<\/em><\/h4>\n\n\n\nAnthony Mandal (Cardiff University)<\/em><\/p>\n\n\n\n1pm \u2013 Parallel Panels A<\/strong><\/h4>\n\n\n\nA1: Making and Unmaking the Romantic-Period Literary House Museum in the Contexts of Colonialism<\/strong><\/p>\n\n\n\nRoundtable chaired by Simon Bainbridge (Lancaster University), with participants from the \u2018Addressing the Histories and Legacies of Colonialism in Literary House Museums: Dove Cottage and Beyond\u2019 project.<\/p>\n\n\n\n
\n- Jeff Cowton (Wordsworth Grasmere)<\/li>\n\n\n\n
- Joanna Brown (Royal Holloway)<\/li>\n\n\n\n
- Lizzie Dunford (Jane Austen\u2019s House Museum)<\/li>\n\n\n\n
- Patricia Matthew (Montclair State University)<\/li>\n<\/ul>\n\n\n\n
A2: Ecological Spheres<\/strong><\/strong><\/p>\n\n\n\nChair: Christopher Catanese (University of North Carolina)<\/em><\/p>\n\n\n\n\n- Francesca Gardner (University of Cambridge), The Late Eighteenth-Century Singing Contest and the Locus Amoenus<\/em><\/li>\n\n\n\n
- Rajarshi Banerjee (University of Western Ontario), Cultivating Earth: Geological Debates, Unmade Worlds, and the Shelleys<\/li>\n\n\n\n
- Dana Moss (University of Michigan), \u2018Such profusion of poetry\u2019: Erasmus Darwin’s Accretive Environments<\/li>\n<\/ul>\n\n\n\n
A3: Identities, Accord, and Conflict<\/strong><\/p>\n\n\n\nChair: Francesca Saggini (Universit\u00e0 degli Studi della Tuscia)<\/em><\/p>\n\n\n\n\n- In\u00eas Rosa (University of Lisbon), Collaborative Disagreements: De Quincey and Wordsworth<\/li>\n\n\n\n
- Natasha Duquette (Our Lady Seat of Wisdom College), Phillis Wheatley’s Remaking of Dante<\/li>\n\n\n\n
- Xinyuan Qiu (Binghampton University), Making a Fashionable Body: Fancy Heads and the \u2018Cult of Breasts\u2019<\/li>\n\n\n\n
- Jack Rooney (The Ohio State University), Snowe Beneath Snowe: Romantic Unmaking in Charlotte Bront\u00eb\u2019s Villette<\/em><\/li>\n<\/ul>\n\n\n\n
A4: Shelleyan Worlds and Works<\/strong><\/p>\n\n\n\nChair: Amanda Blake Davis (University of Derby)<\/em><\/p>\n\n\n\n\n- Pauline Hortolland (Universit\u00e9 Paris Cit\u00e9), \u2018Woven tracery\u2019: Shelley\u2019s Botanical Tropes and the Living Medium of Poetry<\/li>\n\n\n\n
- Alexander Lynch (University of Cambridge), Shelley\u2019s Frankenstein<\/em> and Rousseau\u2019s \u2018Workshop of Filthy Creation\u2019<\/li>\n\n\n\n
- Ileana Gonzalez-Zavala (University of Western Ontario), Repetition and Posthumous Re-making in Shelley\u2019s Alastor<\/em> and Mary Shelley\u2019s Mathilda<\/em><\/li>\n<\/ul>\n\n\n\n
2:30pm \u2013 Break<\/strong><\/h4>\n\n\n\n3pm \u2013 Stephen Copley Memorial Lecture<\/strong><\/h4>\n\n\n\nEugenia Zuroski (McMaster University) – Impertinent<\/em> Romanticisms<\/em><\/strong><\/p>\n\n\n\nChair: Andrew McInnes (Edge Hill University)<\/em><\/p>\n\n\n\n\u2018The daffodils can go fuck themselves.\u2019 So opens Jennifer Chang\u2019s 2012 poem \u2018Dorothy Wordsworth\u2019. I have taught this poem alongside writings by Dorothy Wordsworth, William Wordsworth, Tommy Pico, E. Pauline Johnson, and Taylor Swift in my undergraduate course \u2018Making and Unmaking Literary Traditions\u2019. In this talk, I distil some of my insights from ongoing discussions with students and colleagues about the moods<\/em> of various literary and popular interactions with the English Romantic tradition. Focusing in particular on impertinent approaches to this tradition, I consider how such poetic postures unsettle and reinhabit the contours of Romantic worldmaking.<\/p>\n\n\n\n4pm \u2013 Break<\/strong><\/h4>\n\n\n\n4:30pm \u2013 Parallel Panels B<\/strong><\/h4>\n\n\n\nB1: \u2018Teaching Keats, the Shelleys, and their Circles in Troubling Times\u2019: A Two-Part Roundtable (BARS \/ NASSR 2024 Conferences)<\/strong><\/p>\n\n\n\nOrganiser: Omar F. Miranda (University of San Francisco)
Co-Chairs: Amanda Blake Davis, University of Derby, and Merrilees Roberts, Queen Mary University of London<\/em><\/p>\n\n\n\n\n- Diego Alegia Corona (University of Wisconsin-Madison)<\/li>\n\n\n\n
- Valentina Aparicio (Queen Mary University of London)<\/li>\n\n\n\n
- Madeleine Callaghan (University of Sheffield)<\/li>\n\n\n\n
- Anthony Howe (Birmingham City University)<\/li>\n\n\n\n
- Ou Li (The Chinese University of Hong Kong)<\/li>\n\n\n\n
- Stacey McDowell (University of Warwick)<\/li>\n<\/ul>\n\n\n\n
B2: Theories and Practices of Making<\/strong><\/p>\n\n\n\nChair: Matthew Sangster (University of Glasgow)<\/em><\/p>\n\n\n\n\n- Shellie Audsley (University of Cambridge), Computing Genre?: Distant Reading and Ada Lovelace\u2019s Algorithmic Criticism<\/li>\n\n\n\n
- Ines Tebourski (Higher Institute of Applied Studies in Humanities, Tunisia), William Blake\u2019s Milton and the Unmaking\/Making of a Canon: A Multimodal Study\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/li>\n\n\n\n
- Jessica Roberson (Mount Saint Mary\u2019s University), Makerspace Romanticism<\/li>\n<\/ul>\n\n\n\n
B3: Remaking Nations and Traditions<\/strong><\/p>\n\n\n\nChair: Chandini Jaswal (Panjab University)<\/em><\/p>\n\n\n\n\n- Ma\u0142gorzata Nowak (Adam Mickiewicz University), Remaking Good and Evil: The Case of Juliusz S\u0142owacki<\/li>\n\n\n\n
- Daniela Paolini and Mario Rucavado Rojas (Universidad de Buenos Aires), Remaking Romantic Images: William Blake\u2019s Drawings in Jos\u00e9 Joaqu\u00edn de Mora\u2019s Meditaciones po\u00e9ticas<\/em> (1826), published by Rudolph Ackermann<\/li>\n\n\n\n
- Suleiman Hodali (UCLA), Romantic Historicism: Nationalism and the Modern Makings of Medievalism<\/li>\n<\/ul>\n\n\n\n
B4: Wordsworthian Resonances<\/strong><\/p>\n\n\n\nChair: Yimon Lo (KU Leuven)<\/em><\/p>\n\n\n\n\n- Yixuan Huo (Durham University), Musicality in Eliot and Wordsworth<\/li>\n\n\n\n
- Deborah Kennedy (Saint Mary\u2019s University), Wordsworth and \u2018The Highland Broach\u2019<\/li>\n\n\n\n
- Christopher Catanese (University of North Carolina), Disavowal, Georgic, Nature\u2019s Silent Consent: Wordsworth\u2019s Idle Sympathies<\/li>\n\n\n\n
- Amy L. Gates (Missouri Southern State University), Wordsworth and Rebanks: Making and Remaking the Lake District<\/li>\n<\/ul>\n\n\n\n
6pm \u2013 Break<\/strong><\/h4>\n\n\n\n6:30pm \u2013 Parallel Panels C<\/strong><\/h4>\n\n\n\nC1: Romantic Cultures of Print<\/strong><\/p>\n\n\n\nChair: Francesca Saggini (Universit\u00e0 degli Studi della Tuscia)<\/em><\/p>\n\n\n\n\n- Jer\u00f3nimo Ledesma (University of Buenos Aires), \u2018The author of about 150 magazine articles\u2019: On the Importance of Publishing History as seen in the Case of Thomas De Quincey<\/li>\n\n\n\n
- Genevieve Theodora McNutt (University of Edinburgh), \u2018This Collection of Trash is Printed in a Superior Style\u2019: The Making of Joseph Ritson’s Collections<\/li>\n\n\n\n
- Maximiliaan van Woudenberg (Sheridan Institute of Technology), Remaking Poetry into Music: Composition, Performance and Print-Trade Productions of Coleridge\u2019s Poetry<\/li>\n<\/ul>\n\n\n\n
C2: Making and Unmaking the Future: Manifestos, Uprisings, Rebellions and Revolutions<\/strong><\/p>\n\n\n\nChair: Evy Varsamopoulou (University of Cyprus)<\/em><\/p>\n\n\n\n\n- Pablo San Mart\u00edn Varela (University of Chile), The Making and Unmaking of Social Structures in Shelley\u2019s Later Dramas<\/li>\n\n\n\n
- Susan Civale (Canterbury Christ Church University), Revolutionary Heroines in Mary Shelley’s Short Fiction<\/li>\n\n\n\n
- Evy Varsamopoulou (University of Cyprus), Caribbean Calling, 1831: From Mary Prince\u2019s History<\/em> to the Christmas Rebellion in Jamaica<\/li>\n<\/ul>\n\n\n\n
C3: Remaking Romanticism 3: The Revenge of the Romantic Remake<\/strong><\/p>\n\n\n\nChair: Andrew McInnes (Edge Hill University)<\/em><\/p>\n\n\n\n\n- Carolin B\u00f6ttcher (Friedrich-Schiller-Universit\u00e4t), Speculative Subjectivity in Pride and Prometheus<\/em>: Remaking Mary Bennet, Victor Frankenstein and the Creature<\/li>\n\n\n\n
- Heather Ringo (UC Davis), Romanticizing Redwoods as a \u2018Great Race\u2019: The Save-the-Redwoods League\u2019s Racist Remaking of the Sublime<\/li>\n\n\n\n
- Eleonora Guidi (University of Bologna), Mary Shelley\u2019s Historical Notes on Dante<\/li>\n\n\n\n
- Karen Weisman (University of Toronto), Rivers, Waterways and the Remaking of Romantic Voice<\/li>\n<\/ul>\n\n\n\n
C4: Romanticism and the Making of Modern \u2018Disability\u2019<\/strong><\/p>\n\n\n\nChair: Matthew L. Reznicek (University of Minnesota)<\/em><\/p>\n\n\n\n\n- Emily B. Stanback (University of Southern Mississippi), Race and the Horizons of Romantic Disability<\/li>\n\n\n\n
- Matthew L. Reznicek (University of Minnesota), Injury, Disability, and Belonging in the Waverley Novels<\/li>\n\n\n\n
- Lindsay Lehman (City University of New York), Locating Disability in \u2018The Old Cumberland Beggar\u2019<\/li>\n<\/ul>\n\n\n\n
8pm \u2013 Ends<\/strong><\/h4>\n\n\n\nDay 2: Friday 2nd August<\/em><\/strong><\/h3>\n\n\n\n8am \u2013 Parallel Panels D<\/strong><\/h4>\n\n\n\nD1: Making and Unmaking Character<\/strong><\/p>\n\n\n\nChair: Matthew Sangster (University of Glasgow)<\/em><\/p>\n\n\n\n\n- Francesca Kavanagh (University of Melbourne), Lady Caroline Lamb: Making and Unmaking the Byronic Character<\/li>\n\n\n\n
- Amelia Dale (Australian National University), Producing Character on the Stage and the Title Page: Honest Ranger and ‘Harris’s List’<\/li>\n\n\n\n
- Aditya Banerjee (Harvard University), English Crime Broadsides and the Making of Romantic Character<\/li>\n<\/ul>\n\n\n\n
D2: New Approaches to William Blake<\/strong><\/p>\n\n\n\nChair: Jodie Marley (Independent)<\/em><\/p>\n\n\n\n\n- Ernest Yuen (Chinese University of Hong Kong), Blake\u2019s Soundscape, Buildings, and The Industrial Revolution<\/li>\n\n\n\n
- Shih-hsuan Huang (National Taiwan University), A Body Is a Planet: William Blake’s Geopoetics in Minor Illuminated Books<\/li>\n\n\n\n
- Annalisa Volpone (University of Perugia), \u2018From out the Portals of my Brain\u2019: William Blake\u2019s Partus Mentis and the (Un)making of Imagination<\/li>\n<\/ul>\n\n\n\n
D3: Conceptualising Romantic Nature<\/strong><\/p>\n\n\n\nChair: Kate Nankervis (University of York)<\/em><\/p>\n\n\n\n\n- Yuko Otagaki (University of Hyogo), William Wordsworth and Humphry Davy: Reimaging Nature<\/li>\n\n\n\n
- Shouvik N. Hore (Sanskrit College and University), Spatializing ConPerception: The Wordsworth-Clare Debate in \u2018Nutting\u2019<\/li>\n\n\n\n
- Jingxuan Yi (Fudan University), Nature Unbound: Eco-Sublime Heterotopias in Mary Shelley\u2019s Frankenstein<\/em> and The Last Man<\/em><\/li>\n\n\n\n
- Jingsi Shen (New York University Shanghai), Troubling Time and Genre: Telling Stories of Extinction in Mary Shelley\u2019s The Last Man<\/em><\/li>\n<\/ul>\n\n\n\n
9:30am \u2013 Break<\/strong><\/h4>\n\n\n\n10am \u2013 Parallel Panels E<\/strong><\/h4>\n\n\n\nE1: Shaping Legacies<\/strong><\/p>\n\n\n\nChair: Anthony Mandal (Cardiff University<\/em>)<\/p>\n\n\n\n\n- Vinita Singh (University of Leeds), Making a Coleridge: Samuel Taylor Coleridge\u2019s Autobiographical Letters<\/li>\n\n\n\n
- Amy Wilcockson (University of Glasgow), Thomas Campbell: Editing Romantic Correspondence<\/li>\n\n\n\n
- Marie Michlova (Czech Technical University), Lockhart’s Matthew Wald<\/em>: 1824-2024<\/li>\n<\/ul>\n\n\n\n
E2: Rewriting Narratives of the East<\/strong><\/p>\n\n\n\nChair: Emily Paterson-Morgan (The Byron Society)<\/em><\/p>\n\n\n\n\n- Md Monirul Islam (Presidency University), Nation and Imagination: Robert Southey, Michael Madhusudan Dutt, and the Remaking of a Myth<\/li>\n\n\n\n
- Chandini Jaswal (Panjab University), Revisiting the Mughal Zenana\u2014As It Was: Challenging the Narrative of the Harem of the Mughal Empire by Analysing the Visual Culture<\/li>\n\n\n\n
- Souad Baghli Berbar (University of Tlemcen), The Making of Byron\u2019s Orientalism<\/li>\n<\/ul>\n\n\n\n
E3: Romantic-Period Self-Fashioning<\/strong><\/p>\n\n\n\nChair: Andrew McInnes (Edge Hill University)<\/em><\/p>\n\n\n\n\n- Amber Williams (University of Nottingham), \u2018For shame, for shame, gentlemen! is this a place for such violence!\u2019: Exploring the Duellist\u2019s Use of Space and Place in Frances Burney\u2019s Cecilia<\/em> (1792).<\/li>\n\n\n\n
- Vivien Chan (Chinese University of Hong Kong), \u2018The Shadow of Public Thought\u2019: Reception, Taste, and Keats\u2019s Metaphors of Poetic Self-making<\/li>\n\n\n\n
- Rebecca Murray (Charles University, Prague), Remaking Reason: Sincerity, Plain Style and Motivated Language in Godwin\u2019s Political Justice<\/em> and Other Essays<\/li>\n<\/ul>\n\n\n\n
11:30am \u2013 Break<\/strong><\/h4>\n\n\n\n12.30pm \u2013 Plenary<\/strong><\/h4>\n\n\n\nJeff Cowton MBE (Wordsworth Grasmere) – \u2018Suddenly people are listening. You matter.\u2019<\/em><\/strong><\/p>\n\n\n\nChair: Amy Wilcockson (University of Glasgow)<\/em><\/em><\/p>\n\n\n\nThe title of this talk is from a comment made by someone experiencing homelessness. It was made following their contribution to a project aiming to rewrite Wordsworth and Coleridge’s Lyrical Ballads <\/em>for a twenty-first century Britain. The project brought 100 such people into the world of curators and creative practitioners and was underpinned by the ideas and writings of a leading academic. Some of the poems resulting from this project were exhibited in the UK Houses of Parliament in 2023. This presentation will therefore explore the very real impact of collaborations such as this one, focused on Dove Cottage, its immediate landscape, and the internationally significant collections of the Wordsworth Trust.<\/p>\n\n\n\n1.30pm \u2013 1.45pm \u2013 Closing Comments<\/strong><\/h4>\n\n\n\nIncoming BARS President \/ Conference Committee<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Online Programme The programme below (in .pdf and online text) details the synchronous online elements of ‘Romantic Making and Unmaking’, which will take place on Thursday 1st August and Friday 2nd August. Please note that minor changes may be made between the current date and the conference; the version dates will be updated to reflect […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/pages\/142"}],"collection":[{"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/comments?post=142"}],"version-history":[{"count":23,"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/pages\/142\/revisions"}],"predecessor-version":[{"id":243,"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/pages\/142\/revisions\/243"}],"wp:attachment":[{"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/media?parent=142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}