Les Ateliers PEARL – Paléographie & « Letterlocking » 11 juin 2018

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Les Ateliers PEARL

11 juin 2018, 14h-18h, Institut du Monde Anglophone, salle 16.

Les deux ateliers pratiques organisés par PEARL le 11 juin prochain seront centrés sur la matérialité de l’épistolaire et des correspondances de la période moderne (XVIe-XVIIIe). Etudiants et enseignants-chercheurs seront initiés à la paléographie de la période et aux différentes techniques pratiquées pour garantir à la fois la confidentialité et l’authenticité des lettres.


14h-15h45 : Atelier paléographie XVIe-XVIIIe siècle, avec Guillaume Coatalen

16h-18h00 : Atelier « Letterlocking », avec Jana Dambrogio et Daniel Starza Smith

Le nombre de places étant limité, il est obligatoire de s’inscrire : miller-blaise.am@wanadoo.fr

Guillaume Coatalen est maître de conférences en littérature anglaise de la Renaissance à l’université de Cergy et membre de l’EA PRISMES. Son travail porte notamment sur les transferts poétiques et rhétoriques dans l’Europe de la première modernité, ainsi que sur la correspondance. Il a co-édité un volume sur la correspondance étrangère de la reine Elisabeth Ire d’Angleterre (Queen Elizabeth I’s Foreign Correspondence: Letters, Rhetoric and Politics, Palgrave Macmillan, 2014) et prépare en ce moment une édition critique de deux traités de rhétorique élisabéthains. Il a étudié la paléographie à Trinity College, où il a été formé par Jeremy Maule. https://sites.google.com/site/gcoatalen/


Jana Dambrogio is Thomas F. Peterson (1957) Conservator at MIT Libraries. She has held positions at the National Archives, United Nations, and Vatican Secret Archives, is a recipient of a Booth Family Rome Prize Fellowship in historic preservation and conservation, and was recently elected a member of the Grolier Club. She coined the term letterlocking in 2009 to describe the systems of deliberate folds, slits, locks, and seals that build security, privacy, and authentication enhancements into letters. Dambrogio’s specialization is developing tools and treatment techniques to conserve material culture and the secrets they contain.
Daniel Starza Smith is a lecturer in early modern English Literature at King’s College London. He is author of John Donne and the Conway Papers (OUP, 2014), and co-editor of Manuscript Miscellanies in Early Modern England (Ashgate, 2014). He most recently published on a newly discovered John Donne manuscript at Westminster Abbey (https://doi.org/10.1093/res/hgx135).

Dambrogio and Smith are co-founders of the Unlocking History research group, co-editors of the Dictionary of Letterlocking and letterlocking.org, and both work on the international project Signed, Sealed, & Undelivered (http://brienne.org/).

Workshop participants will unlock models of various historical locked letters, then learn to make their own. We will discuss these letters in terms of their security and aesthetic features, and consider them alongside images of real archival originals by historic figures such as John Donne and Elizabeth I.


PEMS – 4 mai – « Strolling Players / Mobile Texts », Karen Newman (Brown University)

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avec le  Paris Early Modern Seminar

4 May 2018, 5.30 pm- 7.30 pm

Bibliothèque interuniversitaire de la Sorbonne (délocalisé à la Maison de la Recherche de Paris IV, Serpente)

Professor Karen Newman (Brown University) will be giving a talk entitled:

« Strolling Players/Mobile Texts »


Travelling players scoured Europe in the late sixteenth and early seventeenth centuries. Accounts of the visits of the English actors show that their performances “attracted great crowds” of young and old, men and women, city fathers and “educated professionals.” Henslowe, entrepreneur and purveyor of costumes and stage properties to the London theatre, apparently numbered the continental troupes among his clients. The traveling players employed not only English actors, but foreign comedians as well, and thus fostered a theatre that was multi-lingual and what we today term transnational. Texts too were mobile. Long before “global Shakespeare,” before, in fact, the First Folio saw print, booksellers were peddling their intellectual property in Shakespeare internationally. Early advertisements of the First Folio offered for sale to a European market at the Frankfort Book Fair, evidence of the visits of English players to the Continent, and the presence of Shakespeare in various libraries suggest that the continental presence of Shakespeare and early modern English drama has been under-estimated and undervalued.


Karen Newman is Owen Walker ’33 Professor of Humanities and Professor of Comparative Literature and English at Brown University. She has written widely on early modern English and continental letters and culture and on Shakespeare and Renaissance drama. Books include Fashioning Femininity and English Renaissance Drama; Fetal Positions: Individualism, Science, Visuality; Cultural Capitals: Early Modern London and Paris and Essaying Shakespeare. Recent collections include Early Modern Cultures of Translation, co-edited with Jane Tylus, and This Distracted Globe: Worldmaking in Early Modern Literature, edited with Jonathan Goldberg and Marcie Frank. She is currently working on early modern translation and on the reception of Shakespeare in Europe.

POEM – 6 avril – Traduire les Sonnets de Shakespeare d’âge en âge – avec J. M. Déprats

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L’atelier POEM et le séminaire Epistémè ont le plaisir de vous convier pour une séance autour des Sonnets de Shakespeare et de leurs traductions en langue française, intitulée « Traduire les Sonnets de Shakespeare à travers les âges ».
Nous y entendrons des lectures de Jean-Michel Déprâts, traducteur de Shakespeare pour la nouvelle édition de la Pléiade.
La séance aura lieu à l’Institut du Monde Anglophone, dans le Grand Amphi, à partir de 17h30, vendredi 6 avril.

Séminaire 3 avril 2018 – Rory Loughnane « Shakespeare After Shakespeare »

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Séminaire Epistémè du mardi 3 avril à 17h dans le petit amphi (Institut du Monde Anglophone).

Conférence de Rory Loughnane (Université du Kent)  « Shakespeare After Shakespeare »
La conférence sera précédée d’une réunion autour du projet « Ecritures MatériELLES », à 15h30 en salle 16.

‘Shakespeare After Shakespeare’

By the time of Shakespeare’s death in 1616, his old playing company had long since moved on. Nature abhors a vacuum, and following Shakespeare’s retirement in early 1614 others had emerged to take his place. This paper considers some of the writing and professional activities of Thomas Middleton and John Fletcher in the period between Shakespeare’s retirement and the 1623 publication of his Comedies, Histories & Tragedies. It then discusses the evidence for Middleton’s adaptation of several of Shakespeare’s plays during this period, and considers how Middleton’s interactions with these texts might impact upon how we think about the ‘Shakespeare’ canon. In doing so, the paper considers the current state of play in Shakespearean authorship studies.

Rory Loughnane is Lecturer in Early Modern Studies at the University of Kent. An Associate Editor of The New Oxford Shakespeare (2016-), he edited over ten plays for the edition and co-authored with Gary Taylor a book-length study about ‘The Canon and Chronology of Shakespeare’s Works’ (Oxford UP, 2017). He is the co-editor of five essay collections, including Late Shakespeare, 1608-1613 (Cambridge UP, 2012) and Celtic Shakespeare (Ashgate, 2013), and is the co-editor of the anthology, The Memory Arts in Renaissance England (Cambridge UP, 2016). He is currently editing The Complete Works of Cyril Tourneur for Revels Drama (Manchester UP), completing a monograph about the period in theatre history following Shakespeare’s retirement, and co-edits with Laurie Maguire the book series Studies in Early Modern Authorship for Routledge.

Atelier Epistémè à la RSA, 22 mars 2018

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Epistémè est présent au congrès de la Renaissance Society of America, qui se tient cette année à la Nouvelle-Orléans, pour un atelier autour des ballades imprimées ou broadside ballads

Titre de l’atelier: Recovering Lost Voices: The Broadside Ballad from Street to Court, on Page and Stage

La session sera présidé par Simon Smith, Leverhulme Early Career Fellow, School of English, Drama, and American & Canadian Studies, University of Birmingham

Communication 1 – Angela MCShANE, Research Development Manager, Wellcome Institute, London, « From stage to page, and back again: Performing religious disharmony, with words, ink and music, in Restoration England »

Résumé en anglais: This paper illuminates how, in the fraught and divided religious and political landscape of seventeenth-century England, political balladeers sometimes used the vehicle of song to create and debate the idea of harmony. The paper emphasises contemporary perceptions of the broadside ballad as an object, and shows how the material, graphic and literary elements of printed ballads were sometimes appropriated by satirists, with the help of the printing trade, producing a parodic cast of performing sheets that battled over religious harmony in the street, the coffee-house, and the study.

Communication 2 – Anne-Marie MILLER-BLAISE, MCF-HDR, Université Sorbonne Nouvelle – Paris 3, IUF, «  ‘Captaine Cut-Purse’ Redeemed: Broadside Ballads and Poems of Salvation »

Résumé en anglais : Recent scholarship on broadside ballads has led to reassess the pervasiveness of popular music and cheap print in the early modern period. In this paper, I wish to show that broadside ballads were at once consonant with a biblical poetics based on the literary form of the parable, itself rooted in popular culture, and in which cut-purses, prisoners and robbers furnished the poet with prime protagonists to allegorize the divine economy of redemption. Drawing from poems by John Donne and George Herbert belonging to the canon, as well as a corpus of contemporary broadside ballads, I shall argue that ballads actually served as quiet yet powerful models for shaping more intellectual and meditative poems of redemption. In “The Bag,” George Herbert appropriates the material and musical qualities of the broadside ballad to conceive of a new kind of printed poetry that might be as effeciently distributed, circulated and remembered.

Communication 3; Emma WHIPDAY, Leverhulme Early Career Research Fellow, University College London « Title: Lost plays, lost voices: staging and singing early modern ‘true crime’ »

 Résumé en anglais: The Jacobean play ‘Keep the Widow Waking’ (1624) stages a recent ‘true crime’: the forced marriage of an elderly widow, while under the influence of drink and drugs, to an opportunist young suitor. The text of the play is lost, but the records of the resulting Star Chamber court case give us the text and tune of an accompanying ballad. This paper explores the representation of true crime and domestic disruption in broadside ballads and on the stage, investigating: the ‘Keep the Widow Waking’ play and ballad; the London murder in Two Lamentable Tragedies (1601) and the lost ballads on the same topic; and the lost play ‘Page of Plymouth’ (1599) and the surviving ‘Page’ ballads. In so doing, it traces the relationship between the material and the immaterial in the study of early modern plays and ballads – both surviving and lost.

Communication 4: Chantal SCHUTZ, Professeur chargé de cours, Ecole Polytechnique et EA PRISMES, « Court Airs, Lute-songs, and Broadside Ballads: Intersections and Contamination »

Résumé en anglais: When Edward Filmer published his French court-aires, vvith their ditties Englished, in 1629, he was keen to underline in his preface that these were court airs that had been born in the same rarefied atmosphere as the queen to whom they were dedicated. Likewise, when Dowland published his First Book he had insisted on the aristocratic origin of his compositions. Yet both of these books include songs that share many features with ballads, with their strophic structure and simple tunes. And the very fact that Filmer was writing contrafacta in English to French songs make them fit into the pattern of Ballads, which were always “sung to the tune of” other songs. Using the format of the ballad seems to make it possible to tread unusual ground, be it with the political implications of Dowland’s song to Fulke Greville’s “Faction that ever dwells” or the “risqué” subtext of Guedron’s “Un jour l’amoureuse Silvie.”

SEM 8 mars 2018 – Chantal Schütz, « ‘Their ditties Englished’: approches du recueil d’airs de cour en anglais d’Edward Filmer (1629) »

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Nous avons le plaisir de vous convier au prochain séminaire d’Epistémè – PEARL, qui aura lieu le jeudi 8 mars, à 17h30 en salle 12 à l’Institut du Monde Anglophone, 5, rue de l’Ecole de Médecine, Paris 6e.
Nous y entendrons Chantal SCHÜTZ (Professeure chargée de cours à l’Ecole Polytechnique, membre de l’EA PRISMES) parler de « ‘Their ditties Englished’ :   approches du recueil d’airs de cour en anglais d’Edward Filmer (1629) »

En 1629, Edward Filmer, fait paraître un recueil d’airs de cour français traduits en anglais, chez William Stansby, éditeur  du premier In-Folio des oeuvres de Ben Jonson en 1616. Dédié à la reine Henriette-Marie, le recueil rassemble des airs datant des deux premières décennies du 17ème siècle, principalement de Pierre Guédron, le plus célèbre et prolifique compositeur français d’airs de cour. Accompagné d’un poème de Jonson célébrant l’union de la Rose et du Lys, le recueil se veut à la fois un moyen d’apprendre mieux l’anglais à la reine et de mieux acclimater le genre de l’air de cour en Angleterre. Si Filmer n’obtint pas d’avancement en récompense, Jonson quant à lui perdra la faveur royale deux ans plus tard. Préparé avec grand soin et présenté dans la disposition habituelle en Angleterre, le recueil ne semble pas avoir été suivi d’imitations, sans doute parce que les pièces qu’il rassemble étaient déjà passées de mode aussi bien en France qu’en Angleterre. Il reste néanmoins d’un grand intérêt de par la préface du traducteur, qui souligne les difficultés particulières du passage du français  à l’anglais dans le contexte musical. Les traductions révèlent un soin particulier envers la prosodie, et l’analyse révèle des différences culturelles frappantes. C’est à cette conversation entre arts français et anglais que sera consacrée ce séminaire.

SEM 24 Novembre 2017- Michael Dobson – Canonicity and the Economy of Touring in Coventry and Prescot

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Vendredi 24 novembre, de 17 h 30 à 19 h 30 dans la salle 33 de l’Institut du Monde Anglophone (5 rue de l’école de médecine), en partenariat avec le Paris Early Modern Seminar (PEMS)

Michael Dobson (Shakespeare Institute/ University of Birmingham) sur “Canonicity and the economy of touring in Coventry and Prescot” (discutantes: Anne-Marie Costantini-Cornède, Chantal Schütz, Aurélie Lentsch-Griffin).

Abstract: In a divided England still flirting with the idea of regional devolution, two major arts projects have recently revived interest in the question of whether the flowering of Elizabethan drama should be considered as a metropolitan or as a nationwide phenomenon. In Coventry, only 20 miles from Stratford-upon-Avon, campaigners to have the city designated as UK City of Culture 2021 have pointed to its Renaissance past as a venue for mystery plays and as a destination for travelling players, seeking to invoke Shakespeare in both connections. Meanwhile in Prescot on Merseyside campaigners are raising money to establish a replica early modern theatre to be called ‘Shakespeare North,’ on the basis of Elizabethan and Jacobean documents referring to a ‘play house’ in a town which is situated very near Knowsley Hall, one home of the known theatrical patron Lord Strange. Michael Dobson has been called upon to examine the original evidence in both cases; currently working on a monograph about the role of the Shakespeare canon in the development of national theatres worldwide, he here considers the cases of Coventry and of Prescot and the light they do and don’t shed on the question of the geographical reach and national bearings of Shakespearean drama.

About Michael Dobson: Michael Dobson is Director of The Shakespeare Institute in Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. He has previously held posts at Oxford, Harvard, the University of Illinois and the University of London, and visiting appointments and fellowships at UCLA, Peking University, and the University of Lund. His publications include The Making of the National Poet (1992), England’s Elizabeth (with Nicola Watson, 2002), The Oxford Companion to Shakespeare (with Stanley Wells and others, 2001, 2008, 2015), Performing Shakespeare’s Tragedies Today (2006), and Shakespeare and Amateur Performance (2011).