Global Shakespeare (with Warwick)
The Shakespeare Conference: SHK 25.165 Wednesday, 2 April 2014
From: Hardy M. Cook <
Date: April 2, 2014 at 10:58:33 AM EDT
Subject: Global Shakespeare (with Warwick)
Global Shakespeare (with University of Warwick)
Master of Arts (1 year Full-time / 2 years Part-time )
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.
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.
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 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.
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.
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:
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:
Executive Officer Global Shakespeare
Phone: +44 (0)20 78826670
[EMLS] New Issue Published
The Shakespeare Conference: SHK 25.154 Friday, 28 March 2014
From: Daniel Cadman <
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.
(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
‘More Women: More Weeping’: The Communal Lamentation of Early Modern Women in the Works of Mary Sidney Herbert and Mary Wroth
Drinking and Good Fellowship: Alehouse Communities, Gestures of Social
Self-Definition and the Anxiety of Social Displacement in the Broadside Ballad
Seraphic Companions: The Friendship between Elizabeth Gauden and Simon Patrick
Falling in Love and Language: Earthly Companionship and Spiritual Loss in Paradise Lost
Worlds within Worlds: Community, Companionship and Autonomy in Margaret Cavendish’s The Blazing World
Early Modern Literary Studies
The Shakespeare Conference: SHK 25.142 Friday, 21 March 2014
From: Hardy M. Cook <
Date: Friday, March 21, 2014
Subject: The Hare
The Hare, a peer-reviewed, on-line academic journal
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
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
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
The Shakespeare Conference: SHK 25.138 Tuesday, 18 March 2014
From: Jane Brody <
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.
Associate Professor, Acting
The Theatre School
(225) 338 9315
CFP 'Reforming Shakespeare: 1593 and After'
The Shakespeare Conference: SHK 25.137 Monday, 17 March 2014
From: Gabriel Egan <
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 <
> and Prof Gabriel Egan <
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.
CFP Flyer: CFP Reforming Shakespeare Flyer
The Shakespeare Conference: SHK 25.136 Monday, 17 March 2014
From: British Graduate Shakespeare Conference <
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!
BritGrad Conference 2014 Co-Chair
The Sixteenth British Graduate Shakespeare Conference
5-7 June 2014
The Shakespeare Institute
Mason Croft, Church Street
T: @britgrad https://twitter.com/britgrad
BritGrad CFP: BritGrad CFP 2014
BritGrad Poster: BritGrad Poster 2014
The Shakespeare Conference: SHK 25.131 Friday, 14 March 2014
From: Hardy M. Cook <
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
2 Henry 4
Midsummer Night’s Dream
Romeo and Juliet
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 <
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:
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:
CFP: Local and Global Myths in Shakespearean Performance
The Shakespeare Conference: SHK 25.128 Thursday, 13 March 2014
From: Aneta Mancewicz <
Date: March 13, 2014 at 5:30:07 AM EDT
Subject: CFP: Local and Global Myths in Shakespearean Performance
Call for Papers
Local and Global Myths in Shakespearean Performance
Senior Lecturer in Theatre, University of Bedfordshire, UK
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:
What myths have been generated locally and globally around Shakespearean performance?
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?
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
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
Marjorie Garber: “Occupy Shakespeare”
The Shakespeare Conference: SHK 25.126 Wednesday, 12 March 2014
From: Newstok Scott <
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.
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 (
) for further information.
ABOUT THE PEARCE SHAKESPEARE ENDOWMENT
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.
The Shakespeare Conference: SHK 25.121 Monday, 19 March 2014
From: Jinny Webber <
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,
FOR IMMEDIATE RELEASE
Contact: George Spitzer, Nebbadoon Press
325 E. Figueroa St., Santa Barbara, CA 93101
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