Emily Rohrbach (University of Manchester) will be presenting her paper, ‘Voice and Dispossession: A Comparative Poetics’, at 5.30pm on Tuesday, 8 November 2016. The talk will take place in the Cardiff University’s John Percival Building, Room 2.03, and will be followed by a wine reception.
This talk draws from her current work on voice and dispossession in ‘Gothic’ literatures from Britain and Europe to the Americas, which examines not only to plot elements and themes of dispossessed voices but also aspects of narrative voice that dramatise self-reflexively its own otherness. That otherness concerns less the transcendence or divine quality of poetic inspiration than the imagination of textual circulation and influence in the Romantic period and the nineteenth century on both sides of the Atlantic. (more…)
When I met Jennie Batchelor (University of Kent) in the CEIR office about an hour before she was due to speak, it was with an air of excitement that she, jokingly, asked if the paper could wait: she was having far too much fun in Cardiff’s Special Collections and Archives, examining copies of The Lady’s Magazine. Her research into this publication is part of a two-year Leverhulme-funded project entitled ‘The Lady’s Magazine (1770–1818): Understanding the Emergence of a Genre’, which aims to provide a bibliographical, statistical and literary–critical analysis of one the first recognisably modern magazines for women. The project aims to produce a host of publications about the contents of and contributors to the magazine, as well as a fully annotated index available online. Thankfully, Batchelor did go ahead with the talk in Cardiff, offering fascinating insights into The Lady’s Magazine and its position in romantic print culture. (more…)
Jennie Batchelor (University of Kent) will be presenting her paper, ‘“The world is a large volume”: The Lady’s Magazine and Romantic Print Culture’, at 5.30pm on Tuesday, 1 December 2015. The talk will take place in the Cardiff University’s John Percival Building, Room 2.01, and will be followed by a wine reception.
This talk examines the position of the Lady’s Magazine: or Entertaining Companion for the Fair Sex (1770–1832) in Romantic-era print culture and the scholarship surrounding it. Aside from the periodical’s extraordinary popularity and longevity, a number of ambitious claims have been made for the Lady’s Magazine’s historical and literary importance. Chief amongst these is Edward Copeland’s 1995 claim that the Lady’s Magazine defined women’s engagement with the world in the Romantic period. This argument is as seductive as it is unsubstantiated. Eighteenth-century periodicalists commonly overlook the title, which emerges after the often lamented if somewhat exaggerated demise of the essay-periodical epitomised by The Tatler and The Spectator. Romanticists, meanwhile, have tended to privilege the self-professedly ‘literary’ magazines of the turn of the century, in which writers such as Hazlitt and Scott, well known for their work in other more canonical genres, were involved.
This paper seeks to address this oversight by explicating how the magazine self-consciously and strategically positioned itself in relationship to the wider and highly competitive literary marketplace in which it thrived against the odds. In making these claims, I draw on initial research findings from our two-year Leverhulme-funded Research Project Grant: ‘The Lady’s Magazine (1770–1818): Understanding the Emergence of a Genre’. The project offers a detailed bibliographical, statistical and literary-critical analysis of one of the first recognisably modern magazines for women from its inception in 1770. In its three-pronged book history/literary critical/digital humanities approach, the project, like this talk, aims to answer two main research questions: 1) What made the Lady’s Magazine one of the most popular and enduring titles of its day?; 2) What effects might an understanding of the magazine’s content, production and circulation have upon own conceptions of Romantic-era print culture, a field still struggling fully to emerge from the shadows of canonical figures and genres? (more…)