Britain, Canada, and the Arts: Cultural Exchange as Post-war Renewal
15-17 June 2017
CALL FOR PAPERS
Papers are invited for a major international, interdisciplinary conference to be held at Senate House, London, in collaboration with the School of English, Communication and Philosophy (Cardiff University) and the University of Westminster. Coinciding with and celebrating the 150th anniversary of Canadian Confederation, this conference will focus on the strong culture of artistic exchange, influence, and dialogue between Canada and Britain, with a particular but not exclusive emphasis on the decades after World War II.
Dr Elizabeth Savage is British Academy Postdoctoral Fellow and Lecturer in Book History and Communications, Institute of English Studies, School of Advanced Study, University of London. Her research explores how earliest printing techniques in the West shaped visual communication across text and image. She took her PhD at Cambridge, where she was elected Munby Fellow in Bibliography. She has held fellowships at the Centre for Material Texts, Cambridge; the Rylands Research Institute, Manchester; and the Warburg Institute, London. Her recent curation includes exhibitions at the British Museum and Cambridge University Library. In 2016, she won the Wolfgang Ratjen Award for distinguished research in the field of graphic art, and Printing Colour 1400-1700: Histories, Techniques, Functions and Receptions (2015), which she edited, was recognised at the IFPDA Book Awards. Continue reading →
Proposals are invited for the 2017 conference of the British Association for Romantic Studies, to be hosted by the Centre for Eighteenth Century Studies and the Department of English and Related Literature at the University of York from 27-30th July. The theme of this interdisciplinary conference is ‘improvement’, which marks a semantic field also encompassing cognate terms such as ‘innovation’, ‘progress’, and ‘reform’, all with implications across a range of discourses. The aim of the conference is to develop a collective investigation of the different but imbricated meanings of improvement in a period alternatively optimistic and pessimistic about its prospects in literary and other fields. The keynote speakers for Romantic Improvement are Catherine Hall (UCL), Jon Klancher (Carnegie Mellon), Nigel Leask (Glasgow), and Jane Rendall (York).
Using Eliot’s Complete Prose at the T.S. Eliot Summer School
Aviva Dautch and Oline Eaton
After two years as students at the T.S. Eliot International Summer School, we were delighted when the School’s Director, Gail McDonald, invited us to return in 2016 as Postdoctoral Teaching Fellows. In this role, we facilitated workshops training students to use The Complete Prose of T.S. Eliot: The Critical Edition, which is hosted on Project Muse. Overseen by Ron Schuchard, the General Editor, and published by Johns Hopkins University Press, The Complete Prose gathers the collected, uncollected and unpublished writings of Eliot in eight volumes. Each volume features extensive notes from distinguished scholars, many of whom have been Faculty of the Summer School. This year, Jewel Spears Brooker (co-editor of Volume 1), Jason Harding (co-editor of Volume 4) and Jayme Stayer (co-editor of the forthcoming Volume 5) were at the Summer School and provided insight into their work researching, editing and annotating this material for the project.
A symposium organised by the Ted Hughes Network at the University of Huddersfield, in partnership with the Ted Hughes Society
Thursday 15th and Friday 16th June 2017
Heritage Quay, University of Huddersfield
‘Place’ is key to understanding the work of Ted Hughes. The key geographical locations of Hughes’s life — Mytholmroyd, Mexborough, Cambridge, Boston, Devon, Ireland, and London (by no means an exhaustive list) — each contributed to the formation of the poet and have left indelible marks in his oeuvre. Recent critical and biographical studies have opened up new topographical trajectories into Hughes’s work, expanding the field and challenging received narratives and interpretations.
However, ‘place’ can also be understood more widely. Hughes seems often to be regarded as one of English poetry’s ‘outsiders’, a poet too singular and maverick to be easily placed within the canon and within the context of modern and contemporary English verse. Accordingly, Hughes’s relationships with his poetic predecessors, peers, and literary ‘movements’ — modernism, the Movement, or American, Eastern European and other international poets and artists, for example — are perhaps insufficiently explored, as is the extent of his own influence on poets and artists during his lifetime and after his death.
A third understanding of ‘place’ might be social and cultural: issues related to class and politics, and how these are reflected in Hughes’s work and its reception in the different stages of his life and career.
This two-day symposium will explore these different aspects of place in the writings of Ted Hughes, and in doing so help to develop a deeper understanding of the contexts of Hughes’s life and work.
Proposals might address, but need not be limited by, the following topics:
the locations of Hughes’s life and work
Hughes and geography / topography / landscape
Hughes and the environment
Hughes and the canon
Hughes and post-war poetry
Hughes and the Movement
Hughes and modernism
Hughes and postmodernism
Hughes and world literatures
Hughes and society
Hughes and politics
Hughes and class
Professor Terry Gifford (Bath Spa University)
Emeritus Professor Neil Roberts (University of Sheffield)
Dr Mark Wormald (Pembroke College, University of Cambridge)
Please send proposals of 250 words with a short biographical note to James Underwood (email@example.com) by 31 December 2016.
Katherine Mansfield Society Annual Birthday Lecture
Saturday 15 October 2016, 2pm
Court Room, Institute of English Studies, Senate House, University of London
This post was kindly written by Gerri Kimber of the Katherine Mansfield Society.
Every year on the weekend nearest to 14 October – Katherine Mansfield’s birthday – the Katherine Mansfield Society runs its annual Birthday Lecture, celebrating the life and work of this iconic New Zealand modernist short story writer. Past participants have included Patron of the Society, Professor Dame Jacqueline Wilson, Emeritus Professor Angela Smith, actor Susannah Harker, Professor David Bradshaw, Professor Laura Marcus, Dame Margaret Drabble, authors Ali Smith and Salley Vickers, Professor Kirsty Gunn, Professor Susan Sellers, and Emeritus Professor C. K. Stead.
CFP: Remaking the New: Modernism and Textual Scholarship
Queen Mary University of London, 13-14 July 2017
Dirk van Hulle (University of Antwerp) Samuel Beckett Editions
Jane Goldman and Bryony Randall (University of Glasgow), Susan Sellers (University of St Andrews), Virginia Woolf Editions
Deborah Longworth (University of Birmingham) Dorothy Richardson Editions
The last ten years have seen a textual turn in modernist literary studies. New editions of modernist authors are now in progress, transforming the materials with which critics have worked. Current projects include editions of T. S. Eliot, Joseph Conrad, Virginia Woolf, Henry James, Samuel Beckett, Katherine Mansfield, Ford Madox Ford, Dorothy Richardson, Evelyn Waugh, and Wyndham Lewis, Supported by the AHRC Dorothy Richardson Scholarly Editions Project and building on the AHRC New Modernist Editing network, this conference aims to bring together editors and critics working on modernist texts to discuss the implications for modernist studies of the textual turn. The organisers wish to give particular weight to the contribution of women writers and less canonical writers to modernist literature. The institutionalisation of modernism within the academy after 1945 created an overwhelmingly male canon and editions of women writers have followed slowly after those of figures such as Eliot, Joyce and Beckett. The Virginia Woolf and Katherine Mansfield editions are well under way and the Dorothy Richardsons editions are in process. However, the works of many key figures, such as Jean Rhys and Djuna Barnes, still await attention. The processes by which some authors get chosen and others are left out is complex and deserves scrutiny. New editions contribute to a gradual reconfiguration of the early twentieth-century literary field, transforming our understanding of literary and intellectual history. The result of remaking modernist texts is a new understanding of the past, which will inform how we read early twentieth-century literature in the future. But what are the key issues in the new modernist editing and how should editors pool and exchange knowledge?
“My spelling is Wobbly. It’s good spelling but it Wobbles, and the letters get in the wrong places”. Thus spake Winnie the Pooh. The sentiment may resonate for students encountering sixteenth-century English manuscripts, in which not just spelling but the entire system of lettering seems designed to confound, in an endless tussle with pre-standardised orthography, erratic (or non-existent) punctuation, and inscrutable letter-forms.
A particularly challenging brand of sixteenth-century handwriting is “secretary hand”, the dominant script for most of the century. It was the default hand used by writers of most ranks for most purposes and genres: “the Secretaries common hand” is so called because it is “the onely usuall hand of England, for dispatching of all manner of businesses for the most part, whatsoever”, records Martin Billingsley in his 1618 writing manual, The Pens Excellencie.
‘It’s a kind of literary archaeology: on the basis of some information and a little bit of guesswork you journey to a site to see what remains were left behind and to reconstruct the world that these remains imply’. Toni Morrison is not the only writer to have imagined her work as a kind of archaeological digging, as an imaginative excavation of the past and a reconstruction of past lives from remains. From Wordsworth’s call to ‘grieve not, rather find / strength in what remains’ to Heaney’s bog poetry, writers have interrogated the significance of the earth, the buried, remains and fragments, and drawn upon techniques and tools associated with archaeology as a means of thinking about history, memory and the body. Conversely, archaeologists have begun to examine the potential influence of literature on their approaches to material traces and human remains. In the introduction to their 2015 book Subject and Narrative in Archaeology, Ruth M. Van Dyke and Reinhard Bernbeck note that there is an ‘increasing clamour for and interest in alternative forms of archaeological narratives, involving writing fiction, making films, constructing hypertexts, and creating media that transcend the traditional limitations of expository prose’ and that ‘Visual art, fiction, creative nonfiction, film, and drama have much to offer archaeological interpretation and analysis’. Literary critical approaches are also being recognised as useful ways of thinking about archaeological processes: for archaeologist John Hines, there is an ‘affinity between the scholarly disciplines’, archaeology involving ‘the same exercises of interpretation, analysis and evaluation as literary criticism.’
This conference brings together archaeologists, literary scholars and creative writers to explore similarities and points of convergence between literature, literary studies and archaeology across historical periods. We invite papers which adopt a range of disciplinary or interdisciplinary approaches to the relationship between archaeology and literature and/or the potential for methodological exchange between the disciplines. We are particularly interested in exploring synergies between archaeological science and literature, and how the human body as a site of archaeological knowledge might shape and be shaped by literary and critical approaches to the body.
Topics might include, but are not limited to:
Literary and cultural representations of archaeology
Fragments, remains and reconstruction in archaeology and literary studies
Theoretical uses of archaeology in the work of Walter Benjamin, Freud, Foucault
Human remains, bodies, bones and skeletons in literature
The influence of archaeological writing on literary studies
Representations of archaeology in the media
Metaphor, analogy and storytelling in archaeology
The relationship between memory, history and narrative
Race and gender in archaeology
This conference is supported by the AHRC and is being held as part of the AHRC-funded project ‘Literary Archaeology’: Exploring the Lived Environment of the Slavehttp://www.bristol.ac.uk/arts/research/literary-archaeology/
Attendance at the conference is free and there is a limited fund for reimbursement of UK travel expenses. We are also pleased to offer a postgraduate bursary which will cover all expenses of the successful applicant.
There will be an opportunity to publish conference papers in a special edition of a journal following the conference.
Submit your abstract
Please send 250 word abstracts to Josie.Gill@bristol.ac.uk by 16th September 2016. Delegates will be notified of the outcome in mid-October.