BARS Blog

BARS Blog

News and Commentary from the British Association for Romantic Studies

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Call for Expressions of Interest: BARS 2023 INTERNATIONAL BIENNIAL CONFERENCE

Deadline: 23 February 2020

Send your EoI to Jennifer Orr (Jennifer.Orr@newcastle.ac.uk)

THE BRITISH ASSOCIATION FOR ROMANTIC STUDIES is pleased to invite Expressions of Interest for the 2023 International Biennial Conference. The last two BARS conferences (York 2017 and Nottingham 2019) were very successful, and we will be co-hosting a large conference with the North American Society for the Study of Romanticism at Edge Hill University in Summer 2021.

Since 2015, attendance at BARS conferences has grown to around 250 and delegate feedback has been very positive. We are very much looking forward to working with institutions in continuing to build on and to diversify the successful BARS model. Please consult the programmes for Cardiff, York and Nottingham as guides for your proposal.

A decision will be made by the BARS Executive at its next meeting in March 2020 and the successful applicants will be invited to submit a report for the following Executive meeting, which will be held electronically in July 2020. The successful applicants will also be expected to make a presentation at the next conference, Edge Hill 2021.

Host institutions are expected to take account of the following in preparing their Expressions of Interest:

Venue location, capacity and accessibility

We expect numbers could range between 250 to 275 delegates: please bear this figure in mind when bidding. You will need a plenary lecture hall large enough to accommodate these numbers, plus a sufficient number of breakout rooms and catering facilities (BARS conferences can normally have around ten parallel sessions). For North American colleagues in particular, the distance from a major airport and transport links will be an important factor, so please bear this in mind.

We expect organizers to offer a range of accommodation from traditional student-type lodgings through to hotel-level facilities. Sufficient cheaper accommodation to allow postgraduate participation is desirable: such accommodation should be within reasonable walking distance of the conference venue or the organizers should make suitable travel arrangements to take delegates to and from the venue.

The venue is expected to meet the usual requirements for facilities in academic meetings, including Wi-Fi and PowerPoint/projection facilities in all rooms. It is desirable that the meeting rooms are in reasonably close proximity to each other and that there is a communal meeting area or foyer, preferably with refreshment facilities so that delegates can socialize and browse publisher stands.

In order to comply with BARS’s commitment to equality, diversity and inclusion, conference organizers should ensure that the venue, accommodation and transportation are fully accessible.

Conference theme

This should be of sufficient scope and significance to allow the Association’s members to take part. Recent themes have been ‘Romantic Imprints’, ‘Romantic Improvement’, ‘Romantic Facts and Fantasies’ and ‘New Romantics’. The full list of previous conferences can be found on the BARS website.

Timetable

The conference has typically run from Thursday to Sunday in the second half of July, with the conference commencing on the afternoon of the first day and finishing on Sunday afternoon. However, this is a flexible schedule and proposers are encouraged to deviate from this model, for instance proposing a Monday-to-Thursday event (indeed, BARS 2021 will be running from Tuesday to Friday).

The BARS Executive normally meet on the evening before the conference begins: organizers will need to arrange a suitable venue for this (two-hour) meeting. The meeting typically concludes with a short tour of the conference venue for the Executive members in attendance. In fixing on a date, it is especially important organizers should check which conferences are already scheduled for what is often a busy time in the calendar and liaise with conference and society chairs in order to avoid clashes wherever possible and facilitate attendance at all events. Conferences which run during summers and are likely to be attended by BARS delegates include those hosted by the British Association for Victorian Studies, the International Conference on Romanticism, the International Gothic Association, the International Society for Eighteenth-Century Studies and the North American Society for the Study of Romanticism.

The CFP is usually circulated by October of the preceding year (2022) and the outcome of the refereeing process confirming speakers is usually made by the middle of January.

Vetting of papers

It is usual for members of the BARS Executive to serve on the panel which referees the proposals for panel papers, though the local organizers have the final right of veto. (It is desirable that papers are refereed not only for the integrity of the event, but also to help delegates secure financial support from funding bodies and institutions.)

Programme

The programme usually takes the form of parallel sessions consisting of panels where delegates deliver 20-minute papers. BARS welcomes convened and themed panels that reflect cutting-edge projects and collaborative research, and other formats such as roundtables and workshops. In addition, there are usually four or five plenary lectures, one of which is designated the Stephen Copley Lecture and another the Marilyn Butler lecture in memory of BARS’s founding members and much-loved scholars. Plenaries are chosen by the local organizing committee, though BARS expects this to reflect a gender balance and a mixture of national and international scholars. In the arrangements of the panel sessions and the timing of the plenary lectures the organizers are asked to consider seriously the responsibility of offering all speakers a reasonable size of audience (it is now standard practice to end the conference on the final day with a keynote). BARS expects panels to incorporate postgraduate and early career researchers opportunities alongside more established academics. The programme should also include specific sessions targeted at professional development for ECRs.

Reception, Book Prize, Banquet, PGR/ECR reception

The BARS conference includes a reception (normally on the first night), a slot for the BARS First Book Prize awards (this can be done at the reception or can be separate), and a banquet on the third night. It has increasingly been the case that informal meals are offered on the second night, although this depends on local factors such as whether the conference venue is campus-based or near a well-provisioned civic centre. Payment for the banquet is optional and can be purchased during registration. There should also be an evening slot for a reception aimed specifically at postgraduate and early career researchers: this typically takes the form of informal drinks and/or dinner, and often runs on the second night but should not be scheduled against the Banquet, in case PGRs/ECRs wish to attend.

Refreshments and lunches 

BARS expects the conference registration fee to include refreshments (before the first sessions each day and regular 30-minute coffee breaks), buffet food for the reception, and lunches on Days 2 to 4 (one of these can be a brown bag lunch on the excursion day). Please build this into your costs.

Conference excursion

It is usual to arrange an excursion or choice of excursions with laid-on transport within the schedule, to take place usually on the Saturday (i.e. Day 3) afternoon, and to a ‘Romantic’ venue with general relevance to the conference e.g. a museum, estate, birthplace, gallery. We are keen to explore offering the excursion on another day (e.g. the final day of the conference, or before the main activity of the conference commences), for reasons of inclusivity. The excursion is always an optional extra in terms of costings and can be purchased during registration.

Biennial General Meeting

The conference organizers are required to find a central time (at least one hour, which can be the lunch hour) within the schedule to host the BARS BGM. Key aspects of the BGM are: presentation of reports from the Executive to Membership; election of the new BARS Executive for 2023–2025; presentations on the PGR/ECR conference in 2024 and BARS 2025.

Cost

Organizers are asked to keep costs as low as possible without compromising the quality of the event. Please provide as much information as you can about the predicted registration fee, including a day rate and discounted rates for PGRs, ECRs, retired and unwaged, as well as whether you propose to include discounted ‘early bird’ rates. In order to maximize inclusion, day rates must feature as part of the package offered to delegates.

BARS is willing to provide an appropriate level of support to its international conference; any profits are expected to be shared 50/50 with BARS. 

The selection committee strongly encourages proposers to include indicative budgets with projected income and costings, in order to confirm the event’s viability and affordability for delegates.

Liaison

Organizers will maintain contact with the BARS Executive throughout the planning process. This is usually managed by the co-option of a local organizer onto the BARS Executive for a period of two or more years. A delegation from BARS will also make a site visit in 2021 or 2022 to check through logistics, run through the programme and offer general advice. The BARS Executive will also approve the final programme.

CFP – Pacific Paratexts

An interdisciplinary symposium exploring paratexts in writing from and about the Pacific

Plenary lectures: Rod Edmond (University of Kent); Anna Johnston (University of Queensland)

Meiji University, Tokyo, Japan, November 7-8 2020

This two-day interdisciplinary symposium investigates the role and status of paratexts in the mediation and representation of Pacific cultures, geography and history. “Paratext” is the label coined by theorist Gerald Genette to describe those threshold devices that help shape a text’s reception, including annotations, blurbs, cover design, epigraphs, fonts, format, front and back covers, glossaries, illustrations, indices, introductions, maps, prologues and epilogues and titles.

Paratexts have been a frequent presence in Western literary representations of the Pacific. Consider, for example, the “Preface”, annotations and glossary that accompanies Louis Antione de Bougainville’s Voyage Autour du Monde (1771); John Hawkesworth’s paratexts for his edition of Captain Cook’s An Account of the Voyages (1773); the famous marginal gloss that accompanies Samuel Taylor Coleridge’s 1817 version of “The Rime of the Ancient Mariner”; Edgar Allan Poe’s deconstructive “Preface” and footnotes for The Narrative of Arthur Gordon Pym of Nantucket (1838); Pierre Loti’s epigraphs, notes and parallel transcriptions of Tahitian and French for The Marriage of Loti (1880); and Robert Louis Stevenson’s ethnographic annotations for his Polynesian Ballads (1890). In
translations, travel writings, missionary accounts and ethnographic studies, paratexts have provided a crucial site for the mediation of Pacific cultures and the establishment of scholarly authority. Pacific writers such as José García Villa and Albert Wendt have used paratexts to create a space for their voice and assert their identities in conditions that suppress and exclude indigenous and hybridic voices. On the other hand, Patricia Grace has argued that writers from “small population cultures” should not have to “other” their languages and cultures by providing glossaries and other explanatory information in footnotes for readers.

This symposium will explore how paratexts facilitate the juxtaposition of different writings, the crossing of generic and cultural boundaries, the collision of different languages and intersections between the factual and the fictional, the creative and the imaginary and the historical and ethnographic. These devices can operate legalistically to provide documentary evidence of economic, historical, legal and political claims asserted in the core text. They can be deployed to make manageable the foreignness of a text by either domesticating it or intensifying those aspects that are considered foreign via exoticization. In some cases, paratexts are utilized to assert dominant racist paradigms and contain indigenous voices within boundaries considered acceptable. In others, they provide a surreptitious means of authenticating and archiving indigenous perspectives. Multiple paratexts also offer a means of staging contestatory and contradictory views of the Pacific and the position of the speaker in relation to it.

This symposium examines the various ways in which paratexts are used to mediate the Pacific in literary and non-literary writing in different languages. Questions for exploration include:

  • How do writers use paratexts to construct authorial identities? Why use paratexts for this purpose?
  • Are paratexts a generic expectation? If so, how did they become so? How do paratexts enable writers to place their writings in relation to other forms of writing—anthropology, ethnography, history, literature and so on?
  • How have paratexts affirmed and undermined the distinction between factual and fictional representations of the Pacific? What does it mean to assert the factual status of a cultural artefact?
  • How do paratexts differ in versions of the same text produced for different audiences?
  • What kind of threshold does the paratext offer for agents, creative and scholarly collaborators, editors, participant-observers, publishers and translators?
  • What do shifts in paratextual practices show us about changing cultural and political ideologies?
  • How are paratexts utilized to support and contest Eurocentricism and the flow of knowledge from Pacific to Western metropolitan centres?
  • How are paratexts used to create audiences for indigenous voices? When does mediation become appropriation? What hidden contributors do paratexts reveal and efface? How do cultural differences shape paratextual practice? Does it make sense to use the term “paratext” in a non-Western context? What other terms might be more useful (for instance from parergon or frame theory)?
  • Epeli Hau’ofa asserted that “our histories are essentially narratives, told in the footnotes of the histories of empires”.2 Likewise, Stevenson famously entitled his polemic against American, British and German involvement in the First Samoan Civil War (1886–94) A Footnote to History (1892). What does it mean to use paratexts as metaphors for the historical situation of the Pacific? How do paratexts situate the Pacific in relation to ideas of World geography, World history and World literature?
  • When does extratextual material—letters, interviews, book reviews, commentary on the text—fulfill a paratextual function, and how does this complicate Genette’s model? To what extent can non-written material such as conversations, correspondence, records, journals and interviews be considered paratextual?
  • How do paratexts operate in non-literary texts: comics and manga? ethnographic literature? the frame of the picture and the title of the art-work? music? News, translation and subtitles? Philosophy? Political writing? Religious texts? Travel writing? How does the shift to digital, transmedia storytelling and e-reading devices complicate our understanding of the paratext in the Pacific context?

Research that is still speculative is welcome alongside completed pieces. Please include five keywords in all proposals. The deadline for all proposals is 1 May 2020 with decisions on submissions to be circulated by 30 May 2020. Please send all submissions and queries to pacificparatexts@gmail.com.

Meiji University is located in central Tokyo, with easy access to Tokyo Haneda and Tokyo Narita airport. A list of recommended hotels of different price ranges will be provided nearer the time.

Dreaming Romantic Europe, Workshop 2 “Romantic Authorship”

Conference Report by Alice Rhodes, University of York. 

On Friday 18th October 2019 members of European Romanticisms in Association (ERA) were lucky enough to gather in the beautiful Italian city of Ravenna for the second meeting of the AHRC funded Dreaming Romantic Europe network, headed up by PI Professor Nicola J Watson (Open University) and Co-I Professor Catriona Seth (University of Oxford). The workshop, which took place in the Antichi Chiostri Francescani, next door to Dante’s tomb and just a short walk from Lord Byron and Teresa Guiccioli’s home in Ravenna, addressed the theme of “Romantic Authorship.” Over two days, delegates explored how the ideology and celebrity of Romantic authorship was supported, elaborated, and transmitted by objects through a fast-paced series of diverse, original, and thought-provoking presentations. We were delighted to welcome speakers working in academia and heritage across Europe, with representation from France, Germany, Hungary, Italy, the Netherlands, Poland, Switzerland and the UK.

 

On Friday, attendees began the day with an introduction to the project from Professor Nicola Watson before making the short walk to Palazzo Guiccioli, home of Countess Teresa Guiccioli, where Lord Byron lived between 1819 and 1821. The building is also the location of the forthcoming Museo Byron, which is currently under construction. Once complete the museum will house material on poet, the countess and their relationship along with further galleries dedicated to the history of the Risorgimento. Delegates were treated to an exclusive tour of the building, led by Professor Diego Saglia before returning to the Chiostri Francescani for the first round of presentations. Using the model of our successful first workshop at Maison de Chateaubriand, La Vallée-aux-Loups in November 2018, the afternoon sessions took the format of ten minute talks on a single object, suitable for exhibit in Romantic Europe: the Virtual Exhibition (RÊVE). What followed was a series of incisive and insightful papers which explored both the objects of Romanticism and their role in shaping the celebrity of those who owned, created, used or encountered them. Clustered around five broad themes – “Placing and Displacing the Author,” “Authorial Affinities Across Europe,” “The Author and Posterity,” “Contact-Relics and Imaginary Conversations” and “Other Arts,” the presentations dealt with a huge variety of objects. From items of clothing and manuscripts, to ballets, buildings and lost objects, speakers explored both the materiality and immateriality of European Romanticisms. With lots to think about following a wonderful first day, delegates were able to continue conversations over the workshop dinner.

 

Saturday got underway with an excellent cluster of talks which together presented a collection of proposed RÊVE exhibits focused on the “Author In/And a Landscape”. The rest of the morning was dedicated to reflections on collaborations, communities, collections and the opportunities for developing the virtual exhibition in these areas. Attendees heard about a number of exciting projects and organisations which could provide RÊVE with future collaborators and models, including: the Museo del Risorgimento, Bologna; The Antique and Romantic Skies in Europe project; the Swiss Guestbook project; the Keats House Museum; Deutsches Romantik Museum, Frankfurt; Maison de Chateaubriand; and the Wordsworth Trust. Lastly, the workshop drew to a close with an activity to create collections, with participants exploring a gallery of images from the virtual exhibition which were displayed around the room, before proposing themed collections into which the objects could be gathered. As the delegates prepared to depart and to make the most of their remaining time in Ravenna, the group reflected on the workshop and RÊVE, recording a virtual audio guestbook of responses to the project.

Overall the workshop was a huge success, generating a wealth of new ideas about and approaches to the objects of European Romanticism. We’d like to extend our thanks to everybody who made it possible through their hard work, organisation, and sponsorship, particularly the Fondazione Cassa di Risparmio di Ravenna, Erika Fabbri, the Museo Byron, Professor Diego Saglia and all of our participants whose exhibits we look forward to featuring in RÊVE in the near future.

Explore the virtual exhibition here: www.euromanticism.org/virtual-exhibition

And follow us on Twitter @euromanticism

Conference Report by Alice Rhodes, University of York. 

Keats Foundation Annual Lecture 2020

‘Between the Downs and the Sea: Romantics in Sussex’

By Alexandra Harris, author of Weatherlands: Writers and Artists under English Skies, and Romantic Moderns: English Writers, Artists and the Imagination, from Virginia Woolf to John Piper.

‘Nothing worth speaking of’ happened on Keats’s 1819 excursion over the South Downs to Chichester and then to Bedhampton – nothing except most of The Eve of St Agnes and The Eve of St Mark. William Blake referred to his Sussex years as a ‘slumber on the banks of the ocean’, but it was a fruitful sleep in which Chichester appeared as a version of Jerusalem. William Collins, who spent most of his life in Chichester, catches the music of his ‘native plains’ in some of his most influential odes. This lecture will consider Keats and his predecessors in this small part of Sussex, and will explore more broadly the relationship between place and poetry.

Alexandra Harris will speak on Saturday 7 March 2020 at 5 pm.

Booking here

Other selected Keats House events (several more, including Family Days and free poetry readings, can be found on their Eventbrite page).

All events listed below run 6.30-8pm in The Chester Room, Keats House

30 Jan Jennifer Wallace ‘”Digging Up Milton”. Keats, Milton and London 1790-1818: Writing Historical Fiction.’

6 Feb Jonathan Gonzalez ‘Keats and Wine’

20 Feb Damian Walford Davies ‘Keats’s Killing Breath: Poetry and Theories of Consumption’

5 March Drummond Bone ‘What is Poetry – thoughts by Byron (and Keats)’ – in partnership with the Byron Society

16 April Andrew Rudd ‘Charities in Keats’s London’

Oaths, Odes, and Orations 1789-1830

2020 Paris Symposium of the London-Paris Romanticism Seminar

Ecole Normale Supérieure, rue d’Ulm, Paris

Friday 3-Saturday 4 April 2020

The Tennis Court Oath of 20 June 1789 was the first overtly revolutionary act of the French Revolution and marked the beginning of an epoch in which public speech acts took on unprecedented political significance. The ceremonial odes and hymns of the fêtes de fédération were another manifestation of this renascence of orality, restoring the ancient Pindaric tradition of poetry as public performance and giving new meaning to odic conventions such as invocation, exhortation and apostrophe. In the work of André Chénier and others, this new lyric function produced major poetry. Meanwhile, in the halls of the political clubs, in the National Convention and revolutionary Committees, and from lecterns, pulpits and courtroom benches across France, oratory of all kinds shaped the course of history and decided the fate of individuals. Even on the executioner’s scaffold, rhetorical amplification became the preferred mode of address, a grim illustration of Baudelaire’s subsequent observation about ‘the grandiloquent truth of gestures on life’s great occasions’.

The revitalisation of performative language was not confined to the 1789 Revolution, nor to France. Britain experienced what many still consider a golden age of political eloquence, as orators of the calibre of Pitt, Burke, Fox and Sheridan jousted in parliament and extended their orations through the medium of print. Outside parliament, the growth of the corresponding societies, of other political clubs and associations, and of political lecturing created numerous opportunities for public address, the communicative practices and clandestine rituals of certain organisations attracting repressive measures such as the Unlawful Oaths Act of 1797. Radical writers mimicked French revolutionary styles in odes to Liberty and on the Bastille, while satirists parodied their efforts in mock-odes to the guillotine and pseudo-songs travestying revolutionary enthusiasm. Sermons, notably in the Nonconformist churches, were another front in the oral war of ideas, fusing religion and politics in provocative ways. Educational lecturing also underwent a remarkable boom, in the new Royal Institution and other fashionable lecturing institutions.

This two-day symposium will assess the literary significance of this mobilisation of orality and public utterance, and explore links between the speech acts of politicians, polemicists and educators and the writings of poets and other authors. How is the Romantic revaluation of the ode which produced the famous lyrics of Coleridge, Keats, Shelley and Victor Hugo – and of less well-known figures such as Southey, Hemans, Iolo Morganwg and Peter Pindar – connected with the revival of ceremonial ode-writing and public ritual? How are the ‘speech genres’ of everyday life integrated into the more complex genres of imaginative literature, as Bakhtin postulated? Can speech-writing, sermonising or toast-making be themselves a form of literary activity? What happens when legally, morally binding oaths and commitments are broken, forcing the swearer to recant, in public again – are such disavowals part of the culture of apostasy and disenchantment posited by literary historians of Romanticism? And to what extent do these purposive deployments of public speech enter the literary and rhetorical theory of the period?

We invite proposals on any aspect of the literary and verbal life of Britain and France from 1789 to 1830 that relates to this broad set of issues. Topics may include but are not confined to:

•       Oaths, affirmations and other verbal rituals
•       Toasts and toasting
•       Public lectures and lecturing
•       Denunciation, recantation and confession
•       Proclamations, declarations and vindications
•       Odes, hymns and songs
•       Apostrophe, personification and other poetic devices
•       Literature and public ceremony
•       Dialectic of publicness and privacy in Romantic lyric
•       Political, religious and forensic oratory
•       Illocutionary acts and performative language
•       Gendered eloquence
•       Dialogues and dialogism
•       Rhetorical theory of the Romantic period

Papers will be 25 to 30 minutes, followed by 10 minutes for questions.

Send title of paper and abstract (300 words), with brief CV, to marc.poree@ens.fr and d.duff@qmul.ac.uk by 31 January 2020

Organised by Marc Porée (ENS), David Duff (QMUL) and the Paris Steering Group of the London-Paris Romanticism Seminar. For further information, see http://londonparisromantic.com/

The Meeting: Reading and Writing through John Clare

As part of an Arts Council England- & John Clare Society-funded outreach and inclusion project, Simon Kövesi has edited a short collection of readings of John Clare poems and prose by celebrated actor Toby Jones, now online at Oxford Brookes University. The readings are available via standard browsers, and via Spotify and iTunes as free podcast-style subscriptions. Reading texts are also provided on the project website. The hope is that Toby’s readings will support the study and enjoyment of Clare, at any level of interest.

Toby will perform as Clare, in the project’s final musical stage show, in Oxford in February, and in London in April, by way of celebrating 200 years since the publication of Clare’s first collection, Poems Descriptive of Rural Life and Scenery. More details soon.

Project website: https://www.brookes.ac.uk/the-meeting/

Toby Jones readings: https://www.brookes.ac.uk/the-meeting/toby-jones-reads-john-clare/

CFP: Writing Health from the 18th Century to the 21st

3-5 June 2020,

Northumbria University, Newcastle upon Tyne, UK

Northumbria University, in connection with a three-year Leverhulme Trust-funded major project, is organising a two-day conference focusing on writing by and about doctors and other health practitioners, encompassing everything from physicians, apothecaries and botanists to midwives and cunning women. The aim of the conference is to give scholars the opportunity to explore the phenomenon of writing doctors and its wide social effects, whether it be representations of medical practitioners in literature and art, or creative works written by medical people. The interdisciplinary nature of the subject invites work on cultural, economic and gender history, as well as literary, visual and performing arts.

Plenary Speakers

Michelle Faubert, Associate Professor of English, University of Manitoba and Visiting Fellow, Northumbria University; Pratik Chakrabarti, Professor in the History of Science, Technology and Medicine, University of Manchester; Tita Chico, Professor of English, University of Maryland.

The movement of medical writing from Latin to English in the Early Modern era opened up knowledge previously monopolised by an elite readership. Medical practitioners of both genders recognised the potential to build up their brand by catering to a burgeoning market of eager new readers. Publishers and booksellers capitalised on increased literary rates and greater purchasing powers amongst the public to produce ever-growing quantities of scientific texts – further fuelling public fascination with health and wellbeing, especially that of women. Practitioners, in entering this marketplace, were laid increasingly open to public ownership, as a personality behind the prose, either for better or worse. The full social, economic and political implications of this radical shift in the dissemination of information in the medical field have only just begun to be uncovered by scholars. This conference aims to open up discussion regarding all elements of this topic ca. 1660 to the present day.

Topics might include, but are not limited to:

  • Representation of, and writing by, medical practitioners in literary, visual and performing arts
  • Medical self-fashioning.
  • The role of gender in medicine (e.g. female apothecaries, midwives, cunning women, etc.)
  • Definitions of medical writing and the role of genre
  • European, Trans-Atlantic, Asian, and colonial medicine Satire – in all its forms – directed at medical practice, both lay and professional, including by medical people themselves
  • Discourse and correspondence between practitioners, and practitioners and their patients.
  • The nature of medical publishing

We welcome proposals from researchers across a range of disciplines and stages of career, including early career and student scholars. Please send proposals of no more than 300 words, accompanied by a short biography, to writingdocs18@gmail.com by Friday 15th November 2019. Papers will be invited on a wide variety of relevant topics from within the period. A selection of revised papers is expected to be published as part of the project outputs.

Conference Rates: £130 full delegates, £65 Concessions (PGR and Unwaged)

The Conference is organised by: Clark Lawlor; Ashleigh Blackwood; Allan Ingram; Leigh Wetherall-Dickson; Helen Williams and Laurence Sullivan (The Writing Doctors Team).

Romantic Studies and Environmental Criticism: A Symposium

University of Leeds, 7–8 April 2020

Call for Participants

Deadline 13 December 2019

What is the current state of environmental criticism in British Romantic studies? And what is its future?

This symposium will bring together scholars working on literature, culture and the nonhuman around 1800. It aims to enable conversation between postgraduate students, early career researchers and leading thinkers in the field. We will take the measure of existing research on texts and ecologies in Romantic-period Britain, and ask what comes next.

We will also consider professional issues. How can we work towards a flourishing community of researchers in the field? How can scholarship inform and be informed by life outside the academy?

The symposium will consist of dialogues and round table discussions, with readings circulated in advance, but no formal lectures. Lead participants will include Professors Donna Landry (Kent), Ralph Pite (Bristol) and Kate Rigby (Bath Spa). It should be of interest to Romanticists working on environmental/ecological themes of all kinds, including but not limited to animal studies; climatology and meteorology; colonial environment-making; ecopoetics and formalist ecocriticism; gender and ecology; ‘green Romanticism’ and the genealogies of environmentalism; industrial change; natural philosophy; place, landscape and geography; and rural, urban and agrarian cultures.

The symposium will take place in Leeds from midday on Tuesday 7 to late afternoon on Wednesday 8 April. Participation is free but places are limited.

Five £150 bursaries are available to support postgraduate, early career and precariously employed researchers who will be participating in the whole event.

To take part, please email Jeremy Davies (j.g.h.davies@leeds.ac.uk) with a short description – max. 300 words – of your research interests in the field by 13 December 2019. To request one of the five bursaries, please also include a summary of your current career circumstances.

The event is funded by the AHRC, and hosted by the Leeds Environmental Humanities Research Group and the Leeds Arts and Humanities Research Institute.

The 13th Annual Wordsworth Lecture

Wednesday 20 November 2019, 6.00pm, free

The University of London, Chancellor’s Hall, Senate House

Malet Street, London, WC1E 7HU.

Followed by a drinks reception.

Professor Lucy Newlyn – ‘Vital Stream’: Love and Creativity in the Wordsworth Circle, 1802

1802 was an extraordinary year in the Wordsworth circle. William and Dorothy Wordsworth were writing some of their most beautiful poetry and prose, while Coleridge’s marriage was in a state of near collapse. Professor Lucy Newlyn’s new book Vital Stream draws on a detailed knowledge of letters, poems, notebooks and journals to explore their thoughts and feelings about love, family bonds, friendship and creativity at this time. In this lecture, Lucy will read from her collection and describe how she has re-told a famous love story for a modern audience, in sonnet-form.

Professor Lucy Newlyn is an academic and a poet, and was Fellow and Tutor in English at St Edmund Hall, Oxford for 32 years before retiring in 2016. She now lives and writes in Cornwall.

To reserve a place email Hannah Stratton, Development Officer, h.stratton@wordsworth.org.uk

Call for Papers – Global Blake: Afterlives in Art, Literature and Music

11-12 September 2020

University of Lincoln, Lincoln, UK

In recent years a body of work – including Blake, Modernity and Popular Culture (2007), Blake 2.0: William Blake in Twentieth-Century Art, Music and Culture (2012), William Blake and the Age of Aquarius (2017), William Blake and the Myth of America (2018), and The Reception of William Blake in Europe (2019) – has emerged around the posthumous reception of the artist and poet, William Blake. From almost complete obscurity following his death in 1827, Blake has become one of the most important figures in British cultural life. What is less understood, outside certain pockets such as the USA and Japan, is the significance of Blake elsewhere in the world.

Today, Blake’s global presence cannot be underestimated. The aim of this project is to showcase the wide variety of global ‘Blakes’ (after Morris Eaves’s “On Blakes We Want and Blakes We Don’t”, 1995, and Mike Goode’s “Blakespotting”, 2006) and to provide an overview of the appropriations and rewritings as well as examples, that fall into three categories: art, literature and music. It will examine how Blake’s global audiences have responded to his poetry and art as well as explore what these specific, non-British responses and cultural and social legacies can bring to the study of Blake. What is fascinating about works in art, literature and music inspired by Blake is the fact in which the verbal and the visual in Blake’s art translates into different cultural contexts in unique ways.

Building on The Reception of Blake in the Orient (2006) and The Reception of William Blake’s Reception in Europe (2019), part of the longstanding and successful series The Reception of British and Irish Authors with Elinor Shaffer as series editor, the organisers welcome proposals for papers (20 minutes) and panels (three 20-minute papers). Potential topics include but are not limited to the following:

  • Studies of influence in Literature, such as Salman Rushdie, Ben Okri, Kenzaburo Oe, Pablo Neruda, Walt Whitman, the Beat Generation and the Black Mountain Poets.
  • Blake in translation
  • Postcolonial Blake and Blake in world literatures and arts
  • Blake and the theatre or performance
  • Afterlives in art and exhibition culture, such as Rockwell Kent, Helen Martins, or Subir Hati.
  • Blake and graphic novels and comics
  • Setting Blake to music
  • Reception by Women, People of Colour and LBGT+
  • Blake and the digital age
  • Routes of transmission: Blake and the web, social media, publishing houses, publishing histories and facsimiles
  • Blake and literature written for children
  • Blake and film, such as Jim Jarmusch, Derek Jarman, Hal Hartley
  • Blake scholarship, including T.S. Eliot, Northrop Frye, S. Foster Damon, Leopold Damrosch, Donald Ault, Robert Gleckner, Hazard Adams, Harold Bloom and David Erdman, Mona Wilson and G.E. Bentley Jr.

Abstracts of up to 300 words along with a short biographical note (50 words in the same Word document) should be sent to Sibylle Erle (sibylle.erle@bishopg.ac.uk) and Jason Whittaker (jwhittaker@lincoln.ac.uk) by 29 February 2020.