Draft Panel Programme
1. Editing Hamlet
Chair: To be confirmed
Title to be confirmed, Ann Thompson (King’s College London, UK)
Title to be confirmed, Nick Clary (St Michael’s College, Vermont, USA)
Title to be confirmed, Eric Rasmussen (University of Nevada, USA)
Title to be confirmed, Alessandro Serpieri (University of Florence, Italy)
Title to be confirmed, Neil Taylor (Roehampton University, UK)
Title to be confirmed, Jesus Tronch-Perez (University of Valencia, Spain)
2. The Renaissance of Shakespeare on Film
Chair: To be confirmed
Conceptual Equivalents: Latin American Shakespeare Film, Mark Thornton Burnett (Queen’s University, Belfast)
Of Samurais and Knights-Errant: Unthinking Visuality in East Asian Shakespeare Films, Alexander C. Y. Huang (Penn State University and MIT, USA)
The Last Lear: A New Turn in Indian Shakespeare Cinema, Poonam Trivedi (Indraprastha College, University of Delhi)
3. Shakespeare and the Visible World
of the Renaissance
Chair: To be confirmed
Shakespeare’s Pictorial Knowledge, John Astington
(University of Toronto, Canada)
Shakespeare and Renaissance Ecphrasis, Catherine Belsey
(Swansea University, UK)
"A book where one may read strange matters": envisaging character on the Shakespearean Stage, Michael Neill (University of Auckland, New Zealand)
4. Shakespeare, England, Britain, Europe and
the Rest of the World
Chair: To be confirmed
Title to be confirmed, Graham Holderness (University of Hertfordshire, UK)
Title to be confirmed, John Joughin (University of Central Lancashire, UK)
Title to be confirmed, Willy Maley (University of Glasgow, UK)
Title to be confirmed, Balz Engler (Emeritus, University of Basel, Switzerland)
Title to be confirmed, Margaret Tudeau-Clayton (University of Neuchâtel, Switzerland)
5. International Relations in
Shakespeare’s Histories
Chair: To be confirmed
Title to be confirmed, Atsuhiko Hirota (Kyoto University, Japan)
Title to be confirmed, David Bevington (University of Chicago, USA)
Title to be confirmed, Jean-Christophe Mayer (Université Paul-Valéry
Montpellier III, France)
Title to be confirmed, James Tink (Tokyo Women’s College, Japan)
6. Marxist Shakespeares: Art, Entertainment,
and Genre
Chair: Hugh Grady (Arcadia University, USA)
“Reification, mourning, and the Aesthetic in Antony and Cleopatra and The Winter’s Tale”, Hugh Grady (Arcadia University, USA)
Genealogies of Fun: The Revolutionary Emergence of Entertainment Value as a Theoretical Problem, Donald Hedrick (Kansas State University, USA)
Early Modern Tragedy: Genre, the Aesthetic, and the Social, Jean Howard (Columbia University, USA)
7. Birth or Rebirth? Mapping Female Presence in Shakespearean Scholarship and Theatre
in the Nineteenth Century and Beyond
Chair: To be confirmed
Getting into the Archives: Women as Researchers in 19th century Britain, Grace Ioppolo (Reading University, UK)
La Gallérie de Shakespeare: French Women Respond to England’s Bard, Georgianna Ziegler (Folger Shakespeare Library, USA)
Born Outside the Magic Pale of the Anglo-Saxon Race: Political and Personal Dimension of Helena Modjeska’s Contribution to Shakespeare Studies, Krystyna Kujawinska Courtney (University of Lodz, Poland)
8. Calling Back Yesterday:
Stoppard and Shakespeare
Chair: Andreas Hoefele (University of Munich)
The Stoppard Chronicles, Jill L. Levenson (Trinity College Toronto, Canada)
Stoppard and Shakespeare, Hersh Zeifman (York University, Canada)
Narrative and Dramatic Sources of Stoppard, Hanna Scolnicov (Tel-Aviv University, Israel)
9. Asian Shakespeare and Intercultural Performance
Chair: To be confirmed
Title to be confirmed, Hyon-U Lee (Soonchunhyang University, Korea)
Title to be confirmed, Li Lan Yong (University of Singapore, Singapore)
Title to be confirmed, Kaori Kobayashi (Nagoya City University, Japan)
Title to be confirmed, Michiko Suematsu (Gunma University, Japan)
10. Shakespeare's Medieval Mediations
Chair: To be confirmed
Title to be confirmed, Ruth Morse (Université de Paris, Denis Diderot, France)
Title to be confirmed, Supriya Chaudhuri (Jadavpur University, India)
Title to be confirmed, Helen Cooper (University of Cambridge, UK)
11. Rethinking Othello in Source Study,
Stage History, Film
Chair: To be confirmed
Title to be confirmed, Marianne Novy (University of Pittsburgh, USA)
Recasting race: Othello, and the politics of difference, Ania Loomba (University of Pennsylvania, USA)
Talking about men (Othello 4.3): Desdemona and Emilia in the late twentieth century, Penny Gay (University of Sydney, Australia)
12. Digital Humanities and Shakespeare Renaissances: Virtual Reality, Motion Capture, and Live Streaming of Early Modern Theatre
Chair: To be confirmed
The Use of Virtual Reality Models in capturing the Spatiality of Early Modern Venues, Joanne Tompkins (University of Queensland, Australia)
Using virtual modelling to examine renaissance staging options, Richard Fotheringham (University of Queensland, Australia)
Training the actor for Performance Capture, Matt Delbridge (University of
Queen Mary, UK)
13. Shakespeare in Bohemian Music
Chair: Christa Jansohn (University of Bamberg, Germany)
Georg Benda: A global composer and his Singspiel Romeo und Julie (1776), Gabriele Buschmeier (Academy of Sciences and Literature, Mainz, Germany) and Christa Jansohn (University of Bamberg, Germany)
“Shakespeare and Smetana”, Olga Mojžíšová (Smetana Museum, Czech Republic)
Orchestral Othello: Antonín Dvořák’s Concert Overture (1892), op 93, Albrecht Riethmueller (Freie Universität Berlin, Germany)
14. Shakespeare in the Habsburg Empire and
the Emergence of Modern National Identities
Chair: Martin Procházka (Charles University, Prague) and Manfred Draudt (University of Vienna)
Hungarian Cult of Shakespeare, Attila Kiss (University of Szeged, Hungary)
Shakespeare and Czech Romantic Visions of History, Martin Procházka (Charles University, Czech Republic)
Shakespeare in the Nineteenth-century Transylvania, Madalina Nicolaescu (University of Bucharest, Bucharest, Romania)
‘Patria Oppressa!’: Macbeth in Habsburg Italy, Mariangela Tempera (University
of Ferrara, Italy)
Shakespeare and the Struggle for Cultural Identity in Habsburg Poland, Marta Gibińska (Jagiellonian University, Krakow, Poland)
The Role of Shakespeare in the Establishment of Austria's National Theatre and Identity, Manfred Draudt (University of Vienna, Austria)
15. Shakespeare, Lope de Vega, and Festivals
in Renaissance Europe
Chair: To be confirmed
Early Modern European Festival: Antony and Cleopatra and The Merchant of Venice, Ronnie Mulryne (Emeritus, Warwick University, UK)
Festival Culture in Shakespeare’s England: Disrupting Ceremony in the Second Tetralogy, Margaret Shewring (Warwick University, UK)
Festival Spectacle in a play by Lope de Vega, David Sánchez Cano (Universidad Alfonso X, Madrid, Spain)
16. Shakespeare Illustrated
Chair: François Laroque (Université Sorbonne Nouvelle – Paris III, France)
The Illustrated Shakespeare, Stephen Orgel (Stanford University, USA)
Love’s Labor’s Lost and the Language Arts, Michael Wyatt
(Stanford University, USA)
Textual and visual strategies: Shakespeare’s labyrinth, Sophie Chiari (Université de Provence, France)
17. Shakespeare’s Italy, from Machiavelli
to the Present
Chair: To be confirmed
Defying the Stars: Tragic Love in Shakespeare's Romeo and Juliet, Paul A. Kottman (The New School, New York, USA)
Title to be confirmed, Shaul Bassi (Università Ca´ Foscari, Venice, Italy)
Shakespeare's Italian Things, Julia Reinhard Lupton (University of California
at Irvine, USA)
Rough Magic and Italian Blasphemies in The Tempest, Gilberto Sacerdoti (Universita di Roma Tre, Italy)
18. The Traffic in Romance: Shakespeare, Intertextuality, Internationalism
Chair: To be confirmed
Temporal Elisions and Ambiguous Locations in Cymbeline and The Tempest, Valerie Wayne (University of Hawaii, USA)
Transylvania, Scythia, and the Euxine Sea: Eastern European Shifting Locations in Pericles, Monica Matei-Chesnoiu (Ovidius University, Constanţa, Romania )
Shakespeare’s Palimpsestuous Romance, Lori Humphrey Newcomb (University of Illinois, USA)
19. Contemporary Intersections in the Shakespeare Renaissance
Chair: Armando Cobos (California Institute of Technology, USA)
Title to be confirmed, Mark Bland (De Montfort University, UK)
Title to be confirmed, Jean Brink (Huntington Library, USA)
Title to be confirmed, Tiffany Werth (Simon Fraser University, Canada)
Shakespeare Reading Sidney: Pathetic Optics, Paphlagonian Spectacle, and
King Lear, Robert Stillman (University of Tennessee, USA)
20. The Presence of the Past
Chair: Avraham Oz, (University of Haifa, Israel)
Bear them hence, Alan Sinfield (University of Sussex, UK)
The Politics of Presentism, Evelyn Gajowski (University of Nevada,
Las Vegas, USA)
Presentism in the Archive, Bruce Smith (University of Southern California, USA)
Toward a More Flexible Notion of History, Linda Charnes (Indiana University, Bloomington, USA)
‘What we do’: Presentism, Historicism and Conventionalism on the Shakespearean Stage, Adrian Kiernander (University of New England, Australia)
Size and matter, Wooden O and Nationhood: The Rise and Fall of an Immeasurable Metonymy, Avraham Oz (University of Haifa, Israel)
21. Crawl, Adapt, and Graft: New Evolutionary Paths in Shakespeare Ecocriticsm
Chair: Marcus Nordlund (University of Gothenburg, Sweden)
‘I wish you joy o’th’worm’: Darwin’s “Life of Worms” and the Ecology of Shakespearian Tragedy, Randall Martin (University of New Brunswick, Canada)
Title to be confirmed, Daniel Brayton (Middlebury, USA)
Adapt or Die: The Evolution of Shakespearean Tragedy in Film, Sharon O’Dair (University of Alabama, USA)
22. The Queen of Bohemia’s Wedding
Chair: To be confirmed
The Queen of Bohemia's Wedding, James J. Marino
(University of Cleveland, USA)
A Special Decorum: Bartholomew Fair and the Lady Elizabeth's Men, Richard M. Preiss (University of Utah, USA)
The Cult of the Queen of Hearts: The Image of Elizabeth as reflected in Poetry, Painting & Letters, Nadine Akkerman (CELL, Queen Mary, University of London)
23. Early Modern Englishwomen Dramatists
Chair: To be confirmed
Title to be confirmed, Alison Findlay (Lancaster University, UK)
Title to be confirmed, Akiko Kusunoki (Tokyo Woman’s Christian
University, Japan)
Re-Editing Love’s Victory, Paul Salzman (La Trobe University, Australia)
Wroth's Love's Victory and the question of stage history, Marion Wynne-Davies (University of Surrey, UK)
24. Eastern European Directors: The Cold War Years
Chair: Ann Jennalie Cook (Emerita, Vanderbilt University, USA)
Title to be confirmed, Alexey Bartoshevitch (State Institute of Arts Research, Moscow, Russia)
Title to be confirmed, Robert Sturua (Shota Rustaveli Dramatic Theatre, Georgia)
Title to be confirmed, Vlasta Gallerová (Kolowrat Theatre, Czech Republic)
Title to be confirmed, Alexander Shurbanov (Sofia University, Bulgaria)
25. Shakespeare Before the Flood
Chair: Marion O'Connor (University of Kent, UK)
`“I, that have seen Joseph Taylor, and Lowen, and Swanstead”: Shakespeare and the King’s Men, 1623-42', Lucy Munro (Keele University, UK)
`Shakespearean traces in the early plays of James Shirley', Anthony Parr (University of the Western Cape, South Africa)
Title to be confirmed, David Lindley (University of Leeds, UK)
26. Experiments with Genre: Shakespeare’s
Plays and Verse
Chair: To be confirmed
The Dramatic Propensities of Shakespeare’s Sonnets: A Renaissance Feature, Alexander Shurbanov (University of Sofia, Bulgaria)
Shakespeare’s Lost Pastorals, Sukanta Chaudhuri (Jadavpur University, India)
Title to be confirmed, Gabriel Egan (Loughborough University, UK)
