Shakespeare’s Globe Pops Up Downunder
The Shakespeare Conference: SHK 26.203 Friday, 24 April 2015
From: Team Pop-up Globe <
Date: April 23, 2015 at 2:37:56 AM EDT
Subject: Shakespeare’s Globe Pops Up Downunder
Here’s a fun story for Shakespeare’s birthday today - and the 399th Anniversary of his death. We’d be really grateful if you could find space to put this up, and help us to build the Pop-up Globe in time for next year’s 400th Anniversary.
Please feel free to contact us or Tobias Grant -
if you want any more info or to do any interview via Skype etc.
You can see some coverage here:
The release is below, and loads more stuff at www.popupglobe.com
High res stuff - images, video, press release - is at our media centre: http://bit.ly/1GkmFeR
The Pop-up Globe Team
Media release - 23 April 2015.
For immediate release.
Shakespeare’s Globe Pops Up Downunder
World-first full-scale Pop-up Globe Theatre to rise
in New Zealand for 400th anniversary of Shakespeare’s death
In exactly a year’s time the quatercentenary of William Shakespeare’s death will be marked with a performance of Shakespeare’s Twelfth Night in stunning Elizabethan costumes, staged in the world’s first Pop-up Globe - a full-scale temporary replica of Shakespeare’s second Globe Theatre - in Auckland, New Zealand.
Pop-up Globe is the brainchild of New Zealand-born UK-trained Doctor of Shakespeare Miles Gregory.
“Seeing Shakespeare’s plays performed in the environment they were written for is a completely unique experience – as much a party as a performance” say Dr Gregory, who has twenty years international experience producing and directing theatre, including for Shakespeare’s Globe, London.
Pop-up Globe will be a full-size temporary working replica of Shakespeare’s second Globe Theatre, made to its exact dimensions, designed using the world’s leading research, and big enough for a thousand people.
“This has never been done before”, Gregory adds.
Pop-up Globe will be built by Camelspace, local experts in constructing extraordinary temporary structures, present three months of theatre, celebrate Shakespeare’s life and work with a gala event on 23 April 2016, then tour the world.
“This is for more than Shakespeare lovers,” says Gregory, “It’s a thrilling live experience that puts the audience at the heart of the action. And with tickets starting from just $10, we can’t wait for opening night.”
The project has met with enthusiasm from Shakespeare's Globe London. "What a great idea” says Dominic Dromgoole, Artistic Director of Shakespeare’s Globe. “Touring Shakespeare has been a tradition since the plays were first written 400 years ago. We are delighted that the Globe building itself is now traversing the planet".
Tim Fitzpatrick, Associate Professor at Sydney University, on whose ground-breaking research the design has been based, says “Our research answers important questions around the shape and size of Shakespeare’s Globe, and challenges some of the fundamental assumptions made in the past about this fascinating theatre. People are going to be coming from the Northern Hemisphere to see this”.
“It’s a game changer” says Nick Brown, facilitator of Dramanet, a global forum of 695 drama teachers, and Pop-up Globe Education & Outreach Consultant.
“We’re expecting to see literally thousands of teachers and students participate in Pop-up Globe. It will radically alter the way Shakespeare is taught and understood in New Zealand for years to come”.
Pop-up Globe has launched an international Kickstarter campaign for funding the first-phase construction of the theatre. A multi-channel approach will then see final construction and operation funded through a combination of box office ticket sales, sponsorship, and state grants.
Dr Gregory says “We’ve been overwhelmed by the support we’ve already received from individuals and businesses both locally and internationally.”
“Now we’re looking for sponsors, arts donors, and proud New Zealanders to join us and help make this project the best it can be”.
MEDIA CENTRE: For press release, high-res images and video, visit: http://bit.ly/1GkmFeR
For further information contact:
T: +64 21 607 277
About Shakespeare’s Second Globe Theatre
The first Globe theatre was built in 1599 and stood for only 14 years. It burned down during a performance of Shakespeare's Henry VIII, when a piece of wadding fired from a cannon set the thatched roof alight. Incredibly, all three thousand audience members apparently escaped without injury, except for one man whose flaming trousers were doused by a bottle of ale.
The second Globe was immediately built on the same foundations at the then vast cost of £1,400. It thrived for almost 30 years, from 1614-1642, when the outbreak of the English Civil war forced its closure and eventual demolition some years later.
The design of the Pop-up Globe is rigorously based on the groundbreaking historical research undertaken by Professor Tim Fitzpatrick and Russell Emerson of Sydney University Department of Performance Studies over a five year period.
This has resulted in a new reconstruction of the probable shape and size of the second Globe Theatre that is quite different in size and shape from Shakespeare’s Globe completed in 1997 on Bankside, London.
Fitzpatricks research indicates that the standing space in the yard should be nearly 50% smaller than the London Globe, and the stage should have only two doors. The dimensions of the building itself are some 10% smaller than the London Globe.
About Dr Miles Gregory
“At long last, a director that does Shakespeare – and indeed theatre - the way it should be done” The Stage, UK
“Fizzing with talent”, The Independent, UK
Aged twenty Miles Gregory experienced a Shakespeare performance at Shakespeare’s Globe, London for the first time. The experience changed his life. He realized his destiny would be to bring the magic of Shakespeare alive so that others can enjoy the same incredible experience that for him was so profound.
Dr Gregory holds a PhD in Shakespearean performance from the University of Bristol and a Master of Fine Art in Staging Shakespeare from the University of Exeter. He is an acclaimed international director and producer of Shakespeare. Miles grew up in Auckland, New Zealand, and has returned to bring to life his dream: Pop-up Globe.
The idea struck him when he was reading a book about theatres with his youngest daughter. “The Globe Theatre literally popped up,” he recalls, “and my daughter asked me if we could go there. I thought long and hard, and this is the result.”
The Shakespeare Conference: SHK 26.202 Friday, 24 April 2015
From: Hardy M. Cook <
Date: Friday, April 24, 2015
Dear SHAKSPER Subscribers,
Next web Ron Severdia will be redoing the SHAKSPER web site for smoother operations, a newer look, and better e-mail functions. So there will be no further Newsletters until installation and migration are completed. It should take about a week to complete. MY
address should still be working so you may keep sending in submissions.
In a few hours, I leave with my older daughter Melissa and son-in-law Bill for the weekend to see my younger daughter Rebecca in her final college performance (graduation May 16th) as Richard Burbage in Bill Cain’s Equivocation.
The Bryn Mawr College Shakespeare Performance Troupe is one of the oldest and most popular organizations at Bryn Mawr College. All in the area are invited.
A notice about the production is below:
Come see Bryn Mawr College Shakespeare Performance Troupe’s second spring production: Equivocation, by Bill Cain. Complete with a lot of Shakespeare-inspired humor, political thrilling-ness, the gunpowder plot of 1605, a Scottish king, a priest, WITCHES, sarcasm, actors playing actors playing characters and MORE!
Friday, April 24th at 7:30 PM
Saturday, April 25th at 7:30 PM
All in Rhoads Dining Hall
Doors for each production open 30 minutes before curtain (7:00 Friday and Saturday)
Content Warning: this show features simulated hangings, a beheading, discussion of and some simulation of torture (a la 1605), and strong use of language
Questions? Contact Lindsey Foster at lcfoster.brynmawr.edu or Lyntana Brougham at
Gail Kern Paster April 20 at 3:30
The Shakespeare Conference: SHK 26.195 Monday, 20 April 2015
From: Jeffrey Griswold <
Date: April 16, 2015 at 3:55:30 PM EDT
Subject: Gail Kern Paster April 20 at 3:30
On Monday, April 20 at 3:30, Gail Kern Paster will be giving a talk titled “Bodies without Borders: King Lear, Lady Macbeth, and the Ecology of Their Passions.” The talk with be held in Tawes 2115 and is part of the Marshall Grossman Lecture Series. This paper has overlapping interest with affect theory, the subject/object divide, and poetic form.
Gail Kern Paster is the editor of Shakespeare Quarterly, the former director of the Folger Shakespeare Library, and Professor Emeritus of English at The George Washington University. She is the author of numerous scholarly articles and three books— Humoring the Body: Emotions and the Shakespearean Stage (2004), The Idea of the City in the Age of Shakespeare (1986), and The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England (1993), as well as the co-editor of the Bedford Books’ Midsummer Night’s Dream: Texts and Contexts (1998), editor of Thomas Middleton’s 1607 comedy, Michaelmas Term (2000), and co-editor (with Mary Floyd-Wilson and Katherine A. Rowe) of Reading the Early Modern Passions: Essays in the Cultural History of Emotion (2004).
Jeffrey B. Griswold
Department of English
University of Maryland
The Shakespeare Conference: SHK 26.194 Monday, 20 April 2015
From: Gabriel Egan <
Date: April 20, 2015 at 5:43:29 AM EDT
Subject: Call for Papers: ESTS
The Bibliographical Society has kindly agreed to fund four “Bibliographical Society Studentships” for the conference “Users of Scholarly Editions: Editorial Anticipations of Reading, Studying and Consulting”, the 12th annual meeting of the European Society for Textual Scholarship (ESTS), to be held in Leicester, England, on 19-21 November 2015.
The Call for Papers for the conference is copied below. The best four proposals for papers by post-graduate applicants will each receive a 60 GBP bursary to defray their costs in attending the conference to give their papers. Applicants should mention in their proposals that they are post-graduate students.
"Users of Scholarly Editions: Editorial Anticipations of Reading, Studying and Consulting"
The 12th Annual Conference of the European Society for
Textual Scholarship (ESTS) will be held at the Centre
for Textual Studies, De Montfort University, Leicester
England 19-21 November 2015
The ESTS returns to Leicester where it was founded in 2001 to stage a major collective investigation into the state and future of scholarly editing. Our focus is the needs of users of scholarly editions and proposals for 20 minute papers are invited on topics such as:
* Are users' needs changing?
* How does edition design shape use?
* Stability in print and digital
* Where are we in the study of mise en page?
* Facsimiles and scholarly editions
* Collaborative and social editing
* Editorial specialization in the digital age
* APIs and mashups versus anticipation
* The logic of annotation
* Is zero the best price point for editions?
* Readers versus users
* Can we assume a general reader'?
* Indexing and annotation versus search
* Editors, publishers and Open Access
* Is technology changing editing?
* Digital editions or digital archives?
* Are editions ever obsolete?
* Scholarly editions versus popular editions
* Any other topic related to the use or users of scholarly editions
Plenary Speaker (subject to confirmation) include:
Hans Walter Gabler (Munich University)
David Greetham (City University of New York)
Tim William Machan (Notre Dame University)
Gary Taylor (Florida State University)
Elaine Treharne (Stanford University)
Andrew Prescott (Glasgow University)
Hands-on workshops will be given on setting movable type, letterpress printing, and getting started with XML.
Proposals (max 300 words) for 20-minute papers should be emailed to Prof Gabriel Egan <
> by 15 May 2015
See http://cts.dmu.ac.uk/ESTS for information and registration
CFP: Postgraduate Shakespeare Conference on “Waste”
The Shakespeare Conference: SHK 26.193 Monday, 20 April 2015
From: Paul Hamilton <
Date: April 18, 2015 at 1:26:31 PM EDT
Subject: CFP: Postgraduate Shakespeare Conference on “Waste”
To SHAKSPER List:
Would you be so kind as to send this Call For Papers for a postgraduate Shakespeare conference on the topic of “waste” (that I am helping to organize) at the Rose Theatre in Kingston on Saturday, 23 May?
We are also beginning a new Shakespeare seminar for postgraduates, in coordination with the London Graduate School entitled “Kingston Shakespeare Seminar in Theory” (also advertised on that page).
Kingston Shakespeare Seminar (KiSS)
Kingston Shakespeare Seminar in Theory
ANNOUNCING A NEW SERIES OF SHAKESPEARE EVENTS FOR POSTGRADUATE STUDENTS AND EARLY CAREER SCHOLARS
Kingston Shakespeare Seminar (KiSS), part of the London Graduate School, announces the launch of Kingston Shakespeare Seminar in Theory (KiSSiT): a series of seminars and conferences for postgraduate students and early career scholars with an interest in Shakespeare, philosophy and theory. The program will be committed to thinking through Shakespeare about urgent contemporary issues in dialogue with the work of past and present philosophers – from Aristotle to Žižek.
It is intended that one-day KiSSiT conferences will be held three times a year at the Rose Theatre, Kingston-upon-Thames, which was developed by the great director Sir Peter Hall to be a ‘teaching theatre’, where actors and academics would work together. KiSSiT events will be free and open to all.
The inaugural KiSSIT conference will take place at the Rose Theatre on Saturday 23 May, 2015, on the theme of SHAKESPEARE AND WASTE (see CFP below). Auditors are also encouraged to attend. Confirmed speakers include Scott Wilson (Kingston University) and Peter Smith (Nottingham Trent University).
Although there is no attendance fee, seating is limited, and registration is necessary: see email contact below.
Reduced-price tickets will be available to all participants for the evening performance at the Rose Theatre of Jonathan Miller’s acclaimed production of King Lear, starring Barrie Rutter
CFP: SHAKESPEARE AND WASTE
The Oxford English Dictionary lists three main senses for ‘waste’ in the English language:
Waste or desert land
Action or process of wasting
Waste matter, refuse
The conference invites abstracts for 20 minute papers which fit under these broad headings
Papers might consider, but are not limited to, the following areas and questions:
The early modern association between waste and idleness
The link between waste (land) and wilderness
Economic concerns relating to Shakespeare
Do waste products of the body suggest a leveling and/or intensification of social hierarchy?
The relationship between human waste and abjection
The concept of human waste associated with digestion, purging, emetics, and / or blood-letting
The concept and processes of ‘catharsis’ in relation to waste
Waste in King Lear
What does the imagery of contamination by human waste (muddy fountains / cisterns, stains, filth) suggest about the relationship between racial and ethnic groups?
Human waste as the traditional Protestant symbol of money; conversely, money as the denial of feces and its evocation of the human body as pure physicality
Organizers: Johann Gregory, Paul Hamilton, Anne Sophie Refskou, Timo Uotinen, Richard Wilson.
Please submit abstracts and brief CVs, or register as an auditor, by emailing the organizers at
before 1 May, 2015 (auditors may register before 15 May)
Please indicate whether you would like to book a ticket for King Lear in your mail.
The Shakespeare Conference: SHK 26.189 Thursday, 16 April 2015
From: Matt Nickerson <
Date: April 16, 2015 at 11:22:28 AM EDT
Subject: Wooden O Symposium
FINAL CALL FOR PAPERS
The Wooden O Symposium invites panel and paper proposals on any topic related to the text and performance of Shakespeare’s plays. The conference also seeks papers/panels that investigate how his works reflect or intersect with early modern life and culture.
The deadline for proposals is May 1, 2015. Session chairs and individual presenters will be informed of acceptance no later than May 15. Please include 250-word abstracts or session proposals (including individual abstracts) and the following information:
• Name of presenter(s)
• Participant category (faculty, graduate student, undergraduate, or independent scholar)
• College/university affiliation
• Mailing address
• Email address
• Audio/visual requirements and any other special requests.
This year’s symposium encourages papers and panels that speak to the Utah Shakespeare Festival’s 2015 summer season: The Taming of the Shrew, Henry IV Part Two, and King Lear. Abstracts for consideration for the Wooden O sessions and individual presentations should be sent to
Submit the abstract or proposal
via post or e-mail to:
Wooden O Symposium
c/o Utah Shakespeare Festival
351 W. Center St.
Cedar City, UT 84720
The Wooden O Symposium will be held August 3-5, at Southern Utah University in Cedar City, Utah. The Wooden O Symposium, sponsored by the Utah Shakespeare Festival and Southern Utah University, is a cross-disciplinary conference focusing on the text and performance of Shakespeare’s plays, and is held in one of the most beautiful natural settings in the western U.S.
For further information, call
Shakespeare Works When Shakespeare Plays
The Shakespeare Conference: SHK 26.188 Thursday, 16 April 2015
From: Kevin Costa <
Date: April 15, 2015 at 9:22:44 PM EDT
Subject: Shakespeare Works When Shakespeare Plays
Shakespeare Works When Shakespeare Plays
A Professional Development Conference for Teachers
September 18 - 20, 2015
McDonogh School, Owings Mills, MD
Join education leaders from the US and the UK for a three-day immersion in performance-based approaches to teaching Shakespeare's plays.
In 2012, Shakespeare’s Globe in London partnered with UC-Davis’s School of Education to create a professional development conference on teaching Shakespeare, which took place at the Mondavi Center on the campus of UC-Davis. The idea was to help K-12 and undergraduate English teachers with ways of teaching Shakespeare’s works through play and performance by gathering some of the English-speaking world’s thought leaders on the most effective ways of teaching Shakespeare.
Participants will be up on their feet with education directors from award-winning theatres who will help bring Shakespeare’s plays to life for students. Teachers will come away from the conference with “Monday-Morning-Ready” lessons and activities that are engaging, rigorous, and fun. Particular attention will be paid to how these approaches fully support the outcomes prescribed by the Common Core State Standards. Additionally, this conference will provide thoughtful and practical ideas in support of 21st-Century learning competencies, appealing broadly to both public and independent school teachers as well as to teachers of undergraduate students.
Academic credits available at UC Davis’ University Extension.
Shakespeare Works when Shakespeare Plays will take place on the beautiful campus of McDonogh School, located in Owings Mills, MD, just 20 minutes from Baltimore and from BWI Airport.
Kevin J. Costa, Ph.D.
Chesapeake Shakespeare Company
Folger National Teacher Corps
Louis Marder’s Remaining Collection Placement
The Shakespeare Conference: SHK 26.187 Thursday, 16 April 2015
From: Laurie Marder <
Date: April 15, 2015 at 4:20:40 PM EDT
Subject: Louis Marder’s Remaining Collection Placement
I am Lou Marder's granddaughter.
I can’t believe it it’s been more than 4 years since I rescued boxes and boxes and boxes of paper from heading to the dumpster (it seems some of my grandfather’s proclivities skipped a generation). As you know, the “valuable” collectibles ended up going to auction (with largely depressing results), and the books to an antiquarian bookseller. That still leaves a whole lot of stuff.
I think what I’m hoping for is answers/suggestions/ideas...maybe connections/referrals... please feel free to forward my e-mail to anyone who might be a resource...or if you feel it would be appropriate, post relevant portions to SHAKSPER or other groups...
Initially I did manage to catalog his journal collection:
(I’ve since found others tucked away in files...started adding these yesterday in purple. I’ve also tossed a couple titles since cataloguing. A few of the titles—MLA, Theatre Notebook, a few others I think—are still being sent, but recent issues are in another box in storage). I think where I got sidetracked 4 years ago was in my hunt for a database that would accept OCR-friendly scans/photos of title pages, as well as a speedy way to acquire those images/pdfs. I think I was also stumped (overwhelmed?) regarding how to advertise/publicize the availability of the collection. Next thing I knew it was 4 years later.
I know that many of the titles have long since been completely digitized, and others are just not relevant to anyone. There are a few that are extremely rare (only one or two holdings worldwide according to the OCLC; if I recall correctly, one or two titles didn’t show up at all!), and others that aren’t necessarily rare but also don’t appear to have been digitized. I’m ashamed to say that I’m hoping to find buyers for as much as possible, but I’d rather donate (so long as someone pays for shipping) than recycle.
The above inventory does not include back issues of The Shakespeare Newsletter. I initially offered the whole lot to Iona College ...they didn’t have a place for them, nor the funds for shipping. I do, however, plan to send them the subscription books and a bound volume of 1951-196.... Last week I found all his correspondence files related to SNL submissions....and so on. He was involved in so many things that so much of the correspondence could be cross-referenced under multiple index entries. Ugh. Back to that in a bit.
Last week... I went through the 19 boxes of SNL, setting aside a max of 10 of each issue (then, guilt-ridden, a second set of 10, then maybe five more....no...just 10...no...what if....? The first time I ran across 50+ copies of a single issue I worried that maybe he’d forgotten to mail out that particular issue! I was relieved (in a sense; guilt-ridden in another) when I started encountering mass quantities of other issues as well. That said, as I glance through correspondence files and run across numerous letters mentioning missing/delayed issues and subscriptions.... Ugh. Anyway, I boxed up the “max of 10” issues (as well as a single set for myself; I’m missing only about six or seven post-1964/pre-Iona issues). Not that I know what to do with those (I’ll come back to this too), but, do you think it’s reasonably safe to dump the remainder into recycling, or do you know of a market for these somewhere? It’s bad enough that his collection and library was split up, and that his SDB dream was never realized, that I feel awkward about tossing too many issues of SNL.
Having been a professional historian at one time, I feel like I’m sitting on a potential gold mine—a gold mine and a noose. I’m not sure if this is common or not, but his correspondence files almost always contain copies of his own outgoing letters in addition to the letters he received.
Last week it hit me that, while I’d been assured that my aunt hunted high and low for someone to take Lou’s collection, his papers were likely the last thing on her mind, so I contacted UIC. I figured I’d follow up with Kent State, UNC-Pembroke, Columbia, and Brooklyn College, if UIC isn’t interested. In the meantime, however, I’ve continued perusing what’s here.
One category of files that I’ve come pretty close to disposing is the mass of correspondence in response to his advertisements seeking Shakespeareana and the masses of receipts and business cards for his purchases. I’ve found a few interesting bits of correspondence, as well as provenance information for items long-since sold (e.g., proof that a dagger did indeed belong to Edwin Booth, who made it, how the seller came to have it, etc. It really annoys me every time I run across something like this that “tells a story” about something from his collection). But, just as I’m about to dispose of all but a handful of letters and such, I imagine a possible research topic for which someone, somewhere would consider even this pile of paper to be valuable. <sigh> I am my grandfather’s granddaughter.
SDB files. At least one entire box of the above consists of SDB submissions. Is someone still working on this (under a different name, perhaps)? Have things in this box already been entered? Or has the whole project been abandoned? Another “complication”—separating SDB submissions from correspondence about the whole SDB process/dream...
Here is where things get really crazy. In spite of being “my grandfather’s granddaughter,” I didn’t catch the Shakespeare bug, but I am fascinated by his passion, his drive, etc., and as I’ve read some of his correspondence, articles he’s written, and articles written about him I wonder if there might be a “story” here. Several “stories,” in fact, and not just limited to an audience of other Shakespeare scholars and/or fanatics. Hell, even just compiling a collection of his essays/editorials from 40+ years of SNL seems like “something” ... a jumping-off point...one avenue. For a few days I was bouncing back and forth between the SNL boxes and the correspondence boxes, and I would find references in correspondence to something I’d seen in passing in SNL, or in some other box, or a reference in SNL that explained some massive pile of souvenirs/ephemera/memorabilia. Cross-references in physical space/objects rather than in an index. Often things that, taken alone, don’t seem especially interesting, but that become relevant when the three or more “outposts” are brought together. I know and appreciate Lou Marder far, far more now than I ever did when he was alive, but my interest here is in him as an interesting and eccentric individual who had a wealth of knowledge and non-stop ideas and vision. I won’t say he was failure as a father, husband, and grandfather, but, well.... his interests and talents were devoted elsewhere. In other words, it’s not sentimentality that keeps me buried in his papers and wondering whether there is something here.
Clearly (I think it’s clear, anyway), one of the more significant topics is his pursuit of the SDB. I was blown away when I found a letter he wrote in 1957 proposing the idea. 1957! A couple days ago I came across the roster for an IBM seminar he attended in 1958 – all sorts of scientists, engineers, corporate reps, and him (also a psychology prof). Anyway, so much of the correspondence on the subject (directly with IBM, Kodak, and many others) goes well over my head, but if some “computer historian” were writing an account of his “journey” (perhaps his and his contemporaries’)....
Similarly, accounts of some of his other greater passions, e.g., the authorship controversy (including the friendship between him and Francis Carr), The Globe reconstruction, teaching Shakespeare, would be better written by someone who knows Shakespeare... yet there’s something about Lou’s way with words (and passion) when he wrote about these things that it seems like there is potential for the topics to be interesting to someone like me... I’m writing/thinking in circles. Trying to put my chaotic brainstorm into an e-mail to a stranger.
There is one folder filled entirely with correspondence with his Chinese friends (fans of Shakespeare). I also had no idea how many times he’d been “published” in places other than SNL, nor in how many articles have been written about him.
I would even be interested in including the more challenging aspects of his personality and efforts, e.g., the ADHD likelihood (the greatest argument we ever had was when I revealed to him my own Adult ADHD diagnosis, inattentive type), and how it impacted him, personally and professionally. How it helped, how it hurt, and whether it can help explain some occasional poor decisions. Forty years’ worth of correspondence reveal recurring themes. :)
There are also other bunches of stuff are in limbo between (among?) archives/salable/trash/donations – programs, posters, engravings (book illustrations), slides, LPs, filmstrips, etc.
Anyway, this has all been preventing me from getting on with my life, both in the physical sense (too much stuff to move from point A to point B, too “valuable” to just throw away) and in the intellectual/emotional sense (sense of obligation, overwhelm, fear of doing the wrong thing, and yet also believing there’s a worthwhile writing/research project here but not knowing where—or having the confidence—to begin). Ages ago I had an idea of creating a Lou Marder website...if only I had. On the one hand I’m in an excellent place now (literally and figuratively) for finally doing it, but on the other, unfortunately, the need for income and getting rid of an enormous amount of stuff has become too urgent.
Kind of ironic, isn’t it? Confidence is one thing that Lou Marder never lacked.
Thank you for wading all the way through this, and in advance for any assistance/leads you can offer!
Graduate Scholar-in-Residence Program | Newberry
The Shakespeare Conference: SHK 26.183 Wednesday, 14 April 2015
From: Hardy Cook <
Date: April 12, 2015 at 12:56:05 PM EDT
Subject: Graduate Scholar-in-Residence Program | Newberry
Graduate Scholar-in-Residence Program
The Newberry Graduate Scholar-in-Residence program encourages PhD candidates in the humanities to conduct research in our collection and to join our community of scholars for a full academic year. We invite graduate students with advanced PhD candidacy to apply for this status, with preference given to those whose dissertation projects are well advanced. Graduate Scholars-in-Residence at the Newberry are expected to be “in residence” at the Newberry at least 10 hours per week from September to May, which will enable them to make good use of the collection and participate in the Newberry’s intellectual community. Like postdoctoral Scholars-in-Residence, Graduate Scholars-in-Residence should be willing to provide a small amount of service to the Newberry. Although the Newberry cannot offer remuneration to Graduate Scholars-in-Residence, we can offer some privileges, including reserve carrel space for paged materials, access to the Newberry during extended hours, and opportunities to present work-in-progress to the Newberry’s scholarly community.
Applications to become a Graduate Scholar-in-Residence are accepted each year in the spring. The applications for the 2015-16 academic year are due on May 1, 2015. We expect to notify applicants about their acceptance in June 2015. New Graduate Scholars-in-Residence are expected to begin their residences in the first week of September so that they can join the new long-term fellows in Fall Orientation activities.
If you have any questions about the webform, application materials, or the Graduate Scholars-in-Residence program, please email
Apply to be a Newberry Library Graduate Scholar-in-Residence
Please read the following Application Guidelines carefully before submitting your application.
Using the Webform
All application materials must be submitted together electronically through the appropriate Newberry Library webform. The webform cannot be submitted partially, nor can it be revised once it has been submitted. Applicants must complete the webform and upload their project description and CV in order for their application to be considered complete.
The Newberry will not accept re-submissions of materials. Once an application has been submitted, the Newberry will not accept any revisions or updates.
The Newberry will not accept application materials through postal or electronic mail.
PDF files are preferred but not required. The server will accept .doc, .docx, or .pdf files.
The Newberry server cannot accept attachments larger than 10 MB.
After you have successfully submitted your application, you will receive a confirmation screen. You will also receive an electronically generated email within 24 hours. If you have not received an email within the allotted time, please check your spam folder before contacting us.
The Graduate Scholar-in-Residence application consists of four elements, which will be reviewed by a sub-committee of the Newberry’s Academic Council.
1. The Webform, which asks for contact information, project information, and other details pertaining to being a Graduate Scholar-in-Residence at the Newberry. The Graduate Scholar-in-Residence Webform can be found here. Remember: Webforms cannot be saved for submission at a later date, and the Newberry will not accept additional or amended application materials once it has been submitted.
2. A Project Description of no more than 1,000 words. This document should describe the research project, explain its significance, enumerate the Newberry materials to be consulted, and outline a plan of work. Additionally, please describe any other ways that being in residence at the Newberry will help advance your dissertation. When prompted, upload the project description to the webform.
Please note that candidates’ need for and intensive use of the Newberry’s collections is a crucial factor in our consideration of applications. Thus, please be as specific as possible about the Newberry materials you would like to use. For information about the Newberry’s collection, see our Core Collections and consult the Online Catalog.
3. A current Curriculum Vitae (CV) of no more than five pages. Upload your CV to the webform when prompted. Please use the following commonly accepted terms to describe forthcoming publications:
“in progress” (not yet completed or submitted)
“submitted” (currently under review at a journal or press)
“accepted” (contracted for publication; currently under revision)
“in press” (in the hands of copy editor, typesetter, or printer)
4. Two Letters of Recommendation. These letters are required by the same deadline as all other application materials. Applicants are responsible for contacting their referees and making sure they submit their letters on time. Letters must be submitted through the Letter of Reference Webform.
Additional Information about Letters of Reference
Graduate Scholar-in-Residence applicants must have their dissertation advisor submit one of their letters of reference.
Letters must come directly from the letter writer, not from the applicant.
The Newberry will not accept letters sent through postal or electronic mail. We strongly prefer letters to be submitted via the Letter of Reference Webform.
Each letter should speak to the proposed project, the value to the applicant of a residency at the Newberry as well as to the qualifications of the applicant. Letters that speak of the applicant’s project in specific terms are more effective than general letters from a dossier.
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Digital Renaissance Editions Launched
The Shakespeare Conference: SHK 26.182 Wednesday, 14 April 2015
From: Brett D. Hirsch <
Date: April 11, 2015 at 10:01:23 AM EDT
Subject: Digital Renaissance Editions Launched
DIGITAL RENAISSANCE EDITIONS
Digital Renaissance Editions officially launched during the Shakespeare Association of America meeting in Vancouver, on Saturday 4 April 2015. The project launched its new website with completed editions of The Honest Whore Parts One and Two (edited by Joost Daalder) and An Humorous Day's Mirth (edited by Eleanor Lowe).
Digital Renaissance Editions publishes open-access critical editions of non-Shakespearean early English drama and related materials. Each edition offers a fully annotated modern-spelling text, collations of textual variants, facsimiles and transcriptions of early textual witnesses, and generous introductions and commentary. A growing database of multimedia performance materials supplements the editions, and critical essays on topics relevant to the study of early English drama are soon to be commissioned. Digital Renaissance Editions shares the publication platform developed by the Internet Shakespeare Editions, allowing for complementary interlinking between both projects' editions and content. All content is subject to rigorous peer review, and is completely open access.
Some 50 scholars, theatre practitioners, directors of stage and screen, software developers and designers from around the world serve on the project's editorial and advisory boards. Such a project also relies on its users -- the scholarly community in particular -- to grow and thrive. We invite you to join our mission to expand the canon of early modern drama, one play at a time. We welcome your contributions, whether by proposing to edit a play for the series, submitting materials to the performance database and Critical Companion, using the completed editions and works-in-progress in your teaching and research, or by simply reporting bugs, errors, and areas of possible improvement to us. We have much to accomplish, and this is only the beginning.
Brett D. Hirsch
Coordinating Editor, Digital Renaissance Editions