“The Authenticity of Emotions: Sceptical and Sympathetic Sociability in the Eighteenth-Century British Public Sphere”
(abstracts due 30 June 2012).
An interdisciplinary “Collaboratory” convened by The ARC Centre for Excellence for the History of Emotions at The Science Exchange, 55 Exchange Place, Adelaide, SA.
18 and 19 September 2012.
Keynote speakers: Michael Frazer, Philosophy, Harvard University; W.Gerrard Parrott, Psychology, Georgetown University; Laura J. Rosenthal, English, University of Maryland.
Convenors: David Lemmings, History, University of Adelaide, and ARC Centre for the History of Emotions; Heather Kerr, English, University of Adelaide, and ARC Centre for the History of Emotions; Robert Phiddian, English, Flinders University, and ARC Centre for the History of Emotions.
Registration opens: 28 May 2012
Deadline for papers: 13 August 2012
Registration closes: 7 September 2012
Conference cost: $80 (incl GST)
Contact janet.hart to register but not give a paper
More information at
or download the flyer: 2012CollabCFP_flyerfinal
Enquiries to Professor David Lemmings: firstname.lastname@example.org
[ from Heather Kerr
Associate Dean, Higher Degrees Research
Senior Lecturer in English and Creative Writing
Faculty of Humanities and Social Sciences
University of Adelaide
Adelaide 5005 SA]
King’s College London
Lecturer / Senior Lecturer or Reader in Early Modern English Literature (non-dramatic)
Full time / Permanent:
Lecturer in English Literature
Renaissance and Early Modern Literature (1509-1660)
University of Sussex
Lecturer in English Literature 1500-1700
Full time / Permanent
University of Glasgow
University Teacher Early Modern English Literature (1590 – 1680)
Call for Papers
“The Early Modern Witch, 1450-1700″
Edited by Alison Findlay and Liz Oakley-Brown
Special Issue of Preternature (The Pennsylvania State Press)
The publication of early witchcraft texts created witches by generating controversy about them. Witch-dramas, pamphlets, testimonies about witch-encounters, sermons, and accounts of trials published the anxieties, related the long standing suspicions, and sensationalised the physical manifestations that made women into witches. Sometimes accompanied by woodcuts, many texts insisted on the reality, materiality, and immediacy of witches and their familiars. In these writings, the early modern witch was represented as both a perpetrator of violence and the victim of it. The early modern witch is thus a fascinating enigma: a legal entity and a neighbourhood resource or nuisance, she purportedly engaged in natural and supernatural forms of wisdom with the potential to heal or harm others, or even herself. The words she spoke could become malefic by intent, if not by content. According to the sensationalist constructions of witchcraft, her body was contaminated by the magics she used: she fed familiars with blood, grew spare parts, could not weep, and would not sink. In accounts focused on bewitchment and possessions, the witch vomited pins or personified pollution and a culturally legitimate cunning-person such as a physician or minister or exorcist acted as curative. Despite the skepticism about witches that followed Reginald Scot’s assertions and the decline of legal examinations trials, the early modern witch is an enduring force in the cultural imagination. Witchcraft continues to be the focus of academic articles, scholarly volumes, digital resources, archaeological digs, children’s and teenage fiction, popular media and museum studies.
This issue of Preternature, in association with the “Capturing Witches” conference, invites contributions from any discipline that highlight the cultural, literary, religious, or historical significance of the early modern witch. Contributions should be roughly 8,000 – 12,000 words, including all documentation and critical apparatus, adhere to the journal style guide, and be formatted in the Chicago Manual of Style, 15th edition (style 1, employing endnotes).
Contributions must be submitted through the Preternature CMS
Full journal style guides are available at <http://preternature.org>, and details on the “Capturing Witches” conference can be found at <http://www.transculturalwriting.com/?page_id=1535>.
Queries concerning this special volume, The Early Modern Witch (1450-1700), can be sent to special volume editors, Professor Alison Findlay <email@example.com> and Dr. Liz Oakley-Brown <firstname.lastname@example.org>. Final submissions are due November 30, 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 (email@example.com) and Dr Brett Hirsch (firstname.lastname@example.org).
For more details about the symposium and its programme, visit
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
The deadline for submission of essays is 31 March 2013
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.
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.
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)
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 email@example.com
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:
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 firstname.lastname@example.org
People from EEO groups are encouraged to apply.
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 email@example.com, 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.
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.
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.