Tuesday, 7 February 2012

Calls for papers: a weekly roundup


Race, Nation and Empire on the Victorian Popular Stage, July 2012

This conference, to be held in Birmingham, will be the third in a series of three organised as part of the AHRC-funded project on the 'Cultural History of English Pantomime, 1837-1902'. The organisers seek  papers broadly exploring theatrical representations of the landscapes, religions and peoples Britons encountered as part of their imperial project, as well as those which engage the two-way traffic of imperialism: that is, how Britons and their colonial project were represented in overseas sites, both by Britons abroad and those people and landscapes who became the subject of the colonial gaze. More information on the conference and on the Victorian Pantomine project can be found here.

The deadline for proposals for 20 minute papers, up to but not exceeding 300 words, should be sent to Peter Yeandle (p.yeandle@lancaster.ac.uk) by no later than 23 March 2012.

CFP: Robert Browning’s legacy(ies) and transition(s), 6-7 December 2012

Proposals for papers are invited for an international conference to be held at Lyon 2 University (France) on 6 and 7 December 2012, as part of the bicentennial of the birth of Robert Browning.

Too often relegated to the Victorian shelves of neglected literature, too often identified exclusively as the inventor of the dramatic monologue — also known as the Victorian monologue —, too often considered to be a difficult, if not obscure, poet, the victim of the readers of his century, who discovered him late, Robert Browning was blamed by the Victorians precisely for what the Modernists treasured in his poetry. By turns Romantic, post-Romantic, Victorian, and post-Victorian, Robert Browning’s works spanned almost the entire Victorian era, looking backwards to rediscover the Romantic period, and forward to herald the arrival of the Modern period, through innumerable complex poems, which he himself questioned and reworked. The main question about such a legacy is the reason why his contemporaries rejected it whereas the poets and readers to come would be proud of it. What are the traces he left in Victorian poetry that would survive their author unexpectedly and in spite of him? How and why is it possible to say that Browning’s poetry is one of legacy(ies) and transition(s)?

Proposals (300 words max.) for 30-minute papers in English or French should be sent by April 30th 2012 at the latest, accompanied by a short cv, to the following e-mail address: Jean-Charles.Perquin@univ-lyon2.fr.

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