The Wordsworth Conference Foundation announces The 47th Wordsworth Summer Conference
Monday 6 August to Thursday 16 August
Rydal Hall, Cumbria
Call for Papers and Bursary Applications
Keynote Lectures, 2018
Gillian Beer Madeleine Callaghan Philip Connell Jeff Cowton
David Duff Jessica Fay Mina Gorji
Theresa M. Kelley Stacey McDowell Julian North
Kimiyo Ogawa Seamus Perry Adam Potkay
Charles Rzepka Michael Rossington
The 2018 Wordsworth Summer Conference at elegant Rydal Hall will be the 47th since Richard Wordsworth’s inaugural conference gathering in 1970. This year we continue the format pioneered by Richard, mingling lectures, papers and lively academic debate with energetic fell walking, picturesque rambles, and excursions to places of Wordsworthian and Romantic interest. Upper and Lower Rydal Falls are within the grounds of the Hall, and Rydal Mount – Wordsworth’s home from 1813 until 1850 – is a two-minute walk away. In the evenings participants relax with poetry and music in the bar at Rydal Hall, wander through the terraced gardens, or stroll down to Rydal water for a moonlight swim …
By courtesy of the Wordsworth Trust, our opening night will include a reception at the Wordsworth Museum followed by a candle light visit to Dove Cottage. There will be a separate opportunity to explore the treasures of the Wordsworth Trust’s collections with the curator Jeff Cowton, and an evening visit to Wordsworth’s Rydal Mount and garden.
In 2018 our excursions are likely to include the picturesque coastal village St Bees, Ravenglass, and Muncaster Castle. High points for energetic fell walkers are likely to include Crinkle Crags, Sheffield Pike, Great End, and Glaramara by the spectacular waterfall at Taylor Ghyll Force.
Format and Costs: The 2018 Summer Conference is in two parts of 5 days each, with a changeover day on Saturday 11 August. The registration fee, which includes excursions, is the same as last year despite some increases in costs. This offers exceptional value at £250 for ten days and £175 for five days. For postgraduates, we offer a generous range of bursary funds (see below) to reduce rates for attendance. All participants will take all meals at Rydal Hall. Full Board at Rydal Hall Diocesan Conference Centre is available, and at Rydal Hall Youth Centre on the same site. Non-resident rates and a day rate are also available. For estimates of 2018 accommodation and related costs please click here.
For additional information about the Wordsworth Summer Conference, including the call for papers, and terms and conditions, please visit their website.
A conference taking place in May organised by Prof Nicholas Roe:
John Keats in Scotland
To celebrate the bicentenary of John Keats’s epic walking tour of Scotland in summer 1818, the School of English at the University of St Andrews will hold a two-day symposium on Friday 11 and Saturday 12 May.
Confirmed speakers: John Barnard, Jeffrey Cox, Katie Garner, Hrileena Ghosh, Nigel Leask, Meiko O’Halloran, Nicholas Roe, Richard Marggraf Turley, Carol Kyros Walker, Sarah Wootton.
Non-speaking participants are welcome to attend: to reserve a place, please e-mail to Dr. Katie Garner at email@example.com.
The full programme will be circulated in April.
John Keats by William Hilton, after Joseph Severn. Oil on canvas, based on a work of circa 1822. National Portrait Gallery.
British Association for Romantic Studies Early Career and Postgraduate Conference
University of Glasgow, 15–16 June 2018
Keynote Speakers: Professor Gerard Carruthers (University of Glasgow) and Dr Susan Manly (University of St Andrews)
The BARS Early Career and Postgraduate Conference will explore the concept of exchange in Romantic-period literature and thought. It will bring together postgraduate and early-career researchers whose work addresses this idea from a wide range of perspectives: from the economic exchange of objects and commodities, to the transnational circulation of books and ideas, to neglected connections between writers, texts and contexts.
We invite proposals for themed panels, as well as proposals for the traditional individual twenty-minute paper. Applicants might choose to address some of the following, though we also encourage you to interpret the theme more widely:
Commercial exchange: trade, commodities, the literary marketplace, economic value.
Epistolary exchange: letters, correspondence, bills of exchange, legal documents.
Financial exchange: money, gifts, credit, indebtedness, political economy.
Historical exchange: transmission and reception of writers and works across generations.
Intellectual exchange: literary networks and coteries, periodicals and print culture, public opinion.
International exchange: travel, intercultural encounters, translation, transnational circulation.
Interpersonal exchange: influence, collaboration and conversation between writers.
Please send abstracts of up to 250 words for individual papers or 750 words for themed three-person panels (including name and institutional affiliation of all proposed speakers) to firstname.lastname@example.org by 9 March 2018.
Please see below for a Call for Papers from the Inklings Society for Literature and Aesthetics for a September 2018 conference on Frankenstein in Ingolstadt, close to the very building in which Frankenstein – if he had existed – would have attended his medical studies and worked on his creation.
CALL FOR PAPERS
Deadline February 15 2018
Please submit proposals of up to 500 words, along with a short CV to: email@example.com
FRANKENSTEIN — PARABLE OF THE MODERN AGE
1818 · 2018
International Symposium of the Inklings-Society
Ingolstadt, 28th – 29th September 2018
The year 2018 marks the 200th anniversary of a novel that has had a lasting impact on literary fantasy, but also on thinking about ethics and science. The fact that Mary Shelley thought of more than a mere scary story when she anonymously published her novel Frankenstein in 1818 is illustrated by the alternative title: The Modern Prometheus. By referring to the ancient myth of Prometheus, it implies the relationship between creator and creature. One of Shelley’s fundamental literary innovations is to tell the story from the creature’s own point of view over substantial parts of the book. Coming into existence, Frankenstein’s creature at first desires nothing more than to be accepted as a human being in the community of humans. He becomes a danger, because even his own creator refuses to acknowledge him. Shelley deals with an existential question that can be extended from Frankenstein’s fictional laboratory in Ingolstadt to the phantasms and the real sceneries of contemporary history. If This Is a Man one might ask with the title of Primo Levi’s autobiographical report. Is fictional Frankenstein a myth standing for imagination creating monsters and then being afraid of them?
For our conference we are looking for contributions that deal with Shelley’s novel Frankenstein, its adaptations to the present day, and their potential as a model of interpretation for the modern age. The organizers encourage comparative studies that may – among others – reflect upon following topics:
– Battlegrounds: Shelley and Frankenstein between revolution and restoration
– Gods: literary perspectives on and of creators and creatures
– Enlightenment at its limits: abysses between sensibility, rationality and horror
– Poles and laboratories: Topographies of progress between the slaughterhouse and the permafrost
– Vivisections: Interpretations of the Frankenstein parable in later adaptations
– The Last Man: Images of the future between zombie and superhuman
The symposium will take place on September 28 and 29 2018 at the very place where Frankenstein – if he had existed – would have attended his anatomical and medical studies in Ingolstadt around 1800. The building complex now houses the German Medical History Museum.
A limited number of travel allowances might be available for successful applicants.
Lectures should not exceed 25 minutes. Conference languages are English or German.
Contributions will be published in the next issue of the Inklings Yearbook for Literature and Aesthetics.
Please send your abstract of up to 500 words and a short CV until Thursday 15 February 2018.
Entries should be submitted to:
Inklings Society for Literature and Aesthetics
c/o Prof. Dr. Karl R. Kegler firstname.lastname@example.org
The Italian Byron Society is pleased to announce the 44th International Byron Conference to be held in Ravenna from 2 to 7 July 2018. Website here.
Byron’s most famous use of the word “mobility” is in Don Juan, Canto 16, stanza XCVII, where he uses it to describe Lady Adeline Amundeville, adding a footnote in which he defines it as “excessive susceptibility of nimmediate impressions”. Since then the word has been taken up by critics and biographers from Thomas Moore and Lady Blessington onwards, to refer to what seems an essential quality of Byron’s personality and poetry (and, particularly in more recent years, politics). The word has sometimes been linked with the notion of improvisation, especially when considering the spontaneity (or apparent spontaneity) of his verse: “I rattle on exactly as I’d talk / With any body in a ride or walk.” (Don Juan, 15, XIX). The conference will welcome 20-minute papers on topics including, but not necessarily limited to:
– formal experimentalism and improvisation
– multiplicity of voices
– hyphenated identities
– genre hybridity
– experience and imagination, fact and fiction
– geographical mobility
– cosmopolitan visions and identities
– political mobility and improvisation
– reinterpretations of Byron’s mobility in later periods
The organisers also welcome prospective delegates to suggest ready-formed panels (of three 20-minute papers) on the following topics: Byron and Ravenna; Byron and Italian politics; Byron and Italian art.
Please send 250-word abstracts for individual papers or ready-formed panels to email@example.com by 1 March 2018.
Information on conference registration and accommodation as well as on the cultural programme of the conference will be posted later on the Conference website.
Thanks to Freya Gowrley for sending in this exciting new Call for Papers.
CfP: Collage, Montage, Assemblage: Collected and Composite Forms, 1700-Present (University of Edinburgh, 18-19 April 2018)
Deadline for abstracts: 1 December 2017
This two-day multidisciplinary conference will explore the medium of collage across an unprecedentedly broad chronological range, considering its production and consumption over a period of more than three hundred years. While research on paper collage plays a key role in histories of modern art, particularly of the 1920s and 1930s, its longer history and diverse range of manifestations are often overlooked within art historical scholarship. Though important work is being done on collage at both the level of the individual work and the medium more broadly, this has often overlooked collage’s multitudinous forms and assorted temporal variants. This conference accordingly aims to tackle this oversight by thinking about collage across history, medium, and discipline. Employing an inclusive definition of the term, the conference invites papers discussing a variety of material, literary, and musical forms of collage, including traditional papier collé alongside practices such as writing, making music and commonplacing, and the production of composite objects such as grangerized texts, decoupage, quilts, shellwork, scrapbooks, assemblage, and photomontage.
In so doing, the conference will situate histories of modernist collage in relation to a much broader range of cultural practices, allowing for productive parallels to be drawn between the cultural productions of periods that are often subject to rigid chronological divisions. Reciprocally, the conference will encourage a consideration of collage made in the eighteenth and nineteenth centuries against key concepts and methodologies from the study of modernism and postmodernism, such as the objet trouvé or assemblage. From papier collé to the digital age, the conference will highlight collage’s rich history and crucial role in cultural production over the last three hundred years.
We invite contributions from scholars working in the fields of art history, history, music, material culture studies, and literature. We also welcome and encourage papers from practitioners working in any medium whose practice is influenced by collage, assemblage, and/or montage. Potential topics could include, but are not limited to:
Collage as medium
Collage, assemblage, montage: terminologies and categories
Collage and identity
Collage and intention: chance, agency, intentionality
Collage and the modern/pre-modern/postmodern
Collage in art historical writing/literary criticism
The call for papers is now open for an exciting conference in Rome this December, hosted by the Keats-Shelley House.
The Revolt of Islam: Texts, Subtexts, Contexts
December 15, 2017
A conference celebrating two hundred years of P. B. Shelley’s poem
This conference will mark the bicentenary of Shelley’s Revolt of Islam, first published in 1817 as Laon and Cythna. Papers are invited which will explore critical interpretations and reactions, or which provide close readings of the text itself. Papers focusing on historical and contextual considerations and which explore contemporary resonances will also be welcomed.
The afternoon of 15 December has been chosen, for it was on this day in 1817 that publisher Charles Ollier met up with Thomas Love Peacock, Mary Shelley, Claire Clairmont, and Shelley himself to discuss the potentially controversial and contentious nature of Shelley’s poem.
The conference is being organised by Giuseppe Albano, Curator of the Keats-Shelley House, and Maria Valentini from the University of Cassino, who will take over as Chair of the Keats-Shelley Memorial Association in Rome from June 2017.
Papers may be given in English or in Italian, and abstracts accepted in either language.
Deadline for submission of abstracts (c. 200 words): 31 August 2017.
Registration fee: €25.
For further information on registration, and to send your abstract, please contact:
Literary, Cultural, Historical and Political Celebrations across and beyond the British Isles
Friday 20th October 2017 Campus LSH, Nancy and Musée des Beaux-Arts, Nancy
The year 2017-2018 marks multiple anniversaries that will be commemorated transnationally: the deaths of Mme de Staël and Jane Austen, the birth of Stanley Kubrick, the release of The Beatles album “Sgt Pepper’s Lonely Hearts Club Band”, the end of World War One and the subsequent creation of new nation states, the Russian Revolution and the signing of the Maastricht Treaty. Why and how will these literary figures, cultural productions and historical events be remembered/celebrated in individual countries and across Europe? In what ways and to what extent are these commemorations transferred from one cultural space to another across and beyond the British Isles?
At a time of crisis concerning Europe’s identity and ideals, commemorations are not only intended as a nation-building process, they can also be appropriated by social or political groups. There is, indeed, a variety of actors at national, regional, and local levels, such as cultural institutions, museums, political parties and social media. The increasing mobility and instability in today’s world triggers off the opposite tendency of going back to one’s past, roots and heritage. Governments and lobbies/corporations(such as Google) use landmarks to impose their readings of literary, cultural, and political history, while grassroots and communities gather together to organize their own celebrations or to celebrate differently and sometimes more informally and spontaneously (like Halloween, Woman’s Day, National Day, Labour Day, Earth Day).
Papers discussing the following topics from a theoretical or practical perspective are welcome:
-forms and modes of commemorating
-commemoration as an expression of soft power or a means of empowerment -commemoration and technology (the choice imposed by search engines, social networks, e- media etc.)
-commemoration and cultural policies (celebrations through tourism, bilateral agreements, literary festivals etc.)
-commemoration and hyphenated/conflicting identities (bi-nationals, and “European nationals”) in the British Isles due to Devolution and Brexit
-posterity and literary canon (celebration of national and foreign authors)
-literary and visual adaptations
-publishing policies (book series, collected works, news items etc.)
Invited speakers (to be confirmed)
Prof. Joachim Frenk (Université de Sarrebruck, Allemagne)
Dr. Stefano Dominioni (Directeur de l’Institut Européen, Luxembourg)
The full programme and registration details for ‘Sibylline Leaves: Chaos and Compilation in the Romantic Period’ (Birkbeck, London: 20 & 21 July 2017) are now available. Details can be found here.
About the conference…
‘This conference invites participants to investigate the play of papers between fugitive snips, scraps, and scattered verse, and the promise of the great work, complete edition, or philosophical system. We ask why Coleridge – poet, ‘scrapster’, and would-be encyclopaedist – turned to Virgil’s Sibyl and her scattered leaves, ‘borne aloft in liquid air’, to frame his 1817 collection of poetry Sibylline Leaves; what is at stake in reading the fragments and detached pieces which escape beyond the bound volume; how do the metaphors and materialities of these ‘leaves in flight’ interact; what mediates the ‘phantasmal chaos of association’; how does compilation inform the practices, ideals, anxieties and temporalities of romantic authorship, and the cut-and-paste fervours of its readership? Please join us to discuss all this and more over two days, in the summery environs of Bloomsbury.’
Posted in Conferences by Anna Mercer Comments Off on Sibylline Leaves: Chaos and Compilation in the Romantic Period
International Conference, Clermont-Ferrand, 5-7 April 2018
Université Clermont-Auvergne – CELIS
« ‘with shut eyes, but acute mental vision’: Dream and Literary Creation in Women’s Writings in the 18th and 19th Centuries »
In June 1816, in a house on the shores of Lake Geneva, a young girl of barely 19 had a dream which would turn out to be the source of one of the greatest contemporary myths of modern times. This pivotal dream has remained prominent thanks to the preface that Mary Shelley wrote for the 1831 edition of Frankenstein, in which she describes a vivid, integrally visionary experience: “I saw – with shut eyes, but acute mental vision, – I saw the pale student of unhallowed arts kneeling beside the thing he had put together […].” In a lesser-known dream, a year earlier, Shelley brings her premature, unnamed first-born back to life: “Dreamt that my little baby came to life again; that it had only been cold, and that we rubbed it before the fire, and it lived. Awake and find no baby” (19th March 1815).
Dreams in Frankenstein are at the heart of the writing process but they also constitute the diegetic substance of the narrative. Victor’s nightmare, which follows the opening of the Creature’s “dull yellow eye” (Volume I, chapter 4), is difficult to overlook in any critical consideration of the importance of dreams in the novel. To mark the bicentenary of Frankenstein’s publication in 1818, this conference will re-examine the previously-recognised oneiric facets of the novel and develop fresh perspectives on dreams and dreaming in Mary Shelley’s fiction. Proposals with a special focus on those three dreams, as well as on other works by Mary Shelley in which dreams are often premonitory (Valperga, Matilda, “The Dream” for example), are particularly welcome. Discussion may also extend to analyses of day-dreaming which Mary Shelley also refers to in her preface when she distinguishes between her youthful fancies, “all [her] own”, and her fiction, destined to be read by others.
In addition, the oneiric character of Frankenstein is particularly relevant in any reappraisal of the textuality of dreams and their link to women’s creativity and creation as a whole. Accounts of real dreams in diaries and letters may interrogate the paradox of the invasion of Self by a radically Other force (“My imagination, unbidden, possessed and guided me”, wrote Mary Shelley), when the passive dreamer turns into a waking creative subject. Ontological alterity may be considered as being located at the core of such processes. Is there a specifically female understanding or expression of this encounter with the Other within? Literary dreams, whose putative oneiric nature needs further clarification, oscillate between narrative dexterity and the expression of possibly subconscious scenarios. How significant is a character’s dream? Is it radically inconsistent and heterogeneous? We therefore also invite papers on these, and other, connections between dream and fiction in novels written by Shelley and other female novelists.
Thus, the central issue of authorial intention in novels (or in poetry or plays if relevant), published from the end of the 17th century to the late 19th century, is the line of enquiry which this conference hopes to pursue. How is Mary Shelley’s creative outlook and experience mirrored in the writing of her contemporaries’ (Frances Burney’s or Ann Radcliffe’s for example), or in that of female authors who came before or after her (Jane Barker and the Brontë sisters for example)? Approaches developed by Margaret Anne Doody (“Deserts, Ruins and Troubled Waters: Female Dreams in Fiction and the Development of the Gothic Novel”, 1977), Ronald Thomas (Dreams of Authority, 1990, on the Gothic and nineteenth-century novels) or Julia Epstein on Burney (The Iron Pen, 1989) may be particularly pertinent here.
Papers may be given in English (preferably) or in French.