Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death.
Speaker Biographies:
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.
Simon Haines is Professor of English and Chairman of the English Department at the Chinese University of Hong Kong, where he is also Director of the Research Centre for Human Values. He is a Fellow and currently the Vice-President of the Hong Kong Academy of the Humanities and is also the Chair of the Organising Committee of the Chinese Universities Shakespeare Festival. Earlier appointments included Head of the School of Humanities and Head of the Department of English at the Australian National University. Professor Haines also served for a number of years with the Australian Foreign Service and the Office of National Assessments in Canberra and was for three years Chairman of the OECD Budget Committee in Paris.
Professor Haines is the author of the monographs Shelley’s Poetry: The Divided Self and Poetry and Philosophy from Homer to Rousseau: Romantic Souls, Realist Lives (Macmillan/Palgrave, 1997, 2005); and Redemption in Poetry and Philosophy: Wordsworth, Kant and the Making of the Post-Christian Imagination (Baylor U.P., 2013). He is Editor of European Romanticism: A Reader (General Editor Stephen Prickett, Continuum, 2010, second paperback edition in press), which won the Jean-Pierre Barricelli Prize for the best book on Romanticism published in 2010. He has written on Romantic and nineteenth-century literature and philosophy, on modern literary theory and on Shakespeare. His current research interests include models of the self in Romantic and post-Romantic poetry and philosophy, the concept of recognition in Shakespeare and Hegel, and the nature of value on the humanities.
Joe Moshenska is one of the Directors of Studies in English at Trinity College, Cambridge, where he mostly teaches Renaissance literature with some forays into earlier and later periods. His first book, Feeling Pleasures: The Sense of Touch in Renaissance England (OUP, 2014), explored the varied and contested importance of touch in the sixteenth and seventeenth centuries. His current research has two strands. The first of these concerns the seventeenth century polymath Kenelm Digby (1603-65), whose interests spanned literature, theology, natural philosophy, mathematics, alchemy and cookery. His book – A Stain in the Blood: The Remarkable Voyage of Sir Kenelm Digby – was published by William Heinemann in May 2016. He is also editing Digby’s correspondence for OUP (under contract, projected publication 2019), for which he has discovered a significant number of new letters.The second strand of his research is a book provisionally titled Iconoclasm as Child’s Play (under contract with Stanford University Press), which begins with the fact that, during the Reformation, holy things were sometimes given to children as toys rather than being broken or burned. In it he considers the conceptual intersections between iconoclasm and play in sixteenth century culture, in later philosophical writing (especially Adorno, Agamben and Gell), and in the poetry of Spenser.
His research has been supported by the Leverhulme Trust, the British Academy, the Cambridge Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), the Andrew W. Mellon Foundation and the American Council of Learned Societies. In 2015 he was selected as one of the ten BBC/AHRC New Generation Thinkers. His reviews and essays have appeared in publications including The TLS, The White Review, The Financial Times, and The Observer.
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.
Erik S. Roraback was born in Seattle, USA, and teaches US literature and cinema, cultural-studies / Shakespeare, critical theory, and theoretical psychoanalysis in Charles University where he directs the program in U.S. Literature and Cultural-Studies; he also teaches international cinema in Prague’s Film and TV School, FAMU. Erik Roraback first taught in the University of Oxford, UK, where he earned a DPhil degree with Terry Eagleton (Oxford) and Maud Ellmann (Cambridge) as his thesis readers; he holds a BA degree from Pomona College, California, USA.
Erik Roraback has presented in fifteen countries, more than thirty stand-alone academic guest lectures, and an additional forty academic conference papers. He has published in five countries thirty-five scholarly articles and book chapters. Erik Roraback is also the author of a book, The Dialectics of Late Capital and Power: James, Balzac and Critical Theory (Cambridge Scholars, UK, 2007, 320 pp.) and of two forthcoming books (2017): The Philosophical Baroque: On Autopoietic Modernities (Brill, Leiden, The Netherlands, approx. 265 pp. + 3 illus.) and The Power of the Impossible: On Community and the Creative Life (IFF, Winchester, UK); currently, he is preparing a book project on movies for publication, Forms of Cinematic Capital: On Movement, Circulation, and Thought.
Ewan Fernie is Professor, Fellow and Chair of Shakespeare Studies at the Shakespeare Institute, University of Birmingham. His many publications include: (as co-author with Simon Palfrey) Macbeth, Macbeth, Bloomsbury, (2016); (as co-editor with Tobias Döring) Thomas Mann and Shakespeare: Something Rich and Strange, Bloomsbury, (2015); ‘Freetown! Shakespeare and Social Flourishing’, Shakespeare Survey 68 (2015); ‘Love’s Transgression’, in The Circulation of Knowledge in Early Modern English Literature, ed. Sophie Chiari, Ashgate, (2015); ‘Another Golgotha’, in Shakespeare and Varieties of Early Modern Religious Belief, ed. David Loewenstein and Michael Witmore, CUP, (2014); ‘Afterword’, Revisiting The Tempest, ed. Silvia Bigliazzi and Lisanna Calvi, Palgrave, (2014); ‘Redcrosse: Storytelling, Religion and Nation in England’, in Storytelling: Critical and Creative Approaches, ed. L. E. Semler, Philippa Kelly, and Jan Shaw, Palgrave, (2014); The Demonic: Literature and Experience, Routledge, (2012), Shame in Shakespeare, Routledge, (2002); ‘Wisdom in Reverse’, in The Oxford Handbook of Thomas Middleton, ed. Gary Taylor and Trish Thomas Henley, Oxford University Press, (2011); (with Simon Palfrey) ‘Major Excerpt from Dunsinane’, in Crrritic, ed. John Schad and Oliver Tearle, Sussex Academic Press, (2011); ‘Mea Culpa: Measure for Measure and Complicity’, in Shakespeare and I, ed. Will McKenzie and Theodora Papadopoulou, Continuum, (2011); ‘Dollimore’s Challenge’, Shakespeare Studies (2007); ‘Hard-core Tragedy’, in Transhistorical Tragedy, ed. Sarah Annes Brown and Catherine Silverstone, Blackwell, (2007); ‘Action! Henry V’, in Presentist Shakespeares, ed. Hugh Grady and Terence Hawkes, Routledge, (2007); ‘Terrible Action: Recent Criticism and Questions of Agency’, Shakespeare 2 (2006); Shakespeare and the Prospect of Presentism’, Shakespeare Survey 58 (2005); (as Editor and Co-Author) Redcrosse: Remaking Religious Poetry for Today’s World, Bloomsbury, (2012); (as Editor) Spiritual Shakespeares, Routledge, (2005); (as Co-ordinating Editor) Reconceiving the Renaissance: A Critical Reader, Oxford University Press, (2006); (as General Editor, with Simon Palfrey) The Shakespeare Now! series (Arden, Bloomsbury).
The London Abel Quartet will play quartets from the end of the 18th. century tomorrow [1st. April] at 7.30, following a conference on Shakespeare and Hegel. The music – by Mozart, Pleyel, Hayden, and Devienne, anticipates and reflects the cultural shift wrought by the French Revolution which inspired Beethoven’s Eroica Symphony. It will be performed – using copies of original instruments – on flute, violin, viola, and cello, and the quartet aim to reflect the drama of world events and larger-scale works in chamber form.
Tomorrow, tomorrow, tomorrow..
Kingston Shakespeare Seminar 