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Early Modern Women: An Interdisciplinary Journal
contact email:
emwjournal@umd.edu

CALL FOR SUBMISSIONS
Forum III: Sex and the Early Modern Woman

Early Modern Women: An Interdisciplinary Journal (EMWJ) invites submissions to an interdisciplinary Forum on Sex and the Early Modern Woman, slated for publication in Volume V (2010). We encourage contributors to the forum to explore the intersection of sex and early modern women and girls from different socioeconomic levels and from regions across the globe. How did Early Modern women view their own sexuality and that of others? How did moralists view women’s sexuality? How did women resist and subvert the dominant ideology of sexuality? Which spaces were associated with sex? What can we learn about the sexualities of wives, nuns, single women, adulteresses, witches, virgins, prostitutes, and lesbians?

We invite submissions of about 1200 words that address these issues, and especially welcome innovative approaches. Analyses in all disciplines are welcome, but those that cross disciplines and national borders are especially welcome.

The deadline for forum submissions is September 22, 2009.

*Early Modern is defined as the period 1400-1700.

Please visit http://www.emwjournal.umd.edu/Forum%20Volume%205-%20Sex.pdf for the full text of the Call for Submissions prompt. Any inquiries about the forum call posted above may be sent to emwjournal@umd.edu.
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My friend directed me to this site about the history of stage horror effects. Thought it was worth sharing with you all.
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Hiya Folks,

Forwarding this on from a current M.Litt student. I know there are some of you out there who would be very likely candidates for this.

~Meg

So this email is going to be full of information - and stories, because really, as any of my friends will tell you, it's the only way I know to communicate information.

"And we're off:

Story one: I tried to send this from my yahoo account because that is the email address I would like to use, as I am leaving in a month to move to NYC will not have access to the MBC one in a month or so. However, it wouldn't let me. So, here we go again - more on that later :)

ok, story one sucks

Story two:

I recently went to the CEA conference and delivered an edited version of my VTP final paper, the one in which you compare an early play with a late play in terms of rhetoric and verse. Anyway, the paper actually went over very well. And I know that Ryan McCarthy (hi Ryan) also went to a conference on his paper.

Ok, pause on that part of the story: When Sarah and Farrah came over from London, one thing that they asked me on the way to the airport is what were we doing to do get our information out there. Because, and they're right, we're the only school/group of people that are doing this work.

Ok, play on the other story:

So we were talking in the car on the way home from Pittsburgh. And we were talking about how great it would be if we could get a group of people together who had great VTP papers with interesting pairings of monologues and why we choose them - tweak them so that they fit together better, and try to get a book published. And I have heard from other profs that i know that it wouldn't be a bad idea.

So, I know that this won't be easy to find a publisher, but I have some contacts that are willing to introduce me to people. And I think it's worth a chance. I have already asked Dawn to write a glossary for the book of rhetoric
terms that we use, so that people have them all in one place, and she has graciously agreed.

So, here's what I need from you guys. I need people who are interested in trying this crazy thing. I need papers, edited for publication. Things you can do:

1) Send me an email, to the addy - reesagraham @ yahoo . com in the next 2 weeks so I know I have enough interest to continue.
2) Send this email to others who have graduated this program that I don't know who might have rockin VTP papers.
3) Tell me about others you know who had rockin' VTP papers that I should pester.

Things you should know:

1) Your "final" paper is not actually due to me for another 2 months.
2) This is not a guaranteed thing, but I will work my hardest to get it done.
3) I hope to hear from you all :)

Thanks guys!!!

love,
reesa"
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The North Carolina Colloquium in Medieval and Early Modern Studies

Mapping Medieval and Early Modern Worlds

Duke University

February 20-21, 2009

The tenth annual North Carolina Colloquium in Medieval and Early Modern Studies, a graduate student conference jointly sponsored by Duke University and the University of North Carolina at Chapel Hill, will explore the ways that medieval and early modern individuals and societies mapped, visualized, and conceived of their world in terms of its various spaces. The conference will focus on mapping as a symbolic and physical means through which individual, communal, religious, and cultural encounters were defined. Medieval and early modern mapping takes a variety of conceptual and physical forms: through literary genres such as allegory, travel narratives, and conduct guides, architectural plans and artistic representations, and developing scientific knowledge. The conference also seeks to address how contemporary discourses across disciplines have treated these spaces – conceptual, communal, religious, private, geographical – and their resulting illuminations or misconceptions.

From medieval Beatine maps and Genoese nautical charts to Waldseemuller’s 1507 world map, the physical activity of mapping participated in the translation and transcription of cultural, historical, political, religious, and imaginary encounters. In their articulation of these relationships, maps combined burgeoning scientific and geographical knowledge with a developing system of visual representation. Through literary texts, architecture, historical records, scientific development, and religious narratives, individuals and communities sought to negotiate similar questions of space and representation. Investigating medieval and early modern practices of symbolic, social, and geographic mapping acknowledges the complexity and difficulty of these cultural interactions, both real and imagined. Our conference is also interested in exploring the division often made between medieval and early modern conceptions of their spaces and world. Humanism, its corresponding secularism, and Protestantism are often credited with a remapping of civic, artistic and literary space. The North Carolina Colloquium in Medieval and Early Modern Studies is equally committed to both periods; papers could address either one or both.

We invite papers dealing with various conceptions and practices of mapping space and with the real or perceived changes that occurred between medieval and early modern practices. Paper topics might investigate this theme through a variety of disciplinary lenses, not limited to the following suggestions:
• Mapping as a reflection of cultural encounters
• Ways of symbolic mapping, such as allegory
• Mapping social relations through conduct guides
• Artistic representations (of the New World, Ottoman Empire, etc)
• Technological developments and textual dissemination
• Travel narratives
• Biblical interpretation and its relationship to religious and political encounters
• The mapping of medieval and early modern spaces
• Empire building and exploration
• Medieval and early modern systems of visual representation
• Biology and the mapping of the human body
• The function of material objects as forms of mapping
• The mapping of spiritual realms
• The framework of literary space

Graduate students from various disciplines are encouraged to submit a 250 word abstract by January 5, 2009. Submit abstracts as an attachment to Layla Aldousany at aldousany at gmail.com. The program committee will announce the program in early January.
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So, we've all heard about pig's blood in bladders, used as a special effect on the early modern stage. And we've probably all heard the naysayers-- those who suggest that costumes were far too valuable to risk staining in such a fashion.

However, I can't recall reading about these arguments, just hearing about them from professors (both at MBC and a professor where I am now, in AZ. Said AZ professor can't recall reading about these arguments either.)

So my question to you, oh illustrious former and present MLitters, do you know where any of these arguments or commentaries are played out? Who suggests that blood was used on stage and who suggests that Nay, it could not be?

(I'm writing a paper on The Fatal Dowry which is likely to become either an article and/or a chapter of my dissertation. I'd never dream of asking others to do my work for me, but this question regarding stage blood came to me late in the game (at least for this first draft, for a class) so I thought I would appeal to all of you.)

Any help would be appreciated!

(Also, you might be interested to know that a paper of mine, much of which involves the ASC productions of Fall '07, is going to be published next year in Shakespeare Bulletin. I'm waiting to tell Ralph & Co. 'til I have official offficial confirmation. But it should be seen that though I have left you, oh MLitters, I have not abandoned Original Practices!)
Current Mood:
curious curious
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Call for Contributions: Radical Intersections: Performance Across Disciplines
A Graduate Student Conference with Keynote Speaker Sue-Ellen Case and
Keynote Performance by Teatro Luna
Submission Deadline: December 7, 2008
Conference Dates: April 24 - 26, 2009
Location: Northwestern University (Evanston, IL)*

Northwestern University's Department of Performance Studies invites proposals from graduate students whose research uses performance as theory, method, or praxis to join us for panel presentations, performances, and sustained dialogue. We also encourage proposals from graduate students from across the social sciences and humanities whose research concerns cultural performances, performance events, or performativity in everyday life.

Radical Intersections aims to interrogate junctures at which dissimilar ways of being, doing, and thinking rub against one another. Such junctures have the potential to disturb foundational concepts and disciplinary assumptions. As Dwight Conquergood wrote, "Our radical move is to turn, and return, insistently, to the crossroads." With performance theory gaining currency in a variety of disciplines, and performance studies itself interdisciplinary in its subjects, methods, and analytics, performance scholars often inhabit such crossroads. Graduate students, as the next generation of the academy, would do well to pause at our present junctures
and explore possible directions. What choices do performance studies scholars face today, and where should performance scholarship go from here?

Possible topics include, but are not limited to:
· How do collaborations of performance studies with particular disciplines, sites, or public conversations provoke "radical" scholarship?
· Figuring the human body as a complex and dynamic site of radical intersections of race, class, gender, sex, and sexuality
· Queer bodies and queer spaces; communicating "trans" movements, ontologies, and aesthetics
· Going public: taking scholarship into the public, into pedagogy, and translating scholarship into performance
· Taking up space: finding, creating, and claiming space for our work
· Collisions and collaborations of performance studies with cultural studies, anthropology, theatre studies, ethnography, media studies, studies of embodiment, and other fields
· Making the comfortable uncomfortable: controversial subject matter, acts of remembering, and using the body to enact scholarship and analyze culture
· Creating rigorous scholarship while working from a place of feeling and affect
· "Performance anxiety" both within and out the discipline over performance's applications, its institutionalization, and its radical
potential
· In a discipline that resists strict definition, where do our tensions lie? What prevents us from doing particular kinds of work?

We welcome competitive proposals for individual papers as well as panels not exceeding four presenters. Please submit a 300-400 word abstract and a short CV to gcmitchell@northwestern.edu by Dec 7. (Proposals for panels should include individual and panel abstracts.) Notices of acceptance will be sent in mid-January.

*Northwestern University will provide double-occupancy hotel accommodations for all presenters residing outside the Chicagoland area. (You may request a specific roommate or be paired at random with someone of the gender[s] of your choice.) There is no registration/admission fee. We also anticipate providing some additional financial assistance for travel costs for presenters.*
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Midwest Interdisciplinary Graduate Conference: Faking It! Production, Knowledge, Authenticity

The fourth annual Midwest Interdisciplinary Graduate Conference at the University of Wisconsin-Milwaukee seeks submissions for “Faking It! Production, Knowledge, Authenticity,” a graduate student conference to be held February 20-22, 2009, in conjunction with the Center for 21st Century Studies and its 2007-09 research theme “Past Knowing.”

This year’s theme calls upon scholars to interpret and consider variously the provocation of “Faking It!” Beyond the obvious copulatory connotations of the theme, we are interested in exploring the broad ramifications of labeling an act or object a “fake.” Thus we call for papers that consider if, how, and when the three terms of the subtitle interact in theory and practice. Who is authorized to produce and what counts as authentic? What kinds of knowledge lead to “authentic” or “fake” productions? What are the implications or consequences of employing strategies that “fake it” (plagiarism, parody, etc.)? How is authenticity produced? What does “faking it” produce? How does “faking it” interrogate or disrupt boundaries, especially those between discourse communities?

We aim to engage in a multi-day, interdisciplinary exploration of persistent tensions amidst the concepts of “faking it” and authenticity. In doing so, we expect to question the binarizing marks of truth and reality that are obsessively affixed to various cultural objects and acts. In turn, we will investigate how conscious or unconscious “faking” might shape, alter, and/or produce the very notion of authenticity.

Submissions that explore “Faking It!” from a diverse range of fields and disciplines are encouraged. Possible topics include, but are not limited to:
* Artistic Techniques of Plagiarism, Collage, Pastiche, Adaptation, Recreation and Reenactment
* Theories of Reality, Baudrillardian Hyperreality, and Virtual Reality
* Truth and Deconstruction
* Theories of Epistemology and Meta-Epistemology
* Practices of Truth and Falsity: forgeries, hoaxes, pranks, magic, conspiracy theories
* “Faking” Identity: passing, impersonation, parody, minstrelsy, blackface and identity theft
* “Faking” Gender and/or Sexuality: camp and drag performances, sex work, transgender studies
* “Faking” Bodies: plastic/reconstructive surgery, performance enhancers, hypochondria, care of the self
* “Faking It” in Mass Media: Film and Television (cinema verité, docu-/mockumentary, makeup/special
effects, reality television, (fake) news); Radio; Music (sampling, mashups, lip-synching, karaoke and cover bands); Print Media (tabloids, PhotoShop disasters, advertising); the Internet
* Uses and Limitations of “Fakelore,” Folklore, Myths and Fairy Tales
* Political/Governmental “Faking It”: war, cover-ups, propaganda, scandals, juridical proof, etc.
* “Faking” the Literary: pseudonyms, romans á clef, publishing and the history of the book
* “Faking” Life and Death: pseudocide and the premature obituary; celebrity impersonators
* “Academic Impostor Syndrome,” Diploma Mills, and the Functionality of Academia

This year’s keynote will be a lecture by Berlin-based conceptual artists Renata Stih and Frieder Schnock.

Please submit a 250 word abstract, with title, for a 15-20 minute presentation as an MS Word file attachment to: grad-conference-at-uwm.edu. Panel proposals for 75 minute sessions will also be considered (comprised of three presentations); please submit an abstract for each presenter and indicate that you are proposing a panel. Deadline for Submissions: November 1, 2008

For more information, visit our website at: http://pw.english.uwm.edu/~migc
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Anyone know a good Shakespeare adaptation that is close to an hour long? I'm looking for a play to propose for my thesis and the play my committee chose to go forward (I proposed three plays) was scraped by the playwright...I wanted to cut an hour from Shakespeare's R&J and Joe Calarco was not so much on board because it's like an hour shorter...which sucks....anyway, I figured I'd open it up to the masses...any help would be awesome.
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Early Modern Studies Conference

August 4-6, 2008 at Southern Utah University in Cedar City, Utah

The Wooden O Symposium is a cross disciplinary conference that will explore Early Modern studies through the text and performance of Shakespeare's plays. Scholars from all disciplines are encouraged to submit papers that offer insights and new ideas springing from the works of William Shakespeare. Priority for papers/presentations will be given to research relating to one or more of these specific works: Shakespeare's The Two Gentlemen of Verona, Othello, and The Taming of the Shrew.

The Wooden O Symposium is hosted by Southern Utah University, home of the Tony Award-winning Utah Shakespearean Festival, which will be presenting The Two Gentlemen of Verona, Othello, and The Taming of the Shrew during its 2008 summer season. Conference participants will have the unique opportunity of immersing themselves in research, text and performance in one of the most beautiful settings in the western U.S.

Deadline: April 1, 2008

Submissions must include:
250 word abstract or complete paper
author's name
participant category (faculty, graduate student, undergraduate,
aficionado)
mailing address
college/university affiliation (if any)
email address
daytime phone number.
Send submissions to:
Wooden O Symposium
c/o Utah Shakespearean Festival
351 West Center Street
Cedar City, UT 84720
wooden@suu.org
Fax: 435-865-8169

For more information visit www.woodenosymposium.org or call
435-586-7880.
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