tag:blogger.com,1999:blog-226957462024-03-13T01:23:48.422-04:00Of Victorian InterestFelluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comBlogger936125tag:blogger.com,1999:blog-22695746.post-20855027058656800272014-05-14T09:07:00.000-04:002014-05-14T09:07:09.347-04:00New Blog Location: http://www.navsa.org (5/2014)<div class="MsoNormal">
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<span style="font-family: Georgia, Times New Roman, serif;">Hello all,</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">We are excited to announce that the main NAVSA website has
been updated and will now incorporate our blogs. From now on all blog posts for
Of Victorian Interest and NAVSA Member Publications will appear on <a href="http://www.navsa.org/"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.navsa.org</span></a>. Requesting blog
posts will stay the same; you should all continue to e-mail Dino Franco Felluga
with your updates, cfps, publications, etc. The Twitter feed and updates will
also remain the same. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Best!</span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-40960775304030044092014-05-01T14:40:00.000-04:002014-05-01T14:40:45.350-04:00CFP: MVSA '15 "Sense and the Senses" (10/31/2014; 5/1-3/2015)<div class="MsoNormal">
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MVSA 2015</div>
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University of Iowa</div>
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May 1-3, 2015</div>
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Deadline: October 31, 2014</div>
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The Midwest Victorian Studies Association seeks papers for
topics related to the conference theme of “Sense and the Senses.” The committee encourages papers on any aspect of this topic in art, music, history, science, philosophy,
theater or literature: senses and the invisible; sounds and soundscapes; listening/depictions
of listening; the relationship between the body and mind; the five senses; the
representation of sense or reason; rationality and embodiment; the relationship(s)
among sight, sound, smell, touch, and taste; the conflict or accord between
reason and the senses; the scientific, psychological, philosophical, or empirical
study of the senses; the role of the senses in the creation of ideas or
knowledge; the relationship between sense and emotion; empiricism and the imaginary;
the disarray or unreliability of the senses; synaesthesia; mesmerism,
hypnotism, and extrasensory perception; sensory textures of spaces and lived
experiences; sensory extensions/alterations catalyzed by technologies. </div>
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MVSA’s 2015 Jane Stedman Plenary Speaker will be Linda M.
Shires (David and Ruth Gottesman Professor of English, Yeshiva University). Her
talk is entitled "Coming to our Senses: Colors in the 19th Century.” She
is the author of <i style="mso-bidi-font-style: normal;">Perspectives: Modes of
Viewing and Knowing in 19th-Century England</i> (2009), co-author with Steven
Cohan of <i style="mso-bidi-font-style: normal;">Telling Stories, A Theoretical
Analysis of Narrative Fiction</i> (1988; 2002), and editor of <i style="mso-bidi-font-style: normal;">Rewriting the Victorians </i>(1992; 2012)
and <i style="mso-bidi-font-style: normal;">From Romantic to Victorian: Essays by
U.C. Knoepflmacher </i>(forthcoming).</div>
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For the second year, MVSA will feature three seminars open
to graduate students, faculty and independent scholars led by senior scholars
on topics related to the conference theme. Seminar participants pre-circulate
5-to-7 page papers. More information will be available in the seminar CFP on
the MVSA website soon. </div>
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Special events include a dramatic performance and a
demonstration of Highland dancing in the Iowa Old Capitol Senate Chamber. A
publication of selected essays from the conference is planned.</div>
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The Midwest Victorian Studies Association is an
interdisciplinary organization welcoming scholars from all disciplines who
share an interest in nineteenth-century British history, literature, and
culture. Send a 300-word abstract and 1-page vita (as Word documents) by
October 31, 2014, to conferencesubmissions@midwestvictorian.org. Even if you do
not submit a paper, please plan to attend! </div>
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For more information, please visit <a href="http://www.midwestvictorian.org/">www.midwestvictorian.org</a>.</div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-51595198183381895602014-04-27T21:41:00.004-04:002014-04-27T21:41:56.685-04:00Reminder: VPFA "Edwin Drood: Solutions and Resolutions" (5/31/2014; 9/20/2014)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrmeegwTnum0U4shVUU7_h2tOyY58IPF2P2ToZLqH0EzvLcHJRCpKf8Z6Urz8lf4mYDiJpV0Mmn8bc8QgrF5rnf3BWwZxY-hlXKJuYo-A2c-r1Z5WYjQdH-19EPE7Wxt3VNCEu/s1600/drood-logo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br class="Apple-interchange-newline" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrmeegwTnum0U4shVUU7_h2tOyY58IPF2P2ToZLqH0EzvLcHJRCpKf8Z6Urz8lf4mYDiJpV0Mmn8bc8QgrF5rnf3BWwZxY-hlXKJuYo-A2c-r1Z5WYjQdH-19EPE7Wxt3VNCEu/s1600/drood-logo.jpg" height="200" width="200" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Victorian Popular Fiction Association</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Senate House, London, </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">September 20, 2014<br />Deadline: May 31, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“<i>The Mystery of Edwin Drood</i>: Solutions and Resolutions”<br />Charles Dickens’s last novel, unfinished as it is, has become a call to arms to a legion of fans, academics and authors to solve the mystery and complete the uncompleted. In the early years after Dickens’s death, passionate discussions of Drood formed the vast bulk of criticism of his works, while later scholars have looked back upon this formative period with a mixture of bemusement and embarrassment. In 2014 The Drood Inquiry will investigate and celebrate the many weird and wonderful responses to Dickens’s story, exploring the ways in which these solutions reflect upon the authors’ attitudes to Dickens and his legacy, and how Dickens’s story and characters exist both within the boundaries of the original text and without in the numerous spin-offs that have arisen.<br /><br />This one-day conference commemorating the launch of The Drood Inquiry will play upon some of those themes as well as allowing the opportunity to consider Edwin Drood afresh, not purely as a puzzle to be solved but as a work of literature to be analysed and celebrated in its own right. The committee welcomes proposals for 20 minute papers which will explore the themes of the book or the insights its subsequent treatment can provide on Dickens’s reputation, as well of course as any discussion of theories on how the story ends!<br /><br />Topics could include, but are not restricted to:</span></div>
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<li><span style="font-family: Georgia, Times New Roman, serif;">Characters, themes and topography of Edwin Drood</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">The legacy and afterlife of Dickens and Drood</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Dickens in 1870</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Incomplete stories of the nineteenth century</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Victorian fan-fiction and neo-Victorianism</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Early detective fiction and the mystery genre</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Clues and red herrings</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Adaptations of Drood for stage and screen</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Dickens and the fanatics</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Ownership and authorship</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">The role of the ending in plot and structure</span></li>
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<span style="font-family: Georgia, Times New Roman, serif;">Proposals (up to 500 words) and a brief biographical note should be sent by May 31, 2014 to peter.orford@buckingham.ac.uk. For further details and updates you can follow us on Twitter @Drood_Inquiry or visit <a href="http://cloisterhamtales.wordpress.com/"><span style="color: windowtext; text-decoration: none;">http://cloisterhamtales.wordpress.com/</span></a>.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-3414036368424623842014-04-27T21:39:00.000-04:002014-04-27T21:39:16.297-04:00Essay Contest: The Trollope Prize (6/1/2014)<div class="MsoNormal">
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<span style="font-family: Georgia, Times New Roman, serif;">Graduate and Undergraduate Essay Contest</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Trollope Prize </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">University of Kansas</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Deadline: June 1, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Trollope Prize at the University of Kansas is pleased to
announce that we are accepting submissions for the 2014 contest. It will be
judged by: Elsie B. Michie (Louisiana State University), Tamara S. Wagner (Nanyang
Technological University in Singapore), and this year’s internal judge, Ann
Wierda Rowland (University of Kansas).</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The Prize is pleased to be continuing its partnership with <i style="mso-bidi-font-style: normal;">The Fortnightly Review</i>, which will
publish both the winning graduate and undergraduate essays from the 2014
contest. Additionally, theReview will award a modest honorarium to both
the graduate and undergraduate winners.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The deadline for entries to both the undergraduate and
graduate essay contests is June 1, 2014. Also please note that recent
PhD recipients may enter the graduate contest. More detailed information on the
criteria for entering the contest is available on the Trollope Prize website.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br />
Please see our website -- <a href="http://trollopeprize.ku.edu/"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://trollopeprize.ku.edu</span></a> --
for more information on the Prize and links to our social media pages.
Questions may be addressed to <a href="mailto:trollopeprize@ku.edu"><span style="color: windowtext; text-decoration: none; text-underline: none;">trollopeprize@ku.edu</span></a>.</span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-75187474557299784592014-04-27T21:31:00.001-04:002014-04-27T21:31:41.707-04:00Call for Participants: Our Mutual Friend Tweets (5/1/2014; 5/14-11/15)<div class="MsoNormal">
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<span style="font-family: Georgia, Times New Roman, serif;">Call for Participants: <i style="mso-bidi-font-style: normal;">Our
Mutual Friend </i>Tweets</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Birkbeck Centre for Nineteenth-Century Studies</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Start: May 1, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Duration: May 2014-November 2015</span></div>
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On May 1, 2014, Birkbeck's Centre for Nineteenth-Century Studies will
begin a project to read Dickens’s final completed novel, Our Mutual Friend, in
its original monthly installments. The reading project will run from May
2014 to November 2015, matching the 150th anniversary of the novel's
original serialized publication (May 1864 - November 1865).<br />
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The organizers are also running a creative project alongside the main reading
group, in which participants will take on the role of one of the characters in
the novel, and run a Twitter account as this character.<br />
<br />
The organizers are looking for volunteers to participate in this project.
You'll be assigned a character's Twitter account, and, each month, you'll need
to read the installment and tweet what you have been doing that month, in
character. However, the extent of your involvement is up to you: alongside the
main plot-tweets, you can share links or interact with the other participants,
provided everything is done in character!<br />
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At the end of the project, we hope to collect together the tweets using
Storify, allowing us to reconstruct Dickens's story through these digital
interactions.<br />
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To take part, or for more information, please email Emma Curry (Birkbeck
College) on e.curry@bbk.ac.uk. Please state if you have a preference for
which character you would like to play - they will be allotted on a first-come,
first-served basis.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">
For more information on the monthly reading project, see <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://dickensourmutualfriend.wordpress.com/">http://dickensourmutualfriend.wordpress.com/</a></span></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-90107501888449544642014-04-27T21:25:00.001-04:002014-04-27T21:25:30.134-04:00CFP: MLA '14 Women in Literature (5/9/2014; 1/8-11/2015)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIE7IM-ocbR7SMT1oEcprfycyRD8QpYqL4WdmdMOezgwl3l06d6RkInYjyejmGMPVc7UaUY42lz_iSpomGMJZ4wO8aANSI3SsmzxBxDBYw8E2I40qlky76LWmqPb-Y-9DTuPJ/s1600/vancouverlogo.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIE7IM-ocbR7SMT1oEcprfycyRD8QpYqL4WdmdMOezgwl3l06d6RkInYjyejmGMPVc7UaUY42lz_iSpomGMJZ4wO8aANSI3SsmzxBxDBYw8E2I40qlky76LWmqPb-Y-9DTuPJ/s1600/vancouverlogo.png" height="97" width="200" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">MLA 2014, Section: Women in Literature </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Vancouver, Canada </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">January 8-11, 2015</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 9, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br />
Topic: Gendered Spaces; Gendered Places: Women’s Lives in the City </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“Places are not merely discrete, rooted phenomena; they are
ever evolving outcomes of social relationships that span and link regional,
national, and even global geographies” (Altha J. Cravey and Michael Petit, “A
Critical Pedagogy of Place: Learning Through the Body” 108). </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">In <i>Space, Place and Gender</i>, Doreen Massey rejects the idea
that space is fixed and apolitical. Drawing in part on Marxist feminists, she
posits instead that “space is constituted through social relations and material
social practices” (254). Not only is space constructed through the social for
Massey, but the converse is also true: “the social is spatially constructed too,
and that makes a difference…in its broadest formulation, society is necessarily
constructed spatially, and that fact—the spatial organization of society—makes
a difference to how it works” (254). In other words, the spaces we inhabit
produce the societies in which we live—all the while the societies in which we
live socially construct the spaces we inhabit. This establishes the kind of web
of intra-action between humans and others that can be traced through the recent
theoretical work of Donna Haraway and new materialist feminists like Karen
Barad and Stacy Alaimo. It also holds major implications for thinking about how
spaces and places are active in women’s lives and women’s literature. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Using the concept of spaces and places as active participants
in the lives of humans, and in accordance with the conference’s theme of “The
Lives of Cities,” this panel seeks papers that explore the issues of space and
place in women’s literary texts. Possible topics may include, but are not
limited to: gendered spaces and/or places, queer spaces, metaphorical spaces,
urban autobiography and/or memoir, representations of gender within the
space/place of a narrative, globalization and gender, historical
representations of urban spaces in women’s literature, issues of performance
and performativity in relation to urban space, and place-based approaches to teaching
women’s literature.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Please submit 250-word abstracts and a brief 100-word bio to
Meg Gregory at magrego@ilstu.edu by May 9, 2014. <span style="mso-spacerun: yes;"> </span>Chair: Meg Gregory, Illinois State University </span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-72757503311691902002014-04-27T21:17:00.000-04:002014-04-27T21:17:18.060-04:00Reminder: RSVP Rosemary VanArsdel Prize (5/1/2014)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl5_4UvZzeWByCJn2q9i1JqCHY2HwvwzhYUK3_tPWy8DkcDApS5RJ_5t2I0jj11UlHIhahgVqjOjfQlPWv2dza93GE0czksOlOiQKhWK6NMKh7Z6UbInMt0MCMi4vNhDhPKtE/s1600/masthead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br class="Apple-interchange-newline" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl5_4UvZzeWByCJn2q9i1JqCHY2HwvwzhYUK3_tPWy8DkcDApS5RJ_5t2I0jj11UlHIhahgVqjOjfQlPWv2dza93GE0czksOlOiQKhWK6NMKh7Z6UbInMt0MCMi4vNhDhPKtE/s1600/masthead.jpg" height="96" width="400" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The 2014 Rosemary VanArsdel Prize</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Research Society for Victorian Periodicals</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 1, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The VanArsdel Prize is awarded annually to the best graduate student essay investigating Victorian periodicals and newspapers. The prize was established in 1990 to honor Rosemary VanArsdel, a founding member of RSVP whose groundbreaking research continues to shape the field of nineteenth-century periodical studies.</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif;">Graduate students are invited to submit essays for the 2014 VanArsdel Prize for the best graduate student essay on, about, or extensively using Victorian periodicals. The winner will receive $300 and publication in </span><i style="font-family: Georgia, 'Times New Roman', serif;">Victorian Periodicals Review</i><span style="font-family: Georgia, 'Times New Roman', serif;">. Submissions should be 15-25 pages, excluding notes and bibliography. Manuscripts should not have appeared in print. Send e-mail submissions to </span><i style="font-family: Georgia, 'Times New Roman', serif;">VPR</i><span style="font-family: Georgia, 'Times New Roman', serif;"> Editor Alexis Easley (maeasley @ stthomas.edu) by May 1, 2014. Submissions should be formatted as Word files in Chicago style with identifying information removed. In an accompanying e-mail, applicants should include a description of their current status in graduate school.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br />For more information please visit: <a href="http://www.rs4vp.org/prizes.html">http://www.rs4vp.org/prizes.html</a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-36358664336637910282014-04-27T21:13:00.001-04:002014-04-27T21:14:45.536-04:00Essay Prize: NAVSA Gray Prize (5/20/2014)<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmnGJ33CAfwd36nJ97-TsIhaQX9r62KQG0dJUey3lT2oOpjrzehKi7k5hcVvkHHJVfzGp4LTy46igBxIw6nIIroFT7jR4RLvUfftX7OAunjDtjqVOlhrqNdNMVWFcoW1uZwNI3/s1600/NAVSAlogowhitetransp.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmnGJ33CAfwd36nJ97-TsIhaQX9r62KQG0dJUey3lT2oOpjrzehKi7k5hcVvkHHJVfzGp4LTy46igBxIw6nIIroFT7jR4RLvUfftX7OAunjDtjqVOlhrqNdNMVWFcoW1uZwNI3/s1600/NAVSAlogowhitetransp.gif" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Donald Gray Prize</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">NAVSA</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 20, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">NAVSA's annual Donald Gray Prize for best essay published in
the field of Victorian Studies is named after Donald J. Gray, Culbertson
Professor Emeritus in the English Department of Indiana University. Professor
Gray received his PhD at Ohio State University, where he completed his
dissertation under the direction of Richard Altick, and began teaching at
Indiana University in 1956. At Indiana, Professor Gray received the
university's Distinguished Teaching Award, its Distinguished Service Award, and
the President's Medal of Excellence; in 1997, he received the MLA award for
professional service. He was a dissertation director of legendary
responsiveness, acuity and stamina, having directed over 75 dissertations.
Professor Gray is the editor of the Norton Pride and Prejudice and Alice
in Wonderland; with George Tennyson he edited Victorian Poetry and Prose for
Macmillan. He also served as editor of the journal College English and,
beginning in 1957, as the Book Review Editor of Victorian Studies, helping
the founding editors steer the journal through its early years. From 1990-2000
he served as principal editor of the journal. He retired in 1998. The Gray
Prize honors his remarkable achievements as editor and graduate-student
teacher.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">NAVSA is now seeking nominations for the Donald Gray Prize
for best essay published in the field of Victorian Studies. The prize carries
with it an award of $500 and will be awarded to essays that appeared in print
or online in journals from the previous calendar year. Essays may be on any
topic related to the study of Victorian Britain. Note that the actual date of
appearance trumps the date given on the issue itself since it's common for
journals to lag behind official issue dates. (The prize is limited to journal
essays; those published in essay collections are not eligible.) The winner will
also receive complementary registration at the NAVSA conference at which his or
her award will be announced. Anyone, regardless of NAVSA membership status, is
free to nominate an essay that appeared in print between January 1, 2013 and
December 31, 2013. Nominations will also be solicited from the Advisory Board
of NAVSA and the prize committee judges; self-nominated essays are equally
welcome. Authors may be from any country and of any institutional standing.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">To nominate an essay, please submit by Tuesday, 20 May
2014: (1) a brief cover sheet with complete address and email information for both the
essay's nominator and its author, and (2) a digital copy of the essay (in .pdf,
.doc or .docx) to the Executive Secretary of NAVSA, Deborah Denenholz Morse, at
the following e-mail address: <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="mailto:ddmors@wm.edu">ddmors@wm.edu</a></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The winning essay will be selected according to three
criteria: 1) Potential significance for Victorian studies; 2) Quality and depth
of scholarly research and interpretation; 3) Clarity and effectiveness of
presentation. The judges will choose one essay for the award, with one honorary
runner-up also selected, when appropriate, and will provide a short paragraph
for use in announcing the award. If the judges are deadlocked, the decision is
thrown to the NAVSA Executive Council.</span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-17504512970858525572014-04-17T23:28:00.000-04:002014-04-17T23:28:20.067-04:00CFP: Anxious Forms (5/15/2014; 8/22/2014)<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;"><br />
</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lfDjZ2snDHuNMB44xb0Unvyl1WIt8hYXP_hk9FwFyOfiCvIzb_9RL1bIp2GEtbx4ZaLjU50UUYxn4rVC3mj_JfXbS5fidHYbXBTeJlFF8U4n7GExMrRw2An6AE6VMySl_wu5/s1600/images.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lfDjZ2snDHuNMB44xb0Unvyl1WIt8hYXP_hk9FwFyOfiCvIzb_9RL1bIp2GEtbx4ZaLjU50UUYxn4rVC3mj_JfXbS5fidHYbXBTeJlFF8U4n7GExMrRw2An6AE6VMySl_wu5/s1600/images.jpg" height="110" width="200" /></a></span></div>
<span style="font-family: Georgia, Times New Roman, serif;">Anxious Forms: Bodies in Crisis in Victorian Literature and Culture</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">The University of Glasgow</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">August 22, 2014 </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 15, 2014</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Anxious Forms is a one-day interdisciplinary conference which
seeks to engage with the Victorian era as a period of anxiety manifested in
physical form, be it the human body, national, ideological, and scientific
bodies, or literary and artistic forms. Recent criticism of the long nineteenth
century has viewed the period as one of crisis: a collection of critical
moments which are framed as decisive, paradigmatic shifts. Criticism frequently
considers the physical manifestations of anxieties surrounding industrial progress,
imperial expansion, and scientific and medical advancements, as well as
shifting concepts of gender, religion, race, class, and sexuality.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">However, some scholars have started to question the basis of such a
reading, asking to what extent this is a contemporary application of the
concept of 'anxiety'. This conference intends to open up this debate and
stimulate discussion across disciplines. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Confirmed speakers include Dr Nicholas Daly (University College
Dublin), Dr Christine Ferguson (University of Glasgow) and Dr Megan Coyer
(University of Glasgow). Through this conference we wish to highlight the
University of Glasgow as a major centre for multidisciplinary Victorian
research and intend this to be the first annual nineteenth-century conference hosted
by the University, with an accompanying published collection of papers.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Topics for papers might include, but are not limited to:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Bodies of publication</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Narrative Forms</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Identity crises</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Objectified, pornographic or voyeuristic bodies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Bodies of commodification and consumption</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Spiritual, supernatural and spectral bodies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Bodies politic, national and foreign bodies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Environmental, geological and archaeological bodies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Medicine and the medical humanities</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Biological, mechanical and prosthetic bodies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Forms of cartography and travel writing</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Art, illustration, film and photography</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Collected and classified bodies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Neo-Victorianism</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Bodies of knowledge</span></li>
</ul>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">We welcome proposals from postgraduate and early career researchers, as
well as from more established academics. Please send abstracts of no more than
300 words for 20-minute conference papers, together with an academic CV, to <a href="mailto:arts-anxiousforms2014@glasgow.ac.uk"><span style="color: windowtext; text-decoration: none; text-underline: none;">arts-anxiousforms2014@glasgow.ac.uk</span></a> by May
15, 2014. Successful applicants will be notified by the end of the following
week.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The conference is free to attend for both speakers and non-speakers;
please contact us (Abigail Boucher and Alexandra Foulds at <a href="mailto:arts-anxiousforms2014@glasgow.ac.uk"><span style="color: windowtext; text-decoration: none; text-underline: none;">arts-anxiousforms2014@glasgow.ac.uk</span></a>)
to register.</span></div>
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<br /></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-16343830142583502982014-04-17T23:22:00.000-04:002014-04-17T23:22:52.189-04:00CFP: PAMLA 2014 "Literature and the Other Arts" (5/15/2014; 10/31-11/2/2014)<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyX2D0iBK8XwtbOuLhzq9id_KxXED5mRegbRFewbOfzuGh3o57ZAHw0z4xtl2YeOhH_pfo2tjX5izfQIgGp3bCAyKPFwp9fKI9yMuRsgN2tYH9IxXOjJPRzLH4Mk41uz_bhxFJ/s1600/logo.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyX2D0iBK8XwtbOuLhzq9id_KxXED5mRegbRFewbOfzuGh3o57ZAHw0z4xtl2YeOhH_pfo2tjX5izfQIgGp3bCAyKPFwp9fKI9yMuRsgN2tYH9IxXOjJPRzLH4Mk41uz_bhxFJ/s1600/logo.png" height="183" width="200" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">PAMLA 2014: Literature and the Other Arts</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Riverside, CA</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">October 31-November 2, 2014</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 15, 2014</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Proposals for papers are invited on any subject relating to the session
theme of literature and the other arts. PAMLA 2014’s special conference theme
is “Familiar Spirits,” so papers that consider the familiar, familial, and the
commonplace in relation to the paranormal, strange, and uncanny, or reference spiritualism,
spirits, hauntings, manifestations, conjuring, or magic will be particularly
appropriate, but proposals on any topic related to literature and the other
arts are equally welcome.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Georgia, Times New Roman, serif;">Please submit your proposal via the PAMLA website (<a href="http://www.pamla.org/2014">http://www.pamla.org/2014</a>). For questions
about the session, please contact Judy DeTar at jsdetar@sbcglobal.net.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The 2014 PAMLA conference will be held <a href="" name="_GoBack"></a>Friday,
October 31st through Sunday, November 2nd at the Riverside Convention Center in
Riverside, California. More information is available at the PAMLA website, <a href="http://www.pamla.org/2014"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.pamla.org/2014</span></a>. Conference
guidelines and procedures and the answers many frequently asked questions can
be found at <span style="mso-field-code: "HYPERLINK \0022http\:\/\/www\.pamla\.org\/2014\/guidelines-and-procedures\0022 \\t \0022_blank\0022";">http://www.pamla.org/2014/guidelines-and-procedures</span>.
</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-86370526335676202892014-04-17T23:16:00.001-04:002014-05-12T10:08:36.885-04:00CFP: MMLA '14 "The City and the Aesthetic" (5/31/2014; 11/13-16/14)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaLAZnBOee8XV7Vhn9yjfFEcEDrmLk_-rorjaYRDAMqjWwxKoREBv6ZEEgjWqfqOzWwfd4GqUZ9sx0HSuvvq18k4nSC-A7heW0ic31Btv_vM6zNEiFhSRVpDBS2AYCifeskKS/s1600/detroit-michigan.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaLAZnBOee8XV7Vhn9yjfFEcEDrmLk_-rorjaYRDAMqjWwxKoREBv6ZEEgjWqfqOzWwfd4GqUZ9sx0HSuvvq18k4nSC-A7heW0ic31Btv_vM6zNEiFhSRVpDBS2AYCifeskKS/s1600/detroit-michigan.jpg" height="123" width="200" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">CFP for English II: English Literature 1<a href="file://localhost/callto/+1800-1900"><span style="color: windowtext; text-decoration: none; text-underline: none;">800-1900</span></a><br />
MMLA 2014</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Detroit, MI</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">November 13-16, 2014</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 31, 2014</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Please consider submitting an abstract to the
nineteenth-century section of the Midwest Modern Language Association's annual
conference.</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">"The City and the Aesthetic"</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">From William Wordsworth’s “Upon Westminster Bridge” to
William Morris’s horror at modern cityscapes, from the craze for Aesthetic
housewares to debates over working-class access to art museums, the
nineteenth-century city presented both aesthetic problems and aesthetic
opportunities. How did urbanization transform both the aesthetic experiences
that were available and the categories through which these experiences were
understood? Implicit in this question is a recognition that the city may
provide an especially fertile ground for exploring negative aesthetic reactions
like distaste or disgust, which remain comparatively under-theorized.</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Papers that approach “The City and the Aesthetic” through
the lens of perception, affect, or pleasure are welcome, as are papers that
connect aesthetics to politics, consumption, or class.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Send abstracts to Julia Bninski (<a href="mailto:jlbninski@gmail.com"><span style="color: windowtext; text-decoration: none; text-underline: none;">jlbninski@gmail.com</span></a>) by May 31.
Abstracts should be approximately 250-500 words. Please provide the following
information: your name, institutional affiliation, email address, and paper title.
For more information visit <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.luc.edu/mmla/index.html">http://www.luc.edu/mmla/index.html</a></span></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-90501126944505057652014-04-07T17:49:00.002-04:002014-04-07T17:49:29.737-04:00Registration: The Turbulent Mind (5/16-17/2014)<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheppw4yAO65rocr3btGi-Xrn4YgwNXhcL7OfOQhNdKOLPTEm1F7mOefNNazi8UF10ohbDrAC7pL88zeBhjZMn6ny5hjIrHq6kAG6nt_2huzRRNF2FtMs3A5cPaSRI9EdP9X2Ih/s1600/cropped-sk-a-10551.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheppw4yAO65rocr3btGi-Xrn4YgwNXhcL7OfOQhNdKOLPTEm1F7mOefNNazi8UF10ohbDrAC7pL88zeBhjZMn6ny5hjIrHq6kAG6nt_2huzRRNF2FtMs3A5cPaSRI9EdP9X2Ih/s1600/cropped-sk-a-10551.jpg" height="115" width="400" /></a></div>
<div class="MsoNormal">
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The Turbulent Mind: Madness, Moods and Melancholy in the Art
of the Nineteenth Century</div>
<div class="MsoNormal">
Ghent, Museum of Fine Arts, </div>
<div class="MsoNormal">
In collaboration with the Research Platform XIX and the
European Society for Nineteenth-Century Art</div>
<div class="MsoNormal">
May 16-17, 2014</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With the support of the Research Foundation - Flanders,
Flemish Art Collection, Museum of Fine Arts Ghent, Dutch Postgraduate School
for Art History (OSK), Ghent University - Faculty of Arts and Philosophy</div>
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<br /></div>
<div class="MsoNormal">
On May 7, 1824, Eugène Delacroix wrote in his diary: “I
do not care for reasonable painting at all. I can see that my turbulent mind
needs agitation, needs to free itself, to try a hundred different things before
reaching the goal whose tyrannous call everywhere torments me. (...) If I am
not quivering like a snake in the hands of Pythoness, I am cold; I must
recognize it and submit to it; and to do so is happiness.”</div>
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<br /></div>
<div class="MsoNormal">
In these lines, Delacroix evoked the age-old theme of the
mad artist, tormented but divinely inspired, balancing on the verge of insanity
and genius. The attraction of this idea to Delacroix was hardly an isolated
phenomenon. The rise of romanticism saw an exploding interest in the irrational
and its potential to liberate the arts, and even the world at large, and this
interest resonated throughout the rest of the nineteenth century. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the occasion of the Théodore Géricault exhibition in the
Museum of Fine Arts in Ghent, the museum joins forces with the Research
Platform XIX and the European Society for Nineteenth-Century Art to organise a
two-day conference to explore the theme of madness and art in the nineteenth
century, a time when artists first deliberately turned for inspiration to the
mentally deviant and fully developed the idea of art as an expression of the
emotional self. The conference brings together international specialists in the
field and deals with both the myth of the artistic temperament and
representations of madness, moods or melancholy.</div>
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<br /></div>
<div class="MsoNormal">
Organising committee: Jan Dirk Baetens (Radboud University,
Nijmegen), Koen Brosens (KU Leuven), Rachel Esner (University of Amsterdam),
Bruno Fornari (Museum of Fine Arts, Ghent), Jenny Reynaerts (Rijksmuseum,
Amsterdam), Johan De Smet (Museum of Fine Arts, Ghent), Marjan Sterckx (Ghent
University) and Cathérine Verleysen (Museum of Fine Arts, Ghent)</div>
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<br /></div>
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Scientific committee: Werner Adriaenssens (Royal Museum of
Art and History, Brussels), Maite van Dijk (Van Gogh Museum, Amsterdam), Mayken
Jonkman (RKD, The Hague), Herwig Todts (Royal Museum of Fine Arts, Antwerp),
Francisca Vandepitte (Royal Museums of Fine Arts, Brussels), Filip Vermeylen
(Erasmus University, Rotterdam) and Catherine de Zegher (Museum of Fine Arts,
Ghent</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More information:</div>
<div class="MsoNormal">
Jan Dirk Baetens, Radboud University Nijmegen: <a href="mailto:j.baetens@let.ru.nl"><span style="color: windowtext; text-decoration: none; text-underline: none;">j.baetens@let.ru.nl</span></a></div>
<div class="MsoNormal">
Cathérine Verleysen, Museum of Fine Arts Ghent: <a href="mailto:catherine.verleysen@gent.be"><span style="color: windowtext; text-decoration: none; text-underline: none;">catherine.verleysen@gent.be</span></a></div>
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Admission: € 40 (students € 25) </div>
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Includes coffee breaks and lunch on 16 and 17 May</div>
<div class="MsoNormal">
Max. registrations: 100</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Registration: Email to <a href="mailto:catherine.verleysen@gent.be"><span style="color: windowtext; text-decoration: none; text-underline: none;">catherine.verleysen@gent.be</span></a> (mentioning
your institutional affiliation), and transfer of the registration fee to: </div>
<div class="MsoNormal">
AGB Kunsten en Design – Botermarkt 1 – B-9000 Ghent –
Belgium</div>
<div class="MsoNormal">
IBAN BE11 0<a href="file://localhost/callto/+1910%201974"><span style="color: windowtext; text-decoration: none; text-underline: none;">910 1974</span></a> 1448</div>
<div class="MsoNormal">
BIC GKCCBEBB</div>
<div class="MsoNormal">
Mentioning name of participant and ‘The Turbulent
Mind’ </div>
<div class="MsoNormal">
Confirmation of registration takes place only after receipt
of the conference fee.</div>
<div class="MsoNormal">
Languages: English / Français</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.mskgent.be/"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.mskgent.be</span></a></div>
<div class="MsoNormal">
<span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.werkgroep-xix.blogspot.be/">http://www.werkgroep-xix.blogspot.be</a></span></div>
<div class="MsoNormal">
<a href="http://esnaonline.wordpress.com/">http://esnaonline.wordpress.com</a></div>
<div class="MsoNormal">
<br /></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-71736567736277542352014-04-07T17:41:00.001-04:002014-04-07T17:42:55.906-04:00Registration Open: Remarkable Reynolds: Dickens's Radical Rival (7/26/2014)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBpJpP_8FKhUkSMe9hfrFVsWBX11I983RXWl0CyJ-yoGYWhKstz5g_1sNSaFp6GbU3OQ48F7Doi8z_0yneh9G0VPv58frDI6Y-kQTZk1jAJSpTtDeZruu-J9WNDCz2y-xzKVEj/s1600/thumbnail-image-spoken-word-and-printed-page-article-for-191.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBpJpP_8FKhUkSMe9hfrFVsWBX11I983RXWl0CyJ-yoGYWhKstz5g_1sNSaFp6GbU3OQ48F7Doi8z_0yneh9G0VPv58frDI6Y-kQTZk1jAJSpTtDeZruu-J9WNDCz2y-xzKVEj/s1600/thumbnail-image-spoken-word-and-printed-page-article-for-191.jpg" height="320" width="211" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Westminster City Archives and </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The University of Roehampton Present: </span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Remarkable Reynolds: Dickens's Radical Rival</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">University of Roehampton</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">London, UK</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">July 26, 2014</span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“a name with which no lady’s, and no gentleman’s, should be
associated…”- Charles Dickens</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">A FREE bicentenary event exploring the life & work of George
W M Reynolds<br style="mso-special-character: line-break;" />
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<!--[endif]--></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Saturday 26 July 2014<br />
11.00am – 4.00 pm<br />
City of Westminster Archives Centre<br />
Tea and coffee available from 10.30<br />
Exhibition of Reynolds-related material</span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Keynote Speakers:<br />
Anne Humpherys<br />
Louis James<br />
Readings by Michael Slater from Bleak House and The Mysteries of
London</span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Places are FREE but limited.<br />
To reserve your place, REGISTER at:<br />
Westminster City Archives, 10 St Ann’s St, London SW1P 2DE<br />
tel.: 020 7641 5180<br />
<a href="mailto:archives@westminster.gov.uk"><span style="color: windowtext; text-decoration: none; text-underline: none;">archives@westminster.gov.uk</span></a></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Email Mary L. Shannon at the University of Roehampton with
any questions: <a href="mailto:Mary.Shannon@Roehampton.ac.uk">Mary.Shannon@Roehampton.ac.uk</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">For more information: <a href="http://remarkablereynolds.wordpress.com/2014/03/28/westminster-archives-centre-and-the-university-of-roehampton-presents/">http://remarkablereynolds.wordpress.com/2014/03/28/westminster-archives-centre-and-the-university-of-roehampton-presents/</a></span></div>
<div class="MsoNormal">
<span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.roehampton.ac.uk/english-and-creative-writing/"><span style="font-family: Georgia, Times New Roman, serif;">http://www.roehampton.ac.uk/english-and-creative-writing/</span></a></span></div>
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<span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.westminster.gov.uk/archives"><span style="font-family: Georgia, Times New Roman, serif;">http://www.westminster.gov.uk/archives</span></a></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-4617184025906974912014-04-07T17:33:00.000-04:002014-04-07T17:33:55.950-04:00CFP: '14 ICR "Romantic Reflections" (4/21/2014; 9/25-28/2014)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSBtxkG-VphcED5dACY0MvvDz2Q_lKvmaoAUfavhmKroV0bohO53vHtl_OTyBZpfJ0E7bFkl6Lo9FVpPCzsKihS51tH0FyVPdupBNnPDkbYNJsLyJR9yC90mql9ggpZhgTc5a/s1600/RomanticismConferenceBanner2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSBtxkG-VphcED5dACY0MvvDz2Q_lKvmaoAUfavhmKroV0bohO53vHtl_OTyBZpfJ0E7bFkl6Lo9FVpPCzsKihS51tH0FyVPdupBNnPDkbYNJsLyJR9yC90mql9ggpZhgTc5a/s1600/RomanticismConferenceBanner2.jpg" height="106" width="400" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br />“Romantic Reflections”</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">2014 International Conference on Romanticism </span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Minneapolis, Minnesota </span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">September 25-28, 2014</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Deadline: April 21, 2014</span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The 2014 meeting of the International Conference on
Romanticism will be held in Minneapolis, Minnesota in the heart of downtown on
the banks of the Mississippi river September 25th-28th. In keeping with the
spirit of the ICR, the conference organizers wish to focus on the
cross-disciplinary and international aspects of Romanticism. The theme will be
Romantic Reflections, which should be interpreted in its broadest context.
Possible topics could include but should not be limited to:</span></div>
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</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Reflections in the arts</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Reflections in the sciences</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Romantic reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Sociological reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Cross-national echoes</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Colonial reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Reflections in nature</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Gothic appropriations</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Intertextual echoes</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Boundary and border crossings</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Romantic collaborations</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Interdisciplinary Romanticism</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Aesthetic reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Romantic appropriations of archetypes and myths</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Environmental reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Romantic Others</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Class reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Gender reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">War and Peace</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Critical reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Philosophical reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Traveling reflections</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Economic echoes</span></li>
</ul>
<span style="font-family: Georgia, 'Times New Roman', serif;">Abstract for complete panels and individual papers are
welcome. Please send 250 word abstracts to </span><a href="mailto:icr2014@stthomas.edu" style="font-family: Georgia, 'Times New Roman', serif;"><span style="color: windowtext; text-decoration: none; text-underline: none;">icr2014@stthomas.edu</span></a><span style="font-family: Georgia, 'Times New Roman', serif;">. The deadline for
submissions is April 21, 2014.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-8526459839494180042014-04-07T17:25:00.000-04:002014-04-07T17:25:41.293-04:00Forum: Birkbeck Summer Programme (Summer 2014)<div class="MsoNormal">
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Birkbeck Forum for Nineteenth-Century Studies<br />
Summer Term 2014 Programme<br />
<br />
Friday 9 May 2014, 6.008.00pm<br />
Pamela Gilbert (Florida): 'Body Objects and History: The Skin of the Marquis'<br />
<br /><br />
BIRKBECK ARTS WEEK EVENTS (19-24 May 2014)<br />
Monday 19 May 2014, 7.309.00pm<br />"Clouds: Objects, Metaphor, Phenomena"<br />
Panel Discussion with Vladimir Jankovic (Manchester), Richard Hamblyn
(Birkbeck), and Esther Leslie (Birkbeck)<br />
<br />
Wednesday 21 May 2014, 6.009.00pm<br />"From Text to Screen and Back: Adaptation Across Media"<br />
Workshop with Richard Taws (UCL), Silke Arnold-de Simine (Birkbeck), and Ann
Lewis (Birkbeck)<br />
<br />
Thursday 22 May 2014, 7.409.00 pm<br />
Sarah Thomas (Birkbeck): "Curating 'Empire' at Tate: Dissonance and
British Art"<br />
To be held in Room G01, 43 Gordon Square<br style="mso-special-character: line-break;" />
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<span style="font-family: Georgia, Times New Roman, serif;">JUNE/JULY EVENTS<br />
Wednesday 4 June 2014, 6.008.00pm<br />
Mary Hunter (McGill): "Ladies in Waiting: Time and Gynecology in
Toulouse-Lautrec's Rue des Moulins (1894)"<br />
<br />
Monday 16 June 2014, 6.008.00pm<br />
Nicholas Gaskill (Rutgers): "Interior Designs: Charlotte Perkins Gilman and the
Progressive Art of Pure Colour"<br />
<br />
Tuesday 1 July 2014, 6.00-8.00pm<br />
Rachel Teukolsky (Vanderbilt): "Cartomania: Sensation, Celebrity, and the
Democratized Portrait"<br />
<br />
Tuesday 8 July 2014, 6.00-8.00pm<br />
Sue Zemka (Colorado State, Boulder): "Prosthetic Hands and Phantom Limbs"<br />
<br />
Unless otherwise noted, all sessions take place in the Keynes Library (Room
114, School of Arts, 43 Gordon Square, London, WC1H 0PD). The sessions are free
and all are welcome, but since the venue has limited space it will be first
come, first seated.<br />
<br />
For more information, see: <a href="http://www.bbk.ac.uk/english/our-research/research_cncs/our-events/birkbeck-forum-for-nineteenth-century-studies-summer-term-2014"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.bbk.ac.uk/english/our-research/research_cncs/our-events/birkbeck-forum-for-nineteenth-century-studies-summer-term-2014</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">For more information on Arts Week 2014, a list of other
events, and to book free tickets, see: <a href="http://www.bbk.ac.uk/arts/about-us/events/arts-week"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.bbk.ac.uk/arts/about-us/events/arts-week</span></a><br />
<br />
Please email c19@bbk.ac.uk to join our mailing list or to obtain
further information about the series.</span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-81113199462245816172014-04-07T17:20:00.000-04:002014-04-07T17:20:02.841-04:00Extended Deadline: The Prosaic Imaginary: Novels and the Everyday, 1750-2000 (4/11/2014; 7/1-4/2014)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6i-g8eW2NyOEgUtQI-PG85gEhwK6sZurIrgx2V5acxkrufC02YjQ41nKJhWW5m2HLXQ7QY4Rhl5s1F423yQ-ffX-ZU95J6RB4f_cBu2RBHx53AwuqXsZxtpD736gOoU8kMZMJ/s1600/images.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6i-g8eW2NyOEgUtQI-PG85gEhwK6sZurIrgx2V5acxkrufC02YjQ41nKJhWW5m2HLXQ7QY4Rhl5s1F423yQ-ffX-ZU95J6RB4f_cBu2RBHx53AwuqXsZxtpD736gOoU8kMZMJ/s1600/images.jpg" height="198" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The Prosaic Imaginary: Novels and the Everyday, 1<a href="file://localhost/callto/+1750-2000"><span style="color: windowtext; text-decoration: none; text-underline: none;">750-2000</span></a></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">University of Sydney</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">July 1-4 2014</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">FINAL Deadline: April 11, 2014</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Confirmed Keynote Speakers: </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Professor Maud Ellmann, Randy L. & Melvin R. Berlin
Professor of the Development of the Novel in English, Chicago</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Assist. Professor Julie Park, Vassar</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Professor John Plotz, Brandeis</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The conference will open up the nuances of the term
‘prosaic’ by exploring the privileged relationship between the novel genre and
multiple and complex categories of the ‘everyday’. Building on John Plotz’s
notion of the novel as exemplary ‘portable property’, the conference will
address the relationship between novel-reading as everyday activity and the
novel’s prosaic subject matter, whether this is conceived as material object,
cultural practice, or speech act.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Suggested topics: </span></div>
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</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and things</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and film/and TV</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Readerships of the novel</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and gender</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and childhood</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Queer novels</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Psychologies of the novel</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Novel genres</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The odd or uncategorisable</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The secular imagination</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Book history and the novel</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and the digital everyday</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Characters as quasi-persons</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Novel worlds</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and the institutionalisation of affect</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel as political action</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Temporalities of the novel</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The novel and the forms of property</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">The scale of the novel</span></li>
</ul>
<br />
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Proposals for 20 minute papers or for 3 paper panel sessions
should be sent to </span><span style="font-family: Georgia, 'Times New Roman', serif;">Vanessa Smith (Vanessa.smith@sydney.edu.au) by April 11,
2014. Postgraduate submissions welcomed.</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">For more information visit: </span><span style="color: windowtext; text-decoration: none;"><span style="font-family: Georgia, Times New Roman, serif;"><a href="http://novelnetwork.org/">http://novelnetwork.org/</a></span></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-12563310929147731232014-04-03T06:33:00.000-04:002014-04-07T17:36:12.948-04:00CPF: “Longevity Networks” Special Issue Victoriographies (6/30/2014; Fall 2015)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_plw0I8sjOR7NTtq7cvVoVwbaNDCN-bHQqE42Cd5cxpeK8SGDy6Uo_k4AFnx2QVflR3jMgzudxQR9ICuNmN8F5WldacpWmOj9uMdSq-iy0_IcKIAekLaUIZdLOtYRMQ2Bx8aU/s1600/cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_plw0I8sjOR7NTtq7cvVoVwbaNDCN-bHQqE42Cd5cxpeK8SGDy6Uo_k4AFnx2QVflR3jMgzudxQR9ICuNmN8F5WldacpWmOj9uMdSq-iy0_IcKIAekLaUIZdLOtYRMQ2Bx8aU/s1600/cover.jpg" height="200" width="133" /></a></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">CFP:
“Longevity Networks” Special Issue <span style="font-size: small;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;">Victoriographies, A
Journal of Nineteenth-Century Writing, 1790-1914</i> <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Fall
2015: “Longevity Networks.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Deadline:
June 30, 2014<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Essays
are sought for a special number of <i style="mso-bidi-font-style: normal;">Victoriographies</i>
inspired by the concept of textual longevity. There
is a great deal of energy in media studies, new materialism, and print culture around
questions of textual longevity. We understand longevity to mean the iterability
of text, broadly conceived: reprinting, versions, editions, revisions,
translation, interpretation, appropriation, the readymade, intermediality,
homage, modernization, spoof, and parody. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Scholars in textual studies challenge
us to consider the variability of the text over time, historical eras, national
borders, print format, and genre. At the same time, Caroline Levine’s suggestion
of "birth-time" in a recent issue of <i style="mso-bidi-font-style: normal;">Victorian Studies</i> (Summer 2013) begs the related question whether
there is also a "death-time" for texts. She argues that we should turn
to form, and specifically to networks, to understand literary history in ways
that nation-focused approaches overlook. Texts moving through time and space
develop relational networks, which raises a number of productive questions: If
we consider networks of textual circulation as organic forms (networks as
organisms), what might such readings yield? What might readings of the
"birth-time" or "death-time" (or lack thereof) for a text
teach us about how we define a text? About nationalist claims and canonization?
About authorial and textual identity? About generic distinctions and ways of
reading? Or about crafting a more expansive, interpenetrative literary history
that extends beyond a critical reliance on place of origin or periodization? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">We
seek contributions to this special issue that generate a discussion on the iterable
textual body as an object that simultaneously resists decay and requires human
intervention to assist its regeneration, as that which is at once inanimate and
living, embodied and disembodied, singular and networked. We invite articles invested in Victorian literature and in
interrogating, recharting, reinscribing, and retracing the long nineteenth century.</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Possible
topics may include, but are not limited to, the following:<o:p></o:p></span></div>
<div class="MsoNormal">
</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Genre
and periodization</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">National
identification, borders, boundaries</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Publication
formats, print culture, the literary market place</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Recycled
narratives, interpretations, versions, fan fiction</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Artifacts,
archives, special collections, the museum, digitised treasures</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Chronotopes,
memory, preservation, and nostalgia; deep time readings</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Literary
aesthetics of death and afterlives</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Translations,
intermediality, circulation, appropriation</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Media
studies, history of the book</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Matter
and meaning-making; materialist poetics</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Literary
assemblages, paratextual matter</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Possibilities/limitations
of new materialism in literary studies</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">History
of science and technology, the posthuman</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Neo-Victorian,
steampunk</span></li>
</ul>
<br />
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Please
submit essays of 5,000-7,000 words (inclusive of end notes), a 250-word
abstract, a brief biographical sketch, and 5-6 keywords (preferably not words
used in the title) for online searches to Guest Editor Amy Kahrmann Huseby (University
of Wisconsin-Madison) at huseby@wisc.edu by June 30, 2014. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Please
do not submit a manuscript that is under consideration elsewhere. </span><span style="font-family: Times New Roman; font-size: 12pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-44102974650148415932014-04-03T06:26:00.000-04:002014-04-03T06:26:10.986-04:00Public Lecture: Leeds Centre for Victorian Studies (5/19/2014)<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh92jw2PP0fQhWBT8E6Cd4EIkRdaMPIB6gFdXYBh-O8Hs14aKt6mrwvJRj7-J4q0ibxFiFXVQf3V0oNvyYc4Fdi6_FpNQ0x04pmF0Wgw__SMoihRt1w0ik08GjOTm0MKk2JRl6A/s1600/logo-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh92jw2PP0fQhWBT8E6Cd4EIkRdaMPIB6gFdXYBh-O8Hs14aKt6mrwvJRj7-J4q0ibxFiFXVQf3V0oNvyYc4Fdi6_FpNQ0x04pmF0Wgw__SMoihRt1w0ik08GjOTm0MKk2JRl6A/s1600/logo-1.jpg" height="97" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif;">Annual Public Lecture</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif;">Leeds Centre for Victorian Studies</span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Leeds Trinity University, West Yorkshire</span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">May 19, 2014 </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Everyone is warmly invited to attend the
annual Leeds Centre for Victorian Studies public lecture, which will be on
Monday 19 May 2014 at 7pm in the Auditorium at Leeds Trinity
University, West Yorkshire. It will be delivered by our fourth visiting
professor, Regenia Gagnier (Professor of English at the University of Exeter)
on the topic “The Global Circulation of Victorian Actants and Ideas: in the
Niche of Nature, Culture and Technology”. The lecture will be preceded by a
wine reception at 6pm in the Conference Suite to celebrate the twentieth
anniversary of the Leeds Centre for Victorian Studies.</span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Professor Gagnier is a distinguished
scholar in the field of Victorian Studies and an outstanding critical thinker,
whose work has contributed substantially to our understanding of the modern
human condition. She has published numerous books on Victorian literature and
culture, including <i style="mso-bidi-font-style: normal;">Idylls of the
Marketplace: Oscar Wilde and the Victorian Public</i> (Stanford, 1986<i style="mso-bidi-font-style: normal;">), Subjectivities: A History of
Self-Representation in Britain 1<a href="file://localhost/callto/+1832-1920"><span style="color: windowtext; text-decoration: none; text-underline: none;">832-1920</span></a></i> (Oxford,
1991<i style="mso-bidi-font-style: normal;">), The Insatiability of Human
Wants: Economics and Aesthetics in Market Society</i> (Chicago, 2000) and <i style="mso-bidi-font-style: normal;">Individualism, Decadence and Globalization:
on the Relationship of Part to Whole 1<a href="file://localhost/callto/+1859-1920"><span style="color: windowtext; text-decoration: none; text-underline: none;">859-1920</span></a></i> (Palgrave
Macmillan, 2010).</span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">For further information and to book on to
this free event, visit:<a href="https://lcvspubliclecture.eventbrite.co.uk/"><span style="color: windowtext; text-decoration: none; text-underline: none;">https://lcvspubliclecture.eventbrite.co.uk</span></a> or
email<span style="color: windowtext; text-decoration: none;"><a href="mailto:lcvs@leedstrinity.ac.uk">lcvs@leedstrinity.ac.uk</a></span></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-85565618788012696522014-04-03T06:18:00.001-04:002014-04-03T06:18:18.589-04:00CFP: The Victorians and Literary Theory (5/15/2014; 10/31-11/2/2014)<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOZ-eLY7n89LTs-zxmE9DdXamA0h3S6zwBYfUjtSG2d_5MPvv67NqZd0b444K89yaZTnlgZvMlkLXXq6grngnatiAFTggJ4MlD9Uvbjrz093FeH_k_YqMB6tsfu61iRjQyHgI6/s1600/logo.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOZ-eLY7n89LTs-zxmE9DdXamA0h3S6zwBYfUjtSG2d_5MPvv67NqZd0b444K89yaZTnlgZvMlkLXXq6grngnatiAFTggJ4MlD9Uvbjrz093FeH_k_YqMB6tsfu61iRjQyHgI6/s1600/logo.png" height="183" width="200" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Special Session, PAMLA 2014 </span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Riverside Convention Center in Riverside,
California</span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">October 31- November 2, 2014</span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 15, 2014</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Paper proposals sought for an approved
PAMLA special session entitled "The Victorians and Literary
Theory." Proposals may address British Victorian fiction,
poetry, drama, or non-fiction, but the emphasis should be on literary/critical
theory and/or the history of literary criticism. In keeping with the
conference theme of "Familiar Spirits," this special session
aims to reflect on the continuing value of Victorian literature to those who
engage with literary theory.</span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">
Submission Deadline: The deadline for proposing papers to the approved
sessions will be Thursday, May 15, 2014. Proposals should be submitted via
the online submission form to be available at the following address: <a href="http://www.pamla.org/2014/"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.pamla.org/2014/</span></a>. Questions
may be directed to Al Drake at<a href="mailto:ajdrake@ajdrake.com"><span style="color: windowtext; text-decoration: none; text-underline: none;">ajdrake@ajdrake.com</span></a>.</span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-47485662589016522332014-04-03T06:12:00.000-04:002014-04-03T06:12:36.225-04:00Reminder: Essay Prize: RSVP "The 2014 Rosemary VanArsdel Prize" (5/1/2014)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl5_4UvZzeWByCJn2q9i1JqCHY2HwvwzhYUK3_tPWy8DkcDApS5RJ_5t2I0jj11UlHIhahgVqjOjfQlPWv2dza93GE0czksOlOiQKhWK6NMKh7Z6UbInMt0MCMi4vNhDhPKtE/s1600/masthead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br class="Apple-interchange-newline" /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLl5_4UvZzeWByCJn2q9i1JqCHY2HwvwzhYUK3_tPWy8DkcDApS5RJ_5t2I0jj11UlHIhahgVqjOjfQlPWv2dza93GE0czksOlOiQKhWK6NMKh7Z6UbInMt0MCMi4vNhDhPKtE/s1600/masthead.jpg" height="96" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The 2014 Rosemary VanArsdel Prize</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Research Society for Victorian Periodicals</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 1, 2014</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The VanArsdel Prize is awarded annually to the best graduate student essay investigating Victorian periodicals and newspapers. The prize was established in 1990 to honor Rosemary VanArsdel, a founding member of RSVP whose groundbreaking research continues to shape the field of nineteenth-century periodical studies.</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Graduate students are invited to submit essays for the 2014 VanArsdel Prize for the best graduate student essay on, about, or extensively using Victorian periodicals. The winner will receive $300 and publication in <i>Victorian Periodicals Review</i>. Submissions should be 15-25 pages, excluding notes and bibliography. Manuscripts should not have appeared in print. Send e-mail submissions to <i>VPR</i> Editor Alexis Easley (maeasley @ stthomas.edu) by May 1, 2014. Submissions should be formatted as Word files in Chicago style with identifying information removed. In an accompanying e-mail, applicants should include a description of their current status in graduate school.</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif;">For more information please visit:</span><span style="font-family: Georgia, 'Times New Roman', serif;"> </span><a href="http://www.rs4vp.org/prizes.html" style="font-family: Georgia, 'Times New Roman', serif;">http://www.rs4vp.org/prizes.html</a></div>
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<br /></div>
</div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-42271042775042227362014-04-03T06:07:00.001-04:002014-04-03T06:08:59.381-04:00Special Event: Birkbeck Forum for Nineteenth-Century Studies Podcast<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRuKdF7otHhQL8LAWp-XQYt1cQb_o6LAK4gjbWvBRh7-RlbBHJYiAdnhLJ5jZxlGpY1LfiuLYu-BopurX5ekRLIaDacz4m0jr5WhQV-AEd4O1_nQbFVWGTwMKRsNsxwGRdczH/s1600/url.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRuKdF7otHhQL8LAWp-XQYt1cQb_o6LAK4gjbWvBRh7-RlbBHJYiAdnhLJ5jZxlGpY1LfiuLYu-BopurX5ekRLIaDacz4m0jr5WhQV-AEd4O1_nQbFVWGTwMKRsNsxwGRdczH/s1600/url.jpg" height="112" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Birkbeck Forum for Nineteenth-Century
Studies Podcast<br />
<br />
More audio recordings for the Birkbeck Forum for Nineteenth-Century Studies
have now been posted on our website:<a href="http://www.bbk.ac.uk/english/our-research/research_cncs/our-events/past-events/birkbeck-forum-for-nineteenth-century-studies-past-events/birkbeck-forum-for-nineteenth-century-studies-event-reports"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.bbk.ac.uk/english/our-research/research_cncs/our-events/past-events/birkbeck-forum-for-nineteenth-century-studies-past-events/birkbeck-forum-for-nineteenth-century-studies-event-reports</span></a><br />
<br />
Here is a list of the new recordings:</span></span><br />
<ul>
<li><span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Angela Dunstan (Kent): "Sculptography, Sculpturing Machines, and Inanimate
Sculptors: Sculpture, Authenticity and Replication in Victorian Literature"</span></span></li>
<li><span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Vladimir Jankovic (Manchester): "Climate Fetishism in the Long Nineteenth
Century?"</span></span></li>
<li><span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Dennis Denisoff (Ryerson): "The Eco-Politics of Women's Pagan Desires"</span></span></li>
</ul>
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">
Recordings and event reports of other Forum events will also be posted to this
website in the future. For more information about the Birkbeck Forum for
Nineteenth-Century Studies or to view other events going on at the Centre for
Nineteenth-Century Studies at Birkbeck, please visit the website at:<a href="http://www.bbk.ac.uk/english/our-research/research_cncs"><span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.bbk.ac.uk/english/our-research/research_cncs</span></a><br />
<br />
To be added to the mailing list for the Birkbeck Forum for Nineteenth-Century
Studies, please email: c19@bbk.ac.uk</span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-20901484665310097542014-04-03T06:03:00.000-04:002014-04-03T06:03:20.951-04:00CFP: The "Exotic" Body in 19th-century British Drama (5/25/2014; 9/25-26/2014)<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJPQmA8DePw8OTqtNgS9w3dE3nDCEa_t0smdJodwdFOx2dEbXVcEKGK04IFDe9IsYrcuIVoCM7yYdL9U1e1qplYQZZAAJVg3jaeE576oYajx8jNAtkEAtod39zLqLbs6mTSCQL/s1600/imgres-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJPQmA8DePw8OTqtNgS9w3dE3nDCEa_t0smdJodwdFOx2dEbXVcEKGK04IFDe9IsYrcuIVoCM7yYdL9U1e1qplYQZZAAJVg3jaeE576oYajx8jNAtkEAtod39zLqLbs6mTSCQL/s1600/imgres-1.jpg" height="200" width="160" /></a></div>
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<span lang="EN-GB" style="font-variant: small-caps;"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
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<span lang="EN-GB" style="font-variant: small-caps;"><span style="font-family: Georgia, Times New Roman, serif;">The ‘Exotic’ Body
in 19th-century British Drama<span style="font-size: small;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">University of Oxford<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Faculty of English Language and
Literature, University of Oxford<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Funded under the 2011 Marie Curie Intra-European
Fellowships scheme, European Commission<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">September 25-26, 2014<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 25, 2014<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="IT"><span style="font-family: Georgia, Times New Roman, serif;">Convenor: Dr Tiziana
Morosetti (Oxford)<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Confirmed speakers: <o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Professor Ross Forman (Warwick), Dr
Peter Yeandle (Manchester), <o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Dr Hazel Waters (Institute of Race
Relations, London)<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Increasing attention has been paid in
recent years to the representation of the Other on the 19<sup>th</sup>-century British
stage, with key studies such as <i>Acts of Supremacy: The British Empire and
the Stage, 1790-1930</i> (Bratton et al. 1991), <i>The Orient on the Victorian
Stage</i> (Ziter 2003), <i>Bodies in Dissent: Spectacular Performances of Race
and Freedom, 1850-1910</i> (Brooks 2006), <i>Racism on the Victorian Stage:
Representation of Slavery and the Black Character</i> (Waters 2007), <i>Nineteenth-Century
Theatre and the Imperial Encounter </i><span style="mso-bidi-font-style: italic;">(Gould
2011), <em>China and the Victorian Imagination: Empires Entwined </em><em><span style="font-style: normal; mso-bidi-font-style: italic;">(Forman 2013).</span></em></span>
Building on these, the conference aims at exploring the concept, politics, and
aesthetic features of the ‘exotic’ body on stage, be it the actual body of the
actor/actress as s/he performs in genres such as the ‘Oriental’ extravaganza, or
the fictional, ‘picturesque’ bodies they bring on stage. A term that in itself
needs interrogation, the ‘exotic’ will therefore be discussed addressing the
visual features that characterize the construction and representation of the
Other in 19<sup>th</sup>-century British drama, as well as the material
conditions, and techniques that accompany the ‘exotic’ on stage on the cultural
and political background of imperial Britain. <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">One of the dissemination activities for
the two-year project ‘The Representation of the “Exotic” Body in 19th-century
English Drama’ (REBED), funded under the 2011 Marie Curie Intra-European
Fellowships scheme, the conference also hopes to function as a site for
discussing the state of the art on the ‘exotic’<span style="mso-bidi-font-style: italic;"> in the theatrical cultures of both Romantic and Victorian Britain; c</span>ontributions
on ongoing research and/or recently completed projects are therefore particularly
encouraged. <o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></span></div>
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<span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Although attention will be paid mostly
to the non-European Other, papers addressing a European ‘exotic’ are also
welcome. </span></span><span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Topics include the following:</span></span><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Definitions of ‘exotic’</span></b><span lang="EN-GB">: <o:p></o:p></span></span></div>
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</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Is the non-European Other on stage really
‘exotic’?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Are any genres more ‘exotic’ (or more
liable to convey ‘exotic’ stereotypes) than others?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Do different </span><i style="font-family: Georgia, 'Times New Roman', serif;">dramatis personæ</i><span style="font-family: Georgia, 'Times New Roman', serif;"> and/or settings convey different degrees of ‘otherness’?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Can the British on stage be ‘exotic’, and,
if so, to what extent?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Is the spectacular on stage itself
‘exotic’?</span></li>
</ul>
<br />
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">Staging the ‘exotic’ body</span></b><span lang="EN-GB">: <o:p></o:p></span></span></div>
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</div>
<ul>
<li><span lang="EN-GB" style="font-family: Georgia, 'Times New Roman', serif;">How are
costumes, make-up, scenery, movements employed to construct the ‘exotic’</span><span lang="EN-GB" style="font-family: Georgia, 'Times New Roman', serif;">?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Are any visual features more recurrent
than others?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">To what extent is the visual representation of the ‘exotic’
body historically accurate?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">How does music contribute to the staging of the Other?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Who embodies the ‘exotic’? Is the acting career informed by bringing
the Other on stage?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">Who were the audiences? Did their
composition have an impact on the performance of the ‘exotic’?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">Are any experiences abroad relevant to
how managers staged the Other in Britain?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">In what ways were representations of
the ‘exotic’ body informed by venues?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">The Other on the London stage and the
provinces</span></li>
</ul>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: list 14.2pt; text-indent: -.5in;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB"><span style="font-family: Georgia, Times New Roman, serif;">Cultural
and political backgrounds:<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-left: 14.2pt; tab-stops: list 14.2pt; text-indent: -14.2pt;">
</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">To what extent did audiences’
expectations affect theatrical representations of the Other?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">In what ways do class, gender, race inform the acting and
managing of ‘exotic’ pieces?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">To what extent did scientific and anthropological accounts
inform theatrical portraits of the Other?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Were illustrations of (European and/or) non-European
countries informed by theatre?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">In what ways have political narratives influenced (or been
influenced by) the ‘exotic’ on stage?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">Has the legal frame for the theatre
influenced the staging of the Other?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -14.2pt;">Visual
points of contact between popular entertainment and theatrical representations
of the Other</span></li>
</ul>
<br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">The travelling
‘exotic’</span></b><span lang="EN-GB">: </span><span lang="EN-GB"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 7.1pt; tab-stops: list 35.45pt; text-indent: -7.1pt;">
</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">How do texts such as </span><i style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">Arabian
Nights</i><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">, </span><i style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">Uncle Tom’s Cabin</i><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">, or </span><i style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">Mazeppa </i><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">‘travel’ between
dramatic and non-dramatic genres?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Survival of a Romantic ‘exotic’ in the Victorian staging of
the Other;</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Is </span><i style="font-family: Georgia, 'Times New Roman', serif;">Othello </i><span style="font-family: Georgia, 'Times New Roman', serif;">on the
Romantic and Victorian stage ‘exotic’?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -7.1pt;">How do translations/adaptations from other languages contribute
to the construction of the Other on the British stage? Can we define a British
specificity when it comes to the ‘exotic’?</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif;">Has the theatrical representation of the ‘exotic’ in Britain
had an impact on non-British stages?</span></li>
</ul>
<br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB">The legacy of 19<sup>th</sup>-century ‘exotic’
body:</span></b><span lang="EN-GB"> <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-left: .5in; tab-stops: list 14.2pt; text-indent: -.5in;">
</div>
<ul>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Contemporary plays/performances addressing </span><a href="" name="_GoBack" style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;"></a><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">the
Other on the 19</span><sup style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">th</sup><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">-century British stage (e.g. Lolita Chakrabarti’s </span><i style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">Red Velvet</i><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">)</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">The ‘exotic’ body on the British stage in a diachronic
perspective</span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">The non-European Other in the 20</span><sup style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">th</sup><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">- and 21</span><sup style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">st</sup><span style="font-family: Georgia, 'Times New Roman', serif; text-indent: -0.5in;">-century
Christmas pantomime</span></li>
</ul>
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<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-GB">Abstracts of no more than 300 words and
a short bio should be sent to </span><span lang="EN-GB"><a href="mailto:rebedconference@gmail.com">rebedconference@gmail.com</a></span><span lang="EN-GB"> by May 25, 2014. Speakers whose abstracts have been
accepted will be notified by June 15. <o:p></o:p></span></span></div>
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<br /></div>
Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-42506088408561604062014-04-03T00:52:00.002-04:002014-04-03T00:52:50.833-04:00CFP: “Dickens and Conviviality” (5/31/2014; 10/11/2014)<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha3iNy7GL5_j81xWKgsKxHbrz3JT3hmSv0FtM4VWqndEeA9IeGbUmMWITzbejH-ATNqoXLrOL70i5K9d_CqsYIDNVXyZcdIl0i3Q6jE7raney1ZZ0VPyIHNo9AuvbLpR_rVKIj/s1600/image.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha3iNy7GL5_j81xWKgsKxHbrz3JT3hmSv0FtM4VWqndEeA9IeGbUmMWITzbejH-ATNqoXLrOL70i5K9d_CqsYIDNVXyZcdIl0i3Q6jE7raney1ZZ0VPyIHNo9AuvbLpR_rVKIj/s1600/image.jpg" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Dickens Day 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Senate House, London (WC1)<br />
Saturday October 11, 2014<br />
Deadline: May 31, 2014<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“Dickens and
Conviviality”<br />
Dickens’s works
are famously convivial, depicting sociability in myriad forms: from the
famously boozy Pickwick Papers, through the Crachits sentimental
festive celebrations in <i style="mso-bidi-font-style: normal;">A Christmas Carol</i>,
to the miserable family gatherings of Martin Chuzzlewit and <i style="mso-bidi-font-style: normal;">Great Expectations,</i> and the skewering of
upper-class social pretentions and false conviviality in <i style="mso-bidi-font-style: normal;">Bleak House</i>, <i style="mso-bidi-font-style: normal;">Little Dorrit</i>
and <i style="mso-bidi-font-style: normal;">Our Mutual Friend</i>. Dickens’s
works were famous from the outset for their emphasis on humor, celebrations,
family gatherings, theatrics, eating and drinking, and good cheer. Dickens was
also himself famously convivial and sociable, accruing a wide circle of friends
across the social spectrum and notorious for his love of parties, jamborees,
practical jokes, theatrics, and other forms of high-spirited sociability. Yet
Dickens was also a chronicler of the flipside of bonhomie, exploring
loneliness, isolation, poverty and want, social aping and pretension, and the feelings
of inadequacy, anxiety and exclusion that may fuel conviviality.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br />
How do conviviality, sociality, and humor operate in Dickens’s work, and how
and why do such depictions continue to amuse and entertain? What critical,
biographical and psychological frameworks can the committee apply to analyze Dickensian
good feeling? These are some of the questions the day seeks to address.</span><span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, 'Times New Roman', serif;">The committee </span><span style="font-family: Georgia, 'Times New Roman', serif;"> warmly invite proposals for 20-minute papers from scholars of all
backgrounds and career stages. We are always keen to feature new work from
postgrads, postdocs, early career teachers and researchers, and those working
outside the academy. </span><span style="font-family: Georgia, 'Times New Roman', serif;">Topics might include, but are by no means limited to, the following:</span></div>
<div class="MsoNormal">
</div>
<ul>
<li><span style="font-family: Georgia, Times New Roman, serif;">Humor, laughter and good cheer</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Food and drink</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Christmas</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Picnics, outings, excursions, holidays, parties</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Class and representations of conviviality</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Dickens’s reputation –
then and now – as a
comic novelist</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Humor, satire and Dickens’s radical politics</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">The adaptation of Dickens’s humor into other mediums – theatre, film, television</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Amateur theatrics</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Bodily expressions of the convivial: laughter, smiling, glowing and other
non-verbal, physical cues and manifestations</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Biography – Dickens’s
famous conviviality and many friendships</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Conviviality’s ‘others’: social
anxiety and isolation, shyness, poverty and want</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">False conviviality: masks, social climbing and pretension</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Religion and Victorian social and moral attitudes towards conviviality</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Dickens’s relationship with his community of readers</span></li>
<li><span style="font-family: Georgia, Times New Roman, serif;">Dickensian good feeling: how the work and life of Dickens encourage
conviviality and good feeling amongst the academics, enthusiasts and readers of
his work. The purpose, history and success of the Dickens Fellowship and
similar organizations and groups that celebrate Dickens and his work through
social events.</span></li>
</ul>
<span style="font-family: Georgia, Times New Roman, serif;">
Please send proposals (maximum 500 words) to Bethan Carney, Holly Furneaux and
Ben Winyard
at bethan.carney@gmail.com, hf35@le.ac.ukand benwinyard@hotmail.com.
The deadline for paper proposals is 31st May 2014.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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CFP website: <span style="color: windowtext; text-decoration: none;"><a href="http://www.bbk.ac.uk/english/news/cfp-dickens-day-2014-dickens-and-conviviality">http://www.bbk.ac.uk/english/news/cfp-dickens-day-2014-dickens-and-conviviality</a></span></span><span style="font-family: Times New Roman;"><o:p></o:p></span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-47829989489554681722014-04-03T00:39:00.001-04:002014-04-03T00:40:35.802-04:00CFP: SAMLA '14 “Maps & the Victorian World” (5/31/14; 11/7-9/2014)<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrkUzTXPybjo8G79wUKUp8YO8Ouzn5tFyLg-5GSN6swZyoDOeR4iAsGUEixUlg9KDUarkFhcfVnB1MYN_gAUoIOXw6iN4aeHCMBEWKn2Z7rhN88nNZ74Xj1G0vMATTOg_mF_o3/s1600/samla+86+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrkUzTXPybjo8G79wUKUp8YO8Ouzn5tFyLg-5GSN6swZyoDOeR4iAsGUEixUlg9KDUarkFhcfVnB1MYN_gAUoIOXw6iN4aeHCMBEWKn2Z7rhN88nNZ74Xj1G0vMATTOg_mF_o3/s1600/samla+86+cover.jpg" height="320" width="213" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Sustainability and the Humanities </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">2014 South Atlantic Modern Language Association </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Atlanta, GA. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">November 7-9, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 31, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Sustaining Victorian Spaces Through Maps</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“Maps & the Victorian World”</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This panel welcomes essays exploring how the Victorians
attempted to preserve an interpretation or vision of their world through maps
AND/OR current projects that preserve or represent the Victorian world through
maps. By May 31, 2014, please submit a 350-500 word abstract, a brief CV
(both as attachments in MS Word or PC compatible document format), and A/V
requirements to Shannon N. Gilstrap, University of North Georgia, at
shannon.gilstrap@<a href="http://ung.edu/"><span style="color: windowtext; text-decoration: none; text-underline: none;">ung.edu</span></a>.</span></div>
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<span style="color: windowtext; font-family: Georgia, 'Times New Roman', serif;">For more information visit: <a href="http://samla.memberclicks.net/">http://samla.memberclicks.net/</a></span><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></div>
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.comtag:blogger.com,1999:blog-22695746.post-62128721537397243872014-03-27T09:54:00.001-04:002014-03-27T09:54:28.168-04:00CFP: Creativity and Commerce in the Age of Print (5/5/2014; 7/26/2014)<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtO3qL-1OtGU-190R7IuBJTby8fnHcP4dYgoPofaK0Hs6FiYeTLxSfQWKMSV36WRGrUs9rh0_aee6LFsrRJ2ufDf0jMgsQAEvRi3Zs_1r6q4xI8FMErrROkXoOlAibEEqZVpo/s1600/url.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtO3qL-1OtGU-190R7IuBJTby8fnHcP4dYgoPofaK0Hs6FiYeTLxSfQWKMSV36WRGrUs9rh0_aee6LFsrRJ2ufDf0jMgsQAEvRi3Zs_1r6q4xI8FMErrROkXoOlAibEEqZVpo/s1600/url.jpg" height="155" width="200" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">“Creativity and Commerce in the Age of Print”</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Centre for the History of the Book </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">University of Edinburgh</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">July 26, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Deadline: May 5, 2014</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Hosted by the Centre for the History of the Book at the
University of Edinburgh, this interdisciplinary conference will explore the
sometimes-fraught connections between the ‘art’ and ‘trade’ of books from the Western
invention of printing to today. Are the interests of authors and publishers
always opposed, or can they lead to productive forms of collaboration? Does
work undertaken for the marketplace necessarily compromise its moral and
cultural standing? How does literature become property, and how has authorship evolved
between the starving writer of ‘Grub Street’ and the modern book festival
circuit? Can the requirements of the printing and bookselling industries
constitute a form of de-facto censorship, determining the types of work that are
published and circulated?</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The organizers are currently seeking papers from postgraduate and early
career researchers interested in questions such as these, with potential topics
including (but not limited to): </span></div>
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<li>Authorship and other creative professions</li>
<li>The printing and bookselling industries</li>
<li>Author-publishers relationships</li>
<li>Dissemination networks</li>
<li>Subscription and patronage</li>
<li>Book advertising, illustration</li>
<li>Serial publication</li>
<li>‘Tie-ins’, merchandise, and material culture</li>
<li>Libraries and book collecting</li>
<li>Commerce and censorship</li>
<li>Originality, copyright, and intellectual property</li>
<li>Book piracy and its national boundaries</li>
<li>Creative work and gender</li>
<li>The impact of new technologies for production and
dissemination</li>
<li>The ‘rise’ or ‘death’ of print.</li>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Proposals in all relevant subject areas and historical
periods post-1450 are welcome. Please send a 200-word abstract to
N.Simonova@ed.ac.uk by May 5, 2014. Limited travel bursaries may be available;
indicate if you would require one to attend. The conference will take place in
Edinburgh on July 26, 2014, with registration opening in June.</span><div class="MsoNormal">
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Felluga's Bloghttp://www.blogger.com/profile/13209953406724726557noreply@blogger.com