this link<\/a> for audio recordings taken during the workshop.<\/p>\n\n\n\nDangerous Art and Iconoclasm in English Poetry and Drama under Charles I. Paper given by Barbara Ravelhofer, University of Newcastle, 4 December 2013<\/p>\n\n\n\n
The symbolic killing of a person or idea by way of erasing a representation is a time-honoured practice. In early modern England, telling examples can be traced from the late reign of Elizabeth I to the Civil War. The paper discusses personalized iconoclasm in poems, paintings, and plays of the period, with particular attention to Rubens and James Shirley, chief playwright of Queen Henrietta\u2019s Company.<\/p>\n\n\n\n
Reanimating the Voices of James Shirley\u2019s Drama. Paper given by Barbara Ravelhofer, Shakespeare Institute, Stratford, 10 May 2013<\/p>\n\n\n\n
What can we learn about Shirley\u2019s style when we consider the spoken word rather than silent reading? This paper discusses a range of approaches to Shirley, such as quantitative computer-based analysis, staged readings, and the delivery of Shirleian blank verse by an orator.<\/p>\n\n\n\n
Shirley\u2019s Style. Paper given by Barbara Ravelhofer, School of Advanced Studies, London, 13 December 2012<\/p>\n\n\n\n
The canon of Shirley\u2019s works includes 31 plays, 6 masques and entertainments (one of which is play-length), a printed collection of poems, and a range of further poems in collections of other authors as well as manuscript. Shirley also wrote an introduction to the 1647 Folio of Beaumont and Fletcher\u2019s plays, as well as 5 grammars. This paper discusses some of the idiosyncrasies of Shirley\u2019s writing.<\/p>\n\n\n\n
Hesitation and Erasure: A Life in James Shirley\u2019s Hand. Paper given by Eva Griffith, Durham University, 10 October 2012<\/p>\n\n\n\n
Editing Now: James Shirley, Early Modern Performance, and Modern Textual Scholarship. AHRC-funded workshop, Durham University, 19-21 Sept 2012<\/h4>\n\n\n\n
with kind support of the Department of English and the Institute for Medieval and Early Modern Studies (IMEMS), Durham<\/p>\n\n\n\n
Participants: Andrew Ashbee (Musica Britannica), Robert Carver (Durham University), Robert Cummings (University of Glasgow), Marcus Dahl (School of Advanced Study, London), Eva Griffith (Durham University), John Lavagnino (King\u2019s College, London), Sarah Parkin (Durham University), Sonia Ritter, Dan Starza-Smith (University of London), Jitka Stollova (Durham University), Stephen Tabor (Huntington Library, US), Marina Tarlinskaja (University of Washington, US), Brian Vickers (School of Advanced Study, London), Philip West (University of Oxford)<\/p>\n\n\n\n
Topics: Editing Shirley Now; Shirley\u2019s The Traitor and the Melbourne MS; Shirley\u2019s Entertainments; Shirley\u2019s The Triumph of Peace: A Bibliographer\u2019s Nightmare Cracked; Caroline Theatre, Eikon Basilike, and the Public Image; Computational Analysis of Texts by Shirley, Chapman, Cavendish, and Beaumont\/Fletcher; Shirley\u2019s Versification Compared to His Predecessors; Style from a Performance Perspective; Spoken Drama; A Play out of Joint: The Politician; Shirley\u2019s Victorian Critics; Experiences on the Ford Project<\/p>\n\n\n\n
The Word \u201cComplement\u201d in the Works of James Shirley. Paper given by Eva Griffith at the Seventeenth Century Studies<\/em> conference, Durham, 21 July 2010<\/p>\n\n\n\n\u201cThe Glories of our blood and state\u201d: James Shirley\u2019s Funeral Song and Its Notable Public Appeal. Paper given by Eva Griffith at the conference Visual and Literary Representations of the English Regicide in Early Modern Europe, Paris, 11 June 2010<\/p>\n\n\n\n
AHRC-funded James Shirley Workshop, St Catharine\u2019s College, Cambridge, 21-23 September, 2009<\/h4>\n\n\n\n
Participants: Andrew Ashbee (Musica Britannica), David Bevington (University of Chicago, US), Robert Carver (Durham University), Emily Collins (University of Warwick), Marcus Dahl (School of Advanced Studies, London), Eugene Giddens (Anglia Ruskin University), Teresa Grant (University of Warwick), Eva Griffith (Durham University), Andrew Hadfield (University of Sussex), Chiaki Hanabusa (Keio University, Japan), Robert Lublin (University of Massachusetts, Boston, US), Scott Maisano (University of Massachusetts, Boston, US), Lucy Munro (Keele University), Helen Ostovich (McMaster University, Canada), Tony Parr (University of the Western Cape, South Africa), Barbara Ravelhofer (Durham University), Julie Sanders (University of Nottingham), Alison Searle (Anglia Ruskin University), Laura Stalker (Huntington Library, US), Brian Vickers (School of Advanced Studies, London), Philip West (University of Oxford)<\/p>\n\n\n