http://call-for-papers.sas.upenn.edu/node/41938
CFP: Global Shakespeare
full name / name of organization: Shakespeare: Journal of British Shakespeare Association
contact email: acyhuang@gwu.edu
CALL FOR PAPERS
Shakespeare: Journal of British Shakespeare Association special issue
"Global Shakespeare"
Deadline: September 30, 2011
The special issue welcomes papers on Shakespeare in performance in the twentieth and twenty-first centuries that participate in or initiate debates—theory, praxis, reception—worldwide. During his lifetime, Shakespeare’s plays were performed in Europe and subsequently taken to remote corners of the globe, including Sierra Leone, Socotra, and colonial Indonesia. Performances in England also had a global flair. European visitors such as Thomas Platter witnessed the plays on stage at the Globe (1599) and left behind diary records. Four centuries on, there has been a sea change. In theatre, Shakespeare has been recruited, exemplified, resisted, and debated in post/colonial encounters, in the international avant-garde led by Ariane Mnouchkine, Ninagawa Yukio, Peter Brook, Tadashi Suzuki, and others, and in the circuits of global politics and tourism in late capitalist societies.
As artists reconstruct various traditions, critics are also troubling narrowly defined concept of cultural authenticity. What are the new paradigms that can help us avoid replicating the old author-centered textuality in performance criticism? What critical resources might we bring to the task of interpreting the behaviors and signs in performance? What is the role of local and global spectators? More importantly, what is the task of criticism as it deals with the transformations of Shakespeare and various performance idioms?
Research articles in this issue will take stock of the worldwide histories of performance and criticism to uncover any blind spots in current methodologies to study the theoretical and artistic implications of Shakespeare and the cultures of diaspora, the U.S., U.K., Canada, Australia, New Zealand, Commonwealth countries, Europe, Russia, Africa, the Arab world, Asia, Latin America and elsewhere.
In addition, this issue will also feature a section devoted to recent adaptations in English and other languages.
We invite two types of submissions --
• Research article: criticism (5,000-8,000 words)
• Short performance reviews (1,000-2,000 words)
Please follow the Journal's Instructions for Authors:
http://www.tandf.co.uk/journals/journal.asp?issn=1745-0918&linktype=44
Submissions--WORD (.doc) file, double-spaced, 12-point font; no .docx files please--or queries to be emailed to Alex Huang at the following address:
acyhuang@gwu.edu
Monday, July 18, 2011
CFP "Does Beowulf Allow (for) Illustration?" (due 9/5/2011)
http://call-for-papers.sas.upenn.edu/node/42051
New College Conference, March 8-10, 2012, Sarasota, FL: Call for papers: "Does Beowulf Allow (for) Illustration?" (due 9/5/2011)
full name / name of organization:
Matthew J. Snyder / University of Florida
contact email:
msnyder@ufl.edu
This session will seek to explore the question: Can Beowulf be illustrated, or does the poem exhibit and/or foster an inherent antagonism between sign and icon? Recent efforts to provide illustration that augments (or perhaps subsumes or subordinates) the poem's 3182 lines of text, including Seamus Heaney and John D. Niles' Beowulf: An Illustrated Edition (Norton, 2007), the graphic novel Beowulf: Monster Slayer (Graphic Universe, 2008), and Robert Zemeckis' 2007 motion-capture animated film, all would seem to push back against what might be termed the text's opacity of the visual imaginary. Do these works and others, including various Beowulf adaptations to film and new media, succeed in their self-appointed task of turning the poem into a (moving-)picture book? Can they? Why might – or might not – these approaches represent successful or failed (re)interpretations or adaptations of the epic, and is there some other logic or desire behind the apparent drive to illustrate Beowulf that we ought to try to get at?
Please submit 250-word abstracts of proposed twenty-minute papers in the body of an email with a current CV attached. The deadline for the submission of abstracts for this session is 5 September 2011. For more on the New College Conference on Medieval and Renaissance Studies, visit http://faculty.ncf.edu/medievalstudies/index.html.
Matthew J. Snyder
Department of English
University of Florida
New College Conference, March 8-10, 2012, Sarasota, FL: Call for papers: "Does Beowulf Allow (for) Illustration?" (due 9/5/2011)
full name / name of organization:
Matthew J. Snyder / University of Florida
contact email:
msnyder@ufl.edu
This session will seek to explore the question: Can Beowulf be illustrated, or does the poem exhibit and/or foster an inherent antagonism between sign and icon? Recent efforts to provide illustration that augments (or perhaps subsumes or subordinates) the poem's 3182 lines of text, including Seamus Heaney and John D. Niles' Beowulf: An Illustrated Edition (Norton, 2007), the graphic novel Beowulf: Monster Slayer (Graphic Universe, 2008), and Robert Zemeckis' 2007 motion-capture animated film, all would seem to push back against what might be termed the text's opacity of the visual imaginary. Do these works and others, including various Beowulf adaptations to film and new media, succeed in their self-appointed task of turning the poem into a (moving-)picture book? Can they? Why might – or might not – these approaches represent successful or failed (re)interpretations or adaptations of the epic, and is there some other logic or desire behind the apparent drive to illustrate Beowulf that we ought to try to get at?
Please submit 250-word abstracts of proposed twenty-minute papers in the body of an email with a current CV attached. The deadline for the submission of abstracts for this session is 5 September 2011. For more on the New College Conference on Medieval and Renaissance Studies, visit http://faculty.ncf.edu/medievalstudies/index.html.
Matthew J. Snyder
Department of English
University of Florida
CFP The Once and Future Classroom Journal seeks submissions (by 12/15/2011)
http://call-for-papers.sas.upenn.edu/node/42033
The Once and Future Classroom Journal seeks submissions (by 12/15/2011)
full name / name of organization:
TEAMS: The Consortium for the Teaching of the Middle Ages
contact email:
cneufeld@emich.edu
The Once and Future Classroom is an electronic journal published by TEAMS (The Consortium for Teaching the Middle Ages). This peer-reviewed journal seeks to encourage medieval studies in the K-12 and community college contexts by providing teachers with inspiring topics, new strategies and academically-sound resources. The OFC is dedicated to representing the diversity of medieval studies and the most current pedagogical modes. The journal welcomes a variety of formats: annotated bibliographies, lesson plans, reviews of teaching materials, books, or films, as well as more traditional scholarship on teaching medieval topics. The journal’s electronic format allows for flexibility in content length, as well as exciting presentation options—such as the inclusion of images, video clips, as well as live links to other web resources.
For more information see: http://www.teamsmedieval.org/ofc/index.html
Or contact the Managing Editor, Dr. Christine Neufeld, at cneufeld@emich.edu.
The Once and Future Classroom Journal seeks submissions (by 12/15/2011)
full name / name of organization:
TEAMS: The Consortium for the Teaching of the Middle Ages
contact email:
cneufeld@emich.edu
The Once and Future Classroom is an electronic journal published by TEAMS (The Consortium for Teaching the Middle Ages). This peer-reviewed journal seeks to encourage medieval studies in the K-12 and community college contexts by providing teachers with inspiring topics, new strategies and academically-sound resources. The OFC is dedicated to representing the diversity of medieval studies and the most current pedagogical modes. The journal welcomes a variety of formats: annotated bibliographies, lesson plans, reviews of teaching materials, books, or films, as well as more traditional scholarship on teaching medieval topics. The journal’s electronic format allows for flexibility in content length, as well as exciting presentation options—such as the inclusion of images, video clips, as well as live links to other web resources.
For more information see: http://www.teamsmedieval.org/ofc/index.html
Or contact the Managing Editor, Dr. Christine Neufeld, at cneufeld@emich.edu.
CFP Shakespearean Echoes (7/20/11)
http://call-for-papers.sas.upenn.edu/node/41425
Shakespearean Echoes
full name / name of organization:
Paul Gleed, Dickinson College
contact email:
gleedp@dickinson.edu
I am seeking chapter abstracts for a proposed volume on Shakespeare in popular culture. The tentative title for this project is Shakespearean Echoes: Shakespeare in Contemporary Culture.
Why another volume on Shakespeare and popular culture? Understandably, the vast majority of work on Shakespeare’s contemporary life has focused on direct adaptations of the playwright’s work. What I propose with this volume, however, is to exclusively study “echoes” of Shakespeare rather than adaptations, the less tangible and precise ways in which Shakespeare has appeared within contemporary culture. Authors might address echoes of Shakespeare in contemporary music, film, literature, television, advertising, new media or any other worthwhile venue.
I am particularly interested in essays exploring relatively untouched interconnections between Shakespeare and contemporary culture. I’m eager, also, to have a global perspective, and hope to present a selection of chapters reflecting Shakespeare’s current international afterlife. Work on British and American subjects is welcome (and needed), of course, but projects reflecting a multicultural perspective will be particularly appreciated. Essays should address texts no older than 1980.
What I hope to show is the pervasiveness and variety of Shakespeare’s current afterlife. With this in mind, I’m trying to get the right blend of breadth and depth. I’m hoping to accomplish this through a mix of short and long essays (a first section featuring ten to fifteen short essays and a second section of fewer, longer essays). Short essays will be around 2,000 words while fuller essays will come in at about 5,000 words. Please indicate which type of essay you would like to write.
Finally, all essays, short and long, should present an interpretive position and develop an argument. This work is not intended to simply catalogue Shakespearean “echoes.” Many existing publications on Shakespeare and popular culture tend to take the survey or introductory approach, while this volume hopes to offer readers a different format. Importantly, authors should say something rewarding about both Shakespeare and the contemporary text/context being studied.
After the deadline for submissions, I will contact authors to let them know if their work has been selected. The next step will be to approach publishers with a full, detailed proposal. I anticipate, of course, that this will be a lengthy process, but will keep authors informed and updated as the project moves forward.
The Deadline for abstracts is July 20th, 2011. Please send abstract and C.V. to: gleedp@dickinson.edu
Paul Gleed
Assistant Professor of English and Film
Dickinson College, Carlisle, PA 17013
Shakespearean Echoes
full name / name of organization:
Paul Gleed, Dickinson College
contact email:
gleedp@dickinson.edu
I am seeking chapter abstracts for a proposed volume on Shakespeare in popular culture. The tentative title for this project is Shakespearean Echoes: Shakespeare in Contemporary Culture.
Why another volume on Shakespeare and popular culture? Understandably, the vast majority of work on Shakespeare’s contemporary life has focused on direct adaptations of the playwright’s work. What I propose with this volume, however, is to exclusively study “echoes” of Shakespeare rather than adaptations, the less tangible and precise ways in which Shakespeare has appeared within contemporary culture. Authors might address echoes of Shakespeare in contemporary music, film, literature, television, advertising, new media or any other worthwhile venue.
I am particularly interested in essays exploring relatively untouched interconnections between Shakespeare and contemporary culture. I’m eager, also, to have a global perspective, and hope to present a selection of chapters reflecting Shakespeare’s current international afterlife. Work on British and American subjects is welcome (and needed), of course, but projects reflecting a multicultural perspective will be particularly appreciated. Essays should address texts no older than 1980.
What I hope to show is the pervasiveness and variety of Shakespeare’s current afterlife. With this in mind, I’m trying to get the right blend of breadth and depth. I’m hoping to accomplish this through a mix of short and long essays (a first section featuring ten to fifteen short essays and a second section of fewer, longer essays). Short essays will be around 2,000 words while fuller essays will come in at about 5,000 words. Please indicate which type of essay you would like to write.
Finally, all essays, short and long, should present an interpretive position and develop an argument. This work is not intended to simply catalogue Shakespearean “echoes.” Many existing publications on Shakespeare and popular culture tend to take the survey or introductory approach, while this volume hopes to offer readers a different format. Importantly, authors should say something rewarding about both Shakespeare and the contemporary text/context being studied.
After the deadline for submissions, I will contact authors to let them know if their work has been selected. The next step will be to approach publishers with a full, detailed proposal. I anticipate, of course, that this will be a lengthy process, but will keep authors informed and updated as the project moves forward.
The Deadline for abstracts is July 20th, 2011. Please send abstract and C.V. to: gleedp@dickinson.edu
Paul Gleed
Assistant Professor of English and Film
Dickinson College, Carlisle, PA 17013
CFP Locating Shakespeare in the Twenty-First Century (6/30/11)
http://www.h-net.org/announce/show.cgi?ID=185512
Locating Shakespeare in the Twenty-First Century
Call for Papers Date: 2011-06-30
Date Submitted: 2011-05-26
Announcement ID: 185512
William Shakespeare has long been a global cultural commodity, but in the twenty-first century "Shakespeare" is oft positioned as a social concept with the man almost forgotten amidst the terminology that surrounds the criticism, tourism, adaptation, and utilization of the plays. For instance, the plays themselves are as often re-worked and adapted as performed wholly in their own right on stage. Moreover, there are currently well-established alternative strands, identities, and locations of "Shakespeare" (e.g., metanarratives, gender-reworking, inter-cultural adapting, online streaming), and the growth is as widespread and fast as technology, performance, social networking, and cinema will allow. It is this new and exciting approach to "Shakespeare," which clearly suits both the adaptation process and the technology and mindset of the twenty-first century, that our volume will consider.
Potential topics for the anthology include the following:
• Shakespeare depicted on film and TV "outside" the mainstream: reality TV documentary from prison, schools, etc.
• Adaptation online: podcasts, webcasts, webisodes (e.g., Second City's Sassy Gay Friend series), YouTube Shakespeare, Shakespeare on Twitter (e.g., Such Tweet Sorrow)
• Streaming live theatre: the National Theatre Live and not-so-live Hamlet and Lear experiments
• Meta-narratives of Shakespeare, positioning the works through embedded and presumed knowledge in adaptations
• Global Shakespeares located within and for national identities
• Shakespeare as illustrated text: graphic novels, animation, special effects
• And of course, any other ways of "locating Shakespeare in the twenty-first century"
Please send a 500-word abstract/synopsis of the project to Kelli Marshall (kellirmarshall_at_gmail.com) by June 30, 2011. Complete essays of approximately 6,000 words would be expected around September 1, 2011.
Kelli Marshall
kellirmarshall@gmail.com
Email: kellirmarshall@gmail.com
Locating Shakespeare in the Twenty-First Century
Call for Papers Date: 2011-06-30
Date Submitted: 2011-05-26
Announcement ID: 185512
William Shakespeare has long been a global cultural commodity, but in the twenty-first century "Shakespeare" is oft positioned as a social concept with the man almost forgotten amidst the terminology that surrounds the criticism, tourism, adaptation, and utilization of the plays. For instance, the plays themselves are as often re-worked and adapted as performed wholly in their own right on stage. Moreover, there are currently well-established alternative strands, identities, and locations of "Shakespeare" (e.g., metanarratives, gender-reworking, inter-cultural adapting, online streaming), and the growth is as widespread and fast as technology, performance, social networking, and cinema will allow. It is this new and exciting approach to "Shakespeare," which clearly suits both the adaptation process and the technology and mindset of the twenty-first century, that our volume will consider.
Potential topics for the anthology include the following:
• Shakespeare depicted on film and TV "outside" the mainstream: reality TV documentary from prison, schools, etc.
• Adaptation online: podcasts, webcasts, webisodes (e.g., Second City's Sassy Gay Friend series), YouTube Shakespeare, Shakespeare on Twitter (e.g., Such Tweet Sorrow)
• Streaming live theatre: the National Theatre Live and not-so-live Hamlet and Lear experiments
• Meta-narratives of Shakespeare, positioning the works through embedded and presumed knowledge in adaptations
• Global Shakespeares located within and for national identities
• Shakespeare as illustrated text: graphic novels, animation, special effects
• And of course, any other ways of "locating Shakespeare in the twenty-first century"
Please send a 500-word abstract/synopsis of the project to Kelli Marshall (kellirmarshall_at_gmail.com) by June 30, 2011. Complete essays of approximately 6,000 words would be expected around September 1, 2011.
Kelli Marshall
kellirmarshall@gmail.com
Email: kellirmarshall@gmail.com
Thursday, July 14, 2011
Kalamazoo 2012 CFPs
The calls for papers for our 2012 sessions for the International Congress on Medieval Studies have been posted and can be accessed by clicking the links below:
Are You From Camelot?: Recent Arthurian Film, Television, and Electronic Games as Innovators of the Arthurian Tradition and Their Impact (Roundtable) (9/1/11; Kalamazoo 5/10-13/12)
The Comics Get Medieval at Kalamazoo: New Perspectives for Incorporating Comics into Medieval Studies Teaching and Research (9/1/11; Kalamazoo 5/10-13/12)
Submissions are due by September 1st.
Michael
Are You From Camelot?: Recent Arthurian Film, Television, and Electronic Games as Innovators of the Arthurian Tradition and Their Impact (Roundtable) (9/1/11; Kalamazoo 5/10-13/12)
The Comics Get Medieval at Kalamazoo: New Perspectives for Incorporating Comics into Medieval Studies Teaching and Research (9/1/11; Kalamazoo 5/10-13/12)
Submissions are due by September 1st.
Michael
Mythcon 42
The schedule for this week's Mythcon has been posted at http://www.mythsoc.org/mythcon/42/. The theme is Monsters, Marvels, and Minstrels: The Rise of Modern Medievalism, and the conference convenes at the MCM Eleganté Hotel in Albuquerque, New Mexico from 15-18 July.
Kalamazoo 2012 Update
The call for papers for next year's Medieval Congress at Kalamazoo is now available at http://www.wmich.edu/medieval/congress/sessions.html. Our sessions (roundtables on Arthurian film/TV and medieval comics) have been accepted for inclusion, and proposals can be sent to me at Popular.Culture.and.the.Middle.Ages@gmail.com. An official call for papers will be posted ASAP.
Michael
Michael
Friday, July 8, 2011
Shakespearean Gothic
Shakespearean Gothic
Distributed for University of Wales Press
EDITED BY CHRISTY DESMET AND ANNE WILLIAMS
192 pages | 10 | 5 1/2 x 8 1/2 | © 2009
University of Wales Press - Gothic Literary Studies
As evidenced by the vampires, werewolves, and other frights overrunning the best-seller lists, the Gothic remains immensely popular. This collection of essays traces the roots of the Gothic to an unexpected source: eighteenth-century interpretations of Shakespeare. Through close attention to literary, cultural, and historical detail, the contributors demonstrate that even as Shakespeare was being established as the supreme British writer, he was also being cited as justification for early Gothic writers’ abandonment of literary decorum and their interest in the supernatural.
Acknowledgements
List of Illustrations
List of Contributors
Introduction
PART I: GOTHIC APPROPRIATIONS OF ‘SHAKESPEARE’
1 Reading Walpole Reading Shakespeare
Anne Williams
2 Ann Radcliffe, ‘The Shakespeare of Romance Writers’
Rictor Norton
3 The Curse of Shakespeare
Jeffrey Kahan
PART II: REWRITING SHAKESPEARE’S PLAYS AND CHARACTERS
4 Shakespearean Shadows’ Parodic Haunting of Thomas Love Peacock’s Nightmare Abbey and Jane Austen’s Northanger Abbey
Marjean D. Purinton and Marliss C. Desens
5 Fatherly and Daughterly Pursuits: Mary Shelley’s Matilda and Shakespeare’s King Lear
Carolyn A. Weber
6 Into the Madman’s Dream: the Gothic Abduction of Romeo and Juliet
Yael Shapira
7 Gothic Cordelias: the Afterlife of King Lear and the Construction of Femininity
Diane Long Hoeveler
PART III: SHAKESPEARE AS A GOTHIC WRITER
8 ‘We are not safe’: History, Fear and the Gothic in Richard III
Jessica Walker
9 Remembering Ophelia: Ellen Terry and the Shakespearizing of Dracula
Christy Desmet
10 ‘Rites of Memory’: the Heart of Kenneth Branagh’s Hamlet
Susan Allen Ford
Afterword: Shakespearean Gothic
Frederick Burwick
Bibliography
Index
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