Subscribe to RSS - medieval

medieval

Feminist Pedagogy: Annual Convention of the Northeast Modern Language Association in Hartford, CT, March 17-20, 2016

updated: 
Thursday, September 3, 2015 - 1:10pm
Kathleen Alves/CUNY

Feminist Pedagogy in the Two-Year College

How do two-year college instructors put feminist theory into pedagogical practice? This roundtable discusses forms of feminist pedagogy in the community college classroom. Participants are invited to share methods and ideas of pedagogy for teaching in women and gender studies and/or feminist approaches to learning and classroom strategies across the disciplines. Papers should aim to address gender and sexuality issues, along with race and class, within and outside the rapidly transforming academic space of the two-year college.

[UPDATE]

updated: 
Thursday, September 3, 2015 - 6:58am
Gabriel Egan / De Montfort University

Online registration is now open for the following conference at:

http://cts.dmu.ac.uk/ESTS

"Users of Scholarly Editions: Editorial Anticipations of
Reading, Studying and Consulting"

The 12th Annual Conference of the European Society for
Textual Scholarship (ESTS) will be held at the Centre
for Textual Studies, De Montfort University, Leicester
England 19-21 November 2015

CFP: Fools on the Medieval Page and Stage, Kalamazoo 2016

updated: 
Wednesday, September 2, 2015 - 11:24am
International Congress on Medieval Studies in Kalamazoo, Michigan, May 12–15, 2016

Near the end of the Middle English romance Robert of Cisyle, the eponymous king—who has been punished for his pride by being made to serve as his own court's fool—acknowledges the error of his former ways: "For he ys a fole [. . .] / That turneth hys wytt unto folye" (CUL Ff. 2. 38, ll. 398–9). Such condemnations of fools and folly—in Robert of Cisyle, underwritten by the pope and an angel—in no way served to stem the tide of medieval interest in fools and folly. Literary evidence shows that many premodern writers and their audiences "turn[ed their] wytt vn to folye": fools filled the medieval stage and page, pervading multiple literary genres.

[UPDATE] UCLA Comparative Literature Graduate Student Conference: Mad Love

updated: 
Tuesday, September 1, 2015 - 6:59pm
UCLA Comparative Literature Graduate Students

UCLA Comparative Literature Graduate Student Conference
Mad Love
February 19-20, 2016

Keynote Speaker: Lynn Enterline (Vanderbilt University)
Plenary Speakers: Julian Gutierrez-Albilla (USC); Jeffrey Sacks (UC Riverside)

The uneasy boundary between madness and love asserts itself throughout recorded history. The shifting relationship between these two phenomena exists across most (if not all) societies and epochs, particularly in literature and art. From lovesickness in the Middle Ages, to nymphomania and hysteria in the Enlightenment, to the stalker in modern-day horror films, the line between love and madness is continually conflated, contested, and blurred.

Feminist Singularities [UPDATE]

updated: 
Tuesday, September 1, 2015 - 11:31am
ACLA 2016: American Comparative Literature Association

Co-organizers: Jacquelyn Ardam, UCLA; Ronjaunee Chatterjee, CalArts

2015 marked the 30-year anniversary of the publication of Donna Haraway's "A Cyborg Manifesto," whose radical questioning of the divisions between human and machine, matter and meaning, and gendered and "postgendered" existence continues to animate our social reality. Recent discussions in the field of new materialism, which grapple with questions of embodiment and materiality, have opened up new avenues for theorizing femininity outside of conventional frameworks.

[UPDATE] CFP: What Devils Say, Kalamazoo 2016

updated: 
Tuesday, September 1, 2015 - 11:16am
Texas Medieval Association (TEMA): International Congress on Medieval Studies in Kalamazoo, Michigan: May 12-15, 2016

Devils are everywhere in medieval literature, disturbing, challenging, and violating conventional spatio-temporal constraints as they move freely between worlds in order to torment the holy, spread disease, and tempt good Christians by making sin seem sweet. They appear as enchanters, tempters, playful tricksters, masked tormentors, terrifying beasts, mankind's lawyerly accusers, and on occasion, as sympathetic figures who happened to be on the losing side of a cosmic war. Although much has been written about how devils are staged, their appearance, and their interaction with those they torment, very little has been written about what devils actually say. How do devils represent themselves and their spaces of punishment?

From Hildegard to Mother Courage: Celebrating the Life and Work of Robert Potter (1934-2010). May 12-15, 2016

updated: 
Tuesday, September 1, 2015 - 11:04am
Medieval and Renaissance Drama Society

In his long and distinguished career, Robert (Bob) Potter sought to expand and even explode the temporal and geographic boundaries of medieval drama in general and the morality play in particular. As critic, scholar, playwright, poet, and activist, Bob Potter chaffed against categories and boundaries while producing fine scholarship ranging from publications on Hildegard of Bingen to the English morality play to Mother Courage, with many other critical and scholarly forays along the way. This session will honor Bob Potter's myriad contributions to drama studies in a career that spanned five decades and embraced at least as many forms of creativity.

Editing for the Classroom, Translating for the Stage: Making Medieval Drama Accessible to Modern Audiences. May 12-15, 2016

updated: 
Tuesday, September 1, 2015 - 10:57am
Medieval and Renaissance Drama Society

Scholars have continued their efforts to make medieval drama accessible to modern audiences, producing several "classroom" texts and adapting or translating plays for performance. These efforts prompt several questions: How does the method of publication (print or electronic) affect the presentation of text and apparatus? How does the interpretive apparatus of stand-alone editions differ from those of thematic or period-based anthologies? How do performance goals affect the degree to which a production modifies the text? How do fixed or changing spaces, players, and audiences affect a play's production? The panel welcomes papers exploring these and other questions related to adapting medieval drama for modern audiences.

Pages