Tag: CFP

Global Shakespeare as a cultural phenomenon and a field of study has gained much of its vitality from the sheer multiplicity of genres, cultures, and artistic and academic investments in performances as multilingual affairs. Global Shakespeare festivals, performances, and courses are proliferating, because they seem to answer competing structural demands on artists and scholars to be more transnational in outlook while sustaining traditional values. Recent studies that treat “global Shakespeare” not as news-worthy curiosities but as methodology have made meaningful contributions to Shakespeare studies. 

This seminar explores, among other topics, the potential of global Shakespeare as methodology. Papers may address emerging methodological issues by examining well-known instances such as the internationalism of Michael Almereyda’s film Hamlet or traveling stage works such as Grupo Galpão’s Romeu e Julieta. What does it entail to practice, teach, and study global Shakespeare in 2014? What is the value of local knowledge? How do aesthetics and international politics shape the conflicting myths of Shakespeare as a global author and national poet? What values and ideas does global Shakespeare sustain or undermine? 

Annotated, English-subtitled videos of works discussed in the seminar may be available on the open-access Global Shakespeares digital performance archive: ->http://globalshakespeares.org/]. Seminar contributors and participants in the Shakespeare 450 conference can take advantage of the digital archive’s curatorial functions to facilitate further discussion. Select works will also be featured in online learning modules ([). 

Deadline: August 15, 2013

Submit your name, job title, affiliation, email, paper title, and a 250-word abstract to Alexander Huang ([->acyhuang05@gmail.com]) by August 15, 2013

Critical investigation into the rubric of “Shakespeare and the visual arts” has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries. Relying on the aesthetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this seminar will study instead the dramatic use and function of Renaissance material arts and artists in Shakespeare’s oeuvre. Among the great variety of possible topics, participants in the “Shakespeare and the visual arts” Seminar may like to consider:

• the impact of optics and pictorial perspective;
• anamorphosis and trompe l’oeil effects on the whole range of visual representation;  
• the rhetoric of “verbal painting” in dramatic discourse;
• the actual citation and intertextuality of classical and Renaissance artists;
• the legacy of iconographic topoi;
• the humanistic debate or Paragone of the Sister Arts;
• the use of emblems and emblematic language;
• explicit and implicit ekphrasis and ekphrastic passages in the plays
• ekphrastic intertextuality, etc.

Registered participants are invited to submit by 10th August 2013 to the address below a one-page abstract of their proposed article on any aspect of the relationship between the age of Shakespeare and Renaissance arts, including the theoretical approach of the arts in the drama of Shakespeare and his contemporaries. Every abstract (approx. 250 words) should include the participant’s name, email, affiliation, and title of the proposed contribution.

Prof. Michele Marrapodi
Facoltà di Lettere e Filosofia
Dipartimento di Scienze Umanistiche
Viale delle Scienze
90128 Palermo, Italy.
Email: [->michele.marrapodi@unipa.it]

This seminar invites papers on screen adaptations, screen appropriations or screen quotations of Shakespeare’s romances: Pericles, Cymbeline, The Winter’s Tale and The Tempest.

A variety of approaches will be welcomed. The papers may examine, among other aspects:

• how the play is (textually, aesthetically, ideologically, etc.) transformed when directed for the screen;
• what each version reveals about the (sometimes postcolonial) culture in which it is set;
• how Shakespeare’s playscript (or plot) interacts with national ideologies and representations;
• how the screen versions have been influenced and shaped by previous theatre productions;
• how the gender and racial issues have been addressed;
• how the magical aspects of the plays interrelate with the filmic medium;
• how the issues of time and space are tackled by film directors;
• how the Romances have influenced non-Shakespearean filmic works or how they have been quoted/appropriated/challenged in various films.

Every proposal should include: name, email, affiliation, abstract (250 words) and title of the contribution.
The seminar will welcome up to 15 contributors.
Seminar papers should be no longer than 5,000 words in length.
Abstracts and biographical notes should be sent to ->nvienneguerrin@orange.fr] and [ by August 20th, 2013.

All the papers will be circulated among the participants, who will respond in detail to two papers before the seminar session.
Selected papers will be published in the “Shakespeare on Screen” collection, edited by Sarah Hatchuel and Nathalie Vienne-Guerrin (Publications des Universités de Rouen et du Havre).