CFP

Guerre et nature :

Traces, interactions et reconfigurations dans les littératures anglophones des XIXe, XXe et XXIe siècles

Vendredi 8 octobre 2021

Université Paul Valéry-Montpellier 3

Cette journée servira de point de départ à une réflexion sur les relations entre guerre et nature dans les littératures anglophones depuis le dix-neuvième siècle (domaine britannique, domaine américain, littératures anglophones mondiales). Les champs des War Studies, de l’écocritique et du néo-matérialisme seront croisés pour explorer la façon dont l’empreinte écologique ou matérielle de la guerre moderne et, inversement, l’impact de l’environnement sur les conflits sont représentés dans les écrits de guerre fictionnels et non fictionnels. Il s’agira ici de réfléchir à la guerre non dans sa dimension géopolitique, mais dans sa dimension la plus humble au sens étymologique du terme, terrienne et donc matérielle. L’application des recherches écocritiques aux représentations littéraires de la guerre permet également d’explorer l’expression des enchevêtrements complexes entre humain et non-humain dans les conflits. Il sera alors possible de décentrer l’approche traditionnellement anthropocentrique des War Studies et d’interroger les dichotomies préconçues entre nature et culture, vie et matière, agentivité et passivité. À la lumière des travaux récents liés au néo-matérialisme, le brouillage des frontières entre l’homme et son environnement à la fois végétal et animal amène à reconfigurer les catégories traditionnelles de l’éthique et de l’ontologie, et à se demander dans quelle mesure les écrits de guerre permettent d’élargir la question de l’altérité pour lui faire dépasser les bornes de l’humain.

Les propositions pourront porter entre autres sur les axes suivants :

  • ·      Le rapport entre soldat, technologie et environnement
    ·      La guerre contre/dans la nature. La nature comme allié ou comme ennemi.
    ·      Utilisation, domination et modification de l’environnement
    ·      Guerre et écologie. Les traces de la guerre : déchets, débris, cadavres
    ·      La perception de l’environnement par le soldat
    ·      L’impact  du milieu sur les corps
    ·      L’interconnexion entre nature et santé (physique et mentale)
    ·      S’adapter et survivre dans un théâtre de guerre
    ·      Nommer, représenter et reconfigurer le paysage

Les propositions (500 mots maximum), ainsi qu’une brève notice biographique sont à envoyer à Sylvain Belluc (sylvainbelluc@orange.fr), Isabelle Brasme (isabellebrasme@gmail.com),  et Guillaume Tanguy (guillaume.tanguy@univ-montp3.fr) au plus tard le 31 janvier 2021. Les communications se feront en anglais.

 

War and Nature:

Traces, Interactions and Reconfigurations in 19th- to 21st-Century Literature in English

Friday October 8th, 2021

Université Paul Valéry-Montpellier 3 (France)

This one-day conference will focus on the relationship between war and nature in literature in English from the 19th century onwards. The ecological footprint of modern warfare and the reverse impact of the environment on conflict as they are recorded in war writings, both fictional and nonfictional, will be analyzed through the lens of war studies, ecocriticism and new materialism. War will be envisaged not so much geopolitically as in its earthly, materialdimension. Careful attention will be paid to the complex entanglements between the human and the non-human with a view to challenging the traditionally anthropocentric view of war studies, as well as the established distinctions between nature and culture, life and matter, agency and passivity. Recent research in the domain of ecocriticism and new materialism has destabilized the dichotomy between man and his environment, raising the possibility of reconfiguring the traditional categories of ethics and ontology and of extending the concept of otherness to the non-human. The domains of interest are the following, but not limited to: British and American war writing, Commonwealth literature and war writing, etc.

Papers addressing (but not limited to) the following issues will be welcome:

  • ·      Soldiers, technology and the environment
    ·      At war with(in) nature: nature as friend and/or foe
    ·      Using, controlling and altering the environment
    ·      War and ecology. The traces of war in the environment: waste, debris, corpses
    ·      The soldier’s perception of the environment
    ·      The impact of the environment on bodies
    ·      The interrelatedness of nature and health, both bodily and mental
    ·      Adaptation and survival in an environment at war
    ·      Naming, representing and reconfiguring the landscape

Proposals (no longer than 500 words) along with a short bio should be sent to Sylvain Belluc (sylvainbelluc@orange.fr), Isabelle Brasme (isabellebrasme@gmail.com) and Guillaume Tanguy (guillaume.tanguy@univ-montp3.fr) by January 31st, 2021. Presentations will be in English.

Bibliographie sélective/ Selective bibliography

Barad, Karen. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2007.

Bennett, Tony and Patrick Joyce, eds. Material Powers: Cultural Studies, History and the Material Turn. London: Routledge, 2010.

Bernard, Catherine. Matière à réflexion. Du corps politique dans la littérature et les arts visuels britanniques contemporains. Paris: Presses de l’Université Paris-Sorbonne, 2018.

Cabanes, Bruno, textes réunis par. Une histoire de la guerre du XIXe à nos jours. Paris: Le Seuil, 2018.

Closmann, Charles E., ed. War and the Environment: Military Destruction. Texas A&M University Press, 2009.

Das, Santanu. Touch and Intimacy in First World War Literature. Cambridge: Cambridge University Press, 2005.

Dolphijn Rick and Iris van der Tuin, eds. New Materialism: Interviews & Cartographies. Ann Arbor: Open Humanities Press, 2012.

Faust, Drew Gilpin. This Republic of Suffering: Death and the American Civil War. New York: Vintage Books, 2008

Glotfelty, Cheryll and Harold Fromm, eds. The Ecocriticism Reader. Athens: the University of Georgia Press, 1996.

Larrère, Catherine et Raphaël Larrère. Penser et agir avec la nature. Une enquête philosophique. Paris: Éditions de la découverte, 2015.

McLoughlin, Kate. The Cambridge Companion to War Writing. Cambridge: Cambridge University Press, 2009.

Meier, Kathryn Shively. Nature’s Civil War: Common Soldiers and the Environment in 1862 Virginia. Chapel Hill: University of North Carolina Press, 2013.

Reichberg, Gregory and Henrik Syse. « Protecting the Natural Environment in Wartime: Ethical Considerations from the Just War Tradition ». In Journal of Peace Research, vol. 37, n°4, Special Issue on Ethics of War and Peace (Jul. 2000), pp. 449-468.

Russell, Edmund. War and Nature: Fighting Humans and Insects with Chemicals from World War I to ‘Silent Spring’. Cambridge: Cambridge University Press, 2001.

Sanborn III, Wallis, R. The American Novel of War: A Critical Analysis and Classification System. Jefferson, North Carolina and London: Mc Farland & Company, Inc., Publishers. 2012.

Smith, Gar. The War and Environment Reader. Charlottesville, Virginia: Just World Books, 2017.

Tucker, Richard P. and Edmund Russell. Natural Enemy, Natural Ally: Toward an Environmental History of War. Corvallis: Oregon State University Press, 2004.

Virilio, Paul. Bunker Archéologie. Étude sur l’espace militaire européen de la Seconde Guerre mondiale (1975). Paris: Galilée, 2008.

Virilio, Paul. Essai sur l’insécurité du territoire : essai sur la géopolitique contemporaine,  éd. Stock (1976). Paris: Galilée, 1993.

Westing, Arthur H. Cultural Norms, War and the Environment. Oxford: Oxford University Press, 1988.

Westling, Louise. The Cambridge Companion to Literature and the Environment. Cambridge: Cambridge University Press, 2013.

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Pauvretés esthétiques : regards croisés (France, Royaume-Uni au XIXe siècle)

Université de Rouen-Normandie : appel à communications pour volume collectif

Le projet de publication souhaite retenir des articles centrés sur les représentations de la précarité au XIXe siècle, telle qu’elle est induite par l’urbanisation et l’industrialisation, ce qui implique plutôt un espace franco-britannique (colonies comprises) sans toutefois exclure la Prusse. Il ne s’agit donc pas tant d’explorer la pauvreté que la précarisation, c’est-à-dire des situations d’entre-deux, d’incertitude financière et de détresse économique, notamment des travailleurs pauvres et des populations modestes qu’un revers fait basculer dans la misère. Leur situation, en ce qu’elle fait figure d’exception dans le discours libéral valorisant le travail et l’effort comme assurance d’ascension sociale, inspire nombre de traités et de discours socio-économiques et politiques (sur la charité, sur l’assistance, sur la judiciarisation de la pauvreté et de l’absence de domicile envisagées comme des délits, sur le travail etc.) dont on souhaite articuler l’étude à celle de représentations iconographiques, romanesques, théâtrales, poétiques et photographiques de la pauvreté. Les divers usages de la figure et du personnage (de théâtre, de roman ou dans les arts visuels) de la femme, de l’homme et de l’enfant pauvres, envisagés à partir d’une approche diachronique, nous invitent à confronter les faits aux représentations, les conditions de la pauvreté aux modalités de son esthétisation. Parmi ces enjeux, on pourra, sans que cette liste ne prétende à l’exhaustivité, envisager :

        • Esthétique et genres littéraires et artistiques : le roman feuilleton de la pauvreté, la peinture de genre, le mélodrame ou le conte illustré, la poésie de la bohème consentie ou de l’indigence conditionnent-ils une représentation propre de la misère ?

        • Esthétique et éthique, lectures moralisatrices du travail et du désœuvrement, de la pauvreté et de la richesse ; laideur ou beauté du pauvre ; bon et mauvais pauvre.

        • Trajectoires narratives de la pauvreté : s’agit-il d’en sortir ? d’y demeurer dans une constatation navrée et fataliste ? Quels « moments » et quelles axiologies de la précarité sont-ils privilégiés (chute, déchéance, péripétie temporaire, situation endémique et inéluctable) ? De ce fait, quel regard est-il porté sur le libre-arbitre ou l’autonomie du personnage précaire ? Le support ou le genre utilisé programme-t-il une forme de réception, un lieu d’exposition engageant une pensée économique ou politique singulière ?

        • Subversion et convention : quelle portée politique pour ces fictions ? quels liens avec les textes économiques et politiques de l’époque, ainsi qu’avec les débats mis en place dans la presse et au parlement ? Dans une perspective d’articulation des discours politiques et des textes littéraires ou des représentations iconographiques, on envisagera la perméabilité et le nomadisme des enjeux et des modes de représentation. L’homme pauvre et la femme, ou même l’enfant, sont-ils accompagnés des mêmes espaces, des mêmes objets, endossent-ils les mêmes gestuelles ou impliquent-ils les mêmes regards dans l’imaginaire social et culturel de la pauvreté ?

        • Arts visuels et esthétisation du pauvre, gestuelle codifiée, habillement, objets et lieux : scénographie de la précarité à l’image et dans les textes ;

        • Proximité et distance : faut-il aider le pauvre ou l’écarter, voire le sanctionner ? Les pauvres sont-ils des masses violentes et indisciplinées, promptes à l’insurrection et à la grève ? Des pauvres ou un pauvre ? Des foules en colère ou un pauvre isolé dans une détresse solitaire ? Ces questions autour du portrait ou du paysage impliquent là encore autant des questions éthiques et politiques qu’esthétiques.

On préférera donc aux monographies sur un romancier, un économiste ou un peintre des études comparées ou croisées entre littérature, histoire de l’art, histoire des idées, histoire culturelle, pensée économique ou politique.

Les propositions d’article sont attendues, en français ou en anglais, pour le 1er octobre 2020 aux deux adresses électroniques suivantes :

Anne-Florence Gillard-Estrada : af.gillardestrada@gmail.com

Florence Fix : Florence.fix@univ-rouen.fr

Une réponse sera donnée sous quinzaine après échéance de la date-limite et, sur acceptation, les articles seront attendus pour le 1er février 2021.

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Call for Papers for an Edited Collection

Augustin Filon: A French Littérateur in Victorian and Edwardian England

In 1870 Pierre Marie Augustin Filon arrived on England’s shores. A graduate of the École normale supérieure, Filon had a brief but distinguished career as a lecturer at lycées in Nice and Grenoble, before being selected in 1867 as tutor to Napoléon-Eugène-Louis Bonaparte, the Prince Imperial. Three years later, Filon also took up duties as the private secretary to Empress Eugénie, during her regency at the beginning of the Franco-Prussian War. When the Second Empire was toppled on 4 September 1870, Filon escaped to England, where he would spend a significant portion of his life. Becoming a noted Anglophile, Filon wrote—often under the pseudonym Pierre Sandrié—studies of English politics, theater, and literature for a French readership. At the same time, many of Filon’s essays and books on English and French subjects were published in translation for a British readership and discussed in the leading English-language periodicals of the day.

Augustin Filon: A French Littérateur in Victorian and Edwardian England is the first collection of scholarly essays on this significant, but now largely forgotten, man of letters. Instead of covering the full range of Filon’s literary output, this volume will focus on his role in facilitating the interchange of knowledge and ideas between nations. Topics may include but are by no means limited to:

• Filon’s translated works into English on French subjects, including The Modern French Drama (1898), Memoirs of the Prince Imperial (1913), and Recollections of the Empress Eugénie (1920), as well as on English theatre, The English Stage. Being an Account of the Victorian Drama (trans. F. Whyte, 1897)

• Filon’s publications in French on English culture and society, including Histoire de la littérature anglaise (1883), Le Théâtre anglais (1896), La Caricature en Angleterre (1902), and L’Angleterre d’Édouard VII (1911)

• Filon’s publications in French on English politics, including Profils Anglais (1893) and “Histoire d’une Constitution” (1913)

• Filon as French novelist, poet, and short story writer on English subjects, including Les Mariages de Londres (1875), L’élève de Garrick (1890; trans. Garrick’s Pupil, 1893), and “Shakespeare amoureux. Scènes en vers” (1911)

• Filon and transnational periodical culture, including his essays in Revue des deux mondes and the Fortnightly Review as well as his stint as the literary editor of Revue politique et littéraire (known as Revue bleue)

• Literary and cultural issues in translating Filon’s works into English or English ideas, terminology, and concepts into French

Transcript Verlag, one of Europe’s leading academic publishers, has expressed keen interest in the collection. Please submit proposals (max. 250 words) and a brief bio (max. 100 words) by 1 October 2020 to Kevin A. Morrison, Distinguished Professor of British Literature and Provincial Chair Professor in Humanities, Henan University (kmorr2016@gmail.com). For accepted proposals, final essays of 6,000-8000 words (inclusive of notes and bibliography) will be due 1 October 2021. English will be the language of publication.

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*CFP The New Woman and Humour*

To be published in _Cahiers victoriens et édouardiens_ 96 (2022)
https://journals.openedition.org/cve/?lang=en

In late Victorian satirical magazines, comedies and conversation, the New Woman was an inexhaustible source of fun. For the opponents of women’s emancipation, ridicule was a weapon, which could win them allies even among women. For the feminist writers, ridicule was a constant threat, which they usually negotiated by asserting their womanliness and inviting their readers to take their demands seriously.

Hence, the woman’s rights woman was constantly criticized for her total absence of humour. “For the New Woman there is no such thing as a joke”, Ouida wrote in 1894. A year later, Hugh Stutfield commented in his antifeminist essay “Tommyrotics” that there was “no place left for humour” in New Woman novels: her fiction was spoiled by excessive realism, ponderous didacticism and a tendency to take things much too seriously.

As a target of satire and a comic victim, the New Woman quickly learnt how to put humour to her own use. By being funny, she made herself more pleasant to male readers and more tolerant of them. Ella Hepworth Dixon’s _My Flirtations_ (1892), originally published anonymously in the _Lady’s Pictorial_, was considered by the _Saturday Review_ as one of the most amusing books we have come across for a long time” (qtd in Fehlbaum 189). Even in her more pessimistic _The Story of a Modern Woman_ (1894), Dixon’s emancipated female protagonist maintains that a sense of humour is “what women ought to cultivate above all things” (chapter IV). In the New Woman’s satires of patriarchal thinking and male self-sufficiency, wit does have an instructive, “serious” function. Epigrammatic dialogues feature prominently in the novels and short stories of Sarah Grand and Mona Caird, as well as in their militant periodical essays which employ humour and irony to turn the tables on male critics. Irony, parody and comical reversals, in fiction and non-fiction alike, were among what Ann Heilmann has described as the New Woman’s “indirect strategies”.

In the twentieth century, the suffragettes’ methods were regularly described in the press as hysterical and not worth serious consideration. However, if we are to believe the American actress and feminist writer Elizabeth Robins, by the time the suffragists hardened their strategies in the early twentieth century, they had learnt how to use publicity, repartee and humorous effects to their advantage. In her comedy _Votes for Women_ (1909), the suffragettes’ public demonstrations are considered “excellent Sunday entertainment”. “[R]idicule crumples a man up”, their sharp-witted public speaker exclaims, “It steels a woman. We’ve educated ourselves so that we welcome ridicule.” (II, 1) Negotiating laughter has become integrated into the New Woman’s political apprenticeship.

Going counter to the perception of the New Woman’s humorlessness, this collection of essays will examine the rich and contradictory ways in which laughter, jokes, satire and comedy were deployed and reconfigured by New Women around the English-speaking world. It will engage with the political uses of humour, as it creates and invites distance. It will consider humorous practises as a source of empowerment: the use of comedy to destabilize power relations and to create a sense of shared enjoyment, community, and sisterhood. How did humour become integrated into feminist rhetorical practices? To what extent is it possible to speak of feminist humour?

While we will consider proposals on the New Woman as a target of satire, we would like to focus more specifically on her own capacity to respond to humour, to take a humorous distance and use laughter to her own ends. We invite contributions on the politics and poetics of humour and the use of irony. We will consider essays on the New Woman in the Victorian press, the visual arts, fiction, poetry and drama, as well as in autobiographies, memoirs and correspondence. We also welcome papers on Neo-Victorian rewritings of New Woman fiction in novels or graphic novels.

The essays will be published in Spring 2022 in the double-blind, peer-reviewed, open-edition French journal of Victorian studies _Cahiers victoriens et édouardiens_ (https://journals.openedition.org/cve/?lang=en)
Please send proposals (300 words) with a short biographical note by October 30, 2020 to Catherine Delyfer (catherine.delyfer [at] univ-tlse2.fr) and Nathalie Saudo-Welby (nsaudo [at] hotmail.com). Notifications of acceptance will be sent by November 30, 2020. Full articles will be due by June 1st, 2021.


*Selective Bibliography*

Barreca, Regina. They Used to Call Me Snow White… But I Drifted: Women’s Strategic Use of Humor. Penguin: Harmondsworth, 1991.

Blanch, Sophie. “Women and Comedy” in Joannou, M. ed. The History of British Women’s Writing 1920-1945, Palgrave Macmillan 2013, p. 112-128.

Chothia, Jean, éd. The New Woman and Other Emancipated Woman Plays. Oxford: OUP, 1998.

Cixous, Hélène. Le Rire de la Méduse et autres ironies. Paris : Galilée, 2010.

Fehlbaum, Valerie. “Ella Heptworth Dixon’s My Flirtations: The New Woman and the Marriage Market.” Victorian Review 44.2 (2018): 189-192.

Fuchs Abrams, Sabrina. Transgressive Humor of American Women Writers. Palgrave Macmillan, 2017.

Heilmann, Ann. New Woman Strategies: Sarah Grand, Olive Schreiner, Mona Caird. Manchester: Manchester UP, 2004.

Horlacher, Stefan. “A Short Introduction to Theories of Humour, the Comic, and Laughter”, Gender and Laughter (2009): 17-47.

Kohlke, Marie-Luise and Gutleben, Christian. Neo-Victorian Humour: Comic Subversions and Unlaughter in Contemporary Historical Revisions. Amsterdam: Brill Rodopi, 2017.

Kranidis, Rita S. Subversive Discourse: The Cultural Production of Late Victorian Feminist Novels. New-York: St Martin’s, 1995.

Ledger, Sally. The New Woman: Fiction and Feminism at the fin de siècle. Manchester: Manchester UP, 1997.

Little, Judy. Comedy and the Woman Writer: Woolf, Spark and Feminism. Lincoln/London: U of Nebraska Press.

Mangum, Teresa. Married, Middlebrow, and Militant: Sarah Grand and the New Woman Novel. Ann Arbor: U of Michigan Press, 1998.

Marks, Patricia. Bicycles, Bangs, and Bloomers: The New Woman in the Popular Press. Lexington: UP of Kentucky, 1990.

Moers, Ellen. Literary Women. Londres: Women’s Press, 1978.

Stetz, Margaret Dina. British Women’s Comic Fiction 1890-1990. Aldershot: Ashgate, 2001.
 
 
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Popular forms and practices of reading and writing in the Victorian and Edwardian periods


International conference organized by the SFEVE (Société Française d’Études Victoriennes et Edouardiennes), with the support of IMAGER (Institut des Mondes Anglophone, Germanique et Romans, EA 3958) and Université Paris-Est-Créteil (UPEC)

Friday 29 -Saturday 30 January 2021

Université Paris-Est Créteil, UFR des LLSH, Campus Centre, 61 avenue du Général de Gaulle, 94000 Créteil

Contacts : Françoise Dupeyron-Lafay and Fabienne Moine

dupeyron@u-pec.fr, fabienne.moine@u-pec.fr

Keynote speakers 

Kirstie Blair (University of Strathclyde, Scotland)

Fabrice Bensimon (Université Paris Sorbonne)


The adjective “popular” pertains to three main fields: the social and sociological one (related to the working class and the “people”, in accordance with its etymology), the literary and generic one (popular art and culture), and, broadly, that of reception, when “popular” means well liked, or in vogue and fashionable. It is a wide-ranging, multi-layered, ambivalent, and ideologically connoted notion.

It is used to designate literary and cultural productions that sharply distinguish themselves from more “canonical”, classical, scholarly and highbrow ones. Popular works and texts are “intended for or suited to the understanding or taste of ordinary people”, “as opposed to specialists in a field” (OED entry 4.a), and they encompass “forms of art, music, or culture with general appeal; intended primarily to entertain, please, or amuse” (OED, entry 7b). Popular art, whether or not produced by “the people”, is meant for “the people”, hence the crucial role of “popular” (low-priced) editions and of periodicals as the vehicles of these popular forms of writing in the Victorian period. 

The notion constantly hovers in the collective imaginary between the positive (when it is seen as a common, vigorous, level-headed heritage shared by the people), and the negative, as cheap, lowbrow, unrefined, or even vulgar and “plebeian”. Popular culture has, however, amply been rehabilitated by Cultural Studies from the 1960s onwards. Therefore, the aim of this conference is not to contest traditional critical distinctions between “high” and “low”, or to study the forms and modalities of popular literatures and cultures against the aesthetic, intellectual and social norm of the “high”. Our aim, rather, will be to focus on these popular forms of culture for their own sakes. 

From the mid-nineteenth century onwards, the dramatic increase in literacy rates, the wider and cheaper circulation of books and newspapers, and the growing interest for reading this fostered, created a high demand for popular works across the social spectrum. This was a particularly favourable context for the emergence and development of popular forms, formats and practices of reading and writing, and the aim of this conference will be to explore the conditions for this emergence and development in the Victorian and Edwardian periods from complementary perspectives. 

We wish to address the various modalities of these writing and reading practices, together with their roles, social significance, and the diverse and sometimes heterogeneous motivations accounting for their emergence and development. These popular forms and practices of reading and writing could have an improving mission; besides, they were frequently vehicles for sociability and integration, strengthening the family and communal fabric and a sense of belonging. Or, alternatively, they could also respond to more individual needs and be escapist pastimes and forms of entertainment, or in the case of marginal/ized subjects such as prison or asylum inmates, have curative, liberating and integrating roles. 


We welcome proposals from all disciplines (language and literature, cultural studies, history, sociology, visual studies…) which address the modalities and roles of, and the motivations accounting for, these popular forms and practices of reading and writing and we encourage a variety of critical approaches that will highlight the polysemy of the term “popular”.


The following aspects, themes and fields, not merely in isolation but also in their interdependence and various interactions, could be dealt with (but the list is by no means restrictive):

* The various media and channels for the reading, reception and diffusion of popular culture (thanks to the rising literacy rate): the popular press (local newspapers, family or women’s magazines; magazines of domestic economy; periodicals, low-cost publications, W.T. Stead’s Penny Poets, Penny popular novels, Penny weeklies, Penny dreadfuls…), lending libraries… 

* The various (non-literary) environments, places, and circles in which these popular forms of writing were produced (and read): coffee houses and factories, Mechanics’ institutes, popular clubs. Analyses focusing on the production and consumption of written works in institutions such as prisons, workhouses, hospitals, or asylums, would be particularly welcome as these places are not traditionally seen as environments conducive to a culture of reading and writing. 

* The brevity of the forms adopted because of the publishing media and the conditions of production (material and financial reasons such as time, lighting, cost and availability of paper, ink, or pens, etc.): the short story (ghost or detective stories, for instance), poems, letters, usually short autobiographical texts, and more infrequently, diaries; political pamphlets; “educational” booklets on miscellaneous subjects such as hygiene, gardening, spiritualism, rational recreation, etc. 

* The question of minor literary forms and voices within gender, genre, social or political perspectives: underrepresented, undervalued, marginal/ized people (women, the working class, prison or asylum inmates) getting a “voice” through authorship and the practice of writing. 


Please send a 300-500-word abstract (for a 25-minute presentation) with a short bio-bibliography to Françoise Dupeyron-Lafay and Fabienne Moine: dupeyron@u-pec.fr, fabienne.moine@u-pec.fr

Deadline for submissions: 10 July 2020

Notification of acceptance: 20 July 2020

Publication: A selection of peer-reviewed articles will be published in Cahiers Victoriens et Edouardiens (CVE)  

Languages of the Conference: English and French 


Scientific committee

Fabrice Bensimon (Sorbonne Université) 

Marie-Françoise Cachin (Université de Paris, ex « Paris 7 Diderot »)

Neil Davie (Université Lyon 2)

Laurence Dubois (Université Paris Nanterre) 

Cassandra Falke (UiT, The Arctic University of Norway) 

Kate Flint (University of Southern California (USC), Dornsife College) 

Georges Letissier (Université de Nantes)

Kevin Morrison (University of Connecticut / Henan University, Chine) 

Michel Prum (Université de Paris, ex « Paris 7 Diderot »)

Sabine Reungoat (Université Paris Est Créteil)

Laurence Roussillon-Constanty (Université de Pau Pays de l’Adour) 

Jean-Yves Tizot (Université Grenoble 3)



Select Bibliography 

Altick, Richard D. The English Common Reader. A Social History of the Mass Reading Public, 1800-1900 (1957). Chicago: University of Chicago Press, 1998.

Beetham, Margaret and Kay Boardman, eds. Victorian Women’s Magazines: An Anthology. Manchester: Manchester UP, 2001.  

Bensimon, Fabrice, ed. Les Sentiers de l’ouvrier. Le Paris des artisans britanniques (autobiographies, 1815-1850). Paris : Éditions de la Sorbonne, 2017.

Bensimon, Fabrice, ed. Bamford Samuel, La Vie d’un radical anglais au temps de Peterloo. Paris : « Histoire », Les Éditions sociales, 2019.

Blair, Kirstie, ed. Class and the Canon. Constructing Labouring-Class Poetry and Poetics, 1780-1900. Palgrave Macmillan, 2012.

Blair, Kirstie, ed. The Poets of The People’s Journal. Newspaper Poetry in Victorian Scotland. Glasgow: Association for Scottish Literary Studies, 2016.

Blair, Kirstie. Working Verse in Victorian Scotland: Poetry, Press, Community. Oxford: Oxford UP, 2019.

Cachin, Marie-Françoise. Une nation de lecteurs? La lecture en Angleterre (1815-1945). Villeurbanne : Presses de l’ENSSIB, 2010.

Don Vann, J. and Rosemary T. Van Arsdel, eds. Victorian Periodicals and Victorian Society (1994). Toronto: University of Toronto Press, 1994. 251-277. (See in this volume: Olwen C. Niessen, “Temperance”, 251-277; and Jonathan Rose, Workers’ Journals”, 301-310).

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