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EMLS 16.1

The Shakespeare Conference: SHK 23.062  Monday, 13 February 2012

From:        Sean Lawrence < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Monday, 13 Feb 2012 12:12:53 -0800

Subject:     EMLS 16.1


To whom it may concern:


The first number of volume 16 of Early Modern Literary Studies has recently been posted. As usual, it is available for download free and without subscription at the following web address:


The table of contents follows.



Sean Lawrence.


Early Modern Literary Studies 16.1 (2012)





Pious Aeneas, False Aeneas: Marlowe’s Dido, Queen of Carthage and the Gift of Death. Mathew Martin, Brock University. [1]


The publication of No-body and Some-body: humanism, history and economics in the early Jacobean public theatre. Anthony Archdeacon, Liverpool Hope University. [2]

Fair Foul and Right Wrong: The Language of Alchemy in Timon of Athens. Anna Feuer, Wolfson College, Oxford. [3]


England’s Adam: the short career of the Giant Samothes in English Reformation thought. Jack P. Cunningham, Bishop Grosseteste University College, Lincoln. [4] 


Learning to Obey in Milton and Homer. Daniel Shore, Georgetown University. [5] 





John M. Adrian, Local Negotiations of English Nationhood, 1570-1680. Basingstoke: Palgrave Macmillan, 2011. Patrick J. Murray, University of Glasgow. [6]


David J. Baker. On Demand: Writing for the Market in Early Modern England. Stanford: Stanford UP, 2010. Jonathan P. Lamb, University of Kansas. [7] 


Elizabeth Clarke, Politics, Religion and the Song of Songs in Seventeenth-Century England. Basingstoke: Palgrave Macmillan, 2011. Marie-Louise Coolahan, National University of Ireland, Galway. [8] 


A. D. Cousins and Alison V. Scott, eds. Ben Jonson and the Politics of Genre. Cambridge: Cambridge UP, 2009. Bernadette Andrea, University of Texas, San Antonio. [9]


Simon C. Estok. Ecocriticism and Shakespeare: Reading Ecophobia. New York: Palgrave Macmillan, 2011. Todd Borlik, Bloomsburg University. [10]


Jane Kingsley-Smith. Cupid in Early Modern Literature and Culture. New York: Cambridge University Press, 2011. William Junker, University of St. Thomas. [11]


Kirk Melnikoff, ed., Robert Greene. Burlington, VT: Ashgate, 2011. Jenny Sager, Jesus College, Oxford. [12]



Theatre Reviews: 


Two productions of Dr Faustus on Bankside, presented by Little Goblin Productions at the Rose Theatre, and by Shakespeare’s Globe Theatre, Summer 2011. Neil Forsyth, University of Lausanne. [13]


Hamlet presented by the Jungle Theater, Minneapolis, Minnesota. 26 August – 9 October, 2011. Bruce E. Brandt South Dakota State University. [14]


East Anglia Shakespeare, Summer/Autumn 2011. Michael Grosvenor Myer. [15]


Measure for MeasureJulius CaesarHenry IV Part TwoLove’s Labor’s LostThe African Company Presents Richard III, and Ghostlight, presented by the Oregon Shakespeare Festival, February-November 2011. Geoff Ridden, Southern Oregon University. [16]


Othello presented at the Crucible Theatre, Sheffield, 27th September 2011. Claire Warden, University of Lincoln. [17]


The Two Noble KinsmenKing Edward III, and Double Falsehood, presented by Atlanta's New American Shakespeare Tavern (March-June 2011). Joanne E. Gates, Jacksonville State University. [18]


The Tempest (Stormen), presented by the Royal Dramatic Theatre, Stockholm, November 19, 2010. Neil Forsyth and Anna Swärdh University of Lausanne and University of Karlstad. [19]


’Tis Pity She’s A Whore, a rehearsed reading presented at the Samuel Beckett Theatre, Trinity College Dublin. 9th June 2011. Edel Semple, University College Dublin. [20]

NEH Institute on Roman Comedy in Performance


The Shakespeare Conference: SHK 23.061  Monday, 13 February 2012

From:        Timothy Moore < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         February 11, 2012 1:15:40 PM EST

Subject:     NEH Institute on Roman Comedy in Performance


An NEH Summer Institute for College and University Faculty, “Roman Comedy in Performance,” will be held in Chapel Hill, North Carolina from June 24th through July 20th , 2012. Co-directed by Professors Sharon L. James (University of North Carolina at Chapel Hill) and Timothy J. Moore (University of Texas at Austin), the NEH Summer Institute will give NEH Summer Scholars (twenty-two university or college faculty members and three graduate students) the opportunity to discuss the performance practice and social significance of Roman Comedy with leading experts in the field and to practice scholarship through performance, producing their own performances of scenes from the plays of Plautus and Terence. The NEH Summer Scholars for this Institute will include non-classicists as well as classicists, and no knowledge of Latin is required. 


Participants will receive a stipend of $3,300. 


Applications are due by March 1, 2012. For more information, consult or write to either co-director:  This e-mail address is being protected from spambots. You need JavaScript enabled to view it  or  This e-mail address is being protected from spambots. You need JavaScript enabled to view it .


Timothy J. Moore

Department of Classics

The University of Texas at Austin

1 University Station, C3400

Austin, TX 78712-0308



NEH Summer Institute: Roman Comedy in Performance:

Doctoral Studentship at Queen’s


The Shakespeare Conference: SHK 23.053  Tuesday, 7 February 2012


From:        Laury Magnus < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         February 7, 2012 10:14:56 AM EST

Subject:     Doctoral Studentship at Queen’s 


[Editor’s Note: I got this from Laury Magnus, who got it from Mike Jensen, who got it from Ann Thompson, who got it from Tom Healy. –Hardy] 


Funded three-year PhD international studentship:


Queen’s University, Belfast, Northern Ireland, UK, has been awarded funds for the support of PhD studentships in certain strategic priority areas. Funding has been awarded to the School of English for the international studentship described here.




Professor Mark Thornton Burnett (School of English); Dr Ramona Wray (School of English)




Shakespeare and the Soundtrack


Shakespeare on film is often seen as a primarily verbal or visual phenomenon; by contrast, this project argues that the filmic representations of the likes of Lawrence Olivier, Orson Welles and Kenneth Branagh are enhanced, complicated and finessed by the ways in which the soundtrack stands in for, or translates, the Shakespearean word. The role of music in Shakespeare film takes multiple forms, including lush refrains, action genre pop scores, classically-inspired requiems, and romantic themes, but a common denominator is the synecdoche-like place of musical motifs with reference to language. Tracing the means whereby music operates, the study investigates points of connection between multiple acoustic levels, placing together examples that disclose unexpected comparative possibilities. For example, in addition to exploring some familiar Anglophone instances – among them, HamletOthello and King Lear – the project enfolds discussion of less well-known films from China, Japan and India, such as The Banquet, an adaptation of HamletAn Okinawan Night’s Dream (an adaptation of A Midsummer Night’s Dream) and Yellamma, an adaptation of Macbeth. Here, the focus is on how particular forms of instrumentation – indigenous styles of strings, percussion and woodwind – work not only to mediate Shakespearean rhetoric but also to place it in alternative cultural registers that are aurally apprehended. Essentially, then, a comparative study, ‘Shakespeare and the Soundtrack’ allows methodologies that have previously operated only in narrow national and educational contexts to cross-fertilize, elaborating models of intertextual dialogue and demonstrating how creative modes of words and music offer valuable lessons for our own and media responsive global age.




Candidates with a range of different combinations of knowledge and skill may be considered. For those whose primary background is in literature, the equivalent of Grade 7 Theory in Music might be helpful, but other evidence of musical understanding might be acceptable. For those whose primary background is in Music, some relevant literary modules at university level, or equivalent evidence of knowledge, would be helpful.




International / non-EU students (students from China, Japan, India, Australia, Canada and the US, for example)


Closing date for applications:


2 March 2012

Latest Issue of Cahiers Elisabethains


The Shakespeare Conference: SHK 23.051  Monday, 6 February 2012


From:         Jean-Christophe Mayer < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         February 5, 2012 11:21:24 AM EST

Subject:     Latest Issue of Cahiers Elisabethains




* This issue includes an exclusive interview of Professor Roger Chartier on his latest book: Cardenio, from Cervantes to Shakespeare and Beyond


To access table of contents please click on the following link:




To order issues:  < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >


* Please note also that article submissions are now open for the next issues of the journal. 


Submissions can be send to either of Cahiers's assistant editors: < This e-mail address is being protected from spambots. You need JavaScript enabled to view it > or < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >


More information: <>

David Kastan, Zoe Caldwell, Stacy Keach, John Ford’s “The Broken Heart”


The Shakespeare Conference: SHK 23.050  Monday, 6 February 2012


From:         John F Andrews < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Friday, 3 Feb 2012 12:39:03 -0700

Subject:     David Kastan, Zoe Caldwell, Stacy Keach, John Ford’s “The Broken Heart” 


The Shakespeare Guild is pleased to invite you to three programs in Manhattan’s beautiful Gramercy Park, two at the National Arts Club and one next door at The Players, where you’ll have an opportunity to meet and talk with one of today’s most eminent Shakespeare scholars, DAVID SCOTT KASTAN of Yale University, and with two of our era’s most distinguished actors, ZOE CALDWELL and STACY KEACH. We’re also delighted to offer you a discount on tickets for Theatre for a New Audience’s staging of John Ford’s THE BROKEN HEART at the Duke Theatre.






THE DUKE THEATRE, 229 West 42nd Street, Manhattan


Guild Constituents $52.50 (Regularly $75.00)


If you saw Alexis Soloski’s New York Times article, “Extreme Theater: Wake-Up Calls from the 1600s” 




you’re aware that playgoers in Manhattan and Brooklyn are looking forward to attending two rarely-produced tragedies by 17th-century dramatist John Ford. One, THE BROKEN HEART, figured prominently in a fascinating National Arts Club discussion on January 11. JEFFREY HOROWITZ, whose visionary leadership has enabled such pioneering artists as Mark Rylance and Julie Taymor to do seminal work at Theatre for a New Audience, introduced SELINA CARTMELL, a brilliant new Irish director, to an NAC gathering that was eager to hear about her first production in New York. She and Mr. Horowitz spoke with the Shakespeare Guild’s John Andrews about what makes Ford plays like ‘TIS PITY TO BE A WHORE (soon to be revived at BAM) resonate with renewed intensity. Ms. Cartmell and a distinguished cast are now putting the finishing touches on a show that opens tomorrow, and constituents of the Guild are eligible to obtain $75 tickets for only $52.50. To take advantage of this generous discount, simply log on to or call 646-223-3010, using code SHG2760 when you place your order. For details about the show, visit




MONDAY, FEBRUARY 27, at 8:00 p.m.  

NATIONAL ARTS CLUB, 15 Gramercy Park South, Manhattan


Guild Constituents $25


DAVID KASTAN is the first American scholar to serve as a General Editor of The Arden Shakespeare, a prestigious collection of the complete works that has been Britain’s standard-bearer for more than a century. A distinguished professor of English at Yale University, Mr. Kastan has also earned plaudits for his work at Dartmouth and Columbia. His many publications include Shakespeare and the Shapes of Time (1982), Shakespeare After Theory (1999), and Shakespeare and the Book (2001). Mr. Kastan co-edited Staging the Renaissance: Essays on Elizabethan and Jacobean Drama (1991) and The New History of Early English Drama (1997), and he is the sole editor of Critical Essays on Shakespeare’s “Hamlet” (1995), A Companion to Shakespeare (1999), The Oxford Encyclopedia of British Literature (2006), and other volumes. This spring he’ll be overseeing a major celebration of “Shakespeare at Yale,” a festival that will highlight such resources as the library’s outstanding collection of early quarto and folio printings and the university’s highly regarded repertory theater.




TUESDAY, FEBRUARY 28, at 7:00 p.m.  

THE PLAYERS, 16 Gramercy Park South, Manhattan


Guild Constituents $25


In her latest triumph ZOE CALDWELL has been riveting audiences, and garnering critical praise, as a cold-hearted Upper East Side matron in David Adjmi’s intimidatingly intimate Elective Affinitives. Meanwhile she has been moving filmgoers as an affectionate grandmother in Extremely Loud & Incredibly Close, one of this year’s Academy Award nominees for Best Picture. Long admired for her commanding stage presence, Ms. Caldwell has earned four Tony Awards, most recently as Maria Callas in Terrence McNally’s Master Class. She has portrayed such heroines as Lady Macbeth and Medea, not to mention Lillian Hellman and Miss Jean Brodie, and she has worked with such legends as Dame Judith Anderson, Dame Edith Evans, Sir Tyrone Guthrie, Charles Laughton, and Paul Robeson. She has also directed some of the greatest stars in the profession, among them Eileen Atkins, Glenda Jackson, James Earl Jones, Christopher Plummer, and Vanessa Redgrave. Ms. Caldwell is now writing a sequel to I Will Be Cleopatra, a charming memoir about her early years in Australia, and she’ll share a few delightful passages about her most memorable encounters with Shakespeare.




TUESDAY, MARCH 20, at 8:00 p.m.  

NATIONAL ARTS CLUB, 15 Gramercy Park South, Manhattan


Guild Constituents $25


STACY KEACH is currently starring in Broadway’s acclaimed Other Desert Cities. Best known to many of his television fans as Mickey Spillane detective Mike Hammer, Mr. Keach is also familiar for such popular films as Brewster McCloud, Doc, Judge Roy Bean, That Championship Season, and The New Centurians. But what he finds most satisfying is the Shakespearean acting he has done in such classic roles as Falstaff, Henry V, Macbeth, Mercutio, and Richard III. Clive Barnes, who observed a number of superb Hamlets during his many years as drama critic for the New York Times, has commented that the best ever “was Keach, whose neurotic passion and fierce poetry were quite wonderful.” Described by one reviewer as “the finest American classical actor since John Barrymore,” Mr. Keach has received a Best Actor Golden Globe, three Obies, three Vernon Rice Awards, three Helen Hayes Awards (among them for his portrayal of Richard Nixon in the national touring production of Frost/Nixon and for his King Lear at the Shakespeare Theatre Company), and multiple nominations for Emmy and Tony awards. 

Folger: The Gaming Table, Shakespeare’s Sisters, and More


The Shakespeare Conference: SHK 23.049  Monday, 6 February 2012


From:         Folger Shakespeare Library < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Thursday, 02 Feb 2012 15:24:54 -0500

Subject:     Folger: The Gaming Table, Shakespeare’s Sisters, and More



What’s on at the Folger


Be a Friend to the Folger in February! February is Membership Month at the Folger and the perfect time to join—not only do Friends receive discounts on tickets to performances and other exclusive benefits, but Friends who join in February have the chance to win tickets to one of the following events: 


Folger Consort’s “Songbird” performance on Friday, March 16 OR the Opening Night performance of Folger Theatre’s “The Taming of the Shrew” on Monday, May 7. 


To join, visit or contact Winnie Harrington Robinson at (202) 675-0359. 



Winning Ticket


Folger Theatre: The Gaming Table


Stylishly entertaining, Folger Theatre’s The Gaming Table explores the world of high-stakes gambling, where the players wager money as well as their hearts. Washington Post critic Peter Marks praises the show for its “buoyant air and a bouquet of ripe performances.” 


Join the show’s director Eleanor Holdridge and Georgianna Ziegler, Folger Shakespeare Library’s head of reference and curator of the exhibition Shakespeare’s Sisters: Voices of English and European Women Writers,1500-1700 for a special talk on playwright Susannah Centlivre and her hit comedy, The Gaming Table. The free lecture will be held at 2pm on Feb 5 at the National Museum of Women in the Arts.


On stage through March 4

Tues-Thurs, 7:30pm 

Fri at 8pm 

Sat at 2pm & 8pm 

Sun at 2pm & 7pm


Part of the Folger’s 1,000 Years of Women Writers program series.


Buy Tickets



So Much to Say


Folger Exhibitions: Shakespeare’s Sisters


In A Room of One’s Own, Virginia Woolf imagined a sister for Shakespeare, his equal in talent and ambition, but prevented from achieving success because of her gender. A new exhibition at the Folger, Shakespeare’s Sisters: Voices of English and European Women, 1500-1700, showcases writing by Shakespeare’s female contemporaries, many of whose works remained unknown for centuries. From religious writing to translations to love poetry and yes, plays, Shakespeare’s Sisters brings together a chorus of previously unheard voices and introduces these remarkable women to a wider public.


Feb 3 to May 20

Mon—Sat, 10am to 5pm 

Sun, 12noon to 5pm


Part of the Folger’s 1,000 Years of Women Writers program series.



Speaking Out


O.B. Hardison Poetry Series: Shakespeare’s Sisters


Rita Dove, Linda Gregerson, Elizabeth Nunez, Jacqueline Osherow, Linda Pastan, and Jane Smiley read from new works published in the Shakespeare’s Sisters chapbook, a companion publication to the exhibition of the same name. In their poems and essays, the writers respond to the writings of 16th and 17th-century women. An after-hours viewing of the Shakespeare’s Sisters exhibition precedes the reading.


Special Offer! Folger Friends and students can purchase half-price tickets to this event! Call (202)544-7077 to receive the discount.


Part of the Folger’s 1,000 Years of Women Writers program series.


Thurs, Feb 16 




Isle of Wonders


In the News: Shakespeare Theme in London Olympics


A line from Shakespeare’s The Tempest will kick off the opening ceremony for the Olympics in London this summer: “Be not afeard, the isle is full of noises.”

“Cultural Translations: Medieval / Early Modern / Postmodern”



The Shakespeare Conference: SHK 23.048  Monday, 6 February 2012


From:         Alexander Huang < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         February 5, 2012 2:56:01 PM EST

Subject:     “Cultural Translations: Medieval / Early Modern / Postmodern” 


Going to the Renaissance Society of America (RSA) annual meeting in Washington, D.C. (Mar 22-24)? You are cordially invited to stay one more day to catch the one-day symposium “Cultural Translations: Medieval / Early Modern / Postmodern” to be held at George Washington University in D.C., 9:30 am - 4:00 pm, Sunday, March 25, 2012. 


Free and open to the public. Please stay tuned for updates on the venue and lunch. 






Empires are lost and won, and stories are marred and rediscovered through cultural translations—the transformation of genres, manipulation of ideas, and linguistic translation. Cultural translation is one of the most significant modes of textual and cultural transmission from medieval to modern times. Estrangement and transnational cultural flows continue to define the afterlife of narratives. Translation, or translatio, signifying “the figure of transport,” was a common rhetorical trope in early modern Europe that referred to the conveyance of ideas from one geo-cultural location to another, from one historical period to another, and from one artistic form to another.


Over the past decade “translation” as an expansive critical concept has greatly enriched literary and cultural studies. In response to these exciting new developments, this one-day symposium brings together leading scholars from the fields of medieval and early modern studies, history, film, English, Spanish and Portuguese, Arabic and comparative literary studies to engage in transhistorical and interdisciplinary explorations of post/colonial travel, globalization, and the transformation of texts, ideas, and genres.


The presentations are designed with both general and specialist audiences in mind. Following in the wake of several recent events in town, namely the Folger’s exhibitions on “Imagining China: The View from Europe, 1550-1700” and “Manifold Greatness: The Creation and Afterlife of the King James Bible” and conferences on “Contact and Exchange: China and the West” and “Early Modern Translation: Theory, History, Practice,” and the 58th Annual Meeting of the Renaissance Society of America (RSA) in Washington, DC, 22–24 March, 2012, the Symposium at GW continues and expands these thought-provoking dialogues. 







Suzanne Conklin Akbari (Toronto, English and Medieval Studies): Translating the Past: World Literature in the Medieval Mediterranean


Marcia Norton (GW, History): topic to be announced



Early Modern


Barbara Fuchs (UCLA, English and Spanish & Portuguese): Return to Sender: "Hispanicizing" Cardenio


Christina Lee (Princeton, Spanish & Portuguese): Imagining China in a Golden Age Spanish Epic





Peter Donaldson (MIT, Literature): The King’s Speech: Shakespeare, Empire and Global Media


Margaret Litvin (Boston, Arabic and Comparative Literature): topic to be announced


The event is co-sponsored by the George Washington University Department of English and Medieval and Early Modern Studies Institute (MEMSI), and co-organized by Alexander Huang, Jonathan Hsy, and Lowell Duckert. 

Factory Hamlet


The Shakespeare Conference: SHK 23.046  Friday, 3 February 2012


From:         The Factory < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         February 3, 2012 8:13:11 AM EST

Subject:     The Factory Collaborate With Creation Theatre This Spring.....


The Factory is delighted to invite you to our collaboration with Creation Theatre. This Spring, in collaboration with Creation Theatre, we bring our critically acclaimed production of Hamlet to the world-famous Norrington Room of Blackwell’s Bookshop, Oxford.


Hamlet, 5 - 24 March

A Factory production

Directed by Tim Carroll


The King is dead. What happens next will be different every night.


So far almost 15,000 audience members have helped The Factory create one-night-only, accidental interpretations of one of the great icons of world literature. 


A rigorous exploration of Shakespeare’s verse combined with The Factory’s spirit of mischief and spontaneous play allow the company to delve into the endless possibilities within Shakespeare’s greatest work.


Tickets /// More information 

Cardenio Performance and Conference



The Shakespeare Conference: SHK 23.042  Wednesday, 1 February 2012


From:         Terri A. Bourus < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         January 31, 2012 5:52:39 PM EST

Subject:     Cardenio Performance and Conference


Gary Taylor’s reconstruction of “The History of Cardenio”, the lost play attributed to Fletcher and Shakespeare in 1653, will be performed in Indianapolis April 19-28. It will open IUPUI’s new, state of the art, 248-seat university theatre. I am directing the play, and the cast includes a mix of local professional actors and students. Though an earlier version of the script was performed by students in Wellington, NZ in 2009, and more recently it was given a reading at Shakespeare’s Globe in London in November 2011, the Indianapolis performances will be the first full-scale professional production of Taylor’s text, and the first based on an open audition call. (More information on the production is available here: This production is part of a remarkable year for “Cardenio fever”: the four hundredth anniversary of the publication of Don Quixote in English has already seen the publication of Tiffany Stern’s provocative essay in Shakespeare Quarterly, which will be followed by the English translation of Roger Chartier’s Cardenio entre Cervantes et Shakespeare, by Barbara Fuchs’ book on Anglo-Spanish literary relationships in Shakespeare’s and Fletcher’s lifetimes, and by OUP’s  forthcoming “The Quest for Cardenio” ( 


IUPUI is also hosting an international academic colloquium, in conjunction with these performances, on April 28. Like other events associated with the production, the colloquium is designed to counter the focus on Shakespeare, which has hitherto monopolized most of the discussion. So, the public lecture that will precede the first performance, on 19 April, will be by Steven Wagschal, a Cervantes scholar at Indiana University in Bloomington. Professor Ayanna Thompson (Arizona State) is flying in to give the public lecture on “Shakespeare and Race” on Thursday April 26 (because race is a significant factor in the latest incarnation of Taylor’s reconstruction, and in the Indianapolis casting). The four sessions of the colloquium will be organized around Cervantes, Fletcher, Adaptation, and Performance, in that order. Confirmed participants now include Roger Chartier, Suzanne Gossett, Regina Buccola, Barbara Fuchs, Douglas Lanier, Eduardo Olid, Adam Hooks, Huw Griffiths, and Christopher Hicklin.


All colloquium participants will attend the performance on Friday evening, 27 April. Gary Taylor will give a plenary public lecture before that performance, called “Working Together”, which will talk about the way that the play brings together Cervantes, Shakespeare, and Fletcher, as well as himself and the actors and directors he has worked with. There will also be a graduate student conference (with open submissions) on the Friday afternoon—if you have any students working on any of the topics described here, please do encourage them to submit a proposal!


If you have questions about the performances, the colloquium, or the graduate student conference, please contact Dr. Sarah Neville (who is Conference Secretary, and an Assistant Editor on the New Oxford Shakespeare) at  This e-mail address is being protected from spambots. You need JavaScript enabled to view it


Terri Bourus, Ph.D.

Director and General Editor:

Associate Professor of English Drama

Founding Director: Hoosier Bard Productions

334 N. Senate Ave. Suite GL-B

Indiana University Purdue University Indianapolis

Indianapolis, IN 46204

This e-mail address is being protected from spambots. You need JavaScript enabled to view it

ESRA Shakespeare Conference: Shakespeare and Myth



The Shakespeare Conference: SHK 23.041  Wednesday, 1 February 2012


From:         Juan F. Cerdá < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         February 1, 2012 2:47:24 AM EST

Subject:     Re: How do I circulate a CFP?




Montpellier (France)

Wednesday 26 - Saturday 29 June 2013


Organised by the Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières

(UMR 5186 CNRS, University of Montpellier)

Under the auspices of the Société Française Shakespeare and the European Shakespeare Research Association (ESRA)


Conference announcement and call for seminar proposals


Conference announcement:

Shakespeare and Myth


A shaper of European identity, Greco-Roman mythology has been invoked down the centuries both to glorify and undermine rulers, to uphold or subvert political or social order, and to probe and question issues including those of gender, religion and history. Simultaneously, Europe has been the cradle of classical mythology, which has infused all modes of artistic creation and inspired influential theoretical and critical approaches well beyond the continent’s borders, in the fields of history, literature, psychology and anthropology. In this process, the legacy of Antiquity encountered other European myths (Nordic, Celtic, etc.). Over the past fifty years or so, Europe has increasingly acted as an area of exchanges between its own mythologies, ideas and representations and those of other continents. Today, the continent’s heritage is challenged, refashioned and reconsidered in the light of other cultural forms that reflect an increasing diversity, out of which a new European melting-pot of myths may be emerging that interacts with other cultures in an increasingly globalized world.


Within this process, Shakespeare enjoys a privileged position. Like myth, and through classical and other myths, his work “To whom all scenes of Europe homage owe”, is “not of an age, but for all time” and, indeed, places, and has contributed to the building of a continental identity, providing tools to apprehend and comprehend, endorse and critique European history and culture. However, this European Shakespeare is to be taken not as confined to a Eurocentric vision but rather as pushing back boundaries, challenging assumptions and inviting a criss-crossing of perspectives worldwide. Reception and appropriation of his work has also involved its processing through non-European mythological and cultural prisms, drawing attention to, and inviting research into, a plasticity that is akin to the flexibility of myth.


Following upon the exploration of Europe’s cultural landscapes and seascapes through Shakespeare’s works at previous conferences of the European Shakespeare Research Association (ESRA), the Montpellier conference proposes a journey into Shakespeare’s kaleidoscopic “Mythscape”.


This journey can take three main directions:

  • Myth in Shakespeare: classical mythology pervades the work of Shakespeare and his European contemporaries, like a kind of lingua franca or culturally bonding material; other mythological influences are also present in his work, or may be processed into it through stagings, adaptations or other forms of recreation.
  • Shakespeare as Myth-Maker: Shakespeare has contributed to raise to the status of myth Mediterranean and (other) European locations (including Bohemia, Cyprus, Elsinore, Navarre, Roussillon, Verona, Vienna, as well as Stratford-upon-Avon) and figures (Hamlet, Romeo and Juliet, Desdemona) that have found a place in the collective imagination, alongside classical and legendary places and characters.
  • Shakespeare as Myth: the paradox of his own elusive biography and the universality of his works have contributed to a process whereby Shakespeare himself is at the centre of a myth – his own, and that of all those who claim him as their own, through translation and other forms of appropriation.

Within these three directions, which are neither watertight nor mutually exclusive, the conference invites papers on a wide range of topics that include:



  • (Re)presenting myth(s) on Shakespearean stages and screens
  • Shakespeare’s mythology as a common ground for, or an obstacle to, understanding and exchange
  • The (ir)relevance of Shakespeare’s mythological references on the contemporary and global stage and screen.
  • Processing Shakespearean performances and performers into “myths”


  • Shakespeare’s place in the transfer and circulation of classical mythology between Antiquity, the Middle Ages and Renaissance Europe
  • Shakespeare as “translator” of Ovid, Virgil and other classical authors for his time
  • The impact of translation on Shakespeare’s mythological subtext
  • Shakespeare’s “translating” of the politics of Olympus and Rome into a critique of the Elizabethan and Jacobean context
  • “Mythical” translations and/or translators of Shakespeare


  • Shakespeare’s place in the transfer and circulation of classical mythology between Antiquity, the Middle Ages and Renaissance Europe
  • Mythography as a key to Shakespeare
  • Iconography in relation to myth, Shakespeare and the visual arts
  • The relevance of classicist scholarship to Shakespeare studies (Claude Calame, Marcel Détienne, Jean-Pierre Vernant, Charles Martindale)
  • Addressing 20th century critical approaches on the relation of Shakespeare and myth (Georges Dumézil, Mircéa Eliade, Claude Lévi-Strauss)
  • Shakespeare’s mythical figures in interdisciplinary studies


  • The “mythologizing” of Shakespeare’s world (characters, places, Stratford-upon-Avon)
  • Representing and receiving the Shakespeare icon in contemporary cultures
  • (Re)fashioning, perpetuating and/or subverting the Shakespearean myth through film, TV and the Internet
  • Shakespeare’s myths as an enduring form of (re)creation
  • Working on and with Shakespeare’s myths in the classroom

Call for seminar proposals ESRA 2013


From 26 June to 29 June 2013, the IRCL, under the Auspices of the Société Française Shakespeare, will organise the European Shakespeare Research Association (ESRA) Conference around the theme of “Shakespeare and Myth”


Members of ESRA are invited to propose a seminar that they would like to convene on “Shakespeare and Myth”.


Proposals of 300-500 words (stating topic, relevance, and approach) should be submitted by 2 or 3 potential convenors who agree to work together.


If you have ideas for a seminar, please submit your proposals to:

by 15 March 2012


The board of ESRA will make its final choice of seminars in April 2011. By this time, all the convenors will be personally informed of the choices made, and the list of seminars will be made available on the IRCL, the ESRA and the Société Française Shakespeare websites



Wooden O Symposium, August 6-8, 2012



The Shakespeare Conference: SHK 23.036  Tuesday, 31 January 2012


From:         Matt Nickerson < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         January 31, 2012 10:03:17 AM EST

Subject:     Wooden O Symposium, August 6-8, 2012


I believe this conference will be of interest to readers of SHAKSPER



Utah Shakespeare Festival -- Center for Shakespeare Studies

August 6-8, 2012 -- Cedar City, Utah


The 2012 Wooden O Symposium is a cross-disciplinary conference sponsored by Southern Utah University’s Center for Shakespeare Studies and the Utah Shakespeare Festival, located in Cedar City, Utah. August 6-8, 2012. Scholars attending the conference will have the unique opportunity of immersing themselves in research and performance in one of the most beautiful natural settings in the western United States.


Conference Priorities: The Wooden O Symposium invites papers on any topic related to Shakespeare, including Shakespeare in performance, the adaptation of Shakespeare works (film, fiction, and visual and performing arts), Elizabethan and Jacobean culture and history, and Shakespeare’s contemporaries, but gives priority to presentations relating to the Utah Shakespeare Festival’s 2012 season: Titus Andronicus, The Merry Wives of Windsor, and Hamlet.  Because USF will also be producing Moliere’s Scapin and Fredrich Schiller’s Mary Stuart in their 2012 summer season, we also welcome essays on these plays, as well as presentations that address the subject of early modern drama throughout Europe and representations of female monarchs in dramatic literature.


Keynote Speaker: The keynote speaker for the 2012 Wooden O Symposium is Dr. Susan Frye, Professor of English at University of Wyoming, and author of Elizabeth I: The Competition for Representation (Oxford, 1996), Pens and Needles: Women’s Textualities in Early Modern England (UPenn, 2010), and co-editor with of Maids and Mistresses, Cousins and Queens: Women’s Alliances in Early Modern England (Oxford, 1999.)


In support of Southern Utah University’s mission to promote undergraduate research, the Wooden O Symposium regularly includes undergraduate panels as part of our program, so please share this notice with your undergraduates.


We will also invite presenters to submit revised papers from the 2012 symposium to our peer-reviewed Journal of the Wooden O.


Submission: Deadline for proposals is May 1, 2012. Session chairs and individual presenters will be informed of acceptance no later than May 15.  250-word abstracts or session proposals (including individual abstracts) should include the following:

  • Author’s name
  • Participant category (faculty, graduate student, undergraduate, independent scholar)
  • Mailing address
  • College/university affiliation (if any)
  • E-mail address
  • Daytime phone number. 

Send 250 word abstract or session proposal to:  This e-mail address is being protected from spambots. You need JavaScript enabled to view it


Wooden O Symposium

c/o Utah Shakespeare Festival

351 W. Center St.

Cedar City, UT 84720

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