Dissenting Academies Online: Virtual Library System

By cassieulph

Network members (and non-members!) may be interested in the newly relaunched Virtual Library System of Dissenting Academies Online.

The Virtual Library System is a union catalogue which represents the holdings and loans of selected dissenting academies in England in the eighteenth and nineteenth centuries.


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Source: http://creativecommunities17501830.wordpress.com/2013/10/16/dissenting-academies-online-virtual-library-system/

CfP Round-Up

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By admin

Since there are a whole load of deadlines coming up in the next few weeks, I thought it’d be useful to put together a list of conferences currently seeking papers, with links to the full CfPs These are given in deadline order (not long for BSECS now…):

BSECS 2014: Pleasures and Entertainments, St Hugh’s College Oxford, 8-10 January 2014 – Deadline 20th October.

NASSR 2014: Romantic Organizations, Washington D.C., 10-13 July 2013 – Deadline for special sessions 1 November, for abstracts 17 January 2014.

Romantic Locations (BARS Early Career and Postgraduate Conference), Wordsworth Trust, Grasmere, 19-21 March 2014 – Deadline 15th November.

Ann Radcliffe at 250: Gothic and Romantic Imaginations, University of Sheffield, 27-29 June 2014 – Deadline 30th November.

Coleridge Summer Conference, Cannington, 28 July-1 August 2014 – Deadline 30th November.

Romantic Connections, University of Tokyo, 13-15 June 2014 – Deadline 30th November.

John Keats and his Circle, Keats House, Hampstead, London, 2-4 May 2014 – Deadline 1st December.

Romanticism and Self-Destruction, University of Bristol, 9 May 2014 – Deadline 1st December.

BSLS Conference 2014, University of Surrey, Guildford, 10-12 April 2014 – Deadline 6th December.

John …read more

Source: http://www.bars.ac.uk/blog/?p=44

Michaelmas 2013 Termcard

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By Honor Rieley


Romantic Realignments

Every Thursday, English Faculty Building, Seminar Room A.
*Extra seminar on Wednesday of Week 2.*

Week 1, 17 October:
Daniel Cook, University of Dundee.
Wordsworth’s Chatterton.

*Week 2, 23 October:
David Bromwich, Yale University.
Romanticism, Justice, and the Idea of the Nation.
Week 2, 24 October:
Octavia Cox, University of Oxford.
Pope, Cowper, and the Epic.

Week 3, 31 October:
Joseph Crawford, University of Exeter.
‘Behindhand With Their Countrymen’: The Literary Culture of 18th Century Exeter.

Week 4, 7 November:
Alexander Freer, University of Cambridge.
Wordsworth, Coleridge and the Untranslatable.

Week 5, 14 Nov:
Céline Sabiron, University of Oxford.
Writing the Border: Walter Scott and the Travel Narrative.

Week 6, 21 November:
Paul Whickman, University of Nottingham.
The Promethean Conqueror, the Galilean Serpent and the Jacobin Jesus: Shelley’s Interpretation(s) of Jesus Christ.

Week 7, 28 November:
Murdo Macdonald, University of Dundee.
The Significance of James Macpherson’s Ossian for the Art of J. M. W. Turner.

Week 8, 5 December:
Rebecca Shuttleworth, University of Leicester.
Rationality, Religion, and Female Dissent: Elizabeth Heyrick (1769–1831).

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Source: http://romanticrealignments.blogspot.com/2013/10/michaelmas-2013-termcard_14.html

NENC – Announcements for Autumn Programme 2013

By NENC

The North East Postgraduate Research Group for the Long Nineteenth Century (NENC) are hosting an introductory session for new members on Monday 14 October at 6pm at Newcastle University (room to be confirmed).

NENC warmly encourages new postgraduates from the North East universities (and further afield) at MA, MLitt, MPhil and PhD level to attend. Current co-organisers will be introducing the research group and its aims, before inviting others to discuss their research interests. We welcome all postgraduates working on any aspect of the literature and culture of the long nineteenth century (c. 1750-1914) to attend, and there will be opportunities to contribute to the organisation of the research group, as well as to lead reading group sessions and give papers.

A prospective plan for the Autumn currently runs as follows:

October – Introductory session (meet and greet with wine reception)

November – Beatrice Turner (Newcastle) will be leading a session at Durham University.

December – Sarah Lill (Northumbria) will be leading a Christmas session at Northumbria University.

We look forward to meeting you soon!


The NENC Organising Committee:

Harriet Briggs (Newcastle)
Nicole Bush (Durham)
Kate Katigbak (Durham)
Leanne Stokoe (Newcastle)
Beatrice Turner (Newcastle)

Contact: northeast19thcentury@gmail.com
Follow us on Twitter: @northeastc19

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Source: http://www.northeast19thcentury.org/2013/10/nenc-announcements-for-autumn-programme.html

The Line Problem 2: A Descriptive Catalogue

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By Laura Whitebell

Connected to Lisa’s post about transcribing Genesis, lines in typographical works like A Descriptive Catalogue are also raising questions. Here, ruled lines are used as a decorative element, as in this example from the title where a double line appears below Blake’s handwritten addition.

In line with (haha!) our policy of “transcribe what you see,” I created a transcription that displays like this:

However, this issue was discussed over the summer when the Editors were trying to decide whether or not to number ruled lines in our transcriptions. Deciding not to, Rachel suggested that “we put one bold line instead of a multiple line and then include a note explaining what’s there.”

I like this suggestion because I think that transcribing the multiple lines changes the overall spacing on the page and in both of these cases, I would argue that we should treat it as a single line, and the double/triple rule is just a decorative feature. Similarly, they are not necessarily lines by Blake, which makes leaving off the line number make sense too.

So my questions are:

The Line Problem 1: Genesis

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By Laura Whitebell

In Genesis Blake uses ruled lines that he (probably) would have eventually erased all of (you can see evidence of this in the first couple of objects). In the later objects he hasn’t gotten to finishing, the ruled lines are still there and his text often lies under them or is bisected by them, instead of being written on top. There doesn’t seem to be a way to transcribe this, so in the transcription the text always lies on top of the ruled like with an object and/or line note for explanation. The problem is when you have lines being underwritten/overwritten so there are multiple lines under text.

The transcription makes it seem as if there is empty space in the middle of Blake’s text, which there is not. The Blake Archive Editors have decided that we should only transcribe underwriting when it has moved or is somehow different from the top layer. Using this principle Esther and I got rid of the double lines on the transcription that appeared to simply be overwritten in relatively the same place (see object 6 and transcription). This one was left, because it does seem …read more

Source: http://blakearchive.wordpress.com/2013/09/26/the-line-problem-1-genesis/

Publication Announcement – The Book of Thel, copies B and I

By Andrea H. Everett

The Book of Thel, copy B, object 2

The William Blake Archive is pleased to announce the publication of electronic editions of The Book of Thel copies B and I, in the Mellon Collection, Yale Center for British Art, and Bodleian Library, Oxford University, respectively. The Book of Thel is dated 1789 by Blake on the title page, but the first plate (Thel’s Motto) and the last (her descent into the netherworld) appear to have been completed and first printed in 1790, while Blake was working on The Marriage of Heaven and Hell.

Copies B and I are from the first of three printings of Thel, during which Blake produced at least thirteen copies, printed in five different inks to diversify his stock. Copy B, for example, was printed in brown ink, copy I in green; both are lightly finished in water colors. Copies from this press run were certainly on hand when Blake included the book in his advertisement “To the Public” of October 1793: “The Book of Thel, a Poem in Illuminated Printing. Quarto, with 6 designs, price 3s.” Copies B and I join in the Archive copies D, G, H, J, L, and R from this first printing, and copy F, …read more

Source: http://blakearchive.wordpress.com/2013/09/26/publication-announcement-the-book-of-thel-copies-b-and-i/

Welcome to Fashionable Diseases Blog

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By GlynisIngram

As this is the first project blog, I thought I’d begin by saying ‘welcome’ to the project – I hope you’ll feel able to join in our discussions in some way, whether through the website, or at our various workshops and conferences. The second thing I’d like to do is to talk about where I got the idea of fashionable diseases, and what on earth that idea might mean.

The title’s easy enough – I work in eighteenth-century literary and cultural studies, and in 2003 I included, in an anthology of literature and science, a piece by a physician called James Makittrick Adair (1728–1801). His essay, first published in 1786, is called on fashionable disease’. At first it was published as part of a collection called Medical Cautions, for the Consideration of Invalids; those especially who resort to Bath, but later reprinted many times and even published as a freestanding volume. It’s obviously a catchy title, and had certainly caught my eye enough to want to publish it, not least because Adair was a popular high society doctor working at the fashionable resort of Bath, and had a lively style calculated to appeal to a general audience. Many medical texts in …read more

Source: http://www.fashionablediseases.info/Blog/?p=9

Psychopticon …

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Picture

Psychobilly music is a mash-up of punk, goth and rockabilly. Its exponents, fans of such bands as Demented Are Go, Creepshow and Hellfreaks, sport brightly coloured extended quiffs – or wedges – often combining impeccable rock n’roll attire with zombie makeup. 1950s Sci-Fi iconography (think B-movie posters) and tattoos also feature heavily. And psychobilly – via complex and very entertaining routes of transmission – can be considered one of Romanticism’s late, and very much undead, cultural forms.


While Mary Shelley’s Frankenstein (1818) isn’t a “zombie novel” per se, it develops several motifs that inform psychobilly, and the book looms large in the genre’s collective unconscious. Throw in Romantic dandies and gothic romance more generally, and you’re practically there. I wouldn’t be fulfilling my Romantic responsibilities if I didn’t immerse myself in the form. So here’s my take on the style through alter ego, Elixir Chimera and the Pulpits (all words found on the same page of Frankenstein) …

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Source: http://richardmarggrafturley.weebly.com/1/post/2013/09/psychopticon.html