Victorian Network is an open-access, MLA-indexed, peer-reviewed journal dedicated to publishing and promoting the best work across the broad field of Victorian Studies by postgraduate students and early career academics. We are delighted to announce that our twelfth issue (Summer 2018) will be guest edited by Aviva Briefel on the theme of Forgery and Imitation.
Recent scholarship has drawn attention to the increase in art and literary forgery in the nineteenth century, and to the preoccupation with themes of illicit imitation in the Victorian cultural zeitgeist. Critics have highlighted the manifold, intricate, and sometimes surprising ways in which forgery was woven into the social and cultural fabric of the era. The forged, the fake, and the imitative became pressing issues for artistic reproduction as growing demand and changing technology shaped the way in which texts, images, and objects circulated. The spectrum encompassed forged and imitative objects faked with criminal intent, as well as cultural and economic productivity.
Anxieties surrounding the concepts of originality and fakery also permeated nineteenth-century discussions of social authenticity – did forging an identity in a changing world open the door to faking social class, race, or gender? Did cleaving closely to imitate cultural peers maintain the status quo, mask individual dishonesty, or constitute plagiarism? Frauds, cheats, liars, and copycats of every ilk caught the public imagination. The range of depictions was broad and ambivalent. From villainous cheats like Count Fosco to romantic depictions of Chatterton, forgery and imitation marked for the Victorians a point of uneasiness that called for intricate negotiation. Furthermore, as channels of patronage and influence became increasingly fragmented, new ways of conceptualising artistic indebtedness were required. Here, too, forgery and imitation did moral battle. Appropriation, pastiche, and homage had their dark doubles: deceit, plagiarism, and hack work. Navigating intertextuality meant gauging where boundaries of influence could be crossed and where they should be policed.
We invite submissions of approximately 7,000 words on any aspect of the theme in Victorian literature and culture. Possible topics include, but are by no means limited to:
Fakery and cultural identity, the (cultural and/or economic) value of forgeries and imitations
Fakes as cultural participation
Identities of forgery and forged identities (individual, cultural/national)
Illegitimacy, genealogy, and heredity theory
Imitation in nature and evolutionary or scientific theory
Artistic reproduction (eg. photographs, prints, and casts), copying, and forgery: the original versus the copy
Forgery and imitation as gendered activities
Public persona: masks and makeup
Fashions, trends, and crazes
Acting as imitation; theatricality versus authenticity
Fraud, counterfeit money, financial corruption, white-collar crime
The forgery of memory; history-writing; misremembrance
Originality, the Romantic genius, and Victorian imitation
Imitation as literary practice: (mis-)quotation, adaptation, plagiarism, piracy
Literature as imitation: re-creating other mediums in words (ut pictura poesis)
Imitating the Victorians: the re-creation of Victorian texts in neo-Victorian writing and fan cultures
All submissions should conform to MHRA house style and the in-house submission guidelines. Submissions should be received by 15 December 2017.
Contact: victoriannetwork@gmail.com
Showing posts with label Victorian Network. Show all posts
Showing posts with label Victorian Network. Show all posts
Monday, 6 November 2017
Thursday, 13 July 2017
CFP: Victorian Network journal, "Forgery and Imitation" (1 Nov. 2017)
Victorian Network is an open-access, MLA-indexed, peer-reviewed journal dedicated to publishing and promoting the best work across the broad field of Victorian Studies by postgraduate students and early career academics. We are delighted to announce that our twelfth issue (Summer 2018) will be guest edited by Aviva Briefel on the theme of Forgery and Imitation.
Recent scholarship has drawn attention to the increase in art and literary forgery in the nineteenth century, and to the preoccupation with themes of illicit imitation in the Victorian cultural zeitgeist. Critics have highlighted the manifold, intricate, and sometimes surprising ways in which forgery was woven into the social and cultural fabric of the era. The forged, the fake, and the imitative became pressing issues for artistic reproduction as growing demand and changing technology shaped the way in which texts, images, and objects circulated. The spectrum encompassed forged and imitative objects faked with criminal intent, as well as cultural and economic productivity.
Anxieties surrounding the concepts of originality and fakery also permeated nineteenth-century discussions of social authenticity – did forging an identity in a changing world open the door to faking social class, race, or gender? Did cleaving closely to imitate cultural peers maintain the status quo, mask individual dishonesty, or constitute plagiarism? Frauds, cheats, liars, and copycats of every ilk caught the public imagination. The range of depictions was broad and ambivalent. From villainous cheats like Count Fosco to romantic depictions of Chatterton, forgery and imitation marked for the Victorians a point of uneasiness that called for intricate negotiation. Furthermore, as channels of patronage and influence became increasingly fragmented, new ways of conceptualising artistic indebtedness were required. Here, too, forgery and imitation did moral battle. Appropriation, pastiche, and homage had their dark doubles: deceit, plagiarism, and hack work. Navigating intertextuality meant gauging where boundaries of influence could be crossed and where they should be policed.
We invite submissions of approximately 7,000 words on any aspect of the theme in Victorian literature and culture. Possible topics include, but are by no means limited to:
Fakery and cultural identity, the (cultural and/or economic) value of forgeries and imitations
Fakes as cultural participation
Identities of forgery and forged identities (individual, cultural/national)
Illegitimacy, genealogy, and heredity theory
Imitation in nature and evolutionary or scientific theory
Artistic reproduction (eg. photographs, prints, and casts), copying, and forgery: the original versus the copy
Forgery and imitation as gendered activities
Public persona: masks and makeup
Fashions, trends, and crazes
Acting as imitation; theatricality versus authenticity
Fraud, counterfeit money, financial corruption, white-collar crime
The forgery of memory; history-writing; misremembrance
Originality, the Romantic genius, and Victorian imitation
Imitation as literary practice: (mis-)quotation, adaptation, plagiarism, piracy
Literature as imitation: re-creating other mediums in words (ut pictura poesis)
Imitating the Victorians: the re-creation of Victorian texts in neo-Victorian writing and fan cultures
All submissions should conform to MHRA house style and the in-house submission guidelines. Submissions should be received by 1 November 2017.
Contact: victoriannetwork@gmail.com
Thursday, 30 April 2015
CFP: Special issue of Victorian Network on the Victorian Brain (Deadline: 15 Aug. 2015)
Victorian Network is an open-access, MLA-indexed, peer-reviewed journal dedicated to publishing and promoting the best postgraduate and early career work across the broad field of Victorian Studies. We are delighted to announce that our eleventh issue (Winter 2015) will be guest edited by Professor Sally Shuttleworth (University of Oxford), on the theme of the Victorian Brain.
In the nineteenth century, the discipline of psychology, or the science of the mind, underwent a profound reorientation: a reorientation which was both fuelled by contemporary literature, and which influenced that literature’s form and content. Investigating the mind’s workings was the joint project of such diverse parties as authors and poets; natural scientists and doctors; but also the public, as citizen scientists. Phrenology and the legibility of physiognomy remained central concerns. Simultaneously, medical research created a counterweight to eighteenth-century folk psychology and pseudoscience. Observation of mentally-ill asylum inmates offered another route into the human psyche. These asylums in turn experienced restructuring, turning from spaces of “[chains], straw, filthy solitude, darkness and starvation” (Dickens) in the eighteenth century, to institutions implementing “moral management” by 1900.
Mid-Victorians discussed the human brain extensively in both popular literature and specialized periodicals, ranging in disciplines from natural and medical sciences to literature and philosophy. The Journal of Mental Science and Dickens’s Household Words are but two examples from different sides of that spectrum. As these widespread discussions destabilized longstanding convictions including the supremacy of the mind and the integrated self, these convictions’ intricate connections to cultural concerns including gender and class grew evident. Investigations in all possible directions proliferated, bringing (especially in the century’s closing decades) rapid disciplinary changes in neuroscience (e.g. through the work of William Richard Gowers), psychology and psychotherapy.
The examination of human consciousness also occurred in the nineteenth-century novel. The period’s novelists had such a significant part in shaping the discourse on the mind not least because, in the words of Karen Chase, they “did not inherit a supple and illuminating picture of the mind, but […] had to construct it for themselves, taking insights where they found them.”
We invite submissions of around 7,000 words on any aspect of the theme. Possible topics include but are by no means limited to:
• The novel as shaping and shaped by discourses on psychology, the mind, and the brain.
• Mental science and poetry; the “psychological monologue”.
• Animal dissection and vivisection.
• The brain as central organ of the nervous system, mind and body as connected; the concept of the mental faculties; the soul as (no longer) extra-corporeal; religion vs scientific psychology. The senses.
• The mind as culturally formed; national and international conceptions of psychology.
• The gendered brain and its implications (gender as a universal taxonomy).
• The Victorian mind in childhood.
• The theatrical brain: displaying thought and memory on the Victorian stage; depicting mental illness and madness; character interiority; psychology and actor training.
• Altered states of mind: drug use; mesmerism, hypnosis and trance; dreams and daydreams; somnambulis.
• Memory and/or trauma; memory and objects (from diaries to post-mortem photography). Sites and cultures of remembering and forgetting.
• Different disciplines and disciplinary developments: evolutionary and developmental psychology. Psychoanalysis: pre-Freudian concepts of the psyche.
• Mental illness: asylums, “moral management”; depression; delusions; puerperal disorders; links between mental and bodily health.
• Insanity and the law (criminality, legislation, fitness to stand trial); the development of forensic psychology; insanity and sensation.
• Automatism and volition: new conceptions of the unconscious (e.g. as possessing agency); the unconscious vs habit and self-discipline: automatism, responsibility and accountability.
• 4e cognition (embodied, embedded, enacted and extended cognition) and Victorian literature and culture.
• “wound culture”: its roots in the industrial nineteenth century, and the attendant renegotiation of private identity in public terms.
• Neo-Victorian representations of any issue outlined above.
All submissions should conform to MHRA house style and the in-house submission guidelines. Submissions should be received by 15 August 2015. Contact: victoriannetwork@gmail.com
In the nineteenth century, the discipline of psychology, or the science of the mind, underwent a profound reorientation: a reorientation which was both fuelled by contemporary literature, and which influenced that literature’s form and content. Investigating the mind’s workings was the joint project of such diverse parties as authors and poets; natural scientists and doctors; but also the public, as citizen scientists. Phrenology and the legibility of physiognomy remained central concerns. Simultaneously, medical research created a counterweight to eighteenth-century folk psychology and pseudoscience. Observation of mentally-ill asylum inmates offered another route into the human psyche. These asylums in turn experienced restructuring, turning from spaces of “[chains], straw, filthy solitude, darkness and starvation” (Dickens) in the eighteenth century, to institutions implementing “moral management” by 1900.
Mid-Victorians discussed the human brain extensively in both popular literature and specialized periodicals, ranging in disciplines from natural and medical sciences to literature and philosophy. The Journal of Mental Science and Dickens’s Household Words are but two examples from different sides of that spectrum. As these widespread discussions destabilized longstanding convictions including the supremacy of the mind and the integrated self, these convictions’ intricate connections to cultural concerns including gender and class grew evident. Investigations in all possible directions proliferated, bringing (especially in the century’s closing decades) rapid disciplinary changes in neuroscience (e.g. through the work of William Richard Gowers), psychology and psychotherapy.
The examination of human consciousness also occurred in the nineteenth-century novel. The period’s novelists had such a significant part in shaping the discourse on the mind not least because, in the words of Karen Chase, they “did not inherit a supple and illuminating picture of the mind, but […] had to construct it for themselves, taking insights where they found them.”
We invite submissions of around 7,000 words on any aspect of the theme. Possible topics include but are by no means limited to:
• The novel as shaping and shaped by discourses on psychology, the mind, and the brain.
• Mental science and poetry; the “psychological monologue”.
• Animal dissection and vivisection.
• The brain as central organ of the nervous system, mind and body as connected; the concept of the mental faculties; the soul as (no longer) extra-corporeal; religion vs scientific psychology. The senses.
• The mind as culturally formed; national and international conceptions of psychology.
• The gendered brain and its implications (gender as a universal taxonomy).
• The Victorian mind in childhood.
• The theatrical brain: displaying thought and memory on the Victorian stage; depicting mental illness and madness; character interiority; psychology and actor training.
• Altered states of mind: drug use; mesmerism, hypnosis and trance; dreams and daydreams; somnambulis.
• Memory and/or trauma; memory and objects (from diaries to post-mortem photography). Sites and cultures of remembering and forgetting.
• Different disciplines and disciplinary developments: evolutionary and developmental psychology. Psychoanalysis: pre-Freudian concepts of the psyche.
• Mental illness: asylums, “moral management”; depression; delusions; puerperal disorders; links between mental and bodily health.
• Insanity and the law (criminality, legislation, fitness to stand trial); the development of forensic psychology; insanity and sensation.
• Automatism and volition: new conceptions of the unconscious (e.g. as possessing agency); the unconscious vs habit and self-discipline: automatism, responsibility and accountability.
• 4e cognition (embodied, embedded, enacted and extended cognition) and Victorian literature and culture.
• “wound culture”: its roots in the industrial nineteenth century, and the attendant renegotiation of private identity in public terms.
• Neo-Victorian representations of any issue outlined above.
All submissions should conform to MHRA house style and the in-house submission guidelines. Submissions should be received by 15 August 2015. Contact: victoriannetwork@gmail.com
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