Colloquium on Othello at Fairleigh Dickinson University
The Shakespeare Conference: SHK 22.0225 Friday, 9 September 2011
From: Harry Keyishian <
Date: September 8, 2011 9:47:08 PM EDT
Subject: Colloquium on Othello at Fairleigh Dickinson University
Othello is the subject of Fairleigh Dickinson University’s 19 Annual Shakespeare Colloquium, which will be held on Saturday, October 22, 2011, from 9:30 a.m. – 3:30 p.m. in Madison, New Jersey. The colloquium is free and open to the public. All New Jersey teachers who participate are eligible for Professional Development Credits.
Speakers will be Allison Deutermann of Baruch College, CUNY; Ian Smith of Lafayette College; Jeffery Alan Triggs of Rutgers University; and Eric Johnson-DeBeaufre of Drew University.
Allison Deutermann will decipher the effects of confession in accordance to Othello. Ian Smith’s presentation, “Race, Comedy, and Othello” will examine the role of racism in creating social harmony for an exclusive majority. Eric Johnson-DeBeaufre will link the issues of male friendship and shared expression in Othello. The colloquium will conclude with Jeffery Alan Trigg’s comparison of Shakespeare’s play with Arrigo Boito’s libretto for Giuseppe Verdi’s opera Otello.
The colloquium is supported by Fairleigh Dickinson University, The Columbia University Seminars office, and individual donations. Organizer and project director is Harry Keyishian. For further information, or to register, please call 973-443-8711 or email Harry Keyishian at
. Fairleigh Dickinson University is located at 285 Madison Avenue, Madison, NJ 07940.
The Shakespeare Conference: SHK 22.0224 Wednesday, 7 September 2011
From: Eddie Baart <
Date: September 7, 2011 6:36:40 AM EDT
Subject: Conference July 2012
The Eighth Triennial Congress and Conference of the Shakespeare Society of Southern Africa
3-5 JULY 2012
Rhodes University, Grahamstown
Eastern Province, South Africa
It is with pleasure that we invite you to participate in our forthcoming Conference.
Theme: Staging Shakespeare – Direction, Design and Reception:
This conference looks at Shakespeare in the theatre, with particular attention to the contemporary and historical challenges of staging his plays. Accounts by directors, theatre practitioners, and theatre historians are particularly welcome. We are very pleased that the following have agreed to give plenary lectures:
Robert Gordon. Professor of Drama and Director of the Pinter Centre for Research in Writing and Performance of Goldsmith College, University of London
Dame Janet Suzman, the famous Shakespearean actress and author of Acting with Shakespeare
Scott Newstok, Professor at Rhodes College, Tennessee. Author of many books and articles on Shakespeare
CALL FOR PAPERS
Papers of 25 minutes duration are invited on the following or related topics:
Shakespeare on stage: contemporary approaches
Visualising the Shakespearean stage: stark or sumptuous?
Staging Shakespeare’s text: what price language?
Beyond Words: Shakespeare and Physical Theatre
Styling Shakespeare for film
Staging my country’s Shakespeare
The influence of Victorian Shakespeare on stage and in literature
Tweaking Shakespeare - the director’s ‘Aye’: feminist/proletarian/(anti-) sexist/religious/eco-critical productions
Shakespearean music and choreography
Shakespeare on the South African stage
Shakespeare between cultures: reaching the multivalent audience
Indigenising Shakespeare on stage
Staging Shakespeare in translation.
Abstracts of no more than 250 words should be sent to the conference coordinator, Warren Snowball (
) by 29th February 2012. Those who wish to put together special interest sessions should notify the coordinator concerning the proposed topic and participants.
For further information and to answer any queries, please contact the conference secretary, Eddie Baart:
Monday 2nd July Transport from Port Elizabeth airport and settling into accommodation
Evening - Welcoming cocktail party given by Rhodes University
Tuesday 3rd July Registration, Congress Business Meeting, Presentation of papers
Evening free for delegates to sample the National Arts Festival
Wednesday 4th July Presentation of papers,
Afternoon game drive and conference dinner
Thursday 5th July Presentation of papers,
Evening - specially commissioned performance of a Shakespeare play.
Registration: A website for registration for the conference is under construction.
Accommodation: As the National Arts Festival is running at the same time, accommodation in Grahamstown will be at a premium. Delegates may stay in a residence of Rhodes University at a reasonable cost, Accommodation is in single rooms with communal toilet facilities. Breakfast is provided. The Conference proceedings are held on the Rhodes campus, within easy walking distance of the residences.
The National Festival of the Arts is running in Grahamstown from 28th June to 8th July with hundreds of shows in the Main Program and on the Fringe. Delegates to the Shakespeare Conference may wish to extend their stay to sample the Festival. There are also many famous game parks close to the town (Shamwari, Kwandwe, Pumba ....) which provide one-day game drives.
For more information on Rhodes University refer to http://www.ru.ac.za/conferences
For more information on the Eastern Cape refer to http://www.sa-venues.com/eastcape.htm
Emeritus Professor Eddie Baart
Shakespeare Society of Southern Africa
phone: 046 603 7288
Latest Issue of Cahiers Elisabethains
The Shakespeare Conference: SHK 22.0219 Tuesday, 6 September 2011
From: Jean-Christophe MAYER <
Date: September 6, 2011 9:00:36 AM EDT
Subject: Latest Issue of Cahiers Elisabethains
The Latest Issue Of Cahiers Elisabethains Is Now Available: N° 79 (2011)
* Please note also that article submissions are now open for the next issues of the journal. For details about submissions and/or subscriptions, please see the end of this message.
Dramatizing Belief: Charlatans, Credulity and Faith in John Heywood’s Four PP
Hope, Despair and the Voicing of Renaissance Homoeroticism in Richard Barnfield’s “Certaine Sonnets”
Clinton E. Hammock
The Ambivalence of Revenge and of the Avenger’s Role in Hamlet: The Function of Letters and Emblematic Allusions
The Wilderness Metaphor in The Duchess of Malfi
Shakespeare’s Sir John Oldcastle and Jonson’s Ursula the Pig Woman
“The actors are come hither”: Andrzej Wajda’s Shakespearean Happening in Gdansk
Fausuto no Higeki [The Tragedy of Doctor Faustus], directed by Yukio Ninagawa, Theatre Cocoon, Tokyo, 17 July 2010 (Tomonari Kuwayama)
La Nuit des rois [Twelfth Night], translated by Jean-Michel Déprats, directed by Nicolas Briançon, Festival “Le Printemps des Comédiens”, Amphithéâtre d’O, Montpellier, 17 June 2010 (Nathalie Crouau & Gaëlle Ginestet)
Roméo et Juliette [Romeo and Juliet], directed by Françoise Chatôt, Théâtre Gyptis, Marseille, France, 15 March 2011 (Florence March)
La Comédie des erreurs [The Comedy of Errors], directed by Dan Jemmett, Théâtre des Bouffes du Nord, Paris, 5 and 8 February 2011 (Stéphane Huet)
La Nuit des rois [Twelfth Night], adapted and directed by Jean-Michel Rabeux, MC93 (Maison de la Culture de Seine-Saint-Denis), Bobigny, 22 March 2011 (Stéphane Huet)
The Coveted Crown: Henry IV, Parts I and II, directed by Patrick Swanson, Actors’ Shakespeare Project, Midway Studios, Fort Point Channel, Boston, USA, 20 November 2010 (Kaara L. Peterson)
The Duchess of Malfi, directed by Laurie Sansom, The Royal Theatre, Royal and Derngate, Northampton, 19 October 2010 (Eleanor Collins)
Richard II, directed by Andrew Hilton, The Tobacco Factory, Bristol, 25 February 2011 (Peter J. Smith)
The Comedy of Errors, directed by Andrew Hilton, The Tobacco Factory, Bristol, 30 April 2011 (Yolana Wassersug)
Hamlet, directed by Nicholas Hytner, Olivier Theatre, National, London, 7 October, 26 October and 26 November 2010 (Peter J. Smith)
King Lear, directed by Michael Grandage, Donmar Warehouse, London, 13 January 2011 (Colette Gordon)
As You Like It, directed by Stephen Unwin for the Rose Theatre, Rose Theatre, Kingston-upon-Thames, 24 February 2011 (Neil Allan)
Hamlet, an RSC Young People’s Shakespeare production directed by Tarell Alvin McCraney, The Courtyard Theatre, Stratford-upon-Avon, 10 September 2010 (Richard Kenney)
Measure for Measure, directed by Amy Hodge, The Provincial, Cardiff, 24 November 2010 (P. B. Roberts)
Doctor Faustus, directed by Toby Frow, The Royal Exchange, Manchester, 21 September 2010 (Kath Bradley)
Julie Sanders, ed., Ben Jonson in Context (Cambridge: Cambridge University Press, 2010) (Warren Chernaik)
James Schiffer, ed., Twelfth Night: New Critical Essays (London and New York: Routledge, 2011) (Walter Cannon)
Jane Kingsley-Smith, Cupid in Early Modern Literature and Culture (Cambridge: Cambridge University Press, 2010) (Sarah Carter)
Michael D. Bristol, ed., Shakespeare and Moral Agency (London & New York: Continuum, 2010) (Dana E. Aspinall)
Scott L. Newstok, Quoting Death in Early Modern England: The Poetics of Epitaphs Beyond the Tomb (London: Palgrave Macmillan, 2009) (Joseph Sterrett)
Lloyd Edward Kermode, ed., Three Renaissance Usury Plays, Revels Plays Companion Library (Manchester and New York: Manchester University Press, 2009) (Charles Whitworth)
Richard Rowland, Thomas Heywood’s Theatre, 1599-1639: Locations, Translations, and Conflict (Farnham: Ashgate, 2010) (Eoin Price)
Julian Curry, Shakespeare On Stage: Thirteen Leading Actors on Thirteen Key Roles (London: Nick Hern Books, 2010) (Kevin A. Quarmby)
Erica Sheen, Shakespeare and the Institution of Theatre: “The Best in this Kind” (Basingstoke: Palgrave Macmillan, 2009) (Eoin Price)
Compiled by Janice Valls-Russell
To order issues: <
Submissions can be send to either of Cahiers's assistant editors: <
> or <
More information: <http://recherche.univ-montp3.fr/cahiers/>
CFP for B&L: Shax and Af Am Poetics
The Shakespeare Conference: SHK 22.0211 Friday, 2 September 2011
From: Sujata Iyengar <
Date: September 1, 2011 5:37:00 PM EDT
Subject: CFP for B&L: Shax and Af Am Poetics
Call for Papers: Shakespeare and African American Poetics: Special Issue of Borrowers and Lenders: The Journal of Shakespeare and Appropriation in association with The Langston Hughes Review
The editors of Borrowers and Lenders: The Journal of Shakespeare and Appropriation (B&L), in association with the editor of the The Langston Hughes Review (LHR), extend a call for essays on the topic of "Shakespeare and African American Poetics." We encourage authors to understand "Poetics" in its most expansive sense. Essays on this rich subject might take as their themes not only the work of Langston Hughes himself but also that of Toni Morrison, Frederick Douglass, Gwendolyn Brooks, Richard Wright, Rita Dove, Gloria Naylor, Natasha Trethewey, Edmonia Lewis, and other luminaries of African American arts. We are keen to encourage essays on "reverse appropriation" too -- i.e. we are not necessarily seeking straightforward "source studies" but interventions in the debates surrounding cultural appropriation as a process that moves back and forth between dominant and minority cultures. Successful essays should contribute toward our understanding of Shakespeare and the artist whose work it engages. In other words, an essay about Toni Morrison and Shakespeare should advance existing scholarship on both Morrison and on Shakespeare.
Send completed essays to
or to the editors of B&L (addresses below) by March 1, 2012. Essays will be sent to one Shakespearean and to one scholar of African American literature. Essays will be published online in a special issue or cluster of B&L.
About the Journals:
The Langston Hughes Review is the official publication of the Langston Hughes Society. LHR welcomes prose and poetry pertaining to Langston Hughes specifically, or more generally to his cultural milieu. It also publishes general articles on literature, culture, and performance, as well as special topics issues. LHR is fully indexed in the MLA Bibliography. LHR is currently edited by Dr. Ron Baxter Miller, University of Georgia.
Borrowers and Lenders: The Journal of Shakespeare and Appropriation is a peer-reviewed, online, multimedia journal that welcomes original scholarship engaging with the afterlives of Shakespearean texts and their literary, filmic, multimedia, and critical histories. It encourages contributors to use the online format to its best advantage, in particular, by imagining how to enhance or illustrate their essays with multimedia (screen captures, sound clips, images, and so on). B&L won the CELJ's "Best New Journal" Award in 2007. B&L is fully indexed in the MLA Bibliography. B&L is currently co-edited by Dr. Christy Desmet (cdesmet [at] uga.edu)and Dr. Sujata Iyengar (iyengar [at] uga.edu ; correspondence should be addressed to
or to Managing Editor Dr. Allison Lenhardt (alenhard[at]uga.edu).
Dr. Sujata Iyengar, Associate Professor
Department of English
University of Georgia
Athens, GA 30602-6205
706 542 1261 (messages only)
CFP for Early Theatre: Special Topic: Women and Performance
The Shakespeare Conference: SHK 22.0207 Tuesday, 30 August 2011
From: Peter A. Parolin <
Date: August 29, 2011 1:04:17 PM EDT
Subject: CFP for Early Theatre: Special Topic: Women and Performance
Early Theatre: Special Issue on Women and Performance
Publication Date: Summer 2012
Papers are solicited for a special issue of Early Theatre on women and performance, to be published in Summer 2012. The deadline for submission is November 30, with acceptances indicated by February.
From REED and the growing body of work by comparatists and theater historians, we now know that early modern women, including Englishwomen and foreign players, performed at all social levels and in all performance spaces except the all-male stage. More work needs to be done: first in collecting evidence of female performance in England and second in assessing how new research changes our reading of early modern theater and drama.
The rubric of female performance includes all forms of performance and entertainment, not just scripted drama. Work exploring other theatrical traditions and innovations is also welcome, as are essays addressing methodological questions. For example, what do we mean when we speak of a "performance record," and how do we make sure to interpret all the levels of evidence within such records? How do the categories we use to discuss performance shape our reading of the evidence and our understanding of women’s roles?
Editors for this issue are Peter Parolin (University of Wyoming) and James Stokes (University of Wisconsin, Stevens Point); submissions will be peer reviewed.
Guidelines for contributors:
Papers should be submitted to the website of Early Theatre. The link is: http://digitalcommons.mcmaster.ca/earlytheatre/submissions.html. It is important to follow the submission procedures and the house style outlined on this page.
On the webpage, contributors are asked to type author and abstract information. In the drop-down bar, please identify your submission as “Special Issue.”
Finally, contributors should submit file names that start with 15.1 and continue with a short title for the paper.
Consideration of manuscripts will begin upon receipt of submissions. Questions are welcome to Peter Parolin at
Kalamazoo CFP: "Aglæca: What’s in a Word?"
The Shakespeare Conference: SHK 22.0202 Friday, 26 August 2011
From: Lowell Duckert <
Date: Thursday, 18 Aug 2011 13:32:44 -0400
Subject: Kalamazoo CFP: "Aglæca: What’s in a Word?"
CALL FOR PAPERS
Oregon Medieval English Literature Society Session for the International Medieval Congress at Western Michigan University
May 10-13, 2012
Session IV: Aglæca: What’s in a Word?
The term aglæca has received more than its share of critical attention, but there is still some disagreement on what it means in its many manifestations. In Christ and Satan, Guthalc, Juliana, The Phoenix, and The Whale its context in explicitly religious, but this is not necessarily the case in Beowulf (where it occurs most often). Because the word refers to Sigemund, Beowulf, Grendel, Grendel’s mother, and the dragon, understanding its denotation and its connotation(s) has presented scholars with a number of difficulties.
This session invites presenters to (re)consider those difficulties—to consider a single word, aglæca, in new and different ways. What are we to make of its use in the Old English corpus? Are there new etymological or linguistic insights to help us find our way? Do contemporary theories on monsters and/or gender shed light on these issues? How much should its religious usage outside Beowulf affect our understanding of it in the poem itself? A variety of approaches are possible: papers may focus on a specific text (not necessarily Beowulf) or on the word across the Old English corpus, they may be largely theoretical or pursue close readings of only a few lines.
Please send queries or abstracts (of no more than 250 words) to Marcus Hensel (
) by 15 September 2011 for consideration. Any papers not included in this session will be forwarded to the Congress Committee for possible inclusion in the General Sessions.
South Central Renaissance Conference CFP -- Exploring the Renaissance 2012
The Shakespeare Conference: SHK 22.0197 Monday, 15 August 2011
From: Debra Barrett-Graves<
Date: August 11, 2011 2:10:59 PM EDT
Subject: South Central Renaissance Conference CFP -- Exploring the Renaissance 2012
Exploring the Renaissance 2012
An International Conference
New Orleans, Louisiana
March 8-10, 2012
214 Royal Street
New Orleans, Louisiana
Local Arrangements: Catherine Loomis (
) and Susan Krantz
University of New Orleans
Program Chair: Debra Barrett-Graves
California State University, East Bay
University of Alabama
Louis L. Martz Lecturer:
Nottingham Trent University
William B. Hunter Lecturer:
University of Wisconsin - Madison
The South-Central Renaissance Conference
The Queen Elizabeth I Society
The Marvell Society
The Society for the Study of Early Modern Women
The Society for Renaissance Art History
Papers (15-20 minutes in length) are invited on any aspect of Renaissance studies (music, art history, history, literature, emblems, language, philosophy, science, theology, et al. Interdisciplinary studies are especially welcome.) Abstracts only (400-500 words; a shorter 100-word abstract for inclusion in the program) must be submitted online no later than December 15, 2011, via the SCRC website’s abstract submission form @ http://scrc.us.com/.
Suggested topics might include the following:
The interrelations between Sidney and Spenser
The intersection of art and science in the Renaissance
European influences in music and the arts
Painting in Italy
Shakespeare’s dramatic art
Marvell’s poetry and the sister arts
Renaissance women poets
Papers are also invited for the following special session:
Witchcraft and Magic in Early Modern Culture
Sessions: sessions should be proposed no later than November 1, 2011, and e-mailed to the Program Chair (link given in contact info below). Abstracts of papers for approved sessions should be submitted online via the SCRC website’s abstract form @ http://scrc.us.com/. For further 2012 conference information click http://scrc.us.com/, or contact Debra Barrett-Graves, the program chair @
Program participants are required to join SCRC and are encouraged to submit publication-length versions of their papers to the SCRC journal, Explorations in Renaissance Culture. Shorter papers (up to 3,000 words) are invited for submission to the SCRC newsletter, Discoveries.
A limited number of graduate travel fellowships are available; graduate students presenting a paper at the conference may apply to the program chair for travel assistance (maximum $300). Complete essays must be submitted electronically by February 1, 2012, to be eligible for consideration. See the graduate travel fellowships page for instruction on how to apply.
Plymouth State University 33rd Annual Medieval and Renaissance Forum
The Shakespeare Conference: SHK 22.0194 Thursday, 11 August 2011
From: Jini Rae Sparkman <
Date: August 9, 2011 12:51:30 PM EDT
Subject: Plymouth State University 33rd Annual Medieval and Renaissance Forum
Plymouth State University
33rd Annual Medieval and Renaissance Forum
Friday and Saturday April 20-21, 2012
Call for Papers and Sessions
“Prophecy, Divination, Apocalypse”
We invite abstracts in medieval and Early Modern studies that consider how prophecy and divination functioned in personal, political, religious, and aesthetic realms. How did ideas about the future impact the present? Papers need not be confined to the theme but may cover many aspects of medieval and Renaissance life, literature, languages, art, philosophy, theology, history and music.
This year’s keynote speaker is Dr. Michael A. Ryan, historian of Medieval and Early Modern Spain at the University of New Mexico. Dr. Ryan, an award-winning teacher, has published widely on dreams, prophecy, the Antichrist, and the Apocalypse. His most recent book, “A Kingdom of Stargazers: Astrology, Divination, and Authority in the Late Medieval Crown of Aragon,” will be published by Cornell University Press in Fall 2011.
Students, faculty, and independent scholars are welcome. Undergraduate student sessions require faculty sponsorship. Abstracts may be submitted in English or Spanish.
For more information visit www.plymouth.edu/medieval
Please submit abstracts and full contact information to Dr. Karolyn Kinane, Director:
Abstract deadline: January 16, 2012
Presenters and early registration: March 15, 2012
Medieval and Renaissance Forum
Plymouth State University
17 High Street
Plymouth, NH 03264
American Shakespeare Center Pre-Term Teacher Seminar
The Shakespeare Conference: SHK 22.0186 Wednesday, 3 August 2011
From: Hardy Cook <
Date: August 3, 2011 2:02:08 PM EDT
Subject: American Shakespeare Center Pre-Term Teacher Seminar
ASC Education Hosts Special Pre-Term Teacher Seminar
On Friday, August 12th, ASC Education will host a special, one-day Teacher Seminar focused on Julius Ceasar and techniques for teaching Shakespeare.
We’ve heard from many of our fellow educators that Julius Caesar is a play that challenges students’ engagement and teachers’ enthusiasm. After all, what possible relevance can a bunch of ancient Romans declaiming at each other have for modern teenagers? The answer: quite a bit.
Our activities will open avenues to teaching through performance without requiring that you be a director or your students be actors.
This seminar will also give you a sneak-peek at some of our new Study Guides.
Shakespeare Inside-out British Shakespeare Association Conference 2012
The Shakespeare Conference: SHK 22.0184 Wednesday, 3 August 2011
From: Alison Findlay <
Date: August 1, 2011 1:11:42 PM EDT
Subject: Shakespeare Inside-out British Shakespeare Association Conference 2012
Shakespeare Inside-out: Depth-Surface-Meaning
British Shakespeare Association
10th Anniversary Conference
24-26 February 2012
Conference programme includes performances of Much Ado About Nothing (Lancaster Castle) and Love's Labour's Lost (Northern Broadsides); academic speakers Professor Jean E. Howard; Professor R. S. White; Professor Stuart Sillars; Professor Andrew Gurr; theatre, teaching workshops and panels with Barrie Rutter (Northern Broadsides); John Russell Brown; directors, designers, actors (Demi-Paradise productions)
Contact: Professor Alison Findlay
Shakespeare's texts produce meaning by turning insides out. We are drawn into the plays and poems from the outside through surfaces: books, screens, words, objects, costumes, the surfaces of actors' faces and bodies, retellings or adaptations, teaching spaces and theatres, and via our experiences of immediate effects like music, laughter, tears, movement. The texts, meanwhile, turn deep human questions, emotions, subjectivities outwards by projecting them as words and performance. This conference will ask how the relationship between surface and depth operates in Shakespeare's work. How does it function in different types of performance practice from live theatre to film? In the traces of the past that have come down to us? And in our practices as teachers and critics? The conference will explore 'the deep value of surfaces' (Shusterman), the dynamic relationship between surface and depth across a range of practices: reading, watching, editing, teaching, performing.
Proposals (150 words) for panels, papers, workshops or presentations on any aspect of the topic are welcomed from across the membership of the BSA by 1 October 2011 (
Areas we might address include:
How are emotions represented, invoked and experienced in and through Shakespeare's texts?
How do superficial artefacts used in performance or printing such as costume and props, illustrations, type, decorations, bookcovers act as 'talismans' for different kinds of engagement with Shakespeare?
How do rituals and ceremonies in Shakespeare work as superficial orderings of emotion and violence?
Do Shakespeare's texts offer 'deeper' rewritings of source texts or do the inter-textual relationships themselves deserve more in-depth study than they have received to date?
How do adaptations or retellings of Shakespeare act as gateways to and from the texts?
Does music in Shakespearean performances add depth or is it the 'icing on the cake'?
How much deeper can we dig behind the fairly sparse documentation of early modern theatre practices - playing and watching?
Do pedagogical preferences for 'deep' rather than 'surface' learning apply equally well to the teaching of Shakespeare?
Does learning about Shakespeare happen on an immediately-measurable level or at more intangible cognitive, affective and spiritual levels?
Is it possible (or even desirable) to quantify what goes on as the result of a performance, a film, a teaching session?
Professor Alison Findlay
Professor of Renaissance Drama
Department of English & Creative Writing
To see or download Conference Poster, click here Shakespeare Inside-out Poster (299.38 kB)