May 11th, 2012
Text Editing and Digital Culture
The 2102 book:logic Symposium
28 June 2012
The University of Western Australia
Papers at the 2012 book:logic Symposium, “Text Editing and Digital Culture,” will investigate the promises and pitfalls of digital textuality, the changing role of the textual editor, and the intersections of textual studies and digital technologies within different cultures and literary traditions.
Plenary speakers include
- Paul Eggert (Australian Research Council Professorial Fellow, University of New South Wales at ADFA)
- Alexander C. Y. Huang (Associate Professor of English, Theatre, and International Affairs, George Washington University; Research Affiliate in Literature, MIT)
- Fotis Jannidis (Professor of German Literature and Humanities Computing, University of Würzburg)
- Willard McCarty (Professor of Humanities Computing, King’s College London; Professor, Institute for Culture and Society, University of Western Sydney).
Attendance at this one day symposium is free, but numbers are limited.
Registration is essential for catering purposes. To register, please contact the conveners, Professor Tim Dolin (t.dolin@curtin.edu.au) and Dr Brett Hirsch (brett.hirsch@uwa.edu.au).
For more details about the symposium and its programme, visit
http://www.notwithoutmustard.net/book-logic2012/
May 11th, 2012
Australia and Shakespeare
In 2012, the London Olympics year, Shakespeare’s Globe curated a festival of Shakespeare productions entitled Globe to Globe. Productions came to the Globe from all over the world – a total 37 plays in 37 different languages. Early in the planning process I was contacted and asked if I knew of any productions in an Australian Aboriginal language; I did not. However, the question unsettled me. While there is a provocation in performing Shakespeare in a language other than English, the Globe’s contribution to the Cultural Olympiad risked constructing what Helen Gilbert and Jacqueline Lo identify as ‘thin’ cultural cosmopolitanism, which boasts a ‘patina of international sophistication’ and often purveys ‘an array of highly ethnicised individuals and groups’ (Performance and Cosmopolitics 8-9). More particularly, the Globe’s cosmopolitan project effectively made it extremely unlikely that Australia could make a major contribution to the festival; in the end, Perth-based Yirra Yaakin Theatre Company accepted the Globe’s invitation to present sonnets in the Noongar language as part of multi-lingual reading of all 154 sonnets. Given that, as far as I know, the only Australian Shakespeare theatre production to tour to the UK, Shakespeare’s home territory, is the Bell Shakespeare’s Comedy of Errors in 2006, the Globe’s approach was perpetuating the habitual marginalisation of Australian Shakespeare performance from the perspective of UK theatre. As a consequence of this, I am proposing an issue of Australian Studies which seeks to showcase as well as interrogate Shakespeare and Australia in performance, in film, and in culture. It will include a wide-ranging interview with Geoffrey Rush on his experiences of Shakespeare as a performer, director and a member of the audience. It will seek to map out and to analyse the variety, the contradictions and the excitement of Australia’s conflicted interactions with Shakespeare.
Essays might explore
- Histories of Shakespeare in Australia – in production, in education, in rehearsal, in marketing, as cultural capital,
- Practitioners’ work with Shakespeare – directors, designers, performers, actor trainers etc
- A particular company/ venue/ approach (Stand Up For Shakespeare; the UWA Fortune theatre; The Australian Shakespeare Company; the Queensland Shakespeare Ensemble)
- A particularly influential/ provocative/ popular production
- Australian adaptations/ remixes/ spin offs (for example, Popular Mechanicals)/ ballets (for example, Helpmann’s Hamlet)
- Touring Shakespeare – Australian and overseas companies
- Shakespeare and applied or community contexts: prisons, detention centres, schools
- Shakespeare and indigeneity
- Shakespeare and translation
- Original Practices in Australia
- Shakespeare and Australia film – from the Romeo and Juliet in The Sentimental Bloke to Geoffrey Wright’s Macbeth
- Shakespeare’s contemporaries in Australia
- Shakespearian practitioners working on Shakespeare across the world (for example, Elijah Moshinksy, Judith Anderson, Keith Michell)
Australian Studies is a refereed online journal hosted by the NLA. Submission guidelines appear at
http://www.nla.gov.au/openpublish/index.php/australian-studies
The deadline for submission of essays is 31 March 2013
Elizabeth Schafer
E.Schafer@rhul.ac.uk
April 29th, 2012
The School of English Literature, Language and Linguistics, wishes to appoint a Lecturer in Shakespeare and Renaissance Drama. The successful candidate will be expected to have a PhD on Shakespeare and Renaissance Drama (or have equivalent experience). While the ability to offer teaching at undergraduate and MA level across the whole of the early modern period (1500-1700) is required, research and/or teaching expertise in Shakespeare and Renaissance Drama is essential. The successful candidate will have begun their publishing career and will be expected to carry out research commensurable with a research-led University, including applying for grants and developing research projects and related ventures.
Further information:
http://www.jobs.ac.uk/job/AEI352/lecturer-in-shakespeare-and-renaissance-drama/
April 24th, 2012
The editors of The Shakespearean International Yearbook are pleased to announce our new advisory board, consisting of leading scholars from the U.S., U.K., Australia, the Netherlands, France, Poland, South Africa, India, and Japan. We are delighted to be able to work with such a distinguished group of scholars.
General Editors
Tom Bishop, University of Auckland, Auckland, New Zealand
Alexander C. Y. Huang, George Washington University, Washington, D.C., USA
Graham Bradshaw, Chuo University, Japan (Emeritus)
Advisory Board
Supriya Chaudhuri, Jadavpur Universisty, Kolkata, India
Natasha Distiller, University of Cape Town, Cape Town, Republic of South Africa
Jacek Fabiszak, Adam Mickiewicz University, Poznan, Poland
Atsuhiko Hirota, University of Kyoto, Kyoto, Japan
Ton Hoenselaars, Utrecht University, Utrecht, the Netherlands
Peter Holbrook, University of Queensland, Brisbane, Australia
Jean Howard, Columbia University, New York City, USA
Ania Loomba, University of Pennsylvania, Philadelphia, USA
Kate McLuskie, University of Birmingham, Birmingham, UK
Alfredo Michel Modenessi, Universidad Nacional Autónoma de México, Mexico City, Mexico
Ruth Morse, Université Paris VII, Paris, France
W.B. Worthen, Barnard College, Columbia University, New York City, USA
The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues fundamental to our encounter with Shakespeare’s work and his time, across the whole range of his writing. We invite original scholarly studies of 5000-9000 words on any aspect of Shakespeare and his legacy. We are especially interested in critical work that treats Shakespeare’s resonance in African, European, Middle Eastern, Asian, Oceanian, Latin American, Slavic, and other contexts, in all historical periods.
Submissions for consideration for publication should be emailed to siy@ashgate.com
March 26th, 2012
SCHOOL OF HUMANITIES AND SOCIAL SCIENCES
Lecturer in English
Salary: Level B: $84,927 – $100,119 + (Super)
Applications are invited for the full time continuing position of Level B Lecturer from scholars with teaching and research strengths in literary and cultural studies in English. The successful candidate will be expected to contribute to teaching and curriculum development in English literatures, film and cultural studies across our undergraduate level subjects, supervise honours and postgraduate students, and maintain a research profile aspiring to excellence.
Criteria include a PhD and a demonstrable record of excellent teaching and quality publications in an area relevant to one or more of the following: war literature, early modern to nineteenth-century literature in English, film in literary studies, Australian literature.
This position will be located in Canberra at the University’s campus at the Australian Defence Force Academy. This position is available from 1 July 2012.
For application and position description information, please visit our website:
http://hr.unsw.adfa.edu.au/employment/index.html
For additional information about this position, please contact Associate Professor Nicole Moore on (02) 6268 8856 or email N.Moore@adfa.edu.au
Applications must systematically address the selection criteria and include a resume and the names and addresses of at least two referees.
Applications which do not address the selection criteria may not be considered.
Written applications should be submitted to HR Recruitment, UNSW Canberra Northcott Drive, Canberra, ACT 2600, or you may email your application to unswcanberra.recruitment@adfa.edu.au
People from EEO groups are encouraged to apply.
February 29th, 2012
SHAKESPEARE AND EMOTIONS
27–30 November 2012
The University of Western Australia
Perth, Western Australia
The 11th Biennial International Conference of the Australian and New Zealand Shakespeare Association in collaboration with the ARC Centre of Excellence for the History of Emotions
Keynote speakers include Farah Karim-Cooper (Shakespeare’s Globe London), Philippa Kelly (California Shakespeare Theater and UNSW), and Steven Mullaney (University of Michigan). Additional keynote speakers are to be announced.
The study of emotions in history, literature, and other aspects of culture is a burgeoning field, and Shakespeare takes a very central and influential place. The conveners invite papers on any aspect of the ways in which Shakespeare and/or his contemporaries represented emotions in poetry, drama, and other works, and/or how these representations have been received by audiences and readers from the sixteenth century to the present day.
There are paradoxes to be explored — how ‘the bodily turn’ of physiological influence on emotions could in turn generate more modern models of inner consciousness alone; how concepts rooted historically in Elizabethan and Jacobean England could be adapted to fit the philosophies and concepts of later ages, through eighteenth-century literature of sensibility, nineteenth-century and Darwinian approaches, twentieth-century psychologism stimulated by Freud, and a host of others. Did Shakespeare tap into a ‘collective unconscious’ of ‘universal’ stories, or did he arbitrarily choose stories to dramatise which his affective eloquence incorporated into world literature? Why have his works proved so durable in their emotional power, both in themselves and adaptations into other media such as opera, music, film and dance? Equal attention is invited to plays in performance and in ‘closet’ critical readings, as well as textual studies and adaptations.
The New Fortune Theatre, built in 1964 to the exact dimensions of The Fortune playhouse that rivaled Shakespeare’s Globe in seventeenth-century London, will be available for original practice performances, open rehearsals, and stage-based research papers, etc. If you wish your presentation to be considered for a Performance Workshop on the New Fortune stage, please indicate this clearly in your title.
Abstracts of c.200 words should be submitted for consideration to conference@anzsa.org, addressed to Bob White, Chris Wortham, Danijela Kambaskovic-Sawers, Mark Houlahan, and Brett D. Hirsch. Abstracts should be received by 1 July 2012.
Please bear in mind that although our venues have full capability for Powerpoint presentations and projecting files from your computers, wireless Internet reception is in some rooms unavailable. If you will need Internet access for your presentation, please make this clear in your abstract to allow us to programme accordingly.
For more details about the conference, visit conference.anzsa.org.
February 27th, 2012
Editing Early Texts: Practice and Protocol
15-16 June 2012
Massey University, Wellington, New Zealand
This symposium is for scholars and postgraduate students involved in the editing of early literary and non-literary texts. ‘Early’ is being interpreted quite broadly, c. 1500-1800, and speakers so far have editing interests in Shakespeare and early modern drama, early modern poetry and prose, eighteenth-century fiction, early modern women’s writing and early modern historical texts. Papers on the digital humanities and online editing are also strongly encouraged.
Professor Paul Salzman, La Trobe University, will be the keynote speaker. Professor Salzman is a Chief Investigator on The Material Cultures of Early Modern Women’s Writing: Editing, Reception, Mediation. He is the editor of the innovative online edition of Lady Mary Wroth (http://wroth.latrobe.edu.au/); and of two Oxford World’s Classics editions, Early Modern Women’s Writing, and An Anthology of Elizabethan Prose Fiction.
Speakers include:
Tom Bishop (Auckland, Internet Shakespeare)
Jennifer Clement (Canterbury, using digital editions)
Karen Jillings (Massey, editing Gilbert Skene)
Ingrid Horrocks (Massey, editing Wollstonecraft’s A Short Residence)
Brett Hirsch (UWA, Digital Renaissance Editions)
Mark Houlahan (Waikato, Internet Shakespeare)
David McInnis (Melbourne, editing Dekker)
Patricia Pender (Newcastle, Australia, The Material Cultures of Early Modern Women’s Writing)
Sarah Ross (Massey, Women Poets of the English Civil War and The Material Cultures of Early Modern Women’s Writing)
Paul Salzman (La Trobe, The Material Cultures of Early Modern Women’s Writing)
Elizabeth Scott-Baumann (Oxford, Women Poets of the English Civil War)
Rosalind Smith (Newcastle, Australia, The Material Cultures of Early Modern Women’s Writing).
Contact Sarah Ross with paper proposals and abstracts (150-200 words), before 30 April 2012.
S.C.Ross@massey.ac.nz
February 17th, 2012
Digital Shakespeares: Innovations, Interventions, Mediations
A Special Issue of The Shakespearean International Yearbook
Edited by Hugh Craig and Brett D. Hirsch
If data is “the next big idea in language, history and the arts”, as Patricia Cohen has suggested, where are we now in Shakespeare studies? Are we being “digital” yet?
The guest editors of this special issue of The Shakespearean International Yearbook invite papers to critically explore digital innovations, interventions, and mediations in Shakespeare studies, in particular, the application of digital technologies and methodologies — such as computational stylistics, data mining and visualization, 3D virtual modelling, electronic publishing, etc. — and their impact on Shakespeare research, performance, and pedagogy.
Papers theorizing “digital”, “networked”, or “new media” Shakespeares, as well as papers interrogating the ways in which the digital influences the performance of Shakespeare on both stage and screen, are also welcomed.
Abstracts of c.200 words should be emailed to Hugh Craig hugh.craig@newcastle.edu.au and Brett D. Hirsch brett.hirsch@uwa.edu.au by 10 April 2012. Full articles of accepted abstracts will be expected by August 2012 to allow for review, revision, and publication in 2013.
Edited by Alex Huang (George Washington University) and Tom Bishop (University of Auckland), The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare’s work and his time, across the whole spectrum of his literary output. Each issue includes a special section under the guidance of a specialist Guest Editor, as well as a production diary or record of a notable Shakespeare performance.
February 8th, 2012
Queen’s University, Belfast, Northern Ireland, UK, has been awarded funds for the support of PhD studentships in certain strategic priority areas. Funding has been awarded to the School of English for the international studentship described here.
Supervisors:
Professor Mark Thornton Burnett (School of English); Dr Ramona Wray (School of English)
Project:
“Shakespeare and the Soundtrack”
Shakespeare on film is often seen as a primarily verbal or visual phenomenon; by contrast, this project argues that the filmic representations of the likes of Lawrence Olivier, Orson Welles and Kenneth Branagh are enhanced, complicated and finessed by the ways in which the soundtrack stands in for, or translates, the Shakespearean word. The role of music in Shakespeare film takes multiple forms, including lush refrains, action genre pop scores, classically-inspired requiems, and romantic themes, but a common denominator is the synecdoche-like place of musical motifs with reference to language. Tracing the means whereby music operates, the study investigates points of connection between multiple acoustic levels, placing together examples that disclose unexpected comparative possibilities.For example, in addition to exploring some familiar Anglophone instances – among them, Hamlet, Othello and King Lear – the project enfolds discussion of less well-known films from China, Japan and India, such as The Banquet, an adaptation of Hamlet, An Okinawan Night’s Dream (an adaptation of A Midsummer Night’s Dream) and Yellamma, an adaptation of Macbeth. Here, the focus is on how particular forms of instrumentation – indigenous styles of strings, percussion and woodwind – work not only to mediate Shakespearean rhetoric but also to place it in alternative cultural registers that are aurally apprehended. Essentially, then, a comparative study, ‘Shakespeare and the Soundtrack’ allows methodologies that have previously operated only in narrow national and educational contexts to cross-fertilize, elaborating models of intertextual dialogue and demonstrating how creative modes of words and music offer valuable lessons for our own and media responsive global age.
Qualifications:
Candidates with a range of different combinations of knowledge and skill may be considered. For those whose primary background is in literature, the equivalent of Grade 7 Theory in Music might be helpful, but other evidence of musical understanding might be acceptable. For those whose primary background is in Music, some relevant literary modules at university level, or equivalent evidence of knowledge, would be helpful.
Eligibility:
International/non-EU students (students from China, Japan, India, Australia, Canada and the US, for example).
For application information, follow the links on the School of English (Queen’s University) website at:
http://www.qub.ac.uk/schools/SchoolofEnglish/
Further information is available on the School of English website (http://www.qub.ac.uk/en) under ‘news and events’ and also on the prospective students postgraduate pages.
Closing date for applications:
2 March 2012
February 6th, 2012
Going to the Renaissance Society of America (RSA) annual meeting in
Washington, D.C. (Mar 22-24)? You are cordially invited to stay one
more day to catch the one-day symposium “Cultural Translations:
Medieval / Early Modern / Postmodern” to be held at George Washington
University in D.C., 9:30 am – 4:00 pm, Sunday, March 25, 2012.
Free and open to the public. Please stay tuned for updates on the
venue and lunch.
Website: http://www.gwu.edu/~acyhuang/culturaltranslations.html
—
Empires are lost and won, and stories are marred and rediscovered
through cultural translations–the transformation of genres,
manipulation of ideas, and linguistic translation. Cultural
translation is one of the most significant modes of textual and
cultural transmission from medieval to modern times. Estrangement and
transnational cultural flows continue to define the afterlife of
narratives. Translation, or translatio, signifying “the figure of
transport,” was a common rhetorical trope in early modern Europe that
referred to the conveyance of ideas from one geo-cultural location to
another, from one historical period to another, and from one artistic
form to another.
Over the past decade “translation” as an expansive critical concept
has greatly enriched literary and cultural studies. In response to
these exciting new developments, this one-day symposium brings
together leading scholars from the fields of medieval and early modern
studies, history, film, English, Spanish and Portuguese, Arabic and
comparative literary studies to engage in transhistorical and
interdisciplinary explorations of post/colonial travel, globalization,
and the transformation of texts, ideas, and genres.
The presentations are designed with both general and specialist
audiences in mind. Following in the wake of several recent events in
town, namely the Folger’s exhibitions on “Imagining China: The View
from Europe, 1550-1700″ and “Manifold Greatness: The Creation and
Afterlife of the King James Bible” and conferences on “Contact and
Exchange: China and the West” and “Early Modern Translation: Theory,
History, Practice,” and the 58th Annual Meeting of the Renaissance
Society of America (RSA) in Washington, DC, 22–24 March, 2012, the
Symposium at GW continues and expands these thought-provoking
dialogues.
PRESENTATIONS
Medieval
Suzanne Conklin Akbari (Toronto, English and Medieval Studies):
Translating the Past: World Literature in the Medieval Mediterranean
Marcia Norton (GW, History): topic to be announced
Early Modern
Barbara Fuchs (UCLA, English and Spanish & Portuguese): Return to
Sender: “Hispanicizing” Cardenio
Christina Lee (Princeton, Spanish & Portuguese): Imagining China in a
Golden Age Spanish Epic
Postmodern
Peter Donaldson (MIT, Literature): The King’s Speech: Shakespeare,
Empire and Global Media
Margaret Litvin (Boston, Arabic and Comparative Literature): topic to
be announced
——–
The event is co-sponsored by the George Washington University
Department of English and Medieval and Early Modern Studies Institute
(MEMSI), and co-organized by Alexander Huang, Jonathan Hsy, and Lowell
Duckert.
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About the Bulletin The Bulletin is the newsletter of the Australian and New Zealand Shakespeare Association ( ANZSA). The Editors The Bulletin is edited by Gayle Allan and David McInnis.
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