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SHAKSPER’s Future: Looking for Volunteers for SHAKSPER Features and Assistant/Associate Editors

The Shakespeare Conference: SHK 25.251  Wednesday, 28 May 2014

 

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

Date:         Wednesday, May 28, 2014

Subject:     SHAKSPER’s Future: Looking for Volunteers for SHAKSPER Features and Assistant/Associate Editors

 

Dear SHAKSPER Subscribers,

 

SHAKSPER has been a part of my life for 25 years, and for all but the first year and a half I have been its editor/moderator. I have no plans to step down at any time in the near future, but I would like to leave it in good hands when I do. Increasingly, I am also pursuing other interests, academic and non-academic.

 

Currently, SHAKSPER is being “hosted” by Ron Severdia (who designed the new web presence) on the PlayShakespeare.com sever, so even if I am hit by a bus tomorrow, SHAKSPER will still exist. Tanya Gough, who designed the SHAKSPER Facebook page, is an administrator of it, so it too will continue to exist. If something were to happen to me, I have two advisory boards that I hope will decide if SHAKSPER is still viable and will seek a person or persons to continue its work.

 

I am increasingly aware that as much as I might wish otherwise I cannot do all that I would like to keep SHAKSPER up-to-date.

 

In particular, I am concerned with the future of some of the scholarly resources on the web site. I don’t feel as if I have the energy to work with them since I want to spend my scholarly time working other projects, some longstanding, but I feel them sufficiently important to warrant that some of them be updated or continued if possible. 

 

I am currently seeking volunteers to take responsibility for some of these with the long-term view of perhaps finding a successor among these volunteers. My younger daughter has one more year of college, and I plan to be taking breaks, some long and for which I will not have computer access. So at some point, I would like to train one or more persons to who might be able to take over from me during my absences, but let me not get ahead of myself.

 

Shakespeare on the Internet Guide has not been updated in about five years. Someone has been recruited to update it and its links and will be working on it this summer: <http://shaksper.net/scholarly-resources/shakespeare-on-the-internet>

 

Shakespeare Spinoffs/Character Bibliography: These lists (found in the Reference files section of Scholarly Resources) were very popular during the early days of SHAKSPER but have not been updated since around the late 1990s. Someone has shared her up-to-date list of similar titles with me to be combined with the existing lists, but she is not interested in undertaking that task herself. Is there anyone who would volunteer to combine the older Spinoffs and Character bibliographies with the new one I have. This actually is a fun job if anyone has the time or interest. <http://shaksper.net/scholarly-resources/reference-files>

 

Shakespeare Plays and Festivals: I started this last summer from available resources. When I was a contributing editor to the Shakespeare Newsletter I compiled a similar list for some years. Is there anyone who is interested in updating this list for this year? <http://shaksper.net/scholarly-resources/shakespeare-festivals-and-plays>

 

Pedagogy: Teaching Resources: At present, this section of the web site contains only resources that I have used or made available. Pedagogy is a hot topic. I would like to recruit someone as an Assistant Editor who would be in charge of developing further this section of the web site: <http://shaksper.net/scholarly-resources/pedagogy-teaching-resources> Is anyone interested?

 

The SHAKSPER Book Reviews has been fallow for sometime now through no one’s fault. There is a Book Review Panel and I am looking for anyone who might wish to take the initiative and revitalize it. If the person would be interested in a limited commitment that is fine, but someone is interested in a long-term commitment of more than a year, I would offer the position as an assistant editor.

 

SHAKSPER Roundtable Discussions: I found these very interesting at the time but they did involve a tremendous amount of work. Again, if anyone is interested either for a single Roundtable or to act as an assistant editor in charge of this area, pleases let me know. <http://shaksper.net/scholarly-resources/roundtable-discussions>

 

New assistant professors or graduate students are obvious choices to volunteer for these tasks, but everyone is busy with one thing or another and SHAKSPER is probably not as “sexy” as other activities. I hope that I am wrong and these inquires will bring some new blood to SHAKSPER.

 

I appreciate greatly any thoughts or responses of the members.

 

Hardy

 
 
Managing Director - Job Opening

The Shakespeare Conference: SHK 25.245  Saturday, 24 May 2014

 

From:        Jesse Berger < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 24, 2014 at 11:14:35 AM EDT

Subject:    Managing Director - Job Opening

 

Dear Friends and Colleagues,

 

We are looking for a fantastic new Managing Director of Red Bull Theater.  

 

The job description is attached.  Please feel free to apply if it’s right for you or forward to anyone you know who might be interested.  

 

Thanks,

Jesse Berger

Artistic Director

Red Bull Theater

redbulltheater.com

O: 212-343-7394 

 

Click http://www.redbulltheater.com/Join to support more great classic stories Off-Broadway.

 

Job Description: icon Red Bull Theater Manager

 
 
Garrick and Shakespeare

The Shakespeare Conference: SHK 25.242  Wednesday, 21 May 2014

 

From:        Gabriel Egan < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 20, 2014 at 5:38:33 PM EDT

Subject:    Garrick and Shakespeare

 

SHAKSPERians with access to London might be interested in the conference ‘Garrick and Shakespeare’ at Kingston University next month. The programme is as follows.

 

Gabriel Egan

 

 

GARRICK AND SHAKESPEARE

 

A CONFERENCE HOSTED BY KINGSTON UNIVERSITY AT THE ROSE THEATRE KINGSTON-UPON-THAMES AND GARRICK’S SHAKESPEARE TEMPLE

 

JUNE 25-27 2014

 

PLENARY SPEAKERS:

SIMON CALLOW

MICHAEL DOBSON

NORMA CLARKE

PETER HOLLAND

 

Actor, manager, playwright, versifier, philosophical correspondent: David Garrick excelled in many parts, and was possibly both the most praised and vilified cultural figure of his age. Authors whose plays he rejected and performers he refused to employ were certainly not sparing in their attacks. ‘Garrick and Shakespeare’ will therefore not only focus on his achievements as a Shakespeare interpreter and impresario, but also re-examine Garrick’s controversial reputation, unprecedented celebrity status, and enduring influence as an arts administrator.

 

GARRICK AND SHAKESPEARE

CONFERENCE PROGRAMME

 

Wednesday June 25 2014 7pm

The Rose Theatre

2014 GARRICK LECTURE

SIMON CALLOW

Followed by a drinks reception

 

Thursday June 26 9.30am

The Rose Theatre

PUBLIC LECTURE

MICHAEL DOBSON (Shakespeare Institute, University of Birmingham)

‘The Memory of Garrick and the Dream of a National Theatre’

 

10-30am: Coffee

 

11am

ADAPTING SHAKESPEARE

 

Subhajit Sen Gupta: ‘History Undone: Garrick’s Revision of Macbeth’

 

Varsha Panjwani: ‘Shakespeare and Garrick as Collaborators: The Two Noble Kinsmen and The Clandestine Marriage’

 

James Harriman-Smith: ‘”Why can I not see you act the terrible passages of this admirable tragedy!”: David Garrick and Jean-Francois Ducis’

 

1pm: Lunch Break

 

2pm

THE FIRST CELEBRITY

 

Ewan Fernie: ‘Garrick, Liberty, Germany’

 

Leslie Ritchie: ‘The Anonymous David Garrick’

 

Patricia Philippy: ‘The Poet in Stone: Garrick’s Temple and Southwark Cathedral’

 

Garrick’s Temple, Hampton

4.30pm: Tea

5pm: A Musical Entertainment

7.30pm: The Teddington Players: The Celebrated Mr Garrick

 

Friday June 27 9.30am

PUBLIC LECTURE

NORMA CLARKE (Kingston University)

‘All Grub Street was Preparing its Advice’

 

10.30am: Coffee

 

11am

GARRICK AS MANAGER

 

David Worrall: ‘Garrick and Noise: Auditorium Disturbances at Drury Lane’

 

Georgina Lock: 'Conversations with the Town: Garrick's Prologues, Epilogues and Afterpieces'

 

Melanie Bigold: 'Garrick’s Shakespeare Marginalia'

 

1pm: Lunch Break

 

2pm

OPERATIC SHAKESPEARE

 

Irene Morra: ‘Garrick, Shakespeare, and Opera’

 

Omaya Ibrahim Khalifa: ‘Adaptations of The Tempest and A Midsummer Night’s Dream: Garrick, AlQady and Ghazy’

 

Rob Gossedge: ‘Garrick’s Masque of King Arthur’

 

Will Summers: ‘Music, landscape, dance: Garrick’s role’

 

4pm: Tea

 

4.30pm

PUBLIC LECTURE

PETER HOLLAND (University of Notre Dame)

‘A Critic, A Gentleman, and Two Jubilees’

 

6.30pm

Conference Dinner:

Strada Restaurant, Kingston-upon-Thames

 

9.00pm: Film World Premiere:

The Rose Theatre

Miss in Her Teens starring Simon Callow

 

For further information and registration:

This e-mail address is being protected from spambots. You need JavaScript enabled to view it

+44 (0)20 8417 9000 x 628

 
 
Closure of the Institute of English Studies

The Shakespeare Conference: SHK 25.241  Wednesday, 21 May 2014

 

From:         Henry Woudhuysen < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:          May 20, 2014 at 4:48:43 PM EDT 

Subject:     Closure of the Institute of English Studies

 

Dear All

 

You may have heard about the proposed closure of the Institute of English Studies which is part of the School of Advanced Study at the University of London. The attached document gives a little more background. A Steering Group to oppose this has been set up, co-chaired by Professor Anne Varty (Head of the Department of English at Royal Holloway University of London) and Professor Gordon Campbell, DLitt, FBA (Professor of Renaissance Studies at Leicester University). The Steering Group (of which I am a member) has set up a website at http://www.change.org/en-GB/petitions/professor-sir-adrian-smith-abandon-the-recommendation-to-break-up-the-institute-of-english-studies-2 in the form of a petition calling for this decision to be stopped. I am attaching a brief document that gives some further information on the subject and some links that may be of interest. We very much hope that you will be able to give us your support by signing the petition, by writing to the Vice-Chancellor and by passing this message on to interested parties.

 

Yours faithfully

Henry Woudhuysen

 

On behalf of the Save the IES Steering Group

Co-Chairs:

 

Professor Anne Varty (Head of the Department of English Royal Holloway University of London)

Professor Gordon Campbell DLitt, FBA (Professor of Renaissance Studies, University of Leicester)

 

***********

The Institute of English Studies and the University of London’s ‘Recommendation’

 

On Thursday, 15 May 2014, Professor Roger Kain, the Dean and Chief Executive of the School of Advanced Study at the University of London, announced ‘the University’s formal response to the news that HEFCE funding for SAS will be cut by 3% with effect from 2014–15’. This response had been decided on the previous day by the Vice-Chancellor’s Executive Group (VCEG) who recommended ‘a concentration of funding into a smaller number of institutes’. In effect, part of the academic activity of the Institute of English Studies (IES) will be merged with the Institute of Historical Research (IHR) to create a centre for Palaeography and the History of the Book; part will be merged with the Institute of Modern Languages Research (IMLR) to create a centre for Comparative Literature; and the Science and Music activity of the Institute of Musical Research (IMR) will be merged with the Institute of Philosophy’s Centre for the Study of the Senses. Although this document is concerned with the IES, the future of the IMR is also a matter of deep concern.

 

The VCEG is an administrative, non-academic body that reached its decision about the IES without consulting those involved in the Institute’s work or those representing English as a very large national and international subject community. The decision is sudden, arbitrary, and ill-thought out. Interviews for the post of the new Director of the IES had been scheduled for 7 May and were cancelled at the last minute.

 

The IES was founded in 1999 but dates back to the Centre for English Studies which was created in 1991. Part of the Institute’s mission is to ‘Promote advanced study and research in English Studies in the wider national and international academic community’. It has consistently fulfilled this aim: by organizing conferences (currently 25 each year) and seminar series (currently, around 40, with at least 6 sessions each year); by a non-stipendiary visiting fellowships programme (12 visitors a year); and by collaborations with some 60 organizations and societies. It also runs the T. S. Eliot International Summer School and the London Rare Books School and Palaeography Summer School. In the recent past, it has raised around £5m, and has been the home to major projects with partners such as the AHRC, the British Library, OUP, and Faber. The projects include: editions of Francis Bacon, John Ford, and T.S. Eliot; the Catalogue of English Literary Manuscripts, 1450-1700; digital projects relating to medieval MSS; The Irish Book in the 20th Century; the Reading Experience Database; The History of OUP; and other projects on writing, publishing and scholarly editing, including A Publishing and Communications History of the Ministry of Information, 1939-45. In addition, the IES established a pioneering MA in the History of the Book. The Institute’s work is clearly carried out at national and international levels.

 

If the VCEG’s recommendations are accepted, much of this activity will cease, not least its vital role in training younger scholars. What is proposed is a direct assault on the value and integrity of the Institute and of English studies as a discipline. Book History will not find its natural home in the IHR: in the UK, Historical Bibliography is a core discipline within English Studies. Nor will a Centre for Comparative Literature in the IMLR (which rightly has its own sense of that subject) accommodate the vast range of Research Seminar activity in English Language and Literature. Almost all of what has been most valuable in the IES’s work during the last quarter century or so will disappear.

 

Those who object to the recommendation can seek to stop or delay it: by writing to Professor Smith ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) – a specimen form of words is available via the petition website; by raising the issue with their Universities, Faculties, and Departments and with subject groups and learned societies; by responding to Matthew Reisz’s article on the subject in the THE (http://www.timeshighereducation.co.uk/news/university-of-london-plans-closure-of-institute-of-english-studies/2013382.article); by using social media(#saveIES); and by signing a petition at http://www.change.org/en-GB/petitions/professor-sir-adrian-smith-abandon-the-recommendation-to-break-up-the-institute-of-english-studies-2. .

 

 
News from The Globe Theatre

The Shakespeare Conference: SHK 25.239  Tuesday, 20 May 2014

 

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

Date:         Tuesday, May 20, 2014

Subject:    News from The Globe Theatre

 

Winter 2014/15 Season at Sam Wanamaker Playhouse

 

‘The extraordinary thing about the new indoor Jacobean theatre that is part of Shakespeare’s Globe, is that it feels as if it’s always been there and was just waiting to be uncovered.’ The Guardian

 

Earlier this year we opened the doors to our candlelit jewel box, the Sam Wanamaker Playhouse, and presented what was to be a triumphant first season. The beautiful space was filled with heart-warming visions of light and shadow, of stillness and silliness, mayhem and music from across centuries and continents.

 

Extreme love is at the heart of our new winter season while we also use the Playhouse to explore further the repertory beyond Shakespeare. The early theatre had a taste for psychological intensity, and these plays do not disappoint.

 

Those of you who have experienced the Playhouse already will know what an intoxicating cocktail of sensual pleasure awaits. For those who have not visited yet, we urge you to join us in this delightful space.

 

Opening the second Sam Wanamaker Playhouse season is the first of two plays by John Ford. ‘Tis Pity She’s a Whore enters challenging moral territory as the infamous tale of incestuous lust and obsessive revenge plays out with a disturbing lack of judgement.

 

Continuing John Ford’s exploration of the darkest recesses of the human psyche is The Broken Heart, a brilliantly nuanced story of an exalted love struggling to exist in a world of selfishness, jealousy and tawdry court politics. 

 

Completing the trio of Jacobean tragedies is Thomas Middleton & William Rowley’s furiously dramatic The Changeling in which beautiful Beatrice-Joanna tasks her repulsive servant to murder her fiancé, only for him to demand a reward. 

 

After delighting audiences and critics alike Adele Thomas’ hilariously uproarious depiction of Francis Beaumont’s The Knight of the Burning Pestle will play again. Pauline McLynn returns as the chattering Citizen’s Wife who, along with her husband continues to break the fourth wall as they demand their apprentice Rafe take the lead role in the play they have come to see. Combining salty colloquial prose with charming songs, The Knight of the Burning Pestle was one of the first madcap, mash-up, screwball comedies to hit the English stage and the first to run not one but two plays-within-the-play simultaneously.

 

The Globe’s ground-breaking collaboration with The Royal Opera L’Ormindo also returns to the Sam Wanamaker Playhouse. Audiences and critics were charmed by the intimate nature of the work, a rare opportunity to experience Baroque opera. Kasper Holten, Director of The Royal Opera, directs a production inspired by the theatrical conventions in London at the time, with music under the direction of Christian Curnyn, one of the most sought-after Baroque specialists of today.

 

The Sam Wanamaker Playhouse will host the world premiere of Claire van Kampen’s new play Farinelli and the King. Set in eighteen-century Spain and Italy, it tells the true story of Farinelli, the world’s most famous castrato, and his decision to trade fame and fortune for a live of servitude at the court of King Philip V. Replete with beautiful arias originally sung by Farinelli, this production promises to be a feast for the ears and eyes.

 

Trained by the Globe’s resident experts in the craft and performance of early modern drama, The Globe Young Players are a company of specially selected talented 12 to 16-year-olds. After a brilliantly accomplished debut with The Malcontent, they return for their second production- Christopher Marlowe’s Dido, Queen of Carthage. Marlowe’s first play, inspired by Virgil’s Aeneid is an intense tale of meddling gods, public duty and tragic love played out against the aftermath of the Trojan War. 

 

 

Omeros

 

Caribbean writer Derek Walcott adapts his Nobel Prize-winning epic poem Omeros for performance in the unique Sam Wanamaker Playhouse. The poem spans both time and continents, following the journey of a present-day Odysseus and a beautiful house servant Helen, who incites her own Trojan War.

 

The narrative is rooted on the island of Saint Lucia, Walcott’s home, and will be underscored by live music to evoke the flavour of the Caribbean.

 

‘No poet rivals Mr. Walcott in humour, emotional depth, lavish inventiveness in language or in the ability to express the thoughts of his characters’
The New York Times Book Review

 

 

Globe in Cinemas

 

The Tempest

BY WILLIAM SHAKESPEARE

 

Prospero, Duke of Milan, usurped and exiled by his own brother, holds sway over an enchanted island. He is comforted by his daughter Miranda and served by his spirit Ariel and the deformed slave Caliban. When Prospero raises a storm to wreck this perfidious brother and his confederates on the island, his long contemplated revenge at last seems within reach.

 

Imbued with a spirit of magic and the supernatural, The Tempest is Shakespeare’s late great masterpiece of forgiveness, generosity and enlightenment.

 

Jeremy Herrin’s previous work for Shakespeare’s Globe includes 2011’s much loved Much Ado About Nothing.

 

Roger Allam won the Olivier Award for best actor for his role as Falstaff in Henry IV parts 1 & 2 at the Globe in 2010. Other recent credits include The Thick of It (BBC) and Tamara Drewe (Film).

 

Colin Morgan is best known for playing Merlin in the long running BBC series Merlin.

 

In UK cinemas from 28 May 2014.

 

Coming soon to North America, Australasia and Europe.

 

Director: Jeremy Herrin

Designer: Max Jones

Composer: Stephen Warbeck

 

Cast: Roger Allam, Jason Baughan, Jessie Buckley, Sam Cox, Pip Donaghy, Trevor Fox, Peter Hamilton Dyer, James Garnon, Joshua James, William Mannering, Colin Morgan, Matthew Raymond, Sarah Sweeney, Amanda Wilkin.

 

Running time: 169 mins inc. 15 min interval

 

 

Macbeth

BY WILLIAM SHAKESPEARE

 

When three witches tell Macbeth that he is destined to occupy the throne of Scotland, he and his wife choose to become the instruments of their fate and to kill the first man standing in their path, the virtuous King Duncan. But to maintain his position, Macbeth must keep on killing – first Banquo, his old comrade-in-arms; then, as the atmosphere of guilt and paranoia thickens, anyone who seems to threaten his tyrant’s crown.

 

From its mesmerising first moments to the last fulfilment of the witches’ prophecy, Shakespeare’s gripping account of the profoundest engagement with the forces of evil enthrals the imagination. 

 

In UK cinemas from 25 June 2014.

 

Coming soon to North America, Australasia and Europe.

 

Director: Eve Best

Designer: Mike Britton

Composer: Olly Fox

 

Cast: Moyo Akandé, Geoff Aymer, Bette Bourne, Stuart Bowman, Billy Boyd, Jonathan Chambers, Philip Cumbus, Gawn Grainger, Harry Hepple, Joseph Millson, Jess Murphy, Colin Ryan, Cat Simmons, Samantha Spiro, Finty Williams.

 

Running time: 155 mins inc. 15 min interval

 

 

A Midsummer Night’s Dream

BY WILLIAM SHAKESPEARE

 

Hermia loves Lysander and Helena loves Demetrius – but Demetrius is supposed to be marrying Hermia… When the Duke of Athens tries to enforce the marriage, the lovers take refuge in the woods and wander into the midst of a dispute between the king and queen of the fairies.

 

Shakespeare put some of his most dazzling dramatic poetry at the service of this teasing, glittering, hilarious and amazingly inventive play, whose seriousness is only fleetingly glimpsed beneath its dreamlike surface.

 

Michelle Terry won the 2011 Olivier Award for her portrayal of Sylvia in Tribes (Royal Court). Michelle returns to the Globe having previously played the Princess of France in Love’s Labour's Lost (2007).

 

In UK cinemas from 15 July 2014.

 

Coming soon to North America, Australasia and Europe.

 

Director: Dominic Dromgoole

Designer: Jonathan Fensom

Composer: Claire van Kampen

 

Cast: Huss Garbiya, Tala Gouveia, Tom Lawrence, John Light, Christopher Logan, Molly Logan, Sarah MacRae, Fergal McElherron, Edward Peel, Pearce Quigley, Stephanie Racine, Olivia Ross, Joshua Silver, Matthew Tennyson, Michelle Terry, Luke Thompson.

 

Running time: 182 mins inc. 15 min interval

 
 
Fiasco Theater’s The Two Gentlemen of Verona

The Shakespeare Conference: SHK 25.237  Thursday, 15 May 2014

 

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

Date:        Thursday, May 15, 2014

Subject:    Fiasco Theater’s The Two Gentlemen of Verona

 

Last night, I saw the amazing Fiasco Theater’s six-person version of The Two Gentlemen of Verona. Two Gents is not one of my favorite Shakespeares to say the least; in fact, it is right down there in the cellar with Taming of the Shrew and The Merchant of Venice as one of the few Shakespeare plays that I find nearly impossible to have a satisfactory experience with. However, Fiasco Theater pulled it off, milking every joke in the text and then some. As one would expect Crab stole the show. Instead of a “real” dog, Crab was played by a convincingly real Zachery Fine (AKA Valentine). As Crab, Fine’s expressions and actions reminded me of the loveable but mischievous dogs in the Saturday morning cartoons of my childhood. One of the funniest bits was when Lance (Andy Grotelueschen) commanded Crab to fetch a ball, or was it balls, from Speed (Paul L. Coffey)—delicacy forbids my describing this bit any further. Proteus was played by Noah Brody, one of the three founders and co-directors with Jessie Austrian (Julia) and Ben Steinfeld (who will appear in Cymbeline). To complete the company, Emily Young was a fine Sylvia and Lucetta. There was much music and song in a wholly enjoyable and satisfying production. I look forward to the company’s Cymbeline in a few weeks. 

 
 
[EMLS] New Issue Published

The Shakespeare Conference: SHK 25.235  Thursday, 15 May 2014

 

From:        Andrew Duxfield < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 15, 2014 at 3:33:23 PM EDT

Subject:    [EMLS] New Issue Published

 

Dear readers and contributors,

 

Early Modern Literary Studies has just published its latest issue at https://extra.shu.ac.uk/emls/journal/index.php/emls. We invite you to review the Table of Contents here and then visit our web site to review articles and items of interest.

 

Thanks for the continuing interest in our work,

 

Dr Andrew Duxfield (on behalf of the EMLS editorial team)

Sheffield Hallam University

This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

Early Modern Literary Studies

Vol 17, No 1 (2014)

Table of Contents

https://extra.shu.ac.uk/emls/journal/index.php/emls/issue/view/7

 

Articles

--------

Heywood, Henslowe and Hercules: Tracking 1 and 2 Hercules in Heywood’s Silver and Brazen Ages

Douglas Arrell

 

Turning the Tables on Bacon: Computer-Assisted Baconian Philology

Peter Pesic

 

Milton’s Image of the Tartar: ‘Global Leviathan’ vs. ‘Global Commonwealth’

Joy Lu

 

Milton's  Aevum : The Time Structure of Grace in  Paradise Lost

Ayelet Langer

 

 

Notes

--------

‘Mr Pett’ Identified? A Forgotten Early Modern Playwright

Matteo Pangallo

 

 

Book Reviews

--------

Philippa Kelly, The King and I  (London: Bloomsbury, 2011)

Steve Mentz

 

Tim Fitzpatrick, Playwright, Space and Place in Early Modern Performance: Shakespeare and Company  (Farnham: Ashgate, 2011)

Alison Searle

 

David Loewenstein and Paul Stevens, eds, Early Modern Nationalism and Milton’s England  (Toronto: University of Toronto Press, 2008)

Christopher Ivic

 

Sean Lawrence, Forgiving the Gift: The Philosophy of Generosity in Shakespeare and Marlowe  (Pittsburgh: Duquesne University Press, 2012)

Holly Faith Nelson

 

Tom MacFaul, Poetry and Paternity in Renaissance England: Sidney, Spenser, Shakespeare, Donne and Jonson  (Cambridge: Cambridge University Press,

2010)

Erin A. McCarthy

 

Chris Stamatakis, Sir Thomas Wyatt and the Rhetoric of Rewriting: ‘Turning the Word’  (Oxford: Oxford University Press, 2012)

Patrick Hart

 

Frances Cruickshank, Verse and Poetics in George Herbert and John Donne (Farnham: Ashgate, 2010)

Joel Swann

 

 

Theatre Reviews

--------

King LearThe Taming of the ShrewA Midsummer Night's Dream, and Cymbeline , presented by the Oregon Shakespeare Festival, February-November 2013

Geoff Ridden

 

Twelfth Night presented by Propeller at the Hampstead Theatre, July 2, 2013

Bill Gelber

 

Othello, presented by the Royal National Theatre at the Olivier Theatre, July 4, 2013

Bill Gelber

 

Coriolanus, presented by the Shakespeare Theatre Company at Sidney Harmon Hall, Washington, DC, March 28 - June 2, 2013

Noel Sloboda

 

The Duchess of Malfi, presented by Eyestrings Theatre at the Gulbenkian Theatre, Canterbury (touring), 9th October 2013

Thomas Larque

 

 

Books received

--------

Books Received

Andrew Duxfield

 

Early Modern Literary Studies

 

http://purl.org/emls

 
Register as an Auditor for the Sixteenth British Graduate Shakespeare Conference

The Shakespeare Conference: SHK 25.234  Wednesday, 14 May 2014

 

From:        British Graduate Shakespeare Conference < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 14, 2014 at 7:02:52 AM EDT

Subject:    Register as an Auditor for the Sixteenth British Graduate Shakespeare Conference

 

On behalf of the committee for the British Graduate Shakespeare Conference, I would like to warmly invite you to attend our Sixteenth Conference as an Auditor this summer on the 5th-7th June. 

 

Registration closes on the 23rd May—to avoid paying a late fee, make sure you register before this date! 

 

Please find all the information you need below, I look forward to welcoming you this June to this fantastic conference at The Shakespeare Institute. 

 

Best wishes,

Charlotte Horobin

Publicity PR. 

British Graduate Shakespeare Conference

 

 

Sixteenth Annual British Graduate Shakespeare Conference

5th – 7th June 2014

The Shakespeare Institute, University of Birmingham

 

We invite Graduate students with interests in Shakespeare and Renaissance Studies to join us in June for the Sixteenth Annual British Graduate Shakespeare Conference.

 

This interdisciplinary conference, celebrating its sixteenth anniversary in 2014, provides a friendly and stimulating academic forum in which Graduate students from all over the world can present their research and meet together in an active centre of Shakespeare scholarship in Shakespeare’s home town of Stratford-upon-Avon. Undergraduate students in their final two years of study are also invited to attend the conference as auditors.

 

The conference will feature talks by David Crystal (University of Wales, Bangor), Richard Buckley (University of Leicester Archaeological Services), Ewan Fernie (Shakespeare Institute), Tony Howard (University of Warwick), Grace Ioppolo (University of Reading), Simon Palfrey (University of Oxford), and Anna Marsland from the RSC. A round table discussion about Shakespeare’s collaborative plays will be led by Peter Kirwan (University of Nottingham) and Will Sharpe (University of Birmingham).

 

Delegates will also have the opportunity to attend two RSC productions: Henry IV Part II, directed by Gregory Doran, and starring Antony Sher as Falstaff, and The Roaring Girl, part of the Roaring Girls season, both at a group-booking price. Lunch will be provided on each day, and we will be hosting a party and a reception  for the delegates.

 

The deadline for registering as auditors is Friday 23rd May 2014. You can still make a payment after this date, as late as on the door upon arrival at the Shakespeare Institute BUT any kind of transaction carried out after 23 MAY will be automatically qualified as Late Fee and no concessions apply. 

 

The cost of this year’s conference is £55 for all three days, or £20 per day.

 

Concessions:

Shakespeare Institute student: £45 for all three days or £15 per day.

Shakespeare Institute alumni: £50 for all three days or £17.50 per day.

UoB College of Arts and Law undergraduate student: £50 for all three days or £17.50 per day.

 The late registration fee is £70 for all three days or £25 per day. Concessions do not apply.

For more information on the conference and registration, visit: http://britgrad.wordpress.com or http://www.birmingham.ac.uk/schools/edacs/departments/shakespeare/events/2014/britgrad2014.aspx

 

Find us on Facebook and on Twitter, Email:  This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

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The Sixteenth British Graduate Shakespeare Conference

5-7 June 2014

The Shakespeare Institute

Mason Croft, Church Street

Stratford-Upon-Avon

CV37 6HP

UK

 

E:  This e-mail address is being protected from spambots. You need JavaScript enabled to view it   

F: https://www.facebook.com/pages/BritGrad-2014/107650962644721

T: @britgrad   https://twitter.com/britgrad

W: www.britgrad.wordpress.com

 
 
CFP: Shakespeare and the Visual Arts

The Shakespeare Conference: SHK 25.232  Monday, 12 May 2014

 

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

Date:         May 11, 2014 at 2:16:00 PM EDT

Subject:    Shakespeare and the Visual Arts - Call for Papers

 

Call for Papers

 

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 31st August 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.

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Prof. Keir Elam

University of Bologna, Italy.

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Lear in Connecticut

The Shakespeare Conference: SHK 25.231  Wednesday, 7 May 2014

 

From:        David Richman < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 6, 2014 at 8:42:49 AM EDT

Subject:    Lear in Connecticut

 

This is a year of Lears. I am adding to their number. 

 

I will be acting King Lear this summer with Shakesperience, a thriving Shakespeare company founded by my former student Emily Mattina. Emily will direct, and costumes will be designed by another former student, Julie Leavitt, now a Prof of theatrical design at Fairfield.

 

More info about the production can be found at

<http://www.shakesperienceproductions.org/public/ShakespeareinLibraryPark.shtml>.

 

Jun. 26 - 29 is King Lear as a part of Shakespeare In Library Park in Waterbury, CT.

 

August 6-10 is King Lear at Shakespeare on the Shoreline in Guilford, CT.

 

August 23 - 24 is King Lear at McLaughlin Vineyard in Sandy Hook, CT.

 

David Richman 

 
 
CFP: OVSC (October 24-5) OSU

The Shakespeare Conference: SHK 25.230  Wednesday, 7 May 2014

 

From:        Joseph Sullivan < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 6, 2014 at 10:21:31 AM EDT

Subject:    CFP: OVSC (October 24-5) OSU

 

The Ohio Valley Shakespeare Conference

Call for Papers

“Lovers, Madmen and Poets:

Shakespeare and the Imaginary, Supernatural, and Divine”

October 24 and 25, 2014

Ohio State University

Columbus, Ohio

 

Plenary Speakers:

Evelyn Gajowski, University of Nevada, Las Vegas

David George, Urbana University

 

The Ohio Valley Shakespeare Conference seeks papers and panels relating to all things Shakespearean, especially those focusing on the spectral, the fantastic, the mad, and the fey. We take our cue from Theseus: “Lovers and madmen have such seething brains, / Such shaping fantasies, that apprehend / More than cool reason ever comprehends.” The place of the world-beyond-the world, the line between reality and fantasy, and the demarcation of the sane from the mad are ever-present and controversial aspects of Shakespeare’s work and of early modern literature more broadly. As the plays we now call ‘romances’ or ‘dark comedies’ suggest, the transformation of the tragic into the comedic relies, to some extent, on the willing suspension of disbelief, on the capacity to accept what is otherwise contrary to our understanding, expectation, or experience. From Samuel Pepys’ condemnation of A Midsummer Night’s Dream, to the oblique resonances between Hamlet and Derrida’s Specters of Marx, the relationship between the ‘unreal’ and the ‘real’ is everywhere present and significant in Shakespeare’s works, and centrally a focus of performance history and critical reception from the earliest moments to the present. This conference will especially highlight these aspects of Shakespeare’s oeuvre.

 

Join us October 24-25, 2014 in Columbus, Ohio. Papers of 20 minutes, roundtable topics, and suggestions for panels on Shakespeare’s work and that of his contemporaries welcome.

Please send abstracts of 500 words to This e-mail address is being protected from spambots. You need JavaScript enabled to view it by September 12, 2014.

 

The OVSC publishes a volume of selected papers each year, and conferees are welcome to submit revised versions of their papers for consideration. Students who present are eligible to compete for the M. Rick Smith Memorial Prizes. More information is available at http://blogs.uakron.edu/ovsconf/.

 

Joseph Sullivan, Ph.D.

Director of Assessment

Associate Professor of English

Marietta College

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