Announcements

Orson Welles - Mercury Theater - 1938 Recordings, including Julius Caesar and 4-Minute Video of Voodoo Macbeth

The Shakespeare Conference: SHK 25.369  Tuesday, 26 August 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 26, 2014 at 7:27:45 AM EDT

Subject:    Orson Welles - Mercury Theater - 1938 Recordings, including Julius Caesar and 4-Minute Video of Voodoo Macbeth

 

I learned from Will Sutton of the availability of audio recordings of the Mercury Theater, which may be downloaded or streamed from the Internet Archive:

 

https://archive.org/details/OrsonWelles-MercuryTheater-1938Recordings

 

These include Julius Caesar.

 

1914 Film from Folger Shakespeare Theater Digital Image Collection 

 

Mercury Theater’s radio programmes - 17 from 1938 (July-November) and 2 from 1946
 

BONUS: 1988 Special Programme - Mercury Theater Remembered with appearances and voices of those who worked in those programmes and still remember how Welles used to work.
 

 

* * * * * * * * * * * * * * * * * * * * * * * * * *

In 1937, Welles and the Mercury company earned a reputation for their inventive adaptation of William Shakespeare’s Julius Caesar set in contemporary Fascist Italy. They moved on to productions of The Shoemaker’s Holiday, Heartbreak House, Too Much Johnson and Danton’s Death in 1938. In 1939 Five Kings was produced along with The Green Goddess. The last theatrical production of the company was Native Son in 1941. 

 

Welles had already worked extensively in radio drama, playing the title character in The Shadow for a year and directing a seven-part adaptation of Victor Hugo’s Les Misérables, both for the Mutual Broadcasting System. In 1938, he was offered a chance to direct his own weekly, hour-long radio series, initially promoted as First Person Singular. However, this title was never announced on the air. Radio Guide initially mentioned the series’ debut as Mercury Theatre before later listing it as The Mercury Theatre on the Air.
 

Welles insisted his Mercury company — actors and crew — be involved in the radio series. This was an unprecedented and expensive request, especially for one so young as Welles. Most episodes dramatized works of classic and contemporary literature. It remains perhaps the most highly regarded radio drama anthology series ever broadcast, most likely due to the creativity of Orson Welles.

 

The Mercury Theatre on the Air was an hour-long dramatic radio program which began in the summer of 1938 on the CBS radio network. Paul Holler, writing in Critique, described the program’s origin: Radio, with its power to excite the imagination and actually involve the audience in the creative process, had huge potential as a medium for serious drama. It seemed inevitable that the day would come when this medium, which had made Orson Welles a household name across the country, would become a part of his serious theater ambitions. That day came in 1938.
 

It was in that year that CBS, remembering Welles’ work on Les Misérables the year before, approached him and Houseman about a series of radio dramas for its summer schedule. The idea was conceived as a series of narratives under the title First Person Singular. But the series would be best remembered by the name it assumed with its second production, The Mercury Theatre on the Air.
 

As with Les Misérables the previous year, Welles was given complete creative control by CBS over the new series. The choices he made in developing the series were informed by what he had learned in previous years in other radio dramas. Chief among those choices was to create dramas specifically for the radio and not to simply adapt dramas in production at the Mercury Theatre for broadcast. In close collaboration with John Houseman and other writers, Welles wrote, directed and performed in the productions. The end result was a series of dramas based on literary, rather than dramatic, works. There were exceptions, most notably Our Town by Welles’ early mentor Thornton Wilder. But it was clear to Welles and Houseman that the medium of radio suited the telling of a story far better than the dramatization of it. As a result, some of the most memorable Mercury Theatre on the Air productions were adaptations of great novels. Adventures of Huckleberry Finn, A Tale of Two Cities, The Magnificent Ambersons, Heart of Darkness and other major literary works were offered to radio audiences during the Mercury Theatre on the Air’s run. 

 

Houseman wrote the early scripts for the series, turning the job over to Howard Koch at the beginning of October. Music for the program was conducted by Bernard Herrmann. Their first radio production was Bram Stoker’s Dracula, with Welles playing both Count Dracula and Doctor Seward. Other adaptations included Treasure Island, The Thirty-Nine Steps, The Man Who Was Thursday and The Count of Monte Cristo.
 

Originally scheduled for nine weeks, the network extended the run into the autumn, moving the show from its Monday night slot, where it was the summer substitute for the Lux Radio Theater, to a Sunday night slot opposite Edgar Bergen’s popular variety show.
 

The early dramas in the series were praised by critics, but ratings were low. A single broadcast changed the program’s ratings: the October 30, 1938 adaptation of H. G. Wells’ The War of the Worlds.

 

Possibly thousands of listeners thought Martians were in fact invading the earth, due to the faux-news quality of most of the broadcast. Significant publicity was generated, and The Mercury Theatre on the Air quickly became one of radio’s top-rated shows.
 

The War of the Worlds notoriety had a welcome side effect of netting the show the sponsorship of Campbell’s Soup, guaranteeing its survival for a period, and beginning on December 9, 1938, the show was retitled The Campbell Playhouse. The company moved to Hollywood for their second season, and continued briefly after Welles’ final performance in March 1940. Welles revived the Mercury Theatre title for a short series in the summer of 1946.

Welles used the banner “Mercury Productions” on many of his films, and several of the actors from his Mercury Theatre Company appeared in them, notably in Citizen Kane, The Magnificent Ambersons and Macbeth.

 

[ . . . ]

 

After posting Will’s link to The Mercury Theater recordings on Facebook,  I learned from Bob Sawyer of a 4-minute video of the Voodoo Macbeth

 

https://www.youtube.com/watch?v=Xa9Mjfr5foY

 

Orson Welles & the Federal Theatre Project’s 1936 “Voodoo” Macbeth (with Annotations)

 

 

Globe King Lear at Folger Library and Others

The Shakespeare Conference: SHK 25.368  Tuesday, 26 August 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 26, 2014 at 10:12:12 AM EDT

Subject:    Globe King Lear at Folger Library and Others

 

[Editor’s Note: The final performance I saw at The Shakespeare’s Globe Theatre in London was King Lear with Joseph Marcell as Lear. This was an eight-actor Lear (two supernumeraries) with an ingenious doubling technique. At the back of the stage was a rack with various costumes hanging from it. As the as an actor changed roles, he or she would doff a different costume from the rack. I though it was highly effective. I also thought Marcell was adept at displaying the various personality changes that Lear goes through during the play. The production was only at the Globe for a handful of performances before going on tour.This  Shakespeare’s Globe production of “King Lear” is coming to Folger Theatre in Washington, D.C. from September 5 -21. It also plays Georgian Theatre Royal, Richmond N. Yorkshire, 27-30 August; NYU Skirball, New York, 30 September - 12 October; Arts Emerson, Boston, 15-23 October; Lensic Performing Arts Center, Santa Fe, New Mexico, 30 October; The Broad Stage, Santa Monica, 4-16 November; Calpoly Arts, San Luis Obispo,18 November; University of California, Santa Barbara, November 21; The Moore Theatre, Seattle, 25 & 26 November; Arts Centre, Arcata, CA, 30 November. I highly recommend it. –Hardy]

 

 

http://www.washingtonpost.com/entertainment/theater_dance/here-a-lear-there-a-lear/2014/08/21/979c29f0-26d2-11e4-8b10-7db129976abb_story.html

Here a ‘Lear,’ There a ‘Lear’

By Peter Marks 

August 23

 

All over the place, foolish fond old monarchs are dropping like anguished flies. In Chicago and New York, in London and Toronto and Washington, actors in shredded costumes are raging on tempest-tossed sets as stories unfold around them of woebegone fathers and callous children and realms ankle deep in stage blood.

 

The theater world, in short, is having a “King Lear” moment — well, actually, a whole bunch of “King Lear” moments. The supply of tragic, fulminating royals, in fact, appears inexhaustible. On the heels of the recent Lears of Derek Jacobi and Frank Langella, Stacy Keach and Kevin Kline, Ian McKellen and Michael Pennington, other Lears line up to hit their marks. Simon Russell Beale just completed a regal tour of duty, in a “Lear” at Britain’s National Theatre. John Lithgow did the same this month in New York’s Central Park. With other Lears on the boards of late from Oregon to Ontario, and still others on the near horizon, no one should be surprised to discover Washington’s Folger Theatre is joining the somber processional, with a “King Lear” arriving from Shakespeare’s Globe in London that begins performances Sept. 5.

 

The Globe “Lear,” featuring Joseph Marcell as the ruler who, in relinquishing his kingdom, loses his sanity and ultimately his life, will be the fifth major staging of the tragedy in this region in the last nine years — more evidence of just how intense is the fascination these days with what is to many Shakespeare’s bleakest play. Except for the comparatively more exuberant “Hamlet,” there have been more productions of “Lear” here during this period than of any other play or musical. And one is compelled to consider why.

 

This is not, of course, to cast aspersions on the piece itself, as sprawling and enigmatic as any in the canon: The nature of Lear’s madness is a transfixing, sleep-disturbing riddle for the ages. But why is it that “King Lear,” a play so resistant to our culture’s knee-jerk predilections for entertaining uplift and easy explanations, is also one to which we return, not just in rare instances, but again and again? And one that by dint of its challenges — exhausting length, an unwieldy knitting of parallel plots — theater companies find especially hard to get right.

 

I ask as one who, having seen two shaky “Lears” already this summer, the stagings with Beale in London and Lithgow in New York, approaches each new incarnation with both curiosity and a residual trepidation. I have lost count of the number of “Lears” I’ve attended, going back to an old-school production in the mid-1970s, starring the late Morris Carnovsky, at the now-defunct American Shakespeare Theatre in Stratford, Conn. The cumulative experience over all these occasions has been discouraging; the play comes together truly meaningfully on only the most remarkable of evenings. It takes some extraordinary level of skill and alchemy to wrangle the disparate, discordant parts of the play, channeled most crucially through an actor who is capable of integrating the various aspects of Lear — prideful king, wounded madman, heartbroken victim — into a captivating whole.

 

Awful goings hence and comings hither’

 

Perhaps a factor in its ubiquity is a belief that “Lear” is supposed to be good for you, that audiences see it as a test for them as well as the actors — the theater’s equivalent of a decathlon. A case can certainly be made for it as the jewel in an accomplished actor’s crown, the ultimate showcase for technical and interpretive abilities honed over a career. (Previous Lears have run an esteemed gamut from John Gielgud to James Earl Jones.) And maybe, too, the drama has a hold on us because it suggests it knows a scary truth: that where the plight of human beings is concerned, the universe doesn’t give a hoot. At a time when menace seems so present in the world, a story in which the virtuous suffer and die indiscriminately right along with the wicked may seem jarringly apt.

 

[ . . . ]

 

 

From The Folger Shakespeare Library Digital Image Collection

 

Recording Julius Caesar

The Shakespeare Conference: SHK 25.356  Thursday, 21 August 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 19, 2014 at 5:08:26 PM EDT

Subject:    Recording Julius Caesar

 

http://folgertheatre.wordpress.com/2014/08/19/in-the-studio-recording-julius-caesar/

 

In the Studio: Recording Julius Caesar

 

The very talented Robert Richmond (the upcoming Julius Caesar, Richard III, Twelfth Night, Henry V, and Henry VIII) returned to Omega Studios last week along with a cast of Folger favorites to record Julius Caesar in advance of the production opening in October. The recording will be available through the Folger Luminary App, as well as on CD through Simon and Schuster audio.

 

Zach Appelman (Henry in Henry V at Folger Theatre) plays Mark Antony in the audio recording. Here is a sneak preview of his performance with pinch hitting by William Vaughan (Sebastian in Twelfth Night) as Caesar’s servant.

 

Julius Caesar Audio Recording Cast 

 

Mark Antony – Zach Appelman

Cassius – Louis Butelli

Brutus – Antony Cochrane

Calphurnia – Julie-Ann Elliott

Casca – Pomme Koch

Trebonius – Cody Nickell

Caesar – Todd Scofield

Portia – Emily Trask

Octavius – William Vaughan

 

[Editor’s Note: I saw Zach Appelman as Henry V, and he was stunning. –Hardy]

 

Folger Puts 80,000 Images of Literary Art Online

The Shakespeare Conference: SHK 25.355  Thursday, 21 August 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 20, 2014 at 10:04:27 PM EDT

Subject:    Folger Puts 80,000 Images of Literary Art Online

 

http://www.openculture.com/2014/08/folgers-shakespeare-library-releases-80000-images-of-literary-art-into-the-public-domain.html

Folger Shakespeare Library Puts 80,000 Images of Literary Art Online, and They’re All Free to Use

      

Has a writer ever inspired as many adaptations and references as William Shakespeare? In the four hundred years since his death, his work has patterned much of the fabric of world literature and seen countless permutations on stage and screen. Less discussed are the visual representations of Shakespeare in fine art and illustration, but they are multitude. In one small sampling, Richard Altick notes in his extensive study Paintings from Books, that “pictures from Shakespeare accounted for about one fifth—some 2,300—of the total number of literary paintings recorded between 1760 and 1900” among British artists.

 

In the period Altick documents, a rapidly rising middle class drove a market for literary artworks, which were, “in effect, extensions of the books themselves: they were detached forms of book illustration, in which were constantly assimilated the literary and artistic tastes of the time.” These works took the form of humorous illustrations—such as the As You Like It-inspired satirical piece at the top from 1824—and much more serious representations, like the undated Currier & Ives Midsummer-Night’s Dream lithograph above. Now, thanks to the Folger Shakespeare Library, these images, and tens of thousands more from their Digital Image Collection, are available online. And they’re free to use under a CC BY-SA Creative Commons license.

 

As Head of Collection Information Services Erin Blake explains, “basically this means you can do whatever you want with Folger digital images as long as you say that they’re from the Folger, and as long a you keep the cycle of sharing going by freely sharing whatever you’re making.” The Folger’s impressive repository has been called “the world’s finest collection of Shakesperean art.” As well as traditional paintings and illustrations, it includes “dozens of costumes and props used in nineteenth-century Shakespeare productions,” such as the embroidered velvet costume above, worn by Edwin Booth as Richard III, circa 1870. You’ll also find photographs and scans of “’extra-illustrated’ books filled with inserted engravings, manuscript letters, and playbills associated with particular actors or productions; and a great variety of souvenirs, comic books, and other ephemera associated with Shakespeare and his works.”

 

In addition to illustrations and memorabilia, the Folger contains “some 200 paintings” and drawings by fine artists like “Henry Fuseli, Benjamin West, George Romney, and Thomas Nast, as well as such Elizabethan artists as George Gower and Nicholas Hilliard.” (The striking print above by Fuseli shows Macbeth’s three witches hovering over their cauldron.) Great and varied as the Folger’s collection of Shakespearean art may be, it represents only a part of their extensive holdings. You’ll also find in the Digital Images Collection images of antique bookbindings, like the 1532 volume of a work by Agrippa von Nettescheim (Heinrich Cornelius), below.

 

The collection’s enormous archive of 19th century prints is an especial treat. Just below, see a print of that tower of 18th century learning, Samuel Johnson, who, in his famous preface to an edition of the Bard’s works declared, “Shakespeare is above all writers.” All in all, the immense digital collection represents, writes The Public Domain Review, “a huge injection of some wonderful material into the open digital commons.” Already, the Folger has begun adding images to Wikimedia Commons for use free and open use in Wikipedia and elsewhere on the web. And should you somehow manage, through some voracious feat of digital consumption, to exhaust this treasure hold of images, you need not fear—they’ll be adding more and more as time goes on. 

 

Reed Visiting Appointment

The Shakespeare Conference: SHK 25.354  Thursday, 21 August 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 21, 2014 at 12:21:35 PM EDT

Subject:    Reed Visiting Appointment

 

http://www.reed.edu/dean_of_faculty/facsearch/positions/visiting-appointment-in-theatre.html

Visiting Appointment in Theatre (Directing, Theatre History)

The Reed College Theatre Department invites applications for a one year visiting assistant professor appointment in theatre, to start immediately, with an emphasis in directing and theatre history. Responsibilities will include teaching five courses (Directing I, Theatre History I, Applied Collaboration Techniques, and two electives) as well as advising senior theses.  We are especially interested in scholar/practitioners who are able to teach broadly within the discipline, who are committed to teaching undergraduates in a liberal arts environment, and who will maintain an active scholarly and/or professional practice outside of Reed. Expertise in pre-twentieth century theatre history and/or non-western theatre is of particular interest. A PhD, DFA or equivalent degree is preferred, and successful college level teaching and professional experience required. Advanced graduate students who are ABD will be considered.

 

Reed College is a small, distinguished liberal arts institution committed to excellence in teaching and scholarship. Reed students are known for their outstanding intellectual engagement and creativity. Reed’s new Performing Arts Building, opened in Fall 2013, provides a vital facility for new initiatives in the performing arts and for fostering interdisciplinary opportunities across the college. Information about the department is available at http://academic.reed.edu/theatre/.

 

Electronic applications are required and must be sent as PDF (preferred) or Word attachment.  Please send a cover letter, vita, and 3 letters of recommendation to This email address is being protected from spambots. You need JavaScript enabled to view it.. Questions may be addressed to Peter Ksander, chair of the search committee, at This email address is being protected from spambots. You need JavaScript enabled to view it.. Reed College is a community that believes that cultural diversity is essential to the excellence of our academic program. In your application materials, we welcome a description of how, as a scholar, teacher, or community member, you would engage and sustain the commitment to diversity and inclusion articulated in Reed College’s diversity statement (http://www.reed.edu/diversity/).  If letters of recommendation must be sent in hard copy, please submit to Theatre Search, c/o Karin Purdy, Reed College, 3203 SE Woodstock Blvd., Portland OR 97202.

 

Deadline is rolling and consideration of applications will begin immediately.

 

An equal opportunity employer, Reed College values diversity and encourages applications from underrepresented groups. Reed College is committed to assisting all members of the Reed community in providing for their own safety and security. Information regarding campus safety, statistics and college policies is available on the Reed website at: http://www.reed.edu/community_safety/information/crime/ASR909.html

 

Deadline: Consideration of applications will begin immediately

 

Shakespeare 4th Folio

The Shakespeare Conference: SHK 25.353  Thursday, 21 August 2014

 

From:        Paul Muller-Reed <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 13, 2014 at 2:11:29 PM EDT

Subject:    Shakespeare 4th Folio

 

I am the Pres. of New England Auctions and we will be auctioning off an original 1695 4th folio of Shakespeare's Works on Sept. 30th of this year.  

 

Shakespeare, William.

 

Mr. William Shakespear’s Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, never before Printed in Folio: Viz. Pericles Prince of Tyre. The London Prodigal. The History of Thomas Lord Cromwel. Sir John Oldcastle Lord Cobham. The Puritan Widow. A Yorkshire Tragedy. The Tragedy of Locrine. The Fourth Edition. 

 

London: Printed for H. Herringham, E. Brewster, and R. Bentley, at the Anchor in the Exchange, the Crane in St. Pauls Church-Yard, and in Russel-Street Covent-Garden. 1685. 

 

Folio (13-1/2 x 8-1/2 inches). Engraved portrait of Shakespeare by Martin Droeshout printed on the initial leaf with Ben Jonson’s verses “To The Reader” printed below, ornamental woodcut initials. Collation: []2, A4; A-Y6; Z4; Bb-Zz6; *Aaa-*Ddd6; *Eee8; Aaa-Zzz6; Aaaa-Bbbb6; Cccc2. 458 leaves. 

 

This volume is paged in three parts: 1-272, 1-328, 1-303, with the following irregularities in pagination: in part I, the pagination 96 is followed by 99; 160 by 163; 254 by 243; and that by 254 repeated. Pages 33, 107,109,190, 191, 219, 246 are respectively misprinted 23, 109, 111, 186, 187, 221, 234. In part III: page 67 is misprinted 76. 

 

“Copies even of this edition are difficult to find in choice and pure state.” –Hazlitt, page 547.

 

 

The Silver-Mathews volume has been treated well over the years with many leaves retaining a freshness reflecting the care of ownership from the date of is printing. The leaves show a minimal evidence of handling with the exception of an occasional finger or ink smudge. An occasional stray ash has produced small holes on some leaves. An extremely skilled hand was given the task to close a few margin tears. Varying light browning and a light stain to the bottom margin sporadically affecting signatures. 

 

Paper defect H2 (affecting 1 letter) and top margins of S2, Z2, Z4 & Oo4 , tiny ash holes affecting leaves *5, B6, G4, H3, M5,  N3, N4, P2, Q, Cc2, Hh, Xx3, Ggg, Tt2, Uu5, Zz4, Ddd2, Fff2, Hhh5, Mmm6, Yyy5 (6 affecting a letter), skilled closed marginal tears to title (two – 1cm), frontispiece (3 at 2cm), *6 (2cm), B6 (1cm), P6 (1cm), Kk4 (1 cm), Kkk3 (1cm). Several later margin tears affect leaves Y3, Ee3, Ee5 & Nn4. 

 

Sincerely,

Paul Muller-Reed

New England Auctions

www.nebookauctions.com

 

 

 

 

PBS Shakespeare Uncovered

The Shakespeare Conference: SHK 25.347  Tuesday, 19 August 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 17, 2014 at 8:36:51 AM EDT

Subject:    PBS Shakespeare Uncovered

 

PBS Shakespeare Uncovered can be streamed from links below:

 

The Tempest with Trevor Nunn

Hamlet with David Tennant

Richard II with Derek Jacobi

The Comedies with Joely Richardson

Henry IV & V with Jeremy Irons

 

Recent Additions to Lexicons of Early Modern English

The Shakespeare Conference: SHK 25.346  Tuesday, 19 August 2014

 

From:        UTP Journals <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 18, 2014 at 10:48:39 AM EDT

Subject:    Recent Additions to Lexicons of Early Modern English

 

Recently added to Lexicons of Early Modern English

http://bit.ly/_leme

 

§  Stephen Batman, "A note of Saxon wordes" (1581)

§  Edmund Bohun, Geographical Dictionary (1693): 11,681 word-entries

§  Richard Boothby, A Brief Discovery or Description of the Most Famous Island of Madagascar (1646)

§  Thomas Dekker, O per se O (1612)

§  John Heydon, "A Chymical Dictionary" (English; 1662): 70 word-entries.

§  Gregory Martin, The New Testament of the English College of Rheims (1582)

§  Gerhard Mercator, Historia Mundi Or Mercator's Atlas (1635)

§  Guy Miège, A New Dictionary French and English, with another English and French (1677): 18,376 word-entries, 73,641 sub-entries

§  John Ogilby, Asia, the First Part (1673)

§  John Rider,  Bibliotheca Scholastica (English-Latin, 1589): 42,000 word-entries and sub-entries.

§  Richard Rowlands,  A Restitution of Decayed Intelligence in Antiquities (1605; Richard Verstegan; text replaced by an extended and analyzed version)

§  Nicholas Stone, Enchiridion of Fortification (1645)

§  John Thorie, The Theatre of the Earth (1601; place-names): 3,100 word-entries.

§  John Turner, A Book of Wines (1568)

 

Coming soon to LEME 

§  Ortus Vocabulorum (Latin-English, 1500): 25,500 word-entries.

§  Henry Hexham, A Copious English and Netherdutch Dictionary (1647): 33,000 word-entries.

 

Lexicons of Early Modern English is a growing historical database offering scholars unprecedented access to early books and manuscripts documenting the growth and development of the English language. With more than 600,000 word-entries from 184 monolingual, bilingual, and polyglot dictionaries, glossaries, and linguistic treatises, encyclopedic and other lexical works from the beginning of printing in England to 1702, as well as tools updated annually, LEME sets the standard for modern linguistic research on the English language. 

 

Use Modern Techniques to Research Early Modern English!

199 Searchable lexicons

148 Fully analyzed lexicons

664 546 Total word entries

444 971 Fully analyzed word entries

573 423 Total analyzed forms and subforms

444 972 Total analyzed forms

128 451 Total analyzed subforms

60 891 Total English modern headwords

 

LEME provides exciting opportunities for research for historians of the English language. More than a half-million word-entries devised by contemporary speakers of early modern English describe the meaning of words, and their equivalents in languages such as French, Italian, Spanish, Latin, Greek, Hebrew, and other tongues encountered then in Europe, America, and Asia.

 

University of Toronto Press Journals

5201 Dufferin St., Toronto, ON, Canada M3H 5T8

Tel: (416) 667-7810 Fax: (416) 667-7881

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.utpjournals.com/leme

http://leme.library.utoronto.ca/

 

Shakespeare and the Visual Arts - Call for Papers - New Deadline

The Shakespeare Conference: SHK 25.344  Monday, 11 August 2014

 

From:         Michele Marrapodi <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 10, 2014 at 6:02:11 PM EDT

Subject:     Shakespeare and the Visual Arts - Call for Papers - New Deadline

 

Call for Papers - New deadline

 

SHAKESPEARE AND THE VISUAL ARTS:

The Italian Influence

 

Edited by

Michele Marrapodi and Keir Elam

 

Critical investigation into the rubric of “Shakespeare and the visual arts” has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries. Drawing on the poetics of intertextuality, and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume will study instead the use or mention of Renaissance material arts and artists in Shakespeare’s oeuvre. Among the great variety of possible topics, contributors may like to consider:

 

- the impact of optics and pictorial perspective on the plays or poems;

- anamorphosis and trompe l’oeil effects on the whole range of visual representation;  

- the rhetoric of “verbal painting” in dramatic and poetic discourse; 

- the actual citation of classical and Renaissance artists;

- the legacy of iconographic topoi;

- the humanistic debate or Paragone of the Sister Arts;

- the use of emblems and emblematic language; 

- explicit and implicit ekphrasis and ekphrastic passages in the plays or poems;

- ekphrastic intertextuality, etc.

 

Contributors are invited to submit proposals by 30 September 2014 to the addresses of the editors below. They should send a one-page abstract of their proposed chapter on the relationship between the age of Shakespeare and Renaissance visual culture, including theoretical approaches to the arts in the drama of Shakespeare and his contemporaries. Each abstract (approx. 300 words) should include the author’s name, email, affiliation, and title of the proposed contribution.

 

Prof. Michele Marrapodi

University of Palermo, Italy.

This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Prof. Keir Elam

University of Bologna, Italy.

This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Folger Digital Editions: The Poems

The Shakespeare Conference: SHK 25.341  Sunday, 10 August 2014

 

From:         Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         August 8, 2014 at 10:07:43 AM EDT

Subject:     Folger Digital Editions: The Poems

 

The Folger Digital Texts now has Shakespeare's Sonnets, Venus and Adonis, Lucrece, and The Phoenix and the Turtle

 

http://www.folgerdigitaltexts.org/?chapter=4

ISC 2014

The Shakespeare Conference: SHK 25.336  Tuesday, 29 July 2014

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Tuesday, July 29, 2014

Subject:    ISC

 

Dear Subscriber,

 

I leave tomorrow for London, Stratford, and then back to London.

 

This is my ISC and theater trip.

 

I will be able to edit submissions tomorrow, but then there will be an interruption for a few days until I get over jet jag and settled into the too aggressive itinerary I have set for myself.

 

Hardy

 

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