CFP

24 et 25 avril 2025

L’amitié selon John Henry Newman

Colloque universitaire interdisciplinaire
L’Institut Catholique Rennes
Campus de Ker Lann
Appel à communications

Présentation: appel en français / CFP in English

John Henry Newman (1801-1890) fut un homme d’amitiés tout autant qu’un homme de l’amitié en ce qu’il la tenait en haute estime et qu’il l’envisageait avec très grand sérieux.

Au cours de sa très longue vie, Newman eut l’occasion d’entretenir des amitiés fidèles et éprouvées ; son amitié profonde et sincère avec Ambrose St. John en fut d’ailleurs le modèle le plus exemplaire. Mais elles furent parfois aussi malmenées voire interrompues lorsque Newman fit le choix de sa liberté de conscience au prix des affections qu’il avait entretenues (Mouvement d’Oxford). En raison de son choix radical en 1845-sa conversion au catholicisme qui fut un arrachement et sonna le glas de plusieurs amitiés, le thème ne peut être traité sans évoquer la rupture. Parler des amitiés de Newman, de ses affinités intellectuelles avec d’autres grandes figures du XIXe siècle anglais, c’est aussi suivre l’histoire du Mouvement d’Oxford, des différents visages du catholicisme anglais, jusqu’au Renouveau catholique car l’influence de Newman a évidemment perduré après sa mort.

Pour autant Newman prit soin de cultiver son art de l’amitié en la revêtant d’une profonde spiritualité qui soit à l’image, comme il le croyait, de l’amour que le Christ témoigne à ses créatures. Très tôt, à 15 ans, il fit l’expérience de cet amour divin, s’éprouvant lui-même face à son Créateur. Cette rencontre, qui le liera à jamais à Dieu, non seulement modela sa pensée, mais elle participa du mode de relations qu’il développa avec autrui. L’amitié selon Newman implique un face à face avec son prochain, à l’image de Jésus et Jean, c’est-à-dire une relation authentiquement vraie « hors des ombres, et des images, dans la vérité ».

L’amitié selon Newman était aussi la pratique quotidienne des vertus du modèle chrétien : la charité, la fidélité, l’obéissance. L’amitié ne doit pas être un vain mot, noyée sous de bonnes intentions, elle doit prendre forme, exister dans le réel. Ainsi Newman se méfiait-il des grandes déclarations d’affection et privilégiait sa manifestation au cours des visites qu’il faisait à ses paroissiens mais aussi dans sa correspondance rassemblée dans les 32 volumes de Letters and Diaries of John Henry Newman (plus de 20 000 lettres). L’attachement qu’il éprouvait pour ses proches, s’exprimait dans son soin à leur égard. Panser les blessures de l’âme, dispenser des conseils aux esprits égarés, telles étaient les missions auxquelles s’attachait Newman.

L’engagement personnel dont il faisait preuve auprès de ceux qu’il côtoya dans les communautés religieuse et universitaire peut aussi nous permettre de questionner sa relation à la personne. Le principe de relation entre soi et l’autre semble reposer sur une forme d’altérité, une complémentarité qui respecte l’individualité de chacun et qui se manifeste aussi par la communion des coeurs et des esprits. Homme de communion et de communauté, Newman se défendait pourtant d’être un homme de mondanités ( « worldliness »), ainsi concevait-il la relation amicale comme l’expression du don de soi à l’autre. Encore est-il nécessaire de s’interroger sur le chemin qui conduit à ce don de soi chez Newman. Ce cheminement intérieur semble se caractériser par des moments de solitude et de silence, des intermèdes nécessaires au maintien d’amitiés durables et authentiques. Grand maître de l’introspection, Newman jugeait donc ces temps suspendus propices à la réflexion sur ce que doit être, selon lui, l’amitié et la façon dont elle doit s’exercer.

Aussi pouvons-nous nous enquérir de la perpétuation au fil des siècles de l’esprit d’amitié développée par Newman. Comment l’a-t-on accueilli et transmis au XXe et XXIe siècles ? Cet esprit d’amitié participe-t-il finalement de quelque chose de plus grand et de plus immuable qui dépasse nos propres individualités ? Telles sont les questions que nous devrons nous poser afin d’éclairer un peu plus la personnalité et la pensée de John Henry Newman.

Objectif du colloque :
En prenant appui sur les amitiés entretenues par John Henry Newman, ce colloque souhaite apporter un éclairage sur la personnalité intime de ce dernier et sa relation aux autres. Y aurait-il un modus operandi « newmanien » de l’amitié, c’est-à-dire une tournure idiosyncratique de l’esprit et de l’être développée par cet homme de foi ? Et si tel est le cas, ce modèle « newmanien » serait-il universel ?

Méthodologie :
Notre démarche se voudra essentiellement empirique. S’appuyer sur le réel, c’est-à-dire les rencontres amicales de Newman et les différentes formes qu’elles ont pu prendre pour tenter une définition « newmanienne » de l’amitié.

Les axes de réflexion proposés seront les suivants :

AXE 1 : ETAT des LIEUX : Newman est-il un ami « victorien » ?

Thématiques proposées :

1. La conception victorienne de l’amitié
2. Les « dames » de Newman : les amitiés féminines
3. Amitiés et mondanités chez Newman
4. Les amitiés de Newman et l’esprit de communion/communauté (Oxford, Dublin, Birmingham…)
5. Les amis du Mouvement d’Oxford : continuité et rupture

AXE 2 : VERS UNE DEFINITION de l’amitié chez Newman ?

Thématiques proposées :

1. « Cor ad cor loquitur » : relation dialogique de l’amitié
2. Le Verbe comme mode de médiation
3. Rencontre avec l’Autre et solitude du moi : complémentarité et nécessité
4. Amitiés/inimitiés et liberté de conscience : exister pour se réaliser
5.Amitié et vérité : dévoilement de la personne

AXE 3 : LEGS NEWMANIEN : récipiendaires et passeurs de l’esprit newmanien

Thématiques proposées :

1. Entrer en amitié : une pratique pédagogique et spirituelle (témoignages)
2. Filiation intellectuelle entre Newman et des auteurs et penseurs des siècles suivants
3. Le modèle « newmanien » de l’amitié : un modèle universel ?

____________________________________________________

Breaking New Grounds

Democratising Gardens and Gardening in Great Britain, 19th-20th centuries.

Date: 27 September 2024

Venue: Université Paul-Valéry Montpellier 3.

A one-day conference organised by Clémence Laburthe-Tolra (Université Paul-Valéry Montpellier3-EMMA) and Aurélien Wasilewski (Law & Humanities, CERSA, UMR 7106, Université Paris-Panthéon-Assas).

This conference stems from a reflection on the social and political dimensions of gardens and gardening in Great Britain ranging from the Victorian and Edwardian eras to the post-war period. Pondering on “People’s Gardens,” Vita Sackville-West claimed that “we have been called a nation of shopkeepers; we might with equal justice be called a nation of gardeners” (Sackville-West 1939). Her assertion insists on a sense of community, portraying gardening as an inclusive affair spreading across the country to amateurs along professionals who undertook training in botany and horticulture. Yet, such inclusivity needs to be qualified and addressed, taking into consideration class and gender: how was gardening dependent on class in Britain in the 19th and 20th centuries? How did class condition gardening practices? How did men and women’s experiences of gardening or access to gardens differ?

Stephen Constantine points out that “historians of the gardens have been dazzled by the rare and the beautiful” (Constantine 1981), focusing on magnificent estates owned by the wealthy and powerful. The aim of the conference is to follow in Constantine’s footsteps and depart from the exploration of opulent gardens owned by the well-to-do. Of interest for the conference is how some gardens, gardeners and gardening practices have been overlooked to this day by most garden historians, with notable exceptions like Hilda Smith who tended her cottage garden in Lincolnshire (Paul Smith and Peter Weston 2017).

Investigating the gardening practices of English gardeners also begs the following question: how did gardens become accessible in situ? Access varied whether workers were granted allotments by industrialists and land-owners at the end of the 19th century who meant to control workers (Gaskell 1980; Page 2017); some gardened in public parks during World War 2 as part of the Dig for Victory campaign (Way 2005; Willes 2015); others got to visit private, ornamental gardens opened by their owners to welcome in amateurs. In these instances, the garden becomes an ambivalent site: it is sometimes a “means of control over the moral and physical lives of the labouring population” (Gaskell 1980), a site of resistance in the context of World War 2, or a site of aesthetic pleasure made accessible by aristocrats, as was the case when Sackville-West opened Sissinghurst in 1938, re-enacting 18th-century practices adopted by the landed gentry.

While gardens became accessible in several ways to serve various purposes (be they aesthetic, socio-economic, or political), how was gardening encouraged and perceived across the social spectrum? The role played by the press and by the radio is of particular interest, whether they welcomed professionals and amateurs to publish chronicles or broadcast programmes on how to garden, or whether they became part of the propaganda apparatus in wartime (Willes, 2015). The multiple garden memoirs (Elizabeth von Arnim’s Elizabeth and her German Garden (1898), Marion Cran’s The Garden of Ignorance (1922) to name but a few) and the rise of the advice gardening text (Bilston, 2008) and of garden autobiographies (Seaton, 1979 and 1984) is also to be taken into account in this perspective. Last but not least, the rise of horticultural colleges (more often than not opened by women aristocrats such as Frances Garnet Wolseley with Glynde College) is also to be investigated alongside the professionalisation of women gardeners at the turn of the 20th century, symbolised by the admission of Gertrude Cope, Alice Hutchings and Eleanor Morland to Kew Gardens in 1895. Yet, the mixed reaction of Londoners and the press deeming them “Kewriosities” (partly due to the “bloomers” they had to wear as a uniform) complicated their access to gardening: they were eventually asked to work in a section of the garden “marked off as ‘private’.” (Chapman 2017).

This one-day conference prompts questions that have to do with the history and philosophy of gardens and gardening in Great Britain but also their representation in literature and the arts.

 Possible topics include, but are definitely not restricted to, the following topics:

  • The allocation of allotments or cottage gardens to urban and rural workers in the 19th
  • The boom of the gardening press and industry in the 19th
  • The success of garden competitions and flower shows and the development of garden societies.
  • Enthusiasm for gardening, or the lack thereof.
  • Differences between gardens of the working-class, the middle-class, and the upper-class.
  • The opening of horticultural colleges at the turn of the 20th century, especially for women.
  • Gardening memoirs and first-hand accounts in general.
  • Gardens as inclusive or exclusive sites; access to and accessibility of garden writing.
  • Gardens as places of social reforms and cross-class mixing.
  • Gardening in wartime; gardens as places of resistance.

Researchers in anthropology, arts, history, literature, philosophy and political sciences are more than welcome to submit a proposal.

Proposals of  300 words maximum together with a brief biographical note (100 words or so) should be sent by 3 June 2024 to Clémence Laburthe-Tolra (clemence.laburthe-tolra@univ-montp3.fr) and to Aurélien Wasilewski (Aurelien.Wasilewski@u-paris2.fr).

Full CFP including bibliography here: Breaking New Grounds

____________________________________________________________

CFP: Leslie Stephen: Thinking With and Against His Time 

(Extended Deadline: 31 March 2024)

International Conference

24-25 October 2024

Sorbonne Nouvelle University, Paris

PRISMES – EA 4398

Langues, Textes, Arts et Cultures du Monde Anglophone

CORPUS – UR-UPJV 4295

Conflits, Représentations et Dialogues dans l’Univers Anglo-Saxon

SEW – Société d’Études Woolfiennes

 

Confirmed keynote speakers:

Prof. Terry Gifford (Bath Spa University)

Dr. Jane Potter (Oxford Brookes University)

Dr. Trudi Tate (Clare Hall, University of Cambridge)

Call for papers:

Early advocate of evolutionism, one of the first openly declared agnostics, editor of the Cornhill Magazine, pioneering mountaineer, moral philosopher, founder and general editor of the DNB: there are so many more facets to Leslie Stephen (1832-1904) than those recorded by his daughter Virginia Woolf, who memorably paid tribute to his “strong,” “healthy out of door, moor striding mind”. By unfolding all the contradictions and paradoxes of the character, this first international conference on Leslie Stephen means to reclaim the full complexity of his thought and legacy. 

Thinking with and against his time, Stephen held a key position at the heart of the Victorian literary scene and was an impressively prolific writer, profoundly engaged with the religious, philosophical and social debates of his age. A highly respected journalist and critic, he edited the Cornhill Magazine from 1871 to 1882, publishing works by George Meredith, Thomas Hardy, John Addington Symonds, Henry James and R.L. Stevenson, and was the author of hundreds of essays, published over the course of forty years in periodicals, such as the Fortnightly ReviewFraser’s MagazineMacmillan’s MagazineMind, the National Review, the Nineteenth Century, the Saturday Review or the Pall Mall Gazette, a vast oeuvre now finally accessible thanks to online databases.  

His devotion to knowledge and integrity were such that he preferred to break with the academic world of Cambridge rather than compromise with the Church. Heir to the Clapham Sect, Stephen engaged with the theological debates of his time to the point of gradually and publicly embracing agnosticism, a form of radicalism that coexisted from then on with forms of traditionalism. 

His own prolific output bears witness to his encyclopaedic mind and his boundless curiosity for all the key issues of the day, however polemical: the anti-slavery movement, agnosticism, educational and social reform… Both a man of his time and a pioneer, Stephen explored new epistemological modes in keeping with the expanding frontiers of his age, while remaining profoundly anchored in some of the values and hierarchies of the day. 

The DNB, his life’s work, and one of his most ambitious projects, is the finest example of his desire to define new modes of classification and new forms of expression for the expanding knowledge of his time. Breaking with the established narratives of the past, he devised a new approach to writing the biography of the nation, doing away with the grandiose tradition of commemoration. In its place, he developed a more archaeological approach, delving into the past and collating the life stories of all those who helped shape the evolution of the country.

The same pioneering spirit stoked his passion for the Alps and mountaineering, in which he proved as much a trailblazer as he did in intellectual life. It is this conquering spirit that his close friend Thomas Hardy immortalized in his poem “The Schreckhorn, With Thoughts of Leslie Stephen” (1897), which extolled his will to “venture life and limb” as well as the “quaint glooms” of his personality, when paying tribute to Stephen as the first man ever to ascend this mountain.

However daring and rigorous in his endeavours, Stephen was no less a direct heir to the Romantic tradition. An ardent poetry lover, he could quote vast swathes of the poetic canon, from Milton to Wordsworth, Tennyson and Arnold, and would rhythm both domestic life and mountaineering exploits with his recitations. Likewise, despite his allegiance to Victorian models of “Muscular Christianity”, and the manly world of clubs and fellowships, he would at times indulge in various forms of sentimentalism and melodramatic displays of emotion. 

These are some of the contradictions that the participants to this conference are invited to explore. Similarly, his vast output deserves to be reconsidered through diverse critical paradigms, such as new materialist History, print culture studies, new sensory studies, phenomenology, affect studies and ethics, gender studies, health and disability studies.

We welcome contributions focusing on Leslie Stephen, but also on the following topics, connected with his life and times and shedding light on the larger context of his work: 

  • Victorian encyclopaedism
  • Victorian periodicals, print culture, the publishing industry 
  • Biography, the DNB, “hero-worship”
  • Stephen’s relations to Victorian sages and prophets
  • Letters, epistolarity, literary networks
  • Cambridge, academia, education and university reform
  • Gentlemen’s clubs, sociability
  • 18th century philosophy and literature, the Enlightenment 
  • Utilitarianism, Science, Evolutionism
  • The Clapham Sect, Agnosticism, Scepticism
  • War, the anti-slavery movement
  • Morality, the “science of ethics”
  • Mountaineering, athletics, walking, nature and travel writing
  • Memory, elegy, mourning, the Mausoleum Book, Virginia Woolf & Leslie Stephen

Abstracts of about 300 words, for 25-minute papers in English, together with a short (100-word) author biography, should be sent to the organizers by 31 March 2024 at the following address: leslie.stephen.conference@gmail.com. In case of difficulties tracing Stephen’s works, please contact the organizers, who will be happy to share links and resources.

A selection of peer-reviewed articles based on papers given at the conference will be collected for publication.

____________________________________________________________________________

 

CFP Colloque international de la Société Française d’Études Victoriennes et Edouardiennes.

A Scottish Air : Inspirations et modèles écossais

30 et 31 janvier 2025

Université Grenoble Alpes

Au dix-huitième siècle, Voltaire rendait hommage au rayonnement culturel et scientifique de l’Écosse en écrivant : « Nous nous tournons vers l’Écosse pour trouver toutes nos idées sur la civilisation ». En l’espace de quelques décennies, cette nation s’était imposée comme un pôle majeur de l’Europe des Lumières. Son influence en Grande-Bretagne et au-delà des îles britanniques allait perdurer dans le siècle suivant et jusqu’au XXème siècle. À titre d’exemple, au XIXe siècle, les publications de Walter Scott marquèrent profondément la littérature britannique, et plus généralement européenne, s’imposant comme l’origine du roman historique. L’Écosse se rendit aussi célèbre en jouant un rôle majeur dans l’innovation scientifique dès les débuts de la Révolution Industrielle, tant dans le domaine de l’énergie (James Watt), des transports (Macadam, Thomson et Dunlop) ou encore des communications (Bell). Les Écossais firent également des découvertes médicales qui allaient avoir des retombées majeures telles que la seringue hypodermique, inventée par Alexander Wood en 1853, et la première utilisation du chloroforme comme agent anesthésique pour les accouchements par James Young Simpson en 1847. Dans le domaine des arts, ce fut en Écosse qu’ouvrit, en 1889, la première galerie exclusivement consacrée à l’art du portrait. Le groupe d’artistes connus sous le nom de The Four réalisa des œuvres qui exercèrent une influence déterminante dans l’émergence de l’Art nouveau, courant artistique dominant au début du XXe siècle.

Cette visibilité, issue de cette contribution distincte de l’Écosse au sein du Royaume-Uni, est sans nul doute à relier aux conditions qui avaient présidé à son union à l’Angleterre en 1707. Contrairement au pays de Galles avant elle, et à l’Irlande après elle, le pays avait pu garder son propre système éducatif, son propre système légal et sa propre Église (presbytérienne). Sa participation active à l’entreprise impériale (notamment James Matheson et William Jardine), ses échanges avec le monde et son importante production industrielle valurent par ailleurs à l’une de ses villes, Glasgow, de se voir attribuer le titre de « deuxième ville de l’Empire », alors même que la capitale écossaise revendiquait le titre d’Athens of the North en contrepoint à une Londres perçue comme nouvelle Rome. Pour toutes ces raisons, ce qui se passait « au nord de la frontière » put, à l’occasion, être pris comme modèle – ou contre-modèle – au sein du monde britannique voire anglo-saxon. La gestion glasvégienne de la prostitution put ainsi être opposée par les abolitionistes anglais (dont Joséphine Butler) aux lois sur les maladies vénériennes adoptées par le gouvernement britannique sur un modèle régulationniste plutôt continental. Le modèle scolaire, et notamment le rôle joué par les écoles paroissiales en Écosse, fut également fréquemment cité en exemple, dans la première moitié du XIXème siècle par les défenseurs d’un système éducatif soutenu par l’État en Angleterre et au pays de Galles, tandis que le modèle universitaire s’exportait dans certaines colonies, comme par exemple la Nouvelle-Galles du Sud.

La diffusion à l’échelle nationale et internationale d’un modèle écossais « souple » se fit souvent à bas bruit, en raison de la nature « plastique » de l’héritage culturel et politique écossais, souvent adaptable à la culture de réception (on pense ici aux « emprunts » à Walter Scott par notamment James Fenimore Cooper), qui ne fut jamais vraiment source d’un quelconque soft power. En témoigne l’influence « par ricochet » du style dit Scotch Baronial, à travers la félicité du château et du domaine de Balmoral, directement inspirés de l’Abbotsford de Scott, dont Miles Glendinning et Aonghus MacKechnie sous-entendent qu’il a pu infuser dans le Second Castle Age. C’est, plus subrepticement, le cas dans la discussion du domaine de Scott (hôte généreux qui y reçut écrivains, hommes politiques, et lecteurs de sa fiction) que l’on trouve sous la plume (souvent désapprobatrice) de ses nombreux visiteurs, contemporains (notamment Washington Irving) ou non (Virginia Woolf).

Enfin, outre l’inspiration qu’elle a pu susciter, et les modèles qu’elle a pu offrir pour certains, au-delà de ses frontières, dans les différents domaines mentionnés, l’Écosse put également représenter un contre-modèle pour d’autres. Par boutade, on peut penser à l’amusante désignation « ‘No true Scotsman fallacy » en philosophie, et il n’est peut-être pas tout à fait incident que cette formulation convie la figure du « true Scotsman » et les pièges de l’essentialisme, tant la définition d’un supposé « caractère écossais » a agité les esprits. On notera à ce titre que malgré toute sa typicité, la figure du Highlander put être source du parasitage de la question de l’essentialisme de l’identité écossaise ; l’opposition pseudo-scientifique que traçait Robert Knox, dans son influente étude The Races of Men (1850) entre races anglo-saxonne et celte, reposait en partie sur l’opposition perçue par beaucoup entre Highlanders et Lowlanders, qu’il aurait en substance transposée à un contexte plus large. Cette distinction, fondée sur un modèle écossais supposé, lui permit d’extrapoler le devenir racial du contexte impérial, discours qui entrait en écho avec la vaste entreprise racialiste.

Ce colloque international, qui se déroulera à l’Université Grenoble Alpes les 30 et 31 janvier 2025, portera donc sur l’Écosse comme source d’inspiration et exemple à l’époque victorienne et édouardienne, mais également comme contre-modèle, à l’intérieur et à l’extérieur des frontières du Royaume-Uni. Il aura pour objectif d’apporter un éclairage nouveau sur cet aspect de l’histoire de l’Écosse qui reste encore à étudier.

Les axes de réflexion (non-exhaustifs) proposés dans le cadre de ce colloque sont les suivants :

  • L’Écosse comme source d’inspiration dans le domaine des arts et de la littérature ;
  • Les modèles (ou contre-modèles) écossais en Grande-Bretagne, en Europe, dans les colonies britanniques et dans le reste du monde dans les domaines scientifique, politique, économique et social ;
  • Un ou des modèles écossais ?  Parce que l’Écosse est plurielle, les spécificités régionales (Lowlands, Highlands & Islands, mais sans doute plus encore) ainsi que religieuses pourront être examinées.

Les propositions de communication (format 20 minutes de présentation), rédigées en français ou en anglais (environ 500 mots) accompagnées d’une courte notice biographique, sont à adresser au plus tard le 10 juin 2024 à l’ensemble des organisateurs du colloque.

marion.amblard@univ-grenoble-alpes.fr

cyril.besson@univ-grenoble-alpes.fr

veronique.molinari@univ-grenoble-alpes.fr

Une sélection des communications sera publiée dans la revue en ligne Cahiers victoriens et édouardiens.

 

Comité scientifique

Marion Amblard, Université Grenoble Alpes (SFEVE/SFEE)

Cyril Besson, Université Grenoble Alpes

Nathalie Duclos, Université Toulouse Jean-Jaurès (Présidente SFEE)

Marjory Harper, University of Aberdeen

Philippe Laplace, Université de Franche-Comté (SFEE)

Fabienne Moine, Université Paris Est Créteil (Vice-Présidente SFEVE)

Véronique Molinari, Université Grenoble Alpes (SFEVE/SFEE)

Laurence Roussillon-Constanty, Université de Pau et des Pays de l’Adour (Présidente SFEVE)

 

Bibliographie :

Anderson, Robert David, Education and Opportunity in Victorian Scotland. Schools & Universities, Oxford, Clarendon Press, 1983.

_, Education and the Scottish People, 1750-1918, Oxford, Clarendon Press, 2015.

Anderson, R. D. “Education and the State in Nineteenth-Century Scotland.” The Economic History Review 36, no. 4 (1983): 518–34. https://doi.org/10.2307/2597238.

Auer, Christian, Dubois-Nayt, Armel & Duclos, Nathalie, Femmes, pouvoir et nation en Écosse du XVIe siècle à aujourd’hui, Villeneuve-d’Ascq, Presses Universitaires du Septentrion, 2012.

Auer, Christian, Luttes et résistances des femmes écossaises. 1838-1915, Paris, L’Harmattan, 2013.

Auer, Christian, Scotland and the Scots, 1707-2007. A Reader, Strasbourg, Presses Universitaires de Strasbourg, 2013.

Civardi, Christian, L’Écosse depuis 1528, Paris, Ophrys, 1998.

Devine, T. M, The Scottish Nation 1700-2000, Londres, Penguin Press, 1999.

_, Scotland’s Empire 1600-1815, Londres, Allen Lane, 2003.

Fraser, Hamish & Morris, R. J. (éds.), People and Society in Scotland. Volume 2, 1839-1914, Édimbourg, John Donald, 1990.

Gascoigne John (1996) The cultural origins of Australian universities, Journal of Australian Studies, 20:50-51, 18-27, DOI: 10.1080/14443059609387275

Gifford, Douglas (éd.), The History of Scottish Literature, vol. 3, Nineteenth Century, Aberdeen, Aberdeen University Press, 1988.

Herman, Arthur, How the Scots Invented the Modern World, New York, Crown, 2001.

Hill, C. W., Edwardian Scotland, Édimbourg, Scottish Academic Press, 1976.

Leruez, Jacques. « L’identité de l’Écosse au sein du Royaume-Uni », Diplomatie, n° 2 (2003): 62–67. https://www.jstor.org/stable/26980170.

Leydier, Gilles, “Victorian and Edwardian Scotland”, Cahiers victoriens et édouardiens, n° 54, 2001.

Macmillan, Duncan, Scottish Art 1460-2000, Édimbourg, Mainstream, 2000.

Pittock, Murray (éd.), The Reception of Robert Burns in Europe, Londres, Bloomsbury Academic, 2014.

_, The Reception of Walter Scott in Europe, Londres, Continuum, 2006.

_, Scotland: The Global History: 1603 to the Present, New Haven, Yale University Press, 2022.

Smout, T. C., A Century of the Scottish People, 1830-1950, Londres, Fontana, 1987.

Wills, Elspeth, Scottish Firsts: a Celebration of Innovation and Achievement, Édimbourg, Mainstream, 2002.

Webb, R. K. “Literacy among the Working Classes in Nineteenth Century Scotland.” The Scottish Historical Review 33, no. 116 (1954): 100–114.

 

CFP International conference of the Société Française d’Études Victoriennes et Edouardiennes.

A Scottish Air: Inspirations and models from Scotland

30 and 31 January 2025

Université Grenoble Alpes

 

In the 18th century, Voltaire paid tribute to Scotland’s cultural and scientific influence by writing: “We look to Scotland for all our ideas about civilisation”. Within a few decades, this nation had established itself as a major centre of European Enlightenment. Its influence in Britain and beyond the British Isles would last well into the following century and, indeed, into the 20th century. In the 19th century, for example, the publications of Walter Scott had a profound impact on British and, more generally, European literature, as they were at the origin of the historical novel. Scotland also made a name for itself by playing a major role in scientific innovation in the early days of the Industrial Revolution, in the fields of energy (James Watt), transport (Macadam, Thomson and Dunlop) and communications (Bell). The Scots also made medical discoveries that were to have a major impact, such as the hypodermic syringe, invented by Alexander Wood in 1853, and the first use of chloroform as an anaesthetic in childbirth by James Young Simpson in 1847. In the arts, the first gallery devoted exclusively to portraiture opened in Scotland in 1889. The group of artists known as The Four produced works that wielded a decisive influence on the emergence of Art Nouveau, an artistic movement that was to become one of the most important art movements of the 20th century.

This visibility, coming from Scotland’s distinct contribution to the United Kingdom, is undoubtedly linked to the conditions that led to its union with England in 1707. Unlike Wales and Ireland, the country had been able to retain its own education system, its own legal system and its own (Presbyterian) Church. Its active participation in the imperial enterprise (notably James Matheson and William Jardine), its exchanges with the world and its significant industrial production also earned one of its cities, Glasgow, the title of “second city of the Empire”, while the Scottish capital claimed the title of Athens of the North as a counterpoint to London, which was considered as the new Rome. For all these reasons, what was happening ‘north of the border’ could, on occasion, be taken as a model – or counter-model – within the British or even Anglo-Saxon world. The English abolitionists (including Josephine Butler) were thus able to contrast the Glaswegian management of prostitution with the laws on venereal diseases adopted by the British government on a more continental regulatory model. The school model, and in particular the role played by parochial schools in Scotland, was also frequently cited as an example in the first half of the 19th century by advocates of a state-supported education system in England and Wales, while the university model was being exported to some colonies, such as New South Wales.

The spread of a ‘flexible’ Scottish model on a national and international scale was often low-key, due to the ‘plastic’ nature of Scotland’s cultural and political heritage, which was often adaptable to the culture of the recipient (cf. the ‘borrowings’ from Walter Scott by James Fenimore Cooper for instance), and was never really a source of soft power. This is borne out by the “ricochet” influence of the so-called Scotch Baronial style, through the felicity of Balmoral Castle and estate, directly inspired by Scott’s Abbotsford, which Miles Glendinning and Aonghus MacKechnie imply may have infused into the Second Castle Age. This is, more surreptitiously, the case in the discussion of Scott’s estate (a generous host who welcomed writers, politicians and readers of his fiction) that we find in the (often disapproving) writings of his many visitors, both contemporaries (notably Washington Irving) and non-contemporaries (Virginia Woolf).

Finally, in addition to the inspiration it may have generated, and the models it may have offered for some, beyond its borders, in the various fields mentioned, Scotland may also have represented a counter-model for others. In jest, we might think of the amusing expression ‘No true Scotsman fallacy’ in philosophy, and it is perhaps not entirely incidental that this formulation conjures up the figure of the ‘true Scotsman’ and the pitfalls of essentialism, given how much the definition of a supposed ‘Scottish character’ has puzzled people. Robert Knox’s pseudo-scientific opposition between the Anglo-Saxon and Celtic races in his influential study The Races of Men (1850) was partly based on the perceived opposition between Highlanders and Lowlanders, which he transposed to a wider context. This distinction, based on an assumed Scottish model, enabled him to extrapolate the racial future of the imperial context, a discourse that echoed the vast racialist enterprise.

This international conference, to be held at Grenoble Alpes University on 30 and 31 January 2025, will thus focus on Scotland as a source of inspiration and example in the Victorian and Edwardian eras, but also as a counter-model, both within and beyond the borders of the United Kingdom. The aim is to shed new light on this aspect of Scottish history that has yet to be studied.

Possible topics for proposals may include, but are not limited to:

  • Scotland as a source of inspiration in the arts and literature;
  • Scottish scientific, political, economic and social models (or counter-models) in Great Britain, Europe, in British colonies and the rest of the world;
  • One or more Scottish models? Because Scotland is plural, the regional (Lowlands, Highlands & Islands) and religious specificities will be examined.

Paper proposals (20-minute presentation format), written in French or English (approximately 500 words) and accompanied by a short biographical note, should be sent no later than 10 June 2024 to the conference organisers.

marion.amblard@univ-grenoble-alpes.fr

cyril.besson@univ-grenoble-alpes.fr

veronique.molinari@univ-grenoble-alpes.fr

A selection of contributions will be published in the online journal Cahiers victoriens et édouardiens.

Scientific committee

Marion Amblard, Université Grenoble Alpes (SFEVE/SFEE)

Cyril Besson, Université Grenoble Alpes

Nathalie Duclos, Université Toulouse Jean-Jaurès (Présidente SFEE)

Philippe Laplace, Université de Franche-Comté (SFEE)

Fabienne Moine, Université Paris Est Créteil (Vice-Présidente SFEVE)

Véronique Molinari, Université Grenoble Alpes (SFEVE/SFEE)

Laurence Roussillon-Constanty, Université de Pau et des Pays de l’Adour (Présidente SFEVE)

 

Selected readings:

Anderson, Robert David, Education and Opportunity in Victorian Scotland. Schools & Universities, Oxford, Clarendon Press, 1983.

_, Education and the Scottish People, 1750-1918, Oxford, Clarendon Press, 2015.

Anderson, R. D. “Education and the State in Nineteenth-Century Scotland.” The Economic History Review 36, no. 4 (1983): 518–34. https://doi.org/10.2307/2597238.

Auer, Christian, Dubois-Nayt, Armel & Duclos, Nathalie, Femmes, pouvoir et nation en Écosse du XVIe siècle à aujourd’hui, Villeneuve-d’Ascq, Presses Universitaires du Septentrion, 2012.

Auer, Christian, Luttes et résistances des femmes écossaises. 1838-1915, Paris, L’Harmattan, 2013.

Auer, Christian, Scotland and the Scots, 1707-2007. A Reader, Strasbourg, Presses Universitaires de Strasbourg, 2013.

Civardi, Christian, L’Écosse depuis 1528, Paris, Ophrys, 1998.

Devine, T. M, The Scottish Nation 1700-2000, London, Penguin Press, 1999.

_, Scotland’s Empire 1600-1815, London, Allen Lane, 2003.

Fraser, Hamish & Morris, R. J. (éds.), People and Society in Scotland. Volume 2, 1839-1914, Edinburgh, John Donald, 1990.

Gascoigne John (1996) The cultural origins of Australian universities, Journal of Australian Studies, 20:50-51, 18-27, DOI: 10.1080/14443059609387275

Gifford, Douglas (éd.), The History of Scottish Literature, vol. 3, Nineteenth Century, Aberdeen, Aberdeen University Press, 1988.

Herman, Arthur, How the Scots Invented the Modern World, New York, Crown, 2001.

Hill, C. W., Edwardian Scotland, Edinburgh, Scottish Academic Press, 1976.

Leruez, Jacques, « L’identité de l’Écosse au sein du Royaume-Uni », Diplomatie, n° 2 (2003): 62–67. https://www.jstor.org/stable/26980170.

Leydier, Gilles, “Victorian and Edwardian Scotland”, Cahiers victoriens et édouardiens, n° 54, 2001.

Macmillan, Duncan, Scottish Art 1460-2000, Edinburgh, Mainstream, 2000.

Pittock, Murray (éd.), The Reception of Robert Burns in Europe, London, Bloomsbury Academic, 2014.

_, The Reception of Walter Scott in Europe, London, Continuum, 2006.

_, Scotland: The Global History: 1603 to the Present, New Haven, Yale University Press, 2022.

Smout, T. C., A Century of the Scottish People, 1830-1950, London, Fontana, 1987.

Wills, Elspeth, Scottish Firsts: a Celebration of Innovation and Achievement, Edinburgh, Mainstream, 2002.

Webb, R. K. “Literacy among the Working Classes in Nineteenth Century Scotland.” The Scottish Historical Review 33, no. 116 (1954): 100–114.

________________________________________________________________________________

 

CFP: The 29th Annual Dickens Society Symposium

“Dickens, Context and Co-occurrence”

July 15 – 18, 2024

University of Birmingham, UK

We are delighted to welcome you to the University of Birmingham!

The theme of the 2024 symposium will be “Dickens, Context and Co-occurrence”. We invite you think of the various contexts that Dickens’s works are set in, connect to, and imagine. Contexts are where things co-occur – with various effects.

Topics of papers can cover Dickens and the context of theatre, the world of fashion, or the natural environment; Dickens and changing contexts through travel, translation, and time; contexts of family and friends; you may also want to think about the relationship between real world contexts and the textual contexts of the words on the page. As is the case every year, proposals on other aspects of Dickens’s life and works are welcome, too.

Please submit your abstract of 300 words (maximum) and bio of 150 words (maximum) to

dickens2024@contacts.bham.ac.uk

DEADLINE: 15 JANUARY 2024.

Please note that you need to be a member of the Dickens Society to present at the annual conference. Membership is conferred by subscription to Dickens Quarterly. Find out more here.

Birmingham is known for its status as the UK’s “Second City” (after London) and for its industrial heritage. Centrally located in the West Midlands, it boasts excellent transportation access, located less than two hours from London, and has its own international airport. Home to the largest creative sectors outside the capital, it is one of the most multicultural cities of the UK, and also one of the greenest cities in the country. If you are thinking of spending a few days before or after the symposium in Birmingham, you might find this information useful

The University of Birmingham is England’s first civic university. Cultural assets on campus include the Barber Institute of Fine Arts, the Lapworth Museum of Geology and Winterbourne House and Garden. Charles Dickens visited Birmingham on several occasions, the most notable time probably occurring in 1853 when he gave his first public reading of A Christmas Carol in Birmingham Town Hall.

Details about travel, accommodation, and the conference programme will be posted and updated on the Dickens Society website and on the University of Birmingham’s conference page

For any questions, please contact the conference organisers, Michaela Mahlberg at m.a.mahlberg@bham.ac.uk & Caroline Radcliffe at C.Radcliffe@bham.ac.uk.

Call for Bursary Applications:

The Dickens Society annually provides bursaries to support the scholarly development of graduate students, independent scholars, and untenured faculty.

For our Symposium in Birmingham, we will be offering bursaries for various social media responsibilities and assistance during the event.

We will be asking bursary recipients to take over the Dickens Society social media accounts during the Symposium, help with running the conference, possibly write a report of the papers to be disseminated afterwards through the Society’s channels, and contribute a blog post on a topic of their choosing for the Society blog within four months of the end of the event.

To apply, graduate students, independent scholars, and untenured faculty whose papers have been accepted should send a one-page CV with a one-page cover letter to Claire Wood, the Society Secretary, at dickenssocietysecretary@gmail.com by 31 May 2024.

The one-page cover letter should specify your academic status and funding (or lack thereof) and discuss the relevance of the Symposium for your research and professional development. It should also outline the following:

  • Your own ideas for improving the social media presence of the event/any skills with Twitter and other relevant experience.
  • If relevant, a very brief idea for a blog post you might write for the society blog after the event.
  • Any relevant previous experience organizing and/or attending online and in-person academic conferences.

The bursary winners will be announced in early June. If you have any queries, please email dickenssocietysecretary@gmail.com.

Robert B. Partlow, Jr. Prize

The Partlow Prize recognizes the best essay submitted for presentation at the Symposium by a graduate student, independent scholar, or contingent faculty member. Applicants for the Partlow Prize must submit a complete essay, suitable for 20-minute presentation time, to the Program Committee Chair, Michaela Mahlberg, at m.a.mahlberg@bham.ac.uk by 1 May 2024.

The Partlow Prize carries a cash award of $500 (or, in the case of co-winners, two prizes of $300 each) and a waiver of the registration fee for the Symposium.

Should the essay be of publishable quality, Dickens Quarterly shall have the right of first refusal. We expect to decide on a winner by end of May.

David Paroissien Prize

The David Paroissien Prize is awarded each year to the best peer-reviewed essay on Dickens published in a journal or edited collection. The Prize is named for David Paroissien, a founding member of the Dickens Society and also the founder of Dickens Quarterly, which he edited from its first issue in 1983 until his final issue in December 2020. As an editor he was rigorous, tactful, and generous, particularly with younger scholars. Under his direction, Dickens Quarterly attracted contributions from Dickens scholars around the world and became a leading venue for new work in the field.

To nominate (or self-nominate) an essay for the Paroissien Prize, please provide a copy of the essay and a cover email giving the name, email address, and institutional affiliation (if any) of its author. For the 2023 competition (essays published 1 January 2023 – 31 December 2023), send these materials to Claire Wood, the Society Secretary, at dickenssocietysecretary@gmail.com by 31 January 2024.

A three-person committee comprised of Officers and/or Trustees will judge submissions.

Please note that, in determining an essay’s eligibility for a given year, the actual date of appearance is what matters, not the nominal date of the journal issue, since it is common for journals to lag behind their publication date. Any author may be nominated for this Prize, whether or not they are a Society member. The Prize carries a cash award of $500 and waives the registration fee for the Symposium at which the recipient will be recognized.

Decisions will be announced by early June 2024 to allow the recipient the option of making travel plans to attend the symposium and accept the prize in-person.

_____________________________________________

Leslie Stephen: Thinking With and Against His Time

International Conference

24-25 October 2024

Sorbonne Nouvelle University, Paris

Extended deadline: March 31st, 2024

PRISMES – EA 4398, Langues, Textes, Arts et Cultures du Monde Anglophone

CORPUS – UR-UPJV 4295, Conflits, Représentations et Dialogues dans l’Univers Anglo-Saxon

SEW – Société d’Études Woolfiennes

Confirmed keynote speakers:

Dr. Jane Potter (Oxford Brookes University)

Dr. Trudy Tate (Clare Hall, University of Cambridge)

Call for papers:

Early advocate of evolutionism, one of the first openly declared agnostics, editor of the Cornhill Magazine, pioneering mountaineer, moral philosopher, founder and general editor of the DNB: there are so many more facets to Leslie Stephen (1832-1904) than those recorded by his daughter Virginia Woolf, who memorably paid tribute to his “strong,” “healthy out of door, moor striding mind”. By unfolding all the contradictions and paradoxes of the character, this first international conference on Leslie Stephen means to reclaim the full complexity of his thought and legacy. 

Thinking with and against his time, Stephen held a key position at the heart of the Victorian literary scene and was an impressively prolific writer, profoundly engaged with the religious, philosophical and social debates of his age. A highly respected journalist and critic, he edited the Cornhill Magazine from 1871 to 1882, publishing works by George Meredith, Thomas Hardy, John Addington Symonds, Henry James and R.L. Stevenson, and was the author of hundreds of essays, published over the course of forty years in periodicals, such as the Fortnightly ReviewFraser’s MagazineMacmillan’s MagazineMind, the National Review, the Nineteenth Century, the Saturday Review or the Pall Mall Gazette, a vast oeuvre now finally accessible thanks to online databases.  

His devotion to knowledge and integrity were such that he preferred to break with the academic world of Cambridge rather than compromise with the Church. Heir to the Clapham Sect, Stephen engaged with the theological debates of his time to the point of gradually and publicly embracing agnosticism, a form of radicalism that coexisted from then on with forms of traditionalism. 

His own prolific output bears witness to his encyclopaedic mind and his boundless curiosity for all the key issues of the day, however polemical: the anti-slavery movement, agnosticism, educational and social reform… Both a man of his time and a pioneer, Stephenexplored new epistemological modes in keeping with the expanding frontiers of his age, while remaining profoundly anchored in some of the values and hierarchies of the day. 

The DNB, his life’s work, and one of his most ambitious projects, is the finest example of his desire to define new modes of classification and new forms of expression for the expanding knowledge of his time. Breaking with the established narratives of the past, he devised a new approach to writing the biography of the nation, doing away with the grandiose tradition of commemoration. In its place, he developed a more archaeological approach, delving into the past and collating the life stories of all those who helped shape the evolution of the country.

The same pioneering spirit stoked his passion for the Alps and mountaineering, in which he proved as much a trailblazer as he did in intellectual life. It is this conquering spirit that his close friend Thomas Hardy immortalized in his poem “The Schreckhorn, With Thoughts of Leslie Stephen” (1897), which extolled his will to “venture life and limb” as well as the “quaint glooms” of his personality, when paying tribute to Stephen as the first man ever to ascend this mountain.

However daring and rigorous in his endeavours, Stephen was no less a direct heir to the Romantic tradition. An ardent poetry lover, he could quote vast swathes of the poetic canon, from Milton to Wordsworth, Tennyson and Arnold, and would rhythm both domestic life and mountaineering exploits with his recitations. Likewise, despite his allegiance to Victorian models of “Muscular Christianity”, and the manly world of clubs and fellowships, he would at times indulge in various forms of sentimentalism and melodramatic displays of emotion. 

These are some of the contradictions that the participants to this conference are invited to explore. Similarly, his vast output deserves to be reconsidered through diverse critical paradigms, such as new materialist History, print culture studies, new sensory studies, phenomenology, affect studies and ethics, gender studies, health and disability studies.

We welcome contributions focusing on Leslie Stephen, but also on the following topics, connected with his life and times and shedding light on the larger context of his work: 

  • Victorian encyclopaedism
  • Victorian periodicals, print culture, the publishing industry 
  • Biography, the DNB, “hero-worship”
  • Stephen’s relations to Victorian sages and prophets
  • Letters, epistolarity, literary networks
  • Cambridge, academia, education and university reform
  • Gentlemen’s clubs, sociability
  • 18th century philosophy and literature, the Enlightenment 
  • Utilitarianism, Science, Evolutionism
  • The Clapham Sect, Agnosticism, Scepticism
  • War, the anti-slavery movement
  • Morality, the “science of ethics”
  • Mountaineering, athletics, walking, nature and travel writing
  • Memory, elegy, mourning, the Mausoleum Book, Virginia Woolf & Leslie Stephen

Abstracts of about 300 words, for 25-minute papers in English, together with a short (100-word) author biography, should be sent to the organizers by 31 March 2024 at the following address: leslie.stephen.conference@gmail.com. In case of difficulties tracing Stephen’s works, please contact the organizers, who will be happy to share links and resources.

A selection of peer-reviewed articles based on papers given at the conference will be collected for publication. 

______________________________________________________________

Call for Papers Cahiers Victoriens et Edouardiens n°102

Full version: Call for Papers Cahiers Victoriens et Edouardiens 102 (1)

Guest editor : Lawrence GASQUET, Université Jean Moulin Lyon III – Institut d’Etudes Transtextuelles  & Transculturelles  (IETT – EA 4186)

Jamais l’âme ne pense sans image.

                               Aristote

I photograph to find out what something will look like photographed.

Garry Winogrand

Far from holding up the mirror to nature, which is an assertion usually as triumphant as it is erroneous, it holds up that which, however beautiful, ingenious, and valuable in powers of reflection, [photography] is yet subject to certain distortions and deficiencies for which there is no remedy.

Lady Eastlake

THROUGH A LENS, MECHANICALLY:

THE BIRTH OF PHOTOGRAPHY & THE GENESIS OF A RADICALLY NEW VISION

What if the story crafted by photography was one of distortion, of a technological recasting of the world? What if the ease with which photographs have been accepted as reflections of reality was a conditioned response? What if we have taught ourselves to forget that photography is a source of discontinuity, mediating between the viewer and the world? What if we have become blind to the fact that, by encoding what it captures and presents, photography is a source of rupture rather than of continuity?

We aim to provide an in-depth assessment of the first century of photography (1823-1910), when it was still an experimental technology in France and Great-Britain. This initial period of radical innovation stands in stark contrast with what came after, the period that Vilém Flusser has described as the age of the “redundant image” – a mass visual culture endlessly churning out what are essentially the same images for the same purposes. Our aim will be to highlight the epistemological revolution that photography created, and to sort out the theoretical issues that ensued.

Returning to The Emergence of Photography to See It Afresh (Niepce, Fox, Talbot)

In Camera Lucida Roland Barthes bemoaned the essential transparency of photography: whatever it presents to our eye, and however it does so, a photograph is always invisible: we never see it, in and of itself. (Barthes, 6). We never see it, because we are conditioned to ignore it in favour of what it signifies – we have trained ourselves to recognise only the latter. It is time to refocus our gaze upon the signifier – the photo itself, as a densely symbolic surface.

By concentrating on its early years, it is easier to perceive photography “per se” and avoid being distracted by what it purports to show us. At the moment of its emergence the dissonant potential of the new-born technology was starkly evident: the essential novelty of its output had not yet been obscured by its assumed resemblance to objects pre-existing in the world.  We have failed to take into account the parallels between the invention of photography and that of writing. Before it was conceptualised as a simple filter or prism, before its inventors theorised what they had brought into being, before the public learned to blindly accept and adopt its output, photography was first and foremost an unparalleled innovation in man’s ability to create images. As such, it called out for a whole new hermeneutics. Setting aside the photogram (tracing the contours of light itself on a 1:1 scale, without intermediary); a road less travelled, but whose pioneers (Fox Talbot, Atkins) and stubborn contemporary partisans (Fabian Miller, Derges, Bucklow, Fuss) certainly merit further exploration – the triumphant ascent of the camera during this period cries out for analysis. For the camera – mechanical brush, palette and easel to the photographer – has drawn scant attention from theorists, its ominous omnipresence having gone unnoticed because it was seen as a mere copying machine, an astonishingly efficient means of reproduction.

To Meditate the Mechanics of Photography Is to Realise Our Thoughts About It Have Been Mechanised

The philosopher Vilém Flusser identifies the camera as an apparatus: a complex system that recasts our experience, leading us to behold the world through a specific code (Foucault, Agamben, Crary, Alberti). Flusser insists that power lies with the camera rather than the photographer, with the former subtly bending the latter to its will: “in the act of photography, the camera does the will of the photographer but the photographer has to will what the camera can do” (Reaktion Books, 35). A product of human design, the camera becomes an extension of the body, influencing not only what is seen but what is thought, as demonstrated by Jonathan Crary in Techniques of the Observer, on Vision and Modernity in the Nineteenth Century and Kate Flint in The Victorians and the Visual Imagination. Flusser sees the camera as an early instance of programmed playthings capable of simulating thought and encouraging new modes of behaviour and ways of apprehending the world (67). The invention of photography therefore marks the beginning of the post-historical era, where mechanical means both model and determine how mankind interacts with the world.

We shall seek to understand why the spectator (or consumer) has lost consciousness of the fact that photographs are symbolic images rather than simple windows onto the outside world. Observers “consequently do not criticize [photographs] as images, but as ways of looking at the world (to the extent that they criticize them at all). Their criticism is not an analysis of their production but an analysis of the world.” (Flusser, 15). Lost to sight is the fact that photography produces not images of the world, but images born of a theoretical recasting of the world; photographs are always meta-images, no matter how well we have been conditioned to see them as isomorphic reflexions (Van Lier). The apparent objectivity of the photograph is an illusion. At the birth of photography, its abstract, symbolic properties were more apparent, at least until it was classified as a scientific (passively reflecting) rather than artistic (manipulating and creating) discipline. It is easier to see how pioneering photographers produced, manipulated and arranged symbols in the same fashion as a writer or painter (Flusser, 25). When first used, the clairvoyant nature of the camera was evident – its capacity to make visible possibilities that would not exist without it. Fox Talbot wrote as much when he declared, in The Pencil of Nature, « the eye of the camera would see plainly where the human eye would find nothing but darkness » (Plate VIII).

“On the Art of Fixing a Shadow” (Fox Talbot)

For Flusser, mankind needs images to understand the world even though they – paradoxically – obscure and disguise rather than reveal. Photographs are therefore essentially anti-determinist, allowing the invention of new modes of existence compatible with the vision which is crafted by the camera’s intermediation. Photography, and other so-called “technical” means of representation, are (like language) metacodes that reconstruct reality via symbols and imagination, creating an “image” that is only apparently reflective, given it is moulded by thought. Photography creates a shared illusion about the world, one fed by our desire to perceive the things that the camera alone allows us to see (« it is precisely the obscurity of the box which motivates photographers to take photographs. They lose themselves […] inside the camera in search of possibilities » Flusser, 27).

We know – from disparate, but fragmentary, sources – that photography came into being in various places at various times (we can pose the question, along with François Brunet, whether it was a “discovery” or an “invention”), but remained in obscurity for many years (Niepce’s first heliographies are now thought to date from 1823). Its first spectators, unaccustomed to see the world through its lens, had to learn to decode its products. This proved no easy matter. In 1857 Lady Eastlake insisted that Wedgwood and Davy – the first to spot the surface marks left by light (1802) – were entranced by the action of chemicals and photons rather than the objects they seemed to trace (“the importance lay in the first stain designedly traced upon the prepared substance, not in the thing it portrayed”). In similar fashion, and even earlier, Lady Elizabeth Fulhame was entranced in the 18th century by photochemical traces of colour on textiles as she sought to create fabric woven from gold, silver and other metals. Only once Niepce, Daguerre and Fox Talbot had perfectioned their respective techniques did a consensus come into being, conceptualising the objects they produced into a single category named “photography”.

It is our intention to question this monolithic approach by comparing what happened in the UK and in France in the 19th century: can a heliograph truly be compared to a daguerreotype or a calotype? Does a cyanotype, through colour, tell us different things than a sepia calotype, and, if so, why and how? What do such comparisons reveal, and what do they conceal? How should we understand the spectacular reduction of scale that photography introduced and the fact that it was taken on board with such apparent ease? Why was such an innovative technique assimilated so rapidly? Was the historical adoption of a common term – photography, chosen by John Herschel – for a variety of images produced by heterogeneous techniques an act of brutal simplification or the recognition of a common essence? Did politics have anything to do with it, given the struggle for technological supremacy between France and England at the moment when Arago announced that France would present the world with the gift of the daguerreotype? How should we view the homogenisation of the photographic process that took place after 1839? Although they all capture traces of light on a photosensitive surface, the cameras invented by Niepce, Daguerre, Fox Talbot, Bayard and their followers differ greatly in all other aspects (mechanics, chemistry, means of framing, type of contact, etc.). By focusing on these differences, can we gain a more critical perspective on the status accorded to photography in the 19th and 20th centuries?

Photography as a Conceptual Object

As it was invented and perfected, photography recast the notion of the pictural, introducing a series of ruptures in the fabrication, form and reception of images. The birth of photography can be seen as a disjunctive moment that created an epistemological revolution, suddenly bringing forth multiple possibilities and throwing into question the theoretical status of images.

The heuristic breach opened by this newfound medium was, however, short-lived. The novelty and heterogeneity of its technical procedures – which seemed to leave no room for virtuosity – were seen as placing photography firmly within the scientific, rather than artistic, field. Its radical originality was thus brushed under the carpet. That widespread recognition of photography’s status as a legitimate artistic practice has come only in the past 25 years may well be the result of the haste with which it was lodged in a reproductive niche: a means of producing passive copies of pre-existing objects. What if, rather than focusing exclusively on the resemblances between a photo and its object, we had remained alert to the dissemblance that it operates? That, after all, is what Lady Eastlake asked of us in 1858 when she insisted on the way that photography deforms what it captures.

Excluded from the cult of originality and the realm of virtuosity, photography came to play a key role in the emergence of conceptual art. Jan Dibbet’s “alternative” photography celebrates the impurity and imperfections of the medium, simultaneously capturing objects and making them impossible to see. Duchamp insisted that photography created a shortcut between conception and embodiment, allowing for the projection of pure thought. What if these 20th century theoreticians were simply rediscovering the insights of photography’s pioneers?

Possible subjects for articles (with a focus on Great-Britain):

  • The print and its applications (photograms, lumigrams, cameraless photography, chronophotography by Marey and Muybridge etc.)
  • The invention of perspective, the influence of drawing machines and the conceptualisation of reproduction (Brunelleschi’s Tavoletta, de Dürer’s perspectograph, pantograph, physionotrace, camera lucida, camera obscura, etc.)
  • Text-image relations, encoding, intertextuality & interpicturality (Fox Talbot, Pencil of Nature, Daguerre, Bouton and the diorama, etc.), discursive and conceptual framework
  • Standardisation, normativity, format
  • Simplification, automatisation, reproduction, prototypes et stereotypes, matrix vs singularity
  • Magic, enchantment, poetry vs science & technology
  • Scenography, composition, tableaux vivants, montage, collage, decorative arts et ornementation
  • Scale and psychology, macrophotography et astronomical photography, reproducibility, anthropometry, conservation/preservation, private or public sphere, infinite/finite
  • Photography vs entropy, vs natural decay (memory)
  • Optics & modelisation
  • Theory and artworks by William Henry Fox Talbot, Nicéphore Niepce, John Herschel, Anna Atkins, Hippolyte Bayard, Etienne-Jules Marey, Eadweard Muybridge, Julia Margaret Cameron, Oscar Gustav Rejlander, Henry Peach Robinson, Alvin Langdon Coburn, Christopher Bucklow, Garry Fabian Miller, Susan Derges, Adam Fuss, etc.

Proposals of about 300 words, in French or in English, are to be sent together with a short biographical note to Lawrence Gasquet (lawrence.gasquet@univ-lyon3.fr) by February 16, 2024.

 _____________________________________________

12th International George Moore Conference

Hosted by the Department of English, University of Liverpool, with the George Moore Association

Liverpool, 8th-10th May 2024 

The Transitional: George Moore at the Fin de Siecle 

This Liverpool conference will focus on the multiple transitions which coincided with, and characterised, Moore’s life and career. These include transitions between the nineteenth and the twentieth centuries; naturalism, realism and modernism; poetry, prose and drama; Catholicism and Protestantism, English and Irish identities; public and private morality. Transitions and related rivalries involved vigorous and often fruitful exchanges with numerous luminaries including Thomas Hardy, Arthur Symons, Max Beerbohm, Michael Field, Arnold Dolmetsch, the National Vigilance Association, Virginia Woolf, James McNeill Whistler, W. H. Smith & Mudie’s, George Bernard Shaw, W.B. Yeats, and many other contemporaries in the artistic, journalistic, political and social scenes. Transition is also characteristic of the themes of Moore’s writing: between secular and religious; between male and female; between wealth and poverty; between constrained and liberated. Papers may include, but are not limited to, considerations of transitions of all types in relation to George Moore and to his contacts and contemporaries. 

For George Moore, Liverpool was a place of transition. It was a point of arrival and departure for friends, acquaintances and publishers travelling between America and Europe. Most notably, this important location recalls a milestone in Moore family history: it was their landing point on a momentous 1846 journey that culminated in a victory for a horse called Coranna. 

The final day of the conference will offer an opportunity to visit Chester racecourse where in 1846  George Moore’s father’s horse won the Chester Cup. This brought G. H. Moore £17,000, enabling him to offer relief to his tenants during the first year of the Famine, and settle his gambling debts. Our visit will coincide with the 2024 running of this famous race. 

Plenary Speakers 

Professor Frank Shovlin
University of Liverpool, UK

Call for Papers 

The deadline for submitting abstracts for papers (20 minutes) is Wednesday 20th December 2023. Abstracts should be up to 200 words, should include a title and should be accompanied by a short biographical note of up to 100 words, plus email address and institutional affiliation (if applicable).

___________________________________________________

ESSE (@Essenglish) / XVictorian Heterotopias: Alternative Spaces and Places in Nineteenth-Century Britain
 
 
Seminar 51
 
 
Alternative Spaces and Places in Nineteenth-Century Britain [in person] Starting out from philosopher Michel Foucault’s definition of heterotopias as “worlds within worlds, mirroring and yet upsetting what is outside,” the seminar aims to explore fictional representations and real-life experiences of alternative spaces and places in nineteenth-century Britain. We are interested in fantasized “elsewhere” – like Alice’s Wonderland, William Morris’s Nowhere, Dr Jekyll’s laboratory, haunted houses or the madwoman’s attic in Jane Eyre – where the dominant ideology is subverted and deviation from the social norm is tolerated in imaginary forms. But we also seek to explore how man-made “counter-sites” – including transient spaces as transatlantic steamships, medical institutions as asylums, imperial territories as colonies, and technological loci as the Crystal Palace – prove to be both symptomatic and formative of the conflicted Victorian frame of mind. In accordance with YiFu Tuan’s humanistic geography, our mappings move beyond the analysis of cartographical locations to examine the sense of space: place as it lives in the experience and consciousness of people who render meaning to it. Research areas include, but are not limited to cultural studies, literature, architecture, aesthetics, environmental geography, gender studies, and medical humanities.
 
Convenors:
• Anna Kérchy (University of Szeged, Hungary) akerchy@ieas-szeged.hu
• Béatrice Laurent (Bordeaux Montaigne University, France) beatrice.laurent@u-bordeaux-montaigne.fr
• Sidia Fiorato (University of Verona, Italy) sidia.fiorato@univr.it
 
_______________________________________________

Nineteenth-Century Global Cities and Urban Worlds: An International Symposium
Aix-Marseille University, Schuman campus
6 to 8 June 2024

 
lookandlearn.com-YN031290.jpg

Keynote speakers

Susan Zieger, University of California, Riverside (USA), title TBA

Patrick Le Galès, Sciences Po (France), title TBA

Michael Goebel, Freie Universität Berlin (Germany), ‘Picayune Capitalists: Atlantic Inequalities, Race, and Real Estate in Nineteenth-Century Buenos Aires’

Twenty years ago, Richard L. Stein speculated that the city, as a research subject, may be appealing to scholars specifically because of the ‘demand’ it places on any single discipline ‘to borrow’ from others. In this respect, the city often serves as ‘a perfect interdisciplinary object’. At the same time, researchers in varied disciplines, often motivated by distinct interests and concerns, ask different kinds of questions about cities, urbanization, and urban life. For its second international symposium, the Society for Global Nineteenth-Century Studies, in conjunction with TELEMMe (Temps, espaces, langages, Europe méridionale, Méditerranée) and the Institut de recherches asiatiques, invites proposals on the theme of ‘Nineteenth-Century Global Cities and Urban Worlds’ from interdisciplinary and multidisciplinary perspectives. Topics for individual paper and preconstituted panel proposals may include (but are not limited to):

-Cities as sites of international and transnational transfer and exchange
-Relationship of cities to political ideologies, movements, and cultural forms
-Transnational linkages in urban planning and suburbanization
-Realist fiction and the city
-Histories of indigenous urbanization
-Policing cities
-Port cities (gateways, hubs) and the urban spaces of which they were part
-Spectacle and sartorial display in urban settings
-Urban Romanticisms
-Painting, art markets, and urban worlds
-Cities and global migration
-Housing, sanitation, and hygiene
-Spaces of leisure (clubs, bathhouses, restaurants, theatre, cinema, museums)
-Comparative urbanization
-Urban religious communities
-City games: Sport and urban space
-Colonial cities
-Subterranean spaces
-Queer geographies of cities
-Urban infrastructure, layout, architecture, and transportation
-Clock time in urban contexts
-Urban types (the flâneur, the malandro, the dandy, the chica moderna)
-Cities and early cinema culture
-Gothic global cities / urban gothic
-Cosmopolitan dreamscapes
-Fictitious cities
-Urban efficiencies
-Relationships among translocal, transurban, and transnational
-Cities as birthplaces of literary avant gardes
-Creole cities
-Soundscapes of global cities (music halls, opera houses)
-Cities and state power
-Urban topography and affective life
-Global south cities today: resurrections of (as Mike Davis argues) nineteenth-century Dublin, Naples, or London’s East End?  
-Transnational exchange (traveling theatre, exhibitions, book tours)
-Global cities as sites of transnational spectacle and consumption (department stores, world fairs)
-High culture, popular culture, and cities
-Global cities, urbanization, and environmental crises
-City poems in a globalizing age

Proposals
Individual paper proposals should consist of an abstract (200-250 words), brief biography (80- 100 words), and full contact information in a single pdf or Word file. Panel proposals should include abstracts for 3-4 papers, a brief rationale that connects the papers (100-200 words), and biographies of each participant (80-100 words) in a single pdf or Word file. Successful panel proposals will include participants from more than one institution, and, ideally, represent a mix of disciplines/fields and career stages. Although the working language of the conference is English, a limited number of slots will be available for presentations in French. Proposal deadline: 15 September.

Schedule
The conference will take place online (6 June) and in person (7-8 June). Online panels are reserved for those with limited mobility, including caregivers, postgraduate students without institutional support, the immunocompromised, and the contingently employed as well as scholars from the global south. Please indicate in your proposal whether, if your paper is accepted, you require a virtual slot. The in-person plenaries and panels will be held at Aix-Marseille University, Schuman campus.

Presenters must be current members of the Society for Global Nineteenth-Century Studies. For more information on the Society, visit www.global19c.com. For more information about the symposium, please visit its dedicated website: https://www.sgncs-symposia.com/. Proposals and questions should be directed to the Program Committee: societygncs@gmail.com.

_____________________________________________________

L’Invention des traditions au Royaume-Uni et dans l’empire britannique, 1840-1940

Appel à communications/ Call for papers (English version follows French version below).

 

Colloque organisé conjointement par le Centre de Recherches et d’Etudes en Civilisation Britannique (CRECIB) et la Société Française d’Etudes Victoriennes et Edouardiennes (SFEVE).

Université de Haute-Alsace (campus de Mulhouse), 16-17 novembre 2023.

L’année 2023 marquera le quarantième anniversaire de la publication de The Invention of Tradition, ouvrage collectif dirigé par Eric Hobsbawm et Terence Ranger. Depuis cette publication, l’invention de la tradition est devenue un concept clé des cultural studies. Ce livre n’était pas le premier ouvrage à poser la question de l’invention de la tradition. Avant lui, la question de « l’authenticité » des produits issus de la culture populaire avait déjà abordée, par exemple en ce qui concerne le secteur de la musique (Karpeles 1951) ou celui du tourisme (McCannell 1976). Mais la spécificité d’Hobsbawm et de Ranger a été de montrer que les « traditions inventées » ne sont pas en rupture avec le passé, sur lequel elle se fondent et qui leur apporte leur légitimité, et surtout qu’elles émergent généralement à des moments de crise, lorsque l’État, le pouvoir ou l’autorité locale doivent faire face à de nouvelles situations. Ce livre a ensuite influencé d’autres chercheurs tel Benedict Anderson qui a créé le concept de “communautés imaginées” (1983), c’est-à-dire des communautés fabriquées à des moments critiques par l’imaginaire collectif, notion plastique qui s’adapte à l’analyse de contextes politiques aussi bien qu’aux produits de la culture populaire.

La tradition qui s’inscrit dans le temps long diffère de la coutume, qui concerne les comportements et les pratiques communes au sein d’un groupe social à un moment donné. Pour Hobsbawm, la tradition, même inventée, inclut et dépasse la coutume : « ‘Invented tradition’ is taken to mean a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual of symbolic nature, which seek to inculcate certain values and norms of behaviour by repetition, which automatically implies continuity of the past ». De plus, la tradition inventée diffère de la tradition vraie en ce que la continuité avec le passé est factice. Il s’agit ainsi de créer une forme de ritualisation en imposant des formes et des pratiques répétitives soi-disant héritées du passé. Mais c’est surtout la dimension symbolique de la tradition qui l’oppose à la coutume. C’est précisément cette construction symbolique et ritualisée, au fondement de la tradition inventée, qui devient une perspective essentielle dans les cultural studies pour analyser certains moments critiques de l’histoire. Alors que l’ouvrage dirigé par Hobsbawm et Ranger rassemble des contributions sur l’invention de la tradition du kilt écossais, de la culture nationale galloise, du scoutisme, des cérémonies monarchiques britanniques qui couvrent la période de 1840 à 1914, ce colloque invite à explorer d’autres traditions inventées sur une période plus longue, des années 1840 jusqu’aux années 1940. Il s’agira aussi d’analyser la réactivation de certaines traditions à des moments-clés de l’histoire.

Les communications proposées pourront s’articuler autour des trois axes suivants :

– Acceptions politiques et juridiques de la tradition et de la coutume (droit coutumier, Bagehot et la constitution…)

– Enjeux impériaux et construction des traditions dans les colonies en rapport avec le Royaume-Uni

– Culture populaire et tradition (y compris fêtes locales et religieuses, musique folk et paganisme, genres musicaux ou poétiques, processions religieuses ou populaires, maisons d’artistes…)

Les interventions, d’une durée de 20 minutes, pourront être faites en français ou en anglais. Merci d’envoyer vos propositions (250 mots) accompagnées d’une note biographique avant le 20 mai 2023 à Laurent Curelly et Maxime Leroy, organisateurs locaux du colloque :

laurent.curelly@uha.fr

maxime.leroy@uha.fr

Une réponse sera adressée aux auteurs avant le 20 juin 2023.

Bibliographie 

Anderson Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London, Verso, 1983; second expanded edition 2006).

Hobsbawm Eric and Terence Ranger, dir. The Invention of Tradition (Cambridge, Cambridge University Press, 1983).

Karpeles Maud, « Some Reflections on Authenticity in Folk Music », Journal of the International Folk Music Council, Vol. 3 (1951), pp. 10-16.

McCannell Dean, The Tourist. A New Theory of the Leisure Class (New York, Schocken, 1976).

 

Call for papers

The Invention of Traditions in the United Kingdom and the British Empire, 1840-1940

Conference organized jointly by the Centre de Recherches et d’Etudes en Civilisation Britannique (CRECIB) and the Société Française d’Etudes Victoriennes et Edouardiennes (SFEVE).

University of Haute-Alsace, France (Mulhouse campus), November 16-17, 2023.

The year 2023 will mark the fortieth anniversary of the publication of The Invention of Tradition, a collective work edited by Eric Hobsbawm and Terence Ranger. Since this publication, the invention of tradition has become a key concept in cultural studies. This book was not the first to raise the question of the invention of tradition. Before it, the question of the “authenticity” of the products of popular culture had already been addressed, for example in the music sector (Karpeles 1951) or in tourism (McCannell 1976). But the specificity of Hobsbawm and Ranger was to show that “invented traditions” are not at odds with the past, on which they are based and which gives them their legitimacy, and above all that they generally emerge at moments of crisis, when the state, the power or the local authority must face new situations. This book then influenced other researchers such as Benedict Anderson who created the concept of “imagined communities” (1983), that is to say, communities fabricated at critical moments by the collective imagination, a plastic notion that adapts to the analysis of political contexts as well as to products of popular culture.

Tradition, which is inscribed in the long term, differs from custom, which concerns behaviours and practices common to a social group at a given moment. For Hobsbawm, tradition, even if invented, includes and exceeds custom: “ ‘Invented tradition’ is taken to mean a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual of symbolic nature, which seek to inculcate certain values and norms of behaviour by repetition, which automatically implies continuity of the past”.  Moreover, invented tradition differs from true tradition in that the continuity with the past is artificial. It is thus a question of creating a form of ritualization by imposing repetitive forms and practices, supposedly inherited from the past. But it is the symbolic dimension in particular of the tradition which makes it different to the custom. It is precisely this symbolic and ritualized construction, at the foundation of the invented tradition, that was to become an essential perspective in cultural studies when analyzing  certain critical historical moments.

While the book edited by Hobsbawm and Ranger brings together contributions on the invention of the Scottish kilt tradition, Welsh national culture, scouting, and British monarchical ceremonies, which cover the period from 1840 to 1914, this conference invites us to explore other invented traditions over a longer period, from the 1840s to the 1940s. It will also analyze the reactivation of certain traditions at key moments in history.

The proposed papers can be structured around the following three axes:

– Political and legal perceptions of tradition and custom (customary law, Bagehot and the constitution, and so on)

– Imperial issues and the construction of tradition in the colonies in relation to the United Kingdom

– Folk culture and tradition (including local and religious festivals, folk music and paganism, musical or poetic genres, religious or popular processions, artists’ houses etc.)

Presentations will last 20 minutes and may be given in French or English. Please send your proposals (250 words) with a biographical note (150 words) before May 20, 2023 to Laurent Curelly and Maxime Leroy, local organizers of the conference:

laurent.curelly@uha.fr

maxime.leroy@uha.fr

A reply will be sent to the authors before June 20, 2023.

Bibliography

Anderson Benedict, Imagined communities: reflections on the origin and spread of nationalism ((London, Verso, 1983; second expanded edition 2006)

Hobsbawm Eric and Terence Ranger, eds The Invention of Tradition (Cambridge, Cambridge University Press, 1983)

Karpeles Maud, “Some Reflections on Authenticity in Folk Music,” Journal of the International Folk Music Council, Vol. 3 (1951), pp. 10-16.

McCannell Dean, The Tourist. A New Theory of the Leisure Class (New York, Schocken, 1976)

________________________________________________________

Colour Matters

Colour Matters

Exploring Colour and Chromatic Materialities in the Long Nineteenth Century

(1798-1914)

6-8 December 2023

Trinity College, Oxford

When discussing colour, it is customary to say that the topic has long been shunned or marginalized in academic study, especially in the humanities. But the past two decades have seen the emergence of a new interdisciplinary field marked by the publication of a wealth of colour-focused studies and the organization of major conferences dedicated to the histories of polychrome practice in art, architecture or textile heritage. Building on Michel Pastoureau’s and John Gage’s pioneering work, these new perspectives on colour bring together the visual arts, chemistry, physics, archaeology, archaeometry, anthropology, social history, and even literature, to unveil hitherto neglected aspects of the culture of colour. No longer seen as superficial or secondary, colour now evidently matters.

And yet, contrary to Pastoureau’s and Gage’s cultural histories, many of these works focus on the long nineteenth century only. The period was indeed a crucial moment in the history of ‘modern’ colour as the industrial revolution turned into a ‘colour revolution’. This revolution was notably brought about by the invention of new synthetic pigments, dyes and colour technologies (such as chromolithography) which radically changed the perception and production of colours for all sections of society in Europe and beyond, as well as the status of colour itself. Thanks to technological innovation in heritage science (in particular the continuous development of non-invasive analytical methods) it is now possible to characterize the new colour substances and techniques introduced during this key period without compromising the physical integrity of the objects studied.

Growing interest in nineteenth-century colour is closely tied to materiality understood as referring both to changing colouring materials and to the diverse forms of the embodied observer’s sensuous responses when seeing, handling, tasting, hearing or smelling chromatic matter. Drawing on the material turn in the humanities as well as on interdisciplinary methodologies interweaving art historical approaches and heritage science, this conference will bring together scholars working on the long nineteenth century to explore how new approaches to chromatic matter can shed light on what happened to colour during this period. Discussions will aim to bridge the gap between concrete experimentations with colour (whether industrial, scientific, technical or artistic) and more abstract reflections on the chromatic (in philosophy, aesthetics, literature, psychology and/or anthropology).

This major international event is part of the ERC-funded CHROMOTOPE project (2019-2024), which analyses the artistic and literary impact of the invention of the first aniline dyes across Europe. It is scheduled to coincide with the exhibition ‘Colour Revolution: Victorian Art, Fashion and Design’ (Ashmolean Museum, Oxford, 21 September 2023 – 18 February 2024), which will show how the chromatic innovations of the second half of the nineteenth century transformed the arts and culture of Britain and its Empire.

Proposals specifying COLOUR PAPER or COLOUR POSTER in the subject should be sent to chromotope@gmail.com by 17 March 2023.

________________________________________________________

RSVP

2023 Conference CFP

Currents in the Periodical Press

July 6-9, 2023

Caen, France

(with some hybrid and online options)

Applications open 1 December 2022 and are due 15 January 2023.

Submit Your Proposal Here

We seek paper proposals on any topic related to the study of the periodical and newspaper
press during the long nineteenth century in Great Britain and the British Empire, as well as in
transatlantic and European contexts. We are particularly interested in receiving paper
proposals that engage with the theme of currents – currency, undercurrents, and crosscurrents – in the Victorian periodical press.

Held in Normandy, where history reverberated through local and global communities, the RSVP Conference in Caen invites scholars to consider currents in the Victorian periodical press. The conference topic invokes not only the news – the representation of current affairs and topicality in the press – but also issues relating to progress and change in periodical titles,
themes, forms, and roles over time. We are also interested in the notion of currency in
business, industry, and information, as well as in the actual financial workings of periodicals and publishers. Undercurrents and crosscurrents allude to divergences and convergences as well as trends and influences, both in the Victorian periodical press and in twenty-first-century periodicals scholarship.

Currents

  • How do periodical forms – or their iterations across time and space – suggest notions
    of currents and flow?
  • How are flows of information contained, redirected, or impeded by the
    periodical press?
  • How are periodical rhythms altered by economics, taxes, the health of the
    editor, the vagaries of the marketplace, etc.?
  • How was the experience of war and other current events in distant geographic locales represented and contested in the periodical press?
  • How is our study of the periodical press informed by de-colonial, pan-European, and/or transatlantic currents and perspectives?
  • How have recent advancements in digital remediation of periodicals and newspapers affected the way we conceive of global, regional, and local periodical discourse?

Currency

  • How might the idea of currency influence our study of individual titles or particular
    formats (e.g., monthlies vs. weeklies)?
  • How did worker strikes, trade embargoes, pandemics, new scientific ideas, agitations for equal rights, etc., influence the shape of the periodical press?
  • How was this reflected in the starts, stops, and adaptations associated with particular periodical titles?
  • How did the periodical press respond to/construct ideas of xenophobia and protectionism?

Undercurrents

  • How is the “mainstream” in periodical publishing challenged or undergirded by divergent undercurrents/alternative publications from the resisting margins of counterculture (based on race, gender, sex, class, and locality), both within the UK and its colonies/dominions as well as across Europe and North America?
  • How might Continental European and British periodical cultures be in synch or in oppositional relationship to each other?

Crosscurrents

  • How might our scholarship engage with global economies, newspapers, travel,
    and international publication networks?
  • How might it theorize crosscurrents between local and provincial papers, networks, and readerships?
  • How are inclusion/exclusion, as well as differences in language and dialect (e.g., the representation of local/foreign accents), registered in the periodical press?

Submission Guidelines

The RSVP conference committee invites proposals for:

  • Individual papers: Please submit an abstract (200-300 words) and a biographical note (100 words)
  • Panels (3-4 presenters): Please submit a panel rationale (200 words), abstracts for all presenters (200 words per person), and biographical notes (100 words per person)
  • Roundtables (max. 6 people): Please submit a roundtable rationale (300 words) and biographical notes for all participants (100 words per person).

Proposals must be submitted via RSVP’s online application portal by 15 January 2023. Applicants will learn of the acceptance decisions by approximately 20 February 2023.


Victorians Journal of Culture and Literature welcomes new work in Victorian studies for publication in 2023.

Victorians Journal We welcome all aspects of Victorian studies, including investigations of Victorian authors who wrote in disciplines other than literary, and in genres other than fiction and poetry. Harriet Martineau, for example, wrote sociology, ethnography, and history; who are other authors and what were their contributions — likely through periodicals writing — to broader disciplinary studies? What work by non-university-educated authors deserves to be revisited and reconsidered as early contributions to now-codified disciplines from which they were subsequently excluded?

Deadline for Summer 2023 consideration: March 1, 2023.

Deadline for Winter 2023 consideration: June 1, 2023.

Please send queries to: deborah.logan@wku.edu

—————————————————————————————————————————–
 
Héloïse et Abélard, l’amour et le savoir vus par le XIXe siècle européen

Journée d’études le 6 mars 2023, à l’Université de Rouen

https://www.fabula.org/actualites/110043/heloise-et-abelard-lamour-et-le-savoir-vus-par-le.html
Le romantisme européen voit en Abélard ce qu’il est venu y chercher, la figure d’un penseur révolté qui rejoint d’autres archétypes de sa lecture du Moyen Âge (Perceval, Lancelot) comme époque violente, obscurantiste, éclairée par quelques grands indignés. Là où certains auteurs du XXe siècle verront un prolétaire émancipé par la philosophie[i], fondateur de cercles intellectuels, les représentations du XIXe siècle identifient un personnage raffiné, versé dans les arts, bohème avant l’heure et itinérant, prompt à la querelle : Walter Pater en fait un homme de la Renaissance, telle qu’il la conçoit, et non du moyen âge, Vernon Lee s’intéresse à la rencontre entre l’amour et l’intellect dans une perspective qui donne la part belle à la femme, foncièrement libre.

L’inauguration du tombeau monumental[ii] des amants, en 1807, donna lieu à une grande manifestation de foule relatée dans la presse. Popularisée par Alexander Pope, l’image des amants malheureux sort progressivement de la mise à l’index[iii] pour s’intégrer à une mythologie de l’amour-passion médiéval (Tristan et Yseult, Guenièvre et Lancelot, Tannhäuser et Elisabeth) qui ravit les réécritures et cristallise des invariants du récit. Ainsi Abélard n’apparaît guère comme le musicologue qu’il fut, tandis que les lettres des amants au contraire font l’objet de rééditions et commentaires ; le philologue Georg Ludwig Spalding s’essaye à une traduction allemande en hexamètres.

Esthète, cet Abélard s’éprend d’une Héloïse à laquelle la peinture préraphaélite, par exemple, ne manque pas de donner une beauté rêveuse (Edmund Blair Leighton, Abélard et son élève Héloïse, 1882). Comme Paolo et Francesca, Héloïse et Abélard sont des amants qui lisent et qui sont surpris par le chanoine Fulbert, autre Malatesta comme le montre l’huile sur toile Héloïse et Abélard surpris par Fulbert (Jean Vignaud, 1819). L’amour né de la lecture se prolonge, à leur séparation, par l’écriture d’une riche correspondance. Celle-ci permet aux moralistes du XIXe siècle d’articuler sans scrupules amour interdit et fidélité sage : la référence aux amants par lettres autorise un érotisme non-consommé ; l’imagerie d’Épinal (Pellerin, 1842) ne mentionne ni la sanction d’Abélard ni les controverses qui entourent le couple, mais insiste sur le mariage. En France, les « jeux de l’amour et du savoir[iv] » intéressent un siècle qui a accès aux ouvrages rédigés par Abélard avec la publication par Victor Cousin de ses œuvres, en 1849, qui le présente comme un instigateur de la libre-pensée bien plus que comme un dialecticien.

« Bel esprit » (selon Victor Cousin), cet Abélard qui s’opposa à Saint Bernard, hardi et contradictoire, a de quoi attirer la conscience malheureuse et le pathos : le récit de sa vie sous le titre Historia calamitatum (L’Histoire de mes malheurs, v. 1132) inspire son intégration dans les variations autour des amants maudits, à l’instar de l’Héloïse et Abélard de Lamartine (1859), lecteur de la vaste biographie publiée par Charles de Rémusat en 1855 (Abélard, sa vie, sa philosophie). Les publications des lettres sont illustrées de gravures édifiantes, marquant les moments de séparation du couple. À la fin du siècle, c’est plutôt sans Héloïse et en tant que professeur sur la montagne sainte Geneviève qu’Abélard anime des interprétations nationalistes visant à en faire un enseignant fondateur d’une école du doute et de la liberté, critique de l’Église. Auparavant déjà les démêlés intellectuels et judiciaires des amants avec l’Église intéressent moins sans doute que l’image de la prise de voile (Héloïse embrassant la vie monastique, Jean Antoine Laurent, 1812), qui de La Nouvelle Héloïse de Rousseau au Lys dans la Vallée et La Duchesse de Langeais de Balzac donnent lieu à des réactivations fictionnelles autour de l’autocensure du désir, bien plus qu’autour de la punition officielle.

Les propositions de communications pourront ainsi porter, de façon non-exhaustive :

– Sur les enjeux des traductions et les commentaires des lettres d’Héloïse et Abélard, notamment, et plus généralement sur l’usage de la référence à leur histoire dans les essais, philosophiques, littéraires et esthétiques en Europe au XIXe siècle.

– Sur l’interprétation iconographique de leur histoire : la circulation du thème dans la peinture du XIXe siècle et l’intérêt pour une typologie et une scénographie, invitent à l’étudier en lien avec le thème plus large des amants maudits (Paolo et Francesca, Tristan et Iseult, ou même Dante et Béatrice).

– Sur les choix de représentation du couple dans l’illustration, notamment des sonnets, de la correspondance ou dans les manuels d’histoire de France : iconologie mariale ou passion intense, représentation égalitaire érotisée ou approche déséquilibrée qui reflète des considérations de genre, Abélard montré dans une position supérieure à Héloïse ou la quittant, inscrivant leur relation dans ce que Michèle Le Doeuff qualifie de « complexe d’Héloïse[v] », une histoire de la philosophie présentant toujours les femmes comme des muses ou des élèves.

– Sur les essais ou œuvres de fiction qui s’intéressent au couple pour valoriser les thèmes de l’amour controversé ou transgressif, plus fort que la religion, du pouvoir de la passion, du culte du corps et des sens, les insérant dans des registres, des genres ou des courants littéraires (drame historique par exemple).

– Sur le rôle émancipateur du savoir et du langage ainsi que du corps[vi], ou encore, sur la dimension politique inhérente à la relation amoureuse, en lien avec une approche s’intéressant aux figures médiévales de l’antinomisme (Joachim de Flore, Arnaud de Brescia).

– Sur toute réécriture (théâtre, roman, poésie) de leur récit de vie et sur les choix des épisodes de celle-ci, contribuant à la construction d’une lecture patrimoniale, nationaliste, morale, intellectuelle ou esthétique qui passe sous silence certains enjeux pour en extrapoler d’autres : Montagne Sainte-Geneviève et enseignement rebelle et charismatique à Paris ou fondation de communautés plus structurées (Le Paraclet), quelles sont les scénographies des représentations des amants philosophes ? Les réactivations politiques d’Abélard en héros de la lutte entre culture bourgeoise urbaine et forces idéologiques féodales et religieuses, l’alliance de la dialectique urbaine et du mouvement communal démocratique (Jacques Le Goff), que des disciples et élèves poursuivent pour profiter des enseignements du maître, pourront ainsi être envisagées à l’aune de corpus du XIXe siècle. De même, l’usage de leur relation, amour passion ou tendre affinité, dans une construction d’histoire littéraire comme jalon annonçant l’amour courtois, voire les orientations des précieuses, pourra être abordé.

– Sur l’insertion du motif « Héloïse et Abélard » dans une écriture amplement menée par le XIXe siècle du Moyen Âge comme mythologie[vii] et dans la fabrique d’une histoire culturelle et littéraire.

– Sur la figure d’Héloïse comme femme lettrée, dotée d’une culture classique, et comme modèle d’émancipation féminine, à re-visibiliser parmi les femmes philosophes.



Les propositions d’articles, en français et en anglais, accompagnées d’une brève bio-bibliographie, sont attendues pour le 15 janvier 2023 et sont à envoyer à florence.fix@univ-rouen.fr et af.gillardestrada@gmail.com.

Réponse sera donnée sous quinzaine. La journée d’études, qui se déroulera en français et en anglais, aura lieu à l’Université de Rouen le lundi 6 mars 2023.

Une publication suivra.


 
[i] Voir à ce propos Maurice de Gandillac, « Sur quelques interprétations récentes d’Abélard », Cahiers de Civilisation Médiévale, 1961, p. 293-301, consultable en ligne : https://www.persee.fr/doc/ccmed_0007-9731_1961_num_4_15_1197
[ii] Alexandre Lenoir, aujourd’hui au cimetière du Père Lachaise à Paris.
[iii] Les écrits d’Héloïse et d’Abélard sont interdits et ne circulent que dans les cercles libertins jusqu’au XVIIIe siècle, et plutôt sous forme de commentaires ou d’adaptations que sous leur forme originale latine.
[iv] Guy Lobrichon, in Jean Jolivet et Henri Abrias (dir.), Pierre Abélard, Rennes, PUR, 2003 et Héloïse, l’amour et le savoir, Paris, Gallimard, 2005.
[v] Michèle Le Doeuff, « Cheveux longs, idées courtes », Recherches sur l’imaginaire philosophique, Paris, Payot, 1980, p. 135-167.
[vi] Abélard et Héloïse, c’est « d’abord une affaire de tête autant que de chair », Jacques Le Goff, Les Intellectuels au Moyen Âge, Paris, éditions du Seuil, 1985 [1957], p. 43.
[vii] Voir Isabelle Durand-Le Guern, Le Moyen Âge des romantiques, Rennes, PUR, 2001 et Elizabeth Emery et Laura Morowitz, Consuming the Past: The Medieval Revival in Fin-de-Siècle France, Farnham, Ashgate, 2003.

 

—————————————————————————————————————————–

Colloque international

Université de Bourgogne, 16 et 17 mars 2023

ICONOMORPHOSES : APPROPRIATION, ETHIQUE ET PARTAGE

Conférenciers invités :

Natalie Bookchin (artiste, États-Unis) et Juan Martín Prada (Université de Cadix, Espagne)

L’équipe Image & critique du laboratoire TIL (EA 4182) de l’Université de Bourgogne organise un colloque international trilingue (anglais/espagnol /français) qui portera sur nos nouvelles relations aux images telles qu’elles sont définies par les pratiques techniques et matérielles contemporaines. Il s’inscrit dans le cadre général des humanités numériques et prolonge les travaux entamés dans le séminaire « Métamorphoses des images ». Nous invitons enseignants-chercheurs et doctorants, praticiens, ingénieurs de recherche et artistes à proposer leurs réflexions sur les poétiques, techniques et méthodes de réappropriation et d’humanisation qui se consolident dans le domaine des arts graphiques et visuels, de la littérature et de l’intermédialité. Nous sollicitons des propositions de communications portant sur les axes suivants, sans excepter d’autres perspectives éventuelles :

Partage et réappropriation : ce colloque propose enfin d’envisager de nouvelles poétiques de l’appropriation et de la réécriture, et de réfléchir à leur articulation avec une éthique du partage et de l’échange (pratiques participatives, coopération, cultures libres). Il accueillera des communications portant par exemple sur la réappropriation des images partagées et passées par le filtre des algorithmes, ou encore sur les avancées de la science ouverte. L’hyperconnectivité et la surexposition des vies ouvrent, pour le monde de l’art, une porte immense sur les poétiques du partage ou du « braconnage » (car ce sont parfois des morceaux de vie glanés sur les réseaux sociaux qui sont récupérés et remodelés). Il pourra ici être question d’évaluer les apports et les limites des pratiques de recherche et de création, mais aussi de mettre en lumière leur impact sur la communauté des chercheurs, des artistes et des praticiens du numérique.

Les résumés de 300 mots environ (en anglais, en espagnol ou en français) accompagnés d’une bio-bibliographie sont à faire parvenir pour le 30 septembre 2022 à l’adresse suivante : iconomorphoses@u-bourgogne.fr et myriam.segura@u-bourgogne.fr

Retour : 31 octobre 2022

Le programme sera fixé en décembre 2022

Soumission des articles à publication : 1er septembre 2023

Comité scientifique : Emmanuel Alloa, Laurent Baridon, Olivier Bonfait, Martine Clouzot, Johanna Drucker, Béatrice Joyeux-Prunel, Marie-Laure Massot, Julien Schuh

Comité d’organisation : Sophie Aymes, Laureano Montero, Judite Rodrigues-Balbuena, Christelle Serée-Chaussinand

Bibliographie indicative :

Acland Charles R. et Eric Hoyt (dir.). The Arclight Guidebook to Media History and the Digital Humanities. Reframe Books, 2016. URL : https://projectarclight.org/wp-content/uploads/ArclightGuidebook.pdf

Baudry, Julien. Cases-pixels. Une histoire de la BD numérique en France. Tours : Presses Universitaires François-Rabelais, 2018.

Bihanic, David. Data design. Les données comme matériau de création. Paris : Alternatives ; Fondation EDF, 2018.

—. New Challenges for Data Design. Londres: Springer, 2015

Citton, Yves. L’avenir des humanités. Economie de la connaissance ou cultures de l’interprétation ? Paris : Éditions La Découverte, 2010.

—. « Humanités numériques. Une médiapolitique des savoirs encore à inventer ». Multitudes 2015/2 (n° 59) : 169-180. URL : https://www.cairn.info/revue-multitudes-2015-2-page-169.htm

Dacos, Marin et Pierre Mounier. Humanités numériques : État des lieux et positionnement de la recherche française dans le contexte international. [Rapport de recherche]. Institut français, 2015.

Drucker, Johanna. Graphesis: Visual Forms of Knowledge Production. Cambridge : Harvard University Press, 2014.

—. The Digital Humanities Coursebook: An Introduction to Digital Methods for Research and Scholarship. Londres & New York: Routledge, 2021.

—. Visualization and Interpretation: Humanistic Approaches to Display. Cambridge, Mass. : The MIT Press, 2020.

Gemenne, François et Aleksandar Rankovic. Atlas de l’anthropocène. Atelier de cartographie de Sciences Po. Paris : Presses de Sciences Po, 2019.

Gobert, Thierry (dir.). « Partage, échange, contribution, participation (I) ». Interfaces numériques 8:3 (2019). URL : https://www.unilim.fr/interfaces-numeriques/3979

Kurgan, Laura. Si loin, si proche. Cartographie, technologie et politique. 2013. Dijon : Les Presses du Réel, 2021. Trad. de l’anglais Jean-François Caro.

Manovich, Lev. Cultural Analytics. Cambridge, Mass.: The MIT Press, 2020.

—. Software Takes Command. New York : Bloomsbury Academic, 2013.

Martín Prada, Juan. El ver y las imágenes en el tiempo de Internet. Editorial AKAL : Colección Estudios Visuales, 2018.

Martín Prada, Juan (dir.). Art, Images and Network Culture. [Séville] : Aula Magna-McGraw Hill, 2021. URL: https://www.juanmartinprada.net/textos/Juan_Martin_Prada_BOOK_ART_IMAGES_AND_NETWORK_CULTURE.pdf

Parisi. David. Archaeologies of Touch: Interfacing with Haptics from Electricity to Computing. Minneapolis, [Minnesota]; Londres : University of Minnesota Press, 2018.

Raux, Sophie et Daniel Dubuisson. À perte de vue. Les nouveaux paradigmes du visuel. Dijon : Les Presses du Réel, 2015.

Renoue, Marie et Anne Beyaert-Geslin (dir.). « L’image artistique à l’ère de la reproduction numérique : Sémiotique visuelle et interfaces ». Interfaces numériques 2 :2 (2013). URL : https://www.unilim.fr/interfaces-numeriques/1639

Schreibman, Susan, Ray Siemens et John Unsworth (dir.). A New Companion to Digital Humanities. Malden, MA ; Chichester, West Sussex : Wiley/Blackwell, 2016.

Svensson, Patrik et David Theo Goldberg (dir.). Between Humanities and the Digital. Cambridge, Mass. ; Londres : The MIT Press, 2015.

—————————————————————————————————————————–

“Call for Assistant Editors.” Undisciplining the Victorian Classroom, 2022

https://undiscipliningvc.org/html/about/call_for_assistant_editors_2022.html

Undisciplining the Victorian Classroom is seeking applications to assemble a team of 3-4 Assistant Editors.  The primary responsibilities of the team will be to create and prepare content for online publication, with a particular focus on our Zoomcast series.  This work will include developing new topic clusters, hosting conversations, and seeking out potential guest hosts.  Our goal is to have the editorial team post at least one new Zoomcast each month (collectively, not per editor).  There will be additional opportunities to work on syllabi and/or lesson plan clusters as well.  We expect a commitment of at least one calendar year.  

While UVC remains an all-volunteer effort at this point and cannot offer monetary compensation, the four Founding Developers are dedicated to supporting the people in this position in other ways.  We can offer mentorship around publication, research, and navigating the job market.  We can also offer training in coding and website building and are happy to help make connections with our professional networks within and beyond the academy.  We hope this opportunity will also be a chance for graduate students and early career scholars, especially, to develop skills that could transfer to work in the public humanities in its many forms. 

To apply, please send your CV and a brief statement of your interest in UVC and this position to Ryan Fong (rfong@kzoo.edu).  Feel free to highlight any relevant experience.  We will accept applications on a rolling basis, but priority will be given to those who submit by August 29. 

—————————————————————————————————————————–

Colloque de l’International Walter Pater Society 

Venise,14 au 16 juillet 2022

Aestheticism: Sensations and Ideas

International Walter Pater Society Conference
Iuav University, Venice, 14-16 July 2022

Walter Pater is a key figure within the cultures of aestheticism and decadence, and his literary legacy reverberates throughout the twentieth century and beyond. His works engage with such diverse fields as art history, aesthetics and philosophy, religion and spirituality, sexuality and desire, education, and cultural heritage. In the twenty-first century, Pater remains one of the most studied authors of the English and international fin de siècle, and the ongoing Oxford University Press edition of his Collected Works opens up new perspectives on his writings. 

This conference of the International Walter Pater Society takes its cue from the subtitle of Pater’s novel Marius the Epicurean (1885), which refers to the protagonist’s “sensations and ideas.” Considering Pater and aestheticism from the perspective of “sensations” brings out the productive overlap between literature and contemporary discourses on aesthetics, perception, emotions, and psychology. The perspective of “ideas” emphasises processes of abstract thinking, their cultural legacies, and their mechanisms of dissemination. Considering “sensations and ideas” together shines a light on the ways in which the two modes potentially compete with and/or complement one another, producing new insights. The conference aims to foster new critical debate on the subject of “sensations and ideas,” broadly conceived, with reference to Pater and aestheticism. 

Possible topics include:

–                Affect and emotion

–                Religion, mythology, spirituality, and the occult
–                The body and the senses as organs of knowledge
–                Learning and pedagogy
–                Philosophy and the history of ideas
–                Aestheticism and impressionism
–                Nature, environment, cultural heritage, renovation, and regeneration
–                Paterian and aesthetic worlds and places: cities, travel, monuments, homes and houses, the flaneur/flâneuse
–                Crises in knowledge
–                Undisciplining Pater/aestheticism
Please send proposals of maximum 250 words for 20 minute-papers, along with a short bio-bibliographical note, to: paterinvenice@gmail.com
Deadline: 15 April 2022

Info:

Elisa Bizzotto (bizzotto@iuav.it); Joseph Bristow (jbristow@humnet.ucla.edu); Stefano Evangelista (stefano-maria.evangelista@trinity.ox.ac.uk); Rebecca Mitchell (rnmitchell@gmail.com); Giles Whiteley (giles.whiteley@english.su.se

—————————————————————————————————————————–

CFP NAVSA 2022

Thursday, September 29, 2022 – Sunday October 2, 2022

Bethlehem, PA
Just Victorians

Lehigh University is hosting the North American Victorian Studies Association conference in Fall 2022. This conference will bring together scholars from around the world representing numerous disciplines. We will host a majority of the conference events at the Hotel Bethlehem in historic Moravian Bethlehem, recently listed as a World Heritage site.

The conference theme, Just Victorians, invites attendees to reconsider the nineteenth-century commitment to justice as well as presumed limitations of our understanding of “Victorian.” New models of undisciplining the field of Victorian studies interrogate established methods, aesthetics, and geographies–challenging the scope, forms, and peoples of the period. While many Victorians dedicated themselves to social causes throughout the century, including campaigns for racial, decolonial, environmental, and health justice, this dedication often led to unforeseen consequences, including devastating damages to underprivileged individuals in urban settings, colonized peoples, and women and racialized subjects. Conference presenters may investigate how Victorian pursuits of justice were ardent and their conceptualizations of “the just” were limited. Victorians sought justice, and their successes and failures invite us to reconsider what we mean as just Victorian studies. What constituted Victorian social justice? How did Victorians actively seek out justice for themselves and others? In what ways did Victorians envision justice and for whom? What were the limits of Victorian visions of justice? How has the scope of “the Victorian” limited our fields and methods? Are there meaningful limits to the “Victorian” in Victorian studies?

Topics may include but are not limited to:

● Specific iterations or theories of justice: legal, racial, environmental; or, social,
distributive, retributive, etc
● Environment or ecologies
● Climate change
● Political reform
● Feminist activism
● Decolonial, anti-racist, and undisciplinary methodologies
● Canon formation and reformation
● Educational reform
● Medical and public health reform
● Utilitarianism
● Religious activism
● Social problem literature
● Public and Digital Humanities
● Constraints and affordances of genre, media, and form
● Defining what is or is not “just” Victorian

Our keynote speaker is Professor Anjuli Fatima Raza Kolb (University of Toronto), scholar of colonial and postcolonial literature and theory and author of Epidemic Empire (Chicago 2021). In addition, we will be hosting a plenary panel on “Just Ecologies” featuring Ji Eun Lee (Sungkyunkwan University), M.A. Miller (UC Davis), and Kyle McAuley (Seton Hall University).

Proposal submissions guidelines:

Paper (15-20 mins): max. 300 words
Panel (3-4 presenters): max. 1,200 words
Roundtable (5-7 speakers with brief position statements): max. 1,500 words
Open call CFP for panels (1,200 words) or roundtables (1,500 words)
Digital projects showcase (for individuals and teams): max. 300 words
Poster projects for undergraduate students: max. 300 words

A panel or roundtable proposal should articulate the overall topic, its interest to the field, and each presenter’s contribution. Open calls for panels or roundtables will be made available on the conference website. Panel organizers seeking to release their own CFP will have the option to submit and announce it on a separate page and are responsible for vetting proposals and submitting a panel proposal under the general CFP before May1st, 2022.

We encourage people to form panels and roundtables with diversity and inclusion in mind.

Digital showcase proposals should highlight the relevance of the digital work to Victorian teaching or scholarship practices that make use of information technologies to address the conference theme and/or solve problems in interesting or original ways.

All submissions should include brief CVs for all presenters (1-2 pp.).

Conference participants may moderate other sessions, but otherwise should not appear in more than one session.

Submissions must be made via the submissions portal, which will be made available in a few weeks.
Deadline: May 1st, 2022
Please contact navsa2022@lehigh.edu for any questions or concerns.

—————————————————————————————————————————–

 
Date limite: 15 jan 2022
 
 
—————————————————————————————————————————–
 
Date limite: 14 Avril 2022
 
AAP: Vernon Lee et le fantastique, Boulogne sur Mer, 13-14 Octobre 2022.

La femme de lettres aux talents multiples, romancière, nouvelliste, théoricienne, Vernon Lee a laissé sa marque très tôt dans le domaine de la littérature fantastique.

Plusieurs œuvres, notamment celles réunies dans le recueil Hauntings, d’autres encore comme Alberic and the Snake Lady, se servent d’un environnement teinté de surnaturel véritable ou suggéré pour poser les questions récurrentes de l’univers vernonien : l’oeuvre d’art (sculpture, portrait, musique), le genius loci (bien souvent l’Italie de la Renaissance ou du XVIIIe siècle, mais aussi de l’Antiquité gréco-romaine, l’Angleterre des grandes demeures jacobéennes), dans un entre-deux avec le présent, celui d’une époque plus récente, où la fascination venue du passé viendra bouleverser les repères.

Ces schémas narratifs, identifiés par les familiers des textes théoriques de Vernon Lee comme l’invasion de l’apollinien par le dionysiaque, abolissent les frontières entre le passé et le présent et entre les personnes.

Comment évaluer et comprendre le fantastique (conçu comme l’irruption du surnaturel dans le quotidien) lorsque Vernon Lee laisse entendre un processus essentiellement psychologique plus complexe qu’un phénomène purement surnaturel comme dans l’histoire de fantômes classique ? Y-a-t-il une marge d’interprétation entre, d’une part, la position adoptée par Vernon Lee dans ses écrits théoriques selon laquelle c’est la confrontation physique avec l’oeuvre d’art, le portrait, le lieu naturel ou bâti qui suscite une « empathie » et partant de là une sensation de hantise, et d’autre part, le postulat de tant de récits fantastiques qui accordent à certaines personnalités puissantes une existence post-mortem et la capacité de répondre à l’appel qu’un vivant, insatisfait de sa vie présente, leur lance ?

Plus largement, on pourra comparer Vernon Lee et d’autres auteurs qui partagent les mêmes prédilections tant géographiques qu’historiques et artistiques (notamment sa célébration de la Renaissance, une Renaissance décadente certes, souvent cruelle), évaluer sa place au sein d’une littérature en plein essor à la fin du XIXe siècle, la « New Romance », illustrée notamment par une autre femme de lettres, Marie Corelli, les inévitables parallélismes avec Oscar Wilde, et finalement, dans les récits qui témoignent d’un drame ancien qui fait planer sa malédiction sur les descendants des premiers protagonistes, évoquer des ressemblances avec Edgar Poë et même H.P. Lovecraft.

Finalement, la résurgence de l’Antiquité, ses œuvres d’art, ses dieux, relierait Vernon Lee à une galaxie littéraire qui rassemble des auteurs tels Prosper Mérimée, Arthur Machen, Gabriele D’Annunzio, Wilhelm Jensen, Robert W. Chambers, Théophile Gautier et bien d’autres, tandis que la fascination qu’exerce le portrait de la Renaissance, le portrait « hanté » n’est pas sans rappeler Robert Browning, les méditations de Walter Pater sur la Joconde, sans oublier, à des degrés divers, des romanciers comme Herman Melville, Nathaniel Hawthorne, Henry James et James Branch Cabell, qui ont tous accordé un pouvoir quasi surnaturel à des portraits anciens, lorsque ces derniers sont évocateurs d’une grande tragédie.

Les communications seront acceptées en Français ou en Anglais.

Merci d’envoyer un résumé (300 mots) de votre proposition accompagné d’une courte présentation biographique au plus tard le 14 Avril 2022 à :

Pr. Marc ROLLAND

garryowen@wanadoo.fr

Pr Marc Rolland, Professeur à l’Université Littoral Côte d’Opale, est l’auteur du récent ouvrage Epouser la déesse, Essais sur la femme, le surnaturel et l’hyperbole, éditions Shaker Verlag, 2021.

Nous sommes heureux d’annoncer que l’événement annuel de l’International Vernon Lee Society, co-organisatrice du colloque, aura lieu pendant ce colloque fort opportunément organisé dans le lieu de naissance de Vernon Lee.
 

CFP : International Conference, Université de la Côte d’Opale (Boulogne-sur-Mer, France)

Vernon Lee’s Fantastic Fiction

13-14 October 2022

The multitalented woman of letters, writer of fiction, and theoretician Vernon Lee (Violet Paget, 1856-1935) very early –and deeply—marked the field of fantastic literature.

Many of her works, like those gathered in the collection Hauntings or such as “Prince Alberic and the Snake Lady”, make use of a background immersed in the supernatural, be it real or suggested, to deal with questions that are recurrent in her work. Art works (sculptures, portraits, music) or the genius loci (often the spirit of Renaissance or Eighteenth Century Italy, but also Greek and Roman Antiquity, or the great Jacobean houses in England), often provide in-between, liminal spaces that border on the present and the past, broken into by a fascination with the historic that disrupts all topographical and temporal landmarks.

Readers familiar with Vernon Lee’s theoretical texts have identified narrative patterns such as the Apollonian being overwhelmed by the Dionysiac, or the frontier between past and present or between people being abolished.

This conference hopes to ask, if we consider the fantastic as the irruption of the supernatural in everyday life, how can we then assess and understand Lee’s fantastic fiction when her own texts and theory suggest a complex, fundamentally psychological process, rather than supernatural phenomena as described in classic ghost stories?

It is possible to argue that Lee’s chosen theoretical posture on the fantastic reveals itself when empathy is evoked by a work of art, a portrait, a natural place or a building which arouses a feeling of “hauntedness”. Yet at the core of so many ghost stories (some too, by Lee), there is the assumption that the powerful personalities of the past can be endowed with a supernatural existence being willed to do so by the dissatisfied living. So how should one interpret Lee’s fantastic texts?

This conference would like to interrogate Lee’s position on, and place within fantastic literature. We would also welcome broader comparisons between Vernon Lee and other writers who shared similar geographical, historical or artistic predilections. Lee’s decadent and cruel celebration of the Renaissance may situate her within the “New Romance” movement whicb boomed in the late 19th century and is exemplified by another woman of letters, Marie Corelli. There may also be the inevitable parallels with Oscar Wilde, or resemblances drawn between Edgar Allan Poe and H. P. Lovecraft’s ancient drama having cast a curse on the initial protagonist’s descendants.

Perhaps the resurgence and the revival of art works or of gods and goddesses from Antiquity may connect Vernon Lee with a literary galaxy gathering authors like Prosper Mérimée, Arthur Machen, Gabriele d’Annunzio, Wilhelm Jensen, Robert W. Chambers, Théophile Gautier and many others, while the fascination of Renaissance portraits or haunted portraits is reminiscent of Robert Browning, of Walter Pater’s meditations on Mona Lisa, not to mention, to different degrees, novelists like Herman Melville, Nathaniel Hawthorne, Henry James and James Branch Cabell, all of whom endowed old portraits suggestive of some great tragedy with quasi supernatural powers.

We invite papers in French or in English.

Please send you 300-word abstract and short personal resume no later that 14 April 2022 to Pr. Marc ROLLAND

garryowen@wanadoo.fr

Pr Marc Rolland, Professor at the Université Littoral Côte d’Opale, recently published Epouser la déesse, Essais sur la femme, le surnaturel et l’hyperbole, éditions Shaker Verlag, 2021.

We are delighted to announce that the annual event of the International Vernon Lee Society, co-organiser of the conference, is scheduled during this conference most aptly taking place in Vernon Lee’s own birthplace.

————————————————————————-

 

RFCB – Call for papers

‘One Nation Conservatism from Disraeli to Johnson’

Deadline for abstracts: January 10, 2022

Catherine Marshall and Stéphane Porion, guest editors of a special issue on ‘One Nation Conservatism from Disraeli to Johnson’, are soliciting contributions for this issue of the Revue Française de Civilisation Britannique (French journal of British Studies, https://journals.openedition.org/rfcb/), an international online peer-reviewed journal published by the Centre de Recherches et d’Etudes en Civilisation Britannique (centre for research in British Studies, https://crecib.org/).

Rationale

The expression ‘One Nation Conservatism’ has taken on a mythical signification ever since Conservative PM Stanley Baldwin used it in a speech on 4 December 1924 at the Albert Hall. Baldwin was taking on the mantle of one of the great former Conservative Prime Ministers, Benjamin Disraeli, who had expressed the need to “bridge the gap between the rich and the poor” and “elevate the condition of the people” in order to achieve social unity in one of his novels, Sybil, or The Two Nations (1845). The cradle of Conservatism can be found in Disraeli’s desire to bring together the ‘two nations’ at the heart of the United Kingdom but also the two types of Victorian Conservative thinking from the industrial North and the rural South. It was in this context that the phrase “One Nation” became a “familiar formula, which was used especially to signpost a Conservative concern with ‘social reform’” (Walton, 1990, 4).

Baldwin declared the Conservative Party stood “for the union of those two nations of which Disraeli spoke two generations ago: union among our own people to make one nation of our own people at home which, if secured, nothing else matters in the world.” (Some extracts from the speech may be found at: http://blogs.bodleian.ox.ac.uk/wp-content/uploads/sites/161/2012/10/1-of-2.jpg). Baldwin’s use of the term took on a symbolic nature because he was channeling in the expression what had made the greatness of the Conservative party but he was also trying to make sense of what the Conservative Party stood for in the context of the 1920s.

The Disraelian legacy was given life afresh in the aftermath of the Second World War and Labour’s landslide victory in 1945. Some in the Conservative Party were very concerned about the need to adapt Conservative ideas and policies to post-war Britain, and more particularly to cope with the Welfare State set up by Attlee’s Labour Party. This was the time of the “reiteration of Disraelian commitments to social reform” and the emergence of the One Nation Group (Walsha, 2000 & 2003). These ideas “sought to reconcile an industrial democracy with economic and social inequalities”, moving away from a laissez-faire approach and vindicating a Tory approach of government rooted in earlier Tory thinking expressed in the time of Disraeli, which blended Conservatism and democracy altogether (Walton, 1990, 65). The words ‘One Nation’ had thus kept their “incantatory power”, even though, as John K. Walton puts it, “it was not quite what Disraeli had meant by ‘One Nation’” (Ibid). According to Norton and Aughey,

“the formula of One Nation did strike a chord in the minds of Conservatives. If it was a myth that Disraeli had something of practical significance to say to post-war Britain it was an effective myth. It established Conservative credentials to manage the new mixed economy and it represented the fashioning of an electorally successful image of Conservative compassion as well as competence” (Norton & Aughey, 1981, 78).

The Conservative Party and what it stands for are easier to define by referring to Edmund Burke or, today, to a philosopher such as Michael Oakeshott for whom Conservatives prefer “the familiar to the unknown, the tried to the untried, fact to mystery” (“On Being Conservative”, 1956). Therefore, ‘One Nation Conservatism’ is used, often, by Conservative politicians to keep alive a sort of ‘sacred flame’, a convenient impressionist idea, linked to the past of the UK (Jenkins, 1996, 141-145), mostly against the dangerous consequences of the 1789 French Revolution and its misplaced demands for rational rights. It carries with it a resistance to radical change as well as a willingness to adapt to organic change in an empirical way.

The remarkable ability of British Conservatism to move away from the legacy of Disraelian Conservative paternalism, believing in the Monarchy, the Church and the Empire, to a ‘One Nation Conservatism’ defending the institutions whilst seeking to promote the welfare of the citizens post-WWII, is part of the story.

Later, it was also used by Thatcher in the 1980s to defend her own brand of Conservatism (Green, 2006, Evans, 2009) resting on monetarism, patriotism, and moral expressions of individual responsibility. For example, she declared at the annual Conference of the Conservative Party in 1986:

“We Conservatives believe in popular capitalism – believe in a property-owning democracy. And it works! […] The great political reform of the last century was to enable more people to have a vote. Now the great Tory reform of this century is to enable people more and more people to own property. Popular capitalism is nothing less than a crusade to enfranchise the many in the economic life of the nation. We Conservatives are returning power to the people. That is the way to one nation, one people” (Thatcher, 1986 quoted in Ball, 1998, 179).

However, the ‘Wets’ managed to survive throughout the Thatcher years and did their utmost in the 1980s and even in the 1990s to continue to spread the genuine gospel of ‘One Nation Conservatism’ couched in Disraelian terms.

Years later, in the aftermath of Cameron’s victory at the leadership election, he attempted to regain the political centre in 2006-2007 by advocating the One Nation tradition of Conservatism, before gradually moving back to a neo-Thatcherite stance of Conservatism embodied by his Big Society ideological project (Hayton, 2012, Alexandre-Collier, 2010). Nevertheless, in May 2015, in another context, he also resorted to the use of the moniker to describe the Queen’s speech written by his government as a “One Nation Queen’s Speech for a progressive, One Nation, Conservative Government” (https://www.gov.uk/government/speeches/queens-speech-2015).

When Theresa May became Prime Minister in July 2016, she too succumbed to the need to ground her ideas in the mythical expression and gave a speech on the steps of 10 Downing street which was once again an echo to the Disraelian brand (Hickson, Page & Williams, 2020). She pledged to “make Britain a country that works not for a privileged few, but for every one of us” (https://www.gov.uk/government/speeches/statement-from-the-new-prime-minister-theresa-may). It is not surprising then that the debates regarding the Johnsonian “levelling-up” agenda today are also part of the same rhetoric and Johnson himself has made his own use of the idea (https://www.gov.uk/government/speeches/pm-statement-in-downing-street-13-december-2019),

In the end, it comes as no surprise that the expression has been abused by all types of politicians from all sides of the political spectrum (Ed Milliband’s “One Nation Labour” in 2013 for example) precisely because it can be opportunistically used for the essence it incarnates and for the genuine suspicion that the lower classes may suffer from the changes pushed upon them by an elite cut away from them, both geographically, socially and financially.

The problem remains that the term seems to adapt to the politicians using it, within different contexts and means something in rhetoric but often not in deed. Its elasticity is what makes it the essence of British Conservatism but what does it really stand for, for whom and how? Is its flexibility not also its demise?

Looking at the secondary literature, there are practically not full-length studies of ‘One Nation Conservatism’ but that of David Seawright, entitled The British Conservative Party and One Nation Politics, published before Cameron’s victory in 2010, which was prefigured in a chapter published in 2005 in Kevin Hickson (ed.), The Political Thought of the Conservative Party since 1945 (Seawright, 2005 & 2010). Although there is a range of academic papers on the subject, they usually address this specific brand of Conservatism by studying a specific Conservative Premiership or a group of One Nation Conservatives, such as the One Nation Group (Walsha, 2000 & 2003). Therefore, this Special Issue of the Revue Française de Civilisation Britannique will aim to bridge a gap in historiographical debates and focus on the wider meaning of the expression ‘One Nation Conservatism’, since the 19th century, as the soul of the Conservative Party’s ideas but also as an expression of British politics in a wider sense.

Call for papers

The papers may focus on:

The expression ‘One Nation Conservatism’ and its use in the history of political ideas;

The use of the expression by successive PMs and politicians since the 19th century;

The political culture it is supposed to express;

Social and economic initiatives designed to promote ‘One Nation Conservatism’;

The representation of the expression in cartoons, pictures and art;

Literary representations of ‘One Nation Conservatism’ (for example, Disraeli’s Sybil);

Initiatives to improve its meaning (for example Nick Timothy’s Remaking One Nation, Polity, 2020)

The interaction between ‘One Nation Conservatism’ and other types of Conservatism

Challenges to ‘One Nation Conservatism’;

The use of the expression by other political parties, women and actors in the UK and abroad;

▪ The international impact or lack of it if might have had over the years

Other, any related topics to the subject.

Call for reviews

The Special issue will publish reviews on books related to the subject and published in the last 2/3 years (for example: Edmund Neill, Conservatism, Polity Press, 2021; Edmund Fawcett, Conservatism: The Fight for a Tradition, Princeton University Press, 2020).

The editors welcome proposals by advanced PhD students.

Submission guidelines

Please send a 300 to 500 word abstract, a short bibliography and a 5 line biography to both Catherine Marshall (catherine.marshall@cyu.fr) and Stéphane Porion (stephane.porion@univ-tours.fr) by 10 January 2022.

Full proposals will need to be submitted by May 1, 2022.

Instructions for authors (for authors proposing articles in English) can be found at: https://journals.openedition.org/rfcb/344

The issue is scheduled for publication in December 2022.

______________________________________