renaissance

Rhetoric and literature obviously have an intricate shared history in early modern studies evidenced by the likes of George Puttenham’s Art of English Poesie (1579) among other manuals and treatises, but studies continue to demonstrate that there is more to be examined at this scholarly intersection. By applying research in cognitive studies, for instance, Raphael Lyne offers a new perspective on Shakespeare’s use of rhetoric, and in a forthcoming piece Michael Ullyot and Adam Bradley employ digital technologies in order to study the applications of rhetorical tropes like gradatio in early modern drama more broadly. This panel seeks to discuss what other innovations or findings are possible with or without novel applications.

TEACHING SHAKESPEARE IN AND BEYOND THE CLASSROOM

February 23rd and 24th, 2018
University of Alabama, Tuscaloosa, AL

This conference invites papers that address teaching Shakespeare to non-English majors, whether those non-majors are students or member of local communities. We encourage papers from both academic and non-academic settings, including papers that consider dominant teaching philosophies and praxes currently in use in the university classroom and presentations considering various outreach programs. Papers may address any of the following:

English Literature has been able to reinvent itself along new pathways, from the age of the manuscript to the digital era. In the last decades, the digital technology has changed the paradigms involving both the reading strategies and the analysis of literary texts: among others, the relation between writer and reader; the publication in digital platforms; “distant reading”; the exploration of the image; the abundance of information; the access to the original texts. This enormous change has originated an interdisciplinary reevaluation of many of the previous paths, as well as the launching of new focuses of reflection.

author.net

a cross-divisional conference on distributed authorship

UCLA, October 5th-6th 2018

Organizers:

Sean Gurd, Professor of Classics, University of Missouri

Francesca Martelli, Assistant Professor of Classics, UCLA

DEADLINE FOR ABSTRACTS: January 15, 2018

While his most famous crossdressing characters are women posing as men––including Rosalind from As You Like It, Twelfth Night’s Viola, and The Merchant of Venice’s Portia––William Shakespeare also twice imagines male characters posing as women: Falstaff in The Merry Wives of Windsor and the page playing Christopher Sly’s wife in The Taming of the Shrew. Male characters also pass (to varying degrees) as women in works by Sidney, Jonson, Middleton, Fletcher, and others. But while much has been made of the “squeaking” boy actors who played women’s parts on the early modern stage, very little critical attention has been paid to male characters wearing women’s weeds in early modern literature.