By jamiecastell Kirsty McHugh is a first-year doctoral research student at the University of Wales Centre for Advanced Welsh & Celtic Studies. She is part of the AHRC Curious Travellers project. Here, she adapts her paper from the inaugural CRECS Conference for our blog. My research focuses on manuscript journals, diaries and letters recording the experiences of individuals and […] …read more
Amy P. Goldman Fellowship in Pre-Raphaelite Studies
Deadline to apply November 1, 2016
The University of Delaware Library, in Newark, Delaware, and the Delaware Art Museum are pleased to offer a joint Fellowship in Pre-Raphaelite studies, funded by the Amy P. Goldman Foundation. This one-month Fellowship, awarded annually, is intended for scholars conducting significant research in the lives and works of the Pre-Raphaelites and their friends, associates, and followers. Research of a wider scope, which considers the Pre-Raphaelite movement and related topics in relation to Victorian art and literature, and cultural or social history, will also be considered. Projects which provide new information or interpretation—dealing with unrecognized figures, women writers and artists, print culture, iconography, illustration, catalogues of artists’ works, or studies of specific objects—are particularly encouraged, as are those which take into account transatlantic relations between Britain and the United States. Applicants whose research specifically utilizes holdings of the University of Delaware Library, the Mark Samuels Lasner Collection, the Delaware Art Museum, and the Helen Farr Sloan Library and Archives, are preferred.
A stipend of $3,000 is available for the one-month Fellowship. Housing will be provided. Personal transportation is recommended (but not mandatory) in order to fully utilize …read more
Sadly, good news stories are rare these days. So when they come along, I tend to cling to them like precious cargo that can keep me afloat amidst the torrents of awfulness threatening to pull us all under in this unsettling and violent world.
One of the best news stories of the past ten days or so is surely the restoration of a book belonging to, and filled with annotations and sketches by, the Bronte family to their Haworth home. The purchase and repatriation of the salt-water stained copy of Robert Southey’s The Remains of Henry Kirke White was made possible by a £170,000 from the National Heritage Memorial Fund, in addition to a further £30,000 raised by a V&A Purchase Grant Fund and Friends of the National Libraries. As the BBC news website noted, this particularly copy of Southey’s work was especially remarkable because of the story surrounding it. A treasured artefact of a life prematurely cut short, the book was ‘one of a few possessions saved from a shipwreck shortly before Maria married Patrick Bronte in 1812′, and bore an inscription from Patrick that read: ‘the book of my dearest wife and it was saved from the waves. So …read more
Here is a report by Michael Falk (PhD Candidate at the University of Kent) on the Early Career and Postgraduate Conference for the British Association for Romantic Studies, ‘Romantic Voices 1760-1840′. The conference was held on the 22nd-23rd June 2016 at the Radcliffe Humanities Building, Oxford, in association with TORCH, the Oxford Research Centre in the Humanities. The keynotes were Dr Freya Johnston (University of Oxford) and Professor Simon Kövesi (Oxford Brookes University). You can see the CFP here.
‘Romantic Voices 1760-1840′: Conference Report by Michael Falk
The steamy atmosphere of the referendum had descended, and we were all a little queasy. Few had escaped the national mood of uncertainty and division, even if for many it was offset by a frisson of hope and rebellion.
Well, there we were, a group of young researchers with uncertain prospects ourselves, come to rifle through the treasure-chest of British culture and uncover some new trinkets if we could. And many unexpected treasures there were. We were treated to an encomium of Jane Marcet’s dialogues, an analysis of Anna Barbauld’s childrens’ books, and a digital map of Romantic sounds in the Lake District. Yearsley was extolled as a great mystic, …read more
The Stephen Copley Research Award partially funded my research trip to London in mid-June 2016 to consult manuscript and print materials in the British Library and the Wellcome Library. The Award enabled me to consult material crucial both to my monograph project, “Writing the Dead: Epitaphs, Elegies and Communities of Sentiment in Romantic Ireland” and to an article I am preparing for publication on John Keats’s poetry and the scientific process of embalming corpses.
My monograph project, based on my PhD thesis, examines how the preoccupation with grief and loss in Irish poetry of the Romantic and early Victorian periods is informed by shifting historical contexts as well as by intellectual history, especially British empiricist philosophy. In moving away from the strict taxonomies of elegy toward a modal understanding of the poetics of mourning, this project focuses on the ways in which Irish poets, namely Mary Tighe, Thomas Moore, and James Clarence Mangan understood grief as a type of sympathy that enabled cross-cultural exchange …read more
Our annual “William Blake and His Circle” feature by G. E. Bentley, Jr.
Kate Horgan, The Politics of Songs in Eighteenth-Century Britain, 1723–1795
Andrew M. Cooper, William Blake and the Productions of Time
Helen P. Bruder and Tristanne Connolly, eds., Queer Blake
William Blake: Apprentice and Master, Ashmolean Museum, Oxford, 4 December 2014–1 March 2015, and Michael Phillips, William Blake: Apprentice and Master
All the contents are open access until noon today (22 July), then access is by subscription, either individually or through an institution. Several years’ worth of back issues (now 1967–69 and 1980–2011) are freely available, however, at …read more
Early last week Team Marginalia decided we were finally ready to develop a test tagset for transcribing Blake’s marginalia. We spent a lot of time trying out this new tagset using Blake’s annotated copy of J.C. Lavater’s Aphorisms on Man.
The above image is a pair of pages from Blake’s annotated copy of Aphorisms on Man. When we transcribe, we will be treating each page, not each pair of pages, as an object.
We will eventually be transcribing all of Lavater’s text (or all pages of it that have Blake’s writing on them, which constitutes the vast majority of them) and using to describe any writing or markings not by Lavater. All such markings happen to be by Blake with the exception of a very small number of pencil markings that may or may not have been by Blake as far as anyone knows. So within each element we will be using the attributes ‘hand’ and ‘type.’ The hand is virtually always Blake with the exception of those few uncertain marks, for which we will simply use hand=”anon.” In most cases, the ‘type’ will be either type=”underline” or type=”marginalia,” but we are also using “symbol” to describe …read more
RIN’s summer event took place on one of the hottest evenings of the year, but a great crowd turned out to hear Frederick Burwick’s public lecture ‘Staging Shakespeare: picturing Shakespeare’s plays in the 18th and 21st centuries’.
A renowned expert on the Boydell Shakespeare Gallery, Burwick’s starting point was the question: what relevance are the Boydell prints to the staging of Shakespeare?
His answer, in contrast to Richard Altick’s (in Painting From Books, 1985) is: quite a lot.
Burwick picked out 27 images which showed that many (not all) of the Boydell prints in fact have a close affinity with what a London audience might have witnessed on stage at the end of the 1700s.
He showed that, because many of the original paintings were done by artists who were also scene painters, the prints are a useful guide to what the 18th century stage would have looked like. Northcott and others asked actors such as Kemble to pose in their studios in role, and the paintings conform to the language of gesture in use on the stage at that time.
Indeed, Burwick’s lecture made it clear that the Boydell images remained an influence on subsequent Shakespeare productions, as Burwick drew comparisons with …read more