renaissance

Call for Papers

A Symposium on Clouds

Friday 22 May 2020, 9.00-19.00

Gustave Tuck Lecture Theatre, University College London (UCL)

Dealine for abstracts: 5pm, Friday 28th of February 2020

Keynotes:

Esther Leslie: Professor in Political Aesthetics and Co-Director of Birkbeck Institute for the Humanities

Joanna Walsh: Author and Critic whose recent books include Break.up (2018) and Worlds from the Word's End (2017)

“What then is the essential nature of cloudiness?”

The Pacific Northwest Renaissance Society is pleased to announce its 2020 Conference:

Please join us for the 2020 Pacific Northwest Renaissance Society (PNRS) conference in beautiful Banff, Canada at the Banff Park Lodge in the Rocky Mountains.

Conference dates: September 24-27, 2020

Conference theme: Renaissance Landscapes (Space, Place, and Performance)

Confirmed Plenaries: 

15th ESSE Conference, August 31 – September 4

Lyon, France

Seminar 57 "Genre, gender and nation in early prose fiction in English (1600-1700)"

Convenors:

Dr. Sonia Villegas-López (University of Huelva, Spain) villegas@uhu.es

Professor María José Coperías-Aguilar (University of Valencia, Spain) maria.j.coperias@uv.es

Professor Karen Gevirtz (Seton Hall University, US) karen.gevirtz@shu.edu

Traditionally attributed to King Solomon and defined by Rabbi Akiva as the “Holy of Holies” among the sacred scriptures (Mishnah Yadayim 3:5), the Song of Songs is one of the most fascinating and controversial Biblical books. Fervently read and carefully explained, celebrated as a key to the supreme mystery of the union between God and men, the Song of Songs, the primary source for the Christian pervasive metaphor of the sacred marriage and eros, was a text crucial not only to the Middle Ages, but also to the Renaissance period. This ambivalent book, which combined a sensual celebration of love with a well-established tradition of allegorical interpretation, held a particular appeal for poets.

What is the place and role of the voice in academic literary inquiry? How is orality treated in disciplinary and institutional contexts which identify most closely with text-based practices? How do we think of the relationships between orality and textuality without subscribing to a progressivist or evolutionary model that privileges text over voice? How is the voice and vocal performance treated and represented in literature? How do the voices of the translator, editor, critic, reader, and student of literature intersect to create literary disciplinary discourse?