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
CFP: Shakespeare and the Italian Renaissance
The Shakespeare Conference: SHK 22.0275 Thursday, 27 October 2011
From: Michele Marrapodi <
Date: October 17, 2011 9:31:02 AM EDT
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
The Shakespeare Conference: SHK 22.0247 Friday, 30 September 2011
From: Will Sharpe <
Date: September 30, 2011 8:50:43 AM EDT
Subject: The Lizz Ketterer Trust
Donations can now be taken for our charitable trust set up to commemorate the passing of Dr Lizz Ketterer, who died tragically young earlier this year:
We are performing Hamlet in her honour at the Shakespeare Institute next week, and hope very much that some of you who are unable to attend will nonetheless consider buying a virtual ticket to help us achieve our dream from afar. Please take a moment to look at our website, which tells all about our plans for the scholarship we wish to establish, and please consider either coming to the show or donating some money. Feel free to share this with anyone you think might be interested. We also have a Facebook page (link below), and the more people who know about us the better so please 'like' us and share our link on your profiles if you feel so inclined. If you have any inquiries about anything at all, please direct them to our email address,
With best wishes and thanks to all,
Hamlet in the Original Pronunciation
The Shakespeare Conference: SHK 22.0244 Thursday, 29 September 2011
From: Thomas M Lahey <
Date: September 23, 2011 12:01:28 PM EDT
Subject: Hamlet in the Original Pronunciation, Univ of NV, Reno
Nevada Repertory Company announces
The World Premiere of William Shakespeare’s Hamlet in the Original Pronunciation
Nov. 1, 2 and 3 (Preview Performances), 7:30 p.m.
Nov. 4, 5, 8, 9, 10, 11, 12, 15, 16, 17, 18 and 19, 7:30 p.m.
Nov. 6, 13 and 20, 1:30 p.m.
Redfield Studio Theatre
The theatre world will be watching — and listening — in awe when the University's world premiere of Hamlet in the Original Pronunciation (OP) hits the stage this fall. Amazingly, the last time Hamlet was presented in its original dialect was literally centuries ago. In fact, only four OP productions of anything Shakespearean have been performed in modern times: two recently at The Globe Theatre in London, one at the University of Kansas, and one at Cambridge in the 1950s. And modern audiences have been delighted by how understandable the early language is, including the discovery of now-rhyming lines once lost to the ages (love/prove, eyes/qualities, etc.). In the University's remarkable international collaboration, a diverse group of world-class artists, directors, and scholars will come together to produce this world-class event: the great English linguist and The Globe's own consultant David Crystal, author of "Pronouncing Shakespeare"; British superstar actor and scholar Ben Crystal, who will play Hamlet; the University's award-winning Shakespearean scholar, this production's dramaturge, and co-editor of "The Royal Shakespeare Company's Complete Works of William Shakespeare," professor Eric Rasmussen; and the University's own renowned Nevada Repertory Company under the visionary leadership of director and department chair, Rob Gander. A once-in-a-lifetime event indeed — no matter how you say it!
Preview Performances: Adult $10, ASUN $5 (limited quantity available)
All Other Shows: Adult $15, Senior $12, Local Student w/ID $10, UNR Student $5 (limited quantity available)
Queen Undaunted: Margaret of Anjou
The Shakespeare Conference: SHK 22.0241 Thursday, 29 September 2011
From: Jeannette Webber <
Date: September 23, 2011 4:18:00 PM EDT
Subject: Queen Undaunted: Margaret of Anjou
[Editor’s Note: My apologies for not distributing this announcement in a timely manner. Nevertheless, I include it here as a record in the SHAKSPER archives. -Hardy]
Dear SHAKSPER Colleagues,
Unless you're in or near Santa Barbara CA this weekend, you won't be able to come, but it occurred to me belatedly that some of you would be interested in the show I wrote based on Margaret of Anjou. It's about 2/3 Shakespeare's words--which I identify on the script though listeners hopefully will find seamless with my 1/3: the structure and transitions. I've written various notes and student information sheets and there's an article about the script and production in the Friday, Sept 23 Santa Barbara News Press by Joe Hansen. Here's the listing:
Queen Undaunted: Margaret of Anjou, a one woman show featuring E. Bonnie Lewis of DramaDogs, directed by Ken Gilbert and Michelle A. Osborne and written by Jinny Webber, gives us Margaret according to Shakespeare, the only person to appear in four of his plays. From her first appearance as a young French princess engaged to Henry VI of England to her defeated but unvanquished old self, we follow her through Henry VI, Parts 1, 2, and 3 and Richard III. Initially modest and girlish, she becomes ruthless, vengeful and fierce. She loves, she hates, she acts with intensity in a world where women were meant to be compliant and submissive--and quiet. Complex and ambiguous, her voice resonates down the ages.
See www.centerstagetheater.org for more information.
Center Stage Theater: Paseo Nuevo Mall, Santa Barbara, California
September 24th Saturday Matinee 2 PM. All seats $10.
September 24th Saturday Evening 8 PM and September 25th Sunday Matinee 2 PM
The Shakespeare Conference: SHK 22.0237 Thursday, 22 September 2011
From: Will Sharpe <
Date: September 21, 2011 4:42:47 AM EDT
Subject: The Lizz Ketterer Trust
The link below advertises a production of Hamlet that we are performing at the Shakespeare Institute next month to raise funds to establish a scholarship in the name of our beloved friend, Dr Lizz Ketterer, who died tragically young earlier this year. Please take a moment to look at our website and consider either coming to the show or donating some money if it's not possible to make the trip here (and for some of you it clearly isn't). We are in the final stages of setting ourselves up as a registered charity and details will be shortly available of how donations can be made. Please feel free to share this with anyone you think might be interested. We also have a Facebook page (link below), and the more people who know about us the better so please 'like' us and share our link on your profiles if you feel so inclined. I could go on, but the website tells all. If you have any inquiries about anything at all, please direct them to our email address,
Many thanks to all,
Teaching the Early Modern Period
The Shakespeare Conference: SHK 22.0235 Monday, 19 September 2011
From: Lowell Duckert <
Date: Wednesday, 14 Sep 2011 14:05:36 -0400
Subject: Teaching the Early Modern Period
Teaching the Early Modern Period
Edited by Derval Conroy and Danielle Clarke
“This book is an excellent addition to materials on pedagogy not simply for the early modern period but in general. The range of responses is fittingly diverse and much thought has been put into designing a well-crafted and innovative collection. The key importance of the volume is its geographical, disciplinary, and cultural range. One of the great virtues of this book is its diversity, and it will appeal to scholars, postgraduates, and teachers in the UK, USA, Europe, and Australia.”—Jerome de Groot, University of Manchester, UK
Teaching the Early Modern Period is an innovative project that brings together leading early modernists drawn from a wide geographical and disciplinary background. Scholars from English, History, and French Studies unite in this unique volume to examine the challenges, and solutions to those challenges, which the early modern period provides in the third-level classroom. Nine essays are interspersed with fourteen shorter reflections by contributors from Ireland, the UK, France, the Netherlands, South Africa, Canada, and the USA; the volume hence provides a rare transcontinental insight into current pedagogical praxis in a number of Western national traditions, presenting a wide range of case-studies of how research can inform teaching from scholars who refuse to accept a divorce between the two.
Introduction; D. Clarke & D. Conroy
The Scholarship of Teaching the Early Modern: An Overview; D. Conroy
Part I: The Early Modern in the Digital Age
Renaissance Teaching and Learning: Humanist Pedagogy in the Digital Age and What It Might Teach Us; D. Clarke
Information Revolutions Past and Present, and Teaching the Early Modern Period; P. Dover
Part II: The Early Modern and Its Others
'Other voices': The Early Modern Past in Provincial America; J. Dewald
Exploring the Limits of the Thinkable; S. Stuurman
Lobola, the Intombi, and the Soft-Porn Centaur: Teaching King Lear in the Post-Apartheid South African Classroom; D. Seddon
Windows of Gold; R. Whelan
A Renaissance Woman Adrift in the World; M. E. Wiesner-Hanks
Worlds Apart, Worlds Away: Integrating the Early Modern in the Antipodes; S. Broomhall
Paradise Regained? Teaching the Multicultural Renaissance; J. Grogan
Shakespeare and the Problem of the Early Modern Curriculum; A. Hadfield
Part III: The Early Modern in the Contemporary Classroom: Course Design and Classroom Practice
An Early Modern Challenge: Finding the Student In-Road; P. Cheney
Teaching Shakespeare Historically; M. Burnett
The Importance of Being Endogenous; A. Viala
Literature, Philosophy and Medicine: Strategies for an Interdisciplinary Approach to the Seventeenth Century; B. Höfer
Versailles; H. Goldwyn
Paradoxical Creativity: Using Censorship to Develop Critical Reading and Thinking; K. Waterson
T-shirt Day, Utopia and Henry VIII's Dating Service: Using Creative Assignments to Teach Early Modern History; C. Levin
The Importance of Boredom in Learning About the Early Modern; C. Sullivan
Part IV: Performing the Early Modern
French Seventeenth-Century Theatre: Saying is Believing; H. Phillips
Teaching Early-Modern Spectacle through Film: Exploring Possibilities, Challenges, and Pitfalls through a French Corpus; G. Spielmann
Relevance and Its Discontents: Teaching Sofia Coppola's Marie Antoinette; A. Wygant
Presence, Performance, and Critical Pleasure: Play and Prerequisites in Research and Teaching; C. Biet
Derval Conroy is Lecturer in French at University College Dublin, Ireland. She has published extensively on women and women writers in seventeenth-century France.
Danielle Clarke is Associate Professor of English Renaissance Language and Literature at University College Dublin, Ireland. She has published widely on questions of gender, language, and representation in the early modern period.
CFP: Shakespeare and Performance
The Shakespeare Conference: SHK 22.0234 Monday, 19 September 2011
From: Sarah Gail Farrell <
Date: September 15, 2011 12:04:15 PM EDT
Subject: CFP: Shakespeare and Performance
Early Modern Studies Journal (EMSJ) formerly Early English Studies (EES) is an online journal under the auspices of the University of Texas, Arlington, English Department and is devoted to literary and cultural topics of study in early modern period. EES is published annually, peer-reviewed, and open to general submission.
The 2012 issue will focus on Shakespeare and Performance. We are interested in articles that consider any aspect of performance in historical or contemporary productions of Shakespeare and his contemporary playwrights. The following list is of possible topics, but should not be considered exhaustive:
Comparative performance in England
Comparative performances in England and other countries
Performance of Guilds
Women and Performance
Current Productions of early modern plays
Actors and the text
Court Performances and Masques
Please submit double-spaced manuscripts in Times New Roman, 12 pt font that do not exceed thirty pages in length, including notes (9,000 words total); electronic submission in Word format is required. Please use endnotes rather than a bibliography, formatting to Chicago Manual of Style, 15th Ed. The author’s name, affiliation, and academic history should be included on the first page of the document. Thereafter, the author’s name should not appear in the document. Submissions are due January 31, 2012. The issue will appear in Fall 2012. Please contact Dr. Amy Tigner at
with any queries.
Early Modern Studies Journal
The Shakespeare Conference: SHK 22.0230 Tuesday, 13 September 2011
From: David Crystal <
Date: September 13, 2011 4:24:55 AM EDT
Subject: Original Pronunciation
This is to let colleagues know that a clearing-house site for productions and projects in original pronunciation went live this week. You can find it at http://www.originalpronunciation.com.