Fulbright US Scholar Distinguished Chair at the Global Shakespeare Center in the United Kingdom - AY 2014-15
The Shakespeare Conference: SHK 24.0227 Wednesday, 8 May 2013
From: Krisztina Miner <
Date: May 8, 2013 12:50:55 PM EDT
Subject: Fulbright US Scholar Distinguished Chair at the Global Shakespeare Center in the United Kingdom - AY 2014-15
I am writing to alert you to a new U.S. Fulbright Scholar grant opportunity to the United Kingdom for academic year 2014/15 that might be of interest to you or your colleagues:
FULBRIGHT –GLOBAL SHAKESPEARE CENTER DISTINGUISHED CHAIR
Hosted jointly by the University of Warwick and Queen Mary, University of London, the Global Shakespeare Center Distinguished Chair will contribute to the intellectual life of the two host universities by conducting research, teaching graduate-level seminars, delivering public lectures and consulting on curriculum development. The newly created Center is intended to shape future research agenda in Shakespeare studies, focusing particularly on ways in which different global perspectives may impact on the field of Shakespeare studies, and on the contribution to this field of performance-based work on Shakespeare.
The Distinguished Chair will spend one semester in residence at the University of Warwick and one semester at Queen Mary, University of London, respectively, for a total of eight months.
The Global Shakespeare Center has close links with both the Royal Shakespeare Company in Stratford-upon-Avon and Shakespeare’s Globe in London. There will be opportunities to draw on these linkages to establish lasting connections and ties with both institutions.
Qualified applicants in Shakespeare studies, theater studies, drama, performance studies, translation studies, any area of English literature, history or cultural studies that would fit within the broad remit of the newly established Global Shakespeare Center are encouraged to apply.
The largest Fulbright Scholar Program in Europe, the UK now offers 35 Core grants for U.S. faculty and professionals to conduct research, teaching or a combination of the two in a variety of fields. This includes: two grants open in all disciplines at any viable UK institution; two grants under Police Research or Criminal Justice Scholar award; two grants under Northern Ireland Governance and Public Policy award; three Distinguished Chair grants; four Fulbright-Scotland Visiting Professorships. In addition, unique to the program are 20 university-partnership awards at designated host universities.
Applicants must be U.S. citizens and hold a Ph.D. or appropriate professional/terminal degree at the time of application. The application deadline is August 1, 2013.
For eligibility factors, detailed application guidelines and review criteria, please follow the link http://www.cies.org/us_scholars/us_awards/. You may also wish to register for one of our webinars at http://www.cies.org/Webinar/ (including one on the UK), or to join our online community, My Fulbright, a resource center for applicants interested in the program.
I would greatly appreciate if you could share this opportunity with members of your listservs, newsletters or social media group. For further information, please contact Krisztina Miner, Program Officer, at
Krisztina Miner, Ph.D.
Program Officer, Europe and Eurasia
Fulbright Scholar Program
Council for International Exchange of Scholars (CIES)
Institute of International Education (IIE)
1400 K Street, NW, Suite 700
Washington, DC 20005
Ph: 202-686-8645 | Fax: 202-686-4029
The Fulbright Scholar Program, sponsored by the U.S. Department of State, is administered by CIES, a division of IIE.
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CFP: Renaissance Studies & New Technologies, RSA 2014
The Shakespeare Conference: SHK 24.0226 Wednesday, 8 May 2013
From: Diane Jakacki <
Date: May 7, 2013 3:44:39 PM EDT
Subject: CFP: Renaissance Studies & New Technologies, RSA 2014
CFP: Renaissance Studies + New Technologies
RSA 2014, 27-29 March; New York, NY
Since 2001, the Renaissance Society of America (RSA) annual meetings have featured panels on new technologies for scholarly research, publishing, and teaching. At the 2014 meeting in New York, we will offer panels on recent research (with 20-minute papers, followed by questions) and workshops on emerging ideas and methodologies (with 10-minute introductions, followed by hands-on demonstrations).
Your proposal should include a title, a 150-word abstract, and a one-paragraph CV. We welcome proposals from individuals and teams for papers, panels, or workshops in the following areas:
1 / New forms of publication, including social, hybrid, and dynamic editions; from the perspective of authors, editors, and publishers
2 / Training the next generation of digital humanists, for the alt-ac and/or tenure tracks
3 / Scholarship in the public sphere: crowdsourcing, collaboration and resource development; gathering expertise and feedback through social/web 2.0 channels
4 / Digital pedagogy: issues specific to early modern materials/archives; course and assignment designs; collaborating with students (graduate and undergraduate)
1 / Big data and early modern scholarship
2 / Text analysis and early modern language
3 / Data visualizations and/or GIS
4 / Other research, with a focus on results as well as processes
**Through the support of Iter, we are pleased to be able to offer travel subventions on a competitive basis to graduate student presenters. Those wishing to be considered for a subvention should indicate this in their abstract submission.**
Please submit proposals before Wednesday 11 June 2013 via EasyChair:
NB: All participants must be members of the RSA by August 2013 or they cannot be included in the program.
* William R. Bowen, University of Toronto Scarborough
* Laura Estill, Texas A&M
* Diane Jakacki, Bucknell University
* Ray Siemens, University of Victoria
* Michael Ullyot, University of Calgary
Early Theatre 16.1 (June 2013)
The Shakespeare Conference: SHK 24.0215 Monday, 6 May 2013
From: Helen M. Ostovich <
Date: May 6, 2013 1:06:25 PM EDT
Subject: Early Theatre 16.1 (June 2013)
EARLY THEATRE 16.1 (2013) Contents
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 LancashireWitches: 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 UniversityPress, 2010.
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 (eds). The Broadview Anthology of Medieval Drama. Peterborough, ON: Broadview, 2013.
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. Moncrieff and Kathryn R. McPherson. 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
Helen M Ostovich <
Editor, Early Theatre <http://digitalcommons.mcmaster.ca/earlytheatre/>
Professor, English and Cultural Studies
Podcasts: Shakespeare and Contemporary Theory
The Shakespeare Conference: SHK 24.0214 Monday, 6 May 2013
From: Neema Parvini <
Date: April 27, 2013 7:24:46 AM EDT
Subject: Podcasts: Shakespeare and Contemporary Theory
Recently I have been conducting a series of podcast interviews with various literary theorists and Shakespeare scholars on some of the topics above for a series of podcasts which aim to gain an understanding of the current state of play as regards both theory and practice in Shakespeare studies.
The first 12 episodes can be found at the links below (the next will be an interview with H. Aram Veeser):
I have interviewed and am in the process of interviewing people who speak from a variety of different perspectives, including Jonathan Dollimore, Hugh Grady, John Drakakis, Lisa Hopkins, Gabriel Egan, Steven Mullaney, and others.
Lecturer in English Literature
School of English and Languages
University of Surrey
CFP: The Shakespearean Performance Research Group
The Shakespeare Conference: SHK 24.0213 Monday, 6 May 2013
From: Don Weingust <
Date: May 5, 2013 1:48:04 PM EDT
Subject: CFP: The Shakespearean Performance Research Group
Call For Papers, Deadline: Monday, June 3rd, 2013
The Shakespearean Performance Research Group
of the American Society for Theatre Research (ASTR)
American Society for Theatre Research / Theatre Library Association 2013 Conference
November 7 – 10, 2013
The Fairmont Dallas Hotel
The Shakespearean Performance Research Group of the American Society for Theatre Research (ASTR) provides an ongoing home for the study of Shakespearean performance within ASTR.
In the spirit of the open-themed Dallas ASTR conference, this year’s Shakespearean Performance Research Group (SPRG) seeks to maintain a focus limited only by Shakespearean performance. For the 2013 meeting, the SPRG invites papers that broadly interrogate what is meant by Shakespearean performance. For example, this questioning might involve the interplay between early and late modern performance in some dimension, the cultural work that Shakespearean drama and performance continue to do, the ways in which relationships between the “literary” and the “performative” have been construed over more than 400 years of performance, the theories and legacies of Shakespearean performance across performance media, how Shakespeare performance constructs and is constructed by specific communities. Papers accepted to previous sessions have tended to address questions of practical theatre, specific issues in history and historiography, and theoretical concerns, but we are looking for a wide range of engagements with Shakespeare and performance.
Selected papers will be assigned to subgroups by the group’s conveners, Catherine Burriss, Franklin J. Hildy, Robert Ormsby, Don Weingust and W. B. Worthen, and the conveners will organize on-line communication of subgroup members before the conference. At the conference session, papers will be discussed first within subgroups, after which the subgroups will come together to exchange ideas.
This past year, the Shakespearean Performance Research Group began a relationship with The Journal of the Wooden O, which is publishing select papers from the 2012 Research Group gathering in Nashville. Select contributions to the 2013 Dallas Research Group meeting will be considered for publication in the following summer’s edition.
Please submit a 200-word abstract and 50-word academic biographical statement, including current affiliations, if any, by Monday, June 3 2013, to
. Proposals also can be mailed to Don Weingust, Center for Shakespeare Studies, Southern Utah University / Utah Shakespeare Festival, 351 University Boulevard, South Hall 101A, Cedar City, UT 84720).
More information about ASTR and the Dallas conference is available at http://www.astr.org.
Director of Shakespeare Studies
Associate Professor of Theatre Arts
Center for Shakespeare Studies
Southern Utah University / Utah Shakespeare Festival
CFP: The Shakespearean International Yearbook: Shakespeare and the Human
The Shakespeare Conference: SHK 24.0206 Saturday, 4 May 2013
From: Tiffany Werth <
Date: April 29, 2013 2:13:17 PM EDT
Subject: CFP: The Shakespearean International Yearbook: Shakespeare and the Human
Shakespeare and the Human
CFP for a special section of The Shakespearean International Yearbook
A Special Issue of The Shakespearean International Yearbook
Edited by Tiffany Jo Werth
The guest editor of this special issue of The Shakespearean International Yearbook invites papers to think beyond “the human” as a distinct—and privileged—ontological category in Shakespeare. Stressing the need to revisit fundamental questions about the nature of matter and the place of embodied humans during a time of religious upheaval and emergent new philosophies, early modern scholars have contended that human indistinction shadowed the celebration of humanity’s preeminent place within the created universe. How does the variety of life forms and forms of life in Shakespeare’s work allow us to glimpse the complexity of “the human” in the context of theological, political, and cultural debates? How might humanist philosophy, new- and old-world investigations of the natural world along with their technologies, or other contemporary currents of thought and writing, collapse or uphold the limits that Shakespeare places on the definitions of “the human”?
The editor welcomes contributions in English that address the topic, focusing its scope by addressing one of the following early modern scales of being (perhaps as a criterion to facilitate a reading that swerves across such categories) in an effort to analyze its creaturely qualities, and its relationship to “the human” in Shakespeare’s works:
• God(s), Angels, Demons
• The Heavens, including Air, Flames, and the Waters
• Animals, Beasts, and Birds or Fowl
• Vegetables, Plants
• Matter, including Minerals, Soil, Earth, and Slime
Papers theorizing hierarchies, taxonomies, chains, ladders, scales, degrees or ontological categories (with consideration for their placements, energies, relationships etc.) in Shakespeare, as well as papers interrogating how the performance of Shakespeare influences, inflects, or limits such categories, are also welcome.
Edited by Alex Huang (George Washington University) and Tom Bishop (University of Auckland), The Shakespearean International Yearbook (http://www.ashgate.com/Default.aspx?page=2875) surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare’s work and his time, across the whole spectrum of his literary output. Each issue includes a special section under the guidance of a specialist Guest Editor.
Proposals or abstracts of c.500 words, a brief cv, and paper title should be emailed to Tiffany Jo Werth (
) by 1 August 2013. Full articles (5k-8k) of accepted abstracts will be expected by May 2014 to allow for peer review, revision, and publication in 2015.
Science and culture
Cultural studies and historical approaches
Gender studies and sexuality
Journals and collections of essay
Department of English
Simon Fraser University
Burnaby, BC Canada
CFP: Shakespeare and the Human CFP
The Shakespeare Conference: SHK 24.0205 Saturday, 4 May 2013
From: Samara Stob <
Date: April 26, 2013 12:51:13 PM EDT
Subject: OSEO Announcement
[Editor’s Note: Oxford UP is offering SHAKSPER subscribers a free trial of the Oxford Scholarly Editions Online during May, using the Username: confguest and the Password: access Enjoy. –Hardy]
Oxford Scholarly Editions Online
Oxford Scholarly Editions Online is a major new publishing initiative from Oxford University Press. Scholarly editions are the cornerstones of humanities scholarship, and Oxford University Press’s list in unparalleled in breadth and quality, with OSEO currently providing access to the complete text of more than 170 scholarly editions written between 1485 and 1660, including Shakespeare’s plays. Offering the complete text of the print editions, including stage directions, dialogue, and editorial notes, OSEO boasts excellent searching and linking facilities to enable easy location of an obscure quote, scene, or line. Extensive personalization and content-sharing tools allow for increased flexibility and provide a tailored user experience. With unlimited access anywhere and at any time, have a consistent research discussion, or teach a class across the world, in the certainty that everyone is using the same trusted edition. Overseen by a prestigious editorial board of prominent academics to ensure the highest editorial standards, OSEO is available now by annual subscription or purchase to institutions worldwide. Be sure to Read more about the site, follow our tour, watch a short video, and recommend this resource to your librarian.
*SHAKSPER subscribers can receive free trial access to OSEO during the month of May!
Assistant Marketing Manager, Humanities
Oxford University Press USA
198 Madison Avenue
New York, NY 10016-4314
20th Anniversary: German Shakespeare Society Reunited and Dieter Mehl’s Memoirs
The Shakespeare Conference: SHK 24.0198 Wednesday, 24 April 2013
From: Christa Jansohn <
Date: April 24, 2013 2:47:31 AM EDT
Subject: 20th Anniversary: German Shakespeare Society Reunited and Dieter Mehl’s Memoirs
Dieter Mehl: A Historical Episode. The Reunification of the German Shakespeare Society. Personal Reminiscences (Studien zur englischen Literatur, 24). Muenster: LIT-Verlag, 2013. (in German)
The German Shakespeare Society was founded in Weimar in 1864. Against the background of the Cold War, and after its President, Rudolf Alexander Schröder, died in 1963, the Society split into a Weimar Society and a West German Society, which, as two independent entities, went their different ways for the next thirty years, each with its own activities and membership. After the fall of the Berlin Wall, intensive negotiations resulted in a common conference followed by reunification.
Dieter Mehl, honorary Vice-President of the ‘World Shakespeare Association’, was elected first President of the united Society, and was twice re-elected at the conclusion of a three-year term of office. He occupied the position between 1993 and 2002. His personal reminiscences describe these events – so typical for this period of German history – from the point of view of an eye-witness. The book Dieter Mehl’s book Eine historische Episode. Die Wiedervereinigung der Deutschen Shakespeare-Gesellschaft. Persönliche Erinnerungen .is available under:
German Shakespeare Society: Twenty Years On
It was twenty years ago that the two German Shakespeare Societies were solemnly reunited – societies which had, ever since their split in 1963, followed wholly divergent political and scholarly paths, each with its own annual conferences, yearbooks and membership.
The German Shakespeare Society, one of the oldest literary societies in Germany, was founded in Weimar on the 23rd April 1864 on the occasion of the three-hundredth anniversary of Shakespeare’s birthday. The initial impulse can be traced back to Wilhelm Oechelhäuser, an industrialist with a passion for literature, who managed to get the support of Franz Dingelstedt, the director of the Weimar Court Theatre, of various other literary scholars, and most importantly of Baroness Sophie von Sachsen-Weimar-Eisenach as the Society’s first patroness. The purpose of the Society was and remains to promote the appreciation of Shakespeare on stage and page by means of theatrical productions, translations, prestigious editions, annual conferences, and a growing Shakespeare library. In 1904 the Society commissioned the Shakespeare monument which still stands in a park by the river Ilm. It was in pursuit of such aims, then, that the Society, its membership augmented in the course of a century by people from every social class, made itself felt in Germany.
With the end of the Second World War, the division of Germany into zones of occupation, and the beginning of the Cold War, political conflicts within the Shakespeare Society itself reached a crisis and led, as preparations were in hand to celebrate Shakespeare’s 400th birthday (1964), to a definitive split. Until 1993 the West German Shakespeare Society had its headquarters in Bochum and the East German Shakespeare Society in Weimar. The originally smaller part of the membership resident in what was to become the GDR was able to develop a significant cultural impetus, effective in the realms both of theatre and scholarship. Those members resident in the GFR constituted themselves as the West German Shakespeare Society and, using the city of Bochum – famed for its theatre – as a base, continued to promote the appreciation of Shakespeare amongst German-speakers, meanwhile establishing international connections of great vitality, particularly with other European countries and the English-speaking world.
Even before the fall of the Berlin Wall and the reunification of Germany, the two German Shakespeare Societies had begun making tentative approaches to one another – approaches accelerated after 1989 by a mutual desire for understanding and reunification. Consequently, a committee, in which both Societies had equal membership, was formed whose purpose was to lay the groundwork for reunification. It was agreed that the Weimar conference of 1993 would see a common programme of scholarship and the election of a single governing committee with its president from the former West German Society (Dieter Mehl, Chair in English at Bonn University) and a vice-president (Maik Hamburger, Berlin, translator and dramaturge) from the former East German Society. As a concession to legal requirements, the West German Society, in the guise of a subsidiary branch, was integrated into the East German Society with its headquarters in Weimar, and dissolved itself a year later. The headquarters of the reunited Society is the one it had during its first hundred years: Weimar. A single Shakespeare Yearbook is produced annually by the same Bochum publishing house once responsible for those of the West German Society. The Bochum headquarters closed its doors in June 1994.
In the twenty years since the reunification, the German Shakespeare Society has organized annual conferences in Weimar, Bochum and, on occasion, in other places, such as Bremen, Berlin, Vienna and Zurich, with prominent guests and lectures from the most disparate parts of the world. With around two thousand members, amongst them numerous university students and Shakespeare enthusiasts, the Society shows virtually no sign of its previous split. The hard work of reconciliation, and also the joy occasioned by a harmonious reunification will soon, no doubt, belong to a dimly-remembered past.
CFP: Seeing Perspectives Crossways / RSA 2014
The Shakespeare Conference: SHK 24.0194 Tuesday, 23 April 2013
From: Michael Saenger <
Date: April 22, 2013 12:25:38 PM EDT
Subject: CFP: Seeing Perspectives Crossways / RSA 2014
Seeing Perspective Crossways
A Proposed Panel for the Renaissance Society of America 27-29 March,
2014 in New York City
The story is familiar: Fourteenth-century artists in Italy developed a variety of new strategies to represent space, but it was only with Filippo Brunelleschi that linear perspective was advanced as a monologic tendency that would typify modern visual regimes and allow the manipulation of reality through calculation and exclusion. Elsewhere in Europe, figures like Shakespeare and Rabelais have been celebrated for going in the opposite direction, constructing a multiplicitous humanism that John Keats famously characterized as “negative capability.” However, the development of perspective in the Renaissance was both more pervasive and more convoluted. Unitary perspectives could be imagined within chaotic aesthetics, and deeply disintegral action could be made to seem harmonious. Further, any aesthetic configuration must occur within a social and historical scene, which inevitably complicates matters, because wider cultures sought coherence along confessional, linguistic and ideological lines, even as their social worlds were riddled with divergent forces caused by political, societal and religious change. Indeed many models of social life in the Renaissance offered ways to conceal or efface multiplicity, and such schemes are equally present in dramatic, textual and visual art of the period. We invite papers that mediate between societal, visual and textual perspectives, as well as between continental and English culture.
How were unified perspectives rendered dialogic or multiplicitous? And how were ostensibly chaotic perspectives structured by emerging models of coherence? How do recent theoretical developments mitigate our perception of perspective in the past?
Proposals welcomed from literary studies, theater history, art history and history.
Please submit a 250-word abstract, along with a current CV, to Michael Saenger (
) and Sergio Costola (
) by May 30, 2013.
Associate Professor of English
Shakespearean London Theatres (ShaLT)
The Shakespeare Conference: SHK 24.0183 Wednesday, 17 April 2013
From: Gabriel Egan <
Date: April 16, 2013 3:41:32 PM EDT
Subject: Shakespearean London Theatres (ShaLT)
A two-year Arts and Humanities Research Council (AHRC) funded project called Shakespearean London Theatres (ShaLT) comes to fruition with a launch on 23 April 2013 at the Victoria and Albert Museum in London.
The project aims to get people walking around and learning about the London sites where there were theatres 400 years ago. Many people are aware of the plays of William Shakespeare and his famous playhouse, the Globe on London’s Bankside. The ShaLT project tells the full story behind the vast theatrical scene that thrilled London for over fifty years during the reigns of Elizabeth I, James I and Charles I.
The ShaLT website is a repository of writings and pictures about the playhouses, entrepreneurs, audiences, actors and dramatists that made up this foundational theatre industry. It uses a zoomable map of modern London overlaid with the sites of interest: if you click on these you get extensive text and pictures for each one. A free printed Walking Map (available at tourist outlets across the capital and downloadable from the website) gives the precise locations of all of the London theatres (backed by the latest archaeological discoveries) and offers five suggested walks that take in the original London sites, all within a two mile radius of St Paul’s Cathedral.
There is also a 48-page colour Guide that includes the map, copious illustrations, and the full chronological narrative history of theatre in this period. For those who prefer to be paperless, there’s a smartphone app (Apple and Android) that will guide you on the walks and provide all the textual and pictorial information that’s in the printed versions.
The texts and pictures of the project are supported by a series of short filmed documentaries that are illustrated with freshly acted excerpts from particular plays, including Kyd’s The Spanish Tragedy, Lyly’s Endymion, and Marston, Chapman and Jonson’s Eastward Ho! The documentaries were produced by John Wyver and his company Illuminations TV (you may know them from their films of Royal Shakespeare Company productions) and the dramatic scenes were directed by James Wallace.
Over the summer, ShaLT will be running fortnightly public talks at the Victoria and Albert Museum in London given by leading experts: Andrew Gurr, Peter Womack, Julie Sanders, Tiffany Stern, Joanne Tompkins, Jean E. Howard, Ralph A. Cohen, Farah Karim-Cooper, Martin White, Gary Taylor and Martin Butler. The first of these is Andrew Gurr’s talk “Why was the Globe round?” at 3pm on the launch day, 23 April 2013.
We do hope you can join us for the public talks. Tickets are available from the Victoria and Albert Museum online shop at http://www.vam.ac.uk/whatson/event/2411.
If you’re interested but can’t make the launch or the other public talks, why not go to our website and take from it what you want? Everything we have created is offered to you under a Creative Commons Attribution ShareAlike licence (CC BY-SA) so you can reuse it in your own research or teaching, put copies of it on your own website (commercial or non-commercial) or even put it all on a DVD and try to sell it. Regarding the licencing of the materials we have made, we take the same approach as Woody Guthrie did with his music:
“This song is Copyrighted in the U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin’ it without our permission will be mighty good friends of ourn, ‘cause we don’t give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that’s all we wanted to do.”
The ShaLT team would like to thank the AHRC not only for the money to do all this, but for supporting the project’s give-it-all-away Open Access policy. Those in the UK struggling with recent government edicts in favour of Gold Open Access might, it is hoped, see in this project some of the benefits of the Green Open Access approach.
Our project site is http://shalt.org.uk but while we’re putting all the bits in place for the launch on 23 April you might need to go to our development site at http://shalt.web1.rkh.co.uk
Anyone able to yodel any of our materials will be admitted to the launch event without a ticket.
Prof Gabriel Egan (ShaLT Principal Investigator) on behalf of the ShaLT team comprising himself and:
Prof Andrew Gurr (Co-Investigator)
Dr Maurice Hindle (Project Manager)
Dr Peter Sillitoe (Post-Doctoral Research Associate)
Ms Meena Toor (Promotion Coordinator)