CALL FOR ABSTRACTS: 30th Novembertagung on the History and Philosophy of Mathematics

31th October - 2nd November 2019, Institut de Recherche Mathématique Avancée (IRMA), Strasbourg, France

https://novembertagung.wordpress.com

The Novembertagung on the History and Philosophy of Mathematics is an annual international conference aimed at PhD and postdoctoral students (young scholars) in the history and philosophy of mathematics.

In 2019 the Novembertagung will be held in Strasbourg. Lodging will be at the CIARUS from 30/10 to 02/11 and the conferences at the IRMA, from 31/10 to 02/11. The invited speakers are June Barrow-Green (Open University) and Roy Wagner (ETH Zurich).

CALL FOR PAPERS: Medieval and Early Modern Studies Symposium ‘Sex and Gender Politics’

Venue: Northumbria University, Newcastle

Date: 9 October 2019

Keynote speaker: Dr Elena Woodacre (University of Winchester), author of The Queens Regnant of Navarre: succession, politics and partnership, 1274-1512, lead editor of the Routledge History of Monarchy, founder of the Royal Studies Network

This one-day event hosted by the Medieval and Early Modern Studies research group at Northumbria University, Newcastle, brings together academics, early career researchers, and PhD students for an interdisciplinary symposium linking new and more traditional approaches to medieval and early modern gender studies broadly defined.

Recent years have seen a proliferation of approaches to gender studies to include, for example, incorporation of LGBTQ and challenging heteronormativity, history of emotions, and the recognition that to understand gender relations, we must equally study both femininity and masculinity. At the same time, interdisciplinary approaches, from literature, archaeology, music, history, linguistics, art and performance, continue to provide us with new and exciting ways of unlocking experiences of the past as both physical and sexual, as well as structured by gendered social norms.

We invite 250-word proposals for 20-minute papers on the theme of ‘Sex and Gender Politics’ but are also open to other formats (roundtable discussions, shorter work-in-progress papers, performances, reconstructions, posters etc). We hope that the informal atmosphere of a symposium will provide a friendly forum for both developed work as well as work-in-progress and trying out new ideas.

We welcome proposals relating to gender, sex and politics in their broadest senses. Moreover, we understand the term ‘politics’ broadly, as incorporating both governance and power relations between individuals and groups, therefore relating to court and diplomacy, local, family, and religious politics.

Areas of interest include but are not limited to:

• Expressions of identity
• Mistresses and favourites
• Cross-dressing on stage and beyond
• Sexual violence and harassment 
• Representation and iconography
• Sexuality and eroticism
• Authority and power
• History of emotions
• Consumerism and material culture
• Work and leisure
• Boundaries, restrictions, limitations, and resistance

Please email your proposals to Katarzyna Kosior by 8 July 2019.

ALL FOR PAPE

Anərkē Shakespeare presents Shakespeare's Tragedy of Richard II

Anərkē Shakespeare

~ sometimes I believe in as many as six impossible things before breakfast ~

presents

Shakespeare’s Tragedy of Richard II

Tuesday 13 August - Saturday 17 August, 7.30pm and Sunday 18 August, 2.00pm

The Rose Playhouse, 56 Park Street, London, SE1 9AR

+44 (0)20 7261 9565

info@roseplayhouse.org.uk
To buy tickets click here

From 13th-18th August The Rose Playhouse, Bankside hosts the return season of Anərkē Shakespeare’s The Tragedy of King Richard II (in association with the Centre for Global Shakespeare at Queen Mary University of London).

Anərkē Shakespeare is a new, innovative theatre company that combines creative practice with scholarly research, inspired by the working conditions in which Shakespeare conceived his plays. Shakespeare’s “myriad minded” text is brought to life by a diverse, gender-blind, actor-led ensemble in an intensively short rehearsal period, without a director!

Shakespeare would not have known what a theatrical director was. Early modern theatre was a process of joint decision making in a collective enterprise. The actors staged and performed the plays. Together.

Anərkē Shakespeare creates raw, fast-paced theatre: all discoveries and decisions are made on the floor by the actors in relationship to each other and the text without the imposition of a single conceptual vision. We are committed to changing the way theatre is created and received, sharing Shakespeare’s text in new and democratically accessible ways, to empower the audience’s own critical engagement.

This timely rendition of Richard II, with its warring internal factions, troubles over Ireland, anxiety to keep England ‘Great’ and crucial deposition of the king, reflects the unstable political machinations of our time, in the historical venue of the Rose Theatre, site of the first Elizabethan theatre on Bankside, London. Preserving the foundations of the early modern playhouse, it is a liminal space—a palimpsest of place and time, like the company and the production.

The audience, together with the cast, will work imagination to bring to life the Sceptred Isle of England, in this film noir, naked-framed perspective of RICHARD THE SECOND – Shakespeare’s poetic masterpiece: a play of mirrors, balanced and hinged, in repeated chiasmus—heroes and anti-heroes, solitariness and community, substance and shadow.

In the hollow crown of a King keeps death his court, and inside this emptiness we find ourselves, facing Richard in his mirror. A haunting, rendering of the insatiable desire for power, the fragility of family, the dangers of vain and self-conceit and the tension between solipsism and shared grief.

Performing Restoration Shakespeare

Invitation to a Showcase at Shakespeare’s Globe, 17 July 2019

Come and learn about Restoration Shakespeare and watch live performances of music and scenes from two of the most popular Restoration-era adaptations of Shakespeare, The Tempest and Macbeth!

On the afternoon of 17 July, ‘Performing Restoration Shakespeare’—a research project funded by the Arts and Humanities Research Council—is holding a Restoration Shakespeare showcase in the Globe’s Sam Wanamaker Playhouse. You’ll get a behind-the-scenes look at our sold-out production of Restoration Macbeth, staged at the Folger Theatre (Washington, DC) in 2018. You will get unique insights from the Folger’s cast, stage director and musical director, and you will find out why Restoration-era adaptations of Shakespeare can be popular with audiences today. You’ll gain insights into the value of embedding scholars in the entire rehearsal and creative process. And you’ll hear first-hand accounts of how such collaborations unfolded in our production of Macbeth. Please join us for an afternoon of music, drama and discussion.

BOOKING: entry to the event is free, but we kindly ask that you register in advance: https://www.eventbrite.com/e/restoration-shakespeare-showcase-tickets-63111704808

For information on how to get to the venue, visit here


Event Schedule

16:00-16:05 Welcome (Will Tosh, Shakespeare’s Globe)

16:05-16:25 Research project overview: scope, method, activities and findings (Richard Schoch and Amanda Eubanks Winkler, project leaders)

16:25-16:40 Live performance of a musical scene from a Restoration version of The Tempest

16:40-17:00 Live performance of a monologue from Davenant’s Macbeth with Kate Eastwood Norris from the 2018 Folger production

17:00-17:30 Roundtable: Will Tosh, Globe; Robert Richmond, stage director, Macbeth; Bob Eisenstein, musical director, Macbeth

17:30-18:00 Q&A session

18:00-19:00 Informal drinks

Restoration Shakespeare

When the English civil war began in 1642, the theatres were shut down. When the theatres reopened in 1660 upon the restoration of the monarchy, few new plays were available. As a consequence, the theatre companies returned to the pre-1642 classics of Shakespeare and his contemporaries. But they did not perform Shakespeare’s plays the way that Shakespeare’s own company had done decades earlier. In the Restoration theatre, women (and not boy actors) played women’s roles; the new indoor theatres were equipped with a proscenium arch and moveable scenery; and song, music and dance featured much more prominently.

To read more about Restoration Shakespeare, visit how restoration playwrights reshaped Shakespeare plays


The Project

The project ‘Performing Restoration Shakespeare', led by Queen’s University Belfast, investigates how Restoration adaptations of Shakespeare succeeded in performance originally (1660-1714) and how they can succeed in performance today. It was launched in July 2017 in a successful partnership with Shakespeare’s Globe. Together, we held scholar-artist workshops and public performances in the Sam Wanamaker Playhouse of dramatic and musical scenes from Thomas Shadwell’s operatic Restoration-era adaptation of The Tempest (1674). Building on that initial success, we then collaborated with the Folger Shakespeare Library to hold scholar-artist workshops that led to a professional production of Davenant’s Macbeth (1664) in the Folger Theatre. The entire run was sold out before opening night and attracted wide press coverage, including both a feature article and a review in The Washington Post.

To find out more about the project, visit Restoration Shakespeare

Changing Histories - Rethinking the Early Modern History Play

- REGISTRATION NOW OPEN -

King’s College London, hosted by the London Shakespeare Centre, 4th–5th July 2019

Confirmed plenary speakers: Tracey Hill (Bath Spa University); Paulina Kewes (University of Oxford); and Emma Smith (University of Oxford)

Detail from ‘A True Chronology of all the Kings of England from Brute’ (c.1635)

We are delighted to announce that registration for Changing Histories: Rethinking the early modern history play is now open. Please click here to register.

The conference fees are:
• £25/day (Standard Rate)
• £15/day (Concessionary Rate: for students or unsalaried delegates)

Changing Histories is a two-day conference that aims to offer a reappraisal of the early modern history play.  Critical accounts of the “history play” have tended to concentrate on the categorization of plays in Shakespeare’s First Folio and to define the genre as the dramatization of medieval English monarchical history. However, early modern dramatists, audiences, publishers, and readers looked far beyond Shakespeare and these parameters.  Changing Histories seeks to explore the application of the term “history” during the period, question enduring critical views of historical drama, and examine the interconnections between texts representing a range of different pasts – including classical, biblical, pre-Christian British, European, Middle Eastern, and recent histories.

Changing Histories offers a rich programme of contributions from UK-based and international scholars, and includes keynote papers from Tracey Hill (Bath Spa), Paulina Kewes (Oxford), Emma Smith (Oxford), and Emma Whipday (Newcastle). It also features a practice-as-research performance workshop, led by James Wallace, Artistic Director of The Dolphin’s Back, which will explore how casting, staging, and reading practices can help shape our understanding of early modern historical drama.

A draft programme is available on our website.
Follow us on Twitter: @EarlyModernClio
Contact us by email: changinghistories@gmail.com

Changing Histories is generously supported by grants from the London Shakespeare Centre, the Faculty of Arts and Humanities at KCL, and the Society for Renaissance Studies.

 

Provisional Programme 

Day 1: 4th July

9:00 – 9:30 Registration

9:30 – 10:30 Keynote 1

Paulina Kewes (University of Oxford) – ‘Hamlet and the Staging of Danish History’

10:30 – 11:50 Panel 1: Originating Histories

Romola Nuttall (King’s College London) – ‘Mythical history and historic myth: Thomas Hughes’ The Misfortunes of Arthur’

Fraser McIlwraith (University of Oxford) – ‘An entrance for all disorders’: Macbeth and the Jacobean response to Robert Persons’s A Conference about the Next Succession to the Crown of England (1594/5)’

Sofie Kluge (University of Southern Denmark) – ‘Problematizing History: Lope de Vega’s Columbus-Play and Dramatic Historiography in Golden Age Spain’

11:50 – 12:50 Lunch

12:50 – 14:10 Panel 2: Playing Histories

Stephen Longstaffe (University of Nottingham) – ‘After Shakespeare: William Kemp and the medieval English history play’

Elizabeth Tavares (Pacific University Oregon) – ‘Men on Wire; or, The Queen’s Players and Their Extratheatricals’

Gerit Quealy (Independent Scholar) – ‘Duelling Histories: Insights and Insults from Philip Sidney to Thomas Nashe’

14:10 – 15:30 Panel 3: Speaking/Feeling Histories

Ann Kaegi (University of Hull) – ‘Traumatic Histories: Replaying the past on the English Renaissance stage’

Molly Clark (University of Oxford) – ‘Histories Transformed: Subversive verse form from Horestes to Edward IV’

David Hasberg Zirak-Schmidt (Aarhus University) – ‘“Sad Stories of the Death of Kings”: A Computationally Assisted Approach to Mourning in Shakespeare’s History Plays’

15:30 – 15:50 Coffee/Tea

15:50 – 17:10 Panel 4: Counselling Histories

Lorna Wallace (University of Stirling) – ‘Classical Counsel as Negative Example in Matthew Gwinne’s Nero’

Nicolas Thibault (Sorbonne Université) – ‘“What’s done was with advice enough”: Questioning the authority of the royal word in four late Elizabethan histories’

Nicole Mennell (University of Sussex) – ‘Natural History in the History Plays: The Case of the Lion King’

17:10 – 18:10 Keynote 2

Tracey Hill (Bath Spa University) – ‘“Bones of mee then I haue heard lyes": Civic history and the invention of Dick Whittington’

Wine reception



Day 2: 5th July

9:00 – 10:00 Keynote 3

Emma Smith (University of Oxford) – ‘True History: Tautology or Paradox?’

10:00 – 11:20 Panel 5: Fragmenting Histories

Jessica Chiba (Royal Holloway University) – ‘To the ending of the world’: The World-Historical perspective in Henry V’

Felicity Brown (University of Oxford) – ‘“Various historie”: The Misfortunes of Arthur’

Johannes Schlegel (University Würzburg) – ‘“Turning th’accomplishment of many years / Into an hour-glass”: Relating History in King Henry V’

11:20 – 11:40 Coffee/Tea

11:40 – 13:00 Panel 6: Stuart-ing Histories

Warren Chernaik (King’s College London) – ‘History as Warning: Middleton, Massinger, and the Censors’

Jitka Štollová (University of Oxford) – ‘Shaping Richard III after Shakespeare’

Martin Moraw (Boǧaziçi University) – ‘Middleton’s Aleatory Allegory’

13:00 – 13:50 Lunch

13:50 – 15:10 Panel 7: Sourcing Histories

Kit Heyam (University of Plymouth) – ‘Christopher Marlowe as historiographer: Shaping early modern narratives of Edward II’

Niall Allsopp (University of Exeter) – ‘Contingency and Consent: 1660s Heroic Dramas as History Plays’

Andrew Duxfield (University of Liverpool) – ‘“so honourable and stately a historie”: Tamburlaine the Great and Narrative Verse History’

15:10 – 16:40 Coffee/Tea and Workshop

The Dolphin’s Back: Henslowe’s Histories (led by James Wallace)

16:40 – 18:00 Panel 8: Performing/Refashioning Histories

Hailey Bachrach (King’s College London) – ‘Genre Trouble: How Female Characters Reshape Shakespeare’s Histories’

Jakub Boguszak (University of Southampton) – ‘Casting histories’

Hester Lees-Jeffries (University of Cambridge) – ‘“How it must have been”: History plays and the novels of Hilary Mantel’

18:00 – 19:00 Keynote 4

Emma Whipday (Newcastle University) – ‘“The most here present, know this to be true”: Domestic Tragedy as “Horrible” History’



Dinner (at Bryn Williams, Somerset House)






CALL FOR PAPERS [EARLIER POSTING - NOW UPDATED]

Critical accounts of the early modern “history play” have tended to use the classification of plays in Shakespeare’s First Folio to define the genre and align it with the dramatization of medieval English monarchical history. However, early modern dramatists, audiences, publishers, and readers looked far beyond these parameters. If our definition of the “history play” is expanded to incorporate a wider range of histories (including material that was believed to be historical), then the genre explodes both geographically and temporally. It would include, for example, classical history, biblical history, pre-Christian British history, European and Middle Eastern history, and recent history. This approach to the genre closely reflects how history was actually used, debated, and dramatized during the period, and draws attention to the connections and shared influences between plays engaging with very different historical subjects. It encourages a close examination of repertory patterns and evidence for lost plays (which have been overlooked in discussions of the history play) and raises crucial issues of reception, such as whether the agency for defining “history” ultimately lay with the individual spectators and readers of the plays. King Lear as an account of the lived past would appear very differently to a playgoer reliant on plays and ballads for their understanding for the past than it would to a reader of Camden’s sceptical Britannia.