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Gay Bard

The Shakespeare Conference: SHK 25.502  Wednesday, 17 December 2014

 

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

Date:         December 16, 2014 at 11:14:58 AM EST

Subject:    Gay Bard

 

For those pretending that a narcissistic young Shakespeare addressing his own glassy reflection would leave no message to the reader is to remain ALOOF or AFOOL. Yes he was in love with a young man, HIMSELF. And he was the son of the river king and the naiad who swam in his stream, Lord Narcissus, popularly referring to himself as Will, many times over.

 

Sid Lubow

 
 
TLS: British Drama and Shakespeare and the Versification

The Shakespeare Conference: SHK 25.501  Wednesday, 17 December 2014

 

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

Date:         November 30, 2014 at 9:25:20 AM EST

Subject:    TLS: British Drama and Shakespeare and the Versification

 

Katherine Duncan-Jones 

 

[ . . . ] Taking up no space at all – for I peruse it in libraries – is Volume IV of British Drama 1533–1642 (Oxford University Press), edited by Martin Wiggins in association with Catherine Richardson. Covering 1598–1602, it’s informative across the range of plays and entertainments generated during the closing years of Elizabeth I. The extreme complexities of the three-text Hamlet are methodically set out in ten pages. Even plays of which no text survives can leave fascinating traces. An Admiral’s Men comedy entitled As Merry As May Be may be the last play the Queen saw, barely a month before her death. 

 

 

Brian Vickers 

 

Two important scholarly works that will be read for years to come are Marina Tarlinskaya, Shakespeare and the Versification of English Drama, 1561–1642 (Ashgate), which uses quantitative prosody to trace the evolution of verse from Gorboduc to the closing of the theatres, and Quentin Skinner, Forensic Shakespeare (Oxford University Press), a brilliant study of the teachings of classical legal rhetoric as used and misused by Shakespeare’s speakers. 

 

[ . . .]

 
 
36th Annual Medieval and Renaissance Forum

The Shakespeare Conference: SHK 25.500  Wednesday, 17 December 2014

 

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

Date:         December 16, 2014 at 10:42:51 PM EST

Subject:    36th Annual Medieval and Renaissance Forum

 

36th Annual Medieval and Renaissance Forum 

Keene State College 

Keene, NH, USA

Friday and Saturday April 24-25, 2015

 

Call for Papers and Sessions

“Representation, Adaptation, Recollection”

Keynote speaker: Coppélia Kahn, Professor of English, Brown University  

 

We are delighted to announce that the 36th Medieval and Renaissance Forum will take place at Keene State College in Keene, New Hampshire.  This year’s keynote speaker is Coppélia Kahn, Professor of English at Brown University and a pioneer in modern Shakespeare studies.  In her 1981 book Man's Estate: Masculine Identity in Shakespeare, Dr. Kahn was among the first to introduce the question of gender into Shakespeare studies. She is also the author of Roman Shakespeare: Warriors, Wounds, and Women (1997), and the co-editor of Making A Difference: Feminist Literary Criticism (1985). Her current research concerns the range of social practices that make up the commemoration of Shakespeare, perpetuating him as an iconic figure in social memory.

 

We welcome abstracts (one page or less) or panel proposals that address questions of representation of the self and the Other in the medieval and Early Modern periods or that discuss how the world of the Middle Ages and the Renaissance is re-imagined for the present:

 

How did medieval and Early Modern individuals understand themselves and their world?  

How did medieval and Early Modern Europeans perceive and represent those living beyond the bounds of Europe? 

How did medieval and Early Modern individuals and groups represent their past? 

How are the Middle Ages and the Renaissance viewed in the modern period?

What function do the medieval and the Early Modern play in contemporary popular culture? 

 

Papers need not be confined to these themes but may cover other aspects of medieval and Renaissance life, literature, languages, art, philosophy, theology, history, and music. 

 

Students, faculty, and independent scholars are welcome. Please indicate your status (undergraduate, graduate, or faculty), affiliation (if relevant), and full contact information on your proposal. 

Undergraduate sessions are welcome but require faculty sponsorship.  

 

Please submit abstracts, audio/visual needs, and full contact information to Dr. Meriem Pagès, Director. For more information please e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

 

Abstract deadline: Monday January 15, 2015

 

Presenters and early registration: March 15, 2015

 

We look forward to greeting returning and first-time participants to Keene in April!

 

Meriem Pagès

Forum Director

Keene State College

Keene NH 03435-1402

 
 
2015 Shakespearean Theatre Conference Second CFP

The Shakespeare Conference: SHK 25.499  Tuesday, 16 December 2014

 

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

Date:         Friday, December 12, 2014 at 11:26 AM

Subject:    2015 Shakespearean Theatre Conference Second CFP

 

Stratford Festival

University of Waterloo

 

Second Call for Papers 

2015 Shakespearean Theatre Conference:

“Language in Text and Performance”

 

We invite paper, session, and workshop proposals for the inaugural Shakespearean Theatre Conference, to be held June 18-20, 2015, in Stratford, Ontario. All approaches to language in Tudor-Stuart drama are welcome, including those based in the traditional arts of language (grammar, rhetoric, and logic), those based in contemporary theories of language and communication (e.g. public sphere theory, speech pragmatics, speech act theory), and those based in performance (verse speaking, original practices, etc.)

 

Plenary speakers:        

Joel Altman (University of California, Berkeley)

Antoni Cimolino (Artistic Director, Stratford Festival) 

Russell Jackson (University of Birmingham) 

Lynne Magnusson (University of Toronto)

 

Plenary panel: 

Lynn Enterline (Vanderbilt University)

Michael MacDonald (University of Waterloo)

Russ McDonald (Goldsmiths, University of London)

 

The conference is a joint venture of the University of Waterloo and the Stratford Festival, and will bring together scholars and practitioners to talk about how performance influences scholarship and vice versa. Paper sessions will be held at the University of Waterloo’s Stratford campus, with plays and special events hosted by the Stratford Festival. Conference goers will have the opportunity to attend performances of Hamlet, Pericles, The Taming of the Shrew, and She Stoops to Conquer.

 

For updated information, visit

 

http://www.stratfordfestival.ca/education/resources.aspx?id=28325

 

By January 31, 2015, please send proposals to  This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

Organizers 

Andrea Gammon

Director of Education

Stratford Festival     
 

Kenneth J.E. Graham

Department of English

University of Waterloo
 

Alysia Kolentsis


Department of English

St. Jerome's University

 
 
Shakespeare is to Otway as Window is to Balcony

The Shakespeare Conference: SHK 25.498  Thursday, 11 December 2014

 

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

Date:         December 9, 2014 at 5:05:58 PM EST

Subject:    Shakespeare is to Otway as Window is to Balcony

 

Dear SHAKESPER colleagues,

 

Early in 2014, I posted a query to this list about the origins of the association of “the balcony” with Romeo and Juliet.  With thanks again to the various folks who gave me leads, on- and off-list, I’m delighted to say that The Atlantic published my piece tracing the linguistic and theater history around the balcony.  You can read it here: http://www.theatlantic.com/entertainment/archive/2014/10/romeo-and-juliets-balcony-scene-doesnt-exist/381969/  (The Daily Mail just cited it in a round-up of articles online, although I leave you to decide whether that is a compliment to a scholar . . .)

 

This was not the first time I wrote a piece for The Atlantic, as part of an effort to share scholarly research with a broader audience.  This time, alas, the response involved many comments that indicated the people posting couldn’t grasp the basic argument of the article:  that even the most canonical authors were not ever popular (e.g. there were decades when Otway’s “Wherefore art thou Marius?” was far more commonly known than Shakespeare’s “Wherefore art though Romeo?”), and that our perceptions of canonical texts are shaped by many subsequent cultural factors.  I don’t mind people disagreeing with any argument I put forth if they engage the evidence, but that wasn’t what was happening.  Chalk this up to the fact that we live in an age that increasingly confuses opinion with expertise, and anything you can read on the Wikipedia with historical fact.  

 

Perhaps some of you will find the article and the comments a “teachable moment” to share with your students.  In the very least, it taught me that even the editor at The Atlantic didn’t know what “wherefore” means, as she used it incorrectly in the original title of the piece, which was posted without my involvement.

 

-Lois Leveen

 
 
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