Dominique Goy-Blanquet

The Shakespeare Conference: SHK 30.066  Saturday, 16 February 2019


From:        Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 15, 2019 at 4:55:53 PM EST

Subject:    Dominique Goy-Blanquet


I need help. Dominique Goy-Blanquet has agreed to be my next “Talking Books” guest. I am ready to send her a draft introduction and questions, but her university e-mail address in no longer working. I am going to X out the part of the email address I have that follows the dot to protect Dominique’s privacy. The address we have been using to correspond is This email address is being protected from spambots. You need JavaScript enabled to view it.. If you have that address, it will not help, but if you have another way to contact Dominique, please let me know ASAP. She must think I have disappeared from the face of the earth since I have been trying to make the address above work for two weeks. Thanks.


All the best, 

Mike Jensen 

Contributing Editor, Shakespeare Newsletter

Co-General Editor, Recreational Shakespeare

Author, The Battle of the Bard

author site:




The Very Modern Anger of Shakespeare’s Women

The Shakespeare Conference: SHK 30.065  Thursday, 14 February 2019


From:        Robert Appelbaum <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 5:34:51 PM EST

Subject:    RE: SHAKSPER: Anger


I was pleased to read the full article by Laura Kolb on Shrew and MM. It is a very good article, showing how a structure of feeling (in this case, a structure of anger) can move from Shakespeare to the present day, in a way which illuminates both. However, my initial criticism, based on a reading of only a part of the article, remains. Katherine is NOT an example of the exchange of women, as canonically defined by Gayle Rubin. Nor is she an example of a “market” in women for sexual purposes, or for financial purposes either. Having apparently solved the problem of Kate, on Petrucchio’s word, Baptista asks his other daughter’s suitors to assure a “dower.” Not a dowry, which Baptista would have had to pay to one of his daughter’s husbands, but a “dower,” which Bianca’s husband would have to pay. Such a dower would be a grant of wealth, whether in cash or in property, that the woman would receive on the occasion of her husband’s death.


In other words, although there is a debate in this play about how much Baptista would provide for a “dowry” to Petruchio, there is also a debate how much Bianca would receive as a “dower.” Women are NOT being bought and sold. They are entering into a system of symbolic exchange where their marriages are meant to assure the preservation of capital, whether in the case of marriage Petrucchio’s marriage to Katherine, or in Bianca’s marriage to Lucentio, which is to say whether in the case of a dowry or a dower.


Let us note too that we are talking about the preservation of capital in an era of what Marx called “primitive accumulation.” There is no open market in women in this era, if ever there has been one. There is something that hardly represents a market in our sense of the word. And there is no “market” in women. Instead, there are relations of status and capital where, if Baptista’s remarks are taken at face value – and why shouldn’t they be? – capital and dignity are meant to be negotiated along with such incalculable functions as desire and propriety. Kate is NOT sold. And Bianca is NOT exchanged for profit. 


Robert Appelbaum

Professor of English Literature

Uppsala University




CFP: The Wooden O Symposium

The Shakespeare Conference: SHK 30.064  Thursday, 14 February 2019


From:        Stephanie Chamberlain <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 4:54:56 PM EST

Subject:     Call for Papers: The Wooden O Symposium






The Wooden O Symposium invites panel and paper proposals on any topic related to the text and performance of Shakespeare’s plays. The 2019 conference seeks papers that investigate our 2019 theme: The Ties that BindTopics could range from familial relationships, playwright associations, or the societal bonds that connect Shakespeare’s characters. Consideration will also be given to papers dealing with first folio connections in conjunction with The Book of Will. We welcome unique interpretations of this theme. This year’s symposium encourages papers and panels that speak to the Utah Shakespeare Festival’s 2019 season: Macbeth, Hamlet, The Conclusion of Henry VI: parts Two and Three, Twelfth Night, as well as The Book of Will. Abstracts for consideration for the Wooden O sessions and individual presentations should be sent to This email address is being protected from spambots. You need JavaScript enabled to view it..


The deadline for proposals is May 10, 2019. Session chairs and individual presenters will be informed of acceptance no later than June 1. Please include 250-word abstracts or session proposals (including individual abstracts) and the following information:

  • name of presenter(s)
  • participant category (faculty, graduate student, undergraduate, or independent scholar)
  • college/university affiliation
  • mailing address
  • email address
  • audio/visual requirements and any other special requests. For further information, call 435-865-8333.



Book Announcement: Shakespearean Character: Language in Performance

The Shakespeare Conference: SHK 30.063  Thursday, 14 February 2019


From:        Jelena Marelj <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 4:08:38 PM EST

Subject:    Book Announcement: Shakespearean Character: Language in Performance


My book, Shakespearean Character: Language in Performance, has been published with the Arden Shakespeare/Bloomsbury. The book examines how the very lifelikeness of Shakespeare’s dramatis personae is produced. Using theories drawn from linguistic pragmatics, I explore five of Shakespeare’s most  linguistically complex and self-conscious protagonists. The book develops a new concept of dramatic character and will be useful not only for professors and graduate students, but also for theatre practitioners (directors, actors, etc.).



Shakespeare in Stratford-upon-Avon Undergraduate Summer School

The Shakespeare Conference: SHK 30.062  Thursday, 14 February 2019


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 2:32:31 PM EST

Subject:    Shakespeare in Stratford-upon-Avon Undergraduate Summer School



Shakespeare in Stratford-upon-Avon Undergraduate Summer School


This Undergraduate Summer School invites you to study Shakespeare intensively and rigorously through academic and practical work with the Shakespeare Institute and the Royal Shakespeare Company in Shakespeare's home town, Stratford-upon-Avon.



1-19 July 2019


We will explore the latest developments and the big questions in Shakespeare Studies, in areas including contemporary performance, textual and historical studies, and cultural studies.


How and why is Shakespeare performed today? How does a play make meaning in performance? What can we learn by studying plays in their historical context? What can Stratford tell us about Shakespeare, both as a historical playwright and as a contemporary cultural icon? Where do our modern texts of ‘Shakespeare’ come from, and why might that matter to modern readers, scholars or performers?



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