Monthly Archives: November 2012

CFP: Nineteenth Century Numbers, BAVS Annual Conference

Edwardian scholars may be interested in the following CFP:

Nineteenth Century Numbers: British Association for Victorian Studies Annual Conference 2013

29-31 August 2013, Royal Holloway, University of London

‘The site of Mount Lee, Egham, consisting of ninety-five acres, was selected and conveyed to the trustees in May, 1876… [Royal Holloway] covers more ground than any other college in the world, forming a double quadrangle measuring 550 feet by 376 feet… The recreation hall, with its superb collection of pictures, cost upwards of £90,000… There are all modern sanitary appliances, and complete systems of electric and gas lighting, and steam heating… The College and Sanatorium together have cost considerably over one million sterling, the munificence of the benefactions being altogether without precedent in this country.’
– The Observer, 20 June 1886.

The BAVS conference 2013 will be held at Royal Holloway, University of London which was founded by the Victorian entrepreneur and philanthropist Thomas Holloway at Egham, Surrey in 1886. The College and the nearby former Holloway Sanatorium are products of surplus wealth accumulated in the course of Holloway’s activities as financier, in the large-scale manufacture of patent medicines, and in mass marketing – including advertising to Britain’s overseas colonies. While its theme reflects these institutional origins, the Conference aims to explore the relevance of numbers to nineteenth-century studies in a wide variety of ways. We welcome proposals for papers and panels which speak to the interdisciplinary conference theme broadly and innovatively. Continue reading

CFP: Romanticism at the Fin de Siècle

Edwardian scholars may be interested in the following CFP:

Romanticism at the Fin de Siècle

An international conference on collecting, editing, performing, producing, reading, and reviving Romanticism at the Fin de Siècle

Trinity College Oxford, 14-15 June 2013
Keynote Speaker: Professor Joseph Bristow (UCLA)

This conference places Romanticism at the core of the British Fin de Siècle. As an anti-Victorian movement, the British Fin de Siècle is often read forwards and absorbed into a ‘long twentieth century’, in which it takes the shape of a prehistory or an embryonic form of modernism. By contrast, Fin-de-Siècle authors and critics looked back to the past in order to invent their present and imagine their future. Just at the time when the concept of ‘Victorian’ crystallized a distinct set of literary and cultural practices, the radical break with the immediate past found in Romanticism an alternative poetics and politics of the present. Continue reading

CFP: Maverick Voices and Modernity

‘We Speak a Different Tongue’: Maverick Voices and Modernity

International Conference, St. John’s College, Durham University, UK, 5-6 July 2013

Plenary speakers: Professor Chris Baldick (Goldsmiths College, University of London) and Professor Michael O’Neill (Durham University)

With a focus on the fiction, poetry, and drama of the period 1890-1939, “Maverick Voices” registers the diversity of innovation beyond the traditionally defined boundaries of literary Modernism. Famously in “Mr. Bennett and Mrs. Brown” (1924), Virginia Woolf distinguishes between two literary camps: the Edwardians and the Georgians. By praising the Georgians and vilifying the Edwardians, Woolf privileges an aesthetic of what later became identified as Modernism against a continuing tradition of realism. This is indicative of both continuities and discontinuities – between Modernism and, in Yeats’s phrase, those different tongues of nineteenth-century sensibilities – which have prevailed as a persistent presence in much recent literary criticism.

“Maverick Voices” contributes to current debates about where the boundaries of literary Modernism should be drawn. Continue reading

CFP: Art, Anxiety and Protest in the Edwardian Belle Époque

‘Study of a Girl’ c.1910 by Maxwell Gordon Lightfoot

Call for Papers: Art, Anxiety, and Protest in the Edwardian Belle Époque; Graduate Student Symposium, Saturday, March 2, 2013
Yale Center for British Art, New Haven, Connecticut
www.britishart.yale.edu

The belle époque, the long summer garden party of the Edwardian afternoon, when there was a lightness in the air, when “the fruit was ripe and we were eating it”; all that was a class-based, wishful misremembering across the chasm of 1914–18. — Lisa Tickner, The Spectacle of Women: Imagery of the Suffrage Campaign, 1907–14

In retrospect it may seem a belle époque, but no époque is altogether belle to those who are living through it, and the Edwardian period shares our century’s right to appropriate Auden’s phrase, “The Age of Anxiety.” —Samuel Hynes, The Edwardian Turn of Mind

This one-day graduate student symposium considers the visual arts in Britain and its empire, America, and Continental Europe between 1901 and 1910—the era marked out by the reign of the British monarch Edward VII—in relationship to the intersecting social, economic, sexual, political, and psychological tensions and anxieties of the period.

The opening decade of the twentieth century is still often perceived as a golden age of luxury, glamour, and relative social stability, before the cataclysm of World War I. The historian George Dangerfield, investigating the “strange death of liberal England,” conversely argued in 1935 that it was also a period of crisis that saw, inter alia, an upsurge in militant trade unionism, the agitation for women’s suffrage, the origins of fascism, impending constitutional crisis, and imperial unrest. Similar tensions were felt across Europe and the Americas during this transitional period. Continue reading

Review: A Life of Jerome K. Jerome

Carolyn W. de la L.Oulton, Below the Fairy City: A Life of Jerome K. Jerome (Victorian Secrets, Brighton, 2012)

The English writer Jerome K. Jerome is usually remembered for one book: his 1889 novel Three Men in a Boat, which was immensely popular in its day, and continues to spawn countless adaptations and homages. This is no surprise: the book still reads like a handbook for the modern observational comic, with its sharp one-liners about hypochondria, DIY, consumerism and dogs. Despite its meandering, anecdotal tone, the book more than holds its own against competitors, from George Grossmith to P. G. Wodehouse and, later, Nancy Mitford; not least because its perspective is not that of the upper-class twit, or self-important middle-class, but of a proud lower-middle class: a world Jerome K. Jerome knew, and knew better than to patronise. In siding with this class, Jerome risked mockery – Punch referred to him, scathingly, as a ‘cockney pilgrim’, whilst others branded his work ‘vulgar’ – but he also garnered a huge, appreciative audience, becoming a leading figure in what was termed, a little lazily,  ‘The New Humour’. Continue reading

1913: The Shape of Time

Opening next week at the Henry Moore Institute in Leeds:

1913: The Shape of Time. Institute exhibition
22nd November 2012 – 17th February 2013
Galleries 1, 2 and 3

1913 was an extraordinary year in the histories of modern European art, seeing artists explore increasingly experimental ways of representing the complex life of the modern world. This year produced thinking that would resonate its way through the future. It saw Guillaume Apollinaire’s Cubist Painters, the start of the publishing life of Marcel Proust’s Remembrance of Things Past, Sergei Diaghilev’s The Rite of Spring, Roger Fry’s Omega Workshops and the Armory Show in New York. 1913 witnessed international discussion of the 24-hour clock (which was adopted in France the year before) and the division of the globe into sequential and simultaneous time zones. The dominant theoretical concept of the year was simultaneity, an idea taken by many artists to advocate greater abstraction, multi-perspective viewpoints and simultaneous renditions of memory, intuition and experience. Continue reading

Emily Wilding Davison Memorial Campaign

Edwardian scholars may be interested in the following petition:

On 4th June 1913, Suffragette Emily Wilding Davison ran in front of the King’s horse during the Epsom Derby and was knocked unconscious. She died of her injuries four days later having never regained consciousness. Acting on the suffragette slogan ‘Deeds not Words’, Davison’s protest against the refusal of Britain’s rulers to grant votes for women made her a martyr for democracy and women’s rights.

A hundred years on from Emily Davison’s last protest we still face inequality and oppression. It’s vital that the sacrifice she made in the fight for democracy and women’s rights is remembered.

The Emily Wilding Davison Memorial Campaign has been set up to campaign for a minute’s silence at the 2013 Derby Day in her memory. We will be organising several high-profile events throughout the year and linking in with cultural commemorative works. Sign the petition here.

Programme: The Art Press in the Twentieth Century

 

The final programme of the conference ‘The Art Press in the Twentieth Century’ has just been released. See below for more details. To register for the conference please see the conference website.

The Art Press in the Twentieth Century: History, criticism and the art market in magazines and journals

A one-day conference organised by Sotheby’s Institute of Art and The Burlington Magazine, 1st February 2013 at Sotheby’s Institute of Art, 30 Bedford Square, London WC1B 3EE

SESSION 1: 1890–1929

Chaired by Ysanne Holt (University of Northumbria) and Barbara Pezzini (The Burlington Magazine)

Meaghan Clarke (University of Sussex) – The art press at the fin-de-siècle: women, collecting and connoisseurship

Yu-Jen Liu (Academia Sinica) – Art, reproduction and the market: the politics and poetics of Chinese art illustration 1908–11

Poppy Sfakianaki (University of Crete) – Promoting the value(s) of Modernism: the interviews of Tériade and Zervos with art dealers in Cahiers d’art, 1927–28 Continue reading

Resource: The London Gallery Project

Commercial galleries in London were central to the Edwardian art scene; it was here that many major exhibitions of the age were staged (The Post-Impressionists, The Camden Town Group, The Futurists), and where many modern artists were given their first opportunity to hold solo exhibitions. The period 1895-1914 also saw the foundation of several important spaces, including the Leicester Galleries, the Sackville, and the Carfax Gallery.

The rise of the modern art market in London has gained a good deal of scholarly attention in recent years, with a raft of excellent publications. These are now supported by an online resource, The London Gallery Project, which acts as a research repository and visualization of the history of the commercial art gallery in London, c. 1850-1914. At the heart of the web-page is an inter-active map, which charts the movement of these gallery spaces over time and in relation to other spaces, such as artists’ residences, stores, and museums. An extensive bibliography is also included.

The project is based at Bowdoin College, under the direction of Professor Pamela Fletcher. The research and technological application are an on-going process, and the project welcomes scholarly contributions and feedback.

CFP: Uneasy Neighbours?: Rural-Urban Relationships in the Nineteenth Century

Edwardian scholars may be interested in the following CFP:

Uneasy Neighbours?: Rural-Urban Relationships in the Nineteenth Century

An International Interdisciplinary Conference, 20 September 2013
Centre of Nineteenth-Century Research, University of Southampton

KEYNOTE SPEAKER: KEITH D.M. SNELL, Professor of Rural and Cultural History, University of Leicester

The relationship between urban and rural communities in the nineteenth century was increasingly strained by the unprecedented rate and scale of social, industrial, technological and economic change worldwide. Cities demanded ever more from agriculture, while rural populations decreased; country life and work were changed by mechanisation and industrialisation, while newcomers to the cities had to adjust to alien ways of living and conditions of employment; poverty was commonplace in both the countryside and the cities, while the newly wealthy became landowners and urban leaders. Continue reading