Shakespeare Association of America
 

Announcements of Interest

Contribute to the SAA Announcements page by contacting shakespeare@olemiss.edu.

  • Faculty Positions

    Teaching Positions

    • Assistant Professor of Teaching in Literature, Northern Arizona University: The Literature Program in the English Department at Northern Arizona University is pleased to invite applications for the position of Assistant Teaching Professor in Shakespeare and Drama with a secondary field in World literature, pre-1700 literature, or other field complementing department strengths. The anticipated start date is fall 2022. This is a full-time, 9-month, non-tenure track, benefit eligible position with a 4/4 teaching load. Responsibilities for this position include teaching literature courses for English undergraduates, English Education majors, and master’s students in the Literature Program. Faculty will teach online courses as well as in-person courses and participate in professional development and service activities of a large and vibrant department. To apply, go to nau.jobs, follow the ‘Faculty and Administrator Openings’ link, and locate vacancy 606141. (Posted 15 March 2022)
    • Visiting Assistant Professor of English in Early Modern Literature, Bucknell University: Bucknell University’s English Department seeks to hire a visiting assistant professor of early modern literature. The one-year position will begin in August 2022 and candidates must have a PhD in hand by that time. Candidates must demonstrate excellence in teaching. We are especially interested in areas of research and teaching that build upon the Literary Studies program’s strengths in race and ethnic studies; women’s writing; gender, queer, and sexuality studies; intersectionality and literature; and environmental and medical humanities. Learn more here. (Posted 24 February 2022)
    • Assistant Professor of English in Modern British Literature, Tenure-Track Position, Old Dominion University, Norfolk, VA: The Department of English at Old Dominion University invites applications for a tenure track Assistant Professor of English in Early Modern British Literature and Culture with an expected start date of July 25, 2022. Successful candidates will be expected to teach courses in Early Modern British literature ranging from undergraduate surveys to upper-level courses in drama, poetry and poetics, to Ph.D. special topics courses in the candidate’s area of expertise. Review of applications will begin on November 1, 2021 and continue until the position is filled. Learn more here. (Posted 29 September 2021 
  • Fellowships

    Fellowships

    FOLGER INSTITUTE LONG-TERM FELLOWSHIPS FOR 2023-2024

     

    www.folger.edu/institute/fellowships/long-term

     

    Each year the Folger Institute awards research fellowships to create a high-powered, multidisciplinary community of inquiry. This community of researchers may come from different fields, and their projects may find different kinds of expression. But our researchers share cognate interests in the history and literature, art and performance, philosophy, religion, and politics of the early modern world. 

     

    The Folger Institute will offer five, semi-residential long-term fellowships at $70,000 for the 2023-2024 academic year (approximately $7,777 per month, for a standard period of 9 months). These fellowships are designed to support full-time scholarly work on significant research projects that draw on the strengths of the Folger’s collections and programs. Applications are due 1 December 2022.

     

    Please note, for the 2023-24 fellowship year, long-term fellowships will be off-site for fall 2023 and onsite only in the spring of 2024. In their applications, scholars must describe how they will use the offsite portion of their fellowship in the fall of 2023 as well as what they plan to research in the spring semester in residence. Scholars may choose to visit other archives and libraries or use the fall semester to engage in any combination of the following full-time: research with online collections, as well as writing and editing as it relates to their proposed project. 

     

    The deadline for Long-term fellowship applications is 1 December 2022. Details of Short-term virtual and in-person fellowships coming soon!

    Hellenic (formerly Library) Research Fellowship Program 2022-2023
    **Contingent on continued on-campus operations during 2022-2023 academic year**

    Thanks to generous ongoing funding from the Elios Charitable Foundation, the Tsakopoulos Hellenic Foundation, and the Tarbell Family Foundation, the University Library is pleased to offer the continuation of the Hellenic (formerly Library) Research Fellowship Program (HRFP) for a 10th year. The name change is intended to better convey and reflect the focus of the program. The Program supports the use of the Tsakopoulos Hellenic Collection by fellows for scholarly research in Hellenic studies while in residence in Sacramento, CA.

    The HRFP provides a limited number of fellowships (5-8 this year) ranging from $1,500 to $5,000 in the form of reimbursement to help offset transportation and living expenses incurred in connection with the awards. Since the Program’s inception in 2012, twenty-eight fellows in Hellenic studies from 11 countries, including seven independent scholars and 14 women, have benefitted from sustained access to the collection in support of original scholarly research. Thus far these research stays have directly contributed to the fruition of at least 10 conference papers, five journal articles, four book chapters, two completed doctoral dissertations, and one monograph.

    The Program is open to external researchers anywhere in the world at the graduate through senior scholar levels (including independent scholars) working in fields encompassed by the Collection’s strengths who reside outside a 75-mile radius of Sacramento. The term of fellowships can vary between two weeks and three months, depending on the nature of the research, and for the current cycle will be tenable from September 1, 2022-August 31, 2023. Please note that due to the uncertainty of the pandemic going forward, the HRFP is contingent on continued on-campus operations beginning fall 2022. Should this not be possible due to the pandemic, fellowship offers will be deferred until such time as awardees can opt to accept or decline them.

    The fellowship application deadline is May 13, 2022. No late applications will be considered.

    Consisting of the holdings of the former Speros Basil Vryonis Center for the Study of Hellenism, the Tsakopoulos Hellenic Collection is the premier Hellenic collection in the western United States and one of the largest of its kind in the country, currently numbering approximately 78,000 volumes and over 450 linear feet of archives. It comprises a large circulating book collection, journal holdings, electronic resources, non-print media materials, rare books, archival materials, art and artifacts. With its focus on the Hellenic world, the Collection contains early through contemporary materials across the social sciences and humanities relating to Greece, the Balkans, the Ottoman Empire and modern Turkey, and the surrounding region, with particular strengths in Byzantine, post-Byzantine, and Modern Greek studies, including the Greek diaspora worldwide. There is a broad representation of over 20 languages in the Collection, with a rich assortment of primary source materials. For further information about the Tsakopoulos Hellenic Collection, visit http://library.csus.edu/tsakopoulos-hellenic-collection.

    For the full Library Research Fellowship Program description and application instructions, see: https://library.csus.edu/tsakopoulos-hellenic-collection/hrfp. Questions about the Program can be directed to George I. Paganelis, Curator, Tsakopoulos Hellenic Collection (paganelis@csus.edu).

    FOLGER INSTITUTE RESEARCH FELLOWSHIPS FOR 2022-2023 The Folger Shakespeare Library has embarked on a major renovation project. While this work is underway and Folger collections are unavailable for in-person consultation, the Folger Institute is committed to continuing its support of collections-based research, and to providing scholars with the resources they need to pursue and advance their work. The renovation offers the Institute the opportunity to create new kinds of awards and to make fellowships more adaptable. Effects of the global pandemic, ongoing at the time of this announcement, require that adaptability. In 2022–2023, Folger research fellowships will place value on many different forms and phases of scholarly enterprise as well as places to pursue it.

    The Folger Institute will offer non-residential research fellowships, in the amount of $3,500, to support four continuous weeks of research and writing. All applications are due by 11:59pm ET on 18 January 2022. Fellowships may be undertaken between July 2022 and June 2023.

    In their applications, scholars should make a strong case for their proposed topic’s importance, its relevance to a field of study broadly supported by or contiguous to the Folger’s collections and programs, and the originality and sophistication of its approach. They should also describe the type of work they would like to undertake, with a justification of why and how their research agenda will advance their project.

    Applicants are encouraged to make their own best cases to pursue their research. Travel to work in archives, libraries, or museums is not a requirement of fellowship support and will not be the basis of an award for 2022–2023. Here are some scenarios an applicant might propose:

    • A researcher requests access to select electronic resources or databases while working from home.
    • A researcher notes how fellowship support will relieve them of the need for summer or adjunct teaching.
    • A researcher requests funds to pay for reproduction and permissions fees for images of rare materials.
    • A researcher requests support for caregiving while researching or writing.
    • A researcher needs dedicated time to organize notes and images collected during past visits to libraries and archives.
    • A researcher plans to hire local research assistance at an archive to which they cannot travel.
    • A researcher plans to create and/or curate digital resources for use in undergraduate classrooms.

    Apply now online. Deadline for research fellowship applications is 18 January 2022.

  • Calls for Papers

    Recent Calls for Papers

    Unmasking Shakespeare: Provoking Shakespeare in Europe

     

    How have the crises of the last five years – #Metoo, BLM, ‘cancellation culture,’ Covid, the rise of political authoritarianism, Ukraine, – affected our sense of the value of Shakespeare or Shakespeare studies in what used to be called the European project? How, over the last five years, have institutions, academics, artists, audiences, students, schools, teachers, used Shakespearean culture and theatre to engage with the emergencies that have come to constitute the contemporary moment? To what extent does the reproduction of Shakespearean cultural value contribute to the stagnation of creative forms of expression and their inability to plan for social change? How will Shakespearean culture be part of whatever the European future will be in the five years to come?

     

    We would like to hear from Shakespearean colleagues across Europe who want to discuss their experiences of these emergencies and would like to work together to find ways of responding to what German Chancellor Olaf Scholz has described as a Zeitenwende, ‘change of times’.

     

    To register your interest in an informal Zoom workshop to discuss the issues above and a potential collaboration in this project, please email: ProvokingShakespeare@gmail.com, stating your area of research and interest, together with your contact details and affiliation, by 16 September 2022. Contributions from postgraduate students, early career researchers, artists and schoolteachers are welcome.

     

    This project is a collaboration between the School of Arts, University of Leicester, and the Modern Research School, Department of English and Related Literature, University of York. It is generously sponsored by the College of Arts, Social Sciences and Humanities, University of Leicester.

    Unmasking Shakespeare: The 5th Biennial Conference of the Asian Shakespeare Association

     

    Online, 10-12 November 2022

     

    Face masks that block droplets and aerosols are ubiquitous under the pandemic of Covid-19. Beyond offering protection against the coronavirus, masks have also become a platform for political statements and an arena for power struggle. Indeed, masks have served various practical and symbolic purposes since prehistorical time. Made of wood, metal, leather, cloth, latex, or synthetic materials, masks intervene to defend and disguise the wearer, shield or adorn the face. At religious ceremonies, festival celebrations, or theatrical performances, masks conceal, obliterate, transform, or create identities. On stage, they are adopted as a plot device or surprise mechanism. Not all masks or personae, however, are easily discernible or even separable from what lies underneath. The moment of unmasking amounts to an epiphany, revelation of truth or reconciliation between appearance and reality.

     

    As we slowly take off our masks and move to post-Covid normality, let us examine their use, implications, and meanings in Shakespeare and Shakespeare studies, in his and in our times. We invite proposals to join the three types of open session: the panel, the symposium, and the workshop.

     

    Program Proposals

     

    Panel

     

    There are limited spots for panel presentations. Papers should be around 15-minute delivery time. Topics may include, but are not limited to:

    • disguise, impersonation, cross-dressing, and role-playing in Shakespeare and
      Shakespearean adaptations;
    • imposture, deception, lies in Shakespeare and Shakespearean adaptations;
    • Renaissance self-fashioning;
    • the use of masks on stage and in films;
    • puzzles, riddles, and topical allegory in Shakespeare and Shakespearean adaptations;
    • researching, teaching, and performing Shakespeare during and after the pandemic.

    Your proposal to join a panel session should consist of (a) the title of your presentation and an abstract of no more than 250 words, and (b) a short bio.

     

    Symposium

     

    The symposiums consist of short (up to 6 minutes) presentations of original research in specific areas. We invite proposals that extend the meaning of (un)masking in these directions:

    1. (Dis)Covering—disguise, roleplay, hidden agendas, and secret meanings in Shakespeare and Shakespearean adaptations; metaphor and allegory; puns; riddles and puzzles.
    2. Identity as Mask—exploration of racial, ethnic, national, gender, sexual, religious, social, political, linguistic, and cultural identities in Shakespeare and Shakespearean adaptations; feminism and antifeminism; queer studies; critical race studies; xenophobia; antisemitism.
    3. A New Visage—Shakespeare’s contemporary meanings; Shakespeare and current affairs; social and political commentaries; Cold War; globalization; geopolitics; populism.

    Proposal to join a symposium session should consist of (a) the group you want to join, (b) the title of your presentation and an abstract of no more than 250 words, and (c) a short bio.

     

    Workshop

     

    The workshops offer a platform for us to share our experience during the pandemic or post-Covid time, to identify the challenges and to brainstorm together for solutions, in the following areas. Participants will circulate written responses to the assigned questions before the conference and the meeting time will be dedicated to discussion.

    1. Teaching Shakespeare—web-based remote teaching; asynchronous teaching; online platforms and resources.
    2. Performing Shakespeare—Zoom virtual theatre; rehearsing; directing; filming; reception.
    3. Mediating Shakespeare—film; manga and animation; online archives and databases; games; podcast; apps.

    Proposal to join a workshop session should consist of (a) the group you want to join, (b) one or more questions you want the group to discuss, and (c) a short bio.

     

    Proposals and questions should be sent to admin@asianshakespeare.org. You will receive an email confirmation.

     

    For updates, visit http://asianshakespeare.org/ 

     

    The deadline for submission is 15 September 2022.

    Shakespeare and Religion

     

    This is a call for chapters for an edited collection of essays on religion and Shakespeare. Papers may explore various powerful aspects of religion in the plays but should combine close analysis with historical documentation, originality with rigor.

     

    No play by William Shakespeare omits religion. Regardless of setting or period, in one form or another religion is a part of the universe of every Shakespearean history, comedy, and tragedy. For a playwright, religion is an obvious source of dramatic conflict, and in several of Shakespeare’s plays, religious difference overlaps with ethnicity or nationality. Shakespeare’s handling of religion and of religious difference is not easily predictable, however. The collection will convey some of the range and multi-valent reach of the world’s most famous playwright, from the earliest plays to the last.

     

    The huge subject of “Shakespeare and Religion” has vast potential. Possible approaches include:

     

    • Shakespeare’s treatment of the B.C.E. in classical Roman or Greek settings
    • The Classical and the Biblical in individual plays
    • Shakespeare’s treatment of other nations in connection with religion
    • Religion and history; Shakespeare’s alterations to English history
    • Shakespeare and sources; use of or changes from sources, on religion
    • Shakespeare’s treatment of religious division in individual plays
    • Religion as imagery in the language of the plays
    • Religion and the creation of characters
    • Religion and genre

    Editorial: projected length for chapters 5,000 – 10,000 words; preferred reference style Chicago

     

    Deadlines: 300-word abstracts due October 15, 2022; completed articles due March 15, 2023

     

    Correspondence: direct responses to Dr. Margie Burns, UMBC, mburns@umbc.edu

    Annual Congress of the French Shakespeare Society

     

    “Folio & Co: Shakespeare and the Theatrum Libri

    Paris, 23-25 March 2023

     

    To celebrate the 400th anniversary of Shakespeare First Folio’s publication, the French Shakespeare Society (Société Française Shakespeare) wishes to dedicate its 2023 conference to studying not only what is one of the most famous (and most expensive) books in the world, but to integrate it in a broader exploration of the role played by the folio format in the history of books, literature and ideas, as well as of its potential life on stage.

     

    More than just a large book, the folio is a format that carries specific meaning, in a way that smaller formats do not. It will naturally be noted that the 1623 Folio is not the first of its kind. Two famous forerunners appeared in 1616, namely The Workes of Beniamin Jonson and The Workes of … Iames, by King James VI of Scotland/ I of England (see Meskill). Contrary to the one published by Heminge and Condell containing “Mr. William Shakespeares Comedies, Histories & Tragedies”, these are entitled “Works”, which is no minor point (see Brooks). The other large theatre-related Folio is the collected Comedies and Tragedies of Beaumont and Fletcher, which appeared in 1647, fifteen years after the reprint of Shakespeare’s Folio. As regards prominent European Folios, Vesalius’s De humani corporis fabrica (1543) is worth mentioning. Traditionally used for history books – such as Edward Hall’s The union of the two noble and illustre famelies of Landcastre and Yorke (1548), John Foxe’s Book of Martyrs (Acts and Monuments, 1563) and Raphael Holinshed’s Chronicles – the folio, though not entirely standardized, is the largest print format for books (except for the plano).

     

    As a luxury format, the folio is characterized by an elaborate and rich paratext, which includes contributions by several authors/artists and showcases the printer’s skill – title, frontispiece, table of contents, dedications, tribute poems, indexes, illustrations, and of course, author attributions. The paratext also helps turn the book into a monument: Shakespeare’s Folio is presented as such by the editors and elevated to monumental status by its introductory poems, while Foxe’s is a ‘just tomb’ raised to the spirits of Protestant martyrs, in the manner of a shrine (see Thomas Ridley’s preface).

     

    As such, the folio format raises the question of both its author or authors’ status and the authority of the text it contains, as is very clear in Shakespeare’s case, but also in the case of George Chapman, who (in another field) published his translations of the Iliad (1609, 1611), the Odyssey (1614) and the Complete Works of Homer (1616, 1624) in folio format. In this regard, it may be interesting to study the relationship between the folio and the quarto, the latter being the format of choice for theatrical printing in the Renaissance. Because it implied a considerable outlay (of funds, time and skilled manpower), the prestigious folio format also calls for careful consideration of the role of printers and stationers in a quickly expanding bookseller’s market. Publishing this type of book was always a high-risk financial venture: John Day nearly went bankrupt over the Book of Martyrs due to the cost of paper, while Heminge and Condell repeatedly urged readers to buy the book before judging it – indeed, some of these buyers’ names survive in various records. Even before the 1623 Folio was compiled, drawn-out financial negotiations had to take place before the playscripts owned by the playing companies could be purchased for publication.

     

    Finally, the very term ‘folio’ may lead us to consider that constitutive part of the book, the leaf or sheet of paper, and its theatrical uses as stage property, whether in the form of a piece of paper, page, book, or other.

     

    We welcome papers on the following topics:

    • Shakespeare’s First Folio in the light of other folios
    • The folio and the question of genre
    • The history of the folio
    • The evolution and meaning of the folio paratext
    • The folio and the bookseller’s market
    • The folio and the question of authorship
    • The sociology of the folio
    • The folio in 16th and 17th century libraries
    • The folio and material culture (ink, paper, printing techniques, etc.)
    • The folio as a theatrical object
    • The circulation of folio volumes in Early Modern British, European, and Global networks
    • Etc.

    Please send your paper proposal (paper title, keywords and a 300-word abstract) by 1 October 2022, together with a short bio-bibliographical note, to the following address

     

    [congres2023@societefrancaiseshakespeare.org]

     

    Answers will be given on 15 November 2022.  Papers will be 20 minutes long.

     

    See the full CFP here.

    Shakespeare and Race: Spoken Word(s)

     

    4-5 November 2022

    King’s College London and Shakespeare’s Globe

    Plenary Speakers: Nandini Das (Oxford University), Joyce Green MacDonald (University of Kentucky), Dennis Austin Britton (University of British Columbia), Jane Grogan (University College Dublin)
     
    As part of our forthcoming Shakespeare and Race Festival, to be jointly hosted by the London Shakespeare Centre, King’s College London, and Shakespeare’s Globe, we are delighted to announce a two-day symposium to be held on 4-5 November 2022. The event will take place in-person in London though it will have a mixed format, so there will be some capacity for speakers and attendees to join us remotely.The symposium will consider the relationship between what Barbara E. Fields and Karen J. Fields term ‘racecraft’ and poetic craft, alongside their ideological effects in the works of Shakespeare, his contemporaries, and his later interlocutors. How do the historical meanings – as well as the lived experience – of race and racism inform the reception of Shakespeare’s verse, whether in poetry or performance? How is race formulated within postcolonial and minority responses to Shakespeare’s language? And how is the study of formalist poetics affected by questions of race, diaspora, migration, globalisation, or canonicity?We are inviting submissions for 15-minute papers that engage with the conference theme, ‘Shakespeare and Race: Spoken Word(s)’. We also welcome proposals for formed roundtable discussions and panels of 2-3 papers.The full call for papers, with details on possible topics, is available here: CFP Shakespeare and Race: Spoken Word(s) 2022Proposals from any discipline and intersectional approaches are particularly welcomed. Please email abstracts (no more than 250 words) and a brief biographical note to Hanh Bui (hanh.b@shakespearesglobe.com) and Hassana Moosa (hassana.moosa@kcl.ac.uk) by Friday 19 August. Notifications of acceptance will be emailed in early September.

    The Journal of the Wooden O

     

    14 October 2022

     

    The Journal of the Wooden O  is a peer-reviewed academic publication focusing on Shakespeare studies. It is published annually by Southern Utah University Press in connection with the Gerald R. Sherratt Library and the Utah Shakespeare Festival.

     

    The editors invite papers on any topic related to Shakespeare, including Shakespearean texts, Shakespeare in performance, the adaptation of Shakespeare works (film, fiction, and visual and performing arts), Elizabethan and Jacobean culture and history, and Shakespeare’s contemporaries.

     

    Articles published in the Journal of the Wooden O are indexed in the MLA International BibliographyWorld Shakespeare Bibliography and appear full-text in EBSCO Academic Search Premiere

     
    Selected papers from the annual Wooden O Symposium are also considered for publication.
     

    SUBMISSIONS: Manuscripts should follow the Chicago Manual of Style, 17th edition. Manuscript submissions should generally be between 3000-7000 words in length. Complete submission guidelines as well as the JWO Style Sheet may be found here. The deadline for submission is October 14, 2022. Authors should include all of the following information with their submission:

    • Author’s name
    • Manuscript title
    • Mailing address
    • Email address
    • Daytime phone number
    • Submit electronic copy to: woodeno@suu.edu (Only .doc, .docx or .rtf files will be accepeted.)

    For more information, contact:

    Journal of the Wooden O
    c/o Southern Utah University Press
    351 W. University Blvd.
    Cedar City, UT 84720
    435.586.1955
    woodeno@suu.edu

    Found in Translation: Understanding Shakespeare through Intercultural Dialogue

     

    17-19 September 2022

     
    This conference, jointly organized by The Shakespeare Institute, University of Birmingham (Stratford-upon-Avon) and Waseda University (Tokyo), and funded by the Daiwa Foundation, invites academics and practitioners to share and discuss innovative ways in which translation can contribute to Shakespearean scholarship and performance. Instead of focusing on the difficulties and technicalities of translating Shakespeare into a specific language, the conference aims to create a dialogue between translation studies and other areas of Shakespeare studies. Topics may include (but are not limited to) the following:
     
    • Translation as a tool for literary interpretation
    • Interpreting Shakespeare adaptations through theories of translation
    • Translation as a door to new performance possibilities
    • The role of translation in reception studies
    • The connection between editorial practices and translation
    • How translation is affected by, or might contribute to, authorship attribution studies
    • The role of translation in multi-media archives of global Shakespeare performances.

    * Please note that the conference will take place in Tokyo and may be postponed and/or switched to an online or hybrid format should international travel become difficult.

     

    We welcome proposals for 20-minute papers from PhD students, early career researchers, and established scholars from all disciplines. Please submit abstracts through https://w3.waseda.jp/assoc-shakesfit/top-page/ by noon (JST) on 4 June 2022. The results of the selection will be sent out by 1 July 2022. Proposals should include 1) the name of the author, affiliation, and email address, 2) a short biographical note of up to 150 words, 3) the title of the proposed paper, and 4) a 400-to-500-word abstract. Selected papers will be organized into panels and there will be a Q&A session at the end of each panel.

    Shaping Intellectual Disabilities in Early Modern Literature and Culture

     

    Editor: Dr Alice Equestri, University of Padua (alice.equestri@unipd.it)

    Publisher: international academic press to be confirmed

     

    Deadline for submitting chapter proposals (400 words): July 31, 2022

    Notification of acceptance: September 1, 2022

    Provisional deadline for essay submission (6000-8000 words): April 30, 2023

     

    Papers are sought for a volume that critically examines – and advances our knowledge of – manifestations of intellectual disability in early modern English and European literature and culture (c. 1500-1700). The collection will be submitted to an international academic publisher.

     

    Intellectual disability nowadays is defined as a lifelong condition entailing deficits in intellectual and adaptive functions, including abstract thinking, reasoning, learning, communication, social participation and independent living. Its causes are generally understood as genetic or environmental, rather than social or psychological (and as such, intellectual disability differs from mental illness, which includes depression, anxiety, schizophrenia, psychosis, etc.). While perhaps intellectual disability as we think of it today did not yet exist as a concept in the Renaissance, many forms of impaired intellect existed and were discussed in the period. English law, for example, termed idiocy a congenital and permanent condition that manifested itself in the individual’s incapability to give basic information about themselves or make simple calculations – something which impeded their participation in the economy by independently managing their property. Doctors occasionally pointed at the humoural, physiognomic or anatomic characteristics linked to ‘foolishness’. But intellectual disability was also a much more malleable concept, defined historically according to religious, social, or political interests: Christian preachers called fools those who strayed from the word of God; nations with colonial interests called foreign natives foolish to justify their expansionist aims and to stigmatise their cultural differences; in patriarchal societies women’s intellectual capability was deemed generally inferior to men’s; society itself considered foolish those who persisted in despicable practices from the point of view of morals or health.

     

    This collection will ask how non-normative intellect was represented in the literature and culture of the period and how the able-minded world shaped and reacted to forms of intellectual difference. It will also ask how current disability theories may be helpful in understanding intellectual disability in literary history or whether new models of (intellectual) disability may be devised through an analysis of Renaissance texts. Historicist and/or presentist approaches may be employed to illuminate a wide range of topics including (but not limited to):

     

    • How fools and foolish characters in drama or other genres are portrayed as disabled or different
    • Intellectual disability in Shakespeare and his contemporaries
    • Dissembled or temporary foolishness
    • Medical, social, legal, religious, moral representations of foolishness or intellectual non-normativity
    • The reception of classical and medieval notions of intellectual disability in Renaissance cultural products
    • Supernatural readings of intellectual disability
    • The links between intellectual difference and other disability representations (e.g. bodily or sensory differences, neurodiversity more broadly, etc.)
    • Intersections between intellectual disability and race, class, gender or sexuality
    • Intellectual disability and travelling
    • Border crossings or conflicts between intellectual normativity and non-normativity
    • Intersections between intellectual disability and mental illness
    • Metaphorical representations of intellectual disability
    • The use of intellectual disability tropes to describe objects or concepts, rather than individuals

    Please send a 400-word proposal and a short bio to Dr Alice Equestri (alice.equestri@unipd.it) by July 31, 2022. The provisional timeline is for authors to submit their essays by April 30, 2023. Proposals by scholars from any background and of any career level – including PhD students and ECRs – are welcome. For any queries, or to discuss your idea before submitting an abstract, please feel free to contact the editor.

     

    Select bibliography

     

    • Chakravarti, Paromita, ‘Natural Fools and the Historiography of Renaissance Folly’, Renaissance Studies, 25.2 (2011), 208–27
    • Equestri, Alice, Literature and Intellectual Disability in Early Modern England: Folly, Law and Medicine, 1500-1640 (London and New York: Routledge, 2021)
    • Folkerth, Wes, ‘Reading Shakespeare After Neurodiversity’, in Performing Disability in Early Modern English Drama, ed. by Leslie C. Dunn (Cham: Springer International Publishing, 2020), pp. 141–57
    • Goodey, C. F., A History of Intelligence and ‘Intellectual Disability’: The Shaping of Psychology in Early Modern Europe (Farnham: Ashgate, 2011)
    • Heetderks, Angela, ‘“Better a Witty Fool than a Foolish Wit”: Song, Fooling, and Intellectual Disability in Shakespearean Drama’, in Gender and Song in Early Modern England, ed. by Leslie C. Dunn and Katherine R. Larson (Farnham: Ashgate, 2014), pp. 63–75
    • Hobgood, Allison P., and David, Houston Wood, eds., Recovering Disability in Early Modern England (Columbus: Ohio State University Press, 2013)
    • Lathrop, Emily, ‘Learning Difficulties : The Idiot and the Outsider in the Renaissance’, in A Cultural History of Disability in the Renaissance, ed. by Susan Anderson and Liam Haydon (London: Bloomsbury, 2020), iii, 133–50
    • McDonagh, Patrick, Idiocy: A Cultural History (Chicago: University of Chicago Press, 2009)
    • McDonagh, Patrick, C. F. Goodey, and Timothy Stainton, eds., Intellectual Disability: A Conceptual History, 1200-1900 (Manchester: Manchester University Press, 2018)
    • Metzler, Irina, Fools and Idiots? Intellectual Disability in the Middle Ages (Oxford: Oxford University Press, 2016)
    • Row-Heyveld, Lindsey, Dissembling Disability in Early Modern English Drama (Cham: Palgrave Macmillan, 2018)

    EXPLORATIONS IN LOVE’S LABOUR’S LOST

     

     

    15 September 2022

     

    This collection of essays seeks to explore the many exciting new directions in which research concerning Love’s Labour’s Lost has gone within the last 25 years. Long admired for the aesthetics of its language and historical allusions, scholars now address issues of queer affiliations, racialized representations of others such as Blackamoors and Muscovites, and the environment among many compelling concerns.

     

    Possible topics for papers may include the following, but are by no means delimited by them:

     

    • Productions of Love’s Labour’s Lost, Past and Present on Stage
    • Film Productions of Love’s Labour’s Lost
    • Issues of Race, Ethnicity, and National Identity, especially that of the Blackamoors and Muscovites
    • Problematic Indeterminate Denouements and Love’s Labour’s Lost
    • The Problematics of Pedagogy, Love’s Labour’s Lost, and the Undergraduate Classroom
    • Homosociality and Queer Affiliations in Love’s Labour’s Lost
    • The Green World: Eco-criticism and Love’s Labour’s Lost
    • The Digitization of Love’s Labour’s Lost
    • The Textual and Editorial History of Love’s Labour’s Lost

    Please submit a 500 word abstract by September 15, 2022 to Reginald Rampone, Jr, Ph.D. at wrampone@scsu.edu.

    Wooden O Symposium

     

    Southern Utah University – Utah Shakespeare Festival

     

    August 8-10, 2022

     

    The 2022 Wooden O Symposium invites panel and paper proposals on any topic related to the history, text and performance of Shakespeare’s plays. This year’s meeting will be a hybrid with both face-to-face and virtual presentations addressing the 2022 theme: Weathering the Storm: Survival, Hope and Redemption. We also encourage papers and presentations that speak to the Utah Shakespeare Festival’s 2022 summer season: All’s Well That Ends WellKing Lear, and The Tempest along with Sweeney ToddThe Sound of Music, and Trouble in Mind. Abstracts for consideration, both panels and individual presentations, should be sent to education@bard.org.The deadline for proposals is May 13, 2022. Session chairs and individual authors will be informed of acceptance no later than June 1. Please include a 250-word abstracts or session proposal (including individual abstracts) and the following information:

     

    • name of presenter(s)
    • participant category (faculty, graduate student, undergraduate, or independent scholar)
    • college/university affiliation
    • mailing address
    • email address
    • audio/visual requirements and any other special requests.

    For more information go to https://www.bard.org/wooden-o-symposium

    2022 Shakespearean Theatre Conference: “Shakespeare in a Changing World”

     

    As we slowly return to in-person activities after the great interruption of the pandemic, we might say to our world, as Snout does to Bottom, “thou art changed.” And while it may be tempting to say with Demetrius, “It seems to me / That yet we sleep, we dream,” we did not dream the last two years. The 4th Shakespearean Theatre Conference will ask how the study and performance of Shakespearean drama might respond to the  rapid and very real changes we are witnessing, while also investigating the relationship of this drama to the similarly rapid changes of Shakespeare’s time. To this end, we invite proposals for 20-minute papers, full sessions, and workshops on all aspects of Tudor and Stuart drama, while especially encouraging proposals that focus on historical change, old and/or new. Proposals might, for example, consider Shakespearean drama in relation to the histories of race, religion, gender, sexuality, emotion, and the body; to climate change; to changing performance and editorial practices; to the changing forms of oppression and liberation, including authoritarianism, economic exploitation, free speech, and democratic enfranchisement; to transglobal migration and diasporic change; to the changing media landscape; to language change; to scientific, cognitive, and epistemological revolutions; and to the many other factors that shape the history of its transmission and reception.

     

    Plenary speakers:

    Antoni Cimolino (Artistic Director, Stratford Festival) 

    Brian Cummings (University of York) 

    Alexa Alice Joubin (George Washington University) 

     

    The conference, to be held June 15-18, 2022, in Stratford, Ontario, is a joint venture of the University of Waterloo and the Stratford Festival, and will bring together scholars and practitioners to talk about how performance influences scholarship and vice versa. Paper sessions will be held at the University of Waterloo’s Stratford campus, with plays and special events hosted by the Stratford Festival. The Festival has announced a 2022 season that includes HamletRichard IIIAll’s Well That Ends Well (the last two in the beautiful new Tom Patterson Theatre), and Wole Soyinka’s Death and the King’s Horseman, as well as two world premières:  Hamlet-911, by Ann-Marie MacDonald, and 1939, by Jani Lauzon and Kaitlyn Riordan.  For conference updates, see https://uwaterloo.ca/englishshakespeare.  

     

    By January 31, 2022, please send proposals to Shakespeare@uwaterloo.ca.

     

    Please note: The 4th Shakespearean Theatre Conference, originally scheduled for June 2021, was postponed until 2022 due to the COVID-19 pandemic. We will observe all Government of Canada, Government of Ontario, and University of Waterloo pandemic restrictions and protocols in place at the time of the conference, and we will let participants know what these are closer to the conference dates. If it proves necessary to postpone the conference again, we will do so no later than six weeks before the scheduled dates. Because attending live performances is an important part of the conference experience, we will not move the conference online.

     

    Kenneth Graham Laing

    Dept. of English

    Univ. of Waterloo

     

    Alysia Kolentsis

    Dept. of English

    St. Jerome’s Univ.

     

    Katherine Laing

    Interim Director of Education

    Stratford Festival

     

    The Theatrical Legacy of Thomas Middleton, 1624-2024

     

    Edited by William David Green, Anna L. Hegland, and Sam Jermy

    With an afterword by Professor Tracey Hill

     

    We plan to publish a collection of essays celebrating 400 years of Thomas Middleton’s legacy as a dramatist, from his final work for the commercial stage up to the present day.

    When does a dramatist’s theatrical legacy begin? The answer may vary depending on the occasion. In 2016, celebrations took place worldwide to mark 400 years since the death of William Shakespeare, but further commemorative material can be expected in 2023, the year in which the First Folio, the renowned volume in which so much of Shakespeare’s dramatic canon is preserved, will similarly turn 400 years old. For Shakespeare’s contemporary Thomas Middleton, however, no such early posthumous canonization exists. Middleton died in 1627, but it was not until 2007 that the Oxford Collected Works of Middleton, the self-proclaimed “Middleton First Folio”,1 was published; and yet, celebration of Middleton’s drama can be seen to have begun as early as 1624, in the unprecedented popular response to what would prove to be his final work for the commercial theatres.

     

    On 6 August 1624, A Game at Chess, Middleton’s scathing satire of Anglo-Spanish relations, received its first performance by the King’s Men at the Globe Theatre on London’s Bankside. Although presented as allegory, the play’s barely concealed representation of numerous real-life political figures as the various chess pieces that make up the play’s dramatis personae (including England’s King James himself) proved highly inflammatory. The play was stopped by official intervention on 16 August, and on 18 August the Privy Council opened a prosecution against the actors and the playwright. Middleton was acquitted, but never wrote another full play for the London playhouses. Yet despite bringing about a somewhat ignominious end to Middleton’s theatrical career, before being shut down the play had already become “the greatest commercial success of the early English theatre”,2 having been staged for a record nine consecutive performances (excluding Sundays) and possibly having been seen by up to twenty-seven thousand theatregoers, in 1624 more than a tenth of London’s population.3 The play also received a significant number of written responses by readers and spectators in the months and years following its initial performances.4 Middleton’s full canon may not have come to be truly defined until the publication of the Oxford Collected Works in 2007, but 1624 did mark the beginning of four centuries of reader/audience response to, and celebration of, Middleton’s significance to the history of early modern drama.

     

    With a 2024 publication date in mind, we intend to publish a collection commemorating four centuries of Middleton’s theatrical legacy, taking the initial success of A Game at Chess in 1624 as our starting point. We therefore invite proposals for chapters to be included in this collected volume. Topics to consider might include, but are certainly not limited to:

     

    • The legacy and impact of the 2007 Oxford Collected Works.
    • The evolution and redefinition of Middleton’s authorial canon.
    • The importance placed upon such issues as anonymity, authorship, and collaboration in the present-day study and textual editing of Middleton.
    • The textual transmission, readership, and shelf life of Middleton’s works in print, taking into account both early and modern editions.
    • Discussions of present-day performances of and practice-based engagements with Middleton’s works, or interviews with practitioners involved in such work.
    • Online performances and other engagements with Middleton’s work from a digital humanities perspective.
    • Middleton’s work with boy players (i.e. the Children of Paul’s; the Children of the Queen’s Revels), as well as the reimagining of such work by modern troupes of boy players, e.g. Edward’s Boys (King Edward VI School, Stratford-upon-Avon).
    • Middleton’s relevance to present-day critical theories.
    • Responses to major works of Middleton criticism.
    • Middleton and the characterization of women on the stage.
    • Examining Middleton’s contemporary attitudes to race, gender, and religion, as considered from the perspective of the twenty-first century.
    • The importance of A Game at Chess to the study of early modern commercial theatre.
    • Middleton’s importance to the history of London.
    • Past efforts to celebrate Middleton (i.e. the 1972 Oxford/York revival of A Game at Chess; the Beyond Shakespeare Company’s Triumph 2021 event).

    Finished chapters should be 5000-6000 words in length (including  ). Please send abstracts of 250-300 words, along with a brief bio, to Thomas.Middleton2024@gmail.com by midnight GMT on 28 February 2022. We anticipate that the deadline for the submission of completed chapters will be in September 2022. Any potential contributors wishing to discuss their chapter idea before preparing an abstract are welcome to do so (well in advance of the deadline) either by contacting us at the above email address or by contacting any of the co-editors individually. Scholars and theatre practitioners from all backgrounds and of all career levels are invited to submit abstracts, and we are also eager to receive proposals from PhD students and early career researchers.

     

    1 Gary Taylor and John Lavagnino (gen. eds), Thomas Middleton: The Collected Works (Oxford: Oxford University Press, 2007), 58.

    2 Mark Kaethler, Thomas Middleton and the Plural Politics of Jacobean Drama (Berlin: De Gruyter, 2021), 153.

    3 Musa Gurnis, Mixed Faith and Shared Feeling: Theater in Post-Reformation London (Philadelphia: University of Pennsylvania Press, 2018), 91.

    4 Michelle O’Callaghan, Thomas Middleton, Renaissance Dramatist (Edinburgh: Edinburgh University Press, 2009), 161; Paul Salzman, Literature and Politics in the 1620s: “Whisper’d Counsells” (Basingstoke: Palgrave Macmillan, 2014), 31.

    Early Modern Asexualities (edited collection)

     

    We are soliciting abstracts for 5,000-6,000-word papers to be included in an edited collection entitled Early Modern Asexualities. We invite people to propose papers that draw on the insights of asexuality studies to investigate early modern English literature and culture. Essays might explore how an understanding of asexuality and aromanticism can complicate and complement historical figurations of celibacy, chastity, abstinence, and intimacy in early modernity, or bring the lens of asexuality to a range of texts and historical figures. We invite our contributors to model different ways that early modern studies can be deepened by the theoretical tools of asexuality studies, including attention to differentiated attractions and to forces of hypersexualization and desexualization, especially as those forces come to bear on racialized and disabled bodies. Papers might offer readings of genre asexually; offer meta-reflections on the omission of asexuality from scholarship on early modernity; or consider the uptake of early modern figures in contemporary ace culture. We also invite essays that explore how the particular shapes of asexuality that we find in early modern texts might help us rethink modern allonormativity (the assumption that everyone experiences sexual attraction) and amatonormativity (the assumption that most people should be striving to be in romantic partnerships or couples). View the flyer here.

     

    If you are thinking of submitting something but want to run an idea by us first, please feel free to be in touch with any of the three editors (Liza Blake, Catherine Clifford, and Aley O’Mara) individually, or with all three of us by emailing TeamRenAsexy@gmail.com.

     

    Potential contributors are also welcome to consult our Early Modern Asexualities Bibliography, available at https://tinyurl.com/earlymodacebib.

     

    *Abstracts due Oct. 1, 2021*
    *Draft essays due June 1, 2022*

     

    Questions? Email the editors at TeamRenAsexy@gmail.com.

  • Conferences and Other Events

    Upcoming Conferences and Other Events

    Read free articles in honor of Renaissance Drama’s fiftieth volume

     

    Renaissance Drama cover image

     

    Renaissance Drama celebrates its fiftieth volume with a sampling of twelve articles, free to read for a limited time. These articles represent just some of the journal’s rich history and its contribution to early modern theater and performance studies in Europe and beyond.

     

    While it would be impossible to provide a fully representative selection from Renaissance Drama’s extensive archive of articles, this particular “cut” through the journal’s past and present includes articles on European drama and theater history, performance beyond plays and playhouses, women dramatists, and histories of the book. Some of these articles have proven foundational for the field, and others open up new ways of understanding it. Over the decades, Renaissance Drama has featured many articles on Shakespeare’s plays, but here we’ve included only a few, deliberately seeking to emphasize other writers and canons. We also highlight Renaissance Drama’s early and continuing commitments to early modern race and colonialism studies, landmark feminist work, and sexuality studies.

     

    We will make an additional set of twelve free-to-read articles available later in the year, with the release of volume 50, number 2.

     

    Click HERE to join us in exploring fifty volumes of Renaissance Drama.

    The 45th Ohio Valley Shakespeare Conference

     

    October 27-29, 2022

    The University of Akron, Akron, Ohio

    Shakespearean Genre and Adaptation

     

    The need to talk about genre in Shakespeare and early modern English literature has never been more pressing. In response to the pandemic, enterprising theatrical companies and other purveyors of Shakespeare’s works have accelerated the growth of new forms of Shakespeare and Shakespeare-based creativity, such as immersive and interactive theater experiences delivered through Zoom. These added to and grew alongside relatively “older” adaptations, re-presentations, and appropriations of Shakespeare in modern genres: graphic novels, television dramas, teen-film comedies, YA novels. 

    We welcome papers on all topics related to genre, form, adaptation, and appropriation. We encourage proposals that consider how new circumstances, new genres, and new questions give urgency to “old” investigations of genre and deepen our understanding of Shakespeare’s relevance to larger issues that face us at this moment in history. We also encourage papers that consider how new investigations of genre shed new light on the concerns of early modern readers and audiences. 

    • How do questions of form, mode, and medium influence meaning? What are the limitations and affordances of genre-based analysis? 
    • How do adaptations and appropriations open up new readings of the plays or new ways to access and engage with traditional materials? 
    • How do new forms and media, new adaptations and appropriations, transform teaching, performing, or consuming Shakespeare’s plays? 

    We are open to many interpretations of genre and “Shakespeare,” and we welcome papers addressing a wide variety of early modern works. The conference is open to graduate students for regular sessions and to undergraduate students for roundtable seminars. Graduate students and undergraduate students are encouraged to submit papers for the M. Rick Smith Memorial Prize and the Julia R. Lupton Graduate Prize. 

    Please submit 200-300-word abstracts by September 5 to OVSC2022@gmail.com; the OVSC also offers an Early Decision option with the deadline of July 1. 

    OVSC Website: https://www.ovshakes.org/ 

    ASA’s Fourth International Shakespeare Conference: Shakespeare, Power & Politics on Modern Stage

     

    “Th’ abuse of greatness is when it disjoins remorse from power” Yerevan, Republic of Armenia

     

    October 6-9, 2022

     

    Armenian Shakespeare Association (ASA) is pleased to welcome Shakespeare scholars, translators, theatre critics, directors, actors, and PhD students across the world to its 4th International Conference. It will be held in Yerevan, the sunny capital of the Republic of Armenia with 3000-year history named ‘museum in the open air’ by UNESCO.

    The ASA conferences have gained popularity among international guests for their inclusive academic cooperation in friendly atmosphere, Armenian hospitality, and wider cultural and sightseeing programmes.

    Expenses covered by organisers: transport between Yerevan international airport and the hotel, drinks and snacks during the conference, daily sightseeing tours and museum visits with multilingual guides as well as evening entertainment. Flights to and from Armenia and accommodation are not covered. There is no visa requirement for EU and US citizens (and several other countries). Please, consult the government updates on: http://www.mfa.am/en/visa/

    The conference suggests following panels, additional discussion areas are most welcome:

    • Power and censorship conveyed in Shakespearean canon in his era and historical context
    • Performing Shakespeare in oppressive regimes: theatre, cinema, music, and dance
    • Translating Shakespeare in adverse geo-political or economic settings (translators welcome)
    • Shakespeare and the powerless: refugees, minorities and underdogs performing Shakespeare
    • Staging Shakespeare for modern audiences: dramaturgical challenges, textual hurdles, performing styles

    CURRENTLY WE ARE LOOKING FOR PANEL/SESSION LEADERS, please email suggestions asap REGISTRATION NOW OPEN until 15 JULY 2022

     

    Application Form

    Please send the application form and 200-word abstracts BEFORE 30 June 2020 to: asassociation400@gmail.com

    Follow us on Facebook: https://www.facebook.com/armenianshakespeare or Twitter: https://twitter.com/ArmShakespeare

    RaceB4Race Mentorship Network

     

    Building the field of premodern critical race studies will depend on new ideas and new practitioners. RaceB4Race is pleased to offer a dynamic mentorship network, connecting established career scholars with early career scholars. The network offers new scholars support as they develop the research that will drive the academic conversation forward. The RaceB4Race Mentorship Network is designed to be cross-institutional, pairing mentors with mentees from all over the world.

    Fifteen mentors–mid-career and senior scholars of premodern critical race studies–will be matched with 2-3 mentees for quarterly virtual meetings over two semesters to discuss career development, work-life balance, writing, publishing, and cutting-edge research happening within the field of premodern critical race studies. In the fall all mentors and mentees will participate in a semester-long virtual reading/research group, meeting monthly to connect participants with a larger network of premodern critical race scholars.

    The mentorship network and reading/research group are part of the fully virtual RaceB4Race Mentorship Network, a Mellon-funded initiative based at Rutgers University-Newark and directed by Professor Patricia Akhimie.

     

    Details

    • The Mentorship Network runs from August through May each year. 
    • The accompanying reading/research group runs from August to December.
    • All participation in the mentorship network and reading/research group will be virtual via Zoom. 
    • Early-career scholars, mid-career scholars, and graduate students seeking a PhD in a premodern field who have achieved candidacy are invited to apply.

    How to apply

     

    Please submit a CV, and a brief letter describing your current research and what kinds of support you seek from a mentor and from the larger mentorship network. Applications are due by June 15, 2022.

    Please feel free to contact Patricia Akhimie (patricia.akhimie@rutgers.edu) with any questions. Read more about this year’s mentors and submit your applications here.

    To Make Oppression Bitter: Shakespeare Scholars on the Frontline in Ukraine

     

    To Be Or Not To Be: Lockdown Shakespeare Podcast

     

    The Shakespeare scholars of Ukraine have found themselves on the frontline of a brutal war, and have launched an urgent appeal in conjunction with colleagues around the world. We hear from the scholars whose lives have been swept away by war, and who have bravely volunteered to do everything they can to help. They tell us how the play of Hamlet has been intertwined for centuries with the cause of Ukrainian freedom and independence; and how his famous question has a starkly existential meaning for the future of their country and for every Ukrainian.

     

    Listen on Apple, Spotify, Podbean.

    The 2022 National Humanities Conference Call for Proposals is Now Available!

     

    November 10-13, 2022

     

    We are pleased to announce that the Call for Proposals for the 2022 National Humanities Conference is now available! The conference will be held November 10-13 in Los Angeles, California.

    Co-hosted by the National Humanities Alliance and the Federation of State Humanities Councils, the National Humanities Conference brings together representatives from colleges, universities, state humanities councils, cultural institutions, and other community-based organizations to explore approaches to deepening the public’s engagement with the humanities.

    This year’s theme is “Energy of Motion: Experiencing Change in Kinetic California.” After many months of being in stasis because of the global pandemic, we are all craving movement, travel, activity—and Los Angeles is the perfect place to experience this, to accelerate our connections and create greater humanities energy together. The conference is an opportunity to envision how the humanities contribute to understanding movement and the energy that results, as well as how the humanities themselves generate kinetic energy that transforms individual and collective lives. 

    We encourage you to submit proposals and recruit others to do the same! Please contact Edward Moreno at events@statehumanities.org with any questions or for support in building sessions.