Modern Mythologies Conference
Loughborough University, London Campus, UK, 19-21 September 2019
Deadline for submission: May 30, 2019
The Arts in the Public Sphere research group comprises academics working across a range of disciplines in the arts, humanities and social sciences, including literary studies, history, drama, linguistics, semiotics, fine art, graphics, and sociology. It aims to explore from an interdisciplinary perspective the historical and contemporary relation between the artist-as-producer to a variety of public spheres, to investigate how contemporary social groups understand matters of ‘public interest’, and to assess how the idea of the ‘common good’ is approached and represented in the arts, humanities, and the social sciences.
The conference has arisen in response to growing questions about the relationship between cultural mythologies and the Public Sphere. Some of the main issues to be investigated (but not limited to) include traditional and emerging theories of the public sphere, literature and drama as a public art, the politics and language of creativity, the public sphere as a form of narrative, the place and role of religion in a multicultural society, the role of the university in promoting cultural production, and technology’s role in promoting (or prohibiting) the ‘public good’. Participants drawn from a wide international constituency of academics and community partners will debate these questions as well as advise on possible strategies to help ensure the future of contemporary cultural practices that address how to keep the Public Sphere ‘public.’ Discussions will take place in a variety of formats, including panels, workshops, exhibitions, poster presentations, and Q&As.
The conference seeks to create ongoing networks of researchers, practitioners, and professionals in fields related to the question of modern mythologies and the Public Sphere. The conference will offer two opportunities for publication. Contributors may submit material for consideration to a special issue of the peer-reviewed journal CounterText : “Literature in the Pubic Sphere – Now” (https://www.euppublishing.com/loi/count), and a special issue of the peer-reviewed journal Humanities on “The Public Place of Drama in Britain, 1968 to the Present Day” (http://www.mdpi.com/journal/humanities/special_issues/Drama).
We invite you to submit proposals for panels, workshops, or posters. We particularly welcome submissions from postgraduate students. 300 word proposals should be submitted simultaneously to the organizing chair, Professor Nigel Wood: firstname.lastname@example.org and the conference administrator: Tina Harvey: email@example.com on or before May 30, 2019. Suggestions for panels would be welcome and should be indicated before January 10, 2019.
This conference is supported by the Arts in the Public Sphere Research Group, Loughborough University (http://www.lboro.ac.uk/departments/aed/staff-research/research-groups/artsinthepublicsphere/).
(posted 5 June 2018)
Shakespeare on Screen in the Digital Era: The Montpellier Congress
Montpellier, France, 26-28 September 2019
Deadline for Seminar and Panel proposals; 30 May 2019
Venue: Université Paul-Valéry Montpellier 3, site Saint Charles, France
Conference coordinators: Sarah Hatchuel (GRIC, EA 4314, Université Le Havre Normandie) and Nathalie Vienne-Guerrin (IRCL, UMR5186, CNRS/ Université Paul-Valéry Montpellier 3)
Sylvaine Bataille, Université de Rouen Normandie, France; Victoria Bladen, University of Queensland, Australia; Claire Cornillon, Université Paul-Valéry Montpellier 3, RIRRA21, France; Christy Desmet, University of Georgia, USA; José Ramón Díaz, University of Málaga, Spain; Patricia Dorval, IRCL, UMR5186, CNRS/Université Paul-Valéry Montpellier 3, France; Sujata Iyengar, University of Georgia, USA; Pierre Kapitaniak, IRCL, UMR5186, CNRS/ Université Paul-Valéry Montpellier 3, France; Ronan Ludot-Vlasak, Université Lille 3, France
Douglas Lanier, University of New Hampshire
Courtney Lehmann, University of the Pacific
Samuel Crowl, Ohio University;
Russell Jackson, University of Birmingham
Judith Buchanan, University of York
Poonam Trivedi, University of Delhi
120 years after the filming of King John by Herbert Beerbohm Tree in 1899, which inscribed Shakespeare on celluloid for the first time; thirty years after the release of Kenneth Branagh’s Henry V(1989), which triggered the fin-de-siècle wave of screen adaptations; twenty years after the publication of Kenneth S. Rothwell’s seminal History of Shakespeare on Screen (CUP, 1999) and twenty years after The Centenary Shakespeare on Screen Conference organized by José Ramón Díaz at the University of Málaga in September 1999, which constituted “Shakespeare on Screen” scholars into an international academic community, time has come to gather together again to reflect on the evolutions of both our objects and methods of study.
The “Shakespeare on Screen in the Digital Era” International Conference invites scholars worldwide to explore the consequences of the digital revolution on the production, distribution, dissemination and study of Shakespeare on screen. Since the 1999 Málaga conference, the rise (and fall) of the DVD, the digitalization of sounds and images allowing us to experience and store films on our computers, the spreading of easy filming/editing tools, the live broadcasts of theatre performances in cinemas or on the Internet, the development of online video archives and social media, as well as the increasing globalisation of production and distribution (raising the question of technological availability worldwide), have changed the ways Shakespeare is (re)created, consumed, shared and examined. Shakespeare’s screen evanescence and his transfictional and transmediatic spectrality have blurred the boundaries between what Shakespeare is and is not, leading us to question our own position as scholars who keep spotting, constructing and projecting “Shakespeare” in audiovisual productions.
We invite seminar proposals (international pairs or trios of convenors are welcome) and panel proposals (featuring 3 short contributions) exploring the screen afterlives of Shakespeare’s works in the digital era all over the world, revisiting the Shakespearean “classics” as they have been re-released in various formats, examining how the technological and aesthetic issues intersect with questions of gender, class, ethnicity and ethics, and interrogating more theoretically what “is” and “is not” Shakespeare on screen. Seminar proposals (including a 400-word presentation and a short bio for each convenor) and panel proposals (including three 300-word abstracts and three short bios) should be sent by 30 May 2018 to Sarah Hatchuel (firstname.lastname@example.org) and Nathalie Vienne-Guerrin (email@example.com)
(posted 26 January 2018)