CSECS/NEASECS 17
October 18-22, 2017, Toronto, Canada
"From Cosmopolitans to Cosmopolitanisms"

Proposals for papers should be sent directly to the panel chairs. Please include a 150-word abstract and a 150-word biographical statement (including your email address, your affiliation, status [e.g. student], and membership [CSECS or NEASECS]). You should also let the panel chair know of any audio-visual needs and special scheduling requests.

Panel chairs have until 15 March to send the names of participants, their e-mail addresses, biographies, and the titles and abstracts of their papers to the CSECS/NEASECS 2017 organizing committee (csecs2017@utoronto.ca). You should also let us know of audio-visual needs and special scheduling requests for the panel. If panels are over- or under-subscribed, chairs are strongly encouraged to communicate with CSECS 2017. If the panel is over-subscribed, it might be possible to create a second panel, for instance.

Our societies’ rules permit members to present only one paper at the joint meeting. Members may, in addition to presenting a paper, serve as a respondent or as session chair, or participate in a pedagogy panel or as a roundtable discussant. All participants must be members in good standing of either CSECS or NEASECS.

All individual paper proposal(s) that cannot fit into a panel will be warmly considered by the organizing committee.

List of Proposed Panels

Representing Beauty
Terry F. Robinson, University of Toronto; Email: terry.robinson@utoronto.ca

This panel will examine representations of beauty by eighteenth-century philosophers, authors, aesthetes, and/or artists.  It invites papers offering new insight into the definition and depiction of beauty, whether in its affiliation with taste, in its opposition (or not) to the sublime, in figures such as the Venus de’ Medici, in the mediums of caricature and portraiture, in the promotion of goods and fashions, and so on.

The Bubble Year (1720) and the Cultural Marketplace
Joyce Goggin, University of Amsterdam; E-mail: j.goggin@uva.nl

This panel responds to questions concerning how the practical experience of intercultural communication and exchange arose from increased commerce and its impact on the cultural marketplace. More specifically we will address Pieter Langendijk’s Dutch theatrical comedies, written and performed in Amsterdam in 1720, during the year of the economic bubbles, which had an enormous impact on practices of intercultural exchange across Europe. Moreover, because involvement in the schemes that fed the bubble was concentrated largely in England, France, and the Netherlands, the crisis led both to the assertion and critique of cosmopolitan identity, the circulation of goods and peoples that impinge the theorization of the desire for identities beyond that of nation, and the specific representation of cultural contact, cultural difference and exchange. 

Alexandre-César Chavannes, Cosmopolitan of the 18th Century. Dialogue between Ethnographical Images and Objects through the Text of the Anthropologie ou Science générale de l’homme
Claire Brizon, University of Bern; E-mail: claire.brizon@ikg.unibe.ch
Sara Petrella, University of Bern; E-mail: sara.petrella@ikg.unibe.ch  

Alexandre-César Chavannes, célèbre pour avoir été l’inventeur du mot « anthropologie » et considéré parmi les précurseurs de cette discipline, a cherché à mettre au centre de sa « science générale » l’humanité, définie comme une « espèce répandue sur le globe», tout en considérant l’homme dans toute la diversité et les particularités des « différents corps de métiers ou de nations (...) plus ou moins civilisés », à travers l’« ethnologie ». En dépit du fait que l’Anthropologie ait fait l’objet de nombreuses études, le rôle des images et des objets, pourtant central pour appréhender la réflexion cosmopolite de l’érudit lausannois, n’a jamais été soulevée. En plus d’une analyse approfondie du rôle de l’image ethnographique et des sources iconographiques de Chavannes (récits de voyage et fictions), il sera question de présenter ses fonctions de bibliothécaire et de conservateur à l’Académie de Lausanne, où il participa à l’enrichissement des collections (livres, naturalia, objets antiques et ethnographiques). Cette allocution à deux voix sera ainsi l’occasion de discuter le rôle de l’image (des livres) et des objets (des collections) dans la diffusion d’une perspective cosmopolite en Europe, aux origines de l’anthropologie.

“America” in English Fiction: Advertising, Adventure, Calamity
David McNeil, Dalhousie University; E-mail: dmcneil@dal.ca

In Hogarth’s “The Times” (Plate 2), there is a sign which reads, “Alive from America”—presumably a reference to the exhibition of Amerindians in London.  Advertising the new world was all about capitalizing on basic human curiosity.  The purpose of this proposed session is to explore the contradiction between the promotional and satirical depictions of America in the English novel: 1689-1796.   Versions of the promotional tract discourse (i.e., America as opportunity) and demonized narrative (i.e., America as calamity) can be located from Aphra Behn’s Oroonoko to a number of novels from the 1790s. “America” for many British novelists was a fantastic setting to dramatize human endeavor.  

Le cosmopolitisme au féminin
Francesca Fiore, Queen’s University; E-mail: francesca.fiore@queensu.ca

Interdites du droit de cité, les femmes au XVIIIe siècle demeurent simplement, de par leur nature, des « vertueuses citoyennes », voire des épouses de citoyens. Ainsi, l’idéal cosmopolitique du « citoyen du monde », qui, en réalité, ignorait son composant féminin, portait en soi une contradiction. Toutefois, cette figure générique (et sans genre), censée transcender les diverses frontières et différences, finit par prôner une certaine égalité et universalité inattendues à l’égard des femmes – bien que cela ne se traduise que symboliquement. En effet, ce concept remis en avant par les Lumières, suscite une participation féminine aux échanges interculturels et politiques. Les nouveaux lieux de sociabilité et d’interaction intellectuelle, tels les salons et les loges maçonniques, ainsi que la diffusion de la littérature de contact, donnent lieu à une certaine conscience de la différence culturelle, et donc à une conscience de soi. Salonnières, écrivaines et lectrices, les femmes se sont, grâce au livre, adonnées à ce partage cosmopolite et ont contribué à de nouvelles conceptions des rapports intersubjectifs entre nations. Les femmes au siècle des Lumières épousent donc ce nouveau sens d’appartenance à la communauté internationale, ce qui s’avère émancipatoire.

Dans cette séance thématique, nous envisageons d’étudier les enjeux du cosmopolitisme au féminin. Qui sont les femmes cosmopolites et quel rôle jouent-elles ? Comment leurs écrits témoignent-ils de cette curiosité cosmopolite ? Leur combat accélère-t-il l’accession à un statut juridique favorable aux femmes ? En définitive, c’est à travers une étude de l’écriture féminine que nous discuterons de la théorie et de la praxis du cosmopolitisme féminin et de l’importance de celui-ci pour l’histoire littéraire.

Les communications, en français ou en anglais, pourront être issues de divers domaines (la littérature, les études féminines et de genre, la religion, l’histoire, la philosophie, etc.).

De la République des Lettres au cosmopolitisme (17e-18e siècle)
Sébastien Drouin, University of Toronto; E-mail: sdrouin@utsc.utoronto.ca 

Ce panel vise à interroger un important problème d’interprétation lié au concept même de cosmopolitisme : celui faisant de la res publica litteraria humaniste et classique des catégories historiographiques ayant contribué à l’apparition du concept de cosmopolitisme dans l’Europe du XVIIIe siècle. Il s’agira dès lors de proposer des modèles de lecture comparatiste  de phénomènes distincts, mais qui participent peut-être bel et bien du même effort de théorisation d’un espace intellectuel et politique commun. La République des Lettres telle que la connaît Guillaume Budé n’est évidemment pas celle de Gabriel Naudé et encore moins celle de Voltaire. Néanmoins, il est fort vraisemblable que l’idée que le 18e siècle se fait du cosmopolitisme s’enracine  dans ce passé à la fois proche et lointain. Du citoyen de la République des Lettres au cosmopolite des Lumières, il y a toute une tradition historiographique que nous comptons mettre en perspective.

Translation as Cosmopolitan Practice
Claire Baldwin, Colgate University; E-mail: cmbaldwin@colgate.edu

To what extent is translation a cosmopolitan practice? How do untranslatables enhance or hinder cosmopolitanisms? Do the tensions between circulation, mediation, adaptation, and appropriation of specific works and contexts through translation influence positions on cosmopolitanism? This panel seeks papers that explore theories and forms of eighteenth-century translation as they reflect on conceptions of cosmopolitan practice. 

Cosmopolitan Knowledge
Claire Baldwin, Colgate University; E-mail: cmbaldwin@colgate.edu 

This panel will consider forms and the formation of what can be considered as eighteenth-century cosmopolitan knowledge. From new conceptions of Bildung and educational theories to the establishment and enhancement of transnational scientific networks to the development and elaboration of cosmopolitan perspectives through cartography and narrative – cosmopolitan knowledge took shape in these ways and more. Papers that address the topic of what constitutes and forms cosmopolitan knowledge are welcome.

Les observations sur la rencontre des cultures dans les œuvres et les lettres de Mme de Graffigny
Dorothy P. Arthur and Diane Beelen Woody, Graffigny Project, University of Toronto;
E-mail: penny.arthur@utoronto.ca et dwoody@yorku.ca

Nous invitons des communications sur la rencontre des cultures dans les œuvres littéraires et les lettres de Françoise de Graffigny. On pense naturellement au comportement et aux observations de Zilia, héroïne des Lettres d'une Péruvienne, enlevée et déplacée en France, mais les lettres de Mme de Graffigny elle-même, née en Lorraine et transplantée à Paris, permettent de sonder les dimensions et tensions du cosmopolitisme entre 1739 et 1758. Sa Correspondance date de ses années à la cour de Lunéville et trace ses liaisons étroites avec les cours de Bruxelles, Vienne et Versailles et même Bayreuth. On trouve dans ces lettres d’amples renseignements sur le réseau des Lorrains à Paris et sur celui des Britanniques exilés en France ; sur le monde diplomatique ; sur les nombreux voyageurs de divers pays qui se présentent chez Mme de Graffigny ; sur l'influence de l'Angleterre dans la littérature, les sciences et la vie politique ; sur l'influence de l'Italie dans le théâtre, les beaux-arts et la musique ; sur l'importance des modes orientales et de l'exotisme ; et sur l'envoi des nouveautés littéraires et des objets de luxe à travers les frontières.

Visions du dix-huitième siècle dans la culture populaire globalisée
Guy Spielmann, Georgetown University; E-mail: spielmag@georgetown.edu

Si les études dix-huitiémistes semblent perdre de l'importance dans le milieu universitaire, le dix-huitième sIècle reste très présent au cinéma, dans la littérature contemporaine, dans la bande dessinée, au théâtre, voire dans la dans la comédie musicale (extraordinaire succès de Hamilton : An American Musical sur Broadway), le jeu vidéo (Assassins' Creed), mais aussi dans la mode ou encore le maquillage : la star planétaire Rhianna, lançant une ligne de prêt-à-porter en septembre 2016, ne se référait-elle pas à Marie Antoinette ? Cet exemple, parmi des centaines d'autres, montre bien combien la vision contemporaine du dix-huitième sIècle dans la culture populaire s'est cosmopolitisée : Rhianna, originaire de la Barbade et installée aux États-Unis, envisage l'époque à travers une Autrichienne devenue reine de France. Un Allemand, Michael Sturminger, a récemment tourné à Lisbonne un film en anglais basé sur l'Histoire de ma vie écrit en français par le Vénitien Giacomo Casanova, interprété par l'acteur américain John Malkovich (Casanova Variations, 2014). Un Japonais, Masakatsu Adachi, a écrit un roman sur le bourreau Charles-Henri Sanson (Shikei Shikkônin Sanson), dont son compatriote Shin-Ichi Sakamoto a tiré en 2013 un seinen manga (bande dessinée pour hommes adultes) à succès sous le titre Innocent (Inosan).

Cette séance nous donnera l'occasion de nous interroger sur l'ampleur et la signification de ce phénomène sur les plans sociologique, esthétique, intellectuel ou même politique. Pourquoi des gens qui ne sont ni historiens ni dix-huitiémistes professionnels ressentent-il à ce point le besoin d'évoquer le dix-huitième sIècle ? Pourquoi choisissent-ils/elles de se focaliser sur des personnages ou des épisodes qui n'appartiennent pas à leur propre héritage culturel ? Quel est l'effet de ce cosmopolitisme sur la vision du dix-huitième sIècle auprès du grand public, et sur notre propre rapport—nous, chercheurs et « spécialistes » patentés—à notre objet d'étude ?

Priorité sera donnée aux communications—impérativement en français—qui développent une véritable problématique en résonnance avec le théme du colloque.

“Enlightened” Academic Leadership: Eighteenth-Century Scholars as Administrators” (Roundtable)
Joseph Bartolomeo, University of Massachusetts Amherst;             E-mail: bartolomeo@hfa.umass.edu

While no one in our field has (yet) replicated the career path of Wilbur Cross, the biographer of Fielding and Sterne who was elected Governor of Connecticut after retiring from Yale, a great many have served as department chairs and deans, or in other administrative roles.  This roundtable will consider the challenges and (less obvious) opportunities that administration poses for individual scholarship and for other contributions to the field.  In what ways can administration and scholarly activity complement or reinforce each other?  Does the study of the eighteenth century offer any particular advantages or resources for those engaged in academic leadership?  Please send abstracts for brief (5-10 minute) presentations along with a CV that includes administrative positions held.

Spaces of Law and Justice
Melissa Bissonette, St. John Fisher College; E-mail: mbissonette@sjfc.edu

This panel will explore the physical (or metaphysical) locations where justice operated in the 18th century.  Paintings, operas, newspapers, and novels both European and American attest to the accessibility and fluidity sometimes found in and between these spaces.  Whether exploring official justice (with a judge) or unofficial justice (with a mob), geography or philosophy, the papers on this panel should address how law and/or justice were situated in a particular context. 

Foreigners in London
Andrew Bricker, University of British Columbia; E-mail: andrew.bricker@ubc.ca  
Stephanie DeGooyer, Willamette University; E-mail: sdegooye@willamette.edu

England experienced a wave of migrants during the seventeenth and eighteenth centuries: thousands upon thousands of foreigners, from all over Europe, Africa, India and elsewhere, were suddenly resident in London. What did it mean to be foreign in England? How did migrants themselves experience their foreignness? How did they adapt or negotiate their status as outsiders? What, in turn, did Britons make of this sudden influx of ostensible outsiders? This panel seeks 15- to 20-minute papers on any aspect of foreigners in London and England during the eighteenth century: how they arrived, how they lived, what they thought of Britain and the British, and how Britons understood and represented them. We welcome a variety of approaches from all disciplines.

Advertising Cosmopolitanisms
Darryl P. Domingo, University of Memphis; E-mail: dphnrhnd@memphis.edu

The text of Jonathan Swift’s “Description of a City Shower” (1710) famously concludes with a triplet that onomatopoeically describes the filth of commercial London flowing into the Fleet River: “Sweepings from Butcher’s Stalls, Dung, Guts, and Blood, / Drown’d Puppies, stinking Sprats, all drench’d in Mud, / Dead Cats and Turnip-Tops come tumbling down the Flood.”  Yet as Janine Barchas has shown, the text of the periodical in which the poem first appeared, Tatler No. 238, extends the satire on “material excess and overflowings” into the copious “Advertisements” that “irrigate” the verso page.  Ranging from notices for “excellent French Bourdeaux” and “Foreign Bohee-Tea” to puffs for flint “Drinking Glasses” and “All Sorts of fine Silks and Mercery Goods,” the ads combine foreign and domestic manufacture in such a way as to exemplify Britain’s complicated stake in an increasingly global economy.  This panel invites papers that explore the various ways in which newspaper advertisements negotiate commercial trade and participate in intercultural exchange between competing nations.  What can we learn about eighteenth-century conceptions of cosmopolitanism from the advertisement columns of the period?

Military Cosmopolitanisms
Justin C. Gage, U.S. Military Academy Preparatory School;            E-mail: Justin.gage@usma.edu

This panel invites papers that consider the cultural, philosophical, or aesthetic significance of cosmopolitanism in eighteenth-century military life. Among others, possible topics are globalizing trends in warfare or military science; cosmopolitan aristocracy and nationalism in the officer classes; international correspondence, travel, or trade during war; the transnational circulation of arms, cannons, and ships; foreign volunteer service or foreign legions; colonial formations or “private” armies; the treatment of POWs; the role of warships in international trade or cultural exchange; paramilitary endeavors, including privateering or piracy. Any military person, event, or idea that cuts across or outside national allegiances of the long eighteenth century would be fair game. Papers in military history, art, literature, music or other disciplines are welcome, with interdisciplinary approaches particularly so.

Visual and Material Cultures of Eighteenth-Century Cosmopolitanism
Rose Logie, Rhode Island School of Design; E-mail: rlogie@risd.edu

From Antoine-Laurent-Thomas Vaudoyer’s design for A House for a Cosmopolitan (1783), to the portraits and pastels of Jean-Étienne Liotard (1702–1789), a Swiss artist who, after a five-year sojourn in the Ottoman Empire, cultivated an identity as a “Turkish Painter,” this panel invites proposals for papers that investigate the ways in which claims to cosmopolitan subjecthood shaped eighteenth-century art, architecture, and material culture. How were notions of world citizenship structured, inscribed, engendered, and critiqued in art, fashion, collecting practices, ceremonies, and spaces, both public and private? How did the promulgation of a cultural identity beyond that of a single state or region simultaneously acknowledge difference while negotiating internal contradictions? As a topic of renewed urgency in our current era of political “-exits” and rising nationalism, this panel welcomes proposals for papers that probe the visual and material dimensions of cosmopolitanism as a means to elucidate how the globally attentive actors of the eighteenth century manifested and asserted their “worlding” desires.

Satire and Empire
Katherine Mannheimer, University of Rochester; E-mail: katherine.mannheimer@rochester.edu

This panel will explore satires aimed at the various effects of empire: its process, its products, its effects on the colonizers as well as colonized. Considerations of verse satire, prose satire, visual satire, or other forms are all welcome.

Crime and Narrative
Chris Mounsey, University of Winchester; E-mail: chris.mounsey@winchester.ac.uk

Late seventeenth and early eighteenth century newspapers are remarkable for the number of accounts of crimes. The same period was remarkable for the foundation of the novel as the major form of literary expression. This panel will explore the links between these two.

In the factual descriptive prose of the novel, the “bill of fare” is designed to bring an “object home to us in all its concrete particularity,” as well as to place that object in space and time: it exists as a form which provokes us to believe there is something outside the text. These are Ian Watt’s words used to describe the language of the novel, and which Jill Campbell wisely directs towards newspaper advertising. Contrary to Watt, Campbell argues that where the object described in the novel always remains abstract and of the mind, in the newspaper, language is not designed solely to enter readers’ minds in order to “understand other people’s motives, to manipulate them and to arouse emotion, but also to elicit action towards the particular, concrete object.”

But the newspaper was not solely made up of advertisements, it also told the truth (or what passed as the truth) of real events and real crimes. What is the relationship between the newspaper’s truth and the novel’s lie?

All the World’s a Stage
Daniel O’Quinn, University of Guelph; E-mail: doquinn@uoguelph.ca

The efflorescence in Restoration and eighteenth-century theatre studies has lead many scholars to rethink fundamental components of our discipline.  New critical problematics pertaining to mediation, temporality and politics have put performance-based analysis on the leading edge of numerous discussions.  The integration of performance studies into pedagogical practice is already transforming how we teach this transient archive.  And the sheer acceleration in interest in the eighteenth-century stage has lead to important experiments in re-activating the repertoire in contemporary theatre settings.  This roundtable seeks reflect upon these critical, pedagogical and performative developments in order to better direct future practice.

Is the Theatre a Cosmopolitan Space?
Daniel O’Quinn, University of Guelph; E-mail: doquinn@uoguelph.ca

One could argue that the patent theatres and the opera house were among the most cosmopolitan spaces in eighteenth century London.  The personnel of Covent Garden, Drury Lane and the King's Theatre were a remarkably pan-European crowd, especially when one attends to the ebb and flow of singers, musicians, dancers and scene painters from season to season.  Similarly, the audiences at these venues frequently brought subjects from near and far into close contact with regular British theatregoers.  Some of our most vivid accounts of the London theatre come from tourists or involve the conspicuous presence of foreigners.  This panel is interested in papers that address any aspect of this socially mixed environment in order to explore what could be called "practical cosmopolitan relations" and their resulting impact on performance and representation. 

Operatic Cosmopolitanism
Daniel O’Quinn, University of Guelph; E-mail: doquinn@uoguelph.ca

Is there a more cosmopolitan art form than eighteenth century opera seria?  This panel solicits papers that address opera's rather unusual status as a constant example of counter-nationalism.  We know that opera often became a flashpoint for resistant nationalist sentiment and that that resistance could be be expressed directly against specific performers and composers or indirectly against specific stylistic conventions and plot devices.  Participants are invited to consider the manifestation of these issues either within specific works or more generally through a consideration of the controversy they generated.

The Spatial Fantasies of Cosmopolitanism
Daniel O’Quinn, University of Guelph; E-mail: doquinn@uoguelph.ca

This panel seeks to explore the imagined territories implied by cosmopolitan desires.  Does cosmopolitanism rely on existing spatial models of nation and empire to make itself visible?  Does being a citizen of the world imply a radical break with prevailing representations of space?  Can spatial fantasies of the world overwrite the experience of locality?  Papers that address these questions or similar conundrums are welcome. 

Visualizing the Social World
Daniel O’Quinn, University of Guelph; E-mail: doquinn@uoguelph.ca

Throughout the eighteenth century painters, engravers and other visual practitioners attempted to capture the wide range of human diversity and human sociability. At one end of this visual spectrum we have costume albums, proto-ethnographic illustrations, maps and travel publications; on the other, we can point to quite exalted examples of history painting and portraiture.  This panel seeks to explore the "worlding effect" of these quite diverse visual practices.  Do these practices and works participate in the segmentation of the world and its people, or do they generate possible occasions for imagining transnational, cosmopolitical sociability?

“… They called him Macaroni…”: Cosmopolitanism and Clothing in the Long 18th Century”
Kristin O’Rourke, Dartmouth College; E-mail: Kristin.O'Rourke@dartmouth.edu

Hyper-fashionable dress and cosmopolitan demeanor were admired as well as satirized in the 18th century. Figures such as the Macaroni in England or the “Incroyables” in France were the more extreme, often ridiculous versions of the stylish dandy and the elegant lady. Conduct manuals offered lessons in behavior and tailors/seamstresses touted the newest designs and accessories; anyone of means could therefore acquire the latest trends but perhaps not the personal style to go along with it. This panel seeks papers that explore visual, literary, theatrical, or pop cultural representations of fashionable and glamorous dress and behavior in the 18th century. Whether sincere and flattering or mocking and critical, the cultural representations of the dandy reveal the connections between and attitudes towards fashion, urbanity, leisure, and status at this time.

Never have I ever: A new round on issues in teaching the eighteenth century (Pedagogy panel)
Tiffany Potter, University of British Columbia; E-mail: Tiffany.potter@ubc.ca

Following up on the success of the 2016 round, this panel will again use the structure of the truth game so loved by our students to invite discussion of challenges and strategies in teaching in eighteenth-century studies in the current era. Last year’s topics included teaching sexual or racialized content, teaching religious content, and resolving student misunderstandings of concepts of emotion and affect. This year’s panel seeks proposals on any topic related to the practice of teaching eighteenth-century studies, including but not limited to pedagogy, assignments, students, administrations, budgets, governments that may or may not value what we do, and decisions around course content (long novels? controversial or upsetting plays? texts we know students will hate? And can anyone teach long poems anymore?).

Please propose a topic that you feel will be of interest to a range of teachers in our broad area.

Each of four presenters will offer a five-minute overview of their issue of interest, and participate in a moderated discussion of their topic.

NB: conferencegoers may present in one pedagogy panel in addition to giving a research paper in another session

The Two R’s: Calls for “Relevance” and “Relatability” in the Classroom (Pedagogy panel)
Tiffany Potter, University of British Columbia; E-mail: Tiffany.potter@ubc.ca

One of the most exasperating questions we might encounter in the classroom or the university budget meeting is how eighteenth-century studies is “relevant” to students and to the world of work. A similarly exasperating element in student essays and discussion might be criticism driven by a belief that texts or characters need to be “relatable” to warrant attention.

This panel seeks 15- to 20-minute papers that present teaching strategies that address these demands without sacrificing critical rigour or the complexity of our fields and work. Course design, an approach or a unit, an assignment or a teaching technology—share how you are resisting these demands, engaging your students, or teaching them how to be engaged outside of their comfort zones.

NB: conferencegoers may present in one pedagogy panel in addition to giving a research paper in another session

“What I Learned Teaching Jane Austen” (Pedagogy panel)
Tiffany Potter, University of British Columbia; E-mail: Tiffany.potter@ubc.ca

In the year of the 200th of Austen’s death, this panel invites proposals for 10-minute papers on what we have learned teaching Jane Austen. Proposals might address

  • women’s literary history

  • how Austen’s texts invite specific critical or pedagogical approaches

  • using newer critical theory with Austen

  • Recency cultures

  • Austen fandoms

  • teaching Austen through tech and new media

  • what students’ responses have led us to reconsider

  • how your teaching of Austen has changed in some way

  • teaching adaptations

NB: conferencegoers may present in one pedagogy panel in addition to giving a research paper in another session

Cosmopolitan from the Very Start: Women’s Periodicals in the Eighteenth-Century World
Manushag N. Powell, Purdue University; E-mail: mnpowell@purdue.edu

As they brought to the tea table and coffeehouse an ever-expanding sense of the wide world that faced eighteenth-century readers, periodicals, magazines, newssheets, and sundries offered their readers a varied smorgasbord of rules and how to break them, what to read and how to get at it, and a chance – many chances – at belonging to a textual community that far exceeded domestic boundaries. This panel – hopefully a roundtable – seeks presenters who are contributing to the cutting-edge work that is so lately revitalizing eighteenth-century periodical studies, particularly with respect to women’s experience and work within that genre.  Treatments of periodicals by women, for women, about women, or beloved by women are equally welcome, provided we keep in mind that such categories may overlap but are certainly not concentric. 

Dictionaries in research, teaching, and online: learning from LEME (Lexicons of Early Modern English) (Roundtable)
Rebecca Shapiro, New York City College of Technology;
E-mail:  rebecca.alice.shapiro@gmail.com

This roundtable is inspired by LEME (Lexicons of Early Modern English). Now freely accessible to all online users, LEME includes such eighteenth-century dictionaries as Kelsey’s Dictionary of the Hudson’s Bay Indian Language (1710?), Madam Johnson’s Present (1755)and Johnson’s Dictionary of the English Language (1755). The OED has let us track changes in the meanings of words, reminding us that nice was not always a compliment and that something vicious was not always mean. But because LEME contains dozens of dictionary corpora from the fifteenth to the eighteenth centuries, we see how words were defined and how the definitions changed over time. For example, in a paper given at BSECS 2017, LEME made it possible to consider how terms for people who are what is today termed disabled have shifted from compound nouns to adjectives—these changes in word formation perhaps reflect a change in attitude towards the person afflicted. This example shows that even when their compilers tried to present definitions as precisely as possible, dictionaries are subtle witnesses to cultural attitudes.

We are keen to hear from participants who have used LEME’s texts to understand, reframe, characterize, or represent language in novel or specialized ways, providing unexpected insights to texts and culture. We also hope to discuss how dictionaries can be used in our teaching. Please submit a proposal (max 150 words) for a 10-minute reflection, along with a 150-word bio.

Cosmopolitan Imaginings
Andrea Speltz, University of Waterloo; E-mail: aspeltz@uwaterloo.ca

In Enlightenment Shadows (2013), Genevieve Lloyd argues that the “Age of Reason” was also an age of imagination. Lloyd examines the interplay of intellect, emotion, and imagination in the texts of Montesquieu, Smith and Kant (among others) in search of ways to “better understand our contemporary intellectual predicaments and moral conflicts” (3). One of the main themes of her study is the pivotal role of the imagination in Enlightenment cosmopolitanisms. This panel seeks to build on Lloyd’s work by delving deeper into the relationship between the imagination and cosmopolitan thought in the eighteenth century. Possible avenues of inquiry include, but are not limited to, the link between the imagination and cosmopolitanism in educational theory, literature, moral philosophy, political philosophy, travel writing, theology, psychology, and anthropology.

Cosmopolitan Feminisms (Roundtable)
Eugenia Zuroski, McMaster University; E-mail zugenia@gmail.com

"Cosmopolitan Feminisms" will be a roundtable discussion of various approaches, both theoretical and methodological, to the question of how thinking critically about sex and gender entails thinking critically about the form of the nation, and vice versa. How did eighteenth-century texts locate feminist thought, and how do we locate our own? What is the relationship between radical localisms and radical globalisms in feminist thought? What kinds of national boundaries are confronted by feminisms past and present—border crossings, linguistic limits, the gendered contours of literary canons and dominant historiographies—and how does feminist work negotiate such boundaries?
This roundtable is an opportunity for 5 or 6 people to talk about their current projects (books or articles) in relatively broad terms, in order to compare premises, frameworks, and methods-—to discuss how these questions have come up in the course of researching a particular topic, whether they add momentum to initial lines of inquiry or re-route them, and what kinds of methodologies one has devised to pursue them, among other issues.

Music for Shakespeare on the Stage, 1700-1800: Cosmopolitan Influences
Todd Gilman, Yale University; E-mail: todd.gilman@yale.edu

The London stage of the 18th century continued the process begun during the Restoration of adapting Shakespeare’s play texts in order to suit contemporary audience tastes. The writing in Shakespeare’s plays was considered rough and rude, and modern improvements were deemed necessary to make them fit for the stage. Specifically, audiences desired ease of comprehension and immediacy and intensity of emotional response. Suitably altered, Shakespeare proved a sturdy prop indeed, for his plays constituted about one quarter of the plays performed between 1700 and 1800; as a result, he became thoroughly entrenched in the repertory.

The early years of the century witnessed a number of adaptations of Shakespeare’s comedies that continued to shape them to audience tastes and to the performers who would act in them. For example, George Granville’s The Jew of Venice (1701) was designed to showcase the skills of the comedian Thomas Doggett as Shylock, exploiting a contemporary racial stereotype to comic effect. John Dennis’s Comical Gallant (1702) reworks The Merry Wives of Windsor in light of the shift in early 18th-century comedy in order to treat Falstaff more sympathetically. Similarly, William Burnaby’s Love Betray’d (1703), a version of Twelfth Night, softens the harsh treatment of Malvolio. When David Garrick came on the scene in October 1741, he claimed to wish to “restore” Shakespeare; yet he wound up doing exactly what his Restoration predecessors had done: carefully preparing his own versions of the plays in order to mold them to audience expectations. For many of the comedies, and to a lesser extent the tragedies (notably Macbeth and Romeo and Juliet) and histories, new music was commissioned: overtures, act tunes, dance music, songs, choruses, and interpolated masques. In fact, nearly 40 composers were commissioned to write music for the plays during the course of the century, and the music of another six composers was also appropriated to this end. The songs that Thomas Arne composed for revivals of As You Like It (1740), Twelfth Night (1741), The Merchant of Venice (1741), and The Tempest (1746) are still sung today. In Granville’s Jew of Venice, the playwright, influenced by neoclassical principles and theatrical necessity, eliminated the play’s tragicomic elements, and added a musical entertainment to Act 2, Scene 2, the masque Peleus and Thetis, with music by John Eccles, completely unrelated to the story. The preceding year, Charles Gildon’s adaptation of Measure for Measure (1700) had similarly used Henry Purcell’s opera Dido and Aeneas divided up and inserted as entertainments throughout. William Davenant’s Restoration operatic version of Macbeth was revived in 1702 with the masques rewritten and composed by Richard Leveridge, and these musical additions held the stage in productions of Macbeth into the 19th century. Arne wrote new music for Thomas Shadwell’s Restoration masque of Neptune and Amphitrite in addition to his songs for The Tempest (1746).

In certain cases music was added in aid of spectacle, which remained as popular as it had been in the Restoration. For example, Arne wrote his dirge “To fair Fidele’s grassy Tomb” for Theophilus Cibber’s adaptation of Cymbeline (1744) to a text composed by William Collins. And when the famous “battle of the Romeos” broke out in 1750, with Garrick at Drury Lane and Spranger Barry at Covent Garden competing as the male lead, part of the competition rested on which theatre could best stage the elaborate funeral procession for Juliet that Garrick introduced in Act 5, Scene 1. Covent Garden captivated the audience with Thomas Arne’s “Solemn Dirge;” Garrick’s version demanded a similar work composed by William Boyce. In a related example, Boyce wrote music to accompany the statue coming to life in Garrick’s Florizel and Perdita.

Despite the popularity of John Gay’s ballad opera The Beggar’s Opera beginning in 1728, which initiated a musico-dramatic genre and inspired countless imitations, only one Shakespeare play was adapted as a two-act ballad farce: Jeremy Worsdale’s A Cure for a Scold (1735), based on The Taming of the Shrew, included twenty-three songs. More plays were adapted as all-sung operas on the Italian model, such as Paolo Rolli’s Rosalinda (1744), based on As you Like it, set to music by Francesco Maria Veracini; Garrick’s The Fairies (1755), based on A Midsummer Night’s Dream, and Tempest (1756), both set to music by John Christopher Smith; and another operatic Tempest (1777) adapted by Richard Brinsley Sheridan with music by Arne, Purcell, and Thomas Linley that replaced Garrick’s version after his death. In all, there were eleven adaptations of Shakespeare’s plays into all-sung operas on the London stage during the 18th century. Some plays or parts of plays were adapted as afterpieces, such as Leveridge’s one-act Comick Masque of Pyramus and Thisbe (1716), a reaction to the current vogue for Italian opera. This was later rewritten and shortened by John Frederick Lampe (1745), a setting of the mechanicals’ play from A Midsummer Night’s Dream.

Shakespeare’s popularity also spread throughout Europe during this century, and operatic adaptations by continental librettists and composers were staged in Paris, Naples, Venice, Rome, Padua, Vienna, Bückeburg, Oels, Berlin, Hamburg, Kassel, Mannheim, Weimar, Munich, and Stuttgart. To judge from the sheer number of different musical settings, the most popular vehicles for these adaptations were The Tempest, A Midsummer Night’s Dream, and Romeo and Juliet—along with The Merry Wives of Windsor and Hamlet!

Proposals are welcome from any relevant discipline (e.g., literature, history, art, philosophy, psychology, music) exploring music for Shakespeare on the stage during the 18th century. Please send an abstract of 150 words and a 150-word biographical statement to Todd Gilman (todd.gilman@yale.edu) by 10 March, 2017. Please include any audio-visual needs and special scheduling requests. Individuals will be notified of acceptance by 15 March, 2017.


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