Notices

Request for Manuscripts: Future SHAW Volumes

SHAW 38.2 (to be published in December 2018) and SHAW 39.2 (to be published in December 2019) will include articles on general topics, as well as book reviews, the Checklist of Shaviana, Notices, and ISS information. Prospective essays for SHAW can be sent to Christopher Wixson at cmwixson@eiu.edu or submitted directly to http://www.psupress.org/journals/jnls_shaw.html. Please include an abstract and, for matters of style, refer to recent SHAW volumes. For all other information about SHAW or to suggest other theme volume titles, contact Christopher Wixson.

SHAW 39.1 (to be published in June 2019) will be a theme volume devoted to "Shaw and Music," with Brigitte Bogar as guest editor. Submit abstracts (50 to 100 words) and papers to brigitte.bogar@gmail.com.

SHAW 40.1 (to be published in June 2020) will focus on "Shaw and New Media" and be edited by Jennifer Buckley (University of Iowa). The issue will explore and assess Shaw's engagements with nineteenth-, twentieth-, and twenty-first-century media and challenges the popular equation of "new media" with the digital by adopting the historically contingent definition of the term proposed by media scholars, notably Lisa Gitelman (1999, 2006) and Gitelman and Geoffrey B. Pingree (2003). This focus is prompted not only by Shaw's various engagements with a wide range of nineteenth- and twentieth-century media—including the telegraph, telephone, photograph, gramophone, typewriter, film, radio, television, and mass print—but also by media historians' and theorists' sometimes brief but always provocative engagements with Shaw.

For instance, Friedrich A. Kittler's Gramophone, Film, Typewriter (1986) as well as Jonathan Sterne's (2003) and Benjamin Steege's (2012) respective histories of hearing and listening each employ Pygmalion as a foundational text. Shaw's ambivalent but extensive involvement with print media has also attracted scholars of material texts and print cultures, including W. B. Worthen (2004) and Elizabeth Carolyn Miller (2013). Others have recently begun to contest the widespread perception of Shaw as a (perhaps excessively) literary dramatist by documenting the prominence of Shaw and his plays in the early years of the public-service and commercial radio, television, and film industries.

Inquiries about SHAW 40.1 and manuscript submissions (6,000 words maximum) should be sent to jennifer-buckley@uiowa.edu, or mailed to Jennifer Buckley, 310 English-Philosophy Building, The University of Iowa, Iowa City, IA, USA, 52245.

The 56th Annual Shaw Festival, Niagara-on-the-Lake, ON, Canada

The 2017 Shaw Festival, the first to be led by Artistic Director Designate Tim Carroll, featured Shaw's Saint Joan and Androcles and the Lion, both directed by Carroll. The rest of the season was filled out by productions of Me and My Girl, dir. Ashlie Corcoran; Bram Stoker's Dracula, adapted by Liz Lochhead and dir. Eda Holmes; 1837: The Farmers' Revolt by Rick Salutin and Theatre Passe Muraille, dir. Philip Akin; a lunchtime one-act, Stories for Children by Oscar Wilde, adapted by Kate Hennig and dir. Christine Brubaker; The Madness of George III by Alan Bennett, dir. Kevin Bennett; Dancing at Lughnasa by Brian Friel, dir. Krista Jackson; An Octoroon by Branden Jacobs-Jenkins, dir. Peter Hinton; Middletown by Will Eno, dir. Meg Roe; and 1979 by Michael Healey, dir. Eric Coates.

For further information about the Festival's 2018 season, write to Shaw Festival, Post Office Box 774, Niagara-on-the-Lake, Ontario, Canada, L0S 1J0; or call 1-800-511-SHAW [7429] or 905-468-2153; or go to www.shawfest.com.

Shaw's Corner

For information about summer performances of Shaw plays at Shaw's Corner, Ayot St Lawrence, Hertfordshire, by Michael Friend Productions, contact Sue Morgan at Sue.Morgan@nationaltrust.org.uk. The plays staged in 2017, its 26th season, were Major Barbara (23 to 25 June) and Too True to Be Good (21 to 23 July). Michael also took a couple productions on tour, Press Cuttings to the Pentameters Theatre, Hampstead (7 to 26 March) and Too True to Be Good to the Sarah Thorne Theatre, Broadstairs (27 to 30 July).

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