Call For Articles/Contributions: Journal of Theory and Criticism
“The History and Future of the 19th-Century Book”. Issue number 21 (2013)
In the period between 1740 to 1850, the systematization of the entire process of making and selling books through a network of printers, publishers, booksellers, writers, readers, and critics led to the evolution of the book trade into a profit-making machine. The resulting professionalization and commodification of literature created not only professional authors and critics, making authorship itself undergo significant change, but set up an entirely new way of conceiving of
reading, writing, and selling literary materials. The changing nature of books, media, information and communication defined the literary culture of the period and was central to the establishment of national identity.
Today, the late twentieth-century emergence of digital media has led to a massive-scale migration of our paper-based inheritance to digital forms, forcing a return to textual scholarship and its various problematics, as well as placing literature within a complex interactive matrix of multiple collaborating agents, individual as well as institutional. Though digitization was not a concern in the nineteenth century, the drastically changing relationship of literature to its socio-historical milieu invites parallels with today’s re-inventing of the writing and dissemination of literature and of the digital transformation in the humanities. The debate becomes even more urgent as more and more eighteenth and nineteenth-century print literary materials are being modeled in digital environments. What does digital technology has to offer literary and cultural history? What are the stakes involved in the translation of print materials into digital forms?
For the 2013 volume of *Gramma* on the history and future of the book with
a focus on British and American 19th-century literary materials, papers are
invited on the following or related areas:
· book production and publishing history
· gender, class, and audiences as mediated by print/digital text
· authorship and its redefinition
· periodicals; serial publication; copyright and pirated editions
· editing 19th-century British writers
· interfaces, platforms, and technologies of 19th-century books
· archiving, preserving, and collecting material and digital records
· the impact of digitization on teaching and scholarship in 19th-century studies
· bibliography, textual criticism, and digital technologies
· the public domain and the creative commons for the 19th and 21st centuries
Papers should not exceed the length of 7,000 words (including footnotes and bibliography) and should be double spaced. They should adhere to the latest MLA style of documentation and should be submitted electronically in the form of a Word document to the editors of the issue, Maria Schoina and Andrew Stauffer, at the following email addresses: email@example.com and
Deadline for submissions: *31 December 2012*
CFP: ‘Viewer, I married him’: Reading (Re)Productions of the Long Nineteenth Century in Period Drama
29 June 2012, Derwent Building, University of Hull
Abstract deadline: February 28, 201
Postgraduate bursary deadline: February 28, 2012
· TV series, programmes or films
· Direct adaptations of literature (e.g. BBC’s, ITV’s or Roman Polanski’s Tess of the D’Urbervilles)
· Modern retellings of nineteenth-century literature (e.g. Clueless)
· Adaptations derived from Neo-Victorian texts (e.g. Fingersmith)
· Original screen-plays (e.g. Downton Abbey)
· Cross-over period dramas (e.g. Lost in Austen)
· Biopics (e.g. Becoming Jane)
· International adaptations (e.g. Bride and Prejudice)
As this conference is interdisciplinary in its approach, we are also looking for papers which consider themes associated with literary and cultural studies (class, gender, sexuality, religion, race) and/or the contemporary production/adaptation process, the modern audience and critical responses, and how period drama and contemporary culture impact on one another. The following topics are suggested, but are by no means limited to:
· Company of production (e.g. BBC, ITV)
· Costumes, settings, props
· Technology, Musical scores
· Screenplays, Performances
· Intended audience(s), Critical reviews, audience response, media coverage
Since period drama and adaptations serve as popular entertainment, valuable educational resources and are art forms in their own right, we look forward to expanding study on this rich topic by welcoming abstracts from postgraduate students, as well as early-career researchers and established academics. To submit abstracts, or for any other queries, please email: firstname.lastname@example.org
£25 postgraduate early bird registration fee (deadline 30 April)
£35 academic early bird registration fee (deadline 30 April)
£35 postgraduate late registration fee (after 1 May)
£45 academic late registration fee (after 1 May)
Postgraduate Bursary Information
We are pleased to offer ten full registration fee (£25) bursaries for postgraduate students, thanks to the generous sponsorship of BAVS. If you are interested in being considered for a bursary, please send with your abstract a CV and a statement (300 word maximum) explaining why you would benefit from attending this conference.
Allison Neal, Jenny Pearce, Janine Hatter, and Maura Dunst (The Postgraduate Period Drama Conference Team)
The British Association for Victorian Studies (BAVS)
The University of Hull
Job Vacancy: Lecturer in 19th Century English Literature
The Department of English at King’s College London wishes to appoint an outstanding scholar in the area of 19th-century (post 1830) English Literature. Applications are sought from strong candidates who work on any area of 19th-century (post -1830) literature, although candidates may have research expertise in any of the following: 19th-century poetry; the literature of the 1880s and 1890s; literature and its relationships to visual and material cultures; trans-national literatures of the 19th century; 19th-century media and print culture.
This is one of three new positions currently advertised, which form part of a strategy to ensure the Department’s position as one of the top departments nationally. The current phase of hiring is the second in a planned expansion staged over 2011-2013. The Department is committed to research and teaching excellence in Anglo-phone literary and cultural studies, from the Anglo-Saxon period to the present day, across a broad sweep of geographical locations and national traditions, genres, styles, and media (including theatre and performance and creative writing). Through strategic investment, it builds on its growing reputation for dynamic and innovative research and teaching (in RAE 2008, 70% of outputs were judged ‘world leading’ or ‘internationally excellent’), and a distinctive programme of collaborations with institutions in the cultural sector.
Link for Vacancy: http://www.kcl.ac.uk/depsta/pertra/vacancy/external/pers_detail.php?jobindex=11246
Further information about the English Department: http://www.kcl.ac.uk/artshums/depts/english/index.aspx
For informal enquiries, contact Professor Josephine McDonagh, Head of the Department of English, email@example.com
CALL FOR PAPERS: Race, Nation and Empire on the Victorian Popular Stage.
This conference will be the third in a series of three organised as part of our AHRC-funded project on the ‘Cultural History of English Pantomime, 1837-1902′.
A number of studies, most recent of which is Marty Gould’s Nineteenth-Century Theatre and the Imperial Ideal, have demonstrated ways in which Victorian theatres served as significant sites for the ‘imperial encounter’. Across a variety of theatrical forms, particularly the non-canonical stage, the stage provided a series of visual narratives in which audiences were presented the landscapes, architecture, peoples, and religions of colonised territories. Moreover, theatre often served as a site for propaganda, educating and enthusing audiences about Britain’s vast empire.
On the one hand, we seek papers exploring theatrical representations of the landscapes, religions and peoples Britons encountered as part of their imperial project. We are interested especially in discussing the ways in which popular entertainments brought the empire ‘home’ and how this affected patterns of popular culture, including the gendering of public imperial discourse, the formation of racial attitudes and the construction of national identities. Given recent scholarship on provincial theatre, we especially welcome proposals which investigate connections between the ‘local’ and the imperial and the role of performance cultures in promoting civic and municipal identities.
On the other hand, proposals are sought which engage the two-way traffic of imperialism: that is, how were Britons and their colonial project represented in overseas sites, both by Britons abroad and those people and landscapes who became the subject of the colonial gaze.
Particularly welcome are proposals which engage the following general themes and areas for exploration:
* The ‘image’ of empire: visual representations in performance (corporeal enactment; the movement of bodies and artefacts; costumes; props; set design and scene painting; etc) and print (playbills; posters; theatricalisation of visual metaphor in periodicals, literary and early film and radio culture)
* Variations and hybridisation of performance culture: intertextual crossovers between sites of representation (pantomime, melodrama, lantern shows, dioramas, minstrelsy, exhibitions, festivals, circus, zoos, etc)
* Performance cultures of celebrity, commemoration and exploration: representation of the military and the navy; of warfare, settlement and conquest; of adventure stories and the patriotic impulse
* Traffic – the mediation of cultural contact zones on the stage: touring companies; dynastic families; performance sites in the colonies; negotiation/subversion of dominant norms through performance.
* Race, Science and Identity: peripheral, metropolitan, national and global formations of culture and identity; stage engagements with evolutionary science and anthropology; gendering of theatrical discourse.
The deadline for proposals for 20 minute papers, up to but not exceeding 300 words, should be sent to Peter Yeandle (p.yeandle(at)Lancaster.ac.uk) by no later than 23 March 2012.
Keynote Speaker: John MacKenzie
Other confirmed speakers:
* Jeffrey Richards (Lancaster): Drury Lane – epitome of Empire?
* Kate Newey (Birmingham): Theatrical Utopias
* Marty Gould (South Florida): The Crusoe Tradition/ Anglo-African cultural exchange
* Jim Davis (Warwick): Dynastic theatrical families
* Veronica Kelly (Queensland): Australian star actors and pantomime
* Catherine Hail (V&A museum): W.S. Gilbert and the question of patriotism
* Ross Forman (Warwick): Exhibitions and Re-enactment
* Anne Witchard (Westminster): Representations of the Chinese on stage
* Joanne Robinson (Nottingham):Seeing the world from the provinces
* Marah Gubar (Pittsburgh): Transatlantic children’s touring companies
* Stuart Currie (Worcester): Mid-century warfare on stage: set painting/scenography
* Simon Sladen (Winchester): Race-relations and 20thC pantomime’s Victorianism
* Veronica Kelly (Queensland): Australia
CFP: Sex, Courtship and Marriage in Victorian Literature and Culture
Deadline for submissions: 30 May 2012
Victorian Network is an MLA-indexed (from 2012) online journal dedicated to publishing and promoting the best postgraduate work in Victorian Studies.
The sixth issue of Victorian Network, guest edited by Dr Greta Depledge (Royal Holloway), is dedicated to a reassessment of nineteenth-century constructions and understandings of sex, courtship and marriage. Although the heteronormative and companionate marriage was vital for economic and reproductive reasons – as well as romantic impulses – recent scholarship has illuminated its status as but one of several diverse paradigms of marriage/sexual relationship accessible to the Victorians
Across the nineteenth century, profound crises of faith, extensive legal reforms and the new insights afforded by the emergent discipline of anthropology all contributed to a culture of introspection about the practice of marriage, at the same time as advances in science and medicine opened up new interpretations and definitions of sexual practices and preferences.
We are inviting submissions of no more than 7000 words, on any aspect of the theme. Possible topics include but are by no means limited to the following:
· Victorian narratives of queer desire: text and subtext
· Representations of women’s sexuality (angels, whores and spinsters)
· Prudishness and censorship: “deviant” novels and scandalous dramas
· Adultery, bigamy, divorce and other affronts to the ideal of companionate marriage
· Transgressive relationships
· Nineteenth-century marriage law, including prohibited degrees of affinity, property reform and breach of promise
· Representations of sexual innocence and experience (virginity, puberty and prostitution)
· Subversion of traditional courtship narratives
· Sex and class: adventuresses, mistresses, sex workers and blackmail
· Customs of the country: courtship conventions, betrothals and bridal nights
· Performance, stylization and parody: gender scripts, consumer culture, theatrical subversion
All submissions should conform to MHRA style conventions and the in-house submission guidelines. The deadline for submissions is 30 May 2012.
The Daphne Carrick Memorial Scholarship, 2012
For research into various aspects of the lives, works, historical context of the Brontë Family
Deadline for proposals: 30 September, 2012.
The Daphne Carrick Memorial Scholarship, 2012
In memory of the late Daphne Carrick, The Brontë Society will award a grant of up to £2,000 every three years to finance original research in the field of Brontë studies.
a) Eligibility: The scholarship is open to anyone, with the exception of Trustees of the Brontë Society, employees of the Brontë Parsonage Museum, and their families.
b) Submission: Applicants should submit, in not more than three A4 pages and 1000 words, a description of the research to be undertaken, its importance, an outline of the plan of work and an indication of probable costs.
c) Address: Applications should be sent to The Council Administrator, Brontë Parsonage Museum, Haworth, Keighley, BD22 8DR, to arrive by the 30th of September, 2012.
d) Selection: The winner will be selected by the Society’s Publications Committee, who may consult experts in the field, and their decision must be approved by the Council of the Brontë Society. The result will be announced following the December Council meeting.
e) Payment: The timing and method of payment of the award shall be agreed between the Chair of Publications Committee and the successful candidate.
2) Research Guidelines
The following areas are regarded as appropriate for the award of the Scholarship:
a) Documentary: The identification, presentation and evaluation of primary material relevant to Brontë studies: for instance, manuscript documents (including transcription); printed sources of the period (for instance newspapers, pamphlets, books); local records, both civil and parish; and legal papers, including court proceedings.
b) Bibliographical: The listing, cataloguing and indexing of published, unpublished and electronic sources: for instance theses, articles, conference reports, previously unindexed books, library and database resources.
c) Biographical: The identification, assimilation and presentation in accessible form of material relating to the lives of the Brontë family, to people close to or influential on the family and/or to places associated with them.
d) Contextual: Research into the literary, artistic and/or philosophical context of the Brontës’ writing and/or the impact of their work on later artists.
The winner will be required to sign a legally binding agreement to the following conditions:
a) The research should be completed and written up within two years of the first payment of award money. If the work is not completed in this time, and no explanation satisfactory to the Society is offered, the recipient will be required to return the grant money to the Society.
b) The finished work must be submitted to the Brontë Society, which reserves the right of first publication, including retention of copyright, although permission to republish elsewhere will not be unreasonably withheld.
POLITICS, PERFORMANCE AND POPULAR CULTURE IN NINETEENTH-CENTURY BRITAIN
(University of Birmingham, 19-20 April 2012)
Schedule of speakers:
You are invited to join us for a two-day symposium in Birmingham, at which we will explore the relationship between politics, performance and popular culture in nineteenth-century Britain. Our speakers have been confirmed, but we welcome participants for roundtable discussions and other contributions.
In what ways might popular culture have defined politics? How might ‘performance’ be addressed as a concept by which better to understand crowd behaviour, whether for example at hustings or in protest? How did politicians and others conceptualise their audience? If, as Patrick Joyce argues, the late Victorian audience in a context of political reform were ‘rightful heirs to the democracy of pleasure’ (Visions of the People, 1994, p. 309), how can we define the relationship between audience, politics and pleasure? Can we identify a discursive relationship between political and performance culture?
Mike Sanders (Manchester): on Platforms, Correspondences and Theatrical Metaphor.
Jim Davis (Warwick): Victorian pantomime and the Politics of Gender Variance
Jane Pritchard (Victoria and Albert Museum): on Ballet, class and identity
Jill Sullivan (Independent): on The Irish question in regional pantomime
Marcus Morris (Lancaster): on Labour leaders, political rhetoric and performativity
Richard Gaunt (Nottingham): on Peel as actor-dramatist (parliament itself as theatrical institution)
Caroline Radcliffe (Birmingham): on Theatrical hierarchy and Cultural capital: East and West London
Anselm Heinrich (Glasgow): on Gladstone, national theatre and contested didactics of theatre.
Janice Norwood (Hertfordshire): on East End Socialism, performance techniques in protest/marches
Peter Yeandle (Lancaster): on Christian Socialism and performing arts: politics, theology and theatricality
Costs: £35 (£20 postgraduate). Further information about local accommodation upon request.
For further information, please contact Peter Yeandle at p.yeandle(at)lancaster.ac.uk
New Issue of 19: Interdisciplinary Studies in the Long Nineteenth Century
We are pleased to announce that the new issue of 19: Interdisciplinary Studies in the Long Nineteenth Century is now available at
This issue, guest edited by Emma Francis and Nadia Valman, revisits the Victorian East End, examining its distinctive spaces including docks, libraries, music halls, medical missions, and asylums. These essays explore fiction, photographs, street dances, diaries, investigative journalism, and texts of social investigation: they cumulatively demonstrate how the East End continues to provoke sharp questions about urban life and social progress.
19: INTERDISCIPLINARY STUDIES IN THE LONG NINETEENTH CENTURY NO 13 (2011): REVISITING THE VICTORIAN EAST END
Emma Francis and Nadia Valman: ‘Introduction: Revisiting the Victorian East End’
Anne Witchard: ‘Bedraggled Ballerinas on a Bus Back to Bow: The “Fairy Business”’
Ellen Ross: ‘“Playing Deaf”: Jewish Women at the Medical Missions of East London, 1880–1920s’
David Feldman: ‘Jews in the East End, Jews in the Polity, “The Jew” in the Text’
Susan David Bernstein: ‘Reading Room Geographies of Late-Victorian London: The British Museum, Bloomsbury and the People’s Palace, Mile End’
Gabrielle Mearns: ‘“Long Trudges Through Whitechapel”: The East End of Beatrice Webb’s and Clara Collet’s Social Investigations’
Diana Maltz: ‘Arthur Morrison, Criminality, and Late-Victorian Maritime Subculture’
Caroline Bressey: ‘The City of Others: Photographs from the City of London Asylum Archive’
Monday 13 February 2012
Time: 6:15-7:30 (followed by a reception)
Venue: Council Room, K2.29, King’s College London, the Strand.
The Centre for Life-Writing Research at King’s College London is pleased to announce a forthcoming lecture in its StrandLives series: six distinguished lectures, discussing life stories associated with London’s famous street, the Strand.
On 13th February, Dr Rosemary Hill, author of God’s Architect: Pugin and the Building of Romantic Britain, will be speaking about:
‘Greek Temples in Crowded Lanes: Pugin in the Strand’
Pugin’s ‘Contrasts’, published in 1836, was the first architectural manifesto. It was an assault on the shoddy architecture of late Georgian London of which King’s College was, in Pugin’s view, a prime example. Yet he too was a product of the teeming life of the Regency city. This lecture looks at the contrasts within Pugin’s own life in and around the Strand.
All are welcome, and the event is free. To give us a sense of numbers, we would be grateful if you could RSVP to firstname.lastname@example.org.
For more on the StrandLives series and the Centre for Life-Writing Research, please see: http://www.kcl.ac.uk/artshums/ahri/centres/lifewriting/index.aspx.