The Australian Research Council (ARC) Centre of Excellence for the History of Emotions in collaboration with the University of Western Australia, the University of Adelaide, the University of Melbourne, The University of Sydney and the University of Queensland, seeks to appoint four exceptional postdoctoral research fellows to contribute to research projects in the history of emotions in Europe, c. 1100-1800.
The Centre addresses big questions: to what extent are emotions universal? How, and to what extent, are they culturally conditioned and subject to historical change? What are the causes and consequences of major episodes of mass emotional experiences? How are emotions created and conveyed through the arts? How does Australia’s emotional heritage influence today’s social and cultural patterns? The Centre draws on advanced research expertise at five nodes in Australia (the Universities of Western Australia, Adelaide, Melbourne, Sydney and Queensland), plus research partnerships in the UK, Germany, Switzerland, Sweden and Canada. Our approach is strongly interdisciplinary, with researchers spanning the fields of social and cultural history, literature, art history, museology, Latin studies, history of medicine and science, musicology and performance practice.
These prestigious fellowships (with additional $16K pa research support) offer an exciting opportunity for innovative and enthusiastic scholars with demonstrated track records in medieval and/or early modern studies, and a capacity to engage in interdisciplinary research. Applicants must have a PhD in a relevant discipline in medieval and/or early modern studies. Benefits include 17% superannuation and generous leave provisions. Some relocation allowance for successful applicants will be considered. These and other benefits will be specified in the offer of employment.
University of Melbourne
• Research Fellowship in Emotional Response to Disaster (Position number 0031917)
• Research Fellowship in Emotional Responses to Environment (Position number 0031918)
For position information and to apply online go to: www.jobs.unimelb.edu.au
University of Western Australia
• Research Fellowship in Emotions in Literature/Drama (REF: 492581)
• Research Fellowship Passions for Learning (REF: 492582)
For position information and to apply online go to: http://external.jobs.uwa.edu.au/cw/en/listing/
Shakespeare: Text, Power, Authority
University of Stirling, 3-6 July 2014
In the four hundred and fiftieth year since Shakespeare’s birth, this conference seeks to explore questions of authority for Shakespeare, in Shakespeare, and about Shakespeare. It aims to investigate the relationship between text, power, and authority, both in the writing of Shakespeare and in writing about Shakespeare. Shakespeare’s works ask us repeatedly to think about what constitutes authority, about where authority lies, and about the performance of authority. Shakespeare has also himself repeatedly been used as a form of cultural capital and authority, and we therefore also welcome contributions that explore some of the different ways in which his plays and poems have been deployed in various times and places. Shakespeare’s works prompt us to think about textual authority, too. What is textual authority? What makes one text more authoritative than another? How have ideas of textual authority changed over time, and what, politically, is at stake in these changes?
Topics may include:
- Shakespeare's biblical and classical authorities
- Monarchy and sovereignty in Shakespeare's works
- Democracy and Republicanism in Shakespeare's works
- The representation and performance of power in Shakespeare's works
- Editing Shakespeare
- Shakespeare and politics
- Shakespeare(s) past and present
- Re-writing and adapting Shakespeare
- Writing about Shakespeare
- Shakespeare's critics and readers
- Shakespeare on stage and screen
- Shaekspeare and copyright
- Shakespeare and nationhoold/identity (in the year of the Scottish referendum on independence, we particularly welcome proposals on Shakespeare and Scotland)
- Teaching Shakespeare
- Shakespeare and institutional power
- Shakespeare and the visual arts
The conference programme will include lectures, papers, workshops, seminars, performances, and excursions. We welcome proposals for papers or presentations (20 minutes), panels (90 minutes) or workshops (90 minutes) on any aspect of the conference theme, broadly interpreted.
Abstracts (250 words or less) should be sent to
by 31 January 2014. Visit the conference website at http://shakespeare.stir.ac.uk .
Professor Margreta de Grazia (University of Pennsylvania)
Professor Andrew Murphy (University of St Andrews)
Professor John Drakakis (University of Stirling)
Dr Colin Burrow (University of Oxford)
Dr Michael Bogdanov (Director, The Wales Theatre Company)
April 10th 2014, The British Institute of Florence
The British Institute of Florence’s annual Shakespeare Graduate Conference is a one-day interdisciplinary and bilingual English-Italian forum open to PhD students and researchers who have obtained their doctorates within the past 5 years. This year’s conference theme is Shakespeare and His Contemporaries: Forms of Nationhood. Contributions are welcomed on the topic of national identity and representations of Elizabethan England in the literary production of William Shakespeare and his contemporaries (playwrights, poets and others) across different disciplines (not limited to): literature, comparative studies, history, art history, cinema and theatre history.
For further details of how to submit abstracts, please visit the conference website. Deadline for abstracts is October 30th 2013.
Members of the British Shakespeare Association are invited to Celia Lendis Galleries in Moreton in Marsh, Gloucestershire, to experience the current exhibition 'Brook: Painting Ophelia'. On Saturday 6 July, from 4pm, British-Tasmanian artist John Lendis will be discussing the ideas, inspiration and stories behind his 24 piece exhibition that takes a contemporary look at Ophelia, and her importance throughout art history. John has researched Ophelia meticulously, and his work is both dense with meaning as well as beautiful.
For centuries (Ophelia) will appear to dreamers and to poets, floating on her brook with her flowers and her tresses spread out upon the water. She will provide the pretext for one of the greatest poetic synecdoches. She will be floating tresses, tresses loosened by the floods.' (Bachelard)
Water is emerging as a significant driving force in these paintings, as images compete for dominance in each painting - the repetition of Ophelia, reinscribed and repainted throughout art history and here, by the artist, in his studio over and over, demands to be an equivalence to the deep, cold, clear water and its magical and mythical inheritence, so prevalent in this part of England through pagan, Roman, medieval and modern history.
John Lendis has held more than 40 solo exhibitions in 4 countries and has paintings in public and private collections in all. His new body of work is a pursuit of Ophelia through the Cotswold villages and landscapes and through the lives, images and words of the artists who used to inhabit the places where Lendis now lives and works as a fulltime artist.
For directions and further details, please contact the gallery at http://www.celialendis.com/ .