The Shakespeare Conference: SHK 16.0515  Monday, 21 March 2005

From:           Stefani Brusberg-Kiermeier <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 20 Mar 2005 18:40:49 +0100
Subject:        Second CFP BSA Seminar

Second CFP: Shakespeare and Sensuality (UK) (4/30/05; BSA, 9/1/05-9/4/05)

We are still accepting proposals for our seminar "Shakespeare and
Sensuality" at the 2005 conference of the British Shakespeare
Association.  The conference will be held at the University of
Newcastle-upon-Tyne on 1-4 September. Please join us for what is certain
to be a lively and interesting session! This is the seminar Call for Papers:

"And now I give my sensual race the rein": Shakespeare and Sensuality

Despite all the "body talk" in literary studies at present, the critical
discussion remains curiously disinterested in the topic of sensuality.
While considerable work has been done on the relationship between the
body and power, the body is rarely seen in terms of pleasure. Although
the Renaissance's view of sensuality may seem to support these critical
tendencies, the exclusion of feelings in the critical debate around the
body (and, in turn, the exclusion of the body in the critical debate
around the emotions) testifies to a distinctly one-sided take on the
Renaissance image of world and self. We think that to shape a more
integrated image of the early modern period and, indeed, the work of
Shakespeare, it is time to begin a joint exploration of body and
emotions - in short, of sensuality.

The leading questions which this panel wishes to address are: was there
a typical early modern sensuality and if so, what are its modes of
expression in Shakespeare's works? Our hypothesis is that sensuality
emerges in performance: in the representation of the material through
imagery, language and action. Sensuality is present not only in thematic
references, but also, simultaneously, in speech and movement. Narrative
voices in the poems as well as characters in the plays express combined
mental, physical, and emotional perceptions. Musical entertainment,
dress, food, hunting or fighting, among others, are sensual experiences
that can evoke both pleasure and terror. To do justice to the complex
nature of Shakespeare's sensuality, contributions to this panel should
explore the topic from the joint perspective that we have described.

Please send an abstract of about 400 words to Dr. Stefani
Brusberg-Kiermeier (brusberg_at_rz.uni-potsdam.de) or Prof. Anja
Mueller-Wood (wood_at_uni-mainz.de) by the end of April 2005.

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