"Staging the Undead"
CALL FOR PAPERS—KALAMAZOO MEDIEVAL CONGRESS 2017
1402: A ROUNDTABLE
Panel title: "Fanfiction in Medieval Studies: What Do We Mean When We Say 'Fanfiction'?"
Conference: 52nd International Congress on Medieval Studies Kalamazoo, Michigan, May 11-14, 2017
Organizer: Dr Anna Wilson, email@example.com
Abstract submission deadline Sept 15
MEDIEVAL AND RENAISSANCE DRAMA SOCIETY
Call for Papers: Leeds IMC 2017
Passion, Power, and Rhetoric: Latin Influences on Early Drama
The twenty-fourth International Medieval Congress (IMC) will take place in Leeds, UK, from 3-6 July 2017. The IMC seeks to provide an interdisciplinary forum for the discussion of all aspects of Medieval Studies. However, every year, the IMC chooses a special thematic strand which – for 2017 – is ‘Otherness’. This focus has been chosen for its wide application across all centuries and regions and its impact on all disciplines devoted to this epoch.
The Medieval and Renaissance Drama Society seeks three 20-minute presentations on any aspect of medieval and early modern Dutch and Flemish drama for a session at the 2017 International Medieval Congress at Leeds.
“[M]edievalism now features in hundreds of currently taught university and college-based courses, especially in English Literature departments across and beyond the English-speaking world...” writes Louise D’Arcens in the introduction to the new Cambridge Companion to Medievalism (2016). This session will explore the implications of teaching medieval studies through or alongside medievalism(s). How do students—many of whom are newly engaged with studies of medieval topics—perceive the distinction between medieval and medievalism? To what degree does medievalism affect/inflect non-literary studies of the Middle Ages (in history or art history courses, for example)?
SENSE AND SENSIBILITY IN ANGLO-SAXON ENGLAND
CALL FOR PAPERS (SPECIAL SESSION)
52nd International Congress on Medieval Studies
Western Michigan University, Kalamazoo
May 11-14, 2017
Hilary Fox (firstname.lastname@example.org)
I do not know that you can touch wisdom with gloved hands.
—The Old English Soliloquies
Whether it is tweeting Lydgate’s Fall of Princes, making witnesses of his poems both in and out of the codex available to scholars worldwide, or engaging in digital prosopography, the “Digital Turn” in recent literary scholarship provides heretofore unavailable opportunities for engagement with the poetry of John Lydgate. However, this is not the first time the introduction of new technology has effected reception, understanding, and interpretation of the poet. The shift from manuscript to print spread Lydgate’s poems in numbers that were not possible before, while modern editorial practices developed during the nineteenth and twentieth centuries have created a set of “standard” editions of the poet’s works, for good and ill.
Medieval studies has made serious inroads into inquiries surrounding the relationship between objects and environments, between objects and their spiritual power, as well as between descriptions of objects and their literal presence. These issues also pertain to Lydgate studies, as his relationship with matter is complex. As Lisa H.
The shadow of Geoffrey Chaucer loomed large over the century after his death. Later poets such as John Lydgate used words coined by him, explicitly referenced Chaucer’s mastery of poetry, and mentioned their relationship with him in the development of their poetic personae and the writing of their poetic works. These connections, in turn, have left a tradition of scholarship that takes such conceits at face value and maligns the poetry of the fifteenth century for allegedly not being the equal of Chaucer’s.