Center for Renaissance& Baroque Studies

Annual Report 2004-2005

u n i v e r s i t y o f m a r y l a n d , c o l l e g e p a r k

www.crbs.umd.edu

�Administration � CENTER STAFFFounding Director: S. Schoenbaum (1927–1996)Director: Adele SeeffAssociate Director: Karen NelsonOffice Manager: Pamala DeaneBusiness Assistant: Kenny ChungGraduate Assistants: Allyson Fetterhoff, Andrew

Nelson, Meg PearsonWebmaster: Dana Coelho

EXTERNAL ADVISORYBOARDSusan D. Amussen, Union Institute Graduate SchoolJohn F. Andrews, The Everyman ShakespeareSuzanne Cusick, University of VirginiaDavid C. Driskell, University of Maryland (Emeritus)James D. Farquhar, University of Maryland (Emeritus)Jay L. Halio, University of Delaware (Emeritus)Jeanne Roberts, The American University (Emerita)Ellen Rosand, Yale UniversityG. Thomas Tanselle, John Simon Guggenheim Memorial

FoundationBetty S. Travitsky, Graduate Center, City University of

New York

FACULTY ADVISORY BOARDMarvin Breslow, Department of History (Emeritus)Hervé Campangne, Department of French and ItalianVirginie Cassidy, Department of French and Italian

(Graduate Student)Anthony Colantuono, Department of Art History and

ArchaeologyJane Donawerth, Department of English; Affiliate in

Women’s Studies, Comparative Literature, and TheatreGiuseppe Falvo, Department of French and ItalianCatherine Field, Department of English (Graduate

Student)Judith P. Hallett, Department of Classics; Affiliate in

TheatreFranklin Hildy, Department of TheatreJacqueline Letzter, Department of French and ItalianYelena Luckert, Arts & Humanities Team Manager,

McKeldin LibraryMargaret Morse, Department of Art History and

Archaeology (Graduate Student)William Pressly, Department of Art History and

ArchaeologyHernán Sánchez M. de Pinillos, Department of

Spanish and PortugueseRichard Wexler, School of Music

2

www.crbs.umd.edu

Mission 1

University of Maryland Campus Programs 2

Mini-Symposia 2

The Impact of Islamic Culture on the Arts of the Renaissance 2

Shakespeare in Performance V: Shakespeare and Popular Culture Then and Now 3

Works-in-Progress Series 3

Table Readings Series 4

Renaissance Revels 4

Maryland Day 5

Special Programs 5

Inquisitions and Persecutions in Early Modern Europe and the Americas 5

Outreach Programs 6

Teaching East & West: Establishing Historical Context Through a Comparison ofTokugawa Japan and Elizabethan England, Follow-up Sessions 6

Shakespeare Monologue Contest 7

Fine Arts Institute 8

Crossing Borders/Breaking Boundaries: Looking East, Looking West:Europe and Arabia, 1450–1750 8

Shakespeare Camp 10

Publication Series 11

Cross-Campus Collaboration 12

Outside Funding 14

Future Programs 15

Contents �

�

1

The Center for Renaissance & BaroqueStudies was established in the spring of1981 to consolidate existing strengths in

early modern studies at the University ofMaryland. The Center has built on thesestrengths to create interdisciplinary programs ofinternational reputation and to promote teachingand research in the Renaissance and Baroqueperiods at the University by offering programsfor both academic and public audiences in alldisciplines of the arts and humanities.

The Center has garnered expertise in areasoutside the Renaissance and Baroque time frameimplied by its title by offering professional devel-opment programs in the liberal arts for publicschool teachers. New state and national curricu-lar imperatives have led the Center to developprograms on topics ranging from ancientWestern literatures to contemporary politics.Inspired by the rapid evolution of digital media,the Center has included a technology componentin most recent programs. Although such pro-grams may appear to be outside the scope ofRenaissance and Baroque studies, they follow inthe European Renaissance traditions of explo-ration and inquiry, relating older traditions ofknowledge to new discoveries and research.

The Center aspires to fulfill the followinggoals: (1) to provide new research and teachingopportunities for faculty and graduate studentswithin the College of Arts & Humanities; (2) tofoster cross-departmental collaboration in theCollege; (3) to be an international presence inRenaissance and Baroque studies through sym-posia and published proceedings volumes; (4) toencourage creative applications of new technolo-gies for research, teaching, and publishing projectsin the humanities; (5) to promote ties with otherarea research and cultural institutions, therebyincreasing the visibility of the College and thecampus; and (6) to establish and maintain part-nerships with secondary and middle school facultyin Maryland schools as part of the campus’s pub-lic service commitment to the state.

The Center for Renaissance & BaroqueStudies offers a wide variety of interdisciplinaryprograms designed to meet the needs of manydifferent constituencies, both on campus and inthe surrounding community. Campus programs,such as symposia, colloquia, and interdisciplinarycourses, serve the University’s faculty, graduatestudents, and undergraduates, as well as an inter-national scholarly audience. All Center programsare subject to careful review by program partici-pants, Center staff, and advisory boards.

Mission �

�

2

Despite severe budget cuts, the Center hashad a stellar year. Highlights includedtwo mini-symposia, two summer insti-

tutes, and two programs for middle school stu-dents, together with a range of more informalprograms throughout the year.

MINI-SYMPOSIA

The Impact of Islamic Culture onthe Arts of the RenaissanceFebruary 4, 2005

This program was made possible in part withfunds from the Maryland Humanities Council,through a grant from the National Endowmentfor the Humanities.

The Impact of Islamic Culture on the Arts of theRenaissance was conceived when high school teach-ers who were unable to attend the oversubscribed2004 summer institute, Crossing Borders/BreakingBoundaries: The Impact of Islamic Culture on the Arts ofthe Renaissance, pleaded for more information onthis topic. Accordingly, the Center coordinated aday-long program focused on the artisticexchange between Arab cultures and the arts incountries of the western Mediterranean asEurope moved from the late medieval period to

the Renaissance. During this period, trade routesalong the shores of the Mediterranean facilitateda vast cultural exchange that influenced architec-ture, painting, music, and the decorative arts pro-duced by the countries involved. By illustratingthe centrality of the arts in the peaceful relationsamong diverse peoples, The Impact of Islamic Cultureon the Arts of the Renaissance demonstrated the richcultural legacy that Arabia bequeathed to the artsof Renaissance Europe.

As keynote, Esin Atil (Freer Gallery of Artand the Arthur M. Sackler Gallery) presented“Classical Ottoman Designs: Their Origin andDevelopment.” Philip Jacks (College of Arts &Sciences, George Washington University) fol-lowed with his slide lecture, “ArchitecturalOrnament: The Islamic Presence in RenaissanceArchitectural Forms.” Four concurrent work-shops took place after lunch: “Patterns fromIslam to Renaissance,” by Kay Broadwater (Art,Towson University); “Islam across theCurriculum: Developing Lesson Plans and OtherResources,” by Susan Douglass (Council ofIslamic Education); and “Oriental Stories inEarly Modern Europe: Wondrous Journeys andTalking Beasts” by Lourdes Alvarez (Spanish,The Catholic University of America). MadelineZilfi (History) presented a lecture entitled“Women in Sixteenth-Century Islam.”The day

University ofMaryland CampusPrograms ��

3

concluded with a Roundtable Discussion, “Non-Western Cultures in the Curriculum: The NextSteps,” which featured Mike D’Anna (BlakeHigh School), Kay Broadwater (Art, TowsonUniversity), and Florence Hendershot(Northwestern High School).

Shakespeare in Performance V:Shakespeare and Popular CultureThen and NowFebruary 26, 2005

This program was co-sponsored by the Centerfor Renaissance & Baroque Studies, the Collegeof Arts & Humanities, the Office ofUndergraduate Studies, the School of Music,and the departments of American Studies,English, and Theatre.

This day-long program investigatedShakespeare’s role in popular culture fromElizabethan England to twenty-first-century filmand stage productions.

Keynote speaker Thomas P. Cartelli(Humanities, Muhlenberg College) presented“Shakespeare and the American Street.” Cartellifocused his talk on the film Looking for Richard, AlPacino’s homage to Shakespeare’s Richard III,

which combines street performance and classicaltheater. Peter S. Donaldson (Literature,Massachusetts Institute of Technology) offered amultimedia presentation, “Shakespeare fromFolio to DVD,” that illustrated howShakespearean performance texts are representedin late twentieth- and early twenty-first-centurymedia. Donaldson explored the impact of digitaltechnology, game technology, and other periph-erals in extending the experience and understand-ing of the plays. The actors’ workshop—aperennial favorite—was led by director AndrewBorthwick-Leslie, who guided performers andaudience members through “DirectingShakespeare for Popular Audiences.”

Three concurrent workshops followed thesegeneral sessions. After a brief discussion ofRenaissance dance in Shakespeare’s plays, CherylStafford (The Court Dancers) taught partici-pants the basic elements of the galliard and thepavon to the delight of all. Theodore Leinwand(English) led a discussion of Shakespeare’sshrewd representation of his own audience’sdemands on him as a playwright in Coriolanus.Leinwand especially explored the tense interac-tion between Coriolanus and his mother,Volumnia, in Act III, scene iii, where Coriolanusdismisses the idea of flattering the common citi-zens as a “beggar’s tongue / Make motion

through my lips” (ll. 117–18). Becky Kemper(The Shakespeare Project) worked with a groupof participants on physicalizing the texts.Kemper asked them to examine the stage cuesavailable in Shakespeare’s texts as they construct-ed their performances. Her session was mesmer-izing.

To conclude the day, Stylus Luxurians per-formed Renaissance music and songs fromShakespeare’s plays. Michael Stuart Holmes(Music) directed the ensemble and offered com-mentary about the selections.

WORKS-IN-PROGRESSSERIESThe Works-in-Progress series, inaugurated in 1999,allows humanities scholars at the University ofMaryland to share their latest research on theearly modern period and to benefit from aninformal interdisciplinary roundtable discussionof their current projects. Generally, speakerscome from the faculty of the College of Arts &Humanities, but affiliate and visiting faculty anddoctoral candidates are also welcome. To facili-tate conversation, participating speakers oftencirculate abstracts or drafts of their work priorto the colloquia.

4

November 9, 2004

Rubens in America: The Role of an Exiled Art Collectionin the Creation of a Belgian Cultural Consciousness,1794–1816Jacqueline Letzter, Department of French and

Italian

February 8, 2005

Dissertations-in-Progress

“Let these their heads / Preach upon poles”: Spectacles ofDecapitation in Edward IIMeg Pearson, Department of English

Automatons and Automatisms in Eighteenth-CenturyFrench Libertine NovelsDorothée Polanz, Department of French and

Italian

The Golden Chain: Royal Slavery, Sovereignty, andServitude in Early Modern English LiteratureRay Bossert, Department of English

Imagining Oneself Dead: Suicide and Subjectivity in theEnglish RenaissanceAngelique Wheelock, Department of English

April 12, 2005

The Myth of Paolo and Francesca: Poetry, Philosophy, andAdultery in Modern TimesPeter Levine, School of Public Policy and

Director of the Center for Information &Research on Civic Learning and Engagement(CIRCLE).

TABLE READINGS SERIESMichael Olmert (English) directed a dedicatedgroup of undergraduates, graduates, and recentalumni from various departments across campusin rehearsed table readings. Ruth Akca (English),Hannah Baker (English), Francoise Bastien(Theatre and English), Stewart Brown (English),Leigh Caudill (Theatre), Brianne Cobuzzi(English), Emilia Costa (English), Elaine Derrer(English and Education), Josh Goldstein(English), Chelsea Harrison (English), JoyceKhouri (English and Education) Jason Juzwiak(English), Josh McManus (English and History),Silke Popp (English), Anne Powell (English),Jennifer Ring (Theatre), Lindsey Robbins(English and Journalism), Pam Slater(Communications), Kat Snow-Milon (Englishand Theatre), Marian Stimson (English), andAllie Young (English) contributed their talentand energy.

September 9, 2004

Translations, by Brian Friel (1981)

October 21, 2004

Shakespeare and Doctor Lopez, by Michael Olmert(2004)

January 27, 2005

The History Boys, by Alan Bennett (2004)

April 19, 2005

Iphigenia at Aulis, by Euripides (ca. 410 B.C.)

RENAISSANCE REVELSDoctoral candidates from the Department ofEnglish collaboratively organized sessions forthis informal (and often hilarious) series ofreadings around the Center conference table.

November 4, 2004

Tamburlaine the Great, by Christopher Marlowe(1587–88)Organized by Meg Pearson, Erin Sadlack, and

Brandi Adams, Department of English

March 3, 2005

The Alchemist, by Ben Jonson (1610)Organized by Meg Pearson, Erin Sadlack, and

Brandi Adams, Department of English

5

MARYLAND DAYApril 30, 2005

In addition to the Center’s beloved “ArtsWorkshop” on McKeldin Mall, Maryland Dayactivities included participant reunions for twoof the previous year’s most successful programs:Teaching East & West: Establishing Historical ContextThrough a Comparison of Tokugawa Japan andElizabethan England and Crossing Borders/BreakingBoundaries: The Impact of Islamic Culture on the Arts ofthe Renaissance.

Teachers from Teaching East & West gathered atthe National Gallery of Art and theSmithsonian Institution’s Freer Gallery of Artand Arthur M. Sackler Gallery in Washington,DC, for their final follow-up session. That pro-gram is described more fully below.

Curriculum design and gardens were at thecenter of the follow-up session for the CrossingBorders participants as they gathered at theUniversity of Maryland to share their experiencesteaching the materials they developed the previoussummer. These lesson plans, archived online at theCenter for Renaissance & Baroque Studies FineArts website (www.crbs.umd.edu/finearts), hadevolved into effective classroom exercises. Afterlunch, Cammy Brothers (Architecture, Universityof Virginia) lectured on “Landscape and Gardens

between Granada and Venice” and described theIslamic influence on European gardens.

SPECIAL PROGRAMS

Inquisitions and Persecutions inEarly Modern Europe and theAmericasJune 13–July 15, 2005

This program was made possible by a grantfrom the National Endowment for theHumanities.

This five-week institute examined representationsof persecution between 1530 and 1700 inSpain, New Spain, England, and New Englandfrom a comparative, cross-disciplinary perspec-tive. Vincent Carey (History, SUNYPlattsburgh), Ralph Bauer (English), and AdeleSeeff (Center for Renaissance & BaroqueStudies) directed this engaging conversation withtwenty-two scholars from colleges and universi-ties across the United States. Participants them-selves represented a variety of post-secondaryinstitutions from across the United States—community colleges, small liberal arts colleges,and research universities. Equally diverse wereparticipants’ backgrounds in teaching and

research in this area. Some were beginning theirteaching careers; others were moving fromadministration positions back into the class-room. Some had published their own research inthis area, while others were beginning their study.Scholars approached the institute from discipli-nary homes in departments of English literature,History, Gender Studies, Italian, Latin AmericanStudies, Law, Library Science, Philosophy,Religious Studies, Social Sciences, and Spanishliterature.

Thirteen distinguished scholars providedadditional lectures and workshops. Their presen-tations were organized into five units. During thefirst, “The Cultural and Political Functions ofPublic Spectacles of Inquisition and Persecution:Spain and Spanish America,” speakers includedEric Lindquist (Libraries), Lourdes Alvarez(Spanish, The Catholic University), BarbaraFuchs (Spanish, University of Pennsylvania),Eyda Merediz (Spanish), Luis FernandoRestrepo (Spanish, University of Arkansas),Georgina Dopico Black (Spanish, New YorkUniversity), and Nina Gerassi-Navarro (Spanish,Mount Holyoke University). The second seg-ment, “Making Law and Remaking History: TheElizabethan Settlement,” featured Theresa Coletti(English) and Rachel Doggett (Curator, FolgerShakespeare Library). Guest lecturersChristopher Highley (History, Ohio State

OutreachPrograms �

�6

University), Theodore Leinwand (English), andJohn King (English, Ohio State University)addressed the third area, “Treason andMartyrdom, Persecution and Prosecution.”Thefourth, “Martyrdom, Treason, Conformity, andResistance: Catholics in Elizabethan England,”drew upon the expertise of Jessie Ann Owens(Music, Brandeis University) and Frances Dolan(English, University of California-Davis). CarlaPestana (History, Miami University) contributedto the final portion of the institute, “TheCultural Work of Inquisition and Persecution:England and British America.”

Ralph Bauer and Vincent Carey were availablethroughout the five weeks, guiding the work ofthe group with lectures and consultations. Theinstitute was rich and varied in its content. Paperpresentations, panels, publications, lessons, syl-labi, and a poetry collection have already grownout of it. Participants expect even more toemerge as they continue to incorporate the mate-rials from the institute into their writing andteaching. Many have observed that the commu-nity that grew out of the summer at CollegePark is quite possibly the most valuable result.The complete schedule, the list of scholars andtheir presentations, and program activities aredetailed on the program website,www.crbs.umd.edu/inquisitions.

Teaching East & West: EstablishingHistorical Context Through aComparison of Tokugawa Japanand Elizabethan England, Follow-up SessionsOctober 30, 2004, and April 30, 2005

This program was made possible by a grant fromthe Japan Foundation Center for GlobalPartnerships, and co-sponsored by the USNational Arboretum, The Textile Museum, theFreer Gallery of Art and the Arthur M. SacklerGallery at the Smithsonian Institution, and theNational Gallery of Art.

A generous grant from the Japan Foundationsupported a three-day conference in April 2004and two follow-up meetings during the academicyear. During the three-day conference, thirty-fivearea teachers compared the material cultures ofearly modern Japan and England. In addition tolectures and workshops on topics varying fromtextiles to bonsai, teachers visited the USNational Arboretum, The Textile Museum, andthe Smithsonian Institution’s Freer Gallery ofArt and Arthur M. Sackler Gallery.

Teaching Comparatively, held October 30, 2004,provided teachers with an opportunity to explorefurther the relationship between the two culturesand to share with one another refined versions oftheir lesson plans. Ann Marie Moeller examinedthe symbols used in fabric design in her lecture,“Exploring Culture through Textiles: Symbolismin Edo Period Textiles,” which framed the day’sconversation. The teachers then spent most ofthe day enthusiastically sharing their lessons withone another. The lessons themselves addressed awide range of topics and disciplines and arearchived on the program’s website,www.crbs.umd.edu/eastandwest.

Ceramicist Terry Murray’s workshop on theJapanese tea ceremony brought the day to a con-clusion. Seated in a circle, teachers held smallfistfuls of clay in their hands and made teabowls with their eyes closed. The finished prod-uct was intended to express where the teacherswere at a certain place in time and to tie into thetea ceremony itself. In Japan, the tea ceremony isseen as an opportunity to focus on the here andnow. In this meditative, silent fashion, the teach-ers explored the Japanese view of the immediacyand impermanence of beauty.

On Saturday, April 30, 2005, fifteen teachersmet in the West Building of the NationalGallery of Art in Washington, DC, to continue

their exploration of comparative approaches toart. They considered the various ways in whichthey had introduced Japanese cultural materialinto their curricula. Aneta Georgievska-Shine(Art) lectured to the group on a number ofRenaissance landscape paintings at the NationalGallery of Art, and then led the group throughthe Smithsonian’s Freer and Sackler Galleries inorder to focus on points of contrast. Most sig-nificant was a relative indifference to perspectivein the Japanese art. While there was some recog-nition of perspective in Japanese painting, theviewer never lost the bird’s eye view. As a result,the viewer also retained a sense of spatial unityas well as unity of time and action.

The three-day conference and its two follow-up meetings served K–12 educators from theBaltimore City, Calvert, Charles, Frederick,Montgomery, and Prince George’s counties inMaryland and the District of Columbia, as wellas two teachers involved in adult education pro-grams in Maryland and Delaware. Participantswere drawn from such varied fields as art, drama,English, ESOL, geography, Japanese language,social studies, and world studies. The programoffered models for teachers to enrich theirinstruction on Tokugawa Japan and ElizabethanEngland by incorporating resources from otherdisciplines, by embracing new methods andteaching strategies to illustrate key concepts in

their own disciplines, and by taking advantage ofthe wealth of cultural institutions available tothem in Washington, DC.

The program’s legacy continues in the lessonplans archived on the program website,www.crbs.umd.edu/eastandwest, but moreimportantly in the ways it has transformed par-ticipants. Westerners who encounter Japanesematerial culture are radically changed by itsexoticism. Once they understand the philosophi-cal context for the Japanese aesthetic, theirthinking about their own cultural practices istransformed.

SHAKESPEAREMONOLOGUE CONTESTFebruary 17, 2005

This contest was co-sponsored by the Center forRenaissance & Baroque Studies, the English-Speaking Union, the Washington EpiscopalSchool, and Imagination Stage.

Imagination Stage in Bethesda, Maryland, hostedthe second annual Shakespeare MonologueContest for middle school students. MadeleineBurke (Imagination Stage), Celia Josephs, ateacher, administrator, and former executive direc-tor of The American Friends of Sadler’s Wells,

7

8

and Lee Viccellio, Ph.D., Educational Consultantand Shakespeare Specialist, served as judges.David Markey (Imagination Stage), Fran Caterini(Washington Episcopal School), and the studentsof the Washington Episcopal School hosted theevent. Alroy Scott (Barnes & Noble Bookstore,University of Maryland) and Heather Nathansand Daniel Wagner (Theatre) donated prizes forthe judges and the student winners.

FINE ARTS INSTITUTE

Crossing Borders/BreakingBoundaries: The Impact of IslamicCulture on the Arts of theRenaissance, Follow-up SessionNovember 6, 2004

This institute was made possible by a grant fromthe Maryland State Department of Education.

In this follow up to the summer 2004 program,The Impact of Islamic Culture on the Arts of theRenaissance, Aneta Georgievska-Shine (Art) beganthe day by delivering a lecture entitled“Northern Perspectives on the Islamic World:From Durer to Rembrandt.” ProfessorGeorgievska-Shine is an expert on Dutch and

Flemish painting, and her lecture focused on theinfluence of Islamic culture on the painting ofthe Northern Renaissance.

The bulk of the workshop consisted of threesessions in which teacher participants convenedin teams to present their lesson plans—com-posed during the summer Fine Arts Institute—and to discuss their implementation.

Crossing Borders/BreakingBoundaries: Looking East, LookingWest: Europe and Arabia,1450–1750July 18–25, 2005

This institute was made possible by a grant fromthe Maryland State Department of Education.

As part of the University’s commitment to edu-cational outreach, the Center for Renaissance &Baroque Studies, in collaboration with theMaryland State Department of Education,developed a series of summer institutes in 2000.These institutes were designed for Maryland sec-ondary school teachers interested in using thearts to enhance student learning across the cur-riculum. Each year, the institute focuses on dif-ferent artistic and cultural periods; participants

explore artistic production as well as the socialand political contexts that help enable the pro-duction of art.

This year’s institute challenged the notionthat the Renaissance was a period of Europeanrediscovery of Greco-Roman antiquity, empha-sizing instead the rich interaction betweenEuropean and Islamic cultures. Cultural and eco-nomic transactions between the cultures pre-vailed throughout the sixteenth and seventeenthcenturies, influencing and transforming the finearts of both societies. This institute used thetangible interchange of scientific and mathemati-cal knowledge between Europe and Arabia as afoundation for a broader study of how culturalexchange influences the arts.

The 2005 program included an openingkeynote address and seven lecture/discussionsessions, as well as two hands-on fine arts work-shops, two performance sessions, one technologyclass, and one field trip. Participants also attend-ed daily sessions with institute facilitator SusanDouglass, a seasoned administrator who works atthe Council for Islamic Education and has exten-sive experience in curriculum development.Douglass ran large and small group discussionsand helped participants make connectionsbetween the different activities in which theywere engaged throughout the week.

9

The keynote speakers this year were LauraSmyth (National Arts Strategies) and LisaPegram (Centronia Learning Center). Smyth andPegram divided the participants into four groupsand asked each group to create a pantoum, a poet-ic form adopted by the French from Malaysia.The pantoums were inspired by quotations, maps,photographs, and other prompts. The teachersenjoyed the exercise tremendously, as it not onlyallowed them to get to know one another quick-ly, but it also provided a concrete lesson ideathey could take back to their classrooms.

Molly Greene (History, Princeton University)opened the institute with a flourish in her lectureon “Pirates and Merchants in the Mediterranean,”which illustrated the extralegal game of entrepre-neurial violence (and cultural and materialexchange) perpetrated by pirates from threeMediterranean regions. The next discussionfocused the participants on one of the consumercapitals of the early modern period—Venice. In alavishly illustrated discussion, Adrienne Childs(Art History and Archaeology) demonstratedVenice’s growing interest in luxury objects manu-factured in the Islamic East. She included theacquisition of slaves as luxury objects, all picturedin stunningly beautiful images of the period. Inthe afternoon, calligrapher Mohamed Zakariyashowed replicas of early modern astrolabes and

other navigational instruments. A technologysession followed in which Joan Stahl and LouiseGreen (Libraries) introduced teachers to campusresearch tools. The participants ended a very fullday with a performance workshop on TheMerchant of Venice led by Brinda Charry (English,Syracuse University). Charry’s workshop, a hugehit with the teachers, was vividly connected tothe notion of Venice as a commercial nexus atthe center of a diplomatic network. She showedclips from Michael Radford’s recent film versionof the play and a video of an actor’s workshopthat revealed the many different ways a charactersuch as Shylock can be portrayed.

Carol Bier (Art, Maryland Institute College ofArt and Johns Hopkins University) gaveWednesday’s first lecture. Bier discussed the cen-tral role of geometry in Islamic patterning, as wellas the effect these patterns had on Western art.Susan Douglass’s afternoon workshop built onBier’s ideas. Douglass showed the teachers how touse The Geometer’s Sketchpad, a program whichuses geometrical concepts to create patterns anddesigns. The workshop was therefore perfectlyaligned with the institute’s theme, and many ofthe teachers’ final lesson plans incorporated therelationship between art and science.

On Thursday morning, Quint Gregory (ArtHistory and Archaeology) gave a fascinating lec-

ture that traced the global transmission of blueand white Delft tiles from the Middle East toChina and finally into Europe. Perhaps morethan any other lecture, Dr. Gregory’s presenta-tion helped illustrate the intricacies of the cross-cultural exchange that was at the heart of thisyear’s program. In the afternoon, Joann SpencerSiegrist (Theatre and Dance, University of WestVirginia) led a performance workshop on shad-ow puppets. She provided a history of puppetryand the place of shadow puppets in that tradi-tion before helping the participants create theirown shadow puppets. The teachers wrote scripts,made the puppets, chose the music, and endedthe workshop with lively performances. The dayended with a workshop on tile mosaics. Theteachers had a wonderful time hammering awayat brightly colored pieces of tile in order to cre-ate small mosaics of their own under the guid-ance of Italian mosaic artist Matteo Randi andhis wife Simona Cristanetti.

Quint Gregory joined the teachers again onFriday morning at the National Gallery of Artin Washington, DC. Dr. Gregory chose fiveimages which illustrated the institute’s theme ofartistic exchange. Not surprisingly, Delft potteryappeared in a painting by Venetian artistGiovanni Bellini. Teachers complained vocifer-ously that their time in the Gallery was too

1010

short! In the afternoon, Meredith Gill (ArtHistory and Archaeology) expanded onGregory’s idea in a lecture on artistic exchange inthe period. Venice and its relationship withMamluk Egypt in the late fifteenth and early six-teenth century was once again the focus. Sheselected two images—one by Costanzo daFerrara and the other by a Pisano artist—thatdramatically illustrated the subtle exchangesbetween the two cultures.

The week’s grand finale came on Mondaymorning, when teams of teachers presented thearts-integrated lessons that they had developedduring the week. The influence of individual lec-tures could be seen in each lesson. As noted onpage 5, the Center for Renaissance & BaroqueStudies archives these lesson plans on its websitefor the benefit of participants and teachersaround the world. Participants who complete theentire program, including the follow-up sessions,are eligible for 5 MSDE Continuing ProfessionalDevelopment credits.

By all accounts, this year’s institute was agreat success. Participants gained a deep under-standing of the program’s topics from the lec-tures, performance classes, and discussion ses-sions, as well as from the consistently high levelof scholarship and performance experience ofthe faculty. In speaking about her particular

team of teachers, one participant aptly describedthe institute’s effect: “We have decided torestructure our entire curriculum to reflect ourlearning here. It has revolutionized the way wethink about teaching and has forged a team bondbetween us.”

SHAKESPEARE CAMPJuly 5–July 15, 2005

This program was co-sponsored by the Centerfor Renaissance & Baroque Studies, theDepartment of Theatre, the Office of theAssistant Provost for Equity and Diversity, andthe Maryland-National Capital Park andPlanning Commission.

This was the Center’s third foray into a programdesigned for a younger age group, an experimentfirst encouraged by longtime Faculty AdvisoryBoard member Jane Donawerth (English andWomen’s Studies). Carol Jordan (Duvall HighSchool) directed the camp for a second time,assisted by Julianne Homokay. Other staff mem-bers included Jillian Bleggi, Sarah Espinosa, andHeather Stangle.

The final performance was an adaptation ofHenry V. On any given day of the two weeks pre-ceding the final performance, small groups of

students could be observed in rehearsal, usingphysical exercise to find the emotion demandedby the text, engaging in stage combat, or usingdance movement to prepare for the play’s fightscenes and tavern dancing.

Parents and friends helped close the camp asthey watched a standing-room only performanceof scenes from Henry V in the Kogod Theatre ofthe Clarice Smith Performing Arts Center.Thanks to all, most particularly to Carol Jordanand to the Maryland-National Capital Park andPlanning Commission, for their dedication andgenerous support.

11

Volumes inPrintStructures and Subjectivities: Attending to Early ModernWomen

Proceedings volume of the 2003 symposium,edited by Joan Hartman and Adele Seeff.(Forthcoming, late fall 2006)

Culture and Change: Attending to Early Modern Women

Proceedings volume of the 2000 symposium,edited by Margaret Mikesell and Adele Seeff.Newark: University of Delaware Press; Londonand Toronto: Associated University Presses,2003.

Crossing Boundaries: Attending to Early Modern Women

Proceedings volume of the 1997 symposium,edited by Jane Donawerth and Adele Seeff.Newark: University of Delaware Press; Londonand Toronto: Associated University Presses,2000.

The Public and Private in Dutch Culture of the GoldenAge

Edited by Arthur K. Wheelock, Jr. and AdeleSeeff. Newark: University of Delaware Press;London and Toronto: Associated UniversityPresses, 2000.

Attending to Early Modern Women

Proceedings volume of the 1994 symposium,edited by Susan D. Amussen and Adele Seeff.Newark: University of Delaware Press; Londonand Toronto: Associated University Presses,1998.

In Iberia and Beyond: Hispanic Jews between Cultures

Edited by Bernard Dov Cooperman. Newark:University of Delaware Press; London andToronto: Associated University Presses, 1998.

Attending to Women in Early Modern England

Proceedings volume of the 1990 symposium,edited by Betty S. Travitsky and Adele Seeff.Newark: University of Delaware Press; Londonand Toronto: Associated University Presses,1994.

The Picaresque: A Symposium on the Rogue’s Tale

Edited by Carmen Benito-Vessels and MichaelZappala. Newark: University of Delaware Press;

London and Toronto: Associated UniversityPresses, 1994.

Action and Reaction: Proceedings of a Symposium toCommemorate the Tercentenary of Newton’s Principia

Edited by Paul Theerman and Adele Seeff.Newark: University of Delaware Press; Londonand Toronto: Associated University Presses,1993.

Settlements in the Americas: Cross-Cultural Perspectives

Edited by Ralph Bennett. Newark: University ofDelaware Press; London and Toronto: AssociatedUniversity Presses, 1993.

The French Academy: Classicism and Its Antagonists

Edited by June Hargrove. Newark: University ofDelaware Press; London and Toronto: AssociatedUniversity Presses, 1990.

Urban Life in the Renaissance

Edited by Susan Zimmerman and Ronald F. E.Weissman. Newark: University of DelawarePress; London and Toronto: AssociatedUniversity Presses, 1989.

Print and Culture in the Renaissance: Essays on theAdvent of Printing in Europe

Edited by Gerald P. Tyson and Sylvia S.Wagonheim. Newark: University of Delaware

�PublicationSeries �

Press; London and Toronto: AssociatedUniversity Presses, 1986.

Early Modern Women: AnInterdisciplinary JournalEarly Modern Women: An Interdisciplinary Journal waslaunched in the spring of 2005 with financialsupport from Dean James F. Harris of theCollege of Arts & Humanities, and theDepartments of English and Women’s Studies,as well as the Society for the Study of EarlyModern Women. It is especially heartening tohave visionary colleagues such as CharlesCaramello (English) and Bonnie Dill (Women’sStudies), who endorsed this project from thebeginning. Jane Donawerth (English andWomen’s Studies) and Adele Seeff (Center forRenaissance & Baroque Studies) are co-editors;they have assembled a noteworthy EditorialBoard. The Board includes Jane Couchman(French and Women’s Studies, York University),

Nancy A. Gutierrez (Arts and Sciences,University of North Carolina Charlotte), AmyLeonard (European History, GeorgetownUniversity), Margaret Mikesell (English, John JayCollege, City University of New York), KarenNelson (Center for Renaissance & BaroqueStudies), Diane Wolfthal (Art History, ArizonaState University), and Naomi Yavneh(Humanities, University of Southern Florida).The Journal is also assisted by a Board ofAdvisors consisting of the foremost scholars inearly modern studies.

Early Modern Women is structured to be a com-petitive peer-reviewed academic journal; it fol-lows the customary editorial practices for schol-arly humanities publications. Following a call forsubscriptions and papers issued last May, theJournal received many submissions, and numer-ous subscriptions and gifts. The first volume willbe ready for sale at the fall 2006 Attending to EarlyModern Women—and Men Symposium.

Cross-CampusCollaboration �

12

13

The individuals below participated in oneor more Center programs during the2004–2005 academic year.

ART HISTORY AND ARCHAEOLOGY:Adrienne Childs, Fine Arts Institute; AnetaGeorgievska-Shine, Fine Arts Institute, Teaching East& West; Meredith Gill, Fine Arts Institute; QuintGregory, Fine Arts Institute

COMMUNICATIONS: Pam Slater, TableReadings

EDUCATION: Elaine Derrer, Table Readings;Joyce Khouri, Table Readings

ENGLISH: Brandi Adams, Renaissance Revels;Ruth Akca, Table Readings; Hannah Baker, TableReadings; Francoise Bastien, Table Readings; RalphBauer, Inquisitions and Persecutions; Stewart Brown,Table Readings; Ray Bossert, Dissertations-in-Progress;Brianne Cobuzzi, Table Readings; Theresa Coletti,Inquisitions and Persecutions; Emilia Costa, TableReadings; Elaine Derrer, Table Readings; JaneDonawerth, Early Modern Women Journal; JoshGoldstein, Table Readings; Chelsea Harrison, TableReadings; Joyce Khouri, Table Readings; JasonJuzwiak, Table Readings; Theodore Leinwand,Inquisitions and Persecutions, Shakespeare and PopularCulture; Josh McManus, Table Readings; MichaelOlmert, Table Readings; Meg Pearson, RenaissanceRevels, Dissertations-in-Progress; Silke Popp, Table

Readings; Anne Powell, Table Readings; LindseyRobbins, Table Readings; Erin Sadlack, RenaissanceRevels; Kat Snow-Milon, Table Readings; MarianStimson, Table Readings; Angelique Wheelock,Dissertations-in-Progress; Allie Young, Table Readings

FRENCH & ITALIAN: Jacqueline Letzter,Works-in-Progress; Dorothée Polanz, Dissertations-in-Progress

HISTORY: Marvin Breslow, Inquisitions andPersecutions; Josh McManus, Table Readings;Madeline Zilfi, Islam Day

JOURNALISM: Lindsey Robbins, Table Readings

LIBRARIES: Louise Green, Fine Arts Institute;Eric Lindquist, Inquisitions and Persecutions; JoanStahl, Fine Arts Institute

MUSIC: Michael Stuart Holmes, Shakespeare andPopular Culture

PUBLIC POLICY: Peter Levine, Works-in-Progress

SPANISH & PORTUGUESE: Eyda Merediz,Inquisitions and Persecutions

THEATRE: Francoise Bastien, Table Readings;Leigh Caudill, Table Readings; Jennifer Ring, TableReadings; Kat Snow-Milon, Table Readings; NoelleWilson, Shakespeare Camp

14

OutsideFunding ��

The Center for Renaissance & BaroqueStudies received support from the followingexternal donors:

Dean’s Office, College of Arts & Humanities

Office of the Assistant Provost for Equity andDiversity

Department of American Studies

Department of English

Department of Theatre

Department of Women’s Studies

Office of Undergraduate Studies

School of Music

Barnes & Noble Bookstore at the University ofMaryland

English Speaking Union

The Gladys Krieble Delmas Foundation

Friends of Attending to Early Modern Women

Japan Foundation Center for Global Partnerships

Maryland Humanities Council

Maryland-National Capital Park and PlanningCommission

Maryland State Department of Education

National Endowment for the Humanities

Pepsi Enhancement Fund

Society for the Study of Early Modern Women

Washington Episcopal School

The Center also gratefully acknowledges supportfrom units on campus:

1515

Planning for this international symposium isunderway and full use is being made of the con-ference website (www.crbs.umd.edu/atw6) as alocation for reading abstracts, registration infor-mation, and for announcing the availability often graduate student grants-in-aid for travel tothe conference.

The most exciting new development is theCenter’s launch of Early Modern Women: AnInterdisciplinary Journal, a scholarly publication thatis long overdue. There are now four interlinkedscholarly enterprises: the Attending to Early ModernWomen series, the series of symposium proceed-ings published by the University of DelawarePress, the recently inaugurated Journal, and theseparate but related discipline association, theSociety for the Study of Early Modern Women.The Center can take credit for the first three. Agood part of the upcoming year will be devotedto preparing both of these print collections forpublication. The ever-increasing number of pub-lications in this area testifies to the continuingvitality of the field.

The Center’s Crossing Borders/BreakingBoundaries series of summer institutes forMaryland educators has been identified by JamesTucker (Maryland State Department ofEducation) as a model arts integration programfor the state of Maryland. This award will

The Center looks forward to an excitingyear. Its signature symposium, Attending toEarly Modern Women—and Men, is scheduled

for November 9–11, 2006, and a stellar slate ofspeakers has been organized around four topics.The keynote speaker will be Sarah Cohen (ArtHistory, University at Albany-SUNY). The firstplenary, “Theorizing Early Modern Masculinityand Maleness,” will feature Alexandra Shepard(History, University of Cambridge); Roger Freitas(Musicology, Eastman School of Music,University of Rochester); and Margaret Ferguson(English, University of California, Davis).“Childhood” is the subject matter of the secondplenary, and speakers will include Amy Leonard(History, Georgetown University); Jeanice Brooks(Music, University of Southampton); and ValeriaFinucci (Italian, Duke University). The third ple-nary will turn its focus to “Violence,” and speak-ers on this topic include Margaret Carroll (Art,Wellesley College); Randall Martin (English,University of New Brunswick); and Susan Niles(Anthropology and Sociology, Lafayette College).At the fourth plenary of the symposium,“Pedagogies,” attendees will be treated to talks byJudith Tucker (History, Georgetown University);Caroline Murphy (Art History, University ofCalifornia, Riverside); and Katherine Crawford(History, Vanderbilt University).

FuturePrograms �

�

16

require modifying the 2006 program to bringthe institute into conformity with theProfessional Development Standards recentlyarticulated by the Maryland State Departmentof Education. These standards were developedover a two-year period of state-wide focusgroups; they are intended to ensure that profes-sional development programs for teachers aredesigned to serve teachers’ needs and will alwaysinclude student assessment.

In the spring of 2005 Dean James Harris(College of Arts & Humanities), working withAdele Seeff, decided to house several key Collegeoutreach programs at the Center under hersupervision. Seeff was named Director ofOutreach for the College. The Teachers asScholars program and the Northwest HighSchool Collaboration are now managed by theCenter Director. Teachers as Scholars, initiallyfunded by the Woodrow Wilson Foundation inpartnership with school districts in Maryland, isin its fifth year.

The Northwood Collaboration, founded by amemorandum of understanding signed byUniversity of Maryland President C.D. Mote,Jr., is at the beginning of an extraordinary rela-tionship. Northwood High School and theUniversity of Maryland are working together tocreate a collaborative learning community of

students, faculty, staff, parents, businesses, andcommunity organizations who together will cre-ate an “Early College High School” model. Thismodel will promote cooperation among highschool and college faculty and will improveaccess to post-secondary institutions by offeringhigh school students opportunities to earn col-lege credit in high school. Parents at the schoolwill be encouraged to think of college as a viableoption for their children. The school will be asite for University of Maryland interns.

Other established initiatives will continue inthe coming year. The Shakespeare in Performanceseries has been expanded to Shakespeare Fest andnow includes even more active workshops onstage fighting, acting, and clowning for students,as well as dynamic lectures and pedagogical dis-cussions for teachers. The Shakespeare MiddleSchool Monologue Contest enters its third year,its second at Imagination Stage. ShakespeareCamp enters into its fourth year. As always, theCenter welcomes ideas for new initiatives fromboth faculty and graduate students.

The Center gratefully acknowledges support from its many patrons �