Paper proposals are invited for a panel on Tricks of the Trade: Stagecraft and Culture, High, Low, and Popular that will be presented at the SCSECS annual conference.
The SCSECS conference will be held on February 23-25, 2012, in Asheville, North Carolina, at the Grove Park Inn. For more information about the conference theme, plenary speakers, and special events and about the conference venue, please consult our SCSECS 2012 website at http://www.etsu.edu/cas/litlang/scsecs.
ACLA 2012 Conference Seminar: Representing the Holocaust: Present and Future
The American Comparative Literature Association's 2012 Annual Meeting will take place at Brown University, Providence, RI from March 29th to April 1st, 2012.
CONFERENCE THEME: "Collapse/Catastrophe/Change"
Bodies on stage are one of the central elements of theatre and – implicitly – also of drama. Characters on the page attain the status of corpo-reality. At the same time, a living person becomes part of the "as-if" world of the play, signifying class, ethnicity, gender, age. Bodies and their movements in space, voice, facial and gestural expression produce additional meanings which often go beyond the written text. Thus, each performance of a play is unique. Physically demanding theatrical moments – from tap dancing to Kung Fu fighting – especially highlight the precarious liveness of the moment and the virtuosity of the actor.
NEMLA Convention 2012
Session Title: Shakespeare at the Opera
The panel examines operatic adaptations of Shakespeare plays. How do Shakespearean operas serve as 'readings' that illuminate facets of the plays on which they are based? How do different treatments of Shakespeare shed light on the historical and cultural conditions that produced the operas? How can studying Shakespeare as opera function as a miniature historical lens om Shakespearean reception across the centuries? Send 300 to 500-word abstract to Josh.Cohen@massart.edu.
CALL FOR STATEMENTS
Shakespeare Seminar Online 2012
Workshop at the Shakespeare-Tage 2012 in Bochum ("Faith and Doubt on the Elizabethan Stage")
Believing in Shakespeare:
Faith and Doubt on the Elizabethan Stage
rom Diane DiMassa's caffeinated homicidal heroine in Hothead Paisan to Lee Edelman's sinthomosexual who "chooses not to choose the Child," revenge – if only phantasmatic – invigorates queer narratives, theory, even politics. And given that oppression breeds resentment, it is no intellectual leap to consider why revenge becomes a popular trope. But is there something inherently queer about revenge? Could we envision distinctly queer forms of revenge? Or is such an essentialist application of "queer" its very antithesis?
Nothing New Under the Sun?
Novelty, Game-Changing, and Genre-Breaking
2011 University of Florida English Graduate Organization Conference
October 28-29, 2011, at the University of Florida
Keynote Speaker: Richard Flynn (Georgia Southern University)
The English Graduate Organization of the University of Florida invites papers across disciplines concerning the idea of novelty in literature, film, rhetoric or the production of art. By interrogating the causes and effects of novelty in the life of an artist, scholar or artistic movement, we hope to destabilize the boundaries around the "old" and "new" and trace the lingering impact of these game-changers across both time and disciplines.
CFP: Reflections and transfigurations: tradapting and performing Shakespeare today. 26-27 April 2012, University of Toulouse, France.
Confirmed Plenary speakers: Djanet Sears (University of Toronto), author of the critically acclaimed Harlem Duet (1997), Paula Vogel (Yale) author of Desdemona: a play about the handkerchief (1993). Both playwrights will discuss their own play as well as the original text which inspired them, Othello.
New Voices in Irish Criticism: "Legitimate Ireland"
19th – 21st April 2012
Institute of Irish Studies
Queen's University, Belfast
From plantations to Grattan's parliament, poitín distillers to the IMF bailout, the Irish have always had a fraught relationship with institutions of political, social and religious power. It raises questions surrounding the legitimacy of performative and systemic aspects of Irishness, which has been and continues to be in flux both north and south of the border.