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News and Commentary from the British Association for Romantic Studies

Archive for October 2019

Romantic Reimaginings: The Ecstasy of Samuel Taylor Coleridge

Romantic Reimaginings is a BARS blog series which seeks to explore the ways in which texts of the Romantic era continue to resonate. The blog is curated by Eleanor Bryan. If you would like to publish an article in the series, please email ebryan@lincoln.ac.uk.

Today on the blog, Adam Neikirk provides a personal account of his work on poetical biographies of Samuel Taylor Coleridge.

Seamus Perry, author of Coleridge and the Uses of Division (Oxford English Monographs, 1999) once commented to me that his task of writing his contribution for the Oxford Handbook of Samuel Taylor Coleridge (Oxford UP, 2009), on ‘Coleridge’s Literary Influence’, felt “a bit like trying to describe an alp”. “The achievement is so various,” writes Perry at the beginning of the article, and the literary influence so diverse, that no generalization here can be useful: there is no single distinctive ‘Coleridgean’ idiom or manner for later poets to appropriate or reject … Neither are the lines of influence always clearly defined: no subsequent ballad can hope to escape the example of ‘The Ancient Mariner’ … (661).

Samuel Taylor Coleridge by Peter Vandyke, 1795

Perry’s alp remark, while more compact, is perhaps even more illuminating of our general attitude to STC: there is something vast and yet indistinct which we attempt to reckon; so much so, that sometimes it is tidier to compare him (or his literary achievements) to an inanimate object, even if it be a stream or what Coleridge himself once called a “spring with the little tiny cone of loose sand ever rising and sinking at the bottom, but its surface without a wrinkle” (CN I, 980).

Virginia Woolf famously did this in her enraptured essay “The Man at the Gate,” in which she described “an immense mass of quivering matter” (getting right at the protean source), a “great swarm” of words, and “pendent drops” which roll down across a pane smeared by weakness, emblematic of the clarity of Coleridge’s mind struggling with its capaciousness to settle upon just one subject, to articulate just one idea. Whenever anyone, be they a critic,[1] another poet,[2] or prose writer,[3] has tried to do more than paint a mere caricature of Coleridge, there is almost always an attendant metaphysical confusion, as if by thinking hard about him, we summon up some kind of meddling or muddling arch-spirit to haunt the willed homology of our thoughts.

We seem to innately turn to poetry or to the possible beginnings of poetry (“describe an alp”) in order to imagine what we consider to be his full fullness. STC is almost himself a kind of writing prompt (“write about the edge of the universe; now write about Coleridge standing at the edge of the universe, scribbling away at what he sees”). My dissertation takes this tendency to veer into the poetic more literally by purporting to offer a “poetical biography” of Coleridge (that is, a series of poems which, taken as a whole, will give the reader the same sense of his life and person as a prose biography). Thus, I have found that Coleridge himself seems to have a poeticizing influence that cannot be ignored and, in fact, should probably be explored. The challenge lies in asking how we can write about Coleridge without reducing him to an image, either of our own values, or to some other set of interlinked values which we think we recognize (we might be tempted to do the same thing with the Alps or some other ‘natural’ object); in other words: how can we articulate him in such a way that he can evolve beyond what he has been seen as, as this or that apostate or champion, and become more like a process of inquiry, “[thriving] on the dynamic of contraries and contradictions, never finding any one church, political party, social theory, or philosophical creed to satisfy his sense of the subtleties of the human condition” (Richards 1962, xviii).

Although this quote is taken from I.A. Richards’ Coleridge on Imagination, it is Kathleen Coburn’s conviction that shines through, an image of a pluralistic Coleridge and a kind of intellectual world citizen who is also a wanderer. It is my conviction that, try as some have, it is not possible to communicate the whole of Coleridge from a critical position only, due to the fact that by the very act of assessing Coleridge, we must occupy a position outside of his life and work and his times, and render our judgment (as he often says) ab extra. Of course, I do not believe in time travel or telepathy, exactly; but believe there is more involved in the uses of poetry as a form of writing than merely versification (and there is a lot to versification as well). This is where the notion of ecstasy as ‘standing outside oneself’ derives from: in reimagining Coleridge through verse, we not only must in some measure put ourselves aside, and step out of ourselves and our times, but we also open ourselves up to Coleridge’s world. His world is the virtual space that is connected to all his writings, as well as to all of the writings about him. It is like the mansion in Bleak House, filled with chambers and twisting hallways, a bit of narcissism in this one, a German hexameter here, a travelogue here, the Lowesian origins[4] of Kubla Khan in a chandelier, the legacy of the “Opus Maximum”[5] leaking into the kitchen sink. The goal is to take the poetic tendencies of prose writings about Coleridge—which I have argued are always there in force—to their logical conclusion: the esemplastic power of poetry itself.

Works Cited:
Beer, John. Coleridge’s Play of Mind. Oxford UP, 2010.
Coleridge, Samuel Taylor. Collected Notebooks I. Princeton UP, 1957.
Perry, Seamus. Coleridge and the Uses of Division. Oxford English Monographs, 1999.
Richards, I.A. Coleridge on Imagination. Routledge & Paul, 1962.
Woolf, Virginia. The Death of the Moth and Other Essays. Heritage Books, 2019.
Wordsworth, William. Lyrical Ballads. Longman, 1815.

Footnotes:
[1] John Beer said of Coleridge (in response to Thomas Carlyle’s description of him as “a mass of richest spices putrefied into a dunghill”) that he was the embodiment of “an aporia, a deadlock between equally demanding, yet essentially irreconcilable, forces”—in the case of Coleridge, these forces are the competing discourses of science and the humanities. See John Beer, Coleridge’s Play of Mind, Chapter 16 (“Questioning Closure”).
[2] Wordsworth’s “Castle of Indolence” stanzas come to mind, wherein STC is described simultaneously as an overgrown child, and as a kind of sage to whom “many did … repair” because “he had inventions rare” (ln. 53-54).
[3] Aside from Virginia Woolf, Charles Dickens and Henry James (both cited in Woolf’s essay) also attempted portraits of Coleridge in Bleak House and the short story “The Coxon Fund” respectively.
[4] John Livingston Lowes, The Road to Xanadu (1930).
[5] See, for example, Coleridge’s Assertion of Religion: Essays on the Opus Maximum (2006).

Adam Neikirk is a PhD Candidate in Creative Writing at the University of Essex. His dissertation is entitled “Your Very Own Ecstasy.”

 

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.


 

The 28th Annual NASSR Conference

Romanticism and Vision

28th Annual Conference of the North American Society for the Study of Romanticism (NASSR)

University of Toronto, Ontario on August 6-9, 2020.

For more details Click Here

The organizers of NASSR 2020 invite proposals for papers, panels, and roundtables–from scholars emerging and established, and in all areas of literary, philosophical, cultural, and artistic study–on the theme of “Romanticism and Vision.” In the field of Romanticism, the implications of “vision” as a keyword have changed dramatically over the last half-century, and have expanded to include (for example) the embodied senses, technologies of perception, visual and material culture, and the visual and performing arts. We welcome presentations that explore Romanticism’s connection to vision, the visual, and the visionary, understood in the widest possible sense. Approaches that broaden Romanticism’s disciplinary, geographical, and linguistic scope are especially welcome. In our echoing of the “Vision 2020” and “Beyond 2020” motif currently being deployed in academic, business, and public sectors, we aim to make this year’s conference an opportunity to consider the future of Romanticism as a critical field of humanist study, and to strategize about the role of Romanticism in shaping the future of the university.

Topics may include (but are not limited to):

  • Re-envisioning Romanticism: looking back and looking forward
  • Visions and the visionary: perception, prognostication, projection, speculation, the speculative
  • Ways of looking: reading, conceptualizing, observing, peeping, gazing, categorizing, examining, recognizing and misrecognizing
  • Visual culture and aesthetics: objects of sight, spectacle, the spectacular, the sublime and the beautiful
  • Reading methods and histories: careful, close, distant, surface; plagiarism, copyright law
  • Print culture in its social, theoretical, and physical aspects (e.g. text, design, structure, layout); manuscripts, letters, journals, scrapbooks, books, journals, newspapers
  • The seen and the unseen: noumena, phenomena, the spirit world, apparitions and appearances
  • Romantic iconoclasm and anti-representationalism; ocularcentrism and “the tyranny of the eye”
  • Visual communication: text, numbers, notation (e.g. musical), images, sign language, placards, banners, flags, gestures, hieroglyphs, emblems, insignia
  • Questions of form and representation
  • Fashionable looking: costume, hair, makeup, manner, style, taste, places to see and be seen
  • Visualizing gender and sexuality: identity, performance, politics
  • Visual and scenic arts: sculpture, painting, illustration, graphic satire, print shops, pornography, broadsheets, dioramas, panoramas, architectural and landscape design
  • Theatre and performing arts: set design, lighting, visual effects, costume, body movement, dance, pantomime, attitudes, tableaux vivants
  • Art collection and assessment: museums and curation, connoisseurship, formal and evaluative concerns (e.g. light, color, pattern, shape, scale, proportion)
  • Visualizing class: social hierarchies and signifiers (e.g. clothing, heraldry, pageantry), occupational and economic segregation
  • Instruments of looking: lenses, spectacles, quizzing glasses, spy glasses, Claude glasses, prisms, mirrors, telescopes, microscopes, orreries, windows
  • Forms of illumination and darkness: lightning, electricity, candlelight, lamps, gas light, spotlights, limelight, torches, fireworks; shade, shadow, twilight, gloom, obscurity
  • Religious vision(s): prophecy, revelation, enthusiasm, sermons and hymns, public and private devotion, natural and revealed religion
  • The science of the eye: vision, optics, visual anatomy, medicine, pathology, disability, blindness
  • Data visualization (e.g. land, economy, population studies): mapping, cartography, geography, geolocation, charts, diagrams, categorization, numerical and pictorial statistics
  • Visualizing race: slavery, racism, racialization, minoritization
  • Vision and ecopoetics: seeing nature (vistas, prospects, the picturesque); noticing and reading features of land, water, and sky; watching weather and recognizing climate; the animal gaze
  • Envisioning space and place: the local and the global, home and abroad, the peripheral and transperipheral
  • Envisioning (the ends of) empire: imperialism, colonialism, sites and sights of war; decolonization, indigenization
  • Political and military forecasting, strategy, optics, campaigns, battlegrounds, political theatre
  • Imagining the future of Romanticism; strategizing its work in the humanities, in the university, and in society

Keynote Speakers:
Elizabeth Maddock Dillon (Northeastern University)
Martin Myrone (Tate Britain)

Special Seminar Leaders:
Luisa Calè (Birkbeck, University of London)

Timothy Campbell (University of Chicago)

William H. Galperin (Rutgers University)

Ian Haywood (University of Roehampton)

Grégory Pierrot (University of Connecticut at Stamford)

Padma Rangarajan (University of California, Riverside)

Gillian Russell (University of York)

Sophie Thomas (Ryerson University)


WEBSITE: http://sites.utoronto.ca/wincs/nassr2020

EMAIL CONTACT: nassr2020vision@gmail.com

Romantic Reimaginings: Luke Howard, Namer of Clouds

Romantic Reimaginings is a BARS blog series which seeks to explore the ways in which texts of the Romantic era continue to resonate. The blog is curated by Eleanor Bryan. If you would like to publish an article in the series, please email ebryan@lincoln.ac.uk.

Today on the blog, Tess Somervell explores the resonance of Luke Howard’s writings on clouds.

A contender for the best English Heritage blue plaque in London is that commemorating the chemist and meteorologist Luke Howard (1772-1864), at 7 Bruce Grove, Tottenham. Howard is listed simply as ‘Namer of Clouds’.

In December 1802, Howard gave a lecture to the Askesian Society called the ‘Essay on Clouds’, published the following year as an essay ‘On the Modification of Clouds’. Previously most meteorologists had held that clouds were too transient and variable to classify. But Howard argued that clouds shifted between a limited number of fundamental forms or ‘modifications’, for which he proposed the Latin nomenclature that we still use today: cumulus, cirrus, stratus, nimbus, and their various combinations.

Luke Howard blue plaque. Photo by Acabashi.

Howard’s theory of cloud formation immediately caught the imaginations of Romantic poets and artists: its influence can be seen in Percy Shelley’s 1820 poem ‘The Cloud’ and in the landscape paintings of John Constable. Howard’s cloud terminology has become so familiar that most people who are familiar with the cloud names aren’t aware that they are Romantic inventions. Over the last century, as well as providing titles for paintings, sculptures, and musical and literary compositions, Howard’s cloud names have been repurposed in product branding: you can buy Cumulus and Nimbus running shoes, or a Cirrus Ironing Board.

Portrait of Howard by John Opie

Howard’s essay on clouds, then, is a Romantic text that has been reimagined in varied ways. But from the first, readers were intrigued as much by the figure of Howard himself as by his work. In 1815, Goethe read a German translation of ‘On the Modification of Clouds’ and was stirred by Howard’s method of giving form and order to formless, boundless nature. He wrote a poem ‘In Honour of Howard’ which, before describing the cloud types themselves, begins with lines celebrating the namer of clouds: ‘Howard gives us with his clearer mind / The gain of lessons new to all mankind… As clouds ascend, are folded, scatter, fall, / Let the world think of thee who taught it all.’ (trans. George Soane and Sir John Bowring). Goethe wanted to know more about the man behind the science. He wrote to the British Foreign Office, requesting ‘even the barest outline of Howard’s life… Thus I could see how such a mind took form, and how it was led to view nature in a natural way, give itself over to her, recognize her laws…’ (trans. Douglas Miller) He was delighted when this request was met with a letter from Howard himself, containing a brief autobiography, which Goethe then translated into German and had published.

In recent decades, artists and writers have continued to reimagine Howard as a figure and a personality. Many are just as if not more romanticising in their depiction of Howard as is Goethe’s poem. In his excellent book, Clouds: Nature and Culture, Richard Hamblyn (also Howard’s biographer) lists several works of art that have taken Howard the man, rather than the clouds-as-understood-by-Howard, for their theme. These include Lavinia Greenlaw’s poem ‘What We Can See of the Sky Has Fallen’ (from A World Where News Travelled Slowly) and Carol Ann Duffy’s poem ‘Luke Howard, Namer of Clouds’ (from The Bees). It is telling that both Greenlaw’s and Duffy’s poems draw more from Howard’s memoir letter to Goethe (and also, in Greenlaw’s case, an account of him written by his granddaughter), than from the essay on clouds. In his letter, Howard recalls watching the weather from his bedroom at school, especially the strange weather of 1783 and a dramatic meteor: ‘We were roused from our beds by the intense light it afforded’. Greenlaw echoes but reworks this as ‘A childhood of freak weather – roused from your bed / To see the night lit by a meteor’. Duffy’s account is even more Romantic: ‘Smitten / he stared up evermore; saw / a meteor’s fiery spurt’.

One of the most recent reimaginings of Howard is ‘Namer of Clouds’, the title song of the debut album by folk singer-songwriter Kitty Macfarlane. The song begins with that same image of Howard as a child: ‘A small boy stands / Face pressed to the glass…’ The first half of ‘Namer of Clouds’ celebrates, as did Goethe, Howard’s ability to name and give meaning to an elusive sky. However, in the second half, a note of disturbance enters. ‘How did we become so bold,’ Macfarlane asks, to ‘seize the heavens, claim control’? These lines reverberate to the song’s close, so that the refrain ‘namer of clouds’ assumes an ambivalence. Is naming an act of inspired imagination, as for Goethe, an expression of love, as for Duffy, or is it, as Macfarlane suggests, a way of claiming ownership that may be arrogant, even violent?

It is amusing that Howard has been reimagined so often as a Romantic lone visionary, more closely resembling Wordsworth’s image of Newton as ‘a mind forever / Voyaging through strange seas of thought, alone’ than Howard’s portrait of himself in the letter to Goethe: ‘a man of domestic habits and very happy in my family and a few friends’. But romanticising Howard at least reminds us of the human creativity, and the emotional and cultural currents, that underlie seemingly objective scientific theories and terms, in the Romantic period and in any age. Imagining and reimagining the ‘Namer of Clouds’ is a way into thinking about the ethics of observing, analysing, and labelling the natural world.

Works Cited:
– Duffy, Carol Ann. The Bees. Picador, 2011.
– Goethe, Johann Wolfgang von. Scientific Studies. Ed. and trans. Douglas Miller. Vol. 12 of Collected Works. Princeton University Press, 1996.
– Greenlaw, Lavinia. A World Where News Travelled Slowly. Faber and Faber, 1997.
– Hamblyn, Richard. Clouds: Nature and Culture. Reaktion Books, 2017.
– Macfarlane, Kitty. Namer of Clouds. Navigator Records, 2018.
– Scott, Douglas. Luke Howard (1772-1864): His Correspondence with Goethe and His Continental Journey of 1816. William Sessions Ltd, 1976.

Tess Somervell is a British Academy Postdoctoral Fellow at the University of Leeds. Her current project is titled ‘Georgic Climates: Writing the Weather in Eighteenth-Century Poetry’.

Midlands Romantic Seminar

20th November, 6.30-8.00pm

University of Derby

Professor Tim Fulford and Dr Andrew Lacey

We are delighted to announce that the Midlands Romantic Seminar is being re-launched on 20th November at the University of Derby.  Our first event will welcome Professor Tim Fulford and Dr Andrew Lacey, two members of the research team involved with the Davy Letters Project, who will each be speaking about their recent research on the chemist and poet Humphry Davy.

Event Details:

6.30-8.00pm

Room OL1, Kedleston Road Campus

Professor Tim Fulford (De MOntfort University), ‘From Derbyshire to Vesuvius:Humphry Davy and the Midlands Enlightenment’

Dr Andrew Lacy (Lancaster University), ‘Brothers in Science: John and Humphry Davy’

There will be a Wine Reception afterwards. All are very welcome! Please do pass this information on to anyone who you think would be interested in attending.

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There will be two further Midlands Romantic Seminars during the year 2019/20: watch this space for more details and follow us on Twitter @RomanticMidland. If you have any proposals for future seminars or events, please contact Dr Paul Whickman and Dr Erin Lafford at either p.whickman@derby.ac.uk or e.lafford@derby.ac.uk.

 

BARS/Wordsworth Trust Early Career Fellowship 2020

We would like to invite Early Career Researchers who are not in permanent employment to apply for a one-month residential Fellowship with the Wordsworth Trust at Grasmere.

The Wordsworth Trust is centred around Dove Cottage, the Wordsworths’ home between 1799 and 1808, where Wordsworth wrote most of his greatest poetry and Dorothy wrote her Grasmere journals. The Trust’s collection comprises over 68,000 books, manuscripts and works of art, and at its heart remains the poetry, prose and letters of William and Dorothy.

This Fellowship will take place during one of the most exciting and transformative times in the Wordsworth Trust’s history. Our major HLF-funded project ‘Reimagining Wordsworth’ is due for completion in time to celebrate Wordsworth’s 250th birthday on 7 April 2020. ‘Reimagining Wordsworth’ seeks to raise awareness and change perceptions of Wordsworth’s life and work, furthering his own wish for his poetry to help people ‘to see, to think and feel’.

To help achieve this, we are transforming our site (which will include a redesigned and extended museum, a new learning centre, a newly interpreted Dove Cottage and two new outdoor spaces) alongside an extensive programme of engagement and activities in Cumbria and beyond.

The Wordsworth Trust is also committed to embracing the Creative Case for Diversity in all that we do. We believe that by welcoming a wide range of influences, practices and perspectives, we can better understand our own collection and the stories it can tell, thereby enriching our public programmes. The purpose of this Fellowship is to help us achieve just that – to examine our collection from a different perspective, and to use that perspective and knowledge to help an audience of your choice better understand and engage with Wordsworth’s life and work. We are open to discussing what form this might take (a workshop, or online activity, for example) and what would work best for the audience you choose. The impact of this Fellowship will be substantial, not only in helping us shape the direction of our public programmes, but it also has the potential to foster positive in change the way people see Wordsworth, the world and themselves.

You will receive advice and training from the Collections and Learning team, led by Jeff Cowton (Curator and Head of Learning). The activity could be delivered within a workshop setting, or online – or whatever you think works best for the audience in question. There will also be opportunities to develop your own research.

We welcome applications from anyone whose research interests will help us to re-imagine Wordsworth and to embrace the Creative Case for Diversity. We particularly welcome applications from candidates that are under-represented, including candidates from low-income backgrounds, and/or candidates with disabilities (we are happy to discuss any reasonable adjustments that we can make).

The Fellowship provides on-site self-catering accommodation for one month; we would prefer the residency to take place between January and March 2019. The Fellowship also provides £100 towards travel expenses. All applicants must be members of BARS.

Application procedure: on no more than two sides of A4, provide your name, email contact details, institutional affiliation (if relevant), current employment status, a brief biographical note, a description of your PhD thesis, details of the proposed research and audience based activity, and preferred period of residence (from November 2019 to the end of March 2020). The successful applicant will show enthusiasm for audience engagement and for exploring Wordsworth’s life and work in new ways, demonstrated in initial ideas of their proposed project.

Send the application as an attached Word file to Jeff Cowton (J.Cowton@wordsworth.org.uk) and  Dr Jennifer Orr (Jennifer.orr@ncl.ac.uk) no later than 31 October 2019. The successful candidate will be informed within two weeks.

Don Juan: Conception, Reception, and Imitation

The Byron Society Bicentennial Conference to celebrate the publication of Don Juan Cantos I and II


One-day conference, Saturday 7th December 2019

Antenna Media Centre, Nottingham Trent University, Nottingham

Keynote Speaker: Professor Jerome McGann, ‘Byron and his Language’


Published anonymously in the summer of 1819, the first two cantos of Byron’s ‘satirical epic’ Don Juan provided the reading public with a work which self-consciously raised and challenged received ideas about fame, originality, and
literary merit and was admired and reviled in almost equal measure.

Don Juan became an overnight sensation, inspiring countless attacks against their sexual and religious infidelities, the bitingly acerbic social and political commentaries, the horrifying burlesquing of scenes of death and destruction,
and the generalised irreverence. While some were shuddering with outrage, others saw the significant commercial opportunities offered by Byron’s ‘Donny Jonny’, with parodies, musical adaptations, and ‘new’ Cantos flooding the
market alongside the numerous pirated copies.

Conference Fees (includes coffees, lunch and a sparkling wine reception):
Students: £20
Members of any Byron Society: £40
Non-members: £60

There will be a conference dinner after the reception, which includes 3 courses and the chance to win some excellent Byron prizes during our Byron Quiz. This is an optional extra, and will cost £30.00

There will be a trip to Newstead Abbey on the 8th of December, with bus collection at 10.30 am,  a guided tour of the Abbey, and time to explore the gardens or visit the cafe, before we return to Nottingham at around 2.00 pm. This is an optional extra and will cost £30.00.

Registration details, Conference Programme and other information available on our website, www.thebyronsociety.com or to register, click here.

 


In affiliation with BARS and Romantic Bicentennials. 

The Fifteenth Annual Conference of the British Society for Literature and Science

The fifteenth annual conference of the British Society for Literature and Science

University of Sheffield

Wednesday 15 April until Friday 17 April 2020.

Keynote speakers will be Dame Jocelyn Bell Burnell (Oxford), Professor Martin Willis (Cardiff), and Professor Angela Wright (Sheffield).

The BSLS invites proposals for 20-minute papers, panels of three papers, or special roundtables on any subjects within the field of science (including medicine and technology), and literatures in the broadest sense, including theatre, film, and television.

The conference will include a visit to the Alfred Denny Zoological Museum(pictured), and the Turner Museum of Glass will host a keynote lecture and the wine reception.

Please send an abstract (200 words) and short biographical note (50 words) to Katherine Ebury and Helena Ifill at shefbsls2020@gmail.com by no later than 18.00 GMT on Thursday 12th of December. Please include the abstract and biographical note in the body of the email.

The conference fee will be waived for two graduate students in exchange for written reports on the conference, to be published in the BSLS Newsletter. If you are interested in being selected for one of these awards, please mention this when sending in your proposal. To qualify you will need to be registered for a postgraduate degree at the time of the conference.

Information concerning registration fees and local hotels will be forthcoming.

Membership:

Conference delegates will need to register/renew as members of the BSLS. Annual membership: £25 waged/ £10 unwaged.