The Art and Science of Collecting in Eighteenth-Century Europe Edited by Dr. Arlene Leis and Dr. Kacie Wills
Sarah Stone, Perspective Interior View of Sir Ashton Lever’s Museum in Leicester’s Square, watercolor, London, March 30, 1785.
We are inviting chapter abstracts for a collection of essays designed for academics, specialists and enthusiasts interested in the interrelations between art, science and collecting in Europe during the long 18th century. Our volume will discuss the topic of art, science and collecting in its broadest sense and in diverse theoretical contexts, such as art historical, feminist, social, gendered, colonial, archival, literary and cultural ones. To accompany our existing contributions, we welcome essays that take a global and material approach, and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women participated in art, science, and collecting in some capacity. The compendium will consist of around 15 essays, 6000 words each (including footnotes), with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects pertaining to collections/collectors from that period. The subject of art, science and collecting will also be central to these contributions. These smaller pieces will each include one illustration. The following topics/case studies are particularly desired:
• Women’s collecting interests
• Histories and methodologies of collecting, taxonomies,
cataloging, arrangement, and modes of display
• Cabinets of curiosities/Wunderkammer
• Collections housed in art and/or science institutions
• The boundaries between the natural and the artificial
• Scientific and artistic tools and instruments
• Seriality vs. rare objects
• Transitional objects
• Collecting networks
• The artist collector
• The scientist collector
• The overlapping of science, art and collecting in domestic
• Antiquarian collections
• Print culture
A final 2018 report from the ‘Romantic Novels 1818’ seminar. This series is sponsored by BARS and seminars are held at the University of Greenwich.
Charles Robert Maturin, Women; or, Pour et Contre (1818), as discussed by Christina Morin (University of Limerick)
Blog post report by Victoria Ravenwood (Canterbury Christ Church University)
The highly-anticipated final seminar in the ‘Romantic Novels 1818’ series was delivered by Christina Morin, of the University of Limerick, on Charles Robert Maturin’s Women; or, Pour et Contre. Interestingly, Morin opened the discussion with talk of another notable 1818 novel – namely, Mary Shelley’s Frankenstein– and the Frankenreads project directed by Neil Fraistat to mark its 200-year anniversary. With this in mind, she presented the question: Why are we celebrating Frankensteinalone, and not any of the other great works published in that same year? Morin offered Maturin’s Womenas an equally fascinating alternative to Shelley’s seminal Gothic work.
Women; or, Pour et Contrewas Maturin’s fourth novel, and centres around the lives of two women – Eva, a deeply religious but naïve young girl; and Zaira, a beautiful, talented and successful actress – and their romantic involvements with the same man, the charming De Courcy. The novel was supposed to be published in 1816, but was not actually published until several months after the publication of Shelley’s Frankensteinin 1818. Although Shelley is highly unlikely to have read Women before this time, we do know that she was reading other works by Maturin (such as Melmoth the Wanderer) whilst she wrote and prepared Frankensteinfor publication. From this, Morin suggested, we can surmise not only the influence that Maturin’s writing had on Shelley, but also the ways in which he is responsible for contributing to the formation of the literary Gothic.
To be sure, Maturin’s works were popular and influential in the early decades of the nineteenth century. They are not as widely read today, however – evidenced in the fact that a copy of Maturin’s 1818 novel was hard to locate. Likewise, scholarship on Women; or, Pour et Contre,is limited. Morin suggested that the main reason for this erasure is that defining and identifying Irish Gothic fiction in the Romantic period is difficult, with criticism tending largely to overlook works which fall outside of the retrospectively defined boundaries of Romantic fiction (which, she added, is very much held to an ‘English standard’).
Morin explained that Irish writers had been contributing to the Gothic all along, with notable writers such as Regina Maria Roche utilizing the tropes of the genre as early as the 1780s, and yet she also noted that works by these writers are little read now. Moreover, they are continually written out of literary criticism, or else mentioned only to be dismissed as opportunistic imitators of more widely-acclaimed Gothic writers such as Ann Radcliffe. Morin argued, however, that works by the likes of Maturin cannot, and should not, be dismissed as such.
The accepted open call sessions for BARS’ 2019 International Conference, themed around Romantic Facts and Fantasies, have now been published on the main conference page on the University of Nottingham website. Details can be accessed using the links below; abstracts should be sent to the named organiser for consideration.
On Saturday 1 December, you are invited to join us for a special event to launch our Keats200 programme, which celebrates Keats’s most productive years as a poet.
From 10am, we will meet at Well Walk to journey with Keats and companions down to Keats House for a ceremonial opening of the House.
The House will be open from 11am – 5pm and will be free to everyone on that day. Drop in to meet Keats and companions and take part in a range of special events including discussions with Professor Nicholas Roe and Dr Anna Mercer on Keats and Romantic poetry, tours of the House, poetry readings and activities for all ages.
The walk will be repeated at 2pm, arriving at the House for 3pm. Please wear appropriate clothing and footwear for both walks.
Just as Keats was welcomed by his friends to Wentworth Place, we look forward to welcoming you too, to the place where he found inspiration, friendship and love, now known as Keats House.
See below for timings and booking details for selected events:
10 – 11am Walk with Keats to Wentworth Place (now Keats House). Booking essential via keatsevents.eventbrite.co.uk.
11am Ceremonial arrival at Keats House and opening of Keats at Wentworth Place exhibition.
11am – 5pm House open for free to all, including Build your own Wentworth Place activity for families, and the Keats House Poetry Ambassadors reading Keats’s poems throughout the day.
12noon – 12.30pm Join Professor Nicholas Roe for a conversation about Keats in 1818-19.
12.45pm – 1.15pm Dr Anna Mercer hosts a talk and Q&A on the Romantic movement and its significance.
2pm – 3pm Repeat: Walk with Keats to Wentworth Place (now Keats House). Booking essential via keatsevents.eventbrite.co.uk.
2.15pm – 3pm Guided tour of the house.
3.15pm – 3.45pm Repeat: Join Professor Nicholas Roe for a conversation about Keats in 1818-19.
3.30pm – 4.30pm Meet with Keats and associates in Hampstead, 1818.
4pm – 4.30pm Repeat: Dr Anna Mercer hosts a talk and Q&A on the Romantic movement and its significance.
4.45pm – 5pm Q&A with Rob Shakespeare, Principal Curator, on the Keats200 bicentenary.
The site presents the most complete accounting to date of the life and career of Mary Hays (1759-1843). The site provides students and scholars with access to all pertinent materials related to Hays, especially her extensive correspondence, including some 90 letters by her close friend Eliza Fenwick (1766-1840) appearing for the first time in their entirety.
More than 400 letters, fully annotated, can be found in this collection. The site also includes the complete texts of all her periodical writings (1784-1800) and all reviews of her own writings, as well as the complete text of Cursory Remarks (1792) and much of Letters and Essays(1793). The site contains the first complete genealogy of Hays, including the discovery of her previously unknown youngest sister, Marianna Hays (1773-97), and her numerous nephews and nieces, including the radical feminist writer Matilda Mary Hays (1820-97), not previously known to have been Hays’s niece.
Biographical notices of more than 100 individuals connected with Mary Hays can also be found on the site. Much of the new material on Hays has come from the diary, reminiscences, and correspondence of her long-time friend and relation through marriage, Henry Crabb Robinson (1775-1867). The material on the site situates Hays within a vibrant culture of religious Dissent for the entirety of her life, a culture that both gives rise to her writing aspirations and circumscribes them thereafter.
The site has been created and compiled by Timothy Whelan, Georgia Southern University.
Posted in Resources by Anna Mercer Comments Off on Announcement: ‘Mary Hays: Life, Writings, and Correspondence’
‘A Daedalus for the Romantic Era? Mary Shelley’s Frankenstein’
A talk by Professor Fiona Sampson
The lecture will take place on Thursday 22 November 2018,
6.00-7.00pm in the Chancellor’s Hall, Senate House,
Malet Street, London, WC1E 7HU
The lecture will be followed by a drinks reception.
Both Frankenstein and the Daedalus myth address our fear of the exceptional individual who abuses his talents by overreaching: the maker who doesn’t know when to stop. Both create capacious archetypes, with plenty of space to explore ambivalence and even admiration alongside that fear. But Mary Shelley’s Frankenstein takes us considerably further than the composite Daedalus story: in a number of directions. Political, ethical, existential and scientific, all seem particularly pertinent to British Romantic experience of society and the self. But is it a paradox that this apparently universalisable myth could only have been written in its own time and place?
If you would like to attend, please RSVP with your name and number of places to:
Hannah Stratton, Development Office, the Wordsworth Trust, Dove Cottage, Grasmere, Cumbria, LA22 9SH.
Alternatively, telephone 015394 63520 or email email@example.com.
Please RSVP by Friday 16 November.
Posted in Events by Anna Mercer Comments Off on Annual Wordsworth Lecture at Senate House, Thursday 22 November 2018
Call for Papers – New edited essay collection: Byron Among the English Poets
Byron felt deeply that literary tradition mattered. Less wedded to notions of ‘originality’ and ‘genius’ than many of his contemporaries, he instead wrote passionately – and unfashionably – about the value of imitation, allusion, and a thorough acquaintance with past masters. He used poetic forms because he thought of them as embedded in historical moments and circumstances, and he wrote with other voices sounding in his head: Horace and Juvenal, Shakespeare, Milton and Pope amongst them. He was a fierce champion of poets whom he saw as having contributed most to sustaining the English tradition, and he could be correspondingly withering on the subject of contemporaries whom he felt were actively engaged in diluting it. Sometimes he felt attraction and repulsion in equal measure: for all the ridicule in English Bards and Scotch Reviewers and Don Juan of the ‘Lakers’, his writing would have looked very different without the powerful influence of Wordsworth, Coleridge and Southey. Perhaps because of his own openness to the idea of being (for better or worse) part of a literary community, many nineteenth- and twentieth-century poets found points of contact with his writing. He was imitated both by writers who admired him as a Romantic lyricist and by those who felt ambivalent about their Romantic inheritance: poets ranging from Swinburne to Auden embraced and wrestled with the powerful sway of his writing, acknowledging the magnetism of his style by ambivalent acts of imitation, parody, and conversation.
Portrait of Byron by Thomas Phillips, c. 1813. (c) Newstead Abbey; Supplied by The Public Catalogue Foundation
Our edited collection, Byron Among the English Poets, expands on previous work on Byron and poetic influence and carves out a number of paths for future work in Byron studies. It already has an impressive roster of contributors, including Bernard Beatty, Madeleine Callaghan, Anna Camilleri, Richard Cronin, Simon Kövesi, Tom Lockwood, Michael O’Neill, Fred Parker, Seamus Perry, Christopher Ricks, Diego Saglia, Jonathon Shears, Jane Stabler, Clara Tuite, Ross Wilson, and Sarah Wootton. Its editors, Clare Bucknell and Matthew Ward, are currently finalising its submission to Cambridge University Press and looking for a new contributor to offer a chapter on Byron and a post-1945 poet (or poets). The selected chapter will be c. 7000 words and may deal with any aspect of the literary relation between Byron and post-1945 poetry (chapters that focus on form and poetic style will be especially welcome).
Substance Use and Abuse in the Long Nineteenth Century:
a report by Anna Rowntree
Substance use and abuse: can there be a subject that more intimately and richly connects the long nineteenth century with our own modern moment of being? We live in a world of blurred boundaries – our food, our clothes, our drugs, and our technology grown, mined, manufactured and designed in a cross-pollinated global world where nothing is ever straightforward.
But perhaps we can track something – perhaps we can go back and pay attention to the time which from this vantage point looks a little like a beginning. We can burrow into the literature, art and artefacts of the long nineteenth century and we can draw lines which trace the moving, trading, inhaling and consumption of substances such as tobacco, hashish and opium. We can look at the ships facilitating the new globalising world economy and political landscape of colonisation, revolution and capitalism. We can chart the psychological landscape of the individual drug user and observe the blooming of new ways of painting, thinking or conceiving of self and world. And that is exactly what the conference ‘Substance Use and Abuse in the Long Nineteenth Century’ managed to do. From the minutiae of each scholar’s intricate research came a bigger picture which expressed something not unified but mutating and on the move. What every paper did in its own way was get things rolling – the effect was a view of the long nineteenth century where nothing stayed in its box and things were allowed to bleed.
Thursday began with a keynote from Noelle Plack entitled ‘Alcohol, Power and Identity in the Age of Revolution’. What Plack’s comprehensive research revealed was that alcohol consumption both encouraged social breakdown and simultaneously defined and reflected power hierarchies in an era of social upheaval. Whilst places of consumption and the loosening of tongues allowed a subversive physical and psychological space to open up, the choice of alcoholic beverage was highly coded with nationalistic and class associations. Plack’s conclusion that social movements and drink are intimately entwined laid the foundation for a conference in which culture revealed itself to be consistently under the influence – and in which substances are much more than recreational toys.
Panel One continued the investigation of alcohol with Jean Webb discussing the fascinating field of Victorian children’s fiction. Her reading of Charles Kingsley’s The Water Babies and Hesba Stretton’s work showed the complex ways in which these writers were considering the social anxieties around alcoholism, degeneration, poverty, and child labour. Here Darwin, science, religion, literature and social activism all came together in an affective nexus. This interdisciplinary approach laid the foundation for a conference which at its best sought to be historically, culturally and artistically inclusive.
In Panel Two, Bob Nicholson treated us to a bodily understanding of cocktail culture. His shot glasses of blue liquid were not celebrated for their taste but were a fitting way to embody the subject. Nicholson’s conclusion that the British public were enjoying cocktails as part of a celebration of American culture spoke to the transnational nature of substances and the complex cultural interactions they encourage.
Speaking on the next panel, I made a case for reading De Quincey’s opium use through the lens of the posthuman, and argued that when we do so we introduce the possibility for exploring the role of peace in defining the shift between occasional and habitual drug use. Menglu Gao followed my paper with her rewarding reading of De Quincey alongside John Brown’s Elements of Medicine. Gao’s focus on energies and the invigorating effects of opium on the individual body, and as a nationalistic metaphor, was a beautiful illustration of the engagement of the personal and the political.
Panel Four was another rich offering. Sarah Irving complicated a traditional reading of Mary Eliza Roger’s memoir Domestic Life in Palestine. Instead of rejecting the text as an example of a romanticising European gaze, Irving argued that we read the work in terms of authenticity. The act of shared smoking implied Roger’s bodily knowledge of the orient which went beyond the mere onlooker. Suzanne Bode’s work on the hyper-realistic paintings of the pre-Raphaelites was a welcome inclusion of visual art in our discussion. Whether paintings of drugged models or paintings composed under the influence of mind altering substances, it was fascinating to analyse both the representation of the drugged body and the subjective reality of the drugged mind.
The day concluded with Susan Zieger’s keynote ‘Nineteenth-Century Revolutions: Psychoactive, Logistics, Aesthetic’. Zieger gave us a glimpse into her new work (her earlier work Inventing the Addict informed several of the papers at the conference). Her argument that we need to read the success of opium as a global commodity in terms of logistics encouraged not only a deep appreciation for the storage, transportation and handling technologies that enabled the success of opium, it formulated a new aesthetic understanding of the nineteenth century. Whilst the scale of opium’s production may seem at first to be unmeasurable and chaotic, in fact the strictly regulated ways in which it was managed reveals an underlying choreography which describes fetishised sleek capitalism. The modern implications of this kind of logistical sublime can be seen in Silicon Valley’s promotion of psychedelic micro-dosing as a tool for greater efficiency and productive creativity. The capture of substances – which for many stand for unpredictable freedom in oppressive modernity – is a worrying issue. Zieger’s work showed how profoundly relevant an understanding of the long nineteenth century is to our modern moment of crisis.
Continuing the theme of productive, mechanised labour through substance use was Douglas Small’s keynote paper ‘Sherlock Holmes and “Sports Doping”: Cocaine, Profession, and Performance’, which kicked off day two. Day two was also notable for Kevin McCarron’s paper in which he made a case of returning to a Victorian model for understanding addiction. McCarron’s dissatisfaction with the modern idea of addiction as disease was generally appreciated but his argument regarding a moral model which sees the addict as weak created wide-spread consternation. Nonetheless it was a pivotal point in the conference which got to the heart of why addiction studies matter and clarified the need for an ethical approach to addiction and addicts.
McCarron’s paper was followed by Sean Witters’ deconstructive approach to understanding addiction. Witters asked us to consider how we use the words ‘addiction’ and ‘addict’ forcing us to confront the constructed nature of the categories and the shifting historical ways for describing and understanding the phenomena of repetitive drug use. What happens when we name ‘the addict’? How does the temporal immutability of the noun obscure our understanding of addiction as an act? It was a useful reminder that the language we use creates realities that may have unintended effects.
Natalie Roxburgh’s paper ‘Medication and Social Optimization in Dorian Gray and Dr Jekyll and Mr Hyde’ worked well as a follow up to both McCarron’s and Witters’ work. Here the reasons for taking drugs were shown to be culturally entangled and various. Roxburgh illustrated how the repeated ingestion of substances in Wilde’s and Stevenson’s work is about social functionality and optimisation (as opposed to biological inevitability or an anti-social disregard for society). The transhuman implications of Roxburgh’s argument spoke again to our modern moment and the hybridisation of the human in pursuit of perfection. It was also a thought-provoking way to conclude the conference, leaving us with the haunting suspicion that we are all in the business of socially optimising ourselves.