-------- Original Message --------
Subject: CFP: Affect and Emotional Production in Early Drama (9/15/11;
Medieval Congress, May 2012)
Date: Fri, 8 Jul 2011 17:25:16 -0400
From: jill stevenson <[log in to unmask]>
Reply-To: PERFORM - Medieval Performing Arts
<[log in to unmask]>
To: [log in to unmask]
*“Affect and Emotional Production in Early Drama”*
*International Medieval Congress in Kalamazoo, Michigan*
*10-13 May 2012*
In their Introduction to /The Affect Theory Reader/ (2010),//Melissa
Gregg and Gregory J. Seigworth argue that “affect is found in those
intensities that pass body to body (human, nonhuman, part-body, and
otherwise), in those resonances that circulate about, between, and
sometimes stick to bodies and worlds, /and/ in the very passage or
variations between these intensities and resonances themselves.” Affect,
then, “is the name we give to those forces…that can serve to drive us
toward movement, toward thought.” Likewise, in her recent book
/Affective Meditation and the Invention of Medieval Compassion/(2010),
Sarah McNamer examines affectively oriented medieval texts and argues
that these texts supplied their users with “‘intimate scripts’…quite
literally scripts for the performance of feeling—scripts that often
explicitly aspire to performative efficacy.” Work like this has
productively complicated our understanding of affect and its relation to
emotional production.
This panel invites work that critically examines the relationship
between affect and emotional production in medieval and Renaissance
performance. How did devices such as gesture, sound and silence, music,
rhythm and choreography, props and performing objects, staging and
scenic choices, spatial arrangements, or visual and textual elements
generate the kinds of intensities and resonances that Gregg and
Seigworth describe? How were these forces specifically employed to
enhance or complicate emotional responses in spectators and/or
performers? What were the goals and stakes of such emotional production?
Given the slipperiness of these terms—and the many theories of affect
and emotion—the organizer is open to a range of interpretive
possibilities, approaches, and methodologies. The organizer also invites
topics from across all geographies and performance traditions in the
Middle Ages and/or Renaissance. *Please submit one-page abstracts _and_
a completed Participant Information form
(http://www.wmich.edu/medieval/congress/submissions/index.html#PIF)to
Jill Stevenson at [log in to unmask]
<mailto:[log in to unmask]> no later than September 15, 2011.*Feel
free to contact Jill with questions about the session. For general
information about the 2012 Medieval Congress, visit:
http://www.wmich.edu/medieval/congress/
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