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Deadline Extended for Making Links Conference

The Shakespeare Conference: SHK 26.111  Monday, 9 March 2015

 

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

Date:         Sunday, March 8, 2015 at 12:24 PM

Subject:    Deadline Extended for Making Links Conference

 

If you are interested in Early Modern Drama, digital editions, encoding, apps, performance, and/or digital maps, you will be pleased to learn that we have been able to extend the deadline for early registration for the conference “Making Links: Texts, Contexts, and Performance in Digital Editions of Early Modern Drama,” to be held at the University of Victoria just after the meeting of the SAA in Vancouver. Graduate students will also be able to attend the conference for a modest CAD 10.00 fee. The conference will bring together scholars from an international community of those interested in taking advantage of the digital medium to publish editions of Early Modern Drama, and to make them freely available to a global audience. The conference features paper sessions and workshops on linking in and between these editions. Featured projects include: Internet Shakespeare Editions, Digital Renaissance Editions, Queen's Men Editions, The Map of Early Modern London, Folger Digital Texts, Global Shakespeares, EMOTHE (Early Modern Theatre, University of Valencia), Shakespeare au Quebec, the Digital Companion to Music in the English Drama, and others.

 

The early registration fee of CAD 55.00 will apply until the Ides of March, after which it becomes CAD 75.00.

 

Please visit http://conferences.uvic.ca/index.php/ise/makinglinks for full information about the conference, and the link to the Laurel Point Inn were you can book a room for the conference rate of CAD 99.00.This rate is also available until the extended deadline.

 

We are grateful to the Social Sciences and Humanities Research Council of Canada, the Internet Shakespeare Editions, the Map of Early Modern London, and the University of Victoria (Department of English, UVic Libraries, Faculty of Graduate Studies, and Humanities Computing and Media Centre) for providing the funding and contributions that make this event — and the extended deadline — possible.

 

Cheers—

Michael

Coordinating Editor, Internet Shakespeare Editions

<http://internetshakespeare.uvic.ca/>

Department of English, University of Victoria

Victoria B.C. V8W 3W1, Canada.

 
 
Adventures in Original Pronunciation

The Shakespeare Conference: SHK 26.110  Friday, 6 March 2015

 

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

Date:         March 5, 2015 at 4:35:26 PM EST

Subject:    Re:  OP

 

For those who’d be interested in some earlier reflections on the pronunciation of names like “Gobbo” and “Launcelet,” I’ve posted an online version of “Textual Deviancy in The Merchant of Venice,” an article that appeared in THE MERCHANT OF VENICE: New Critical Essays, edited by John W. Mahon and Ellen Mcleod Mahon (Routledge, 2002). Click on www.shakesguild.org/Merchant.pdf for a quick link to it.

 

And visit www.shakesguild.org/Andrews.html or click on www.shakesguild.org/Site-Reading.pdf for a link to “Site-Reading Shakespeare’s Dramatic Scores,” a related article that appeared in Shakespearean Illuminations: Essays in Honor of Marvin Rosenberg, edited by Jay L. Halio and Hugh Richmond (University of Delaware Press, 1998). 

 

Both essays are pertinent, not only to issues related to Original Pronunciation, but to the argument that Lukas Erne was later to make in Shakespeare as Literary Dramatist (Cambridge University Press, 2003).   

 

John F. Andrews 

 
 
A Selected Guide to Shakespeare on the Internet

The Shakespeare Conference: SHK 26.109  Friday, 6 March 2015

 

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

Date:         Friday, March 6, 2015

Subject:    A Selected Guide to Shakespeare on the Internet

 

I am in the process of revising my “A Selected Guide to Shakespeare on the Internet”: http://shaksper.net/scholarly-resources/shakespeare-on-the-internet.

 

If you know of Shakespeare-related Internet site that is not included in the current list and you would like me to consider it for inclusion in the revised list, please send me the link and perhaps a brief explanation for why you believe it should be included.

 

I thank everyone who responds in advance, and thank everyone for assistance in keeping “A Selected Guide to Shakespeare on the Internet” up-to-date.

 

Hardy

 
 
CFP: The Ohio Valley Shakespeare Conference

The Shakespeare Conference: SHK 26.108  Friday, 6 March 2015

 

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

Date:         March 5, 2015 at 5:31:55 PM EST

Subject:    The Ohio Valley Shakespeare Conference

 

The Ohio Valley Shakespeare Conference

Call for Papers

“Negotiating Shakespeare: History, Culture, and Context”

October 9-11, 2015

Bowling Green State University

Bowling Green, Ohio

 

 

 

Please join us October 9-11, 2015 in Bowling Green, Ohio for the annual Ohio Valley Shakespeare Conference.

 

Our plenary speaker will be Ian Smith, professor of English at Lafayette College in Easton, Pennsylvania and author of Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009). 

The conference will also feature America’s longest running touring company, the National Players, who will perform A Midsummer Night’s Dream and offer a workshop for actors.

 

This year, the OVSC is especially interested in papers and panels on the topic of negotiating Shakespeare through history, culture, and context. We welcome a variety of approaches to this topic. Essays might consider, for instance, how we negotiate Shakespeare in the twenty-first century. How do adaptations of Shakespeare’s work negotiate the gulf of over 400 years that stands between early modern texts and us? Which theories of time and/or history are the most fruitful in negotiating our relationship to the early modern era and its texts? How do we negotiate the use of such “old” texts, like Shakespeare’s, in the contemporary classroom. Alternately, essays could inquire about Shakespeare’s negotiation of his culture, in relation, for instance, to governmental censorship or playhouse politics. Or, papers might examine negotiations within Shakespeare’s plays, including characters’ negotiations of identity as it relates to gender, class, race, sexuality, and/or religion. Discussions of bad faith negotiations, such as Aaron’s false promise of freedom for Martius and Quintus in exchange for one of the Andronici’s hands, are also encouraged as are those that examine characters’ negotiations of language and social systems found within the plays. 

 

Proposals for papers of 20 minutes, roundtable topics, or panels of three or four members on Shakespeare’s work and that of his contemporaries are welcome. Please send abstracts of 300-500 words to This e-mail address is being protected from spambots. You need JavaScript enabled to view it by August 1, 2015.

 

The OVSC publishes a volume of selected papers each year and conferees are welcome to submit revised versions of their papers for consideration. Students who present are eligible to compete for the M. Rick Smith Memorial Prize. More information is available at http://blogs.uakron.edu/ovsconf/.

 

This year’s conference is sponsored by Bowling Green State University, Lourdes University, Owens Community College, and the University of Toledo. 

 
 
Adventures in Original Pronunciation

The Shakespeare Conference: SHK 26.107  Thursday, 5 March 2015

 

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

     Date:         March 4, 2015 at 3:04:50 PM EST

     Subject:    Re: SHAKSPER: OP

 

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

     Date:         March 5, 2015 at 7:23:22 AM EST

     Subject:    Re; OP 

 

[3] From:        Jim Carroll < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

     Date:         March 5, 2015 at 12:55:04 PM EST

     Subject:    Re: OP 

 

 

[1]-----------------------------------------------------------------

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

Date:         March 4, 2015 at 3:04:50 PM EST

Subject:    Re: SHAKSPER: OP

 

 William Blanton concludes his observation that Shylock is in fact the Devil by saying,

 

>I would really like to enter into a dialog with some 

>scholar/theologian who can help me make better 

>sense of what I perceive Shakespeare was doing. 

 

Amen!

 

[2]-------------------------------------------------------------

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

Date:         March 5, 2015 at 7:23:22 AM EST

Subject:    Re; OP

 

Gerald E. Downs tries to pick sense out of what John Drakakis wrote:

 

GED> "Printing by formes" does have meaning, even

GED> if the phrase should be "setting by formes."

GED> . . . I understood Drakakis to mean that quartos

GED> were set by formes . . .

 

Drakakis’s phrasing prohibits us from making sense of him that way when he writes:

 

JD> . . . printing was by formes (setting might

JD> be by a combination of seriatim and formes

JD> . . . and we should distinguish printing

JD> from setting.

 

Yes, quartos might be set by formes. But to say that the printing of quartos was by formes (and to distinguish this from setting by formes) is meaningless, since by definition everything was printed by formes.

 

I have trouble following Downs’s argument about the press variant at 4.1.73 in Q1 The Merchant of Venice because he seems to contradict himself:

 

GED> We can't deny some kind of correction. . . .

GED> Thus the two complete lines do not result from

GED> correction but represent the state of the text

GED> before the accident.

 

What we have is a variant, not necessarily a correction.  This I indicated by writing the qualification “if one accepts that the difference between the two states is due to intentional stop-press correction”. Downs infers from this that Egan “allows for ‘unintentional stop-press correction’”. I don’t. My contrast is between intentional correction and unintentional alteration, for example by accident.

 

There is also the possibility of miscorrection by various vectors. A proof-reader might order a change because he misunderstands what he reads, a compositor might misunderstand the marks that the proof-reader makes on the proof, and a compositor’s hands might perform an alteration to his type that his brain did not intend.

 

In the speech under discussion from The Merchant of Venice there are four lines that each begin “you may as well” and a proof-reader might have thought that one or more of them was dittography caused by a compositor’s eye-skip and might mistakenly asked for one or more to be removed.  In the case in question, taking out the repetition of “you may as well” would not disrupt the sense. If so, this is not quite what the compositor achieved (since the word “well” was not removed) but it might, I suppose, have been the intention. As far as I’m aware there aren’t any other known variants on this forme that might help us to decide this case.

 

Gabriel Egan

 

PS: I’m honoured that Hardy thinks my Open Access publications list is worth drawing to SHAKSPERians’ attention. Corrections to anything I’ve written are always gratefully received.

 

[3]-------------------------------------------------------------

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

Date:         March 5, 2015 at 12:55:04 PM EST

Subject:    Re: OP

 

I believe that the participants in this discussion have confused themselves so thoroughly that not only do they not understand what the other is saying, they don’t even understand what they themselves are saying.

 

Here’s my solution to Iobbe/Gobbo: Just a hunch, but I doubt that there was any shortage of alcoholics in Elizabethan print shops.  Maybe they just screwed it up.

 

Jim Carroll

 
 
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