Sprott Fellowship ($40k)

The S.Ernest Sprott Fellowship: Flyer 2014 Sprott fellowship

English literature of the sixteenth or seventeenth centuries

The late Samuel Ernest Sprott, from Tasmania, was an academic in the department of English at Dalhousie University, Canada and was best known for his work on John Milton, notably Milton’s Art of Prosody, his first book, which appeared in nine editions between 1953 and 1978, and John Milton, A Maske: the Earlier Versions. His book Suicide: The English Debate from Donne to Hume was published in 1961. He also published a collection of poems in 1955.

The S. Ernest Sprott fellowship is to be awarded annually to an Australian citizen who is an outstanding scholar less than 45 years of age at the time of the award. The fellowship is for scholarly study outside of Australia which is intended to lead to a book relating to dramatic or non-dramatic English literature of the sixteenth or seventeenth centuries.

Applicants must demonstrate an outstanding record of scholarship. They must outline a program of scholarly study outside Australia, leading to a book relating to dramatic or non-dramatic English literature of the sixteenth or seventeenth centuries.

It is recommended that the applicant seek some kind of formal affiliation with a relevant library or university.

Fellowship funds will be paid in quarterly instalments providing that the committee is satisfied with the progress of the candidate who will submit quarterly reports.

For further details and eligibility visit: http://arts.unimelb.edu.au/award/sernest-sprott-fellowship

Enquiries: artsprizes-info@unimelb.edu.au or ph: (03) 9035 4317

Closing Date: Monday, 19 May 2014

Approximate value: $40,000

Call for Papers: Special Issue of Shakespeare on “Shakespeare and Jonson”

Expressions of interest and submissions of abracts due: 16th May 2014

The critical pairing of Jonson and Shakespeare might not always be one of the most illuminating comparisons in literary history, but it is one of the most enduring. The distinctiveness of the Jonson-Shakespeare pairing lies in the often implicit assumption that these two somehow function as each other’s alternative; that between them they define a crucial axis of literary possibility – between learning and imagination, or inspiration and labour. The comparison has often served to elevate Shakespeare over Jonson, on grounds sometimes less aesthetic than crudely moral – Jonsonian envy or ethical failure used to highlight Shakespeare’s generosity or singular virtue. This, in turn, has generated responses which are sometimes guilty of partisanship or defensiveness.

These tendencies are still visible today in academic and popular evocations of “Shakespeare and Jonson”. Yet in other ways the pairing itself might seem archaic. The vastness of the Shakespeare industry has ensured that the Bard (when not assumed to be beyond compare) has benefited from a much less restrictive set of comparisons. For Jonson, the picture is more mixed. He has benefited from attention in areas with a less obviously Shakespearean relevance, such as the court masque, and unlike the Oxford Middleton the new Cambridge edition of Jonson is not modelled on a Shakespearean template. To that extent, he is no longer automatically fated to a disadvantageously comparative approach. In other ways, though, he is receding from view. The RSC has not staged a Jonson play for almost a decade, while the Globe has never mounted a full production of one of his works.

What value, then, is to be found in reviving the old double act? How, now, can they speak to each other? What can their conjunction reveal that might otherwise remain obscure? This, in a year that sees the quatercentenary of the publication of Jonson’s first folio and of Shakespeare’s death, is what we seek to find out with this special issue of Shakespeare on “Shakespeare and Jonson”. We would be happy to consider essays from any approach, although we would wish them to avoid merely retreading the old pas de deux. Essays might shed light on the early years of their comparison, or episodes in its history that illuminate it anew. We would be interested, too, in essays seeking to bring Shakespearean and Jonsonian thematic or methodological concerns together. What might happen if Shakespearean concerns are transferred to the Jonsonian corpus, and vice versa? Examples of possible approaches might include, though are not limited to:

  • Staging and performance history, especially recent critical developments. Is there any value in considering “Jonson in parts”, for example?
  • Page and stage: in recent years, Shakespeare studies has debated the relative merits of approaching the plays as the work of a man of theatre and/or a ‘literary’ dramatist – how might Jonson appear in the light of such debates?
  • Religion, Catholicism and Judaism (why, for example, is Shakespeare’s entirely speculative “Catholicism” wrangled over while Jonson’s conversions receive comparably little interest?)
  • Nationality and ‘Britishness’;
  • The politics of monarchy, republicanism, or the monarchical republic;
  • Genders and sexualities
  • Historicism and presentism: do Shakespearean debates here illuminate the Jonsonian corpus or concerns?
  • Literary heritage, including neoclassical, Greek and/or medieval influences. The influence of post-medieval, vernacular drama upon Shakespeare is well-documented, while Jonson is often considered a consciously neoclassical dramatist. Is it time to revisit this distinction?
    Literary celebrity. Shakespeare’s reputation as national bard is firmly cemented, but the recently-discovered account of Ben Jonson’s walk to Scotland suggests a kind of “royal progress” between London and Edinburgh. Might this breathe new life into old debates? What might we learn about early modern ideas of literary fame, its social and political significance, or the history of the author as celebrity?

Other ways of staging the conjunction are no doubt possible, and we would be delighted to consider them.

Please send expressions of interest or abstracts for papers of 6500-7000 words to james.loxley@ed.ac.uk and fionnuala.oneill@soton.ac.uk by Friday 16th May 2014.

CFP: Beyond Authorship, 24-27 June 2014 (Newcastle)

24-27 June 2014
University of Newcastle Australia

This symposium seeks to move beyond authorship as the primary focus of corpus-based studies in early modern literature, to consider broader questions of language and style, genre and form, influence and adaptation; to interrogate the new literary histories enabled by electronic text corpora, and the new methods of analysis they make possible.

Confirmed speakers include Douglas Bruster, Gabriel Egan, Jonathan Hope, MacDonald P. Jackson, Lynne Magnusson, and Michael Witmore.

The convenors, Hugh Craig and Brett D. Hirsch, invite proposals for long and short papers (20/40 min) and quick-fire poster presentations (5 min). For consideration, abstracts should be received by email to both convenors before 1 February 2014.

To download a poster/flyer and for more details, visit: http://notwithoutmustard.net/beyond-authorship/

Publication Launch: “Shakespeare and Australia”, special issue of *Australian Studies*

Elizabeth Schafer and Emma Cox (General Editor and Associate Editor, respectively, of Australian Studies) are pleased to announce that Gay McAuley will be launching the latest issue of Australian Studies – which focusses on the subject of ‘Shakespeare and Australia’:

Wednesday 11 December
Studio 2, The Caryl Churchill Theatre,
Royal Holloway University of London,
Egham TW20 OEX.

The launch will follow on from a Rehearsal Studies seminar which Gay will be leading, beginning at 15.00. Please rsvp (E.Schafer@rhul.ac.uk) if you are able to come along.


The issue of Australian Studies can be found at



Rosemary Gaby, ‘Dunsinane, Mount Macedon: Geoffrey Wright’s Melbourne ‘Macbeth’ (2006)’.

Jonathan Rayner, ‘Meditative Tangents: Fred Schepisi’s ‘The Eye of the Storm’ (2011)’.

Anna Kamaralli, ‘Shakespeare and the Drover’s Wife: the Work of Women in the Australian Cultural Landscape’.

Elinor Parsons, ‘An Inexplicable Dumbshow? Narrative Innovation in Robert Helpmann’s ‘Hamlet’ (1942)’.

Rob Conkie, ‘Remember Me’.

Julian Meyrick, ‘Shakespeare, Classic Adaptations and the Retreat into the Theatrical’.

Kate Flaherty and Edel Lamb, ‘The 1863 Melbourne Shakespeare War: Barry Sullivan, Charles and Ellen Kean, and the Play of Cultural Usurpation on the Australian Stage’.

Emma Cox, ‘In Conversation with Geoffrey Rush’.

CFP: Shakespearean Perceptions (ANZSA 2014, University of Southern Qld)

The 12th Biennial International Conference of the Australian and New Zealand Shakespeare Association (ANZSA) will be held at The University of Southern Queensland from October 2-4, 2014. The conference theme will be “Shakespearean Perceptions.” Confirmed keynotes include Professor Peter Holbrook (University of Queensland), Emeritus Professor Helen Ostovich (McMaster), and Professor Garrett Sullivan (Pennsylvania).


Shakespeare’s career coincided with a period during which the nature of perception was being radically reimagined. While the rise of the Elizabethan theatre brought with it new configurations of audiences, Elizabethans were learning to view plays—and indeed their world—with fresh eyes but also with fresh noses, fresh ears, fresh skin, etc. This rethinking of sensory perception also resulted in a new understanding of the roles of reason and the imagination in shaping lived experience. Rather than being a phenomenon limited to the work of Shakespeare alone, the reinvention of perception mapped itself out across the whole of the Elizabethan and Jacobean worlds, and is worth tracing in the work of Shakespeare’s coevals (Jonson, Marlowe, Middleton, and many others). By the same token, modern audiences and readers of Shakespearean drama refashion this work according to visual and sensory economies made possible by new technologies and new modes of representation. Topics that may cover this notion of Shakespearean Perceptions may include, but need not be limited to:


  • Shakespearean drama and modes of perception: the senses, passions, embodiment, and medicine;
  • Audiences of Shakespeare in the past and present;
  • Cultural histories of perception and performance;
  • Art and the iconic or emblematic nature of Shakespearean plays;
  • Reinterpretations of Shakespearean drama for the modern stage;
  • Editors and readers of Shakespeare;
  • Modes of cognition and experience in the early modern theatre;
  • Perceptions in Shakespearean drama of classical, medieval, or “New World” ideas and sources;
  • New media and film and adaptations of Shakespeare’s work and that of his contemporaries;
  • Shakespearean drama in translation to non-English-speaking languages;
  • Perceptions of the natural and supernatural worlds;
  • Ways of seeing Shakespeare in political and social contexts.


The conference venue is situated in the picturesque garden city of Toowoomba, located at the edge of the Great Dividing Range in Queensland, Australia. ANZSA 2014 will be held in conjunction with the 11th annual Shakespeare-in-the-Park Festival. Conference registration will include attendance at the opening show of the main stage performance of Much Ado about Nothing, and for participation in selected other events at the Festival.


The conference will include lectures, papers, workshops, seminars, and performances. We invite proposals for papers or presentations (20 minutes), panels (90 minutes), and workshops (90 minutes) on any aspect of the conference theme, broadly interpreted. Proposals (250 words or less) should be sent by 29 April, 2014 to Associate Professor Laurie Johnson or Dr Darryl Chalk by email: Shakespeare.Symposiums@usq.edu.au


More information at. More information at  the conference website: http://conference.anzsa.org/

The University of Ballarat Arts Academy presents Richard Brome’s A JOVIAL CREW, directed by Kim Durban.

There are four more shows of this fabulous production, Sept 19 – 22.

Helen Macpherson Smith Theatre

Full: $30 Conc./FOAA $20 UB Students $10 Groups of 10+ $22

Please contact Josephine DeVries for bookings: 5327-8606, or j.devries@ballarat.edu.au

“Seeing this production of A Jovial Crew represents a rare opportunity for Australian audiences. The production is beautifully conceived by Kim Durban, the detail in characterisation is exceptional, the music – pop, rock, folk, punk – is fantastic and the games the production plays with gender, class and ethnicity are illuminating, provocative and heart-warming. Ballarat turns out to be a place to see classic theatre revived, not in the service of the director, but in the service of the author, who, on the evidence of this production, is revealed as a master playwright.”

Rob Conkie, La Trobe University.

Flyer: Jovial Crew

CFP Graduate Conference: Shakespeare and His Contemporaries: Forms of Nationhood (British Institute of Florence)

The British Institute of Florence holds in April 2014 the 6th Shakespeare Graduate Conference. This is an interdisciplinary and bilingual forum for PhD students where they can present and discuss their research work. Last year the first online volume of the Proceedings of the Shakespeare Graduate Conference was published on the British Institute website. The topic this year will be Shakespeare and His Contemporaries: Forms of Nationhood and the deadline for proposals is Wednesday 30th October. Here is the call for papers.

All info is also available online at http://www.britishinstitute.it/it/evento/442/call-for-papers-shakespeare-and-his-contemporaries-graduate-conference-2014-/

Congratulations Alan Brissendon!

Congratulations to Alan Brissendon, who has been inducted into the Hall of Fame in the 2013 Australian Dance Awards!

“Dr Alan Brissenden AM has made an enormous impact on how we view dance, with an extraordinary 60 years of dance criticism and scholarly writings. His acute perceptions, developed through an eager engagement with dance and all the other performing arts, have provided insightful reflections and commentaries on Australia’s constantly changing dance landscape.”


Tragic Affect: Performance Workshops with Hamlet and Othello

Shakespearean tragedies are highly affective early modern texts. In this series of rehearsals, work-in-progress performances and post-show discussions of Hamlet (c.1600) and Othello (c.1604) between 23 September to 4 October 2013 the affective dramaturgies of these plays will be explored from different angles.

ARC Centre of Excellence for the History of Emotions (1100-1800), in association with La Trobe University’s Centre for Creative Arts, will present two workshop performances: the first act of an Indigenous Hamlet and a full workshop production of the last act of an “original practices”Othello. Participants will have the opportunity to observe and contribute to the rehearsal processes of each workshop and contribute to the post-showing discussions of the performances.

Download the flyer: Tragic Affect flyer

New Digital Humanities Position at University of Tasmania

Reference Number :249 – Professor / Associate Professor of Digital Humanities

The University of Tasmania was founded in 1890 on the best of academic traditions that embrace excellence and commitment to free inquiry in the creation and application of knowledge. Ranked in the top 3 percent of universities worldwide and in the top 10 research universities in Australia, the University has a strong and distinctive Tasmanian identity which underpins teaching and research that is international in scope, vision and standards.

Digital Humanities investigates the intersection of computing and humanities, in particular, how digital media affects the humanities disciplines in which they are used, and how humanities can contribute to computing and digital studies. The implications of this growing field are gaining relevance beyond the humanities and contribute to understanding globalization, mass information and social and cultural change.

The University is seeking to appoint a Professor / Associate Professor to lead research, teaching and creative practice in digital humanities. The appointee will strengthen research leadership on the Launceston campuses, consolidate and grow existing research culture and facilitate interdisciplinary research with staff in the humanities, social sciences and other faculties.

Candidates will have a PhD and an international reputation in a relevant humanities discipline with successful research collaborations using digital media, strong commitment to effective research training and demonstrated success in generating funding from a range of sources. Proven leadership and effective relationship management skills are considered essential.

The appointment will be made at either Level E or Level D in line with Opening UTAS to Talent: The UTAS Academic. This continuing position is located in Launceston. Travel to other campuses is required.

The closing date for applications is 11 October, 2013. To register early interest, please call Jandy Godfrey, Academic Search and Onboarding Manager, University of Tasmania on 61 3 6226 7879 or email jandy.godfrey@utas.edu.au.

Dr. Rosemary Gaby
University of Tasmania
School of Humanities
Web: http://www.utas.edu.au/humanities

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