Graham Hammill: UMD Renaissance Reckonings
The Shakespeare Conference: SHK 22.0310 Thursday, 24 November 2011
From: Lowell Duckert <
Date: Tuesday, 22 Nov 2011 10:58:25 -0800
Subject: Graham Hammill: UMD Renaissance Reckonings
UMD Renaissance Reckonings Presents
Graham Hammill, Department of English, SUNY-Buffalo,
"The Spirit of Europe: Political Theology from Shakespeare to Spinoza"
Friday, Dec. 2, 2011 at 2 pm
University of Maryland, College Park
Graham Hammill is associate professor of English at SUNY-Buffalo and the author of Sexuality and Form: Caravaggio, Marlowe, and Bacon (Chicago, 2000). His talk will be drawn from his current book project, The Mosaic Constitution (forthcoming, Chicago, 2012), which explores how political writers from Machiavelli to Spinoza drew on Mosaic narrative to imagine constitutional forms of government.
The Shakespeare Conference: SHK 22.0308 Sunday, 20 November 2011
From: John F Andrews <
Date: Thursday, 17 Nov 2011 18:25:45 -0700
Subject: Shakespeare Guild News
A couple of weeks ago the Shakespeare Guild launched its 2011-12 season with a broad-ranging conversation at The Players, a historic Gramercy Park institution that was founded by actor Edwin Booth. Our special guest was JOHN MILLER, a producer, biographer, and interviewer who has worked with and written about such artists as Dame Judi Dench, Sir John Gielgud, Sir Ralph Richardson, and Sir Peter Ustinov.
THE SHAKESPEARE GUILD invites you to welcome the holiday season with plays that will put you in a festive mood. One of them is in the Nation’s Capital, where the SHAKESPEARE THEATRE COMPANY is preparing a lively MUCH ADO ABOUT NOTHING. The other is FIASCO THEATER’S revival of CYMBELINE on Barrow Street in the West Village.
FIASCO THEATER’S ‘CYMBELINE’
Through Sunday, January 1
Barrow Street Theatre, 27 Barrow Street (at 7th Avenue)
Discounted Tickets at $49.50 (Regularly $75)
The award-winning producers of Our Town, August: Osage County, Othello, and last season’s Merchant of Venice have teamed up to present Fiasco Theater’s CYMBELINE, a New York Times Critics Pick, for an 18-week engagement under the auspices of Theatre for a New Audience. That stellar company has just opened a second show, FRAGMENTS, directed by Peter Brook and Marie-Helene Estienne from texts by Samuel Beckett, in association with the Baryshnikov Arts Center (visit www.tfana.org for details), and it is now reviving a late Shakespearean romance that garnered critical plaudits last season when it opened at the Duke Theatre on 42nd Street. CYMBELINE is directed by NOAH BRODY and BEN STEINFELD, and it is performed by six remarkable actors (Jesse Austrian, Noah Brody, Paul L. Coffey, Andy Grotelueschen, Ben Steinfeld, and Emily Young) who create magic on a bare stage with minimal sets and costumes. The New Yorker describes it as “a playful and inspired work of art,” and the New York Post extols a “charming production” that “makes crystal clear the endlessly convoluted plot developments” of one of Shakespeare’s most rarely performed works. To order tickets at the discounted rate, visit www.smarttix.com/Show.aspx?ShowCode=CYM6 or call 212-868-4444, citing code TFA495.
THE STC’S ‘MUCH ADO ABOUT NOTHING’
November 25 – January 1
Sidney Harman Hall, 610 F Street NW in Washington
Discounts of at Least 20% for Groups of 10 or More
Set on a 1930s sugar plantation in sultry Cuba, the Shakespeare Theatre Company’s upcoming MUCH ADO ABOUT NOTHING promises to be a delightful escape from any doldrums that may have blown in with the early-winter cold. Everyone in the Messina of Shakespeare’s play can see that Beatrice and Benedick are meant for each other except for the witty couple themselves. So the newly betrothed Hero and Claudio join a conspiracy to trick them into acknowledging their true feelings. Meanwhile, a bitter Don John schemes to persuade a naïve bridegroom that his beloved has compromised her honor. Touted by The Washingtonian as “one of the hottest directors” in America, ETHAN MCSWEENY directs one of Shakespeare’s most popular romantic comedies. The STC sales office will be happy to help you book great seats. For individual tickets, go to www.shakespearetheatre.org/tickets/index.aspx. For discounted group sales, call 202 546 1122, and select Option 6, or e-mail
John F. Andrews
The Shakespeare Conference: SHK 22.0295 Thursday, 10 November 2011
From: Michele Marrapodi <
Date: November 10, 2011 4:18:51 AM EST
Subject: Call for Papers
Call for Papers for the collection of essays:
Shakespeare and the Italian Renaissance: Appropriation, Transformation, Opposition
This new collection of essays aims to place the works of Shakespeare within the context of the European Renaissance and, more specifically, within the context of Italian cultural, dramatic, and literary traditions, with reference to the impact and influence of both classical and contemporary culture. In contrast with previous studies, often characterized by a positivistic-deterministic hermeneutics and, consequently, by a largely passive analysis of source material or literary topoi, the new critical perspective pursued in this volume will take into account a wider European intertextual dimension and, above all, an ideological interpretation of the ‘aesthetics’ or ‘politics’ of intertextuality which will allow the analysis of the presence of the Italian world in early modern England not as a traditional treasure trove of influence and imitation but as a potential cultural force, generating complex processes of appropriation, transformation, and ideological opposition throughout a continuous dialectical interchange of compliance and subversion.
Please send a 200-word abstract of the proposed chapter directly to the editor before 29 February 2012.
Prof. Michele Marrapodi
Dipt. (FIERI-AGLAIA) Filosofia, Filologia, Storia, Arti, Critica dei Saperi
Facoltà di Lettere e Filosofia
Viale delle Scienze
90128 Palermo, Italy
Early Modern Theatricality in the 21st Century
The Shakespeare Conference: SHK 22.0293 Wednesday, 9 November 2011
From: Erika T Lin <
Date: November 8, 2011 9:57:28 PM EST
Subject: Early Modern Theatricality in the 21st Century
The conference below may be of interest to some list members. Please feel free to circulate the announcement and poster. There is no registration fee, but the reception and dinner requires an RSVP by November 15.
Erika T. Lin
Department of English
George Mason University
4400 University Dr., MSN 3E4
Fairfax, VA 22030
Early Modern Theatricality in the 21st Century
A Conference at Rutgers University
Thursday, December 1 and Friday, December 2, 2011
Early Modern Theatricality in the 21st Century brings twenty-five leading scholars to Rutgers for a summit on the state of the field, inviting them to test out new methods for capturing the full event of theatre and its immense imaginative resources. Panelists will examine the clusters of techniques, objects, bodies, conventions, signs, and other significant elements that characterized early modern performance and that extended beyond the public theaters to public entertainments and spectacles of all types, from the Tudor period to the Restoration. Organized in plenary roundtable format with generous time for collective discussion, the conference will present an exploded view of theatricality across a broad period, isolating functional parts, magnifying them for analysis, and integrating them into rigorous, conceptually adventurous statements that aim to provoke a re-discovery of early modern drama in all its formal complexity and wild profusion.
Attendance is free and open to the public.
Sponsored by the Rutgers British Studies Center, the Program in Early Modern Studies, and the Center for Cultural Analysis.
For more information, see http://earlymoderntheatricality.com
New to Papers for Comments
The Shakespeare Conference: SHK 22.0292 Wednesday, 9 November 2011
From: Hardy M. Cook <
Date: Wednesday, November 9, 2011
Subject: New to Papers for Comments
As a service to its members, SHAKSPER makes selected papers for which the author would like comments available for a short time on the SHAKSPER server at the Scholarly Papers for Comments section: http://shaksper.net/scholarly-resources/scholarly-papers-for-comments
The following play has just been uploaded to the Scholarly Papers for Comments section of the web site: The Alchemist’s Tragedy by Jay Alan Quantrill <
Jay Alan Quantrill has supplied this Abstract.
ABSTRACT: William Shakespeare is the central figure of this play. Obviously, (with some much needed humility) my conception of him. And of course, my conception of him only at a particular time in his life. To call this moment a mid-life crises would be to equate Will with a used car salesman of our day, or a clerk at the Inns of Court in his. That’s not how I see him.
But it is a crisis, however far beyond his mid-life he is at 43. A crisis of art and faith: his art because he’d begun to lose faith in his subject – mankind. Faith in god? He’s long past that. Though he dare not admit such treason to a breathing soul. But faith in the worthiness or goodness of man, or any reason to hope for improvement? None. And that’s a tragedy, at least it was for my appreciation of Shakespeare in 1609.
Will comes into the Globe Theatre even on cold mid-winter mornings with his anxiety stained on his fingertips – uneasy and under pressure, within and without. He’s been jumping through theatrical hoops since he was twelve years old. He’s discontent with the hoops he’s designed recently, not sure he has another hoop on the horizon.
So here he comes, discontent, looking for hope or a worthy tale to tell, or trouble, any trouble, any thing to ignite his increasingly “sonnetted heart.”
You should your comments directly to the author Jay Alan Quantrill <
>; or if you wish, you may start a thread through the normal SHAKSPER channels by sending it to the list at
The Shakespeare Conference: SHK 22.0280 Thursday, 27 October 2011
From: Laura Shea <
Date: October 16, 2011 6:51:26 PM EDT
Subject: Shakespeare Job Posting
Assistant Professor of English
The English Department seeks to fill a tenure-track position at the rank of Assistant Professor, starting in August 2012, to teach courses in Shakespeare (undergraduate and graduate) as well as core courses in writing and literature. PhD required. The successful candidate will demonstrate a commitment to teaching in addition to promising scholarship. 4/4 load with one course remission per semester to serve as co-editor of The Shakespeare Newsletter. Secondary areas of interest include Irish Literature and Film. Send cover letter and vita, including the names of three references (hard copy only), by November 16, 2011 to Dr. Laura Shea, Chair, Department of English, Iona College, 715 North Avenue, New Rochelle, NY 10801.
Chair, Department of English
The Shakespeare Conference: SHK 22.0279 Thursday, 27 October 2011
From: Phil Rees <
Date: October 17, 2011 9:10:51 AM EDT
Subject: From Phil Rees at Stage on Screen Ltd
We are a UK based company producing DVDs of Classic English Stage plays. We currently have no recordings of Shakespeare (it’s a crowded market), but we do concentrate on his contemporaries. We have released critically acclaimed recordings of Doctor Faustus, Volpone, and The Duchess of Malfi, and in the New Year hope to be producing and recording The Spanish Tragedy and The White Devil – if sufficient quantities of stage blood can be purchased in time . . .
We launch officially in the US on November 22nd, as you’ll see from the Press release attached.
Press Release: Stage on Screen Press Release
Special Issue of Early Theatre (Dec 2011)
The Shakespeare Conference: SHK 22.0278 Thursday, 27 October 2011
From: Helen M Ostovich <
Date: October 16, 2011 12:09:46 AM EDT
Subject: Special Issue of Early Theatre (Dec 2011)
Forthcoming Special Issue of Early Theatre (14:2)
Circles and Circuits: Drama and Politics in the Midlands
Guest editors: Mary Polito and Amy Scott
In 2004, many scholars were aware of the book of four anonymous, undated manuscript plays held at Arbury Hall Warwickshire; very few had read them. In that year another manuscript version of one of those plays was discovered in the Special Collections Library at the University of Calgary. Led by scholars at Calgary, a team of national and international faculty and graduate students have been investigating the provenance and significance of these decidedly Caroline plays. They point to literary circles in the midlands, probable country house performances, careful political critiques of the personal rule and ‘circuits’ that pay heed to estates, the authority of patrons and the mobility of people and ideas.
Kirsten Inglis and Boyda Johnstone
‘The Pen lookes to be canoniz’d’: John Newdigate III, Author and Scribe
Siobhan C. Keenan
Staging Roman History, Stuart Politics, and the Duke of Buckingham: The Example of The Emperor’s Favourite
Margaret Jane Kidnie
Trying to be Diplomatic: Editing The Humorous Magistrate
Louis A. Knafla
The Magistrate — and Humorous Magistrates — in Early Seventeenth-Century England
Vimala C. Pasupathi
Jockeying Jony: Horse-Racing and Regional Identity in The Humorous Magistrate
Politics, Poetry, and Performance: The Miscellaneous Contents of Arbury Hall MS 414
Paul L. Faber
Imported Popular Song in The Humorous Magistrate: 'The Noble Acts of Arthur of the Round Table' and 'Come Heare, Lady Muses'
John Newdigate III, Gilbert Sheldon, and MS A414 106r
Events and Texts: The Prologues and Epilogues for the Arbury Hall 414 Plays
‘this rare Poetesse’: the Remains of Lady Jane Burdett
Dr H M Ostovich <
Editor, Early Theatre
Professor, English and Cultural Studies
Hamilton ON L8S 4L9
Stylistics and Shakespeare's Language
The Shakespeare Conference: SHK 22.0277 Thursday, 27 October 2011
From: Mireille Ravassat <
Date: October 15, 2011 11:11:06 AM EDT
Subject: Stylistics and Shakespeare's Language
We are glad to inform you that Stylistics and Shakespeare's Language --
Transdisciplinary Approaches has been published by Continuum in the
Advances in Stylistics Series.
Editors: Mireille Ravassat (Valenciennes University, France) and Jonathan
Culpeper (Lancaster University, UK). See link below.
Table of contents
Introduction Mireille Ravassat and Jonathan Culpeper
Chapter 1: 'Strange deliveries': Contextualizing Shakespeare's First
Citations in the OED
Chapter 2: Shakespeare's Vocabulary: Did it Dwarf All Others?
Ward E. Y. Elliott and Robert J. Valenza
Chapter 3: A New Kind of Dictionary for Shakespeare's Plays: An Immodest Proposal
Chapter 4: 'If I break time': Shakespearean Line Endings on the Page and
Chapter 5: Subject-Verb Inversion and Iambic Rhythm in Shakespeare's
Richard Ingham and Michael Ingham
Chapter 6: Shakespeare's 'Short' Pentameters and the Rhythms of Dramatic Verse
Chapter 7: Wholes and Holes in the Study of Shakespeare's Wordplay
Chapter 8: 'a thing inseparate/Divides more wider than the sky and
earth' - of Oxymoron in Shakespeare's Sonnets
Chapter 9: 'Rue with a difference': a Computational Stylistic Analysis of
the Rhetoric of Suicide in Hamlet
Thomas Anderson and Scott Crossley
10: Shakespeare's Sexual Language and Metaphor: a
José L. Oncins-Martínez
Chapter 11: Cognitive Interplay: How Blending Theory and Cognitive Science
More details and preview:
Mireille Ravassat and Jonathan Culpeper
Korean Tempest Coming to DC, Nov 4-5
The Shakespeare Conference: SHK 22.0276 Thursday, 27 October 2011
From: Alexander Huang <
Date: October 12, 2011 2:33:51 AM EDT
Subject: Korean Tempest Coming to DC, Nov 4-5
The George Washington University in Washington, D.C., will host the renowned Korean director Oh Tae-suk and screen his award-winning production of The Tempest.
Friday, November 4, 2011, 4 p.m.–6 p.m.: The Tempest, dir. Oh Tae-suk, Mokwha Company, Seoul, South Korea
OPENING REMARKS by DAVID SCHALKWYK, Director of Research, Folger Shakespeare Library, and Editor of Shakespeare Quarterly
Saturday, November 5, 2011, 8:30 a.m.–3:30 p.m.: Colloquium on "Staging Korea"
EVENTS on both days are held in the Harry Harding Auditorium, 1957 E Street, NW, Washington, DC 20052 (nearest metro station: Foggy Bottom-GWU)
The event celebrates the beauty of Korean performance traditions. Distinguished scholars and directors will discuss performances in South Korea, North Korea and in the Korean Diaspora, and the internationalization of Korean theatre. The highlight of this year's event is the visit of Master Oh Tae Suk from Seoul (http://youtu.be/btv83vpFP_E), and on the eve of the Colloquium, the screening of his award-winning production of Shakespeare’s The Tempest (Herald Angel’s Award at the 2011 Edinburgh International Arts Festival), to be followed by a Q&A session.
Co-sponsored by GW’s Columbian College of Arts and Sciences, Sigur Center for Asian Studies, Institute for Ethnographic Research, Department of East Asian Languages and Literatures, Department of Theatre and Dance, Film Studies Program, and Medieval and Early Modern Studies Institute (MEMSI); the Korean Embassy; and the Korea Foundation. http://www.gwu.edu/~eall/hms
RSVP Lunch is served. This event is free and open to the public. Reservations are required for the Colloquium (but not for film screening). RSVP with your name, affiliation, address, and phone number, and e-mail to