In 1886, Maxwell Gray (pseudonym for Mary Gleed Tuttiett) published The Silence of Dean Maitland. The plot of the scandalous novel concerns a young British clergyman, Cyril Maitland, who, after killing the father of a village woman he has seduced, allows a friend, Henry Everard, to be implicated in the crime. Following a trial, Henry is transported to Australia, where he serves out a twenty year prison sentence, while Cyril ascends the church hierarchy. The Silence of Dean Maitland was a bestseller. It was subsequently adapted for the stage and the screen: the play was a hit; the silent film of 1914 enjoyed considerable success in the U.K. and Australia; and the film of 1934 was something of a blockbuster.
Essays are sought for a proposed collection exploring the links between Victorian political sartorial style and metaphors and analogies of clothing in political thought of the period.
Call for submissions
Lucas Malet, Dissident Pilgrim: Critical Essays
Popular novelist, female aesthete, Victorian radical and proto-Modernist, Lucas Malet was a literary tour de force in her own day, yet her work has been largely neglected by contemporary readers and critics. A daughter of Charles Kingsley, Malet was part of a creative dynasty from which she drew inspiration but against which she rebelled both in her personal life and her published work. Scholarship by Talia Schaffer and Catherine Delyfer has reopened critical enquiry into the work of this fascinating author, and we are seeking contributions in order to expand this emerging field of study.
The second half of the nineteenth century was marked by the emergence of the global women’s movement. Feminist writer Sarah Grand (1854-1943) is considered to be the first to have coined the term “New Woman” in 1894 in England. New Woman writers (in Victorian literature the New Woman novel forms a separate genre) participated in the feminist debate. Feminism altered the course of literature by challenging those literary conventions that governed the portrayal of women and women's experience at the fin de siècle. Feminist texts explicitly advocated social change and discussed new women’s roles in society.
This landmark Companion aims to define the academic field of literature and art history. It is the first volume of its kind to comprehensively survey, question, and attempt to organize, interdisciplinary research across these richly inter-related arts. The book is aimed at literature and art history students, as well as at academics and practitioners, who are interested in mapping out intersections between literature, the visual arts, and their respective academic disciplines. The editor is seeking twenty to thirty newly commissioned chapters on any literary or art historical era.
Ireland was, as Robert Young writes, England’s first and always exceptional colony. But it was far from the only one. Its unique colonial status has yielded productive scholarship addressing its anomalous integration into the colonial world. While this scholarship has resulted in some excellent work on Ireland / India relations and an influential volume on the ‘green and black Atlantic’ that performed a valuable intervention in addressing the African dimensions of the Irish world, both Irish and African literary scholarship have largely neglected affiliations between these literary worlds. The organisers of this panel invite papers that will consider literary and cultural intersections between Ireland and select African nations.
Centre for Nineteenth-Century Studies One-Day Conference
21 January 2017
Durham University, UK
CFP Deadline: 1 September 2016
Conference website: https://www.dur.ac.uk/cncs/conferences/musicbritainww1/
‘Disruption or Continuity? Elgar’s Cello Concerto and the Modern Romantic Ideal’
Charles Edward McGuire (Oberlin College)
Call for Papers
Roundtable Discussion on Pedagogies Across Disciplines (addressing 19th century works)
Nineteenth Century Studies Association Meeting, “Memory and Commemoration”
February 2-4, 2017 in Charleston, SC
This session seeks proposals which intend to explore Victorian translations of medieval texts as the transmission of cultural capital and as acts of transformation. More specifically, papers might address some of the following questions: how did Victorians adapt medieval texts to their own ideologies? How were medieval texts adapted into original compositions? How did Victorians approach translation and what does that reveal? How did Victorians think of faithfulness to the text? To the audience? What role did non-British scholars play in translating medieval texts into English (for example, Guðbrandur Vigfússon’s role in George Webbe Dasent’s translations, or Eiríkur Magnússon’s in William Morris’s output and thinking)?
APOCALYPTIC SOUND AND VISION: INTERSECTIONS OF LITERATURE AND MUSIC. SAMLA 88 Panel. MUSIC & FICTION