This session will present new work from scholars in an emerging line of inquiry: post-medieval outlaw narratives and the textual and cultural relevance of feasting and eating. This session purposefully reaches beyond the Middle Ages to demonstrate that outlawry is a global phenomenon, one that is not only present in a variety of literatures, languages, and cultures, but also one that is inherently intertwined with food and feast. While outlawry has its formal origins in the Middle Ages, the outlaw is a figure and trope present in many post-medieval texts: several Renaissance dramas, and especially American, Native American, African American, and Australian outlaw narratives.
The International Association for Robin Hood Studies (IARHS) is pleased to announce the creation of a new, peer-reviewed, open-access journal, The Bulletin of the International Association for Robin Hood Studies. The journal will be published bi-annually beginning in Spring 2016 and will be available on the IARHS' website, Robin Hood Scholars: IARHS on the Web: http://robinhoodscholars.blogspot.com/. Scholars are invited to send original research on any aspect of the Robin Hood tradition.
In recent scholarship, lyric emerges as a privileged form for expressing, simulating, and circulating pain: its formal flexibility, non-narrative structure, and somatic elements allow lyric to evoke an embodied sensation whose "resistance to language," as Elaine Scarry memorably argues, "is essential to what it is." Yet these characteristics do not adhere neatly to lyric. Not all lyrics are formally free and non-narrative. Furthermore, various literary genres employ the formal invention, non-narrative digressions, and somatic elements most often identified with the lyric form.
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.
Image Matter: Art and Materiality
AAH Students New Voices Conference
MIRIAD, Manchester Metropolitan University
6 November 2015
Keynotes: Professor Carol Mavor (University of Manchester) and Professor Hanneke Grootenboer (University of Oxford)
Call for Papers
7th Biennial British Shakespeare Association Conference
Shakespearean Transformations: Death, Life, and Afterlives
University of Hull, 8-11 September 2016
Susan Bassnett (University of Warwick)
Andrew Hadfield (University of Sussex)
Michael Neill (University of Auckland)
Claudia Olk (Free University of Berlin)
Barrie Rutter (Northern Broadsides)
Tiffany Stern (University of Oxford)
Richard Wilson (Kingston University)
The Art of Identification network, funded by a networking grant from the Arts and Humanities Research Council (AHRC) intends to bring together a range of academics and practitioners in order to explore the interconnections between practical techniques of human identification and the artistic representation of personal identity. The methods by which people have proved, or been assigned, their identities have varied over time – from Early Modern insignia to the contemporary strobe light of a retinal scanner – and the term 'identification' can also be taken to mean a number of things, including the determination of individual personhood via paperwork, bodily examination, verbal testimony, and digital recording.
It is our contention that a magazine like this has needed to exist for a while. There needs to be a home for the complicated patriot, the unlikely patriot.The sociologist Robert Bellah believed that the United States had a civil religion that was to be contrasted with that of other nations. If that's true – and we think it is – then this is a magazine for the agnostics. What can one say? America seems like a pretty good idea – we should try it some time.
To get what we're up to check out our website at mericamagazine.org (that's "Merica," not "America," lest you accidentally go to the other - though excellent - magazine of that name). Check out especially the "About" section and the "Submission" section for a fuller idea of our concept.
In its five hundred years of reception, responses to John Lydgate's poetry have varied between extremes. Early regard for Lydgate appears in such places as Stephen Hawes' Pastime of Pleasure, where the monk is canonized alongside Chaucer and Gower and at greater length than either of the other poets. By contrast, Joseph Ritson describes Lydgate in 1802 as a "voluminous, prosaick, and driveling monk." This comment has formed a flashpoint in Lydgate studies for both those who would dismiss and those who would defend this poet. Renoir, Schirmer, Pearsall, and Patterson provide a wide-ranging sampling of these perspectives.
While historicist approaches to Lydgate have played a large role in the poet's now decades-old critical recuperation, all along this recuperation has also been alert to the formal dimensions of his work and to some of the many ways these dimensions represent innovations. Studies by, for example, Maura Nolan and Claire Sponsler have fruitfully combined historical inquiry with explorations of the ramifications of form. With many in the field of literary study seeking, in a variety of ways, to return considerations of form to the center court of the field's endeavors, it is an apt moment to extend, complicate, and/or critique accounts of Lydgate as a formal innovator.