Announcements

April 23 . . .

From:        Shakespeare at Rhodes <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 23, 2018 at 12:29:22 PM EDT

Subject:    April 23 . . . 

 

Happy birth / death / book day from the Pearce Shakespeare Endowment!

 

In 2017-18, we hosted Marc Shell and Ayanna Thompson; conducted a pedagogical workshop for local teachers; led a seminar on The Tempest at the West Tennessee State Penitentiary; co-sponsored a lecture about the Reformation as well as a performance of “Shakespeare’s Women” directed by Leslie Reddick '82; and judged over 200 entries for Rhodes' inaugural Sonnet Contest. The two winning sonnets were published in The Southwestern Review and The Commercial Appeal:

 

https://www.commercialappeal.com/story/opinion/contributors/2018/04/20/opinion-sonnet-lives-students-hearts-pens/532271002/

 

We were also elated to welcome to Rhodes Stephanie Elsky, an accomplished teacher-scholar with interests in law and literature; the history of political thought; gender and women’s writing; the origins of colonialism; the reception of the classical past; and the history of the material text. 

 

Save the date: Professor Elsky will host Michelle Dowd for a lecture on Thursday, February 21, 2019. Professor Dowd directs the Hudson Strode Program in Renaissance Studies at the University of Alabama, where Theodore Nollert ’16 is currently enrolled, and from where Will Roudabush ’15 (now at SMU) graduated. 

 

Other recent Rhodes English alumni pursuing early modern studies include Jeremy Culver '13, NYU Team Coordinator for the Early Novels Database; Maggie McGowan ’14, who presented “Cultivating Skill in William Cowper's The Task” at the Annual Meeting of the American Society for Eighteenth-Century Studies (where she caught up with Professor Rudy); Andrew Miller ’11, whose Spenser essay was accepted for publication in English Literary History; Samantha Smith '14, now Education and Development Coordinator for the Atlanta Shakespeare Company; and Katherine Watkins '07, who teaches Shakespeare in Millington and won the 2017 Milken Educator Award.

 

Scott Newstok looks forward to commencing his sabbatical by teaching in Rhodes’ London program, visiting longtime Pearce collaborator Nick Hutchison, and researching Orson Welles at the Folger Shakespeare Library.

 

 

 

 

Launch of New Edition of ShakespearesWords.com

The Shakespeare Conference: SHK 29.0179  Monday, 23 April 2018

 

From:        David Crystal <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 22, 2018 at 4:12:24 PM EDT

Subject:    Launch of New Edition of ShakespearesWords.com

 

 

PRESS RELEASE

 

Launching April 23rd 2018

 

ShakespearesWords.com 3.0

 

Exploring Shakespeare’s Works like never before…

 

 

We are thrilled to announce the launch of ShakespearesWords.com version 3.0! 

 

We’ve received many suggestions for new features over the past decade, and all are now implemented in the 3.0 edition of the site. 

 

These include:

  • The site now runs up to ten times faster than before
  • All texts are shown in a First Folio or Quarto edition alongside the modern text
  • All Folio & Quarto spellings of words are now in the Glossary
  • The Relationship Circles are now interactive: click on a name to see that character's Part in the play
  • We've rebuilt the search engine, and added auto-completion functionality for word-search and character-search - start typing a word…
  • You can now search for words used by individual characters and in individual plays or poems
  • With rebuilt advanced search function, it’s easy to see if a particular word is being used nearby your search word
  • And most importantly, the site is now mobile-adaptive, so people can explore it on their cell-phone or tablet. Shakespeare’s Words is now pocket-sized!

In order to meet the substantial costs incurred in developing this new site we've introduced a ticketing model: after a limited free exploration, those who wish to carry on using the site can purchase access for a day, a month, a year, or a decade. 

 

And, as ever, once running costs are covered, we intend to make donations to theatre companies that receive no public subscription.

 

For further information, contact This email address is being protected from spambots. You need JavaScript enabled to view it..

 

David and Ben Crystal

 

 

 

REED News

The Shakespeare Conference: SHK 29.0178  Thursday, 19 April 2018

 

From:        Sally-Beth McClean <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 18, 2018 at 12:56:46 PM EDT

Subject:    REED News

 

REED: Berkshire, ed. Alexandra F. Johnston, Launched!

 

Announcing REED’s second digital edition, for the county of Berkshire, edited by Alexandra F. Johnston. Now freely available at REED Online: https://ereed.library.utoronto.ca/.

 

We are pleased to make available the long-awaited records for Berkshire and equally delighted that for the first time users will be able to search across two collections for locations, people and a wide range of topics, such as summer games or the King’s Men. We anticipate an ever-growing list of results as more collections are published online.

 

The REED: Berkshire records illustrate a rich popular entertainment tradition. The most prominent details of mimetic activity come from the parish of St Laurence, Reading, which has preserved records running from 1498 to 1573, among the fullest and richest in England. Virtually every kind of mimetic activity is featured--an Easter play with evidence from 1498 to 1537, an early sixteenth-century Creation play, a Robin Hood game, morris dancing, church ales, maypoles, and Hock gatherings. Reading was a stopping place for all kinds of late medieval travelling entertainers as well as for some of the most prominent professional companies, including Queen Elizabeth’s, the earl of Leicester’s, and King James’ players, along with those of other royal family members in the early seventeenth century. Noble households are also well represented in the collection, which includes an edition of “The Entertainment of Queen Elizabeth” by Lady Elizabeth Russell at Bisham in 1592.

 

 

 

Critical Survey on Shakespeare and War?

The Shakespeare Conference: SHK 29.0177  Tuesday, 17 April 2018

 

From:        Patrick Gray <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 17, 2018 at 1:50:52 AM EDT

Subject:    Critical Survey on Shakespeare and War?

 

Special 30th anniversary issue of Critical Survey 30:1 (2018)

Shakespeare and War 

 

https://www.berghahnjournals.com/view/journals/critical-survey/30/1/critical-survey.30.issue-1.xml

 

Guest editor: Patrick Gray

 

Editors: Bryan Loughrey and Graham Holderness

 

Contents:

 

Shakespeare and War: Honour at the Stake

Patrick Gray

 

Shakespeare in Sarajevo: Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

 

John of Lancaster’s Negotiation with the Rebels in 2 Henry IV: Fifteenth-Century Northern England as Sixteenth-Century Ireland

Jane Yeang Chui Wong

 

Shakespeare’s Unjust Wars

Franziska Quabeck

 

Sine Dolore: Relative Painlessness in Shakespeare’s Laughter

Daniel Derrin

 

The Better Part of Stolen Valour: Counterfeits, Comedy, and the Supreme Court

David Currell

 

Hamletism in the Spanish Civil War, 1936-39

Jésus Tronch

 

Where Character is King: Gregory Doran’s Henriad

Alice Dailey

 

Review of Franziska Quabeck, Just and Unjust Wars in Shakespeare (Berlin: De Gruyter, 2013)

Elizabeth Hoyt

 

Review of Irena R. Makaryk and Marissa McHugh, eds., Shakespeare and the Second World War: Memory, Culture, Identity (Toronto: University of Toronto Press, 2012)

Gašper Jakovac

 

 

Patrick Gray

This email address is being protected from spambots. You need JavaScript enabled to view it.

Durham University

 

 

 

 

UPDATE CFP: Computational Methods for Literary-Historical Textual Studies

The Shakespeare Conference: SHK 29.0176  Monday, 16 April 2018

 

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

Date:         April 15, 2018 at 8:23:17 AM EDT

Subject:    UPDATE CFP: Computational Methods for Literary-Historical Textual Studies

 

Dear SHAKSPERians

 

The conference described below now has the following confirmed plenary speakers and topics:

 

Arianna Ciula (King’s College London) “Modelling Digital Humanities: Thinking in practice”

 

Ruth Ahnert (Queen Mary University of London) “The cult of networks”

 

Rebecca Mason (Glasgow University) “Imposing structures on legal historical documents”

 

Anupam Basu (Washington University in St Louis) “Spenser’s spell: Archaism and historical stylometrics”

 

Allesandro Vatri (Wolfson College Oxford and Turing Institute Cambridge) “A computational approach to lexical polysemy in Ancient Greek”

 

John Nance (Florida State University) “Title to be confirmed”

 

David L. Hoover (New York University) “Simulations and difficult problems”

 

Marco Buchler (Göttingen Centre for Digital Humanities) “Title to be confirmed”

 

Hugh Craig (Newcastle University, Australia) “Digital dating: Early modern plays and the ‘ever-rolling stream’”

 

Willard McCarty (King’s College London) on “What happens when we intervene?”

 

Gary Taylor (Florida State University) on “Invisible writers: Finding ‘anonymous’ in the digital archives”

 

Paul McNulty (Cambridge University) “Methods and interactive tools for exploring the semantics of essentially contested political concepts”

 

John Jowett (Shakespeare Institute) “Shakespeare as digital text”

 

The DEADLINE for paper proposals is 1 May 2018. The original Call for Papers follows ...

 

Conference: Computational Methods for Literary-Historical Textual Studies. 3-5 July 2018 atDe Montfort University

 

The Centre for Textual Studies at De Montfort University in Leicester, England, is running a three-day international conference to showcase and explore the latest methods for analyzing literary and historical texts using computers.  A particular focus will be the ways in which literary and historical scholarship will turn increasingly algorithmic in the future as we invent wholly new kinds of questions to ask of our texts because we have wholly new ways to investigate them. The conference will bring together, and put into fruitful dialogue, scholars using traditional literary and historical methods and those exploring and inventing new computational methods, to their mutual benefit.

 

Proposals are invited for 20-minute papers on our topic, which might cover such matters as:

  • More markup or smarter algorithms?: The future of text analysis.
  • Is anything just not computable in literary-historical textual studies, and does it matter?
  • Where are we with Optical Character Recognition?
  • Are texts Orderly Hierarchies of Content Objects, really?
  • Can (should?) one person try to learn traditional and digital methods of textual scholarship?
  • XML but not TEI: Using roll-your-own schemas
  • New developments in Natural Language Processing
  • Regularizing historical spelling variation: Is it necessary? How can we do it?
  • Getting started with digital textual analysis: Reports from unwearied beginners
  • Is it too easy to get results with computers and too hard to avoid big errors?
  • Teaching textual analysis using computers
  • Does it matter if non-computational colleagues don’t understand our work?
  • Showcasing new technologies
  • Is digital practice changing textual theories?
  • When is a source text digital transcription good enough?
  • Teamwork versus lone scholarship: Does working digitally make a difference?
  • Where does textual analysis meet digital editing?

 

The conference is generously funded by the UK’s Arts and Humanities Research Council, which includes the provision of eight student bursaries, worth 200 GBP each, to help cover the costs of attending to give a paper.  Students wanting to apply for bursaries should indicate so in the paper proposal.

 

To apply to give a paper, please send the title of the paper and a description (200-300 words) to Prof Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>. If you are a student applying for one of the bursaries, please say so in your proposal and add a couple of sentences describing your circumstances in a way that makes us want to give you the bursary.

 

DEADLINE for paper proposals: 1 May 2018.

 

Regards

Gabriel Egan

De Montfort University. www.gabrielegan.com

Director of the Centre for Textual Studies http://cts.dmu.ac.uk

National Teaching Fellow http://www.heacademy.ac.uk/ntfs

Gen. Ed. New Oxford Shakespeare http://www.oxfordpresents.com/ms/nos

 

 

 

 

 

CFPs: RSA and ACMRS, New Technologies

The Shakespeare Conference: SHK 29.0175  Monday, 16 April 2018

 

From:        Laura Estill <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 13, 2018 at 2:10:13 PM EDT

Subject:    CFPs: RSA and ACMRS, New Technologies

 

Dear SHAKSPER-ians,

 

Below please find two CFPs for “New Technologies and Renaissance Studies” (RSA and ACMRS).

 

Thanks!

Laura Estill

Associate Professor of English

Texas A&M University

Editor, World Shakespeare Bibliography

www.worldshakesbib.org

 

 

Call for Proposals: New Technologies and Renaissance Studies

RSA 2019, 17-19 March, Toronto

 

Since 2001, the Renaissance Society of America annual meetings have featured panels on the applications of new technology in scholarly research, publishing, and teaching. Panels at the 2019 meeting will continue to explore the contributions made by new and emerging methodologies and the projects that employ them.

 

For 2019, we welcome proposals for papers, lightning talks, panels, and or poster / demonstration / workshop presentations on new technologies and their impact on research, teaching, publishing, and beyond, in the context of Renaissance Studies.  Examples of the many areas considered by members of our community can be found in the list of papers presented at the RSA since 2001 (https://goo.gl/Azdt3p) and in those papers published thus far under the heading of New Technologies and Renaissance Studies (https://goo.gl/S5Q5MN). 

 

Please send proposals before 30 April 2018 to This email address is being protected from spambots. You need JavaScript enabled to view it.. Your proposal should include a title, a 150-word abstract, and a one-paragraph biographical CV, as well as an indication of whether you would consider or prefer an online presentation. We are pleased to be able to offer travel subventions on a competitive basis to graduate students who present on these panels; those wishing to be considered for a subvention should indicate this in their abstract submission.

 

We thank Iter: Gateway to the Middle Ages & Renaissance (https://www.itergateway.org) for its generous sponsorship of this series and its related travel subventions since 2001.

 

--

 

Call for Papers: Digital Humanities in Medieval and Renaissance Studies

 

25th Annual ACMRS Conference, https://acmrs.org/conferences/annual-acmrs-conference

Magic, Religion, and Science in the Global Middle Ages and Renaissance

7-9 February 2019, Embassy Suites Phoenix-Scottsdale Hotel

 

For the past several years, the Renaissance Knowledge Network (ReKN: http://rekn.itercommunity.org) has sponsored sessions at the ACMRS annual conference exploring the intersection of computational methods and Medieval and Renaissance Studies. For the 2019 gathering, we invite paper proposals that explore any topic related to the study and teaching of the Middle Ages and Renaissance and its intersection with the Digital Humanities, including and beyond those aligned with the general theme of the conference.  Please send paper proposals including a title, one paragraph abstract, and brief biographical statement by 1 November 2018 to This email address is being protected from spambots. You need JavaScript enabled to view it..

 

We thank Iter: Gateway to the Middle Ages & Renaissance (http://www.itergateway.org) and ACMRS for its support of these panels in the past.

 

 

 

 

Cantatas of Thomas Arne QUEENS CONSORT April 26-28

The Shakespeare Conference: SHK 29.0173  Friday, 13 April 2018

 

From:        Gene Murrow - GEMS <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 11, 2018 at 12:55:11 PM EDT

Subject:    Cantatas of Thomas Arne QUEENS CONSORT April 26-28

 

THE QUEENS CONSORT is a professional early music instrument ensemble, arguably the first such ensemble based in the borough of Queens. Currently in its third season, the Consort performs a wide variety of repertoire spanning many countries and time periods.

 

Gotham Early Music Scene, Inc. (GEMS), the service and advocacy organization for early music in New York, is forwarding the following listing information to Shaksper on behalf of THE QUEENS CONSORT. We thank you for your attention!

 

Gene Murrow

Executive Director

 

FOR IMMEDIATE RELEASE

April 11, 2018

 

 

THE ARNE PROJECT

 

Premiers of rare cantatas by Thomas Arne

 

 

The Queens Consort presents “The Arne Project,” performing North American and New York City premieres of rare cantatas by 18th-century English composer Thomas Arne.

 

Arne is best known for his musical settings of songs in Shakespeare’s plays and the patriotic songs “Rule Britannia” and “God Save the King.” The Consort is presenting three shows in Manhattan and Queens, which will feature guest lecturer and noted Arne scholar, Dr. Paul Rice, Professor of Musicology at Memorial University of Newfoundland, and soprano Brittany Palmer.

Lovers found, lovers scorned, potential lovers encouraged… such are the concerns of the solo cantatas. The range of human emotions in these works is large and remains as relevant today as when Arne composed them in the 18th century. From fiery outbursts to melting love songs, his settings wrap these very human concerns in music that is as moving as it is elegant.

 

All three concerts are one hour without intermission. A free post-concert reception follows concerts #2 and #3.

 

Concert 1

 

Date:                          Thursday, April 26, 2018

 

Time:                                     1:15 PM

 

Location:                   Chapel of St. Bart’s Church

                                    325 Park Avenue

                                    Manhattan

 

Neighborhood:         Midtown East

 

Cross Street:              50th Street

 

Subway/Bus:             #6, E, or M subway on Lexington Avenue

                                    M1, M2, M3, M4, M101, M102, M103, M50 buses

 

Tickets:                      Free admission. Suggested free-will donation $10

 

 

Concert 2

 

Date:                          Friday, April 27, 2018

 

Time:                                     7 p.m.

 

Location:                   Third Street Music School

                                    235 East 11th Street

                                    Manhattan

 

Neighborhood:         Lower East Side

 

Cross Street:              2nd Avenue

 

Subway/Bus:            L train to 3rd Avenue

                                    M16 (SBS) or M8 bus

 

Tickets:                      Free admission.

 

Concert 3

 

Date:                         Saturday, April 28, 2018

 

Time:                                     7 p.m.

 

Location:                   St. Mark’s Church

                                    33-50 82nd Street

                                    Jackson Heights, NY

 

Neighborhood:         Jackson Heights, Queens

 

Cross Street:              34th Avenue

 

Subway/Bus:            F/E/R/M subway lines to Roosevelt stop in Jackson Heights, or the #7 to                                       82nd Street/Jackson Heights

 

Tickets:                      $20 (students & seniors $10)

Tickets available at the door

 

About Brittany Palmer, soprano soloist

Soprano, Brittany Palmer, resides in New York City where she performs as a soloist, choral soprano, and chamber music collaborator.  Trained at Florida State University and the Eastman School of Music, her performing career has included solo performances with Opera North, Rochester Philharmonic Orchestra, Western New York Chamber Orchestra, Company XIV, Columbia Collegium, Opera Gaya, University of North Florida, and the Trinity Church at Wall Street, among others. Some of her favorite performances include Susanna (Le Nozze di Figaro), La Comtesse Adèle (Le Comte Ory), Ariane (Ariane – Martinů), Drusilla (L’Incoronazione di Poppea), Blondie (The Abduction of Figaro), Adina (L’Elisir D’Amore), as well as the soprano solos for the St. Matthew Passion, Carmina Burana, the Fauré Requiem, and Haydn’s Lord Nelson Mass.

Ms. Palmer was praised in the Washington Post for her performance in Noli Me Tangere at the Kennedy Center and has received accolades from other reputable publications such as The New York Times and The Wall Street Journal for her perfomances in New York City.  She is a member of the internationally acclaimed ensemble, SIREN Baroque, and a member of the St. James Compostela Choir in New York City.  Ms. Palmer also performs and lectures regularly with Taucks River Cruise's "Musical Magic Along the Blue Danube" which tours from Budapest to Prague.

 

About the artists of THE QUEENS CONSORT:

 

Claire Smith Bermingham, Co-Founder and Baroque Violin received her M.Mus. in violin performance at Boston Conservatory studying under David Kim and currently studies baroque violin with Judson Griffin. She has also taken baroque master classes with Rachel Podger, Marc Destrube, Julie Andrijeski, Marilyn McDonald and Cynthia Roberts.  She has performed baroque violin with American Classical Orchestra, Siren Baroque, Trinity Baroque Orchestra, Biber Baroque, La Fiocco, Dorian Baroque, Vilas Baroque, Big Apple Baroque, Vox Ama Deus, VOICES, The Yale Schola Cantorum and with Ensemble Leonarda, and on modern violin with Astoria Symphony, Sinfonia Celestis, Greenwich Symphony, Northeastern Pennsylvania Philharmonic, Di Capo Opera, Bronx Opera, Staten Island Philharmonic, Connecticut Grand Opera, and on Broadway. Her chamber work includes Chamber 16 and the Cerulean String Quartet.  Claire has performed with Sean “Puffy” Combs and “Father John Misty” on “Saturday Night Live,” “David Letterman,” and “The View,” and in concerts with “Mana.” She is violinist for Ritchie Blackmore’s band, “Blackmore’s Night.” Recordings on Shakira’s album, “She Wolf,” and on Blackmore’s Night’s “Dancer and the Moon,” “Winter Carols,” “All Our Yesterdays,” and on Candice Night’s “Starlight, Starbright.” She has performed overseas with Blackmore’s Night in Germany, Russia, Ukraine, England, Scotland, Luxembourg, France, the Czech Republic and Holland, and on American tours.

 

Margrét Hjaltested, Co-Founder and Baroque Viola, enjoys a diverse career as a performer and teacher. Born in Reykjavík, Iceland, she is currently based in New York City. Margrét has played with orchestras such as the New Jersey Symphony, the American Composers Orchestra and the Albany Symphony. As a baroque violist, she has performed with The American Classical Orchestra, Concert Royal and Bach Vespers at Holy Trinity. Margrét has toured internationally with the New York Symphonic Ensemble on its annual tour of the Far East, the Icelandic Symphony Orchestra, Luciano Pavarotti´s International Farewell Tour and the award-winning Icelandic pop artist Björk. She is a member of the chamber ensemble Tre Colore and Chamber16. Margrét is on the faculty of Queens College, SummerKeys in Lubec, Maine and maintains a private violin/viola studio for adults in Queens, New York.  She is a graduate of the Juilliard School and the Mannes College of Music. Her principal teachers were Karen Tuttle, Karen Ritscher, Joey Corpus and for historical performance, Nancy Wilson. Margrét has received the American Scandinavian Society´s Cultural Award for her musical contributions to the Scandinavian communities of New York and New Jersey.

 

Dan McCarthy, Baroque Violin, has been described as a “virtuosic” player by Seen and Heard International. He was a part of the first class of baroque violists ever to be accepted into the historical performance program at The Juilliard School, where he was also often featured performing on baroque violin, viola d’amore, and viola da gamba. Currently, Dan enjoys a varied career that has taken him from Myanmar to the United Kingdom and all points in between. he has served as section violist with the Trinity Baroque Orchestra, concertmaster of the Austin Baroque Orchestra, and tenor gambist with Parthenia. He has also performed and toured extensively throughout North America, East Asia, and Europe with Jordi Savall, Masaaki Suzuki, Orchestra of the Age of Enlightenment, Tafelmusik Baroque Orchestra, and the American Bach Soloists. Here on the east coast he has played with Brooklyn Baroque, Big Apple Baroque, Yale Schola Cantorum, Dorian Baroque Ensemble, and New Vintage Baroque. Dan is currently engaged with the New York Classical Quartet, Bach Vespers at Holy Trinity, La Fiocco, and Queens Consort. Dan is also on faculty at the Atlantic Music Festival in Maine during his summers.  Dan holds a D.M.A. and M.M. from the University of Maryland, a B.M. From the University of Michigan, and is an alumnus of the Interlochen Arts Academy.

 

Aya Hamada, Harpsichord, has been praised for her “graceful” (The New York Times) performance. Aya is an active recitalist, concerto soloist and continuo player.  Currently she plays principal harpsichord for ProMusica Chamber Orchestra of Columbus and serves as organist at the L’Église Française du Saint Esprit.  She has given numerous recitals in major venues throughout Japan as well as the US, Canada, Mexico, Argentina, Brazil, Belgium, England, France, Spain and Italy, including a recital at the Peñíscola International Festival of Medieval and Baroque Music, and at the International Conference of the Historical Keyboard Society of North America (Montreal).  She has made over three dozen appearances as concerto soloist on four continents. She has performed with Orpheus Chamber Orchestra, American Symphony Orchestra, Berkshire Opera Company, Kansai Philharmonic Orchestra (Japan), Sinfonietta Cracovia (Poland), Juilliard 415, Juilliard Symphony, appearing under conductors such as Jordi Savall, Nicolas McGegan, Harry Bicket and Masaaki Suzuki. The New York Times proclaimed “Ms. Hamada gave a deft account of Handel’s Concerto” about her performance with conductor William Christie in Alice Tully Hall at Lincoln Center. She “defined the torrent of notes beautifully for the ear, while never sacrificing virtuosity; her illuminating playing drew well-deserved cheers” (The Columbus Dispatch). Others have praised her “flawless technique” (The Boston Globe), and “superb command of the harpsichord” (The Springfield Republican). She premiered “Virginal” by Harold Meltzer with the New Juilliard Ensemble in 2010.  Her debut album “Jacques Duphly: Pièces de clavecin” was released in April 2015, and was chosen as “Recording of the Month” in the MusicWeb International (July 2015) and the Record Geijutsu Magazine (June 2015).  Aya Hamada won first prize in the London Music Festival Competition and second prize in the Josef Hofmann Piano Competition, and earned her master of music degree in the inaugural class of Historical Performance from the Juilliard School. She studied under Kenneth Weiss in New York and Skip Sempé in Paris, and has received additional coaching from Pierre Hantaï and Christophe Rousset. She resides in New York City.

 

Anneke Schaul-Yoder, Baroque Cello, performs regularly at New York’s foremost venues in both modern and period styles. She is solo continuo cellist and artistic director for SIREN Baroque, the internationally acclaimed all-female early music ensemble. Anneke is also a member of the Piano Music & Song Trio, a trumpet/cello/piano trio that improvises over art songs, and Skid Rococo, a group with soprano and lute that performs derelict and touching songs of the 18th century. With pianist Derin Öge, Anneke presents eclectic chamber music for cello and piano. She also performs as solo cellist with the Morningside Opera Company, BalletNext, the Argento Chamber Ensemble, and other ensembles. A devoted educator, Anneke has maintained a private cello studio since 2003, is on the faculty at the Platte Clove School in New York, and organizes music outreach programs for other schools and libraries. Anneke has recordings on the Bridge, System Dialing, and Naxos labels, and records and collaborates with members of Arcade Fire, TV on the Radio, Antibalas, and the Sway Machinery. Throughout 2013, Anneke presented all of Benjamin Britten’s string quartets at Lincoln Center. In 2012, she was a featured guest on A Prairie Home Companion, and in 2013 she appeared on Lincoln Center’s “American Songbook” series, televised on PBS. In 2009, Anneke was granted a fellowship for a four-month intensive study of Bach and Britten solo suites at the Banff Centre.

 

For further information or to set up an interview:

 

CONTACT: Margrét Hjaltested, TEL: 347-742-7235

Email: This email address is being protected from spambots. You need JavaScript enabled to view it. 

Website: http://www.queensconsort.com

 

 

 

Shakespeare Programs at The Players and the National Arts Club

The Shakespeare Conference: SHK 29.0172  Friday, 13 April 2018

 

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

Date:         April 12, 2018 at 1:48:33 PM EDT

Subject:    Shakespeare Programs at The Players and the National Arts Club

 

Speaking of Shakespeare

With Historian Edward Tenner

 

Wednesday, April 18, at 8 p.m.

The National Arts Club

15 Gramercy Park South, NYC

Free, and Open to the Public

 

Why do our best plans frequently lead to unexpected frustration? That is the question Edward Tenner poses in Why Things Bite Back: Technology and the Revenge of Unintended Consequences (1998). In a more recent book, Our Own Devices (2003), Mr. Tenner examines everyday objects (chairs, shoelaces, eyeware) and explores how they shape the ways in which we use our minds and bodies. 

 

One of today’s leading cultural historians, Mr. Tenner has written for The Atlantic, the New York Times, and the Washington Post, and he has addressed audiences in such settings as AT&T, Microsoft, Princeton, the Smithsonian, and the Institute for Advanced Study. He’s now pondering Shakespearean plays like Coriolanus and King Lear. And he’s introducing The Efficiency Paradox: What Big Data Can’t Do (2018), copies of which will be available for purchase and inscription.    

 

For information about upcoming engagements with director Sir Richard Eyre (May 15 at The Players), and New Yorker favorite Adam Gopnik, (June 14 at the NAC), visit www.shakesguild.org. And to reserve for any of these conversations, to be hosted by Shakespeare Guild president John Andrews, email This email address is being protected from spambots. You need JavaScript enabled to view it..   

 

 

 

 

Reacting to the Past

The Shakespeare Conference: SHK 29.0169  Monday, 9 April 2018

 

From:        Paul Hamilton <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 9, 2018 at 4:13:11 AM EDT

Subject:    Reacting to the Past

 

https://kingstonshakespeareseminar.wordpress.com/2018/03/26/cfp-little-stars-and-galloping-steeds-sex-in-shakespeare-june-22-kissit/

 

 

Little Stars and Galloping Steeds:
Sex in Shakespeare

 

Kingston Shakespeare Seminar in Theory Conference

 

June 22, 2018, Rose Theatre, London.

 

10am – 6:30pm.

 

Confirmed Plenary speaker: Jonathan Dollimore

 

 

Call for Papers:

 

There is a lot of sex in Shakespeare. Some characters have sex, some brag about having it, and some do everything in their power to shun it. Some of the sex is consensual, much of it is rapacious. There is sexuality between men and women, men and men, women and women, people and animals, and people and gods. The very definition of comedy, as a genre, hinges on the sexual act.

 

Sex is also about political power. It is used to enforce gender, class, and ethnic categories through disavowal, demonisation, and displacement. However, as Jonathan Dollimore observes in Sexual Dissidence, sex can also be a form of dissident knowledge. For deviance is disobedience. As the cross-dressing Rosalind says in As You Like It, “the wiser the waywarder”! Through what Dollimore calls “the perverse dynamic”, the sexual dissident can discover the displaced Other at the very heart of the authority that attempts to disavow it.

 

For this conference, we are calling for an investigation of the role of sex and sexuality, in its political, figurative, and theatrical sense, in Shakespeare’s plays. Papers could unblushingly peer into Shakespeare’s plays and poems and perform a close-viewing of their sexuality. We welcome papers that set the sexuality in the plays’ historical period as well as papers that read the sexuality as a means to critique our present moment. We welcome papers that read the sexuality through a preferred theoretical lens; Feminism, Psychoanalysis and Queer Theory are good fits, but what about Marxism, Eco-criticism, and, well, the animal turn.

 

 

Possible topics:

  • What is the role of sexual desire and pleasure in Shakespeare’s plays and poems?
  • What can be said about Shakespeare’s ambiguity as to whether certain characters actually have sex (Bottom and Titania, for example)?
  • How have directors staged sex in Shakespeare performances?
  • What is the role of sexual refusal in the plays and poems?
  • How is sex weaponised or used in power moves such as rape (Lavinia, Lucrece), or through manipulation (Richard and Anne, Henry V and Katherine)?
  • What is the relationship between sex and court or state power?
  • What is the role of sexual deviance and perversion in the plays and poems?
  • How does the sex act of the bed trick work hermeneutically?
  • How can we read Shakespeare‘s allusions to varies types of sex acts – intercourse, oral sex, anal sex – and different parts of the sex act – wooing, orgasm, post-coitus?
  • What qualities of sex are found in Shakespeare – phallic-centred, female-centered, rapacious, BDSM, polymorphous perverse?
  • What role does sexuality play in the plays’ queer relations, in their rainbow of forms – open, mistaken, ambiguous, closeted, sublimated?
  • What role is sexual allusion playing when it is deployed by Shakespeare in violence – Samson‘s and Gregory‘s opening dialogue in Romeo and Juliet, Macbeth‘s dagger speech (2.1.33-64)?
  • What role do the sexual acts of prostitutes play in the plays?
  • How can incest be read in, say, Pericles and Hamlet?
  • How does it change the reading of a play if it is assumed that certain characters – say, Hamlet and Ophelia, Demetrius and Helena, the poet and the fair youth – have already had sex before the opening of the play/poem?
  • What role does sex play in Classical allusions – Ovid, Homer, Apuleius – in the plays and poems?

 

Please send paper proposals/abstracts to the conference organisers:
 Christian Smith and Paul Hamilton by April 20, 2018.

This email address is being protected from spambots. You need JavaScript enabled to view it. This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

 

Shakespeare and Fear -- and a Question Concerning Cleopatra

The Shakespeare Conference: SHK 29.0168  Monday, 9 April 2018

 

From:        Robert Appelbaum <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 6, 2018 at 10:58:48 AM EDT

Subject:    Shakespeare and Fear -- and a Question Concerning Cleopatra

 

Dear All,

 

I would like to call attention to a new online publication by the Société Francaise Shakespeare, Shakespeare et la peur

Shakespeare and Fear. https://journals.openedition.org/shakespeare/4002 

 

Most of the entries are in English.

 

And now here’s my question. In Antony and Cleopatra, Cleopatra worries about being led ‘in triumph’ before the people of Rome. A similar well-known story, about Sophonisba, has the main character worry about the same thing. Surely, to be led in a cage in front of the public would be humiliating. But what would happen next? I have not been able to find out. Would it possibly have been the case that after being led in triumph the woman would have been made into a slave, and prostituted? And if so, is that not the real scandal involved, however occluded?

 

Just asking.

 

Cheers,

Robert Appelbaum

Professor of English Literature

Uppsala University

 

 

 

CFP: Essay Collection: What’s Missing in Shakespeare?

The Shakespeare Conference: SHK 29.0166  Thursday, 5 April 2018

 

From:        Darlene Farabee <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 3, 2018 at 5:31:17 PM EDT

Subject:    CFP: Essay Collection: What’s Missing in Shakespeare?

 

Essay Collection: What’s Missing in Shakespeare?

Co-edited by Darlene Farabee (University of South Dakota) and Brett Gamboa (Dartmouth College)

 

Shakespeare’s plays are often complicated by what they lack. Key characters go missing from scenes or drop out of the action entirely; absent characters exert influence over those onstage; mislaid or immaterial objects are pivotal to the resolutions of plots; urgent questions are settled through silences; and plays are frequently haunted by untaken roads or abandoned plot threads. In addition, contemporary performances are shaped significantly by cuts to the script, with some scenes or characters rarely realized in performance, and some plays rarely performed at all.

 

We invite contributions for a peer-reviewed essay collection on the value of what goes missing on Shakespeare’s stage. We envision a collection mainly focused on performance, mingling historically situated analyses and readings of the plays through contemporary theoretical concerns. Contributors might explore the foregoing (or related) topics through a variety of critical approaches, including editorial and textual studies, object-oriented ontology or actor-network theory, cultural studies and canonicity, cognitive and reception theories, genre studies, or attention to contemporary staging. Additional topics of inquiry might include:

 

                  -- deletions from or changes to source materials

                  -- generic irresolution

                  -- reported action, or ‘scenes’ occurring offstage

                  -- omissions from contemporary or period accounts of performance

                  -- syntactical omissions or elisions

                  -- absences brought on by representational limits (horses, weather, landscapes, etc.)

                  -- gaps in time or multiple time schemes

 

Please send abstracts of about 250 words (for essays of 5000-6000 words in length) and a brief c.v. to This email address is being protected from spambots. You need JavaScript enabled to view it. and This email address is being protected from spambots. You need JavaScript enabled to view it. by no later than June 3, 2018. Please do not hesitate to contact us with any questions about individual topics or the volume as a whole.

 

 

 

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