Funded MA opportunities in Auckland

School of Humanities

Two MA scholarships in Drama 2015

Shakespeare’s Theatre Games

Supervisor: Prof. Tom Bishop

Seeking applicants for TWO (2) MA scholarships in Drama in 2015 on some topic related to early modern (1500-1642) dramatic performance practice.

Applicants will work on researching and exploring the work of early modern performers, producing a research portfolio of written and performance work to be decided in consultation. The project will include active performance and a full-production programme working on early modern drama both solo and with other students. Choice of performed work will be made in consultation. Possibilities for written work include:

  • the history of some aspect of early modern English performance.

  • clowning and comic skills in sixteenth century English drama.

  • the history of a key individual performer or company in the early modern English theatre.

Applicants are strongly encouraged to contact the supervisor in advance

of the deadline to discuss their proposed research.

The scholarships cover:

  • fees at the University of Auckland for full-time enrolment in the MA in Drama.

  • a tax-free stipend totalling  $16,000  for the year (to be paid out in monthly intervals across the period of enrolment).

  • practical training and production work with Dr. Ira Seidenstein, world-renowned clown teacher and mentor.

Applications are due by email to Tom Bishop (t.bishop@auckland.ac.nz) no later than 30 November 2014. The successful candidates will be notified by 7 December 2014. The successful candidate will have until 14 Decemberto take up the scholarship offer and must be fully enrolled in the MA programme in Drama at the University of Auckland no later than 1 March, 2015.

Applications must include the following:

  1. A copy of the applicant’s official academic record (to be verified by the University of Auckland once the application is successful).
  2. A letter applying for the place including a description of areas of interest and experience and plans for research and performance.
  3. A letter of reference in support of the application, sent confidentially   to the supervisor by the referee (by post or email).

Applicants should note the following:

1.    Applications will be assessed on the candidate’s academic record, experience with drama and research potential, and the quality of the referee report. The supervisor may request an interview with applicants bySkype, telephone or  in person.

2. Applicants may receive the scholarship as soon as they are fully enrolled in the MA programme at the University of Auckland. They are expected to be resident in Auckland for the duration of their enrolment, asidefrom any agreed periods of research travel.

3. The scholarship is offered for a period of one year. Applicants are expected to have completed within this period. If additional time is required, the applicant will have to bear any additional costs.

4. In order to take up the offer, the successful applicant must meet all requirements for admission into an MA in Drama at the University of Auckland. The scholarship will not be paid out until the successful applicant isfully enrolled in the MA.

5. To remain eligible for the scholarship, the successful applicant must fulfil all the requirements of on-going enrolment in an MA in Drama at the University of Auckland. The scholarship may be terminated if the applicant does not make satisfactory progress.

6.As per University of Auckland policy, the amount of additional work the applicant may undertake either inside or outside the University shall not exceed a total of 500 hours in the scholarship year.

7.      The scholarship cannot be held concurrently with any other scholarship either from within or outside the University of Auckland.

8.     The scholarship may be terminated if the applicant fails to meet the above conditions.

For further information, please contact:

Tom Bishop

Email: t.bishop@auckland.ac.nz

Phone: +64 9 373 7599 ext 87841.

For information on enrolment, see:

 www.arts.auckland.ac.nz/pg-enrolment

Marsden MA Scholarships

ANZSA Postgraduate Workshop and Bursaries

The Australian and New Zealand Shakespeare Association announces additional provisions to postgraduates participating in the ANZSA 2014 conference via a half day workshop and competitive postgraduate bursaries.

 

ANZSA Postgraduate Workshop (01 October 2014)

 

Postgraduate students attending the 12th biennial conference of the Australian and New Zealand Shakespeare Association (ANZSA), “Shakespearean Perceptions,” are also invited to participate in a free postgraduate workshop on 1 October, at the University of Southern Queensland. The workshop will be facilitated by Emeritus Professor Helen Ostovich (McMaster University) and Professor Evelyn Tribble (University of Otago).

 

Part 1: Interdisciplinarity: Some Practical Guidelines (1 hour)

 

Prof. Evelyn B. Tribble (Otago)

 

Literary & performance studies have a long history of appropriating or borrowing from other disciplines in developing new methodology: psychoanalytic criticism and historicist criticism are only two examples of such cross-disciplinary borrowing. But working across disciplines is often problematic; it is notoriously difficult to gain a full understanding of the target discipline, and there are many examples of ‘cherry-picking’ a cognate discipline, or preferring only those studies that seem to uphold one’s pre-existing beliefs (a form of confirmation bias, if you will).

 

How do researchers map disciplines other than their own? What are the best approaches to working across disciplines or, for that matter, taking on a new sub-field of one’s own discipline (e.g. theatre history).

 

Workshop facilitators will talk about their own practices and examine one or two case studies, circulated in advance. Participants will be invited to bring particular examples from their own research for discussion.

 

 

Part 2: Performance and Digital Editing (2 hours)

 

Prof. Emeritus Helen Ostovich (McMaster)

 

This workshop will focus on Shakespeare’s Merchant of Venice and Wilson’s The Three Ladies of London. Both plays should be read beforehand. Topics include:

 

1. What did Shakespeare do with his source and why;

2. How to find background on Jews and Turks: the case of Dr Lopez and varied responses to it; the role of ‘hidden Jews’ in early modern London; foreigners in early modern London;

3. View of Italians and other foreigners in early modern London;

4. Performance as research: foreigners attempting to speak English in Haughton’s An Englishman for my Money; the Italian in Three Ladies of London (in the trial scenes); perhaps French princess’s conversation with her nurse about learning English in Henry V, etc.;

5. Options for digital editions: voice over, film clips, traditional word-searches on LEME, full streaming video of productions, etc.

 

 

Queries should be directed to the postgraduate workshop coordinators, David McInnis (mcinnisd@unimelb.edu.au) and Brett D. Hirsch (brett.hirsch@uwa.edu.au).

 

 

 

ANZSA Conference, “Shakespearean Perceptions,” Postgraduate Bursaries

Postgraduate students who are presenting papers at the 12th biennial conference of the Australian and New Zealand Shakespeare Association (ANZSA), “Shakespearean Perceptions,” are invited to apply for an ANZSA postgraduate bursary to assist with the cost of travel to the conference. Bursaries will be awarded on a competitive basis and are scaled on the basis of distance from the venue (up to $750 for recipients travelling from Perth or outside Australia, $500 from Adelaide, Melbourne, Hobart or Australian destinations of similar distance, $250 from Sydney, and $150 from Brisbane). Delegates whose point of origin is less than 100 km from Toowoomba will be ineligible to apply.

 

It will be a condition of receipt of a bursary that the recipient attend the postgraduate workshop at the University of Southern Queensland (1 October, 2014). Applicants must have been accepted to present at the conference prior to submitting an application. All interested postgraduates are reminded that the final call for papers for the conference closes on 27 June, 2014. Bursaries will be available in the form of a reimbursement cheque upon arrival at the postgraduate workshop–funding is not available in advance of travel.

 

To apply, send a CV (maximum 3 pages) and a 250 word statement addressing the benefit that attendance at the conference will give to the applicant’s research goals. Applications should be sent to: Shakespeare.Symposiums@usq.edu.au.

 

Closing date for applications for bursaries will be 18 July.

 

For more details about ANZSA 2014, see the conference website: http://conference.anzsa.org/

Workshop: Finding the Fourth Dimension: Learning through Practice in the Arts and Humanities

Finding the Fourth Dimension: Learning through Practice in the Arts and Humanities

A Workshop for Lecturers and Researchers with Dr Bridget Escolme

Friday 25 July 2014, 9.30am – 5.30pm
Rehearsal Room, Upstairs from the foyer, The Arts Centre, ANU

Speakers:

Dr Rob Conkie (La Trobe), Dr Suzanne Moss (ANU), and Dr Penelope Woods (UWA)

Further information and details of student bursaries:

SLLL_Finding the Fourth Dimension

SLLL_’Learning through Practice Workshop’ Honours Student Bursary

Garrick and Shakespeare (25 June 14)

Short notice, but anyone already planning on being in the UK next week may be interested in this event at the Rose, on Garrick and Shakespeare:

GarrickConfFlyer_Print 29 May 2014-2

 

Extended deadline: Sprott Fellowship ($40k)

The closing date for applications for The S. Ernest Sprott Fellowship has been extended to Monday 16 June 2014.

The S.Ernest Sprott Fellowship: EXTENDED TO …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, 16 June 2014

Approximate value: $40,000

Open-Air Shakespeare: Under Australian Skies

Rose Gaby’s book, Open-Air Shakespeare: Under Australian Skies has just been published by Palgrave Macmillan:
Congratulations Rose!

History of Emotions postdoc positions, University of Queensland

RESEARCH FELLOWS IN ENGLISH LITERATURE (REF 495850) 

(Download the flyer: The University of Queensland April 2014)

The University of Queensland 

The University of Queensland is seeking to appoint two three-year post-doctoral research fellows. The successful appointees will develop a research project, within the ‘Meanings’ Program of the ARC Centre of Excellence for the History of Emotions, Europe 1100-1800 (CHE), broadly related to any aspect of the history of emotions in any field of English literature from, roughly, the twelfth through to the eighteenth centuries.

The Australian Research Council Centre of Excellence for the History of Emotions, Europe 1100-1800 (CHE) is a national humanities research initiative undertaken collaboratively across five Australian universities. Established in 2011 by the ARC’s Centres of Excellence program, and funded for $24.25M over seven years, CHE has its headquarters at the University of Western Australia, with research and outreach Nodes at the Universities of Queensland, Sydney, Melbourne, and Adelaide. The Centre is strongly interdisciplinary, drawing on the expertise of scholars in such diverse disciplines as social and political history, the history of ideas, literary criticism, art history, and musicology to investigate individual and collective emotional experience in one of the richest and most dynamic chapters in world history: that of medieval and early modern Europe. By studying earlier European experience and culture, the Centre aims to produce a new, interdisciplinary, and comprehensive understanding of the long history of emotions.

The role 

The successful appointee will develop a research project, within the ‘Meanings’ Program of the ARC Centre of Excellence for the History of Emotions, Europe 1100-1800 (CHE), broadly related to any aspect of the history of emotions in any field of English literature from, roughly, the twelfth through to the eighteenth centuries. The position-holder will be expected to undertake a plan of high-quality research and publication, as well as organising activities in support of the program and the Centre.

The person 

Applicants should possess a PhD in a relevant field of English literature. An interest in the wider intellectual, religious, historical, or cultural contexts of English literature will be favourably considered. Knowledge of related Continental European, or classical, literatures may also be an advantageous.

This is a full-time continuing appointment at Academic Research Level A.

The remuneration package will be in the range AUD $58,763 – $79,708 per annum plus employer superannuation contributions of up to 17% (total package will be in the range AUD $68,753 – $93,258 p.a.).

Contact: Professor Peter Holbrook on +61 7 336 53215 or p.holbrook@uq.edu.au

Closing date: 5pm, Sunday 15th June 2014

Online applications can be made via the University of Queensland Website:

http://uqjobs.uq.edu.au/jobDetails.asp?sJobIDs=495850&sReferrer=home&lApplicationSubSourceID=&lWorkTypeID=&lLocationID=&lCategoryID=&lBrandID=&sJobNo=495850&sKeywords=495850&stp=AW&sLanguage=en

Shakespearean Perceptions – Extension to CFP

Shakespearean Perceptions – Extension to CFP

 

The convenors of the 12th Biennial International Conference of the Australian and New Zealand Shakespeare Association (ANZSA) are extending the call for papers to 27 June, 2014.

 

Many of our friends in the Shakespeare Association of America only learned of the ANZSA conference during the recent congress in St. Louis, so we have received a significant number of requests for extra time. We will also invite members of the Asian Shakespeare Association (which meets in May this year for the first time) to consider proposing a paper for ANZSA. By extending the CFP to accommodate these groups, we also welcome proposals from any interested participants who may be still wishing to consider presenting at this year’s event.

 

The ANZSA conference theme is “Shakespearean Perceptions,” and will be held at The University of Southern Queensland from October 2-4, 2014. Confirmed keynotes are Professor Peter Holbrook (University of Queensland), Professor Graham Holderness (Hertfordshire), 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.

 

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 27 June, 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/

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.

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