Due to some last-minute obstacles, New Voices has been postponed until early 2012. We will re-issue a CFP once we have definitive dates. Proposals already submitted will still be reviewed. Thank you for your patience and understanding.
The 2012 issue will focus on "Shakespeare and Performance." We are interested in articles that consider any aspect of performance in historical or contemporary productions of Shakespeare and his contemporary playwrights. The following list is of possible topics, but should not be considered exhaustive:
The Journal of the Wooden O is a peer-reviewed scholarly journal published at Southern Utah University with the support of the Utah Shakespeare Festival, the Gerald Sherratt Library, the College of Visual and Performing Arts, and the Department of English.
The Journal of the Wooden O invites essays on any topic related to Shakespeare and early modern drama, but gives priority to papers on plays produced in the Utah Shakespeare Festival's 2011 summer and fall seasons: A Midsummer Night's Dream, Richard III, Romeo and Juliet, and The Winter's Tale.
I am seeking possible co-panelists for a proposed roundtable discussion on ways of effectively incorporating advocacy into the theatre history classroom for the 2012 Association for Theatre in Higher Education Conference. This panel would be sponsored by the Theatre History Focus Group and directly engages the conference theme of "Performance as/is Civic Engagement: Advocate, Collaborate, Educate." How do we, as instructors of theatre history, get our students to connect the work in the theatre history classroom to larger issues of political engagement in a democratic society? Do particular plays spark the best discussions? Are there particular assignments with which you've had success? Should issue advocacy be in the theatre history classroom at all?
I am seeking possible co-panelists for a proposed panel to be sponsored by the Theatre History Focus Group for the 2012 Association for Theatre in Higher Education Conference. With the conference theme of "Performance as/is Civic Engagement: Advocate, Collaborate, Educate" I find myself thinking about historical instances of performers who have crossed over onto the political stage, or political figures who found second careers for themselves as actors. How did the first chapter of the career impact the second? Were there echoes of the political agenda in the performance work? Did the performance work contradict the ideology represented in their political careers?
EDUCATING THE IMAGINATION: A CONFERENCE IN HONOUR OF NORTHROP FRYE ON THE CENTENARY OF HIS BIRTH
October 4,5,6, 2012 | Victoria University in the University of Toronto
For years, scholars have demonstrated the debt that Kyd, Marlowe, Shakespeare, and other playwrights owe to Seneca's work. Such foundational criticism has often pointed to Seneca's plot devices, characterization, language, and form that inspired later Renaissance dramatists. However, recent scholarship demonstrates Seneca's effect on early modern subject construction and performance conditions. This panel aims to continue and extend current reconsiderations of Seneca's influence on early modern drama by gathering papers that "rethink" Seneca's works and influence in light of feminist, queer, post-colonial, and materialist theoretical perspectives.
CFP: "The Return of the Repressed? Intersections of Religion and Culture Today"
Salzburg Institute of Gordon College Symposium
November 5, 2011, Gordon College, Wenham, Massachusetts
The University of Roehampton presents
Friday, 24 and Saturday, 25 February 2012
IN ANALYSIS: THE WORK OF HANIF KUREISHI
Hanif Kureishi in conversation and reading from Work in Progress
Susie Thomas (author of Hanif Kureishi: A Reader's Guide to Essential Criticism)
Alien invasion, viral outbreak, nuclear holocaust, the rise of the machines, the flood, the second coming, the second ice age—these are just a few of the ways human beings have imagined their "end of days." And someone's Armageddon clock is always ticking—we just dodged Harold Camping's rapture on May 21st of this year, and the Mayan-predicted doomsday of 2012 is just around the corner. In the end, what do we reveal about ourselves when we dream of the apocalypse? What are the social and political functions of these narratives in any given historical period? How do different cultures imagine the apocalypse, and what do these differences reveal? What is particular to the narratological design and content of apocalyptic texts?