Here are the up-coming symposia and conferences. Our Thursday seminars will also continue–more on those soon!
More info to follow soon!
The place to go in London on Saturday is St Paul’s! A great programme and line up of speakers: see their website if tickets are still available.
The annual CEMMS symposium will be held on 15 July 2017, in the Wren Suite at St Paul’s Cathedral. The symposium offers an opportunity to think broadly about the significance of Old St Paul’s Cathedral and its surrounding area in medieval and early modern England. Speakers will cover a range of topics including sermons; drama and theatre companies; civic culture; ceremonies and ceremonial culture; theology; literature; and publishing and bookselling.
Organised by Shanyn Altman, Katrina Marchant-Stone and Nicole Mennell.
Supported by Sussex CEMMS and CHASE.
See the programme for tomorrow’s conference – some tickets are still available!
Here are the speaker biographies followed by the concert programme. Booking for both at Eventbrite.
David Hawkes is Professor of English at Arizona State University. His publications span a huge variety of fields, from Milton and Shakespeare to Diego Maradona, sodomy, Darwinism, zombies, torture, Chomsky, magic, McCarthyism, Islam and Satan. The theme uniting all of his work is the impact of capital on the psyche, and especially the pernicious influence of usury. He reviews regularly for the Times Literary Supplement and his work has appeared in The Nation and In These Times as well as in academic venues like the Journal of the History of Ideas, English Literary History and Studies in English Literature.
David Hawkes is the author of Idols of the Marketplace: Idolatry and Commodity Fetishism in English Literature, 1580-1680 (Palgrave, 2001), Ideology (Routledge, 1996, 2nd ed. 2003), The Faust Myth: Religion and the Rise of Representation (Palgrave, 2007), John Milton: A Hero of Our Time (Counterpoint, 2009) and The Culture of Usury in Renaissance England (Palgrave, 2010) and he has edited Milton’s Paradise Lost and Bunyan’s The Pilgrim’s Progress. More recently, he has written Shakespeare and Economic Theory (Bloombury, 2015) and collaborated with Alan Rubin and the artist LG Williams on The Age Of The Image: LG Williams SoCal Mid-Rise Pictures 2015-16 (published in 2016). He is currently working on a book entitled The Death of the Soul. For more information, see davidhawkes.net.
Chris Fitter is Professor of English at Rutgers University and has written about politics in Shakespeare and representations of the natural world in Greek and Roman antiquity, the medieval period, the Bible, and the English Renaissance.
His first book, Poetry, Space, Landscape: Toward a New Theory (Cambridge: 1995) discussed representations of the natural world from Homer to Milton in literature, art, and formal thought, and suggested some foundational sociological principles behind the conceptualization of nature as landscape. Radical Shakespeare: Politics and Stagecraft in the Early Career (Routledge: 2012) placed Shakespeare’s early plays within contexts of political opposition and debate normally overlooked in the field, arguing for the playwright’s alignment with popular sufferings and populist politics. His current book, nearly complete, is Activist Shakespeare: Politics and Stagecraft in the Second Tetralogy and King Lear, which examines these dramas as further examples of Shakespeare’s risk-taking involvement in hot political topics of those years. He has published nearly twenty essays and book chapters, along with many reviews.
Gabriel Egan is Professor of Shakespeare Studies at De Montfort University and one of the four General Editors (with Gary Taylor, Terri Bourus, and John Jowett) of the New Oxford Shakespeare Complete Works, of which the Modern Critical Edition appeared in October 2016 and the Critical Reference Edition and Authorship Companion will appear in early 2017. He co-edits the academic journals Theatre Notebook (for the Society for Theatre Research) and Shakespeare (for the British Shakespeare Association and Routledge).
He has written and edited several books: The Struggle for Shakespeare’s Text: Twentieth Century Editorial Theory and Practice (Cambridge University Press, 2010), the Edinburgh Critical Guide to Shakespeare (2007), Green Shakespeare (2006), Shakespeare and Marx (2004), and an edition of Richard Brome and Thomas Heywood’s The Witches of Lancashire (2002). Most recently, he has written Shakespeare and Ecocritical Theory (Bloomsbury, 2015). Professor Egan is currently editing Shakespeare’s The Two Gentlemen of Verona for the New Variorum Shakespeare series. For more information, see gabrielegan.com.
Christian Smith received his PhD in 2013 in the Department of English and Comparative Literary Studies at the University of Warwick. From 2013 to 2016, he held a fixed-term post as a Teaching Fellow in this same department. He is living in Berlin researching and writing his first monograph: Shakespeare’s Influence on Karl Marx: The Shakespearean Roots of Marxism. He has recently written articles on Shakespeare, Marx and exchange value, and has a forthcoming article on Dorothea Tieck’s translations of Shakespeare. Christian is currently co-editing the “Karl Marx” special edition of Shakespeare with Hugh Grady. See also his research page: christianasmith.com.
Martin McQuillan is Professor of Literary Theory and Cultural Analysis and Deputy Vice-Chancellor at Kingston University, London. He is also Co-director of The London Graduate School.
His recent publications include Deconstruction After 9/11(London: Routledge, 2008) and Roland Barthes, or, The Profession of Cultural Studies (Basingstoke: Palgrave Macmillan, 2010). He is the editor of The Politics of Deconstruction: Jacques Derrida and the Other of Philosophy (London: Pluto Press, 2007), Deconstruction Reading Politics (Basingstoke: Palgrave Macmillan, 2008) and The Origins of Deconstruction (Basingstoke: Palgrave Macmillan, 2010), and is also series editor for ‘The Frontiers of Theory’ list published by Edinburgh University Press. He works in the spaces between literary theory, art theory, cultural studies and continental philosophy, and writes on the work of Jacques Derrida, Hélène Cixous and Paul de Man. He is also an award-winning filmmaker and a frequent contributor to the higher education press in the UK.
Hugh Grady is Professor Emeritus of English at Arcadia University, Pennsylvania. He has authored several important books on Shakespeare and philosophy: The Modernist Shakespeare: Critical texts in a Material World (1991), Shakespeare’s Universal Wolf: Studies in Early Modern Reification (1996), Shakespeare, Machiavelli and Montaigne: Power and Subjectivity from Richard II to Hamlet (2002), and Shakespeare and Impure Aesthetics (2009). He is also the editor of Shakespeare and Modernity: From Early Modern to Millennium (2000) and co-editor, with Terence Hawkes, of Presentist Shakespeares (2007).
Furthermore, he has published more than 30 articles in journals and anthologies, co-edited Shakespeare and the Urgency of Now: Criticism and Theory in the 21st Century (2013), and edited and contributed to Empson, Wilson Knight, Barber, Kott: Great Shakespeareans (2012), an anthology of critical essays focusing on Shakespeare’s reception by the major modern critics. Professor Grady is currently finishing a book (based on his 1978 dissertation) entitled John Donne and Baroque Allegory: The Aesthetics of Fragmentation forthcoming from Cambridge University Press.
The London Abel Quartet
William Summers – Flute
Diane Moore – Violin
Diane Terry – Viola
Ibrahim Aziz – Cello
All instruments used are transitional between the Baroque and Classical or early Romantic periods, typical of the late 18th and early 19th centuries
Francois Devienne [1759 – 1803] – quartet in C opus 66 no. 3 [Paris, 1786]
Allegro Risoluto – Adagio – Rondo Allegretto –
Ludwig Beethoven [1770 – 1827] – Serenade in D opus 25 [1795-6]
Entrata, Allegro – Tempo ordinarie d’un Menuetto – Allegro Molto – Andante con Variazioni – Allegro scherzando e vivace – Adagio; Allegro vivace e disinvolto
INTERVAL
Jean-Baptiste Breval [1753 – 1823] – Air varie opus 9 no. 5 [London, c. 1782]
Felix Mendelssohn [1809 – 1847] – Praeludium [1841]
Giovanni Battista Viotti [1755 – 1824] – quartet in C minor opus 22 no. 2 [Paris, 1808]
Moderato ed espressivo – Presto – Allegro agitato e con fuoco
For further information about The London Abel Quartet, please see www.abelquartet.com and for further information about concerts of early music in Garrick’s Temple and in other local historic venues, please see www.lokimusic.co.uk
In her illumination of Shakespeare through Hegel, Jennifer Ann Bates reads the logic of measure from Hegel alongside Measure for Measure. Bates argues that each text is an initiation into the execution of the logic of measure with a focus on the hangman’s mystery as discussed by Abhorson and Pompey.
Jennifer Ann Bates is Professor of Philosophy at Duquesne University, Pittsburgh. She specializes in 19th century German philosophy with an emphasis on Hegel. Professor Bates established the Philosophy Duquesne-Heidelberg Exchange in 2013 and chaired it until 2016. She has served as a Heidelberg University Alumni Research Ambassador since 2013.
Professor Bates is the author of Hegel’s Theory of Imagination (SUNY 2004), Hegel and Shakespeare on Moral Imagination (SUNY 2010), and co-editor (with Richard Wilson) of Shakespeare and Continental Philosophy (Edinburgh University Press, 2014). She has published numerous book chapters, as well as articles in the Wallace Stevens Journal, the Journal for Environmental Ethics, Criticism: A Quarterly for Literature and the Arts, Memoria di Shakespeare, Philosophy Compass, and Angelaki: Journal of the Theoretical Humanities. She is currently writing a chapter on Kant and Shakespeare for The Routledge Companion to Shakespeare and Philosophy, and a chapter on Kant, Hegel, Solger and Imagination for Cambridge University Press.
This talk is part of the Shakespeare and Hegel symposium (itself part of the Shakespeare at the Temple symposia), held at Garrick’s Temple to Shakespeare (Hampton, London) on April 1, 2017. The session is chaired by Richard Wilson.
Audio recorded and edited by Anna Ilona Rajala, video edited by Timo Uotinen.
By discussing the German philosophers Johann Gottfried von Herder (1744-1803) and Georg Wilhelm Friedrich Hegel (1770-1831), Paul A. Kottman proposes to see Shakespearean tragedy as the birth of a distinct art form. He argues that Shakespearean tragedy works through and makes sense of the loss of a given (such as nature, God, or fate), as well the loss of social bonds.
This talk is part of the Shakespeare and the Enlightenment symposium (itself part of the Shakespeare at the Temple series), held at Garrick’s Temple to Shakespeare (Hampton, London) in September 2016. The session is chaired by Richard Wilson.
Paul A. Kottman is Associate Professor of Comparative Literature at the New School for Social Research, and Eugene Lang College, the New School for Liberal Arts. He is a member of the Committee on Liberal Studies, and is affiliated with the Philosophy Department. He holds the Abilitazione, Professore Ordinario in Filosofia, Estetica (Professor of Philosophy, Aesthetics) in Italy. He has held Visiting Professorships at the University of Tokyo; the Università degli studi di Verona; Instituto per gli studi filosofici, Naples; and the International Chair in Political Languages, Dipartimento di Politiche Pubbliche e Scelte Colletive (POLIS), Università del Piemonte Orientale. He has been awarded residential fellowships at the University of Wisconsin, Madison (Institute for Research in the Humanities) and Internationales Kolleg Morphomata, Universität zu Köln.
Paul Kottman is the author of Tragic Conditions in Shakespeare (Johns Hopkins University Press, 2009), A Politics of the Scene (Stanford University Press, 2008) and the editor of Philosophers on Shakespeare (Stanford University Press, 2009), and The Insistence of Art: Aesthetic Philosophy and Early Modernity (Fordham UP, forthcoming). His next book is tentatively entitled Love as Human Freedom. He is also the editor of a new book series at Stanford University Press, called Square One: First-Order Questions in the Humanities.
The symposium was held on September 3, 2016. Audio recorded and edited by Anna Ilona Rajala, video edited by Timo Uotinen.
Christopher Marlowe Day 2017 took place at the Marlowe Theatre in Canterbury on May 20th, organised by the Marlowe Society. Below is a video montage where you can spy old friends and our own Ildiko Solti. Moreover, another video is linked featuring a preview song from Kit the Musical.
Futhermore, see the CFP for our upcoming two-day symposium on Shakespeare and Marlowe!
Below is a message from our friends at ESRA. Check out the programme, panels and seminars, and you will find familiar people. An exciting conference ahead!
Dear Colleagues,
We are delighted to announce that the registration for the European Shakespeare Research Association congress ‘Shakespeare and European Theatrical Cultures: AnAtomizing Text and Stage’ held on 27-30 July 2017 in Gdansk is now OPEN.
Please follow the link here https://tinyurl.com/ESRA2017 to register.
Please note that the Early Bird Registration Fee is available until 30th June. Further details can be found on the congress website esra2017.eu
We look forward to seeing as many of you as possible in Gdansk this July.
with very best wishes,
Dr Aleksandra Sakowska
ESRA2017 Secretary
Organising committee, ESRA 2017:
Prof. Jerzy Limon, convenor | University of Gdańsk and the Gdańsk Shakespeare Theatre
Prof. Jacek Fabiszak, co-convenor | Adam Mickiewicz University in Poznań and the Polish Shakespeare Society
Prof. Olga Kubińska | University of Gdańsk and the Polish Shakespeare Society
Dr. Aleksandra Sakowska | The Shakespeare Institute (UK)
Marta Nowicka | Conference Coordinator for the University of Gdansk
Anna Ratkiewicz-Syrek | Conference Coordinator for the Gdansk Shakespeare Theatre
Confirmed speakers include
Gabriel Egan, Jean Howard, Charles Nicholl, Lois Potter,
Robert Sawyer, Gary Taylor, Brian Vickers and Stanley Wells
Proposals are invited for 25-minute presentations, or panels of presentations, at a conference, hosted by the Kingston Shakespeare Seminar, on Marlowe and Shakespeare, to be held at the Rose Theatre, Kingston-upon-Thames, on Friday November 17 and Saturday November 18 2017.
Opened in 2007 as a replica of its Elizabethan namesake, Kingston’s Rose Theatre recently staged Trevor Nunn’s production of The Wars of the Roses, and the focus of this conference will be on Marlowe and Shakespeare as colleagues and possible collaborators on the original Rose playhouse performances of plays such as the early histories. Papers will therefore be welcome on any aspect of the Bankside Rose, including its architecture, audiences, personnel, patrons, practices and repertoire, as well as on questions of Marlovian and early Shakespearean attribution, authorship, biography, influence, reputation and rivalry.
Abstracts of up to 200 words should be sent by July 31st 2017 to Professor Richard Wilson at
r.wilson@kingston.ac.uk
10.00: Chair: Richard Wilson (Kingston University)
David Hawkes (Arizona State University)
‘Marx and Shakespeare Today: Towards an Ethics of Representation’
11.00: Coffee
11.30: Chair: Kiernan Ryan (Royal Holloway University)
Chris Fitter (Rutgers University)
‘Shakespeare and the Tudor Ferment: A Marxist Homecoming?’
Gabriel Egan (De Montfort University):
‘Shakespeare::Marx && community::writing’
13.00: Lunch (Bell Inn, Hampton)
14.00: Chair: David Schalkwyk (Queen Mary University)
Christian Smith (Independent scholar, Berlin)
‘“Ay, his breast. So says the bond”:
Marx, Shakespeare and the Theory of Labour Power’
Martin McQuillan (Kingston University):
‘Marx’s Timon: Reading and Quantitative Easing’
15.30: Tea
16.00: Chair: Aaron Kitch (Bowdoin College)
Hugh Grady (Arcadia University):
‘Shakespeare and Marx: A Select Genealogy’
17.00: Round Table Discussion
19.45: Chamber Concert: Marx’s Music (Lovekyn Consort)
Tickets are £20 (includes sandwich lunch, coffee and tea) and £12 for the concert.
All proceeds go to supporting the Temple.
See also the Facebook event page!
'Bosheit... ist der Geist der Kritik, und Kritik bedeutet den Ursprung des Fortschrittes und der Aufklärung.' Sam.Hall.2010@live.rhul.ac.uk
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