Every play imagines its own world—but the worlds they imagine must in some way connect with their audience. This panel invites perspectives on early modern English drama that considers the balance between these two poles: the imagined world of the setting and its connection to the surrounding culture in early modern England. This balance is particularly important in early modern English drama for both historical reasons—an increased awareness of other worlds and their different reality within the expanding cultural purview of the early modern English—and literary ones—since so much criticism of these plays has focused on their relation to early modern England itself to the exclusion of their frequently quite disparate settings.
It's A "Normal" World After All? Theme Parks and the Performance and Aesthetics of “Difference”
Jennifer A. Kokai, Weber State University
Tom Robson, Millikin University
Title: From the Curious to the Quantum: Bodies at the Intersection of Science and Performance
American Society for Theatre Research conference
November 16-19, 2017
Vivian Appler, College of Charleston
Meredith Conti, University at Buffalo – SUNY
This panel investigates early modern coping strategies that engage both possibility and temporality. Specifically, how do early modern texts model alternative temporalities that evoke revised histories, alternative presents, or potential futures? How might intertextuality, grammatical structures, wordplay, and visual or other paratextual elements signal possibility? And how might alternative temporalities revise early modern subjectivity?
Topics of interest might include:
The Editorial Board of Acta Iassyensia Comparationis,a thematic, interdisciplinary biannual e-journal published by the Department of Comparative Literature of the “Alexandru Ioan Cuza” University of Iasi, invites you to publish in AIC 20 (2/2017), devoted to the VIS ŞI REALITATE / DREAM AND REALITY / RÊVE ET RÉALITÉtopic. By the choice of this theme, we intend to bring together, in one volume, approaches to the different (and yet related) genres and subgenres of fantastic literature, science-fiction and imaginary ethnography.
Laughter in “High Art/Low Art”: Playing with Boundaries in French and Francophone Literatures
Academic journal CULTURAL INTERTEXTS invites proposals of original articles for its 7th volume.
The editors will consider for publication papers which tackle, among others:
- discourse of literature. text, pretext and context;
- history and his story;
- women’s voices;
- memory and (re)writing;
- dialogism and intertextualities;
- writing games;
- politics in and of fiction;
- representations of identity;
- sociological imagination in literature;
- literature in and of the new media.
This creative session seeks work that crosses, that inhabits several places or that moves relentlessly through and across places of genre, form, medium, and so on. It is meant as a partner and collaborator with the panel “Thinkings In and Out of Place,” though in this session the boundary-crossings activate and shape the works sought. The call is for scholarship|interpretive work projected into new forms with differently confluent streams of image and text, of prosaic and poetic, of academic and literary. Is there a way to project interpretation and theorization in such a way that resists or operates differently than the conventions of academic discourse, its unshakeable positivity and correlative thetic and agonistic stance?
William Shakespeare’s oeuvre is comprised of multiple forms, including the play, the sonnet, and the narrative poem and spans a wide variety of genres, including comedy, tragedy, history, epic, and romance. Because of his contributions to the western canon, modern scholarship tends to focus on Shakespeare the writer. Yet, we often forget another aspect of his literary life: Shakespeare the reader. In crafting his work, Shakespeare borrows heavily from Classical, Medieval, and Renaissance literature of all genres, including poetry, epic, drama, and prose fiction, and incorporates references to mythological, religious, rhetorical and philosophical texts throughout his works.