Petrarchan conventions and myths of transformation provide platforms from which early modern writers can explore bodily fragmentation. Poetic blazons remain theoretical, since the bodies aren't "real" or visible. On stage, however, the presence of actors draws uncomfortable attention to such metaphors of dismemberment. This collection will explore the challenges of embodying the blazon, considering topics such as tropes of fragmentation, effects of genre, references to myth, and gestures toward authorial immortality.
Different thematic approaches are being solicited for this collection including (but not limited to):
• Ovidian myths of literal dismemberment depicted on stage
• Dramatization of the Petrarchan lover
• Historical and contemporary staging practices when attempting to present bodily fragmentation
Please send essays of 5000-7500 words to email@example.com and firstname.lastname@example.org by August 21st, 2010.
Confirmed speakers include Penny Downie, Laurie Maguire, John Peter, Carol Rutter and Anne Ogbomo. Conference includes drinks reception and performance by 1623 theatre company.
Please note: this event, hosted at the Shakespeare Centre, Stratford-on-Avon on 11-12 Sept 2010, will also be available as 'webinar'. Log on and join us remotely, wherever you are in the world.
- How do we write about women in Shakespearian roles past and present?
- What is the impact of the female presence on the Shakespearian stage?
- Why are there so few women reviewers?
- What is the place of single-sex companies in a culture which outlaws sex discrimination?
- Do men and women see the same show differently and what difference does this make to an audience’s response?
- What is today’s experience for female actors on the Shakespearian stage?
Although there is no formal call for papers, we are inviting participants to produce work in response to the conference, for collected publication.
Join the conversation now at http://www.bloggingshakespeare.com
Tuesday, June 15, 2010
A one-day seminar hosted by the Department of English Royal Holloway, University of London
Event Date: Friday 28 May 2010
Organised by Margherita Pascucci with the support of the European Community Marie Curie Intra-European Fellowship
The aim of the seminar is to provide a forum in which to debate the validity and value of treating Shakespeare as a philosopher or his plays as forms of philosophical thought, and of bringing philosophical perspectives, past or present, to bear on his plays and poetry.
With: Professor Kiernan Ryan (Royal Holloway),Professor John Joughin (University of Central Lancashire), Dr Simon Palfrey (Brasenose College, Oxford), Professor Catherine Belsey (Swansea University),Professor Richard Wilson (Cardiff University) and Dr Ewan Fernie (Royal Holloway)
This event has been recorded and is available at the following URL: http://backdoorbroadcasting.net/2010/05/shakespeares-philosophy/
An academic conference to be held in Chetham’s Library, Manchester, 28th-29th January, 2011
During the restoration and eighteenth century, the civil war period was consistently represented as a traumatic break in the history of England and the British Isles, separating the institutionally and culturally modern Augustans from either the primitiveness or idealised simplicity of the earlier epoch. Today, much academic practice silently repeats the period’s self-representation as a century divided between pre and post civil war cultures, whether in research, job descriptions or in undergraduate survey courses. Among the effects of this division of labour is a tendency for the earlier ‘Renaissance’ decades to be privileged over the restoration, which is frequently treated as a poor relation to the eighteenth century.
This conference provides a forum for researchers in all disciplines whose work spans all or any part of the long seventeenth century. As our titular quotations from Clarendon’s History of the Rebellion and Swift’s sermon ‘On the Martyrdom of King Charles I’ suggest, we also encourage papers on subsequent imaginings of the period that have contributed to or contested the ways in which it is read today. Concerns include but are not limited to:
• The comparative study of seventeenth-century writing, sciences, visual arts and music before, during and after the civil war period; their material and intellectual dissemination; their relationship to ideas of what constitutes the early modern and the restoration.
• Constructions of the seventeenth century from the restoration to the present; representations in literature, art, history and film; the cultural influence of the seventeenth century on subsequent periods.
• The role critical theory can play in our reading of the period and/or narratives of the long seventeenth century from within literary criticism and critical theory; e.g. Leavis and Eliot on the Metaphysical poets, Walter Benjamin on the baroque, Foucault on madness, Habermas on the public sphere.
• The study of non-canonical and marginalized texts and materials, and nationally comparative readings of the period.
• The representation and reception of pre-seventeenth-century culture during the seventeenth century; the place of the past in the period’s self-representations.
Confirmed speakers include:
Rosanna Cox (Kent), Jeremy Gregory (Manchester), Helen Pierce (York), George Southcombe (Oxford), Jeremy Tambling (Manchester), Edward Vallance (Roehampton)
Please send abstracts of 300-500 words to James Smith (Manchester) and Joel Swann (Keele) by 15th October 2010: email@example.com
Further information: http://www.chethams.org.uk/c17conference.html
Proposals from postgraduate students are particularly welcome. Attendance by students and Society for Renaissance Studies members will be subsidised by the kind support of the SRS.
Friday, June 4, 2010
Shakespeare In (and Out of) Love Area of the 2010 Film and History Conference: Representations of Love in Film and Television
The conference will be held at the Hyatt Regency Milwaukee between November 11 and November 14, 2010. For more information, go to www.uwosh.edu/filmandhistory.
We welcome paper proposals dealing with: text and contexts; form and performance; interpretive challenges.
Proposals (20-30 lines long, in English or French) should be sent to the organisers by July 10: firstname.lastname@example.org and email@example.com
The papers will be published by the university press early 2011.
The M/MLA will meet in Chicago this year, November 4-7. More information on the conference is available at http://luc.edu/mmla/.
Chicago now supports more than 150 professional theater companies. The symposium focuses on their work but we send our invitation to scholars anywhere who are interested in the evolution of dynamic, innovative theater. Please send your proposals. Come to Chicago May 18-22, 2011 for four days of lively discussion and theatre-going.
CALL FOR PAPERS
Chicago - - Theatre Capital of America:
Past. Present. Future.
An international scholarly symposium and theatrical celebration presented by the Theatre Department of Columbia College Chicago – the largest and most diverse private arts and media college in the nation with more than 120 academic programs and more than 12,000 students.
Dates: May 18-22, 2011
Place: Columbia College, Chicago, IL
“For the poet Carl Sandburg it was the 'City of the Big Shoulders.' Architect Daniel Burnham called it 'the Paris of the Prairies.' That mix of raw energy and refined aestheticism makes Chicago one of the world's great cities—and the current theatre capital of America.”
Michael Billington, The Guardian, 2004
By creating the first international forum for scholars from Chicago and the Midwest, around the U.S., and overseas to consider the topics listed below, Columbia College Chicago's 2011 symposium on Chicago theatre can significantly influence scholarship about--and the future of--the performing arts on local, national and global scales.
theatre critic for Britain's Guardian newspaper
artistic director of Steppenwolf Theatre
and board president of the Theatre Communications Group
co-author of Outrageous Fortune: The Life and Tmes of the New American Play (Theatre Development Fund, 2010) and editor of An Ideal Theatre (Theatre Communications Group, 2011), a documentary anthology of essays, letters, and memoirs, the founding visions for American theatres in the words of the pioneers who built them
Call for Papers
Deadline for submissions: September 1, 2010
E-mail proposals to: firstname.lastname@example.org
The organizing committee invites 300-word abstracts (including up to 10 low res images or up to 2 minutes video where relevant) addressing the past, present, and/or future of professional theatre in Chicago in relation, but not limited, to the following topics (other side):
1. Theory and Praxis; Workshops; Master Classes (acting, auditioning, casting, directing, design, dramaturgy, ensemble, improvisation, narrative, writing, criticism);
2. Education, Training, and Access (schools, colleges, programs, teachers, economic strata, social circles, professional networks);
3. Classical and Contemporary (Shakespeare, Loop, off-Loop, fringe, mainstream, musicals, genders, sexualities, ethnicities, abilities, presence/absence of international influences);
4. Management and Development (funding, patronage, boards of directors, unions, producing, marketing, sales, social media, audience development, government relations, public policy).
Proposals from emerging scholars and artists and attendance by graduate students are particularly encouraged.
Proposals should include the following items:
1. Your name, title, status (e.g., artist, faculty, independent scholar, management, student) and academic and/or professional affiliation (if applicable).
2. Your contact information (particularly e-mail).
3. The title and abstract for your paper, panel, workshop, master class. Please limit abstracts to 300 words. Proposals for panels of two or more scholars and for workshops and master classes with multiple leaders are welcome. Please include the above information for each participant.
4. The technical requirements of your presentation.
In your e-mail, please write “Chicago Theatre Symposium” in the subject heading and in the body of the message include the title of the proposal, your name, address, telephone, email address and affiliation (if applicable).
Receipt of your submission will be confirmed via email and you will be informed of the committee’s decisions by November 15, 2010.
For information on the conference see http://www.colum.edu/TheatreSymposium. You may also contact Albert Williams, Senior Lecturer, Columbia College Theatre Department, at 312-369-6141, email@example.com, or Dr. John Green, chair of the Columbia College Theatre Department, at 312-369-6160, firstname.lastname@example.org.
Abstracts or proposals are due by June 15, 2010 (early decision) or August 27th (final deadline). All inquiries should be directed to: Russ Bodi/ English Department/PO Box 10,000/Toledo, OH 43699-1947 or e-mail email@example.com. E-mail abstracts to firstname.lastname@example.org. Please include academic affiliation, if any, and status: independent, faculty, grad student, or undergrad.
Katharine E. Maus, Editor, Norton Anthologies. Author, Inwardness and Theater in the English Renaissance, Four Revenge Tragedies of the English Renaissance, Soliciting Interpretation: Literary Theory and Seventeenth-Century Poetry, (ed. with Elizabeth Harvey), and Ben Jonson and the Roman Frame of Mind.
Matthew Wikander, Author: Fangs of Malice: Hypocrisy, Sincerity, and Acting; The Play of Truth and State: Historical Drama from Shakespeare to Brecht; Princes to Act: Royal Audience and Royal Performance; contributor to the Cambridge Companions to Shaw, Strindberg, and O'Neill.
National Players will present a live performance of A Midsummer Night’s Dream. “America’s longest running classical touring company, has now reached its 60th consecutive season of touring.” Toledo Repertory Theater’s Staged Reading of A Merry Regiment of Women. Six of Shakespeare's women discuss the availability and quality of women's roles in Shakespeare's plays.
All sessions of the conference will be held at the Owens Performing Arts Center. Special room rates will be available for conference attendees. The Friday evening conference banquet and theatrical performances, musical performances and art exhibits will be included in the registration fee.
OVSC invites graduate and undergraduate students to compete for the M. R. Smith Prize. Conference proceedings are published in a juried, online journal. Visit our website http://www.marietta.edu/~engl/OVSC/
We invite submissions for the 2011 issue of Cahiers Shakespeare en devenir-Shakespearean Afterlives. These might include essays (6000-7000 words including notes) for the issue proper, and review-essays (2-3000 words) or reviews of plays or exhibitions (1000-1500 words) for the issue’s supplement L’Oeil du spectateur.
The 2011 issue of the journal is dedicated to interdisciplinary and monodisciplinary approaches to the theme of violence against body and soul in literature and the arts, from the Renaissance to the Long Eighteenth Century. Focusing on the theme of the tormented body, this issue will offer a different insight on verbal and visual representations of violence in both theoretical and practical terms. It will concentrate on the analysis of how violence was presented to the early modern public and also on the iconoclastic consequences of both violence and its representations: “Of course violence at once shocked and repelled people by its brutality. But it also fascinated many because it so contradicted religious precepts and social norms” (Ruff, 2001: 28). Violence needs to be considered as a means of constraint, and as a form of political and aesthetic subversion and resistance to the excessive forms of regulation of which it was the instrument. We will consider papers on Shakespeare and/or his contemporaries (literature and performance studies), on early modern literature and the arts in England, Europe, The East and the New World, on the paragone of violence in Early Modern works of art, and on the representations of Renaissance violence and violent topics in subsequent eras.
Targeted disciplines: English Literature, Comparative Literature, Theatre studies, Performance studies, Cinema studies, History of Ideas, History of Arts, Philology.
Topics might include (non exclusive list):
- the aesthetic views and interpretations of pain in literature and / or the arts
- martyrology and its avatars: the representations of martyrdom in literature and visual arts, the politics of martyrdom
- the suffering body: the symbolic of wounds, scars socially, theologically and aesthetically
- anatomy: scientific and aesthetic implications, the evolution of the representation of the anatomized body
- exorcism and catharsis: violence as punishment and purification
- torture: political, theological and aesthetic impacts and representations
- the treatment and the use of violent mythological and biblical episodes in political and literary writings and in visual arts
- the poetics of violence: the language of violence in pamphlet literature, satirical writings, revenge plays
- violence in dramatic genres: the redefinition of dramatic genres through violence
- the representation of violent episodes in Shakespearean texts in 18th and 19th century paintings
- the use of violence in stage productions and / or film adaptations of early modern plays,
- Reviews of plays, of exhibitions related to the topic.
Cahiers Shakespeare en devenir- Shakespearean Afterlives is a peer-reviewed journal (part of Les Cahiers de la Licorne) aiming at promoting the current international scholarship on the Early Modern period and its reverberations throughout the centuries. Its purpose is to offer both a disciplinary and an interdisciplinary approach to the study of Shakespeare and his contemporaries and to see Renaissance drama in its contemporary and subsequent geographical and aesthetic contexts.
Please visit our website: http://licorne.edel.univ-poitiers.fr/sommaire.php?id=3680
Please send abstracts between 300 and 500 words to the editors: Pascale Drouet (email@example.com) and Nathalie Rivere de Carles (firstname.lastname@example.org) by 30th November 2010. Notifications of acceptance will be sent by 15th December 2010 and completed essays or reviews will be due by 30th April 2011.
Nathalie Rivere de Carles
Universite de Toulouse Le Mirail
5 allées Antonio Machado
31058 TOULOUSE CEDEX 7
Tuesday, June 1, 2010
Scholars have long been interested in the effects of physical violence in non-Shakespearean Renaissance drama. This Midwest Modern Language Association panel hopes to expand such approaches to consider how the era's plays depict – and inflict – terror in less explicitly physical ways. How do social rifts, economic practices, and language gaps create terror? How do staged renditions of crime pamphlets and folktales exploit audience fears? How do social and psychological dimensions of violence complicate or complement bloodshed? How do plays involve (and implicate) audience members in their terrifying moments, and for what purpose? Papers on these and other issues of terror in non-Shakespearean plays are invited; those that consider terror's relationship to comedy are particularly welcome, and treatments of performance are encouraged. Please submit 250 word abstracts by June 25 to email@example.com.
The M/MLA will meet in Chicago this year, November 4-7. More information on the conference is available at http://luc.edu/mmla/.