Came across the following today:
CALL FOR SUBMISSIONS FOR STUDIES IN MEDIEVALISM:
By blatantly concentrating on constructs, medievalism studies may seem to avoid the problems of defining an authentic Middle Ages. But what do such studies presume about that middle ages or any other? About the studies’ medievalist subjects? About the medievalist subjects’ constructs of the Middle Ages? When it comes to authenticity, how do medievalism studies relate to the Middle Ages? To medievalism? To (other) postmedievalism? To neomedievalism? Studies in Medievalism, a peer-reviewed print and on-line publication, is seeking 3,000-word (including notes) essays on these questions, as well as 6,000 to 12,000-word (including notes) articles on any postmedieval responses to the Middle Ages. Please send all submissions in English and Word to Karl Fugelso (kfugelso@towson.edu) by August 1, 2017. For a style sheet, please download the STYLE SHEET here.
Further details at http://www.medievalism.net/sim.html.
Saturday, January 7, 2017
Friday, January 6, 2017
Call for Papers: Medieval in American Popular Culture: Reflections in Commemoration of the 80th Anniversary of Prince Valiant
CALL FOR PAPERS: THE MEDIEVAL IN
AMERICAN POPULAR CULTURE
SESSION PROPOSED FOR 2017 ANNUAL
CONFERENCE OF THE AMERICAN LITERATURE ASSOCIATION
TO BE HELD AT THE WESTIN COPLEY
PLACE, BOSTON, MASSACHUSETTS FROM 25 TO 28 MAY 2017
PAPER PROPOSALS DUE BY 28 JANUARY
2017
The
Medieval in American Popular Culture:
Reflections
in Commemoration of the 80th Anniversary of Prince
Valiant
The comic strip Prince Valiant in the Days of King Arthur was launched in 1937 and
continues to be produced to this day. Begun by illustrator Hal Foster and now
under the direction of writer Mark Schultz and artist Thomas Yeates, Prince Valiant celebrates its eightieth
anniversary in 2017. This is a significant achievement for a work of popular
medievalism. In recognition of this milestone, the Association for the
Advancement of Scholarship and Teaching of the Medieval in Popular Culture
seeks papers that explore the appeal (either in the United States or abroad) of
the strip and its characters and/or the significance of other works of American
medievalism both in the past and in the world today. The session is being
submitted for consideration at the 2017 meeting of the American Literature
Association to be held in Boston, Massachusetts, from 25-28 May 2017.
We
are especially interested in proposals that respond to one of more of the
following questions:
·
Why is the medieval popular in the United
States, a nation with no physical connections to the medieval past?
·
What is the continued appeal of the medieval to
Americans?
·
Do Americans do different things with medieval
material compared to their contemporaries around the globe?
·
How have Americans’ view of the medieval changed
over time?
·
Why do some forms of American-made medievalism
endure while others are forgotten?
·
How well do American-made medievalisms translate
into other media and/or cultural settings?
Please submit
proposals to the organizers at medievalinpopularculture@gmail.com
no later than 28 January 2017. Please use “Medieval in American Popular
Culture” as your subject line. A complete proposal should include the
following: your complete contact information, a clear and useful title of your
paper, an abstract of your paper (approximately 250 to 600 words), a brief biographical
statement explaining your academic status and authority to speak about your
proposed topic, and a note on any audio/visual requirements.
Final papers
should be delivered between 15 and 20 minutes, depending on the number of
presenters. Potential presenters are reminded that the rules of the conference
allow individuals to present only one paper at the annual meeting.
Further details on the Association
for the Advancement of Scholarship and Teaching of the Medieval in Popular
Culture can found at http://medievalinpopularculture.blogspot.com.
Additional information about the
conference and the American Literature Association can be found at http://americanliteratureassociation.org/.
Thursday, June 30, 2016
Kalamazoo 2017 Advance Notice
Please check out our blog, Medieval Studies on Screen, for details on our call for papers for next year's International Congress on Medieval Studies. The session is devoted to animated representations of the medieval and is offered in memory of the late Michael N. Salda, author of Arthurian Animation: A Study of Cartoon Camelots on Film and Television.
Details at http://medievalstudiesonscreen.blogspot.com/2016/06/cfp-animating-medieval-proposals-by.html.
Details at http://medievalstudiesonscreen.blogspot.com/2016/06/cfp-animating-medieval-proposals-by.html.
Wednesday, June 15, 2016
CFP Conference on Medievalism in Contemporary Popular Culture (7/31/2016; France 11/25-26/2016)
Came across this on the Medieval Academy News blog:
Call for Papers – “Getting Medieval”: Medievalism in Contemporary Popular Culture
Posted on June 13, 2016 by Chris
http://www.themedievalacademyblog.org/call-for-papers-getting-medieval-medievalism-in-contemporary-popular-culture/
This conference, organized at the Jean-François Champollion National University Institute (“Champollion University”) in the historic episcopal city of Albi, France – site of the thirteenth-century Albigensian Crusades – will take place on 25-26 November 2016. Please send proposals of 100-250 words for 20-minute papers (in English or French) to john.ford@univ-jfc.fr along with a brief CV before 31 July 2016 for full consideration.
Cette journée d’étude aura lieu les 25 et 26 novembre 2016 à l’Institut National Universitaire Jean-François Champollion dans la ville épiscopale d’Albi dans le Tarn. Les propositions de communications (250-500 mots, en anglais ou français) sont à envoyer accompagné d’un court CV à john.ford@univ-jfc.fr avant le 31 juillet 2016.
PRESENTATION:
Today’s “pop” culture is rich with allusions to the Middle Ages, not only in literature and visual arts – as it always has been in past centuries (e.g., the pre-Raphaelites or Twain’s Connecticut Yankee in King Arthur’s Court, Tennyson’s Idylls of the King, Tolkien’s Hobbit and Lord of the Rings, etc.) – but also in graphic novels and comics, on the big screen and the little one, not to mention the computer screens of electronic gamers as well as amusement parks, festivals and fairs.
But how much of what is presented in a medieval context – either as actual “remakes” of old accounts or simply loosely employing a medieval setting or theme – accurately reflects the Middle Ages, and to what extent do these medieval constructs change or distort the reality of the age? When changed, to what extent is the epoch romanticised as, for example, an idealized Camelot where “the rain may never fall till after sundown?” To what extent is it vilified, making the expression “to get medieval on [somebody]” suggest a horrific vengeance? How do these constructs inform our understanding of the Middle Ages, and how important is it (if at all) to be entirely accurate? Finally, to what extent do such alterations update the texts or tales, keeping them alive and evolving, and why is it a perennial favourite, replayed year after year, decade after decade, indeed, century after century?
This conference hopes to respond to some of these questions by opening a dialogue between various disciplines: literature, history, historical linguistics, visual arts, cinema, theatre, television, etc., in order to study the enduring popularity of medieval themes and the ways in which medieval tales and texts are transmitted, preserved, distorted, renewed and built upon in the creation of new, decidedly modern popular culture in Europe, North America and the world of the 21st century.
This conference hopes to explore ways in which medieval texts, tales and traditions are used (or abused!) and used to fashion entirely new works that ultimately form part of contemporary pop culture in its own right, not only in the modern age, but in ages past. It might also address ways in which authors from the Renaissance until now (e.g., Spenser, Shakespeare, Yeats, etc.) have contributed to our modern conception of the Middle Ages, both myth and reality.
Some aspects to consider might include the importance of accuracy in portrayals purportedly based on actual texts (such as the Vikings series, or various remakes of Beowulf), and to what extent is liberal treatment acceptable, even to be encouraged? To what extent is received wisdom, often quite dubious, employed in original works with a medieval feeling or theme, though not necessarily a medieval setting like Game of Thrones or Harry Potter?
In addition to the works listed above, the conference is open to any proposition addressing the use of medieval works or themes in any aspect of popular culture in any subsequent age, leading to its entrenched place in the pop culture of today – not only in fiction and art, but in any form of entertainment or representation. Finally, the value of both medieval literature and culture, as well as popular culture, and the interdependence of both, is to be explored.
PRESENTATION:
La culture populaire d’aujourd’hui est riche en allusions au Moyen Age, non seulement dans la littérature et les arts visuels – comme elle l’a toujours été dans les siècles passés (par exemple, les préraphaélites ou Connecticut Yankee dans la cour du roi Arthur de Twain, Idylles du roi de Tennyson, ou le Hobbit et le Seigneur des Anneaux de Tolkien, etc.) – mais aussi dans les romans graphiques et dans les bandes dessinées, sur le petit comme sur le grand écran, ainsi que sur les écrans d’ordinateur des amateurs de jeux vidéos, les parcs d’attractions, les festivals et les foires.
Mais combien de ces références dont le contexte est médiéval – présentées comme de nouvelles versions de vieux récits ou tout simplement utilisant de manière plus libre un cadre ou un thème médiéval – reflètent fidèlement le Moyen Age ? Et de quelle manière et dans quelle mesure ces références médiévales modifient-elle ou déforment-elle la réalité de cette époque ? A quel point cette époque est-elle romancée comme, par exemple, dans un Camelot idéalisé où «la pluie ne peut tomber qu’après le coucher du soleil »? Dans quelle mesure est-elle, comme l’atteste l’expression « Jouer à la flamme bien moyenâgeuse » qui implique la menace d’une vengeance féroce, diabolisée, vilipendée? Dans quelle mesure et à quel point ces constructions, ces références, influencent-elles sur notre compréhension du Moyen Age? Est-il donc important d’être exact ? Enfin, dans quelle mesure ces modifications mettent-elles à jour les textes et les récits en leur permettant de rester en vie et en constante évolution ? Et pourquoi le Moyen Age est-il l’éternel sujet favori, exploité année après année, décennie après décennie, siècle après siècle?
Cette journée d’étude va tenter de répondre à ces questions en ouvrant le dialogue par le biais de différentes disciplines : histoire, littérature, linguistique diachronique, arts visuels, cinéma, théâtre, télévision, mais aussi via les jeux vidéos et les parcs d’attraction, etc. Il s’agira d’étudier la popularité durable des thèmes médiévaux et la manière dont les récits et les textes médiévaux sont transmis, conservés, déformés, renouvelés et utilisés pour construire la nouvelle culture populaire résolument moderne, de l’Europe, de l’Amérique du Nord et du monde du 21ème siècle.
Il est important de considérer l’importance de la précision dans les représentations prétendument basées sur des textes réels, comme par exemple la série Vikings, ou les divers remakes de Beowulf. Et, dans quelle mesure ce libre traitement est-il acceptable, ou même à encourager? Dans quelle mesure les idées reçues, souvent douteuses, sont-elles employées dans des œuvres originales au contexte médiéval, mais pas forcément dans un cadre véritablement médiéval comme Game of Thrones ou Harry Potter?
Outre les ouvrages mentionnés ci-dessus, la conférence est ouverte à toute proposition portant sur l’utilisation des œuvres ou des thèmes médiévaux dans tous les aspects de la culture populaire actuelle ou antérieure, les conduisant à une place ancrée dans la culture populaire moderne – non seulement dans la fiction et l’art, mais dans toute forme de divertissement ou de représentation. Enfin, la valeur de la littérature et de la culture médiévales, de la culture populaire, ainsi que leur interdépendance, sera étudiée.
Call for Papers – “Getting Medieval”: Medievalism in Contemporary Popular Culture
Posted on June 13, 2016 by Chris
http://www.themedievalacademyblog.org/call-for-papers-getting-medieval-medievalism-in-contemporary-popular-culture/
This conference, organized at the Jean-François Champollion National University Institute (“Champollion University”) in the historic episcopal city of Albi, France – site of the thirteenth-century Albigensian Crusades – will take place on 25-26 November 2016. Please send proposals of 100-250 words for 20-minute papers (in English or French) to john.ford@univ-jfc.fr along with a brief CV before 31 July 2016 for full consideration.
Cette journée d’étude aura lieu les 25 et 26 novembre 2016 à l’Institut National Universitaire Jean-François Champollion dans la ville épiscopale d’Albi dans le Tarn. Les propositions de communications (250-500 mots, en anglais ou français) sont à envoyer accompagné d’un court CV à john.ford@univ-jfc.fr avant le 31 juillet 2016.
PRESENTATION:
Today’s “pop” culture is rich with allusions to the Middle Ages, not only in literature and visual arts – as it always has been in past centuries (e.g., the pre-Raphaelites or Twain’s Connecticut Yankee in King Arthur’s Court, Tennyson’s Idylls of the King, Tolkien’s Hobbit and Lord of the Rings, etc.) – but also in graphic novels and comics, on the big screen and the little one, not to mention the computer screens of electronic gamers as well as amusement parks, festivals and fairs.
But how much of what is presented in a medieval context – either as actual “remakes” of old accounts or simply loosely employing a medieval setting or theme – accurately reflects the Middle Ages, and to what extent do these medieval constructs change or distort the reality of the age? When changed, to what extent is the epoch romanticised as, for example, an idealized Camelot where “the rain may never fall till after sundown?” To what extent is it vilified, making the expression “to get medieval on [somebody]” suggest a horrific vengeance? How do these constructs inform our understanding of the Middle Ages, and how important is it (if at all) to be entirely accurate? Finally, to what extent do such alterations update the texts or tales, keeping them alive and evolving, and why is it a perennial favourite, replayed year after year, decade after decade, indeed, century after century?
This conference hopes to respond to some of these questions by opening a dialogue between various disciplines: literature, history, historical linguistics, visual arts, cinema, theatre, television, etc., in order to study the enduring popularity of medieval themes and the ways in which medieval tales and texts are transmitted, preserved, distorted, renewed and built upon in the creation of new, decidedly modern popular culture in Europe, North America and the world of the 21st century.
This conference hopes to explore ways in which medieval texts, tales and traditions are used (or abused!) and used to fashion entirely new works that ultimately form part of contemporary pop culture in its own right, not only in the modern age, but in ages past. It might also address ways in which authors from the Renaissance until now (e.g., Spenser, Shakespeare, Yeats, etc.) have contributed to our modern conception of the Middle Ages, both myth and reality.
Some aspects to consider might include the importance of accuracy in portrayals purportedly based on actual texts (such as the Vikings series, or various remakes of Beowulf), and to what extent is liberal treatment acceptable, even to be encouraged? To what extent is received wisdom, often quite dubious, employed in original works with a medieval feeling or theme, though not necessarily a medieval setting like Game of Thrones or Harry Potter?
In addition to the works listed above, the conference is open to any proposition addressing the use of medieval works or themes in any aspect of popular culture in any subsequent age, leading to its entrenched place in the pop culture of today – not only in fiction and art, but in any form of entertainment or representation. Finally, the value of both medieval literature and culture, as well as popular culture, and the interdependence of both, is to be explored.
PRESENTATION:
La culture populaire d’aujourd’hui est riche en allusions au Moyen Age, non seulement dans la littérature et les arts visuels – comme elle l’a toujours été dans les siècles passés (par exemple, les préraphaélites ou Connecticut Yankee dans la cour du roi Arthur de Twain, Idylles du roi de Tennyson, ou le Hobbit et le Seigneur des Anneaux de Tolkien, etc.) – mais aussi dans les romans graphiques et dans les bandes dessinées, sur le petit comme sur le grand écran, ainsi que sur les écrans d’ordinateur des amateurs de jeux vidéos, les parcs d’attractions, les festivals et les foires.
Mais combien de ces références dont le contexte est médiéval – présentées comme de nouvelles versions de vieux récits ou tout simplement utilisant de manière plus libre un cadre ou un thème médiéval – reflètent fidèlement le Moyen Age ? Et de quelle manière et dans quelle mesure ces références médiévales modifient-elle ou déforment-elle la réalité de cette époque ? A quel point cette époque est-elle romancée comme, par exemple, dans un Camelot idéalisé où «la pluie ne peut tomber qu’après le coucher du soleil »? Dans quelle mesure est-elle, comme l’atteste l’expression « Jouer à la flamme bien moyenâgeuse » qui implique la menace d’une vengeance féroce, diabolisée, vilipendée? Dans quelle mesure et à quel point ces constructions, ces références, influencent-elles sur notre compréhension du Moyen Age? Est-il donc important d’être exact ? Enfin, dans quelle mesure ces modifications mettent-elles à jour les textes et les récits en leur permettant de rester en vie et en constante évolution ? Et pourquoi le Moyen Age est-il l’éternel sujet favori, exploité année après année, décennie après décennie, siècle après siècle?
Cette journée d’étude va tenter de répondre à ces questions en ouvrant le dialogue par le biais de différentes disciplines : histoire, littérature, linguistique diachronique, arts visuels, cinéma, théâtre, télévision, mais aussi via les jeux vidéos et les parcs d’attraction, etc. Il s’agira d’étudier la popularité durable des thèmes médiévaux et la manière dont les récits et les textes médiévaux sont transmis, conservés, déformés, renouvelés et utilisés pour construire la nouvelle culture populaire résolument moderne, de l’Europe, de l’Amérique du Nord et du monde du 21ème siècle.
Il est important de considérer l’importance de la précision dans les représentations prétendument basées sur des textes réels, comme par exemple la série Vikings, ou les divers remakes de Beowulf. Et, dans quelle mesure ce libre traitement est-il acceptable, ou même à encourager? Dans quelle mesure les idées reçues, souvent douteuses, sont-elles employées dans des œuvres originales au contexte médiéval, mais pas forcément dans un cadre véritablement médiéval comme Game of Thrones ou Harry Potter?
Outre les ouvrages mentionnés ci-dessus, la conférence est ouverte à toute proposition portant sur l’utilisation des œuvres ou des thèmes médiévaux dans tous les aspects de la culture populaire actuelle ou antérieure, les conduisant à une place ancrée dans la culture populaire moderne – non seulement dans la fiction et l’art, mais dans toute forme de divertissement ou de représentation. Enfin, la valeur de la littérature et de la culture médiévales, de la culture populaire, ainsi que leur interdépendance, sera étudiée.
Saturday, February 27, 2016
Announcing the The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
I am pleased to announce that effective 1 March 2016, the Virtual Society for the Study of Popular Culture and the Middle Ages is now the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture under the direction of founder Michael A. Torregrossa. I believe that the new name better reflects our purpose as an organization as it has evolved since 2004.
Changes to the sites will begin today and should be completed this spring. Some links may no longer work in the interim. I apologize for any issues as we reconfigure our presence on the web.
Michael A. Torregrossa
Founder and Blog-Editor, The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
Changes to the sites will begin today and should be completed this spring. Some links may no longer work in the interim. I apologize for any issues as we reconfigure our presence on the web.
Michael A. Torregrossa
Founder and Blog-Editor, The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
Saturday, February 20, 2016
Kalamazoo 2016
The program for this year's International Congress on Medieval Studies is now available at https://wmich.edu/medievalcongress. Details on our sponsored session can be found on the Medieval Studies on Screen site at http://medievalstudiesonscreen.blogspot.com/2016/02/kalamazoo-2016-round-table.html.
SMART Fall 2015
Fall 2015 (Volume 22, Issue 2)
OLD ENGLISH ACROSS THE CURRICULUM—CONTEXTS AND PEDAGOGIES (featured collection guest edited by Haruko Momma and Heide Estes)
Introduction
HARUKO MOMMA and HEIDE ESTES Old English across the Curriculum—Contexts and Pedagogies
Part 1: Historical Old English
FRED C. ROBINSON Why Study Old English?
CARLA MARÍA THOMAS Blurring the Lines: Early Middle English in the Old English Classroom
HEIDE ESTES Teaching Old English in History of the English Language
Part 2: Old English through Different Media
PETER S. BAKER On Writing Old English
ERIC WEISKOTT A Plea for Pronunciation
MARTIN CHASE Teaching Old English Codicology and Palaeography from the Beginning
Part 3: Interactive Old English
ERICA WEAVER Attending to Poems: Learning from Latin Pedagogy
BOB HASENFRATZ Paradigm Bashing Challenges to Teaching and Learning Old English in the Twenty-First Century
NIENKE C. VENDERBOSCH The Language Bank as a Tool for Active Learning
MARTIN FOYS Hwæt sprycst þu?: Performing Ælfric’s Colloquy
Part 4: Old English in/and Translation
STACY S. KLEIN Anglo-Saxon Pedagogy and the “Circle of Shame”
MICHAEL MATTO Remainders: Reading an Old English Poem through Multiple Translations
MO PARELES Teaching Graduate Students to Teach Old English
Afterword
HARUKO MOMMA By All Means
Appendices
PETER S. BAKER Hærrig Wand Bygeþ [Harry Buys a Wand]
BOB HASENFRATZ A Frequency List of Old English Vocabulary in a “Canonical” Corpus
JAY PAUL GATES Reading Pronouns: An Entry to Medieval Textual Culture
TOM SHIPPEY Book Reviews: Viking Language 1: Learn Old Norse, Runes and Icelandic Sagas, by Jesse L. Byock; and Viking Language 2: The Reader, by L. Jesse Byock
STEPHEN F. EVANS Book Review: Queer Renaissance Historiography: Backward Gaze, edited by Vin Nardizzi, Stephen Guy-Bray, and Will Stockton
WILLIAM F. HODAPP Book Review: The Cambridge Companion to Boethius, edited by John Marenbon
Monday, July 20, 2015
CFP Science Fiction in the Middle Ages and the Middle Ages in Science Fiction (9/30/15; NeMLA 2016)
Science Fiction in the Middle Ages and the Middle Ages in Science Fiction (Panel)
NeMLA's 47th annual convention, March 17 to 20, 2016 in Hartford, CT
Primary Area / Secondary Area: British / Comparative Literature
Chair(s): Timothy Miller (Sarah Lawrence College)
Proposals by September 30, 2015.
Abstract
Medieval European literature played a defining role in the development of modern fantasy fiction, and genre fantasy has already received a great deal of critical attention in the academic study of medievalism. By comparison, the complex relationship of genre science fiction to the Middle Ages has been sorely understudied, and this session will include papers that consider either or both of the topics in its title, that is, on the one hand, the appearance or influence of "the medieval," broadly conceived, in modern science fiction. Such papers might examine how certain works of SF (re)construct the medieval: fruitful examples would include a text like Frank Herbert's Dune, where neo-feudalism prevails; time travel novels in which contemporary characters return to an imagined Middle Ages; SF narratives written by medievalists (such as C. S. Lewis's Space Trilogy); or space operas that follow romance or folkloric formulae. Alternatively, papers in search of "science fiction in the Middle Ages" might apply to medieval texts concepts central to the academic study of science fiction -- Darko Suvin's "cognitive estrangement," Fredric Jameson's theory of utopia, and so on -- or examine any set of medieval discourses, impulses, or individual works that might be productively understood as some kind of equivalent to contemporary SF. Examples here might include dream visions in which the narrator traverses the celestial spheres, tales of impossible gadgets, or narratives of alchemical success or folly. Finally, papers that argue from a perspective denying the compatibility of the medieval worldview and the rationalist-empiricist discourse of science fiction would also be welcome. This session will advance our understanding of the place of (proto-)science in medieval fictions, but also attempt to account for the frequent reappearance of the medieval in the distinctly modern science fiction genre, which often takes pride in its modernity and defines itself against pre-Enlightenment epistemologies.
Description
This session will explore the reception and reconstruction of the Middle Ages in contemporary science fiction narrative, but also invites reconsiderations of the appearance of proto-scientific discourses in medieval literature itself, in search of possible connections between these phenomena. Accordingly, individual papers may address modern and/or medieval texts: neo-medieval science fiction masterworks such as Frank Herbert's Dune, where neo-feudalism prevails; time travel novels in which contemporary characters return to an imagined Middle Ages; SF narratives written by medievalists (such as C. S. Lewis's Space Trilogy); space operas that follow romance or folkloric formulae; or any medieval text with natural-scientific ambitions of its own (dream visions, marvel tales, alchemical ruminations, bestiaries, and more). By bringing SF theory and medievalizing science fiction in dialogue with the science and fiction of the Middle Ages, this session will advance our understanding of the place of (proto-)science in medieval literature, while also perhaps shedding light on the unexpectedly frequent reappearance of the medieval in the distinctively modern genre of science fiction genre, which so often takes pride in its modernity and defines itself against pre-Enlightenment epistemologies.
Submit Abstract at https://www.cfplist.com/nemla/Home/S/15692
NeMLA's 47th annual convention, March 17 to 20, 2016 in Hartford, CT
Primary Area / Secondary Area: British / Comparative Literature
Chair(s): Timothy Miller (Sarah Lawrence College)
Proposals by September 30, 2015.
Abstract
Medieval European literature played a defining role in the development of modern fantasy fiction, and genre fantasy has already received a great deal of critical attention in the academic study of medievalism. By comparison, the complex relationship of genre science fiction to the Middle Ages has been sorely understudied, and this session will include papers that consider either or both of the topics in its title, that is, on the one hand, the appearance or influence of "the medieval," broadly conceived, in modern science fiction. Such papers might examine how certain works of SF (re)construct the medieval: fruitful examples would include a text like Frank Herbert's Dune, where neo-feudalism prevails; time travel novels in which contemporary characters return to an imagined Middle Ages; SF narratives written by medievalists (such as C. S. Lewis's Space Trilogy); or space operas that follow romance or folkloric formulae. Alternatively, papers in search of "science fiction in the Middle Ages" might apply to medieval texts concepts central to the academic study of science fiction -- Darko Suvin's "cognitive estrangement," Fredric Jameson's theory of utopia, and so on -- or examine any set of medieval discourses, impulses, or individual works that might be productively understood as some kind of equivalent to contemporary SF. Examples here might include dream visions in which the narrator traverses the celestial spheres, tales of impossible gadgets, or narratives of alchemical success or folly. Finally, papers that argue from a perspective denying the compatibility of the medieval worldview and the rationalist-empiricist discourse of science fiction would also be welcome. This session will advance our understanding of the place of (proto-)science in medieval fictions, but also attempt to account for the frequent reappearance of the medieval in the distinctly modern science fiction genre, which often takes pride in its modernity and defines itself against pre-Enlightenment epistemologies.
Description
This session will explore the reception and reconstruction of the Middle Ages in contemporary science fiction narrative, but also invites reconsiderations of the appearance of proto-scientific discourses in medieval literature itself, in search of possible connections between these phenomena. Accordingly, individual papers may address modern and/or medieval texts: neo-medieval science fiction masterworks such as Frank Herbert's Dune, where neo-feudalism prevails; time travel novels in which contemporary characters return to an imagined Middle Ages; SF narratives written by medievalists (such as C. S. Lewis's Space Trilogy); space operas that follow romance or folkloric formulae; or any medieval text with natural-scientific ambitions of its own (dream visions, marvel tales, alchemical ruminations, bestiaries, and more). By bringing SF theory and medievalizing science fiction in dialogue with the science and fiction of the Middle Ages, this session will advance our understanding of the place of (proto-)science in medieval literature, while also perhaps shedding light on the unexpectedly frequent reappearance of the medieval in the distinctively modern genre of science fiction genre, which so often takes pride in its modernity and defines itself against pre-Enlightenment epistemologies.
Submit Abstract at https://www.cfplist.com/nemla/Home/S/15692
CFP Azincourt or Agincourt : Remembering and Representing the Hundred Years War Conference (8/28/15; France 11/6/15)
CFP « Azincourt or Agincourt : Remembering and Representing the Hundred Years War » (deadline 28 August 2015) 6 November 2015, University of Toulouse, France.
https://networks.h-net.org/node/73374/announcements/74435/cfp-%C2%AB-azincourt-or-agincourt-remembering-and-representing-hundred
Announcement published by Nathalie Rivere de Carles on Tuesday, July 7, 2015
Type:
Call for Papers
Date:
August 28, 2015
Location:
France
Subject Fields:
Military History, Diplomacy and International Relations, Visual Studies, Theatre and History of Theatre
CFP « Azincourt or Agincourt : Remembering and Representing the Hundred Years War », 6 November 2015, University of Toulouse, France.
600 years ago, Henry V and his army slaughtered the ‘fine fleur de la chevalerie française’ during one of the most recounted battle in English history. Mythologised by William Shakespeare’s Henry V, the play has become a sounding board for subsequent military conflicts and operations. The young heroic king’s brotherly pledge, ‘We few, we happy few, we band of brothers’, resounded throughout the centuries and inspired authors, directors and politicians. However, what do we really know about the battle of Agincourt? Why is the memory of this battle particularly vivid? How is it perceived whether you call that field Azincourt or Agincourt, whether you are on the French or the English side of the Channel?
This conference wishes to explore historical and literary accounts and narratives of the battle of Agincourt and of the Hundred Years War. These accounts (from the Middle Ages until now) are often contradictory and offer an interesting insight in the process of memorialisation and the instruments it the memory of this conflict was and has become in both domestic and international politics. We wish to investigate the paradigms of fictional transfers of History a,nd the way the historical and fictional accounts have influenced and fashioned national and political prejudices and clichés and participated in the political, social and religious evolution of the belligerents.
This conference will thus favour a dialogue between different research fields (history, literature, military history, diplomatic history, visual arts, theatre and cinema) in order to study the means of creation and transmission of memory, of the formation of war memory and its deformations, and of the part it plays in the construction of states.
The conference also welcomes proposals on the topic of expected or unexpected accounts in French and English chronicles ((Froissard, Hall’s Chronicles, Holinshed, Grandes Chroniques de France, L’Arbre des batailles by Honoré Bouvet, Le Livre des faits de Bertrand Du Guesclin). We welcome proposals regarding Franco-English cultural and political relationships at the beginning of the 15th century and also studies in diplomatic and military history. In the latter field we will question the accuracy of the accounts of the battle, of its location, and its role as landmark in military strategic and tactical methods.
We also wish to examine the way the Hundred Years War and more particularly the Battle of Agincourt were perceived and used in the centuries that followed. The literary and iconographic creations related to this military event need to be studied and we invite proposals on fictional and political writings on the Hundred Years War and its stakeholders such as Christine de Pisan’s Livre des faits et bonnes mœurs du sage roy Charles V ou le Ditié de Jeanne d’Arc, William Shakespeare’s Henry V, Henry VI, Edward III. We also welcome papers on the surge of interest in the 18th and 19th centuries for the conflict in texts such as Décius français ou le Siège de Calais sous Philippe VI de Durosoy (1764), Le Siège de Calais, a tragedy by Dormont de Belloy (1765), or in the opera, L'assedio di Calais (1836), by Gaetano Donizetti et Salvatore Cammarano.
The conference also wishes to examine the representation of soldiers and the evolution of the representation and the perception of chivalry, masculinity in the context of a reappraisal of heroism. Thus we will also consider contemporary dramatic and cinematographic versions of the Hundred Years Wars and the Battle of Agincourt and its sung or unsung heroes (The BBC’s The Hollow Crown, Laurence Olivier’s and Kenneth Branagh’s Henry V, the recent stage adaptations of Shakespeare’s Histories and other historical plays).
List of topics (non-exhaustive):
Proposals (300 to 500 words) should be sent by August 28th to Dr Nathalie Rivère de Carles (nrivere@univ-tlse2.fr) and Dr John C. Ford (ford.john@hotmail.com). Confirmation of acceptance will be sent to participants by September 3rd.
Contact Info:
Dr Nathalie Rivère de Carles (nrivere@univ-tlse2.fr)
Dr John C. Ford (ford.john@hotmail.com).
Contact Email:
nrivere@univ-tlse2.fr
https://networks.h-net.org/node/73374/announcements/74435/cfp-%C2%AB-azincourt-or-agincourt-remembering-and-representing-hundred
Announcement published by Nathalie Rivere de Carles on Tuesday, July 7, 2015
Type:
Call for Papers
Date:
August 28, 2015
Location:
France
Subject Fields:
Military History, Diplomacy and International Relations, Visual Studies, Theatre and History of Theatre
CFP « Azincourt or Agincourt : Remembering and Representing the Hundred Years War », 6 November 2015, University of Toulouse, France.
600 years ago, Henry V and his army slaughtered the ‘fine fleur de la chevalerie française’ during one of the most recounted battle in English history. Mythologised by William Shakespeare’s Henry V, the play has become a sounding board for subsequent military conflicts and operations. The young heroic king’s brotherly pledge, ‘We few, we happy few, we band of brothers’, resounded throughout the centuries and inspired authors, directors and politicians. However, what do we really know about the battle of Agincourt? Why is the memory of this battle particularly vivid? How is it perceived whether you call that field Azincourt or Agincourt, whether you are on the French or the English side of the Channel?
This conference wishes to explore historical and literary accounts and narratives of the battle of Agincourt and of the Hundred Years War. These accounts (from the Middle Ages until now) are often contradictory and offer an interesting insight in the process of memorialisation and the instruments it the memory of this conflict was and has become in both domestic and international politics. We wish to investigate the paradigms of fictional transfers of History a,nd the way the historical and fictional accounts have influenced and fashioned national and political prejudices and clichés and participated in the political, social and religious evolution of the belligerents.
This conference will thus favour a dialogue between different research fields (history, literature, military history, diplomatic history, visual arts, theatre and cinema) in order to study the means of creation and transmission of memory, of the formation of war memory and its deformations, and of the part it plays in the construction of states.
The conference also welcomes proposals on the topic of expected or unexpected accounts in French and English chronicles ((Froissard, Hall’s Chronicles, Holinshed, Grandes Chroniques de France, L’Arbre des batailles by Honoré Bouvet, Le Livre des faits de Bertrand Du Guesclin). We welcome proposals regarding Franco-English cultural and political relationships at the beginning of the 15th century and also studies in diplomatic and military history. In the latter field we will question the accuracy of the accounts of the battle, of its location, and its role as landmark in military strategic and tactical methods.
We also wish to examine the way the Hundred Years War and more particularly the Battle of Agincourt were perceived and used in the centuries that followed. The literary and iconographic creations related to this military event need to be studied and we invite proposals on fictional and political writings on the Hundred Years War and its stakeholders such as Christine de Pisan’s Livre des faits et bonnes mœurs du sage roy Charles V ou le Ditié de Jeanne d’Arc, William Shakespeare’s Henry V, Henry VI, Edward III. We also welcome papers on the surge of interest in the 18th and 19th centuries for the conflict in texts such as Décius français ou le Siège de Calais sous Philippe VI de Durosoy (1764), Le Siège de Calais, a tragedy by Dormont de Belloy (1765), or in the opera, L'assedio di Calais (1836), by Gaetano Donizetti et Salvatore Cammarano.
The conference also wishes to examine the representation of soldiers and the evolution of the representation and the perception of chivalry, masculinity in the context of a reappraisal of heroism. Thus we will also consider contemporary dramatic and cinematographic versions of the Hundred Years Wars and the Battle of Agincourt and its sung or unsung heroes (The BBC’s The Hollow Crown, Laurence Olivier’s and Kenneth Branagh’s Henry V, the recent stage adaptations of Shakespeare’s Histories and other historical plays).
List of topics (non-exhaustive):
- Literary, iconographic and musical accounts of the Hundred Years War since the Renaissance
- The genres of the historical chronicle and of the historical tragedy and their relationship with memory
- Chivalry and the revision of heroism
- The political and structural consequences of the Hundred Years War: the influence on the vision of government…
- Territory and linguistic hybridism in Henry V and historical tragedies
- Military history: perception of war and of soldiers, evolution of chivalry, myths and strategic realities of sieges and warfare (Agincourt, Harfleur, Calais…)
- Diplomatic relationships: the role of the Duke of Burgundy, the art and the failure of negotiation
- The representation of the emissary during and after the Hundred Years War…
Proposals (300 to 500 words) should be sent by August 28th to Dr Nathalie Rivère de Carles (nrivere@univ-tlse2.fr) and Dr John C. Ford (ford.john@hotmail.com). Confirmation of acceptance will be sent to participants by September 3rd.
Contact Info:
Dr Nathalie Rivère de Carles (nrivere@univ-tlse2.fr)
Dr John C. Ford (ford.john@hotmail.com).
Contact Email:
nrivere@univ-tlse2.fr
CFP Fanfiction in Medieval Studies (9/15/15; Kalamazoo 2016)
This sounds like an interesting approach:
Call for papers: "Fanfiction in Medieval Studies" at the International Congress for Medieval Studies, Kalamazoo, MI, 2016
https://networks.h-net.org/node/13784/discussions/75805/call-papers-fanfiction-medieval-studies-international-congres
Discussion published by Anna Wilson on Sunday, July 19, 2015 0 Replies
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Type: Call for Papers
Date: September 15, 2015
Location: Michigan, United States
Subject Fields: Ancient History, Classical Studies, Communication, Composition, Cultural History / Studies, Intellectual History, Literature, Medieval and Byzantine History / Studies, Rhetoric
Panel: Fanfiction In Medieval Studies
Conference: 51st International Congress in Medieval Studies, Kalamazoo, Michigan (May 12-15, 2016)
Organizer: Anna Wilson
Call for papers: Over the past three decades, there has been increasing interest in both Fan Studies and Medieval Studies in the relationship between medieval literary culture and fanfiction (that is, popular, ‘unofficial’, fan-generated fiction writing that participates in a pre-existing fictional ‘universe’ and uses its characters). Many Fan Studies scholars have seen fanfiction as the heir to the premodern literary tradition in which authors adapt, rework, reinterpret or otherwise engages with a pre-existing literary work. These arguments often refer to the Aeneid’s reworking of Homer, romances in the Alexander or Arthurian traditions, or specific works, such as Robert Henryson’s Testament of Cresseid or Lydgate’s Siege of Thebes, as ‘early fan fiction’. Fanfiction scholars have also claimed the medieval ‘active reader’, whose creativity spilled into glosses, commentaries and exegesis, as part of the history of fanfiction writers. However, there is currently little reflection on what this comparison might mean for medievalists. Can this analogy generate new readings of medieval literature texts or communities? How can we build a productive comparison between fanfiction and medieval literatures while retaining a sense of individual historical contexts and avoiding over-simplification?
This session invites papers that reflect on points of analogy between fanfiction and medieval literatures. Close-readings and case studies are welcome, but papers should ideally include attention to methodology. Papers might discuss: interest in amateur medievalisms, affect, volunteer labour, community formation on social media, the ‘active reader’ and marginalia, remix culture, gendered reading, the digital humanities, the erosion of the line between ‘public’ medievalism and that of the academy, fanfiction and pedagogy, and the question of relevance.
Please submit abstracts of 300 words or less, and a Participation Information Form (available here: http://wmich.edu/medieval/congress/submissions/index.html#PIF) to Anna Wilson (anna.wilson@utoronto.ca).
Deadline: September 15th 2015
Contact Info:
Anna Wilson, University of Toronto
Contact Email: anna.wilson@utoronto.ca
Call for papers: "Fanfiction in Medieval Studies" at the International Congress for Medieval Studies, Kalamazoo, MI, 2016
https://networks.h-net.org/node/13784/discussions/75805/call-papers-fanfiction-medieval-studies-international-congres
Discussion published by Anna Wilson on Sunday, July 19, 2015 0 Replies
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Type: Call for Papers
Date: September 15, 2015
Location: Michigan, United States
Subject Fields: Ancient History, Classical Studies, Communication, Composition, Cultural History / Studies, Intellectual History, Literature, Medieval and Byzantine History / Studies, Rhetoric
Panel: Fanfiction In Medieval Studies
Conference: 51st International Congress in Medieval Studies, Kalamazoo, Michigan (May 12-15, 2016)
Organizer: Anna Wilson
Call for papers: Over the past three decades, there has been increasing interest in both Fan Studies and Medieval Studies in the relationship between medieval literary culture and fanfiction (that is, popular, ‘unofficial’, fan-generated fiction writing that participates in a pre-existing fictional ‘universe’ and uses its characters). Many Fan Studies scholars have seen fanfiction as the heir to the premodern literary tradition in which authors adapt, rework, reinterpret or otherwise engages with a pre-existing literary work. These arguments often refer to the Aeneid’s reworking of Homer, romances in the Alexander or Arthurian traditions, or specific works, such as Robert Henryson’s Testament of Cresseid or Lydgate’s Siege of Thebes, as ‘early fan fiction’. Fanfiction scholars have also claimed the medieval ‘active reader’, whose creativity spilled into glosses, commentaries and exegesis, as part of the history of fanfiction writers. However, there is currently little reflection on what this comparison might mean for medievalists. Can this analogy generate new readings of medieval literature texts or communities? How can we build a productive comparison between fanfiction and medieval literatures while retaining a sense of individual historical contexts and avoiding over-simplification?
This session invites papers that reflect on points of analogy between fanfiction and medieval literatures. Close-readings and case studies are welcome, but papers should ideally include attention to methodology. Papers might discuss: interest in amateur medievalisms, affect, volunteer labour, community formation on social media, the ‘active reader’ and marginalia, remix culture, gendered reading, the digital humanities, the erosion of the line between ‘public’ medievalism and that of the academy, fanfiction and pedagogy, and the question of relevance.
Please submit abstracts of 300 words or less, and a Participation Information Form (available here: http://wmich.edu/medieval/congress/submissions/index.html#PIF) to Anna Wilson (anna.wilson@utoronto.ca).
Deadline: September 15th 2015
Contact Info:
Anna Wilson, University of Toronto
Contact Email: anna.wilson@utoronto.ca
Friday, June 19, 2015
Kalamazoo 2016 News
The Society has submitted a proposal for a roundtable devoted to the topic of Medieval Studies on screen. Further details will be posted later in the summer at the Medieval Studies on Screen site at MedievalStudiesonScreen.org.
Michael A. Torregrossa
Co-Founder, The Virtual Society for the Study of Popular Culture and the Middle Ages
Michael A. Torregrossa
Co-Founder, The Virtual Society for the Study of Popular Culture and the Middle Ages
CFP: “The Ballad of the Lone Medievalist” (collection) (7/31/15)
A worthwhile effort:
CFP: “The Ballad of the Lone Medievalist”
http://massmedieval.com/2015/06/08/cfp-the-ballad-of-the-lone-medievalist/
Contributions of any style and various lengths welcome!
For many medievalists who have had the good fortune to find jobs in academe, the professional reality is that we are unlikely to be surrounded by colleagues who share our areas of expertise and interest. In most cases, a department will hire only a single medieval specialist – and may be hard-pressed to convince administrations or hiring committees to approve even that one. Those lucky few who find a tenure-track position will then spend years explaining their work to colleagues, chairs, grant committees, and eventually tenure reviewers who know little about the work we do; others, in non-tenure or adjunct positions, must decide whether maintaining an interest in medieval studies is wise or even possible as the entry-level-course teaching load piles up. While the advent of digital technologies has brought us the possibility of closer contact and greater collaboration with our fellow medievalists, our resource access, scholarly profile, teaching opportunities, tenure cases, and other facets of our professional lives can be affected by our lack of numbers and by questions about the nature and value of what we do.
This collection, as the title suggests, will address the realities of professional engagement, curriculum planning, and reappointment and tenure cases as the “lone medievalist” in a department or institution. We are interested in almost any style of submission that is concerned in a meaningful and productive way with the topic of “the lone medievalist.” This will not be a collection bewailing the state of medieval studies in small institutions. Rather, we envision a collection offering camaraderie, suggestions, resolution, and advice, while simultaneously creating a snapshot of the current state of Medieval Studies as it manifests itself through the careers and daily work of medievalist academics. We intend it to be forward-thinking and revitalizing as well as helpful to those of us in these positions.
Send proposals (do not have to be too long or formal – around 100-200 words to give us a good sense of your idea) either through Facebook messaging or to the email addresses: ktracy3@fitchburgstate.edu and john.sexton@bridgew.edu. We are looking for a combination of anecdotes, stories, longer essays, manifestos, and advice – various lengths, any style. We do recommend 1000-5000 words (longer will be considered as well) or the equivalent (e.g. a photographic essay or a collection of documents). We anticipate a quick turnaround on this, so let’s get moving! The initial deadline for proposals will be July 31, 2015. The initial deadline for contributions is scheduled for October 31, 2015.
CFP: “The Ballad of the Lone Medievalist”
http://massmedieval.com/2015/06/08/cfp-the-ballad-of-the-lone-medievalist/
Contributions of any style and various lengths welcome!
For many medievalists who have had the good fortune to find jobs in academe, the professional reality is that we are unlikely to be surrounded by colleagues who share our areas of expertise and interest. In most cases, a department will hire only a single medieval specialist – and may be hard-pressed to convince administrations or hiring committees to approve even that one. Those lucky few who find a tenure-track position will then spend years explaining their work to colleagues, chairs, grant committees, and eventually tenure reviewers who know little about the work we do; others, in non-tenure or adjunct positions, must decide whether maintaining an interest in medieval studies is wise or even possible as the entry-level-course teaching load piles up. While the advent of digital technologies has brought us the possibility of closer contact and greater collaboration with our fellow medievalists, our resource access, scholarly profile, teaching opportunities, tenure cases, and other facets of our professional lives can be affected by our lack of numbers and by questions about the nature and value of what we do.
This collection, as the title suggests, will address the realities of professional engagement, curriculum planning, and reappointment and tenure cases as the “lone medievalist” in a department or institution. We are interested in almost any style of submission that is concerned in a meaningful and productive way with the topic of “the lone medievalist.” This will not be a collection bewailing the state of medieval studies in small institutions. Rather, we envision a collection offering camaraderie, suggestions, resolution, and advice, while simultaneously creating a snapshot of the current state of Medieval Studies as it manifests itself through the careers and daily work of medievalist academics. We intend it to be forward-thinking and revitalizing as well as helpful to those of us in these positions.
Send proposals (do not have to be too long or formal – around 100-200 words to give us a good sense of your idea) either through Facebook messaging or to the email addresses: ktracy3@fitchburgstate.edu and john.sexton@bridgew.edu. We are looking for a combination of anecdotes, stories, longer essays, manifestos, and advice – various lengths, any style. We do recommend 1000-5000 words (longer will be considered as well) or the equivalent (e.g. a photographic essay or a collection of documents). We anticipate a quick turnaround on this, so let’s get moving! The initial deadline for proposals will be July 31, 2015. The initial deadline for contributions is scheduled for October 31, 2015.
CFP Shakespeare after Shakespeare (conference) (6/25/15; Paris 1/21-23/16)
CFP Shakespeare after Shakespeare
Tuesday, April 21, 2015
http://www.rsa.org/news/227765/CFP-Shakespeare-after-Shakespeare.htm
French Shakespeare Society 2016 Conference Paris, 21-23 January 2016
On the occasion of the 400th anniversary of Shakespeare’s death, the Société Française Shakespeare is dedicating its annual conference to “Shakespeare after Shakespeare”. The conference will be the occasion for academics, theater, performance and arts practitioners to discuss the playwright’s long-lasting legacy. We welcome proposals (in English or in French) on topics such as:
Selected proceedings will be published in the Société Française Shakespeare’s peer-reviewed online journal: http://shakespeare.revues.org.
Please send proposals by June 25, 2015 to contact@societefrancaiseshakespeare.org. Proposals should include a title, an abstract (750-word max.), and a short bio.
Tuesday, April 21, 2015
http://www.rsa.org/news/227765/CFP-Shakespeare-after-Shakespeare.htm
French Shakespeare Society 2016 Conference Paris, 21-23 January 2016
On the occasion of the 400th anniversary of Shakespeare’s death, the Société Française Shakespeare is dedicating its annual conference to “Shakespeare after Shakespeare”. The conference will be the occasion for academics, theater, performance and arts practitioners to discuss the playwright’s long-lasting legacy. We welcome proposals (in English or in French) on topics such as:
- Shakespearean adaptations and appropriations from the 17th to the 21st century in print, in paintings, on stage, or in the media, new and old (radio, film, television, comics, Internet…)
- The posthumous reputation and portrayals of Shakespeare: how has ‘Shakespeare’ been portrayed after his death?
- The issue of serial writing and directing: dramatic links from one play to the next; productions presented as sequels or prequels.
- Dramatic and poetic aesthetics after Shakespeare: what does it mean to write poetry or drama after Shakespeare?
- Recapturing the ‘original’ Shakespeare post-facto: his work, the creative process, the publishing process, the staging and pronunciation of his plays…
- Studying Shakespeare’s works from the viewpoint of contemporary theories of language and literature: how does Shakespeare help us to create new concepts or review old ones?
Selected proceedings will be published in the Société Française Shakespeare’s peer-reviewed online journal: http://shakespeare.revues.org.
Please send proposals by June 25, 2015 to contact@societefrancaiseshakespeare.org. Proposals should include a title, an abstract (750-word max.), and a short bio.
CFP Shakespeare and Our Times (conference) (8/15/15; Norfolk, VA 4/14-16/15)
CFP: "Shakespeare and Our Times" 14-16 April 2016
Tuesday, May 05, 2015
http://www.rsa.org/news/230030/CFP-Shakespeare-and-Our-Times-14-16-April-2016.htm
An interdisciplinary, international conference on the significance of Shakespeare in the early twenty-first century
April 14-16, 2016
Old Dominion University, Norfolk, VA.
What does William Shakespeare mean to us today, and what traces of his thinking can still be seen in our lives? In the context of a week-long, multi-faceted investigation of Shakespeare’s continued presence in our cultural landscape, this three-day conference will probe contemporary manifestations of the Bard. To mark the 400th anniversary of the playwright’s death we will seek his footprint as we question the legacy of the early colonial mindset in the twenty-first century. Why does this figure among all others endure so persistently? At stake are questions of global imperialism and how it intersects with race, ethnicity, gender, and Shakespeare’s extended influence in what were, for him, newly-emerging colonial locales. How, then, is Shakespeare performed, translated, analysed today?
Abstracts and panel proposals welcome on these and other topics:
Shakespeare and Popular Culture
Shakespeare and Time
Gender/Sexuality in Shakespeare
Shakespeare and the Idea of the Posthuman
Shakespeare’s Cities
Shakespeare and International Relations
Shakespeare and the Sciences
Why Shakespeare? Shakespeare for Whom?
Shakespeare and Disaster Management
Shakespeare and Contemporary Censorship
Translating Shakespeare
The Rhetoric of Shakespeare
Shakespeare and America, Shakespeare in America
Shakespeare’s Music
Staging Shakespeare, Filming Shakespeare Now
Shakespeare and Language
Material Shakespeare
Theorizing Shakespeare in the Twenty-First century
Shakespeare and Twenty-First Century Public Learning
250-word abstracts for individual 20-minute papers, or 3-paper panel sessions can be submitted at http://bit.ly/1I639mG by August 15, 2015. Advanced graduate students welcome to apply.
Inquiries about the conference can be sent to:
Dr. Imtiaz Habib ihabib@odu.edu
Dr. Delores Phillips dbphilli@odu.edu
Dr. Drew Lopenzina alopenzi@odu.edu or
Dr. Liz Black eblack@odu.edu
Full conference and event brochure: http://shakespeare400yearsafter.digitalodu.com/wp-content/uploads/2015/03/document.pdf
Tuesday, May 05, 2015
http://www.rsa.org/news/230030/CFP-Shakespeare-and-Our-Times-14-16-April-2016.htm
An interdisciplinary, international conference on the significance of Shakespeare in the early twenty-first century
April 14-16, 2016
Old Dominion University, Norfolk, VA.
What does William Shakespeare mean to us today, and what traces of his thinking can still be seen in our lives? In the context of a week-long, multi-faceted investigation of Shakespeare’s continued presence in our cultural landscape, this three-day conference will probe contemporary manifestations of the Bard. To mark the 400th anniversary of the playwright’s death we will seek his footprint as we question the legacy of the early colonial mindset in the twenty-first century. Why does this figure among all others endure so persistently? At stake are questions of global imperialism and how it intersects with race, ethnicity, gender, and Shakespeare’s extended influence in what were, for him, newly-emerging colonial locales. How, then, is Shakespeare performed, translated, analysed today?
Abstracts and panel proposals welcome on these and other topics:
Shakespeare and Popular Culture
Shakespeare and Time
Gender/Sexuality in Shakespeare
Shakespeare and the Idea of the Posthuman
Shakespeare’s Cities
Shakespeare and International Relations
Shakespeare and the Sciences
Why Shakespeare? Shakespeare for Whom?
Shakespeare and Disaster Management
Shakespeare and Contemporary Censorship
Translating Shakespeare
The Rhetoric of Shakespeare
Shakespeare and America, Shakespeare in America
Shakespeare’s Music
Staging Shakespeare, Filming Shakespeare Now
Shakespeare and Language
Material Shakespeare
Theorizing Shakespeare in the Twenty-First century
Shakespeare and Twenty-First Century Public Learning
250-word abstracts for individual 20-minute papers, or 3-paper panel sessions can be submitted at http://bit.ly/1I639mG by August 15, 2015. Advanced graduate students welcome to apply.
Inquiries about the conference can be sent to:
Dr. Imtiaz Habib ihabib@odu.edu
Dr. Delores Phillips dbphilli@odu.edu
Dr. Drew Lopenzina alopenzi@odu.edu or
Dr. Liz Black eblack@odu.edu
Full conference and event brochure: http://shakespeare400yearsafter.digitalodu.com/wp-content/uploads/2015/03/document.pdf
CFP Reception of Renaissance in Contemporary Culture (conference) (7/1/15; Paris 4/1-2/16)
Of potential interest. (Please note the original call was all one block of text; I have attempted to break it apart as best as possible.):
CFP: Imaginary Renaissance: The Reception of Renaissance in Contemporary Culture
Tuesday, May 26, 2015
http://www.rsa.org/news/233409/CFP-Imaginary-Renaissance-The-Reception-of-Renaissance-in-Contemporary-Culture.htm
Imaginary Renaissance: The Reception of Renaissance in Contemporary Culture International conference Paris, EPHE/Rouen, 1st-2nd April 2016 Organizing committee: Mélanie Bost-Fievet (EPHE), Perrine Galand (EPHE), Louise Katz (CNRS) and Sandra Provini (Université de Rouen) Scientific committee: Anne Besson (Maître de conférences HDR à l’université d’Artois), Véronique Gély (Professeur à l’université Paris-Sorbonne), Daniele Maira (Professeur à l’université de Göttingen), Gérard Milhe Poutingon (Professeur à l’université de Rouen), Jean-Charles Monferran (Professeur à l’université de Strasbourg), Isabelle Pantin (Professeur à l’École Normale Supérieure), Stéphane Rolet (Maître de conférences à l’université Paris 8), Jean Vignes (Professeur à l’université Paris-Diderot)
Reception studies, today a growing research field in France, have largely addressed the presence of the Middle Ages and, more recently, of classical Antiquity in the 20th and 21st centuries , while paying increasing attention to the fantastika and contemporary popular culture. The 2012 conference on « The Influence of Greek and Latin Antiquity in Contemporary Science-Fiction & Fantasy Works » has shed light on the complex levels of rewriting, quoting and (mis)appropriation at play, and the fertility of classical myths and patterns in the elaboration of secondary worlds; it also highlighted the role of the Renaissance as a crucial turning-point in the reception of classical Antiquity in the 20th and 21st centuries.
However, this time period, from early Quattrocento to late 16th-century, has not yet received, in France at least, all the attention it seemingly deserves, as is the case for English-speaking scholars and the British Renaissance . Indeed, the very idea of reception is at the core of the Renaissance, since many humanists and artists used to comment, imitate, or reinvent the classical and medieval texts, creations and concepts. A great many works have been dedicated to classical reception in the Renaissance, and highlighted the period as a model for the use of ancient material and sources in the creation process. Yet little attention has been paid to the manner in which the works, men and ideas of the Renaissance may have informed our contemporary imagination , and the 20th- and 21st-century creations may have appropriated this material . The reception of the Renaissance in the 19th century is far better known, and was recently furthered , while the early 20th century was, sometimes, addressed . There has also been some interest for the reception of this or that ‘great’ author, in a wider, diachronic perspective: one might mention Rabelais, Ronsard, Montaigne or d’Aubigné, as well as, last but not least, Shakespeare and Cervantès, each of whom was the topic of monographs and collective volumes. Still, the attention has been focused on the 19th century , which appears as a major milestone in the contemporary reception of the Renaissance. This reception in the past fifty years is what we wish to address, with particular interest for popular works and culture, in order to delineate its specificities.
In order to answer these questions, we shall take into consideration a wide array of creations: literature, particularly genre literature (science-fiction, fantasy and the fantastika, mysteries and thrillers, romance) and best-sellers; comics and graphic novels; cinema; television series; board, role-playing and video games. Three topics seem to be of particular relevance: - the reception of European Renaissance literature. We will address actualizing approaches, literary rewritings and on-screen transpositions of the period’s works – without solely considering the most widely-adapted author of all, Shakespeare.
We shall ask ourselves which kind of imitation is found among contemporary authors: a patient, precise contamination of particular sources (like the futuristic retelling of Tasso’s Jerusalem delivered in François Baranger’s Dominium mundi), which might lead to detailed, hypertextual analyses ; the transposition of ‘transfictional’ characters into new worlds (such as Prospero and Caliban in Simmons’s Olympos); or the reference to cultural elements made into universal myths, which have become separated from their time and frame of invention (Romeo and Juliet, from science-fiction to musicals).
We shall also examine the new editions and commentaries which exploit Renaissance works to serve new causes: the Satire Ménippée, during the French Revolution and the Third Republic, or La Boétie’s Discourse on Voluntary Servitude, which had frequent reprints in Europe, in times of revolution and war.
We will also wonder how the works of More, Machiavel or La Boétie might have influenced the currently fashionable dystopias. Some attention will also be paid to the biographical fictions and biopics dedicated to writers (Rabelais, Montaigne, Marie de Gournay…) as well as the contemporary readings of humanistic works, considered as ‘sources’ for the moderns (Stefan Zweig, Michel Butor, Milan Kundera, Carlos Fuentes, Antoine Compagnon).
Finally, we wish to examine the fate of the Renaissance language, with which many French writers have felt a keen affinity, and of the word-plays that appear as specific to the period (in the works of Aragon, the OuLiPo or Robert Merle’s Fortune de France). The English-speaking world, too, will not be forgotten: Shakespeare’s language has given rise to numerous literary experimentations, such as Ian Doescher’s rewriting of the two Star Wars trilogies in the manner of the Bard. - the reception of visual arts, performance arts, and symbolic imagery.
We wish to question our memory of Renaissance works of art, for which the public interest is still quite keen, as witnessed by the high frequentation of expositions as well as the many advertising boards that refer to Renaissance pictures; movie directors, too, borrow from composition or lightning devices that are immediately recognizable as characteristic from the period. This lasting influence of Renaissance imagery also transpires in pastiches (Bruegel is visually quoted in Astérix) and creative (mis)appropriations (Duchamp’s L.H.O.O.Q.).
We also wish to examine the manner in which Renaissance painting, especially the Italian and Dutch traditions, has fostered modern fantasies, as illustrated by the many mysteries and thrillers that dwell on the assumed enigmas of these works (Dan Brown, Iain Pears, Arturo Pérez-Reverte). Many fictions also re-imagine the lives of painters and the conditions that prevailed when they created their works (Sophie Chauveau, Jean Diwo, Tracy Chevalier); some figures even become shrouded in quasi-mystical theories, like Leonardo da Vinci. Furthermore, we shall examine the fate of other artistic forms, such as theatre, dance and music, as well as the endeavors of certain companies or music ensembles to broaden their diffusion (Ris et danceries, Doulce Mémoire).
We will also ponder on the way in which some instrumental techniques are re-visited (lute-playing in Sting’s album), and Renaissance verse is put into song. We may, finally, address the reception of a more diffused symbolic imagery, which becomes especially visible in the building of secondary worlds: urban landscapes (one might remember Jaworski’s Ciudalia or Scott Lynch’s city of Camorr, both reminiscent of Venise or Genoa in the Renaissance); sacred and occult practices (around the arts of alchemy, in Yourcenar’s The Abyss, or the character of Nostradamus); plot theories; the world of parties, masquerades and carnival; the rediscovery of a lost or unknown past. - the reception of historical events, scientific inventions, and the great discoveries.
We will assess, in the representation of historical events or characters, the share of fantasy, deliberate anachronism, and care for veracity. Thus, we will study the way in which the Reform and Religion wars are present in collective memory, while often being re-read through the prism of contemporary events (the war in Bosnia, for example, in Chéreau’s rendering of the Saint-Barthélémy in Queen Margot).
We will also study the still-vivid legends surrounding some dynasties, such as the Borgias (who have inspired countless plays and novels, from Hugo and Dumas to Manuel Vázquez Montalbán and Mario Puzo, and two modern TV series, The Borgias and Borgia), the Tudors (in its namesake TV series, as well as the many novelizations and movie adaptations of the life of Elizabeth the 1st), or the last of the Valois (in Jean Teulé’s Charly 9, to mention only the most recent title inspired by this family). It seems important, in particular, to revisit the genesis of the legends around these characters, and to mention the 19th-century works which settled their characteristics in contemporary imagination: historians have demonstrated how the ‘légende noire’ of the Valois, still vivid in popular culture, should be largely disproved in scholarly approaches. The women in particular, from Lucrezia Borgia to queen Margot or the ‘black’ queen Catherine de’Medici, fall victims to stubborn clichés, which paint them as courtesans or witches, while literary history has long been silent about the works of the greatest women writers of the Renaissance.
We will also wonder how our contemporary imagination was imprinted by the great discoveries: that of the New world (in Rufin’s novel Brazil Red, Malick’s film The New World or the TV show The Mysterious Cities of Gold), Copernic’s revolution and Galileo’s works, or the invention of the printing press (for example in Anne Cunéo’s Le Maître de Garamond). We shall question how they resonate with today’s post-modern epistemological and technological changes (world globalization, numeric revolution…).
We may, finally, examine the concern for historical realism in the conception of settings and costumes, in cinema (Tavernier’s Princess of Montpensier) as well as the videogame industry (Assassin’s Creed 2).
By exploring all these leads, we hope to draw the first draft of a map delineating our collective memory of the Renaissance. Therefore, we wish to study the Renaissance as a myth, with its heroes and (oft-forgotten) heroines, its places of predilection, a myth which was built and transmitted by generations of scholars as well as artists, novelists, directors, who have passed on some topical representations as well as constantly reinvented the period. In order to better define this ‘imaginary Renaissance’ in contemporary culture, our conference, with a firmly interdisciplinary approach, will bring together academic contributions and exchanges with writers and creators, who will be invited to reflect upon their practices and relationship to the Renaissance. It is opened to specialists of the Renaissance with an interest in its contemporary reception, as well as specialists of comparative literature, 20th- and 21st-century literature, art history and the performing arts.
Paper proposals, presented as abstracts no longer than one page, should be sent to the organizers along with a short bio-bibliography, before July 1st, 2015, to the following address: melanie.bostfievet@gmail.com
CFP: Imaginary Renaissance: The Reception of Renaissance in Contemporary Culture
Tuesday, May 26, 2015
http://www.rsa.org/news/233409/CFP-Imaginary-Renaissance-The-Reception-of-Renaissance-in-Contemporary-Culture.htm
Imaginary Renaissance: The Reception of Renaissance in Contemporary Culture International conference Paris, EPHE/Rouen, 1st-2nd April 2016 Organizing committee: Mélanie Bost-Fievet (EPHE), Perrine Galand (EPHE), Louise Katz (CNRS) and Sandra Provini (Université de Rouen) Scientific committee: Anne Besson (Maître de conférences HDR à l’université d’Artois), Véronique Gély (Professeur à l’université Paris-Sorbonne), Daniele Maira (Professeur à l’université de Göttingen), Gérard Milhe Poutingon (Professeur à l’université de Rouen), Jean-Charles Monferran (Professeur à l’université de Strasbourg), Isabelle Pantin (Professeur à l’École Normale Supérieure), Stéphane Rolet (Maître de conférences à l’université Paris 8), Jean Vignes (Professeur à l’université Paris-Diderot)
Reception studies, today a growing research field in France, have largely addressed the presence of the Middle Ages and, more recently, of classical Antiquity in the 20th and 21st centuries , while paying increasing attention to the fantastika and contemporary popular culture. The 2012 conference on « The Influence of Greek and Latin Antiquity in Contemporary Science-Fiction & Fantasy Works » has shed light on the complex levels of rewriting, quoting and (mis)appropriation at play, and the fertility of classical myths and patterns in the elaboration of secondary worlds; it also highlighted the role of the Renaissance as a crucial turning-point in the reception of classical Antiquity in the 20th and 21st centuries.
However, this time period, from early Quattrocento to late 16th-century, has not yet received, in France at least, all the attention it seemingly deserves, as is the case for English-speaking scholars and the British Renaissance . Indeed, the very idea of reception is at the core of the Renaissance, since many humanists and artists used to comment, imitate, or reinvent the classical and medieval texts, creations and concepts. A great many works have been dedicated to classical reception in the Renaissance, and highlighted the period as a model for the use of ancient material and sources in the creation process. Yet little attention has been paid to the manner in which the works, men and ideas of the Renaissance may have informed our contemporary imagination , and the 20th- and 21st-century creations may have appropriated this material . The reception of the Renaissance in the 19th century is far better known, and was recently furthered , while the early 20th century was, sometimes, addressed . There has also been some interest for the reception of this or that ‘great’ author, in a wider, diachronic perspective: one might mention Rabelais, Ronsard, Montaigne or d’Aubigné, as well as, last but not least, Shakespeare and Cervantès, each of whom was the topic of monographs and collective volumes. Still, the attention has been focused on the 19th century , which appears as a major milestone in the contemporary reception of the Renaissance. This reception in the past fifty years is what we wish to address, with particular interest for popular works and culture, in order to delineate its specificities.
- Which events have weighed the most on our collective imagination?
- Are there national particularities in this field of influence?
- What is the fate of humanism in modern representations, and how do we perceive its purpose in European history?
In order to answer these questions, we shall take into consideration a wide array of creations: literature, particularly genre literature (science-fiction, fantasy and the fantastika, mysteries and thrillers, romance) and best-sellers; comics and graphic novels; cinema; television series; board, role-playing and video games. Three topics seem to be of particular relevance: - the reception of European Renaissance literature. We will address actualizing approaches, literary rewritings and on-screen transpositions of the period’s works – without solely considering the most widely-adapted author of all, Shakespeare.
We shall ask ourselves which kind of imitation is found among contemporary authors: a patient, precise contamination of particular sources (like the futuristic retelling of Tasso’s Jerusalem delivered in François Baranger’s Dominium mundi), which might lead to detailed, hypertextual analyses ; the transposition of ‘transfictional’ characters into new worlds (such as Prospero and Caliban in Simmons’s Olympos); or the reference to cultural elements made into universal myths, which have become separated from their time and frame of invention (Romeo and Juliet, from science-fiction to musicals).
We shall also examine the new editions and commentaries which exploit Renaissance works to serve new causes: the Satire Ménippée, during the French Revolution and the Third Republic, or La Boétie’s Discourse on Voluntary Servitude, which had frequent reprints in Europe, in times of revolution and war.
We will also wonder how the works of More, Machiavel or La Boétie might have influenced the currently fashionable dystopias. Some attention will also be paid to the biographical fictions and biopics dedicated to writers (Rabelais, Montaigne, Marie de Gournay…) as well as the contemporary readings of humanistic works, considered as ‘sources’ for the moderns (Stefan Zweig, Michel Butor, Milan Kundera, Carlos Fuentes, Antoine Compagnon).
Finally, we wish to examine the fate of the Renaissance language, with which many French writers have felt a keen affinity, and of the word-plays that appear as specific to the period (in the works of Aragon, the OuLiPo or Robert Merle’s Fortune de France). The English-speaking world, too, will not be forgotten: Shakespeare’s language has given rise to numerous literary experimentations, such as Ian Doescher’s rewriting of the two Star Wars trilogies in the manner of the Bard. - the reception of visual arts, performance arts, and symbolic imagery.
We wish to question our memory of Renaissance works of art, for which the public interest is still quite keen, as witnessed by the high frequentation of expositions as well as the many advertising boards that refer to Renaissance pictures; movie directors, too, borrow from composition or lightning devices that are immediately recognizable as characteristic from the period. This lasting influence of Renaissance imagery also transpires in pastiches (Bruegel is visually quoted in Astérix) and creative (mis)appropriations (Duchamp’s L.H.O.O.Q.).
We also wish to examine the manner in which Renaissance painting, especially the Italian and Dutch traditions, has fostered modern fantasies, as illustrated by the many mysteries and thrillers that dwell on the assumed enigmas of these works (Dan Brown, Iain Pears, Arturo Pérez-Reverte). Many fictions also re-imagine the lives of painters and the conditions that prevailed when they created their works (Sophie Chauveau, Jean Diwo, Tracy Chevalier); some figures even become shrouded in quasi-mystical theories, like Leonardo da Vinci. Furthermore, we shall examine the fate of other artistic forms, such as theatre, dance and music, as well as the endeavors of certain companies or music ensembles to broaden their diffusion (Ris et danceries, Doulce Mémoire).
We will also ponder on the way in which some instrumental techniques are re-visited (lute-playing in Sting’s album), and Renaissance verse is put into song. We may, finally, address the reception of a more diffused symbolic imagery, which becomes especially visible in the building of secondary worlds: urban landscapes (one might remember Jaworski’s Ciudalia or Scott Lynch’s city of Camorr, both reminiscent of Venise or Genoa in the Renaissance); sacred and occult practices (around the arts of alchemy, in Yourcenar’s The Abyss, or the character of Nostradamus); plot theories; the world of parties, masquerades and carnival; the rediscovery of a lost or unknown past. - the reception of historical events, scientific inventions, and the great discoveries.
We will assess, in the representation of historical events or characters, the share of fantasy, deliberate anachronism, and care for veracity. Thus, we will study the way in which the Reform and Religion wars are present in collective memory, while often being re-read through the prism of contemporary events (the war in Bosnia, for example, in Chéreau’s rendering of the Saint-Barthélémy in Queen Margot).
We will also study the still-vivid legends surrounding some dynasties, such as the Borgias (who have inspired countless plays and novels, from Hugo and Dumas to Manuel Vázquez Montalbán and Mario Puzo, and two modern TV series, The Borgias and Borgia), the Tudors (in its namesake TV series, as well as the many novelizations and movie adaptations of the life of Elizabeth the 1st), or the last of the Valois (in Jean Teulé’s Charly 9, to mention only the most recent title inspired by this family). It seems important, in particular, to revisit the genesis of the legends around these characters, and to mention the 19th-century works which settled their characteristics in contemporary imagination: historians have demonstrated how the ‘légende noire’ of the Valois, still vivid in popular culture, should be largely disproved in scholarly approaches. The women in particular, from Lucrezia Borgia to queen Margot or the ‘black’ queen Catherine de’Medici, fall victims to stubborn clichés, which paint them as courtesans or witches, while literary history has long been silent about the works of the greatest women writers of the Renaissance.
We will also wonder how our contemporary imagination was imprinted by the great discoveries: that of the New world (in Rufin’s novel Brazil Red, Malick’s film The New World or the TV show The Mysterious Cities of Gold), Copernic’s revolution and Galileo’s works, or the invention of the printing press (for example in Anne Cunéo’s Le Maître de Garamond). We shall question how they resonate with today’s post-modern epistemological and technological changes (world globalization, numeric revolution…).
We may, finally, examine the concern for historical realism in the conception of settings and costumes, in cinema (Tavernier’s Princess of Montpensier) as well as the videogame industry (Assassin’s Creed 2).
By exploring all these leads, we hope to draw the first draft of a map delineating our collective memory of the Renaissance. Therefore, we wish to study the Renaissance as a myth, with its heroes and (oft-forgotten) heroines, its places of predilection, a myth which was built and transmitted by generations of scholars as well as artists, novelists, directors, who have passed on some topical representations as well as constantly reinvented the period. In order to better define this ‘imaginary Renaissance’ in contemporary culture, our conference, with a firmly interdisciplinary approach, will bring together academic contributions and exchanges with writers and creators, who will be invited to reflect upon their practices and relationship to the Renaissance. It is opened to specialists of the Renaissance with an interest in its contemporary reception, as well as specialists of comparative literature, 20th- and 21st-century literature, art history and the performing arts.
Paper proposals, presented as abstracts no longer than one page, should be sent to the organizers along with a short bio-bibliography, before July 1st, 2015, to the following address: melanie.bostfievet@gmail.com
Sunday, June 7, 2015
Call for Submissions for Teaching Medieval and Renaissance Literature (11/25/15)
Teaching Medieval and Renaissance Literature
http://call-for-papers.sas.upenn.edu/node/62405
full name / name of organization:
This Rough Magic / www.thisroughmagic.org
contact email:
boechem@sunysuffolk.edu
This Rough Magic (www.thisroughmagic.org) is a journal dedicated to the art of teaching Medieval and Renaissance Literature.
We are seeking academic, teachable articles that focus on, but are not limited to, the following categories:
•Authorship
•Genre Issues
•Narrative Structure
•Poetry
•Drama
•Epic
•Nation/Empire/Class
•Economics
•History
•Religion
•Superstition
•Philosophy and Rhetoric
•Race/Ethnicity
•Multi-Culturalism
•Gender
•Sexuality
•Art
We also seek short essays that encourage faculty to try overlooked, non-traditional texts inside the classroom and book reviews.
Submission deadline for our upcoming December issue is currently November 25, 2015. Veteran faculty and graduate students are encouraged to submit.
For more information, please visit our website: www.thisroughmagic.org.
By web submission at 06/01/2015 - 21:47
http://call-for-papers.sas.upenn.edu/node/62405
full name / name of organization:
This Rough Magic / www.thisroughmagic.org
contact email:
boechem@sunysuffolk.edu
This Rough Magic (www.thisroughmagic.org) is a journal dedicated to the art of teaching Medieval and Renaissance Literature.
We are seeking academic, teachable articles that focus on, but are not limited to, the following categories:
•Authorship
•Genre Issues
•Narrative Structure
•Poetry
•Drama
•Epic
•Nation/Empire/Class
•Economics
•History
•Religion
•Superstition
•Philosophy and Rhetoric
•Race/Ethnicity
•Multi-Culturalism
•Gender
•Sexuality
•Art
We also seek short essays that encourage faculty to try overlooked, non-traditional texts inside the classroom and book reviews.
Submission deadline for our upcoming December issue is currently November 25, 2015. Veteran faculty and graduate students are encouraged to submit.
For more information, please visit our website: www.thisroughmagic.org.
By web submission at 06/01/2015 - 21:47
SMART for Spring 2015
Details from http://webs.wichita.edu/?u=smart&p=currentissuesmart
The Spring 2015 issue of Studies in Medieval and Renaissance Teaching features an exciting collection of articles on innovative approaches to teaching Chaucer—who, for some, is easily seductive, for others, not so captivating. Although there are a number of excellent resources available to instructors, few of them offer much in the way of specific assignments or activities. The seven essays offered in this collection are presented to assist both the expert and the beginning teacher with a variety of novel pedagogical methods for helping students appreciate Chaucer and for helping educators reinvigorate their teaching methods.
This issue also includes three equally appealing diverse papers: covering the daily life of pre-modern people in history courses, teaching with Twitter, and moving between vernacular verse and Latin prose in a seminar on Troilus and Criseyde. Six book reviews round out the volume.
INNOVATIVE APPROACHES TO TEACHING CHAUCER
(collection guest edited by Alison Langdon and David Sprunger)
ALISON LANGDON AND DAVID SPRUNGER Introduction: Innovative Approaches To Teaching Chaucer
GLENN STEINBERG Teaching Chaucer through Chaucer’s Bookshelf
CANDACE BARRINGTON Teaching Chaucer in Middle English: A Fundamental Approach
MICHAEL MURPHY Chaucer: The Text and the Teaching Text
ROBERTA MILLIKEN Using Rap Music to Teach an Appreciation of Chaucer’s Language in the British Literature Survey Class
SARAH POWRIE Lost and Found in Translation: Updating Chaucer’s Status with the Millennial Generation
REBECCA BRACKMANN To Caunterbury They Tweete: Twitter in the Chaucer Classroom
MELISSA RIDLEY ELMES Prdn Me? Text Speak, Middle English, and Chaucer’s Pardoner’s Tale
CHRIS CRAUN Covering the Daily Life of Pre-Modern People in History Courses
MARY C. FLANNERY Teaching with Twitter: A Medievalist’s Case Study
ARVIND THOMAS Moving between Vernacular Verse and Latin Prose in an Undergraduate Seminar on Troilus and Criseyde
STEPHEN F. EVANS Book Review: At Home in Shakespeare’s Tragedies, by Geraldo U. de Sousa
MEL STORM Book Review: The Grail, the Quest and the World of Arthur, edited by Norris J. Lacy
BARBARA HANAWALT Book Review: Lost Londons: Change, Crime and Control in the Capital City, 1550–1660, by Paul Griffiths
DONALD WINEKE Book Review: The Shakespeare Handbooks: A Midsummer Night’s Dream, by Martin White
STEPHANIE HORTON Book Review: Greenery: Ecocritical Readings of Late Medieval English Literature, by Gillian Rudd
AMY MORRIS Book Review: Women in Dark Age and Early Medieval Europe c. 500–1200, by Helen M. Jewell
Both spring and fall 2015 issues of SMART are included in the yearly subscription price of $25 for individuals, $30 for libraries and centers, and $30 for subscriptions outside of the United States. Prepayment is required. A subscription form can be printed by clicking on Subscription Information in the left side bar area.
Sunday, May 17, 2015
CFP SIM for 2015
Call for Submissions:
Studies in Medievalism XXIV (2015)
http://medievalism.net/sim.html
Studies in Medievalism, a peer-reviewed print and on-line publication, seeks 3,000-word essays on how medievalism supports, parallels, resists, complicates, disrupts, denies, or otherwise relates to modernity. How, if at all, do postmedieval responses to a middle ages intersect with the respondent’s and/or our assumptions about absolute and/or relative modernity? How have the terms “medievalism” and “modernity” come to be defined in relationship to each other? Authors are encouraged to structure their essays around one or more examples and to consider not only whether medievalism could exist without modernity but also whether modernity could exist without medievalism. Please remember that our wide-ranging audience comprises generalists as well as specialists, and please send submissions in English and Word to Karl Fugelso (kfugelso@towson.edu) by August 1, 2015. Please follow the Style Sheet (http://medievalism.net/2014SIMStyleSheet.pdf) when preparing your submission for consideration.
Studies in Medievalism is the oldest academic journal dedicated entirely to the study of post-medieval images and perceptions of the Middle Ages. It accepts articles on both scholarly and popular works, with particular interest in the interaction between scholarship and re-creation. Its aim is to promote the interdisciplinary study of medievalism as a contemporary cultural phenomenon. Originally published privately, Studies in Medievalism is currently published by Boydell & Brewer, Ltd..
Studies in Medievalism XXIV (2015)
http://medievalism.net/sim.html
Studies in Medievalism, a peer-reviewed print and on-line publication, seeks 3,000-word essays on how medievalism supports, parallels, resists, complicates, disrupts, denies, or otherwise relates to modernity. How, if at all, do postmedieval responses to a middle ages intersect with the respondent’s and/or our assumptions about absolute and/or relative modernity? How have the terms “medievalism” and “modernity” come to be defined in relationship to each other? Authors are encouraged to structure their essays around one or more examples and to consider not only whether medievalism could exist without modernity but also whether modernity could exist without medievalism. Please remember that our wide-ranging audience comprises generalists as well as specialists, and please send submissions in English and Word to Karl Fugelso (kfugelso@towson.edu) by August 1, 2015. Please follow the Style Sheet (http://medievalism.net/2014SIMStyleSheet.pdf) when preparing your submission for consideration.
Studies in Medievalism is the oldest academic journal dedicated entirely to the study of post-medieval images and perceptions of the Middle Ages. It accepts articles on both scholarly and popular works, with particular interest in the interaction between scholarship and re-creation. Its aim is to promote the interdisciplinary study of medievalism as a contemporary cultural phenomenon. Originally published privately, Studies in Medievalism is currently published by Boydell & Brewer, Ltd..
CFP ICoM 2015
This is a hard one to track down. This version comes from the organization's Facebook page (https://www.facebook.com/pages/International-Society-for-the-Study-of-Medievalism/154554307982921?fref=nf).
Call for Papers: Mapping Medievalisms
The 30th Annual Conference on Medievalism
International Society for Studies in Medievalism
October 2nd - 4th , 2015
at the Doubletree Hotel in Pittsburgh, PA
Plenary Address by Susan Aronstein, University of Wyoming, author of Hollywood Knights: Arthurian Cinema and the Politics of Nostalgia, Medieval British Arthurian Narrative, and co-author of The Disney Middle Ages: A Fairy Tale and Fantasy Past.
Each day we are flooded with increasingly dire predictions for the death of the humanities and the corporatization of the university, as politicians slash education funding and rail about the uselessness of the liberal arts. How, in this rapidly-shifting landscape, do we plot a course for medievalism studies, a (relatively) new but recently thriving field that depends so much on the institutions and ideas currently under attack?
The 30th anniversary of the International Conference on Medievalism is a perfect opportunity for investigation, self-reflection, and ‘mapping’ our field: assessing where we have been and plotting new courses and new territories to explore. Although we welcome all contributions on medievalism, we are especially interested in proposals that imagine redrawing the map of the university, the liberal arts, or the humanities through Medievalism Studies as well as those that forge new paths for Medievalism Studies through an alchemical mixture of old and new, combining the traditions of humanities research with the innovations that will help it to survive.
Possibilities include (but are not limited to):
• Digital medievalisms
• Medievalism and the university
• Ecomedievalisms
• Interdisciplinary medievalisms
• Medievalism and iconic symbolism
• Multi-genre medievalisms
• A new ethics for medievalism
• Medievalism and globalization
• Geographical medievalisms
• Medievalism and the new oligarchy
• Serf's Up! Medievalism and contingent faculty
We welcome both abstracts for 15-20 minute papers and proposals for sessions both traditional and innovative. Session proposals or abstracts of no more than 300 words should be sent before June 5, 2015 to Lauryn Mayer at lmayer@washjeff.edu.
Call for Papers: Mapping Medievalisms
The 30th Annual Conference on Medievalism
International Society for Studies in Medievalism
October 2nd - 4th , 2015
at the Doubletree Hotel in Pittsburgh, PA
Plenary Address by Susan Aronstein, University of Wyoming, author of Hollywood Knights: Arthurian Cinema and the Politics of Nostalgia, Medieval British Arthurian Narrative, and co-author of The Disney Middle Ages: A Fairy Tale and Fantasy Past.
Each day we are flooded with increasingly dire predictions for the death of the humanities and the corporatization of the university, as politicians slash education funding and rail about the uselessness of the liberal arts. How, in this rapidly-shifting landscape, do we plot a course for medievalism studies, a (relatively) new but recently thriving field that depends so much on the institutions and ideas currently under attack?
The 30th anniversary of the International Conference on Medievalism is a perfect opportunity for investigation, self-reflection, and ‘mapping’ our field: assessing where we have been and plotting new courses and new territories to explore. Although we welcome all contributions on medievalism, we are especially interested in proposals that imagine redrawing the map of the university, the liberal arts, or the humanities through Medievalism Studies as well as those that forge new paths for Medievalism Studies through an alchemical mixture of old and new, combining the traditions of humanities research with the innovations that will help it to survive.
Possibilities include (but are not limited to):
• Digital medievalisms
• Medievalism and the university
• Ecomedievalisms
• Interdisciplinary medievalisms
• Medievalism and iconic symbolism
• Multi-genre medievalisms
• A new ethics for medievalism
• Medievalism and globalization
• Geographical medievalisms
• Medievalism and the new oligarchy
• Serf's Up! Medievalism and contingent faculty
We welcome both abstracts for 15-20 minute papers and proposals for sessions both traditional and innovative. Session proposals or abstracts of no more than 300 words should be sent before June 5, 2015 to Lauryn Mayer at lmayer@washjeff.edu.
Saturday, May 16, 2015
Middle Ages in the Modern World Conference (UK 6/29-7/2/15)
Been meaning to post this all month:
From H-Announce
https://www.h-net.org/announce/show.cgi?ID=221593
MAMO2015 Medievalism Conference
Location: United Kingdom
Conference Date: 2015-06-29
Date Submitted: 2015-03-30
Announcement ID: 221593
The registration for our forthcoming conference, the Middle Ages in the Modern World (MAMO2015) is now open. Early bird registration closes on 29th May 2015.
Following the success of MAMO 2013, held at St Andrews last year, we are proud to announce that a follow-up conference will be held from Monday 29th June to Thursday 2nd July 2015 at the University of Lincoln. It will also be held in conjunction with Lincoln’s celebrations of the 800th anniversary of Magna Carta, where Lincoln’s own copy of the Magna Carta will have returned and be back proudly on display in the castle.
As the title suggests, MAMO aims to explore the continued return to, and relevance of, the Middle Ages in the modern world, and why the period continues to attract audiences and scholars. Particularly, its interdisciplinary focus is designed to explore a range of areas, from popular culture to public history, from science to advertising, and even legal frameworks and political rhetoric. Given the popularity of medievalism as a growing discipline, and given the fantastic reception of the last conference, we are expecting a wide audience from a range of fields and disciplines including History, Literature, Film & Television, Video Games, Performing Arts, Drama, Languages, Museum Curation and more besides.
The provisional programme, and info on keynotes is available at www.themamo.org, as well as links to the conference registration page and our social networks.
We hope to see you in Lincoln!
Dr Andrew Elliott
MC1003, Lincoln School of Media, University of Lincoln, Lincoln LN6 7TS.
+44 (0)1522 837377 (internal: 7377).
Email: themamoconference@gmail.com
Visit the website at http://www.themamo.org
From H-Announce
https://www.h-net.org/announce/show.cgi?ID=221593
MAMO2015 Medievalism Conference
Location: United Kingdom
Conference Date: 2015-06-29
Date Submitted: 2015-03-30
Announcement ID: 221593
The registration for our forthcoming conference, the Middle Ages in the Modern World (MAMO2015) is now open. Early bird registration closes on 29th May 2015.
Following the success of MAMO 2013, held at St Andrews last year, we are proud to announce that a follow-up conference will be held from Monday 29th June to Thursday 2nd July 2015 at the University of Lincoln. It will also be held in conjunction with Lincoln’s celebrations of the 800th anniversary of Magna Carta, where Lincoln’s own copy of the Magna Carta will have returned and be back proudly on display in the castle.
As the title suggests, MAMO aims to explore the continued return to, and relevance of, the Middle Ages in the modern world, and why the period continues to attract audiences and scholars. Particularly, its interdisciplinary focus is designed to explore a range of areas, from popular culture to public history, from science to advertising, and even legal frameworks and political rhetoric. Given the popularity of medievalism as a growing discipline, and given the fantastic reception of the last conference, we are expecting a wide audience from a range of fields and disciplines including History, Literature, Film & Television, Video Games, Performing Arts, Drama, Languages, Museum Curation and more besides.
The provisional programme, and info on keynotes is available at www.themamo.org, as well as links to the conference registration page and our social networks.
We hope to see you in Lincoln!
Dr Andrew Elliott
MC1003, Lincoln School of Media, University of Lincoln, Lincoln LN6 7TS.
+44 (0)1522 837377 (internal: 7377).
Email: themamoconference@gmail.com
Visit the website at http://www.themamo.org
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