Job advertisement: Research and Teaching Fellow, Leeds

Research and Teaching Fellow in Romantic Literature
School of English, University of Leeds


Full-time, fixed-term for 12 months, 1 September 2021 to 31 August 2022
Salary: £33,797 (grade 7)
Closing date: Tuesday 22 June
Apply here
Enquiries: Dr Jeremy Davies (j.g.h.davies@leeds.ac.uk) & Prof. Andrew
Warnes (a.warnes@leeds.ac.uk)
Online interviews are provisionally scheduled for Friday 2 July

What does the role entail?
As a Research and Teaching Fellow you will:
• Contribute to the AHRC-funded project ‘Experiments in Land and Society, 1793-1833,’ with a special focus on research in archives relating to Robert Owen (New Lanark; the University of Glasgow; the National Co-operative Archive, Manchester) and/or to John Thelwall (the Jerwood Centre, Grasmere; Derby Library);
• Write or co-author one or more publications based on your research, and present your findings at conferences;
• Work with Wordsworth Grasmere and Lancashire Wildlife Trust on public-facing events and resources arising from project research;
• Take lead responsibility for organising an online conference, ‘Culture and Environment in Britain, 1688–1851’;
• Design and deliver small-group seminar teaching to provide a stimulating and supportive learning environment for students; prepare high quality learning resources; and write and present accessible and academically rigorous lectures;
• Prepare students for assessment tasks through appropriate guidance; assess written work; and provide timely, constructive feedback in accordance with published marking criteria;
• Gather and respond to feedback from students and colleagues, and evaluate teaching in the light of experience and students’ achievement;
• Maintain accurate records of students’ attendance; ensure accurate record-keeping in relation to assessments; and punctually complete administrative tasks associated with module delivery;
• Contribute to School and Faculty policy and practice in teaching and maintain your own continuing professional development.
These duties provide a framework for the role and should not be regarded as a definitive list. Other reasonable duties may be required consistent with the grade of the post.

What will you bring to the role?
As a Research and Teaching Fellow you will have:
• A first degree and PhD (completed or very close to completion) in English Literature or a related discipline;
• A proven ability to conduct excellent research in eighteenth- and/or nineteenth-century studies, and to complete original research projects to a high standard;
• An interest in environmental approaches to the study of literature and culture;
• Experience of teaching English Literature in a university environment, and of interacting with students in ways that enhance the student experience;
• Good time management and planning skills, excellent written and verbal communication skills, and a proven ability to manage competing demands effectively and to work well as part of a team;

You may also have:
• A track record of research, published or of publishable quality, that makes use of archival or manuscript sources; contributes to environmental or ecocritical fields of study; and/or examines the history of radical thought;
• Experience of organising collaborative academic events, workshops, or conferences, or of contributing to the running of academic associations;
• Experience of working with non-academic partner organisations in a university environment;
• A higher education teaching qualification;
• Experience of successfully delivering lectures in a university environment.

Five Questions: Lucy Cogan on Blake and the Failure of Prophecy

Lucy Cogan is Lecturer in Eighteenth-Century and Romantic Literature at University College Dublin, Ireland. Her research focuses on the intersections of gender, politics and religion in eighteenth- and nineteenth-century writing. She has published articles on Sarah Butler and Charlotte Brooke and edited Charlotte Dacre’s Confessions of the Nun of St Omer for the Chawton House Library Series. Her particular passion is William Blake, on whom she has published several articles and book chapters and who is the subject of her first monograph, Blake and the Failure of Prophecy, which has just been published by Palgrave Macmillan and which we discuss below.

1) How did you first become interested in William Blake?

Back when I was doing an MA in Modernity and Culture and thinking naïvely that I might do a PhD on imagist poetry or something, I took a module run by the eminent Coleridge scholar Jim Mays on intertextuality which featured Milton’s Paradise Lost, Blake’s Milton and Allen Ginsburg’s Howl. Mays had chosen the Tate facsimile edition of Blake’s Milton as the set text but you couldn’t get it anywhere and I became mildly obsessed with hunting it down. After traipsing all over London I finally tracked down a battered copy in the Tate gift shop and then opened it to find the strangest work of literature I’d ever come across. It was the sense that this mad vision was always on the point of making transcendent, mind-blowing sense that hooked me and it’s that same quality that still has me coming back to Blake today.

2) How did Blake’s understanding of the role of the prophet differ from the way we’d commonly conceptualise that figure today?

I think that as literary scholars it’s hard to escape the habit of treating prophecy primarily as a rhetorical stance or mode out of a kind of squeamishness with its claims to have access to a “divine vision” or whatever you want to call it. But to track the shifting significance of prophecy in Blake’s oeuvre means accepting that for him prophecy was a kind of action you do in the world. Yet if we accept that his prophetic poetry is performative and its purpose was to change the world then by his own standard his life’s work was an utter failure. In the book I wanted to try to capture how this trauma plays out across his career, as he tries to recover that unity of action and purpose he had felt in the immediate aftermath of the outbreak of the French Revolution.

3) In your Introduction, you argue that Blake’s ‘awareness of divergent temporalisations of prophetic action allowed him to adjust his use of the prophetic form as his understanding of his authorial mission evolved over time’.  Where in his milieu would you locate the starkest of these adjustments?

I’m not sure if this is the ‘starkest’ but maybe the most consequential of the shifts I discuss is from the Old Testament model of prophetic temporality to an apocalyptic model. In the popular consciousness they tend to be treated as interchangeable but there is an important distinction in how these models understand the relationship between prophecy and time that had major consequences for Blake and his sense of himself as a prophet.

For the Old Testament prophets like Isaiah and Ezekiel, who influenced Blake’s earliest articulations of the power of prophecy, the outcome of the prophet’s judgment was a matter of negotiation between God, his prophet, and his people. In other words, the future could be changed if the people listened to the prophet and altered their course. For apocalyptic prophets, on the other hand, the future is set. The end of the present world is coming and you can’t do anything about it. All you can do is wait for the fireball of righteous judgment to consume you like that guy in the car in Independence Day. So when Blake moved towards an apocalyptic model with works like “A Song of Liberty” and America he was expressing more than his confidence, he was signalling his certainty, that the end for all the corrupt regimes of Europe was imminent come what may. But then it didn’t happen. In the book I consider the ways he attempted to reinvent his prophetic system over and over again across the rest of his career, moving between these models, as he tried to think through how and why he had been so wrong.

4) Paul Ricoeur’s hermeneutics are one of the book’s inspirations: what for you were the most exciting elements of Blake made visible by the book’s development of Ricoeur’s insights?

Ever since I was a Philosophy undergrad I’ve had a thing for Ricoeur because his theory of hermeneutics has always struck me as a profoundly humane way of thinking about our predicament, flailing around trying and failing to understand each other and our world. Ricoeur is often lumped in with Derrida as just another post-structuralist for whom the notion of truth is subject to deep suspicion. But for Ricoeur it’s not that there is no truth, just that it is multifaceted, perhaps endlessly so, since we are constantly changing and our perspective on the truth changes with us.

One of Ricoeur’s explanations of the hermeneutic method, in particular, helped me to conceptualise both my own analytical process and also Blake’s poetic practice. Ricoeur describes our attempts to grasp the truth when we perform hermeneutics as moving in a spiral pattern with each attempt approaching the truth at a different level or angle. Failure is therefore built into this process since each revolution reveals only part of the truth and the whole truth remains stubbornly elusive. For me, this is how Blake came to understand his own prophetic method, which is (if you are familiar with his later work especially) often maddeningly repetitive. I argue that these repetitions in his poetry reveal it to be a reiterative hermeneutic practice through which he attempts to work through his previous failed attempts to discern that visionary truth he was chasing throughout his career.

5) What new projects are you currently working on?

Something completely different! I’m currently putting together a Medical Humanities podcast with a UCD colleague (Alice Maugher, School of History) called The Demon Drink, which looks at Ireland’s fraught relationship with alcohol from the 1600s through to 1922 (the founding of the Irish state). The podcast should be coming out in late-July/August. This developed out of my work on my second monograph which is focused on drunkenness in eighteenth and nineteenth century Irish literature.

BARS Review Book Reviewer Recruitment

The BARS Review is the review journal of the British Association for Romantic Studies, providing timely and comprehensive coverage of new monographs, essay collections, editions and other works dealing with the literature, history and culture of the Romantic period, broadly conceived.

The BARS Review is looking to widen their pool of book reviewers. Reviewing for BARS includes publication in the biannual BARS Review, receiving a copy of the book (ebook or print depending), and becoming an active member of the BARS academic community.

You can view and complete the form here. Thankyou!

If you have any technical issues with this form, please email Katie Harling-Lee at k.o.harling-lee@durham.ac.uk If you have any other queries relating to the BARS Review, please email Mark Sandy at m.r.sandy@durham.ac.uk

Lectureship in Romanticism (10 months fixed term), QMUL

The Department of English in the School of English and Drama in Queen Mary’s Faculty of Humanities and Social Sciences seeks to appoint a full-time (1.0fte) Lecturer in Romanticism. This 10-month fixed-term Lectureship is to provide cover while Dr James Vigus is on a Fellowship at the Hamburg Institute for Advanced Study, and also to contribute to our general teaching provision where appropriate. The successful applicant will be able to contribute to the development and delivery of team teaching in the Romantic period and beyond, and to demonstrate that they have an innovative approach to the current state of the field. Modules to be taught may include: Romantics and Revolutionaries; Terror, Transgression and Astonishment: The Gothic in the Long Nineteenth Century; Romantic Travellers in Europe; Victorian Fictions.

About You
The successful candidate will hold a PhD (or equivalent) in English, or a related field, and must have a growing or established research profile and substantial plans for future research. They will join a Department committed to an interdisciplinary and global approach to Anglophone literary studies, with significant expertise in Romanticism. Experience in teaching at undergraduate and/or postgraduate levels in large and small group settings is an essential requirement. Applicants who identify as Black, Asian, Minority Ethnic or Global Majority are encouraged to apply as these groups are underrepresented at this level in the Department.

About the Department
The Department of English at Queen Mary University of London is one of the country’s leading centres for innovation in the study of English, with a large and highly diverse student community and an international reputation for high-quality research and excellence in teaching. The Department was ranked fifth in the last national Research Excellence Framework (REF2014).

About Queen Mary
Queen Mary University of London is one of the UK’s leading research-focused universities and a member of the Russell Group, with an outstanding reputation in the Humanities and Social Sciences. Queen Mary aims to be the most inclusive university of its kind, anywhere.

Benefits
We offer competitive salaries, access to a generous pension scheme, 30 days’ leave per annum, a season ticket loan scheme and access to a comprehensive range of personal and professional development opportunities. In addition, we offer a range of work life balance and family friendly, inclusive employment policies, flexible working arrangements, and campus facilities including an on-site nursery at the Mile End campus.

The post is based at the Mile End Campus in London. It is full time and fixed term with an expected start date of 1 September 2021. The starting salary will be Academic and Education Grade 5 point 35 £42,433 inclusive of London Allowance.

Queen Mary’s commitment to our diverse and inclusive community is embedded in our appointments processes. Reasonable adjustments will be made at each stage of the recruitment process for any candidate with a disability. We are open to considering applications from candidates wishing to work flexibly.

For more information and to apply, click here.

Informal enquiries should be addressed to Professor Rachael Gilmour, Head of English, at r.h.gilmour@qmul.ac.uk

The closing date for applications is 30 June 2021. Interviews are expected to be held shortly thereafter.

Call for Applications: Communications Fellows for the K-SAA, 2021/22

The K-SAA is inviting applications for three fellowships. The fellowships are: two Communications Fellows and one Keats-Shelley Journal+ Fellow (details here).

These fellows will be in post for a period of one year, beginning August 1 2021.

To apply: please send an academic CV and personal statement (1 page) explaining why you are best placed to undertake the duties below to mercera1@cardiff.ac.uk by July 1 2021. Please indicate in your application which fellowship you wish to apply for.

Fellows will be awarded an honorarium for their time of $1,000 USD. Working hours and tasks will be flexible in order to ensure a balance alongside other work commitments.

Applicants should be a postgraduate or early-career researcher, have a strong interest in Romantic literature, and should have previously used social media for academic/professional purposes. They will be able to demonstrate their ability to write and edit academic blog content similar to what is currently presented on the K-SAA Blog. Experience using WordPress and editing websites is desirable. We’d especially like to hear from applicants who have ideas about how expand our community on Twitter and Facebook. This is a highly collaborative post and you will also work closely with the other fellows as well as the Director of Communications to engage new audiences and present innovative content.

Communications Fellowships x 2


Fellows will assist the Director of Communications and the K-SAA Secretary in engaging with, and creating content for, academic and non-academic communities interested in the Romantic period – especially those interested in the second generation of Romantic authors. This content will appear on the K-SAA Blog and social media.

Keats-Shelley Journal+ Fellowship x 1


This fellow will also serve as liaison between the KSJ Editorial Team and K-SAA Comms Team. The position will help produce content for the journal’s online presence, including KSJ+, a platform that will supplement and highlight features from the journal’s print version.

Duties may include:

– To create engaging and informative online content designed to promote the understanding and celebration of the lives and works of the Keats-Shelley circles, most broadly understood. Fellows will be knowledgeable and passionate about the Romantic period, especially the second generation of Romantic writers
– To set up regular appropriate content for the Twitter and Facebook feeds, applying relevant experience of using social media for professional purposes
– To respond to enquiries on social media
– To use WordPress to publish and edit blog posts for the K-SAA Blog
– To design and curate these blog posts, including soliciting authors from the academic and non-academic communities and other interested parties
– To develop the success of the above initiatives and to research further potential developments, and be willing to work independently and to maintain professional communications at all times
– To attend regular online meetings with the Director of Communications Anna Mercer and be able to work collaboratively with colleagues to share ideas and modify technique(s) accordingly
– To learn and develop individual knowledge of the K-SAA and to create content that supports the association’s aims.

Informal enquiries can be directed to Anna Mercer (mercera1@cardiff.ac.uk). Please do get in touch if you have a question!

Promotional Offer: Complete Poetry of Shelley, Volume VII

An announcement to BARS members from Nora Crook and Neil Fraistat, General Editors:

Johns Hopkins University Press is offering a 30% discount to UK and EU customers for a limited period (until 30 September 2021) for Volume 7 of the Complete Poetry of Percy Bysshe Shelley, just out in the US, due to be published in Europe on 29 June 2021.  Details of how to take advantage of this offer are below.  You can order by post, phone, or email from the UK distributor, Wiley, but it isn’t possible to order on-line. 

The Complete Poetry of Percy Bysshe Shelley
Volume 7
edited by Nora Crook
Neil Fraistat and Nora Crook, General Editors
European publication 29th June 2021 – Johns Hopkins University Press
1040 pages, ISBN: 9781421437835 £103.50/€124.20


Available at a special discount of 30% off the RRP (£72.45/€86.94 – postage, packing and local taxes extra), when purchasing direct from Johns Hopkins University Press only.

c/o John Wiley & Sons Ltd, Distribution Centre,  1 Oldlands Way, Bognor Regis, West Sussex, PO22 9NQ, UK  Tel: +44 (0) 1243 843291 Email: cs-books@wiley.co.uk

Please quote JPBS to obtain 30% discount.  Offer expires 30th September 2021.

This offer is specially for UK and EU customers.  After 30 September 2021, the  30% discount offer will continue to be open to all customers, US or overseas, who order directly from Johns Hopkins’s website, quoting a different code (HTWN), but for overseas customers the more expensive US overseas postal rates will then operate for hardback orders.

For a description of the volume, including Contents List and reviews of previous volumes in the series click here.

BARS Digital Events: ‘Dialogues and Receptions’

BARS Digital Events, 17th June

This roundtable traces the conversations and legacies surrounding Romantic writers such as William Blake, Percy Shelley, William Hazlitt, Alexander Pope, Mary Shelley and Lord Byron. These speakers shed new light on these writers, often by looking at the nexus of connections and influences between these individuals.

Our speakers include Bysshe Inigo Coffey (Newcastle University), Daniela Farkas (The Pennsylvania State University), Eleanor Booty (Durham University), and Octavia Cox (University of Nottingham).

Register for tickets here

Five Questions: Daniel Cook on Walter Scott and Short Fiction

Daniel Cook is Reader in English Literature at the University of Dundee. His research interests include eighteenth- and nineteenth-century literature, book history, authorship and appropriation studies, the gothic and the fantastical, the history of the novel, poetic genres, and Scottish and Irish writing more broadly. He has worked extensively on authors including Jonathan Swift, Daniel Defoe, Mary Shelley, James Hogg and William Wordsworth. His first monograph, Thomas Chatterton and Neglected Genius, 1760-1830, was the subject of the first BARS Five Questions interview. In the past twelve months, he has published two new monographs: Reading Swift’s Poetry (with Cambridge University Press) and Walter Scott and Short Fiction (with Edinburgh University Press). We discuss the second of these books below.

1) How did you first become interested in Walter Scott?

I first read Scott as an undergraduate, about twenty years ago. On an introduction to fiction course we looked at Redgauntlet, with a particular focus on one of Scott’s best inset stories, “Wandering Willie’s Tale”. The form of the book fascinated me, perhaps more than the characters, at the time. That said, the minor villain Dan Cooke has stayed with me, for sure. He barely gets a line or so, but he plays a crucial role in the plot (sort of). Since moving to Scotland my interest has deepened. I’ve written essays on Scott the poet (Lay of the Last Minstrel and Improvisatory Authorship”), Gothic Scott (“Walter Scott’s Late Gothic Stories”), and even Scott the editor (“Publishing Posthumous Swift: Deane Swift to Walter Scott”). With Lucy Wood I co-edited a special issue for Studies in Scottish Literature titled “Reworking Walter Scott”, which takes a historical look at Scott’s legacy among writers and artists. In the past year or so I’ve even scripted my own comics adaptation of three of Scott’s short stories (“Wandering Willie’s Tale”, “The Highland Widow”, and “The Two Drovers”), which is in production with Dundee Comics Creative Space, thanks to funding from the Stephen Fry Public Engagement Awards.

2) In your introduction, you write that ‘Scott the short story writer is and is not The Author of Waverley’.  How would you characterise the major similarities and divergences between these aspects of Scott?

When I embarked on the project I had the assumption that Scott the novelist loomed over Scott the short story writer, that the novels came first, and the short stories were byproducts. Put simply, my aim was to pull out the short stories and read them as a collective, thereby demonstrating a new side to Scott’s authorship. But I now think the opposite is true – the short form informed and even shaped the novels. Looking at the seventeen shorter pieces in great detail I’ve been struck by the persistence of very specific techniques across the entire body of Scott’s works, both prose and verse. Despite their obvious lengthiness, Scott’s novels rely on the same skill exhibited in the short stories and narrative poems: elliptical narration. By that I mean the narrator leaves telling gaps in the story, skips around the story’s setting, briefly focuses on the less relevant details then suddenly jumps forward, and so on. I still think of Scott as an historical fiction writer de rigeur, but really he is a master of misdirection – he’s a teller, not a show-er. Nowhere is this skill better showcased than in the smaller pieces, despite their compressed space. Short story historians tend to locate the modern short story in the late nineteenth century, when the “condensed novel” structure of earlier works gave way to economical precision. I think Scott’s case complicates this, but in a conflicted way: Scott’s shorter works thrive on their “shortness” but they are condensed in other ways, such as characterisation and scene-setting. The best and most elaborate example is “Donnerhugel’s Narrative”, which is taken from Anne of Geierstein. We appear to be reading a cautionary fairy tale, but the story rapidly becomes a fable of prejudice. The seemingly demonic sorcerer and his equally mysterious daughter are not the villains. The gossipy neighbours are. In delivering the tale, Donnerhugel keeps second-guessing his audience, altering as he goes, dropping key elements, and so on. The narrators of the short stories are not the masterful narrator of the Waverley novels. Many of the short stories, and certainly the novella The Surgeon’s Daughter, thrive on the multi-chapter, multi-location structure used in the Waverley novels. But the execution differs.

3) Your book takes a chronological approach to Scott’s briefer prose productions.  To what extent do you see Scott as honing his craft as a writer of short fictions over the course of his career, and to what extent is the picture more complicated than that?

Scott experimented in the shorter form early on, at around the same time he began work on what would become his first novel in 1814, Waverley. In some ways these early pieces mimic the fashionable periodical pieces they shared space with – in the Edinburgh Annual Register and Blackwood’s Magazine, among other places. But they’re also very metafictional. “Christopher Corduroy”, in The Sale-Room, is a character sketch (itself a fashionable genre) of a bibliophilic uncle of a bibliophobic narrator. The editorial voice intervenes to pass judgement on the nephew. It doesn’t quite work. Two early Blackwood’s pieces show more promise – “Alarming Increase of Depravity Among Animals” is at turns an animal fable and a real-crime story, while “Phantasmagoria” is a downbeat Gothic story delivered by the ultimate Gothic narrator, a sentiment shadow. Here, we see Scott’s fascination with authors as characters develop. “The Inferno of Altisidora”, his very first short story (Edinburgh Annual Register, 1811), displays similar ideas but it’s more wedded to a single genre. With Chronicles of the Canongate (1827), Scott’s first and only short story collection, the author really hits his stride. Chrystal Croftangry himself is a fascinating, flawed man, and the stories he weaves (from various fictional storytellers) take in a full range of genres, modes, and forms. The stories examined in my book were produced in a fairly compressed period, from 1811 to 1832, but the developments are quite stark to see. It’s a joy to see the inner workings of an author we take for granted.

4) In making clear the range and interest of Scott’s short fiction, your book presents a range of fascinating alternatives for scholars constructing syllabi.  How have your experiences of teaching this material been, and are there works you’ve examined for this book that you haven’t yet taught, but are excited to explore in the seminar room?

One of my main objectives in writing the book was to consolidate and promote further a wide interest in Scott’s most famous short stories – “Wandering Willie’s Tale” remains one of the most widely anthologised pieces. I would assume that is the Scott short story assigned in classes, if any are. “The Two Drovers” and “The Highland Widow” are ideal for a variety of syllabi, whether on Scottish literature or Romantic studies courses, or even courses on the short story. Another motive was to get Scott on other types of courses, such as Gothic literature, fantasy literature, and the like. “The Tapestried Chamber” and “My Aunt Margaret’s Mirror” have been staples on my postgraduate modules (The Gothic Tradition and Gothic Legacies) for the past three or four years. They sit well with Margaret Oliphant’s “The Library Window” and Charlotte Riddell’s “The Open Door” – they are all tales of terror (in the softest sense), rather than horror stories. “The Tapestried Chamber” is a ghost story without a ghost (that is, we focus on the aftermath of the experience on the haunted general). “The Library Window”, similarly, is not a ghost story per se (or is it?), but the unsettling effect is the same. “Donnerhugel’s Narrative” would pair well with Walter Sholto Douglas’s (Mary Diana Dods’s) “Firouz-Abdel: A Tale of the Upas Tree” in a course interested in early Scottish fantasy. Bizarro (unpublished until 2008) has been virtually ignored by critics – it’s a really clever expose of cultural prejudice masquerading as an old-fashioned rogue tale, so I would be intrigued to see how that works in the classroom. Usually I place Scott in a period- or national-survey type of module, but I really think he’s ideally suited to a more genre- or form-based style of teaching.

5) What new projects are you currently working on?

In addition to the Scott comic (Walter Scott’s Scottish Tales), I’ve just finished editing a tie-in selection of texts. Simply titled Walter Scott’s Five Short Stories, this will be produced by UniVerse, with illustrations by Faye Williams, and made available for free online. Very soon I’ll be wrapping up a long gestating volume for Oxford World’s Classics, Scottish Literature, 1730-1830, which I am very excited about – it will be the first book in the series to feature Gaelic texts (in the original and in translation), and scores of newly recovered authors working in an array of genres and styles that no one will be expecting to see. I’m hoping it will open up completely new vistas of research for other people, as well as being a handy teaching tool. The old favourites are there, of course – but even the Robert Burns section has a surprise or two in store. Beyond that, my focus in 2021 has been on, and will continue to be on, Gulliver’s Travels. I’m back working with my old collaborator Nicholas Seager on another essay collection for Cambridge University Press. This one is The Cambridge Companion to Gulliver’s Travels, which features some amazing and innovative work by leading scholars from around the world – each essay packs a punch, just as we hoped. For Norton I’m editing a brand new edition of Gulliver’s Travels itself. And later this summer I’ll be starting my next book project – also on Gulliver’s Travels! – as soon as I can get into the archives. Beyond that, I’m editing a collection of essays on Austen (Austen after 200), alongside Kerry Sinanan and Annika Bautz. In the mid-term I’ll be returning to one of my favourite novels – Frankenstein. And I’d love to explore Scott in a European context – alongside Nodier, Gautier, Nerval, Hoffmann, and Fouqué, among other short-form authors.

BARS Stephen Copley Research Award Scheme – additional funding

The BARS committee has officially extended its support of its Stephen Copley Research Award Scheme with the creation of an additional funding round in any given year. Beginning in December 2021, there will be two separate rounds each June and December.

The Copley bursary scheme has long attracted strong applications from across the world, and we are delighted to be in a position to fund even more projects.

BARS bursary officer, Daniel Cook says,

The committee’s ongoing support of the scheme is testament to our commitment to postgraduate and early career scholars in Romantic Studies. It’s a great honour to administer these awards on behalf of BARS – the research outlined in the applications is consistently strong, vibrant and timely. As well as raising the number of awards we can fund each year, we have endeavoured to make the scheme as inclusive as possible, to better reflect the makeup of our community. As ever, we warmly welcome advice and feedback on these and other issues. The scheme now covers the costs of childcare, among other things, so that researchers can find valuable time to explore archives. Now more than ever, this scheme offers a real boon to the pursuit of new research.

BARS Stephen Copley Research Awards – Full Details

Postgraduates and early career scholars working in the area of Romanticism are invited to apply for a Stephen Copley Research Award.  The BARS Executive Committee has established the bursaries in order to help fund research expenses up to a maximum of £500.  Expenses may include but are not limited to the cost of travel and accommodation related to archival or research-focused trips, as well as photocopying, scanning, and childcare.  A postgraduate must be enrolled on a doctoral programme in the UK; an early career scholar is defined as someone who holds a PhD (from the UK) but has not held a permanent academic post for more than three years by the application deadline.  Application for the awards is competitive, and cannot be made retrospectively.

Successful applicants must be members of BARS before taking up the award.  The names of recipients will be announced on the BARS website and social media, and successful applicants will be asked to submit a short report to the BARS Executive Committee within four weeks of the completion of the research trip and to acknowledge BARS in their doctoral thesis and/or any publication.  Reports may also be published on the BARS Blog where this is appropriate.  Previous winners or applicants are encouraged to apply again.

Please send the following information in support of your application (up to two pages of A4 maximum in word.doc format):

  • Your full name and institutional affiliation (if any).
  • The working title and a short abstract or summary of your PhD or current project.
  • A brief description of the research to be undertaken for which you need support.
  • An estimated costing for the proposed research trip.
  • Estimated travel dates.
  • Details of current or recent funding (AHRC award, &c), if applicable.
  • The name of one supervisor/referee (with email address) to whom application can be made for a supporting reference on your behalf.
  • The name and contact details (including email address and Twitter handle) of whomever updates your departmental website or social media, if known.  And your own Twitter handle, if applicable.

Applications and queries should be directed to the bursaries officer, Dr Daniel Cook (d.p.cook@dundee.ac.uk) at the University of Dundee.

There are now two rounds of the scheme in each year, STARTING in December 2021. The deadlines are:

15 December

15 June

in any given year.

#Shelley200: Epipsychidion Roundtable Recording

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We are delighted to present the recording of our first #Shelley200 event, an Epipsychidion roundtable chaired by Dr Bysshe Inigo Coffey and featuring Dr Will Bowers, Professor Stuart Curran, Professor Michael Rossington, and Dr Valentina Varinelli.

This event was livestreamed on 20th May 2021 and includes an open Q&A with the audience following our speakers’ brilliant discussion of the poem, first published anonymously in May 1821. Along with the recording, we are pleased to include a summary of the event composed by Shelley Conference Postgraduate Helper, Laura Blunsden. More here.