romantic

Winged Sphinxes: Margaret Fuller’s Poetry and Poetics

10. Annual Conference of the Gesellschaft für Fantastikforschung: Das Romantisch-Fantastische – The Romantic Fantastic 

September 18th–23rd, 2019 at the Free University of Berlin, Cinepoetics - Center for Advanced Film Studies and Department of Film Studies 

In honour of the bicentenary of Peterloo, the John Thelwall Society is sponsoring a panel exploring connections between the radicals of the 1790s and later generations of and movements for reform. This includes events and figures surrounding Peterloo, Chartism and early twentieth-century suffrage movements; but we also encourage participants to explore connections between Romantic-era radicals and activists today, especially in light of the “generational change” that is a growing feature of political discourse at the current moment. Topics might include, but are not limited to

The 2019 Pennsylvania College English Association's Annual Conference

Bloomsburg University

Bloomsburg, Pennsylvania

Thursday, May 23-Friday, May 24, 2019

SUBMISSIONS DUE: JANUARY 31, 2019

The Pennsylvania College English Association invites proposals for its 2019 annual conference on the theme of canonical literature, creative writing, and pedagogy.

​“Great books help you understand, and they help you feel understood.”

–John Green

Conference Call for Papers

Organized by Kyoko Takanashi (Indiana University, South Bend) and Annika Mann (Arizona State University)           

Lewis University, Romeoville, Illinois, July 30 - August 2, 2019

With a focus at once sharp and wide, Gothic Terror, Gothic Horror will stimulate an eclectic and inclusive conversation about the essence of the Gothic.

We invite the submission of abstracts that explore the conference theme. We welcome proposed panels of three related papers. Since this IGA conference is the first to be held in the United States, we encourage proposals that consider the theme in relation to the American Gothic.

This panel seeks proposals on theater and performance of the long eighteenth-century, especially those that address the theme of perspective. Essays might consider the way that perspective functioned thematically in plays and other public performances, such as opera, dance, and music, and the ways that perspective (e.g., perspective scenery) affected the material conditions of performance. What perspectives did eighteenth-century audiences have on theater and performance? How did these perspectives in the public discourse shape the drama and performances of the period, and how was eighteenth-century society shaped by these cultural institutions?

Ongoing public debate over politically charged public monuments reminds us how much is at stake in the shaping of cultural memory, whether through durable physical structures, portable or reproducible aesthetic works, or discursive representations. How were monumentality and the preservation of the past conceived in the nineteenth century? How might we reconceive our own ways of remembering the nineteenth century? We invite proposals for papers and panels that explore monuments in the broadest sense of the word—those from as well as those about the nineteenth century. We also welcome papers that consider the concepts of monumentality and/or memory as they pertain to humanistic disciplines and engage with nineteenth-century studies.

Beginning with the pamphlet wars during the Restoration and ending with authors serving as critics to one anothers’ writings in the Romantic period, the eighteenth century was rife was debates about how to define and identify good literature. Authors such as John Dryden, Alexander Pope, Thomas Gray, William Wordsworth, and many others served as adjudicators of good literature by chastising others’ work in their prefaces, poetry, pamphlets, and mock epics. Theater history and book history however, tells us that some of the works of these dunces were widely popular and important in their own right—regardless of how derided they were by their peers.

Over the last decade, there has been an eruption of scholarly interest in the practices, methodologies, and techne of reading. Best and Marcus’s surface reading—which has influenced a broad sweep of New Formalist criticism—emerged alongside distant reading, one of the major interpretive paradigms of the digital humanities. The development of these twenty-first-century movements has been matched by renewed interest in twentieth-century formalisms, including the history of the New Criticism and the proto-neuroscientific approaches to reading taken by critics such as I.A. Richards.

A Feast of Blood: the Vampire in the Nineteenth Century

We invite essay proposals on the vampire figure in the long nineteenth century.  Our edited collection will look at the vampire figure’s rise in popularity throughout the period and across a range of literary texts. 

Call for Papers

Southwest Popular / American Culture Association (SWPACA)

Literature (General)

40th Annual Conference, February 20-23, 2019

Hyatt Regency Hotel & Conference Center

Albuquerque, New Mexico

http://www.southwestpca.org

Proposal submission deadline: November 15, 2018

Transcendentalism:  Men and Women Conversing

In a collaborative call from the Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller and Louisa May Alcott Societies, we invite proposals for papers to be presented at the next Thoreau Gathering in Concord, MA (July 11-14, 2019) on dialogues between men and women of  the Transcendentalist movement.   When Emerson looked back at Transcendentalism, in “Historic Notes of Life and Letters in New England,” he recalled men and women who read adventurously, became friends, formed a club for conversation, and launched  a magazine.  They were talkers as well as solitaries.  Across the apparent divide of gender, what did they have to talk about?

This panel seeks proposals on theater and performance of the long eighteenth-century, especially those that address the theme of perspective. Essays might consider the way that perspective functioned thematically in plays and other public performances, such as opera, dance, and music, and the ways that perspective (e.g., perspective scenery) affected the material conditions of performance. What perspectives did eighteenth-century audiences have on theater and performance? How did these perspectives in the public discourse shape the drama and performances of the period, and how was eighteenth-century society shaped by these cultural institutions? Submit abstracts of 250-500 words to Ashley Bender at abender@twu.edu.