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Abstracts of Papers / Résumés Des Communications a – D Abstracts of Papers / Résumés des communications A – D Abstracts are listed in alphabetical order of Les résumés sont classés par ordre presenter. Names, paper titles, and alphabétique selon le nom du conférencier. institutional information have been checked Les noms, titres et institutions de and, where necessary, corrected. The main rattachement ont été vérifiés et, le cas text, however, is in the form in which it was échéant, corrigés. Le corps du texte reste originally submitted to us by the presenter dans la forme soumise par le/la participant.e and has not been corrected or formatted. et n'a pas été corrigé ou formaté. Les Abstracts are provided as a guide to the résumés sont fournis pour donner une content of papers only. The organisers of the indication du contenu. Les organisateurs du congress are not responsible for any errors or Congrès ne sont pas responsables des erreurs omissions, nor for any changes which ou omissions, ni des changements que les presenters make to their papers. présentateurs pourraient avoir opéré. Jean-Christophe Abramovici (Sorbonne Université) Assignation de genre et traitement des hermaphrodites au tournant des Lumières Panel / Session 96, ‘Violence(s) et constructions identitaires de sexe et de genre 2 : Identités violentes, identités violentées’. Monday /Lundi 16.15 – 18.00. 2.14, Appleton Tower. Chair / Président.e : Florence Lotterie (Université Paris-Diderot) D’Anne Grandjean (1765) à Jaqueline Foroni (1802), la médecine prétend porter un regard neuf sur les cas d’« hermaphrodisme ». Au travers d’un protocole d’examen et d’interrogation fouillé, sur fond d’invention de la clinique, le médecin considère avec compassion et humanité les produits malheureux de ces « erreurs de la nature » autrefois rejetés comme « monstres ». Mais cette prise en considération neuve débouche dans la plupart des cas sur des diagnostics convergents assignant un genre « biologique » différent de celui que s’était choisi les malades. Quels traits recouvre cette violence d’un nouveau genre, moderne et protocolaire ? Barbara Abrams (Suffolk University) Conversion and Claustration: A Jewish Woman’s Narrative in Eighteenth-Century France Panel / Session 366, ‘Evolution and Revolution: Identity and Gendered Resistance in Eighteenth-Century France’. Thursday /Jeudi 16.45 – 18.30. 2.11, Appleton Tower. Chair / Président.e : Alexandra Cook (University of Hong Kong) The broad aim of my current work is to study the code that defined the academy of literature in the 18th century and to expand the boundaries of what constitutes literature then and now. I conclude that certain letters from women imprisoned in the convent demonstrate literary qualities, and, especially in the 18th century, constitute a feminine form of writing which should be accorded recognition as a discrete literary genre. I also look at the specific circumstances that led women to be consigned to the convent. In mid-18th Century France, a Jewish women called Angelique Schwab, is forced into the convent of “Les Nouvelles Catholiques.” Her family is involved in the famous Schwab affair involving money lenders and acts of antisemitism in Paris. As her letters show, Angelique is forced to remain in the convent for the better part of her life. In this presentation, I discuss the issue of Jewish women like Angelique, who were often forced to convert to Catholicism, (prisoners, postulants and nuns,) in eighteenth-century 1 France and who were often confined against their will to spend their lives in convents. My work is informed by a modern feminist perspective which allows us to hear the unfettered voices of the cloistered prisoners. This work is grounded in the historical, sociological, literary-critical and feminist perspectives, and specifically focuses on gendered forensic storytelling. Julia Abramson (University of Oklahoma) Pierre Samuel du Pont de Nemours and the Social Culture of Business Panel / Session 121, ‘Practicing Phyisocracy: Utopian Visions, Economic Realities’. Tuesday /Mardi 08.00 – 09.30. G.05, 50 George Square. Chair / Président.e : Jennifer Tsien (University of Virginia) Analysis of personal alongside business documents in the hand of Pierre Samuel du Pont de Nemours reveals essential concerns beyond Physiocracy that nuance his biography while giving a more complete picture of the embeddedness of commercial and economic activity in social and cultural life. Of late, a revival of interest in his biography has sparked new inquiries into the relationship between his activities and Physiocratic conceptions traceable to the early association with the “secte des Économistes.” Clearly, the degree to which any undertaking realized, reacted to, or modified Physiocratic principles is a central question for this figure. But du Pont was not always or merely a creature of Physiocracy, for other forces shaped his deeds and thoughts. To capitalize a trans-Atlantic commercial venture beginning in the late 1790s, du Pont petitioned sophisticated investors initially unwilling to commit to a shaky undertaking. Surprisingly, despite sound financial insight, they finally extended both credit and capital. Du Pont’s solicitations and their responses maintained social ties, realized the shared value of mutual accountability, and fortified a web of interlocking private and public connections uniting founder with capitalists. The episode reveals the persistence of pre-Revolutionary financial networks beyond 1789, the maintenance of French Protestant minoritarian connections over both time and space, and the effects of hewing to ‘old regime’ conceptions of honor and friendship even as conditions for doing business narrowed in on expertise and single-minded focus on an end result—as his son Eluthère-Irénée understood so well. Julianne Adams (Vanderbilt University) ‘Successful in my negotiation’: Violetta as Arbitress of Self and Reader in Eliza Haywood’s ‘Love in Excess’ Panel / Session 233, ‘Mediating Fictions’. Wednesday /Mercredi 08.00 – 09.30. Lecture Theatre 1, Appleton Tower. Chair / Président.e : Ros Ballaster (Mansfield College, Oxford) This paper will consider the idea of mediation as identification, intercession, and reflection through the character of Violetta in Eliza Haywood’s “Love in Excess” (1719). Scholars have examined how Haywood’s texts invite a relationship with the (woman) reader by providing experiential tales of seduction that readers can identify with and learn through. This paper will propose an alternative identificatory subject outside of the seductor/seduced binary and instead with a subsidiary character—in this instance Violetta. Violetta neither advances nor arrests the main plot of Melliora and D’Elmont. Her main function is to arbitrate a secondary love plot of Frankville and Camilla. Depicted alternatively as physically distant, emotionally sympathetic, and amorous yet unthreatening, Violetta mimics the role of the reader, who is invested but not embedded in the story. Violetta is a model not only for reading the text but for living beyond it. She is the ideal reader as one who does not become overly emotionally involved and who supports virtuous love, yet mourns the downfall of villains. Her response to her love for D’Elmont provides a model for maintaining love as an innocent passion. She disguises herself as a male page on the quest to recover Melliora, allowing her proximity to but precluding relations with her love object, D’Elmont. Violetta, continually aware of her passion, constructs a barrier to her desire that allows her to retain virtue. This consideration of Violetta will pivot on a spatialized reading of amatory fiction that prioritizes the physical and emotional placement of character and reader. In doing so, this paper will focus on moments in which Violetta is nominally present through theories of reading, letter-writing, and place. Amélie Addison (University of Leeds) ‘Border Tunes’: Music from the ‘debateable lands’ in the Works of William Shield 2 Panel / Session 422, ‘British Music’. Friday /Vendredi 11.00 – 12.30. Seminar Room 5, Chrystal McMillan Building. Chair / Président.e : Patricia Debly (Brock University) In 1815, William Shield (1748-1829), former house composer of Covent Garden Theatre and Musician in Ordinary to King George III, published a treatise on musical accompaniment entitled ‘Rudiments of Thoroughbass.’ Alongside extracts from the works of canonical composers including Handel, Bach and Haydn, Shield presented various arrangements of traditional ‘national airs’ from Scotland, Ireland, Wales, and further afield. Among these are a substantial and intriguing selection of ‘Border Tunes’ remembered from Shield’s childhood on Tyneside, in North East England. His treatment of these airs reveals the lifelong passion and respect for the characteristic qualities of traditional melodies to which he himself attributed his success as a popular theatre composer. Shield’s commentary on these Border Tunes demonstrates his familiarity with local performance practice related to village dances and traditional instruments such as the Northumbrian smallpipes, while song lyrics reference the Anglo- Scottish Border region’s rural landscape and history of conflict, hardship and heroism. Maps of the area dating from Shield’s teenage years show ‘disputed grounds’ between England and Scotland, and Shield’s association of the melodies of his youth with the Border itself, rather than with either of the nations it divided, hints at a consciousness that this region possessed a distinctive, independent cultural identity
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