AHRC-funded project DREAMing Romantic Europe and RÊVE

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AHRC-funded project DREAMing Romantic Europe and RÊVE (Romantic Europe: The Virtual Exhibition).

Our third project workshop was to have been held in June 2020 in beautiful Grasmere, Cumbria, as guests of the Wordsworth Trust, in conjunction with the Wordsworth250 celebrations and the opening of the redisplayed Dove Cottage. In the light of current circumstances, we have moved this event online, and this means that we have the wonderful opportunity of inviting colleagues from right around the world to come and join us on Sunday June 28th and Monday June 29th 2020.

It seems fitting that this collaboration to build a virtual exhibition of Romanticism should entail a virtual event, and stimulating that such virtuality resonates so powerfully with our chosen theme of ‘media’. The core question for our invited speakers was ‘Which media served to materialise and/or transmit Romantic ideas and sentiments across Europe?’  They were invited to present an ‘exhibit’ to RÊVE (Romantic Europe: The Virtual Exhibition) http://www.euromanticism.org. (This link will take you to the current exhibition, and to more information on the project generally, including reports on previous events and workshops.) Speakers have been asked to produce a 10-minute presentation, consisting of a single image plus a script running to about 1000 words. This ‘exhibit’ can be either scholarly or creative in mode.  Auditors of sessions will be able to participate in discussions via the chat pane which will be moderated by the session chair.

Please email Alice Rhodes (details below) if you would like to see the programme, wish to attend, or have any questions. (Alice Rhodes, alice.rhodes@york.ac.uk).

Romantic Dwelling

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RÊVE (Romantic Europe: The Virtual Exhibition) http://www.euromanticism.org is delighted to announce the release of its latest collection, ‘Romantic Dwelling’. Comprised of an introduction and ten entirely new short pieces, it is devoted to objects held in one house- museum, the Cowper and Newton Museum in Olney, and experiments additionally with a mix of scholarly and creative responses.

Explored through these exhibits, William Cowper’s life and poetry — ambiguously composed of retreat and correspondence, of domestic privacy and commentary upon world events — offer a timely reflection upon the pleasures and privations of lockdown in the time of Covid-19.

Visit the RÊVE website for more details of this and the rest of their fascinating collection: http://www.euromanticism.org.

BARS PG & ECR Conference 2020: Registration and Live Schedule

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The BARS PG and ECR Reps are pleased to announce that Registration is now open for the BARS Postgraduate and Early-Career Conference 2020: Romantic Futurities. The conference invites delegates to examine the theme of ‘futurities’ in Romantic-period literature and thought, including the historical future, the anticipatory future, posterity, and the future of the field of Romanticism. For full details, please visit the official conference website.

1] Conference Registration
Please visit the conference website to book your place. Registration is completely free, and includes access to both days of the conference (Friday June 12th and Saturday June 13th), including all sessions, workshops, and keynotes.

2] Conference Format
The conference will be staged asynchronously on the Conference website, with synchronous discussion and video workshops on Zoom on the 12th-13th June. The conference will be held via a password-protected area of the website, which will host the video/audio presentations, and forum conversations aligned with each panel to facilitate discussion. The Organising Team will be online throughout the conference to facilitate lively and convivial forum discussions. The finalised programme will be available on the website on Wednesday 10th June.

3] Conference Live Sessions: Schedule
Alongside the asynchronous delegate presentations, there will be 6 live elements to the conference. Registrants are welcome to join in as many of them as you like. The live schedule is as follows:

Friday 12 June:
10:50 – 11:00.  Welcome & Opening Remarks
11:00 – 12:00.  Workshop: ‘Freelance Roles for PGRs and ECRs’ (Dr. Emily Paterson-Morgan)
13:00 – 14:00.  Workshop: ‘Working in Heritage’ (Dr. Charlotte May and Fiona Lewin) 
15:00 – 16:00.  Workshop: ‘Academic Interviews’ (Dr. Andrew McInnes)
16:30 – 18:00.  Keynote Lecture + Q&A: ‘The South Seas on Stage’ (Professor Michael Gamer)
Saturday 13 June:
12:50 – 13:00.  Welcome
13:00 – 14:30.  Keynote Lecture + Q&A: ‘Open Books’ (Dr. Emily Rohrbach)
17:00 – 18:30.  Poetry Reading with Deanna Rodger + Q&A, and Closing Remarks.

4] Conference Live Sessions: Logistics
Each of these live elements will be streamed via Zoom, and we shall send out the links and passwords to the Zoom meetings in an email to all registrants on Thursday 11 June. One of the conference organisers will chair each Zoom session, and another of us taking care of aspects such as muting sound and video for people who aren’t speaking.

5] Workshop Q&A Sessions
Our workshop leaders have kindly asked that registrants submit their questions in advance of the talks, so that they may make sure they respond to them as best they can. Please would you fill out this form with any questions you have for each speaker. There are separate sections for each. There will also be the option to ask questions during the Zoom session, either through the chat function or in person. 

Hopefully this covers all the key information that you require at this stage. But if you have any further questions then please get in touch and we’ll be happy to help. We look forward to seeing you all online soon.

Very best wishes

Colette, Amanda, and Paul

BARS PGR Reps: Colette Davies and Amanda Blake Davis
BARS ECR Rep: Paul Stephens

Email: bars.postgrads@gmail.com
Website: www.romanticfuturities.com

CFP: Female Voices in 1770s-1830s: Genres/Forms of Women’s Reading, Self-education and Writing in the Anglo-European Context

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Mary Wollstonecraft, heralding the importance of female education along with the process of life-learning, claims in the preface to the collection, The Female Reader:

  […] supposing a young lady has received the best education, she has advanced but a few steps towards the improvement of her mind and heart – that is the business of her whole life; […] As we are created accountable creatures we must run the race ourselves, and by our exertions acquire virtue: the outmost our friends can do is to point out the right road, and clear away some of the loose rubbish which might at first retard our progress.[1] 

Almost fifty years later, Mary Shelley transposed Wollstonecraft’s suggestions in the short story “Euphrasia; A Tale of Greece” (1838), published in the Keepsake. Like Wollstonecraft’s ideal lady, Euphrasia is a scholar:

The study of the classic literature of her country corrected her taste and exalted her love of the beautiful. While a child she improvised passionate songs of liberty; and as she grew in years and loveliness, and her heart opened to tenderness, and she became aware of all the honor and happiness that a woman must derive from being held the friend of man, not his slave. [2]

The edited volume intends to display and analyse the versatility of the genres in which woman writers were seeking the ways to express themselves and present their development in the years 1770s to 1830s. The forms of self-education include – in addition to literary works – letters, translations, journalistic pieces, reviews, and essays. We also intend to publish papers on female writers who theoretically and practically focus on the significance of reading, for instance, Mary Wollstonecraft, Catharine Macaulay, Miss Chapone, Charlotte Smith, Felicia Hemans, Anna Letitia Barbauld (Ms Aikin), Mary Hays, Maria Jane Jewsbury. Original papers on the well-known female novel-writers of the period – among others, Jane Austen, Mary Shelley and Frances Burney – are also welcome if they centre on the topic of female self-training. The analysed works should present the changing and transitory values questioned by woman writers at the end of the eighteenth and at the beginning of the nineteenth centuries in the decades from 1770s to 1830s, that is, in the Age of Sensibility (Pre-romantic Period) and in the first decades of the Romantic Period.

Contributions are also welcome on cross-cultural relations between British women writers and European ones in order to study their role as mediators in cultural transfers. Articles may focus on women’s role in the translation and reviewing of educational writings into the English language or from English to another European language, and on influential women, like Mme de Staël and Mme de Genlis.

Please, send a 300-word proposal together with a short biography to the editors, Antonella Braida Laplace <antonella.braida-laplace@univ-lorraine.fr> and Éva Antal <antal.eva@uni-eszterhazy.hu>. 

The new deadline for submission of proposals is 31 August 2020.

Antonella Braida Laplace (University de Lorraine, France)
Eva Antal (Eszterhazy Karoly University, Hungary) 

[1]Mary Wollstonecraft, The Female Reader, in The Works of Mary Wollstonecraft, ed. by Janet Todd and Marilyn Butler, vol. 4 (London: William Pickering, 1989), 59-60.
[2]“Euphrasia: A Tale of Greece,” in Mary Shelley: Collected Tales and Stories, ed. by Charles Robinson (Baltimore: Johns Hopkins University Press, 1976), 302.

New issue of European Romantic Review

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The European Romantic Review is delighted to announce the publication of ERR 31.3 (June 2020), the NASSR “Romantic Elements” issue guest edited by Timothy Campbell. In his words, the issue includes works addressing “direct and urgent consideration of what it must or could mean now to pursue first principles, essential components, or primary qualities of Romanticism, whether through more intensive or expansive recovery of a deep archival past or through closer (albeit more dispersed) attention to what has stood before, outlasted, and thereby evaded the critical trends and transformations we have found easier to recognize and address.”

Contents include papers by Timothy Campbell, Jocelyn Holland, Daniel Stout, Ian Balfour, Manu Samriti Chander, Suh-Reen Han, Andrew Sargent, Karen Weisman, Alice Rhodes, Adam Kozaczka, and Trevor McMichael, as well as shorter panel pieces celebrating new books and pedagogy.

Five Questions: Crystal B. Lake on Artifacts

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Crystal B. Lake is Professor of English Literature at Wright State University, specialising in eighteenth- and early nineteenth-century British literature and culture. Her recent work includes an essay on needlework verse (forthcoming in Material Literacy in Eighteenth-Century Britain), ‘Hairstory’ (in A Cultural History of Hair in the Enlightenment), ‘Antiquarianism as a Vital Historiography for the Twenty-First Century‘ (in the Wordsworth Circle) and an edited collection on Romantic Antiquarianism (with Noah Heringman, for Romantic Circles). Her exciting new monograph, Artifacts: How We Think and Write About Found Objects, was published in February by Johns Hopkins University Press. In the interview below, we discuss the book’s roots, findings and implications.

1) How did you first become interested in studying antiquarianism?

When I started my graduate studies, I was really interested in eighteenth- and nineteenth-century representations of ruins. Reading about ruins led me to reading around in antiquarian histories. I’ve since liked to joke that if you’ll stick with an antiquarian history long enough, something weird always happens around page 284—and I, at least, was both delighted and fascinated by how antiquarian histories swerved from “drysasdust” descriptions into curious anecdotes and surprisingly heated debates.

I was probably also primed to have my interests piqued by eighteenth-century antiquaries. I grew up in a log cabin in rural West Virginia on a spot of land where my great-grandparents had also lived in a cabin—just a few miles down the road from a small town where my grandparents ran the only general store for miles and miles. Maintaining and repurposing old things were necessary efficiencies in rural Appalachia, but my father also had what you could call an antiquarian sensibility. As the area’s aging population dwindled, a lot of old things seemed to make their way into our cabin: oil lamps and pocket-watches, quilts and farm equipment, books, fossils, a spinning wheel, a pie safe, a trunk organ—all these scraps of lives once lived. Our cabin was like a museum. My dad died when I was 17 years old, and we sold the cabin along with most of the things in it to pay his medical bills. Even though I don’t have the same zeal for collecting that my father did, I still find myself compelled by old things as aesthetic objects and as byways to the past.

2) In your introduction, you write that ‘we’ve forgotten about most of the old, dirty, rusty, moldy, and broken items—the small bits and bobs whose origins or backstories were unknown and whose worth or meaning was not self-evident—that once called out to so many people’.  What do you think are the most important things we can learn by remembering these unruly artifacts?

For me, one of the biggest takeaways from my research into artifacts is that they can help us to refine our thing theories. More specifically, my book argues that old, dirty, rusty, dusty, moldy, and broken things put pressure on some of the tenets of the new materialisms. Although I’ve been convinced by the new materialists who make the case that objects have agency, I’ve been less convinced by their claims that such agency will translate into meaningful political action. I’m thinking here in particular of something like Jane Bennett’s Vibrant Matter, which shaped a lot of my thinking as I was finishing Artifacts. Although I agree with so much that Bennett has to say in Vibrant Matter, I don’t share her optimism that attending to objects’ vibrancy will produce the kind of political changes that so many of us want and need. In the book, I conclude that artifacts are “things that do things,” to use Bruno Latour’s well-known phrase, but they don’t do what we expect or call upon them to do—which is usually to provide us with unassailable facts about the past, which is usually also a plea for objects to resolve a political-philosophical debate we’re having in the present. Instead of settling debates, artifacts provoke relays of interpretations and representations as we try to reconstruct their histories or shapes from the fragments that remain. My hope, then, is that artifacts will remind us of the responsibilities that people, rather than things, bear for creating the conditions of the past as well as the present.

3) How did you choose the four kinds of artifact you focus on in your case study chapters (coins, manuscripts, weapons and grave goods)?

Honestly, I don’t feel so much like I chose to focus on coins, manuscripts, weapons and grave goods so much as those were just the objects that I kept finding not only in antiquarian histories but also in descriptions of eighteenth-century collections and popular museums. Searching around in databases and indexes confirmed that coins, manuscripts, weapons, and grave goods preoccupied artifact-enthusiasts throughout the century. I also spent some time poking around in the Society of Antiquaries of London’s museum where I saw firsthand just how many of those four types of items had made their way into the Society’s collection.

There’s a lot of really great scholarship out there about antiquarianism as a methodology and a practice, about the relationships between antiquarianism and natural history, and also about antiquarianism relative to neoclassical connoisseurship. I was having, however, a very “Goldilocks experience” trying to find the book that would explain to me the significance of all the smaller bits and bobs that seemed to start piling up in England beginning in the seventeenth century; nothing that had been written yet seemed just right. I think a lot of scholarly books must get written that way. You end up writing the book you were hoping to read.

4) Your book concludes with an assertion about timeliness: ‘The artifactual form may be particularly responsive […] to political crises and cultural paradigm shifts in which diametrically opposed worldviews become irreconcilable: those moments when two intractable factions appear to be using the same piece of evidence for competing claims, like reading the same book but discovering different stories therein.  For these reasons, artifacts and the kinds of texts that they inspire are likely due for a comeback.’  How might thinking about eighteenth-century experiences of grappling with artifacts help us with the possibilities and the pitfalls of negotiating our own increasingly digital cultural heritage?

That’s a really great question, Matt! A lot of the digital cultural heritage we encounter erases the relationships that exist between people and things. It’s easy to forget that humans are behind every database and digital collection, making decisions and taking actions. I have in mind here not only the people who wrangle the tech but also those people who, throughout history, owned, found, preserved, or identified the texts and objects that we view on our screens. We should be careful, I think, not to get lulled by the plenitude or presentation of the digital into a false sense of security about historical facticity. Whether I’m marvelling or despairing at how much of the past seems to be available to us now online, I try to remember that there’s so much history that’s been—that’s still being—erased and contested. I hope that Artifacts might go some way in helping attune us to the politics of curation and interpretation that our digital cultural heritage often occludes.

5) What new projects are you currently working on?

Right now, I’m working on two new book projects. One of these is a history of the crafts that early readers made and the consumer goods they customized: things like needleworks, toys and games, personal accessories and interior decorations that either quote from or refer directly to popular texts that were published between 1650 and 1850. The other project I’m working on is a memoir of sorts: a collection of personal essays about growing up in rural Appalachia in the 1980s, organized around key terms in literary criticism. In the meantime, I’m also working on a digital edition of Vetusta Monumenta with Noah Heringman and running The Rambling with Sarah Tindal Kareem.

CFP: New Directions in Eighteenth- and Nineteenth-Century Art

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This digital seminar series seeks to showcase new and innovative research being undertaken on eighteenth- and nineteenth-century art and its histories. We invite contributions for papers investigating any aspect of the artistic, visual and material cultures of this period, and produced across the globe. Sessions will be hosted via video conferencing software, and will take the form of a 40-minute seminar, with time following for questions.

We welcome proposals from PhD researchers and Early Career Academics, particularly those from underrepresented groups.

Please send abstracts of 300 words and short biographies to ndencaseminar@gmail.com by 15 June 2020.

For more details, visit: https://ndenca.wordpress.com/call-for-papers/

Studies in Romanticism: Sibylline Leaves

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A special issue of Studies in Romanticism, co-edited by Marianne Brooker and Luisa Calè.

The essays are free to read until the 1st of June as part of the Covid-19 response, allowing everyone the chance to read these excellent essays.

This special issue explores the materiality of romantic collections, using S. T. Coleridge’s Sibylline Leaves (2017) as a starting point for thinking about the tension between the leaf in flight and the bound book, scattered papers and scientific systems, specimens and books to come, paintings and prints, commonplace books and material forms that mediate disability in the archive. Edited by Marianne Brooker and Luisa Calè, with essays by Seamus Perry, Marianne Brooker, Luisa Calè, David Duff, Jessica Roberson, and Tilottama Rajan. 

Available through Project Muse (free access until the 1st of June).

Call for papers: Gothic encounters with enchantment and the Faerie realm in literature and culture

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University of Hertfordshire, 8‒10 April 2021.

The Open Graves, Open Minds (OGOM) Project was launched in 2010 with the Vampires and the Undead in Modern Culture conference.We have subsequently  hosted symposia on Bram Stoker and John William Polidori, unearthing depictions of the vampire in literature, art, and other media, before embracing shapeshifting creatures and other supernatural beings and their worlds. The Company of Wolves, our ground-breaking werewolf and feral humans conference, took place in 2015. This was followed by The Urban Weird, a folkloric collaboration with Supernatural Cities in 2017. The OGOM Project now extends to all narratives of the fantastic, the folkloric, the fabulous, and the magical. 

Our research from these conferences and symposia has since been disseminated in various publications. We have produced two edited collections of essays: Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day (Manchester University Press, 2013) and In the Company of Wolves: Werewolves, Wolves, and Wild Children, ed. by Sam George and Bill Hughes (Manchester University Press, 2020) and two special issues of Gothic StudiesVampires and the Undead in Modern Culture special issue, 15.1 (May 2013) and Werewolves and Wildness special issue, 21.1 (Spring 2019).

To celebrate the tenth anniversary of OGOM, we turn our attention to fairies and other creatures from the realm of Faerie.

Keynote Speakers
Prof. Diane Purkiss (Keble College, Oxford), ‘Where Do Fairies Come From? Shifts in Shape’

Prof. Dale Townshend (Manchester Metropolitan University), ‘“The fairy kind of writing”:  Gothic and the Aesthetics of Enchantment in the Long Eighteenth Century’

Prof. Catherine Spooner (Lancaster University), ‘Glamourie: Fairies and Fashion’

Prof. Owen Davies (University of Hertfordshire), ‘Print Grimoires, Spirit Conjuration, and the Democratisation of Learned Magic’

Dr Sam George (University of Hertfordshire), ‘Fairy Lepidoptera: the Dark History of Butterfly-Winged Fae’

The conference will also feature A Fairy Workshop on networking and outreach in the field of folklore studies for postgraduate students and ECRS with Dr Ceri Holbrook (University of Hertfordshire; Magical Folk, 2018) and a mini Fairy Film Festival in St Albans. And, to complete the anniversary celebrations, there will be A Fairy Ball where delegates will be encouraged to abandon their human natures and transform into their dark fey Other.

There will be an opportunity to submit your paper for our OGOM publications.

Topics may include but are not restricted to:
‘The fairy kind of writing’ in 18C Gothic poetics
The Gothic fairy in Romanticism; Victorian fairies in art and literature
Dark fairies in paranormal romance
Fairies in YA literature
Fairies and urban fantasy
Fairies in ballads and medieval romance
Fairies on stage
Fairies in music
Faery, disenchantment, and modernity
Fairy folklore
Fairies, nature, and eco-Gothic
Cinematic fairies and the Gothic; Fairies and place
Utopia and the Otherworld
Gothic folklore; Goblins, hobs, and other malevolent fairy folk
Intertextuality and fairy narratives
Fairies and theology
Fairies and (pseudo)science
Light and shade: fairies, film, and optics
Fairy morality
The Faerie world and the aesthetic dimension
Fairy festivals and the carnivalesque
Changelings and identity
Fairies and the Other
Fairies and fashion
Fairies and nationalism
Fairy-vampires and other hybrids
Steampunk Fairies

Abstracts (200-300 words) for twenty-minute papers or proposals for panels, together with a short biography (150 words), should be submitted by 30 October 2020 as an email attachment in MS Word document format to all of the following:

Dr Sam George, s.george@herts.ac.uk; Dr Bill Hughes, bill.enlightenment@gmail.com; Dr Kaja Franck, k.a.franck@gmail.com; Daisy Butcher, daisy2205@yahoo.co.uk

Please use your surname as the document title. The abstract should be in the following format: (1) Title (2) Presenter(s) (3) Institutional affiliation (4) Email (5) Abstract.

Panel proposals should include (1) Title of the panel (2) Name and contact information of the chair (3) Abstracts of the presenters.

Presenters will be notified of acceptance by 30 November 2020.

Visit us at OpenGravesOpenMinds.com and follow us on Twitter @OGOMProject  #GothicFairies

Call for Proposals – Chawton House

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The Chawton House Series republishes rare novels, travel writing and memoirs by women from the long eighteenth century. Since 2006 the series has consisted of newly-edited volumes from Chawton House Library’s collection in three main strands: Novels; Travel Writings; and Memoirs. Now in its second decade, the series includes novels ranging from the early works of Eliza Haywood to Mary Brunton and Helen Maria Williams, as well as translations and continuations of European fiction, and significant anonymous and pseudonymous works. Recent volumes include Elizabeth Hays Lanfear’s Fatal Errors (1819) and forthcoming volumes include Sarah Fielding’s The History of the Countess of Dellwyn (1759).

Routledge is proud to be relaunching this major venture to make available new scholarly editions of early texts by women. A significant feature of the relaunch is to open up the series to texts from the period 1660-1830 not restricted to the Chawton House Library collection.

The novels are reset editions of rare and important texts by women authors, complete with extensive introductory matter and endnotes.

• All texts are printed in full

• Most of the texts included have never been republished

• Each edition includes a substantial introduction, endnotes and an index

A full list of previous titles is on the Routledge website: https://www.routledge.com/Chawton-House-Library-Womens-Novels/book-series/CHLWN.

We invite proposals for the relaunched Chawton House Series, and would particularly welcome proposals for editions of the following:

Medora Gordon Byron, Celia in Search of a Husband

Mary Charlton , Rosella, or Modern Occurrences; The Wife and the Mistress; Grandeur and Meanness

Margaret Croker, The Question: Who Is Anna?

Phebe Gibbes, Hartly House; Adventures of Francis Clive; Friendship in a Nunnery or the American Fugitive

Elizabeth Ham, The Ford Family in Ireland

Catherine Hutton, The Miser Married

Christian Isobel Johnstone, Clan-Albin. A National Tale

Charlotte Nooth, Eglantine; or, The Family of Fortescue

For further details or to discuss a proposal please contact either of the general editors of the series, Professr Stephen Bending (S.D.Bending@soton.ac.uk) or Professor Stephen Bygrave (S.J.Bygrave@soton.ac.uk).