{"id":4893,"date":"2023-11-16T17:04:29","date_gmt":"2023-11-16T17:04:29","guid":{"rendered":"https:\/\/www.bars.ac.uk\/blog\/?p=4893"},"modified":"2024-01-22T15:54:30","modified_gmt":"2024-01-22T15:54:30","slug":"call-for-papers-bars-2024-romantic-making-and-unmaking","status":"publish","type":"post","link":"https:\/\/www.bars.ac.uk\/blog\/?p=4893","title":{"rendered":"Call for Papers: BARS 2024 – Romantic Making and Unmaking"},"content":{"rendered":"\n

The British Association for Romantic Studies is glad to launch the Call for Papers for its 2024 International Conference, Romantic Making and Unmaking. The text can be found below and on the dedicated conference website<\/a>.<\/p>\n\n\n

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This year, BARS is testing an alternative model to try and provide both a good and affordable in-person experience and a strong and accessible programme for those unable to travel to Glasgow. More details below, but essentially, rather than streaming sessions from Glasgow, we’ll be asking in-person presenters to record their presentations themselves so we can make them available for a limited time in a digital archive, while also having two synchronous online days the week after the in-person conference, timed to allow presenters around the world to present live at a time that’s reasonable for them.<\/p>\n\n\n\n

We hope you’ll consider joining us in Glasgow, online or both next summer – any questions, please feel free to email us on BARSConf2024@gmail.com<\/a>.<\/p>\n\n\n\n

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The British Association for Romantic Studies 2024 International Conference<\/em><\/p>\n\n\n\n

Romantic Making and Unmaking<\/strong><\/h1>\n\n\n\n

In Person: University of Glasgow, Tuesday 23rd – Thursday 25th July 2024<\/em><\/p>\n\n\n\n

Online: Thursday 1st – Friday 2nd August 2024<\/em><\/p>\n\n\n\n

Plenary Speakers<\/em><\/p>\n\n\n\n

John Gardner (Anglia Ruskin University)<\/p>\n\n\n\n

Michelle Levy (Simon Fraser University)<\/p>\n\n\n\n

Fiona Stafford (University of Oxford)<\/p>\n\n\n\n

Textual Editing Plenary Roundtable<\/em>: Elizabeth Edwards (University of Wales); Tim Fulford (De Montfort University); Craig Lamont (University of Glasgow); Alison Lumsden (University of Aberdeen)<\/p>\n\n\n\n

Online Plenary<\/em>: TBA<\/p>\n\n\n\n

In Scots, the term \u2018Makar\u2019 means poet, but can also refer more widely to \u2018[o]ne who fashions, constructs, produces, prepares, etc.\u2019 (Dictionaries of the Scots Language<\/em>). The British Association for Romantic Studies\u2019 2024 International Conference draws upon this plethora of meanings, inviting contributions that explore the cultural, social, political and artistic implications of making and unmaking.<\/p>\n\n\n\n

The ways in which texts and artworks are constructed, framed, assembled and promoted preoccupied many Romantic-period creators, and Romanticism has long been at the forefront of editorial projects devoted to establishing, embedding or reimagining literary canons and canonicity. More broadly, in the wake of Enlightenment projects like the French Encyclop\u00e9die<\/em> with its emphasis on craft, technical progress and artisanal knowledge, the industrial innovations of the Romantic period were fueled by a host of \u2018makers\u2019. These included artisans of scientific instruments, machines and processes, as well as the publishers, engravers, typesetters and printers who supported the burgeoning trade in books. The tension between mechanisation and artisanal skill was crucial in discussions of progress and protest, informing a tangle of discourses of improvement and decline that extend to the ecological thinking threaded through Romantic-period culture. We invite contributions on all these issues and on any work in Romantic studies that intersects with making and unmaking.<\/p>\n\n\n\n

Topics that papers might address could include (but are not limited to):<\/p>\n\n\n\n