{"id":2,"date":"2023-11-04T23:32:13","date_gmt":"2023-11-04T23:32:13","guid":{"rendered":"https:\/\/bars.ac.uk\/conference2024\/?page_id=2"},"modified":"2024-07-18T20:35:45","modified_gmt":"2024-07-18T20:35:45","slug":"programme","status":"publish","type":"page","link":"https:\/\/bars.ac.uk\/conference2024\/programme\/","title":{"rendered":"Programme"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">In-Person Programme<\/h2>\n\n\n\n<p>The in-person elements of &#8216;Romantic Making and Unmaking&#8217; will primarily take place in the Wolfson Medical School Building, the James McCune Smith Learning Hub and the Boyd Orr Building (accessible via internal links from the James McCune Smith Learning Hub).  On the <a href=\"https:\/\/www.gla.ac.uk\/media\/Media_521847_smxx.pdf\">campus map<\/a>, these are buildings C8, D4 and D1.<\/p>\n\n\n\n<p>Scroll down the page for the outline schedule and the detailed panel listings in .pdf and digital text. The versions below are final &#8211; any minor changes necessary due to circumstances on the days will be posted at the registration desk.<\/p>\n\n\n\n<p>The programme for the digital elements of the conference (Thursday 1st August and Friday 2nd August) <a href=\"https:\/\/bars.ac.uk\/conference2024\/online-programme\/\" data-type=\"page\" data-id=\"142\">can be viewed here<\/a>.<\/p>\n\n\n\n<div class=\"wp-block-file\"><object class=\"wp-block-file__embed\" data=\"https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2024\/07\/BARS-2024-Glasgow-Programme-July-for-web-updated-17-Jul.pdf\" type=\"application\/pdf\" style=\"width:100%;height:600px\" aria-label=\"Embed of BARS 2024 Glasgow Programme (July - for web - updated 17 Jul).\"><\/object><a id=\"wp-block-file--media-f1708efa-fec6-4627-bd57-247c48c7d16b\" href=\"https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2024\/07\/BARS-2024-Glasgow-Programme-July-for-web-updated-17-Jul.pdf\">BARS 2024 Glasgow Programme (July &#8211; for web &#8211; updated 17 Jul)<\/a><a href=\"https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2024\/07\/BARS-2024-Glasgow-Programme-July-for-web-updated-17-Jul.pdf\" class=\"wp-block-file__button wp-element-button\" download aria-describedby=\"wp-block-file--media-f1708efa-fec6-4627-bd57-247c48c7d16b\">Download<\/a><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>BARS 2024: Romantic Making and Unmaking<\/strong> <strong>Glasgow Programme<\/strong><\/h3>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Outline<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Monday 22nd July<\/em><\/strong><\/h4>\n\n\n\n<p>2pm-6pm \u2013 Registration (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>6pm-8pm \u2013 Byron Society Annual Scotland Lecture and Reception: Jane Stabler and Gavin Hopps (<em>Kelvin Gallery, Main Building<\/em>) \u2013 <em>all BARS delegates are welcome to attend<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Tuesday 23rd July<\/em><\/strong><\/h4>\n\n\n\n<p>From 8am \u2013 Registration (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>9:45am-10am \u2013 Conference Welcome: Anton Muscatelli, Principal of the University of Glasgow, and the Conference Committee (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/p>\n\n\n\n<p>10am-11:15am \u2013 Plenary: Michelle Levy, Women Writers Making the Printed Book \u2013 chaired by Matthew Sangster (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/p>\n\n\n\n<p>11:15am-11:45am \u2013 Tea (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>11:45am-1:15pm \u2013 Parallel Sessions A<\/p>\n\n\n\n<p>1:15pm-2:30pm \u2013 Lunch (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<ul>\n<li>1:45pm-2:15pm \u2013 Postgraduate and Early Career Meet-Up (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/li>\n\n\n\n<li>1:45pm-2:15pm \u2013 Special Collections William Blake Viewing Session (<em>Level 12, University Library<\/em>) \u2013 <em>sign up at registration desk<\/em><\/li>\n<\/ul>\n\n\n\n<p>2:30pm-4pm \u2013 Parallel Sessions B<\/p>\n\n\n\n<p>4pm-4:30pm \u2013 Tea (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>4:30pm-6pm \u2013 Parallel Sessions C<\/p>\n\n\n\n<p>6pm \u2013 Walk or take Subway to City Chambers (at the east end of George Square in the city centre \u2013 the nearest Subway station to the City Chambers is Buchanan Street)<\/p>\n\n\n\n<p>6:45pm-7:45pm \u2013 City Chambers Drinks Reception and BARS First Book Prize Award<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Wednesday 24th July<\/em><\/strong><\/h4>\n\n\n\n<p>From 8:30am \u2013 Registration (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>9am-10:30am \u2013 Parallel Sessions D<\/p>\n\n\n\n<p>10:30am-11am \u2013 Tea (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>11am-12:30pm \u2013 Parallel Sessions E<\/p>\n\n\n\n<p>12:30pm-1:45pm \u2013 Lunch (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<ul>\n<li>1pm-1:30pm \u2013 BARS General Meeting (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/li>\n<\/ul>\n\n\n\n<p>1:45pm-3pm \u2013 Plenary Roundtable: Textual Editing (Elizabeth Edwards, Tim Fulford, Craig Lamont and Alison Lumsden) \u2013 chaired by Nigel Leask and Megan Coyer (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/p>\n\n\n\n<p>3pm-3:30pm \u2013 Tea (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>3:30pm-5pm \u2013 Parallel Sessions F<\/p>\n\n\n\n<p>5pm \u2013 Comfort Break<\/p>\n\n\n\n<p>5:15pm-6:30pm \u2013 Plenary: John Gardner, Remains, Reuse and Reinventing \u2013 chaired by Simon K\u00f6vesi (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/p>\n\n\n\n<p>From 6:30pm \u2013 Conference Dinner attendees walk to \u00d2ran M\u00f3r (at the top of Byres Road)<\/p>\n\n\n\n<p>7pm-7:30pm \u2013 Pre-dinner drinks for Conference Dinner attendees in the Auditorium at \u00d2ran M\u00f3r<\/p>\n\n\n\n<p>7:30pm-9:30pm \u2013 Conference Dinner at \u00d2ran M\u00f3r<\/p>\n\n\n\n<p>9:30pm-1am \u2013 \u00d2ran M\u00f3r Auditorium open for all delegates \u2013 music, bar and conviviality<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Thursday 25th July<\/em><\/strong><\/h4>\n\n\n\n<p>From 8:30am \u2013 Registration (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>9am-10:30am \u2013 Parallel Sessions G<\/p>\n\n\n\n<p>10:30am-11am \u2013 Tea (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>11am-12:30pm \u2013 Parallel Sessions H<\/p>\n\n\n\n<p>12:30pm-1:45pm \u2013 Lunch (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<ul>\n<li>12:50pm-1:30pm \u2013 Curious Travellers Publication Launches, Pipes and Wine Reception (<em>Hunterian Gallery<\/em>)<\/li>\n<\/ul>\n\n\n\n<p>1:45pm-3:15pm \u2013 Parallel Sessions I<\/p>\n\n\n\n<p>3:15pm-3:45pm \u2013 Tea (<em>Wolfson Medical Building Atrium<\/em>)<\/p>\n\n\n\n<p>3:45pm-5pm \u2013 Plenary: Fiona Stafford, \u2018To Sing and Build the Lofty Rhyme\u2019: A Keynote on Keystanes (Marilyn Butler Lecture) \u2013 chaired by Ronnie Young (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/p>\n\n\n\n<p>5pm-5:15pm \u2013 Closing Words (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/p>\n\n\n\n<p>5:15pm \u2013 End of Academic Programme<\/p>\n\n\n\n<p>6pm-7pm \u2013 Performance of Robert Burns\u2019 <em>The Jolly Beggars<\/em> and Drinks Reception (<em>Glasgow University Chapel<\/em>)<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Friday 26th July<\/em><\/strong><\/h4>\n\n\n\n<p>9:30am \u2013 Coach departs from the University to New Lanark (for delegates who have booked for the trip)<\/p>\n\n\n\n<p>3:30pm \u2013 Coach departs from New Lanark to the University (to reach campus before 5pm)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Detailed Panel Information<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Tuesday 11:45am\u20131:15pm<\/em><\/strong><strong><\/strong><\/h4>\n\n\n\n<p><strong>A1 \u2013 Extractive Arts: Representations of Mining in the Lakes, the Peaks, and Latin America (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: <\/em><em>Stephanie O\u2019Rourke (St Andrews)<\/em><em><\/em><\/p>\n\n\n\n<ul>\n<li>Jessikah Diaz (Yale), Latin American Extraction and the Exhaustion of British Empire: Poetry, Politics, and \u2018Peru\u2019<\/li>\n\n\n\n<li>Ian Haywood (Roehampton), Wordsworth\u2019s Carbon Footprint<\/li>\n\n\n\n<li>Adam Bridgen (Durham), Besides the Lakes: Sublime Aesthetics and Writing Mining in Romantic-Period Derbyshire<\/li>\n<\/ul>\n\n\n\n<p><strong>A2 \u2013 Making Notes: Marginalia, Commonplacing, Compilation (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Kirsteen McCue (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Rachael Tarrant (Glasgow\/Stirling), \u2018What\u2019s all this nonsense for?\u2019: The Nineteenth-Century Glaswegian Student Un(Making) of Walter Scott<\/li>\n\n\n\n<li>Roseanna Kettle (York), The Commonplace Book of Edmund Pear, c. 1832-1834<\/li>\n\n\n\n<li>Jane Moore (Cardiff), Isabel Throsby\u2019s Sydney Songbook: Moore, Hemans and Balfe Regenerated in Nineteenth-Century Australia<\/li>\n<\/ul>\n\n\n\n<p><strong>A3 \u2013 Scottish Women Writers in and out of the Marketplace<\/strong><strong> (<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Honor Rieley (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Kate Ferrier (Aberdeen\/Edinburgh), \u2018sistership in her craft\u2019: Collaboration and Community in the Literary Career of Susan Ferrier<\/li>\n\n\n\n<li>Ainsley McIntosh (Aberdeen\/Edinburgh), That \u2018circle of chosen friends for whom alone they are design\u2019d\u2019: Social Authorship and Scottish Women&#8217;s Writing<\/li>\n\n\n\n<li>Pam Perkins (Manitoba), Making Travelogues: Jane and Charlotte Waldie in Romantic Print Culture<\/li>\n<\/ul>\n\n\n\n<p><strong>A4 \u2013 Romantic Ecologies (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Nigel Leask (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Kate Nankervis (York), Solastalgic Clouds in William Wordsworth&#8217;s &#8216;Tintern Abbey&#8217;<\/li>\n\n\n\n<li>Anna Pilz (Independent), (Re)Making Romantic Practices<\/li>\n\n\n\n<li>Joanna Taylor (Manchester), Dorothy Wordsworth\u2019s Wildness<\/li>\n<\/ul>\n\n\n\n<p><strong>A5 \u2013 Literary Craft 1 (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Simon K\u00f6vesi (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>HannahMcAuliffe (York), \u2018I must Create a System\u2019: The Making and Unmaking of William Blake\u2019s Prophetic Books<\/li>\n\n\n\n<li>Ross Wilson (Cambridge), Skilful Cultivators: Isaac D\u2019Israeli in the Age of Mechanical Reproducibility<\/li>\n\n\n\n<li>Sarah Zimmerman (Fordham), J. M. W. Turner&#8217;s Dissolving Views of Thomas Campbell in an Era of Mechanical Reproduction<\/li>\n<\/ul>\n\n\n\n<p><strong>A6 \u2013 Romantic Life Writing (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Amy Wilcockson (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Amy Culley (Lincoln), Writing the Late Lives of Fathers: Women Writers, Older Age, and Paternal Biography<\/li>\n\n\n\n<li>Gerard McKeever (Edinburgh), John Galt and Romantic Autobiography<\/li>\n\n\n\n<li>Juliette Wells (Goucher College), Recognizing Oscar Fay Adams as Austen&#8217;s First Critical Editor and Biographer<\/li>\n<\/ul>\n\n\n\n<p><strong>A7 \u2013 Faustian Romanticism (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: James Armstrong (CUNY)<\/em><\/p>\n\n\n\n<ul>\n<li>Martin Potter (York), Impious Science: Speculation and its Discontents in Goethe\u2019s <em>Faust<\/em>, Hoffmann\u2019s <em>Der Sandmann<\/em>, and Shelley\u2019s <em>Frankenstein<\/em><\/li>\n\n\n\n<li>Liz Wan (Oxford), \u2018Overwhelmed with mortification and shame\u2019: The Making and Unmaking of the Reluctant Faustian Hero in William Godwin\u2019s <em>St. Leon<\/em> (1799)<\/li>\n\n\n\n<li>Madeline Potter (Edinburgh), The Devil\u2019s Bride: Unholy Unions and the Faustian Logic of <em>The Vampyre<\/em> and <em>Melmoth the Wanderer<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>A8 \u2013 Byron Society Panel: Byron and Innovation (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Emily Paterson-Morgan (Byron Society)<\/em><\/p>\n\n\n\n<ul>\n<li>Sara Cole (Lancaster), Byron and Poetic Innovation: The Grand Newton of the Realms of Rhyme?<\/li>\n\n\n\n<li>Deven Parker (Glasgow), Byron\u2019s Poetic Cartographies<\/li>\n\n\n\n<li>Matthew Ward (Birmingham), Byron and the \u2018sea-born city\u2019 of Allusion<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Tuesday 2:30pm\u20134pm<\/em><\/strong><\/h4>\n\n\n\n<p><strong>B1 \u2013 Making Romantic Periodicals (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Megan Coyer (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Keerthi Sudhakar Vasishta (Durham), Notorious Reviews and Antagonistic Poets: Edward Quillinan, Thomas Hamilton and <em>Blackwood\u2019s Magazine<\/em><\/li>\n\n\n\n<li>Francesca Blanch-Serrat (Universitat Aut\u00f2noma de Barcelona), Anna Seward\u2019s Literary Feuds: Negotiating Literary Value in the Reviewing Press<\/li>\n\n\n\n<li>Honor Rieley (Glasgow), Making Local Literature in the Late Romantic Period: Two Editors in Newcastle and Berwick, 1819\u201335<\/li>\n<\/ul>\n\n\n\n<p><strong>B2 \u2013 Digital Romanticism 1 (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Cassie Ulph (Leeds)<\/em><\/p>\n\n\n\n<ul>\n<li>Jennifer Orr (Newcastle), Making and Remaking the Romantic Transatlantic World (1800-1845): Pilot Results from a Social Network Analysis Project<\/li>\n\n\n\n<li>Yohei Igarashi (UConn), The Jinnee in the Computer<\/li>\n<\/ul>\n\n\n\n<p><strong>B3 \u2013 Percy Bysshe Shelley in Italy <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Tess Somervell (Oxford)<\/em><\/p>\n\n\n\n<ul>\n<li>Anna Mercer (Cardiff), <em>The Cenci<\/em>, <em>Valperga<\/em> and Making an Audience<\/li>\n\n\n\n<li>Amanda Blake Davis (Derby), \u2018I arise, and unbuild it again\u2019: Unmaking Percy Bysshe Shelley<\/li>\n\n\n\n<li>Nora Crook (Anglia Ruskin), The Making of <em>The Cenci<\/em>: Do we Know All There is to Know?<\/li>\n<\/ul>\n\n\n\n<p><strong>B4 \u2013 Editing Romantic Texts (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Marc Gotthardt (Cambridge)<\/em><\/p>\n\n\n\n<ul>\n<li>Aidan William Buttigieg (St Andrews), Re-Editing Lord Byron\u2019s <em>Childe Harold\u2019s Pilgrimage Canto III<\/em>: A Discussion<\/li>\n\n\n\n<li>Nick Smith (Exeter), \u2018The best and only the best\u2019: Commissioning James Hogg\u2019s Jacobite Relics<\/li>\n\n\n\n<li>Shelly Harder (Oxford), Making Blake: The Early Editions<\/li>\n<\/ul>\n\n\n\n<p><strong>B5 \u2013 Making and Unmaking Scottish Literary History (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Katie Halsey (Stirling)<\/em><\/p>\n\n\n\n<ul>\n<li>Cleo O\u2019Callaghan Yeoman (Stirling\/Glasgow\/Edinburgh), Making and Unmaking Improvement: Reading Practices Within and Outwith the Early-Nineteenth-Century Scottish Novel.<\/li>\n\n\n\n<li>Jacqueline Kennard (Stirling), The Making or Unmaking of Social Barriers in Romantic-Period Orkney<\/li>\n\n\n\n<li>Katie Halsey (Stirling), Books, Borrowing and New Versions of Scottish Literary History<\/li>\n<\/ul>\n\n\n\n<p><strong>B6 \u2013 Bodies and Minds 1 (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Alastair Hunt (Portland State)<\/em><\/p>\n\n\n\n<ul>\n<li>Emily A. Bernhard Jackson (Exeter), The Flesh Made Word: The Literary Importance of the Author\u2019s Body<\/li>\n\n\n\n<li>Kang-Po Chen (National Taipei University of Technology), The Alternative Passion: Cannibalism and the Eucharist in Canto II of Byron\u2019s <em>Don Juan<\/em><\/li>\n\n\n\n<li>Esther Waldron (Oxford), &#8216;The vale of Soul-making&#8217;: The Continual Influence of Keats on Depth Psychology and Psychoanalysis<\/li>\n<\/ul>\n\n\n\n<p><strong>B7 \u2013 Making Conversation (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Andrew McInnes (Edge Hill)<\/em><\/p>\n\n\n\n<ul>\n<li>Madeleine Mikinski (York), \u2018The daily interchange of news\u2019: Making Information in Austen\u2019s Adult Work<\/li>\n\n\n\n<li>Zara Castagna (Birmingham), Making Friendships: Dorothy Wordsworth\u2019s Poetry and S.T. Coleridge\u2019s Conversation Poems<\/li>\n\n\n\n<li>Roslyn Irving (JGU Mainz), Gothic and Romantic Methods: Radcliffe and Coleridge in Discussion<\/li>\n<\/ul>\n\n\n\n<p><strong>B8 \u2013 Making Romantic Landscapes (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Will Sherwood (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Megan Zeitz (Geneva), Making, Unmaking, and Remaking Romantic Landscape Aesthetics: Theory and Practice<\/li>\n\n\n\n<li>Simon Bainbridge (Lancaster), Making and Unmaking the Mountain: Volcano Climbing in Hawaii, 1779-1841<\/li>\n\n\n\n<li>Rachael Eleanor Murray (Glasgow), \u2018Visionary vales\u2019 and \u2018vast concussion\u2019: Writing Terror into the Terrain from Landscape Gardens to \u2018Beachy Head\u2019<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Tuesday 4:30pm\u20136pm<\/em><\/strong><strong><\/strong><\/h4>\n\n\n\n<p><strong>C1 \u2013 Remediating the Supernatural (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Will Sherwood (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Haya Alwehaib (Edinburgh), Crafting and Unravelling: The <em>Arabian Nights\u2019<\/em> Role in the Making of Mary Shelley&#8217;s <em>Frankenstein<\/em> (1818)<\/li>\n\n\n\n<li>Natalie Tal Harries (Aberdeen\/IES), Out-of-the-Way Readers: Samuel Taylor Coleridge, Walter Scott and Percy Bysshe Shelley<\/li>\n\n\n\n<li>Orianne Smith (UMBC), Making History: The Waverley Novels and Witchcraft<\/li>\n<\/ul>\n\n\n\n<p><strong>C2 \u2013 Making and Unmaking Poetic Forms 1 (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Mary Fairclough (York)<\/em><\/p>\n\n\n\n<ul>\n<li>Kriti (Arizona), Periodical Poetry as a Genre<\/li>\n\n\n\n<li>Christopher Stokes (Exeter), Occasional Poetry and Everydayness: Re-making Signification and Significance in S.T. Coleridge and Bernard Barton<\/li>\n<\/ul>\n\n\n\n<p><strong>C3 \u2013 Romantic Responses to Ossian <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Annise Rogers (Lincoln)<\/em><\/p>\n\n\n\n<ul>\n<li>Laurence Maxwell-Stuart (Glasgow), &#8216;In me thy native Muse regard!&#8217;: Scotland and the Making of the Romantic Sublime<\/li>\n\n\n\n<li>Sharon Choe (York), Liminal Embodiment and Defying Death: Fashioning Britain in \u2018The Incantation of Hervor\u2019 (1763)<\/li>\n\n\n\n<li>Scott Krawczyk (UDC\/Georgetown), Making Prose Poetry: Anna Barbauld\u2019s Imitation of Ossian<\/li>\n<\/ul>\n\n\n\n<p><strong>C4 \u2013 Lamb beyond Limits: New Contexts for the Romantic Essay (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: John Strachan (Bath Spa)<\/em><\/p>\n\n\n\n<ul>\n<li>Eloise Scott (Northumbria), Charles Lamb\u2019s Urban Solitude<\/li>\n\n\n\n<li>Adam Neikirk (Essex), Unmaking the \u2018Indebted Man\u2019: Charles Lamb and the Ethics of Debt<\/li>\n\n\n\n<li>Serena Qihui Pei (UCL), Forging the Image of China: Thomas Manning and his Cultural Project<\/li>\n<\/ul>\n\n\n\n<p><strong>C5 \u2013 Romanticism and Young Readers (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Cleo O\u2019Callaghan Yeoman (Stirling\/Glasgow\/Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Jordan Frederick (UNCC), Gale Cole Novoa\u2019s \u2018Most Ardently: A Pride and Prejudice Remix\u2019 and the Phenomena of (Re)making Austen in the 21st Century for Young, Queer Readers<\/li>\n\n\n\n<li>Anna Fancett (OU\/Warwick), Making New Audiences: Creating Resources for Schools on Walter Scott\u2019s Poetry<\/li>\n\n\n\n<li>Richard de Ritter (Leeds), \u2018There is nothing like feeling, to make one remember well\u2019: Chemistry and Embodied Learning in Romantic-Period Writing for Children<\/li>\n<\/ul>\n\n\n\n<p><strong>C6 \u2013 Editing Pierce Egan\u2019s <em>Life in London <\/em>(<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: David Stewart (Northumbria)<\/em><\/p>\n\n\n\n<ul>\n<li>John Gardner (Anglia Ruskin), Egan and the Future<\/li>\n\n\n\n<li>David Stewart (Northumbria), Being \u2018up\u2019 to Egan\u2019s Allusions<\/li>\n\n\n\n<li>Matthew Sangster (Glasgow), Pierce Egan\u2019s London: A Topographical View<\/li>\n\n\n\n<li>Simon K\u00f6vesi (Glasgow), \u2018the ladies had introduced him to many singular adventures\u2019: The Women of Pierce Egan&#8217;s <em>Life in London<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>C7 \u2013 New Directions in Labouring-Class Writing 1: Time, Identity and the Market (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Adam Bridgen (Durham)<\/em><\/p>\n\n\n\n<ul>\n<li>Xiaoxiao Ma (Leeds), \u2018We\u2019ll leave it as we found it\u2019: Roads and Human-Nonhuman Connection in John Clare\u2019s \u2018Birds Nesting\u2019 Poems<\/li>\n\n\n\n<li>Tim Fulford (De Montfort), Dying Geniuses: The Production of Labouring-Class Poets for the Nineteenth-Century Book Market<\/li>\n<\/ul>\n\n\n\n<p><strong>C8 \u2013 Making History 1: Responses to Current Events (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Emma Clery (Uppsala)<\/em><\/p>\n\n\n\n<ul>\n<li>Silvia Gregorio-Sainz (Oviedo), A Romanticized \u2018Christian Hero\u2019 of the Peninsular War: Three English Poems on the Bishop of Santander (1808)<\/li>\n\n\n\n<li>Lisa Vargo (Saskatchewan), \u2018Letter of John Bull\u2019 and the Re-making of Anna Barbauld\u2019s Essays for the <em>Monthly Magazine<\/em><\/li>\n\n\n\n<li>Stephen Bygrave (Southampton), Gifts and Questions<\/li>\n<\/ul>\n\n\n\n<p><strong>C9 \u2013 Deaths and Afterlives (<em>Lecture Theatre E (Room 611), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Francesca Saggini<\/em> <em>(Tuscia)<\/em><\/p>\n\n\n\n<ul>\n<li>Amy Wilcockson (Glasgow), The Romantic Legacies of Robert Fergusson<\/li>\n\n\n\n<li>Sarah Sharp (Aberdeen), Kirkyard Forefathers: John Wilson, J.G. Lockhart and Assembling Intertextual Romanticism<\/li>\n\n\n\n<li>Chia-Jung Lee (National Sun Yat-sen University), The Making and Unmaking of \u2018Death\u2019 in Shelley&#8217;s <em>Adonais<\/em><\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Wednesday 9am\u201310:30am<\/em><\/strong><\/h4>\n\n\n\n<p><strong>D1 \u2013 Paratexts, Footnotes and Context in Romantic Literature (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Cleo O\u2019Callaghan Yeoman (Stirling\/Glasgow\/Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Neelofer Korotana (Edinburgh), Faith and Footnotes: Islam and Robert Southey&#8217;s <em>Thalaba the Destroyer<\/em><\/li>\n\n\n\n<li>Sara Cole (Lancaster), Made from Footnotes: Science, Satire and an Orang Outang in Thomas Love Peacock&#8217;s <em>Melincourt<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>D2 \u2013 Remaking Romanticism 1: Romantic Remakes (NASSR Panel) (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Andrew McInnes (Edge Hill)<\/em><\/p>\n\n\n\n<ul>\n<li>Katie MacLean (Stirling), Jane Austen, Character: Remaking the Authorial Figure of Austen on Stage<\/li>\n\n\n\n<li>Deven Parker (Glasgow), \u2018These words are property\u2019: Borrowers and Owners in the Romantic Theatre<\/li>\n\n\n\n<li>Rita J. Dashwood (Ghent), Adapting Jane Austen\u2019s \u2018Hetero Nonsense\u2019 in Andrew Ahn\u2019s <em>Fire Island<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>D3 \u2013 Romanticism and the Visual Arts <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Amy Wilcockson (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Kayleigh Williams (York), \u2018Her hair was long, her foot was light, and her eyes were wild\u2019: Elizabeth Siddal as a Re-Maker of Keats\u2019s \u2018La Belle Dame Sans Merci\u2019<\/li>\n\n\n\n<li>Alan Bean (Birmingham), Why only Turner and Constable? Why not Collins?<\/li>\n\n\n\n<li>Luisa Cal\u00e8 (Birkbeck), Bibliographic Geometries in William Blake\u2019s <em>Night Thoughts<\/em> watercolours<\/li>\n<\/ul>\n\n\n\n<p><strong>D4 \u2013 Making Romantic Italy (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Francesca Saggini<\/em> <em>(Tuscia)<\/em><\/p>\n\n\n\n<ul>\n<li>Emily Holland (Sheffield), \u2018Syllables which breathe of the sweet South\u2019: Byron\u2019s Experimentation with Italian Verse<\/li>\n\n\n\n<li>Alessia Testori (Parma), \u2018A new race or sect among our countrymen\u2019: The <em>Liberal <\/em>and the Un\/making of an Anglo-Italian identity<\/li>\n\n\n\n<li>Eva Lippold (Reading\/Open University), How to Write \u2018the very best traveller\u2019s guide to Italy\u2019: The Making of Mrs. Starke<\/li>\n<\/ul>\n\n\n\n<p><strong>D5 \u2013 Re-Framing Walter Scott (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Deidre Lynch (Harvard)<\/em><\/p>\n\n\n\n<ul>\n<li>James Quinnell (Independent), \u2018The Romance of his life was ending; its real history just beginning\u2019: The Unmaking of Realism in the Prose of Sir Walter Scott<\/li>\n\n\n\n<li>Philip Connell (Cambridge), Walter Scott and the Bourbon Restorations<\/li>\n\n\n\n<li>Samuel Baker (UT Austin), Quixoticism and the Making of Romantic Books in Wordsworth and Scott<\/li>\n<\/ul>\n\n\n\n<p><strong>D6 \u2013 Bodies and Minds 2 (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Jeremy Davies (Leeds)<\/em><\/p>\n\n\n\n<ul>\n<li>Zijian Cui (Leeds), Staging the poetics of \u2018Unlust\u2019: Appetites and Nausea in Byron\u2019s <em>Don Juan<\/em> Canto II<\/li>\n\n\n\n<li>Alix Gallagher (Glasgow), Romantic Writing Efforts under Quarantine: Examples from Malta in the Early Nineteenth Century<\/li>\n\n\n\n<li>Chris Bundock (Essex), Making Love<\/li>\n<\/ul>\n\n\n\n<p><strong>D7 \u2013 Making Political Discourse 1: Duty and Disenchantment (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Stephen Bygrave (Southampton)<\/em><\/p>\n\n\n\n<ul>\n<li>Laura Quinney (Brandeis), Wordsworth\u2019s Political Disappointment<\/li>\n\n\n\n<li>Aino Haataja (\u00c5bo Akademi University), What to Make of Patriotism?: Voicing Eighteenth-Century Opposition Politics in Maria Edgeworth\u2019s <em>Patronage<\/em> (1814)<\/li>\n\n\n\n<li>Jacob Lloyd (Cardiff), \u2018Me this uncharter\u2019d freedom tires\u2019: Making and Unmaking Liberty in Wordsworth\u2019s \u2018Ode to Duty\u2019<\/li>\n<\/ul>\n\n\n\n<p><strong>D8 \u2013 Romanticism and the Industrial Gaze (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Roseanna Kettle (York)<\/em><\/p>\n\n\n\n<ul>\n<li>Jake Elliott (Roehampton), The \u2018Living\u2019 City: Blake and the Anti-Mechanical Gothic<\/li>\n\n\n\n<li>Silvia Riccardi (Ume\u00e5), Negotiating Nature: Erasmus Darwin\u2019s Mechanistic Vision and William Blake\u2019s Organic Life<\/li>\n\n\n\n<li>Ian Haywood (Roehampton), Re-Carbonizing Wordsworth<\/li>\n<\/ul>\n\n\n\n<p><strong>D9 \u2013 Romantic Publishers and Booksellers (<em>Lecture Theatre E (Room 611), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Marc Gotthardt (Cambridge)<\/em><\/p>\n\n\n\n<ul>\n<li>David Fallon (Northumbria), In the Eye of the Storm: Booksellers as Culture-Makers<\/li>\n\n\n\n<li>Kandice Sharren (Saskatchewan), Beyond the Silver Fork: Henry Colburn\u2019s American Stories<\/li>\n\n\n\n<li>Gary Kelly (Alberta), Richard Phillips&#8217;s Novelistic Modernity<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Wednesday 11am\u201312:30pm<\/em><\/strong><strong><\/strong><\/h4>\n\n\n\n<p><strong>E1 \u2013 Remaking the Romantic Letter (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Amy Wilcockson (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Brecht de Groote (Ghent), The Making of a Pseudo-Letter<\/li>\n\n\n\n<li>Li-Hui Tsai (St John\u2019s University), The Concept of Romantic Maker: Godwin\u2019s First Edition of Wollstonecraft\u2019s <em>Letters<\/em> in 1798 and the Making and Breaking of Her Reputation in the Nineteenth and Twentieth Centuries<\/li>\n\n\n\n<li>Jennifer Hargrave (Baylor), Subversive Archiving: Epistolary Documentation of the British Metropole<\/li>\n<\/ul>\n\n\n\n<p><strong>E2 \u2013 Reading Charles and Mary Lamb: Past and Present (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: John Strachan (Bath Spa)<\/em><\/p>\n\n\n\n<ul>\n<li>Olivia Loksing Moy (CUNY), \u2018Roast Pig\u2019 and \u2018Old China\u2019 in America: Lamb\u2019s Centennial Essay Editions<\/li>\n\n\n\n<li>Felicity James and Crystal Biggin (Leicester), Remaking Shakespeare: The Collaborative Practice of Charles and Mary Lamb<\/li>\n\n\n\n<li>Paolo Bugliani (University of Rome Tor Vergata), The Creator as \u2018trouble tomb\u2019: Charles Lamb and his Early Modern Companions<\/li>\n<\/ul>\n\n\n\n<p><strong>E3<\/strong> \u2013 <strong>Remaking Romanticism 2: 2 Romantic 2 Remakes (NASSR Panel) <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Rita J. Dashwood (Ghent)<\/em><\/p>\n\n\n\n<ul>\n<li>Yu-Hung Tien (Edinburgh), Dickinson\u2019s Remake of Keats\u2019s \u2018Poetical Character\u2019<\/li>\n\n\n\n<li>Toby R. Benis (Saint Louis), Remaking Romanticism in Susanna Clarke\u2019s <em>Piranesi<\/em><\/li>\n\n\n\n<li>Andrew McInnes (Edge Hill), \u2018The Chalky Children of Evermore\u2019. Remaking Romanticism with P J Harvey<\/li>\n<\/ul>\n\n\n\n<p><strong>E4 \u2013 Romantic Waste 1 (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Jeremy Davies (Leeds)<\/em><\/p>\n\n\n\n<ul>\n<li>Nick Dodd (Independent), Finding the Value in Waste: Wordsworth\u2019s \u2018Ruined Cottage\u2019 as a Rejection of Locke\u2019s Waste Proviso<\/li>\n\n\n\n<li>Tim Milnes (Edinburgh), \u2018Nothing beside remains\u2019: Hemans, Shelley, and the Excremental Sublime<\/li>\n<\/ul>\n\n\n\n<p><strong>E5 \u2013 Reviving Romance, Remaking Belief, Raising Ghosts (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Madeline Potter (Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Sonia Hofkosh (Tufts), Radcliffe&#8217;s Ghost<\/li>\n\n\n\n<li>Deidre Lynch (Harvard), Hogg\u2019s True Believers<\/li>\n\n\n\n<li>Penny Fielding (Edinburgh), Re-Visitations: James Hogg\u2019s Ghosts and the Time of the Law<\/li>\n<\/ul>\n\n\n\n<p><strong>E6 \u2013 Literary Craft 2 (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Francesca Blanch-Serrat (Universitat Aut\u00f2noma de Barcelona)<\/em><\/p>\n\n\n\n<ul>\n<li>Salena Wiener (Simon Fraser), The Sexual Politics of Making a Text: Claire Clairmont\u2019s Fair Copy Labour for Byron<\/li>\n\n\n\n<li>Jennifer Comerford (Northwestern), A Hand in the Making: Creative Copying in Late Eighteenth-Century Recipe and Penmanship Books<\/li>\n<\/ul>\n\n\n\n<p><strong>E7 \u2013 Making Reputations (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Kirsteen McCue (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Brianna Robertson-Kirkland (Royal Conservatoire of Scotland), Storace and Braham: Love and Reputation Unmade<\/li>\n\n\n\n<li>Anne-Claire Michoux (Zurich), Fact-Checking in Actresses\u2019 Memoirs and the Reshaping of Public Reputations: The Case of Mary Wells<\/li>\n\n\n\n<li>Emily Paterson-Morgan (Byron Society), Storytelling in the Courtroom: Constructions of Guilty Character in Byron\u2019s <em>Parisina<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>E8 \u2013 Romantic Abolitionism (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Roseanna Kettle (York)<\/em><\/p>\n\n\n\n<ul>\n<li>Rhys Kaminski-Jones (Wales), Bardic Liberties: Iolo Morganwg and the Making of Bardic Abolitionism<\/li>\n\n\n\n<li>Julia S. Carlson (Cincinnati), Making and Unmaking Maps of History: Thomas Clarkson\u2019s Riverine Timeline of Abolition<\/li>\n\n\n\n<li>Chris Townsend (St Andrews), The Economics of Antislavery Poetry<\/li>\n<\/ul>\n\n\n\n<p><strong>E9 \u2013 Unmaking the Family (<em>Lecture Theatre E (Room 611), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Katie Halsey (Stirling)<\/em><\/p>\n\n\n\n<ul>\n<li>Molly Watson (Nottingham), (Maternal) Communities of Storytelling in Mary Shelley\u2019s \u2018Proserpine\u2019 (1820)<\/li>\n\n\n\n<li>Crystal Veronie (Alabama), Romantic Unmaking: Sara Coleridge\u2019s Writing and Resistive Embodiment<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Wednesday 3:30pm\u20135pm<\/em><\/strong><\/h4>\n\n\n\n<p><strong>F1 \u2013 Romantic Translation (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Brecht de Groote (Ghent)<\/em><\/p>\n\n\n\n<ul>\n<li>Dominic Bentley-Hussey (Ghent), Translation and the Making of Literary Modernity: Pseudotranslations in French Romanticism<\/li>\n\n\n\n<li>Elena Bonacini (Cambridge), The Making and Unmaking of Shelley&#8217;s Italian Translation of &#8216;Ode to Liberty&#8217;<\/li>\n\n\n\n<li>Chiara Rolli (Parma), Byron and his Juvenile Translations: Self-Fashioning and the Making of a Reputation<\/li>\n<\/ul>\n\n\n\n<p><strong>F2 \u2013 Romantic Resources and Commodities (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair:<\/em> <em>Tim Milnes (Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Heidi J. Snow (Principia College), Coniston Copper Mining during the Romantic Era<\/li>\n\n\n\n<li>Katie Garner (St Andrews), Protesting Pearl Diving in Romantic Women\u2019s Poetry<\/li>\n<\/ul>\n\n\n\n<p><strong>F3 \u2013 Roundtable: Romantic Writing \/ Feminist Editing <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Emma Clery (Uppsala)<\/em><\/p>\n\n\n\n<ul>\n<li>Angela Wright (Sheffield) on the Cambridge University Press <em>Complete Works of Ann Radcliffe<\/em><\/li>\n\n\n\n<li>Michelle Levy (Simon Fraser) on the Oxford University Press <em>Collected Works of Mary Wollstonecraft<\/em><\/li>\n\n\n\n<li>Scott Krawczyk (UDC\/Georgetown) on Oxford University Press <em>Collected Works of Anna Letitia Barbauld<\/em><\/li>\n\n\n\n<li>Sharon Ruston (Lancaster) on the Davy Notebooks Project<\/li>\n\n\n\n<li>Daniel Cook (Dundee) on <em>Scottish Poetry, 1730-1830<\/em> (Oxford World&#8217;s Classics, 2023)<\/li>\n<\/ul>\n\n\n\n<p><strong>F4 \u2013 Making Time (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Matthew Sangster (University of Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Yuan Ge (KCL), Ruptures in Time: Henri Lefebvre\u2019s Concept of Arrhythmia in Percy Shelley\u2019s Early Works<\/li>\n\n\n\n<li>Sarah Haggarty (Cambridge), Opportunity, Ingenuity, and \u2018right timing\u2019 in Equiano\u2019s <em>Interesting Narrative<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>F5 \u2013 Making History 2: Approaches to Romantic Historiography (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Katie MacLean (Stirling)<\/em><\/p>\n\n\n\n<ul>\n<li>Jennifer Robertson (Stirling\/Strathclyde), Un-Making History: Austen Lays Siege to the Certainties of Historical Form<\/li>\n\n\n\n<li>Jeff Strabone (Connecticut College), Mediating History into Poetry: Wordsworth\u2019s <em>The White Doe of Rylstone<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>F6 \u2013 Roundtable: \u2018Nature\u2019s Social Union\u2019: Enlightenment, Ecology and Environment in the Work of Robert Burns (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Nigel Leask (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Ronnie Young (Glasgow)<\/li>\n\n\n\n<li>Pauline Mackay (Glasgow)<\/li>\n\n\n\n<li>Fiona Stafford (Oxford)<\/li>\n\n\n\n<li>Gerard McKeever (Edinburgh)<\/li>\n\n\n\n<li>Nigel Leask (Glasgow)<\/li>\n<\/ul>\n\n\n\n<p><strong>F7 \u2013 Digital Romanticism 2 (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Cassie Ulph (Leeds)<\/em><\/p>\n\n\n\n<ul>\n<li>Sophie Thomas (Toronto Metropolitan), Re-Mediating the Gallery: Thomas Hope\u2019s \u2018Theatre of the Arts\u2019<\/li>\n\n\n\n<li>Anthony Mandal (Cardiff), Making the Gothic: Print Culture Networks and Romantic Gothic Fiction<\/li>\n\n\n\n<li>Elisa Beshero-Bondar (Penn State Behrend), A Complete <em>Frankenstein<\/em> Variorum: Navigating Five Versions of Mary Shelley\u2019s <em>Frankenstein<\/em><strong><\/strong><\/li>\n<\/ul>\n\n\n\n<p><strong>F8 \u2013 Romantic Travel Writing (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair:<\/em> <em>Li-Hui Tsai (St John\u2019s University)<\/em><\/p>\n\n\n\n<ul>\n<li>Maria Kalinowska (Warsaw), A Notebook from a Romantic Journey to Greece, Egypt, and the Holy Land: Rough Draft or Complete Work? Approaching Juliusz S\u0142owacki\u2019s Eastern Diary<\/li>\n\n\n\n<li>Rebecca Davies (Inland University), Traversing Reality and Fancy: Mary Wollstonecraft in Norway<\/li>\n\n\n\n<li>Przemys\u0142aw U\u015bci\u0144ski (Warsaw), A Solitary Wanderer: Tourism, Aesthetics and the Making of Romantic Subjectivity in William Beckford\u2019s Travel Writing<\/li>\n<\/ul>\n\n\n\n<p><strong>F9 \u2013 Romanticism\u2019s Fantastic Legacies (<em>Lecture Theatre E (Room 611), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: James Armstrong (CUNY)<\/em><\/p>\n\n\n\n<ul>\n<li>Will Sherwood (Glasgow), \u2018We\u2019re in the same tale still!\u2019: Mapping British Romanticism\u2019s Legacies in J.R.R. Tolkien\u2019s Middle-earth<\/li>\n\n\n\n<li>Annise Rogers (Lincoln), Re-Making London: How William Blake and Ben Aaronovitch Present a Modern Metropolis<\/li>\n\n\n\n<li>Jason Whittaker (Lincoln), Maps of Hell: Visionary Cosmology in Dante, Blake and Gray<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Thursday 9am\u201310:30am<\/em><\/strong><\/h4>\n\n\n\n<p><strong>G1 \u2013 Making and Remaking the Gothic (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Sonia Hofkosh (Tufts)<\/em><\/p>\n\n\n\n<ul>\n<li>Samiha Begum (Sheffield), Reprints, Romance, and Reputation: Tracing Ann Radcliffe\u2019s Life and Writing<\/li>\n\n\n\n<li>Jakub Lipski (Kazimierz Wielki University), Delineating the Gothic Underplot in Jane Porter\u2019s <em>Thaddeus of Warsaw<\/em><\/li>\n\n\n\n<li>Laura Eastlake (Edge Hill), The Volcano and the Vampire: The Case for a Volcanic Gothic<\/li>\n<\/ul>\n\n\n\n<p><strong>G2 \u2013 Making Cultural Memory (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Mary Fairclough (York)<\/em><\/p>\n\n\n\n<ul>\n<li>Mao Chen (Skidmore), Romanticism in May Fourth Writing: Reassessing Chinese Modernity<\/li>\n\n\n\n<li>Andrew Lincoln (QMUL), Unmaking Public History, Making People\u2019s History: Scott\u2019s <em>Marmion<\/em><\/li>\n\n\n\n<li>Leith Davis (Simon Fraser), Remaking Romantic-Era Jacobitism Before Scott: Thomas Campbell&#8217;s \u2018Lochiel&#8217;s Warning\u2019 and Anne Grant&#8217;s \u2018The Highlanders\u2019<\/li>\n<\/ul>\n\n\n\n<p><strong>G3 \u2013 Romantic Science and Medicine <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Megan Coyer (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Sharon Ruston (Lancaster), Humphry Davy\u2019s Protean Poetics<\/li>\n\n\n\n<li>Joseph Crawford (Exeter), \u2018Burn the Doctors!\u2019: Making and Unmaking Public Health in &#8216;The Pestilence of Marseilles&#8217; (1829) and the British Cholera Riots of 1832<\/li>\n<\/ul>\n\n\n\n<p><strong>G4 \u2013 Making and Unmaking Gender (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Jordan Frederick (UNCC)<\/em><\/p>\n\n\n\n<ul>\n<li>Greta Colombani (Cambridge), The (Un)Making of Gender in Anne Bannerman&#8217;s Supernatural Poetry<\/li>\n\n\n\n<li>Jodie Marley (Independent), \u2018All Eternity shudder\u2019d\u2019: Gender Nonconformity and Prophecy in William Blake\u2019s Illuminated Books<\/li>\n\n\n\n<li>Carlisle Yingst (Harvard), Robert Kirby\u2019s <em>Life of Mary Anne Talbot<\/em> and the (Re)making of Gender in Romantic-era Print<\/li>\n<\/ul>\n\n\n\n<p><strong>G5 &#8211; Romantic Transnationalism (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Brecht de Groote (Ghent)<\/em><\/p>\n\n\n\n<ul>\n<li>Tristram Wolff (Northwestern), Unmaking the Will: Hazlitt on the Continent<\/li>\n\n\n\n<li>Diego Saglia (Parma), \u2018In some Town of Italy\u2019: Pisa, <em>The Liberal<\/em> and (Un)Making Liberal Discourse<\/li>\n<\/ul>\n\n\n\n<p><strong>G6 &#8211; Unmaking and Remaking Georgic in the Romantic Period (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Adam Bridgen (Durham)<\/em><\/p>\n\n\n\n<ul>\n<li>Tess Somervell (Oxford), Georgic for the Anthropocene in Jago\u2019s <em>Edge-Hill<\/em><\/li>\n\n\n\n<li>James Wood (UEA), Blake and the Georgics of the Plow<\/li>\n\n\n\n<li>James Metcalf (Manchester), \u2018All ploughd &amp; buried now\u2019: John Clare\u2019s Churchyard Georgic<\/li>\n<\/ul>\n\n\n\n<p><strong>G7 \u2013 Romanticism Beyond the Human (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Will Sherwood (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Brianna Nicole Frentzko (York), How Frankenstein\u2019s Creature Unmakes \u2018Humanity\u2019: Posthumanism in the Garden<\/li>\n\n\n\n<li>Alastair Hunt (Portland State), Fellow Creatures and Political Animals in Kant, Bentham, and Burns<\/li>\n\n\n\n<li>Tara Lee (Hong Kong), \u2018[A] kind of unfolding or unswathing\u2019: Making and Unmaking Blake\u2019s Exuvial Books<\/li>\n<\/ul>\n\n\n\n<p><strong>G8 \u2013 Roundtable: Romanticism and the Radical Left (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chairs: Valentina Aparicio (QMUL) and Deven Parker (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Holly Coleman (North Florida), The Art of Protest: Graffitied Reframings of Blake\u2019s Laoco\u00f6n and a Robert E. Lee Monument<\/li>\n\n\n\n<li>Thora Brylowe (UC Boulder), How to Blow Up the Author<\/li>\n\n\n\n<li>John-Erik Hansson (Universit\u00e9 Paris-Cit\u00e9), Reform and Revolution? William Godwin, 21st-century Anarchism, Education and Prefiguration<\/li>\n\n\n\n<li>Rory Edgington (Universitat Aut\u00f2noma de Barcelona), Dangerous Enthusiasts: Religious Transparence and Revolutionary Politics in Romantic Literature<\/li>\n\n\n\n<li>Gary Kelly (Alberta), Reading and\/as Revolutions<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Thursday 11am\u201312:30pm<\/em><\/strong><\/h4>\n\n\n\n<p><strong>H1 \u2013 Roundtable: Curious Travellers 2 &#8211; Thomas Pennant&#8217;s Scottish and Welsh Tours (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Rhys Kaminski-Jones (Wales)<\/em><\/p>\n\n\n\n<ul>\n<li>Mary-Ann Constantine (CAWCS)<\/li>\n\n\n\n<li>Alex Deans (Glasgow)<\/li>\n\n\n\n<li>Elizabeth Edwards (CAWCS)<\/li>\n\n\n\n<li>Nigel Leask (Glasgow)<\/li>\n<\/ul>\n\n\n\n<p><strong>H2 \u2013 New Directions in Labouring-Class Writing 2: Slavery and Resistance (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Ian Haywood (Roehampton)<\/em><\/p>\n\n\n\n<ul>\n<li>Roseanna Kettle (York), \u2018The short glory of terrestrial things\u2019: Luxury, Antiquity, and Descriptive Verse in Liverpool\u2019s Abolition Debate<\/li>\n\n\n\n<li>Franca Dellarosa (Aldo Moro University), The Narrative and the Archive: Researching Between the Lines<\/li>\n\n\n\n<li>Adam Bridgen (Durham), Making a Living and Taking a Stance: The Politics of Antislavery for the Scottish Naval Physician<\/li>\n<\/ul>\n\n\n\n<p><strong>H3 \u2013 Editing Mary Wollstonecraft <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Michelle Levy (Simon Fraser)<\/em><\/p>\n\n\n\n<ul>\n<li>Laura Kirkley (Newcastle), Editing <em>Of The Importance of Religious Opinions<\/em>: The Critical Connection Between Mary Wollstonecraft and Jacques Necker<\/li>\n\n\n\n<li>Mary Fairclough (York), Wollstonecraft, \u2018text work\u2019, and <em>The Female Reader<\/em><\/li>\n\n\n\n<li>Emma Clery (Uppsala), Editing Wollstonecraft\u2019s <em>Letters<\/em>: Unmaking the Godwinian Narrative<\/li>\n\n\n\n<li>Lisa Vargo (Saskatchewan), Contributions to the <em>Analytical Review<\/em>, 1788-1797<\/li>\n<\/ul>\n\n\n\n<p><strong>H4 \u2013 Making Romantic Celebrity (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Kirsteen McCue (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Omar F. Miranda (San Francisco), The Making of Global Celebrity<\/li>\n\n\n\n<li>Maria Gemma Silva Ferrandez (Stirling), The Making of Lord Byron: Discrepancies in Pictorial Representations<\/li>\n\n\n\n<li>Dan Wall (Aberdeen), The Battle of the Biographers: Moore, Galt and the Making and Re-Making of the <em>Life of Byron<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>H5 \u2013 Making Political Discourse 2: Reform and Revolution (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Sophie Thomas (Toronto Metropolitan)<\/em><\/p>\n\n\n\n<ul>\n<li>Haowei He (Edinburgh), The Rational, the Natural, and the Uncertain: The Making and Unmaking of Keats\u2019s Adornian Aesthetic Space<\/li>\n\n\n\n<li>Patrick Chester (QMUL), Rhizomes, Constellations and Anastrophe: Remaking Catastrophe in Friedrich Holderlin, Percy Bysshe Shelley and Joseph Mallord William Turner<\/li>\n\n\n\n<li>Michael Tomko (Villanova), Re-Making the Masque: The Politics of Enchantment in Leigh Hunt\u2019s \u2018Descent of Liberty\u2019<\/li>\n<\/ul>\n\n\n\n<p><strong>H6 \u2013 Fiction and Representation (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Katie MacLean (Stirling)<\/em><\/p>\n\n\n\n<ul>\n<li>Fiona Price (Chichester), Making and Unmaking Romantic Realities: Robert Bage and Jane Austen<\/li>\n\n\n\n<li>Nicky Lloyd (Bath Spa), A \u2018most gross imposture\u2019: Visual Perception and Narrative Deception in the Fiction of Charlotte Dacre<\/li>\n\n\n\n<li>Cleo O\u2019Callaghan Yeoman (Stirling\/Glasgow\/Edinburgh), \u2018\u2019Twas strange \u2013 \u2019twas passing strange!\u2019: Quotation as Code in the Novels of Susan Ferrier<\/li>\n<\/ul>\n\n\n\n<p><strong>H7 \u2013 Staging Romanticism (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Eva Lippold (Reading\/Open University)<\/em><\/p>\n\n\n\n<ul>\n<li>Bethan Elliott (York), \u2018Quietly setting me aside\u2019: Joanna Baillie and the Problems of Publication<\/li>\n\n\n\n<li>James Armstrong (CUNY), Staging Race in <em>The Death of Christophe King of Hayti<\/em><\/li>\n\n\n\n<li>Sarah Burdett (Cambridge), Making and Unmaking \u2018Scott\u2019-ishness: Sir Walter Scott\u2019s Dramas on the Dublin Stage<\/li>\n<\/ul>\n\n\n\n<p><strong>H8 \u2013 Making and Unmaking Poetic Forms 2 (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Deven Parker (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>Marc Gotthardt (Cambridge), Pirate Poetics: Byron and the Authoritative Edition<\/li>\n\n\n\n<li>David Sigler (Calgary), Making the Rules in Keats\u2019s \u2018There Was a Naughty Boy\u2019 and Hemans\u2019s \u2018Casabianca\u2019<\/li>\n\n\n\n<li>Mark Sandy (Durham), \u2018A Prismatic and Many-sided Mirror\u2019: The Poetics of Making and Unmaking in Shelley\u2019s <em>Prometheus Unbound<\/em><\/li>\n<\/ul>\n\n\n\n<p><strong>H9 \u2013 Romantic Waste 2 (<em>Lecture Theatre E (Room 611), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Madeline Potter (Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Alexander Freer (Edinburgh), Looking at the Stars Alone<\/li>\n\n\n\n<li>Merrilees Roberts (QMUL), Lamia and the Involuntary Body<\/li>\n\n\n\n<li>Tim Milnes (Edinburgh), \u2018Wallowing in the rubbish of departed ignorance\u2019: Romantic Waste and Epistemological Refinement<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><em>Thursday 1:45pm\u20133:15pm<\/em><\/strong><\/h4>\n\n\n\n<p><strong>I1 \u2013 Horti-culture: The Flowers and Gardens of Romanticism (<em>Gannochy Seminar Room 3, Wolfson Medical Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Francesca Saggini (Tuscia)<\/em><\/p>\n\n\n\n<ul>\n<li>Teresa R\u0105czka-Jeziorska (Polish Academy of Sciences), Out of a Love of Nature or Homeland?: Flowers, Stones and Gardens of Izabela Czartoryska, n\u00e9e Flemming (1746-1835) and Micha\u0142 Jan Borch (1753-1810)<\/li>\n\n\n\n<li>Thomas Robertson (Oxford), Charlotte Smith, Floral Form, and the &#8216;Orchis race&#8217;<\/li>\n\n\n\n<li>Francesca Orestano (Milan), Dorothy&#8217;s Plants and Flowers<\/li>\n<\/ul>\n\n\n\n<p><strong>I2 \u2013 Frankenstein Remade (<em>Room 430, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair:<\/em> <em>Sharon Ruston (Lancaster)<\/em><\/p>\n\n\n\n<ul>\n<li>Henry Mason (QMUL), \u2018A huge automaton in human form\u2019: Andrew Ure, Frankenstein and the Industrial Romantic<\/li>\n\n\n\n<li>Fiona Doxas (Oxford), Frankenstein: A Scientific Revolution of Faust<\/li>\n\n\n\n<li>Daniel Cook (Dundee), Unmaking <em>Frankenstein<\/em>: The Monster\u2019s Wife and Other Bride Fictions<\/li>\n<\/ul>\n\n\n\n<p><strong>I3 \u2013 Romantic-Period Exchanges between Britain and Latin America <\/strong><strong>(<em>Room 438AB, James McCune Smith Learning Hub<\/em>)<\/strong><strong><\/strong><\/p>\n\n\n\n<p><em>Chair: Honor Rieley (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>F\u00e9lix Flores Varona (Ciego de \u00c1vila), Lord Byron and the Making of Cuban Romanticism: Jos\u00e9 Mart\u00ed\u2019s \u2018Alfredo\u2019<\/li>\n\n\n\n<li>Valentina Aparicio (QMUL), Writing Creole Identities in Southey\u2019s <em>History of Brazil<\/em>: The Cases of Filipe Camar\u00e3o and Caramuru<\/li>\n\n\n\n<li>Arun Sood (Exeter), Scott, Scotland, and Cuba: Transnational Literary Entanglements and a Cuban Anti-Slavery Novel<\/li>\n<\/ul>\n\n\n\n<p><strong>I4 \u2013 Making Irish Romanticism (<em>Room 630, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Sonia Hofkosh (Tufts)<\/em><\/p>\n\n\n\n<ul>\n<li>Claire Connolly (UCC), Frieze Coats and the Fabric of Irish Romanticism<\/li>\n\n\n\n<li>Lucy Cogan (UCD), The Role of Alcohol in the Making and Unmaking of Irish Masculinity in Popular Folktales of the Romantic Era<\/li>\n<\/ul>\n\n\n\n<p><strong>I5 \u2013 Jane Austen and the Arts (<em>Room 639, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Hannah Moss (National Trust)<\/em><\/p>\n\n\n\n<ul>\n<li>Lauren Nixon (Nottingham Trent), Post Modern Moments: Austenmania and the Development of Genre<\/li>\n\n\n\n<li>Hannah Moss (National Trust), Reforming the Artist Heroine: Reading <em>Sense and Sensibility<\/em> (1811) as a response to West\u2019s <em>A Gossip\u2019s Story<\/em> (1796)<\/li>\n\n\n\n<li>Rita J. Dashwood (Ghent), Creators of Spaces: The Art of Owning, Managing, Inhabiting and Imagining Property in Jane Austen<\/li>\n<\/ul>\n\n\n\n<p><strong>I6 \u2013 Roundtable: Making the John Galt Edition (<em>Room 641, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Robert Irvine (Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Mark Schoenfield (Vanderbilt)<\/li>\n\n\n\n<li>Adam Kozaczka (Texas A&amp;M International)<\/li>\n\n\n\n<li>Angela Esterhammer (Toronto)<\/li>\n\n\n\n<li>Robert Irvine (Edinburgh)<\/li>\n\n\n\n<li>Craig Lamont (Glasgow)<\/li>\n\n\n\n<li>Clare A. Simmons (Ohio State)<\/li>\n\n\n\n<li>Leith Davis (Simon Fraser)<\/li>\n\n\n\n<li>Gerard McKeever (Edinburgh)<\/li>\n<\/ul>\n\n\n\n<p><strong>I7 \u2013 World-Making (<em>Room 734, James McCune Smith Learning Hub<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Tim Milnes (Edinburgh)<\/em><\/p>\n\n\n\n<ul>\n<li>Caroline Anjali Ritchie (Oxford), \u2018Where is earth?\u2019: Reading Global Vision and the View from Nowhere in Edward Young\u2019s <em>Night Thoughts<\/em> and William Blake\u2019s Designs<\/li>\n\n\n\n<li>Jeremy Davies (Leeds), World-Making in Thomas Lovell Beddoes<\/li>\n<\/ul>\n\n\n\n<p><strong>I8 \u2013 Collective Creations (<em>Lecture Theatre D (Room 513), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Matthew Sangster (Glasgow)<\/em><\/p>\n\n\n\n<ul>\n<li>David Lo (National Sun Yat-sen University), Wordsworth\u2019s Making of the Lyric We in <em>The Prelude<\/em><\/li>\n\n\n\n<li>Prue Shaw (UCL) and Luis Castellv\u00ed (Manchester), The Byron-Shelley Friendship in<em> Julian and Maddalo<\/em><\/li>\n\n\n\n<li>William D. Melaney (American University in Cairo), Vico and Romanticism: Literature, Poetics, History<\/li>\n<\/ul>\n\n\n\n<p><strong>I9 \u2013 Unfinished Work (<em>Lecture Theatre E (Room 611), Boyd Orr Building<\/em>)<\/strong><\/p>\n\n\n\n<p><em>Chair: Deidre Lynch (Harvard)<\/em><\/p>\n\n\n\n<ul>\n<li>Thomas H. Ford (La Trobe), Raymond Williams\u2019s Unwritten Romantic Histories<\/li>\n\n\n\n<li>Paul Keen (Carleton), \u2018To return from this digression\u2019: Exorbitant Hazlitt<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"853\" height=\"1024\" src=\"https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing-853x1024.jpg\" alt=\"\" class=\"wp-image-47\" srcset=\"https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing-853x1024.jpg 853w, https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing-250x300.jpg 250w, https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing-768x922.jpg 768w, https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing-1279x1536.jpg 1279w, https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing-1706x2048.jpg 1706w, https:\/\/bars.ac.uk\/conference2024\/wp-content\/uploads\/2023\/11\/Blake_God_Blessing.jpg 2000w\" sizes=\"(max-width: 853px) 100vw, 853px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>In-Person Programme The in-person elements of &#8216;Romantic Making and Unmaking&#8217; will primarily take place in the Wolfson Medical School Building, the James McCune Smith Learning Hub and the Boyd Orr Building (accessible via internal links from the James McCune Smith Learning Hub). On the campus map, these are buildings C8, D4 and D1. Scroll down [&hellip;]<\/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\/2"}],"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=2"}],"version-history":[{"count":29,"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":219,"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/pages\/2\/revisions\/219"}],"wp:attachment":[{"href":"https:\/\/bars.ac.uk\/conference2024\/wp-json\/wp\/v2\/media?parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}