CFP Shakespeare and Japan
The Shakespeare Conference: SHK 23.0284 Friday, 7 July 2012
Date: July 6, 2012 7:28:40 AM EDT
Subject: CFP Shakespeare and Japan
Shakespeare and Japan: A One-Day Conference
Tuesday 26 February, 2013
De Montfort University, Leicester, England
Journal ‘Shakespeare’ goes ‘Online First’
The Shakespeare Conference: SHK 23.0279 Thursday, 5 July 2012
From: Gabriel Egan <
Date: July 2, 2012 7:08:32 AM EDT
Subject: Journal ‘Shakespeare’ goes ‘Online First’
The Routledge journal Shakespeare (ISSNs 1745-0918 Print, 1745-0926 Online) appears online every three months with an annual printed volume of four issues. The electronic issues are identical to the printed volume, including in their pagination. Because the journal has a considerable backlog of accepted articles waiting for an available slot in an issue, it can take some time before they appear even in the electronic form.
The journal has decided to adopt a publication method known an ‘Online First’ in which articles are made available electronically even before they are assigned to an issue. In this method, articles are copy-edited, typeset and corrected as normal. They don’t have their final pagination, but are in every other respect identical to the article that will eventually be published in an issue. Once online, the articles can be cited by their Digital Object Identifier (DOI) (a unique code findable online that remains the same throughout the life of the article), and when it comes time to publish the issue, the ‘Online First’ articles are replaced with the fully-paginated versions.
This means that authors’ work is accessible sooner than before. Feedback from authors shows that it is increasingly important to publish quickly and ensure that articles are widely available. Publishing articles online earlier also increases the citation window, so it has a positive effect on impact factors. For the purposes of the UK’s Research Excellence Framework (REF) appearance in the ‘Online First’ stream counts as publication
and such an article is returnable in the census.
Information on the journal and a link to the online submission system can be found at <http://www.tandfonline.com/toc/rshk20/current>.
Cahiers Elisabethains: 40th Anniversary Special Issue
The Shakespeare Conference: SHK 23.0275 Thursday, 28 June 2012
From: Jean-Christophe MAYER <
Date: June 28, 2012 4:36:18 AM EDT
Subject: Cahiers Elisabethains: 40th Anniversary Special Issue
Dear SHAKSPER List Members,
Cahiers Elisabethains is proud to announce the publication of its 40th Anniversary Special Issue: “Nothing if not Critical”: International Perspectives on Shakespearean Theatre Reviewing, guest edited by Paul Prescott, Peter J. Smith and Janice Valls-Russell.
* Please note also that article submissions are now open for the next issues of the journal.
Submissions can be send to either of Cahiers’s assistant editors: <
> or <
More information: <http://recherche.univ-montp3.fr/cahiers/>
Jean-Christophe Mayer and Nathalie Vienne-Guerrin
Introduction (Paul Prescott, Peter J. Smith, Janice Valls-Russell)
Theatre Reviewing a la mode des Cahiers (Janice Valls-Russell)
I. WAYS OF BEING, WAYS OF SEEING
Academic Reviewing, Interculturalism and Committed Aesthetics: Syncretic Itineraries of a Reviewer (Nathalie Rivere de Carles)
Objective Reviews? No, Thanks! (Markus Marti)
Valuing Shakespearean Theatre Reviews (Rob Ormsby)
Surveying Survey (Rob Conkie)
“She will a handmaid be to his desires”: Theatre Reviewing in the Service of Education in Rex Gibson’s Shakespeare and Schools (Sarah Olive)
The Disappearing Audience: Reviewing Shakespeare in the UK (Irene Middleton)
When is a Theatre Record not a Theatre Record? (Jeannie Farr)
The Newspaper Review: Constructing an Understanding of Shakespearean Performance in Madrid (1900-1936) (Juan F. Cerda)
What Becomes of a Performance Through (Second-Hand) Quotations of (Second-Hand) Reviews? (Isabelle Schwartz-Gastine)
II. SENSES OF PLACE
“So That’s Where That Phrase Comes From” Moments and Taffety Punks: Some Thoughts on the State of Theatre Reviewing in Washington, DC (Sara Thompson)
Reviewing the Reception of Yukio Ninagawa’s Shakespeare Productions (1999-2009) in the British and Japanese Press (Tomonari Kuwayama)
Reviewing Shakespeare in Bulgaria: Past and Present (Alexander Shurbanov & Boika Sokolova)
Shakespearean Performance Reviewing in Brazil (Margarida Gandara Rauen)
Reviewing Tunisian Productions of Shakespeare’s Plays under Bourguiba and Ben Ali (Francis Guinle)
Critical Conditions: Reviewing Shakespeare in South Africa (Colette Gordon)
Australian Newspaper Reviewers of Shakespeare: Writing with the Head or with the Heart? (Penny Gay)
Amateur Reviewing at the Avignon Festival: the “Mirror Group” (Florence March)
Afterword (Peter Holland)
From the Introduction:
Theatre reviews of Shakespeare’s plays tend — inevitably — to be overwhelmingly focused on the Anglophone scene. (…) Hence, academic thinking about Shakespeare theatre reviewing has hitherto tended to be dominated by what is happening on the UK stage, and the way it is being written about in the press, academic journals and, more recently, blogs. (…) All of the papers in this special edition of Cahiers Élisabéthains anatomize the critical conditions of the performance and reception of Shakespeare’s plays across decades and across continents. (…) Our aim has been to cast our net wide, to prospect further afield, to explore theatre reviewing of Shakespeare through other perspectives/nationalities/geographies/cultures. That these papers should be published in Cahiers is especially appropriate since it continues the journal’s own unique international tradition of theatre reviewing in its biennial numbers as well as the previous special issue of 2007 which covered the uniquely international range of productions offered by the RSC’s Complete Works Festival in Stratford-upon-Avon in 2006-2007. (…). We are delighted to include essays here which consider the place of Shakespeare reviewing in France, Switzerland, UK, Spain, Australia, Japan, Canada, South Africa, USA, Tunisia, Bulgaria and Brazil.
Launch: Issue 7.1. Borrowers and Lenders: The Journal of Shakespeare and Appropriation
The Shakespeare Conference: SHK 23.0268 Tuesday, 26 June 2012
From: Sujata Iyengar <
Date: June 25, 2012 4:41:01 PM EDT
Subject: Launch: Issue 7.1. Borrowers and Lenders: The Journal of Shakespeare and Appropriation
The editors of the peer-reviewed, online, multimedia periodical Borrowers and Lenders: The Journal of Shakespeare and Appropriation (CELJ Winner, “Best New Journal,” 2007) are delighted to announce issue 7.1, which features Peter Holland’s plenary lecture from this year’s Shakespeare Association of America meeting (complete with film clips and high-resolution images); Giselle Rampaul’s essay on Shakespeare and King of the Masquerade; Brian Walsh’s discoveries about the Shakespeare windows in Southwark Cathedral (with illustrations); Regula Hohl Trillini’s exhaustive analysis of appropriations of Hamlet’s “To be, or not to be” speech; and book reviews by Julie Sanders and Lisa Bolding.
Please visit the journal (http://www.borrowers.uga.edu/), “like” our Facebook page, tell your friends, and consider sending us your own excellent work.
Sujata Iyengar, Professor
Co-general editor of Borrowers and Lenders: The Journal of Shakespeare and Appropriation
Department of English
University of Georgia
CFP: Shakespeare Jahrbuch
The Shakespeare Conference: SHK 23.0258 Wednesday, 20 June 2012
From: Kareen Seidler <
Date: June 20, 2012 5:01:56 AM EDT
Subject: CFP: Shakespeare Jahrbuch
Call for Papers – Shakespeare Jahrbuch 2014
The 2014 volume of Shakespeare Jahrbuch will be a special issue devoted to “Money and Power”.
Karl Marx thought that “Shakespeare excellently depicted the real nature of money”. Indeed, money plays a central role in Shakespeare’s works: monetary transactions and the exchange of goods, bonds and loans, greed and expenditure, wealth and debt are themes of his plays and poems and provide the sources for their imagery. The language of money permeates the language of love; purses and coins circulate and merchants and moneylenders shape the plot: “To be or not to be” is determined by assets and economic transactions. The shepherd Corin in As You Like It is well aware that “he that wants money, means and content is without three good friends”, and yet wealth is not always a blessing in Shakespeare. His plays react to the economic upheavals in early modern times and they interrogate the inherent moral, religious and political implications. Early modern poetry and drama are simultaneously bound up in economic networks and the underlying power relations of patronage and the corporate structure of London’s theaters.
Analyzing the relationship between “money and power” in Shakespeare is particularly pertinent at a time when debt crises, the influence of financial markets and the divide between rich and poor dominate world politics.
The editorial board of Shakespeare Jahrbuch invites essays on the following topics:
Money and power in Shakespeare’s plays
Representations of poverty and wealth
The circulation of money and goods on the early modern stage
Shakespeare and the debate on usury
Money and love – monetary and affective economies
Shakespeare’s negotiation of early modern economic discourses
Shakespeare’s theatre as big business
Shakespeare in Political Economy
Shakespeare and the debt crisis
. . .
Shakespeare Jahrbuch, the Yearbook of the German Shakespeare Society, is a peer-reviewed journal. It offers contributions in German and English, scholarly articles, an extensive section of book reviews, and reports on Shakespeare productions in the German-speaking world. It also documents the activities of the Shakespeare Society.
Papers to be published in the Shakespeare Jahrbuch should be formatted according to our style sheet.
Please send your manuscripts (of about 6,000 words) to the editor of Shakespeare Jahrbuch, Prof. Dr. Sabine Schülting (email:
), by 31 March 2013.
Bedlam Ensemble MM: KickStarter Request
The Shakespeare Conference: SHK 23.0254 Monday, 18 June 2012
From: BedlamEnsemble <
Date: June 16, 2012 1:14:50 AM EDT
Subject: Bedlam Ensemble MM: KickStarter Request
Bedlam Ensemble Presents Measure for Measure
Bedlam Ensemble is a non-profit organization dedicated to staging theatre works of high artistic integrity. Bedlam aims to nourish an open an artistic community where artists are free to experiment and challenge themselves within the entertainment industry. The ensemble has a commitment to strike a balance between emerging and veteran artists; between the works of new and established playwrights, and revisiting classic pieces of work with a modern twist. Our ensemble nourishes an open and artistic environment that keeps us engaged in our community and proactive in our pursuit of excellence.
Measure For Measure
Performances start 7/25/12
Years ago, Vienna was a place where the people were pure and the city was clean and beautiful. Fast-forward to today and you find a gritty, dark world filled with sex, drugs, and debauchery. To bring it back to the glory that it once was, the Duke leaves a pure man, Angelo, in charge to right the sexual wrongs he has let slide for so long. Temptation prevails, however, when a smart, beautiful, and outspoken nun touches Angelo and he offers to save her brother’s life only if she will sleep with him. Measure for Measure is a play that explores sex and power and the interplay between the two.
The production’s gritty contemporary New York City setting brings all of Shakespeare’s themes and characters into the present day, reminding viewers of how vital these words still are. This is where you come in. Without money all we have is ourselves. We need the funds to buy everything (props, costumes, set pieces) that will bring this story to thrilling life as you’ve never seen it before.
Directed by Samantha Lee Manas
Produced by Michel Chahade and Samantha Jane Williams
Dramaturgy by Rosa Schneider
Scenic Design by Zachary Tomlinson
Costume Design by Samantha Lee Manas
Graphic Design by Dan Streeting
Kimberly Marie Freeman
John E. Sims
We are mounting a production of Measure for Measure set in contemporary New York City and have a kickstarter campaign for the show. We have huge ideas for the production but cannot execute them without the help of our backers:
Measure for Measure
KinderBard: Kickstarter Request
The Shakespeare Conference: SHK 23.0253 Monday, 18 June 2012
From: Daeshin Kim <
Date: June 15, 2012 1:54:25 PM EDT
Subject: KinderBard: Kickstarter Request
KinderBard: Songs for Children Sung by Characters from Shakespeare
Format: Hardcover picture book + CD; eBook; iPad app
Kickstarter Website: http://kck.st/KoAuw6
Three Days Remaining
Pledges: The Kickstarter crowdfunding website takes ‘pledges’ through Amazon, but transactions are only enacted if the creator of the project (me) reaches his goal ($22,000) before the time limit (21st June). If the creator does not reach his target goal, all transactions are cancelled and the creator receives nothing and the supporters owe nothing (this is to ensure that the creator is not “partially funded” which is not fair to the supporters or the creator).
My family and I have a dream of introducing Shakespeare to young children through song, and we have been working very hard to get these songs professionally recorded, with a view to publishing them together with a picture book, and as part of an interactive app. We have been featured by the Folger Shakespeare Library (at http://folgereducation.wordpress.com/2012/06/12/kinderbard/) and just yesterday, my family’s story was posted on the Royal Shakespeare Company’s myShakespeare blog at
We are writing to you because we are nearing the end of a crowdfunding campaign, we have exhausted all of our resources and ideas, and we need a miracle.
Ours is a small family project, but we really want to create the best possible quality product (it costs a lot of money to produce an album and publish a book and app!) - we hope you will be moved by what we have done so far, and how far we have left to go, and any help at all would be very greatly appreciated.
Daeshin Kim and family
Free Talks Around London Exhibition Begin Monday
The Shakespeare Conference: SHK 23.0249 Friday, 15 June 2012
From: Folger Shakespeare Library <
Date: Thursday, June 14, 2012 11:39 AM
Subject: Free Talks Around London Exhibition Begin Monday
Mondays at 7pm in the theatre
followed by a reception and viewing of the exhibition
John Schofield on St. Paul’s Cathedral Before Christopher Wren
St. Paul’s Cathedral was built to the design of English architect Sir Christopher Wren as part of a major rebuilding program following the 1666 Great Fire of London. However, Wren’s magnificent structure is only the most recent in a succession of Anglo-Saxon and medieval cathedrals on the site. Dr. John Schofield, the Cathedral Archaeologist for St. Paul’s Cathedral, will discuss how recent archaeological and historical research is now reconstructing the pre-Wren medieval cathedral. Reserve your seat.
Ralph Alan Cohen on Blackfriars: “The Most Convenient Place”
Before it became synonymous with a theater, the Blackfriars was a London precinct at the nexus of the city, the church, and the court, ideally located at the intersection of London’s two rivers. Ralph Alan Cohen, Director of Mission and Co-Founder of the American Shakespeare Center which is home to a replica of the Blackfriars Playhouse, looks at how the place and the playhouse mirrored one another and made the Blackfriars the place to be and the place to be seen. Reserve your seat.
David Schalkwyk and actors from Taffety Punk:
Readings from The Roaring Girl
Actors from DC’s Taffety Punk Theatre Company present a staged reading of excerpts of The Roaring Girl, a bold, brilliant play by Thomas Middleton and Thomas Dekker. The play was first produced in 1611 and was restaged famously in the 1980s by the Royal Shakespeare Company. David Schalkwyk, Folger’s Director of Research, talks about why this “city comedy” reveals so much about Jacobean London. Reserve your seat.
June 5–September 30:
Open City: London, 1500–1700
Open City explores three everyday gathering places—church, theater, and market—and how they influenced the way in which Londoners formed communities, negotiated social relations, and understood their places in the world.
201 East Capitol Street, SE | Washington, DC 20003
Call for Papers: “Hammering It Out”
The Shakespeare Conference: SHK 23.0246 Friday, 15 June 2012
From: Philip Collington <
Date: June 15, 2012 11:13:31 AM EDT
Subject: Call for Papers: “Hammering It Out”
Call for Papers
“Hammering It Out”: Shakespeare and Cognitive Reading(s)
44th Annual Convention, Northeast Modern Language Association (NeMLA)
March 21-24, 2013
Host Institution: Tufts University
Whether in his frequent use of soliloquies, on-stage debates, or vivid metaphorical imagery, Shakespeare dramatizes cognitive processes employed by stage characters; e.g., as imprisoned Richard II notes, “I’ll hammer it out. / My brain I’ll prove the female to my soul, / My soul the father; and these two beget / A generation of still-breeding thoughts” (Richard II 5.5.5-8). We are now more than six decades in to what Howard Gardner has termed the “cognitive revolution,” yet one of its pioneering practitioners in Shakespeare studies, Mary Thomas Crane, recently noted that “cognitive approaches are still not part of the mainstream of literary and cultural criticism” – because the approach does not lend itself to the production of self-contained “readings” or “interpretations” of texts (Representations 108 [Fall 2009], 76). Is this true? This panel invites short (fifteen-minute) paper presentations exploring the theoretical impact, or demonstrating the methodological efficacy, of cognitive approaches to Shakespeare. Presenters may present their own original research findings on individual plays or non-dramatic poems, or engage in a meta-critical survey of the place of cognitive theories in Shakespeare studies today.
Deadline for Abstracts: September 30, 2012
Please send proposals (paper or electronic) to:
Dr. Phil Collington
Associate Professor of English
5795 Lewiston Road
Niagara University, NY 14109
Please include with your abstract:
Name and Affiliation
A/V requirements (if any; $10 handling fee with registration)
The 2013 NeMLA convention continues the Association’s tradition of sharing innovative scholarship in an engaging and generative location. The 44th annual event will be held in historic Boston, Massachusetts, a city known for its national and maritime history, academic facilities and collections, vibrant art, theatre, and food scenes, and blend of architecture. The Convention, located centrally near Boston Commons and the Theatre District at the Hyatt Regency, will include keynote and guest speakers, literary readings, film screenings, tours and workshops.
Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable.
The Shakespeare Conference: SHK 23.0238 Wednesday, 13 June 2012
From: Michael Boecherer <
Date: June 12, 2012 8:34:10 AM EDT
Subject: CFP: This Rough Magic
This Rough Magic (www.thisroughmagic.org) is a journal dedicated to the art of teaching Medieval and Renaissance Literature. We are seeking academic, teachable articles that focus on, but are not limited to, the following categories:
Philosophy and Rhetoric
We also seek short essays that encourage faculty to try overlooked, non-traditional texts inside the classroom and book reviews.
Submission deadline for our Winter 2012 issue is currently October 1st, 2012.
For more information, please visit our website www.thisroughmagic.org or contact Michael Boecherer (
Faculty and Graduate Students are encouraged to submit.
This Rough Magic's editorial board members are affiliated with the following academic institutions and organizations:
The American Shakespeare Center
Bridgewater State University
The Catholic University of America
Fitchburg State University
State University of New York - Stony Brook
Suffolk County Community College
University of Connecticut
Department of English
Suffolk County Community College - Riverhead Campus