Blackwood’s Bicentenary CFP (Romantic Bicentennials project)

The Hoarding has received notice of an upcoming event to commemorate the bicentennial of Blackwood’s Magazine. “A Blackwood’s Bicentenary: being, 36 Hours of Heady Discourse, Heated Debate, and Ambrosian Nights in Edinburgh,” will take place at the University of Edinburgh from 24-25 July, 2017 as part of the ongoing Romantic Bicentennials series. The full cfp is available here.

Romantic Bicentennials is a collaborative effort of the Keats-Shelley Association of America and the Byron Society of America. Commemorative events include annual “core symposia”: last month’s “The Geneva Summer,” 2017’s “Keats’s Emergence as a Poet,” and 2018’s “The Publication of Frankenstein.” Announced “networked events” include symposia on Manfred and the novels of 1817. Check out the full list of events, propose a new event, or follow along with the #romantics200 hashtag.

19th-Century Panels at MLA 2016

If you will be attending the 2016 MLA Convention in Austin, TX (7-10 January), you may be interested in the following sessions on British literature of the long 19th century. The complete convention program is available and searchable on the MLA website. If we’ve left anything out, feel free to let us know.

Thursday, January 7

  1. Sublime Bodies, circa 1730–1830, 
12:00 noon–1:15 p.m., 18D, ACC
  2. Romanticism, Poverty, and Impoverishment
, 12:00 noon–1:15 p.m., 19B, ACC
  3. Nineteenth-Century Publics, Romantic Readers1:45–3:00 p.m., 301, JW Marriott
  1. What the Victorians Can Do for Theory3:30–4:45 p.m., 10A, ACC
  1. Writing on and against Fashion: Literature, Dress, and the Transformation of Style circa 1860–19303:30–4:45 p.m., 409, JW Marriott
  1. The Futures of Shelley’s Triumph3:30–4:45 p.m., 4BC, ACC
  1. Romantic Quotation: The Use of Quoted Material in British Romanticism5:15–6:30 p.m., 6B, ACC
  1. “The Dickens Jukebox”: Music at Work and Play in Narrative Form5:15–6:30 p.m., 8B, ACC
  1. William Morris and the Legacy of Socialist Aesthetics5:15–6:30 p.m., 19B, ACC
  1. Standardization, Logistics, and Relative Time in Victorian Literature and Culture7:00–8:15 p.m., 9A, ACC
  1. The Interval in Romanticism7:00–8:15 p.m., Lone Star C, JW Marriott

 Friday, January 8 

  1. Byron and America, 12:00 noon-1:15 p.m., 7, ACC
  1. What’s Vital about Statistics? The Critical Nineteenth-Century Statistical Imaginary1:45–3:00 p.m., 5C, ACC
  1. After John Clare3:30–4:45 p.m., 6B, ACC
  1. Oscar Wilde’s Parisian Impression(s)3:30–4:45 p.m., 407, JW Marriott
  1. Literary and Scientific Networks5:15–6:30 p.m., 8A, ACC
  1. Affect Studies and British Romanticism5:15–6:30 p.m., 5A, ACC
  1. More-Than-Human Publics in Nineteenth-Century English Literature5:15–6:30 p.m., 5B, ACC

448A. Cash Bar Arranged by the Forums LLC Scottish, LLC English Romantic, and LLC Late-Eighteenth-Century English7:00–8:15 p.m., 12B, ACC

Saturday, January 9

  1. The Scottish Fetish: Beyond the Kilt8:30–9:45 a.m., 5A, ACC

481. Romantic Religion in Global Perspectives, 8:30–9:45 a.m., 6B, ACC

488. What Theory Can Do for the Victorians8:30–9:45 a.m., 9B, ACC

  1. Dickens and Disability10:15–11:30 a.m., 18D, ACC
  1. Romantic Ecocriticism: Thinking Forward10:15–11:30 a.m., 10B, ACC
  1. The Public Jane Austen in Austin; or, How to Keep Austen Weird12:00 noon–1:15 p.m., 8C, ACC
  1. Literature and the Species Concept1:45–3:00 p.m., 311, JW Marriott
  1. Nervous Systems: Maps, Meters, Diagrams, Frost, 1:45–3:00 p.m., 18A, ACC
  1. New Religious Movements and the Victorian Literary Imagination1:45–3:00 p.m., 10A, ACC
  1. Flame, Pyre, and Flash: Technologies of Fire in Nineteenth-Century English Literature and Culture3:30–4:45 p.m., 8C, ACC
  1. Romantic Readers, Nineteenth-Century Publics3:30–4:45 p.m., 7, ACC
  1. Computational Approaches to Literary Character3:30–4:45 p.m., 404, JW Marriott
  1. Nineteenth-Century Science Fiction5:15–6:30 p.m., 8B, ACC

Sunday, January 10

  1. Beyond Round and Flat: The History and Form of Victorian Character8:30–9:45 a.m., 5A, ACC
  1. Romantic Sovereignty8:30–9:45 a.m., 5B, ACC
  1. Global Romanticism in Theory and in Practice10:15–11:30 a.m., 10A, ACC
  1. Anthropocenic Agency in the Nineteenth Century10:15–11:30 a.m., 8C, ACC
  1. Digital Approaches to Fictional Dialogue10:15–11:30 a.m., 5A, ACC
  1. The Female Voice in Lyric, Elizabethan to Victorian,12:00 noon–1:15 p.m., 9B, ACC
  1. The Romantic Public12:00 noon–1:15 p.m., 8A, ACC
  1. Idyll Times1:45–3:00 p.m., 8B, ACC
  1. Victorian Collaboration: Relationships, Literature, and Community1:45–3:00 p.m., 4A, ACC
  1. Romantic Genealogies of Kinship1:45–3:00 p.m., 5B, ACC

CFP: “Picturing the Nineteenth Century,” INCS 2012 (Kentucky, 3/22-25/2012)

INCS 2012: Picturing the Nineteenth Century

March 22-25, 2012, University of Kentucky

Update: The website for the INCS 2012 Conference, “Picturing the Nineteenth Century,” is  now available at

CFP: Though its title foregrounds art and visual culture, this conference will treat “picturing” in all its many senses: imagining, representing, framing, mapping. We invite papers and panels that consider how the nineteenth century represented itself to itself – through depictions of subjectivity, history, and culture; through emerging technologies and disciplines; through self-conscious “meta” attempts to understand methods of representation. We also encourage papers that consider how our own technologies and disciplines create multiple pictures of “the nineteenth century.” Interdisciplinary papers and panels are especially welcome.

Featured speakers include Nancy Armstrong (English Department, Duke University), Julie Codell (Art History Department, Arizona State University), and Shawn Michelle Smith (Visual & Critical Studies, Art Institute of Chicago).

Themes include but are not limited to

  • “The visual turn” and its technologies
  • Display, exhibition, and spectatorship
  • Cartographies, real and imagined
  • Modes of representation: narrative, image, statistics, chronology
  • Urban geographies and ethnographies; mapping and tracking people
  • Imperialism as visual practice; global mappings and re-mappings
  • Representations of selves and bodies; life writing
  • Canons, institutions, and practices of art and literature
  • The materiality of the literary: illustrations, cover designs, advertising, publication
  • Archives, libraries, and their histories
  • Digitizing the nineteenth century
  • Teaching the nineteenth century

Deadline: October 17, 2011. For individual papers, send a 250-word proposals; for panels, send individual 250-word proposals for each paper plus a 250-word panel description. Please include your name, affiliation, and e-mail address on the proposals. Accepted papers will be due in early 2012.

Contact for more information.

CFP: “The Other Dickens: Victorian and Neo-Victorian Contexts” (University of Portsmouth, July 2012)

CFP: “The Other Dickens: Victorian and Neo-Victorian Contexts”

International Conference:

6-8 July 2012
Centre for Studies in Literature,
University of Portsmouth

Keynote Speakers: Professor Jay Clayton (Vanderbilt University), Professor Ann Heilmann (University of Hull), Professor Cora Kaplan(Queen Mary, University of London), Professor Lillian Nayder (Bates College) and Professor Gail Turley-Houston (University of New Mexico)

“The Other Dickens: Victorian and Neo-Victorian Contexts” is an interdisciplinary conference which will form part of Portsmouth’s bicentenary celebrations of Dickens’s birth in the city on 7 February 1812. We invite scholars working in the fields of literature, film, history, cultural and media studies to consider the other Dickens – those aspects of Dickens (both of his life and work) that remain relatively unexplored, or require re-evaluation. Our objective is to foster interaction between Victorian and contemporary scholars in order to re-examine Dickens in his Victorian context; to assess his continuing importance in contemporary culture, in film and television adaptations, on the internet, and as a character in neo-Victorian fiction; and to explore the rising interest in Dickens’s family members and associated figures (e.g. Ellen Ternan, Catherine Dickens, née Hogarth) in biography and biofiction. Conference

participants will be invited to challenge popular perceptions of Victorian Dickens and to explore his cultural impact on new genres andtechnologies.

Papers will be selected with these criteria in mind and possible topics may include:

  • Dickens and journalism
  • Dickens and performance
  • Dickens and the internet
  • Dickens and adaptation
  • Dickens and biography
  • Dickens and biofiction
  • Neo-Victorian Dickens
  • Dickens as a character in fiction, film and TV
  • Postcolonial Dickens
  • Dickens’s family in fiction and biography

Please send abstracts of no more than 300 words, together with a brief biographical note listing your affiliation, to The deadline for submissions is 30 November 2011.



CFP: “‘Hard Times’ or ‘Great Expectations’? How Victorians Saw Themselves,” (MVSA, April 2012)

Midwest Victorian Studies Association Annual Conference

Bloomington, Indiana, April 20-22, 2012

In commemoration of the 200th anniversary of Dickens’s birth, we invited papers on his writings and influence, but the conference will also consider issues of Victorian reflexivity and self-representation. Among topics to be considered might be: Victorian ideas of progress and degeneration; social commentators, ethnologists and journalists; parliamentary reports and reform movements; mirrors, disguises, and masquerades; visions of heaven and hell; utopias/dystopias; photography and portraiture; autobiographies, biographies and histories; museums and exhibitions; and Victorian psychology and theories of identity.  The conference will include a panel on teaching the Victorians, and proposals for topics and speakers are also invited.

Our keynote speaker will be John R. Reed, whose many academic publications include Dickens and Hyperreality (2011), Victorian Conventions (1975), The Natural History of H. G. Wells (1982), Decadent Style (1985), Victorian Will (1989), and Dickens and Thackeray: Punishment and Forgiveness (1995).

Held on the beautiful campus of Indiana University, the conference will include unique evening entertainment honoring Dickens, including a special film screening of the 1917 A Tale of Two Cities with live piano accompaniment, and a “Charles Dickens Variety Show” including music and magic lanterns.  Accommodations will be on campus in the Indiana Memorial Union.

Please submit an abstract!  Papers or full panels are welcome, and should include 500-word abstracts and 1-page (only) vitas by November 1, 2011to

For more information, see our website


CFP: “Romanticism and Philosophy,” SERA (Paris, Sept 28-29, 2012)

CFP: “Romanticism and Philosophy”

An international conference
co-organized by the SERA (Société d’Etude du Romantisme Anglais), by the Université Paris 7 – Denis Diderot and the Université Lille 3 – Charles de Gaulle
to be held at Université Lille 3 – Charles-de-Gaulle on 28-29 September 2012

The modern concept of literature first emerged in the writings of the Jena Romantics. In L’Absolu littéraire, Jean-Luc Nancy and Philippe Lacoue-Labarthe suggest that Romanticism is the moment when philosophy invested literature, defining it as an object of speculation, and when writers strongly asserted the reflexive dimension of their practice, opening up the field of literary theory. Romanticism has redrawn the boundaries of genres and disciplines, and blurred the line that separates literature from philosophy and from the other arts, thereby widening the possibilities for crossovers and raising the issue of hybridization. As Shelley points out in A Defence of Poetry, Plato and Bacon were essentially poets, and Shakespeare, Dante and Milton were philosophers in their own right. During the Romantic era, art was defined as a major object for speculative thinking, but it also turned into an alter ego and a rival for philosophy, as it strove to offer thought experiments that could sublate the inner contradictions of philosophical systems from the outside.

The “philosophical poem” Wordsworth calls for in The Prelude, “yearning toward some philosophic song / Of truth that cherishes our daily life”, is part of that endeavour. Truth, as well as life, can no longer be the objects of philosophy alone but also, perhaps above all, of art. As Emerson reminds us in “Experience”, “Life is not dialectics”, suggesting that life cannot be fettered by the constricting chains of philosophical systems but can be embraced by the supple and shifting lines of literary texts, in order to unfold, experience, test and understand itself. “Tell the truth but tell it slant”, Emily Dickinson later wrote, as a tribute to the indirection and obliquity of poetic writing, in stark contrast to the so-called rectilinear catenations of philosophical thinking, as a celebration of the revealing opacity of tropes and figures, set against the misleading transparency of concepts. “A philosopher must be more than a philosopher” (Emerson again, in “Plato, or the Philosopher”), he must be a poet, because art also thinks, in its own terms and figures. A mutual relationship emerges as art vies with philosophy, while it opens up new speculative fields for later thinkers to elaborate some of their distinctive concepts, such as Heidegger’s meditation on “poetic dwelling”, inherited from Hölderlin’s poetry, or what Stanley Cavell calls “the ordinary”, after Wordsworth, Emerson and Thoreau.

The conference will explore the kinship and the conflicts, the elective affinities and the dangerous liaisons which bind art to philosophy during three major phases of Romanticism, in Germany, England and the United States. Papers on all art forms are invited. Topics may include but are not limited to:

The philosophy of Romanticism
Romanticism and the philosophical tradition
Romantic legacies in philosophy and literary theory
The philosophy of poetics / the poetics of philosophy
Tropes and concepts
The Romantic subject
Romanticism and literary theory
Romantic aesthetics

Abstracts (300-500 words) should be submitted, together with a CV, to Thomas Constantinesco ( and Sophie Laniel-Musitelli ( before 15 September 2011.

Presentations will be expected not to exceed 30 minutes. Most presentations and papers will be in English. Final papers will be considered for publication following a peer-review process.

Scientific committee:
Prof. Mathieu Duplay, Université Paris 7 – Charles de Gaulle
Prof. Thomas Dutoit, Université Lille 3 – Charles de Gaulle
Prof. Jean-Marie Fournier, Université Paris 7 – Denis Diderot
Prof. Marc Porée, Université Paris 3 – Sorbonne Nouvelle
Dr. Thomas Constantinesco, Université Paris 7 – Denis Diderot
Dr. Sophie Laniel-Musitelli, Université Lille 3 – Charles de Gaulle

CFP: “Victorian Clichés and Orthodoxies,” NVSA (Columbia University, April 2012)

CFP: NVSA 2012 “Victorian Clichés and Orthodoxies” (10/15/2011; 4/13-15/2012)

CFP: “Victorian Clichés and Orthodoxies,” NVSA (Columbia University, April 13-15, 2012)

People have fallen into a foolish habit of speaking of orthodoxy as something  heavy, humdrum, and safe. There never was anything so perilous or so exciting as orthodoxy.

-G. K. Chesterton

NVSA solicits submissions for its annual conference; the topic this year is Victorian Clichés and Orthodoxies.  The conference will be held at Columbia University on April 13-15, 2012, and will feature a keynote panel including Nicholas Dames, Yopie Prins, and Jim Secord as well as a visit to the Columbia Rare Book and Manuscript Library.

The text of the official CFP follows below. If you’d like a PDF copy of the call for papers emailed to you in order to post it in your department, please contact this year’s program committee chair, David Kurnick, at

The Northeast Victorian Studies Association calls for papers on cliché and orthodoxy in and about the Victorian period. We encourage papers that reflect on Victorian conceptions of conventional thinking, practice, and expression as well as on the critical orthodoxies that govern contemporary approaches to the period. How did the Victorians understand cliché—a term that comes into its current use only in the 1890s—in literary culture, or in aesthetics (art, music and theater) more generally? What orthodoxies organized scientific inquiry, and what was science’s relation to religious orthodoxy? How do we understand the marriage of heterodoxy and orthodoxy in religious movements as various as the Oxford movement and low-church revivalism? How did orthodoxy regulate education and domestic life? While the supposed political stability, liberalism, and realistic aesthetics of the Victorian period have often been contrasted with the social and artistic experimentation of Romanticism and modernism, such features of the period have been both vigorously debunked and vigorously defended as more dynamic than previously thought. We invite papers that reflect on the status of those critical shibboleths (and on the catch-phrases used to express them: “age of equipoise,” “the marriage plot,” “the gospel of work”) as well as on the literary touchstones that the nineteenth century seems to have produced in higher volume than any other. We also invite reconsiderations of older and newer critical texts—from The Victorian Frame of Mind to Culture and Imperialism and beyond—that have set the terms of debate for generations of scholars.

Topics for consideration:

Form and Cliché

–  Victorian melodramas and tearjerkers

–   ideology and form

–  “normal literature” and extraordinary texts

–  the invention of genre fiction

–  readers’ pleasures in repetition and recognition

–  canonicity as critical orthodoxy

–  poetic and prosodic orthodoxies

–  parody as ridicule of literary convention

Religious and Scientific Orthodoxies

–  religious authenticity and belief

–  religious orthodoxy as an adventure

–  Christian orthodoxy and its opponents (atheism, agnosticism, free thinking, spiritualism, etc.)

–  revivalism and the Oxford movement

–  scientific naturalism’s attack on orthodoxy

–  science as orthodoxy

–  scientific orthodoxies

Victorian Cliché

–  “We are not amused”

–  “Spare the rod, spoil the child”

–  “The angel in the house”

–  “The dismal science”

–  “Lie back and think of England”

–  clichés in Victorian advertising

–  cliché and mass media (cliché as a function of printing technology)

–  the history of clichés; how do innovations become clichés?

–  ready-made phrases, generic expressions

Victorian Social and Cultural Orthodoxies

–  political and economic orthodoxies

–  were the Victorians sexually orthodox?

–  unspoken orthodoxies; what goes without saying in the Victorian period?

–  orthodoxy as truth and as convention: did the valence of orthodoxy change in the period?

–  orthodoxy and authority

–  conduct manuals, self-help, etiquette guides

–  educational orthodoxies

Our Critical Orthodoxies

–  separate spheres

–  “Always historicize!”

–  prudery and repression

–  the marriage plot

–  the ideology of progress

–  liberalism and individualism

–  the hermeneutics of suspicion

–  modernist clichés about the Victorian period

–  angel/whore view of women

–  round vs. flat characters

–  the Bildungsroman

Critical Stock Phrases

–  “the crisis of faith”

–  “the gospel of work”

–  “the age of equipoise”

–  “the age of doubt”

–  “the age of compromise”

–  “the Victorian sage”

–   “the two nations”

Canonical Critical Texts

–  Buckley’s Victorian Temper

–  Armstrong’s Victorian Poetry

–  Langbaum’s Poetry of Experience

–  Trilling’s Sincerity and Authenticity

–  Marcus’s Other Victorians

–  Gilbert and Gubar’s Madwoman in the Attic

–  Williams’s Culture and Society

–  Houghton’s Victorian Frame of Mind

–  J. Hillis Miller’s Disappearance of God

–  Levine’s Realistic Imagination

–  D. A. Miller’s Novel and the Police

–  Sedgwick’s Between Men

–  Said’s Culture and Imperialism

Literary Touchstones

–  “Reader, I married him.”

–  “Theirs not to reason why,/ Theirs but to do and die.”

–  “Why always Dorothea?”

–  “It was the best of times, it was the worst of times.”

–  “The Everlasting Yea/Everlasting No”

–   “nature red in tooth and claw”

–  “sweetness and light”

–  “How do I love thee?”

–   the “Dickensian” and Dickens’s characters’ tag-lines

–   Trollope’s titles

Deadline: Proposals (no more than 500 words) by Oct. 15, 2011 (e-mail submissions strongly encouraged, in Word format):

Professor David Kurnick, Chair, NVSA Program Committee (

English Department, Rutgers University, 510 George Street, New Brunswick, NJ 08901

Please note: all submissions to NVSA are evaluated anonymously. Successful proposals will stay within the 500-word limit and make a compelling case for the talk and its relation to the conference topic. Please do not send complete papers, and do not include your name on the proposal. Please include your name, institutional and email addresses, and proposal title in a cover letter. Papers should take 15 minutes (20 minutes maximum) so as to provide ample time for discussion.

Travel Grants: The Coral Lansbury Travel Grant ($100.00) and George Ford Travel Grant ($100.00), given in memory of key founding members of NVSA, are awarded annually to the graduate student, adjunct instructor, or independent scholar who must travel the greatest distance to give a paper at our conference. Apply by indicating in your cover letter that you wish to be considered. Please indicate from where you will be traveling, and mention if you have other sources of funding.

CFP: “Dickens and the Visual Imagination” (University of Surrey, July 2012)

CFP: Dickens and the Visual Imagination: an international two-day conference to celebrate the bicentenary of Charles Dickens in 2012

This conference, hosted by the Paul Mellon Centre in London and the University of Surrey in Guildford, will explore the interfaces between art history and textual scholarship through the work of Charles Dickens.

Plenary speaker: Professor Kate Flint (Rutgers University). Other speakers to be confirmed.

Dickens is renowned for the richness of his visual imagination and his publications encouraged readers to interpret his words with and through their accompanying illustrations. Not only was Dickens deeply engaged with ideas of the visual in his writing, but his work has also provoked responses from artists across multiple disciplines within the Victorian period and beyond. The conference seeks to build on recent interdisciplinary work (such as that of Kate Flint and Isobel Armstrong) that illuminates nineteenth-century understandings of visual culture. By focussing the conference through a writer whose work is embedded in the visual imagination, Dickens will provide a test case for examining and theorising the connection between text and image across two hundred years of cultural history.

We invite proposals for panels and individual papers from scholars across disciplines. Topics might include, but are not limited to:

• Dickens and illustration

• The visual arts in Dickens’s work

• Responses to Dickens in the visual arts

• Dickens and performance

• Dickens in the press

• Dickens and new media

• Sciences of vision

• Dickens and commodification

• Dickens and aesthetics

• Observation and spying

• Perspective

• Blindness and the difficulties of representation

Please submit proposals (of up to 250 words) by Friday 30 September 2011to: