The Shakespeare Conference: SHK 25.495 Thursday, 11 December 2014
From: Internet Shakespeare Editions <
Date: Tuesday, December 9, 2014 at 6:33 PM
Subject: The Shakespeare Herald--ISE
The Shakespeare Herald
Looking backward, and ahead
The close of the year is traditionally the time for looking back, and the new year for looking forward. Indeed, January is named after the god Janus, who was traditionally figured with two heads, one looking to the past, one to the future.
This issue of The Shakespeare Herald focuses mainly on the future but it also discusses the importance of the past by exploring some challenges that face the creators of digital content, in ensuring that it is stable and effectively archived. The past is also well represented in the news, as we learn of the discovery of an especially interesting copy of that foundational publication for Shakespeareans, the First Folio (1623).
The future looks rosy indeed, as we welcome four distinguished scholars to our team of editors. Drs. Kate McPherson and Kate Moncrief will be spearheading the creation of a new version of our much-visited section of the site on Shakespeare’s Life and Times, and Dr. Kevin Quarmby will assume editorship of the ISE Chronicle—a hub for reviews of current productions of Shakespeare’s plays. Music was a popular component of early drama; we are recognizing its importance in the appointment of Dr. Paul Faber as our first Music Editor. You will also find some entertaining pieces on the omnipresence of Shakespeare in our culture, as we highlight some moments when he, and his works, made news.
The future of the ISE as a scholarly, open-access website depends on our Friends of the ISE — those libraries that are contributing to the development of an enduring endowment to ensure continued funding for the development and maintenance of our site. If you are already among our growing list of Friends, we thank you deeply. If you have not yet supported the site, please take a moment to follow some of the links below, and to visit the section of the site that explains the added research tools that our Friends can employ as they visit the site.
Check out all this, and more, on our website.
• Ruminating on time and the need for archives: a word from the Coordinating Editor
• Top scholars to revise the Life and Times section of the site
• Kevin Quarmby takes the helm at the ISE Chronicle
• Welcome to our regional editors
• Introducing Paul Faber, ISE Music Editor
• Shakespeare in the news:
• The discovery of a copy of the 1623 First Folio
• Shakespeare sparks flash mob
• An online Magna Carta?
• New plays to which Shakespeare may have contributed
• To weep or not to weep
• Shakespeare on film
• Shakespeare tweeteth
The Internet Shakespeare Editions is supported by the University of Victoria, the University of Victoria Libraries, Friends of the ISE, and the Social Sciences and Humanities Research Council of Canada.
The Shakespeare Conference: SHK 25.493 Thursday, 11 December 2014
From: Harry Keyishian <
Date: December 10, 2014 at 4:21:34 PM EST
Subject: Shakespeare Studies XLII
Fairleigh Dickinson University Press announces the publication of Shakespeare Studies XLII, edited by James R. Siemon and Diana E. Henderson. The issue contains a Forum on Diet and Identity, three articles, two review-articles, and thirteen book reviews.
Forum: Diet and Identity in Shakespeare’s England
Introduction, by Kimberly Ann Coles and Gitanjali Shahani
Robert Appelbaum, “’Lawful as Eating’: Art, Life, and Magic in The Winter’s Tale.”
Rebecca Laroche and Jennifer Monroe . “On a Bank of Rue: Or Material Ecofeminist Inquiry and the Garden of Richard II.”
Hillary Eklund, “Revolting Diets: Jack Cade’s “Sallet” and the Politics of Hunger in 2 Henry VI.”
Ken Albala . “Shakespeare’s Culinary Metaphors: A practical Approach,”
Joan Fitzpatrick . “Diet and Identity in Early Modern Diataries and Shakespeare: The Inflections of Nationality, Gender, Social Rank, and Age.”
Diane Purkiss . “The Masque of Food: Staging and Banqueting in Shakespeare’s England.”
Barbara Sebek . “’More natural to the nation’: Situating Shakespeare in the ‘Quarelle de Canary.’”
Gitanjali Shahani. “The Spicèd Indian Air in Early Modern England,”
Musa Gurnis, “’Most Ignorant of What He’s Most Assured’: The Hermeneutics of Predestination in Measure for Measure.”
Leah S. Marcus, “Anti-Conquest and As You Like It.”
Edward Pechter. “Character Criticism, the Cognitive Turn, and the Problem of Shakespeare Studies.”
David J. Baker. “Cash or Credit?”
Karen L. Edwards. “Playing Their Parts: The Stake and Stakeholding Animals.”
Jean E. Feerick, Strangers in Blood: Relocating Race in the Renaissance. Patricia Akhimie
Garrett A. Sullivan, Jr., Sleep, Romance, and human Embodiment: Vitality from Spenser to Milton. Joseph Campana
Ronda Arab, Manly Mechanicals on the Early Modern English Stage. Mark Albert Johnston
Joseph M. Ortiz, Broken Harmony: Shakespeare and the Politics of Music. Katherine R. Larson
Christopher Martin, Constituting Old age in Early Modern English Literature from Queen Elizabeth to King Lear. Naomi Conn Liebler
Katharine Eisaman Maus, Being and Having in Shakespeare. Sandra Logan
Rapael Lyne, Shakespeare, Rhetoric and Cognition. Jenny C. Mann
Amy L. Tigner, literature and the Renaissance Garden from Elizabeth I to Charles II: England’s Paradise. Vin Nardizzi
Roland Green, Five Words: Critical Semantics in the age of Shakespeare and Cervantes. Karen Newman
Sarah Beckwith, Shakespeare and the Grammar of Forgiveness. Matthew J. Smith
Sujata Iyengar, Shakespeare’s Medical Language: A Dictionary. Barbara H. Traister
Gary Waller, The Virgin Mary in Late Medieval and Early Modern English Literature. Susan Zimmerman
Will Stockton, Playing Dirty: Sexuality and waste in Early Modern Comedy. Adam Zucker.
Shakespeare Studies, Vol XLII is $60.00 + $4.95 shipping in the U.S. It may be purchased through:
Associated University Presses
10 Schalks Crossing Road
Plainsboro, NJ 08536
Phone - 609-269-8094
Fax - 609-269-8096
To contact Fairleigh Dickinson University Press, write
or visit www.fdupress.org
Director, Fairleigh Dickinson University Press
Department of Literature, Language, Writing, and Philosophy
Fairleigh Dickinson University
The Shakespeare Conference: SHK 25.489 Tuesday, 9 December 2014
From: Hardy Cook <
Date: December 8, 2014 at 12:53:04 PM EST
Subject: FYI: Marlowe Society of America Homepage
The Marlowe Society of America
We are a non-profit organization of scholars formed thirty years ago to promote research and scholarship on Marlowe’s life, works, and times, as well as his relationships with his fellow playwrights and his crucial role in early modern stage history.
The Shakespeare Conference: SHK 25.484 Monday, 8 December 2014
From: Caro MacKay <
Date: December 8, 2014 at 9:27:22 AM EST
Subject: Propelling Edward III
As we have just had a ‘yes’ from our last speaker I wanted to let you know more about the Symposium on Shakespeare’s Edward III on January 30th and 31st 2015 in conjunction with UAL at Wimbledon College of Arts.
The event is a part of our preparation for presenting Total Rose Rage and I have attached the press release.
The speakers are Paul Allen (Night Waves presenter), James Brabazon (war reporter, film maker & author), Lucy Cullingford (early / modern movement, Warwick University), Professor Jean Howard (English and Comparative Literature, Columbia University), Dr Peter Kirwan (poetic renaissance texts, Nottingham University), Professor David Lindley (Renaissance Literature, Leeds University)
The strap line for ourselves for these two days is “why do Edward III?”
We will open with Edward Hall (our director) rehearsing the first scene of the play with the actors, Michael Pavelka (our designer) and Roger Warren (our text editor).
Then we will intersperse speakers with scene rehearsals with Edward taking points from a speaker’s paper that he thinks pertinent and useful.
I gather from the academics that they are tremendously excited to see live rehearsals and to enjoy the interplay. I think it is going to be a really interesting marriage.
The last session on Saturday afternoon will largely concentrate on a debate between the delegates, Edward, the actors et al. Professor Carol Rutter and Dr Andy Kesson will lead this.
The sessions last from 10am to 7.30 on the Friday and from 10am to 4.15 on the Saturday. The Dean will be hosting Drinks for the delegates, speakers and the company. The tickets are £200 each which includes lunches, coffees and teas.
If you have any queries, or would like to book to come along, please do not hesitate to contact me.
With best wishes,
Executive Producer, Propeller
Highfield, Manor Barns, Snowshill, Broadway, Worcs., WR12 7JR
+44 (0)1386 853206
Propeller Theatre Company and Wimbledon College of Arts announce Edward III Symposium
‘Propelling Edward III’: Research in Action will take place across two days in January 2015 at the Wimbledon College of Arts Sessions will be led by Artistic Director Edward Hall, with Propeller designers Michael Pavelka and Ben Omerod, text editor Roger Warren and Professor Carol Rutter with further guest speakers Propeller will offer Edward III workshops, rehearsed reading and masterclasses following the symposium
Propeller Theatre Company have today announced plans for a unique two-day symposium in collaboration with Wimbledon College of Arts, exploring the text of Edward III through theatre practice and debate. The event will bring these two internationally-renowned organisations together for the first time through their common pursuit of interrogating Shakespeare in performance, and their commitment to the integration of professional practice, research and education.
This one-off research and development event will involve ten Propeller actors, artistic director Edward Hall, designer Michael Pavelka, lighting designer Ben Omerod and text editor Roger Warren who will, along with leading scholars and invited delegates, investigate the text through rehearsal and discussion. Additional speakers will include Professor Jean Howard (Columbia University, NY), Peter Kirwan (Nottingham University), Lucy Cullingford (University of Warwick), David Lindley (Leeds University) and Paul Allen (presenter of “Night Waves”).
Following the symposium, Propeller will be offering workshops, masterclasses and rehearsed readings of the text to schools, colleges and universities.
For further information, ticketing enquiries or to book a workshop for your institution please contact Executive Producer Caro MacKay on 01386 853206 or email
NOTES TO EDITORS
In 2013/14 the company toured worldwide with a double bill of A Midsummer Night’s Dream and The Comedy of Errors. This was followed by a tour of Pocket Dream, a sixty-minute version of their full-length production which has toured to schools and theatres around the country. Pocket Comedy follows in January 2015.
For more information please visit www.propeller.org.uk
PROPELLER seeks to find a more engaging way of expressing Shakespeare and to more completely explore the relationship between text and performance. Mixing a rigorous approach to the text with a modern physical aesthetic, they have been influenced by mask work, animation and classic and modern film and music from all ages. Productions are directed by Edward Hall and designed by Michael Pavelka. Propeller has toured internationally to Australia, Bangladesh, China, Cyprus, Denmark, France, Germany, Hong Kong, Indonesia, Ireland, Italy, Japan, Malaysia, Malta, Mexico, New Zealand, the Philippines, Poland, Romania, Spain, Sri Lanka, Turkey and the USA.
WIMBLEDON COLLEGE OF ARTS is a constituent college of the University of the Arts London, along with Camberwell College of Arts, Central Saint Martins College of Art and Design, Chelsea College of Art and Design, London College of Communication and London College of Fashion. It has the largest theatre design department in Europe.
For more information please visit www.arts.ac.uk/wimbledon
Propeller Theatre Company and Wimbledon College of Arts, UAL
‘Propelling Edward III’: Research in Action
Friday 30th and Saturday 31st January 2015 WCA Theatre Space
Limited delegate tickets available to purchase. Please contact Caro MacKay
Edward Hall – Artistic Director
Edward is Artistic Director of Propeller Theatre Company and Hampstead Theatre.
Theatre includes Sunny Afternoon, Chariots Of Fire, No Naughty Bits, Loyalty, Enlightenment (Hampstead Theatre); The Taming of the Shrew, Twelfth Night, Richard III, The Comedy of Errors, The Merchant of Venice, A Midsummer Night’s Dream (Propeller, UK and international tour), Two Men of Florence with Edward Herrmann (Huntington Theatre, Boston), The Deep BlueSea with Greta Scaatchi (Vaudeville Theatre), For Services Rendered (Watermill Theatre Newbury), The Taming of the Shrew and Twelfth Night (Propeller, RSC, Old Vic & world tour – Drama Desk Award nomination in New York), Mark Ravenhill’s Dick Whittington (Barbican), Once In A Lifetime with David Suchet (National Theatre), A Streetcar Named Desire with Natasha Richardson & John C Reilly (Roundabout Theatre, New York), The Winter’s Tale (Propeller, National & World Tour), A Funny Thing Happened On The Way To The Forum (National Theatre – Olivier Award Nomination for Outstanding Musical Production), Calico (Duke of York’s), Edmond with Kenneth Branagh (National Theatre), A Midsummer Night’s Dream (Propeller, Comedy Theatre; Watermill Theatre Newbury; UK Tour - TMA Award for Best Touring Production), The Hinge of the World (Guildford), Macbeth with Sean Bean & Samantha Bond (Albery Theatre), Rose Rage adapted with Roger Warren from Henry VI parts I, II and III (Propeller, Haymarket Theatre, Watermill Theatre, UK/International Tour and Chicago Shakespeare Theatre; Duke’s Theatre, New York – Olivier Award Nomination for Best Director and TMA Award for Best Touring Production), The Constant Wife (Apollo), Putting It Together (Chichester), Julius Caesar (RSC), Tantalus (Denver Centre and UK Tour), Henry V (RSC – The South Bank Show Award for Theatre for The Histories), Twelfth Night (Propeller, Watermill Theatre Newbury– Winner of the TMA/Barclays Theatre Best Director Award), Sacred Heart (Royal Court Theatre Upstairs), Celaine (Hampstead Theatre), The Two Gentleman of Verona (RSC), The Comedy of Errors and Henry V (Propeller, Watermill Theatre, Newbury; Pleasance Theatre London; RSC - The Other Place, Stratford and International Tour), That Good Night (Yvonne Arnaud Tour), Othello (Propeller, Watermill Theatre Newbury and the Tokyo Globe), Richard III (Tokyo Globe), Cain (Minerva Studio, Chichester).
His production of A Midsummer Night’s Dream for Propeller which played in London at the Comedy Theatre in 2003, went on to play at the Brooklyn Academy of Music in New York in early 2004, where both he and the production were nominated for Drama Desk Awards.
His American production of Rose Rage, which he directed for the Chicago Shakespeare Theatre in 2003, transferred to the Duke’s Theatre in New York in September 2004, where it won four Jeff Awards including Best Play, Best Director and Best Ensemble Cast.
Television: Downton Abbey, Restless by William Boyd, Strike Back, Spooks,(US title MI5) was nominated for the BAFTA Best Drama Series award in 2009. Kingdom, Trial and Retribution XI, Miss Marple – Sleeping Murder starring Geraldine McEwan, Cutting Edge: Safari Strife, and Richard III (NHK in Japan).
In January 2010, Edward was made Artistic Director of Hampstead Theatre. He is also an Associate at the National Theatre, the Old Vic and the Watermill Theatre.
Ben Omerod – Lighting Designer
Previous productions for Propeller include Twelfth Night, The Taming of the Shrew, Henry V, The Winter’s Tale, Richard III, The Comedy of Errors, A Midsummer Night’s Dream, The Merchant of Venice, Rose Rage (also New York/Chicago).
Theatre credits include The Tempest (Dundee Rep); Titus (Macrobert/Tour); The Girl in the Yellow Dress (Theatre 503); The Heresy of Love (RSC); Fit and Proper People (Soho Theatre); Loyalty (Hampstead); The Crucible (Lyric Belfast); The Welsh Boy, Deadkidsongs, The Double, The Phoenix of Madrid, Iphigenia (Theatre Royal Bath/Ustinov Season); Onassis (West End/Derby); Zorro! (West End/UK tour/Paris/Japan/Holland); Serious Money, Last Easter (Birmingham Rep); Dimetos (Donmar); Two Men of Florence (Boston); Treasure Island (Rose Theatre); The Sanctuary Lamp (B*spoke); Macbeth, Legal Fictions (West End); Translations, The Last Days of the Reluctant Tyrant (Abbey, Dublin – nominated for ‘Best Lighting’, Irish Times Theatre Awards); The Changeling, Hedda Gabler, The Doll’s House, John Gabriel Borkmann, The Masterbuilder, The Seagull, Macbeth, Hamlet, A Midsummer Night’s Dream (ETT); Carmen – The Musical (Pimlico); The Beauty Queen of Leenane (Druid, Galway/Royal Court/Broadway); Macbeth, The Revenger’s Tragedy, Henry V, Julius Caesar, The Spanish Golden Age Season(RSC); Bent, Uncle Vanya, The Winter’s Tale, In Remembrance of Things Past (National).
Recent Opera credits include Götterdämmerung for Longborough Festival Opera and La Traviata for Danish National Opera. Other Opera and Ballet credits include work for Scottish Opera, ENO, Buxton Opera Festival, Academia Santa Cecilia Rome, Ceder Lake Contemporary Ballet and Ballet Gulbenkian.
Ben also designed the lighting for the Calico Museum of Textiles’ Ahmedabad, directed Athol Fugard’s Dimetos (Gate, London) and adapted four films from Kieslowski’s Dekalog for E15.
Michael Pavelka – Designer and Symposium Director
Michael trained at Wimbledon College of Art, where he now leads the MA Theatre Design (www.arts.ac.uk/wimbledon/courses/postgraduate/ma-theatre-design/) He is one of the founder members of Propeller and has designed all but one of their productions. He also designed Rose Rage (based on Propeller’s 2001 production) at the Chicago Shakespeare Theater that transferred to 42nd Street, New York, for which he was nominated Best Costume Design at Chicago’s Jeff Awards.
His other designs, among over 150 productions, include two plays with Lindsey Anderson: The Fishing Trip and Holiday (Old Vic Theatre). At the Library Theatre, Manchester, his designs for Brecht and Shakespeare include; The Life of Galileo (Best Design Manchester Evening News Theatre Awards), The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Measure for Measure, A Midsummer Night’s Dream (Best Production MEN Awards), Oliver Twist, Great Expectations and, more recently, The Good Soul of Szechuan.
Michael co-produced a Young People’s Shakespeare Festival in Ulan Bator, Mongolia, and designed the first African language Mother Courage and Her Children in Kampala, the Kennedy Center, Washington, DC and Grahamstown Festival, RSA.
He designed Revelations and Off the Wall with Liam Steel and Stan Won’t Dance at the QEH on London’s South Bank. His designs represented the UK at the Prague Quadrennial 2011 and designs for Propeller's Richard III at World Stage Design 2013.
Michael’s many West End productions include: Twelve Angry Men, Absurd Person Singular, The Constant Wife, How the Other Half Loves, Leonardo the Musical, Other People’s Money, Blues in the Night (also Dublin, New York, Tokyo), Macbeth, A Midsummer Night’s Dream and Rose Rage (both Propeller); and A Few Good Men (Theatre Royal Haymarket), directed by David Esbjornson. Other productions with David include; Twelfth Night (Seattle Repertory Theater) and Death of a Salesman (Gate, Dublin).
He recently designed Frank McGuinness' new play The Hanging Gardens for the National Theatre in Dublin, the acclaimed chamber opera, The Go Between (nominated for TMA Best Musical) and Hay Fever (Gate, Dublin and Charleston NC).
Designs for the Royal Shakespeare Company in Stratford and at the Barbican include: The Odyssey, The Two Gentlemen of Verona, Henry V and Julius Caesar; and for the National Theatre in the Olivier, Edmond, starring Kenneth Branagh.
Michael won the TMA’s Best Set Design 2009 for Propeller’s The Merchant of Venice.Professor Carol Rutter – Academic Coordinator
Carol Chillington Rutter is Professor of Shakespeare and Performance Studies at the University of Warwick. Her most recent books are Enter the Body: Women and Representation on Shakespeare's Stage and Shakespeare and Child's Play: Performing Lost Boys on Stage and Screen. She reviews the annual work of Shakespeare performed in England for Shakespeare Survey and regularly records with Digital Theatre. Her current project is a biography of Henry Wotton, England's ambassador to the Venetian Republic 1604-1610. She is a National Teaching Fellow.
Roger Warren – Text Editor
Roger Warren’s numerous publications include five editions for the Oxford Shakespeare series; he has also prepared many performing editions, especially for Propeller and the Peter Hall Company. He has collaborated with Edward Hall on eleven Shakespeare productions in the last decade, and is also collaborating with him in preparing a series of Propeller Shakespeare texts published by Oberon Books.
New REED Prepublication Website
The Shakespeare Conference: SHK 25.483 Monday, 8 December 2014
From: Peter H Greenfield <
Date: December 6, 2014 at 11:31:19 AM EST
Subject: New REED Prepublication Website
Records of Early English Drama would like to announce a new outlet for its work, The Records of Early English Drama Pre-Publication Collections website, at www.reedprepub.org. This website makes the work of individual field editors available to scholars and students in draft form, in advance of their official publication as part of a fully searchable, online Records of Early English Drama database that is currently in development. For now, these materials are presented in a form resembling that found in the printed REED volumes. The transcribed records have not yet received editorial attention from REED’s staff paleographers and Latinists, nor have the notes and other editorial apparatus been checked for completeness and accuracy.
Although none of the records so far posted on the site deal directly with Shakespeare, there is a good deal of evidence about touring minstrels and players in records of Southampton, Winchester and Winchester College from the late fourteenth century to the seventeenth. E.g., Southampton copied into its own records several of the licenses from the Master of the Revels presented by visiting companies, some of which aren't known from other sources. The college records also tell of the boys' own dramatic efforts. Other highlights of the website so far include the extensive records of the parish of St Laurence, Reading, including biblical plays and Robin Hood games. Several smaller Hampshire parishes offer records of kingales and other festive customs, and of the efforts to suppress those activities by civic and ecclesiastical authorities. We will be adding records from other parts of England—and Scotland as well—over the coming months.
We encourage interested scholars to make use of these materials, with the understanding that they represent the work of the individual editors and are works in progress that will be checked by the REED editorial team before final publication. We also urge users to contact us with comments, suggestions or corrections that the editors may find helpful in preparing the final versions of their work.
London Apartment Available
The Shakespeare Conference: SHK 25.480 Friday, 5 December 2014
From: David Schalkwyk <
Date: December 5, 2014 at 5:40:56 AM EST
Subject: London Apartment Available
This is short notice, but I hope someone might be interested in our London apartment over Christmas and New Year.
We have a spacious loft-conversion flat just south of the Thames, in Bermondsey. It can sleep six people, and is about a twenty-minute walk from Tower and London Bridges. It has a fabulous view over south London and a conservatory and roof garden (which, alas, are too cold for much use at this time of the year).
There are plenty of buses into central London (20-30 minutes), and the Borough, London Bridge (Northern Line) and Bermondsey (Jubilee Line) tube stations are within 10-20 minutes' walking distance.
It’s in a now trendy area, with local supermarkets, and the famous Bermondsey Rd with its superb restaurants and art galleries is a 5-minute walk away, the famous Borough Market a fifteen-minute walk beyond that, and the Globe and South Bank within easy reach.
It's available anytime from 15 December to 5 January. We’d like to cover expenses, but price is negotiable. Please respond directly to:
Best wishes for the holidays to all.
Professor David Schalkwyk
Academic Director, Global Shakespeare
Queen Mary University of London and University of Warwick
Nine-month Internship in the Ancient, Medieval and Early Modern Manuscripts Section
The Shakespeare Conference: SHK 25.479 Friday, 5 December 2014
From: Hardy Cook <
Date: December 4, 2014 at 2:47:38 PM EST
Subject: Nine-month Internship in the Ancient, Medieval and Early Modern Manuscripts Section
23 November 2014
Nine-month Internship in the Ancient, Medieval and Early Modern Manuscripts Section
The British Library is pleased to be able to offer a paid internship in the Ancient, Medieval and Early Modern Manuscripts section of the Western Heritage Department for a doctoral or post-doctoral student in History, History of Art or other relevant subject.
- See more at: http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2014/11/nine-month-internship-in-the-ancient-medieval-and-early-modern-manuscripts-section.html#sthash.arjtEcjV.dpuf
The intern will be involved in all aspects of the work of the Ancient, Medieval and Early Modern Manuscripts section, including responding to enquiries, providing talks for students and patrons, selecting and presenting manuscripts for display in our exhibition gallery, and cataloguing, thereby gaining insight into various curatorial duties and aspects of collection care. During the internship at the Library, the intern will enjoy privileged access to printed and manuscript research material, and will work alongside specialists with wide-ranging and varied expertise.
The primary focus of the internship will be to enhance the online Digitised Manuscripts website by creating and supplementing catalogue entries for medieval manuscripts and accompanying images, and assisting with the Library’s Magna Carta exhibition, working under the supervision of the Lead Curator, Illuminated Manuscripts.
The internship is designed to provide an opportunity for the student to develop research skills and expertise in medieval and Renaissance art and history, and in presenting manuscripts to a range of audiences.
The programme is only open to students who are engaged actively in research towards, or who have recently completed, a PhD in a subject area relevant to the study of pre-1600 manuscripts, and who have a right to work in the UK.
Hours of Work/Contract Duration:
36 hours per week over normal business hours, full time for nine months.
The internship will start on 2 February 2015 or as soon as relevant security checks have been completed.
Applications are available on the British Library’s website, http://www.bl.uk/careers/index.html.
Closing Date: 18 December 2014
Interview Date: 7 January 2015
The selection process may include questions about the date, origin and decoration of a particular manuscript to be shown at the interview.
- Kathleen Doyle
Position Available: Assistant/Associate Professor of Acting
The Shakespeare Conference: SHK 25.476 Wednesday, 3 December 2014
From: Jane Brody <
Date: December 2, 2014 at 2:42:57 PM EST
Subject: Position Available
The Theatre School at DePaul University
Assistant/Associate Professor of Acting - Shakespeare/Heightened Text
The Theatre School at DePaul University in Chicago invites applications for the fall of 2015 for a full-time tenure track faculty position teaching acting for Shakespeare and Heightened Text in an urban multicultural conservatory program with a 90 year history. The position’s responsibilities include: teaching acting to a diverse student body on the MFA and BFA levels, advising and mentoring students, and directing in the production program.
Qualifications: M.F.A. or professional equivalent. Teaching experience is required. As faculty play a central role in our production season, The Theatre School is also looking for an individual with directing experience. Candidates must be committed to continuing work in the profession and must also be committed to collegiality and a collaborative process. Because the School seeks faculty members who bring a critical perspective to issues of diversity and multiculturalism, candidates of color are strongly encouraged to apply.
The Theatre School at DePaul University educates, trains, and inspires students of theatre in a conservatory setting that is rigorous, disciplined, culturally diverse, and that strives for the highest level of professional skill and artistry. Central to our mission is a commitment to diversity and equality in education. As an integral part of the training, The Theatre School produces public programs and performances of a wide repertoire of plays - classic, contemporary, and original - that challenge, entertain, and stimulate the imaginations of our artists and our audiences. We seek to enhance the intellectual and cultural life of our university, our city and the profession.
DePaul University is a thriving multi-faceted Catholic, Vincentian, and urban university with ten schools and colleges, five campuses, and enrollment of 23,000 students. The Theatre School, located on the university’s Lincoln Park campus, enrolls 350 students in 12 undergraduate and 3 graduate programs. Our faculty (28 full time and 74 part time) includes leading Chicago theatre artists across all disciplines. Faculty members are active participants in the thriving Chicago theatre community.
Deadlines: Please apply online as soon as possible at: facultyopportunities.depaul.edu/applicants/Central?quickFind=51204 and include a cover letter (which includes a personal statement and teaching philosophy) and CV/resume. All applicants must apply online in order to be considered (paper applications will not be accepted). Letters of recommendation will be requested at a later stage of the search process. For full consideration applications must be received by January 23, 2015.
Jane Drake Brody
Associate Professor, Acting
The Theatre School
(225) 338 9315
Folger Symposium Announcement: Shakespeare's Language
The Shakespeare Conference: SHK 25.475 Wednesday, 3 December 2014
From: Elyse Martin <
Date: December 2, 2014 at 5:08:11 PM EST
Subject: Folger Symposium Announcement: Shakespeare's Language
The Folger Institute is pleased to announce that applications are now open for its spring symposium, “Shakespeare’s Language,” organized by Lynne Magnusson.
Funding is available to qualified graduate students and faculty from the Folger Institute consortium. If you would like to apply for admission without funding, you are more than welcome to do so.
I would be happy to answer any questions you or your colleagues may have.
If the Muses themselves spoke English, they would speak with “Shakespeare’s fine-filed phrase,” Francis Meres commented in 1598, suggesting that Shakespeare’s linguistic art tapped the emerging potential of the English language and extended its resources. Sponsored by the Folger Institute Center for Shakespeare Studies as part of its triennial anniversary programming, this symposium will gather several dozen scholars with relevant research and teaching interests to explore Shakespeare’s still resonant language. With the help of invited session leaders, participants will consider reinvigorated contexts and new tools for its illumination and assessment. Four hundred years on, linguistic change is itself an important context, and the symposium will address not only variation in early modern English but also the effects of subsequent language change, changing perceptions of English, and translation on Shakespeare’s verbal art and its reception. Revisiting Renaissance education in the arts of language, symposium participants will ask how new perspectives on the everyday theatricality of the Latin schoolroom or its grammatical and rhetorical culture might inflect understanding of Shakespeare’s language. Turning to current-day tools, the symposium will look at how discourse analysis has developed beyond speech-act theory, whether reading Shakespeare’s performative utterance as passionate action, cognitive processing, or dialogic negotiation. With computer-assisted analysis of texts and large corpora rapidly transforming language study, the symposium will also create opportunities to try out some relevant tools for digital text-analysis.
Organizer: Lynne Magnusson is Professor of English at the University of Toronto. She is currently working on a book on The Transformation of the English Letter, 1500-1620, a second book on ways to rethink Shakespeare’s language historically, and an edition of Shakespeare’s Sonnets.
Speakers: Sylvia Adamson (The University of Sheffield), Amy Cook (Stony Brook University), Hugh Craig (The University of Newcastle, Australia), Mary Crane (Boston College), Jeff Dolven (Princeton University), Lynn Enterline (Vanderbilt University), Brett Hirsch (The University of Western Australia), Jonathan Hope (University of Strathclyde), Alysia Kolentsis (St. Jerome’s University and the University of Waterloo), Jenny C. Mann (Cornell University), Russ McDonald (University of London), Martin Mueller (Northwestern University), Terttu Nevalainen (University of Helsinki), David Schalkwyk (Queen Mary, University of London, and University of Warwick), Daniel A. Shore (Georgetown University), Stefan Sinclair (McGill University), Michael Witmore (Folger Shakespeare Library)
Apply: 12 January 2015 for admission and grants-in-aid. Application form here.
[EMLS] New Issue Published
The Shakespeare Conference: SHK 25.472 Tuesday, 2 December 2014
From: Hardy M. Cook <
Date: December 1, 2014 at 12:45:40 PM EST
Subject: [EMLS] New Issue Published
Early Modern Literary Studies has just published its latest issue, which is freely available 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 Daniel Cadman (on behalf of the editorial team)
Sheffield Hallam University
Early Modern Literary Studies
Vol 17, No 2 (2014)
Table of Contents
Take Up the Body: Early Modern English Translations of Seneca's Corpses
Laughter in Twelfth Night and Beyond: Affect and Genre in Early Modern Comedy
Sabina Zhomartovna Amanbayeva
A Performance History of The Witch of Edmonton
‘Hide, and be Hidden, Ride and be Ridden’: The Coach as Transgressive Space in the Literature of Early Modern London
Alan James Hogarth
Developments and Debates in English Censorship during the Interregnum
Calvin Huckaby and David V. Urban, comps, John Milton: An Annotated Bibliography, 1989-1999 , ed. by David V. Urban and Paul Klemp (Pittsburgh: Duquesne University Press, 2011)
'What was it Shakespeare said?': Peter Holland and Adrian Poole, eds, Great Shakespeareans , set III, vols X-XIII (London: Continuum, 2012)
Naomi Miller and Naomi Yavneh, eds, Gender and Early Modern Constructions of Childhood (Farnham: Ashgate, 2011)
Helen Smith and Louise Wilson, eds, Renaissance Paratexts (Cambridge: Cambridge University Press, 2011)
Jennifer Vaught, Carnival and Literature in Early Modern England (Farnham: Ashgate, 2012)
Lukas Erne, Shakespeare and the Book Trade (Cambridge: Cambridge University Press, 2013)
Mary Ann Lund, Melancholy, Medicine, and Religion in Early Modern England: Reading ‘The Anatomy of Melancholy’ (Cambridge: Cambridge University Press, 2010)
The Maid's Tragedy, Epicene, and As You Like It, presented by the American Shakespeare Center at the Blackfriars Playhouse, Staunton, Virginia, 3 January-5 April, 2014
Twelfth Night, Or What You Will presented at the Abbey Theatre, Dublin, 24 May 2014.
Early Modern Literary Studies