CFP: Early Modern Women and the Book: Ownership, Circulation, and Collecting
The Shakespeare Conference: SHK 25.405 Thursday, 18 September 2014
From: Hardy M. Cook <
Date: September 16, 2014 at 10:10:27 AM EDT
Subject: CFP: Early Modern Women and the Book: Ownership, Circulation, and Collecting
CALL FOR PAPERS: Early Modern Women and the Book: Ownership, Circulation, and Collecting
Proposals are sought for a panel — “Early Modern Women and the Book: Ownership, Circulation, and Collecting” — to be proposed for the annual meeting of the Society for the History of Authorship, Reading and Publishing (SHARP) in Montreal and Longueuil, Quebec, July 6-11, 2015.
We seek proposals for papers that examine early modern British women who owned books, circulated books, or created libraries or book collections between 1500-1700, a period that saw increased literacy and a revolution in book production and circulation. Scholars have reconstructed and assessed the collections and libraries of Renaissance men, including Harvey, Dee, Jonson, Hales, and Drake; women’s book ownership, as a subject of scholarly inquiry, “awaits its historian,” observes David McKitterick (2000) in a study of Elizabeth Puckering’s library. What resources (commonplace books, poetry miscellanies, inventories, etc.) shed light on women’s circulation of books within communities? What are the marks — figurative, material, cultural — of women’s book usage, ownership, and collecting? What can the creation of book collections or libraries tell us about social status, family ties, confessional affiliations, education, economic status, travels? What methodologies illuminate these interrelated topics?
By Oct. 1, 2014, please send a file containing a 350 word abstract and a 50-word biographical statement to Leah Knight (
), Micheline White (
), and Elizabeth Sauer (
) for consideration.
- See more at: http://renaissance-events.blogspot.co.uk/2014/09/call-for-papers-early-modern-women-and.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%253A+TheRenaissanceDiary+%2528The+Renaissance+Diary...%2529#sthash.hNW8pFp3.dpuf
Newberry 2015 Multidisciplinary Graduate Student Conference
The Shakespeare Conference: SHK 25.404 Thursday, 18 September 2014
From: Hardy M. Cook <
Date: September 16, 2014 at 10:09:24 AM EDT
Subject: Newberry 2015 Multidisciplinary Graduate Student Conference
2015 Multidisciplinary Graduate Student Conference
Renaissance Graduate Programs
Thursday, January 22, 2015 to Saturday, January 24, 2015
CFP deadline: October 15
The Center for Renaissance Studies’ annual graduate student conference, organized and run by advanced doctoral students, has become a premier opportunity for emerging scholars to present papers, participate in discussions, and develop collaborations across the field of medieval, Renaissance, and early modern studies.
Participants from a wide variety of disciplines find a supportive and collegial forum for their work, meet future colleagues from other institutions and disciplines, and become familiar with the Newberry Library and its resources.
This year’s conference will comprise twenty-four sessions with three twenty-minute papers each, for a total of seventy-two presenters.
Each year since 2007, selected papers have been published in a peer-edited online conference proceedings.
Call for Papers
We invite abstracts for 20-minute papers from master’s or PhD students from any discipline on any medieval, Renaissance, or early modern topic in Europe, the Americas, or the Mediterranean world. We encourage submissions from disciplines as varied as the literature of any language, history, classics, anthropology, art history, music, comparative literature, theater arts, philosophy, political science, religious studies, transatlantic studies, disability studies, and manuscript studies. Because of the conference’s multidisciplinary nature, all papers must be in English.
Eligibility: Proposals are accepted only from students at member institutions of the Center for Renaissance Studies consortium. Students who presented a paper at the previous year’s conference are given lower priority, though they are still eligible to submit a proposal.
Proposals must be submitted online, by midnight CDT Wednesday, October 15. Complete this online submission form. The organizing committee will meet November 2 to select presenters to invite; we will notify everyone who submits an abstract of their decisions within a week of that meeting.
Download a PDF Call for Papers flyer to post and distribute.
Eight advanced graduate students from consortium schools will organize the conference and chair sessions:
Caroline Carpenter, English, Claremont Graduate University
Max Deardorff, History, University of Notre Dame
Patrick McGrath, English, University of Illinois at Urbana-Champaign
Julia Miglets, History, Northwestern University
Sarah Morris, English, Miami University
James Seth, English, Oklahoma State University
Amanda Taylor, English, University of Minnesota
Christine Zappella, Art History, University of Chicago
Faculty and graduate students of Center for Renaissance Studies consortium institutions may be eligible to apply for travel funds to attend CRS programs or to do research at the Newberry Library. Each member university sets its own policies and deadlines and some may limit eligibility to certain colleges or departments. Be sure to contact your Representative Council member in advance, as early as possible, for details.
Cost and registration information:
Online conference registration will open in December 2014.
The early conference registration fee will be $30 for students from consortium member universities and their guests and $40 for those from other institutions. Late registration (after January 10) will be $45 and $55, respectively.
The Shakespeare Conference: SHK 25.403 Thursday, 18 September 2014
From: Hardy M. Cook <
Date: Thursday, September 18, 2014
There has been a problem with the mailing program since August when SHAKSPER migrated to a new server.
I hope that it is fixed. If not, we will still work on it.
Important News from Georgia Shakespeare
The Shakespeare Conference: SHK 25.395 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: September 5, 2014 at 8:41:04 AM EDT
Subject: Important News from Georgia Shakespeare
We regret to inform the Georgia Shakespeare community that our production of Henry V has been cancelled. We invite you to read the press release below for further details regarding the cancellation of this production, or visit our on our website.
Richard Garner, Producing Artistic Director
Jennifer Bauer-Lyons, Managing Director
Georgia Shakespeare Cancels Henry V
29-Year Atlanta Professional Theatre Evaluates Long-Term Direction
September 5, 2014, Atlanta, GA – Due to insufficient financial resources, Georgia Shakespeare announced that it has cancelled its production of Henry V, scheduled to open October 1.
“We obviously regret that we will be unable to go forward with the show, but given our current financial status and our inability to secure strategic funding for operating capital, we felt that it simply not possible to do so,” said board chair Daniel Norris. “We regret the inconvenience to our patrons, supporters, and to the artists committed to working on the show.”
In consultation with key supporters and the community, the Georgia Shakespeare board and staff will quickly evaluate the theatre company’s long-term direction, providing a recommendation by early October.
“We’ve made great progress in recent years in creating a sustainable business model, and have operated in the black four of the last five years,” said Jennifer Bauer-Lyons, Managing Director. “Each year we have strengthened our balance sheet, but our lack of operating capital has meant that we have remained a fragile organization financially. It is not enough to fix the business model. We also have to find a way to fix the balance sheet.”
Georgia Shakespeare was founded in 1986 as a summer festival. Over the years, it developed as one of Atlanta’s most prominent cultural institutions, operating as one of two LORT theatres (along with the Alliance Theatre). The company focuses on “timeless stories now,” with contemporary interpretations of Shakespeare serving as the core of its programming.
In 2011, the company conducted a “Save Georgia Shakespeare” campaign. That campaign raised more than $550,000 from more than 2,000 donors, which enabled the theatre to continue operating, but did not eliminate its substantial debt.
Since that campaign, the company has taken numerous steps to help establish a sustainable business model, including the following key actions: (1) simplifying the summer schedule by moving away from the rotating repertory schedule rooted in its history as a festival; (2) moving to a hybrid ticketing model for its Shakespeare in the Park program by continuing to offer a number of free tickets but also selling tickets and tables; and (3) engaging with several metro-area universities to establish productive partnerships.
In 2014, Georgia Shakespeare sought to emerge from the recession once and for all as a revitalized organization. In order to do so, the company pursued two key strategies. First, it reinvested in its artistic programming and its patrons’ experience by expanding and improving the artistic selections for 2014 and utilizing capital grants to completely renovate the picnic grounds outside its home theater, the Conant Performing Arts Center. Second, the company initiated a fundraising campaign to raise $750,000 in operating capital from strategic funders to eliminate debt and create a working capital reserve. Given the impacts of the most recent recession, an operating capital infusion is necessary for the organization to improve its balance sheet and create a truly sustainable business model.
“When it comes to our artistic programming and the picnic ground renovations, the response from our patrons has been outstanding,” said Richard Garner, Co-Founder and Producing Artistic Director. “Our productions this year have been widely acclaimed, we set attendance records at Shakespeare in the Park, and our patrons have uniformly raved about the Picnic Grounds, which provide for a magical evening at the theatre unlike any other experience available in Atlanta.”
This year Georgia Shakespeare had over 5,800 people attend its production of As You Like It at Piedmont Park in just five days, with 1,642 people setting a single show attendance record for Saturday night alone. During its most recent production of the British comedy One Man, Two Guvnors, the company also attracted its first sell-out of the expansive Conant Theater in many years.
“Unfortunately, when it comes to the second pillar of our strategy this year, we have been unable to secure any significant strategic gifts for operating capital to improve the balance sheet and create the working capital reserves necessary for healthy operations,” said Bauer-Lyons. “We’ve developed strong momentum with our programming and business model,” said Garner, “but the organization needs to take the step of improving its balance sheet and creating appropriate reserves in order to continue producing the art that our patrons expect and deserve.”
“During the next few weeks, we will continue our ongoing conversations with all the stakeholders in the community in an attempt to identify a solution to our fundraising needs and determine our on-going viability ” said Norris. An announcement regarding the long-term direction of Georgia Shakespeare will be made after October 1, 2014. “For patrons who wish to help Georgia Shakespeare, donations will be used to meet existing obligations while we reevaluate the long-term direction of the organization. You can donate by visiting our website at www.gashakespeare.org.”
Patrons who have previously purchased tickets to Henry V should check Georgia Shakespeare’s website for further information.
Transformation –The Other Place
The Shakespeare Conference: SHK 25.394 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: September 3, 2014 at 7:20:08 PM EDT
Subject: Transformation –The Other Place
Following the reopening of the Royal Shakespeare and Swan Theatres in November 2010, we continue to improve our Stratford-upon-Avon home for the benefit of visitors and audiences.
The next phase of the Transformation is in its early stages and includes:
The return of The Other Place as a new small-scale flexible studio theatre on its original site, with new rehearsal spaces and, for the first time, public access to our costume store
The reconfiguration of our Grade II listed costume workshop to ensure this crucial aspect of theatre production remains world class
Redevelopment of the Grade II listed Swan Wing, including the creation of a visitor exhibition revealing the history of our theatre making processes and opening up fascinating parts of our unique historical collection for the first time.
We are delighted that the Heritage Lottery Fund have awarded us a second stage application for £2.85 million towards the work on the Swan Wing.
We’re now developing further details on all these projects and working to secure the necessary funds. This work will continue throughout 2014
We have a new idea for the future life of our small-scale studio space, The Other Place (TOP).
TOP was our studio theatre where many of our smaller productions were staged and new work developed in Stratford-upon-Avon.
It closed in 2005 to accommodate the creation of the temporary Courtyard Theatre to house our productions when the main theatres were closed for the transformation.
We would like to retain the existing structure of the current Courtyard Theatre and remodel its internal space to create a vibrant, new mixed-use TOP.
Since our small studio theatre, the TOP, closed to allow us to create the temporary 1,000 seat Courtyard Theatre, we have always planned to reinstate it. Mindful of the present economic climate and the current arts funding picture, we've explored a range of options for its future life to create a vibrant new space and resource for Stratford-upon-Avon. It also takes account of the present economic climate and the current arts funding picture.
We would like to:
Retain the existing structure of the current Courtyard Theatre
Remodel its internal space to create a new-style, mixed use TOP
Make over 30,000 costumes available to the public for the first time through our theatre tours
Create an attractive space which could provide opportunities for community, amateur and educational use
Use the space for small conferences and meetings and occasional commercial hire
The building would look very similar with the rehearsal rooms lit from above via skylights. Instead of windows, we want to insert slim reveals in the Corten steel which point to the riverside at the sides to allow light into the rest of building above the auditorium level.
Since our small studio theatre, the TOP, closed to allow us to create the temporary 1,000 seat Courtyard Theatre, we have always planned to reinstate it. Mindful of the present economic climate and the current arts funding picture, we’ve explored a range of options for its future life to create a vibrant new space and resource for Stratford-upon-Avon.
We are currently raising the funds we need for the project, and we plan to reopen The Other Place in early 2016 in time for the 400th anniversary of Shakespeare’s death.
RSC Summer 2015 Season Is Announced
The Shakespeare Conference: SHK 25.393 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: September 3, 2014 at 7:22:57 PM EDT
Subject: RSC Summer 2015 Season Is Announced
Today (Wednesday 3 September) we revealed details of our summer 2015 plays, including our 'Venice' season, and marking 100 years since playwright Arthur Miller's birth.
Miller’s Death of a Salesman, directed by Gregory Doran, with Antony Sher as Willy Loman and Alex Hassell as his eldest son, Biff, will play in the Royal Shakespeare Theatre from March 2015.
In the Royal Shakespeare Theatre (RST), Iqbal Khan will direct Othello, with Hugh Quarshie in the title role and Lucian Msamati as Iago. Polly Findlay will direct The Merchant of Venice.
In the Swan Theatre three contemporary takes on classic plays in the Swan Theatre explore the idea of the ‘outsider’:
Trevor Nunn directs Henry Goodman in the title role of Ben Jonson’s Volpone.
Justin Audibert and Matthew Dunster make RSC directing debuts with The Jew of Malta by Christopher Marlowe and Love's Sacrifice by John Ford
New ‘First Encounter with Shakespeare’ tour:
The Famous Victories of Henry V tours partner schools and theatres across England in a new production specially for young people.
The play, directed by Owen Horsley, condenses the three great plays of Henry IV Parts I & II and Henry V into a 90-minute adventure for eight to 13 year olds.
The Shakespeare Conference: SHK 25.392 Tuesday, 9 September 2014
From: Hardy M. Cook <<
Date: September 3, 2014 at 10:15:05 AM EDT
Subject: RSC Histories
RSC Artistic Director Gregory Doran and the creative team that brought you the acclaimed production of Richard II continue their exploration of Shakespeare’s History plays at the Barbican with 1 Henry IV and 2 Henry IV: 29 November 2014 to 24 January 2015.
The second and third play in Shakespeare's series of histories covering the reigns of Richard II, Henry IV and Henry V. Shakespeare muses on the consequences of actions, the role of princes and the realities of wielding power.
RSC Associate Artist Antony Sher returns to the Company to play the infamous comic knight Falstaff. He is joined by Jasper Britton as Henry IV, Alex Hassell as Prince Hal and Paola Dionisotti as Mistress Quickly. Jasper returns following his performances in The Taming of the Shrew/The Tamer Tamed (2003). Alex returns to the RSC following his recent credits in A Midsummer Night's Dream, Cardenio and The City Madam (2011).
With his crown under threat from enemies both foreign and domestic, Henry IV prepares for war. As his father gets ready to defend his crown, Prince Hal is languishing in the taverns and brothels of London, revelling in the company of his friend, the notorious Sir John Falstaff. With the onset of war, Hal must confront his responsibilities to family and throne.
King Henry’s health is failing but he is uncertain Hal is a worthy heir. Meanwhile, Falstaff is sent to the countryside to recruit fresh troops, where he gleefully indulges in the business of lining his own pockets. As the King’s health continues to worsen, Hal must choose between duty and loyalty to an old friend in Shakespeare’s heartbreaking conclusion to this pair of plays.
Each part is 2 hours 45 mins/plus a 20-min interval
Announcement: Digital Acting Parts
The Shakespeare Conference: SHK 25.391 Tuesday, 9 September 2014
From: Laura Estill <
Date: September 4, 2014 at 10:51:59 AM EDT
Subject: Announcement: Digital Acting Parts
Announcement: Digital Acting Parts
Are your students performing Shakespeare? Is your theatre doing a Shakespeare show? We built a tool to help! Check it out: http://digitalactingparts.tamu.edu/
In the early modern period, rather than having access to a full-text play, actors learned their lines using “Actors’ parts,” hastily handwritten documents that provided them with only their cues and lines. Traditionally, today’s actors learn their lines from full-text plays, without any computer assistance. Digital Acting Parts (DAP) is an online environment that both mimics and enhances the early modern acting experience in order to facilitate actors learning their lines. DAP is the first project to give users an interactive experience with an early-modern-inspired “actor’s part,” which encourages both active reading and memorization, in turn leading to a better understanding of the texts themselves.
Digital Acting Parts was created by Laura Estill (
) and Luis Meneses (
) in the Initiative for Digital Humanities, Media, and Culture at Texas A&M. We welcome your feedback.
Assistant Professor of English
Texas A&M University
Editor, World Shakespeare Bibliography
Latest Issue of Cahiers Elisabéthains
The Shakespeare Conference: SHK 25.390 Tuesday, 9 September 2014
From: Jean-Christophe MAYER <
Date: September 7, 2014 at 1:52:31 PM EDT
Subject: Latest Issue of Cahiers Elisabéthains
Dear List Members,
The latest issue of Cahiers Elisabethains is now available: Cahiers Elisabethains 85 (2014), Manchester University Press.
For more details about subscriptions and information about the journal please got to:
Jean-Christophe Mayer and Nathalie Vienne-Guerrin
Judicious, sharp spectators? Form, Pattern and Audience in Early Modern Theatre: Some Problems
C. W. R. D. Moseley
Shakespeare at Work: Four Kings and Two Shrews
Within / This ruined cottage’: Witchcraft, Domesticity and Inwardness in The Witch of Edmonton
Carducci Reads Marlowe: Dante and Doctor Faustus (B-Text)
The 1574 Mirour for Magistrates as a possible source of ‘Feath’red King’ in Shakespeare’s ‘The Phoenix and the Turtle’
Richard M. Waugaman
PERFORMANCE IN CONTEXT ARTICLE
The reflective part of man: Javor Gardev’s Bulgarian Shakespeares
The 2013 Stratford, Ontario, Shakespeare Festival Plays: Measure for Measure, The Tom Patterson Theatre, 26 June 2013; Romeo and Juliet, directed by Tim Carroll, The Festival Theatre, 27 June 2013; Othello, directed by Chris Abraham, The Avon Theatre, 13 August 2013; The Merchant of Venice, directed by Antoni Cimolino, The Festival Theatre, 31 August 2013
Dana E. Aspinall
Henry V, directed by Paul Mullins, Shakespeare Santa Cruz, Sinsheimer-Stanley Festival Glen, Santa Cruz, California, 9 August, 2013.
Romeo and Juliet, directed by Bobbie Steinbach & Allyn Burrows for the Actors’ Shakespeare Project, The Strand Theatre, Dorchester, Massachusetts, 12 October 2013; Romeo and Juliet, directed by David Leveaux, Richard Rodgers Theatre, 226 West 46th Street, New York City, 7 November 2013
Richard J. Larschan
The Massacre at Paris, by Christopher Marlowe, directed by Jeremy L. West, Blackfriars Playhouse, Staunton, Virginia, 24 June 2013, rear stalls centre.
Macbeth, directed by Jacquelyn Bessell for the Performance Research Group, salle Dugès, Faculté de Médecine, Montpellier, 29 June 2013
Richard II, directed by Claus Peymann for the Berliner Ensemble and the Vienna Burgtheater, Printemps des Comédiens, Amphithéâtre d’O, Montpellier, 26 June 2013
Macbeth, directed by Laurent Pelly and translated by Jean-Michel Déprats, Théâtre des Amandiers, Nanterre, 5 and 12 October 2013
Le Conte d’hiver (The Winter’s Tale), translated by Daniel Loayza, directed by Patrick Pineau, La Coursive, Scène nationale, La Rochelle, 13 November 2013
Othello, directed by Jack Nieborg for Shakespeare Theater Diever, Diever, The Netherlands, 21 August 2013.
Dido, Queen of Carthage, directed by Perry Mills for Edward’s Boys, Levi Fox Hall, Stratford-upon-Avon, 20 September 2013
Peter J. Smith
Richard II, directed by Gregory Doran, Royal Shakespeare Theatre, Stratford upon Avon, 21 October 2013
Peter J. Smith
Antony and Cleopatra, edited and directed by Tarell Alvin McCraney, The Swan Theatre, Stratford-upon-Avon, 14 November 2013
Peter J. Smith
Macbeth (The Notes), adapted and directed by Dan Jemmett, Sortie Ouest, Béziers, France, 15 January 2014
Florence March and Janice Valls-Russell
Ruth Morse, Helen Cooper, and Peter Holland, eds, Medieval Shakespeare: Past and Presents (Cambridge, Cambridge University Press, 2013)
Shakespeare’s Erotic Mythology and Ovidian Renaissance Culture, edited by Agnès Lafont (Farnham, Surrey, Ashgate, 2013)
Farah Karim-Cooper and Tiffany Stern (eds), Shakespeare’s Theatres and the Effects of Performance (London & New York, Bloomsbury, 2013)
Kevin A. Quarmby, Oxford College of Emory University
Paul Edmundson, Paul Prescott and Erin Sullivan, eds., A Year of Shakespeare: Reliving the World Shakespeare Festival, The Arden Shakespeare (London & New York, Bloomsbury, 2013)
Nathalie Rivère de Carles
Alexa C. Y. Huang, Weltliteratur und Welttheater: Ästhetischer Humanismus in der kulturellen Globalisierung (Bielefeld, Transcript Verlag, 2012)
2014 Shakespeare Colloquium at FDU
The Shakespeare Conference: SHK 25.389 Tuesday, 9 September 2014
From: Harry Keyishian <
Date: September 7, 2014 at 12:13:04 PM EDT
Subject: 2014 Shakespeare Colloquium at FDU
2014 Shakespeare Colloquium at Fairleigh Dickinson University
October 18 is the date of the 2014 annual Shakespeare Colloquium at Fairleigh Dickinson University’s College at Florham campus in Madison, NJ. This marks the 22nd year of these day-long events. The Colloquium runs from 9:30 a.m. to 3:30 p.m.
This year’s provocative topic is “Shakespeare Bad and Shakespeare Wrong: Rethinking the Shakespearean.” Four scholars will discuss what can be learned by “bad” and “wrong” Shakespeare—in performance and in scholarship—and what the differences are.
Dr. Zoltán Márkus (Vassar College) asks what kind of ethical assumptions, implications, or judgments are involved in distinguishing “bad” Shakespeare” from “wrong” Shakespeare. Dr. Iska Alter (Hofstra University) will discuss how and why Shakespeare was produced in Nazi Germany. Dr. Donovan Sherman (Seton Hall University) shows how the “wrongness” of Roland Emmerich’s 2011 film Anonymous reflects on our practices as readers and audiences of Shakespeare. Finally, Dr. Emily Weissbourd (Bryn Mawr College), through a discussion of Othello and the Spanish drama of its time, shows the difference between modern and Renaissance ideas of race, servitude and interracial marriage
Director, Fairleigh Dickinson University Press
Department of Literature, Language, Writing, and Philosophy
Fairleigh Dickinson University