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Shakespeare-Tagungen weltweit

CFP Macbeth in European Culture — Murcia (Spain) 22-24 March, 2022

Call for Papers


Die Shakespeare-Übersetzungen von August Wilhelm Schlegel und des Tieck-Kreises. Kontext – Geschichte – Edition:


Die als „Schlegel/Tieck“ bekannt gewordene Übersetzung sämtlicher Dramen William Shake­speares – sie wurde 1797 von August Wilhelm Schlegel begonnen und in den 1820er Jahren von Ludwig Tieck, seiner Tochter Dorothea und Wolf Heinrich von Baudissin fortgeführt – ist zu einem klassischen Text der deutschen Literatur geworden. Die Tagung möchte eine Neube­wertung dieser Übertragungen vornehmen, indem sie nach ihren Kontexten fragt: nach den Be­dingungen, der Theorie und der Praxis des Übersetzens, nach der Bedeutung innerhalb des früh­romantischen Programms sowie nach dem Konzept einer „romantisch-poetischen“ Über­setzung. Außerdem werden die Unterschiede in den Verfahren August Wilhelm Schlegels bzw. des Tieck-Kreises, schließlich die intensive Rezeption bis in die Gegenwart vorgestellt und dis­kutiert; auch soll es um die Frage gehen, wie der „Schlegel/Tieck“ heute am sinnvollsten histo­risch-kritisch ediert werden kann, welche Anforderungen dabei zu beachten sind und welche digitalen Verfahren bei einer solchen dringend notwendigen Edition zum Einsatz kommen müs­sen. Ein Tagungsband ist geplant.

All the World’s a Stage conference
17 April 2021
University of Liverpool

All the World’s a Stage conference aims to explore the Theatre, Staging, and Adaptations of the Early Modern.


2021 World Shakespeare Congress


19-23 JULY 2021


WSC 2021 Letter Jan 2021

Shakespeare and Actors: 2020 Société Française Shakespeare conference Paris, 9-11 January 2020

URL: https://journals.openedition.org/shakespeare/4551

Call for papers

“All the world’s a stage, / And all the men and women merely players” (2.7.139-40), says Jaques in As You Like It, suggesting that playing is inherent to life itself. Throughout their dramatic production, Shakespeare and his contemporaries were keen on showcasing the omnipresence of actors while also stressing the instability of their status. As a theatrical practitioner himself, Shakespeare wrote primarily for his company and his rhythmic language was specifically designed for being projected from a stage. It is thus hardly a surprise to find so many metadramatic and metatheatrical allusions on the early modern stage, from the mechanicals in A Midsummer Night’s Dream to the travelling actors in Hamlet, instances of mise en abymeof the theatrical world abound, emphasising the motif of theatrum mundi. Together, they call for a reflection on the uncertain boundaries between stage and life, and on the material conditions surrounding the acting profession.


Language and knowledge in Early Modern Britain: Circulating Words, Expanding Lexicons: Paris, 15-16 November 2019

Confirmed keynote speaker: Philip Durkin, Oxford English Dictionary

In the early modern period, the humanist practice of translation of sacred as well as secular texts created new readerships in the vernacular for authoritative texts, religious or classical. While the circulation of vernacular languages within Europe contributed to reshuffle hierarchies between classical languages and vernacular tongues, the role of a unified language to promote unity was highlighted at a national level in manifestos (such as Joachim Du Bellay’s Deffence et Illustration de la Langue Francoyse from 1549, itself adapted from Sperone Speroni’s Italian 1542 Dialogo delle lingue). Transmission via translation was thus not only vertical, but also horizontal, and the contacts between European languages allowed for expanding local lexicons from sources other than Latin or Greek. In England, the controversy about “inkhorn terms” – those foreign borrowings, mainly from Romance languages, which were deemed superfluous by some because Saxon equivalents already existed – is well known.

For more information, see http://tape1617.hypotheses.org

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