he Forty-First Annual Meeting of the Shakespeare Association of America will be held on Easter weekend 2013, at the Fairmont Royal York Hotel in Toronto, T Ontario. The conference opens on Thursday, 28 March and closes on Saturday, 30 March. Presentations include:
n Public Virtue, the 2013 Plenary Session, with Julie Crawford (Columbia University), Margaret Ferguson (University of California, Davis), and session organizer Kathryn Schwarz (Vanderbilt University)
n Enduring Shakespeare: Performing the Archive: 1796, 1970, 2012, with session organizer Barbara Hodgdon (University of Michigan), Ellen MacKay (Indiana SHAKESPEARE University), and Robert Shaughnessy (University of Kent) n New Directions in Shakespeare and Ecocriticism, with session organizer Jennifer Munroe (University of North Carolina, Charlotte), Vin Nardizzi (University of British Columbia), and Karen Raber (University of Mississippi)
ASSOCIATION n Performing the Shakespearean Archive, with Fiona Ritchie (McGill University), session organizer Richard Schoch (Queen Mary, University of London), and Will West (Northwestern University)
OF AMERICA n Queer and Now: New Directions, a roundtable with James Bromley (Miami University), session organizer Will Fisher (Lehman College, CUNY), Madhavi Menon (American University), Melissa Sanchez (University of Pennsylvania), and moderated by Jeffrey Masten (Northwestern University)
n Race: Early Modern and Transatlantic, with Susan Dwyer Amussen (University of JUNE 2012 California, Merced), Kim Hall (Barnard College), and Joaneath Spicer (The Walters Art Museum, Baltimore, Maryland). Session organized by Jonathan Burton (Whittier College)
n Race: Medieval and Early Modern, with session organizer Jonathan Burton BULLETIN (Whitter College), David Nirenberg (University of Chicago) and Geraldine Heng (University of Texas)
n Shakespeare and the Limits of Galenic Theory, with session organizer Mary Floyd-Wilson (University of North Carolina), Rebecca Laroche (University of IN THIS ISSUE Colorado, Colorado Springs), and Jesse M. Lander (University of Notre Dame)
SAA Fellowship and Awards 2 n Shakespeare’s Frame-Works, with session organizer David Hillman (King’s College, University of Cambridge), Lynne Magnusson (University of Toronto), Seminars and Workshops Steven Mullaney (University of Michigan, Ann Arbor), and David Schalkwyk (Folger in Toronto 3 Shakespeare Library)
Important Deadlines 9 n Situating Knowledge: Practices, Places, and Problems, with session organizer Frances E. Dolan (University of California, Davis), Henry S. Turner (Rutgers Seminar and Workshop University), and session organizer Wendy Wall (Northwestern University) Registration Form 10 n Membership Dues Form 11 Spectacles, Pictures, and Revelations in Early Modern Visual Culture with John H. Astington (University of Toronto), Marion O’Connor (University of Kent), Proposals for 2014 12 and session organizer Leslie Thomson (University of Toronto)
Planning for Toronto 12 n Studying Race in the Renaissance a roundtable with Patricia Akhimie (Rutgers University, Newark), Lyndon Dominique (Lehigh University), Francesca Royster Special Events in 2013 13 (DePaul University), Duncan Salkeld (University of Chichester), and moderated by session organizer Joyce Green MacDonald (University of Kentucky) SAA membership is payable on an aca- demic-year basis. Pay 2012-13 member- ship dues now to register for seminars and n Unbound: Shakespeare’s Theater Between Book and Performance with session workshops and receive other member- organizer Jeffrey Todd Knight (University of Washington), Tiffany Stern (Oxford ship benefits. See page 10 or pay online University), and Holger Schott Syme (University of Toronto) at www.ShakespeareAssociation.org. n More speakers to be announced following the 2013 Open Submission Competition RECORD ATTENDANCE IN BOSTON SAA RESEARCH GRANT: LIGURIA STUDY CENTER RESIDENCY The Fortieth Annual Meeting in Boston was the largest in the organization’s history. Over 1,000 SAA members The Shakespeare Association is pleased to continue enjoyed an elegant opening reception at the Boston its collaboration with the Bogliasco Foundation. The Park Plaza Hotel, 11 paper sessions, 58 seminars, four 2013-14 Bogliasco/SAA fellow will spend one month workshops, a performance of Shakespearean songs, at the Foundation’s study center outside Genoa, on several screenings of Shakespeare-related films and an the Italian Riviera, during the fall 2013 or spring 2014 enthusiastic SAA/Malone Society Dance. academic term. Lodging, food, and a studio with computer OFFICERS equipment are provided, along with a $1,000 grant for The SAA is grateful to William C. Carroll (Boston travel and incidental expenses. The Center welcomes a OF THE University) for directing all Local Arrangements. Meeting partner or spouse for all or part of the residency. Further sponsors include: information about the Liguria Study Center for the Arts and Humanities can be found at http://www.bfny.org/. SAA Boston University Massachusetts Institute of Technology Applicants must be members in good standing of the Harvard University Shakespeare Association of America and must submit (1) President Boston College a description of the project to be conducted in Bogliasco, Brown University maximum 500 words; (2) an abbreviated curriculum vitae, Dympna C. Callaghan Wellesley College maximum three pages; (3) a sample of work previously Syracuse University University of Massachusetts, Boston published, maximum 20 pages; and (4) three letters of University of Massachusetts, Amherst reference. References should detail not only scholarly Vice-President Tufts University distinction but also social personality—important for the University of New Hampshire intensive experience of a small residential community. Diana E. Henderson Brandeis University The application deadline is 15 October 2012; for further Massachusetts Institute of Bentley University information, go to http://www.shakespeareassociation. Technology Dartmouth College org/member/bogliasco-fellowship.asp and Georgetown University Trustees GRADUATE STUDENT TRAVEL AWARDS NEW SCHEDULE IN TORONTO Douglas Bruster Graduate students who are registered in an SAA seminar University of Texas, Austin To accommodate the growing number of seminars and or workshop for 2013 are eligible to receive a travel grant of $300 and a waiver of the conference registration fee. Suzanne Gossett workshops, the 2013 Annual Meeting will have an earlier The application deadline is 15 October 2012; for further Loyola University Chicago start time on day one of the conference. The first bank of seminars and workshops will meet at 10:30 a.m. on the information, go to http://www.shakespeareassociation. Jonathan Gil Harris morning of Thursday, 28 March. The first paper sessions org/meeting/travelawards.asp. George Washington University will begin at the familiar time of 1:30 p.m. In addition, the Toronto meeting will see added concurrent paper sessions BARROLL DISSERTATION PRIZE Douglas M. Lanier during the most heavily populated meeting times. As SAA University of New Hampshire membership and conference participation increases, Dissertations with a significant Shakespeare component the Board of Trustees elected to expand the conference that have been submitted and approved during the Laurie Shannon program and schedule accordingly. A complete schedule Northwestern University calendar year 2012 are eligible for consideration for the of events will be published in the January 2013 Bulletin. Leeds Barroll Dissertation Prize for 2013. The deadline for James R. Siemon submissions is 15 January 2013; for further information, Boston University GRADUATE STUDENT REGISTRATION go to http://www.shakespeareassociation.org/member/ IN 2013 dissertationprize.asp. Valerie Traub University of Michigan Graduate students interested in registering for seminars BUILD SAA ARCHIVES and workshops must be at the dissertation writing Executive Director stage of their doctoral work. Two years ago the SAA The SAA seeks to build a bibliography of work published began requiring verification of status from the graduate by SAA members that began life in SAA seminars or on Lena Cowen Orlin student’s advisor or from the director of the graduate SAA panels. The SAA website now features personal Georgetown University studies program. This year at the time of registration documentations and observations including memoirs from each graduate student will be required to submit the the SAA’s founder, Leeds Barroll, and its first executive Interim Executive Director name and electronic address of the person who has director, Ann Jennalie Cook. Contributions to the archives agreed to complete this verification. and also suggestions for the form they might take are Michele Osherow welcome at [email protected]. University of Maryland The SAA will send an electronic link to each recommender Baltimore County to facilitate the verification process. No graduate student’s registration will be processed until his or her NEWS FROM THE SAA OFFICE Memberships Manager status has been verified. The deadline for verification is 15 September 2012. Michele Osherow, Associate Professor of English at the Donna Even-Kesef University of Maryland Baltimore County, will continue to Georgetown University serve as Interim Director of the SAA until 1 January 2013, during Lena Orlin’s sabbatical leave. Bailey Yeager and Programs Manager Donna Even-Kesef continue as Programs and Memberships Managers at the SAA’s Georgetown office. Bailey Yeager Georgetown University 2 theories of manuscript circulation and book production? Do recent performances allow for a re-evaluation of the text? Does Mariam 2013 remain important for feminist critics? EMINARS AND 7. Future Directions in Performance Studies
Seminar Leader: James C. Bulman S (Allegheny College) 1. Anti-Social Shakespeare/ ORKSHOPS Early Modern Anti-Social The past decade has positioned Shake- speare within the theoretically heterodox Seminar Leader: Luke Wilson discourse of performance studies. Critics (Ohio State University) W have explored Shakespearean performance as 4. Collaborative Shakespeare cultural practice and intercultural exchange; The anti-social is the object of the most approached productions through the lenses fundamental taboo there is, and the obliga- Seminar Leaders: Ton Hoenselaars of post-colonial, gender, and queer theory; tion to be social the most fundamental (Utrecht University) and Heather Hirschfeld and assessed how new technologies have obligation. But what might there be beyond (University of Tennessee) revolutionized the way we view performance. the social? Is it possible to be both human This seminar welcomes papers that address Where will the next decade take us? What and anti-social? This seminar invites work the status of collaborative writing in Shake- areas should be explored? What new questions that puts pressure on the felt inevitability speare’s time and its relation to contemporary should be asked? Papers on any topic related of the social. Topics might include: skepti- concepts of authorship; historical attitudes to to future directions in Shakespearean perfor- cism; misanthropy; anti-natalism; asceti- collaborative Shakespeare; the instruments mance studies are welcome. cism; incest, virginity, masturbation; radical developed to establish Shakespeare’s collab- thing-orientation. All work exploring the early orative practice; the consequences of collab- 8. Gender and Sexuality in modern anti-social, however understood, in orative writing for editorial practice and Shakespeare or elsewhere, is welcome. Adaptations of Shakespeare the presentation of texts; the perception of Shakespeare as a collaborative writer in Seminar Leader: Deanne Williams 2. Aristotle, Jonson, Shakespeare fictional texts about the author’s life; and the (York University) stage history of Shakespearean collaborative Seminar Leaders: John Baxter This seminar places Shakespearean adaptation plays. (Dalhousie University) and Jonathan in dialogue with critical and theoretical discus- Goossen (University of King’s College) sions of gender and sexuality. Using a broad, 5. Contemporary Actors as Evidence multi-media definition of adaptation, we shall What new perspectives on Jonson or Shake- discuss how the process of adaptation repre- speare arise from recent work on Aristotle’s Seminar Leader: Cary Mazer sents, engages with, and critiques historical Poetics (including translations by Halliwell, (University of Pennsylvania) and/or contemporary constructions of gender Heath, Janko, Sachs, or Whalley)? Do recon- This seminar invites papers that use new or and sexuality. Possible topics include: film structions of Aristotle on comedy apply to preexisting actors’ interviews, memoirs, and and theatrical adaptation; online and Web 2.0 these playwrights? Is Shakespeare’s concern essays, not as sources of interpretive insight Shakespeares; feminist, queer and transgen- for “some necessary question” allied with into the roles and plays, but as evidence dered Shakespeares; fiction, fanfiction and Jonson’s that “necessity ask a conclusion” in of contemporary histrionic aesthetics and the graphic novel; visual arts; Shakespeare for his plays, and does either take his bearings attitudes about character and dramatic action. girls, boys and the classroom; Shakespeare in from Aristotle’s seminal thinking on the role What assumptions about character and action critical theory. of probability and necessity? The seminar prevail even as scholars are problematizing welcomes reassessments of the practicing character? What mainstream assumptions dramatists and the arch theorist. 9. Geography and Literature do actors bring to their work outside of the Seminar Leader: Mary C. Fuller 3. Class and Emotion in Shakespeare mainstream, whether post-modern or “Origi- nal Practices?” (Massachusetts Institute of Technology) Seminar Leader: Katharine Craik Early modern geography had many differ- (Oxford Brookes University) 6. Elizabeth Cary’s The Tragedy of ent modes, from atlases to mathematical This seminar explores whether emotion is Mariam and Early Modern Drama handbooks to travellers’ narratives and colored in Shakespeare’s plays and poems by beyond. What can these materials and their Seminar Leader: Ramona Wray concerns do for us as literary scholars? This social difference. Why does Ophelia suffer (Queen’s University Belfast) from love melancholy whereas the jailer’s seminar invites work that considers the daughter suffers from mopishness? Do kings Criticism on Mariam has moved from a focus intersections of early modern literature and and commoners feel love, anger, joy and shame on biography, gender and voice to an engage- geography: applications of literary analysis to in the same ways? Are faith and doubt deter- ment with geography, race and intertextual- geographical texts; reflections on methodol- mined by class allegiance? How did people ity. To mark the 400th anniversary of the ogy, strategies, and outcomes; or consider- of different social origins encounter Shake- play’s publication, this seminar welcomes ations of how geography—as a body of knowl- speare’s works? Papers will consider, from a fresh perspectives on Cary’s drama. How does edge, a practice, a set of questions—may variety of perspectives, how the habitus of the play connect with work by other drama- afford useful perspectives on literary texts. class shapes cognitive and somatic experience. tists? In what ways might it be read inside
3 10. Greek Texts and the 13. Knowing Language in 16. Lucretian Pleasure and Early Modern Stage Shakespeare’s Poems Shakespearean Study
Seminar Leaders: Tanya Pollard Seminar Leader: Bradin Cormack Seminar Leaders: William A. Oram (Brooklyn College, CUNY) and (University of Chicago) (Smith College) and Ayesha Ramachandran Tania Demetriou (York University) (Stony Brook University) This seminar on experimental language in This seminar will explore the impact of Shakespeare’s sonnets and other poems Pleasure and poetry, inextricably linked in Greek texts on Shakespeare and contempo- considers the relation between poetic speech the early modern period, become increasingly rary dramatists. Greek texts began to circu- and the codes or systems that enter the associated with Lucretius’s De rerum natura. late in this period in translations, adapta- poetry from various practices and disciplines How does Lucretian influence, direct or trans- tions, and original versions. Connected with (economics, grammar, horticulture, law, versal, transform depictions of desire, sexual- Protestantism, heretical philosophy, and the medicine, natural science, rhetoric, theology, ity, poetics, and the passions in Shakespeare origins of literary forms, they sparked fasci- etc). How do different languages compete and other writers? The seminar invites papers nation and controversy, yet their resonances for space in these texts? What interpretive that interrogate figurations of pleasure in remain largely unexcavated. Papers might opportunities does technical language make Shakespearean texts and contexts. It aims to explore Shakespeare’s Plutarch, Galen’s available? How do practices like commonplac- open a dialogue between models of pleasure humors, antitheatricalists’ Plato, Aristotle’s ing or imitation influence the poems? How are derived from psychoanalysis, feminism, and Poetics and genre theory, Jonson’s Aristo- Shakespeare’s lyrics in conversation with the post-structuralism, and the ancient defense phanes, Chapman’s Homer, staging Heliodoran work of drama? and critique of pleasure in Lucretius’s poem. romance, and English translations, printings, and performances of Greek plays. 14. Literature as Protest 17. Managing Shakespeare and the Early Modern Theater Business 11. Health, Well-Being, and Seminar Leader: Robert Darcy Happiness in the Shakespearean Body (University of Nebraska, Omaha) Seminar Leader: Christopher Matusiak (Ithaca College) Seminar Leader: Sujata Iyengar This seminar posits protest as a subject of liter- (University of Georgia) ary representation. When does Shakespeare Early modern theatrical performances began in either poetry or drama employ liter- with someone organizing players, proper- This seminar investigates health and happi- ary expression to represent protest or give ties, and space. Narratives of theater history ness in Shakespeare through the complex contour to social unrest? Does Shakespearean often contain assumptions about management relations among bodies and systems, rheto- drama or poetry engage itself in protest? How that deserve closer examination, including ric and objects, and character and genre. has early modern literature been deployed how and when the “manager” emerged as Participants might discuss health in Shake- over time, for or against social protest? a recognizable professional category. This speare’s plays and poems alongside measures Also, how might the tension of plot or of seminar invites participants to reevaluate the of “well-being” such as prosperity, employ- the poetic turn, through figure, inform our lives of acting company leaders and playhouse ment, youthfulness, strength, peace of mind, cultural relationship to protest? Theoretical owners, the organization of courtly and civic friendships, or physical comfort; the role of approaches and non-dramatic attentions are production, the cultivation of patrons and imagination in Shakespearean health; and the welcome. social networks, patent and contract econom- effects on health of reading, watching, or ics, repertorial competition, audience manip- viewing Shakespeare, both in its own right or 15. Lost Plays in Early ulation, or any other aspect of management. as a proxy for the humanities. Modern England 18. Nomadic Subjects and Objects 12. Historical Perspectives on Seminar Leaders: David McInnis Seminar Leaders: Bernadette Andrea Shakespeare and Education (University of Melbourne) and Matthew Steggle (Sheffield Hallam University) (University of Texas, San Antonio) and Seminar Leader: Mark Bayer Linda McJannet (Bentley University) (University of Texas, San Antonio) There are at least 550 early modern plays for which there survives some evidence, but not Taking as its point of departure contempo- Shakespeare has long been a mainstay in a full playscript. Papers in this seminar might rary theories of “the nomadic subject,” this high schools, colleges, and universities. But attend to specific lost plays, considering seminar invites papers that explore subjects the ways he has been taught have changed repertory practices, playhouses and playing and objects (including commodities, texts, dramatically. Or have they? How might companies, audiences and playwrights. Alter- language, scientific ideas, and social practices) research on Shakespeare in education, on natively, participants may engage with issues that circulated between early modern England influential figures, texts, course records, pertaining to “clumping” vs. “splitting” of and other parts of the globe. The seminar and other hard evidence complicate standard titles; what it means to speculate “responsi- encourages a variety of critical approaches, professional narratives? This seminar is not bly” about lost plays; the nature of scholarly from historical accounts of individual travel- interested in current approaches to Shake- collaboration in researching lost plays; the ers, to studies of mercantile theory and speare in classrooms. Instead, it welcomes role of digital resources in theater history. practice, to book historical analysis or trans- papers that examine any aspect of the history lation studies of specific texts such as foreign of Shakespeare and education and the devel- language ethnographies or memoirs. opment of institutional Shakespeare studies.
4 19. On Beyond Rabbits and Ducks: 22. “Popular” Discourses of Race 25. Representing Women and Re-engaging Henry V in Comic Representations Politics in Jacobean England
Seminar Leader: Howard Marchitello Seminar Leader: Robert Hornback Seminar Leader: Christina Luckyj (Rutgers University) (Oglethorpe University) (Dalhousie University)
This seminar invites re-evaluations of Henry Whereas finding a late emergence of Were women’s political activities in Jacobean V, including the polarizing tendencies in the racial distinctions has depended upon elite England associated with carnivalesque disrup- criticism: Christian rabbit or Machiavellian discourses (e.g., geohumoralism), this tions of social order or simply marginalized? duck? How are we reading this play today? seminar invites explorations of “popular” Or, during a time of increasing public discon- What new directions are we pursuing in our early modern understandings of racial differ- tent with James’s policies, did official images critical and theoretical attempts to under- ence in stereotypical comic representations of royal father and husband spawn rival stand this play and its relation to nation? to of Moors, Jews, Turks, “Gypsies,” etc. How representations of female power? Welcom- political violence? and to topicality? How do did laughter at “strangers” address serious ing a range of approaches to texts from The we understand the nature of the divergent concerns, whether about religion, proto- Winter’s Tale to Arbella Stuart’s letters, this Q and F texts? And what place does Henry V nation, global exchange, or gender/sex? What seminar invites papers on representations hold in our understanding of Shakespeare’s notions of difference did the comic promote of women’s actual and/or fictional political dramatic career. in such plays as Jew of Malta, Anthony engagements in Jacobean works by women and Cleopatra, Renegado, Island Princess, or and by men. 20. Patrons, Professional English Moor? On what bases? Drama, and Print Culture 26. Re-reading Shakespeare, 23. Quoting Shakespeare Re-reading in Shakespeare Seminar Leader: Laurie Johnson (University of Southern Queensland) Seminar Leader: Kate Rumbold Seminar Leader: Sarah Wall-Randell (University of Birmingham) (Wellesley College) This seminar builds on studies of patronage in early modern theater by focusing on connec- What role has quotation played in Shake- It is said that one never reads Shakespeare tions between theater patrons, the patronage speare’s reception? How has selective quota- for the first time. Since we approach Shake- system, and the early modern print industry. tion, from seventeenth-century commonplac- speare inevitably through re-reading, this Suggested topics include: direct interventions ing to twenty-first-century advertising, shaped seminar invites considerations of all aspects by theater patrons in publishing play texts; Shakespeare’s image? Is there any connection of re-reading, whether in or of Shakespeare’s investigations into patron-publisher networks; between Shakespeare’s proverbial borrowings (and contemporaries’) texts. Papers might representations of patrons in plays, epistles, and the fragments admired as his ‘beauties’ address moments of re-reading in the works, etc.; views expressed by patrons toward or ‘wisdom’? What is it about Shakespeare’s examine Shakespeare’s “re-reading” in his printers and print culture; post-Renaissance language that invites extraction? Topics might repeated use of the same sources, forge depictions of the intersection between include allusion and intertextuality; creative connections between book history and liter- patrons and print. misquotation in popular culture; critical and ary criticism, or theorize Shakespearean pedagogical quotation practices; and digital reading practices, whether material or cogni- 21. Pedagogy and the Performance technology’s potential both for changing, and tive, early modern or contemporary, recursive understanding, the way Shakespeare quota- of Learning in Shakespeare’s England or revisionary. tions work in the world. Seminar Leaders: Kathryn R. McPherson 27. Sexuality and Sovereignty 24. Race/Religion and Gender: (Utah Valley University) and in Early Modern Drama Kathryn M. Moncrief (Washington College) Medieval Continuities Seminar Leader: Daniel Juan Gil This seminar focuses on the use, staging, and Seminar Leader: M. Lindsay Kaplan (Texas Christian University) performance of pedagogy in the dramas of (Georgetown University) Shakespeare and his contemporaries. What is What light does early modern drama shed on the relationship amongst literary and non-liter- In recent debates on the medieval emergence the intersection between sexuality and the ary texts and the representation of teaching, of the concept of race, some argue that Jewish “political theology” perspective of Agamben learning, and literacy on the early modern and Muslim identity is constructed in somatic, and Schmitt? How do political communities stage? How is the gendered and classed aspect hierarchical, and hereditary terms. Medieval founded on sovereign power call forth, shape, of learning either affirmed or challenged? In questions of religious alterity frequently energize or manage sexuality? Does sovereign particular, participants are invited to consider engage gender, also imagined in terms of power itself have a distinctive sexuality? And learning in light of the technologies of reading corporality and subordination. A range of must we accept political theology as a master and writing, including the use of material medieval discourses—medical, religious, liter- theory and simply apply it to sexuality or objects as theatrical props. ary and ethnographic—address these inter- does a foundational commitment to sexual- sections. Participants in this seminar will ity require a reworking of the theoretical challenge periodization in considering how assumptions of political theology? Seminar and workshop registrations are medieval discourses help shape representa- open only to SAA members. SAA member- tions of religion, race and gender in early ship dues are charged on an academic- modern drama. year basis. The new dues year commences 1 June 2012.
5 28. Shakespeare and 31. Shakespeare and 34. Shakespeare and Metamorphosis Business Culture Distributive Justice Seminar Leader: William Germano Seminar Leader: Stephen Deng Seminar Leader: Elizabeth Hanson (Cooper Union) (Michigan State University) (Queen’s University) Shakespeare and his contemporaries mined This seminar considers Shakespearean intersec- According to Aristotle, distributive justice Ovid’s Metamorphoses for its stories of trans- tions with “business” as a subculture with its pertains to the fair allocation of a commu- formation. This seminar invites a broad range own ethos and implicit epistemologies. Partici- nity’s wealth and honors. How did notions of questions and explorations concerning the pants might discuss Shakespeare from perspec- of distributive justice inflect Shakespeare’s relationship of Shakespeare and his contem- tives of early modern business culture—e.g., and other early modern dramatists repre- poraries to ideas of metamorphosis, figures businesses of theater, printing and publish- sentations of material inequality? Questions of transformation, and the slippage between ing, trade and colonialism; representations of considered might include: the meaning of human and nonhuman worlds. How do Ovidian businesspeople like merchants and artisans; or distributive justice in a late feudal/mercan- moments work within Shakespeare’s plays and practices like accounting. Instead, participants tile economy, the relation between charity poems? What do transformations out of human might examine Shakespeare within recent and the claims of justice, how distributive form tell us about agency and limitation? Do business culture—e.g., the business/branding justice might challenge or reinforce principles people really change? And if so, into what? of “Shakespeare” in books, theater, film, etc.; of decorum, the relevance of clowning, and Shakespeare’s role within corporatized univer- the kinds of plots that speak to distributive 35. Shakespeare and the sities; Shakespearean insights employed within justice. Making of Knowledge contemporary business. 32. Shakespeare and Hospitality Seminar Leader: Katherine Eggert 29. Shakespeare and Confession (University of Colorado) Seminar Leaders: David B. Goldstein Seminar Leaders: Paul Dustin Stegner (York University) and Julia Reinhard Lupton How do Shakespeare and early modern theater (California Polytechnic State University) and (University of California, Irvine) inhabit and create arenas of knowledge and Joanne Diaz (Illinois Wesleyan University) non-knowledge? Possible issues: (1) Theater How do routines of greeting, feeding, enter- or Shakespearean plays or poems as venues Even after auricular confession was no longer taining, and providing shelter animate the for introducing and organizing disciplines of a required sacrament in Protestant England, traffic patterns and socio-symbolic worlds knowledge. (2) How knowledge is affirmed, Shakespeare and his contemporaries contin- of Shakespeare’s plays? How does hospitality verified, organized, and transmitted. (3) ued to represent confessional acts in their contribute to notions of political theology, What constitutes logical proof. (4) Ignorance, drama and poetry. This seminar will inves- ethics, and economy? Where are its boundary- stupidity, and obfuscation. (5) Philosophical tigate the broad range of literary treat- lines drawn, especially in terms of gender, theories of epistemology: empiricism, skepti- ments of confession in the early modern community, nationality, and race? What cism, idealism, etc. (6) Historical epistemol- period. Paper topics might include: staging are its environmental resonances? How do ogy: what Shakespeare’s culture can and confession; gender, sexuality, and confes- productions of the plays, and the playhouses cannot know. (7) How Shakespeare displays sion; the relationship between confession themselves, take up and scenographically his own knowledge and ignorance. and life writing; the influence of confessional engage hospitality? How do Shakespeare’s speech on complaint, lamentation, and lyric; works make themselves hospitable—or inhos- 36. Shakespeare and the and confessional acts and their effects on pitable—to interpretation and performance? New Source Study jurisprudence. 33. Shakespeare and Memory Seminar Leaders: Dennis Austin Britton 30. Shakespeare and Consciousness (University of New Hampshire) and Seminar Leaders: Lina Perkins Wilder Melissa Walter (University of the Fraser Valley) Seminar Leaders: Paul Budra (Connecticut College) and Andrew Hiscock (Simon Fraser University) and (Bangor University, Wales) Do new interpretive frameworks and histori- Clifford Werier (Mount Royal University) cal information alter how we understand the relationship between Shakespeare and his Recognizing that consciousness is of renewed How does Shakespeare, and the early modern sources? Do the reframing of a global early interest in psychology, philosophy, and brain period more generally, engage with memory? modern period, the examination of hetero- science, this seminar considers what a more How might Shakespeare’s plays, Renaissance geneity within European cultures, the turn to nuanced understanding of consciousness drama, or the memory culture of early modern religion, historical formalism, intertheatrical- might bring to Shakespeare studies. Can a England encourage us to respond to constructs ity, or developments in literary or performance consideration of consciousness, ancient or of memory offered by theorists in the modern theories, for instance, prompt us to reconsider modern, help us to re-imagine the relation- period, such as Freud, Bakhtin, Marx, Bergson, the politics of terms like source, origin, and ship between the immanence of text and Ricoeur, or de Certeau? Through close reading, adaptation? Is Shakespearean source study a performance and the cognitive assemblage historicised discussion of the Renaissance special case? This seminar invites papers that of such stimuli? Papers should investigate debate of memory and exploitation of theoret- do and/or theorize source study. connections between states of mind, emotion, ical materials, this seminar concentrates upon and sensation that constitute consciousness showcasing the multifariousness of memory in and our phenomenological encounters with Shakespearean texts. Seminars and workshops are appropriate Shakespeare’s works. for college and university faculty, inde- pendent postdoctoral scholars, and gradu- ate students in the later stages of their doctoral work.
6 37. Shakespeare and/in Manuscript 40. Shakespearean Exceptionalism: contingent historical picture. Scholars now The Case of the Sonnets focus on the playwright’s local, practical, Seminar Leaders: Laura Estill places of association and this seminar sets out (University of Victoria) and Seminar Leader: Robert Matz to explore the literary implications of that Jean-Christophe Mayer (French National (George Mason University) approach. Its emphasis is on personal connec- Centre for Scientific Research) tions. Co-authorship, audience, and individual This seminar explores the relationship of actors will be important, but the depiction of Where do we find Shakespeare in manuscript? Shakespeare’s sonnets either to other sonnet social networks in Shakespeare’s drama will Miscellanies, promptbooks, accounts, margi- sequences; other early modern literary or also be relevant to this debate. nalia, and other manuscript sources offer cultural texts; their treatment in relation- evidence of the varied and contingent ship to the rest of Shakespeare’s work; or 44. Shakespeare’s Theater Games responses to Shakespeare’s work. How can one another—that is, one or more sonnets manuscripts be of use to theater and cultural in relationship to the rest. Are the sonnets Seminar Leader: Tom Bishop historians, literary scholars, and textual more or less peculiar than we’ve been led to (University of Auckland) editors? This seminar encourages participants believe? How do beliefs about Shakespearean to consider the wide range of Shakespearean exceptionalism shape the way the sonnets are Shakespeare’s company were “players”, their manuscripts, to showcase a variety of critical represented or taught? venue the “playhouse”, “playing” their trade. approaches to these primary texts, and to Can their work be analyzed as “play”? What explore some of the new (and often digital) 41. Shakespeare’s Earth models of play are relevant? Do the condi- tions of late medieval and early modern drama ways to access these sources. System Science support such a picture? Is dramatic play compa- 38. Shakespeare, Phenomenology, Seminar Leader: Rebecca Totaro rable to play in other early modern artists, and Periodization (Florida Gulf Coast University) venues or circumstances? How do early modern plays deploy “play”, games and game-like Seminar Leaders: Jennifer Waldron Blow, winds, and crack your cheeks! Aiming to sequences? How may performance practices— (University of Pittsburgh) and expand our understanding of the early modern historical, contemporary, reconstructed— Ryan McDermott (University of Pittsburgh) worldview that charged earthquakes and respond to a ludic view of early drama? tempests with preternatural significance, this This seminar invites phenomenological seminar considers the material composition of 45. Skill approaches (broadly defined) to Shake- the sublunary system and its literary represen- speare’s contested role as an icon for the tations. Appropriating terms from NASA, we Seminar Leader: Evelyn Tribble emergence of the “early modern” out of the will attend to “the processes within and inter- (University of Otago) “medieval.” Papers might consider historical actions among the atmosphere, hydrosphere, This seminar asks how skill was inculcated, phenomenology, embodied cognition, time cryosphere, biosphere, and geosphere”—what appraised, displayed, and evaluated in the and anachronism, political theology, or the comprised early modern physics and meteorol- early modern theater. Topics include methods “theological turn” in phenomenology. How ogy. New historicist, ecocritical, field-specific of training of boy actors; gesture and skill; the do these diverse modes of phenomenological (anemological to volcanological), and other terms of art used in describing theatrical skill; inquiry inform one another? How might they approaches are welcome. help us to rethink Shakespeare’s relation to inset skill displays such as music, dancing, and problems of periodization, including his role fencing; clowning; and verbal dexterity and 42. Shakespeare’s Irish Contexts in secularization narratives and genealogies other means of demonstrating writerly skill. Papers on theories of skill and embodiment of modernity? Seminar Leaders: Vimala Pasupathi are welcome, as are case studies of particular (Hofstra University) and Rory Loughnane skill sets and inset skill displays. 39. Shakespearean Adaptation and (Syracuse University) the World’s Religions This seminar seeks to enrich our understanding 46. Social Media Shakespeare Seminar Leaders: Kenneth J. E. Graham of Irish contexts for Shakespeare’s works and Seminar Leaders: Maurizio Calbi (University of Waterloo) and to construct a new canon of texts that shed (University of Salerno) and Walter S. H. Lim (National University of light on Anglo-Irish relations in early modern Stephen O’Neill (National University of Singapore) literature more broadly. We invite papers Ireland, Maynooth) that complement and complicate perspec- This seminar brings together adaptation studies tives offered in Shakespeare and Spenser by The exponential growth of social media and the religious turn. How have adaptations addressing a wide range of texts, from procla- platforms has enabled multifaceted engage- produced within and for Moslem, Jewish, mations and statutes to diaries and letters, as ments with Shakespeare’s texts. They serve Buddhist, Hindu, Native American, and indig- well as works by later writers such as Jonson as a living archive of materials but also foster enous African communities, among others, and Milton. Papers related to pedagogy are vernacular creativity. But to what extent is challenged or transformed Shakespeare’s especially welcome. Shakespeare on YouTube, Twitter, Facebook representations of religion? Possible topics and apps, impacting on the cultural currency include religion’s relationship to race, gender, 43. Shakespeare’s Social Networks: of Shakespeare? What kind of Shakespeares nation, or diaspora; transpositions of religious Players, Patrons, and Playwrights are being produced through such intermedial conflict; translations of Shakespeare’s religious interventions? We invite papers that explore language; and secular, “humanist,” and atheis- Seminar Leader: Bart Van Es the diverse presence of networked Shake- tic adaptations. We also invite reflection on (Oxford University) speare in our mediascape, and reflect on the concepts (hybridity, universality, pluralization) implications of this “virtual” presence. that might link historical religious and contem- Coleridge’s image of Shakespeare seated porary global Shakespeares. alone on the summit “of the poetic mountain” has been displaced in recent years by a more
7 47. Staging Allegory 50. The Tempest 53. Translating Shakespeare Beyond Absolutes Seminar Leader: Joseph Campana Seminar Leader: Mimi Yiu (Rice University) (Georgetown University) Seminar Leaders: Alfredo Michel Modenessi (Universidad Nacional Autónoma de México) While theories of allegory tend to dwell on What does The Tempest mean to the 21st and Alexander C. Y. Huang (George modalities of language, accounts of Renais- century? Shakespeare’s play has become a Washington University) sance theatricality often neglect allegory. touchstone for discussing race, gender, power, This seminar addresses the critical lacuna language, and the New World. In January The power and contributions of translation that results. Topics may include: allegory 2012, as part of a state-wide initiative against have rapidly increased in a world no longer and anti-theatricality; allegorical dramas; ethnic studies, the Tucson school district even approaching Shakespeare as a source of indis- allegorical irruptions in non-allegorical plays; banned The Tempest from its curriculum. putable truths, but as a dense yet pervious religion and allegory on the post-Reformation This seminar invites papers that reframe the core of matters to converse with in every stage; character, personification, and the play and question such entrenched positions. possible language, culture and medium. This (non)human on the stage; stage properties What brave new worlds can critics explore in seminar will address the state and impact and allegorical objects; allegory and emblem; these contested times? Interdisciplinary and of Shakespeare translations from as many tensions between visuality and textuality; theoretical approaches particularly welcome. “post-” perspectives as may be imagined: the economy and allegory; gender, sexuality, and post-bardolatrous; the post-national, post- the staging of allegory. 51. Theater Boundaries colonial and post-racial; the post-historic and post-human; the post-print and the post- 48. The Church Seminar Leaders: Laurie Maguire dramatic—even the post-posts. (Magdalen College, Oxford University) and Seminar Leader: Roze Hentschell Emma Smith (Oxford University) 54. Performing Shakespeare (Colorado State University) This seminar invites participants to explore in Europe This seminar considers the role of the church the specifics of audience/stage relations in in Shakespeare and his contemporaries. Taking early modern plays (not just Shakespeare): Seminar Leaders: Peter W. Marx up the significance of various holy places— including, but not confined to, characters’ (University of Cologne) and churches, chapels, cathedrals, temples, awareness of their genre, language and style Aneta Mancewicz (University of London) tombs, sanctuaries—to the literature of the (“nay, God be wi’ you an’ you talk in blank The seminar addresses distinctiveness and period and to early modern people, papers verse”: AYLI); theater history (responses of diversity of staging Shakespeare in Europe. might consider the following: the church known audience members); literal inter- It invites papers on continental, national as a structure and the ways the fabric of pretations (Nashe’s “wise justice” in Pierce and local patterns of European Shakespeare the church shaped and was shaped by its Pennilesse); soliloquy; character versus actor; production. Are there similarities in transla- users; religious activities (quotidian services, plays based on real events or on other plays; tion and staging that define European Shake- baptisms, marriages, coronations, funerals) representations of the professions; audience speare performance? Can we identify analo- and/or secular activities (social gatherings, awareness and attitude. gies among European nations in the Romantic business transactions, misuse). period? How to describe differences between 52. Theorizing Repetition: Text, productions of Shakespeare in Eastern versus 49. The Singing Body in Shakespeare Performance, and Historiography Western Europe during the Cold War? And finally, what distinguishes European Shake- Seminar Leaders: Katherine R. Larson Seminar Leaders: Erika T. Lin speare in an increasingly globalized world? (University of Toronto) and Linda Phyllis (George Mason University) and Marissa Austern (Northwestern University) Greenberg (University of New Mexico) 55. White People in Shakespeare Within the predominantly oral but increasingly How does repetition—understood variously as Seminar Leader: Arthur L. Little, Jr. visual culture of early modern England, songs mirroring, duplication, recurrence, renewal, (University of California, Los Angeles) were inseparable from the sensing bodies of transmission—productively articulate or performer, listener, and spectator alike. How complicate existing historiographies, episte- Including race and postcolonial studies, what does the physiology of the singing body and mologies, and theoretical models? Taking are some of the historical, critical, and the acoustic, visual, and affective impact repetition as a site of intersection between theoretical methods that can facilitate or of song performance inform our reading of text- and performance-based modes of analy- advance discussions of whiteness in/and Shakespeare’s songs and singers? What are sis, this seminar invites ambitious, argument- Shakespeare? Is there a relationship in Shake- the methodological implications of consider- driven case studies and metacritical accounts. speare between whiteness as a universal ing Shakespeare’s songs not only as lyric texts Papers might address theatrical imitation, principle and as a site/citation of particular- and musical settings, but also as instances of rehearsal, or adaptation; genre forma- ity? Is there a specificity to whiteness that embodied and gendered performance? tion; literary or discursive citation; recur- identifies some Shakespearean characters/ sive temporalities or spatialities; commodity moments and not others? What are the culture; social protocol, religious ritual, or institutional implications and possibilities for All registrants are required to list first, modes of reproduction. All periods, places, second, third, and fourth choices. Even bringing sustained attention to whiteness in/ and media welcome. those who meet the 15 September regis- and Shakespeare? tration deadline are not guaranteed their first choices. Notifications of seminar as- signments are made in early October.
8 56. Writing Lives in Early WORKSHOPS 60. Editing Shakespeare for the Web Modern England Workshop Leader: Jeremy Ehrlich Seminar Leader: Alan Stewart 58. Close Reading without Readings (Internet Shakespeare Editions) (Columbia University) Workshop Leader: Stephen Booth The purpose of this workshop is to imagine, (University of California, Berkeley) Early modern England witnessed remarkable analyze, and perhaps call for specific develop- ments in the electronic editing of Shakespeare innovations in both biography and autobiogra- This workshop invites participants (1) to give texts. How could and how should the edition phy. This seminar examines these life-writings meticulous attention to the minute particulars of the future look? What kinds of things will through their myriad forms, both generic of particular passages from Shakespeare; (2) we expect it to do? What potential pitfalls and material, to explore what the early to analyze those passages without insisting should the editor consider? Participants will modern period understood by the concept of on limiting—or even attempting to limit—their address these questions both in practice and a “life”, and what it meant to “write” a life. range of consideration to elements that might in discussion. Participants are encouraged to attend to the be useful in formulating an interpretation remarkable range of genres—from martyrol- of—a reading of—the play in question; and (3) ogy to spiritual examination—and of physi- to consider the possible value of such analysis 61. “Performing Archives”: cal forms—from printed lives to manuscript to an understanding of why the culture values The Stratford Shakespeare Festival account-books, miscellanies, and note-books— Shakespeare so highly. that early modern lives took. Workshop Leaders: C. Edward McGee (St. Jerome’s University) and Francesca 59. Dancing in Shakespeare: Marini (Stratford Shakespeare Festival) 57. Wrong Shakespeare A Practical Introduction Seminar Leaders: Katherine Scheil Participants will work with material and Workshop Leaders: Nona Monahin (University of Minnesota) and M.J. Kidnie documentary remnants of scenes from three (Amherst College) and Emily Winerock (University of Western Ontario) Stratford Festival productions: Romeo and (Toronto, Ontario) Juliet (1968), The Merchant of Venice (1984), Is Shakespeare ever not “good for you”? This and The Tempest (2010). Archival resources Shakespeare’s plays contain numerous refer- seminar will focus on contexts in which Shake- for study will include prompt books, design ences to dance, some of which are used to speare is or has been used as a force for moral bibles, photographs, blocking diagrams, create puns, others to illuminate a particular good, such as the curriculum, adaptation and musical scores, archival videotapes, films, and character or dramatic situation. Through a performance studies, and social programs (in various written records. Our aim is to study combination of physical participation, video prisons and other locales). Who decides the what survives in one major theater archive, examples, examination of primary sources, right/wrong way to teach, perform, edit, read, discover what we may reconstruct of past and discussion, this workshop will introduce and appropriate Shakespeare? And how are productions, and discuss what are the best participants to a number of dances that are the borders of “wrong” Shakespeare policed? practices in doing so. mentioned in Shakespeare’s plays, includ- What’s at stake in arguing that Shakespeare is ing the measures, brawl, coranto, canary, “good” or “not good” for you? galliard and cinquepace. Participants will also gain first-hand experience in reconstructing a dance from historical sources.
IMPORTANT DEADLINES FOR 2012-13
1 June 2012: Membership Dues Payable for 2012-13 Academic Year
15 September 2012: Deadline for Seminar Registration for the 2013 Meeting
1 October 2012: Deadline for Open Paper Competition Submissions
15 October 2012: Deadline for Applications for Graduate Student Travel Awards and Bogliasco Fellowship
15 January 2013: Deadline for J. Leeds Barroll Dissertation Prize Submissions
15 February 2013: Deadline for Program Proposals for 2014 Meeting
HOW TO GET ON THE 2013 PROGRAM
Register for a Seminar or Workshop SAA seminars and workshops are appropriate for college and university faculty, independent postdoc- toral scholars, and graduate students at the dissertation level. Graduate students are registered only when their thesis supervisors have verified their status (see page 2 for more information).
Submit a Paper in the Open Competition For 2013, one session is held open for papers selected in a blind competition. Papers must be short (maximum 12 pages) for a reading time of no more than 20 minutes. They should be sent as e-mail attachments to [email protected], with the identification of the author given only in the Chinatown, Toronto. Photo courtesy of Tourism Toronto. cover message, not on the paper. Submissions must be received in the SAA office by 1 October 2012. 9 E M I N A R A N D W O R K S H O P S REGISTRATION Deadline: 15 September 2012
Seminar and workshop registrations are open only to members of the Shakespeare Association of America. SAA membership dues are charged on an academic-year basis, payable now. The new dues year commences on 1 June 2012. As shown on the fol- lowing page, dues are graduated according to annual income. Dues are also payable on the Association website, www.ShakespeareAssociation.org. SAA seminars and workshops are designed to serve as forums for fresh research, shared investigation, and pedagogical experimentation among members with specialized inter- ests and areas of expertise. All involve significant work circulated and read in advance of the conference: research papers, common readings, and bibliographies, in the case of seminars; pedagogic, scholarly, or performance exercises, in the case of workshops. Seminars and workshops are appropriate for college and university faculty, indepen- dent postdoctoral scholars, and graduate students in the later stages of their doctoral work. Graduate students are registered in SAA seminars only when their thesis supervisors have verified their status by completing the SAA verification form which will be sent to the advisor listed on the student’s registration form. The form should be returned to the SAA from the advisor’s university e-mail address, should not be evaluative, and should give the title of the student’s dissertation project. For stu- dents in programs with a terminal degree other than the Ph.D., advisors should explain the program as well as the student’s status. Newcomers to the SAA and students in the earlier stages of graduate work may wish to familiarize themselves with the Association’s proceedings by attending a meet- ing’s paper sessions and auditing seminars and workshops. Attendance and auditing privileges are not extended to undergraduate students. M.A. candidates planning to attend as auditors should not submit a seminar pre-registration form now. Conference registrations opens in January. Seminar and workshop enrollments are made on a first-received, first-registered basis, with all registrants required to list first, second, third, and fourth choices. Even those who meet the 15 September registration deadline are not guaranteed their first choices. Only those members listing four different choices can be assured that their reg- istrations will be processed. No member may enroll in more than one seminar or workshop. Those who are presenting papers at the meeting may not also hold places in seminars or workshops. By registering for a seminar or workshop, each SAA member agrees to produce original work, to engage directly with the topic and scholarly objectives announced by the sem- inar or workshop leader, and to attend the seminar meeting at the annual convention. Seminar and workshop registrations may be completed in three ways: by hard copy detached from this bulletin and mailed to the SAA office; by hard copy faxed to the SAA office; or online at the SAA website. E-mailed registrations cannot be accepted.
Notifications of seminar assignments are made in early October by conventional mail.
Name: ______
Affiliation (if any): ______
Identify four different program choices by program number. Listing fewer than four choices does not result in preferential treatment and will delay processing until October, after initial registrations are completed.
1st choice ______2nd choice ______3rd choice ______4th choice ______
If registering as a graduate student, please provide the name and electronic address of the thesis advisor or graduate program director who will verify your status. SHAKESPEARE Advisor’s Name ______E-mail ______
Register by 15 September 2012: (1) Return this form to The Shakespeare Association ASSOCIATION of America, Department of English, Georgetown University, 37th and O Streets, N.W., Washington, D.C. 20057-1131. (2) Fax this form to 202.687.5445. (3) Register online at www.ShakespeareAssociation.org. OF AMERICA EMBERSHIP DUES FORM Academic Year 2012–2013 Membership dues are charged on an M Name: ______academic-year basis. All who paid PLEASE PRINT LEGIBLY, AS THIS INFORMATION IS USED FOR THE SAA DIRECTORY OF MEMBERS. dues during the academic year 2011- 2012, including those who attended Institutional Affiliation (if any): ______the 2012 meeting in Boston, should now submit payments (unless mem- Academic Rank (if any): ______bership is covered by the discounted three-year option). Membership Preferred Mailing Address: Home Office PLEASE TICK ONE BOX. dues may also be paid online at www.ShakespeareAssociation.org. ______
The dues structure is based on the ______American dollar. Those paid in other currencies should make conversions as ______appropriate. Home Phone:______Office Phone: ______ Check enclosed (drawn on a U.S. bank only, please). Or, please charge Home Fax:______Office Fax: ______my VISA MasterCard American Express. E-Mail Address: ______
Credit-Card Number ANNUAL DUES:
For income below $15,000, dues are $25.00 ______
Expiration Date For income between $15,000 and $24,999, dues are $45.00 ______
This form and check (if applicable) For income between $25,000 and $39,999, dues are $60.00 ______should be returned to The Shakespeare For income between $40,000 and $54,999, dues are $75.00 ______Association of America, Department of English, Georgetown University, For income between $55,000 and $69,999, dues are $85.00 ______37th and O Streets, N.W., Washington, D.C. 20057-1131. For credit-card pay- For income between $70,000 and $89,999, dues are $95.00 ______ments, the form may be faxed to the SAA office at 202.687.5445. A receipt For income between $90,000 and $114,999, dues are $110.00 ______will be returned to you. Membership dues are non-refundable. For income $115,000 and above, dues are $125.00 ______My three-year renewal entitles me to a 10% discount (not available to those in the $25.00 dues category) ______
ANNUAL FUND:
I would like to make a contribution to the SAA Annual Fund ______
OPTIONAL SUBSCRIPTIONS:
Medieval and Renaissance Drama in England, Volume 24, $65.00 ______
Shakespeare Newsletter ( new renewal), $15.00 ______
Shakespeare Studies, Volume 40, $55.00 ______
Shakespeare Survey, Volume 64, $95.00 ______
For discounted subscriptions to Shakespeare Bulletin, Shakespeare Quarterly, and The World Shakespeare Bibliography Online, payable directly to Johns Hopkins University Press, phone 1.800.548.1784.
TOTAL FOR DUES, CONTRIBUTIONS, AND SUBSCRIPTIONS ______HOW TO GET ON THE 2014 PROGRAM Proposals should include: (1) the name of the session organizer, with university affiliation PLANNING FOR TORONTO Each year’s program originates in proposals as applicable and e-mail address; (2) the title submitted by individual members of the Asso- of the proposed session; (3) a description The Forty-First Annual Meeting of the ciation and approved by the Trustees. Proposals of the objectives of the session (maximum Shakespeare Association of America takes place are accepted only from SAA members in good 300 words); (4) the names of each presenter at the historic Fairmont Royal York Hotel in the standing. No one may take a major role as or participant, with university affiliations as heart of downtown Toronto. The hotel is an AAA paper presenter, seminar leader, or workshop applicable and e-mail addresses; (5) the title Four Diamond Property and is connected by leader at two consecutive conferences. Gradu- for and a brief description of each presentation underground walkway to approximately 1,200 ate students are eligible to speak in public or paper (maximum 200 words each); (6) short shops, services and attractions including the sessions but not to lead seminars or workshops. biographical statements for the organizer and Hockey Hall of Fame, Eaton Centre and Union each presenter or participant. Please see Station. proposal format guidelines on the SAA website Propose a Seminar or Workshop at http://www.shakespeareassociation.org/ Rooms are discounted to $130 USD per night meeting/proposals.asp. SAA seminars should open up a number of for single and double occupancy; additional pathways into a subject, recognizing that a guests are charged at $20 per night. Sales and Session moderators are appointed by the SAA occupancy taxes will be added at the current rate seminar meeting is an occasion for focused but Board of Trustees. open discussion of written work completed in of 13%. The SAA has negotiated for the rate to advance. Advance work in SAA workshops may include complimentary in-room internet access involve readings, online discussions, shared DEADLINE FOR PROPOSALS FOR 2014: and use of the Royal York’s state-of-the-art syllabi, performance and pedagogical exercises, 15 FEBRUARY 2013 exercise facilities. or other assignments. Proposals for the 2014 conference should be Proposal format guidelines appear submitted to the members of the Program on the SAA website at (http://www. Planning Committee for 2014: shakespeareassociation.org/meeting/ proposals.asp). Required information includes: Jonathan Gil Harris, Chair (1) the name of the seminar or workshop [email protected] leader(s), with university affiliation(s) as Drew Daniel applicable and e-mail address(es); (2) the [email protected] title of the proposed seminar or workshop; (3) Stephen Guy-Bray a description of the objectives of the seminar [email protected] or workshop, including potential issues to be raised or practices to be modeled (maximum Ayanna Thompson 300 words). (4) a short biographical statement [email protected] or statements, including a description of Sarah Werner previous experience with the SAA (maximum [email protected] 100 words per person).
Descriptions of seminars and workshops from SAA MEMBERSHIP BENEFITS previous years are available in any June bulletin SAA members enjoy deep discounts on such posted on the SAA website. publications as Medieval and Renaissance Drama in England (8%), Shakespeare Bulletin (15%), Propose a Paper Panel Shakespeare Newsletter ($15.00), Shakespeare Quarterly (15%), Shakespeare Studies (9%), The 2013 conference begins on Thursday, 28 Paper panels, roundtables, and other formats Shakespeare Survey (33%), World Shakespeare March with the first group of seminars meeting for public discussion should engage topics of Bibliography (15%). Bundled subscriptions to from 10:30 a.m. to 12:30 p.m., and the first current interest and general appeal for the Shakespeare Bulletin, Shakespeare Quarterly, paper sessions starting at 1:30 p.m. The con- SAA membership. While the traditional format and The World Shakespeare Bibliography are ference closes on Saturday evening, 30 March. has been three 20-minute papers, the SAA discounted by 30% for all three. For discounts The January 2013 issue of the SAA bulletin will invites proposals for other formats for engaging on frontlist titles at Oxford University Press and provide a detailed schedule of events and infor- important ideas and issues. Ashgate Press, go to http://www.shakespear- mation about hotel registration. The meeting eassociation.org/links/presses_publishers.asp. registration fee is payable in January 2013. ($110 for faculty, $75 for graduate students.)
Film screenings of several Stratford Shakespeare Festival productions, a Festival “table talk,” with Jane Freeman, a live performance of the Kill Shakespeare comic book series and a roundtable including creators Conor McCreery and Anthony Del Col are among the special events being planned for Toronto. In addition, members will have the option to take a day trip to Stratford on Sunday 31 March and enjoy an exclusive tour of facilities and luncheon with Artistic Director Antoni Cimolino. See page 13 of this bulletin for additional information.
12 2013S PECIAL EVENTS DAY TRIP TO STRATFORD KILL SHAKESPEARE
Extend your journey and spend the day in Join us Friday evening 28 March for the Kill Stratford on Sunday, 31 March where SAA Shakespeare Live Stage Reading, a 90-minute members will enjoy three exclusive behind- synthesis of music, performance and art. Using the-scenes tours of the Stratford Shakespeare 750 projected images from the Kill Shakespeare Festival and a luncheon with newly appointed comic series, ten actors employ the conven- Artistic Director Antoni Cimolino. tions of radio theater to tell the story of Hamlet’s quest to confront a mysterious wizard A private motorcoach will depart the Fairmont named William Shakespeare. The play was Royal York Hotel at 9:00 a.m. and transport originally commissioned by the Young Centre SAA participants to the picturesque town of for the Performing Arts, and the production Stratford, Ontario. Upon arrival Francesca was mounted with actors from the Soulpepper Marini will guide fellow SAA members through Theatre Company, “Toronto’s most varied and the Festival Archives, the world’s largest exciting theatre” according to the Toronto Star. collection devoted to a single theater. Next Both the Young Centre and Soulpepper are well the group will explore the Costume and Props known for their innovative and provocative Warehouse, which is home to more than adaptations of Shakespeare’s works as well Julyana Soelistyo as Ariel and Christopher Plummer as Prospero 100,000 items from the Festival’s sixty seasons. in The Tempest (2010). Photo by Davis Hou. as other classic theater pieces. A discussion No Stratford Festival trip would be complete with the actors, director and dramaturg will without a visit to the Festival Theatre where follow the performance. Ticket information Artistic Director Antoni Cimolino will address STRATFORD ON FILM will appear in the January 2013 Bulletin. SAA members over luncheon and the day The SAA is pleased to present complimentary will close with a tour of the iconic facility. screenings of three filmed Stratford Festival At 3:00 p.m. the motorcoach will depart productions, all of which demonstrate the from Stratford, returning to the Royal York excellence that marks the most successful at 5:00 p.m. classical theater company in North America. SAA members and their guests will be invited to screen The Taming of the Shrew (1988; directed by Richard Monette and featuring Colm Feore as Petruchio and Goldie Semple as Katherina), The Tempest (2010; directed by Des McAnuff and featuring Christopher Plummer as Prospero), and Twelfth Night (2011; directed by Des Manaff with Brian Dennehy as Toby Belch). A “table-talk” on these and other Stratford productions will be led by Jane Freeman (University of Toronto), Chair of Stratford’s University Task Force.
13
From the set of Camelot (1997). Photo by Erin Samuel. Kill Shakespeare Entertainment. Painted by Kagan McLeod. The cost for this very special excursion is $77 (CAD) per person (to cover the costs of The afternoon following the performance luncheon and transport). All SAA members Toronto-based Kill Shakespeare creators Conor and their guests are welcome but space McCreery and Anthony Del Col will join Lynne is limited. Reservations may be made by Bradley (University of Victoria), Jim Casey phoning the Stratford Festival Box Office at Festival Theatre. Photo by Richard Bain/ (High Point University) and Christopher Morrow 1.800.567.1600. Stratford Festival of Canada. (Western Illinois University) for a roundtable discussion and question and answer session on The Stratford Shakespeare Festival premiered in July, 1953 with a production of Richard III teaching and researching comic book adapta- directed by Tyrone Guthrie and featuring Alec Guinness in the title role. The play was per- tions. The discussion will be moderated by formed under a large canvas tent by the Avon River. The Festival produced two plays for its Donald K. Hedrick (Kansas State University). first season; the second was a modern-dress version ofAll’s Well That Ends Well also directed by Guthrie with Irene Worth as Helena. 13 Photo: The campus of Georgetown University, home of the Shakespeare Association of America, seen from the Potomac River in Washington, D.C.
R ISE AND SHINE The 2013 Annual Meeting will have an earlier start time on day one of the conference. The first bank of seminars and workshops will meet at 10:30 a.m. on the morning of Thursday, 28 March. The first paper sessions will begin at 1:30 p.m.
ALL FOR 2013 OPEN SUBMISSIONS COne session at the 2013 Annual Meeting will feature papers selected in a blind competi- tion. Papers must be short for a reading time of no more than 20 minutes. Submissions must be received in the SAA office by 1 October 2012. See page 9 for more details.
EMBERSHIP DIRECTORY MAn online directory of members is available at www.shakespeareassociation.org by logging on and clicking on the “Directory” tab. Your username and password is required to access this information.
D AY TRIP TO STRATFORD SAA members and their guests may take part in an exclusive day trip to the Stratford Shakespeare Festival for private behind the scenes tours, a trip to the Stratford Archive, and luncheon with Artistic Director Antoni Cimolino. See page 13 for reserva- tion information.
F UTURE MEETINGS The Forty-Second Annual Meeting will take place at the Hyatt Regency St. Louis at the Arch on 10-12 April 2014. The Forty-Third Annual Meeting will be held at the Fairmont Hotel Vancouver in Vancouver, British Columbia on Easter weekend 2-4 April 2015. Program proposals are now welcome for the 2014 Meeting; see page 12 of this bulletin for more information.
THE SHAKESPEARE ASSOCIATION OF AMERICA Department of English, Georgetown University 37th and O Streets, N.W., Washington, D.C. 20057-1131 www.ShakespeareAssociation.org Phone 202.687.6315 n Fax 202.687.5445 n E-Mail [email protected]