The Ashmolean Museum announces its call for papers for the conference Early Modern Merchants as Collectors. The conference will be held 15 and 16 June 2012 in Oxford, United Kingdom. The call for papers is available on the conference website: http://earlymodernmerchants.ashmus.ox.ac.uk/
The deadline for submissions is 31 May 2011. Scholars working on merchants in any region of the world in the early modern period and on any collecting category are invited to submit proposals for papers. All queries should be sent to christina.anderson@ashmus.ox.ac.uk.
Friday, May 20, 2011
FP (RSA 2012, 22-24 March, Washington D.C): Schools of Greek in the Renaissance: Teaching Tools and Classroom Practice
Schools of Greek in the Renaissance: Teaching Tools and Classroom Practice
By the second half of the Quattrocento, the opportunities to learn Greek in Italy and elsewhere multiplied. Although recent studies have remarkably increased our knowledge of the teaching of Greek during the Renaissance, some questions are still waiting for an answer: did teaching practice and methods differ in the various schools? What textbooks, tools, and methodologies did teachers of different geographical areas employ? Which factors or circumstances influenced similarities and/or differences between schools? Etc. We accept papers on all aspects related to the teaching and learning of the Greek language, preferably focusing on regional differences. To propose a paper, please submit an abstract (150 words) and a brief CV, including contact information and affiliation to both panel co-organizers: Federica Ciccolella (ciccolella@tamu.edu) and Luigi Silvano (luigi.silvano@unito.it) by June 5.
By the second half of the Quattrocento, the opportunities to learn Greek in Italy and elsewhere multiplied. Although recent studies have remarkably increased our knowledge of the teaching of Greek during the Renaissance, some questions are still waiting for an answer: did teaching practice and methods differ in the various schools? What textbooks, tools, and methodologies did teachers of different geographical areas employ? Which factors or circumstances influenced similarities and/or differences between schools? Etc. We accept papers on all aspects related to the teaching and learning of the Greek language, preferably focusing on regional differences. To propose a paper, please submit an abstract (150 words) and a brief CV, including contact information and affiliation to both panel co-organizers: Federica Ciccolella (ciccolella@tamu.edu) and Luigi Silvano (luigi.silvano@unito.it) by June 5.
Wednesday, May 18, 2011
The Senses in Early Modern England, 1485-1668 (21st-22nd October 2011)
Prof. Erica Fudge, University of Strathclyde (Keynote Speaker)
Dr Farah Karim-Cooper, Shakespeare’s Globe (Keynote Speaker)
Dr Farah Karim-Cooper, Shakespeare’s Globe (Keynote Speaker)
“Why, then, your other senses grow imperfect /By your eyes' anguish” (King Lear, 4.5.5-6)
What did early modern subjects understand by the term “the senses”? What relationships and hierarchies were posited amongst the senses? How reliable were they in facilitating communication, understanding or knowledge? What kinds of sense experiences were implied in the production and consumption of texts in manuscript, print and performance?
There has been increased attention in early modern studies to various aspects of sense experience. Recent work is increasingly sensitive to the ways in which the senses were conceptualised at a particular historical moment, in terms of their relative significance, the physiological processes that they entailed, and the forms of experience and knowledge that they might facilitate for a subject. Such research foregrounds the importance of cultural context to sensory experiences, necessitating close attention to the particular ways in which early modern subjects both understood and experienced their own senses. This is visible in the posited ‘hierarchy of the senses’, and in the different understandings of the workings of the body and its relationship with the world; indeed, the place and nature of sensory experience in the relationship between outside phenomena and inner knowledge was central to the many epistemological questions being explored during the period. This conference aims to examine these culturally specific configurations and their importance to texts and performances; this importance is visible in many ways – in performance and reception at the theatre, in reading habits and indeed in conceptions of ‘reading’ itself, in the various ways in which senses appear in texts for rhetorical or other purposes, even in the relationships between the exterior, the body, cognition and selfhood explored in canonical texts of the period. We aim to bring together the latest research on this significant and critically current topic.
The conference will consist of a Friday evening postgraduate forum at Shakespeare’s Globe, and a day-long Saturday postgraduate conference at Birkbeck, University of London, with keynote papers from Dr Farah Karim-Cooper and Professor Erica Fudge. We welcome submissions in the form of 20 minute papers on subjects including, but not limited to, the following:
• Theoretical and practical understandings of the experience and/or functioning of the senses,
• How the senses appear in texts of various kinds,
• How understandings of the senses shaped theatrical practice in England,
• How such understandings may have shaped audience experience of drama,
• The various sensory experiences of reading ,
• Differing relations with the senses in different fields of artistic production,
• The relationship between the senses, cognition and selfhood,
• More recent theories of sensory experience/aesthetics and their relevance to early modern texts and contexts.
• How the senses appear in texts of various kinds,
• How understandings of the senses shaped theatrical practice in England,
• How such understandings may have shaped audience experience of drama,
• The various sensory experiences of reading ,
• Differing relations with the senses in different fields of artistic production,
• The relationship between the senses, cognition and selfhood,
• More recent theories of sensory experience/aesthetics and their relevance to early modern texts and contexts.
Please send an abstract of 250-300 words to Jackie Watson, Birkbeck College, at jwatso05@mail.bbk.ac.uk by Friday 24th June 2011, including your name, institution, position (e.g. PhD Student) and email address. We would also welcome joint submissions of 2-3 abstracts that could form a panel of 20 minute papers.
Blackfriars Conference (25-30 October 2011) Abstracts due 31 May 2011
On odd numbered years since the first October the Blackfriars Playhouse opened, scholars from around the world have gathered in Staunton, during the height of the Shenandoah Valley’s famed Fall colors, to hear lectures, see plays, and learn about early modern theatre. In 2011, the American Shakespeare Center’s Education and Research Department will once again host Shakespeareans, scholars and practitioners alike, to explore Shakespeare in the study and Shakespeare on the stage and to find ways that these two worlds – sometime in collision – can collaborate. Past conferences have included such notable scholars as Andrew Gurr, Tiffany Stern, Russ McDonald, Gary Taylor, Stephen Greenblatt, Roz Knutson, Tina Packer, and many more in five days full of activities.
Except for banquets, all events – papers, plays, workshops, – take place in the world’s only re-creation of Shakespeare’s indoor theatre, the Blackfriars Playhouse. This conference distinguishes itself from saner conferences in a variety of other ways. First, to model the kind of collaboration we think possible we encourage presenters to feature actors as partners in the demonstration of their theses. For instance, in 2009, Gary Taylor’s keynote presentation “Lyrical Middleton” featured ASC actors singing and dancing to the songs in Middleton’s plays. Second, we limit each paper session to six short papers (10 minutes for solo presentations, 13 minutes for presentations with actors). Third, we enforce this rule by ursine fiat – a bear chases from the stage those speakers who go over their allotted time. Delegates also attend all of the plays in the ASC fall season – Hamlet, Henry V, The Tempest, by Shakespeare, Tamburlaine by Christopher Marlowe, and The Importance of Being Earnest by Oscar Wilde – and, for the past several conferences, bonus plays written by their colleagues and performed by actors in the Mary Baldwin College MFA in Shakespeare in Performance program. The spirit of fun that imbues the conference manifests itself in the annual Truancy Award, for the sensible conferee who – visiting the Shenandoah Valley at the height of Fall – has the good sense to miss the most sessions.
The 2011 gathering will include a returning keynote speaker, Shakespearean scholar Tiffany Stern, author of essential performance studies such as Making Shakespeare, Rehearsal from Shakespeare to Sheridan, and Documents of Performance. Professor Stern’s work has played an influential role in the development of the American Shakespeare Center’s Actors’ Renaissance Season, and her presentations continue to inspire the further exploration of the plays of Shakespeare and his contemporaries in the ASC’s educational and artistic programming. We will invite our other speakers with an eye to other aspects of Shakespeare’s plays in performance such as playing the possibilities of rhetoric, playing in early modern theatres, early modern play audiences (then and now), metrical analysis, early modern rehearsal practice, early modern visual design, pedagogy (early modern and current practice and its influence on performance).
Since each conference expands on the activities of the preceding conferences, the 2011 incarnation will include thematic panels following each keynote address. The work of the conference always echoes in the work on stage at the Blackfriars Playhouse and in the American Shakespeare Center’s Research and Scholarship department, and it has provided the material for two books devoted specifically to essays from the conference (Inside Shakespeare, edited by Paul Menzer, and Thunder in the Playhouse, edited by Matt Kosusko and Peter Kanelos). Plans are already afoot to include papers from the upcoming conference in a third book.
ASC Education and Research extends this call for papers on any matters to do with the performance of early modern drama (historical, architectural, political, dramatical, sartorial, medical, linguistical, comical, pastoral) to all interested parties for our bi-annual conference to be held at the Blackfriars Playhouse in Staunton, Virginia, 25-30 October 2011. The deadline to submit your abstract is 31 May 2011. Please visitwww.americanshakespearecenter.com to submit your abstract.
Keynote Speakers will include
Tiffany Stern: Author of Making Shakespeare, Rehearsal from Shakespeare to Sheridan, and Documents of Performance. Beaverbrook and Bouverie Fellow and Tutor in English, University College, Oxford; Professor of Early Modern Drama, Oxford University. Stern's current project is to complete two editions, George Farquhar’s Recruiting Officer (New Mermaids, A & C Black), and Richard Brome’s Jovial Crew (Arden Early Modern Drama). She is a general editor of the New Mermaids play series, and is on the editorial board of the journals Review of English Studies, Shakespeare, Shakespeare Bulletin and Shakespeare Yearbook.
George T. Wright: Author of Shakespeare’s Metrical Art and Hearing the Measures: Shakespearean and Other Influences. Regents' Professor of English emeritus at the University of Minnesota.
Stephen Booth: Author of On the Value of Hamlet; Shakespeare's Sonnets, Edited with Analytic Commentary; King Lear, Macbeth, Indefinition, and Tragedy; and Precious Nonsense: The Gettysburg Address, Ben Jonson's Epitaphs on His Children, and Twelfth Night. Professor emeritus of English literature at the University of California, Berkeley.
Creating Chaucer/Creative Chaucer, due 6/1/11, Congress in Portland 7/23-26/12
This session invites artists and scholar-artists of any genre—literature, performance arts, or visual media—to submit works that in some way respond to or adapt Chaucer. Since this session intends to offer a multi-genre contemporary response to Chaucer, submissions may be in varying formats: print, audio, video, or “Powerpoint.” Submit whole works (up to three lyric poems, two short-shorts, five examples of flash fiction, etc.) or parts of longer works (a chapter from a novel for which a context is provided; a scene from a larger play with its context; an aria, also contextualized, etc.); or one reproduction of a visual work in any media; it is also understood that forms may be combined (mash-ups; graphic novel; prose poems, etc). This session seeks to show how Chaucer speaks to artists (and scholars as artists) now. It seeks to bring together a scholarly audience with practitioners of the arts to reveal some of the kinds of artistic productions Chaucer elicits. Thus, the session will be part reading, part exhibition, part performance offering living examples of the multiple languages through which Chaucer is seen, heard, re-constructed, and re-enacted.
RSA 2012 panel (deadline June 1): Cosmopolitan Kings: Foreign Marriages and Domestic Disputes in Stewart Britain
This RSA panel focuses on the drama, music, poetry, and prose surrounding the numerous international matches forged by the kings of the Stewart dynasty who ruled Britain for most of the seventeenth century. In 1603, the Scottish James I inherits the throne with his Dutch wife Anne; from 1614 to 1623 he attempts to marry his son, Charles I, to the Spanish Infanta Maria Anna; in 1625 Charles weds the French Henrietta Maria, who exiles her court to France with her infant son and heir, Charles II, after her husband is beheaded. After the Restoration, Charles II marries the Portuguese Infanta Catherine of Braganza. His successor James II marries the Italian princess Mary of Modena in 1671. During these decades there was an outpouring of artistic production inspired by these sensational dynastic unions. Whether these works celebrate or denigrate those alliances, they all explore the overtly political significance of royal marriage. This session looks at these marriage contracts as microcosms of the social contract between the king and his body politic. What happens when this body is wedded to a foreign queen without common consent? Is dynastic marriage a catalyst of cosmopolitanism, or a reification of imperialism? These questions occupy many writers who, in the decades following Elizabeth’s half-century of rule, foreground the continued power of queens in the patrilineal Stewart monarchy. Please submit an abstract of no more than 250 words and a brief bio by June 1st to Kat Rutkowski Lecky (rutkowkm@ucla.edu) or Maura Giles Watson (mauragiles@post.harvard.edu).
Tuesday, May 17, 2011
THE PERFORMATIVE IMAGE (RSA 2012)
Call for Papers--THE PERFORMATIVE IMAGE--RSA 2012.
Images often assert a presence that transcends their inert representational properties and belies their status as mere objects. The image’s performative qualities are especially potent when used to bolster religious piety, consolidate authority, instruct the faithful, or coerce audiences into ideological, political, or philosophical modes of behavior. The early modern world—due to the theological crisis of the Reformation, the imperialistic overseas expansion of European powers, and the changing politics of cultural identity engendered by increased trade and globalization—bears witness to the deployment of images for such purposes. This panel will explore the role of the image as a performance within all such contexts and the consequences that these performances had in the fifteenth through seventeenth centuries. Papers might address specific instances of image performance or otherwise deal with the larger historical problem of how early modern performativity was conceptualized by period artists and audiences. Please send paper titles and abstracts (150 words) and CVs to two organizers: Andrew Casper (casperar@muohio.edu) and Christian Kleinbub (kleinbub.1@osu.edu) by May 23, 2011.
Images often assert a presence that transcends their inert representational properties and belies their status as mere objects. The image’s performative qualities are especially potent when used to bolster religious piety, consolidate authority, instruct the faithful, or coerce audiences into ideological, political, or philosophical modes of behavior. The early modern world—due to the theological crisis of the Reformation, the imperialistic overseas expansion of European powers, and the changing politics of cultural identity engendered by increased trade and globalization—bears witness to the deployment of images for such purposes. This panel will explore the role of the image as a performance within all such contexts and the consequences that these performances had in the fifteenth through seventeenth centuries. Papers might address specific instances of image performance or otherwise deal with the larger historical problem of how early modern performativity was conceptualized by period artists and audiences. Please send paper titles and abstracts (150 words) and CVs to two organizers: Andrew Casper (casperar@muohio.edu) and Christian Kleinbub (kleinbub.1@osu.edu) by May 23, 2011.
Violent Masculinities in Early Modern Literature and Culture--Edited Collection (Abstracts due 6/20/2011)
ow does understanding violence and masculinity as interrelated illuminate intersections between religious, national, sexual, ranked, or racial identities? Excellent scholarship in gender studies over the past several decades has emphasized the extent to which masculinity has been an under-examined norm and stressed the many forms masculinity takes in the early modern period. This collection builds on those efforts by interrogating how masculinity and violence are specifically linked and by considering the ways multiple identity categories simultaneously influence constructions of masculinity.
More critical work remains to explain the dynamic individual, cultural, and institutional forces that shaped and reinforced early modern manhood. Social expectations for men came under extreme pressure during a period that famously saw the rise of humanism and the decline of the armed knight. As a result, definitions of masculinity underwent significant shifts, spurred in part by legal changes (such as dueling prohibitions) and social changes (like the rise of courtiership) that regulated the practice of violence in new ways, and early modern literature plays a central role in constituting and contesting these models of masculine selfhood. It depicts everything from mob violence to highly ritualized tilts; from domestic murders to elaborate spectacles of revenge; and from comic tavern fights to full-scale battles. Gendered representations of violence are a means of exploring the linkages between multiple competing social pressures for men. Studying masculine subjectivity in terms of violence helps elucidate the specific connections and disruptions between various ideals in the early modern period, while simultaneously expanding our definition of what counts as violence.
This volume explores how such acts of wounding, verbal assault, and psychological and spatial manipulation inform early modern masculinity. We welcome papers considering historical, theoretical, literary and/or aesthetic approaches to the topic and hope to bring together a range of scholars working on gender studies, early modern embodiment, sexuality studies, race studies, trauma studies, and on violence and representation. Please send detailed abstracts of 500-700 words and a brief professional biography to Catherine Thomas (thomasc@cofc.edu) or Jennifer Feather (j_feather@uncg.edu) by June 20, 2011 for consideration.
Shakespeare and Tyranny
SHAKESPEARE AND TYRANNY:
AN INTERNATIONAL SYMPOSIUM
AN INTERNATIONAL SYMPOSIUM
University of Murcia, Spain
12-14 December 2011
Work on the reception of Shakespeare under different types of tyrannical government (absolutist, dictatorial, etc.) has reached remarkably similar conclusions as to how that reception came about. Carefully regulated attitudes to, and practices in, Shakespeare criticism, performance, translation and adaptation, and of course the aesthetico-ideological structures of centralized, all-seeing state apparatuses, have been shown to follow analogous patterns and to pursue similar, if often unachievable, goals. The symposium, which is organized by Murcia University’s research team “Shakespeare’s presence in Spain within the framework of his reception in Europe” (https://www.um.es/shakespeare), invites contributions from scholars, translators and theatre practitioners with an interest in the appropriation of Shakespeare’s work in different tyrannical contexts. Among the many topics that might be usefully pursued are:
- The role of censorship and self-censorship in the revision and production of Shakespearean material
- Institutional controls on the dissemination and publication of Shakespeare’s work
- Assumptions and techniques in the staging of Shakespeare’s plays
- State intervention in the elaboration of a Shakespeare ‘canon’
- The role of Shakespeare in the construction of identity under tyranny
- Overcoming the subversion/containment paradigm
- Institutional controls on the dissemination and publication of Shakespeare’s work
- Assumptions and techniques in the staging of Shakespeare’s plays
- State intervention in the elaboration of a Shakespeare ‘canon’
- The role of Shakespeare in the construction of identity under tyranny
- Overcoming the subversion/containment paradigm
If you are interested in taking part in this symposium, please send a brief abstract of the paper you intend to give (250-300 words) and an even briefer biog indicating institution and country of origin, line of work, chief research interests, etc., to shakespeare@um.es. The deadline for the receipt of abstracts is 30 June 2011.
Monday, May 16, 2011
Interlinguicity, Internationality and Shakespeare
Synopsis:
Studies of early modern English national identity-formation have increasingly been enriched by a renewed attention to how national and linguistic models of identity were created and troubled by macaronic texts, visible translations, and border-crossings, whether real or imagined. Foreign languages animated the commerce of Europe (and the commerce of the Shakespearean stage) even as countries began to consolidate power along linguistic lines. While (often Marxist) textual criticism has explored these historical patterns with the benefit of a variety of post-structuralist methodologies, the present theatrical and cinematic adaptation of Shakespeare has feasted on the potential for Shakespeare to be translated, transferred and otherwise energized by the languages, conflicts and cultures of a deeply nonpolar world.
To an extent, all languages are interlinguistic, inasmuch as they are fractured into dialects and carry etymologies from other languages and other times. Further, all nations are international, in the sense that any nation almost always has the danger or the memory of disintegration, and borders are rarely if ever consistent between the “real” (political) boundary, “imaginary” (fictionally dreamed) boundary, and so on. The space between languages, like the space between nations, offered great risk and reward in bustling international trade, and was processed simultaneously in a variety of incompatible registers: moral, linguistic, confessional, nationalistic, eschatological, and proto-capitalistic. We live in another set of spaces between languages, which offers different risks and rewards; any effort to cite, recover or translate Shakespeare involves confronting the fluidity of language, even within English. The papers of this panel explore these issues in ways which cross conventional boundaries of language as well as those between periods of study.
Studies of early modern English national identity-formation have increasingly been enriched by a renewed attention to how national and linguistic models of identity were created and troubled by macaronic texts, visible translations, and border-crossings, whether real or imagined. Foreign languages animated the commerce of Europe (and the commerce of the Shakespearean stage) even as countries began to consolidate power along linguistic lines. While (often Marxist) textual criticism has explored these historical patterns with the benefit of a variety of post-structuralist methodologies, the present theatrical and cinematic adaptation of Shakespeare has feasted on the potential for Shakespeare to be translated, transferred and otherwise energized by the languages, conflicts and cultures of a deeply nonpolar world.
To an extent, all languages are interlinguistic, inasmuch as they are fractured into dialects and carry etymologies from other languages and other times. Further, all nations are international, in the sense that any nation almost always has the danger or the memory of disintegration, and borders are rarely if ever consistent between the “real” (political) boundary, “imaginary” (fictionally dreamed) boundary, and so on. The space between languages, like the space between nations, offered great risk and reward in bustling international trade, and was processed simultaneously in a variety of incompatible registers: moral, linguistic, confessional, nationalistic, eschatological, and proto-capitalistic. We live in another set of spaces between languages, which offers different risks and rewards; any effort to cite, recover or translate Shakespeare involves confronting the fluidity of language, even within English. The papers of this panel explore these issues in ways which cross conventional boundaries of language as well as those between periods of study.
Though this collection would be primarily aimed at the Shakespearean community, it would have a secondary market in the Renaissance field more generally, and it would reflect the active field of cultural history of linguistic transfer. The essays present a natural bridge between New Historicist approaches to situating literary texts and the newer, very vibrant field of performance studies.
A note on terminology: the word “translation” is a bit problematic; although the theory of translation and ways of applying that theory have been expanding rapidly in the field of Renaissance studies, the term “translation” still carries with it a tendency to think in terms of transmission between discrete languages and the relay of ideas between discrete cultures. In advancing the corollary terms interlinguicity and internationality, I seek to better capture the kinds of research into the social history of texts that have been recently thriving in the field, but I welcome essays that ignore or refute these words.
Sections:
Part I: Languages between nations
Part II: Strife within English
Part III: Multi-linguistic Shakespeare in our time
A note on terminology: the word “translation” is a bit problematic; although the theory of translation and ways of applying that theory have been expanding rapidly in the field of Renaissance studies, the term “translation” still carries with it a tendency to think in terms of transmission between discrete languages and the relay of ideas between discrete cultures. In advancing the corollary terms interlinguicity and internationality, I seek to better capture the kinds of research into the social history of texts that have been recently thriving in the field, but I welcome essays that ignore or refute these words.
Sections:
Part I: Languages between nations
Part II: Strife within English
Part III: Multi-linguistic Shakespeare in our time
Essay Collection: Drama and/of the Reformation - Abstracts 15 June, 2011
Deadline for Abstracts: 15 June, 2011
Deadline for accepted essays: 15 September, 2011
Essay length: 7500 words, including notes
Deadline for accepted essays: 15 September, 2011
Essay length: 7500 words, including notes
This collection of essays, edited by James Mardock and Kathryn McPherson, will consider the role of the Reformation in making drama a dominant cultural form in the sixteenth and seventeenth centuries. From the early Elizabethan touring companies’ use in the dissemination of doctrine, English stages were potential sites of encounter, officially sanctioned or not, with mainstream Protestant ideology. But in what ways was the early modern drama itself shaped by the religion of its producers and its audiences? Does drama revise, resist, and react against Reformation doctrine, or does it reinforce? Do particular plays or playwrights make conscious incursions into religious debates?
Papers might explore the implicit or explicit religious arguments of a playwright’s work or a company’s repertoire; the relationship of plays to sermons; the staging of fictional or historical religious conflict; the analogy between the scripted player and the predestined saint or sinner; or the psychological effects of English Calvinism as expressed in English drama.
Please send abstracts and a 200-word biography to the e-mail address above by 15 June, 2011.
Shakespearean Echoes
I am seeking chapter abstracts for a proposed volume on Shakespeare in popular culture. The tentative title for this project is Shakespearean Echoes: Shakespeare in Contemporary Culture.
Why another volume on Shakespeare and popular culture? Understandably, the vast majority of work on Shakespeare’s contemporary life has focused on direct adaptations of the playwright’s work. What I propose with this volume, however, is to exclusively study “echoes” of Shakespeare rather than adaptations, the less tangible and precise ways in which Shakespeare has appeared within contemporary culture. Authors might address echoes of Shakespeare in contemporary music, film, literature, television, advertising, new media or any other worthwhile venue.
I am particularly interested in essays exploring relatively untouched interconnections between Shakespeare and contemporary culture. I’m eager, also, to have a global perspective, and hope to present a selection of chapters reflecting Shakespeare’s current international afterlife. Work on British and American subjects is welcome (and needed), of course, but projects reflecting a multicultural perspective will be particularly appreciated. Essays should address texts no older than 1980.
What I hope to show is the pervasiveness and variety of Shakespeare’s current afterlife. With this in mind, I’m trying to get the right blend of breadth and depth. I’m hoping to accomplish this through a mix of short and long essays (a first section featuring ten to fifteen short essays and a second section of fewer, longer essays). Short essays will be around 2,000 words while fuller essays will come in at about 5,000 words. Please indicate which type of essay you would like to write.
Finally, all essays, short and long, should present an interpretive position and develop an argument. This work is not intended to simply catalogue Shakespearean “echoes.” Many existing publications on Shakespeare and popular culture tend to take the survey or introductory approach, while this volume hopes to offer readers a different format. Importantly, authors should say something rewarding about both Shakespeare and the contemporary text/context being studied.
After the deadline for submissions, I will contact authors to let them know if their work has been selected. The next step will be to approach publishers with a full, detailed proposal. I anticipate, of course, that this will be a lengthy process, but will keep authors informed and updated as the project moves forward.
The Deadline for abstracts is July 20th, 2011. Please send abstract and C.V. to:gleedp@dickinson.edu
Paul Gleed
Assistant Professor of English and Film
Dickinson College, Carlisle, PA 17013
Why another volume on Shakespeare and popular culture? Understandably, the vast majority of work on Shakespeare’s contemporary life has focused on direct adaptations of the playwright’s work. What I propose with this volume, however, is to exclusively study “echoes” of Shakespeare rather than adaptations, the less tangible and precise ways in which Shakespeare has appeared within contemporary culture. Authors might address echoes of Shakespeare in contemporary music, film, literature, television, advertising, new media or any other worthwhile venue.
I am particularly interested in essays exploring relatively untouched interconnections between Shakespeare and contemporary culture. I’m eager, also, to have a global perspective, and hope to present a selection of chapters reflecting Shakespeare’s current international afterlife. Work on British and American subjects is welcome (and needed), of course, but projects reflecting a multicultural perspective will be particularly appreciated. Essays should address texts no older than 1980.
What I hope to show is the pervasiveness and variety of Shakespeare’s current afterlife. With this in mind, I’m trying to get the right blend of breadth and depth. I’m hoping to accomplish this through a mix of short and long essays (a first section featuring ten to fifteen short essays and a second section of fewer, longer essays). Short essays will be around 2,000 words while fuller essays will come in at about 5,000 words. Please indicate which type of essay you would like to write.
Finally, all essays, short and long, should present an interpretive position and develop an argument. This work is not intended to simply catalogue Shakespearean “echoes.” Many existing publications on Shakespeare and popular culture tend to take the survey or introductory approach, while this volume hopes to offer readers a different format. Importantly, authors should say something rewarding about both Shakespeare and the contemporary text/context being studied.
After the deadline for submissions, I will contact authors to let them know if their work has been selected. The next step will be to approach publishers with a full, detailed proposal. I anticipate, of course, that this will be a lengthy process, but will keep authors informed and updated as the project moves forward.
The Deadline for abstracts is July 20th, 2011. Please send abstract and C.V. to:gleedp@dickinson.edu
Paul Gleed
Assistant Professor of English and Film
Dickinson College, Carlisle, PA 17013
Once and Future Kings? The Return of King Arthur in the Post-medieval World (12/1/11; Plymouth, NH 4/20-21/11)
ONCE AND FUTURE KINGS?
THE RETURN OF KING ARTHUR IN THE POST-MEDIEVAL WORLD
Session Sponsored by The Virtual Society for the Study of Popular Culture and the Middle Ages
For the 33rd Annual Medieval and Renaissance Forum
Plymouth State University (Plymouth, NH)
20-21 April 2011
Proposals by 12/1/11
According to legend, Merlin once prophesied that King Arthur would not die but come again and aid us in our darkest days. In fulfillment of this prophecy, Arthur and his surrogates have returned many times in fictional texts, and, although Arthur himself has failed to return in the flesh in the real world, we continue to believe in the legend of the Once and Future King and have often invoked it in times of crisis. Still, while the motif of Arthur redivivus remains a popular component of the modern intermedia Matter of Britain, few studies have addressed why this particular aspect of Arthurian myth has remained relevant in the post-medieval era. It is our intention to explore this neglected area of Arthurian Studies in this sponsored session.
For “Once and Future Kings? The Return of King Arthur in the Post-medieval World,” we are especially interested in studies that look at the invocation of the legend of the Once and Future King during flash points in history (like times of war and national crises) as these suggest the most vital components of its reception history, but we also hope that presenters will explore other uses of the motif in diverse genres and media from the close of the Middle Ages to the present day.
No later that 1 December 2011, interested individuals should submit full contact information (name, address, phone/cell, and email), paper titles, and abstracts of 300-500 words to the session organizers, who will then forward them to the conference committee. Address all inquiries and proposals to the organizers at the following address: Popular.Culture.and.the.Middle.Ages@gmail.com and include “Once and Future Kings” in the subject line.
THE RETURN OF KING ARTHUR IN THE POST-MEDIEVAL WORLD
Session Sponsored by The Virtual Society for the Study of Popular Culture and the Middle Ages
For the 33rd Annual Medieval and Renaissance Forum
Plymouth State University (Plymouth, NH)
20-21 April 2011
Proposals by 12/1/11
According to legend, Merlin once prophesied that King Arthur would not die but come again and aid us in our darkest days. In fulfillment of this prophecy, Arthur and his surrogates have returned many times in fictional texts, and, although Arthur himself has failed to return in the flesh in the real world, we continue to believe in the legend of the Once and Future King and have often invoked it in times of crisis. Still, while the motif of Arthur redivivus remains a popular component of the modern intermedia Matter of Britain, few studies have addressed why this particular aspect of Arthurian myth has remained relevant in the post-medieval era. It is our intention to explore this neglected area of Arthurian Studies in this sponsored session.
For “Once and Future Kings? The Return of King Arthur in the Post-medieval World,” we are especially interested in studies that look at the invocation of the legend of the Once and Future King during flash points in history (like times of war and national crises) as these suggest the most vital components of its reception history, but we also hope that presenters will explore other uses of the motif in diverse genres and media from the close of the Middle Ages to the present day.
No later that 1 December 2011, interested individuals should submit full contact information (name, address, phone/cell, and email), paper titles, and abstracts of 300-500 words to the session organizers, who will then forward them to the conference committee. Address all inquiries and proposals to the organizers at the following address: Popular.Culture.and.the.Middle.Ages@gmail.com and include “Once and Future Kings” in the subject line.
Call for papers: Capturing Witches: Histories, Stories, Images
Capturing Witches: Histories, Stories, Images. 400 years after the Lancashire Witches
Lancaster University
17-19 August 2012
Confirmed Keynote speakers: Diane Purkiss (UWE); Robert Poole (Cumbria)
CALL FOR PAPERS
In 2012, a year-long programme of events in Lancaster and the surrounding area will mark the 400th anniversary of the trial and execution of the first group of Lancashire Witches. A second trial occurred in 1634 and although pardoned, the accused were re-imprisoned in Lancaster Castle. The case of the Lancashire Witches and their supposed crimes interwove fact and fiction, local hostilities and more exotic ideas of witches’ sabbats that were usually associated with continental witchcraft. They became a cause célèbre, like the witches of Trier and Fulda (Germany), Torsåker (Sweden) and Salem (North America).
This interdisciplinary conference uses the Lancashire witches as a focal point to engage with wider questions about witchcraft: its definitions as maleficium (evil doing) or demonology in trials, the various traditions of witchcraft across centuries and continents, and the ways in which contemporary practice engages with these.
Capturing Witches: Histories, Stories, Images will focus particular attention on how witchcraft is theorised and represented in and through history and across cultures. We particularly encourage considerations of literary, musical, artistic and filmic representations of witchcraft.
We invite proposals for 20-minute papers and panels on witches and/or witchcraft which might address - but are not limited to - the following themes:
antiquity;
religion and belief;
Neo-Paganism;
the developing world;
human rights;
gender;
corporeality;
location;
ritual (ceremony, performance, magical practice);
childhood;
language;
law;
consumption ( dress, fashion, food);
the arts (literature, music, film, painting, dance, theatre, graphic novels);
the Gothic;
new media
Proposals for contributions which go beyond the conventional academic format are also welcome.
Proposals (paper: 250 words, panel/other format: 500 words) including a 50-word bio for each contributor should be sent to the conference team by 1 December 2011 to capturingwitches@lancaster.ac.uk. Decisions on submissions will be made by 31 January 2012.
Conference team: Charlotte Baker, Alison Findlay, Liz Oakley-Brown, Elena Semino, Catherine Spooner
Lancaster University
17-19 August 2012
Confirmed Keynote speakers: Diane Purkiss (UWE); Robert Poole (Cumbria)
CALL FOR PAPERS
In 2012, a year-long programme of events in Lancaster and the surrounding area will mark the 400th anniversary of the trial and execution of the first group of Lancashire Witches. A second trial occurred in 1634 and although pardoned, the accused were re-imprisoned in Lancaster Castle. The case of the Lancashire Witches and their supposed crimes interwove fact and fiction, local hostilities and more exotic ideas of witches’ sabbats that were usually associated with continental witchcraft. They became a cause célèbre, like the witches of Trier and Fulda (Germany), Torsåker (Sweden) and Salem (North America).
This interdisciplinary conference uses the Lancashire witches as a focal point to engage with wider questions about witchcraft: its definitions as maleficium (evil doing) or demonology in trials, the various traditions of witchcraft across centuries and continents, and the ways in which contemporary practice engages with these.
Capturing Witches: Histories, Stories, Images will focus particular attention on how witchcraft is theorised and represented in and through history and across cultures. We particularly encourage considerations of literary, musical, artistic and filmic representations of witchcraft.
We invite proposals for 20-minute papers and panels on witches and/or witchcraft which might address - but are not limited to - the following themes:
antiquity;
religion and belief;
Neo-Paganism;
the developing world;
human rights;
gender;
corporeality;
location;
ritual (ceremony, performance, magical practice);
childhood;
language;
law;
consumption ( dress, fashion, food);
the arts (literature, music, film, painting, dance, theatre, graphic novels);
the Gothic;
new media
Proposals for contributions which go beyond the conventional academic format are also welcome.
Proposals (paper: 250 words, panel/other format: 500 words) including a 50-word bio for each contributor should be sent to the conference team by 1 December 2011 to capturingwitches@lancaster.ac.uk. Decisions on submissions will be made by 31 January 2012.
Conference team: Charlotte Baker, Alison Findlay, Liz Oakley-Brown, Elena Semino, Catherine Spooner
Historicizing Performance in the Early Modern Period
Plenary Speakers:
Professor Julie Sanders (Nottingham)
Professor Tiffany Stern (Oxford)
This one-day academic conference aims to bring together scholars working on all aspects of performance in the early modern period (taken broadly to include the fifteenth to the early eighteenth centuries). We intend to interrogate what performance and its related terminologies and practices might have meant to early modern readers, playgoers, and congregations; how performance shaped and/or undermined distinctions between private/public bodies and selves. Although drama is an essential point of reference for this discussion, we encourage that “historicizing performance” be taken as broadly as possible. Topics might include (but are not limited to):
- Plays and play-going
- Music and singing
- Public spectacles, ceremonies and architecture
- Ritual, devotional expression, spirituality / the sermon as performance
- Autobiography and Performative Texts
- Performing gender/ sexuality/ the domestic
- Performance and the performative in theory
Please email abstracts (400 words max.) for a 20 minute paper to Michael Durrant and Naya Tsentourou at: Historicizing.Performance@manchester.ac.uk
Deadline for abstracts: September 23th, 2011
Notifications of acceptance to be sent out by October 14th, 2011
Professor Julie Sanders (Nottingham)
Professor Tiffany Stern (Oxford)
This one-day academic conference aims to bring together scholars working on all aspects of performance in the early modern period (taken broadly to include the fifteenth to the early eighteenth centuries). We intend to interrogate what performance and its related terminologies and practices might have meant to early modern readers, playgoers, and congregations; how performance shaped and/or undermined distinctions between private/public bodies and selves. Although drama is an essential point of reference for this discussion, we encourage that “historicizing performance” be taken as broadly as possible. Topics might include (but are not limited to):
- Plays and play-going
- Music and singing
- Public spectacles, ceremonies and architecture
- Ritual, devotional expression, spirituality / the sermon as performance
- Autobiography and Performative Texts
- Performing gender/ sexuality/ the domestic
- Performance and the performative in theory
Please email abstracts (400 words max.) for a 20 minute paper to Michael Durrant and Naya Tsentourou at: Historicizing.Performance@manchester.ac.uk
Deadline for abstracts: September 23th, 2011
Notifications of acceptance to be sent out by October 14th, 2011
Workshop on Intellectual Networks in Early Modern Japan
Sophia University Institute of Comparative Culture presents the following workshop:
Networks in Early Modern Japan
Date: June 11, 2011
Location: Sophia University, Bldg. 10, 3rd Floor, Room 301
Time: 13:30 until 17:00
Organizer: Network Study Research Group (Sophia University)
Language: English
Web: http ://pweb . cc . sophia . ac . jp/bgo/network_studies/
Speakers:
13:30–14:30
Ochiai Kô (Shudo University, Hiroshima):
A village headman’s network and the ideology of “national interest” The ideology of “national interest” became established not as an abstract ideal of government, but rather as a practical mindset based on the idea of systematically enriching the state. Ikegami Tarôzaemon (1718–1798), the headman (nanushi) of a village in the vicinity of Edo, is one such practitioner. Tarôzaemon dedicated his whole life to spreading sugar cultivation and production in order to stop the outflow of bullion for sugar imports. Crucial to his success was Tarôzaemon’s exploitation of his influential social network. His far-reaching connections included people he knew through his position as the village head of Daishikawaramura as well as people whom he had met through their common interest in haikai poetry. His network further extended to the shogunate’s most powerful politician, Tanuma Okitsugu, whose support for the sugar project was crucial. The thread linking individuals within this network to Tarôzaemon’s sugar-related efforts was a shared commitment to an ideology of “national interest.”
14:45–15:45
Bettina Gramlich-Oka (Sophia University):
Following one’s father’s aspiration: “Know the Way”
Rai Shunsui (1746-1816), the oldest son from a reasonably well-off family of dyers in Takehara in Aki province, left Takehara for the Kansai region in 1764 at the young age of nineteen. Nominally undertaken to cure a chronic disease, the trip in fact bespoke Shunsui’s determination to distinguish himself. With him he carried a list of over one hundred names of prominent men in Sakai, Osaka, and Kyoto. Before his return four months later he had made contact with seventy-four scholars, intellectuals, and other influential men. Focusing on two records kept by Shunsui, Tôyûzakki (Record of my trip east, 1764) and Zaishinkiji (Record of my stay in Osaka, undated), the paper will investigate Shunsui’s formation of a personal network that would ultimately bring him employment at the Hiroshima domain school and help him establish a reputation as one of the most influential and respected scholars of the late eighteenth and early nineteenth centuries.
16:30–17:00
Takeshi Moriyama (Murdoch University, Perth)
Between a Snowy Village and the Edo Bunjin Salon
Apart from his book Hokuetsu seppu, pub. 1837-1842, Suzuki Bokushi (1770-1842) is famous for his extensive communication network, notwithstanding his location in a remote rural town in Echigo province and his modest lifestyle as a farmer-merchant. One of his address books, ‘Kumoino kari’, contains hundreds of entries listing people from whom he received letters. These correspondents were geographically spread from Mutsu to Higo, and ranged socially from famous authors and kabuki actors to rural intellectuals and samurai officials. Examples of illustrious figures in the address book are Kyôden, Bakin, Ikku, Hokusai, Bôsai, Nampo, Danjûrô and Ebizô. Several courtesans in the pleasure quarter of Yoshiwara, including the celebrated beauty Hanaôgi, are also named. This paper examines the cultural and social mechanisms which enabled Bokushi to make contact with such celebrities in Edo, and the extent to which Bokushi was able to participate in the urban bunjin salon.
Access to Sophia University:http ://www . sophia . ac . jp/eng/info/access/directions/access_yotsuya Campus map: http ://www . sophia . ac . jp/eng/info/access/map/map_yotsuya
Networks in Early Modern Japan
Date: June 11, 2011
Location: Sophia University, Bldg. 10, 3rd Floor, Room 301
Time: 13:30 until 17:00
Organizer: Network Study Research Group (Sophia University)
Language: English
Web: http ://pweb . cc . sophia . ac . jp/bgo/network_studies/
Speakers:
13:30–14:30
Ochiai Kô (Shudo University, Hiroshima):
A village headman’s network and the ideology of “national interest” The ideology of “national interest” became established not as an abstract ideal of government, but rather as a practical mindset based on the idea of systematically enriching the state. Ikegami Tarôzaemon (1718–1798), the headman (nanushi) of a village in the vicinity of Edo, is one such practitioner. Tarôzaemon dedicated his whole life to spreading sugar cultivation and production in order to stop the outflow of bullion for sugar imports. Crucial to his success was Tarôzaemon’s exploitation of his influential social network. His far-reaching connections included people he knew through his position as the village head of Daishikawaramura as well as people whom he had met through their common interest in haikai poetry. His network further extended to the shogunate’s most powerful politician, Tanuma Okitsugu, whose support for the sugar project was crucial. The thread linking individuals within this network to Tarôzaemon’s sugar-related efforts was a shared commitment to an ideology of “national interest.”
14:45–15:45
Bettina Gramlich-Oka (Sophia University):
Following one’s father’s aspiration: “Know the Way”
Rai Shunsui (1746-1816), the oldest son from a reasonably well-off family of dyers in Takehara in Aki province, left Takehara for the Kansai region in 1764 at the young age of nineteen. Nominally undertaken to cure a chronic disease, the trip in fact bespoke Shunsui’s determination to distinguish himself. With him he carried a list of over one hundred names of prominent men in Sakai, Osaka, and Kyoto. Before his return four months later he had made contact with seventy-four scholars, intellectuals, and other influential men. Focusing on two records kept by Shunsui, Tôyûzakki (Record of my trip east, 1764) and Zaishinkiji (Record of my stay in Osaka, undated), the paper will investigate Shunsui’s formation of a personal network that would ultimately bring him employment at the Hiroshima domain school and help him establish a reputation as one of the most influential and respected scholars of the late eighteenth and early nineteenth centuries.
16:30–17:00
Takeshi Moriyama (Murdoch University, Perth)
Between a Snowy Village and the Edo Bunjin Salon
Apart from his book Hokuetsu seppu, pub. 1837-1842, Suzuki Bokushi (1770-1842) is famous for his extensive communication network, notwithstanding his location in a remote rural town in Echigo province and his modest lifestyle as a farmer-merchant. One of his address books, ‘Kumoino kari’, contains hundreds of entries listing people from whom he received letters. These correspondents were geographically spread from Mutsu to Higo, and ranged socially from famous authors and kabuki actors to rural intellectuals and samurai officials. Examples of illustrious figures in the address book are Kyôden, Bakin, Ikku, Hokusai, Bôsai, Nampo, Danjûrô and Ebizô. Several courtesans in the pleasure quarter of Yoshiwara, including the celebrated beauty Hanaôgi, are also named. This paper examines the cultural and social mechanisms which enabled Bokushi to make contact with such celebrities in Edo, and the extent to which Bokushi was able to participate in the urban bunjin salon.
Access to Sophia University:http ://www . sophia . ac . jp/eng/info/access/directions/access_yotsuya Campus map: http ://www . sophia . ac . jp/eng/info/access/map/map_yotsuya
Tuesday, May 10, 2011
CELEBRATION OF MEDIEVAL-THEMED COMICS IN COMMEMORATION OF THE 75TH ANNIVERSARY OF PRINCE VALIANT (12/1/11; Boston, MA 4/4-7/11)
THE COMICS GET MEDIEVAL 2012:
A CELEBRATION OF MEDIEVAL-THEMED COMICS IN
COMMEMORATION OF THE 75TH ANNIVERSARY OF PRINCE VALIANT
CALL FOR PAPERS (PCA: BOSTON, MA 4/4-7/12)
SPECIAL SESSIONS OF THE COMICS & COMIC ART AREA
ORGANIZED BY MICHAEL A. TORREGROSSA AND JASON TONDRO
PROPOSALS DUE TO ORGANIZERS BY 1 DECEMBER 2011
Celebrating our sixth year in 2012, proposals are now being considered for inclusion at “The Comics Get Medieval 2012,” a series of panels and roundtables sponsored by The Virtual Society for the Study of Popular Culture and the Middle Ages and to be hosted by the Comics & Comic Art Area of the Popular Culture Association (PCA) for the 2012 Joint Conference of the National Popular Culture and American Culture Associations to be held from 4-7 April 2012 in Boston, Massachusetts.
The goal of these sessions is to foster communication between medievalists, comics scholars, and specialists in popular culture studies in general. The organizers define “medieval comics” as any aspect of the comics medium (panel cartoons, comic strips, comics books, comics albums, band dessinée, graphic novels, manga, webcomics, comics to film/film to comics, etc.) that feature medieval themes either in stories set during the Middle Ages or in stories presenting some element of the medieval in the post-medieval era. We are also interested in papers looking at medieval comics from a pedagogical perspective.
Completed papers should be delivered in 15-20 minutes (depending on the number of presenters).
All proposals will also be considered for inclusion in an essay collection to be edited by the panel organizers beginning in late 2011/early 2012. (Individuals only interested in submitting for the collection should also send proposals by 1 December 2011 deadline and indicate their preference in the email.)
In addition, a select list of potential topics and a bibliographic guide to medieval comics will appear as part of THE MEDIEVAL COMICS PROJECT web site available at and THE ARTHUR OF THE COMICS website available at , both organized by the Virtual Society for the Study of Popular Culture and the Middle Ages.
No later that 1 December 2011, interested individuals (who must be members of PCA or ACA or join for 2012) should submit full contact information (name, address, phone/cell, and email), titles, and abstracts of 300-500 words to the sessions’ organizers, who will then forward them to area chair.
Address all inquiries and proposals to the organizers at the following address: and include “Comics Get Medieval 2012” in the subject line.
A CELEBRATION OF MEDIEVAL-THEMED COMICS IN
COMMEMORATION OF THE 75TH ANNIVERSARY OF PRINCE VALIANT
CALL FOR PAPERS (PCA: BOSTON, MA 4/4-7/12)
SPECIAL SESSIONS OF THE COMICS & COMIC ART AREA
ORGANIZED BY MICHAEL A. TORREGROSSA AND JASON TONDRO
PROPOSALS DUE TO ORGANIZERS BY 1 DECEMBER 2011
Celebrating our sixth year in 2012, proposals are now being considered for inclusion at “The Comics Get Medieval 2012,” a series of panels and roundtables sponsored by The Virtual Society for the Study of Popular Culture and the Middle Ages and to be hosted by the Comics & Comic Art Area of the Popular Culture Association (PCA) for the 2012 Joint Conference of the National Popular Culture and American Culture Associations to be held from 4-7 April 2012 in Boston, Massachusetts.
The goal of these sessions is to foster communication between medievalists, comics scholars, and specialists in popular culture studies in general. The organizers define “medieval comics” as any aspect of the comics medium (panel cartoons, comic strips, comics books, comics albums, band dessinée, graphic novels, manga, webcomics, comics to film/film to comics, etc.) that feature medieval themes either in stories set during the Middle Ages or in stories presenting some element of the medieval in the post-medieval era. We are also interested in papers looking at medieval comics from a pedagogical perspective.
Completed papers should be delivered in 15-20 minutes (depending on the number of presenters).
All proposals will also be considered for inclusion in an essay collection to be edited by the panel organizers beginning in late 2011/early 2012. (Individuals only interested in submitting for the collection should also send proposals by 1 December 2011 deadline and indicate their preference in the email.)
In addition, a select list of potential topics and a bibliographic guide to medieval comics will appear as part of THE MEDIEVAL COMICS PROJECT web site available at and THE ARTHUR OF THE COMICS website available at , both organized by the Virtual Society for the Study of Popular Culture and the Middle Ages.
No later that 1 December 2011, interested individuals (who must be members of PCA or ACA or join for 2012) should submit full contact information (name, address, phone/cell, and email), titles, and abstracts of 300-500 words to the sessions’ organizers, who will then forward them to area chair.
Address all inquiries and proposals to the organizers at the following address: and include “Comics Get Medieval 2012” in the subject line.
Peer-Reviewers & Readers Wanted for Medieval Postgraduate Journal
Hortulus is a refereed journal devoted to the literature and cultures of the medieval world. The journal is published electronically once a year, and its mission is to present a forum in which graduate students from around the globe may share their work.
Hortulus is entirely run by postgraduates and is genuinely international, which makes Hortulus a uniquely different journal than a large number of other medieval postgraduate journals run by a combination of faculty members and postgraduates of specific institutions. Additionally, as a born-digital journal, Hortulus is 100% eco-friendly and technologically relevant. It focuses on participating in the new and ever-changing digital environment that is rapidly becoming the crux of academic discourse and also allows Hortulus to remain extremely flexible in the resources it offers.
We rely on graduate student readers to evaluate articles that have been submitted for publication as well as have the opportunity to write and submit book reviews themselves. Readers are selected for each submission based upon their familiarity with the subject matter of the article and the number of evaluations they have already completed. Readers fill out an evaluation form for each article, but they are not responsible for the article revisions or the editing process.
If you would like to volunteer as a reader, e-mail the following information to hortulus@hortulus.net:
Name
University
Areas of Research
Email Address
Would you like to be listed on the website? Yes / No
For more information about the journal, plaese visit our website which will be undergoing a major overhaul throughout the coming year: http://www.hortulus.net/
Hortulus is entirely run by postgraduates and is genuinely international, which makes Hortulus a uniquely different journal than a large number of other medieval postgraduate journals run by a combination of faculty members and postgraduates of specific institutions. Additionally, as a born-digital journal, Hortulus is 100% eco-friendly and technologically relevant. It focuses on participating in the new and ever-changing digital environment that is rapidly becoming the crux of academic discourse and also allows Hortulus to remain extremely flexible in the resources it offers.
We rely on graduate student readers to evaluate articles that have been submitted for publication as well as have the opportunity to write and submit book reviews themselves. Readers are selected for each submission based upon their familiarity with the subject matter of the article and the number of evaluations they have already completed. Readers fill out an evaluation form for each article, but they are not responsible for the article revisions or the editing process.
If you would like to volunteer as a reader, e-mail the following information to hortulus@hortulus.net:
Name
University
Areas of Research
Email Address
Would you like to be listed on the website? Yes / No
For more information about the journal, plaese visit our website which will be undergoing a major overhaul throughout the coming year: http://www.hortulus.net/
Shakespearean Drama and the Renaissance Sensorium ( RSA 2012, March 22-24 in Washington, D.C. / abstract deadline 5/16/2011)
This panel invites papers that explore the role of one or more of the five senses either as themes in the plays of William Shakespeare and his contemporaries, or as features in dramatic performance. Topics may include, but are not limited to, histories/theories of sensation; representations of the senses and early modern phenomenology; sensory mediation between actors and audience; visual and other sensory "cultures”; the senses and affect; the senses and the body politic; sensory hierarchies and gender, class, racial or ethnic difference. Consideration of the "internal” senses (e.g., memory, reason, imagination) as well as the "external” senses of vision, hearing, smell, taste, and touch are welcome. To propose a paper, please submit abstracts of no more than 150 words to session organizer Jennie Votava (jmv289@nyu.edu) by May 16.
Milton and Paradise Lost's Legacy
Milton's Paradise Lost was something new and different when it appeared, and it continues to hold a special place in English Literature. Papers should examine Paradise Lost's cultural, literary or stylistic legacy for literature since its publication, and the impact of this legacy on individual works as well as larger literary movements and trends. I am particularly interested in papers that examine literary works that have forwarded specific ideas or characters from the text.
Abstracts of 500 words should be sent to the contact email (khkshimabukuro@gmail.com) by 1 June.
Abstracts of 500 words should be sent to the contact email (khkshimabukuro@gmail.com) by 1 June.
CFP: Shakespearean Reverie, 6-8 October, 2011
The Shakespeare in the Park Festival is a highlight on the cultural calendar of the scenic Darling Downs in Queensland, Australia. In 2011, the Festival has moved to October, to follow the famous Carnival of Flowers, making the parkland venue even more appealing than ever before. For the first time, an academic symposium is being held in conjunction with the Festival on 6-8 October, 2011. The symposium theme is Shakespearean Reverie. Confirmed keynotes for this event are:
• Mary Floyd-Wilson (North Carolina), author of English Ethnicity and Race in Early Modern Drama
• Paul Yachnin (McGill), former President of the Shakespeare Association of America and author of The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (with Anthony Dawson), and Stage-wrights: Shakespeare, Jonson, Middleton and the Making of Theatrical Value
In the year that the Shakespeare-in-the-Park performance will focus on A Midsummer Night’s Dream, it seems appropriate to reflect on the theme of “reverie” in Shakespeare’s theatre. In our world, “reverie” captures the idea of being lost in thought, even daydreaming, and we get this sense of the word from the early moderns. But in many other senses in which the term “reverie” is now obsolete, the early moderns also understood it as something less fanciful. In its French origins, “reverie” denoted madness, wildness, uncontrollable rage or, for that matter, uncontrollable delight, revelry and absurdity. We welcome presentations that treat any of these aspects of early modern “reverie” in Shakespeare’s theatre, including, for example:
• Revelry and the public theatre companies;
• Representations of wildness, the grotesque, or supernatural;
• Early modern cognition and dreaming;
• Performance of the passions and the actor’s body;
• A Shakespearean theatre of the absurd.
Given the focus of this year’s Shakespeare-in-the-Park Festival, we are particularly keen to run a special stream on A Midsummer Night’s Dream, so papers on this play are especially welcome. We invite abstracts (300 words maximum) for papers of 20 minutes duration or proposals for panels on any aspect of the theme of “Shakespearean Reverie,” to be submitted by 9 June, 2011, via email to: Shakespeare.Symposiums@usq.edu.au
• Mary Floyd-Wilson (North Carolina), author of English Ethnicity and Race in Early Modern Drama
• Paul Yachnin (McGill), former President of the Shakespeare Association of America and author of The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (with Anthony Dawson), and Stage-wrights: Shakespeare, Jonson, Middleton and the Making of Theatrical Value
In the year that the Shakespeare-in-the-Park performance will focus on A Midsummer Night’s Dream, it seems appropriate to reflect on the theme of “reverie” in Shakespeare’s theatre. In our world, “reverie” captures the idea of being lost in thought, even daydreaming, and we get this sense of the word from the early moderns. But in many other senses in which the term “reverie” is now obsolete, the early moderns also understood it as something less fanciful. In its French origins, “reverie” denoted madness, wildness, uncontrollable rage or, for that matter, uncontrollable delight, revelry and absurdity. We welcome presentations that treat any of these aspects of early modern “reverie” in Shakespeare’s theatre, including, for example:
• Revelry and the public theatre companies;
• Representations of wildness, the grotesque, or supernatural;
• Early modern cognition and dreaming;
• Performance of the passions and the actor’s body;
• A Shakespearean theatre of the absurd.
Given the focus of this year’s Shakespeare-in-the-Park Festival, we are particularly keen to run a special stream on A Midsummer Night’s Dream, so papers on this play are especially welcome. We invite abstracts (300 words maximum) for papers of 20 minutes duration or proposals for panels on any aspect of the theme of “Shakespearean Reverie,” to be submitted by 9 June, 2011, via email to: Shakespeare.Symposiums@usq.edu.au
Call for Papers: Attending to Early Modern Women: Remapping Routes and Spaces
Call for Proposals
Attending to Early Modern Women: Remapping Routes and Spaces Milwaukee, Wisconsin June 21-June 23, 2012
Attending to Early Modern Women, which has been held seven times at the University of Maryland since 1990, is moving to the University of Wisconsin-Milwaukee, thanks to the generous support of the College of Letters and Science at UWM. The conference will retain its innovative format, using a workshop model for most of its sessions to promote interdisciplinary dialogue, augmented by a keynote, and a plenary session on each of the four conference topics: communities, environments, exchanges, and pedagogies. It will be held at the UWM School of Continuing Education Conference Center in the heart of downtown Milwaukee, within easy walking distance of the lakeshore, the Milwaukee Art Museum, the Milwaukee Public Museum, and the Amtrak station. Attendees will stay in the near-by and newly renovated Doubletree Hotel. The conference will run from Thursday June 21 through Saturday June 23, 2012, and attendees will also have the opportunity to participate in a special pre-conference seminar on Wednesday June 20 at the Center for Renaissance Studies at the Newberry Library in Chicago.
Detailed instructions on submitting workshop proposals may be found on the conference website: www.atw2012.uwm.edu
Attending to Early Modern Women: Remapping Routes and Spaces
How did women situate themselves in the early modern world, and how did they move through it, in both real and imaginary locations? How did gender figure in understandings of spatial realms, from the inner space of the body to the outer spaces of the cosmos? How do new disciplinary and geographic connections shape the ways in which we think, write, and teach about the early modern world? Taking as our inspiration the move of Attending to Early Modern Women from Maryland to Milwaukee, we will consider these issues in relationship to the following topics:
Communities
Women’s actions in neighborhoods, villages, cities, states, and empires; family and kinship networks; establishing and breaching boundaries in sexual and gender expression; religious communities; exclusions, exiles, and expulsions.
Environments
Gendered landscapes and soundscapes; the body and its borders; built and invented realms and frontiers; cartographic spaces; gender and the new cosmology and anatomy.
Exchanges
Travel, migration, and displacement; imagined spatial crossings; new interdisciplinary connections; the circulation of manuscripts, books, objects, and ideas; consumerism and material culture; transnational and transoceanic links.
Pedagogies
Traveling new routes in teaching; the virtual spaces of technology and teaching; early modern women in the realm of museums and galleries for adults and children; issues in academic institutions and in publishing.
Merry Wiesner-Hanks
History
University of Wisconsin-Milwaukee
Milwaukee, WI 53201
414-229-4529
Email: merrywh@uwm.edu
Visit the website at http://www.atw2012.uwm.edu/
Attending to Early Modern Women: Remapping Routes and Spaces Milwaukee, Wisconsin June 21-June 23, 2012
Attending to Early Modern Women, which has been held seven times at the University of Maryland since 1990, is moving to the University of Wisconsin-Milwaukee, thanks to the generous support of the College of Letters and Science at UWM. The conference will retain its innovative format, using a workshop model for most of its sessions to promote interdisciplinary dialogue, augmented by a keynote, and a plenary session on each of the four conference topics: communities, environments, exchanges, and pedagogies. It will be held at the UWM School of Continuing Education Conference Center in the heart of downtown Milwaukee, within easy walking distance of the lakeshore, the Milwaukee Art Museum, the Milwaukee Public Museum, and the Amtrak station. Attendees will stay in the near-by and newly renovated Doubletree Hotel. The conference will run from Thursday June 21 through Saturday June 23, 2012, and attendees will also have the opportunity to participate in a special pre-conference seminar on Wednesday June 20 at the Center for Renaissance Studies at the Newberry Library in Chicago.
Detailed instructions on submitting workshop proposals may be found on the conference website: www.atw2012.uwm.edu
Attending to Early Modern Women: Remapping Routes and Spaces
How did women situate themselves in the early modern world, and how did they move through it, in both real and imaginary locations? How did gender figure in understandings of spatial realms, from the inner space of the body to the outer spaces of the cosmos? How do new disciplinary and geographic connections shape the ways in which we think, write, and teach about the early modern world? Taking as our inspiration the move of Attending to Early Modern Women from Maryland to Milwaukee, we will consider these issues in relationship to the following topics:
Communities
Women’s actions in neighborhoods, villages, cities, states, and empires; family and kinship networks; establishing and breaching boundaries in sexual and gender expression; religious communities; exclusions, exiles, and expulsions.
Environments
Gendered landscapes and soundscapes; the body and its borders; built and invented realms and frontiers; cartographic spaces; gender and the new cosmology and anatomy.
Exchanges
Travel, migration, and displacement; imagined spatial crossings; new interdisciplinary connections; the circulation of manuscripts, books, objects, and ideas; consumerism and material culture; transnational and transoceanic links.
Pedagogies
Traveling new routes in teaching; the virtual spaces of technology and teaching; early modern women in the realm of museums and galleries for adults and children; issues in academic institutions and in publishing.
Merry Wiesner-Hanks
History
University of Wisconsin-Milwaukee
Milwaukee, WI 53201
414-229-4529
Email: merrywh@uwm.edu
Visit the website at http://www.atw2012.uwm.edu/
Wednesday, May 4, 2011
CFP; Centre for the Study of Bodies and Meterial Culture
Link to the CFP: http://earlymodern-lit.blogspot.com/2011/05/royal-body.html
And if you don't follow Adam's blog, you should!
And if you don't follow Adam's blog, you should!
Purdue Renaissance Comparative Prose Conference (22-24 Sept. 2011; West Lafayette, Indiana)
**Updated**
Prose Studies - Keynote by Scott Stevens, Director, D’Arcy McNickle Center for American Indian and Indigenous Studies, Chicago Newberry Library
Prose Studies - Keynote by Scott Stevens, Director, D’Arcy McNickle Center for American Indian and Indigenous Studies, Chicago Newberry Library
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We invite papers exploring any aspect of Renaissance prose, especially for the panels that will be dedicated to this year’s focus commemorating the 400-year anniversary of the KJV: “The King James Bible, Across Borders, Across Centuries.” Submissions are encouraged from scholars investigating texts in languages other than English.
Please send 300-350 word abstracts by . Review of abstracts will begin
Prose Studies for a volume dedicated to RCPC 2011 and to chapters for a multi-author book in the works entitled The King James Bible, Across Centuries, Across Borders due by December 1, 2011.
Submissions for papers converted to articles for peer-review by the journal
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Sponsored by the Purdue Religious Studies, Medieval & Renaissance Studies,
and Comparative Literature Programs.
For more information please see the Purdue Comparative Literature “News and Events” webpage <http://www.cla.purdue.edu/complit/> or contact Joanna
Benskin, <jbenskin@purdue.edu>.
June 15, 2011, with notifications sent by July 15, 2011.Featured events include
- Introductory remarks by Ronald Corthell, Dean, School of Liberal Arts and Social Sciences, Purdue-Calumet; 1989-2011 Editor,
- Performances of the Book of Ecclesiastes and the Book of Mark
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