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Nine-month Internship in the Ancient, Medieval and Early Modern Manuscripts Section

The Shakespeare Conference: SHK 25.479  Friday, 5 December 2014


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

Date:         December 4, 2014 at 2:47:38 PM EST 

Subject:    Nine-month Internship in the Ancient, Medieval and Early Modern Manuscripts Section


23 November 2014

Nine-month Internship in the Ancient, Medieval and Early Modern Manuscripts Section


The British Library is pleased to be able to offer a paid internship in the Ancient, Medieval and Early Modern Manuscripts section of the Western Heritage Department for a doctoral or post-doctoral student in History, History of Art or other relevant subject.


- See more at:


The intern will be involved in all aspects of the work of the Ancient, Medieval and Early Modern Manuscripts section, including responding to enquiries, providing talks for students and patrons, selecting and presenting manuscripts for display in our exhibition gallery, and cataloguing, thereby gaining insight into various curatorial duties and aspects of collection care. During the internship at the Library, the intern will enjoy privileged access to printed and manuscript research material, and will work alongside specialists with wide-ranging and varied expertise. 


The primary focus of the internship will be to enhance the online Digitised Manuscripts website by creating and supplementing catalogue entries for medieval manuscripts and accompanying images, and assisting with the Library’s Magna Carta exhibition, working under the supervision of the Lead Curator, Illuminated Manuscripts. 


The internship is designed to provide an opportunity for the student to develop research skills and expertise in medieval and Renaissance art and history, and in presenting manuscripts to a range of audiences.



The programme is only open to students who are engaged actively in research towards, or who have recently completed, a PhD in a subject area relevant to the study of pre-1600 manuscripts, and who have a right to work in the UK. 


Hours of Work/Contract Duration:

  • 36 hours per week over normal business hours, full time for nine months.
  • The internship will start on 2 February 2015 or as soon as relevant security checks have been completed. 

Applications are available on the British Library’s website,


Closing Date: 18 December 2014


Interview Date: 7 January 2015


The selection process may include questions about the date, origin and decoration of a particular manuscript to be shown at the interview.


 - Kathleen Doyle

TLS: Early Modern Women

The Shakespeare Conference: SHK 25.477  Wednesday, 3 December 2014


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

Date:         November 21, 2014 at 1:02:35 PM EST

Subject:    Mothers and Servants


[Editor’s Note:  The past few weeks TLS has had a number of Shakespeare and Early Modern reviews. I will provide excepts here; and if anyone wishes the entire article and does not have access to TLS, please contact me at This e-mail address is being protected from spambots. You need JavaScript enabled to view it . -Hardy]



Mothers and servants 

Elizabeth Scott-Baumann 



An interdisciplinary journal 


Biannual. Arizona Center for Medieval and Renaissance Studies at Arizona State University. Annual subscription, US $50 (Rest of world, US $60). 


Founded nine years ago, Early Modern Women received last year’s Council of Editors of Learned Journals prize for coverage of the period 1500–1800, and has increased its publication to twice a year. On standing down in 2011, the journal’s founding editors spoke of a commitment to “conversation across disciplines, geographies, and generations” which continues to find expression in the open-minded and lively scholarly 

discussion on show here. 


Among the severally combined disciplines, social and art history are often brought together in amply illustrated essays such as Lyndan Warner’s “Remembering the Mother, Presenting the Stepmother: Portraits of the early modern family in Northern Europe” and Diane Wolfthal’s “Household Help: Early modern portraits of female servants”. Warner uses portraits to complement (and complicate) the presentation of remarriage in legal documents, while Wolfthal focuses on portraits of those women who were usually below the focus of many painters and certainly not a class who could afford to own art. Albrecht Dürer made and kept for himself a portrait of a black servant, while some artists were commissioned to produce oil paintings of favoured family servants. Wolfthal argues convincingly that such paintings buck the trend towards servants’ increasing invisibility, seen in the addition, in the seventeenth century, of the backstairs in gentry households. 


Each issue of the journal contains a “forum” section, which collects diverse short essays brought together by a broad theme such as memory, transnationalism or patronage, or revisiting a seminal critical text. In the memory issue (2011), contributions grouped in the forum explore the commemoration of Florentine women by candles (the wealthier the subject, the more wax), and the earliest extant woman’s account of life at the Mughal court. In 2012, the forum focused on “Trans­nationalisms / transculturalisms”; despite the clunky title, the pieces are crisply written and explore the idea of transnational study raised by Merry Wiesner-Hanks in Early Modern Women’s first issue (Wiesner-Hanks returns to the idea in this forum). These short pieces point to the many means of transcultural influence – through intermarriage, trade relations, the mutual influence of different kinship systems and social gender roles – which the essays in the rest of the journal explore at greater length. You will find articles on New Spain, the Atlantic world, the Ottoman empire and early modern Japan as well as Spain, France, Italy and England. Martine van Elk compares the friendship poems of Katherine Philips with those of two Dutch women writers, Katharina Lescailje and Cornelia van der Veer. Van Elk argues that all three poets borrow images from absolutist ideology in order to create a fantasy of a female-ruled public sphere. While this is not a new argument about Katherine Philips, the comparison with Lescailje and Van der Veer edges discussion away from Philips’s debts to her English male predecessors such as John Donne, and questions about her sexuality, to the parallels (if not direct exchanges) with her Continental female peers. 


Diana Robin’s essay on the canonization of Italian women writers in early modern Britain shows how several founders of and donors to the British Museum shaped its holdings of Italian women writers and thus their reception in England. For example, Joseph Smith, an early eighteenth-century British consul in Venice, was married to an opera singer (Catherine Tofts), later to a patron of the arts (Elizabeth Murray), and interested in the “woman-centered avant-garde literary movement” in Venice, an interest which shaped his own collection and later that of the British Museum. In this autumn’s issue, Susan D. Amussen and Allyson M. Poska’s “Shifting the Frame: Trans-imperial approaches to gender in the Atlantic world” turns its attention to the impact of Africa and the Americas on Europe, rather than the other (more commonly investigated) way round. 


In literary studies, the journal’s focus on the lesser-navigated geographical areas is complemented by one on newly discovered material, such as the manuscript writings of Dorothy Calthorpe held in the archives at Yale and considered here by Michelle M. Dowd. This article in effect introduces an Newotherwise overlooked seventeenth-century author (there is only one other published piece on Calthorpe, co-authored by Dowd), and it also presents a convincing argument about her political and formal borrowings from country-house poetry in her short prose narrative on the Garden of Eden. Dowd argues that Calthorpe’s characterization of Adam as a kind of elite estate manager, cultivating luxury goods alongside the more obvious spiritual joys of Eden, shows a writer trying to consolidate gentry authority at a time of great political instability. 


Early Modern Women presents a range of voices from the most senior to junior scholars, with each issue’s forum and reviews sections being especially inclusive of the latter.  [ . . . ] 

Position Available: Assistant/Associate Professor of Acting

The Shakespeare Conference: SHK 25.476  Wednesday, 3 December 2014


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

Date:         December 2, 2014 at 2:42:57 PM EST

Subject:    Position Available


The Theatre School at DePaul University

Assistant/Associate Professor of Acting - Shakespeare/Heightened Text  


Tenure Track  


Position Description:

The Theatre School at DePaul University in Chicago invites applications for the fall of 2015 for a full-time tenure track faculty position teaching acting for Shakespeare and Heightened Text in an urban multicultural conservatory program with a 90 year history. The position’s responsibilities include: teaching acting to a diverse student body on the MFA and BFA levels, advising and mentoring students, and directing in the production program. 

Qualifications: M.F.A. or professional equivalent. Teaching experience is required. As faculty play a central role in our production season, The Theatre School is also looking for an individual with directing experience. Candidates must be committed to continuing work in the profession and must also be committed to collegiality and a collaborative process. Because the School seeks faculty members who bring a critical perspective to issues of diversity and multiculturalism, candidates of color are strongly encouraged to apply. 

The Theatre School at DePaul University educates, trains, and inspires students of theatre in a conservatory setting that is rigorous, disciplined, culturally diverse, and that strives for the highest level of professional skill and artistry. Central to our mission is a commitment to diversity and equality in education. As an integral part of the training, The Theatre School produces public programs and performances of a wide repertoire of plays - classic, contemporary, and original - that challenge, entertain, and stimulate the imaginations of our artists and our audiences. We seek to enhance the intellectual and cultural life of our university, our city and the profession. 

DePaul University is a thriving multi-faceted Catholic, Vincentian, and urban university with ten schools and colleges, five campuses, and enrollment of 23,000 students. The Theatre School, located on the university’s Lincoln Park campus, enrolls 350 students in 12 undergraduate and 3 graduate programs. Our faculty (28 full time and 74 part time) includes leading Chicago theatre artists across all disciplines. Faculty members are active participants in the thriving Chicago theatre community. 

Deadlines: Please apply online as soon as possible at: and include a cover letter (which includes a personal statement and teaching philosophy) and CV/resume. All applicants must apply online in order to be considered (paper applications will not be accepted). Letters of recommendation will be requested at a later stage of the search process. For full consideration applications must be received by January 23, 2015. 


Jane Drake Brody

Associate Professor, Acting

The Theatre School

(225) 338 9315


Folger Symposium Announcement: Shakespeare's Language

The Shakespeare Conference: SHK 25.475  Wednesday, 3 December 2014


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

Date:         December 2, 2014 at 5:08:11 PM EST

Subject:    Folger Symposium Announcement: Shakespeare's Language


The Folger Institute is pleased to announce that applications are now open for its spring symposium, “Shakespeare’s Language,” organized by Lynne Magnusson. 


Funding is available to qualified graduate students and faculty from the Folger Institute consortium. If you would like to apply for admission without funding, you are more than welcome to do so.


I would be happy to answer any questions you or your colleagues may have.


Best wishes,

Elyse Martin

Program Assistant 

Folger Institute 

(202) 675-0333



Shakespeare’s Language

Lynne Magnusson 

Spring Symposium



If the Muses themselves spoke English, they would speak with “Shakespeare’s fine-filed phrase,” Francis Meres commented in 1598, suggesting that Shakespeare’s linguistic art tapped the emerging potential of the English language and extended its resources. Sponsored by the Folger Institute Center for Shakespeare Studies as part of its triennial anniversary programming, this symposium will gather several dozen scholars with relevant research and teaching interests to explore Shakespeare’s still resonant language. With the help of invited session leaders, participants will consider reinvigorated contexts and new tools for its illumination and assessment. Four hundred years on, linguistic change is itself an important context, and the symposium will address not only variation in early modern English but also the effects of subsequent language change, changing perceptions of English, and translation on Shakespeare’s verbal art and its reception. Revisiting Renaissance education in the arts of language, symposium participants will ask how new perspectives on the everyday theatricality of the Latin schoolroom or its grammatical and rhetorical culture might inflect understanding of Shakespeare’s language. Turning to current-day tools, the symposium will look at how discourse analysis has developed beyond speech-act theory, whether reading Shakespeare’s performative utterance as passionate action, cognitive processing, or dialogic negotiation. With computer-assisted analysis of texts and large corpora rapidly transforming language study, the symposium will also create opportunities to try out some relevant tools for digital text-analysis.


Organizer: Lynne Magnusson is Professor of English at the University of Toronto. She is currently working on a book on  The Transformation of the English Letter, 1500-1620, a second book on ways to rethink Shakespeare’s language historically, and an edition of Shakespeare’s Sonnets


Speakers: Sylvia Adamson (The University of Sheffield), Amy Cook (Stony Brook University), Hugh Craig (The University of Newcastle, Australia), Mary Crane (Boston College), Jeff Dolven (Princeton University), Lynn Enterline (Vanderbilt University), Brett Hirsch (The University of Western Australia), Jonathan Hope (University of Strathclyde), Alysia Kolentsis (St. Jerome’s University and the University of Waterloo), Jenny C. Mann (Cornell University), Russ McDonald (University of London), Martin Mueller (Northwestern University), Terttu Nevalainen (University of Helsinki), David Schalkwyk (Queen Mary, University of London, and University of Warwick), Daniel A. Shore (Georgetown University), Stefan Sinclair (McGill University), Michael Witmore (Folger Shakespeare Library)


Apply12 January 2015 for admission and grants-in-aid. Application form here

Shakespeare and Marxism

The Shakespeare Conference: SHK 25.474  Tuesday, 2 December 2014


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

Date:         December 2, 2014 at 4:17:02 AM EST

Subject:    Shakespeare and Marxism


In response to Al Magary's comment about Paul Mason's article in the Guardian, he might be interested to read Gabriel Egan's book 'Shakespeare and Marx', available to read on his website Chapter one of the book uses passages from Richard II to discuss the point about the transition from feudalism to capitalism that Mason mentions in his article.

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