Romantic Circles Pedagogy Commons seeks essays that address a wide range of topics, methods and themes related to the teaching of Romanticism. For the past several years we have published special volumes that speak to a specific issue within Romanticist pedagogy, such as ‘Romanticism and Technology’, ‘Teaching Global Romanticism’, or ‘Teaching the Romantic with the Contemporary’. For this volume we’d like to issue more broad and open call for essays that offer innovative approaches to teaching Romanticism. We are especially keen on approaches that consider Romanticism as methodology or practice and seek to reproduce it in the classroom.
‘Wanderer above the Sea of Fog’, Caspar David Friedrich (c.1818)
Possible topics include but should be in no way limited to:
Teaching specific Romantic-period authors through an engagement with their poetics or aesthetic practices
Teaching Romantic-era pedagogy, for example, Rousseau or the Edgeworths
Teaching Romanticism in the 21st-century classroom
Teaching Romanticism collaboratively
Teaching Romanticism as an act of resistance
Please submit 300-word abstracts to firstname.lastname@example.org by June 30. If accepted, completed drafts would be due by September 30.
The Romantic Circles Pedagogy Commons is a peer-reviewed online journal dedicated to the presentation of essays about teaching that offer sample teaching materials as well, from printable handouts to ‘digital-born’ teaching materials.
The Stephen Copley Research Award allowed me to spend four days in London attending a conference and conducting archival research at the British Library. The Open Graves Open Minds (OGOM) conference was held at Keats House in Hampstead and was entitled ‘“Some Curious Disquiet”: Polidori, the Byronic vampire, and its Progeny’. The event was prompted by the bicentenary of The Vampyre and featured papers on topics ranging from contemporary adaptations to the vampire’s folkloric and Byronic roots.
My PhD thesis concerns dramatic adaptations of Gothic novels, namely Mary Shelley’s Frankenstein(1818) and Bram Stoker’s Dracula(1897): two iconic texts which are frequently paired together in adaptations. The repeated coupling of two narratives with such vastly disparate publication dates is intriguing, as the texts deal with very different cultural contexts and social concerns. My thesis attributes this in part to Lord Byron’s ghost story competition at the Villa Diodati in 1816, the ‘year without a summer’, from which both Frankenstein’s monster and the first literary vampire originate. Attending the OGOM Polidori conference allowed me to learn more about the literary history of the vampire pre-Dracula, while simultaneously updating myself on emerging scholarship within this area. The event itself was holistic in its approach and covered a wide range of themes which will serve to inform my future readings of vampiric texts and, subsequently, the next chapter of my thesis. Particular highlights included Sir Christopher Frayling’s keynote, Marcus Sedgwick’s discussion of the links between vampirism and tuberculosis, and a paper on the stage effects used in vampiric drama by Ivan Phillips.
Image via OGOM
The latter half of my trip was spent in the British Library reading rooms, in which I passed the first day reading Bram Stoker’s manuscript for Dracula: Or, The Un-dead – a 47-scene-long dramatic reading that was performed prior to the publication of Draculain order to secure dramatic copyright. This script consists of a mixture of Stoker’s own handwritten notes interspersed with cut and pasted extracts of the publisher’s proof copy. Having the opportunity to read this document not only gave me a fascinating insight into late-Victorian theatre, but also allowed me to explore how Stoker originally envisaged his eponymous Count for the stage.
I used my second day to examine early nineteenth-century playbills of dramatic adaptations of Frankenstein and The Vampyre. I was particularly interested in specific actors’ portrayals, as some individuals represented both monsters. This trend is seen in cinematic adaptations, with actors such as Bela Lugosi, Lon Chaney Jr., and later Christopher Lee playing both Frankenstein’s monster and Count Dracula throughout their careers, but is yet to be identified in early dramatizations. I had established that nineteenth-century adaptations had featured the same actor playing both monsters. However, through my scrutiny of early playbills, I have been able to determine that the two roles were not only played by the same actor, but also, for a short period of time, played by the same actor at the same time on alternate days of the week. This piece of information will serve to reinforce my application of theatrical theory to the two texts, and further establish links between Frankenstein’s monster and the vampire.
I’m extremely grateful to BARS for this award. Without their assistance, my visit – which has proved invaluable to the progression of my thesis – would not have been possible. I would also like to thank the OGOM team for organising such a fantastic conference, and the Reference Desk team at the British Library (especially John) for all of their helpful suggestions on how to use the library’s resources to their full potential.
– Eleanor Bryan (University of Lincoln)
Read more about the latest OGOM conference via their Twitter feed, here.
The 25th publishing anniversary of Romanticism offers an opportunity to reflect on the origin of the journal three decades ago. In the mid-1990s there was no UK-based journal dedicated to publishing a broad range of essays, articles and reviews in the Romantic field. There were specialised journals, some of them of remarkable longevity such as the Keats-Shelley Memorial Bulletin and the Byron Journal. The Review of English Studies and Essays in Criticism published essays on Romantic literature from time to time alongside other material. In the US there were the Keats-Shelley Journal, Blake Quarterly, The Wordsworth Circle, and other author-focused publications, as well as the prestigious and long-established Studies in Romanticism. There seemed to be a gap for a new UK-based scholarly journal that would publish the most significant new critical and scholarly work in the field, with a reviews section dedicated to longer reviews of new work in the field.
Back cover of the first issue of Romanticism (1995).
The founding editors were myself, Drummond Bone, Jane Stabler, and Tim Webb. We met at Bow-of-Fife on a summer afternoon in 1994 and discussed how the journal might best be projected and published: we agreed that it should focus on the big picture, 1750-1850, that it should welcome critical, historical, textual and bibliographical essays prepared to the highest scholarly standards, and that it must seek to represent a full range of current methodological and theoretical debate. The immediate problem was how to find a publisher, and who to invite to join the board of Advisory Editors.
Vivian Bone was at that time Director of Edinburgh University Press, so there was, we hoped, a prestigious Scottish University publisher that would welcome the new journal and put it into successful production. The founding board of Advisory Editors comprised the following roster of distinguished scholars (with their 1995 affiliations):
John Barnard (Leeds University)
Anne Barton (Cambridge University)
Lilla Crisafulli Jones (University of Bologna)
John Donovan (University of York)
Kelvin Everest (Liverpool University)
David Fairer (Leeds University)
Neil Fraistat (University of Maryland)
Paul Hamilton (University of Southampton)
John Kerrigan (Cambridge University)
Greg Kucich (University of Notre Dame)
Nigel Leask (Cambridge University)
Grevel Lindop (Manchester University)
J. C. C. Mays (University College Dublin)
Vincent Newey (Leicester University)
Lucy Newlyn (Oxford University)
Michael O’Neill (Durham University)
David Punter (Stirling University)
Susan Wolfson (Princeton University)
The first issue of Romanticism was published by Edinburgh University Press in April 1995, with new work my Morton D. Paley, Jennifer Wallace, John Barnard, Philip Shaw, Simon Bainbridge, Jane Stabler, Timothy Clark and Mark Allen, Nick Havely, John Kerrigan and David Chandler.
Front cover of the first issue of Romanticism (1995).
Originally published twice a year, since 2006 Romanticism has been published triannually. Katie Garner at St Andrews University is now reviews editor, and the first of three 25th anniversary issues, a stimulating gathering of essays on ‘Transporting Romanticism’ has just been published. From bees to ballooning, ‘Jane Austen’s Mobility’, and Romantic and Victorian nonsense poetry Romanticism continues to show new directions of travel in Romantic studies. Some planned future issues will focus on ‘Romanticism and Ageing’, Thomas De Quincey, John Clare, and Jane Austen.
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.
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.
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.
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!