Correction: CFP Shakespeare in Slavic/Eastern European Countries


The Shakespeare Conference: SHK 24.0316  Monday, 8 July 2013


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

Date:         July 4, 2013 11:30:19 AM EDT

Subject:     Correction: CFP Shakespeare in Slavic/Eastern European Countries


Dear Shakespearian colleagues,


We would like to make a slight modification to the previously published CFP regarding Shakespeare 450 anniversary in Paris. Our previous title “Shakespeare in Slavic Countries” seems inadvertently to leave out countries such as Hungary, even though we do speak of “Eastern and Central Europe” in the text of CFP. Thus we think it is best if we change the title to “Shakespeare in Slavic/ Eastern European countries”, and likewise add  “Eastern European” to all other references to the subject of the panel.


Unfortunately there is also a typo in the text, as you might have noticed. After Sandor Petofi’s quote which is from Zdeněk Stříbrný’s book, Shakespeare in Eastern Europe, the year mentioned should of course be 1847 not 1947.


We hope that these changes will soon appear on the conference website.


In the meantime we thank you for your understanding and attention.


Best regards

David Fanning and Michelle Assay



This is the corrected CFP.


Panel: Shakespeare and Slavic/ East and Central European Countries


‘The Slavs’ great capacity for hero worship, particularly for the man of intellect, has given Shakespeare as high a place in their estimation as we would give a military hero returning from a victory’ (Cyril Bryner, 1941).

‘Shakespeare. Change his name into a mountain, and it will surpass the Himalayas…Before his appearance the world was incomplete’ (Sándor Petőfi, 1847).

This panel will study Shakespeare’s adoption and adaptation within the countries of Eastern and Central Europe, including those comprising the former USSR. Angles such as the historic, cultural, political, theatrical, and translation studies will be considered.

Shakespeare’s journey in Central and Eastern Europe goes as far back as tours of English comedians during his lifetime and soon after his death to the court of Zygmunt III of Poland. The 18th century saw the first attempts at appropriating and adapting his work in the Russian language, with Sumarokov’s first quasi-translation of Hamlet. The age of National movements in European cultural and political life continued well into the 19th century, as did admiration for Shakespeare. In Russia of the Romantic era, Shakespeare and Byron were two major sources of inspiration for poets, artists and composers. Tchaikovsky dreamt of composing an opera based on Hamlet, but he found the Danish Prince’s irony untranslatable into music. However, he did not shrink from composing incidental music and symphonic pieces based on Shakespeare’s plays. Apart from productions, translations, and adaptations, studies and analysis of Shakespeare’s plays began to appear. The Bolshevik Revolution of 1917 and the arrival of Socialist doctrines brought more overtly political shades into Shakespeare productions, along with experimental interpretations especially during the avant-garde 20s and early 30s. Wartime Shakespeare took various shapes and colours to fit the purposes and morale of the various nations - for example, certain more introspective plays such as Hamlet were absent from most Soviet stages. The Thaw saw two great cinema adaptations of Shakespeare by Grigori Kozintsev, as well as many key Shakespeare studies, such as Jan Kott’s, Shakespeare our contemporary (1964).

Discussion topics for the panel include but are not limited to:

  • History of Shakespeare translations into Slavic/ Central and Eastern European languages
  • Shakespeare stage productions in the (former) Eastern Bloc
  • Shakespeare and the Soviet Union
  • Shakespeare and Russian/Soviet music
  • Shakespeare and cinema in the (former) Eastern Bloc
  • Shakespeare studies in Slavic/ Central and Eastern European countries

Please submit abstracts (200-300 words) and brief biography (c.150 words) including your affiliation by 1 August 2013 to the panel convenors: Michelle Assay (This email address is being protected from spambots. You need JavaScript enabled to view it.) and Professor David Fanning (This email address is being protected from spambots. You need JavaScript enabled to view it.). 


Inappropriate E-Mails to SHAKSPER Subscribers


The Shakespeare Conference: SHK 24.0315  Monday, 8 July 2013


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

Date:         July 8, 2013 12:14:23 PM EDT

Subject:     Inappropriate E-Mails to SHAKSPER Subscribers


On a more serious note, I have learned that some subscribers have been abusing their membership rights and responsibilities by sending unsolicited and unwanted e-mails to other SHAKSPER subscribers with inappropriately phrases such as “invenerate (sic) liars and fools” to describe them for voicing criticisms of anti-Shakespeareans and their beliefs. 


One member wrote me, “In the recent e-mail I was attacked for using the phrase “trustworthy Shakespeareans” (in reference to Maguire & Smith) and offered to look at a lengthy alternative interpretation of the Sonnets. It’s the second time the same person has been pressing his Sonnets interpretation to be read. I refuse to read. Life is too short to waste on petty things.”


The subscriber continued, “There is no such thing as an authorship scholar because there is, objectively, no such thing as an authorship issue. Bored in their own company, anti-Shakespeareans . . . seek new victims to convert. I wish them good luck in their (obviously fruitless) preying but I find it highly annoying to receive e-mails from people I do not know and be challenged to the point of getting impatient so they can go on to call me a close-minded blind believer who refuses to let Jehovah’s enlightening rays in.”


In another e-mail, I was informed: “It seems there are many of them on SHAKSPER list, they know you will not let them expand on their sick theories here, so they hunt people individually.”


I banned discussion of the so-called “authorship question” on SHAKSPER in 1994, if I remember correctly. I also have no patience or tolerance for anti-Shakespeareans. My contribution to the recently published Shakespeare Beyond Doubt (eds. Wells and Edmondson) demonstrates my bona fides in this regard. 


Should anyone receive this sort of e-mail from a SHAKSPER subscriber, please let me know that person’s name and I will send the following warning:



Dear *********:


I have learned that you are sending inappropriate and unsolicited messages to subscribers of SHAKSPER.


I have advised them on possible courses of action, including writing to your Internet provider and explaining your behavior in order to get your email privileges suspended and-or pursuing possible legal recourse.


Should your behavior continue, I will delete your subscription to SHAKSPER and block all access of you to the conference.


This is not a matter for discussion, and should you attempt to do so, I will terminate your membership immediately.




Hardy M Cook, Ph.D.

Editor and Owner of SHAKSPER



If you receive e-mails of a similar nature from someone not subscribed to SHAKSPER, you should block that person’s e-mail address so you will not receive any further e-mails from that address.


I am disappointed that such activities are going on, and I will do everything in my power to stop them.



Hardy M. Cook

Editor of SHAKSPER


I’m Back; UK Plays

The Shakespeare Conference: SHK 24.0314  Monday, 8 July 2013

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

Date:         Monday, July 8, 2013

Subject:     I’m Back; UK Plays


Dear Subscribers,


It, of course, goes without saying that since you are reading this that I have returned from my Internet-free zone of the past two weeks.


I have an announcement to make that upon having the Touchstone “Current and Forthcoming Shakespeare Productions in the UK” list called to my attention by Colleen E. Kennedy, I have updated the Plays and Festivals list to include UK productions.


You may consult the Touchstone list organized by play here: http://www.touchstone.bham.ac.uk/performance/shakespeare%20productions.html


Or you may consult the SHAKSPER “Shakespeare Plays and Festivals” list with UK plays organized alphabetically by company here: http://shaksper.net/scholarly-resources/shakespeare-festivals-and-plays.


Again, I welcome any additions or play reviews of productions on this list.




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