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Global Shakespeare (with Warwick)

The Shakespeare Conference: SHK 25.165  Wednesday, 2 April 2014

 

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

Date:         April 2, 2014 at 10:58:33 AM EDT

Subject:    Global Shakespeare (with Warwick)

 

http://www.qmul.ac.uk/postgraduate/coursefinder/courses/125726.html

 

Global Shakespeare (with University of Warwick)

Master of Arts (1 year Full-time / 2 years Part-time )

 

Overview

 

This is the only programme in the UK to focus on Shakespeare through the eyes of others. It allows you to form a critical perspective on Shakespeare as a global cultural phenomenon from Elizabethan England to the twenty-first century. You will examine the afterlife of his plays as they have been read, performed, adapted and translated not only linguistically but in performance practices, cultural contexts and various forms of new media across the world.

 

The programme combines theoretical, historical, performance and pedagogical approaches, with a strong digital and new-media component. You will be involved in developing cutting-edge methodologies for understanding Shakespeare as a product and catalyst of globalisation.

 

The Global Shakespeare MA provides a unique opportunity to experience postgraduate life with two world-leading institutions with strong expertise in the fields of Shakespeare, Renaissance studies, performance and Modern Languages- Queen Mary University of London (QML) and The University of Warwick. You will spend the first semester at QML, and spend time in the heart of London, accessing a wide variety of theatrical performances in venues such as the Globe, Donmar Warehouse, National Theatre and visiting the unrivaled museums, libraries and archives of the capital. The second semester, spent at the University of Warwick, will see you in close proximity to Stratford-upon-Avon with access to performance at the Royal Shakespeare Company (RSC) and the outstanding research facilities of the Shakespeare Birthplace Trust.

 

On this programme you will:

  • Have access to the expertise and scholarship at both institutions
  • Benefit from webinars with established Shakespeareans across the globe such as Brazil, South Africa, Italy and China
  • Attend performances of Shakespeare at local theatres and engage with actors and directors in London and Stratford-upon-Avon
  • Learn academic journalism through editorial experience and reviewing on the new electronic journal – Global Shakespeare
  • Engage with local communities in exploring the significance of Shakespeare for them

This programme is ideal for graduates wishing to enter careers in academia, research, cultural organisations, theatres, teaching, publishing and new media.

 

 

Structure

 

The MA Global Shakespeare is available for one year full-time and two years part-time. You will spend semester one at QML and semester two at Warwick. You can choose at which institution you spend your dissertation period.

 

You will take four assessed modules before proceeding to a 15,000-word dissertation.

 

Part-time students take one module per semester, spreading the course over two years.

 

Full-time

Assessed modules are taught in weekly two-hour seminars. In addition to these timetabled sessions, you will attend discussions and seminars on local Shakespeare productions and with visiting Shakespeareans from across the globe. You will be expected to attend meetings with your adviser and course tutor. The progress of your dissertation will be discussed in sessions with a designated supervisor. You will also need to undertake independent learning and research in order to progress at the required level.

 

Part-time

Part-time students take one assessed module per semester. You are encouraged to begin work on your dissertation at the end of the first year. Teaching is generally done during the day.

 

Compulsory modules

At Queen Mary University of London:

  • Global Shakespeare: History and Theory and Performance

This module introduces you to historical, methodological and material dimensions of studying Shakespeare in a global context by a generic study and close reading of Shakespeare and his writing in a historical context, and an examination of the afterlife of his plays as they have been read, performed, adapted and translated both linguistically and through various media in a global context.

 

At the University of Warwick: Practices of Translation: Or How to Do Things with Shakespeare

This module focuses on the transformations of Shakespeare’s texts by a range of translational practices, in the broadest sense of the word. Offering you the chance to experiment with different models of translation it will allow you to develop your own models and practice as a “translator” of Shakespeare in relation to performance criticism, literary translation and active pedagogy, especially in relation to the ways in which Shakespeare has been 'translated' into languages, performance practices, cultural contexts and in the new media across the world.

 

Optional modules

You will choose two modules from a full list of options across varied disciplines such as English, Drama and Theatre, Modern Languages, History and Geography.

 

At QML options may include:

  • Global Interests in the Shakespearian World
  • Public and Private Cultures in Renaissance England
  • Post-colonialism Language and Identity
  • Early Modern Drama in Performance

 

At Warwick options may include:

  • Reviewing Shakespeare
  • World Literature and World Systems
  • Translation Studies in Theory and Practice
  • The Legacies of Caliban in Latin America and the Caribbean

 

For more information contact:

Anna Boneham

Executive Officer Global Shakespeare

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

Phone: +44 (0)20 78826670

 

 
[EMLS] New Issue Published

The Shakespeare Conference: SHK 25.154  Friday, 28 March 2014

 

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

Date:         March 28, 2014 at 1:11:00 PM EDT

Subject:    [EMLS] New Issue Published

 

We are very pleased to announce that ‘Communities and Companionship in Early Modern Literature and Culture’, a new special issue of Early Modern Literary Studies, has now been published. The issue is now available to access from our website.

 

Thank you for your interest in our work.

 

Daniel Cadman

(on behalf of the editorial team)

 

Early Modern Literary Studies

 

Special Issue 22: Communities and Companionship in Early Modern Literature and Culture (2014)

 

Table of Contents

https://extra.shu.ac.uk/emls/journal/index.php/emls/issue/view/8

 

Introduction

--------

Introduction

Bronwen Price,

Páraic Finnerty

 

 

Articles

--------

‘More Women: More Weeping’: The Communal Lamentation of Early Modern Women in the Works of Mary Sidney Herbert and Mary Wroth

Marion Wynne-Davies

 

Drinking and Good Fellowship: Alehouse Communities, Gestures of Social

Self-Definition and the Anxiety of Social Displacement in the Broadside Ballad

Stella Achilleos

 

Seraphic Companions: The Friendship between Elizabeth Gauden and Simon Patrick

Cornelia Wilde

 

Falling in Love and Language: Earthly Companionship and Spiritual Loss in Paradise Lost

Rosamund Paice

 

Worlds within Worlds: Community, Companionship and Autonomy in Margaret Cavendish’s The Blazing World

Bronwen Price

 

Early Modern Literary Studies

http://purl.org/emls

 
 
The Hare

The Shakespeare Conference: SHK 25.142  Friday, 21 March 2014

 

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

Date:         Friday, March 21, 2014

Subject:    The Hare

 

The Hare, a peer-reviewed, on-line academic journal

 

Editors

Jeremy Lopez

Paul Menzer

 

http://www.thehareonline.com

 

About The Hare

 

The Hare is a peer-reviewed, on-line academic journal published three times yearly. The journal publishes short essays on the dramatic, poetic, and prose works of Shakespeare and his contemporaries. The journal also publishes academic book reviews, and provides a public forum for open exchange between scholars in the field.

 

The Hare seeks sharply focused, stylistically adventurous, formally innovative analytical writing and encourages the submission of: startling paradoxes, out-takes, first gestures, unthought-of excursions, false starts, wild speculations, brave experiments, and other occasional pieces or controversiae dealing with familiar and unfamiliar topics and texts in early modern literature. The journal asserts copyright over all published material but will freely grant permission for future reproduction and publication, subject to due acknowledgment to The Hare.

The Hare solicits reviews of old books. The Editors believe that scholarship and pedagogy benefit from the continuous reappraisal of foundational or seminal critical works—and also the reconsideration of works whose importance has been forgotten, or heretofore overlooked. The definition of “old” will remain flexible, and contributors are encouraged to interpret it creatively. Reviews of recently published books will be considered if they are discussed in conjunction with old books.

 

The Hare seeks to foster collegial dialogue around current scholarly work. Readers are encouraged to respond to content in The Hare, or to call attention to matters that might be of interest to other readers, in the form of publishable letters.

 

- See more at: http://www.thehareonline.com/about#sthash.nfWHygmN.dpuf

 

EDITORIAL BOARD

 

Pascale Aebischer, University of Exeter
Alice Dailey, Villanova University

Matt Davies, Mary Baldwin College
Andrew Hartley, UNC Charlotte

Peter Kanelos, Loyola University, Chicago

Farah Karim-Cooper, Shakespeare’s Globe

Matt Kozusko, Ursinus College
Rebecca Lemon, USC

Zachary Lesser, University of Pennsylvania

Genevieve Love, Colorado College

Kirk Melnikoff, UNC Charlotte

Richard Preiss, University of Utah

Paul Prescott, University of Warwick

Melissa Sanchez, University of Pennsylvania

Peter Smith, Nottingham-Trent University

Tiffany Stern, Oxford University

Andrea Stevens, University of Illinois

Holger Syme, University of Toronto

Henry Turner, Rutgers University

Jacqueline Vanhoutte, University of North Texas

Brian Walsh, Yale University

Christopher Warley, University of Toronto

William West, Northwestern University

 

- See more at: http://www.thehareonline.com/about#sthash.nfWHygmN.dpuf

 

 

Another journal?

 

Submitted by Paul Menzer on Thu, 05/03/2012 - 11:11pm

 

There is no need for this journal. It is the product of desire: perhaps most particularly the desire to foster, in print, something like the collegial dialogue that occurs on the margins of—just before and just after (or long after)—the work in other academic journals, scholarly monographs, conferences.

 

At its most ambitious, The Hare seeks to bend the horizon of possibilities for what kinds of writing we use to engage our discipline and what kinds of materials we deem appropriate for our consideration. We hope to make available short, sharp, stylish, creative engagements with and through all topics of interest to scholars of early modern literature.

 

The path to this inaugural issue has been a long and winding one. We are grateful to many colleagues for their interest and encouragement along the way, and most especially to our superb editorial board and first-issue contributors for putting their names behind this project. Thanks to Mary Baldwin College for financial support. Our webmaster Robert Matney is the sole reason you are able to read this journal online, and we are grateful for his technical skill and remarkable patience. Phoebe West provided the fine illustrations, including our logo.

 

The Hare will appear three times yearly. Please read it and tell your colleagues and students about it. Please contribute. And please send us suggestions for how we might improve it or develop its flexible format in yet unthought of ways. You can contact us through this website, at our respective institutions, or at thehareonline [at] gmail [dot] com.

 

Jeremy Lopez, University of Toronto
Paul Menzer, Mary Baldwin College

 

- See more at: http://www.thehareonline.com/content/editors-another-journal#sthash.8UL9g7P0.dpuf

 
 
Job Opening Possibility

The Shakespeare Conference: SHK 25.138  Tuesday, 18 March 2014

 

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

Date:         March 17, 2014 at 8:13:37 PM EDT

Subject:    Job Opening Possibility

 

The Theatre School at Depaul University in Chicago will shortly be looking for an acting teacher to teach at our conservatory. We are similar to Julliard or Carnegie or the North Carolina School of the Arts, in that we have small classes, all students accepted by audition, and longer class periods than might be found in non-conservatory settings. The announcement hasn’t been made official as yet, but I thought you might know some people who would be interested. And, when the official announcement is put out I will post it.

 

Thanks,

Jane Brody

Associate Professor, Acting

The Theatre School

(225) 338 9315

http://janebrody.blogspot.com

 
 
CFP 'Reforming Shakespeare: 1593 and After'

The Shakespeare Conference: SHK 25.137  Monday, 17 March 2014

 

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

Date:         March 17, 2014 at 7:45:05 AM EDT

Subject:    CFP 'Reforming Shakespeare: 1593 and After'

 

SHAKSPERians with access to the city of Leicester, England, may be interested in the following Call for Papers:

 

What: 'Reforming Shakespeare: 1593 and After'

 

When: 3 June 2014

 

Where: De Montfort University, Leicester, England

 

Why: This is a one-day scholarly symposium on the kinds of alteration that have occurred to Shakespeare's writing as it has made its journey from author to readers and playgoers. 'Reforming' may take the sense of being given new shape as authorial or non-authorial adaptation, rewriting, borrowing or allusion and arguments about any of these processes in connection with Shakespeare fall within our purview. 'Reforming' can also suggest correction and improvement, including censorship, editing, and tidying up of text to make it conform to new conditions of reception, and contributions on those topics are also welcome. Send proposals for 15-minute papers to Prof Deborah Cartmell < This e-mail address is being protected from spambots. You need JavaScript enabled to view it > and Prof Gabriel Egan < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

 

Who: Prof Graham Holderness (University of Hertfordshire) and Prof Richard Wilson (Kingston University) are confirmed keynote speakers. The rest will chosen from submitted proposals.

 

Flyer: Please download from http://cts.dmu.ac.uk/news/flyer.pdf and distribute wherever interested parties may be found.

 

Regards

Gabriel Egan

 

CFP Flyer:  icon CFP Reforming Shakespeare Flyer

 
 
BritGrad Conference

The Shakespeare Conference: SHK 25.136  Monday, 17 March 2014

 

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

Date:         March 14, 2014 at 11:35:44 PM EDT 

Subject:     BritGrad Conference

 

The Sixteenth Annual British Graduate Shakespeare Conference (BritGrad) will convene at the Shakespeare Institute (University of Birmingham) in Stratford-upon-Avon 5-7 June 2014. 

 

Deadlines for submitting abstracts and registering as auditors are, respectively, 25 April and 23 May.

 

This is an exciting annual academic conference by and for postgraduate students in Shakespeare and Renaissance studies happening in the heart of Shakespeare scholarship in Shakespeare's hometown.

 

The plenary speakers are:

David Crystal OBE (University of Wales, Bangor) and Hilary Crystal

Tony Howard (University of Warwick)

Richard Buckley (Director of University of Leicester Archaeological Services)

Ewan Fernie (Shakespeare Institute, University of Birmingham)

Grace Ioppolo (University of Reading)

Simon Palfrey (University of Oxford)

Peter Kirwan (University of Nottingham) & Will Sharpe (Shakespeare Institute, University of Birmingham)

 

The Committee is also able to offer tickets for the RSC productions of Henry IV Part 2 and The Roaring Girl at a discounted rate.

 

Please find attached the BritGrad Poster and CfP to disseminate.

 

We hope to welcome delegates from all corners of the Shakespearean universe to BritGrad 2014 in June!

 

Thank you.

 

Ani Martirosyan,

BritGrad Conference 2014 Co-Chair

 

The Sixteenth British Graduate Shakespeare Conference

5-7 June 2014

The Shakespeare Institute

Mason Croft, Church Street

Stratford-Upon-Avon

CV37 6HP

UK

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

F: https://www.facebook.com/pages/BritGrad-2014/107650962644721

T: @britgrad   https://twitter.com/britgrad

W: www.britgrad.wordpress.com

 

BritGrad CFP:  icon BritGrad CFP 2014

 

BritGrad Poster: icon BritGrad Poster 2014

 
 
Digital Texts

The Shakespeare Conference: SHK 25.131  Friday, 14 March 2014

 

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

Date:         Friday, March 14, 2014

Subject:    Digital Texts

 

The Folger Library has announced:

 

An early gift in honor of Shakespeare's 450th birthday! We're pleased to announce that all 38 plays are now available in HTML format at http://www.folgerdigitaltexts.org/

 

If you have not checked the Internet Shakespeare Editions lately, you should: http://internetshakespeare.uvic.ca/Foyer/plays/

 

Currently, old-spelling diplomatic transcriptions of original editions and facsimiles of all the plays and peer-reviewed modern editions of the following plays and Venus and Adonis are available:

 

All’s Well That Ends Well

Cymbeline

Hamlet

2 Henry 4

King John

Midsummer Night’s Dream

Othello

Pericles

Richard 2

Romeo and Juliet

The Tempest

Venus and Adonis

 

Other plays are added regularly, and I hope that The Rape of Lucrece will follow shortly. 

 

The Internet Shakespeare Editions are the most scholarly editions available on the Internet. (Disclaimer: I am both an editor and member of the Editorial Board. I am also a contributor to the Making Waves: Friends of the ISE fundraising campaign and thus have the additional resource tools that such membership provides.)

 
 
Shakespeare and Digital Games

The Shakespeare Conference: SHK 25.130  Friday, 14 March 2014

 

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

Date:         March 13, 2014 at 4:24:56 PM EDT

Subject:    Shakespeare and Digital Games

 

“Projekt A.R.I.E.L. (ARTificial Research in Electronical Live) proudly presents the SturmMOD, part of a theater/media arts production started in summer 2008 as an experiment by students of the Scenic Arts at the University of Hildesheim, Germany. This modification of the first person shooter game “Far Cry” was not only used in live performances, as can be seen in this picture,

 

 

but was also made available for download to anyone who wanted to play Shakespeare in a new and different (digital) way:

 

http://www.moddb.com/mods/stefan-khler

 

Until now nearly 17.500 players in total were able to explore this virtual adaption of selected places and events described by William Shakespeare in his play “The Tempest” (in German: “Der Sturm”) and to develop their own perspectives on things (e.g. by taking over the role of Caliban left alone after the end of the play, experiencing the environment from his point of view, as in the latest version of the modification—the Caliban Edition).

 

If you now want to visit Prospero’s Island as well, be sure you have a copy of the game “Far Cry” installed, ideally already patched to version 1.4, as the modification will not run on its own!

 

Also, if you want to give feedback or maybe use the modification in class or if you work on a similar project or if you are interested to learn more about the project/in a scientific exchange on the topic of “Shakespeare and digital games”, don’t hesitate to contact me via: This e-mail address is being protected from spambots. You need JavaScript enabled to view it / http://www.linkedin.com/in/sckoehler 

 
 
CFP: Local and Global Myths in Shakespearean Performance

The Shakespeare Conference: SHK 25.128  Thursday, 13 March 2014

 

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

Date:         March 13, 2014 at 5:30:07 AM EDT

Subject:    CFP: Local and Global Myths in Shakespearean Performance

 

Call for Papers

 

Essay Collection

Local and Global Myths in Shakespearean Performance

 

Co-edited by

 

Aneta Mancewicz

Senior Lecturer in Theatre, University of Bedfordshire, UK

 

Alexa Huang

Professor of English, George Washington University, USA

 

 

Heiner Müller observed that in Hamlet “The invasion of the times into the play constitutes myth” (“Shakespeare a Difference”, trans. Carl Weber, p. 120). Over the centuries, intrusions of history have invested Hamlet and other Shakespeare’s plays with a mythical status on stages in Europe and beyond. Shakespeare has been used to construct the sense of nationhood, to voice political anxieties, and to address social tensions. The mythical position of Shakespeare’s plays has encouraged the perpetuation of set images, ideas, and values originating in the works themselves but also reflecting the times and cultures, into which they have been appropriated. As Müller explained, “Myth is an aggregate, a machine to which always new and different machines can be connected” (p. 120). Having achieved a mythical status, Shakespeare’s plays have continued to generate myths that contribute to the development of contemporary performance and culture. 

 

The topic encourages both case studies of performances of myths rooted in local contexts, as well as investigations of the global nature of Shakespeare’s myths. We welcome articles that critically examine specific productions or engage more broadly with global and local myths in Shakespearean performance. The following questions provide possible points of departure for the discussion in the essays:

  1. What myths have been generated locally and globally around Shakespearean performance?
  2. Can we trace common patterns across different regions of the world, comparing, for example, European, Asian or American myths generated by the intrusion of history into the staging of Shakespeare?
  3. Do myths help us to comprehend the world and communicate with audiences across cultures, or do they impose patterns of interpretation onto Shakespeare’s plays and our experience of history?

Please contact Aneta Mancewicz if you are interested in submitting an article. Please submit your article of 6000 words with a short bio of 150 words by October 1, 2014 to This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

Aneta Mancewicz

Senior Lecturer in Theatre

Course Co-ordinator BA (Hons) in Theatre and Professional Practice

Course Co-ordinator BA (Hons) in English and Theatre Studies

University of Bedfordshire

Performing Arts and English

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

http://beds.academia.edu/AnetaMancewicz

 
 
Marjorie Garber: “Occupy Shakespeare”

The Shakespeare Conference: SHK 25.126  Wednesday, 12 March 2014

 

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

Date:         March 11, 2014 at 11:22:11 PM EDT

Subject:    Marjorie Garber: “Occupy Shakespeare” 

 

March 27: Lecture by Phi Beta Kappa Visiting Scholar Marjorie Garber (Harvard University):

 

“Occupy Shakespeare: Shakespeare and/in the Humanities”

 

7pm, Hardie Auditorium, Rhodes College. Free and open to the public.

 

http://www.rhodes.edu/garber

 

There was a time when Shakespeare’s plays were not considered serious enough, or appropriate for, study in libraries or universities. And there was a time, a slightly later time, when Shakespeare’s plays were considered the property of a subset of the learned class, different from, and distinct from, the practitioners of applied or practical knowledge. Today the plays are part of contemporary culture, in popular music, advertising, and journalistic headlines; and they are also part of literary culture, the culture of “the humanities.” In fact, for many people, Shakespeare is the humanities, quoted, cited, and sung as an authority on philosophy, statecraft, character, love and death. What’s next for Shakespeare studies, in and beyond the academy? What can the itinerary of “Shakespeare” in the last hundred years tell us about the future of the humanities in the twenty-first century?

 

Marjorie Garber is the William R. Kenan, Jr., Professor of English and Visual and Environmental Studies at Harvard University, and Chair of the Committee on Dramatic Arts. She has published seventeen books and edited seven collections of essays on topics from Shakespeare to literary and cultural theory to the arts and intellectual life. Garber has served as Director of the Humanities Center at Harvard, Chair of the Department of Visual and Environmental Studies, and Director of the Carpenter Center for the Visual Arts. She is the former President of the Consortium of Humanities Centers and Institutes and a continuing member of its advisory board. She currently serves as a Trustee of the English Institute and on the Board of Directors of the American Council of Learned Societies and a member of the American Philosophical Society. In 2010, she chaired the judging committee of the non-fiction category of the National Book Awards. This past summer, she was a featured commentator on the BBC/PBS television series, “Shakespeare Uncovered.”

 

Garber’s visit is co-sponsored by the Rhodes College chapter of Phi Beta Kappa; the Department of English; the Gender and Sexuality Studies Program; Greek & Roman Studies; the Pearce Shakespeare Endowment; the Search program; and the Spence L. Wilson Chair in Humanities.

 

Please contact Scott Newstok ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) for further information.

 

***

 

ABOUT THE PEARCE SHAKESPEARE ENDOWMENT

 

www.rhodes.edu/shakespeare

 

Thanks to the generosity of the late Dr. Iris Annette Pearce, Rhodes College enjoys an unusually wide range of Shakespeare-related resources. The Pearce Shakespeare Endowment was established in 2007 to enrich courses in Shakespeare and support events for the entire campus as well as the greater Memphis community. Dr. Pearce attended Rhodes College in the 1940s, when it was named Southwestern at Memphis, before graduating from Vanderbilt University. During World War II, she joined the women’s corps of the U.S. Naval Reserve (WAVES). As a medical student, she followed a long-established path in her family, where four generations of physicians preceded her. Yet she was also breaking new ground as a woman: she was one of only two female students in her University of Tennessee class; she served as the first female internal medicine resident at John Gaston Hospital (The Med); and she eventually became the director of the City of Memphis Hospitals while serving as a professor at the University of Tennessee. Her bequest generously continues to support her lifelong enthusiasm for Shakespeare. The late professor of Shakespeare studies at Rhodes, Dr. Cynthia Marshall, was instrumental in establishing preliminary planning for this bequest.

 
 
Book Signing!

The Shakespeare Conference: SHK 25.121  Monday, 19 March 2014

 

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

Date:         March 9, 2014 at 10:39:40 AM EDT

Subject:    Book Signing!

 

Dear reading friends,

 

Dark Venus is due out this month. I'll be reading from it and signing books Tuesday March 25 at 7 p.m., Granada Books, 1224 State Street next door to the Granada Theater in the back room and Thursday March 27, Chaucer's Books at 3321 State Street in the Loreto Plaza. 

 

Volume 2 of my Shakespeare Actor Trilogy, Dark Venus is a story of love and poetry as well as theatre. Besides continuing the adventures of the boy actor Alexander (Sander) Cooke—who in my version was born female—it focuses on a remarkable woman, Amelia Bassano Lanyer. The presumed dark lady of Shakespeare’s sonnets, Amelia published her own book of poetry in 1611. This novel shows what drove her to write it. Press release attached.

 

Please come to one of these two readings and tell your friends, especially those intrigued by poetry, Shakespeare, the woman’s voice in the tumultuous days of Queen Elizabeth I. Yes, there’s a political murder in this book, as there was in volume one, The Secret Player.

 

Press release attached.

 

Hope to see you there,

Jinny

 

FOR IMMEDIATE RELEASE

 

Contact: George Spitzer, Nebbadoon Press 

325 E. Figueroa St., Santa Barbara, CA 93101 

800-500-9086 This e-mail address is being protected from spambots. You need JavaScript enabled to view it  

Dark Venus releases March 23, volume two of a three-book series of historical novels set in Shakespeare’s England. 

 

Jinny Webber, a professor of English in Santa Barbara, CA, 

recreates the England of William Shakespeare. 

 

Vol. 2: In DARK VENUS: Alexander (Sander) Cooke, protagonist of The Secret Player, befriends Amelia Bassano Lanyer, the presumed Dark Lady of Shakespeare’s sonnets. Historically, Amelia published a book of poetry in 1611, long after her affair with William Shakespeare. Dark Venus shows what drove Amelia to write that book, a first for a woman in Queen Elizabeth’s England. The friendship of Amelia and Sander plays out amidst the political turmoil that leads to the murder of Sander’s friend and patron Ferdinando Stanley, the Earl of Derby. 

 

Vol. 1: THE SECRET PLAYER: The protagonist Alexander Cooke, known as Sander, becomes a favorite performer of women’s roles on the London stage, where only males are allowed to act. A dangerous secret: Sander was born female. She is at risk of flogging or even death if her identity is discovered. A few suspect the truth, including William Shakespeare and Queen Elizabeth. Adding to her risks, she and he poet John Donne fall in love. In life and onstage, Sander Cooke dares to challenge the status quo. 

 

Vol 3: BEDTRICK (to be released in 2015): Sander’s brother John Cooke impregnates the seamstress Frances and refuses to marry her. A seemingly simple solution is for Alexander to marry Frances. Can a woman get away wit

 
 
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