EARLY THEATRE 16.1 (2013)
The Shakespeare Conference: SHK 24.0262 Tuesday, 28 May 2013
From: Helen Ostovich <
Date: May 27, 2013 9:57:26 PM EDT
Subject: EARLY THEATRE 16.1 (2013)
Early Theatre 16.1 is forthcoming in June 2013. The journal is printed on paper and almost simultaneously online for subscribers. New subscribers are always welcome. See our website for information:
The Will of Simon Jewell and the Queen’s Men Tours in 1592
‘This place was made for pleasure not for death’: Performativity,
Language, and Action in The Spanish Tragedy
Alexandra S. Ferretti
Shared Borders: The Puppet in Ben Jonson’s Bartholomew Fair
Kristina E. Caton
‘Bound up and clasped together’: Bookbinding as Metaphor for
Marriage in Richard Brome’s The Love-Sick Court
Accidents Happen: Roger Barnes’s 1612 Edition of Marlowe’s Edward II
Mathew R. Martin
Old Testament Adaptation in The Stonyhurst Pageants
J. Case Tompkins
Hornpipes and Disordered Dancing in The Late Lancashire
Witches: A Reel Crux?
Brett D. Hirsch
Defining Tudor Drama
John H. Astington. Actors and Acting in Shakespeare’s Time:
The Art of Stage Playing. Cambridge: Cambridge University
Reviewed by Eleanor Lowe
Janette Dillon. Shakespeare and the Staging of English History.
Oxford: Oxford University Press, 2011.
Reviewed by Patrick J. Murray
Christina M. Fitzgerald and John T. Sebastian (gen eds). The
Broadview Anthology of Medieval Drama. Peterborough, ON:
Reviewed by Chester N. Scoville
Charles R. Forker (ed.). The Troublesome Reign of John, King of
England. Manchester: Manchester University Press, 2011.
Reviewed by Karen Oberer
Katherine R. Larson. Early Modern Women in Conversation.
Houndmills: Palgrave Macmillan, 2011.
Reviewed by Sarah Johnson
Christopher Marsh. Music and Society in Early Modern England.
Cambridge: Cambridge University Press, 2010.
Reviewed by Katherine Hunt
Kathryn M. Moncrief and Kathryn R. McPherson (eds). Performing
Pedagogy in Early Modern England: Gender, Instruction, and
Performance. Aldershot: Ashgate, 2011.
Reviewed by Yvonne Bruce
Helen Smith. Grossly Material Things: Women and Book Production
in Early Modern England. Oxford: Oxford University Press, 2012.
Reviewed by Christina Luckyj
Ayanna Thompson. Passing Strange: Shakespeare, Race and
Contemporary America. Oxford: Oxford University Press, 2011.
Reviewed by Jami Rogers
Alden T. & Virginia Mason Vaughan. Shakespeare in America.
Oxford: Oxford University Press, 2012.
Reviewed by Alan Andrews
Martin Wiggins, in association with Catherine Richardson. British
Drama 1533–1642: A Catalogue. Volume I: 1533–1566. Oxford:
Oxford University Press, 2012.
Reviewed by Peter Happé
Dr H M Ostovich <
Editor, Early Theatre <http://digitalcommons.mcmaster.ca/earlytheatre/>
Professor, English and Cultural Studies
CFP: Société française Shakespeare: Shakespeare in French Film / France in Shakespeare Film
The Shakespeare Conference: SHK 24.0259 Monday, 27 May 2013
From: Douglas Lanier <
Date: May 25, 2013 4:14:01 PM EDT
Subject: CFP: Société française Shakespeare: Shakespeare in French Film / France in Shakespeare Film
Société française Shakespeare Conference on “Shakespeare 450,” Paris, 21-27 April 2014
Leaders: Melissa Croteau and Douglas Lanier
Seminar 15: Shakespeare in French Film/France in Shakespearean Film
This seminar will explore the many ways in which Shakespeare’s work has influenced French cinema and has been adapted to the screen in France, from the silent era to the present, including offshoots and films which use Shakespeare’s works as significant intertexts, from Les enfants du paradis (Marcel Carné, 1945) to L'Appartement (Gilles Mimouni, 1996). Conversely, the seminar also will invite papers that consider how the nation, people, and culture of France have been depicted in Shakespearean films. The term Shakespearean films here includes all kinds of cinematic and television adaptations of the plays as well as offshoots (or spinoffs) that use the Bard’s work for sundry purposes and agendas.
This subject invites reflection on the traditions and methods of “reading” and presenting Shakespeare in France. For instance, one might examine Sarah Bernhardt’s famed stage performance in the role of Hamlet in 1899 and the filming of Bernhardt’s Hamlet-Laertes duel scene in 1900, reputedly the first time any part of Hamlet was recorded for the screen. The relationship between French Shakespearean stage actors, like Bernhardt, and their non-Shakespeare on-screen roles could be explored. More recently, the casting of Sophie Marceau in Hoffman’s A Midsummer Night’s Dream (1999) or the cameo appearance of Gérard Depardieu in Branagh’s Hamlet might warrant analysis of how the French identity of actors is used in English-language adaptations. In addition, the many cinematic adaptations of Henry V offer fertile ground for investigating how the French are represented in Shakespeare’s work and are then translated into film at pivotal historical moments, such as Sir Laurence Olivier’s Henry V, which was filmed during World War II and features a mise-en-scène derived self-consciously from the Duc de Berry’s medieval Book of Hours. Or one might explore how explicitly French settings in some of Shakespeare plays—Love’s Labour’s Lost and All’s Well That Ends Well in particular—have been handled in screen adaptations. Furthermore, one could examine the reception of cinematic Shakespeare in France, as Sarah Hatchuel has done with Kenneth Branagh’s work. The place of Shakespeare in French cinema and the place of France in Shakespearean cinema also has been investigated in the work of Nathalie Vienne-Guerrin and Patricia Dorval, who have been pioneering a website that catalogues and analyzes Shakespearean allusions in French film. Last but not least, one might examine the kinds of cultural work done by Shakespeare references, explicit and implicit, in particular French films, in certain film genres in France, at certain periods in French cinema, or in the oeuvre of a French director. To what audiences are such references directed? How are such references understood within a French cultural context? How do such references (re)conceptualize the nature and influence of Shakespeare’s work? To what extent can one speak of a distinctively French approach to adapting Shakespeare to the screen?
We are planning to edit a collection of essays from the submitted papers, so we are especially interested in contributions that seminar members wish to develop for publication.
Seminar Structure: This seminar will include up to twenty members, and seminar papers should be 3,000 to 4,000 words in length. Members will read all the seminar papers but will respond in detail via email to three other papers before the seminar meets.
Submissions should be sent by email to
Please include the following with your proposal:
• the full title of your paper;
• a 250-400 word description of your paper;
• your name, postal address and e-mail address;
• your institutional affiliation and position;
• a short bionote;
• AV requirements (if any).
Deadline for proposals: 10 August 2013
Notification of acceptance: 30 August 2013
The Luminary Folger Shakespeare
The Shakespeare Conference: SHK 24.0255 Friday, 24 May 2013
From: Katherine Rowe <
Date: May 24, 2013 2:08:18 PM EDT
Subject: The Luminary Folger Shakespeare
FOR IMMEDIATE RELEASE
Contact: Julia Prosser, 212-698-7529;
Simon & Schuster and Folger Shakespeare Library Team with Luminary Digital Media to Create Interactive Shakespeare Apps
New York, NY, May 23, 2013 — Simon & Schuster and Folger Shakespeare Library announced today that they are working with Luminary Digital Media to create an interactive app using the renowned Folger Editions, the leading Shakespeare texts used in secondary schools in the United States. The Luminary Folger Shakespeare, which will be built on Luminary’s social reading platform for mobile devices, will use the Folger Shakespeare Editions text, supplemented with newly commissioned audio performances produced at the Folger Theatre, expert commentaries from the world’s leading Shakespeare scholars and teachers, image galleries, video performances and interviews, audio recordings, classroom resources, and learning modules.
The app will have unique social reading, private network and content-creation tools that allow readers to customize their own experience and connect instantly with friends, classmates, and colleagues worldwide. The Luminary Folger Shakespeare will transform how Shakespeare is read, learned and taught for the 21st century.
The first apps will publish in November 2013 and will include Hamlet, Othello, Macbeth, Romeo & Juliet, and A Midsummer Night’s Dream. The remaining plays will be released on a regular basis until the entire collection is complete.
“The Luminary platform is the perfect digital environment in which to engage with the richness of Shakespeare's works. In addition to immersing readers in the riches of the Folger Editions and Folger Theatre, it also allows students, teachers, and the reading public to share their ideas about the plays, making Shakespeare's works accessible in an entirely new way,” said Michael Witmore, Director of the Folger Shakespeare Library.
“The Folger Editions have long been the gold standard for reading Shakespeare both at home and in the classroom, and we couldn’t be prouder of our partnership and our joint efforts to bring this vital series into the digital age,” said Simon & Schuster President and Publisher Jonathan Karp. “These new apps will tap Folger’s expert scholarship, the ability of digital media to make Shakespeare come alive, and the growing phenomenon of social reading to create a world class Shakespeare experience for the mobile reading audience. We’re confident that Folger Editions will, in this new digital format, prove attractive and informative to an entirely new generation of readers.”
“At Luminary, we are delighted to work with two world-class partners like the Folger Shakespeare Library and Simon & Schuster to create the next generation of Shakespeare for all readers,” said Elliott Visconsi, principal and co-founder of Luminary Digital Media.
The Folger Shakespeare Library is a world-renowned center for scholarship, learning, culture, and the arts. Home to the world’s largest Shakespeare collection and a primary repository for rare materials from the early modern period (1500–1750), the Folger is an internationally recognized research library; an innovator in the preservation of rare materials; a national leader in how Shakespeare is taught in grades K–12; and an award-winning producer of cultural and arts programs. For more information, visit the website at www.folger.edu.
Simon & Schuster, a part of CBS Corporation, is a global leader in the field of general interest publishing, dedicated to providing the best in fiction and nonfiction for consumers of all ages, across all printed, electronic, and audio formats. Its divisions include Simon & Schuster Adult Publishing, Simon & Schuster Children’s Publishing, Simon & Schuster Audio, Simon & Schuster Digital, and international companies in Australia, Canada, India and the United Kingdom. For more information, visit our website at www.simonandschuster.com.
Luminary Digital Media is a mobile software company founded by two professors—Elliott Visconsi of the University of Notre Dame and Katherine Rowe of Bryn Mawr College. Based in South Bend, Indiana and incubated at the University of Notre Dame, Luminary builds mobile learning experiences around humanities content for trade authors, schools, and cultural institutions, combining outstanding expert content with social networks, broadcasting channels, and collaboration tools. Luminary’s first offering The Tempest for iPad was launched in April 2012, and has users in 25 countries worldwide. Luminary has been featured in leading venues such as FastCompany, The Atlantic, PBS MediaShift , and elsewhere. Luminary experts come from a worldwide network of colleges and universities, including Notre Dame, Bryn Mawr, Yale, Harvard, Indiana, Villanova, Delaware, UCLA, UC Davis, UC Irvine, Cambridge, York, Penn, Princeton, George Washington, Pittsburgh, King’s College London, USC, Virginia, National University of Singapore, Northwestern, and New Hampshire. Visit www.luminarydigitalmedia.com .
Katherine Rowe, Professor of English
Director, Tricollege Digital Humanities Consortium
Director, Katharine Houghton Hepburn Center
Bryn Mawr College
University of Notre Dame’s Shakespeare in Prisons Conference
The Shakespeare Conference: SHK 24.0254 Friday, 24 May 2013
From: Scott Jackson <
Date: May 22, 2013 4:49:41 PM EDT
Subject: University of Notre Dame’s Shakespeare in Prisons Conference
**A CALL TO PRACTITIONERS/EDUCATORS AND INTERESTED PARTIES OF SHAKESPEARE IN JUVENILE AND ADULT CORRECTIONAL FACILITIES**
SHAKESPEARE IN PRISONS CONFERENCE
15-16 NOVEMBER 2013
Shakespeare at Notre Dame is pleased to announce the Shakespeare in Prisons Conference hosted by the University of Notre Dame on Friday, November 15, and Saturday, November 16, 2013.
Featuring keynote addresses and film screenings by Curt Tofteland (founding director of Shakespeare Behind Bars) and Tom Magill (founder of the Educational Shakespeare Center and director of the Irish film Mickey B), the conference aims to bring together artists and educators engaged in transformational arts programs using Shakespeare in prisons across the USA (and the world) for an exploration and study of the effects such programming has on prison populations. The goal is to promote a collaborative learning forum where participants will be exposed to a diverse array of programs that all strive for a common result: the habilitation of the inmate’s mind, heart, body, and spirit.
Departing from the traditional academic conference structure, the Shakespeare in Prisons conference will focus on the craft and experiences of the practitioner—while allowing ample time for one-on-one networking and collaboration.
In addition to the keynotes and film screenings (and Q&A’s), attendees are invited to participate in workshops that explore innovative methodologies, as well as panel discussions that are designed to stimulate discussion about practitioner experiences and best practices within the industrial prison complex.
Registration is $25 and includes a dinner/reception on Friday night, lunch and dinner on Saturday, and admission to all workshops and film screenings. Online registration begins on Monday, June 10 via http://conferences.nd.edu/
More information regarding the conference schedule, lodging information, and the availability of a limited number of bursaries to help with attendee expenses will be made available on June 10. In the meantime, please contact Scott Jackson at
for further information.
We hope that you will join us for this unique gathering of like-minded individuals.
All the very best—
Shakespeare at Notre Dame
McMeel Family Chair in Shakespeare Studies
University of Notre Dame
Shakespeare Behind Bars
About the speakers and host:
Curt L. Tofteland is the founder of the internationally acclaimed Shakespeare Behind Bars (SBB) program. SBB has twelve programs in Kentucky and Michigan. He currently facilitates the adult Shakespeare Behind Bars/Michigan program at the Earnest C. Brooks Correctional Facility in Muskegon Heights and SBB’s first co-gender, court-ordered, juvenile Shakespeare Behind/Beyond Bars programs at the Ottawa County Juvenile Detention Center and the Juvenile Justice Institute. From 1995-2008, he facilitated the SBB/KY program at the Luther Luckett Correctional Complex, producing and directing fourteen Shakespeare productions. His 2003 SBB/KY production of The Tempest was chronicled by Philomath Films, producing the documentary Shakespeare Behind Bars, which premiered at the 2005 Sundance Film Festival and went on to be screened at 40+ film festivals worldwide, winning eleven awards. He is a national and international speaker, having lectured at over forty colleges and universities across the United States and at TEDx Berkeley, TEDxEast (NYC), and TEDx Macatowa. For his work as a Prison Arts Practitioner he was awarded fellowships from the Fulbright and Petra Foundations, as well as a Doctorate of Humane Letters from Bellarmine University. He is a founding member and past president of the Shakespeare Theatre Association, an international service organization for theatres that produce the works of William Shakespeare. He is a published essayist and poet, currently authoring the book, Behind the Bard-Wire: Reflection, Responsibility, Redemption, & Forgiveness…The Transformative Power of Art, Theatre, and Shakespeare. From 1989-2008, he served as producing artistic director of the Kentucky Shakespeare Festival, producing fifty Shakespeare productions, directing twenty-five, and acting in eight.
A trailer for Shakespeare Behind Bars can be viewed at http://www.youtube.com/watch?v=S2kr5wV_AiQ
More information on Curt’s work can be found at http://www.shakespearebehindbars.org/
Tom Magill is an ex-prisoner who transformed his life through arts education while in prison for violence. While incarcerated he met his enemy—and his enemy became his teacher. On release he earned a B.A. (Hons) in Drama and Theatre Studies at the University of Birmingham and an M.A. in Cultural Studies at the University of Leeds. He is an award-winning filmmaker, drama facilitator, actor, writer, director, and producer. He specializes in utilizing Augusto Boal’s “Theatre of the Oppressed” methodology and the works of William Shakespeare in transforming community and prison settings. After training with Michael Bogdanov, he became his and Augusto Boal’s personal representative in Northern Ireland. In 1999 he founded the Educational Shakespeare Company (ESC) to develop drama and film with prisoners and ex-prisoners. ESC is an award-winning arts education charity, empowering marginalized people to find their voice and tell their stories through film. In 2007 he directed Mickey B, an award-winning feature film adaptation of Shakespeare’s Macbeth cast with prisoners from Maghaberry maximum-security prison. For his film direction he has received the 2011 Justice in the Community Award (from the Northern Ireland Department of Justice), the 2008 Roger Graef Award for Outstanding Achievement in Film at the Koestler Awards (for Mickey B), the Arthur Koestler Award for Prison Drama in 2004 and 2006 (for Inside Job and The Big Question, respectively), and the Impetus Human Rights Award in 2005, 2006, and 2007 (for Bridging the Divide). He has presented his film work in Britain, Canada, Denmark, Germany, Holland, Ireland, Israel, Nigeria, South Korea, and the United States.
More information on Tom’s work can be found at http://esc-film.com/
A trailer of Mickey B can be viewed at http://www.youtube.com/watch?v=oFKMIswx5VY
Peter Holland holds the McMeel Family Chair in Shakespeare Studies and is the Associate Dean for the Arts at the University of Notre Dame. He is one of the central figures in performance-oriented Shakespeare criticism, served as Director of the Shakespeare Institute at Stratford-upon-Avon before coming to Notre Dame in 2002. He is editor of Shakespeare Survey as well as a number of other series. Among his books are English Shakespeares: Shakespeare on the English Stage in the 1990s and a major study of Restoration drama The Ornament of Action. He has also edited many Shakespeare plays, including A Midsummer Night's Dream for the Oxford Shakespeare series. In 2007, he completed publication of a five-volume series of collections of essays entitled Rethinking British Theatre History. In 2007-08, he served as President of the Shakespeare Association of America. He was elected an honorary fellow at Trinity Hall, his alma mater and one of the 31 colleges that comprise the University of Cambridge. His Arden edition of Coriolanus was released in early 2013.
Shakespeare at Notre Dame is a program that recognizes the centrality of the study of Shakespeare in humanistic pedagogy at the University of Notre Dame. The creation of the “Shakespeare Initiative” in 2001 sought to broaden the Shakespeare offerings on campus and establish the permanence of this new tradition for an audience of students, faculty, the South Bend community at-large, and a national and international audience. To that end, the current programs and future prospects that comprise Shakespeare at Notre Dame have created a regional center for Shakespearean scholarship, production, educational outreach, and academic research by enmeshing programs as far-reaching and diverse as Actors From The London Stage, the Notre Dame Shakespeare Festival, visiting guest artists and lecturers, touring productions, and new media library collections; ensuring Notre Dame’s status as a nationally visible—and the Midwest’s pre-eminent—venue for Shakespeare Studies. Find out more at http://shakespeare.nd.edu/
A Conversation with Director Jesse Berger
The Shakespeare Conference: SHK 24.0251 Wednesday, 15 May 2013
From: John F Andrews <
Date: May 15, 2013 1:33:54 PM EDT
Subject: A Conversation with Director Jesse Berger
A Conversation with Director Jesse Berger
Wednesday, May 22, at 7:30 p.m.
National Arts Club, 15 Gramercy Park South
No Charge, but Reservations Requested
To reserve, simply e-mail
or call 505-988-9560.
As founding artistic director of Red Bull Theater, a company that performs at the Lucille Lortel Theatre in the West Village and draws its name from a London playhouse that was created around 1600, JESSE BERGER has adapted and produced such Jacobean mainstays as Edward II, Pericles, The Revenger’s Tragedy, Volpone, The Witch of Edmonton, and Women Beware Women. His scripts for two of these classics have been published by Dramatists Play Service. Mr. Berger has worked with such actors as F. Murray Abraham, Elizabeth Ashley, Michael Learned, Kelly McGillis, and Patrick Stewart, and his efforts have taken him to such prestigious settings as the Denver Theatre Center, the Guthrie Theater in Minneapolis, the Old Globe Theatre in San Diego, Shakespeare’s Globe in London, and the Shakespeare Theatre Company in Washington. He has taught at the American Academy of Dramatic Art, the Juilliard School of Drama, NYU’s Tisch School of the Arts, and the Shakespeare Theatre Company’s Academy for Classical Acting. During his time in the Nation’s Capital, he won a Helen Hayes Award for his direction of Marat/Sade.
CFP: Société française Shakespeare: Global Shakespeare, Paris
The Shakespeare Conference: SHK 24.0246 Tuesday, 14 May 2013
From: Alexander Huang <
Date: May 14, 2013 10:33:21 AM EDT
Subject: CFP: Société française Shakespeare: Global Shakespeare, Paris
Société française Shakespeare conference on “Shakespeare 450,” Paris, 21-27 April 2014
Global Shakespeare as Methodology
Call for papers
Seminar leader: Alexander Huang, George Washington University.
Global Shakespeare as a cultural phenomenon and a field of study has gained much of its vitality from the sheer multiplicity of genres, cultures, and artistic and academic investments in performances as multilingual affairs. Global Shakespeare festivals, performances, and courses are proliferating, because they seem to answer competing structural demands on artists and scholars to be more transnational in outlook while sustaining traditional values. Recent studies that treat “global Shakespeare” not as news-worthy curiosities but as methodology have made meaningful contributions to Shakespeare studies.
This seminar explores, among other topics, the potential of global Shakespeare as methodology. Papers may address emerging methodological issues by examining well-known instances such as the internationalism of Michael Almereyda’s film Hamlet or traveling stage works such as Grupo Galpão’s Romeu e Julieta. What does it entail to practice, teach, and study global Shakespeare in 2014? What is the value of local knowledge? How do aesthetics and international politics shape the conflicting myths of Shakespeare as a global author and national poet? What values and ideas does global Shakespeare sustain or undermine?
Annotated, English-subtitled videos of works discussed in the seminar may be available on the open-access Global Shakespeares digital performance archive: http://globalshakespeares.org/. Seminar contributors and participants in the Shakespeare 450 conference can take advantage of the digital archive’s curatorial functions to facilitate further discussion.
Deadline: August 15, 2013
Submit your name, job title, affiliation, email, paper title, and a 250-word abstract to Alexander Huang (
) by August 15, 2013
Shakespeare’s Globe May News
The Shakespeare Conference: SHK 24.0245 Tuesday, 14 May 2013
From: Shakespeare’s Globe <
Date: Tuesday, May 14, 2013 7:46 AM
Subject: Shakespeare’s Globe May News
The Season of Plenty is off to a cracking start and continues to delight with a sprightly staging of The Tempest. Jeremy Herrin’s production has received several 4 star reviews. Particularly praised were fine performances of the cast, including the charming Jessie Buckley and Joshua James as the young lovers, Roger Allams’ touchingly paternal Prospero and Colin Morgan’s highly energetic Ariel.
The magic continues when seasonal A Midsummer Night’s Dream opens at the end of May. Get closest to the action with a yard ticket for just £5.
Taking full advantage of the British summer, King Lear is making its way around a variety of open air, and some indoor, venues across the UK and further afield. After a brief stint at the Globe from 13 - 18 May, it will play at Brighton festival before heading to West Sussex. Currently in rehearsals our other touring productions The Taming of the Shrew and the three Henry VI plays head out in June.
This year our cinema series opens with Henry V, followed by Twelfth Night and The Taming of the Shrew from the 2012 season. New locations for 2013 include venues in Hong Kong, Sweden and the Czech Republic.
Globe cinema screenings 2013. Dates and locations have been announced for venues in UK, Ireland and Australia, with many UK locations now on sale. This year includes screenings in venues across New Zealand, Hong Kong, Sweden and the Czech Republic.
Henry V will be the first production. Shakespeare’s masterpiece of the turbulence of war and the arts of peace tells the romantic story of Henry’s campaign to recapture the English possessions in France. But the ambitions of this charismatic king are challenged by a host of vivid characters caught up in the real horrors of war.
Henry V, which opened the new Globe with the words ‘O for a muse of fire’, celebrates the power of language to summon into life courts, pubs, ships and battlefields within the ‘wooden O’ - and beyond.
Much loved for his performance as Prince Hal in Henry IV Parts 1 & 2 (2010), Jamie Parker returns to Hal’s journey as Henry V. Other credits included The History Boys at the National Theatre, on Broadway and on film.
UK, IE from 3 June
AU from 2 June
NZ from 1 June
SE, CZ, HK, RU, USA from September
Read more at http://onscreen.shakespearesglobe.com/index.php#4YvwS4gLdd6jRFKL.99
Complementing productions in the Season of Plenty, a new audio-visual lecture series exploring film adaptations of Shakespeare’s work, Howard on Shakespeare: Stage and Screen opens with an exploration of key scenes, rival visions, and extraordinary moments in King Lear on 16 May.
Running for two weeks in the summer, Shakespeare’s Globe Summer School, for 16-19 year olds gives budding actors a chance to improve their acting skills and understanding of Shakespeare. Master classes with professional actors and Shakespeare scholars help prepare students preparing for Drama school auditions.
CFP: Seminar 5: Shakespeare and the Visual Arts
The Shakespeare Conference: SHK 24.0240 Monday, 13 May 2013
From: Michele Marrapodi <
Date: May 13, 2013 8:43:27 AM EDT
Subject: CFP: Seminar 5: Shakespeare and the Visual Arts
Seminar 5: Shakespeare and the Visual Arts
Shakespeare Anniversary, Paris
Call for Papers
Seminar leader: Michele Marrapodi, University of Palermo
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. Relying on the aesthetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this seminar will study instead the dramatic use and function of Renaissance material arts and artists in Shakespeare’s oeuvre. Among the great variety of possible topics, participants in the “Shakespeare and the visual arts” Seminar may like to consider:
the impact of optics and pictorial perspective;
anamorphosis and trompe l’oeil effects on the whole range of visual representation;
the rhetoric of “verbal painting” in dramatic discourse;
the actual citation and intertextuality 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
ekphrastic intertextuality, etc.
Registered participants are invited to submit by 10th August 2013 to the address below a one-page abstract of their proposed article on any aspect of the relationship between the age of Shakespeare and Renaissance arts, including the theoretical approach of the arts in the drama of Shakespeare and his contemporaries. Every abstract (approx. 250 words) should include the participant’s name, email, affiliation, and title of the proposed contribution.
Prof. Michele Marrapodi
Facoltà di Lettere e Filosofia
University of Palermo
Anglo-Italian Renaissance Studies
The Shakespeare Conference: SHK 24.0239 Monday, 13 May 2013
From: Michele Marrapodi <
Date: May 13, 2013 8:41:27 AM EDT
Subject: Anglo-Italian Renaissance Studies
I am pleased to announce the publication of the following new books in the Ashgate series “Anglo-Italian Renaissance Studies”:
Shakespeare Among the Courtesans
Prostitution, Literature, and Drama, 1500-1650
Duncan Salkeld, University of Chichester, UK
“Courtesans – women who achieve wealth, status, or power through sexual transgression – have played both a central and contradictory role in literature: they have been admired, celebrated, feared, and vilified. This study of the courtesan in Renaissance English drama focuses not only on the moral ambivalence of these women, but with special attention to Anglo-Italian relations, illuminates little known aspects of their lives. It traces the courtesan from a wry comedic character in the plays of Terence and Plautus to its literary exhaustion in the seventeenth-century dramatic works of Dekker, Marston, Webster, Middleton, Shirley and Brome. The author focuses especially on the presentation of the courtesan in the sixteenth century - dramas by Shakespeare, Marlowe, and Lyly view the courtesan as a symbol of social disease and decay, transforming classical conventions into English prejudices.
Renaissance Anglo-Italian cultural and sexual relations are also investigated through comparisons of travel narratives, original source materials, and analysis of Aretino's representations of celebrated Italian courtesans. Amid these fascinating tales of aspiration, desire and despair lingers the intriguing question of who was the 'dark lady' of Shakespeare's sonnets.”
Machiavellian Encounters in Tudor and Stuart England
Literary and Political Influences from the Reformation to the Restoration
Edited by Alessandro Arienzo, the University of Naples, ‘Federico II’, Italy and Alessandra Petrina, the Università degli Studi di Padova, Italy
“Taking into consideration the political and literary issues hanging upon the circulation of Machiavelli’s works in England, this volume highlights how topics and ideas stemming from Machiavelli’s books-including but not limited to the Prince- strongly influenced the contemporary political debate.
The first section discusses early reactions to Machiavelli’s works, focusing on authors such as Reginald Pole and William Thomas, depicting their complex interaction with Machiavelli. In section two, different features of Machiavelli’s reading in Tudor literary and political culture are discussed, moving well beyond the traditional image of the tyrant or of the evil Machiavel. Machiavelli’s historiography and republicanism and their influences on Tudor culture are discussed with reference to topical authors such as Walter Raleigh, Alberico Gentili, Philip Sidney; his role in contemporary dramatic writing, especially as concerns Christopher Marlowe and William Shakespeare, is taken into consideration. The last section explores Machiavelli’s influence on English political culture in the seventeenth century, focusing on reason of state and political prudence, and discussing writers such as Henry Parker, Marchamont Nedham, James Harrington, Thomas Hobbes and Anthony Ascham.
Overall, contributors put Machiavelli’s image in sixteenth- and seventeenth-century England into perspective, analyzing his role within courtly and prudential politics, and the importance of his ideological proposal in the tradition of republicanism and parliamentarianism.”
New book proposals and edited collections of essays are welcome.
For a complete list of published and forthcoming books in the series, see the Ashgate website:
University of Palermo, Italy
Looking for a Third Panelist for Midwest Modern Popular Conference, St. Louis, Oct 11-13
The Shakespeare Conference: SHK 24.0234 Friday, 10 May 2013
From: Kristn Bundesen <
Date: May 9, 2013 4:20:18 PM EDT
Subject: Looking for a Third Panelist for Midwest Modern Popular Conference, St. Louis, Oct 11-13
I am putting together a panel for the Midwest Modern Popular Culture Conference in St. Louis in October 11-13 2013. Here is a link to the conference site:
We are looking for a third paper to join a forming panel in the area of Print Media and Popular Culture.
The first paper will be about reading groups reclaiming Shakespeare from the tyranny of performance criticism. This paper uses as its touchstone the dedication ‘To the Great Variety of Readers’ printed on the title page of the First Folio and the recent scholarship on recognizing Shakespeare is a “literary dramatist.” The paper will also include the slightly subversive nature of lay people reclaiming Shakespeare as popular culture without the need of intermediaries. (In case you don’t know, there’s been a resurgence of reading groups lately.)
The second paper will discuss the current boom within popular culture of the Shakespeare authorship question. The paper will NOT discuss who the author is or isn’t but instead look at our fascination with wanting to assign a large body of work to a single author and the various expressions of that fascination. Why does the presence of this debate demand a popular culture presence? (There has been a recent movie and two books were released just weeks ago addressing this.)
We are looking for a third paper that might address any aspect of; Shakespeare, literary adaptation to other media forms, authors that demand continuing pop culture presence (Jane Austen comes to mind), archetypes from the Shakespearean canon that appear in pop culture on a regular basis (Is Jon Stewart a 21st century Falstaff?) or any other related topic.
The trick is that the panel proposal is due May 15. So we must have a proposed abstract in the next few days. Please feel free to forward to colleagues at other institutions or independent scholars.
Please let me know if anyone is interested in this opportunity or if you have any questions.
Thank you for your attention and patience,