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News and Commentary from the British Association for Romantic Studies

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Conference Report: ‘Romantic Interactions’, Krakow

The following report is by Charlotte May (University of Nottingham).

‘Romantic Interactions’ Conference

Jagiellonian University in Krakow

4thand 5th April 2019

The ‘Romantic Interactions’ conference at the Jagiellonian University in Krakow interrogated two key definitions of interaction: firstly, social, artistic and literary interactions in the Romantic period itself; and secondly, how readers, audiences and writers have interacted with the Romantic period through different mediums over the past two hundred years.

The conference opened with the first plenary lecture delivered by Mary Jacobus, exploring ‘Keats’ Apollonian Afterlives’. The afternoon included panels on German Romanticism, the Classical Tradition, Cross-cultural and Transatlantic Interactions, and Negative Capability and Poetic Imagination. Brittany Pladek (Marquette University) provided one of many fantastic insights into how we might trace the reception of classical tradition in the Romantic period in the current political climate, including how responses to the #MeToo movement could be found in constructions of guilt in the epic tradition. Keats was very much on the mind of participants in the later afternoon session, with discussions on negative capability heavily influenced by Mary Jacobus’s plenary lecture earlier that day.

The day ended with a wonderful conference dinner at Kawaleria restaurant in Krakow. As Keats had been the focus of many conversations, and Byron had only formed the basis of one paper (Rowland Cotterill’s investigation of Don Juan as a Horatian poem), I posed one question to the dinner attendees: Byron or Keats? Without any context provided, the question proved easier to answer over a glass of wine, and we found that Byron was indeed the winner (although Juliette Wells’ response was, of course, Jane Austen).

(c) Newstead Abbey; Supplied by The Public Catalogue Foundation

 

(c) National Portrait Gallery

The second and final day of the conference opened with an investigation of philosophical and religious interactions and Romanticism across Borders, in which Judith Thompson’s (Dalhousie University) discussion of John Thelwall as a ‘Citizen of the World’ reminded us of absences arising in interactions, and how much we – as historians and critics – must pursue studies of those who have been excluded from contemporary canons, as well as continue to hunt for evidence of interactions.

The day contained two plenary panels before lunch, covering how poets contemporaneously interacted with each other and how the public have been pursuing interaction with Romanticism since the end of the movement (if such an ‘end’ can indeed be agreed upon). Frederick Burwick (UCLA) spoke on ‘Coleridge’s Interaction with Wordsworth: The ‘Dejection’ Dialogue’, and Juliette Wells (Goucher College) focused on ‘William Dean Howells and the Rise of American Janeitism’.  As previous panels had done, this plenary was an important contribution to questioning the role of national identity within Romanticism and its legacy, and truly proved how the cult of personality and literary tastes could change the course of global literary history.

 

 

The conference ended with Nicola Watson (Open University) taking us on a tour of RỆVE (Romantic Europe: The Virtual Exhibition), an invaluable resource on how Romanticism has been defined and charted since its beginnings in the eighteenth century to the present day. Watson provided us with the example of ‘Shakespeare’s chair and the Polish Princess’,  Monika Coghen (our wonderful host at Jagiellonian University) spoke on ‘Kościuszko’s Mound’, and Mirosɫawa Modrzewska (University of Gdańsk) joined us on Skype to speak about ‘Chopin’s Piano’, three important contributions to the visual exhibition. The conference ended with a rendition of the selected works of Frederick Chopin told through the chronology of Chopin’s interactions with his Scottish patron Jane Stirling by Marcin Jaroszek, accompanied by the wonderful pianist Anna Dębowska. This recovery of Stirling as a supporter and driving-force of Chopin’s career showed how instrumental sociability was in the development of artistic careers and the movement of Romanticism itself. The essential role of women in founding and sculpting the movement of Romanticism had been referred to throughout the conference, particularly in the papers of Vitana Kostadinova (University of Plovdiv), Anna Messing (another of our fantastic hosts), Julie Donovan (George Washington University), and Rayna Rosenova (Sofia University).

This conference showcased up and coming work and projects which will further our understanding and definitions of what it means for an author, text, and literary period to interact. The atmosphere of the conference was friendly and supportive, with scholars from different careers and sectors engaging with a truly international body of delegates. There is surely no better legacy of interactions with(in) Romanticism than a conference such as this.

 

– Charlotte May (University of Nottingham)

 

 

Call for Papers: The Liberal Revolutions of 1820 and their Impact on Literary Culture, University of Minho, Braga, June 29th-30th 2020

The Liberal Revolutions of 1820 and their Impact on Literary Culture

University of Minho, Braga | CEHUM

June 29 and 30, 2020

Organised by the Institute of Arts and Humanities, Centre for Humanistic Studies, in association with the Anglo-Hispanic Horizons Network (AHH)

Taking advantage of the bicentenary celebrations of the liberal revolutions that occurred in southern Europe (Portugal, Spain, Italy and Greece) around 1820, but with repercussions in other regions and cultures, this international conference aims to constitute a forum of discussion around the impact that these revolutions had on the literary culture of several countries. Driven by the republican ideals of the French and American Revolutions and by the various independence and nationalist movements, the liberal and constitutionalist wave that swept across several European nations (and their respective colonies) in the first decades of the nineteenth century aimed to completely eradicate the absolutism and feudalism that still prevailed within these monarchist nations, at the end of the Napoleonic invasions. Thus, we are interested in analysing the impact that these movements and striking events had on the literary culture of the nineteenth century, particularly in the works that were then produced in several countries; but we are also interested in exploring the decisive role that many writers (in several languages), some of whom in exile, had in these same movements and events. The ultimate goal of the conference will be to find, in this convergence of different cultures in transition, common literary currents or traditions of a strongly liberal political nature.

In the context of this political liberalism and its literary culture, the prevalence of the British constitutional tradition and its republican adaptation by the American Revolution have been singled out as the main motives for the democratic revolutions that took place in the Atlantic world. Nevertheless, the Iberian traditions of freedom – as well as the literature that sustains them – are usually forgotten in this context. Most notably, the Portuguese Revolution of 1820 is strangely absent from many existing historical and literary accounts. However, if we can say that the position of Portugal in this Atlantic context at the beginning of the nineteenth century was central, we can also say that this context is the main explanatory key to understand the motives of the Portuguese Revolution of 1820. From historical and literary perspectives alike, this can be seen as a process of independence, as the abolition of the Old Regime, as the constitution of freedom, and as the foundation of a Portuguese liberal constitutional tradition. But, also, as a response to the extraordinary international challenges that were imposed on Portugal’s independence – by countries such as France, Great Britain, Spain and Brazil. In short, the Portuguese Revolution of 1820, whose main objective was the founding of a new liberal Portugal, combined both liberalism and nationalism, in the manner of the Atlantic Revolutions; and, more relevantly, with that collective manner and purpose attracted and promoted many individual creators.

Paper proposals (for 20 minute-presentations) around this more general theme and/or the following particular aspects are welcome:

  • Representations of the liberal revolutions in the literary culture of the period and of later periods
  • The role of periodicals and of illustration in the (creative) representation of the liberal revolts
  • The links between liberalism and the romantic movements in the European and non-European context
  • Issues of political liberty and freedom of literary creation inaugurated by the liberal revolutions
  • The literary places of European and non-European liberalism: genesis, memory, recreation
  • The emergence of the national literatures and nationalist and independence issues in the period
  • Legends and myths associated with the romantic liberal revolt, including the figure of the hero (revolutionaries and martyrs)
  • The perspective of the Other – the liberal revolts seen from the literary culture of other countries
  • Literary images of refugees and exiles in the context of the liberal revolutions and/or writers in exile
  • Literary representations of secret societies in the context of the liberal struggles (the example of Carbonaria)
  • Liberalism and literary genre: The importance of the historical novel in the representation of the liberal conflicts; the role of lyric and drama in the period
  • The diffusion or expansion of literary culture in the context of the liberal revolutions; reception and translation issues

Organisation: Institute of Arts and Humanities, Centre for Humanistic Studies (NETCult), in association with the Anglo-Hispanic Horizons Network (AHH)

 

Confirmed Guest Speakers:

  • Prof. Ian Haywood (University of Roehampton, UK. President of British Association for Romantic Studies and President of AHH)
  • Prof. Diego Saglia (University of Parma, Italy, senior member of AHH)
  • Prof. Fernando Machado (University of Minho, Portugal)

 

Organising Committee:

  • Paula Alexandra Guimarães (Coordinator)
  • Orlando Grossegesse
  • Ian Haywood
  • Diego Saglia
  • Sérgio Sousa
  • Carlos Pazos
  • Hugo Machado
  • Ana Catarina Monteiro

 

Scientific Committee:

  • Agustín Coletes Blanco (University of Oviedo, Spain)
  • Alicia Laspra Ródriguez (University of Oviedo, Spain)
  • André Corrêa de Sá (Univ. Santa Barbara, California, USA)
  • Angela Esterhammer (University of Toronto, Canada)
  • Carlos Pazos (University of Minho, Portugal)
  • Cristina Flores (University of La Rioja, Spain)
  • Eugenia Perojo Arronte (University of Valladolid, Spain)
  • Eunice Ribeiro (University of Minho, Portugal)
  • Fernando Duraán (University of Cadiz, Spain)
  • João Paulo Braga (Catholic University, Portugal)
  • Jonatan González (University of La Rioja, Spain)
  • Jorge Bastos (University of Porto, Portugal)
  • Manuel Gama (University of Minho, Portugal)
  • Maria de Fátima Marinho (University of Porto, Portugal)
  • Orlando Grossegesse (University of Minho, Portugal)
  • Otília Martins (University of Aveiro, Portugal)
  • Paula Alexandra Guimarães (University of Minho, Portugal)
  • Paulo Motta (University of São Paulo, Brazil)
  • Sérgio Sousa (University of Minho, Portugal)
  • Xaquín Nuñez (University of Minho, Portugal)

 

Information

Submission – abstracts (between 200 and 300 words), with titles, keywords (5) and bionotes (100 words) should be sent to the following e-mail address: litcehum@ilch.uminho.pt.

The languages of communication are the following: Portuguese, English, Spanish, French and Italian.

The paper proposals will be analysed and selected by the scientific committee. At the end of the conference, the organising committee plans to make a peer-reviewed selection of the texts presented for publication: in electronic format and in book form (the latter on request).

 

Important Dates

  • Submission of proposals: until October 31, 2019
  • Notification of acceptance: until December 31, 2019
  • Conference registration (online): until January 31, 2020
  • Programme publication (online): March 31, 2020
  • Registration (for attendants): until May 31, 2020
  • Conference: June 29 and 30, 2020

 

For more information, please see the conference website: http://cehum.ilch.uminho.pt/revolutions.

‘Romantic Facts and Fantasies: Culture and Heritage of the Romantic Age, c. 1780-1840’ Exhibition Opening

‘Romantic Facts and Fantasies: Culture and Heritage of the Romantic Age, c. 1780-1840’ Exhibition Opening

by Amy Wilcockson 

After months of hard work and sifting through the plentiful archives of Manuscripts and Special Collections at the University of Nottingham, Thursday 9 May 2019 saw the private view and official opening of the ‘Romantic Facts and Fantasies: Culture and Heritage of the Romantic Age, c. 1780-1840’ exhibition.

All image credits to Manuscripts and Special Collections, University of Nottingham

The exhibition centres on key themes including science, travel, industry, communication and exploration in the Romantic period, alongside focusing on a number of authors, poets and key figures irrevocably linked with the East Midlands.

As part of the team co-curating this exhibition, it was astounding to see all the pieces of the jigsaw, so to speak, put together. From October 2018, the exhibition has been conceptualised, items chosen for inclusion, and then board texts, case backs and captions written, and then of course, loan items sourced from a variety of locations including Newstead Abbey and Derby Museums. To see it all in one place, and open to the public was an amazing feeling. The private view invited members of the BARS Executive Committee, local news outlets, University of Nottingham and other institutions’ staff and students, and enjoyed a large turnout, with over one hundred people hearing Professor Jeremy Gregory, Pro-Vice-Chancellor for the Faculty of Arts, and Professor Lynda Pratt, one of the exhibition’s academic leads, officially open ‘Romantic Facts and Fantasies’ to the public.

Key items on display include Joseph Wright of Derby’s ‘Cottage on Fire’, kindly loaned by Derby Museums, which evinces Wright’s innovative use of light and shadow, and a number of wonderful loans from Newstead Abbey, including Lord Byron’s calling card, and a copy of Thomas Phillips’ famous 1813 portrait of Byron.

Many of Manuscript and Special Collections’ items are on display to the public for the first time and include first and second editions of Lord Byron’s poetry and juvenilia, autograph copies of poetry written by Henry Kirke White, and a selection of letters from Amelia Opie, Robert Southey, Joanna Baillie, Maria Edgeworth, Sir Walter Scott, Mary Howitt and Percy Bysshe Shelley. Richard Arkwright, Derbyshire’s innovator and inventor is heavily featured, and visitors to the exhibition will also view anatomical drawings, scientific equipment and dinosaurs in an exploration of early nineteenth century science.

It is hard to choose a favourite item in the exhibition, and I am torn between a couple of items. The first are two locks of James Thomas Townley Tisdall’s hair, one taken aged four, and one upon his deathbed. As you can imagine, it was quite a surprise when we opened these little bundles and found what was within… Another favourite has to be the beautiful drawing of the ‘Crimson Cliffs’, an odd phenomenon witnessed by early Arctic explorer, Major John Ross and his crew, who initially believed that the red hue of the rock face was due to the droppings of seabirds (this isn’t the case!). ‘Romantic Facts and Fantasies:Culture and Heritage of the Romantic Age, c. 1780-1840’ is full of an array of wonderful curiosities like those featured, and well worth a visit.

Open in the Weston Gallery at the University of Nottingham’s Lakeside Arts Centre, the exhibition is running to coincide with the British Association of Romantic Studies’ 2019 Conference, ‘Romantic Facts and Fantasies’, held at the University of Nottingham in July 2019. The organisational team of the conference are also the co-curators of the exhibition, and we encourage all conference delegates to visit the exhibition and explore the University of Nottingham’s unique and varied manuscript collections on show.

This exhibition has been jointly curated by a team from the School of English (Professor Lynda Pratt, Dr Máire ní Fhlathúin, Johnny Cammish, Colette Davies, Ruby Hawley-Sibbett, Jodie Marley, Amy Wilcockson and Dr Charlotte May) and Manuscripts and Special Collections, University of Nottingham. The exhibition continues until Sunday 25 August, and is open Tuesday-Friday, 11am-4pm, Saturday and Sunday, 12noon-4pm. Admission is free.

 

A series of wider engagement talks, gallery tours and film screenings are also available during the run of the exhibition which include –

Free Lunchtime Talks: Held in the Djanogly Theatre, Lakeside Arts Centre. All talks begin at 1pm and last for approximately one hour. Advance booking is recommended.

Gothic Haunting from the 1790s to the Present – Wednesday 5 June 2019.
The condition of haunting is central to the gothic mode. Dr Matt Green, Associate Professor in the School of English, University of Nottingham, explores haunting and being haunted, discussing creative artists and writers from William Blake to Alan Moore in a survey of texts and narratives of the gothic tradition from its hey-day in the 1790s into the 21stcentury.

Romantic Reputations: Angelic Austen and Beastly Byron? – Tuesday 2 July 2019.
Was Lord Byron really ‘mad, bad and dangerous to know’, and was Jane Austen ‘a narrow-gutted spinster’? As two of the most enduringly popular writers of the Romantic period, their lives have been scrutinised and their moral reputations polarised. University of Nottingham PhD Researchers Ruby Hawley-Sibbett and Amy Wilcockson ask whether their lives, loves and works have been misrepresented.

Paupers and Poetry: The Workhouse at Southwell – Friday 26 July 2019. [During the BARS Conference].
The early 19thcentury is often seen as a time of invention, creativity and technology. However, it also saw the development of an institution that shaped the lives of less fortunate members of society for decades to come – the Workhouse. This talk by Dr Charlotte May will focus on the Workhouse at Southwell, Nottinghamshire, whose founder was a close connection of the poet Lord Byron.

Romanticism, Caricature and Politics – Tuesday 20 August.
The years 1780-1840 are sometimes regarded as the ‘golden age of caricature’. In this illustrated talk, Dr Richard Gaunt, Associate Professor in the Department of History, considers the rough, boisterous sensibilities which caricaturists brought to their craft.

 

And:

Gallery Tours: Join the exhibition curators for a guided walk through of the exhibition and learn about the stories behind the items on display.
Weston Gallery, free, advance booking required.
Wednesday 5 June, 2.30-2.30pm
Tuesday 2 July, 2.30-3.30pm

Film Screening of Mary Shelley (2017) – Tuesday 25 June, 7pm.
Running time 2 hours. Held in the Djanogly Theatre. Tickets are £5 (£3 concessions).
A romance based on the relationship of Mary Wollstonecraft Godwin (Elle Fanning) and the poet Percy Bysshe Shelley (Douglas Booth). When the couple leave England with Mary’s step-sister Claire to stay at Lord Byron’s villa near Geneva, Mary is inspired to write one of the most important novels of the nineteenth century, Frankenstein. The film will be introduced by Dr Charlotte May.

BARS 2019: Romantic Facts and Fantasies – Registration Open

Please see below for a notice from the organisers of BARS 2019 giving more information about the fantastic range of activities they’ve arranged and providing details about registration, accommodation and bursaries.

BARS 2019: Romantic Facts and Fantasies

The BARS 2019 Conference Organising Committee are pleased to announce that registration for BARS 2019: Romantic Facts and Fantasies is now open. For more information and online registration please visit https://www.nottingham.ac.uk/conference/fac-arts/english/romantic-studies/index.aspx

The registration fee includes the opening evening reception and informal dinner on Thursday, a BBQ on Friday, and buffet lunch daily as well as unlimited refreshments available all day at the conference centre (tea, coffee, cappuccinos, lattes, mineral water, biscuits and fresh fruit). Free parking is available on site. Delegates will have free access to the state-of-the-art gym and 25m swimming pool at the University of Nottingham’s new David Ross Sports Village. Other facilities including a climbing wall and squash and badminton courts can also be pre-booked for a small charge.

The conference dinner on Saturday is optional and may be booked at the time of registration, together with a selection of optional excursions on Saturday afternoon (see below).

We hope to release a limited number of single-day tickets in due course, as numbers permit.

Accommodation

Choose from ensuite rooms in either Rutland Hall of Residence or The DeVeres Orchards Hotel.

Membership of BARS

To participate in BARS 2019, you must be a member of the British Association for Romantic Studies. If you are not already a member, please purchase your subscription via the online shop when you register for the conference.

Optional Excursions

·         Derby City Museum and Art Gallery & Pickfords House

·         Newstead Abbey

·         Kedleston Hall

·         Walk to Wollaton Park with tour of Natural History and Industrial Museums (FREE)

·         BARS Exhibition Lakeside Arts Romantic Facts and Fantasies: Culture and Heritage of the Romantic Age (FREE)

Bursaries

The Early Bird rate for PhD/unwaged delegates has been heavily subsidised by BARS and the School of English, University of Nottingham in order to support postgraduate and early career scholars to attend and present their work. We hope to offer some additional bursaries at a later date, depending on numbers and finances, but cannot guarantee that we will be in a position to do so. More information will be made available by 1 July 2019.

We are very much looking forward to seeing you at BARS 2019!

Conference Report: Women & the Arts in the Long Eighteenth Century

Women & the Arts in the Long Eighteenth Century

Friday 8 March 2019, University of Sheffield

By Hannah Moss, PhD Researcher in the School of English

Scheduled to coincide with International Women’s Day, Women & the Arts in the Long Eighteenth Century took place on Friday 8 March at the University of Sheffield’s Humanities Research Institute. I organised this one-day conference, kindly sponsored by BARS, to reappraise the role women played in the arts during the period. As a PhD candidate specialising in the representation of women’s art in the Romantic-era novel, my aim was to bring together fellow researchers working on connected topics in the hope of fostering interdisciplinary thought.

With 2019 marking the 250thanniversary of the inaugural Royal Academy exhibition, I felt that it was both important and timely for an event to bring female creativity in the period to the forefront of discussion. Women & the Arts brought together those specialising in Art History, Literature, Theatre, and Music to share their research, with the event particularly targeted at those working on the intersection between literature and the arts in order to explore the ways in which writers represent artistic endeavour. The international reach of the call for papers saw delegates travelling to Sheffield from as far afield as France and Canada, with the conference hosting 14 speakers across 4 panels, plus a keynote address from Dr Claudine Van Hensbergen (Northumbria University).

Postgraduate researchers, early career scholars, lecturers and curators all came together to share their research on a diverse range of topics including colour theory, country house collections, collage and copies. I opened the first panel on Characterising the Female Artist with a paper arguing for creativity in the copy, using the artist heroines in Ann Radcliffe’s The Italian (1797) and Mary Shelley’s The Last Man (1826) to show how Radcliffe and Shelley raise the status of the copy in a way that self-reflexively promotes the woman writer. Kim Rondeau (Concordia University) followed with a fascinating insight into her research on Élisabeth Vigée-Lebrun as a politically and ideologically undesirable subject for feminist Art History, noting how Simone de Beauvoir criticised her insipid ‘smiling maternity’. Next, Rosie Razzall (Royal Collection Trust) presented on the sacred tokens found pasted to numerous examples of Rosalba Carriera’s pastels, commenting upon how this performative practice contributes to her self-image. Miriam Al Jamil (Birkbeck) rounded-off the panel by discussing Eleanor Coade’s commercial success producing artificial stone, and examining the trade cards in which she characterises herself as an emblematic neo-classical figure, ‘Fiery Force’.

A break for coffee and a selection of vegan and gluten free cakes allowed us to refuel ahead of the next round of presentations. With two parallel panels to choose from, Poetry, Performance & Patronage opened with Eva Lippold (Independent Researcher) discussing the representation of intellectual women on stage, with particular reference to Frances Burney’s The Witlings (1779)Jemima Hubberstey (University of Oxford/English Heritage) followed with her paper exploring the critical voices of Jemima Marchioness Grey and Catherine Talbot in the Wrest coterie, noting how both women had a keen critical eye for literature as well as an avid love for reading, before Léa Renucci (EHESS-University of Verona) spoke on poetry and sociability in relation to the pastorelle of the Accademia degli Arcadi in the Eighteenth Century.

The parallel panel on Women Patrons & Collectors saw Amy Lim (University of Oxford/Tate) question the concept of gendered spheres through her case study of the art patronage of Elizabeth Seymour, Duchess of Somerset. Lizzie Rogers (University of Hull) maintained our focus on the Seymour family, following with a paper on the social and creative worlds of Frances Seymour, Countess of Hertford, and Elizabeth Seymour Percy, First Duchess of Northumberland, noting Elizabeth’s enthusiasm for sharing her collection even though the likes of Horace Walpole mercilessly mocked her as a collector. Elizabeth Ford (IASH University of Edinburgh) presented on the influence of Susanna, Lady Eglinton – a 6ft tall beauty whose eyebrows, and flute-playing, inspired sonnets. This paper included a musical interlude so we could listen to extracts of the songs discussed.

After a break for lunch, and an opportunity to discuss the morning’s papers, we gathered together for our final panel of the day on Material Culture, Art & Society. Susan Bennett (William Shipley Group for RSA History) opened by promoting the Society of Arts as a valuable resource for researchers, charting the Society’s long association of supporting women artists, rewarding many examples of experimental artistic practice with prizes. Freya Gowrley (University of Edinburgh) gave us an insight into her fascinating project on collage before Modernism, covering issues of periodization and the divide between art and craft, whilst Serena Dyer (University of Hertfordshire) used Ann Frankland Lewis’ beautiful ‘Dress of the Year’ watercolours as a means of engaging with women’s material lives, noting the social, political, familial and emotional implications behind the choice of dresses depicted. Finally, Alexandra Loske (University of Sussex/Royal Pavilion) introduced us to Mary Gartside: flower painter, teacher, colour theorist (c.1860s-c.1808). Loske’s research has found that Gartside was probably the first woman to publish on colour theory, and as a special treat for attendees, she brought along her own copy Gartside’s Essay on Light and Shade(1805) so we could view her experimental colour blots at close hand.

A link between many of the papers highlighted during the time allocated for questions was the issue of women’s commercial involvement in the arts, and this was a theme which continued to be explored in our keynote address: ‘Female Wits and Muses: Professional Women and the Arts in the Eighteenth Century’. Claudine van Hensbergen (Northumbria University) challenged the problematic definition of the term ‘professional’ in relation to money rather than skill when we still live with a gender pay gap. One example cited was Mary Beale who is often credited as the first professional woman artist, but it was a move to a fashionable address rather than a notible improvement in skill which marked her transition.

Live Tweeting was encouraged throughout the day in order to engage with a wider audience who were not able to attend in person. In this spirit, Madeleine Pelling (University of York) submitted a wonderfully detailed poster presentation on the Duchess of Portland’s vase and was on hand to answer any questions online even thought she wasn’t able to join us in Sheffield. You can look back at what was being discussed on the day by reading the feed from @WomensArt2019 or by following the hashtag #WomensArt2019.

Positive feedback received on the day via comment cards and Twitter focused on the cultural relevance of the event, the range of papers presented, and the inclusive atmosphere – not to mention the conference cake printed with Adélaïde Labille-Guiard’s Self-Portrait with Two Pupils (1785, The Met: New York). Well, it wouldn’t have been a conference on eighteenth-century art without a portrait cake!

It just remains for me to say thank you to everyone who attended for making Women & the Arts such a friendly and intellectually stimulating environment, as well as to BARS whose generous funding not only helped with running costs, but meant that postgraduate travel bursaries could be offered. I hope that the conversations initiated during the course of the day will continue, and aim to publish a special edition from the conference proceedings to disseminate the research further. I envisage that this will be just the first event of this kind, and would very much like to run another Women & the Arts conference in the near future.

– Hannah Moss  (PhD Researcher at the University of Sheffield & organiser of Women & the Arts)

Read more about BARS conference funding here.

Call for Papers: Narratives of Ageing in the Nineteenth Century

University of Lincoln, 23rd July 2019 – website here

Organisers: Dr Alice Crossley, Dr Amy Culley, and Dr Rebecca Styler

Plenary Speaker: Prof. Devoney Looser, Arizona State University

‘Ageing in Public: Women Authors in the Nineteenth Century’

This conference responds to the burgeoning critical interest of humanities scholars in age, ageing, and stages of life from childhood to old age in the nineteenth century.

The figure of the child and the imaginative investment in the idea of childhood are the focus of seminal studies of ageing in this period.

However, recent critical engagements have suggested the value of exploring ageing identities and cultural articulations of age across the life course, in dialogue with one another, and from a variety of disciplinary perspectives.

In light of this development, this conference seeks to address the experiences, conceptions, and representations of the ageing process in the literature and culture of the nineteenth century.

W.P. Frith’s ‘Many Happy Returns’ (1856) ‘Harrogate Museums and Arts, Harrogate Borough Council’

We welcome papers from all humanities disciplines (including, but not restricted to, English, History, Art History, and Religious Studies) and covering a diverse range of media, forms, and genres, such as fiction, poetry, drama, life writing, conduct literature, children’s literature, religious writing, periodicals, portraiture, photography, satirical prints, material culture, medical literature, institutions and their discourses, longevity literature, advertising, elegy.

Topics may include, but are not limited to, the following:

  • Relationships between stages of the life course: childhood, adolescence, maturity, midlife, old age, longevity, premature ageing, infantilization
  • Ageing and relationships: inter and intra-generational friendship, age heterogamy, familial roles (mothers, fathers, grandparents), sociability
  • Ageing and intersectionality (gender, class, sexuality, race, religion, nation)
  • Developments in critical gerontology, view of the field in relation to C19th studies
  • Ageing and authorship: juvenilia and ‘late style’, age and critical reception
  • Materiality of ageing: souvenirs, tokens, evocative objects
  • Ageing and the body: health, illness, puberty/menopause, sexuality
  • Ageism, gerontophobia, ageing as decline and counter-cultural narratives
  • Ageing as cultural performance, age-consciousness and (dis)identification
  • Nostalgia, recollection, memory
  • Ageing in the light of faith/doubt
  • Ageing and a sense of place: home, travel, institutions, nature, revisiting and returning

We are delighted that a selection of papers from the conference will form the basis of a special issue on ‘Narratives of Ageing in the Nineteenth Century’ for the journal Age, Culture, Humanities to appear in 2021.

Please send proposals of no more than 200 words by 13th May 2019

‘Some curious disquiet’: Polidori, the Byronic vampire, and its progeny, 6-7 April

Open Graves, Open Minds presents:

Some curious disquiet’: Polidori, the Byronic vampire, and its progeny

A symposium for the bicentenary of The Vampyre

6-7 April 2019, Keats House, Hampstead

(part-sponsored by BARS)

Image via British Library

John Polidori published his tale The Vampyre in 1819. It is well known that his vampire emerged out of the same storytelling contest at the Villa Diodati in 1816 that gave birth to that other archetype of the Gothic heritage, Frankenstein’s monster. Present at this gathering were Polidori (who was Byron’s physician), Mary Godwin, Frankenstein’s author; Claire Clairmont, Percy Shelley, and (crucially) Lord Byron.

Byron’s contribution to the contest was an inconclusive fragment about a mysterious man characterised by ‘a curious disquiet’. Polidori took this fragment and turned it into the tale of the vampire Lord Ruthven, preying on the vulnerable women of society. The Vampyrewas something of a sensation and spawned stage versions and imitations that were hugely popular.

Sir Christopher Frayling declares The Vampyreto be ‘the first story successfully to fuse the disparate elements of vampirism into a coherent literary genre’. Polidori gave the creature the form that largely persists through subsequent vampire narratives, transforming it from the animalistic monster of the Slavic peasantry to something that can haunt the drawing rooms of Western society, undetected. Polidori’s Lord Ruthven, modelled on Lord Byron via Lady Caroline Lamb’s scandalous Glenarvon(1818), is aristocratic and sexualised and, though something of a blank canvas, even potentially sympathetic, providing a template for the ‘Byronic hero’ that features in Gothic romance down to the paranormal romances of the present day.

This symposium will trace Polidori’s bloodsucking progeny and his heritage of ‘curious disquiet’ in literature and other media. Guest speakers have been invited to share their research into the many variations on monstrosity and deadly allure spawned by Polidori’s seminal textual reincarnation of Byronic glamour. The delegates have been selected for their expertise in the Byronic, the Gothic, and the vampiric. The speakers are: Sir Christopher Frayling, Prof. Catherine Spooner, Prof. William Hughes, Dr Stacey Abbott, Dr Sue Chaplin, Dr Xavier Aldana Reyes, Prof. Nick Groom, Prof. Gina Wisker, Dr Sam George, Dr Bill Hughes, Dr Sorcha Ní Fhlainn, writer Marcus Sedgwick, and OGOM ECRs and doctoral students Dr Kaja Franck, Daisy Butcher, and Dr Jillian Wingfield.

The Symposium is being held at beautiful Keats House, Hampstead, home of the poet. The event will include a tour of Keats House (who hold a first edition of The Vampyre) and a trip to Highgate Cemetery, home of the Highgate Vampire (a sensation of the 1970s), and where Karl Marx (who made good use of the vampire metaphor) and others lie.

More details here.

Fees:

£70/day waged; £40/day postgraduate and unwaged

Fee includes all the talks, bespoke catering, including lunch and vampyre cup cakes, tour of Keats House and excursion to Highgate Cemetery.

You can book here.

We are very grateful for the cooperation of Keats House and for generous grants towards the Symposium from the British Association for Romantic Studies, the International Gothic Association, and the University of Hertfordshire.

Find out more about BARS Conference Support here.

Call for Papers: Radicalism and Reform in the Long Nineteenth Century

The London Victorian Studies Colloquium is an annual residential colloquium for postgraduates and postdocs working in Victorian Studies, to be held at Royal Holloway Centre for Victorian Studies, from 26-27th April, 2019.

This is a relatively informal weekend of postgraduate papers, plenary talks, and training and professionalisation workshops, allowing generous space also for participants to socialise and study in the beautiful surroundings of the college. We hope to include a viewing of the Victorian art collection in the Royal Holloway picture gallery.

This year’s event will include:

  • Plenary talks from Dr Carol Jacobi (Curator of British Art, 1850-1915, Tate Britain) and Dr Helen Goodman (Bath Spa University)
  • Research Beyond the Article with Professor Redell Olsen (Royal Holloway, University of London) and Dr Joanna Taylor (University of Manchester)
  • Panel Discussion on Academic Careers and the Place of ECRs in the University
  • Training in Nineteenth-Century Collections and Designing Innovative Teaching

Participants do not have to present a paper but we will be looking for a small number of speakers to give short papers (20 minutes) on any topic. For details of the CFP, please see below.

The Centre for Victorian Studies is grateful to the techne consortium and Department of English at Royal Holloway, University of London for supporting this event.


Registration

The colloquium is open to Masters, doctoral students and postdocs from the UK or abroad, working on any nineteenth-century topic.

This year’s event is free to techne students. Please use the dedicated ticketing link.

The deadline for applicants is 5.00pm on Friday 29th March, or as soon as places are full.

To book your place, visit the Royal Holloway Online Store.


Call for Papers

Radicalism and Reform in the Long Nineteenth Century: The London Victorian Studies Colloquium 2019

Friday 26th and Saturday 27th April 2019

Participants do not have to give papers, but we do seek proposals for a small number of 15-20 minute papers on interdisciplinary topics related to the conference theme.

These may include, but are in no way limited to:

  • Reforming Movements: Theosophy, the Salvation Army, women’s movements, animal rights, prison reform, law reform
  • Radical Politics: socialism, anarchism, anti-slavery
  • Reform as a return to past practices: Tractarianism/the Oxford Movement, anti-industrialism, artistic revivals
  • Imperialism and its afterlives
  • Radical Networks: local, national, transnational
  • Radical Bodies: Women’s Suffrage and Queer Histories
  • Past, Present, Future Time: From Utopias to Apocalypse
  • Representing social problems and constraints in the ‘Condition of England’ novel
  • Artistic, literary and cultural reforms, radicals and movements
  • Scientific and technological progress
  • Radical approaches to Victorian Studies; reforming the discipline

Please submit a 200-250 word abstract and a brief biography to Gursimran Oberoi (g.oberoi@surrey.ac.uk) by 15th February 2019.

Call for Papers – Keats’s Odes at 200: A One-Day Bicentenary Conference (1819-2019)

CFP: Keats’s Odes at 200: A One-Day Bicentenary Conference (1819-2019)

1 February 2019, University of Caen (France)

Plenary speaker : Stanley Plumly (University of Maryland). Acclaimed poet and author of Posthumous Keats: A Personal Biography (Norton, 2008), The Immortal Evening: A Legendary Dinner with Keats, Wordsworth, and Lamb (Norton, 2014), winner of the Truman Capote Award for Literary Criticism, and Elegy Landscapes: Constable and Turner and the Intimate Sublime (Norton, 2018).

In the spring of 1819, living in the recently built Wentworth Place on the edge of Hampstead Heath, John Keats wrote five of the six poems now commonly referred to as the ‘Great Odes’, a group of texts whose hyper-canonicity can sometimes make it difficult to appreciate the precarious, unlikely circumstances under which they came into being – let alone to say anything new about them today. Over the course of the last two centuries, countless readers have found themselves enthralled by, and moved to comment on, Keats’s Ode to PsycheOde to a NightingaleOde on a Grecian UrnOde on MelancholyOde on Indolence, and ode To Autumn (composed in September 1819), generating a vast body of scholarly criticism, as well as a number of reuses or reimaginings of the odes in popular culture. Yet, not unlike the Hellenic urn which permanently remains, in its cold silence, ‘a friend to man’, the magic of the odes remains undiminished after all these years – and the depth and originality of Keats’s texts remain, miraculously, to be accounted for, still ‘teas[ing] us out of thought’. It is the aim of this one-day bicentenary conference not only to celebrate but also to continue to probe, question, and rethink the nature of Keats’s achievement in writing, at the height of his young artistic powers, these six ‘Great Odes’; to reexamine their past uses, and speculate on their lives to come, while teasing out (and, no less fruitfully, being teased by) their ostensible timelessness.

Speakers are invited to approach the odes from any number of angles, including (but not limited to) questions concerning: the composition and editing of the texts (their manuscript drafts, their multiple versions in print and digitization…); the critical reception of the odes in the 19th, 20th, and 21st centuries (in Britain, America, France, and elsewhere); Keats’s sources of inspiration, and of rupture; the odes and other forms of art (sculpture, music, painting); reuses and reimaginings of the odes in popular culture; their modern adaptations (cinema, fiction), etc.

Please send title of paper and abstract (300 words), with a brief CV, to Jeremy Elprin (jeremy.elprin@unicaen.fr) and Caroline Bertonèche (caroline.bertoneche@univ-grenoble-alpes.fr) by 31 October 2018.

Call for Papers: BARS 2019 – Romantic Facts and Fantasies

BARS 2019: Romantic Facts and Fantasies

 

Proposals are invited for the 2019 conference of the British Association for Romantic Studies, to be hosted by the School of English, University of Nottingham, from 25-28th July. Our theme is ‘Romantic Facts and Fantasies’.

We look forward to welcoming you to the East Midlands, where the historic city of Nottingham is located among the heartlands of British Romanticism. Newstead Abbey was Byron’s ancestral home; Sherwood Forest was re-imagined as the meeting place of Richard I and Robin Hood in Scott’s Ivanhoe; and the Cromford Mills are a living monument to Richard Arkwright, whose inventive development of spinning mills and power looms was an integral strand of the Industrial Revolution. This conference will explore the potency of ‘fact’ and fantasy’ both in the Romantic period and during the afterlife of Romanticism. The aim is to develop a collective understanding of how Romantic ‘fact’ and ‘fantasy’ work together and against one another, and in so doing embody the spirit of an age whose inventions and innovations laid the foundations for modernity while simultaneously exulting the power of the imagination and its creations.

Keynote speakers for Romantic Facts and Fantasies are Laura Mandell (Texas A&M), Robert Poole (UCLAN), Sharon Ruston (Lancaster), Diego Saglia (Parma), and Jane Stabler (St Andrews).

We encourage proposals for open-call sessions and themed panels as well as individual proposals for 20-minute papers. Subjects covered might include (but are not limited to):

Bicentenaries 1819-2019: The Peterloo Massacre; the ‘Six Acts’, the Carlsbad Decrees; the birth of Queen Victoria; Stamford Raffles and the foundation of Singapore; Simon Bolivar’s victory at Boyacá; the Panic of 1819; the opening of the Burlington Arcade, London; the Cotton Mills Act; the death of James Watt;  Keats’s odes; Scott’s Ivanhoe, Bride of Lammermoor, and A Legend of Montrose; the final volume of Southey’s History of Brazil; Blake’s ‘Ghost of a Flea’ (1819/20).

Factual and fantastical encounters and dialogues: travel narratives; poetry of encounter; translations; colonial discourses; geologies, geographies and aesthetics of landscape; rivers, canals, bridges and roads in material, commercial and imaginative landscapes.

Facts and fantasies of collective and individual identity: Romantic provincialism (the Lunar Society, the Lake School); national identity and ideas of the state; religion; ethnography; Romantic life writing and autobiography; Romantic-period economics, consumerism, industry and agriculture; Romantic facts and fantasies of childhood; Romantic experiments in education; Rousseauism.

The scientific imaginary: Mary and Percy Shelley; Humphry Davy, poet and scientist; the development and legacies of Romantic science fiction; Erasmus Darwin, the Lunar Society and Joseph Wright of Derby; Malthus and Malthusianism.

Imagining the Romantic world: Keats’s ‘living year’; plagiarism and originality; the professional imagination in Keats, Davy, Blake, Caroline Herschel and William Herschel; pedagogic and didactic poetry, prose and drama; histories and history-writing, including the emergence of national histories; paintings, sculptures and music commemorating the events and ‘heroes’ of the Napoleonic wars, politics, industry and culture; architecture and Romantic fantasy (eg. Walter Scott’s Abbotsford, William Beckford’s Fonthill Abbey, and Joseph Gandy’s visualisations of the Bank of England and other buildings by John Soane); Romantic book illustration and developments in the technology of print.

Presentation formats

We welcome proposals for the following:

Individual 20 minute papers. Abstracts of no more than 250 words (excluding the title). Please include your name and institutional affiliation (if applicable).

Panels of either three 20 minute papers or four 15 minute papers. Please include an abstract of the panel theme, together with 250-word (excluding the title) proposals from each of the speakers, in a single document.

Open-call sessions. Proposals should include a 350-word (excluding the title) description of the potential session, outlining its importance and relevance to the conference theme. Accepted open-call sessions will be advertised on the BARS 2019 website from mid-November 2018.

Submissions

The deadline for proposals for open-call sessions is 1 November 2018.

The deadline for submissions of panels and individual papers is 17 December 2018.

Please email proposals to bars2019@nottingham.ac.uk.

For more information, please visit the BARS 2019 website.