April 2018 Newsletter Issue 18.1

Welcome to another packed Newsletter, full of all the BAVS Executive Web & Publicity exciting events the BAVS community are organising, the President Officers Hilary Fraser Will Abberley excellent books you’ve written, and the opportunities Claire Wood you continue to create for each other. President Elect

Dinah Birch ECR Representatives Of particular interest in this issue is the new BAVS Jen Baker Reading Buddy scheme for ECRs (see p.2), as well as the Past President Catherine Han upcoming C19 Matters event on ECRs and the REF, Rohan McWilliam organised by our Fellow, Clare Stainthorp , at Cardiff Careers Representative Secretary Sarah Parker University. Patricia Pulham European Otherwise, I hope you enjoy reports from the various Treasurer Representative events and research trips that BAVS have supported in Emma Butcher Dany Van Dam the last few months, information about recently published books in the field, and details about Membership Secretary Postgraduate Claudia Capancioni Representatives forthcoming conferences and events. Zoe Chadwick Funding Officer Briony Wickes We are, of course, looking forward to seeing many of you Amelia Yeates at this year’s BAVS conference, which will be hosted at Committee Members the University of Exeter on the theme of ‘Victorian Communications Officer Carolyn Burdett Patterns’. Alexandra Lewis Alice Crossley Regenia Gagnier Newsletter Editor Ann Heilmann As ever, if you have news or publications you’d like to Joanna Taylor Elisabeth Jay share with the BAVS community, get in touch with me at Rosemary Mitchell bavsnews@gmail,com. Conference Organisers: Wendy Parkins Tricia Zakreski Mark Richards Joanna Taylor (Newsletter Editor) Kate Newey Arlene Young

CONTENTS BAVS READING BUDDIES 2 FUNDING OPPORTUNITIES 16 UPCOMING EVENTS 4 REVIEWS 18 ANNOUNCEMENTS 9 RECENT PUBLICATIONS 26 CONFERENCE REPORTS 10 CALL FOR SUBMISSIONS 39 (PRINT) BAVS FUNDING REPORTS 14 CALL FOR PAPERS 41 (CONFERENCES)

BAVS Reading Buddy Scheme

Are you an ECR longing for a peer to read your work and provide you with supportive feedback?

Do you miss the structure of having regular deadlines and PhD supervisions?

Would you enjoy reading and engaging with the work of your ECR peers?

If so, the BAVS Reading Buddy Scheme might be for you.

The idea is to pair up ECRs (see definition of ECR below) so that they can read each other’s work and provide supportive peer feedback.

The scheme works via email, with both participants exchanging work-in-progress to a schedule agreed between them. The aim is to provide constructive feedback – and a bit of extra motivation to complete that chapter or journal article!

How it works: Please complete the form outlining your research interests (you can also specify whether you would like someone who shares your interests, or someone with a different perspective—for example, you may be moving into a new field of research and seek particular support in that area) by 31 May 2018

You will be paired up with another ECR and put in touch with each other via email by the end of June 2018

You agree a schedule between you for when you will send and receive work and receive feedback (bearing in mind that the other person may be busy with other commitments – try to come up with a reasonable and equitable schedule that works for both of you)

Send and receive work to your agreed schedule! This is a pilot scheme. I would like to run a session at BAVS 2019 in which we review the scheme and hear from specific pairs of Reading Buddies.

Dates Deadline to request Reading Buddy: 31 May 2018 Pairs set up and notified: 30 June 2018 31 October 2018 – I will get in touch to review how things are going

Definition of ECR For the purposes of this scheme, an ECR is defined as an individual within 8 years of the award of their PhD, without a permanent, full-time academic position.

Reading Buddy Ground Rules Please keep your communications professional and respectful

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Try to ensure your feedback is constructive and supportive. Think about the kind of feedback you would like to receive on your work.

Do not share another’s work without permission. This includes tweeting about it or other social media mentions.

When sharing your work, please include this headline at the top:

Not to be cited, reproduced or shared without the author’s written permission Request their permission if you want to cite their work (don’t plagiarise your Reading Buddy!)

Respect the time commitments of your Reading Buddy and stick to the agreed schedule

Agree to the word lengths of the work you share so that time spent is equitable (e.g. don’t send an 80,000 word monograph draft if you are only willing to read a 6,000 word chapter!)

If you can no longer take part in the scheme, or if there will be a significant delay in getting back to your Buddy, please let your Reading Buddy and Sarah Parker know

BAVS Reading Buddies – Form

Please chose 5-10 keywords that describe your area of research interest

Would you like a Reading Buddy who shares these research interests? Are there any additional interests that you would find useful in a Reading Buddy?

What kinds of work are you interested in sharing with a reading buddy? (chapters, articles, conference papers) I agree to comply with the BAVS Reading Buddy Ground Rules:

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Upcoming Events

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Crime Fiction(s):

Victorian and Neo-Victorian Narratives of Crime and Punishment

An interdisciplinary one-day conference at Edinburgh Napier University (Merchiston Campus)

27th April 2018

Organisers: Lois Burke, Helena Roots and Anne Schwan

9.30-10.00 Registration and Tea/Coffee (F15) 10.00-11.45 Session 1a (F10): Law and Literature Chair: Linda Dryden Lindsay Farmer (University of Glasgow), ‘Crime, Character and Civilisation: Reading Luke Owen Pike’s History of Crime in England (1873) Barbara Hughes-Moore (Cardiff University), ‘The Self as Other: Tracing Criminal Law through Doubles’ Marc Ricard (University of Exeter), ‘The Roots of All Evil: Criminal Plants in the Victorian Imagination’ Tony Ward (Northumbria University), ‘“What has Defeated Historical Enquiry”: Crime and the Inaccessibility of the Past in Beryl Bainbridge’s Watson’s Apology’ Session 1b (F15): Neo-Victorian Holmes and Material Culture Chair: David Bishop J. C. Bernthal (Middlesex University), ‘“No Women, No Gay References”: Crimes Against Masculinity in Anthony Horowitz’s The House of Silk (2012)’ Neil McCaw (University of Winchester), ‘Glocalizing the Victorian Crime Story: Neo-Victorian Sherlock Holmes’ Helen Victoria Murray (University of Glasgow), ‘The Material Culture of Crime in BBC Ripper Street’ 11.45-12.00 Break 12.00-12.45 Session 2 (F10): ‘Detecting the Nation-State: Sherlock as Post-Imperial Adaptation’ Benjamin Poore (University of York) Chair: Sarah Artt 12.45-13.45 Lunch (F15) 13.45-14.15 Session 3 (F10): NLS Resources on Crime and Punishment Graham Hogg (Rare Books Curator, National Library of Scotland) Chair: Anne Schwan 14.15-15.00 Session 4 (F10): ‘Big Data and Dead People: Digital Crime History and its Discontents’ Zoe Alker (University of Liverpool) Chair: Kate Simpson 15.00-15.15 Tea/Coffee (F15) 15.15-17.00 Session 5a (F10): Criminal Urban Geographies Chair: Helena Roots Lucy Morse (University of Exeter), ‘“Waterside Character”: Portside Dispossession and the Creation of Enclosed Wet-Docks, Pathologizing

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Thieves, and the Influence of Commons Preservation within Print Culture in Our Mutual Friend (1864-5)’ Cheryl McGeachan (University of Glasgow) and Ross McGregor (Royal College of Physicians and Surgeons of Glasgow), ‘The Police Surgeon, Forensics and the 19th Century City’ Samuel Saunders (Liverpool John Moores University), ‘“The Romance of the Detective”: Sensation Fiction, Police-Memoirs and Transcending Literary, Physical and Social Boundaries, c. 1850-1870’

Session 5b (F15): The Ethics and Politics of Neo-Victorianism Chair: Lois Burke Mark Llewellyn (Cardiff University), ‘Are all (Neo-)Victorians Murderers? Serials, Killers and Other Historical Maniacs Barbara Braid (Szczecin University), ‘Myth Busting or Mythmaking? Charlotte Brontë and Neo-Victorian Crime Biofictions’ Amanda Jones (Canterbury Christ Church University), ‘“An Idealised Realm of Natural Goodness”?: The Criminal Side of Childhood in Victoria Holt’s The Shivering Sands (1969)’ 17.00-17.45 Session 6 (F10): New Approaches to Teaching Crime History Emily Cuming, Jude Piesse et al (Liverpool John Moores University), ‘Prison Voices in the Classroom: Crime, Punishment, and Pedagogy in the Digital Age’ Chair: Anne Schwan 17.45-18.00 Introducing Detective McLevy’s Casebook and the Napier Big Read Campaign (F10) Avril Gray and MSc Publishing students (Edinburgh Napier) 18.00-19.30 Drinks Reception with Performance and Q&A (F15) Chair: Kirstie Blair

We are pleased to host a performance of selected scenes from Martin Travers’ new play Annville, based on the novel The Flourish (2003) by Heather Spears. Annville is drawn from a true story about two tragic murders in Victorian Lanarkshire. The scenes give a wonderful insight into women’s roles and social expectations in nineteenth-century Scotland. Followed by Q&A. 20.00 Dinner in town (optional)

Supported by the British Association for Victorian Studies (BAVS)

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*REGISTRATION NOW OPEN*

https://www.eventbrite.com/e/1868-a-civilising-moment-tickets-36751567929

A Civilizing Moment? Reflecting on 150 years since the abolition of public execution.

Wednesday 6th June 2018 Literary & Philosophical Society, Newcastle.

On the 29th May 1868, the Capital Punishment Amendment Act received Royal Assent, bringing an end to centuries of execution in public. Of the Act itself V.A.C. Gatrell posited that, “we cannot deny that 1868 was a civilizing moment in British History”. However, he went on to state that “none of this, however, means that 1868 marks a humane moment in British history.” Indeed, execution continued unabated for another century and restricted from view to all but a few select representatives of authority. 150 years on from the Act’s introduction, this one-day conference will seek to reflect on this landmark legislation’s origins, intentions, reception and reality.

Attendance is free thanks to the generous funding of our supporters: The Royal Historical Society, Centre for Nineteenth-Century Studies (Durham University), Northumbria University & Sunderland University.

Literature, Education and the Sciences of the Mind in Britain and America, 1850- 1950

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17-18 July, 2018 – University of Kent Keynote Speakers:Professor Helen Small, Pembroke College, University of Oxford Professor Priscilla Wald, Duke University

Contact email: [email protected]

This conference aims to stimulate a wide-ranging discussion about the interactions between British and American literature, education, and the sciences of the mind between 1850-1950. We welcome paper and panel proposals on any aspect of British or American literature, education and/or the sciences of the mind broadly construed.This conference is part of Dr Sara Lyons’ (PI), Dr Michael Collins’ (Co-I) and Dr Fran Bigman’s (Research Associate) AHRC-funded project, Literary Culture, Meritocracy, and the Assessment of Intelligence in Britain and America, 1880-1920. The project is an investigation of how British and American novelists understood and represented intellectual ability in the period, with a particular focus on how they responded to the rise of intelligence testing and the associated concepts of I.Q. and meritocracy. For additional information, please visit our website: https://research.kent.ac.uk/literaryculture/

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Announcements

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Conference Reports

BAVS is committed to supporting the activities of members, including conferences and events. Below are some of the recent events and research projects which have benefitted from BAVS Funding. For more information on BAVS events funding, please e-mail Amelia Yeates (BAVS Funding Officer: [email protected]) or go to: http://bavs.ac.uk/funding.

Picturing the Reader: Reading and pulling the blinds down on the world outside Representation in the Long Nineteenth their railway carriage. For Hammond, Century Ruskin gives voice to a new kind of anxiety Liverpool Hope University surrounding the female reader in public 7 September 2017 spaces: at once paternally concerned for the sustenance gleaned from their literary

victuals whilst simultaneously allured by the This one day conference took place on 7th publicly visible young female. Having laid September 2017 at Liverpool Hope out this particular dichotomy Professor University’s Creative Campus and brought Hammond explored more generally the together scholars from the UK, the US and differing representations of the reading Australia together to discuss traveller in visual and literary culture, representations of nineteenth-century examining the railway coach as alternately a reading practices across the disciplines of site of anxiety, excitement and escape. If literary studies, book history, art history and there was dangerous involved in the more. itinerant lone female hiding behind the

leaves of her book, there was also an exciting Professor Mary Hammond (University of freedom involved in being both physically Southampton) opened the conference with a and mentally autonomous. The development keynote examining ‘reading while of the railway may have gone hand-in-hand travelling’. Hammond foregrounded her with the invention of the literary throwaway, lecture with a description of Carpaccio’s but it also allowed avid readers the time to painting, The Legend of Saint Ursula. Of read serious works of literature and study. particular import for Ruskin is the book Whilst some women may have read French propped up on a table in the far corner of the novels, others read the classics (which, room depicted within the painting. Its open according to Virginia Woolf, pass the time so pages clearly indicate regular usage with the much better than the Pall Mall Gazette). Men nature of the painting suggesting this to be also found ways of directing this “dead time” devotional. More importantly for Ruskin, toward their own literary enjoyment (that is, however, is the solitary study implied by this when they were not worrying over what text kind of reading; a reading in which, the woman opposite them was enjoying). according to Professor Hammond, the Hammond’s lecture wonderfully captured woman is stationary save from a certain the variegated, diffuse and diverse mental leap between the domestic milieu representations of, perspectives on, and and heaven above. Contrast this with the art anxieties over the travelling reader in the critic’s comments on two American girls long nineteenth century. reading French novels whilst gorging themselves on lemons and lumps of sugar as they travelled between Venice and Verona, 10

The first panel at the Picturing the Reader The first paper of Panel 2 was presented by conference focussed on reading within the Jane Garner, and co-authored by Mary visual arts. It drew upon nineteenth-century Carroll. The paper, ‘Civilising the uncivilised art and literary depictions of readers as well and morally corrupt: a depiction of reading as considering letters and diary entries. The in Australian penal settlements’, offered a presenters were Stacey McDowell of the fascinating historicisation of library practice University of Cambridge with her paper within prison communities, as well as a entitled ‘Paired Reading Nineteenth Century reflection on the ideals underpinning the Literature and Art’, Amelia Yeates from creation of library spaces. The influence on Liverpool Hope University with her paper, the reading community of the environment “No happy wearing of beloved leaves’: in which the texts were accessed and their Women and not Reading in Nineteenth relationship to literacy was deftly addressed, Century Art’ and Colin Cruise of Aberystwyth so that specificities of Australian University with ‘Revisiting the Magdalene: experiences of race, colonial power, and Simeon Solomon’s ‘Poetry’ as allegory’. language could be explored. Anecdotes of resistant readings, and performances, by Presentations ranged from the intimate and inmates brought some playfulness to what sometimes erotic and eroticised experience can be a very grim topic area, addressing of paired reading activities, from sharing a structural power. book to reading aloud, to the rebellious woman who actively rejected wholesome Catherine Han’s paper linked the reading literature in favour of an alternative lifestyle communities of the past and present, as explored by the character of Becky Sharp through the influence of Jane Austen and the in Vanity Fair (1848). As well as Brontë sisters. She asked how we picture the investigating religious interpretations of reader of certain genres, and how the reader Mary Magdalene and the symbolism of those genres is depicted within the pages surrounding females and books, all three of the book, reflecting ourselves in our papers explored the symbolism of books in favourite fictions. Exploring the changing several ways yet ultimately settled on the contexts for women’s literature and the understanding that reading and books female reader provided new and insightful created the ideal of knowledge, education ways of exploring perceptions of famous and respectability. A woman without a book, authors who, one might think, had an as depicted in The Travelling Companions by established image and reputation. However, Augustus Egg (1863), could be read in Han’s exploration of contemporary women’s various ways. Le Bien et le Mal by Victor fiction showed that academics, fans, and the Orsel (1832) is more explicit in suggesting general reader can have very different that a non-reading woman was sexually preconceptions about authors and readers of transgressive and fallen, plagued by the present and the past. Underpinning the illegitimacy and suicide. Ultimately, reading paper, Han noted, is the recent critical turn was a necessity and expectation for a good towards seeing ‘middlebrow’ as a category example of a Victorian woman. Finally, the applicable to contemporary fiction, and one act of paired reading extended to engage suitable for exploration by methods of with how reading can be discussed together textual analysis; Han suggested that her and allowed conversations to flourish paper is intended to substantiate this new bringing both genders together. direction in the study of contemporary fiction.

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After a fascinating two rounds of formal Meaghan Clarke, Carolyn Oulton, and Tara panels on readership, the next item was a Puri concluded the conference with a panel lively roundtable entitled ‘Sensation Reading on fin-de-siecle female readers. Clarke’s and Readers’. The papers from Ashton Foley presentation explored the portraiture of (University of Rhode Island), James Green photographer Eveleen Tennant Myers. She (University of Exeter), and Louise Creechan suggested Myers’s photographs of academic (University of Glasgow) demonstrated the women, such as Anne Jemima Clough (first great diversity of approaches to reading Principal of Newnham College), complicate found in the genre. Foley began the the caricatures usually used to represent roundtable by exploring Mary Elizabeth intellectual women in visual culture. Many of Braddon’s treatment of the male reader in these images, including pictures Myers took Lady Audley’s Secret. She argued that the of herself, often depict women reading or narrative maps Robert Audley’s include books in some way. These images transformation from an emasculated reader mirrored those of the various intellectual of French novels to a productive detective men Myers photographed, and move who participates in ‘hard reading for facts’. women’s portraits away from styled images Robert putting down his yellowbacks is, for for private circulation into the public sphere. Foley, an act of reclaiming his masculinity. In Moving out of the studio and into the library, the second paper, Green shifted the Oulton focused on issues of power at the perspective of the roundtable by focusing on Folkestone Library in Kent. She explained some of the wider questions regarding that the library had restricted access to its readership that accompanied the rise of the holdings to full-time residents of the town, sensation novel in the 1860s. He observed making it difficult for people vacationing in that in the scathing conservative criticisms the seaside resort to take out texts. In of the genre – such as H. L. Mansel’s infamous addition, the poorly organized catalogue Quarterly Review article – there is a trend to made it difficult to find a book without focus on the lack of verisimilitude in asking a librarian for help, further limiting sensation fiction as a means of women who felt uncomfortable asking a condemnation. Sensation novels were male librarian for certain texts. This neither real nor edifying, so Green asked the disorganization made the library appear question: what was the purpose of reading conservative, but closer examination shows the sensation novel? He examined whether texts by Collins, Braddon, Wood, Haggard or not there was seen to be value in reading and Stevenson among the library’s holdings. the false narratives of sensation novels. Despite policy maker’s efforts, the Louise Creechan returned to close textual Folkestone Library ultimately provided a analysis of Mary Elizabeth Braddon in the place for people of different classes to mix final paper of the roundtable in which she and provided access to fiction it sought to identified the challenge to the social and keep out. Finally, Tara Puri’s presentation intellectual hierarchies of Aurora Floyd moved the conversation toward a global posed by the ‘idiot’ reader, Steeve Hargraves. perspective, focusing on Krupabai The three papers prompted a stimulating Satthianadhan. Satthianadha is considered discussion of how readership relates to the the first female novelist in English from identity politics both within sensation India. Puri argued that calling novels and in the contemporary criticism of Satthianadhan’s novel Saguna the genre. autobiography undermines its status as a piece of critical literature, when the text should be placed in the tradition of Hannah

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Moore and Maria Edgeworth. Related to interdisciplinary essays on nineteenth- reading, the novel itself offers a display of century readers and readerships currently in Satthianadhan’s own knowledge of the preparation by the organisers, Beth Palmer canon, citing The Fairie Queen among other (University of Surrey) and Amelia Yeates traditional British works. These texts, (Liverpool Hope University). however, do not reflect the daily experience of a female Christian convert in India, and With thanks to the British Association of Satthianadhan highlights the complicated Victorian Studies for funding their social and cultural alterations that happen as generous funding and to our PGR BAVS a result of British colonization in India. bursary recipients for their contributions to this report: In a short conference, the striking Louise Creechan, Stephen Whiting, Billie- differences between the panellists topics Gina Thomason, Ashton Foley-Schramm, brought out the title of the session, and made Evan Hayles-Gledhill, James Green, us in the audience really think about the Abigail Sage and Jane Garner. underlying perceptions of shared literary spaces. A full and stimulating conference has laid the groundwork for a collection of

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BAVS Funding Reports

The British Association for Victorian Studies (BAVS) is committed to the support of its members’ activities such as conferences, events and research activities. As such there are two funding streams open to BAVS members:

1) Events funding: up to £800 is available to support the costs of an academic conference or event relating to Victorian studies. The Association and its Executive remain committed to the development of postgraduate students, and it is anticipated that two postgraduate- organised/led events will be funded each academic year. 2) Research funding: up to £500 is available to support the costs of individual research for Postgraduates and Early Career Researchers.

The application forms, including guidance notes and deadlines, are available from: http://bavs.ac.uk/funding. There are two rounds of funding each year, with deadlines in May and November. For further information, please contact the BAVS Funding Officer, Amelia Yeates: [email protected]. Tennyson & Wordsworth

I was fortunate enough to be awarded a My trip began at the famous Wren Library at British Association for Victorian Studies’ Trinity College, Cambridge. Tennyson (BAVS) Research Funding Award in January studied at Trinity between1827 and 1831, a 2017, in support of my book on Tennyson fact he recalls in In Memoriam (1850), so it and Wordsworth, which is due for seemed a fitting place to start my research. publication later this year. The project offers The library was completed in 1695 to the a reappraisal of Alfred, Lord Tennyson’s design of Sir Christopher Wren, who was poetic relationship with Wordsworth responsible for the design of the building through an examination of the later poet’s and also for the bookcases and furniture. unacknowledged borrowings of Features of special interest include the Wordsworth’s language and phrases. statue of Lord Byron by Bertel Thorvaldsen, Tennyson was sensitive to the claim by and the south facing painted glass critics that he ‘borrowed’ phrases from other window by Giovanni Battista Cipriani. There writers, taking the suggestion as an are six exhibition cases in which a small imputation of carelessness at best, or, more fraction of the library’s treasures are on damningly, of mere impersonation: ‘They display, including on the day I visited allow me nothing ’, he once said, meaning the Tennyson’s In Memoriam, recently returned critics (Page, 1983, p. 77). But borrow from from exhibition. The Library holds one of the other poets’ work Tennyson did – and most significant Tennyson collections in the sometimes copiously. It was thus, with the country, including the first extant support of BAVS, that I set out last year to manuscript copy of In Memoriam, as well as consult the main Tennyson collections held notebooks bequeathed by Tennyson’s son in the United Kingdom for potential evidence Hallam Tennyson in 1924. I had arranged my of Tennyson’s ‘unacknowledged’ borrowings viewing of the Trinity collection with the from Wordsworth and an insight into the support of the Wren’s Sub Librarian, Mr later poet’s compositional practices. Sandy Paul. The manuscripts and notebooks proved to be a revelation, both in terms of

14 content and form: the In Memoriam Several months later I visited the Tennyson notebooks, for instance, written in Research Centre, newly housed in Tennyson’s spidery handwriting – a case of Lincolnshire Archives – my first visit – black ink here rather than the black blood of arranged with the help of the Centre’s the Tennysons, perhaps – are dotted with archivist, Grace Timmins. The Centre houses, sketches and doodles (none of Wordsworth, amongst other things, manuscript copies of unfortunately), as well as numerous In Memoriam and ‘The Charge of the Light crossings out. I wondered how best to Brigade’ (1854), as well as over nine assimilate the content of the notebooks – thousand letters to and from Tennyson and photograph them in part or make my own two hundred publishers’ proofs. Grace notes in longhand? I opted for both, a kindly brought to my attention copies of an valuable decision, as it turns out, as I have article on Tennyson by John Churton Collins, returned to my notes repeatedly over the Alfred J. Gatty’s A Key to Tennyson’s In past few months in writing up my research. Memoriam (1881), and an edition of Since my visit, Trinity has digitised some of Tennyson’s The Princess, all of which the Tennyson manuscripts, making them contain annotations and interventions in available to Tennyson scholars and the Tennyson’s own hand. The Collins’ article, ‘A general reader alike via the Cambridge New Study of Tennyson’, for instance, Digital Library. My trip to the library has published in the Cornhill Magazine in 1880, proved vital, however, affording me real is marked by emphatic denials of influence insight into Tennyson’s compositional by the poet, including from Wordsworth, practices, as well as enabling me to hold such as quizzical question marks and (poetic) history in my hands. frequent outbursts of ‘nonsense!’ (pp. 36-50. By permission of the Tennyson Research Whilst in Cambridge I also visited the Centre). Fitzwilliam Museum, which also holds important work on Tennyson, such as the The Tennyson Research Centre also holds 1833 Poems, published by Edward Moxon, photocopied pages of Tennyson’s 5-volume and John Moore Heath’s, A Pocket Common- 1827 Wordsworth Poems, donated to the Place, 1826-33. The Poems contains Centre by Mark L. Reed in 1966. Again, the revealing annotations and comments by the photocopied pages reveal valuable author himself on his own work: the phrase interventions and comments on ‘all at once’, for instance, is entered above a Wordsworth’s poems by Tennyson himself, line in Tennyson’s ‘Oenone’ (quoted by allowing me an unrivalled insight into permission of the Syndics at the Fitzwilliam Tennyson’s working practices. As it stands, Museum), replacing the published line. The the 5-volume Wordsworth itself remains phrase does not appear in subsequent unlocated, although it is thought to be held editions of the poem, but has a particular somewhere in the United States – the subject relevance to Tennyson’s In Memoriam, I of another research trip, perhaps. think, which I trace out in my book. Dr Jayne Thomas, Early Career Researcher

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Funding Opportunities

Leicestershire Archaeological and Historical Society Research Grants

The Society has always been keen to encourage research, and its publications contain the results of such research. Occasionally the Society itself has promoted research projects, but on the whole individual members carry out research over a period of time, sometimes resulting in books or papers in Transactions.

Over the years sums of money have been left to the Society to encourage research and this money forms the Research Fund to which members and others can apply for grants.

If you wish to apply for a grant please read the Guidance Notes for those Applying for Grants. If you feel your project is eligible please complete the application form (click link and select 'Save As') and send it to Prof. Marilyn Palmer, 63 Sycamore Drive, Groby, Leicester, LE6 0EW, or by email to: [email protected]

Armstrong Browning Library Three Month Research Fellowship

The Armstrong Browning Library (ABL), located on the campus of Baylor University, is a world- renowned research center and rare-collections library devoted to nineteenth-century studies. The ABL has established a Three-Month Research Fellowship for leading scholars from outside Baylor. Prof. Dino Felluga (English, Purdue University) served as the inaugural fellow during fall 2017, and Prof. Clare Simmons (English, Ohio State University) will serve as the fall 2018 fellow.

Applications are being accepted for fall 2019, and are due by Sept. 7, 2018. $28,000 will be transferred directly to the Fellow's home institution in three equal installments to help cover expenses incurred by this Research Fellowship. In addition, the Fellow's initial travel to, and final return journey from, Baylor will be covered, as will lodging in well-furnished, high-quality apartments. Finalists will be notified by Oct. 10, 2018, and will be interviewed before the end of October.

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Reviews

The BAVS Newsletter is always looking for new reviewers, particularly among postgraduate, early career and independent scholars. The current list of items available for review is listed on the Newsletter Website (bavs.ac.uk/newsletters). To add your name to the list of BAVS Reviewers, please email the Newsletter Editor ([email protected]) with your name, affiliation, current status and six keywords that summarise your research interests. Reviewers should be members of BAVS; membership details can be found here.

Landscapes of Eternal Return: Tennyson to Hardy, Roger Ebbatson The main premise underpinning the eleven (London: Palgrave Macmillan, 2016), chapters is that the 'literary text militates 220pp, £67.99 (Hardback) ISBN: 978- against the pitiless nature of time conceived 3-319-32837-9 as a straight line, positing instead a return taking the shape of multiple forms of difference, the ability of the text to mean Roger Ebbatson states that the argument differentially' (p. 13). Beginning with the proposed as the basis for this study of four poetry of Arthur Hallam, Ebbatson discerns different authors is that 'the principle of in the texts reverberations and refractions of recurrence inhabits and haunts nineteenth- Romanticism, a return to 'an expiring century writing' (p. 10). Replaying, cultural moment' (p. 21). He argues that reiterating, exploratory repetition and the Hallam's oeuvre can be 'interpreted through 'replacing [of] historical time with rhythmic the Romantic vogue for incompletion, time' all serve to de-familiarize and fragmentation and inward reflections' (p. destabilize 'any sense of a secure historical 22), though it would be perfectly reasonable methodology' (p. 7). The works of Adorno, to contend that such components are Benjamin, Bergson, Deleuze, Derrida, features of much Victorian poetry, and Heidegger and Nietzsche among many indeed also Modernism. Ebbatson goes on to others are used as lenses through which posit that Hallam's output also comprises 'an Ebbatson reads and analyses his chosen intermittent depression of spirit' (p. 31), but subjects. His study is not entirely this is equally true of Tennyson, Jeffries and phallocentric, though, as he also engages to a Hardy, especially Hardy! certain extent with Cixous, Irigaray, and the art historian Linda Nochlin. Affect theory Tennyson is described as 'depicting [a] also plays a major part in this thesis which fantasized Orient as a static, timeless pre- Ebbatson uses to 'highlight the capitalist realm', and projecting 'the image of literary/emotional response to landscape' a refuge against the pressures of modernity' (p, 10). He ranges from 'the quasi-Oriental (p. 52). Tennyson also displays an visions of Arthur Hallam [and] the young 'unlicensed vision' of sexually compliant Tennyson, through Richard Jeffries' intuitive females who are 'delineated through interaction with southern downland, to the Sapphic allusion' and thus may be construed varied perspectives conjured up in Hardy's as 'threatening to male hegemony as Wessex' (p. 10). For Ebbatson's purposes constructed in the West' (pp. 54, 55). This is affect theory 'emphasizes bodily immersion evident in poems such as The Princess and in its responsiveness to details in the Balin and Balan. Ebbatson then reads environment' (p. 10). Tennyson's Morte D'Arthur as epitomizing a

18 landscape of eternal return, emphasizing a female characters (citing Marty South and 'Tennysonian predilection for, and Tess Durbeyfield), he tends to 'mask or dependence upon, patterns of repetition' (p. moderate class tensions in favour of a 66). He philosophically contextualizes Morte humanistic individualism' (p. 94). Such a D'Arthur with repeated references to contention seems to ignore heroines like Nietzsche's 'doctrine of eternal recurrence' Bathsheba Everdene, who Hardy shows as as iterated in The Gay Science: transcending both class and gender, while the character of Gabriel Oak is the conduit This life as you now live it and have for 'humanistic individualism' in Far From lived it, you will have...innumerable times the Madding Crowd. more; ...every pain and every joy and every thought and sigh and everything unutterably Jeffries is read by Ebbatson as seeking to small or great in your life will have to return transcend Victorian positivism and to you, all in the same succession and industrial progress, veering 'towards sequence...(p. 67). pantheism' and expressing 'a belief in Universal Spirit' such as that espoused by the Thus time, we are told, is to be seen 'as an American transcendentalist Ralph Waldo internally circular process', mirrored in King Emerson (p. 112). Rather than focus upon Arthur's ruminations on how Merlin issues of temporality and rationality Jeffries prophesies that 'I should come again/To rule favours 'an ecstatic cultivation of presence in once more' (p. 68). Ebbatson's nature' which 'largely eludes his psychoanalytical reading of Sir Bedivere's contemporaries in the age of Steam' (p. 112). dilemma with regards to ridding the realm of Ebbatson then retuns to Nietzschean Excalibur may prove provocative to some philosophy in his discussion of Hardy's readers, 'In seeking and failing to cast away 'aesthetic emphasis upon the moment' (p. the sword the knight is involved in an 119). His dialogic reading of Hardy's texts Oedipal contest with the king as phallic ruler, seeks to deploy the key ideas of 'anti- a conflict which eventuates in the return of Darwinism, the concept of the will-to-power, the banished or disavowed feminine and the doctrine of eternal recurrence' (p. principle' (p. 71). He see Bedivere's 121). Novels including The Woodlanders, Far 'repeated vacillation' as serving to 'enact and From the Madding Crowd and The Return of endorse the Nietzschean principle of eternal the Native are identified as anti-Darwinian recurrence' (p. 71). narratives in that they highlight 'the vulnerability of the strongest and most A relatively short discussion of the trope of fortunate' (p. 123). Confusingly Ebbatson melancholia in Tennyson's In Memoriam is remarks that Hardy aims to 'interrupt or followed by an equally brief chapter on reverse linear progression', then declares women field labourers by way of an that Hardy invests in a 'specifically linear introduction to the work of both Jeffries and Darwinian perspective', but adds that this is Hardy. The work of Jeffries 'offers a 'in essence antithetical to Nietzsche's sympathetic and cogent account of the idiosyncratic theory', while also claiming hardship of female labour' in the latter part that 'elements of the principle of eternal of the nineteenth century, while Hardy recurrence' are detectable nonetheless (pp. supposedly retains 'an overall ideal of 126, 132). This, coupled with a baffling final normative femininity in the unconscious of chapter which combines readings of the text' (p. 94). Ebbatson feels that while Swinburne's poetry, Whistler's paintings, Hardy is clearly sympathetic to certain and Hardy's phenomenological 'mirror'

19 poems all through the lenses of Kristeva, suited to the purpose of house-painting”’, he Derrida and Lacan, tends to leave the reader argued, but ‘“seldom adapted to the modesty somewhat bewildered. Compounding this is of nature”’, which many Victorian artists Ebbatson's over-dependence on the words sought to capture (qtd., 42). Ribeyrol’s of other critics to speak for him during edited collection of essays, The Colours of the sizeable sections of his text, and a habit of Past in Victorian England, explores the continuously repeating the phrase 'that is to dichotomies and debates that grew out of the say', quite redundantly. And while chemical innovation, specifically the academics will undoubtedly find a number of invention of aniline synthetic dyes, that led Ebbatson's ideas fruitful for further to a transformation of pigments in the discussion, the excessive use of technical second half of the nineteenth century. It jargon may act as a deterrent to students and illuminates a previously neglected area of general enthusiasts. study that deserves to be much more than a Tracy Hayes (The Thomas Hardy Society) footnote to the history of nineteenth-century artistic thought, practice, and aesthetics: ‘the

chromatic cultural palimpsest’ formed by The Colours of the Past in Victorian the work of major Victorian artists and England, by Charlotte Ribeyrol (ed.) writers, who – if you to take away their (Oxford: Peter Lang, 2016), 270 pp., respective paintbrushes and pens – can be 40 coloured ill., £42 (Paperback), classed together, under a shared identity, as ISBN 9783034319744 ‘chromophiles’ (6).

In a footnote to his 1913 volume, Pre- In Ribeyrol’s words, Victorian England Raphaelitism and the Pre-Raphaelite experienced a ‘chromatic revolution’ (8). It Brotherhood, William Holman Hunt was a revolution that stimulated artists and observed John Everett Millais’s use of colour writers to look not to the future, but rather in his painting Ophelia (1851-52) and to the past. The availability of modern identified a modern pigment called chrome synthetic pigments from the mid-nineteenth green. Hunt revealed the pigment to be ‘“an century onwards gave rise to a longing to re- admixture of chrome yellow and Prussian create – or re-imagine – the colours of the blue”’, ‘“identical with the Brunswick green past. In fact, the Victorians looked to a series used by house painters for common doors of pasts. Reading the essays that make up and palings”’ (qtd., 22). The Pre-Raphaelites Ribeyrol’s edited collection allows you to were known for their position outside the navigate history and travel across the globe traditional Academy of art and for their through the colour choices of the Victorians. pursuit of more humble subjects. Yet it Through the visual and literary output of would seem that, for Hunt, the popular William Holman Hunt, Alfred Tennyson, and chromatic choice of his fellow artist was James McNeill Whistler, among many other nothing but disagreeable. As highlighted by lesser-known names, you encounter the Charlotte Ribeyrol, Hunt’s disdain for dazzling colours of the Medieval Age, the modern pigments was indebted to George surprisingly vivid hues of Antiquity, the Field’s in-depth study, Chromatography, mysterious shades of Japan, the lustrous published almost a century earlier in 1835. tones of Quattrocento Florence, and the Field had similarly lamented Victorian exotic pigments of the Orient. copper greens for their modernity, for their commonality, and ultimately for their In chapter one, Ribeyrol and Philippe Walter incompatibility with fine art. They are ‘“well offer an interdisciplinary exploration of

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Hunt’s ‘chromatic nostalgia’ by drawing on reservoir which may yield up access to the the results of chemical analysis of the past’ in terms of memory (47). In chapter pigments in his famous painting, The Lady of three, Stefano Evangelista highlights another Shalott (c. 1890-1905), which was carried kind of absence: what he calls ‘phantom out in 2003 with the support of conservators colour’, invoked by Lafcadio Hearn in his (19). They seamlessly combine this with a writing to recreate the ghostly shades of a reading of Hunt’s interest in the medieval lost Japan for his Western readers (79). hues exquisitely described by Tennyson in Although practically unknown today, Hearn his poem of the same name. Hunt was the was a prolific writer about Japanese life in first illustrator of Tennyson’s poem, at the the nineteenth-century British and heart of which is a ‘magic web of colours gay’ American presses. Evangelista presents a (qtd., 33). It becomes clear that there was a nuanced and striking account of Hearn’s ‘partial rift between Hunt’s theoretical ‘linguistic-chromatic spectacle’ in relation to praise of the colours of the past and his British Aestheticism and the work of Walter actual practice of colour, ranging from Pater (79). Hearn’s linguistic construction of traditional ultramarine to more modern blurred, foggy, and ghostly colour effects as hues such as emerald green’ (19). Indeed, a process of dissolving reality and ultimately Hunt painted with the very pigment he evoking the impossibility of knowing disparaged so strongly in the work of Millais. ‘authentic’ Japan (which, by that time, was Ribeyrol and Walter present how ‘Hunt’s similarly beginning to use synthetic colours relation to his pigments was a highly in printing) also ranks him amongst the ambiguous one’, torn as he was ‘between leading impressionist writers, Vernon Lee ancient and modern colours, between purity and Arthur Symons. and admixture, between the spiritual and the material’ (43). Offering a resolution to these Chapter four, by Isabelle Gadoin, turns to the tensions, Ribeyrol and Walter close by colours of Islamic art as seen in Owen Jones’s championing Hunt’s ‘pioneering plea in encyclopaedic illustrated study, The favour of a new type of collaboration Grammar of Ornament (1856). Like between scientists and artists with the aim Evangelista, Gadoin highlights the riches of a of unravelling the “mysteries” of the colours little-studied text when explored in the of the past’, the kind of collaboration that is context of a well-known Victorian employed by the writers of the essay and movement. In this case, she locates Jones’s that lends this edited collection as a whole delicate illustrations as part of the ‘Design great critical intrigue and wide appeal (44). Reform’ that grew in the wake of the recent creation of the South Kensington Museum. In The theme of weaving, central to the many chapter five, Michael Seymour examines Victorian literary and visual representations more broadly the restoration of colour in of the Lady of Shalott, reappears throughout Victorian archaeological publications about the collection. In chapter two, Caroline the discovery of Assyrian art, in counterpart Arscott examines the idea of stripping away to the dominant Neoclassical preference for colour in the context of the bleaching unpainted Graeco-Roman sculpture. In process undertaken by the Victorian textile chapter six, Lene Østermark-Johansen industry. She offers new readings of explores the revival of the fifteenth-century Whistler’s series of white paintings, coloured terracottas of Florentine-sculptor beginning with Symphony in White, No. 1: The Luca della Robbia in Victorian England, White Girl (1862), to describe whiteness not highlighting the shift from religious to as a lack of colour, but as a ‘chromatic secular contexts. Marc Porée navigates the

21 varying uses and meanings of the colour blue (the distinguishing hue of della Robbia’s terracottas) across Romantic and Victorian The Crimean War and Irish Society by poetry in chapter seven. In chapter 8, Muriel Paul Huddie (Liverpool, Liverpool Pécastaing-Boissière turns to the role played University Press, 2015) 224p, £80.00, by colour in the late nineteenth-century hardback ISBN 978-1-78138-254-7 occult revival, focussing on the two prominent theosophists, Annie Besant and Paul Huddie’s work Irish Society and the Charles W. Leadbetter, and their influence on Crimean War leads into a growing awareness the early abstract art of Wassily Kandinsky. both of the remarkable nature of the 1850s, Chapter nine closes the collection with Claire and the intersection of Catholicism and the Masurel-Murray’s account of the colourful diaspora with the politics of the British rites of Catholicism as represented in fin-de Empire at mid-century. It also helps with the siècle literature. growing academic recognition of Irish The diverse essays that comprise Ribeyrol’s identity as existing in a complex manner edited collection cover a vast history and within an imperial, British, and Atlantic, geography, but are brought together through space, such as is delineated, for instance, by a chain of recurring themes that are also Mary C. Kelly’s Shamrock and The Lily, continuously transforming. Motifs Kenneth Wenzer’s Henry George and the reappearing throughout the essays include Transatlantic Irish, or David Brindage’s Irish tapestry, absence, and decoration, as well as Nationalists in America. Finally, it reminds us the significance of the physiology and of the tangled social and personal links psychology of perception. The weaving of between the various denominations loose subjects is reflected in the critical weaving upon the island. employed by the volume as a whole, which brings together narratives of scientific and There are many seams mined here. Counting industrial process (those practiced in the down, Huddie shows in Chapter 6, that the nineteenth century and those used to Crimean War soaked up the produce of the analyse Victorian objects today) with ideas farmers of Ireland in a way that (presumably of aesthetics. The overriding thread of the alongside depopulation) led to a classic war collection is the relationship between colour boom a few years after Ireland’s darkest and language, but also of great interest are hour. This follows from chapter 5, in which the various transformations of colour he places what appears to be the majority properties observed over the long support for the war in the context of a people nineteenth century – namely its materiality who were notable in the armies and violent and temporality – and the uses to which it places of the world, but who had eventually was often put, specifically its ability to make to be legally enjoined to only serve in the things foreign. Adding to the great pleasure British army, and who increasingly declined of reading the essays are the accompanying to do so after the war. In chapter 4, Huddie high-quality colour images. Appealing to demonstrates that almost all Christian literary and art historical scholars alike, The religious communities (apart from the Colours of the Past in Victorian England offers Society of Friends) seized upon the war as a a new way of observing nineteenth-century chance to evangelise and reform a British visual culture by revealing the visual and army previously viewed as a den of iniquity, linguistic chromatic vibrancy of Victorian and to persuade the government to appoint England. chaplains to develop this effort because of Sarah Hook (University of Oxford)

22 the recruitment of Irishmen in the war. In the Bruce Nelson, inter alia, has hinted at in his same chapter (pp. 100ff). He points out that work on Irish Nationalist. One upshot of a lot the sectarian problems before and after the of this is that Huddie does implicitly provide war in Dublin and Belfast were punctuated an answer to why, given the bloody and by the robust and ultimately political pursuit difficult nature of the Crimean war, there of self-interest on the part of serious, players was no 1916 in 1853 or ’54. It is that the during the war. Irish, the newspapers, and the churches were committed to the war, the Irish Huddie’s picture of the activities and Parliamentary representatives were perspectives of Bishop Foran, or Archbishop relatively passive, and the transatlantic Irish Cullen, is reminiscent of nothing so much as were concerned with establishing the Irish the usual activity of the consummate presence in the USA, none of which applied political operator who was often in Ireland to the same extent or at all in the Easter in the 1850s, Archbishop John Hughes of Rising. New York. (Dagger John goes unmentioned in this work, but may be familiar to some Huddie indirectly provides some answers to readers from John Loughery’s excellent new these temptations, in particular the third book of the same name, or Richard Shaw’s one. A convincing argument is that the earlier work.) This is a relevant comparison dispersal or dissipation of the personnel and in that Hughes in New York, and Cullen in energies of the Young Ireland movement to Ireland, both gauged the degree of their the United States and across the Empire after cooperation or support with the protestant 1848 meant that there were few agitators establishment in terms of cooperation that able to take advantage of England’s would not compromise the Church. Where difficulties. Where the rebels had landed, common efforts to raise charitable donations they were not universally lauded, and had did seem to strengthen evangelicals over not accumulated the sort of modest capital Catholics, as in the activities of certain and bourgeois respectability that makes for charitable societies, Huddie shows that really poisonous and effective nationalism. Catholic authorities withdrew support. In New York, the Irish were navigating church, gangs, Democrats, and nativists, and There are three strong temptations to in Australia, the Caribbean, and British North anachronism in reading the book. Firstly, the America, one suspects that surviving agreement in the press about the need to ally geographical reality was more important with the illiberal, or to do illiberal things, in than developing Ireland’s claim to order to uphold the cause of Liberty very nationhood on the part of proto-Fenians much foreshadows propaganda in later wars until the late 1860s. Huddie is relatively (without of course having anything to do silent on the surface about all this, but his with the wars of the twentieth and twenty- work encourages one to connect these first century.) Secondly, the way that Huddie apparently disparate narratives. depicts the contrast between the parochial vitality and support for the war at local level, Not enough work has been done on just how and the relatively reactive, if not indolent, peculiarly organised Irish violence was in behaviour of the Irish Parliamentary the nineteenth century. Contingents of the representatives, makes one wonder about Irish seem to have fought for just about the quality of Irish MPs and their everyone; they fought for Spain; they fought vulnerability to the later Gaelic revival and with gusto for and against Napoleon; they its nationalism. This is of course a point that fought for Britain; they fought for Mexico;

23 they fought for and against the American Richard Garcia, Barroco on the Rock: Union. They fought for the East India George Borrow and Gibraltar Company, they fought in Venezuela, they (Wallingford: Lavengro Press, 2017), fought for the Hapsburgs; they held off the 85pp., £12.50 (paperback) ISBN 978- Piedmontese at Spoleto for the Pope in 1860, 0-9955714-1-9 45 years after an Irishman captured Rome.

They even signed up in numbers for the The Bible in Spain made George Borrow a Indian Wars on the Great Plains after the household name. Published in 1843, it went American Civil War. This continued a through five editions in its first six months tradition evident since at least the early and had sold 20,000 copies by the years’ end. seventeenth century and which must surely The popular draw that this largely forgotten rival that of the German mercenaries, but it travelogue once commanded was rooted in is little remarked upon in Irish, American, or its picaresque style; its strange and wayward global historiography. Ireland seems to have characters; and its rich and picturesque been remarkably good at producing soldiers. descriptions of the Iberian landscape. As the Huddie, in attempting a social history of a subtitle suggests – The Journeys, Adventures, military episode, has however noticed that and Imprisonments of an Englishman in an they did so in diminishing numbers for Attempt to Circulate the Scriptures in the England after the enthusiasms of Crimea, so Peninsula – Borrow’s five-year expedition much so that the British were forced into for the British and Foreign Bible Society was attempting to monopolise their services by more than a little turbulent. Towards the end law in 1870. His work does not explain why of his proselyting mission Borrow travelled the Irish, unlike, say, the Welsh or the to Tangier by way of Gibraltar, and it is his Belgians, could be characterised like this, or account of this rocky fortress that concerns indeed why large numbers of Irish moved us here. between militaries with no apparent qualms, but he does add to an interesting record of Richard Garcia’s Barroco on the Rock: George the ‘fighting Irish’ and the culture from Borrow and Gibraltar will be of little interest which the stereotype sprang. to Borrow scholars: the title is misleading.

Containing four chapters excerpted from The Paul Huddie has written a good, solid, Bible in Spain, this 85 page pamphlet is really interesting book that throws up lots of directed towards those with an interest in questions and which leads to a clearer nineteenth century Gibraltar. Garcia’s understanding of a much bigger picture of introduction, which is largely devoted to the Victorian Irish diaspora, its relationship those aspects of Gibraltan life omitted by to the United Kingdom, and the development Borrow, makes this clear. The main text is of Irish society in the mid-Victorian period. richly supplemented by contemporary This reviewer looks forward to his future illustrations and paintings of Gibraltar and works. the Strait, and even contains a copy of Martin Meenagh Chelsea Independent Borrow’s hotel bill, which in itself is a lovely College addition. It is also thick with footnotes, some of which helpfully contextualise Borrow’s references. Nonetheless, the text fails to successfully place these excerpts or Gibraltar within a Borrovian context.

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The Lavengro Press has done a great deal for work of scholarship. I cannot help feel that in Borrow scholarship in recent years. It has some ways Barroco on the Rock is made valuable resources, like Borrow’s antithetical to the aims of The Lavengro notebooks, readily available, and it has Press, the purpose of which is to promote published a selection of ‘Occasional Papers’ and disseminate the works of a once popular that provide a useful outlet for academic and now sadly obscure author. The Lavengro discussions on Borrow and his work. Press would have done better if it had Richard Garcia’s Barroco on the Rock belongs commissioned a much-needed modern to this latter set of publications: it is scholarly edition of The Bible in Spain, or at ‘Occasional Paper No.11’. But this, too, is least rejected a project that uses Borrow misleading. The primary text is by Borrow, disingenuously. not Garcia: it is therefore puzzling why this Alistair Robinson (UCL) is not acknowledged on the title page, and (moreover) why this pamphlet is included in the academic series. This is not an original

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How did Victorian travellers define and challenge the notion of Empire? How did the multiple forms of Victorian travel literature, such as fiction, travel accounts, newspapers, and poetry, shape perceptions of imperial and national spaces, in the British context and beyond?

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Victorian Brackley was sometimes called Whilst Emily Brontë wrote only one novel, Sleepy Hollow. Compared to many other the mysterious and universally adored places, growth in numbers was modest, but Wuthering Heights, she is widely beneath the surface, there were acknowledged as the best poet of the extraordinary scandals and power Brontë sisters, and indeed as one of the struggles, some of which reached the greatest female poets of all time. national press. Above all, there was a great physical transformation involving the Taking twenty of her most revealing construction of a new Vicarage, Church poems, Nick Holland creates a unifying Schools and Manor House, together with impression of Emily Brontë, showing her the restorations of St Peter’s Church and relationships with her family in a new light, the College Chapel. This book investigates and revealing how this terribly shy young great Brackley characters such as Francis woman could create such wild and Thicknesse and Tommy Judge and the powerful writing, and why she turned her power struggle between Church and back on the outside world for an insular Chapel, Liberal and Tory. Finally it tells the world that existed only in her own mind. story of the arrival of the Great Central Railway and the appearance of new forces in the decade before the First World War. John Clarke, Victorian Brackley (The Written by a leading authority on the History Press, 2018) ISBN: history of the area, this richly illustrated 9780750987585 volume recounts the remarkable transformation of this Northamptonshire

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New work from Livingstone Online http://livingstoneonline.org/

Livingstone Online is a peer-reviewed digital museum and library focused on the history of the British empire. The site uses the written and visual legacies of Victorian traveler David Livingstone (1813-1873) to engage ongoing debates about the creation of the colonial archive.

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documents (like those of Livingstone and https://www.thehistorypress.co.uk/public others) should be read in their global and ation/victorian- non-western local contexts, as the products brackley/9780750987585/ of intercultural encounter, and the site

seeks to recover and explore such additional histories.

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the scenes of the research that has The project also invites critical review of its made the project possible. own constructedness as a digital humanities endeavor by highlighting the Livingstone Online also includes a number complicated paths Livingstone’s words of critical editions focused on specific have taken from nineteenth-century manuscripts or collections of documents. A manuscripts to the twenty-first-century handful of the editions draw on state-of- web. the-art spectral imaging technology, an area where the Livingstone Online team has Together, Livingstone Online's materials been recognized for its disciplinary make it an important resource for scholars leadership. The editions are as follows: working in areas such as Victorian literature, the British empire, African · Livingstone’s Manuscripts in South studies, colonial and postcolonial studies, Africa (1843-1872): A Critical Edition. travel writing, nineteenth-century global First edition, 2018. history, and much more. Scholars and other http://livingstoneonline.org/in-his- interested audiences are warmly invited to own-words/livingstone-s- visit the site. manuscripts-in-south-africa-1843- 1872 Adrian S. Wisnicki (University of Nebraska- Lincoln; [email protected]) and Megan · Livingstone's Final Manuscripts (1865- Ward (Oregon State University; 1873) – Diaries, Journals, Notebooks, [email protected]) lead the and Maps: A Critical Edition. Beta work of Livingstone Online. The site is edition, 2017. hosted by the University of Maryland http://livingstoneonline.org/his-own- Libraries. words/livingstones-final-manuscripts- 1865-1873 Thanks to grants from the National Endowment for the Humanities, · Livingstone’s 1870 Field Diary and Select Livingstone Online has recently completed 1870-1871 Manuscripts: A Multispectral several concurrent phases of long-term Critical Edition. First edition, 2018. development (2013-2018). The site now: http://livingstoneonline.org/spectral- imaging/livingstones-1870-field-diary · publishes an array of critical essays on the colonial archive, the history of · Livingstone’s 1871 Field Diary: A nineteenth-century Africa, British Multispectral Critical Edition. Updated imperial discourse, and Livingstone's version, 2017. manuscripts; http://livingstoneonline.org/spectral- imaging/livingstones-1871-field-diary · offers open access to over 15,000 images of manuscripts and historical · Livingstone’s Letter from Bambarre: A illustrations, 5,000 pages of critically- Multispectral Critical Edition. Updated edited and encoded transcriptions, and version, 2017. 3000 metadata records http://livingstoneonline.org/spectral- (http://livingstoneonline.org/in-his- imaging/livingstones-letter-bambarre own-words/catalogue);

· includes digital humanities process narratives and hundreds of project documents that take users far behind 30

Beyond the Victorian/ Modernist of the "turn of the century break theory" Divide: Remapping the Turn-of-the- with a new set of arguments and Century Break in Literature, Culture contributions. and the Visual Arts. Edited by Anne Besnault-Levita and Anne Florence The essays presented within acknowledge the existence of a break-theory in Gillard Estrada (Routledge, 2018) modernism, but question this theory by re- 236 pages. contextualising it while uncovering long- ISBN: 9781138572041. masked continuities between artists, genres and forms across the divide. The collection offers a new approach to modernism, Edwardianism, and Victorianism; utilizing the cross- fertilisation of interdisciplinary approaches, and by combining contributions that look forward from the Victorians with other contributions that look backward from the modernists. While literary modernism and its vexed relationships with the nineteenth century is a central subject of the book, further analysis includes artistic discourses and theories stemming from history, the visual arts, science, music and design. Each chapter offers a fresh interpretation of individual artists, navigating away from https://www.routledge.com/Beyond-the- characteristic classifications of works, Victorian--Modernist-Divide-Remapping- authors and cultural phenomena. the-Turn-of-the-Century/Estrada- Ultimately, the volume argues that though Besnault-Levita/p/book/9781138572041 periodization and genre categories play

substantial roles in this divide, it is also Beyond the Victorian/ Modernist essential to be critically aware of the way Divide contributes to a new phase in the cultural history has been, and continues to Victorian-modern debate of traditional be, constructed. periodization through the perspective lens of literature and the visual arts. Breaking Table of Contents away from conventionally fixed discourses and dichotomies, this book utilizes an Anne BESNAULT-LEVITA and Anne- interdisciplinary approach to examine the Florence GILLARD-ESTRADA Introduction existence of overlaps and unexplored continuities between the Victorians, the • Part I. Questioning Labels and post-Victorians and the modernists, Periodisation: Towards New Literary including the fields of music, architecture, Genealogies design, science, and social life.

Furthermore, the book remaps the cultural 1. Melba CUDDY-KEANE: Crossing the history of two critical meta-narratives and Victorian / Modernist Divide: From their interdependence – the myth of Multiple Histories to Flexible Futures "high modernism" and the myth of

"Victorianism » – by building on recent 2. Anne BESNAULT-LEVITA: Victorian scholarly work and addressing the question Gothic and Gothic Modernism: Remapping

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Literary History Across the Centuries Measures of the Modern

3. Georges LETISSIER: Between the About the Series "English nuvvle" and the "novel of Aloofness": Charles Dickens’s Proto-(High) Among the Victorians and Modernists Modernism https://www.routledge.com/Among-the- Victorians-and-Modernists/book- 4. Charlotte JONES: Impressions of series/ASHSER4035 Modernity: May Sinclair, Ford Madox Ford and the First World War About the Editors

5. LeeAnne M. RICHARDSON: Currents of Anne Besnault-Levita is Senior Lecturer at Art and Streams of Consciousness: the University of Rouen where she teaches Charting the Edwardian Novel English literature; she is also the Vice- president of the French Virginia Woolf. In 6. Marie LANIEL: "Reading the two things 1997, she defended her Phd Dissertation at the same time": Victorian Modernism on The Short Stories by Katherine Mansfield, in To the Lighthouse Virginia Woolf and Elizabeth Bowen, at the University of Paris III- Sorbonne Nouvelle II- Art History and the Visual Arts across and obtained first class honours. She is the the Victorian / Modernist Divide author of Katherine Mansfield: La voix du Moment (Paris: Messène, 1997), and co- 7. Anne-Florence GILLARD-ESTRADA: The editor of Construire le sujet. Textes réunis et Greek Body and the Formalist Quest across édités par Anne Besnault-Levita, Natalie the Divide: From Aestheticism to Depraz et Rolf Wintermeyer (Limoges: Bloomsbury Painting Lambert Lucas, 2014) and of The Journal of the Short Story in English 64 (Spring 8. Liz RENES: The Velazquez Aesthetic: 2015), Part One: The Modernist Short John Singer Sargent, Impressionism, and Story. She is currently working on a book Victorian Modernism on Virginia Woolf’s conception of literary history. 9. Anna ANTONOWICZ: Pioneers of Modern Design – from the Cole Circle to Anne-Florence Gillard-Estrada is Associate Walter Gropius Professor at the University of Rouen. She defended a PhD on Hellenism and Greece in III- Interdisciplinary approaches Walter Pater’s works at Paris -7-Denis Diderot (received with highest 10. Kathryn HOLLAND: Dorothy Bussy, the honours) and has published articles on Strachey Family, and Sapphic Literature Pater, Wilde and Victorian "classical / Aesthetic" painting. She has co- 11. Catherine LANONE: An Entomology of edited Écrire l’art / Writing Art: Formes et Literature: Male Taxonomies and Female enjeux du discours sur les arts visuels en Antennae from Mrs Gaskell to Virginia Grande-Bretagne et aux Etats-Unis with A.- Woolf P. Bruneau-Rumsey and S. Wells-Lassagne (Paris: Mare et Martin, 2015) 12. Frances DICKEY: Victorian Song Across and "Curiously Testing New Opinions". New the Modernist Divide: From Edmund Gosse Perspectives on Walter Pater, with M. to T.S. Eliot Lambert-Charbonnier and C. Ribeyrol (Routledge, 2017). She is currently writing 13. Laura MARCUS: Rhythm and the a monograph on the figurations of Greece

32 and the body in British paintings of whole: literature by its very nature Antiquity (1860-1900) and their reception commands listening, and listening is a form in art criticism and periodicals. of understanding that has often been overlooked. Hearing Things offers a Angela Leighton, Hearing Things: renewed call for the kind of criticism that, The Work of Sound in Literature avoiding the programmatic or purely ideological, remains alert to the work of (Harvard University Press, 2018), sound in every literary text. 304 pp. £25.95.

ISBN: 9780674983496 For more information please see: http://www.hup.harvard.edu/catalog.php ?isbn=9780674983496

George Borrow in Portugal and North-West Spain, by Ian Robertson (The Lavengro Press, 2018) ISBN 978-0-9955714-3-3

This is a B5 paperback uniform with previous Occasional Papers, with 32 illustrations in colour and black and white, pp. xii + 60, price £10.00 plus postage (£1.50 in the UK), edition limited to 100 copies. Orders received by 31 March 2018 will be eligible for a 10% discount. Subscribers with a current subscription for the calendar year 2018 receive their copy

automatically.

Hearing Things is a meditation on sound’s Orders may be placed through our website work in literature. Drawing on critical at www.lavengropress.co.uk, or direct from works and the commentaries of many poets Dr Ann Ridler at 61, Thame Rd, and novelists who have paid close attention Warborough, Wallingford OX10 7EA, e- to the role of the ear in writing and reading, mail [email protected]. Cheques Angela Leighton offers a reconsideration of should be made payable to The Lavengro literature itself as an exercise in hearing. Press. Please note that credit card

payments can be made through the website An established critic and poet, Leighton without the need for a Paypal account. If explains how we listen to the printed word, you have not yet renewed your while showing how writers use the subscription and would like to, please get in expressivity of sound on the silent page. touch. The subscription for three Although her focus is largely on poets— Occasional Papers in 2018, inclusive of UK Alfred Tennyson, W. B. Yeats, Robert Frost, postage, remains £31.00. Details for Walter de la Mare, Wallace Stevens, overseas customers will be found on our Elizabeth Bishop, Jorie Graham, and Alice website. Oswald—Leighton’s scope includes novels, letters, and philosophical writings as well. Ian Robertson was born in Tokyo in 1928 Her argument is grounded in the specificity and educated at Stowe. He spent several of the text under discussion, but one years working in publishing and with important message emerges from the

33 specialist booksellers. His interest in the Spain in 1837. They were originally written Peninsula had long preceded his decision to for the George Borrow Conferences of 1991 make it his base for two decades while and 1993 respectively and were engaged in compiling four editions each of subsequently issued in the Proceedings of ‘Blue Guides’ to both Spain and Portugal those conferences (Toronto 1992 and among other titles in that series. He edited 1994). They were added to the George the reset reprint of the first (1845) edition Borrow Studies internet site in 2013 of Richard Ford’s Hand-Book for Travellers together with illustrations and, only in Spain, published by the Centaur Press in slightly amended, are here properly three volumes in 1966. This was followed published in book form. by a study of earlier English travellers in Spain, entitled Los Curiosos Impertinentes If you do not wish to continue receiving our (2nd edition 1988), an annotated edition of Newsletters please e-mail Ford’s Gatherings from Spain (2000) and in [email protected] with 2004, with the complicity of Thomas Bean, ‘Unsubscribe’ in the subject line. a biography of Ford (Richard Ford 1796 – 1858: Hispanophile, Connoisseur and Editorial Directors: Ann M. Ridler, Clive Critic). Wilkins-Jones. 17 March 2018

Ian Robertson instigated the reprint of Christopher Anderson, London Enrique de Mesa’s Spanish translation of Vagabond: The Life of Henry Mayhew Ford’s Gatherings (Turner, Madrid 1974) (self-published, 2018). Available on and the first translation, by Jesús Pardo, of Kindle or Paperback. ISBN: 978-1527220300 the complete Hand-Book into Spanish, to which he contributed an Introduction in 2008. He also contributed extensively to the catalogues of exhibitions devoted to Ford in Seville (2007), and in Madrid (2014). He has written Introductions to reprints of Joseph Baretti’s Journey from London to Genoa (through Portugal and Spain), Gleig’s The Subaltern; The Private Journals of Judge-Advocate Larpent; and to the first Spanish edition of The Recollections of Rifleman Harris. He is the author of Wellington Invades France: the Final Phase of the Peninsular War, and A Commanding Presence: Wellington in the Peninsula: Logistic ˖ Strategy ˖ Survival, and also An Atlas of the Peninsular War (Yale, 2010).

Inevitably, George Borrow’s peregrinations in the Peninsula became an inextricable if comparatively minor part of his general interest in the Cosas de España. Prompted and amended by Peter Missler, this was to London Vagabond tells the story of Henry result in two substantial studies, on Borrow Mayhew, the author of ‘London Labour in Portugal and on Borrow’s expedition and the London Poor’, which gave life and through the north-western provinces of substance to the voices of the poor, the

34 outcast and the labouring Londoners of bedsit to another, plotting new schemes, the 19th century. new books, until the last.

Born into a wealthy family, Mayhew’s When Mayhew died in 1887 one public school years were cut short and he newspaper noted that, ‘The chief was shipped off to Calcutta as a impression created in the public mind by midshipman. Taken on at his father’s law the announcement of the death of Henry firm upon his return, he soon left when he Mayhew, was one of surprise that he accidentally got his father arrested. He should still be alive’. Yet, nearly forty years became a journalist and dramatist in earlier, his ‘London Labour’ had gripped 1830s London, neither considered the country. It only began to resurface respectable occupations, and he crowned after the second world war, when the the decade by founding Punch. It became London Mayhew had loved lay in ruins. By the most successful magazine of the the late 1960s, a full version of London century and should have set him up for Labour was available once more, riding the life. Instead, his path led to bankruptcy wave of a Victoriana revival. By the 1970s and prison. He spent years in exile, in academics fought over his legacy; for the Guernsey and in Germany. In between he left Mayhew was a proto-Marxist; for the became famous for his revelations about right he was a debunker of progressive the poor and brought out ‘London Labour myths about the poor, and a dilettante; for and the London Poor’ in 1851. He was a others his London Labour was simply a respected children’s author, a popular wonder. ‘It is a book’, wrote W. H. Auden, comic novelist, a criminologist who gave ‘in which one can browse for a lifetime evidence to Parliamentary Select without exhausting its treasures.’ From the committees and a war correspondent. He 1980s it was a fixture on courses on wrote for the stage, tried to enter politics literature, history, criminology, culture as, the darling of both radicals and studies and more, with Mayhew feted in conservatives for attacking the liberal schools as a philanthropist. London mantra of Free Trade. He was known as a Labour continues to inspire writers and philosopher, and as a scientist, who filmmakers who seek to understand and revered his friend Michael Faraday, and show the reality of Victorian poverty. The sought to bring electric lighting to London historian E. P. Thompson observed ‘he was decades before it arrived. Mental illness the subject of no biography and there is haunted him, his periodic peaks switching something like a conspiracy of silence to deep troughs. He mixed with Dickens, about him in some of the reminiscences Thackeray and stood at the centre of the and biographies of his contemporaries [...] burgeoning literary world, met with Mayhew remains a puzzling character, and government ministers to advocate social some final clue seems to be missing.’ reforms, and mingled with costers, Although Terry Pratchett dedicated his dockers and the underworld too, keeping last novel, Dodger, to Mayhew, the an open house for thieves and paroled character of the real Henry Mayhew has prisoners. His closeness to some of them remained obscure, until now. backfired in blackmail and death threats. His wife, who dealt with the bailiffs for him The author read History at Gonville & Caius, and secretly co-wrote much of his work, Cambridge. He is a freelance London left him when their children had grown up historian, and edited 'Of Street Piemen' on and insisted on being buried under her Mayhew for the Penguin Little Black maiden name. Forgotten, he spent his last Classics series. decades moving from one Bloomsbury

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book will appeal to anyone interested in Catherine Layton, The Life and Times of Victorian and journalism history, and Mary, Dowager Duchess of Sutherland: gender and celebrity studies. Power Play (Cambridge Scholars, 2018). ISBN: 978-1-5275-0550-6

This definitive biography depicts one Victorian woman’s struggle to stay afloat in a rising tide of prurient scandalmongering and snobbery. Could it be that this woman’s character and circumstances informed Oscar Wilde’s social comedies? She was the daughter of a leading Conservative Oxford don, vilified as an arrogant fortune-hunter. Her liaison dangereuse with a Duke resulted in ostracism by Queen Victoria’s cronies, as well as protracted, widely publicised legal disputes with his family. One battle put her in Holloway Gaol for six weeks. Her supporters, over time, included Disraeli, the Khedival family of Egypt, the de Lesseps, and Sir Albert Kaye Rollit (a promoter of women’s suffrage, later her third husband). Her life and that of her family drew in British and European colonialism, and even Reilly, the “Ace of Spies”.

Various previously untapped letters, diaries and journals allow the reader to navigate through the sensationalist fog of the primarily Liberal press of her time. The

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Calls for Submissions (Print)

Publicity Editor for Victorian Co-editors: Dana Crăciun, Todor Network Hristov, Ben Carver

Victorian Network (victoriannetwork.org) Aims & Synopsis: is an MLA-indexed online journal dedicated This edited collection of essays will to publishing and promoting the best work contribute to the study of conspiracy in Victorian Studies by postgraduate culture by analysing the literary categories students and early career academics. that have shaped the articulation, Funded by the Arts and Humanities reception, and transformations of Research Council, the journal is guest- conspiracy theories. In his seminal essay edited by established scholars in the field for conspiracy studies, Richard Hofstadter and peer-reviewed by doctoral students writes that the conspiracy theorist and early career researchers. Themed “constantly lives at a turning point,” an issues are published annually. aesthetic formulation of history that relies on something like the denouement of a We at Victorian Network would like to literary work, or an individual life. announce that we are recruiting for a Conspiracy theories are narratives, and publicity editor to join our editorial board. their narrative form provides the affective structure within which their “readers” Duties include: situate themselves, attaching feelings of dread, excitement, cynicism, or even joyful • drafting and circulating the CFPs optimism to interpretations of world or • tending to VN’s social media local history. To borrow Hayden V. White’s presence term, the “emplotment” of conspiracy • overseeing VN correspondence theories involves the coordination of • publicising VN at relevant history with literary form, and this concept conferences can assist an analysis of the structure and • participating in all editorial organization of conspiracy culture. By discussions examining plots as plots, with narrative, rhetorical, and symbolic characteristics, We invite applications by email in the form this volume will be the first systematic of a CV and a short motivational statement. study of how literary form has shaped Applicants should be doctoral students or conspiracy culture in American and early career researchers and get in touch European history. with us by 9 April 2018. Call for Contributions: Please submit applications, or address We welcome chapter proposals that further questions, to examine the power (and limitations) of a [email protected]. literary analysis of the conspiracy theories’ and cultures’ explanations of the world. Call for Contributions: Plots: Literary These could be from researchers working in a range of disciplines (not limited to Form and Conspiracy Culture history, literary studies, economics, (for Routledge series “Conspiracy philosophy). Questions that chapters might Theories”) address include:

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world as a literary text, for example • What are the modes of emplotment allegorically or deconstructively? characteristic of conspiracy narratives? • What modes of conspiratorial • Are the plots of conspiracy theories emplotment can be compared with associated with identifiable patterns of literary realism? In other words, what argumentation or ideological attitudes techniques make their readers feel the when analyzed as narratives? Hayden narrative real even though they realize White believed satiric emplotment to that its argument is unverifiable? be associated with liberalism, and • What developments in print culture organicist arguments with informed the forms and distribution of conservatism; do conspiracy theories conspiracy culture? How were existing reveal similar correspondences? anxieties (e.g. of crime or invasion) • Do historical examples of conspiracy narrated in various historical new narratives’ passage between fiction and media? world description (for instance the • What (recurrent) tropes of conspiracy plagiarism of European literature by culture articulate the nostalgia for a the author of The Protocols of the Elders grand narrative? of Zion, but also more recent instances such as the reception of Houellebecq's Please send chapter abstracts of Submission) show the transposition, or approximately 350 words to alteration, of rhetorical modes and [email protected] for consideration semiotic articulations? by 15 May 2018. Any enquiries should also • Do contemporary or historical be directed to this address. conspiracy cultures involve reading the

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Calls for Papers (Conferences)

Teaching the Victorians: The Nineteenth • How academic teachers (particularly those Century in Higher Education Today doing so part-time) use other career experience Gladstone's Library to bear on their teaching of the Victorians 3-5 July 2018 • Sharing good practice in the teaching of Victorian studies Teaching and the Victorians is a collaborative • Student responses to the Victorians, and the conference between Gladstone’s Library and the ways these may be changing University of Liverpool. Its aim is to consider contemporary pedagogy in Victorian studies in the The core of Teaching the Victorians will be current HE context – above all, we want to foster discussion and debate - so individual papers should wide-ranging and intellectually honest thinking aim to be the starting point for these kinds of about what teaching Victorian studies means today. discussions, and be only 10-15 minutes in duration. How do we best teach the Victorians? Does the Proposals for panels/papers (300 words max), discourse of ‘relevance’ help or hinder us? How is should be sent/copied to what we are teaching under the banner of Victorian both [email protected] and studies changing, and what are the implications of [email protected]. Closing date for these changes? How far do institutional contexts and submissions is 30th May 2018. ideologies affect our teaching of the nineteenth century? Are there clashes between the ‘values’ of Death and Celebrity the contemporary HE sector and Victorian values? Wednesday 6th June 2018, University of What are the professional and personal ‘brands’ of Portsmouth Victorian studies today, and do they matter? Keynote Speakers: We’d welcome panels/papers on any of (but not Dr Ruth Penfold-Mounce, University of York exclusively) the following: Dr Samantha Matthews, University of Bristol • Pedagogical writing in the Victorian period • The politics of professional academic identity in ‘Fame is no plant that grows on mortal soil’ (John Victorian studies Milton) • The role of social media in nineteenth-century pedagogy ‘Fame is a food that dead men eat’ (Henry Austin • The relationship between HE teaching and Dobson) institutional structures/brands • The Victorians as part of the contemporary HE This one-day symposium seeks to interrogate the syllabus role of death in the construction, negotiation and • The relationship between teaching and research perpetuation of celebrity identity. For the ancients, in relation to the Victorians true fame was necessarily posthumous, but in • Methodologies, in light of recent debates about modernity, too, there remains an enduring historicism and theory in the field fascination with what Andrew Bennett terms ‘the • Marketization and the Victorians immortality effect’. Following the death of a • The boundaries of Victorian studies celebrity, a variety of agents – friends, family, fans, • The role of cultural institutions in teaching the professional associates, arts and heritage bodies – Victorians may interact to frame his/her legacy for posterity; moreover, celebrities themselves may take an active role in choreographing their cultural afterlives while 41 still alive. Yet, while cementing, augmenting or conference that focuses on the lives, work, and rehabilitating the celebrity’s public profile, death contributions of the Martineau family, including its can also prompt a reputational re-evaluation, with two most famous and influential members, Harriet scandalous or unsavoury posthumous revelations Martineau (1802-1876) and James Martineau resulting in the desecration, rather than the (1805-1900). enhancement, of celebrity identity. Started by Norwich Unitarians in 1994, the This symposium asks how death changes our Martineau Society encourages scholarship on the relationship to famous figures: how are dead Martineau family and their nineteenth-century celebrities memorialised or forgotten, appropriated context as well as their continuing influence. or overlooked in the interests of specific Topics may include, but are not limited to, the historical/cultural values? What kinds of media following: apparatus are involved in the curation, maintenance and reassessment of posthumous fame? What · Theology and Religion impact does the celebrity’s death have on the · Literature (all genres, including Children’s material objects, spaces and places with which s/he Literature and Travel Writing) is associated? · Language and Linguistics · Cultural Studies Possible topics may include, but are not limited to: · Art and Philosophy • death-bed scenes and last words · Gender Studies • funerals, memorials and obituaries • tragic or premature deaths • contested/shifting legacies • hagiography • sites of pilgrimage, celebrity relics and possessions • celebrity suicides/scandalous deaths • celebrity self-fashioning of posthumous identity • the role of the media (print and digital), fan networks, heritage industries and other agents in mourning/remembering dead celebrities

The organisers welcome proposals for 20 minute papers, or panels, which consider ‘celebrity’ in its many forms, and from a variety of historical and disciplinary perspectives.

Please send 200-word abstracts, with a 50-word biography to [email protected] by 30th April.

Martineau Society Conference 2018

London, England 24-27 July 2018 Deadline 9 June 2018

The Martineau Society will be hosting its annual conference in London, England. The Martineau Society conference is an interdisciplinary 42

Visual Theology: Transformative Looking positions has long impoverished and polarised the Between the Visual Arts and Christian academic analysis of the arts. This conference Doctrine (1850-now) particularly encourages dialogue between such The Palace, Chichester positions, advocating for mutually informative 19-20 October 2018 concepts of transformative looking as shaped by the variety of modern human uses to which images are

put. ‘Prayer is the study of Art’: Malcolm Eaves, William

Blake (2003) Trajectories of theological engagement across this This conference aims to create the space for rich hermeneutical field might include, but are not theologically engaged conversations between limited to: religion and the arts, focussing on visual media • Seeing Religious Traditions; defining a God- produced or received in the modern period (1850 relation in and via the modern material onwards). It encourages the critical explorations of habitus; locating the contemplative Christian theology in images where such inheritance of images and the visual energy explorations account for the dynamic and reflexive of theology as prayer; learning to receive contexts of ‘post-secular’ interpretation. Approaches such traditionally-invested visual theologies are sought that analyse specific pictorial in the twenty-first century. representations or image practices as they relate to • Typological Theologies; trans-historical specific modes of theological engagement, in which explorations of biblical symbols and the the operation of looking receives new descriptions iconographic, for example, Pre- of a viewer’s ‘covenant’ with images (David Morgan). Raphaelitism’s engagement with religion Such covenants situate the otherwise abstract and medieval (Christian) art; teleological spiritualising of image interpretation within impetus in images’ employment of identifiably concrete contexts, as embodied by the theological visual codes, sincere or artist-viewer relation and the image’s materiality in otherwise. sites of production, reception, and circulation. Theology in and through these sites is taken to be • Belief and Unbelief: making and remaking discursive rather than determinative. We ask how faith; facing theological fluctuations since the visual arts become meaningful and the nineteenth century; contexts of transformative when theology is considered as secularisation (including theory) which dialogical event in real time and image as sensory misrepresent ‘faithless’ image practices. encounter. We welcome the responses of clergy and • Psychologies of Visual Faith: Jamesian ways artists as well as researchers. of looking; psychoanalytic approaches to the reception of biblical iconography; desire and In the twenty-first century, the interpretation of persuasion in visual representations of the religion in the arts is challenging the bounds and divine including the normative shaping of competencies of disciplines such as art history and community interpretations. visual culture. Pressing against its thematic • Liminal Boundaries: the visual as it relates to reduction or historical confinement, the language of the literary representation, or musical Christian theology in particular is increasingly evocation, of theology throughout the described through studies in biblical reception or modern period; synaesthesia in theological material religion as conversational, reflexive, and interpretation of the visual arts; identifying transformative. Across Christendom and its global word/image anxieties of biblical reception. breadth of ecclesiastical communities, this is nothing • Visual Inheritance; impact of digital and new, yet the divide between confessional and critical print reproductions of older works of art on

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theological discourse, whether inscribed much is evident globally, where corruption through art historical study, devotional constitutes one of the most pressing problems facing church publishing, or open-source online emerging democratic states; but it is also evident in cataloguing. established, Western-style democracies, which • Artistic Practice: primary source case- remain gripped by recurrent scandals regarding the studies of those who exhibit or court modern abuse of public office and widespread concerns or postmodern forms of conversational about the decay of public life. Scholarship on theological engagement; those characterised corruption has flourished; and although much of this by, for example, indeterminacy, indifference, has focused on the present, historians have begun to spectacularisation, or profanity. grapple afresh with its multiple manifestations and • Institutional Theologies; exploring meanings in the past, reaching back to the early frameworks of institutional platforms such modern period and beyond. as church commissioning, university research departments, or public art This conference seeks to revisit the wide-ranging galleries; how such frameworks limit or struggles against corruption in Britain during the define theological engagement. period c. 1780 to 1940, ranging from the conduct of ministerial office and central administration to Proposals are welcome from postgraduate, early- parliamentary, electoral and local government career and established researchers working in all reform. The period is still considered crucial in relevant disciplines. Clergy and artists are also terms of the demise of forms of corruption inherited particularly encouraged to submit proposals from previous centuries—“Old Corruption”—and relating their ‘practitioner’ experience to one or more broadly Britain still holds a pre-eminent place more of the ideas suggested in the Call for Papers. In among those nations that first embraced modern this case, alternative methods of presenting the values of public service and accountability. Yet, practitioner aspect, such as leading a short service, beyond the struggles to enact particular reforms and or displaying art work at the Palace, will be their peculiarly British realization, it is also clear considered. that the very meaning of “corruption” was transformed in the process, as new problems, Proposals of no more than 300 words, together with anxieties and scandals arose regarding the a short biography (up to 100 words), should be sent boundaries between the public and private interests to [email protected] no later than of ministers, officials, councillors and MPs—and all June 15th 2018. Papers will be selected on the basis in the context of an emerging market-driven, “mass of 20 minute presentations, or with an agreed society” that was at once more bureaucratic, alternative. democratic and industrialized. Arguably, the problem of corruption was less conquered than From “Old Corruption” to the New refashioned and revitalised, opening up a culture of Corruption? Public Life and Public Service public vigilance, suspicion and even cynicism that in Britain, c. 1780–1940 still prevails today. In sum, the aim of the conference is to: 24-25 January 2019 • encourage a more integrated approach to the Oxford Brookes University study and conceptualisation of political and administrative corruption during the period Keynote speakers: Professor Graham Brooks when Britain became a mass democracy (University of West London); Professor Angus Hawkins (University of Oxford); Dr Kathryn Rix (History of Parliament)

Context and aims: The problem of “corruption” has proved decidedly more tenacious than post-war theorists of modernization had once predicted. This 44

• open up new historical perspectives through The deadline for the submission of abstracts is 29 which we might better grasp the present June 2018. Alternatively, if you are interested in attending as a delegate please email to reserve a place. Conference fee: £95 (registration will open in September 2018) Conference organisation enquiries: [email protected] Organisers: Dr Ian Cawood (Newman University, Birmingham) and Dr Tom Crook (Oxford Brookes University)

Format and themes: This will be a two-day conference: 24-25 January, 2019, held at Oxford Brookes University and is supported by Newman University, Birmingham, and the History and Policy Unit, King’s College, London. Papers (of 20 mins in length) might include discussion of—but are not limited to—the following subjects: 1. Conceptualising and historicising “corruption” over the long-term 2. Britain and the British Empire in comparative perspective: cultures of corruption and trajectories of reform 3. Conceptions of public service and corruption: office as private property and office as public trust 4. Patronage, privilege and salaried service in Whitehall and Westminster: from the Northcote- Trevelyan Report (1854) to the payment of MPs (1911) 5. Public and private interests: ministerial and official corruption and scandal 6. The business of politics: party financing, party managers and the practice of mass elections 7. Class and corruption: aristocracy, plutocracy and democracy 8. Corrupt practices and the reform of local government: “Civic Gospels” and “Tammany Halls” 9. The role of the national and provincial press in exposing corruption 10. Representing and imagining corruption: images, narratives, conspiracies

Contacts: Expressions of interest to: [email protected] and [email protected] These should include: • a brief ‘bio’ (detailing institution, publications, research interests, etc.) • a proposal/abstract (of roughly 300 words) 45

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