At Jon Terry Wade's request, I'm forwarding her call for papers to the
Sidney-Spenser and Ficino lists. The deadline for Kalamazoo paper
proposals was of course September 15, 2004, but there is still time to
send an abstract, if it is sent directly to her. She and I give "drama"
its wider meaning, and papers on progresses, civic entrances, masques, and
entertainments would certainly be welcome at this panel, as would episodes
in non-dramatic works that represent such.
Please send abstracts and queries to Jon Terry Wade at [log in to unmask]
or fax to (416) 604 7883. (As the third major hurricane in 40 days is
bearing down on my little town of Sebring, Florida, I am likely to become
incommunicado shortly and remain so for some indefinite period of time.)
Bests, Charlotte Pressler [log in to unmask]
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CFP Reminder "The word and the image: the iconoclastic struggle in Early
Modern Drama", Special Session for Kalamazoo 2005
Just how "catholic" was early modern Protestant drama? And what analytic
value do terms like "Protestant" or "Catholic" [faiths] have when everyone
during the period in question is claiming true catholicity in terms of
doctrinal and ecclesial purity? When "protestants" eschew that label, and
many who are now retrospectively classed as "protestants" disagree on
doctrine among themselves, with some "protestants" happily retaining
"Roman" views on the subject, the convenient labels seems clumsy and
anachronistic. It's a good question to ask in our attempts to understand
15th and 16th century episodes of iconoclasm or expressions on abhorrence
of idolatry. What do we mean by the terms " Protestant", "Puritan", or
"Lollard"? And would those terms be acceptable, or even understood by
those people of that period actively engaged in making their culture and
engaging in various degrees of struggle with other writers' viewpoints in
their works?
There's a period from 1520 to 1560 in England, for example, when most of
the conceptual framework -including, but not limited to, doctrine-that is
now labelled "Protestant" seems to be very much 'up for grabs'. By its
dialogic nature, drama, and quasi-dramatic presentations, are one way of
examining that struggle. This session would like to explore how that often
lethal debate was negotiated.[with apologies to Charlotte Pressler]
E-mail to Terry Wade at [log in to unmask] or fax to (416) 604 7883
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Jon Terry Wade
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