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CFP: Unexpected affect in Shakespearean Drama, NeMLA 2015

The Shakespeare Conference: SHK 25.276  Tuesday, 10 June 2014

 

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

Date:         June 10, 2014 at 9:41:28 AM EDT

Subject:    CFP: Unexpected affect in Shakespearean Drama, NeMLA 2015

 

Unexpected affect in Shakespearean Drama

 

This panel will explore the ways in which Shakespearean drama delivers emotional intensity (passions, affectations, embodiment, etc.) in unexpected places. When might certain emotional reactions be surprising in Shakespeare’s plays? Are there particular characters that share their feelings unexpectedly, yet with astonishing resonance?

 

The significance of this session is to explore whether, after four centuries of exposure, these can still be capable of emotionally shocking. In today’s academic climate, do Shakespeare’s words have the potential to be so emotionally disturbing that students might/can/should expect a “trigger warning” on syllabi?

This panel will explore unexpected representations of affect in Shakespeare’s works, including:

 

-       affect in the comedies, including “comedies of humour”

-       affect in unnamed characters

-       affect in allusions

-       affect through wordplay (punning, homonyms, and so forth)

-       affect in prologues or epilogues

-       affect as communicated by servants or children

-       reviews of unexpectedly affective productions of Shakespeare on stage and screen

-       exploring Shakespearean emotions in the classroom and online

 

NeMLA 2015 will be taking place in Toronto, Canada, April 30-May 3, 2015. This year, applicants will be submitting their abstracts directly to the NeMLA site (https://nemla.org/convention/2015/cfp.html#cfp15046), so please allow time to familiarize yourself with the new format. Please submit abstracts for 20-minute presentations by September 15, 2014. Email This e-mail address is being protected from spambots. You need JavaScript enabled to view it with any and all questions.

 
 
CFP: “Shakespeare and Bakhtin: New Directions” NEMLA Conference

The Shakespeare Conference: SHK 25.275  Tuesday, 10 June 2014

 

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

Date:         June 9, 2014 at 10:51:54 AM EDT

Subject:    CFP: “Shakespeare and Bakhtin: New Directions” NEMLA Conference

 

CFP Announcement: “Shakespeare and Bakhtin: New Directions” NEMLA Conference, Toronto ON (April 30 - May 3, 2015)  

 

++++++++++++++++++++++++++++++++++++++++++

 

Call for Papers

Bakhtin and Shakespeare: New Directions

Northeast Modern Language Association, Toronto ON (April 30 - May 3, 2015)

 

Since his death in 1975, the work of Russian literary theorist and cultural philosopher Mikhail Bakhtin has continued to influence a wide range of disciplines, from novel and film studies to geography and sociology; from linguistics and psychology to art history and biblical hermeneutics. It is not surprising that this advocate of multiplicity should provoke interdisciplinary extensions and revisions of his work. In notes about the state of literary scholarship published before his death, Bakhtin wrote about “immense treasures of potential meaning” that have yet to be discovered in Shakespeare’s works. The decades that followed saw a flurry of scholarly engagements with Bakhtinian concepts and the plays (e.g., Michael D. Bristol on carnival, James R. Siemon on dialogism). But what is the current state of Bakhtin in Shakespeare studies? What new directions might his writings enable in the study of Shakespeare? What might a “second wave” of Bakhtinian Shakespeare criticism produce? This panel invites original papers examining new directions for Bakhtin and Shakespeare. Papers may address methodological or theoretical issues, engage in meta-critical surveys of current scholarship, or propose new applications of Bakhtinian concepts to the poems or plays.

 

Paper proposals must be submitted directly through the NEMLA Website. Go to:

 

https://nemla.org/convention/2015/cfp.html#cfp15173

 

Click the link that says “Submit an Abstract” and follow the instructions from there.

 

Deadline for proposals: September 30, 2014

 

For questions or additional information, please contact the session organizers:

 

Philip Collington, Associate Professor of English, Niagara University ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it )

 

or

 

Tara Collington, Associate Professor of French, University of Waterloo ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ).

 
 
Upcoming Hiatus

The Shakespeare Conference: SHK 25.274  Monday, 9 June 2014

 

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

Date:         Monday, June 9, 2014

Subject:    Upcoming Hiatus 

 

Dear Subscribers,

 

I leave Thursday for 10 days in the mountains of North Carolina away from all electronic access. So there will be an interruption Thursday, June 12 until Monday June 23.

 

If you have announcements or comments, please get them to me and keep them coming during the hiatus.

 

Hardy

 
 
CFP: Pacific Northwest Renaissance Society

The Shakespeare Conference: SHK 25.269  Sunday, 8 June 2014

 

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

Date:         June 7, 2014 at 12:36:23 AM EDT

Subject:    CFP: Pacific Northwest Renaissance Society

 

Call for Papers

Pacific Northwest Renaissance Conference

October 17 and 18

Kelowna, British Columbia

 

This is the second version of this call for papers. Please note the new conference dates, and new deadline for proposals.

 

The next meeting of the Pacific Northwest Renaissance Conference will take place on October 17 and 18 in Kelowna, a resort town at the centre of British Columbia’s wine country. 

 

The theme of this year’s conference is “The Global Renaissance.” George Saliba, of Columbia University, and Lesley Cormack, of the University of Alberta, will provide keynote addresses.

 

While the Renaissance is usually considered a European event, neither its sources nor its influence are confined to western Europe. We therefore seek to work actively with scholars of both European and transatlantic culture and society from 1300-1700, including art historians, economists, historians, scholars of religion, theatre historians and practitioners, scholars in the history of science and medicine, political scientists, and comparativists. The theme should be understood broadly, but we particularly welcome papers on exploration narratives, geographical knowledge, and contact and influence between cultures and languages. Papers are usually presented in English, but may concern the literature, history or culture of any language.

 

The Pacific Northwest Renaissance Society (PNRS) promotes scholarship in Early Modern Studies by hosting an annual conference, held alternately in the United States and Canada and open to all scholars from North America and beyond, including graduate students. The PNRS is an affiliate of both the Renaissance Society of America and the Canadian Society for Renaissance Studies / Société Canadienne d’études de la Renaissance.

 

For individual papers, please send a one-page abstract or proposal and a one-page c.v. to This e-mail address is being protected from spambots. You need JavaScript enabled to view it no later than July 15th, 2014.

 

To propose a panel, please send an abstract for each paper, a one-page c.v. for each presenter, and a paragraph from the panel organizer describing the overall focus of the session to This e-mail address is being protected from spambots. You need JavaScript enabled to view it no later than July 15th, 2014.

 

Papers must be kept to a twenty-minute reading time, including any technical and electronic support. All papers should be essentially new and never before presented in public.

 

For more information see: www.pnrs.org

 

Sean Lawrence

Associate Professor

Department of Critical Studies

CCS Building, 3333 University Way

University of British Columbia

Kelowna, BC  V1V 1V7

 

 
Board Vacancy: Web and Communications Officer

The Shakespeare Conference: SHK 25.268  Sunday, 8 June 2014

 

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

Date:         June 6, 2014 at 6:42:07 AM EDT

Subject:    Board Vacancy: Web and Communications Officer

 

British Shakespeare Association

 

There is currently a vacancy on the board for a Web and Communications Officer. This position was previously held by Peter Kirwan, who has now become Membership Officer. This is a volunteer position so it is unpaid, but reasonable expenses will be met. 

The main duty of the Web and Communications Officer will be to update the BSA website (www.britishshakespeare.ws) and co-ordinate BSA publicity. The Officer will need to be competent at using Wordpress (or familiar with similar packages) effectively for blogging and experienced at using social media (twitter, facebook etc.). No other technical skills are required as we already employ a freelance web designer. The Officer will become a full Trustee and Director of the British Shakespeare Association and will present either verbal or written reports to the Board about the website. The Board meets three times a year for business meetings and once a year for the AGM. Meetings are usually held in Stratford-upon-Avon. This position will remain open until filled.

For an informal chat about this opportunity please contact me directly at This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

This is a very important role on the Board and we are keen to get the best person for it. If you know someone who you think would be a good candidate but is not currently a member of the BSA please ask them to get in touch.
 

Best wishes
Stuart Hampton-Reeves

Chair of the Board of Trustees

 
 
Shakespeare and the Digital World: Redefining Scholarship and Practice

The Shakespeare Conference: SHK 25.266  Thursday, 5 June 2014

 

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

Date:         Thursday, June 5, 2014

Subject:    Shakespeare and the Digital World: Redefining Scholarship and Practice

 

I would like to announce the electronic publication of Christie Carson’s and Peter Kirwan’s Shakespeare and the Digital World: Redefining Scholarship and Practice. I bought it for my Kindle today. The hardcover and paperback are scheduled for publication on July 31, 2014.

 

The book may be of interested to subscribers of SHAKSPER. I might add that SHAKSPERean Peter Holland has an essay “Shakespeare in virtual communities” that has some kind words for SHAKSPER at its best. 

 

http://www.amazon.com/Shakespeare-Digital-World-Redefining-Scholarship-ebook/dp/B00J8LQWGI/ref=sr_1_1?ie

 

Shakespeare and the Digital World: Redefining Scholarship and Practice [Kindle Edition] Hardcover and Paperback available July 31, 2014

 

Christie Carson (Editor), Peter Kirwan (Editor)

 

Due to the unique cultural capital of his works, Shakespeare has long been the test subject for new methods and digital advances in arts scholarship. Shakespeare sits at the forefront of the digital humanities—in archiving, teaching, performance and editing - impacting on scholars, theatres and professional organisations alike. The pace at which new technologies have developed is unprecedented (and the pressure to keep up is only growing). This book offers seventeen new essays that assess the opportunities and pitfalls presented by the twenty-first century for the ongoing exploration of Shakespeare. Through contributions from a broad range of scholars and practitioners, including case studies from those working in the field, the collection engages with the impact of the digital revolution on Shakespeare studies. By assessing and mediating this sometimes controversial digital technology, the book is relevant to those interested in the digital humanities as well as to Shakespeare scholars and enthusiasts.

 

This collection critically assesses the opportunities and pitfalls presented by recent digital advances in Shakespeare studies. Featuring contributions from archivists, scholars, teachers, publishers, arts practitioners and digital innovators, this collection is relevant to those interested in the digital humanities as well as to Shakespeare scholars and enthusiasts.

 

Christie Carson is Reader in Shakespeare and Performance in the Department of English at Royal Holloway, University of London. She is the co-editor of The Cambridge King Lear CD-ROM: Text and Performance Archive (Cambridge University Press, 2000), Shakespeare’s Globe: A Theatrical Experiment (with Farah Karim-Cooper, Cambridge University Press, 2008), Shakespeare in Stages: New Theatre Histories (with Christine Dymkowski, Cambridge University Press, 2010) and Shakespeare Beyond English: A Global Experiment (with Susan Bennett, Cambridge University Press, 2013).

 

Peter Kirwan is Lecturer in Shakespeare and Early Modern Drama at the University of Nottingham. He was an Associate Editor for Collaborative Plays by Shakespeare and Others (2013) and he has published widely on the history of the Shakespeare Apocrypha and contemporary Shakespearean performance. His interest is in the intersection between textual, performance and media cultures.

 

Contents

 

Notes on contributors 

Acknowledgements 

 

Shakespeare and the digital world: Introduction 

Christie Carson and Peter Kirwan 

 

Part I Defining current digital scholarship and practice: Shakespeare research in the digital age 

 

1 Shakespeare in the digital humanities 

John Lavagnino 

2 Getting back to the library, getting back to the body 

Bruce R. Smith 

3 Sensing the past: Tablets and early modern scholarship 

Farah Karim-Cooper 

4 Webs of engagement 

David McInnis 

 

Part II Defining current digital scholarship and practice: Shakespeare pedagogy and the digital age 

 

5 Internal and external Shakespeare: Constructing the twenty-first-century classroom 

Erin Sullivan 

6 Shakespeare at a distance 

Sarah Grandage and Julie Sanders 

7 ‘All great Neptune’s ocean’: iShakespeare and play in a transatlantic context 

Sheila T. Cavanagh and Kevin A. Quarmby 

8 ‘From the table of my memory’: Blogging Shakespeare in/ out of the classroom 

Peter Kirwan 

 

Half-time: A pause for reflection 

9 All’s well that ends Orwell 

Sharon O’Dair 

 

Part III Redefining the boundaries and practices of Shakespeare studies online: Publishing and academic identity 

 

10 Unlocking scholarship in Shakespeare studies: Gatekeeping, guardianship and open-access journal publication 

Eleanor Collins 

11 Living with digital incunables, or a ‘good-enough’ Shakespeare text 

Katherine Rowe 

12 Shakespeare in virtual communities 

Peter Holland 

13 Gamekeeper or poacher? Personal blogging/ public sharing 

Sylvia Morris 

 

Part IV Redefining the boundaries and practices of Shakespeare studies online: Communication and performance 

 

14 Changing a culture with the Shakespeare Birthplace Trust: Championing freedom and democracy 

Paul Edmondson and A. J. Leon 

15 Developing a digital strategy: Engaging audiences at Shakespeare’s Globe 

Ryan Nelson 

16 The impact of new forms of public performance 

Stephen Purcell 

17 Creating a critical model for the twenty-first century 

Christie Carson 

 

Conclusion: Digital dreaming 

Christie Carson and Peter Kirwan 

 

Index

 

 
SHAKSPER’s Future: Looking for Volunteers for SHAKSPER Features and Assistant/Associate Editors

The Shakespeare Conference: SHK 25.251  Wednesday, 28 May 2014

 

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

Date:         Wednesday, May 28, 2014

Subject:     SHAKSPER’s Future: Looking for Volunteers for SHAKSPER Features and Assistant/Associate Editors

 

Dear SHAKSPER Subscribers,

 

SHAKSPER has been a part of my life for 25 years, and for all but the first year and a half I have been its editor/moderator. I have no plans to step down at any time in the near future, but I would like to leave it in good hands when I do. Increasingly, I am also pursuing other interests, academic and non-academic.

 

Currently, SHAKSPER is being “hosted” by Ron Severdia (who designed the new web presence) on the PlayShakespeare.com sever, so even if I am hit by a bus tomorrow, SHAKSPER will still exist. Tanya Gough, who designed the SHAKSPER Facebook page, is an administrator of it, so it too will continue to exist. If something were to happen to me, I have two advisory boards that I hope will decide if SHAKSPER is still viable and will seek a person or persons to continue its work.

 

I am increasingly aware that as much as I might wish otherwise I cannot do all that I would like to keep SHAKSPER up-to-date.

 

In particular, I am concerned with the future of some of the scholarly resources on the web site. I don’t feel as if I have the energy to work with them since I want to spend my scholarly time working other projects, some longstanding, but I feel them sufficiently important to warrant that some of them be updated or continued if possible. 

 

I am currently seeking volunteers to take responsibility for some of these with the long-term view of perhaps finding a successor among these volunteers. My younger daughter has one more year of college, and I plan to be taking breaks, some long and for which I will not have computer access. So at some point, I would like to train one or more persons to who might be able to take over from me during my absences, but let me not get ahead of myself.

 

Shakespeare on the Internet Guide has not been updated in about five years. Someone has been recruited to update it and its links and will be working on it this summer: <http://shaksper.net/scholarly-resources/shakespeare-on-the-internet>

 

Shakespeare Spinoffs/Character Bibliography: These lists (found in the Reference files section of Scholarly Resources) were very popular during the early days of SHAKSPER but have not been updated since around the late 1990s. Someone has shared her up-to-date list of similar titles with me to be combined with the existing lists, but she is not interested in undertaking that task herself. Is there anyone who would volunteer to combine the older Spinoffs and Character bibliographies with the new one I have. This actually is a fun job if anyone has the time or interest. <http://shaksper.net/scholarly-resources/reference-files>

 

Shakespeare Plays and Festivals: I started this last summer from available resources. When I was a contributing editor to the Shakespeare Newsletter I compiled a similar list for some years. Is there anyone who is interested in updating this list for this year? <http://shaksper.net/scholarly-resources/shakespeare-festivals-and-plays>

 

Pedagogy: Teaching Resources: At present, this section of the web site contains only resources that I have used or made available. Pedagogy is a hot topic. I would like to recruit someone as an Assistant Editor who would be in charge of developing further this section of the web site: <http://shaksper.net/scholarly-resources/pedagogy-teaching-resources> Is anyone interested?

 

The SHAKSPER Book Reviews has been fallow for sometime now through no one’s fault. There is a Book Review Panel and I am looking for anyone who might wish to take the initiative and revitalize it. If the person would be interested in a limited commitment that is fine, but someone is interested in a long-term commitment of more than a year, I would offer the position as an assistant editor.

 

SHAKSPER Roundtable Discussions: I found these very interesting at the time but they did involve a tremendous amount of work. Again, if anyone is interested either for a single Roundtable or to act as an assistant editor in charge of this area, pleases let me know. <http://shaksper.net/scholarly-resources/roundtable-discussions>

 

New assistant professors or graduate students are obvious choices to volunteer for these tasks, but everyone is busy with one thing or another and SHAKSPER is probably not as “sexy” as other activities. I hope that I am wrong and these inquires will bring some new blood to SHAKSPER.

 

I appreciate greatly any thoughts or responses of the members.

 

Hardy

 
 
Managing Director - Job Opening

The Shakespeare Conference: SHK 25.245  Saturday, 24 May 2014

 

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

Date:         May 24, 2014 at 11:14:35 AM EDT

Subject:    Managing Director - Job Opening

 

Dear Friends and Colleagues,

 

We are looking for a fantastic new Managing Director of Red Bull Theater.  

 

The job description is attached.  Please feel free to apply if it’s right for you or forward to anyone you know who might be interested.  

 

Thanks,

Jesse Berger

Artistic Director

Red Bull Theater

redbulltheater.com

O: 212-343-7394 

 

Click http://www.redbulltheater.com/Join to support more great classic stories Off-Broadway.

 

Job Description: icon Red Bull Theater Manager

 
 
Garrick and Shakespeare

The Shakespeare Conference: SHK 25.242  Wednesday, 21 May 2014

 

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

Date:         May 20, 2014 at 5:38:33 PM EDT

Subject:    Garrick and Shakespeare

 

SHAKSPERians with access to London might be interested in the conference ‘Garrick and Shakespeare’ at Kingston University next month. The programme is as follows.

 

Gabriel Egan

 

 

GARRICK AND SHAKESPEARE

 

A CONFERENCE HOSTED BY KINGSTON UNIVERSITY AT THE ROSE THEATRE KINGSTON-UPON-THAMES AND GARRICK’S SHAKESPEARE TEMPLE

 

JUNE 25-27 2014

 

PLENARY SPEAKERS:

SIMON CALLOW

MICHAEL DOBSON

NORMA CLARKE

PETER HOLLAND

 

Actor, manager, playwright, versifier, philosophical correspondent: David Garrick excelled in many parts, and was possibly both the most praised and vilified cultural figure of his age. Authors whose plays he rejected and performers he refused to employ were certainly not sparing in their attacks. ‘Garrick and Shakespeare’ will therefore not only focus on his achievements as a Shakespeare interpreter and impresario, but also re-examine Garrick’s controversial reputation, unprecedented celebrity status, and enduring influence as an arts administrator.

 

GARRICK AND SHAKESPEARE

CONFERENCE PROGRAMME

 

Wednesday June 25 2014 7pm

The Rose Theatre

2014 GARRICK LECTURE

SIMON CALLOW

Followed by a drinks reception

 

Thursday June 26 9.30am

The Rose Theatre

PUBLIC LECTURE

MICHAEL DOBSON (Shakespeare Institute, University of Birmingham)

‘The Memory of Garrick and the Dream of a National Theatre’

 

10-30am: Coffee

 

11am

ADAPTING SHAKESPEARE

 

Subhajit Sen Gupta: ‘History Undone: Garrick’s Revision of Macbeth’

 

Varsha Panjwani: ‘Shakespeare and Garrick as Collaborators: The Two Noble Kinsmen and The Clandestine Marriage’

 

James Harriman-Smith: ‘”Why can I not see you act the terrible passages of this admirable tragedy!”: David Garrick and Jean-Francois Ducis’

 

1pm: Lunch Break

 

2pm

THE FIRST CELEBRITY

 

Ewan Fernie: ‘Garrick, Liberty, Germany’

 

Leslie Ritchie: ‘The Anonymous David Garrick’

 

Patricia Philippy: ‘The Poet in Stone: Garrick’s Temple and Southwark Cathedral’

 

Garrick’s Temple, Hampton

4.30pm: Tea

5pm: A Musical Entertainment

7.30pm: The Teddington Players: The Celebrated Mr Garrick

 

Friday June 27 9.30am

PUBLIC LECTURE

NORMA CLARKE (Kingston University)

‘All Grub Street was Preparing its Advice’

 

10.30am: Coffee

 

11am

GARRICK AS MANAGER

 

David Worrall: ‘Garrick and Noise: Auditorium Disturbances at Drury Lane’

 

Georgina Lock: 'Conversations with the Town: Garrick's Prologues, Epilogues and Afterpieces'

 

Melanie Bigold: 'Garrick’s Shakespeare Marginalia'

 

1pm: Lunch Break

 

2pm

OPERATIC SHAKESPEARE

 

Irene Morra: ‘Garrick, Shakespeare, and Opera’

 

Omaya Ibrahim Khalifa: ‘Adaptations of The Tempest and A Midsummer Night’s Dream: Garrick, AlQady and Ghazy’

 

Rob Gossedge: ‘Garrick’s Masque of King Arthur’

 

Will Summers: ‘Music, landscape, dance: Garrick’s role’

 

4pm: Tea

 

4.30pm

PUBLIC LECTURE

PETER HOLLAND (University of Notre Dame)

‘A Critic, A Gentleman, and Two Jubilees’

 

6.30pm

Conference Dinner:

Strada Restaurant, Kingston-upon-Thames

 

9.00pm: Film World Premiere:

The Rose Theatre

Miss in Her Teens starring Simon Callow

 

For further information and registration:

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

+44 (0)20 8417 9000 x 628

 
 
Closure of the Institute of English Studies

The Shakespeare Conference: SHK 25.241  Wednesday, 21 May 2014

 

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

Date:          May 20, 2014 at 4:48:43 PM EDT 

Subject:     Closure of the Institute of English Studies

 

Dear All

 

You may have heard about the proposed closure of the Institute of English Studies which is part of the School of Advanced Study at the University of London. The attached document gives a little more background. A Steering Group to oppose this has been set up, co-chaired by Professor Anne Varty (Head of the Department of English at Royal Holloway University of London) and Professor Gordon Campbell, DLitt, FBA (Professor of Renaissance Studies at Leicester University). The Steering Group (of which I am a member) has set up a website at http://www.change.org/en-GB/petitions/professor-sir-adrian-smith-abandon-the-recommendation-to-break-up-the-institute-of-english-studies-2 in the form of a petition calling for this decision to be stopped. I am attaching a brief document that gives some further information on the subject and some links that may be of interest. We very much hope that you will be able to give us your support by signing the petition, by writing to the Vice-Chancellor and by passing this message on to interested parties.

 

Yours faithfully

Henry Woudhuysen

 

On behalf of the Save the IES Steering Group

Co-Chairs:

 

Professor Anne Varty (Head of the Department of English Royal Holloway University of London)

Professor Gordon Campbell DLitt, FBA (Professor of Renaissance Studies, University of Leicester)

 

***********

The Institute of English Studies and the University of London’s ‘Recommendation’

 

On Thursday, 15 May 2014, Professor Roger Kain, the Dean and Chief Executive of the School of Advanced Study at the University of London, announced ‘the University’s formal response to the news that HEFCE funding for SAS will be cut by 3% with effect from 2014–15’. This response had been decided on the previous day by the Vice-Chancellor’s Executive Group (VCEG) who recommended ‘a concentration of funding into a smaller number of institutes’. In effect, part of the academic activity of the Institute of English Studies (IES) will be merged with the Institute of Historical Research (IHR) to create a centre for Palaeography and the History of the Book; part will be merged with the Institute of Modern Languages Research (IMLR) to create a centre for Comparative Literature; and the Science and Music activity of the Institute of Musical Research (IMR) will be merged with the Institute of Philosophy’s Centre for the Study of the Senses. Although this document is concerned with the IES, the future of the IMR is also a matter of deep concern.

 

The VCEG is an administrative, non-academic body that reached its decision about the IES without consulting those involved in the Institute’s work or those representing English as a very large national and international subject community. The decision is sudden, arbitrary, and ill-thought out. Interviews for the post of the new Director of the IES had been scheduled for 7 May and were cancelled at the last minute.

 

The IES was founded in 1999 but dates back to the Centre for English Studies which was created in 1991. Part of the Institute’s mission is to ‘Promote advanced study and research in English Studies in the wider national and international academic community’. It has consistently fulfilled this aim: by organizing conferences (currently 25 each year) and seminar series (currently, around 40, with at least 6 sessions each year); by a non-stipendiary visiting fellowships programme (12 visitors a year); and by collaborations with some 60 organizations and societies. It also runs the T. S. Eliot International Summer School and the London Rare Books School and Palaeography Summer School. In the recent past, it has raised around £5m, and has been the home to major projects with partners such as the AHRC, the British Library, OUP, and Faber. The projects include: editions of Francis Bacon, John Ford, and T.S. Eliot; the Catalogue of English Literary Manuscripts, 1450-1700; digital projects relating to medieval MSS; The Irish Book in the 20th Century; the Reading Experience Database; The History of OUP; and other projects on writing, publishing and scholarly editing, including A Publishing and Communications History of the Ministry of Information, 1939-45. In addition, the IES established a pioneering MA in the History of the Book. The Institute’s work is clearly carried out at national and international levels.

 

If the VCEG’s recommendations are accepted, much of this activity will cease, not least its vital role in training younger scholars. What is proposed is a direct assault on the value and integrity of the Institute and of English studies as a discipline. Book History will not find its natural home in the IHR: in the UK, Historical Bibliography is a core discipline within English Studies. Nor will a Centre for Comparative Literature in the IMLR (which rightly has its own sense of that subject) accommodate the vast range of Research Seminar activity in English Language and Literature. Almost all of what has been most valuable in the IES’s work during the last quarter century or so will disappear.

 

Those who object to the recommendation can seek to stop or delay it: by writing to Professor Smith ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) – a specimen form of words is available via the petition website; by raising the issue with their Universities, Faculties, and Departments and with subject groups and learned societies; by responding to Matthew Reisz’s article on the subject in the THE (http://www.timeshighereducation.co.uk/news/university-of-london-plans-closure-of-institute-of-english-studies/2013382.article); by using social media(#saveIES); and by signing a petition at http://www.change.org/en-GB/petitions/professor-sir-adrian-smith-abandon-the-recommendation-to-break-up-the-institute-of-english-studies-2. .

 

 
News from The Globe Theatre

The Shakespeare Conference: SHK 25.239  Tuesday, 20 May 2014

 

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

Date:         Tuesday, May 20, 2014

Subject:    News from The Globe Theatre

 

Winter 2014/15 Season at Sam Wanamaker Playhouse

 

‘The extraordinary thing about the new indoor Jacobean theatre that is part of Shakespeare’s Globe, is that it feels as if it’s always been there and was just waiting to be uncovered.’ The Guardian

 

Earlier this year we opened the doors to our candlelit jewel box, the Sam Wanamaker Playhouse, and presented what was to be a triumphant first season. The beautiful space was filled with heart-warming visions of light and shadow, of stillness and silliness, mayhem and music from across centuries and continents.

 

Extreme love is at the heart of our new winter season while we also use the Playhouse to explore further the repertory beyond Shakespeare. The early theatre had a taste for psychological intensity, and these plays do not disappoint.

 

Those of you who have experienced the Playhouse already will know what an intoxicating cocktail of sensual pleasure awaits. For those who have not visited yet, we urge you to join us in this delightful space.

 

Opening the second Sam Wanamaker Playhouse season is the first of two plays by John Ford. ‘Tis Pity She’s a Whore enters challenging moral territory as the infamous tale of incestuous lust and obsessive revenge plays out with a disturbing lack of judgement.

 

Continuing John Ford’s exploration of the darkest recesses of the human psyche is The Broken Heart, a brilliantly nuanced story of an exalted love struggling to exist in a world of selfishness, jealousy and tawdry court politics. 

 

Completing the trio of Jacobean tragedies is Thomas Middleton & William Rowley’s furiously dramatic The Changeling in which beautiful Beatrice-Joanna tasks her repulsive servant to murder her fiancé, only for him to demand a reward. 

 

After delighting audiences and critics alike Adele Thomas’ hilariously uproarious depiction of Francis Beaumont’s The Knight of the Burning Pestle will play again. Pauline McLynn returns as the chattering Citizen’s Wife who, along with her husband continues to break the fourth wall as they demand their apprentice Rafe take the lead role in the play they have come to see. Combining salty colloquial prose with charming songs, The Knight of the Burning Pestle was one of the first madcap, mash-up, screwball comedies to hit the English stage and the first to run not one but two plays-within-the-play simultaneously.

 

The Globe’s ground-breaking collaboration with The Royal Opera L’Ormindo also returns to the Sam Wanamaker Playhouse. Audiences and critics were charmed by the intimate nature of the work, a rare opportunity to experience Baroque opera. Kasper Holten, Director of The Royal Opera, directs a production inspired by the theatrical conventions in London at the time, with music under the direction of Christian Curnyn, one of the most sought-after Baroque specialists of today.

 

The Sam Wanamaker Playhouse will host the world premiere of Claire van Kampen’s new play Farinelli and the King. Set in eighteen-century Spain and Italy, it tells the true story of Farinelli, the world’s most famous castrato, and his decision to trade fame and fortune for a live of servitude at the court of King Philip V. Replete with beautiful arias originally sung by Farinelli, this production promises to be a feast for the ears and eyes.

 

Trained by the Globe’s resident experts in the craft and performance of early modern drama, The Globe Young Players are a company of specially selected talented 12 to 16-year-olds. After a brilliantly accomplished debut with The Malcontent, they return for their second production- Christopher Marlowe’s Dido, Queen of Carthage. Marlowe’s first play, inspired by Virgil’s Aeneid is an intense tale of meddling gods, public duty and tragic love played out against the aftermath of the Trojan War. 

 

 

Omeros

 

Caribbean writer Derek Walcott adapts his Nobel Prize-winning epic poem Omeros for performance in the unique Sam Wanamaker Playhouse. The poem spans both time and continents, following the journey of a present-day Odysseus and a beautiful house servant Helen, who incites her own Trojan War.

 

The narrative is rooted on the island of Saint Lucia, Walcott’s home, and will be underscored by live music to evoke the flavour of the Caribbean.

 

‘No poet rivals Mr. Walcott in humour, emotional depth, lavish inventiveness in language or in the ability to express the thoughts of his characters’
The New York Times Book Review

 

 

Globe in Cinemas

 

The Tempest

BY WILLIAM SHAKESPEARE

 

Prospero, Duke of Milan, usurped and exiled by his own brother, holds sway over an enchanted island. He is comforted by his daughter Miranda and served by his spirit Ariel and the deformed slave Caliban. When Prospero raises a storm to wreck this perfidious brother and his confederates on the island, his long contemplated revenge at last seems within reach.

 

Imbued with a spirit of magic and the supernatural, The Tempest is Shakespeare’s late great masterpiece of forgiveness, generosity and enlightenment.

 

Jeremy Herrin’s previous work for Shakespeare’s Globe includes 2011’s much loved Much Ado About Nothing.

 

Roger Allam won the Olivier Award for best actor for his role as Falstaff in Henry IV parts 1 & 2 at the Globe in 2010. Other recent credits include The Thick of It (BBC) and Tamara Drewe (Film).

 

Colin Morgan is best known for playing Merlin in the long running BBC series Merlin.

 

In UK cinemas from 28 May 2014.

 

Coming soon to North America, Australasia and Europe.

 

Director: Jeremy Herrin

Designer: Max Jones

Composer: Stephen Warbeck

 

Cast: Roger Allam, Jason Baughan, Jessie Buckley, Sam Cox, Pip Donaghy, Trevor Fox, Peter Hamilton Dyer, James Garnon, Joshua James, William Mannering, Colin Morgan, Matthew Raymond, Sarah Sweeney, Amanda Wilkin.

 

Running time: 169 mins inc. 15 min interval

 

 

Macbeth

BY WILLIAM SHAKESPEARE

 

When three witches tell Macbeth that he is destined to occupy the throne of Scotland, he and his wife choose to become the instruments of their fate and to kill the first man standing in their path, the virtuous King Duncan. But to maintain his position, Macbeth must keep on killing – first Banquo, his old comrade-in-arms; then, as the atmosphere of guilt and paranoia thickens, anyone who seems to threaten his tyrant’s crown.

 

From its mesmerising first moments to the last fulfilment of the witches’ prophecy, Shakespeare’s gripping account of the profoundest engagement with the forces of evil enthrals the imagination. 

 

In UK cinemas from 25 June 2014.

 

Coming soon to North America, Australasia and Europe.

 

Director: Eve Best

Designer: Mike Britton

Composer: Olly Fox

 

Cast: Moyo Akandé, Geoff Aymer, Bette Bourne, Stuart Bowman, Billy Boyd, Jonathan Chambers, Philip Cumbus, Gawn Grainger, Harry Hepple, Joseph Millson, Jess Murphy, Colin Ryan, Cat Simmons, Samantha Spiro, Finty Williams.

 

Running time: 155 mins inc. 15 min interval

 

 

A Midsummer Night’s Dream

BY WILLIAM SHAKESPEARE

 

Hermia loves Lysander and Helena loves Demetrius – but Demetrius is supposed to be marrying Hermia… When the Duke of Athens tries to enforce the marriage, the lovers take refuge in the woods and wander into the midst of a dispute between the king and queen of the fairies.

 

Shakespeare put some of his most dazzling dramatic poetry at the service of this teasing, glittering, hilarious and amazingly inventive play, whose seriousness is only fleetingly glimpsed beneath its dreamlike surface.

 

Michelle Terry won the 2011 Olivier Award for her portrayal of Sylvia in Tribes (Royal Court). Michelle returns to the Globe having previously played the Princess of France in Love’s Labour's Lost (2007).

 

In UK cinemas from 15 July 2014.

 

Coming soon to North America, Australasia and Europe.

 

Director: Dominic Dromgoole

Designer: Jonathan Fensom

Composer: Claire van Kampen

 

Cast: Huss Garbiya, Tala Gouveia, Tom Lawrence, John Light, Christopher Logan, Molly Logan, Sarah MacRae, Fergal McElherron, Edward Peel, Pearce Quigley, Stephanie Racine, Olivia Ross, Joshua Silver, Matthew Tennyson, Michelle Terry, Luke Thompson.

 

Running time: 182 mins inc. 15 min interval

 
 
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