This seminar invites presentations on the liveliness, actual or apparent sentience, and uncanny autonomy of objects in Shakespeare's plays. The surge of new materialisms across disciplines, including thing theory, actor-network theory, speculative realism, and object-oriented ontology, opens up new possibilities for understanding the latent forcefulness of things—from stage props to statues to dead bodies to coastlines—and the social, economic, and ecological assemblages of human and non-human matter that collude in the creation of Shakespeare's theatrical worlds.
ACLA 2016 (Harvard Univ., Cambridge, MA: March 17-20,2016)
Visual (Inter)Changes in the Mediterranean Basin: Medieval & Renaissance Western and Eastern Illuminated Manuscripts
"Yet does illustrating in a new way signify a new way of seeing?"
― Orhan Pamuk, My Name is Red
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.
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?
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.
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.
This session will examine how early drama produced time (or experiences of time) often through the strategic use of space. Recent work on temporality challenges us to think about time as multiple, overlapping, simultaneous constructions. Theoretical work specifically related to theatre reminds us that performances do not merely represent time, but that they actually produce time(s), allowing spectators and actors to inhabit temporal spaces and to make meaning from those theatrical experiences. In the Middle Ages & Renaissance, not only did dramatic performances accomplish this, but so did other kinds of cultural performances, such as interactions with manuscripts, engagements with art objects, and devotional meditation.
Call for Papers for Edited Books with ISBN
Last Date 31st December 2015
Generally, most people have their own ideas of what literature is. When enrolling in a literary course at university, you expect that everything on the reading list will be "literature". Similarly, you might expect everything by a known author to be literature, even though the quality of that author's work may vary from publication to publication. Perhaps you get an idea just from looking at the cover design on a book whether it is "literary" or "pulp". Literature then, is a form of demarcation, however fuzzy, based on the premise that all texts are not created equal. Some have or are given more value than others.
Text in Context is a graduate student and post-graduate journal published electronically by current graduate students and post-graduates of the English Department at Southern Connecticut State University.
India is one of the few countries in the world to have a film censor board. And one of its recent casualties is a lesbian film significantly titled "Unfreedom." The current government has upped the ante by extending the ban culture of censorship from the aesthetic realm to the realm of everyday consumption with the ban on beef. The ban on Jafar Panahi, the Iranian filmmaker, continues and he continues to express himself in his art form in house arrest. The recent Charlie Hebdo massacre in Paris has put the limelight back on censorship.