The Shakespeare Newsletter seeks submissions of a scholarly nature and scope (4000-6000 words) on contemporary engagements with Shakespeare/Early Modern English Drama and/or Theater. We expect “contemporary engagements” to be understood in the most general of ways, including but not limited to the following: contemporary appropriations, approximations, and adaptations; film; performance; digital media; new theoretical approaches; new pedagogies; popular culture; global Shakespeare; archival encounters. Submissions will undergo double-blind peer-review. One accepted essay will appear in each issue as “The Pendleton Essay,” named after the late SN editor, Thomas Pendleton.
The Great Fire: Reconsidered – Call for Papers
3 September 2016 – Wren Suite, St Paul’s Cathedral
The Great Fire of London has long been held as a watershed moment in London’s history. Over the course of four days in September 1666, an infernal blaze claimed over 13,000 houses, 87 churches and 52 livery halls, and rendered an estimated 70,000 people homeless. Yet while cellars still burned there were whispers at court that the conflagration might actually be ‘the greatest blessing that God ever conferred’ upon King Charles II because it had crippled the ‘rebellious’ City of London; forever opening its gates to royal power.
For a time, the Absurd was one of the chief literary movements of the day. When Martin Esslin published The Theatre of the Absurd (1960)he would frame various emerging playwrights such as Ionesco, Beckett and Pinter under one label. Though they would reject the term, the notion of the Absurd stuck and would invite a flurry of criticism from the academic world. Interest in the Absurd, however, was like a match, burning with intensity before fizzling out just as suddenly. Why was this the case? Did new trends push the Absurd to the side? Were all of its possible avenues explored? Was the Absurd limited to its temporal context? Or perhaps it evolved into novel concepts such as post-humanism?
Call for Papers: New Research in the Early Drama of the Low Countries
International Medieval Congress at Leeds
July 3-6, 2017
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.
We particularly encourage papers that focus on the 2017 IMC conference theme of
otherness. The Low Countries seems a particularly fruitful area of focus for this theme, as they
spent much of the Middle Ages as perpetual “others” with fluid boundaries and constant
NeMLA Annual Convention 2017 -- Baltimore, MD (March 22-26)
This call for papers is for those scholars who teach Italian language and literature abroad:
Il giovane d’Annunzio e la fascinazione del teatro
Ebook delle Edizioni Sinestesie, Collana “Il Parlaggio”
Questa raccolta di saggi in formato ebook si propone di valutare un aspetto molto significativo, ma ancora poco indagato, della giovinezza di Gabriele d’Annunzio: la rilevanza del teatro nei suoi anni romani e nella sua prima produzione giornalistica.
"Danza e ricerca. Laboratorio di studi, scritture, visioni" selects original contributions for the 8th issue, scheduled for publication by the end of 2016. D&R is an open access journal edited by Eugenia Casini Ropa and published by the Department of Arts (University of Bologna).
Articles can focus both on contemporary and historical dance. The type of contributions ranges from historiography to theory, to reviews, with an extensive use of research tools deriving from interrelated disciplines such as anthropology, philosophy, sociology and pedagogy. The paper should be written in a language of your choice among Italian, French or English,and the length should be between 25000 and 60000 characters, including spaces.
Call for Papers
Reimagining Beauty and the Beast
One-day Interdisciplinary Conference
University of Bristol
7th September 2016
Dr. Amy Davis, University of Hull
Prof. James Williams, Royal Holloway University of London
This panel seeks proposals that examine the performance of the monstrous on the early modern stage. Performances of the monstrous include but are not limited to deformity, animals, devils, witches, and other supernatural beings performed on stage. Proposals should consider the vibrant medieval iconographic images of the monstrous that continued to stimulate the early modern imagination. Questions to be addressed might include: how did staging the monstrous secure or collpase boundaries between the natural and supernatural realms? Did the monstrous on stage enforce or interrogate political, cultural, or religious authority? How might staging the monstrous call attention to the cultural power of the stage?