NCSA Announcement: Submissions Open for Emerging Scholars Award, Article Prize, and BIPOC Scholars Prize

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Award Submission Deadline July 1, 2025
Submissions to the Emerging Scholars Award, the Article Prize, and the BIPOC Scholars Award are due July 1, 2025. Winners will each receive a cash award of $500 to be presented at the Annual NCSA Conference in 2026. Short descriptions are below, but please refer to the links to the NCSA website for complete information and lists of recent award recipients. https://ncsaweb.net/grants-funding-awards-prizes/

The Emerging Scholars Award: https://ncsaweb.net/ncsa-emerging-scholars-award/

The work of emerging scholars represents the promise and long-term future of interdisciplinary scholarship in nineteenth century studies. In recognition of the excellent publications of this constituency of emerging scholars, this award is given for an outstanding article or essay published while the author is within their doctoral studies or within six years following conferral of their doctorate. Articles that appeared in print in a journal or edited collection in 2024 or between January 1, 2025 and June 30, 2025 are eligible for the Emerging Scholars Award, which will be presented at the 2026 NCSA Conference. If the official date of publication does not fall within that span but the work in fact appeared between those dates, then it is eligible. NCSA encourages winners to attend the annual conference and will waive the conference registration fee. Entries can be from any discipline and may focus on any aspect of the long nineteenth century (the French Revolution to World War I), must be published in English or be accompanied by an English translation, and must be by a single author. Submission of essays that are interdisciplinary is especially encouraged. Articles may be submitted by the author or the publisher of a journal, anthology, or volume containing independent essays.

More information and link to submit articles are HERE: https://ncsaweb.net/ncsa-emerging-scholars-award/

Emerging Scholars Award Contact: Dr.Alexandre Bonafos, Chair of the Emerging Scholars Committee at EmergingScholarsNCSA@gmail.com

The Article Prize

The Article Prize recognizes excellence in scholarly studies from any discipline focusing on any aspect of the long nineteenth century (French Revolution to World War I). Entries must be published in English or be accompanied by an English translation, and submission of essays that are interdisciplinary is especially encouraged. Articles that appeared in print in a journal or edited collection in 2024 or between January 1, 2025 and June 30, 2025 are eligible for the 2026 Article Prize, which will be awarded at the 2026 NCSA conference. If the date of publication does not fall within that span but the work in fact appeared between those dates, then it is eligible. NCSA encourages winners to attend the annual conference and will waive the conference registration fee. Articles may be submitted by the author or the publisher of a journal, anthology, or volume containing independent essays. 

More information and link to submit articles are here:https://ncsaweb.net/ncsa-article-prize/

Article Prize Contact: Dr. David Ogawa, Chair of the Article Prize Committee at ogawad@union.edu  OR ArticlePrizeNCSA@gmail.com  

The BIPOC Scholars Prize

The BIPOC Scholars Prize recognizes excellence in scholarly studies from any discipline focusing on any aspect of the long nineteenth century (French Revolution to World War I) completed by a scholar who identifies as BIPOC (Black, Indigenous, or a person of color). Entries can be from any discipline, must be published in English or accompanied by an English translation, and submission of essays that are interdisciplinary is especially encouraged. Articles that appeared in print in a journal or edited collection in 2024 or between January 1, 2025 and June 30, 2025 are eligible for the 2026 BIPOC Scholars Prize, which will be presented at the 2026 NCSA Conference.  If the listed date of publication does not fall within that span,but the work appeared between those dates, then it is eligible. NCSA encourages winners to attend the annual conference and will waive the conference registration fee. Articles may be submitted by the author or the publisher of a journal, anthology, or volume containing independent essays.

                             More information and link to submit articles are here: https://ncsaweb.net/bipoc-scholars-prize/

BIPOC Scholars Prize Contact: Wendy Castenell and/or Emily August, Co-chairs of the Diversity and Inclusion Committee, at wcastenell@wlu.edu and emily.august@stockton.edu 

Call for Papers: the 2025 joint RSAA/David Nichol Seminar conference on “Living/Building”

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26-28 November 2025 at the Victoria University of Wellington, New Zealand

The 2025 joint RSAA/David Nichol Seminar conference, “Living / Building,” is a chance to think about connections between eighteenth-century and Romantic studies, the ways lives were built and made in the 18th century and Romantic periods, and the way we live and build relationships today. The conference theme draws inspiration from Te Herenga Waka’s Living Pā, the Māori meeting house, research and teaching facility on campus. The pā is a “Living Building,” meaning that it is built to high sustainability and environmental standards, as well as reflecting Māori principles of design, learning, and community.

Call for Papers

The Māori lawyer and intellectual Moana Jackson (Ngāti Kahungunu, Ngāti Porou, Rongomaiwahine) once said:

….for me the notion of home within kaupapa Māori [a Māori-centred approach] is a relational understanding. It depends upon relationships, and if the relationships are strong, if the ties that bind people together are secure, then whatever house they build to be at home in on their whenua [land] will be secure.

Conference participants are invited to bring this relational understanding to a wide array of topics and approaches that characterise scholarship on the eighteenth century and Romanticism in this part of the world. Proposed papers might respond to either or both of the terms “Living / Building” and topics might include:

  • Building connections between eighteenth-century studies and Romantic studies
  • Ways of living that were imagined, encouraged, discouraged, or denied in the period and its texts, artworks, and cultural practices
  • Building relationships in Britain and across the world
  • Living beings and ecosystems
  • Building communities, infrastructures, movements, collectives, and enterprises in the eighteenth century and beyond
  • Life and death, building and destroying, in the long eighteenth century

Papers on other topics related to eighteenth-century and Romantic studies are also very welcome. We particularly welcome papers on pedagogy in these fields.

Abstracts and Bursaries

Please send abstracts of 200 words, with a short bio note, to Nikki Hessell (nikki.hessell@vuw.ac.nz) from 1 May. Decisions will be made as soon as possible, to allow people to apply for funding and make travel plans. The final deadline for abstracts is 1 July 2025.

A small number of AUD$500 travel bursaries are available for postgraduate, early career, and precariously employed presenters. If you would like to be considered for one of the bursaries, please indicate this in your bio note and explain your eligibility.

For more conference details, please see the conference website: https://www.wgtn.ac.nz/fhss/about/events/living-buildinga-joint-rsaadavid-nichol-smith-conference

Nothing in this World is Hidden Forever: Vindicating the Hidden Figure of Harriet Geddes

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by Belén Fernandez Crespo

Harriet Geddes (Hagley 1790-Worcestershire 1868) was the wife of William Collins—painter and Royal Academician—and mother of Wilkie Collins—novelist, playwright, and sensation writer. Harriet’s contribution to her son’s tutoring and education has been widely acknowledged by scholars: she not only encouraged Wilkie’s early reading, but she also supported his theatrical tastes, which prompted his friendship and literary partnership with Dickens; she made her collection of Anne Radcliffe’s Gothic romances available, which may have influenced his sensation novels; and she helped launch her son’s literary career by assisting him in the publication of Memoirs of the Life of William Collins, a successful biographical account edited in 1848 in two volumes by Longman, Brown, Green, and Longmans. However, her own talent has been systematically silenced and rendered invisible. Her true story has never been told, for the accepted version—repeated to exhaustion by Willkie Collins’ biographers—presents her as a devoted wife and mother. In this blogpost, I not only intend to vindicate the importance of the hidden figure of Harriet Geddes,1 silenced by patriarchy, but also to give her the recognition and visibility she deserves. Drawing from her unpublished autobiography, I will seek to understand the personality and aspirations of an intelligent, brave woman forced to live in the shadow of her husband and son.

As a talented actress, Harriet dreamt of performing at The Theatre Royal (Bath), and she would have traveled there to request a trial from the manager had she possessed the necessary funds. However, it was the influence of an Evangelical clergyman— a Mr. Marsden as he appears in her fictionalized memoirs—that thwarted Harriet’s theatrical inclinations and her desire to become an actress—one of the few paths that would have allowed her to express herself and live an independent life. Mr. Marsden and his wife “saved” Harriet from the evils of acting, for becoming an actress would have brought about certain ruin. It was demanded of Geddes to waste her potential as a talented performer and instead work as a governess—a socially acceptable occupation for a woman—to support her improvident family, even if she lacked the proper qualifications due to her limited education. When, after having worked for several families and finally managing to feel comfortable as a governess Harriet secured a position in a household where she was well paid and her work was genuinely valued, it was her husband-to-be, William Collins—a strict Evangelical who deemed it unsuitable for women to earn their livelihood—who forced his courageous, determined fiancé Harriet to retreat into dependence, take up the expected role of a married woman, and become invisible. From the domestic sphere, Harriet took different roles as a supporter and patron of her son and as a mailing intermediary between rebel, bohemian Wilkie—who resisted becoming a lawyer to pursue his dream of writing—and his strict, conservative, and religious father. Patriarchy transformed Harriet into a speaker for its discourse when she scolded Henrietta Ward2 for not giving up her work as a painter to devote her life to her children; patriarchy controlled Harriet’s mind so deeply that it inhibited her from expressing3 any deep thoughts or personal asides in her published diaries (Clarke 25), which hinders us from learning about the desires and aspirations of a strong and capable woman.

Six years after the death of her husband, Harriet Geddes produced an unpublished manuscript4 “based on her life as an artist’s wife” 5 (Clarke 78). The manuscript was a fictionalized biographical account of her childhood and youth, and it portrays her rise from poverty to affluence, her struggle to become a valid governess, and her becoming the economic supporter of her parents and younger sisters. Harriet’s manuscript is a bildungsroman that depicts her growth from a thoughtless young girl concerned only with pleasures such as balls and parties, to a perseverant, independent, wage-earning woman.

Harriet sent her manuscript to Collins, seeking advice on how to make it publishable. She meant to express herself, to raise her voice and tell her story in her own words. The manuscript shows Geddes as a talented writer, capable of articulating her insecurities, dilemmas, and unyielding spirit. However, Collins did not find his mother’s work appropriate, so he tried to modify and improve it by instilling his own essence into it. If published, the manuscript would have been ascribed to him, for he mentioned he would sign it himself. Harriet appears to have acquiesced—yet another example of the suppression of a woman’s identity taken for granted by women themselves (Peters 298). Wilkie Collins got down to cutting and rearranging Harriet’s manuscript for some time, but he eventually seems to have abandoned the project6 (Peters 153): no more will be heard of Harriet’s manuscript, which will be assumed to have disappeared (Peters 298). Harriet’s autobiography remained unpublished, unsigned, and unnamed: once again she was thwarted in her inclinations, invisibilized, and silenced. Headed as “April 25th, 1853” (Peters 298), it has been cataloged as by Wilkie Collins. Today, it remains unpublished and is housed at the Harry Ransom Center at the University of Texas at Austin.


ENDNOTES

  1. I will use Harriet’s maiden name to erase her invisibility and vindicate her as an independent individual: a strong and capable woman who shines with her own light.
  2. Henrietta Ward (1832-1924) was one of Wilkie Collins’ friends. She was a Victorian artist coming from a family of painters. She was known for her portrait paintings and genre scenes.
  3. One piece of evidence that may suggest Harriet’s resentment toward her imposed lifestyle is her long struggle with “nerves,” which led her to convalesce with her parents, visit friends, or take the waters. According to Lycett, (Andrew Lycett, Wilkie Collins: A Life of Sensation, Random House, 2013), there is no indication that Harriet had any creative outlet, and her afflictions were not uncommon among women navigating life in a male-dominated, industrial society (30).
  4. Harriet Collins, MS; cataloged under Wilkie Collins, Harry Ransom Humanities Research Center, University of Texas at Austin, Texas.
  5. Clarke, William Malpas. The Secret Life of Wilkie Collins. Rowman & Littlefield, 1991.
  6. Peters, Catherine.” ’Invite No Dangerous Publicity’: Some Independent Women and Their Effect on Wilkie Collin’s Life and Writing.” Dickens Studies Annual, vol. 20, 1991, pp. 295-312.

Info: Maria Edgeworth in Paris: International Colloquium 

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Friday 13th and Saturday 14th June 2025 

Venue: Maison de la Recherche, Sorbonne Nouvelle, Paris 

Keynote Lecture: Gillian Dow (University of Southampton): “Louise Swanton-Belloc and Edgeworth in Paris” 

Other confirmed speakers include: 

James K. Chandler (University of Chicago) 

Claire Connolly (University College Cork) 

Valérie Cossy (Université de Lausanne) 

Emmanuelle De Champs (CY Cergy Paris Université) 

Tim Fulford (De Montfort University) 

Sonja Lawrenson (Manchester Metropolitan University) 

Susan Manly (University of St Andrews) 

Marie-Laure Massei-Chamayou (Université Paris 1 Panthéon Sorbonne) 

Anne-Claire Michoux (University of Zurich) 

Clíona Ó Gallchoir (University College Cork) 

David Sigler (University of Calgary) 

Patrick Vincent (Université de Neuchâtel) 

Joanna Wharton (University College Cork). 

Organisers: Susan Manly (University of St Andrews), Isabelle Bour and Claire Boulard-Jouslin (Université Sorbonne Nouvelle). 

See this webpage for more information: https://edgeworth-paris2025.wp.st-andrews.ac.uk/programme/ 

No registration fee, but please pre-register as soon as possible by emailing Susan Manly: sm32@st-andrews.ac.uk 

Exhibition: Austen & Turner: A Country House Encounter

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We are writing to let you know about a major new exhibition, Austen & Turner: A Country House Encounter at Harewood House from 2 May to 19 October to celebrate the 250th anniversaries of these two cultural icons. 

The exhibition and associated research project is a collaboration between Harewood House Trust and the Centre for Eighteenth-Century Studies (CECS) at the University of York and co-curated by Prof Chloe Wigston Smith (Director of CECS), Professor Jennie Batchelor (Head of English, York), Dr Richard Johns (History of Art, York) and Dr Marjorie Coughlan (History of Art, York), with Rebecca Burton (Harewood House Trust Curator and Archivist) and curatorial support from independent curators Jade Foster and Diane Howse.

In the 250th anniversary of their births, Austen & Turner: A Country House Encounter explores a shared world, literature, art and creative innovation.


 
Austen and Turner are not known to have met, although their lives intersected in tantalising ways. This exhibition brings them into conversation with each other and with a third actor that played such an important part of their lives, their works: the country house and its complex entanglements with the national and global politics, including the extreme violence of the traffic in enslaved people.Highlights of the exhibition include stunning Turner country house portraits, landscapes and interiors and his own watercolour set. Austen’s letters and first editions of her novels are on show alongside part of the manuscript of ‘Sanditon’ on which Austen was working prior to her untimely death in 1817.

We have been fortunate to work with the exhibition’s Writer in Residence, Dr Rommi Smith, and Artist in Residence, Lela Harris, who have been commissioned to produce new work for the exhibition inspired by Austen and Turner and which will also be on display.

The exhibition is open daily from 10:30-4.00. It is FREE to Harewood members and included with day tickets. To book tickets in advance, please use this link.

Please share widely. A digital poster is attached.

Best wishes
Jennie Batchelor, Chloe Wigston Smith, Richard Johns and Marjorie Coughlan.

Romantic Poets in the Wild #11: Dilara Kalkan

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Romantic Poets is back and this time, I’m coming to you from the Lake District! Currently I am staying in a cottage in Ambleside as part of my Early Career Fellowship with Wordsworth Grasmere. Couldn’t be more RPW than that!

This week we are featuring two poems by Dilara Kalkan. Dilara is currently pursuing her Master’s degree in English Language and Literature at Atatürk University, where she is in the early stages of her thesis. Her research is centered on the legacy of Romanticism in contemporary literature, with an emphasis on the work of the second-generation Romantics.

She has a special admiration for Mary Shelley, whose influence she explores both academically and creatively. Dilara curates the Instagram page @odetoshelley, a personal project dedicated to Shelley’s life and legacy, where she shares reflections, archival findings, and connections between Romanticism and the modern world.

Dilara has published one paper and completed her undergraduate studies with honors. She is grateful for the opportunities to share her work, including an upcoming presentation at the Feminist Enlightenment Politics / Feministische Aufklärung und Politik conference, and a roundtable she will be hosting on Villa Diodati for the BARS Digital Events series in Autumn 2025.

She is deeply interested in languages, literature, and cultures, and enjoys learning from different perspectives through travel and study. Writing in English as a second language, Dilara finds creative energy in exploring themes such as identity, memory, and storytelling through a Romantic lens.

Dilara Kalkan in a decidedly civilized space

Ode to Shelley: Written in the quiet shadow of my own struggles, this poem is both a whisper of gratitude and a vow of remembrance. Mary Shelley’s courage, her ability to write through ruin, to speak through sorrow became a lantern in my darkest days. In turning to her, I found not only words but a way forward. This ode is my offering to the one who taught me that grief, when held in ink, can become something enduring.

ODE TO SHELLEY

Opened her eyes unto a great Loss,
A strong little Girl she had to emboss,
Bloomed in the Dark and the Light;
She gave her words Life.

O' Mary! The Fairy! This world is so Dreary!
Yet thy pen and bravery light up this path of uncertainty!

Child of two unique parents,
Not a society-pleaser, instead hers is a voice that transcends,
Found her strength at the tip of the pen,
Taught the world at eighteen, Frankenstein's end.

O' Mary! The Fairy! The wind doth carry
My sorrows away, whilst leading me to the day I hope to call happy!

Bringing back the dead ones,
Only possible through writing lines,
I aim to hail the soul of Thee
Whilst hoping the world shall see.

O' Mary! The Fairy! Writing is my clarity!
For this, I owe thee much, for the inspiration
thou hast brought!

Ode to the Nameless Creature: For over two centuries, readers have asked: who is the real monster: Frankenstein or the being he made? But perhaps the question is not who, but where. Perhaps the creature sleeps within us all, buried beneath civility, unreachable yet never truly gone. This ode is addressed to that forgotten voice; the one we deny, the one we fear, the one that, like Mary Shelley’s creation, only ever wanted to be seen.

ODE TO THE NAMELESS CREATURE

Oh, the Nameless Creature!
Where have you gone? Or are you here?
Do you feel alone too?
Like I am so used to.

It's not the looks that make one a Monster
But, still I need an answer!
Why couldn't you listen to your gentle side?
Was it too concealed, a secret to hide?

We all have Monsters in us, they say
If one makes it apparent, will the others stay?
Alas! Life is not a game to play!
It's getting too dark, please led me the way.

Oh, the Nameless Creature!
Is that your shadow that I see?
You don't turn back no matter how hard I scream
Maybe after all, this was a bad dream...

We thank Dilara for sharing her work with BARS and would like to remind you, the reader, to reach out to the BARS Comms Team if you have anything you’d like to submit to our blog (including your poems, other creative/critical writing, and art)! I’m off to explore Grasmere Waterfall Walkways…

Call for Papers: Romantic Circulations 

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Nordic Association of Romantic Studies (NARS) Conference 

University of Oslo: 10-12 September 2026 

Call for Papers: Romantic Circulations 

This three-day conference at the University of Oslo invites scholars engaged in the study of romanticism writ large from the expanded Nordic region to present new research on the circulation of romantic ideas and objects. The topic «Romantic Circulations» encompasses both romantic discourses that arose in the period most typically associated with romanticism, but also the afterlives of romantic ideas, people, objects, discourses, etc. Focusing on processes like dissemination, circulation, and transference, we aim to challenge traditional understandings of the relationship between center and periphery in the spread of romantic discourses and aesthetics. 

We also posit that the recent turn toward transnational and transdisciplinary aspects of romanticism in scholarship demands a reassessment of approaches, methodologies, and historiographic structures of the field. We therefore encourage meta-theoretical perspectives, as well as meta-critical reevaluations of entrenched narratives about romantic phenomena. We also welcome cultural interventions from various perspectives, including indigenous, environmental, postcolonial, gender, and other marginalized groups. 

With this conference, we aim to expand our understanding of romanticism and explore together how it manifests and adapts in different times, place, and artistic forms. We encourage contributions from a broad range of fields, including art history and visual culture, literary studies, musicology, history of ideas, philosophy, cultural studies and museology, and history. 

Confirmed keynotes: 

Timothy R. Tangherlini (UC Berkeley) 

Stephanie O’Rourke (University of St.Andrews) 

We welcome individual proposals as well as pre-constituted panels. 

Early Career Scholars are particularly encouraged to apply. 

Please send an abstract of max 500 words and a short biography of 200 words by 1. October 2025 to romanticcirculations@gmail.com

Note of acceptance by 1 February 2026 

Organized by Ellen Rees (University of Oslo and) and Tonje Haugland Sørensen (NARS Executive Committee), and co-funded by the ERC project NORN.

Notice: Wordsworth’s Home at Rydal Mount Campaign

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BARS has been requested to circulate this letter from Charlotte Wontner on the campaign to maintain Rydal Mount as a public museum.

Dear All,

I am writing with some urgency as I am trying to save Wordsworth’s historic home Rydal Mount (1813 until his death in 1850) https://www.rydalmount.co.uk/. Currently open to the public, the house is now at risk of being sold into private ownership as it has been put up for sale this month. As one of the most important sites in the UK’s literary landscape, its house and gardens have inspired generations of poets, writers, environmentalists and lovers of the arts. Losing it as a public monument to Wordsworth would be an irreplaceable tragedy.

As a direct descendent of the great poet, I am launching a campaign to acquire the property and place it in trust, ensuring it remains open to the public as a centre for poetry, literature, and artistic inspiration. 

We would greatly value your thoughts on potential supporters who might help bring this plan to fruition. While lovers of poetry and literature are natural allies, we also hope to engage with artists, actors, writers, broadcasters, academics, garden enthusiasts, environmentalists, and (it goes without saying) possible financial patrons. Additionally, we hope that educational institutions might be interested in endowing a poet, writer, artist-in-residence or gardener-in-residence programme or acquiring the house to preserve its cultural legacy.

Dating back to the 16th century, Rydal Mount has been open to the public all year round since 1970, when it was acquired by my grandmother and filled with a unique collection of Wordsworth artefacts. We very much hope to keep this collection in the house for the education and enjoyment of future generations. Rydal Mount is the most beautiful, tranquil and magical place where one’s imagination and creativity can run free. So many visitors return again and again as it is such a wonderful escape from the modern world, a place to reflect on Wordsworth’s art and values, and to fuel the creative imaginations of future generations. We really want to keep the Rydal Mount story alive and know that we can do this with a community of like-minded people.  

Your support in any form would not only help to secure this cultural treasure for the future but also reaffirm the importance of preserving spaces that nurture creativity and artistic heritage. If you are open to a conversation, I would love to discuss how you might like to be involved in this endeavour.

Here is the website link; https://saverydalmount.org.uk/. If you feel you would like to subscribe and share I would be very grateful.

Thank you for your time and consideration. I deeply appreciate any support you may be able to offer in safeguarding this extraordinary piece of literary history.

Yours sincerely,

Charlotte Wontner

Here is an article about the campaign; https://cumbriacrack.com/2025/04/23/leading-actors-and-artists-join-forces-to-save-lake-district-home-of-william-wordsworth/

Charlotte Wontner

Hopscotch Films

charlotte.wontner@gmail.com

Registration Open: Anna Letitia Barbauld: Voicing Dissent conference

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Anna Letitia Barbauld: Voicing Dissent conference

University of York, 27-28 June 2025. 

REGISTRATION OPEN!

Registration is now open for our conference, Anna Letitia Barbauld: Voicing Dissent, to be held at King’s Manor, University of York, and online on 27-28 June 2025. You are all warmly invited to attend. Please register at our conference webpage: tinyurl.com/barbauld25  

 Barbauld Voicing Dissent poster.jpg

Anna Letitia Barbauld (1743-1825) was a poet, educator and polemicist, celebrated after her death as ‘unquestionably the first of our female poets, and one of the most eloquent and powerful of our prose writers’. The year 2025 marks the two-hundredth anniversary of Barbauld’s death and the publication of a new four-volume scholarly edition of her Collected Works by Oxford University Press. We celebrate these landmarks with a two-day conference in-person at the King’s Manor, University of York, and online, organised by the Centre for Eighteenth Century Studies in collaboration with the Department of English and Related Literature.

Our keynote speakers William McCarthy, Elizabeth Kraft, Scott Krawczuk and Emma Clery will discuss editing Barbauld’s work, will investigate the importance of dissenting thought and feeling for her poetry and prose, and will explore the legacy of her work in much more recent voicings of religious and political dissent.

We focus in this conference on the ‘voices’ of dissent in Barbauld’s work. She was acutely attuned to the rhetorical force of the human voice, working in forms and genres designed for vocalisation, from songs and hymns to speeches and sermons.

Barbauld produced powerfully creative responses to dissenting traditions, and inspired strong legacies of creative and polemical expression in her own lifetime and since.

We warmly welcome both in-person and online registrations. Register at the conference webpage here, and check the webpage for our full two-day conference programme.

We gratefully acknowledge the support of the MHRA, Dr Williams Trust, British Association of Romantic Studies, British Association of Victorian Studies, and York Georgian Society.

If you have questions please contact barbauld2025@gmail.com

Registration Open: Nineteenth-Century Legacies Colloquium organised by BARS/BAVS Fellow Amy Waterson

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Tuesday 3rd June 2025
09:00 – 18:00
Royal Holloway, University of London (Egham)
No registration fees

https://19clegacies.wixsite.com/19centurylegacies

On Tuesday 3rd June Royal Holloway, University of London, in collaboration with the British Association of Victorian Studies and the British Association of Romantic Studies, will host an in-person colloquium examining realisms across literary, artistic, theatrical, and critical forms, and considering the continuing influence of nineteenth-century thought on our current moment.

There are no registration fees and we particularly welcome scholars with an interest in the nineteenth century, postgraduates, and early-career researchers. A light lunch and refreshments will be provided and there will be opportunities for in-person networking and research sharing throughout the day.  

In the morning and early afternoon, delegates will present 15-minute papers attending to nineteenth-century realisms (broadly conceived). These diverse and interdisciplinary discussions will lay the foundation for an interactive roundtable event during the afternoon structured around the topic “Managing Difficult Legacies”. We will reflect upon how nineteenth-century ideas, understandings, and problems raised during the paper presentations continue to influence university courses, institutions in the GLAM sector, as well as contemporary cultural and political discourses.

Register Here

Registration closes 19th May 2025

This event has been organised by the BARS/BAVS Nineteenth-Century Matters Fellow 2024-2025, Dr Amy Waterson.