This panel is designed to be an exploration of the kinds of pressures that are brought to bear on medieval women's bodies--artistically, conceptually, economically, and materially--and the kinds of responses that women's bodies figure to these pressures, whether in the form of resistance, conformation, or transformation. Of special interest are those responses, or representations, that trouble boundaries, pollute categories, or blend distinctions in the way we understand the medieval monster to work. Papers will be considered that address the monstrous female body in any aspect or figuration--in art, architecture, medicine, philosophy, or narrative--in hopes of discovering how the medieval woman's monstrous body reveals the points of tension, conflict, and opportunity in the constructed ideas of gender, sexuality, and difference that treat 'women' first as a theoretical category and only secondarily as a social being.
If interested, please send a proposal or abstract along with a Participant Information Form (available from the conference website) by September 15 to:
Misty Urban
Assistant Professor of English
Humanities Division
Lewis-Clark State College
500 8th Avenue
Lewiston, ID 83501
208.792.2167
Fax 208.792.2324murban@lcsc.edu
Thursday, September 2, 2010
The Emblematic Queen: Studies in Early Modern Visual Culture
Interdisciplinary contributions are being solicited from scholars specializing in early modern visual culture. Essays should run approximately 6,000 words for the body of the text (and no longer than 8,000 words with footnotes). Submissions should contribute to an understanding of the strategies that queens—both consorts and regnants, as well as female regents—pursued in order to wield political power within the structures of male dominant societies through their control, or lack thereof, of the printed and visual medias available. Works may focus on analyses in all disciplines, but those with innovative approaches that cross disciplines are especially welcome, including essays that consider emblematic miscellanies and/or other forms of “extra-literary” emblematics, such as paintings, tapestries, carvings, jewelry, funerary monuments, and imprese. Interested contributors may submit either their completed work or an abstract that clearly indicates the core themes, arguments, issues, and/or topics of the proposed essay. Contributors should provide contact information and short bios as well.
Debra Barrett-Graves/Queenship and Power Series
Sidney at Kalamazoo
The Sidney Society sponsors two open sessions on Philip Sidney and his Circle at the 46th International Congress on Medieval Studies Western Michigan University (Kalamazoo, Michigan). The conference website is here: http://www.wmich.edu/medieval/congress/
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 Davisjbdavis@stetson.edu
Joel B Davis
Associate Professor
Coordinator, MA Program in English
Stetson University
421 N Woodland Blvd Unit 8300
DeLand FL 32723
386.822.7724
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 Davisjbdavis@stetson.edu
Joel B Davis
Associate Professor
Coordinator, MA Program in English
Stetson University
421 N Woodland Blvd Unit 8300
DeLand FL 32723
386.822.7724
2010 MCRS Graduate Conference
Following is an announcement for the Eighth Annual Massachusetts Center for Interdisciplinary Renaissance Studies Graduate Conference. Please distribute this and the following CFP to any students who may be interested in submitting an abstract.
The Massachusetts Center for Interdisciplinary Renaissance Studies at the University of Massachusetts, Amherst will host its annual graduate student conference on Saturday, October 2, 2010. Graduate students are invited to submit abstracts for a ten to fifteen minute paper on any range of topics or approaches to literature and history, including textual studies, performance history, philosophy, print culture, religious studies, gender studies, post-colonial interpretations, and other new theoretical perspectives. The purpose of the conference is to provide graduate students with an opportunity to share their work and place it in a greater context of interests and concerns. The conference is designed to foster conversation among students who share similar challenges and construct a space where participants may expect serious feedback on their work.
Please send an abstract of 250-300 words by email or email attachment to Gregory Sargent (gsargent@english.umass.edu) by Wednesday, September 15, 2010. For more information on the conference, you can visit the website http://people.umass.edu/ppalmer/Site/MCRSGC.html.
We are pleased to announce that Prof. Jeff Dolven of Princeton University will be giving the keynote address. In addition to winning a Mellon/ACLS Fellowship for Junior Faculty, Prof. Dolven was honored with the Donald A. Stauffer Preceptorship at Princeton University. He has published on Spencer and Renaissance poetry and his book is called Scenes of Instruction in Renaissance Romance from the University of Chicago Press.
We are organizing the conference to bring graduate students with similar interests together to share their work. Last year’s conference had an intimate feel with all participants able to view the other presentations. As before, we intend to divide the conference into several small panels, with ample time for discussion among peers, and we welcome the attendance of faculty from your department as well.
The Massachusetts Center for Interdisciplinary Renaissance Studies at the University of Massachusetts, Amherst will host its annual graduate student conference on Saturday, October 2, 2010. Graduate students are invited to submit abstracts for a ten to fifteen minute paper on any range of topics or approaches to literature and history, including textual studies, performance history, philosophy, print culture, religious studies, gender studies, post-colonial interpretations, and other new theoretical perspectives. The purpose of the conference is to provide graduate students with an opportunity to share their work and place it in a greater context of interests and concerns. The conference is designed to foster conversation among students who share similar challenges and construct a space where participants may expect serious feedback on their work.
Please send an abstract of 250-300 words by email or email attachment to Gregory Sargent (gsargent@english.umass.edu) by Wednesday, September 15, 2010. For more information on the conference, you can visit the website http://people.umass.edu/ppalmer/Site/MCRSGC.html.
We are pleased to announce that Prof. Jeff Dolven of Princeton University will be giving the keynote address. In addition to winning a Mellon/ACLS Fellowship for Junior Faculty, Prof. Dolven was honored with the Donald A. Stauffer Preceptorship at Princeton University. He has published on Spencer and Renaissance poetry and his book is called Scenes of Instruction in Renaissance Romance from the University of Chicago Press.
We are organizing the conference to bring graduate students with similar interests together to share their work. Last year’s conference had an intimate feel with all participants able to view the other presentations. As before, we intend to divide the conference into several small panels, with ample time for discussion among peers, and we welcome the attendance of faculty from your department as well.
The Bible and Early Modern Radicals: Milton, Bunyan, and Others
The English Department at The Ohio State University will host an international conference in 2011 on the 400th anniversary of the publication of the King James (or Authorized) Version of the Bible. Held in Columbus, Ohio from May 5-7, 2011, the conference will focus on the making of the KJV in the context of Reformation Bible translation and printing as well as on the KJV’s long literary and cultural influence from Milton and Bunyan to Faulkner, Woolf, and Toni Morrison. Events will include plenary lectures and discussions, roundtable seminars, an exhibit by the OSU Rare Books and Manuscript Library, and a special reading and Q&A session with Pulitzer-Prize-winning author Edward P. Jones (Lost in the City; The Known World; All Aunt Hagar’s Children). Submission deadlines have been extended, so don’t miss the chance to participate in this exciting event! Please refer to http://kingjamesbible.osu.edu/ for further conference info, and contact kjvconference@osu.edu with any questions.
Monday, August 23, 2010
All Is Fortune (11/1/2010, 3/31-4/2/2011)
Call for Papers, CEA 2011
42nd Annual Conference | March 31 - April 2, 2011
St. Petersburg, Florida
Submission deadline: November 1, 2010 at http://cea-web.org
“Tis but fortune; all is fortune,” Shakespeare warns us. Money, prosperity, luck, friendship, health, a warm place to sleep—or a lack thereof--matters. The College English Association, a collegial gathering of scholar-teachers in English studies, invites proposals for presentations on 16th and 17th century British literature for our 42nd annual conference on the theme of fortune.
Submission: August 15 - November 1, 2010
Please see the submission instructions at http://cea-web.org/. While papers that address the conference theme will be given priority, others will be welcome and carefully considered as well.
Conference Theme: Fortunes
In a world staggered by economic decline and natural catastrophes, what are the new boundaries of success and misfortune? How do art, literature, and the classroom respond to the Rota Fortunae? For our 2011 meeting, CEA invites papers and panels that explore Fortune as both a daunting challenge and an elusive ideal. For more information, please see the full CFP at http://cea-web.org/
General Call for Papers
CEA also welcomes proposals for presentations in any of the areas English departments typically encompass, including literature, creative writing, composition, technical communication, linguistics, and film. We also welcome papers on areas that influence our work as academics, including student demographics, student/instructor accountability and assessment, student advising, academic leadership in departments and programs, and the place of the English department in the university.
Conference Location
The Hilton St. Petersburg Bayfront
333 First Street South
St. Petersburg, Florida 33701
(727) 894-5000
Membership
All presenters at the 2011 CEA conference must become members of CEA by January 1, 2011. To join CEA, please go to http://cea-web.org/
More information
* Get short, timely messages from CEA via Twitter: http://twitter.com/CEAtweet
* Connect with CEA on Facebook:http://www.facebook.com/CollegeEnglishAssociation
* Find out more about conference lodging and registration: http://cea-web.org/
* Contact CEA officers: http://cea-web.org/
Other questions? Email at cea.english@gmail.com or
Lynne Simpson at lsimpson@presby.edu.
Thank you for your interest,
Lynne M. Simpson
Professor of English
Presbyterian College
503 South Broad Street
Clinton, SC 29235lsimpson@presby.edu
and Kerri Lynne Tom
Associate Professor of English
Concordia University
1530 Concordia West
Irvine, California 92612-3203Kerri.Tom@cui.edu
42nd Annual Conference | March 31 - April 2, 2011
St. Petersburg, Florida
Submission deadline: November 1, 2010 at http://cea-web.org
“Tis but fortune; all is fortune,” Shakespeare warns us. Money, prosperity, luck, friendship, health, a warm place to sleep—or a lack thereof--matters. The College English Association, a collegial gathering of scholar-teachers in English studies, invites proposals for presentations on 16th and 17th century British literature for our 42nd annual conference on the theme of fortune.
Submission: August 15 - November 1, 2010
Please see the submission instructions at http://cea-web.org/. While papers that address the conference theme will be given priority, others will be welcome and carefully considered as well.
Conference Theme: Fortunes
In a world staggered by economic decline and natural catastrophes, what are the new boundaries of success and misfortune? How do art, literature, and the classroom respond to the Rota Fortunae? For our 2011 meeting, CEA invites papers and panels that explore Fortune as both a daunting challenge and an elusive ideal. For more information, please see the full CFP at http://cea-web.org/
General Call for Papers
CEA also welcomes proposals for presentations in any of the areas English departments typically encompass, including literature, creative writing, composition, technical communication, linguistics, and film. We also welcome papers on areas that influence our work as academics, including student demographics, student/instructor accountability and assessment, student advising, academic leadership in departments and programs, and the place of the English department in the university.
Conference Location
The Hilton St. Petersburg Bayfront
333 First Street South
St. Petersburg, Florida 33701
(727) 894-5000
Membership
All presenters at the 2011 CEA conference must become members of CEA by January 1, 2011. To join CEA, please go to http://cea-web.org/
More information
* Get short, timely messages from CEA via Twitter: http://twitter.com/CEAtweet
* Connect with CEA on Facebook:http://www.facebook.com/CollegeEnglishAssociation
* Find out more about conference lodging and registration: http://cea-web.org/
* Contact CEA officers: http://cea-web.org/
Other questions? Email at cea.english@gmail.com or
Lynne Simpson at lsimpson@presby.edu.
Thank you for your interest,
Lynne M. Simpson
Professor of English
Presbyterian College
503 South Broad Street
Clinton, SC 29235lsimpson@presby.edu
and Kerri Lynne Tom
Associate Professor of English
Concordia University
1530 Concordia West
Irvine, California 92612-3203Kerri.Tom@cui.edu
Upcoming Lecture and Graduate Seminar at Notre Dame
Professor Evelyn Welch
"Scented Gloves and Perfumed Buttons: Smelling Things in Renaissance Italy"
Free and open to the public
Monday, September 20, 2010
7:30 pm EDT (followed by a reception)
Annenberg Auditorium, Snite Museum of Art
University of Notre Dame, Notre Dame, IN
This talk examines the practices of perfuming accessories such as hats, gloves, buttons, belts, shoes and all forms of jewelry in sixteenth- and seventeenth-century Italy. To do so, it explores concepts of the body as permeable, above all to smell. Smell was conceptualized very differently in the Renaissance period than it is today.
Perfuming was thought of as protective but also as problematic. Strong scents "heated" the air around the body, shielding orifices from disease-inducing pathogenic vapors. At the same time, perfumes might dull the senses, invite lascivious or effeminate behavior or even poison the wearer. Nonetheless, the many forms of perfumed items proved very popular, particularly filigree buttons that wafted scent around the body. But their use also provoked anxieties as musk, civet and ambergris embedded goods circulated in every increasing numbers in early modern Europe.
Professor Evelyn Welch
Graduate seminar: "Learning from Things: Material Culture and the Italian Renaissance"
By reservation only
Tuesday, September 21, 2010
4:00-6:00 pm EDT (followed by a reception)
Place to be arranged
University of Notre Dame, Notre Dame, IN
Participation is limited and by reservation.
Students who are interested in participating in the graduate seminar should contact Professor Charles Rosenberg at Rosenberg.1@nd.edu by September 15. Numbers are limited.
"Scented Gloves and Perfumed Buttons: Smelling Things in Renaissance Italy"
Free and open to the public
Monday, September 20, 2010
7:30 pm EDT (followed by a reception)
Annenberg Auditorium, Snite Museum of Art
University of Notre Dame, Notre Dame, IN
This talk examines the practices of perfuming accessories such as hats, gloves, buttons, belts, shoes and all forms of jewelry in sixteenth- and seventeenth-century Italy. To do so, it explores concepts of the body as permeable, above all to smell. Smell was conceptualized very differently in the Renaissance period than it is today.
Perfuming was thought of as protective but also as problematic. Strong scents "heated" the air around the body, shielding orifices from disease-inducing pathogenic vapors. At the same time, perfumes might dull the senses, invite lascivious or effeminate behavior or even poison the wearer. Nonetheless, the many forms of perfumed items proved very popular, particularly filigree buttons that wafted scent around the body. But their use also provoked anxieties as musk, civet and ambergris embedded goods circulated in every increasing numbers in early modern Europe.
Professor Evelyn Welch
Graduate seminar: "Learning from Things: Material Culture and the Italian Renaissance"
By reservation only
Tuesday, September 21, 2010
4:00-6:00 pm EDT (followed by a reception)
Place to be arranged
University of Notre Dame, Notre Dame, IN
Participation is limited and by reservation.
Students who are interested in participating in the graduate seminar should contact Professor Charles Rosenberg at Rosenberg.1@nd.edu by September 15. Numbers are limited.
Wednesday, August 18, 2010
Early Modern European Children and the Non-European World
We invite proposals for chapter-length contributions to an upcoming volume concerning the ways children participated in the expansion of global knowledge and horizons over the course of the early modern period (c. 1500 – 1800) in Europe. We are particularly interested in pursuing this through the study of media created for or presented to children, approached through a variety of disciplinarian perspectives, including history, literary studies, art history, history of science, and philosophy.
Great discoveries of global diversity – both social and geographical – were made over the early modern period, and such new knowledge was spread across Europe through materials such as travel narratives, material objects, children’s books, periodicals, and popular histories. To what extent was this new knowledge popularised with children directly in mind? And what was the function of presenting this new knowledge? Was the exotic simply to serve as light, superficial entertainment, or was there a more serious intent in mind? Could exotic knowledge serve in some manner as an edifying force? In which contexts was such knowledge presented?
Global diversity had significant impacts upon notions of European identity, as well as upon national self-identification. What impact did growing knowledge of global social diversity have upon the study/teaching of Antiquity? And how was religious diversity treated?
These sources also offer compelling insights into changes in pedagogical sentiments over our period. Adults invariably filter knowledge down to children – but what are their selection criteria? What is seen as particularly suitable for the needs or interests of children, and what as inappropriate? How can these inform our understanding of contemporary concepts of childhood?
We are also interested in how this theme relates to more general frames in the European history of knowledge. How did the function of knowledge shift from enabling the Humanist ideal of internal universal reflection to securing the Enlightenment notion of knowledge as a form of social membership production?
Contributions concerned with some of these questions are welcomed, as are contributions from graduate students. This collection will be published as part of the “Aufklärung und Moderne” series of the Wehrhahn Verlag, Hannover. Papers can be written in English or German. If interested in contributing, please send a short abstract (in either English or German) of 300 and a CV to one of the addresses below by the 15th of October 2010. Additionally, if you have any further questions, please do not hesitate to contact one of us.
Nicholas Miller, Universität Potsdam
nmiller@uni-potsdam.de
Pauline Pujo, École Normale Supérieure
pujo@clipper.ens.fr
Great discoveries of global diversity – both social and geographical – were made over the early modern period, and such new knowledge was spread across Europe through materials such as travel narratives, material objects, children’s books, periodicals, and popular histories. To what extent was this new knowledge popularised with children directly in mind? And what was the function of presenting this new knowledge? Was the exotic simply to serve as light, superficial entertainment, or was there a more serious intent in mind? Could exotic knowledge serve in some manner as an edifying force? In which contexts was such knowledge presented?
Global diversity had significant impacts upon notions of European identity, as well as upon national self-identification. What impact did growing knowledge of global social diversity have upon the study/teaching of Antiquity? And how was religious diversity treated?
These sources also offer compelling insights into changes in pedagogical sentiments over our period. Adults invariably filter knowledge down to children – but what are their selection criteria? What is seen as particularly suitable for the needs or interests of children, and what as inappropriate? How can these inform our understanding of contemporary concepts of childhood?
We are also interested in how this theme relates to more general frames in the European history of knowledge. How did the function of knowledge shift from enabling the Humanist ideal of internal universal reflection to securing the Enlightenment notion of knowledge as a form of social membership production?
Contributions concerned with some of these questions are welcomed, as are contributions from graduate students. This collection will be published as part of the “Aufklärung und Moderne” series of the Wehrhahn Verlag, Hannover. Papers can be written in English or German. If interested in contributing, please send a short abstract (in either English or German) of 300 and a CV to one of the addresses below by the 15th of October 2010. Additionally, if you have any further questions, please do not hesitate to contact one of us.
Nicholas Miller, Universität Potsdam
nmiller@uni-potsdam.de
Pauline Pujo, École Normale Supérieure
pujo@clipper.ens.fr
Collection of Essays on Katherine Philips (12/01/10)
Katherine Philips has experienced something of a Renaissance. Lauded in her own time as “the matchless Orinda,” she was dismissed for several centuries as a minor poet. In the past twenty-five years this has begun to change, as feminist and queer scholars especially have turned to Philips to reexamine and reimagine woman’s place in the cultural landscape of late-seventeenth-century England. While interest in Philips has continued to grow exponentially, helping to transform the way we do literary history and theory, there is yet to be a collection of essays that demonstrates the vast import of the author’s life and works. The editors of _The Matchless Orinda: Essays on the Life and Works of Katherine Philips_ invite submissions that will help fill this scholarly lacuna.
Our aim with this collection is to show Philips’s wide-ranging influence in her own milieu and in current approaches to literature and culture. To this end, we welcome submissions from a variety of theoretical and methodological viewpoints. We are especially interested in essays on the following:
• Philips and seventeenth-century technologies of production
• Philips in Wales and Ireland
• Discourses of gender and sexuality in Philips’s works and literary circle
• Rhetorics of friendship
• Philips and the cultural politics of domesticity
• Philips’s literary heritage, especially her relation to earlier writers and forms
• Philips and her contemporaries
• Post-seventeenth-century receptions of Philips
• Philips’s influence beyond the British Isles
• Philips and the English Revolution and Restoration
• Philips’s less-studied works
• Philips’s works vis-à-vis other art forms (e.g., the visual arts and music)
• Philips and theory
Please submit abstracts of 300-500 words by December 1, 2010 to David L. Orvis (orvisdl@appstate.edu) and Ryan Singh Paul (rpaul@allegheny.edu). Contributors will be notified of acceptance by January 1, 2011. Completed essays of 5000-7000 words will be due by June 1, 2011.
Our aim with this collection is to show Philips’s wide-ranging influence in her own milieu and in current approaches to literature and culture. To this end, we welcome submissions from a variety of theoretical and methodological viewpoints. We are especially interested in essays on the following:
• Philips and seventeenth-century technologies of production
• Philips in Wales and Ireland
• Discourses of gender and sexuality in Philips’s works and literary circle
• Rhetorics of friendship
• Philips and the cultural politics of domesticity
• Philips’s literary heritage, especially her relation to earlier writers and forms
• Philips and her contemporaries
• Post-seventeenth-century receptions of Philips
• Philips’s influence beyond the British Isles
• Philips and the English Revolution and Restoration
• Philips’s less-studied works
• Philips’s works vis-à-vis other art forms (e.g., the visual arts and music)
• Philips and theory
Please submit abstracts of 300-500 words by December 1, 2010 to David L. Orvis (orvisdl@appstate.edu) and Ryan Singh Paul (rpaul@allegheny.edu). Contributors will be notified of acceptance by January 1, 2011. Completed essays of 5000-7000 words will be due by June 1, 2011.
Thursday, July 29, 2010
Update on the MCRS Graduate Conference
Dear Graduate Program Directors, Administrators, and Grad Students:
Following is an announcement for the Eighth Annual Massachusetts Center for Interdisciplinary Renaissance Studies Graduate Conference. Please distribute this and the following CFP to any students who may be interested in submitting an abstract.
The Massachusetts Center for Interdisciplinary Renaissance Studies at the University of Massachusetts, Amherst will host its annual graduate student conference on Saturday, October 2, 2010. Graduate students are invited to submit abstracts for a ten to fifteen minute paper on any range of topics or approaches to literature and history, including textual studies, performance history, philosophy, print culture, religious studies, gender studies, post-colonial interpretations, and other new theoretical perspectives. The purpose of the conference is to provide graduate students with an opportunity to share their work and place it in a greater context of interests and concerns. The conference is designed to foster conversation among students who share similar challenges and construct a space where participants may expect serious feedback on their work.
Please send an abstract of 250-300 words by email or email attachment to Gregory Sargent (gsargent@english.umass.edu) by Saturday, September 12, 2010. For more information on the conference, you can visit the website http://people.umass.edu/ppalmer/Site/MCRSGC.html.
We are pleased to announce that Prof. Jeff Dolven of Princeton University will be giving the keynote address. In addition to winning a Mellon/ACLS Fellowship for Junior Faculty, Prof. Dolven was honored with the Donald A. Stauffer Preceptorship at Princeton University. He has published on Spencer and Renaissance poetry and his book is called Scenes of Instruction in Renaissance Romance from the University of Chicago Press.
We are organizing the conference to bring graduate students with similar interests together to share their work. Last year’s conference had an intimate feel with all participants able to view the other presentations. As before, we intend to divide the conference into several small panels, with ample time for discussion among peers, and we welcome the attendance of faculty from your department as well.
Thank you for your assistance and please feel free to contact me with any questions or comments.
Best,
Katey Roden
Gregory Sargent
Conference Organizers
Following is an announcement for the Eighth Annual Massachusetts Center for Interdisciplinary Renaissance Studies Graduate Conference. Please distribute this and the following CFP to any students who may be interested in submitting an abstract.
The Massachusetts Center for Interdisciplinary Renaissance Studies at the University of Massachusetts, Amherst will host its annual graduate student conference on Saturday, October 2, 2010. Graduate students are invited to submit abstracts for a ten to fifteen minute paper on any range of topics or approaches to literature and history, including textual studies, performance history, philosophy, print culture, religious studies, gender studies, post-colonial interpretations, and other new theoretical perspectives. The purpose of the conference is to provide graduate students with an opportunity to share their work and place it in a greater context of interests and concerns. The conference is designed to foster conversation among students who share similar challenges and construct a space where participants may expect serious feedback on their work.
Please send an abstract of 250-300 words by email or email attachment to Gregory Sargent (gsargent@english.umass.edu) by Saturday, September 12, 2010. For more information on the conference, you can visit the website http://people.umass.edu/ppalmer/Site/MCRSGC.html.
We are pleased to announce that Prof. Jeff Dolven of Princeton University will be giving the keynote address. In addition to winning a Mellon/ACLS Fellowship for Junior Faculty, Prof. Dolven was honored with the Donald A. Stauffer Preceptorship at Princeton University. He has published on Spencer and Renaissance poetry and his book is called Scenes of Instruction in Renaissance Romance from the University of Chicago Press.
We are organizing the conference to bring graduate students with similar interests together to share their work. Last year’s conference had an intimate feel with all participants able to view the other presentations. As before, we intend to divide the conference into several small panels, with ample time for discussion among peers, and we welcome the attendance of faculty from your department as well.
Thank you for your assistance and please feel free to contact me with any questions or comments.
Best,
Katey Roden
Gregory Sargent
Conference Organizers
"Perfect Harmony" and "melting strains." Music in Early Modern Culture between Sensibility and Abstraction
In Early Modern culture, philosophers, musicians, theologians, and poets grappled with the ambivalent nature of music. Music was perceived as a phenomenon occupying an ambiguous position between mathematical abstraction and sensual experience. In the Pythagorean-Platonic tradition, music was understood as euphonic mathematics replicating the perfection and beauty of a transcendent cosmic order. At the same time, the emotive and physiological effects of actual musical experience proved it to be a sensuous phenomenon of insistent immediacy and affective power.
The conference “Perfect Harmony“ and “melting strains“ focuses on conceptualisations of music in Early Modern scientific, philosophical, theological, and literary discourse. It investigates the explanatory potential of these conceptualisations in the debate over natural philosophical questions in a time when ideas of universal harmony were being challenged by concepts of atomic chance and chaos.
We will also explore the debates in the new sciences, the arts, and theology concerning the intellectual and affective potential of music and the ways in which ideas about music and its affective power were utilized in theological, medical, and poetological contexts for moral and didactic purposes. In addition, the conference will focus on the philosophical, literary, and musical textualisations and dramatisations of the ideas about music and its nature as an emotionally effective sensual and aesthetic experience. These issues acquire a specific poignancy in the Early Modern context, as it is an era during which ancient musicological texts were being rediscovered and new musical genres such as the opera were being invented with reference to Classical dramatic forms.
From these general considerations follow a number of possible questions:
What modifications of traditional theorems can be traced in the Early Modern process of rediscovering ancient musicological texts? What meaning did these transformations acquire in the discourse on music in the Early Modern sciences, philosophy, and arts?
What purposes do musical models serve in medical and scientific thinking? How did the concept of universal harmony change in the context of emerging empiricism on the one hand, and Epicurean ideas of the world as a product of atomistic chance on the other? What were the alterations in the perception of music as a physical phenomenon and in the explanations of its physiological and psychological effects in contemporaneous natural philosophical debates? What configurations of seemingly antagonistic positions such as Early Modern Platonism and Epicureanism, or prevalent hermetic trends, can be observed in the discourse on music?
How did contemporaneous poetic texts stage and textualise concepts of music as well as musical experience? How did scientific, philosophical, and poetic language render perceptible the tension between aisthesis and transcendence? Which rhetorical means were employed in philosophical and literary texts to describe musical phenomena – the sound, the musicians, or the effects of music on the listener? What purposes did these musicalisations and their tropes serve with regard to the social, political, scientific, and poetological questions negotiated in these texts?
We look forward to receiving proposals on aspects of the topics sketched above from the perspective of a wide range of disciplines such as philosophy, the history of science, theology, literary and cultural studies and musicology. We particularly welcome proposals focusing on the Classical conceptions of music and its transformations from an Early Modern point of view. Papers should be given either in English or German.
Papers should be no longer than 30 minutes. If your are interested in presenting a paper, please submit a 150 word abstract to Cornelia Wilde ( cornelia.wilde@staff.hu-berlin.de ) before 15th September 2010.
The conference “Perfect Harmony“ and “melting strains“ focuses on conceptualisations of music in Early Modern scientific, philosophical, theological, and literary discourse. It investigates the explanatory potential of these conceptualisations in the debate over natural philosophical questions in a time when ideas of universal harmony were being challenged by concepts of atomic chance and chaos.
We will also explore the debates in the new sciences, the arts, and theology concerning the intellectual and affective potential of music and the ways in which ideas about music and its affective power were utilized in theological, medical, and poetological contexts for moral and didactic purposes. In addition, the conference will focus on the philosophical, literary, and musical textualisations and dramatisations of the ideas about music and its nature as an emotionally effective sensual and aesthetic experience. These issues acquire a specific poignancy in the Early Modern context, as it is an era during which ancient musicological texts were being rediscovered and new musical genres such as the opera were being invented with reference to Classical dramatic forms.
From these general considerations follow a number of possible questions:
What modifications of traditional theorems can be traced in the Early Modern process of rediscovering ancient musicological texts? What meaning did these transformations acquire in the discourse on music in the Early Modern sciences, philosophy, and arts?
What purposes do musical models serve in medical and scientific thinking? How did the concept of universal harmony change in the context of emerging empiricism on the one hand, and Epicurean ideas of the world as a product of atomistic chance on the other? What were the alterations in the perception of music as a physical phenomenon and in the explanations of its physiological and psychological effects in contemporaneous natural philosophical debates? What configurations of seemingly antagonistic positions such as Early Modern Platonism and Epicureanism, or prevalent hermetic trends, can be observed in the discourse on music?
How did contemporaneous poetic texts stage and textualise concepts of music as well as musical experience? How did scientific, philosophical, and poetic language render perceptible the tension between aisthesis and transcendence? Which rhetorical means were employed in philosophical and literary texts to describe musical phenomena – the sound, the musicians, or the effects of music on the listener? What purposes did these musicalisations and their tropes serve with regard to the social, political, scientific, and poetological questions negotiated in these texts?
We look forward to receiving proposals on aspects of the topics sketched above from the perspective of a wide range of disciplines such as philosophy, the history of science, theology, literary and cultural studies and musicology. We particularly welcome proposals focusing on the Classical conceptions of music and its transformations from an Early Modern point of view. Papers should be given either in English or German.
Papers should be no longer than 30 minutes. If your are interested in presenting a paper, please submit a 150 word abstract to Cornelia Wilde ( cornelia.wilde@staff.hu-berlin.de ) before 15th September 2010.
Thursday, July 22, 2010
English Catholic Women's WRiting, 1660-1829
Special Issue of Tulsa Studies in Women’s Literature:
English Catholic Women Writers, 1660-1829
Proposals are sought for a special topics issue of Tulsa Studies in Women’s Literature, which will focus on English Catholic women’s imaginative work as it was inflected by Catholicism or through self-identification with a Catholic minority culture during the long eighteenth century. Articles on eighteenth-century Catholic women from the British Isles, including exiled English women working abroad or in the colonies, are sought exploring topics including, though not limited to, the following: 1) the strategies English Catholic women used to express, promote, or protect their faith; 2) the intersections of gender and faith, particularly in the face of anti-Catholic polemic equating all Catholics with women or with the feminine; 3) women’s education; 4) the role of religious houses or religious orders within literary texts or as sites of literary or artistic production; 5) the reciprocal influence of Anglo-Catholic culture and Gothic literature; 6) Catholic women’s political engagement as Torries or Jacobites; 7) their literary, artistic, or political responses to the Catholicism of the Restoration Court, the Stuart kings, the Revolution of 1688, the Whig ascendancy, or Catholic emancipation; 8) their representation of English national history or English national identity; and 9) their participation in the minority press. Most of the essays will concentrate on women writers, but essays on other forms of women’s imaginative work, particularly the visual and domestic arts, are welcome.
All essays should be informed by the rich repository of recent work in early modern Catholic studies. Articles should not exceed 25 pages (6250 words) and should conform to the 15th edition of the Chicago Manual of Style. All submissions should be in Microsoft Word. Initial queries and abstracts are encouraged, though final acceptance will be determined by the completed essay. Please send abstracts by June 1, 2011 and final submissions via e-mail by September 1, 2011 to both:
Anna Battigelli, English Department, SUNY Plattsburgh, Plattsburgh, NY 12901 (a.battigelli@att.net)
Laura M. Stevens, Editor, Tulsa Studies in Women's Literature, English Department, University of Tulsa, Tulsa, OK 74104 (laura-stevens@utulsa.edu)
English Catholic Women Writers, 1660-1829
Proposals are sought for a special topics issue of Tulsa Studies in Women’s Literature, which will focus on English Catholic women’s imaginative work as it was inflected by Catholicism or through self-identification with a Catholic minority culture during the long eighteenth century. Articles on eighteenth-century Catholic women from the British Isles, including exiled English women working abroad or in the colonies, are sought exploring topics including, though not limited to, the following: 1) the strategies English Catholic women used to express, promote, or protect their faith; 2) the intersections of gender and faith, particularly in the face of anti-Catholic polemic equating all Catholics with women or with the feminine; 3) women’s education; 4) the role of religious houses or religious orders within literary texts or as sites of literary or artistic production; 5) the reciprocal influence of Anglo-Catholic culture and Gothic literature; 6) Catholic women’s political engagement as Torries or Jacobites; 7) their literary, artistic, or political responses to the Catholicism of the Restoration Court, the Stuart kings, the Revolution of 1688, the Whig ascendancy, or Catholic emancipation; 8) their representation of English national history or English national identity; and 9) their participation in the minority press. Most of the essays will concentrate on women writers, but essays on other forms of women’s imaginative work, particularly the visual and domestic arts, are welcome.
All essays should be informed by the rich repository of recent work in early modern Catholic studies. Articles should not exceed 25 pages (6250 words) and should conform to the 15th edition of the Chicago Manual of Style. All submissions should be in Microsoft Word. Initial queries and abstracts are encouraged, though final acceptance will be determined by the completed essay. Please send abstracts by June 1, 2011 and final submissions via e-mail by September 1, 2011 to both:
Anna Battigelli, English Department, SUNY Plattsburgh, Plattsburgh, NY 12901 (a.battigelli@att.net)
Laura M. Stevens, Editor, Tulsa Studies in Women's Literature, English Department, University of Tulsa, Tulsa, OK 74104 (laura-stevens@utulsa.edu)
Shakespeare and the Arts of the Table
Shakespeare and the Arts of the Table
2011 Conference of the Société Française Shakespeare (March 17-19, 2011)
http://www.societefrancaiseshakespeare.org/document.php?id=1564
Arts of the table are not that far removed from performing arts. The table is a stage. It has its actors, its backstage, its sets, its props, its rules, its mises en scène, its lighting and musical effects. In English, “boards” can refer both to a table and a stage — both of which can indifferently be designated by “tréteaux” (trestles) in French. The early modern stage abundantly feeds on this spectacular and festive matter. Plays by Shakespeare or by his contemporaries, notably Heywood, Kyd, Marlowe, Lyly, Greene, Peele, Chapman, Marston or Dekker, teem with episodes where food, feeding and eating are staged and where the table appears as a place of creation, recreation and ostentation. From Titus’ bloody serving-up of dishes to the banquet whereby Timon literally makes his guests’ mouths water, through the trompe-l’œil feast conjured up by Ariel, Shakespeare presents cooking and eating rituals in all their musical, theatrical and visual artifice. “Shakespeare and the arts of the table” is an invitation to study early modern food culture, practices and discourses, to address the representation and aesthetics of both the table and the art of cookery, and to explore recipes, objects and utensils that give shape to the raw and the cooked.
“She makes hungry where most she satisfies”: Cleopatra, described as “a morsel for a monarch”, is changed through a gastronomic metaphor into a work of art whose meaning and taste are not exhausted in consumption but which feeds instead a pleasure that is endlessly renewed, generating desire that is consequently never satisfied. Foodstuffs must undergo transformation in order to become royal dainties whose meaning goes beyond mere physical necessity and pure instinct. Arts of the table refer not so much to food that satisfies as to food that leaves you hungry while being a source of sensual pleasures, be it for the hosts or the guests.
A study of Shakespeare and the arts of the table implies an exploration of the rules of hospitality and etiquette as well as of their transgression. The festive, civil table can become a table of torture. One should not only interrogate food stuffs but also table manners as they are taught in the numerous Renaissance treatises on civility and conduct and as they are staged and perverted in the plays. As was shown by Michel Jeanneret, arts of the table have to do with edibles but also with speakables and readables; they reconcile the stomach and the head by summoning the two functions of the mouth: eating and talking. In Shakespeare’s world, the arts of the table inevitably lead to the arts and pleasures of the tongue, to table talk and feasts of words.
Call for Papers
This appetizing theme is bound to provide food for thought and invite proposals which will enable us to draw up a mouth-watering menu.
Please send your proposals (title and 1/2 page abstract) by 30 September 2010 to: contact@societefrancaiseshakespeare.org
Nathalie Vienne-Guerrin
Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières
UM 5186 du CNRS Université de Montpellier III Paul Valéry
2011 Conference of the Société Française Shakespeare (March 17-19, 2011)
http://www.societefrancaiseshakespeare.org/document.php?id=1564
Arts of the table are not that far removed from performing arts. The table is a stage. It has its actors, its backstage, its sets, its props, its rules, its mises en scène, its lighting and musical effects. In English, “boards” can refer both to a table and a stage — both of which can indifferently be designated by “tréteaux” (trestles) in French. The early modern stage abundantly feeds on this spectacular and festive matter. Plays by Shakespeare or by his contemporaries, notably Heywood, Kyd, Marlowe, Lyly, Greene, Peele, Chapman, Marston or Dekker, teem with episodes where food, feeding and eating are staged and where the table appears as a place of creation, recreation and ostentation. From Titus’ bloody serving-up of dishes to the banquet whereby Timon literally makes his guests’ mouths water, through the trompe-l’œil feast conjured up by Ariel, Shakespeare presents cooking and eating rituals in all their musical, theatrical and visual artifice. “Shakespeare and the arts of the table” is an invitation to study early modern food culture, practices and discourses, to address the representation and aesthetics of both the table and the art of cookery, and to explore recipes, objects and utensils that give shape to the raw and the cooked.
“She makes hungry where most she satisfies”: Cleopatra, described as “a morsel for a monarch”, is changed through a gastronomic metaphor into a work of art whose meaning and taste are not exhausted in consumption but which feeds instead a pleasure that is endlessly renewed, generating desire that is consequently never satisfied. Foodstuffs must undergo transformation in order to become royal dainties whose meaning goes beyond mere physical necessity and pure instinct. Arts of the table refer not so much to food that satisfies as to food that leaves you hungry while being a source of sensual pleasures, be it for the hosts or the guests.
A study of Shakespeare and the arts of the table implies an exploration of the rules of hospitality and etiquette as well as of their transgression. The festive, civil table can become a table of torture. One should not only interrogate food stuffs but also table manners as they are taught in the numerous Renaissance treatises on civility and conduct and as they are staged and perverted in the plays. As was shown by Michel Jeanneret, arts of the table have to do with edibles but also with speakables and readables; they reconcile the stomach and the head by summoning the two functions of the mouth: eating and talking. In Shakespeare’s world, the arts of the table inevitably lead to the arts and pleasures of the tongue, to table talk and feasts of words.
Call for Papers
This appetizing theme is bound to provide food for thought and invite proposals which will enable us to draw up a mouth-watering menu.
Please send your proposals (title and 1/2 page abstract) by 30 September 2010 to: contact@societefrancaiseshakespeare.org
Nathalie Vienne-Guerrin
Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières
UM 5186 du CNRS Université de Montpellier III Paul Valéry
Third Annual Graduate Student Conference in Early Cultures, "Interiority"
CALL FOR PAPERS: “INTERIORITY IN EARLY CULTURES”
The Group for the Study of Early Cultures at the University of California, Irvine invites submissions for its Third Annual Graduate Student Conference:
INTERIORITY IN EARLY CULTURES
Friday & Saturday, January 21-22, 2011
Keynote Address by Paul Strohm (Anna Garbedian Professor in the Humanities at Columbia University)
Our contemporary understanding of interiority is tied to a sense of domestic life, personal psychology, and the separation of public and private spheres, all which suggest a model of human existence and interaction that hinges on the delineation of what is ‘inside.’ This conference revitalizes notions of the interior in premodern contexts, ranging from the ancient era, through the medieval and early modern periods, and into the eighteenth century. We define “interiority” loosely as any terrain, such as conscience, mind, psyche, soul, or spirit, that positions itself within a subject. Given this openness, we invite papers across a variety of disciplines that investigate interiority in any of its manifestations—literary, historical, visual, dramatic, legal, spiritual, or philosophical—in early cultures. Fundamentally, we seek to question and mobilize the borders between the interior and exterior as vital spaces of containment and definition.
Topics may include, but are not limited to:
Religious Interiors: How do the concepts of the sacred and profane hinge on an inner life? Can spiritual interiors conflict with one another? Do dream visions and experiences of the sublime affectively challenge the delineation of the interior?
Interior Bodies: Are interior spaces altered in concert with new discourses of the body, disease, anatomy, and medical knowledge? Do seemingly ‘exterior’ changes in consumption practices (food, goods, clothing) rework internal awareness? How is queerness performed or experienced within premodern interiority?
Political Interiors: Through what means do royal, national, and local subjects construct interiorities? Does state power depend on constructing interiority in its subjects? How do indigenous and colonial tensions engage with sovereign interiority?
Textual Interiors: Do literary works contain interiorities through the incorporation of authorial voice, as in memoirs or confessions? Are new interiorities modified through translation?
Metaphorical Interiors: In what ways do material containers, such as chambers, closets, or caskets, stand in for psychic interiors? How do performed scenes gesture to, or create, a sense of interiority in their spatial configuration?
All interested graduate students, from any university and discipline, are welcome to submit a one-page abstract on any topic related to the self. For more information please visit the conference website at the Group for the Study of Early Cultures at http://www.humanities.uci.edu/earlycultures/
Deadline for abstracts: September 15, 2010
Please limit the length of abstracts to no more than 300 words. Send abstracts and CVs to earlycultures2010@gmail.com.
The Group for the Study of Early Cultures focuses mainly on fields that investigate pre-modern societies, including but not limited to: Classics, Late Antiquity, Medieval Studies, Renaissance Studies, 18th Century Studies, East Asian Studies, Latin American Studies, and Islamic Studies. We are also interested in a wide range of disciplinary approaches to Early Cultures, including literary studies, history, art history, drama, visual studies, sociology, culture studies, anthropology, political science, philosophy, and religious studies. For more information about our organization, please visit our website:http://www.humanities.uci.edu/earlycultures/
The Group for the Study of Early Cultures at the University of California, Irvine invites submissions for its Third Annual Graduate Student Conference:
INTERIORITY IN EARLY CULTURES
Friday & Saturday, January 21-22, 2011
Keynote Address by Paul Strohm (Anna Garbedian Professor in the Humanities at Columbia University)
Our contemporary understanding of interiority is tied to a sense of domestic life, personal psychology, and the separation of public and private spheres, all which suggest a model of human existence and interaction that hinges on the delineation of what is ‘inside.’ This conference revitalizes notions of the interior in premodern contexts, ranging from the ancient era, through the medieval and early modern periods, and into the eighteenth century. We define “interiority” loosely as any terrain, such as conscience, mind, psyche, soul, or spirit, that positions itself within a subject. Given this openness, we invite papers across a variety of disciplines that investigate interiority in any of its manifestations—literary, historical, visual, dramatic, legal, spiritual, or philosophical—in early cultures. Fundamentally, we seek to question and mobilize the borders between the interior and exterior as vital spaces of containment and definition.
Topics may include, but are not limited to:
Religious Interiors: How do the concepts of the sacred and profane hinge on an inner life? Can spiritual interiors conflict with one another? Do dream visions and experiences of the sublime affectively challenge the delineation of the interior?
Interior Bodies: Are interior spaces altered in concert with new discourses of the body, disease, anatomy, and medical knowledge? Do seemingly ‘exterior’ changes in consumption practices (food, goods, clothing) rework internal awareness? How is queerness performed or experienced within premodern interiority?
Political Interiors: Through what means do royal, national, and local subjects construct interiorities? Does state power depend on constructing interiority in its subjects? How do indigenous and colonial tensions engage with sovereign interiority?
Textual Interiors: Do literary works contain interiorities through the incorporation of authorial voice, as in memoirs or confessions? Are new interiorities modified through translation?
Metaphorical Interiors: In what ways do material containers, such as chambers, closets, or caskets, stand in for psychic interiors? How do performed scenes gesture to, or create, a sense of interiority in their spatial configuration?
All interested graduate students, from any university and discipline, are welcome to submit a one-page abstract on any topic related to the self. For more information please visit the conference website at the Group for the Study of Early Cultures at http://www.humanities.uci.edu/earlycultures/
Deadline for abstracts: September 15, 2010
Please limit the length of abstracts to no more than 300 words. Send abstracts and CVs to earlycultures2010@gmail.com.
The Group for the Study of Early Cultures focuses mainly on fields that investigate pre-modern societies, including but not limited to: Classics, Late Antiquity, Medieval Studies, Renaissance Studies, 18th Century Studies, East Asian Studies, Latin American Studies, and Islamic Studies. We are also interested in a wide range of disciplinary approaches to Early Cultures, including literary studies, history, art history, drama, visual studies, sociology, culture studies, anthropology, political science, philosophy, and religious studies. For more information about our organization, please visit our website:http://www.humanities.uci.edu/earlycultures/
Shakespeare at Kalamazoo
Shakespeare at Kalamazoo is sponsoring two sessions at the 46th International Congress on Medieval Studies, which will be held at Western Michigan University in Kalamazoo, MI, May 12-15, 2011; website: http://www.wmich.edu/medieval/congress/. We welcome individual paper proposals for a session on “Shakespeare’s Middle Ages” and a session on “_Hamlet_: Pre-Texts, Texts, and After-Texts.” Please note that the Medieval Institute has rules governing participation in the Congress (http://www.wmich.edu/medieval/congress/policies.html) and for the submission of abstracts (http://www.wmich.edu/medieval/congress/submissions/index.html); these must be followed.
Please send abstracts of no more than 300 words in MS Word or Rich Text Format, and the Participant Information Form, which is available on the Congress Web site, to Katy Stavreva, Department of English and Creative Writing, Cornell College, Mt. Vernon, IA 52314, e-mail: kstavreva@cornellcollege.edu, tel. 319-895-4255.
The deadline for receipt of abstracts is September 15, 2010. The final decision on the paper selection for the panels is to be submitted to the Medieval Institute by October 1, by which time you will be notified whether your submission has been accepted for presenting at the Congress.
Thank you for your attention to these various matters. The selection committee of Shakespeare at Kalamazoo is looking forward to reading your proposals.
Please send abstracts of no more than 300 words in MS Word or Rich Text Format, and the Participant Information Form, which is available on the Congress Web site, to Katy Stavreva, Department of English and Creative Writing, Cornell College, Mt. Vernon, IA 52314, e-mail: kstavreva@cornellcollege.edu, tel. 319-895-4255.
The deadline for receipt of abstracts is September 15, 2010. The final decision on the paper selection for the panels is to be submitted to the Medieval Institute by October 1, by which time you will be notified whether your submission has been accepted for presenting at the Congress.
Thank you for your attention to these various matters. The selection committee of Shakespeare at Kalamazoo is looking forward to reading your proposals.
Ludi Civitatis: the Church, the Court, and the Citizens
‘Civilization arises and unfolds in and as play’ (Johan Huizinga, Homo Ludens). In civic entertainment, ‘play’ constitutes the primary formative element in human culture that affords and sustains common interest and amusement. Texts produced in the classical, medieval and the Renaissance periods document how the Church, the Court, and the citizens devise their ‘play’ in triumphal entries, court entertainment, civic festivals, religious rituals, processions, drama, music and dance.
But why does culture endlessly produce and consume entertainment? What are the motives that prompt people to create civic entertainment? How did civic entertainment and its effects resonate through manuscripts, print, economics, politics and the arts from the classical period to the Renaissance?
This year’s conference explores complex manifestations of ‘play’, aiming to look into ‘makers’ and consumers of civic entertainment in the city, the ‘common’ stage for cultural productions across the classical, medieval and Renaissance periods. TACMRS now invites proposals for papers on one of the following themes:
The Church and religious ‘play’ in the city
Court entertainment and the city
Popular festivals in the civic space
Playwrights and their ‘play’
Artists and the performing arts
TACMRS provides an interdisciplinary forum for discussions and debates on the motives, performances, and effects of civic entertainment, and seeks to create dialogue between and across disciplines and periods. We would particularly encourage submissions with cross-cultural approaches, and on this premise welcome papers that reach beyond the traditional chronological and disciplinary borders of classical, medieval and Renaissance studies. The conference will be held on Oct 28 and 29. Please send your abstract and CV to TACMRS.NSYSU@gmail.com by 28 December 2010.
But why does culture endlessly produce and consume entertainment? What are the motives that prompt people to create civic entertainment? How did civic entertainment and its effects resonate through manuscripts, print, economics, politics and the arts from the classical period to the Renaissance?
This year’s conference explores complex manifestations of ‘play’, aiming to look into ‘makers’ and consumers of civic entertainment in the city, the ‘common’ stage for cultural productions across the classical, medieval and Renaissance periods. TACMRS now invites proposals for papers on one of the following themes:
The Church and religious ‘play’ in the city
Court entertainment and the city
Popular festivals in the civic space
Playwrights and their ‘play’
Artists and the performing arts
TACMRS provides an interdisciplinary forum for discussions and debates on the motives, performances, and effects of civic entertainment, and seeks to create dialogue between and across disciplines and periods. We would particularly encourage submissions with cross-cultural approaches, and on this premise welcome papers that reach beyond the traditional chronological and disciplinary borders of classical, medieval and Renaissance studies. The conference will be held on Oct 28 and 29. Please send your abstract and CV to TACMRS.NSYSU@gmail.com by 28 December 2010.
Wednesday, July 14, 2010
"Literary Allusion," seminar at ALSCW 2010
Seminar: "Literary Allusion"
To be convened by Joseph Pucci and Hannibal Hamlin at the ALSCW's 2010 meeting, 4-7 November, on the campus of Princeton University in Princeton, New Jersey.
Send proposals (or short papers) on or before 1 August 2010 to both conveners at:Joseph_Pucci@brown.edu
hamlin.22@osu.edu
Participants must be members of the ALSCW and registered for the conference before attending (see link below). Short papers will be circulated among all participants two weeks before the seminar. The papers should expressly, specifically examine practices of allusion or the explanation of allusions. Textual examples may represent any genre, region, period, tradition, or literary movement. Yet the discussion of such examples ideally should be informed by explicit theoretical reflection, on such questions as:
• What are allusions?
• What factors determine how allusions are received and understood?
• What can and should be made (or cannot and should not be) of inferences and assertions concerning a writer’s allusive intent?
• Is allusion is more fruitfully placed among poetic figures (for example, some have analyzed it as a kind of metaphor) or among metapoetic performative gestures?
• Why might a given allusion seem so significant to some people who love a text, yet so negligible to others?
For more on ALSCW and its 2010 meeting, see:http://www.bu.edu/literary/
To be convened by Joseph Pucci and Hannibal Hamlin at the ALSCW's 2010 meeting, 4-7 November, on the campus of Princeton University in Princeton, New Jersey.
Send proposals (or short papers) on or before 1 August 2010 to both conveners at:Joseph_Pucci@brown.edu
hamlin.22@osu.edu
Participants must be members of the ALSCW and registered for the conference before attending (see link below). Short papers will be circulated among all participants two weeks before the seminar. The papers should expressly, specifically examine practices of allusion or the explanation of allusions. Textual examples may represent any genre, region, period, tradition, or literary movement. Yet the discussion of such examples ideally should be informed by explicit theoretical reflection, on such questions as:
• What are allusions?
• What factors determine how allusions are received and understood?
• What can and should be made (or cannot and should not be) of inferences and assertions concerning a writer’s allusive intent?
• Is allusion is more fruitfully placed among poetic figures (for example, some have analyzed it as a kind of metaphor) or among metapoetic performative gestures?
• Why might a given allusion seem so significant to some people who love a text, yet so negligible to others?
For more on ALSCW and its 2010 meeting, see:http://www.bu.edu/literary/
Troubling Subjects: Teaching Risky Texts
The Association for Bibliotherapy and Applied Literatures (ABAL) is pleased to announce a conference devoted to pedagogy: “Troubling Subjects: Teaching Risky Texts” to be held on April 27th-28th, 2011 at Wilfrid Laurier University in Waterloo. While there has been a significant body of scholarship on trauma, testimony and witnessing in narratives, there has been less critical attention to the work of bringing these texts into the classroom. This conference will focus on circulating strategies to teach texts that take up troubling subjects; have the potential to elicit emotional, powerful or volatile responses; or that provoke responses that may reinforce rather than undo stereotypical representations. What teaching strategies have you developed for narratives that make vulnerable subjects their focus? How do you negotiate cross-cultural encounters between students and texts? What are the risks and what are your pedagogical tools to minimize those risks? If you have had trouble with a particular text, what happened and what have you learned from the experience? Are there some texts that we shouldn’t teach?
ABAL invites you to submit a proposal (300 words) for a workshop, paper (to be discussed rather than read), roundtable, performance or demonstration. Times allotted will be flexible, according to the presentation and format. In your proposal, please outline your presentation plan, any audio-visual and space needs, and your requested time allotment. The deadline for proposals is Friday, December 3rd, 2010.
Please submit proposals and a 50 word biography to Deanna Reder, Assistant Professor of First Nations Studies in English, Simon Fraser University. dhr@sfu.ca or Tara Hyland-Russell, Associate Professor of English, St. Mary’s University College. tara.hyland-russell@stmu.ab.ca.
Please note that "Memory, Mediation, Remediation: An International Conference on Memory in Literature and Film" will be held on April 28-30, 2011 at Wilfrid Laurier University. Participants will have the opportunity of attending both conferences for a combined registration fee.
ABAL invites you to submit a proposal (300 words) for a workshop, paper (to be discussed rather than read), roundtable, performance or demonstration. Times allotted will be flexible, according to the presentation and format. In your proposal, please outline your presentation plan, any audio-visual and space needs, and your requested time allotment. The deadline for proposals is Friday, December 3rd, 2010.
Please submit proposals and a 50 word biography to Deanna Reder, Assistant Professor of First Nations Studies in English, Simon Fraser University. dhr@sfu.ca or Tara Hyland-Russell, Associate Professor of English, St. Mary’s University College. tara.hyland-russell@stmu.ab.ca.
Please note that "Memory, Mediation, Remediation: An International Conference on Memory in Literature and Film" will be held on April 28-30, 2011 at Wilfrid Laurier University. Participants will have the opportunity of attending both conferences for a combined registration fee.
New Approaches to Early Modern Historical Drama at NeMLA
2011 NEMLA Convention in New Brunswick, NJ, April 7-10, 2011. The history play has resisted attempts at definition. How are early modern history plays in conversation with historiography? Is re-telling English history substantively different from re-telling Roman history or continental history? Why was the genre so popular, and what triggered its decline? Who is represented in historical dramas, and who constitutes the “obscene” (offstage) persons of history? How do we reconcile a “Chronicle History of King Lear” with a “Tragedy of Richard II”? Is there something unique to historical drama that separates it from the popular historical poetry or fiction of the period? This panel welcomes submissions on any aspect of the historical drama of the early modern era, including studies of individual plays and playwrights. Abstracts are due no later than September 30, 2010, accompanied by a brief CV. Send submissions or inquiries to Miles Taylor, taylorme@lemoyne.edu, or via post at Le Moyne College, 1419 Salt Springs Road, Syracuse NY 13214.
Gendered Spaces in Medieval England
46th International Congress on Medieval Studies - Western Michigan University, Kalamazoo, MI-- sponsored by the Society for Medieval Feminist Scholarship
Women’s (and men’s) relation to the world is literally a reciprocity between body and space. Space and place largely controlled gender and social order in medieval through early modern England (and beyond). In turn, gender exercised considerable influence on the use and organization of space. “Status and gender were displayed physically and spatially every moment of the day, from a person’s place at table to the bed on which he or she slept,” from the boudoir to breweries, from convents to the alehouse, the garden to birthing ceremonies, even one’s place at the offertory of the mass. Yet, certain societal changes, including the growth of the market town, the migration of single women from country to town, single women taking jobs as household servants, women traveling --sometimes alone, as did Margery Kempe on occasion—began to affect the physical and symbolic barriers intended to control their access to economically and socially valued knowledge. On the other hand, was there “considerable gender overlap in the use of domestic space and in the authority that husbands and wives exercised both within the household and over access to it” as Amanda Flather (2007) argues? Did neighborhood networks have a way of co-opting private (and domestic) space into the public through neighbors helping each other or through local ties of kinship or habits of socializing? This session is particularly interested in how women occupied, negotiated, (re)defined, constituted, and mediated new meanings, new knowledge in the process of creating, transforming, contesting, disolving, (new) spaces during this period in England.
Possible topics of exploration include but are not limited to:
Domestic space
Rural and/or urban space
Pilgrimages and crossing boundaries
Sacred spaces (churches, chapels, sanctuaries)
Virtuous space
Public space
Professional space
Fictional (literary) spaces
Please send a 1- page (about 150 words) abstract, and a 2-pp. CV attachment to mc.bodden@marquette.edu by 15 September 2010.
Women’s (and men’s) relation to the world is literally a reciprocity between body and space. Space and place largely controlled gender and social order in medieval through early modern England (and beyond). In turn, gender exercised considerable influence on the use and organization of space. “Status and gender were displayed physically and spatially every moment of the day, from a person’s place at table to the bed on which he or she slept,” from the boudoir to breweries, from convents to the alehouse, the garden to birthing ceremonies, even one’s place at the offertory of the mass. Yet, certain societal changes, including the growth of the market town, the migration of single women from country to town, single women taking jobs as household servants, women traveling --sometimes alone, as did Margery Kempe on occasion—began to affect the physical and symbolic barriers intended to control their access to economically and socially valued knowledge. On the other hand, was there “considerable gender overlap in the use of domestic space and in the authority that husbands and wives exercised both within the household and over access to it” as Amanda Flather (2007) argues? Did neighborhood networks have a way of co-opting private (and domestic) space into the public through neighbors helping each other or through local ties of kinship or habits of socializing? This session is particularly interested in how women occupied, negotiated, (re)defined, constituted, and mediated new meanings, new knowledge in the process of creating, transforming, contesting, disolving, (new) spaces during this period in England.
Possible topics of exploration include but are not limited to:
Domestic space
Rural and/or urban space
Pilgrimages and crossing boundaries
Sacred spaces (churches, chapels, sanctuaries)
Virtuous space
Public space
Professional space
Fictional (literary) spaces
Please send a 1- page (about 150 words) abstract, and a 2-pp. CV attachment to mc.bodden@marquette.edu by 15 September 2010.
Tuesday, July 13, 2010
Shakespearean Adaptations and Appropriations (Roundtable)
Shakespeare and his characters sell everything from fishing equipment to candy. Popular television shows and movies have been inspired by Shakespeare’s plays. This roundtable will explore the ways in which Shakespeare and his plays ‘appear’ in modern popular culture. Participants will consider how these appropriations and adaptations use Shakespeare and examine the impact of these variations in the modern world. For roundtable at NEMLA Conference, New Brunswick, NJ, April 7-10, 2011. Please send an proposal of 250 words to Pamela Monaco, Brandman University, pmonaco@brandman.edu.
Monday, July 12, 2010
Always Look on the Bright Side of Life
(Okay, so this one isn't directly Renaissance-y, but it was such a great title that I couldn't resist reposting.)
Georgia State New Voices Conference 2010, October 7-9:
What makes us laugh? Why is humor such an important cross-cultural phenomenon and universal human trait? What are the genres of humor and comedy? Can postmodernism and critical theory be funny? How can we teach humor? What are the theories of laughter? How do we research and write about humor, comedy, laughter, wit, satire, and jokes across disciplines? How global is humor? What is the place of humor in academia and in popular culture?
The Georgia State New Voices 2010 conference is interested in an academic exploration of the role of humor in literature, rhetoric, and all its other myriad permutations. Interdisciplinary and collaborative submissions are not only welcomed, but encouraged, and we look forward to hearing from you all!
Abstracts should be limited to 500 words, and be submitted to NewVoices@langate.gsu.edu by September 1, 2010.
Georgia State New Voices Conference 2010, October 7-9:
What makes us laugh? Why is humor such an important cross-cultural phenomenon and universal human trait? What are the genres of humor and comedy? Can postmodernism and critical theory be funny? How can we teach humor? What are the theories of laughter? How do we research and write about humor, comedy, laughter, wit, satire, and jokes across disciplines? How global is humor? What is the place of humor in academia and in popular culture?
The Georgia State New Voices 2010 conference is interested in an academic exploration of the role of humor in literature, rhetoric, and all its other myriad permutations. Interdisciplinary and collaborative submissions are not only welcomed, but encouraged, and we look forward to hearing from you all!
Abstracts should be limited to 500 words, and be submitted to NewVoices@langate.gsu.edu by September 1, 2010.
Renaissance Trauma (NeMLA)
Renaissance Trauma
This panel seeks papers that explore the experience and/or representation of trauma in Early-Modern texts or of how Early-Modern cultural, religious, and political institutions dealt with trauma. Papers that look at trauma theory and its use in Early-Modern studies are also invited.
Papers might explore, but are not limited to the following issues:
-How trauma was experienced and represented in Early Modern literature and culture.
-How Early Modern cultural, religious, and political institutions dealt with trauma; Renaissance therapies
-Representations of mourning and melancholy
-How the current trauma theories of Cathy Caruth, Dominick LaCapra, Susan Brison, Judith Herman, and others might illuminate Early-Modern texts
-Whether the nomenclature and methods of trauma therapy should even be applied to Early-Modern experience
-How our understanding Early-Modern subjectivity might inflect our notions of therapeutic method
-Performing horror and secondary trauma in the theater
-The effects of plague
Send 250-500 word abstracts and a brief biography or CV with contact information and affiliation to Paul Rosa at paul.rosa@ncc.edu. Please also let me know if you have any AV needs.
Deadline for abstracts: September 30, 2010.
Consult the NeMLA web site (www.nemla.org) for more information about the conference and the organization.
Panelists may present only one paper at the convention, though they may submit abstracts for consideration to more than one panel.
This panel seeks papers that explore the experience and/or representation of trauma in Early-Modern texts or of how Early-Modern cultural, religious, and political institutions dealt with trauma. Papers that look at trauma theory and its use in Early-Modern studies are also invited.
Papers might explore, but are not limited to the following issues:
-How trauma was experienced and represented in Early Modern literature and culture.
-How Early Modern cultural, religious, and political institutions dealt with trauma; Renaissance therapies
-Representations of mourning and melancholy
-How the current trauma theories of Cathy Caruth, Dominick LaCapra, Susan Brison, Judith Herman, and others might illuminate Early-Modern texts
-Whether the nomenclature and methods of trauma therapy should even be applied to Early-Modern experience
-How our understanding Early-Modern subjectivity might inflect our notions of therapeutic method
-Performing horror and secondary trauma in the theater
-The effects of plague
Send 250-500 word abstracts and a brief biography or CV with contact information and affiliation to Paul Rosa at paul.rosa@ncc.edu. Please also let me know if you have any AV needs.
Deadline for abstracts: September 30, 2010.
Consult the NeMLA web site (www.nemla.org) for more information about the conference and the organization.
Panelists may present only one paper at the convention, though they may submit abstracts for consideration to more than one panel.
Monday, June 28, 2010
Collection of Critical Essays on Twelfth Night
Due to lack of good submissions we are reopening the CfP for Shakespeare's TWELFTH NIGHT. The new deadline is 31st August. But if you need more time please send an e-mail to suman.chakraborty@yahoo.co.uk.
--------------------------------
--------------------------------
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
--------------------------------
SUBMISSION PROCEDURE
--------------------------------
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 suman.chakraborty@yahoo.co.uk.
10. In your covering e-mail please mention clearly your name, contact details and your institutional affiliation (if any).
--------------------------------
SUBMISSION DEADLINE
--------------------------------
31st March 2010. Early submission appreciated.
--------------------------------
RIGHTS
--------------------------------
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.
--------------------------------
HONORARIUM
--------------------------------
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).
--------------------------------
CONTACT
--------------------------------
For any assistance and / or article submission, please contact the editor of the anthology Mr Suman Chakraborty at suman.chakraborty@yahoo.co.uk.
--------------------------------
--------------------------------
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
--------------------------------
SUBMISSION PROCEDURE
--------------------------------
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 suman.chakraborty@yahoo.co.uk.
10. In your covering e-mail please mention clearly your name, contact details and your institutional affiliation (if any).
--------------------------------
SUBMISSION DEADLINE
--------------------------------
31st March 2010. Early submission appreciated.
--------------------------------
RIGHTS
--------------------------------
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.
--------------------------------
HONORARIUM
--------------------------------
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).
--------------------------------
CONTACT
--------------------------------
For any assistance and / or article submission, please contact the editor of the anthology Mr Suman Chakraborty at suman.chakraborty@yahoo.co.uk.
Neomedievalism
Neomedievalism, as cultural antithetical fantasy to our ongoing “modernity,” has since Umberto Eco’s 1973 essay “Dreaming of the Middle Ages,” developed as mode of global/local geopolitical and socio-economic analysis. This panel seeks papers on aspects of neomedievalism in Renaissance to contemporary literature and popular culture (film, RPGs and videogames, comics, music), and sociopolitical theories (nation state fragmentation, faith vs. science, sovereignty, the postsecular, neoconservatism). 300-word abstracts to daniel.lukes@nyu.edu
**
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
Email address
Postal address
Telephone number
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.
**
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
Email address
Postal address
Telephone number
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.
Call for Abstracts: Reimagining the Archive
The Organizing Committee invites the submission of brief proposals for presentations (papers, demonstrations, installations, creative works, media) related to the following conference themes:
• 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): digital@ucla.edu
Student submissions are strongly encouraged
Proposals will be considered as they are received
• 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): digital@ucla.edu
Student submissions are strongly encouraged
Proposals will be considered as they are received
Wednesday, June 23, 2010
Out of Bounds: Mobility, Movement and Use of Manuscripts and Printed Books, 1350-1550
Twelfth Biennial Conference of the Early Book Society in collaboration with the Twelfth York Manuscripts Conference
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
English Department
Pace University
41 Park Row, 15th floor
New York, NY 10038
USA
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
projector).
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
English Department
Pace University
41 Park Row, 15th floor
New York, NY 10038
USA
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
projector).
Update: UVA-Wise Medieval-Renaissance Conference Deadline Extended
Keynote Address
Kathryn Reyerson
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
(276) 376-4587kjt9t@uvawise.edu
Submissions on Art, Music, and Continental Literature:
Amelia J. Harris
Academic Dean
UVA’s College at Wise
Wise, VA 24293
(276) 376-4557ajh7a@uvawise.edu
Submissions on History or Philosophy:
Donald Leech
Department of History and Philosophy
UVA’s College at Wise
Wise, VA 24293
dl4fh@uvawise.edu
Kathryn Reyerson
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
(276) 376-4587kjt9t@uvawise.edu
Submissions on Art, Music, and Continental Literature:
Amelia J. Harris
Academic Dean
UVA’s College at Wise
Wise, VA 24293
(276) 376-4557ajh7a@uvawise.edu
Submissions on History or Philosophy:
Donald Leech
Department of History and Philosophy
UVA’s College at Wise
Wise, VA 24293
dl4fh@uvawise.edu
Monday, June 21, 2010
Call for Essays on Gender and Space in Britain, 1660-1820
The editors of Gender and Space in Britain, 1660-1820 seek essays that identify, delineate, and explore new cartographies— geographic and metaphoric—of gender in literature authored by British women between 1660 and 1820.
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
*Professional Spaces
*Domestic Space(s)
*Sacred/Profane Places and Spaces
*Body 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 mnarain@tcu.edu and to gevirtka@shu.edu by September 1, 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
*Professional Spaces
*Domestic Space(s)
*Sacred/Profane Places and Spaces
*Body 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 mnarain@tcu.edu and to gevirtka@shu.edu by September 1, 2010.
Shakespeare on Film: What to Cut and What to Keep without Putting Us to Sleep
Shakespeare on Film: What to Cut and What to Keep without Putting Us to Sleep
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 parkerh@etsu.edu.
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 parkerh@etsu.edu.
Wednesday, June 16, 2010
Bloodwork: the politics of the body 1500-1900
Conference: “Bloodwork: the politics of the body 1500-1900”
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.
Plenary Speakers:
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
Questions:
•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: bloodwork@umd.edu.
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.
Plenary Speakers:
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
Questions:
•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: bloodwork@umd.edu.
Ut Pictura Poesis: Thinking about Representation in Late Medieval and Renaissance England
We are pleased to announce that the keynote speaker for the conference will be Dr. Steven Mullaney, renowned author of The Place of the Stage: License, Play and Power in Renaissance England. Additional featured scholars include Dr. Mary Silcox (McMaster University), Dr. Jamie Fumo (McGill University) and Dr. Katherine Acheson (University of Waterloo).
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:
• Mimesis
• 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
• Aesthetics
• 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 queensrencon@gmail.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
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:
• Mimesis
• 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
• Aesthetics
• 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 queensrencon@gmail.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
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