{"id":2006,"date":"2013-02-04T23:57:00","date_gmt":"2013-02-04T23:57:00","guid":{"rendered":"http:\/\/localhost\/scitent.com\/2013\/02\/04\/cfp-shaw-at-the-2014-mla-3152013-19-122014\/"},"modified":"2013-02-04T23:57:00","modified_gmt":"2013-02-04T23:57:00","slug":"cfp-shaw-at-the-2014-mla-3152013-19-122014","status":"publish","type":"post","link":"https:\/\/navsa.org\/2013\/02\/04\/cfp-shaw-at-the-2014-mla-3152013-19-122014\/","title":{"rendered":"CFP: Shaw at the 2014 MLA (3\/15\/2013; 1\/9-12\/2014)"},"content":{"rendered":"

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\u201cShaw and Adaptation\u201d<\/b><\/o:p><\/span><\/div>\n
A Special Shaw Session at <\/span>MLA<\/span><\/div>\n
Chicago, January 9-12, 2014<\/span><\/div>\n

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Deadline:<\/b> March 15, 2013<\/o:p><\/span><\/div>\n
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Sponsored by the International Shaw Society<\/a><\/o:p><\/span><\/div>\n

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Presiding:<\/b> Lawrence Switzky, University of Toronto<\/o:p><\/span><\/div>\n
lawrence.switzky@utoronto.ca<\/a><\/o:p><\/span><\/div>\n
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The Modern Language Association Convention scheduled for Chicago in January of 2014 will feature another Special Shaw Session. To participate as a speaker, please send a 300-word abstract and CV to Lawrence Switzky at lawrence.switzky@utoronto.ca<\/a> by March 15, 2013<\/b>. Proposals and queries are welcome before the deadline. You of course have to be a member of MLA to deliver a paper, but you do not have to be a member to attend the session, as follows:<\/o:p><\/span><\/div>\n
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<\/a>Topic: \u201cShaw and Adaptation\u201d<\/o:p><\/b><\/span><\/div>\n
Many audiences first encounter Bernard Shaw\u2019s plays through their transformations into other genres and media. Lerner and Loewe\u2019s My Fair Lady<\/i> (1956) is perhaps the most famous adaptation of Shaw\u2019s Pygmalion<\/i> (1912), though the current standard print edition of the play is also an adaptation, a hybrid of Shaw\u2019s Academy Award-winning screenplay for the 1938 film and his original and revised stage scripts.<\/o:p><\/span><\/div>\n
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This panel invites papers that discuss specific play-scripts by Shaw and their pliability\u2014and resistance\u2014to adaptation across genres and media. Literary theorist Linda Hutcheon has defined the allure of transmedial adaptation as \u201crepetition without replication,\u201d the pleasure of recognition mixed with the pleasure of surprise. What features of Shavian drama remain recognizable in adaptations of Shaw\u2019s plays, and what is changed or rendered unfamiliar through acts of adaptation?<\/o:p><\/span><\/div>\n
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Contributors are also invited to submit papers on Shaw\u2019s own theories and practice of adaptation, particularly as they address his vision of evolutionary biology. Did Shaw endorse or refuse proposals to adapt his work based on his beliefs that some transformations of his plays would enable their migration to a more favorable artistic or cultural environment? Did Shaw believe that his own work required directed mutation to guarantee its survival beyond the period of its historical production (as he often proposed regarding Shakespeare\u2019s plays)? How has Shaw himself become what evolutionary biologist Richard Dawkins would call a meme: a unit of cultural transmission that inevitably changes even as it perpetuates himself, as in the flourishing of the discussion play in the drama of Tom Stoppard and the teleplays of Aaron Sorkin?<\/o:p><\/span><\/div>\n
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Papers might consider some of the following specific sites of adaptation in addition to broader models of artistic adaptation in Shaw\u2019s thought:<\/o:p><\/span><\/div>\n
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A) Adaptations of Shaw into musical theatre:<\/o:p><\/span><\/b><\/div>\n
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