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Call for Papers: ESTS

The Shakespeare Conference: SHK 26.058  Monday, 9 February 2015


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

Date:         February 9, 2015 at 12:41:31 PM EST

Subject:    Call for Papers: ESTS


SHAKSPERians involved in scholarly editing might be interested in the follow conference and its Call for Papers.


"Users of Scholarly Editions: Editorial Anticipations of Reading, Studying and Consulting"


The 12th Annual Conference of the European Society for Textual Scholarship (ESTS) will be held at the Centre for Textual Studies, De Montfort University, Leicester England 19-21 November 2015


The ESTS returns to Leicester where it was founded in 2001 to stage a major collective investigation into the state and future of scholarly editing. Our focus is the needs of users of scholarly editions and proposals for 20 minute papers are invited on topics such as:


* Are users’ needs changing?

* How does edition design shape use?

* Stability in print and digital

* Where are we in the study of mise en page?

* Facsimiles and scholarly editions

* Collaborative and social editing

* Editorial specialization in the digital age

* APIs and mashups versus anticipation

* The logic of annotation

* Is zero the best price point for editions?

* Readers versus users

* Can we assume a general reader'?

* Indexing and annotation versus search

* Editors, publishers and Open Access

* Is technology changing editing?

* Digital editions or digital archives?

* Are editions ever obsolete?

* Scholarly editions versus popular editions

* Any other topic related to the use or users of scholarly editions


Plenary Speaker (subject to confirmation) include:


Hans Walter Gabler (Munich University)

David Greetham (City University of New York)

Tim William Machan (Notre Dame University)

Gary Taylor (Florida State University)

Elaine Treharne (Stanford University)

Andrew Prescott (Glasgow University)


Hands-on workshops will be given on setting movable type, letterpress printing, and getting started with XML.


Proposals for papers should be emailed to Prof Gabriel Egan < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >


See for information and registration

Announcing Shakespeare Theatre Company 2015-2016 Season

The Shakespeare Conference: SHK 26.057  Friday, 6 February 2015


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

Date:         February 6, 2015 at 12:11:03 PM EST

Subject:    Announcing Shakespeare Theatre Company 2015-2016 Season


Announcing our 2015-2016 Season


STC Artistic Director Michael Kahn has put together a season of contrasts and striking new voices, with international directors and adaptors bringing provocative approaches to the classics to Washington, D.C. 


Our season begins with Salomé, a new adaptation by acclaimed adaptor/director Yaël Farber that infuses evocative sound and physicality into the New Testament tale with its legendary Dance of the Seven Veils, drawing on ancient texts as well as Oscar Wilde’s landmark play. Salomé was commissioned through a grant from the Beech Street Foundation.


This world premiere production is part of the Women’s Voices Theater Festival, in which more than 50 of the Washington, D.C. region’s theatres will join together to present world premiere works by female playwrights. 


Next, STC brings American musical theatre’s greatest tribute to the Bard, Kiss Me, Kate, to the stage for the holidays. Cole Porter’s Tony Award®-winning musical will be directed by STC Associate Artistic Director Alan Paul, Helen Hayes Award winner for last season’s A Funny Thing Happened on the Way to the Forum.  


Artistic Director Michael Kahn will direct a double bill of one-acts about life in the theatre with two classic behind-the-scenes comedies, featuring Richard Brinsley Sheridan’s The Critic in a new adaptation by Jeffrey Hatcher (The Government Inspector) and Tom Stoppard’s play-within-a-play whodunit, The Real Inspector Hound. The Critic was commissioned through a grant from the Beech Street Foundation.


Internationally acclaimed director Ron Daniels joins STC to helm the first of the season’s two dramatically different productions of the Bard with Othello, an exploration of the manipulation of a hero-turned-murderer as his imagination is slowly poisoned. Ron’s credits include serving as the associate artistic director of the American Repertory Theatre, as artistic director of the Royal Shakespeare Company’s The Other Place Theatre, and he is an honorary associate director at the RSC.


This year STC moved the international presentation of Dunsinane into the mainstage season, and will continue to do so with the Headlong’s adaptation of George Orwell’s chilling dystopian vision, 1984. Called “a brilliant retelling” by The Guardian, this multimedia production, created by Robert Icke and Duncan Macmillan, explores surveillance, identity, and the security state. 


The season ends with Shakespeare's The Taming of the Shrew, directed by Ed Sylvanus Iskandar, and led by Tony Award®-winning Broadway star Billy Porter (Kinky Boots) as Kate in a provocative all-male production. Known for his epic, immersive performance-style works (The Mysteries), Ed examines identity, and gender roles in a production that brings his edgy alternative style to D.C. 


The season will kick off with the annual Free For All in August, celebrating the 25th anniversary of our annual Washington tradition with the return of Ethan McSweeny’s A Midsummer Night’s Dream

Summer Course at Mount Holyoke College

The Shakespeare Conference: SHK 26.056  Friday, 6 February 2015


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

Date:         February 6, 2015 at 10:50:40 AM EST

Subject:    Summer Course at Mount Holyoke College


This summer, the Mount Holyoke College Professional and Graduate Education program will offer a 5-week, four-credit on Shakespearean adaptationopen to all undergraduate students, graduate students, and members of the public. It runs May 26-July 1, Tuesdays and Thursday 9am-12pm, and Mondays, 1pm-5pm. The course considers how The Tempest has provoked creative expressions from artists in different media from the seventeenth century to the present. After reading and mastering Shakespeare’s play, we will explore how it has been adapted into and inspired other plays, opera, music, the visual arts, film, poetry, and prose. Students will also develop, in the medium of their choice, their own original creative work based upon the play, its themes, language, or characters. Information on enrollment is available online. Space is limited. For questions about the course, contact Dr. Matteo Pangallo ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ).

CFP: Shakespeare Recreated: New Contexts, New Interpretations

The Shakespeare Conference: SHK 26.055  Friday, 6 February 2015


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

Date:         February 6, 2015 at 3:08:47 AM EST

Subject:    CFP: Shakespeare Recreated: New Contexts, New Interpretations







Shakespeare International Studies Centre together with Geoffrey Chaucer Student Society and CULTUR(N)ED Student Society are proud to announce the 2015 student conference on Shakespeare. Although the Bard appears to be the most researched author in the world, his works and his own person still inspire, puzzle and encourage heated debates. Our conference marks a special three-year period in the history of the appreciation of Shakespeare, with the 450th anniversary of his birth in 2014 and the 400th anniversary of his death in 2016. 


We would like to invite proposals for 20 minute presentations (followed up by approximately 10 minutes of discussion) in all areas of studies connected with the works of William Shakespeare. Suggested topics include but are not restricted to: 


• Shakespeare and popculture: comics, computer games, youtube, parodies, etc.; 

• Filming Shakespeare: Shakespeare on film and television, adaptations and appropriations, representations of the playwright on screen; 

• Performing Shakespeare: staging Shakespeare then and now; 

• Polish explorations of Shakespeare: Shakespeare’s presence in Polish literature, film, theatre and art; 

• Representations of (and inspirations by) Shakespeare’s works in world literature, film, theatre and art; 

• Reviving Shakespeare: methods of popularizing Shakespeare in Britain and other countries; 

• Movements and disruptions within the Shakespearean canon: why some of his works are more popular in certain moments in history or even gain a lasting popularity, while others are neglected? 

• Elizabethan culture—society, economy, fashion—and the works of Shakespeare; 

• Apocryphal Shakespeare: plays attributed to Shakespeare, collaborative works and lost plays; 

• Intertextual Shakespeare: Shakespearean references in modern works; 

• Shakespeare in the light of modern theories: Ecocriticism, Poststructuralism, 

• Postcolonialism, New Historicism, Gender & Queer Theory, etc. 


The conference will be held at the Faculty of International and Political Studies, University of Łódź, on 22-23 April 2015. 


The following distinguished guests have confirmed their participation: 


-prof. Virginia Mason Vaughan (University in Worcester, Massachusetts); 

-prof. Alden T. Vaughan (University in Worcester, Massachusetts); 

-dr Dmytro Drozdovsky (National Academy of Sciences of Ukraine). 


We invite all undergraduate, graduate and doctoral students to participate. The conference will be held both in English and Polish. Abstracts of ca. 250 words should be submitted to:  This e-mail address is being protected from spambots. You need JavaScript enabled to view it  no later than 29 March 2015. Selected papers will be published. The registration fee is 30 PLN (10 EURO for overseas participants), which covers coffee breaks, conference materials and publication. 


Conference organisers 


-prof. dr hab. Krystyna Kujawińska Courtney – Head of Shakespeare International Studies Centre 

-dr Piotr Spyra – Academic Supervisor of Geoffrey Chaucer Student Society 

-dr Monika Sosnowska – Academic Supervisor of CULTUR(N)ED Student Society 


For more information, please contact the secretaries of the conference 

Agata Ptasińska 

Justyna Dąbrowska 

Magdalena Popłońska 

Małgorzata Smorawska


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


To find out more about us, please visit the official conference website: 


and the website of Shakespeare International Studies Centre:

Some dozen or sixteen lines

The Shakespeare Conference: SHK 26.054  Thursday, 5 February 2015


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

Date:         February 5, 2015 at 12:31:40 PM EST

Subject:    Re: Dozen or sixteen lines


I much appreciate Gerald Downs’ careful response. I won’t response to his textual assertions, because I lack his certainty as to the provenance and revision history of various passages. 


As to the failure of the mousetrap to prove Claudius’s guilt, I will refer to my more complete examination of the question (and previous discussions of that question) here:


Despite nearly unanimous critical and editorial agreement over the centuries that the mousetrap succeeds (see the footnotes to that article), Claudius simply standing and calling for lights—which is all the text gives us—is hardly an unambiguous giving out. Hamlet’s manically motivated belief and Horatio’s utterly ambiguous comments do not alter that fact.


Beyond that, I think this suggestion re: the dozen or sixteen lines at least highlights something that has been under-appreciated: the extent to which the mousetrap is designed to catch not just the conscience of the king, but of the queen. 


That abuse of Claudius’s queen gives him even more public justification for his anger, and for stopping the play with his call for lights.


All of which demonstrates Shakespeare’s mastery of dramatic tensions in the mousetrap scene, a mastery and level of tension that I think have been insufficiently appreciated.

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