Tag Archives: Romanticism

Defining Romanticism

Posted on by
2

Defining Romanticism has long been a conflicted endeavor, with one scholar after another proclaiming the task’s impossibility and offering new definitions. In his book, Romanticism: a Very Short Introduction (Oxford University Press, 2010), Michael Ferber attempts a definition of Romanticism:

“Romanticism was a European cultural movement, or set of kindred movements, which found in a symbolic and internalized romance plot a vehicle for exploring one’s self and its relationship to others and to nature, which privileged the imagination as a faculty higher and more inclusive than reason, which sought solace in or reconciliation with the natural world, which ‘detranscendentalized’ religion by taking God or the divine as inherent in nature or in the soul and replaced theological doctrine with metaphor and feeling, which honored poetry and all the arts as the highest human creations, and which rebelled against the established canons of neoclassical aesthetics and against both aristocratic and bourgeois social and political norms in favor of values more individual, inward, and emotional.”

We are interested in our readers’ thoughts about Ferber’s ambitious attempt. Please submit your own caveats, challenges, and definitions for discussion.

Romanticism: A State of the Union

Posted on by
2

Inspired by the President’s State of the Union address, I have decided to offer you, my Romantic brethren, a review of the state of Romantic studies. Despite our brooding Byronic ways, our Union is getting stronger. The house of cards may indeed have fallen, but our field is not languishing on the marble steps. Moneta will come!

::obligatory applause break::

The 2010 NASSR Conference in Vancouver, British Colombia took the idea of “Romantic Mediations” as its theme. Participants were encouraged to submit proposals that explored communication technologies and print culture. As the call for papers makes clear, “The era that saw the invention of semaphore, telegraphy, the continuous-feed press, and the difference engine, the Romantic in all its senses might be characterized as a period of significant experimentation in media and ideas of mediations” (NASSR). While many papers engaged with new inventions and their effects on Romantic era works – I heard an excellent paper regarding the influence semaphore had on theatrical gesturing practices – others utilized the concepts and language of media and mediation in order to offer new and perhaps more precise ways of engaging with and understanding key Romantic writers and texts.

The issues and concerns of last year’s NASSR conference are also being addressed by McGill University’s ongoing collaborative endeavor “Interacting with Print: Cultural Practices of Intermediality 1700-1900.” Founded in 2005, the interdisciplinary and interinstitutional research group headed by Susan Dalton, Andrew Piper, Tom Mole and others sets out to investigate “how people interacted with printed matter, how they used print media to interact with other people and how printed texts and images interacted within complex media ecologies.” The group focuses on the relations and interactions between various media. In order to more accurately, in its terms, “situate” print, the collaborative group sets out to debunk three prevalent scholarly “myths”: that print displaced other media, that print equals letterpress or engraving, and that print culture is national culture. In the online manifesto for “Interacting with Print,” the group claims that their “research activities will provide a more specific understanding of print’s place in the production, dissemination and reception of culture in a period that saw the development of mass media.” Print, as this quotation makes clear, was only one of many mediums for producing and disseminating culture and oftentimes incorporated other forms of media such as printed images.

Together, the conference and working research group speak to a set of issues being addressed by current critics of the Romantic period. Many scholars, including myself, have asked why this interest in media and mediation is emerging at the present moment. I believe that the answer, at least in part, lies in the new descriptions and definitions of the Romantic period and Romanticism offered by thinkers like Walter Ong and Friedrich Kittler. In his 1982 work Orality and Literacy, Ong claims that the Romantic desire for “autonomous utterance” is facilitated by print and speaks to the “alliance of the Romantic movement with technology” (158). That is, print mediates the Romantic desire for interiority and individuality. According to Ong, there is a clear correlation between the mediums of Romantic art, in this instance print, and the prevalent artistic ideology of the period. Relying on and citing Ong’s work with notable frequency, John David Black’s recent book The Politics of Enchantment: Romanticism, Media, and Cultural Studies labels Romanticism as one of the effects of print: “Coming some three centuries after the invention of the mechanical press, romanticism was the mature cultural expression of the cumulative effects of Gutenberg’s breakthrough” (134). This quotation makes Romanticism the result of the proliferation of print that started with Gutenberg’s press.

Similarly to Ong, Kittler’s landmark work Discourse Networks 1800/1900, published in 1985 in the original German and translated into English in 1990, draws attention to the relationship between media and Romanticism. Especially important to Kittler’s text is Foucault’s essay “Maurice Blanchot: The Thought from Outside.” In this early work, Foucault develops what David Wellbery calls “a lexicon of exteriority” (xii). The French thinker sets out to distinguish between language itself and “the apparatuses of power, storage, transmission, training, reproduction, and so forth that make up the conditions of factual discursive occurrences” (Wellbery xii). Like Foucault before him, Kittler’s work situates what is said or written in a secondary position and instead focuses on these “apparatuses.” His decision to title his 1987 follow up work Gramophone, Film, and Typewriter further underscores the important role communication and storage apparatuses play in his thinking. For Kittler, scholars are always dealing with media, with the technological possibilities of any given epoch because it is through the media of a given moment that “something like “poetry” or “literature” can take shape” (Wellbery xiii). As Thomas Streeter points out, Kittler “suggests that one should understand romanticism, not as a collection of texts or a historical period, but as a way of organizing discourse through practices of writing, reading, and relating” (777). Streeter and other critics, however, also feel that Kittler’s work often places too much emphasis on technologies and, at times, veers towards techno-determinism. Yet, these criticisms aside, the German thinker’s influence over contemporary literary studies in general as well as Romantic criticism is undeniable.

Clifford Siskin and William Warner’s collection of essays, This Is Enlightenment, elaborates upon the ideas present in Discourse Networks as well as Gramophone, Film, and Typewriter. The two critics argue that every history constructed by literary scholars has its benefits but a history of what they term “mediation” has the potential to “clarify both the singularity of each local event and what those events have in common” (11). They “use “mediation” here in its broadest sense as shorthand for the work done by tools, by what we now call “media” of every kind – everything that intervenes, enables, supplements, or is simply in between” (4). In this passage we can begin to see the similarities to Ong, Foucault, and Kittler’s focus on the technologies and “apparatuses” of given historical moments. Siskin and Warner, who were the keynote speakers at the NASSR conference referred to at the start of this post, show that “mediation was always necessary but the forms of mediation differ over time” and therefore there exists “a history of mediation” (9). Under this new framework, the Enlightenment becomes “an event in the history of mediation” (1). The Enlightenment was facilitated by a historically specific set of forms of mediation such as print, reading, writing, and other associational and relational practices.

Naturally, redefining the Enlightenment in such a manner leaves critics of the Romantic and Victorian eras asking what place in the new history their own periods hold. Siskin and Warner address this question in their 2011 article in The European Romantic Review, “If this is Enlightenment, Then What Is Romanticism?” According to the article, “Enlightenment is an event, Romanticism is an eventuality, and Victorianism is a variation” (290). The forms of mediation do not change or proliferate in equal measure. That is, some moments, in this instance the Enlightenment, have both a greater variety and number of forms of mediation than others. The claim that Romanticism can be seen as an “eventuality” also reflects John David Black’s claim that Romanticism is the “mature cultural” result of the Gutenberg press.

If the “apparatuses” of storage, transmission, communication, etc. are worthwhile objects of inquiry and if the Enlightenment is an event in the history of mediation, then how is the current scholar of the Romantic period to engage with and comment upon a work or a collection of works? Or, as John Richetti asks in his review of the This Is Enlightenment collection, “How would foregrounding mediation change the kinds and areas of inquiry in our own epoch?”

Yours in Romanticism,

R. A. Sessler

Romantic Drama and Romantic Theatre

Posted on by
2

Some time ago, we posted some thoughts on the staging of unstaged Romantic-era plays and on the phenomenon described by critics as mental theater.  I’d like to return to the subject of Romantic-era drama. When was the last time your English department offered a course examining the dramatic material of the Romantic period as drama? While staging is acknowledged to play an important role in understanding a Shakespearean tragedy and what’s being staged is a political issue in the early eighteenth century, Romantic drama is not widely viewed as dramatic, and the drama being staged in the period is not often made an object of study.

Romantic drama, and particularly the dramatic works of the “big six” Romantic poets, is generally viewed as poetry rather than as drama. For one thing, the drama of Wordsworth, Shelley, and Byron is lyrical, often employing long soliloquys and other marks of interiority. For another, few of these plays were ever staged, and in some cases the authors claim that they are not intended for the stage. However, there is evidence that the writers sought to have their plays staged without theatrical success, or in several cases, without acceptance by the managers. Wordsworth could find no one
to take The Borderers. Coleridge’s early Osorio was revised into Remorse before it took to the stage. Although The Cenci was the only work of Shelley’s to go into a second edition in his lifetime, no public performance made it onto a London stage until well into the nineteenth century. The vexed relationship between Byron’s dramas and their staging I’ll leave to my esteemed colleague Randall Sessler to discuss at another time. Joanna Baillie, one of the most esteemed dramatists of the period both critically and popularly, published multiple editions of her Plays on the Passions, and had several of her plays staged, but none achieved commercial success on the stage. Baillie, like the Romantic poets, was more concerned with tracing a character’s psychology than with spectacular stage effect. Critics have suggested that this focus on interiority and lyric
expression may have made the plays difficult to stage.

Some of the poets themselves suggest that they lack stage success because the stage is degenerate. As Jane Moody indicates in Illegitimate Theatre in London 1770-1840, Romantic poets dismissed the theaters as “places of noise, dirt, spectacle and unbridled sexual commerce, where Shakespeare was being mangled into opera, and ignorant audiences preferred performing dogs to the pleasures of Sheridan and John Gay” (2-3). Nor are these criticisms without basis. In addition to physical and moral contributions to “illegitimacy” to which Moody refers, the stage was subject to censorship and supervision unmatched by any other medium in the period, thanks to the Theatrical Licensing Act of 1737, which, although relaxed by the Theatrical Representations Act of 1788 and the Theatre Regulation Act of 1843, was not repealed until the passage of the Theatres Act of 1968. Plays intended for performance had to be approved by the Licenser, a position in the Lord Chamberlain’s office, and could be censored by him. The Act particularly censored political commentary and satire. Although political statements would generally be excised from performance texts, the published versions of plays were not often censored. So although drama remained a legitimate form for political commentary, dramatic compositions approved by the Licenser could be viewed with suspicion.

Moreover, the plays being staged emphasized sentimentality and spectacle. The gothic dramas of Matthew Lewis and others, the Orientalism of, for instance, George Colman the younger’s Blue-Beard, the spectacle of trained animals as in The Quadrupeds of
Quedlinburgh, and the popularity of pantomime are only a few examples of what poets and other critics denounced as the degeneracy of the stage. Additionally, changing stage practices and public taste made adaptations of Shakespeare more popular than the original works—Nahum Tate’s happy-ending version of King Lear was rather popular throughout the nineteenth century. Yet despite condemnations of the theater from poets rejected by the managers of Drury Lane and Covent Garden, at various points Wordsworth, Coleridge, Byron, Shelley, Keats, and Baillie all sought to have their plays staged as a way of legitimizing their dramatic efforts.

We can contextualize and historicize the retreat from the stage of the Romantics and other major poets working in dramatic genres during this period. But if, as argued in our earlier post Romantic Drama: Experiments, Mental Theater, and Media, the retreat from the stage of some of the period’s most talented dramatists led to the invention of a new dramatic form, and a new dramatic space, what does that do to our study of the Romantic-era stage and the drama performed there? How ought we to approach a dramatic performance? As scholars and critics of English literature, we are trained, at least primarily, to study texts. Text and performance are significantly different objects of study, and should be treated differently, but in what ways? How can we, as textual scholars, contribute to a reading of the staging of Byron’s Marino Faliero or Baillie’s
De Montfort, in addition to the texts?

~Veronica Goosey

Publishing in Romanticism: A Survey of Journals in the Field

Posted on by
Reply

After the panel on publication with Bill Germano and Cliff Siskin, we thought it might be useful to compile publication information for some of the leading journals in our field. If you think we’ve missed an important one, do let us know!

One of the most helpful things our panelists suggested was that when submitting our work to a journal, we should be alert as to who is on the journal’s board, and whose work regularly appears there. If we want those scholars to see our work, we ought to be submitting there. With that in mind, we’ve compiled the editorial boards of each journal as well as other submission information. Much of the following information is excerpted from each journal’s website. So here it is:

IN ROMANTICISM:

European Romantic Review

North American Society for the Study of Romanticism http://publish.uwo.ca/~nassr/err.html

Published by Routledge http://www.tandf.co.uk/journals/titles/10509585.html

Frequency: 6 issues per year

Aims & Scope: The European Romantic Review publishes innovative scholarship on the literature and culture of Europe, Great Britain and the Americas during the period 1760-1840. Topics range from the scientific and psychological interests of German and English authors through the political and social reverberations of the French Revolution to the philosophical and ecological implications of Anglo-American nature writing. Selected papers from the annual conference of the North American Society for the Study of Romanticism appear in one of the six issues published each year. Essays published in ERR will be considered for an annual award co-sponsored by ERR and NASSR.

Submission Guidelines: All submissions will be subject to anonymous peer review; therefore, authors are advised to put their names and contact information on cover sheets. Contributors should note that material submitted to the journal must be original, must not have already appeared in another publication and must not be submitted for publication elsewhere while under consideration by the journal. Essays submitted should be between 8,000 and 12,000 words long. Please send the manuscript as an attachment in MS Word to euroromrev@earthlink.net. One of the co-editors will acknowledge receipt and communicate with the author about the review process. One of the co-editors will contact authors about editorial decisions. The final, revised version of an accepted manuscript must adhere to the MLA style using parenthetical documentation and a list of works cited. In this version, the author’s name and contact information should appear on the first page along with the title of the article and an abstract of no more than 200 words. All pages of the manuscript must be numbered. Authors of accepted manuscripts will be provided with format guidelines at the time of acceptance. Final manuscripts must be submitted in electronic form. Follow MLA standards. This journal requires a short paragraph of bibliographical details for all contributors.

Editorial Board:

Consulting Editor: Frederick Burwick

Co-Editors: Diane Long Hoeveler, Regina Hewitt

Review Editor: Benjamin Colbert

Editorial Board: Richard Gravil, Morton Paley, Jane Brown, Angela Esterhammer, Anthony J. Harding, Kelly Grovier, Joseph Viscomi, Alexandre Wettlaufer, Anne Mellor, Tilottama Rajan, Barbara Maria Stafford, Jeffrey Cox, Timothy Fulford, Raimonda Modiano, Alan Richardson.

Romanticism

Edinburgh University Press http://www.euppublishing.com/journal/rom

Frequency: 3 issues per year

Aims & Scope: Focusing on the period 1750-1850, it publishes critical, historical, textual and bibliographical essays prepared to the highest scholarly standards, reflecting the full range of current methodological and theoretical debate. The editors and advisory board welcome contributions to Romanticism at the addresses listed below. We seek constructive responses to the journal, as well as suggestions for future special issues.

Submission Guidelines: Material submitted to be considered for publication in Romanticism must conform to the style guidelines detailed here. Submit in the first instance as an electronic file by e-mail to: nhr@st-and.ac.uk Essays and notes submitted to the journal should be in typescript, and 5,000 – 7,000 words in length (including notes). Submissions which are substantially over this word-limit will not be considered. Please supply a stamped-addressed envelope or international mail coupons if you wish your typescript to be returned. If you have recently published a study in the field, please encourage your publishers to forward a review copy to the Assistant Reviews Editor. All essay submissions should list on the first page six keywords that describe the essay’s content. All essay submissions must include your institutional address in full, and an e-mail address at which you can be contacted. The typescript should be double-spaced throughout, including offset quotations and endnotes, in 12 point type. Quotation marks should be single; double for quotes in quotes. For essays accepted for publication, we require a disk copy as well as hard copy of the typescript. Please keep notes, which should appear as endnotes after the main text, to a minimum. Second and subsequent citations of books and essays should appear in short form, in round brackets, in the main text. . Detailed referencing information at http://www.euppublishing.com/page/rom/submissions

Editorial Board:

Editors: Drummond Bone, Nicholas Roe

Senior Advisory Editors: Jane Stabler, Peter Vassallo

Advisory Board:
Simon Bainbridge, John Barnard, Jeffrey Cox, Lilla Crisafulli Jones, Kelvin Everest, David Fairer, Neil Fraistat, Tim Fulford, Stephen Gill, Paul Hamilton, John Kerrigan, Peter J. Kitson, Greg Kucich, Nigel Leask, J.C.C. Mays, Raimonda Modiano,  Lucy Newlyn,Michael O’Neill, David Punter, Alan Richardson, Susan Wolfson.

Studies in Romanticism

Boston University http://www.bu.edu/sir/about/

Frequency: 4 issues per year

Aims & Scope: Studies in Romanticism was founded in 1961 by David Bonnell Green at a time when it was still possible to wonder whether “romanticism” was a term worth theorizing (as Morse Peckham deliberated in the first essay of the first number). It seemed that it was, and, ever since, SiR (as it is known to abbreviation) has flourished under a fine succession of editors: Edwin Silverman, W. H. Stevenson, Charles Stone III, Michael Cooke, Morton Paley, David Wagenknecht (1978-2010), and Charles Rzepka. Ever since the tradition founded by Morton Paley, the journal has published thematically-controlled “special issues,” as well as miscellanies, and many of these issues have been especially fortunate in including cutting-edge work by young scholars.

Submission Guidelines: In preparing manuscripts, contributors should consult the Chicago Manual of Style. Essays should be no more than 9,000 words in length inclusive of notes and bibliography, double-spaced in 12-point type using Times New Roman font, and should not have right justified margins. Essays should be composed and saved in MS Word (.doc preferred). An abstract of no more than 300 words, headed with the title of the essay and the author’s name, institutional affiliation, and contact information, should be sent as a separate attachment. The author’s name should not appear anywhere in the essay–neither in the text itself, nor in the footnotes, nor in headers or footers. The essay should be emailed as an attachment, along with the abstract, to Deborah Swedberg, the managing editor, at debswed@bu.edu. SiR will not accept essays already published or under consideration elsewhere. Contributions must be in English, but quoted matter may be in any of the major modern European languages, or in classical Greek, as long as an English translation is included. Quotations in a non-European language should be transliterated into the Roman alphabet and the transliteration system indicated. Footnotes should be kept to a minimum. The Book Reviews section provides concise, substantive assessments (approx. 1200-1500 words) of recently published scholarly titles in the field. While attending to all major works of scholarship, including new scholarly editions and essay collections, SiR takes an especial interest in reviewing first monographs and work by younger scholars.

Editorial Board:

Editor: Charles Rzepka (Boston U)

Book Review Editor: Jonathon Mulrooney

Managing editor: Deborah Swedberg

Advisory Board: Hazard Adams, Alan Bewell, David Bromwich, Marshall Brown, Martin Butlin, Julie Carlson, James Chandler, Jeffrey Cox, Mary Favret, Neil Fraistat, Claudia Johnson, Kenneth R. Johnston, Theresa Kelley, Peter J. Manning, Morton D. Paley, Alan Richardson, James Samson.

Romantic Circles

http://www.rc.umd.edu/pubinfo/policy.html

Aims & Scope: Romantic Circles is refereed scholarly website including a collection of critical and scholarly essays published by the University of Maryland and supported, in part, by the Maryland Institute for Technology in the Humanities (MITH), and the English Departments of Loyola University of Chicago and the University of Maryland. To be mounted on Romantic Circles, the submission must be among the best of its kind, whether it is an electronic edition, resource, or critical essay. It must contain original and important material, clear and effective style, and scholarship of the first order. Criteria for evaluation also include the extent to which the submission makes use of the potential of the electronic medium, including the degree to which it exploits the formal and logical features of hypertext and hypermedia, and of the networked possibilities offered by the Web itself. The collections gathered under the Romantic Praxis Series and RC Reviews require a somewhat different treatment, since they are first commissioned or accepted for potential consideration (1) by the editor of a particular volume of reviews or essays, and then (2) by the Editors of each section—Praxis or Reviews. Afterwards, the General Editors of Romantic Circles must vet and approve the individual contributions as well as each collection before it is finally included in the site.

Submission Guidelines: Contact the editors@rc.umd.edu of Romantic Circles with proposals and submissions for consideration and review.

Editorial Board:

General Editors: Neil Fraistat and Steven E. Jones

Technical Editor:  Laura Mandell

The Wordsworth Circle

The Wordsworth-Coleridge Association http://www.bu.edu/editinst/about/the-wordsworth-circle/

Frequency: 4 issues per year

Aims & Scope: The Wordsworth Circle is an international quarterly learned journal founded in 1970 to publish contemporary studies of literature, culture, and society in Great Britain, Europe, and North America during the Romantic period from about 1760-1850. Directed towards scholars, critics, and students, it focuses on the lives, works, and times of such writers as Wordsworth, Coleridge, Blake, Hazlitt, De Quincey, Lamb, Southey, Byron, Shelley, Keats, Sir Walter Scott, Jane Austen, James Beattie, Maria Edgeworth, Mary Robinson, Felicia Hemans, Joanna Baillie, Leigh Hunt, John Clare, Thomas Carlyle, Robert Burns, Walter Savage Landor, and James Hogg; the poetry, novels, drama, essays, publications and publishers. TWC includes non-literary figures (historians, scientists, artists, architects, philosophers, theologians, and social commentators) and topics (science, politics, religion, aesthetics, education, legal reform, and music)—anything that appeared during, impinges upon, or is of interest to Romanticists.

Submission Guidelines: Send questions regarding submission to Professpor Marilyn Gaull at editinst@bu.edu.

Editorial Board: Editor: Marilyn Gaull

Keats-Shelley Journal

Keats-Shelley Association of America http://www.rc.umd.edu/ksaa/ksj/index.html

Frequency: 1 issue per year

Aims & Scope: The Keats-Shelley Journal is published (in print form: ISSN 0453-4387) annually by the Keats-Shelley Association of America. It contains articles on John Keats, Percy Shelley, Mary Shelley, Lord Byron, Leigh Hunt, and their circles of mutual influence and context–as well as news and notes, book reviews, and a current bibliography.

Submission Guidelines: Articles intended for publication should be prepared according to The Chicago Manual of Style and sent (with SASE) to Jeanne Moskal, Editor, Department of English, Box 3520, University of North Carolina, Chapel Hill, NC, 27599-3520; submissions may also be sent by email attachment to keats_shelley@yahoo.com. The Keats-Shelley Journal does not accept for review articles under consideration simultaneously at other journals, out of respect for the process of peer review in general and the time and labor of our reviewers in particular. Each submission is read by one or two reviewers, whose reports the Editor consults in making a final decision regarding publication.

Editorial Board:

Editor: Jeanne Moskal

Book Review Editor: Elizabeth Dolan

Assistant Editor: Emily M. Brewer

K-SJ Bibliographer: Ben Robertson

Editorial Board: Nora Crook, Stuart Curran, Hermione de Almeida, Jerrold E. Hogle, Steven E. Jones, Jerome J. McGann, Alan Richardson, Charles Robinson, Jack Stillinger, Susan Wolfson

The Byron Journal

Published by Liverpool University Press for The Byron Society www.thebyronsociety.co.uk

http://www.liverpool-unipress.co.uk/html/publication.asp?idProduct=3600

Frequency: 2 issues per year

Aims & Scope: The journal publishes scholarly articles and notes on all aspects of Byron’s writings and life, and on related topics. Since its inception in 1973, the journal has become widely read in many different countries. Apart from providing a forum for leading authorities on Byron and news of significant events and conferences in the Byron year, the journal also reviews all major works on the poet and prides itself on the speed with which new books are reviewed. Contributions for all parts of the journal and suggestions for review are always welcome. Articles may cover any aspect of Byron Studies – literary, biographical, or historical. Brief notes are especially welcome. Articles on related Romantic or other topics will also be considered. Preference will be given to those which contain new material or offer new insights, and to those which are less than 6,000 words.

Submission Guidelines: Contributions should be original and should not have been previously published in any form, including all forms of electronic publication. Contributors are required to assign copyright to Liverpool University Press, and not to publish accepted articles or book reviews on web pages before they appear in the journal. Contributors are requested to provide abstracts of their article, the length of which should not exceed 150 words. Main articles and books for review should be addressed to the Editor:

 email Alan.Rawes@Manchester.ac.uk 

Editorial Board:

Editor: Alan Rawes

Editorial Board: Kenneth Robbie, Bernard Beatty, Geoffrey Bond, Anne Fleming,  Clare Hooper,  Angela Kendall, Maureen O’Connor, Philip Shaw,  Derek Wise.

Advisory Editors: Bernard Beatty, J. Drummond Bone,  Stephen Cheeke, John Clubbe, Peter Cochran,  Caroline Franklin, Peter Graham, Wolf Z. Hirst, Gavin Hopps, Malcolm Kelsall,  Christine Kenyon Jones, Tom Mole, M. Byron Raizis,  Charles Robinson, Jane Stabler, Andrew Stauffer.

Persuasions: The Jane Austen Journal

The Jane Austen Society of North America www.jasna.org

http://www.jasna.org/persuasions/

Frequency: 1 issue per year

Aims & Scope: JASNA publishes two annual, peer-reviewed journals, Persuasions: The Jane Austen Journal and Persuasions: The Jane Austen Journal On-Line. Both contain essays and articles on Jane Austen’s writing and her world—its literature, music, visual arts, science, politics, religion. While some essays may examine Austen’s literary forebears, others may explore her impact on later writers and other media in an effort to understand Jane Austen’s role in the world today. The journals include perspectives on Austen shared at the Annual General Meetings and essays by other prominent Austen scholars. The Editor welcomes submissions that offer original insights into the writings of Jane Austen and the period in which she lived.

Submission Guidelines: With clear and expressive writing appropriate for both academic and informed general readers, articles should consider issues and concepts that open up the writings on a variety of levels, leading toward our common goal of becoming better readers and interpreters of Austen’s works.Articles should be limited to 2000 words, 4000 words for papers presented at the JASNA Annual General Meeting, and conform to the MLA Style Manual. Submission of a paper to Persuasions: The Jane Austen Journal or Persuasions On-Line is a representation that it is the author’s original, unpublished work, that it has not been submitted elsewhere, and that the author has secured permission to publish any copyrighted material, including illustrations. Authors retain the copyright to their essays, but essays accepted for publication in a JASNA journal may not be reprinted elsewhere without the permission of JASNA and its journal Editor. A detailed style sheet is available on this link. E-mail your paper as a .doc file to Susan Allen Ford, Delta State University. E-mail submissions only: sford@deltastate.edu.

Editorial Board:

Editor: Susan Allen Ford

Editorial Board: Elaine Bander, Inger Sigrun Brodey, Julia Prewitt Brown, Edward Copeland, Celia A. Easton, Jan Fergus, Laurie Kaplan, Juliet McMaster, Susan Morgan, Laura Mooneyham White.

IN THE EIGHTEENTH CENTURY:

Eighteenth Century Studies

American Society for Eighteenth-Century Studies http://asecs.press.jhu.edu/

http://www.press.jhu.edu/journals/eighteenth-century_studies/editorial.html

Frequency: 4 issues per year

Aims & Scope: As the official publication of the American Society for Eighteenth-Century Studies (ASECS), Eighteenth-Century Studies is committed to publishing the best of current writing on all aspects of eighteenth-century culture. The journal selects essays that employ different modes of analysis and disciplinary discourses to explore how recent historiographical, critical, and theoretical ideas have engaged scholars concerned with the eighteenth century. The editors invite contributions on all aspects of the eighteenth century, literary and non-literary, which make a significant and original contribution to their field. Essays employing interdisciplinary perspectives or methodologies, or addressing contemporary theoretical and cultural concerns relating to the eighteenth century, are especially encouraged. Proposals for review essays or forums on critical issues of wide interest are welcome, as are proposals for reports on exhibitions, performances, and other events pertaining to the eighteenth century.

Submission Guidelines: Manuscripts should not exceed 7,500 words. Style must conform to The Chicago Manual of Style 15th edition, with endnotes. Quotations from foreign texts Should appear in the body of the essay followed by translations. Please supply an abstract of 100 or fewer words with your paper. Illustrations are accepted if pertinent to the essay (authors must secure glossy prints or digital files and reproduction rights if the essay is accepted). In accordance with the journal’s policy of blind submission, the author’s name and institution should appear only on the title page. Authors who wish to have their article returned should include a self-addressed, stamped envelope. On acceptance, authors of articles and book reviews are required to supply final, clean copy on disk (Microsoft Word is strongly preferred). It is the journal’s policy to require assignment of copyright from all authors. Authors must obtain written permission for quoting unpublished or published material in excess of fair use. Essays and proposals (two copies) should be sent to

The Editors
Eighteenth-Century Studies
University of California, Davis
One Shields Avenue
Davis, CA 95616
Email: jsimon@ucdavis.edu

Editorial Board:

Editor: Julia Simon

Reviews Editor: Carolyn Guile

Assistants: Sarah Anderson, Valerie Billing, Karolyn Reddy

Editorial Board: Laura Brown, Jayne Lewis, Mary Terrall, Paul Youngquist, Byron Wells.

Advisory Editors: Ann Bermingham, Max Cavitch, Jack R. Censer, Madeline Dobie, Lisa Freeman, Julie C. Hayes. Nicholas Hudson, Catherine Ingrassia, Vivien Jones, Suvir Kaul, Jonathon Kramnick, Donna Landry, Waltraud Maierhofer, Ourida Mostefai, Kathleen Nicholson, Michael Prince, Paula Radisich, Timothy Tackett, W. Daniel Wilson, Judith Zinsser.

The Eighteenth Century: Theory and Interpretation

http://ecti.english.illinois.edu/submission.html

Frequency: 3 issues per year

Aims & Scope: EC:TI welcomes essays concerned with the application of contemporary theory and methodology to all aspects of culture 1660-1800, including literature, history, fine arts, science, history of ideas, and popular culture. Only essays from 5,000 to 9,000 words will be considered. Review proposals are also welcomed.

Submission Guidelines: The Chicago Manual of Style, 15th edition, should govern all questions of style and format. Contributors should submit three hard copies of the manuscript printed double-spaced throughout on 8.5 by 11-inch paper, with margins of 1.25 inches on the sides and 1.5 inches at top and bottom, and a stamped, addressed return envelope. Obviously unacceptable essays will be returned within two weeks; essays being seriously considered will be kept for three to six months. When notified of acceptance for publication of an essay, the author must submit the accepted manuscript as an MS Word attachment. Inquiries about submittal should be addressed to Cristobal Silva (cs2889@columbia.edu) or Jennifer Frangos (frangosj@umkc.edu). Manuscripts for publication and correspondence relating to them should be sent to:
Tita Chico
Editor, The Eighteenth Century: Theory and Interpretation
Department of English
3101 Susquehanna Hall
University of Maryland
College Park, MD 20742
tchico@umd.edu

Editorial Board:

Editors: Tita Chico, Robert M. Markley, Jennifer Frangos, Christobal Silva.

Assisstant Editors: Jeremy Wear, Joanne Roby

Editorial Board: Paul K. Alkon, Srinivas Aravamudan, Elizabeth Bohls, Mitchell Brietweiser, Marshall Brown, Bruce Clarke, Lennard J. Davis, Thomas DiPiero, George Haggerty, Isaac Kramnick, Jonathan Lamb, Donna Landry, Lawrence I. Lipking, Jean Marsden, Christie V. McDonald, Ellen Pollak, Ronald C. Rosbottom, G. S. Rousseau, John Samson, Mary D. Sheriff, Clifford Siskin, Jeffrey R. Smitten, Kristina Straub, Rajani Sudan, Georges Van Den Abbeele, Cynthia Wall, Hayden White.

Studies in Eighteenth-Century Culture

American Society for Eighteenth-Century Studies http://asecs.press.jhu.edu/

Johns Hopkins University Press http://asecs.press.jhu.edu/secc.html

Frequency: 1 issue per year

Aims & Scope: Studies in Eighteenth-Century Culture (SECC) is an interdisciplinary annual volume that publishes significantly revised versions of papers read at national and regional conferences of the American Society for Eighteenth-Century Studies and its affiliates during the academic year. SECC strives to feature the finest work in eighteenth-century studies and to represent ASECS’s wide range of disciplinary interests. The Editors encourage theoretically informed, academically rigorous essays that reflect new directions of research in the field. Essays from previously under-represented disciplines are particularly desired.

Submission Guidelines: Papers from all disciplines presented at regional and national meetings of ASECS and its affiliates in the academic year are eligible for consideration. Contributions will be judged according to the highest standards of scholarship. The editors of SECC will not consider papers already submitted to other journals. Papers must be substantially revised from their presentation version and scholarly apparatus must be added. All submissions should be written in English or other commonly-used modern European languages. Submissions typically average 20 to 25 double-spaced pages in length. Current editorial practice follows the Chicago Manual of Style. In accordance with SECC’s policy of blind submissions, author’s names should not appear on the manuscript; any references to the author’s previous work should be in the third person. Please note that electronic submissions are preferred. The deadline for submission is August 21, 2011. Final decisions will be made by December 1, 2011. Please submit appropriately revised essays to: lisa.cody@cmc.edu

Editorial Board:

Co-Editors: Linda Zionkowski, Downing A. Thomas

Editorial Board: Claire Balwin, Mark Blackwell, James Carson, Lisa Cody, Anne C. Vila, Johnson Kent Wright.

IN THE NINETEENTH CENTURY:

Nineteenth Century Studies

The Nineteenth Century Studies Association http://www.english.uwosh.edu/roth/ncs/

Frequency: 1 issue per year

Aims & Scope: Nineteenth Century Studies publishes studies of interest to scholars of the nineteenth century in all fields. Topics include, but are not limited to, literature, art history, history, music, and the history of science and the social sciences. We welcome submissions that cross national boundaries and/or range across the nineteenth century. We also wish to encourage submissions of essays treating the material cultures and popular arts, entertainments, and literatures, and their significance in nineteenth-century societies. Studies focused intensively on a single text or work of art are quite appropriate if also affording broad interdisciplinary interest; however, studies of single works are not encouraged, if likely to appeal only to very specialized interests.

Submission Guidelines: Successful submissions to NCS are typically characterized by their authors having “done their homework.” With due allowance for the commonly recognized proportions of a journal article, authors should demonstrate in their arguments and documentation that they have thoroughly paid respect to fellow workers in a given field. From the initial stage of submission to final revisions of accepted essays, authors should always bear in mind that the audience of NCS is truly interdisciplinary. Readers are professional scholars, committed to study of the nineteenth century in all its aspects, but not necessarily sharing training in the field of a given contributor. We look therefore for essays that make original contributions to their respective fields, while managing also to make that scholarship available to a broader audience. Both aims may be achieved only after a substantial review and editing process, but the potential should be present in a submission from the start. Address email inquiries to dhanson@selu.edu.

Editorial Board:

Editor: David C. Hansen

Production Editor: Joseph H. Brown

Advisory Board: Nancy Fix Anderson, Sarah Lea Burns, Susan P. Casteras, Silvana Colella, Robert Craig, Deirdre David, Tracy C. Davis, Thomas Dixon, Barbara Gates, Vincent Giroud, Thomas Grey, Elizabeth K. Helsinger, Joseph Kestner, James Kincaid, George Levine, Anne Mellor, Walter Benn Michaels, Joel Myerson, James Olney, Douglas Robillard, Talia Schaffer, Howard Segal, Margaret D. Stetz, Michael Wheeler, Anthony Wohl, Linda Zatlin.

Nineteenth Century Contexts

Frequency: 5 issues per year

Aims & Scope: The journal is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others — but also test and open up the very limits of disciplinary boundaries. Scope of interest is not confined to any single regional or cultural area, and the relevance of the nineteenth centuries we read about to contemporary political flashpoints around the world remains a top priority.

Submission Guidelines: The journal welcomes interdisciplinary articles on all aspects of the nineteenth-century. Manuscripts should be approximately 5,000 – 8,000 words and should be documented according to the MLA Handbook. Please send three copies of the manuscript as well as an electronic version on disk, accompanied by a self-addressed, stamped envelope. Contributions should be sent to David Thomas, Department of English, University of Notre Dame, Notre Dame, Indiana 46556, USA; Tel: +1 219 631-7122; Fax: +1 219 631-8209; E-mail: dthomas6@nd.edu OR Keith Hanley, Department of English and Creative Writing, County Main, Lancaster University, LA1 4YD, UK; Tel: +44 (0) 1524 592451; Fax: +44 (0)1524 594247; Email: k.hanley@lancaster.ac.uk. Submission of a paper will be taken to imply that the paper is not being considered elsewhere for publication.

Editorial Board:

Editors: David Thomas, Keith Hanley 

Book Reviews Editor: Johanna Smith
Managing Editors: Simone Hamrick, Lauren Proctor
Editorial Board: Nancy Armstrong, Jacqueline Bratton, Susan Casteras, Simon Critchley, James Clifford, Felix Driver, Ian Duncan, Kate Flint, Hilary Fraser, Simon Gikandi, Anne Mellor, Claire Midgley, Sally Shuttleworth, Phillip Sloan, Stephen Small, Richard Stein, Gretchen van Slyke.

IN ENGLISH LITERATURE:

PMLA

Modern Language Association of America http://www.mlajournals.org/   http://www.mla.org/pmla

Frequency: 4 issues per year

Aims & Scope: PMLA welcomes essays of interest to those concerned with the study of language and literature. As the publication of a large and heterogeneous association, the journal is receptive to a variety of topics, whether general or specific, and to all scholarly methods and theoretical perspectives. The ideal PMLA essay exemplifies the best of its kind, whatever the kind; addresses a significant problem; draws out clearly the implications of its findings; and engages the attention of its audience through a concise, readable presentation. Manuscripts in languages other than English are accepted for review but must be accompanied by a detailed summary in English (generally of 1,000-1,500 words) and must be translated into English if they are recommended to the Editorial Board.

Submission Guidelines: Only members of the association may submit articles to PMLA. For a collaboratively written essay to be eligible for submission, all coauthors must be members of the MLA. PMLA does not publish book reviews or new works of fiction, nor does it accept articles that were previously published in any language. An article is considered previously published if it appears in print or in an online outlet with the traits of publication, such as editorial selection of content, a formal presentation, and ongoing availability. Articles of fewer than 2,500 words or more than 9,000 words are not considered for publication. It is PMLA’s policy not to review articles that are under consideration by other journals. Submissions, prepared according to the MLA Style Manual and Guide to Scholarly Publishing, should be sent in duplicate as hard copy to

    Managing Editor PMLA

    Modern Language Association

    26 Broadway, 3rd floor

    New York, NY 10004-1789

      pmlasubmissions@mla.org

Editorial Board:

Editor: Simon Gikandi

Managing Editor: Judy Goulding

Associate Managing Editor: Eric Wirth

Assisstant Editors: Christiane Angeli, John D. Golbach, Barney Latimer.

Editorial Board: Nancy Bentley, Richard T. Gray, Jean E. Howard, Katharine Ann Jensen, John Kucich, Lois Parkinson Zamora.

ELH: English Literary History

Johns Holkins University Press http://www.press.jhu.edu/journals/english_literary_history/

Frequency: 4 issues per year

Aims & Scope: ELH publishes superior studies that interpret the conditions affecting major works in English and American literature. Building on a foundation that stretches back to 1934, ELH editors and contributors balance historical, critical, and theoretical concerns within the discipline of letters.

Submission Guidelines: Authors should submit their manuscripts online with Scholar One at http://mc.manuscriptcentral.com/elh. ELH strongly prefers submissions in Word (.doc or .docx) format. Manuscripts should be prepared in accordance with The Chicago Manual of Style, 16th ed. Manuscripts should be double-spaced, with one-inch margins, in Times New Roman, 12 pt. font. Submissions should be at least 8,000 words in length and should not exceed 14,000 words, including endnotes. An abstract of around 100 words should accompany each submission. Please note that the journal does not routinely offer readers’ reports. Any questions or inquiries should be sent to elh@jhu.edu.

Editorial Board:

Senior Editor: Frances Ferguson

Managing Editor: Jessica Valdez

Editors: Amanda Anderson, Sharon Cameron, Simon During, Richard Halpern,Douglas Mao,Christopher Nealon, Mark Thompson.

Advisory Editors: Leo Braudy, James Buzard, Jerome Christensen, Andrew Daniel, Jonathan Goldberg, Allen Grossman, Langdon Hammer, Ralph Hanna III, Elizabeth Hanson, Jared Hickman, Jerome J. McGann, Katharine Maus, Anne Middleton, J. Hillis Miller, Stephen Orgel, Jesse Rosenthal.

Associate Editors: Nick Mujak, Stephanie Hershinow.

Critical Inquiry http://criticalinquiry.uchicago.edu/info/

Frequency: 4 issues per year

Aims & Scope: Critical Inquiry is an interdisciplinary, peer-reviewed journal devoted to the best critical thought in the arts and humanities. Founded in 1974, it has been called “one of the best known and most influential journals in the world” (Chicago Tribune) and “academe’s most prestigious theory journal” (New York Times). Combining a commitment to rigorous scholarship with a vital concern for dialogue and debate, the journal presents articles by eminent and emerging scholars, critics and artists on a wide variety of issues in contemporary criticism and culture.  Associated with no single school of thought, tied to no single discipline, Critical Inquiry is dedicated to providing a forum for cutting-edge thought while reconsidering traditional concepts and practices. 

Submission Guidelines: The editors invite submissions of manuscripts in English appropriate to the aims of Critical Inquiry. Manuscripts should not exceed 7,500 words; this limit includes discursive notes but not bibliographical information.  We do not accept multiple submissions or submissions submitted simaltaneously elsewhere. The journal does not pay contributors. Authors will receive a complimentary one-year subscription to the journal and ten copies of the issue in which their articles appear.

Preparation of Copy:
1. Type all copy—including footnotes—allowing two-inch margins at top and bottom of page and generous margins on the sides. Please be sure to number your pages.
2. Footnotes should be numbered consecutively throughout the manuscript.
3. All quotations, titles, names, and dates should be double-checked for accuracy.
4. Please submit via email to the following address: cisubmissions@gmail.com

Editorial Board:

Editor: W.J.T. Mitchell

Executive Editors: Richard Neer, Arnold Davidson.

Co-Editors: Joel Snyder, Françoise Melter, Elizabeth Helsinger, Dipesh Chakrabarty, Bill Brown.

Senior Managing Editor: James W. Williams

Modern Philology

University of Chicago Press http://www.jstor.org/page/journal/modernphilology/about.html

Frequency: 4 issues per year

Aims & Scope: Founded in 1903, Modern Philology sets the standard for literary scholarship, history, and criticism. In addition to innovative and scholarly articles (in English) on literature in all modern world languages, MP also publishes insightful book reviews of recent books as well as review articles and research on archival documents. The journal’s aim is to publish literary criticism and scholarship that does its work, whether of appreciation, understanding, or critique, through close attention to the language and details of texts. Historical awareness is necessary for an understanding of texts, and detailed recognition of textual features is necessary to do historical reading properly—these are presumptions that the work that we publish in Modern Philology should embody. Modern Philology intends to be concerned with literary works, literary traditions, and literary criticism, publishing work on literature from the medieval period in the West forward, and not only in the Western tradition. Within our very large historical range-from, roughly, the time of Charlemagne to the present-we are not restricted to literature of any particular kind or from any particular geographical or cultural region.

Submission Guidelines: Authors are encouraged to submit manuscripts online via the Modern Philology Editorial Manager system at http://modphil.edmgr.com. Detailed instructions are available below. Submissions should follow the Chicago Manual of Style. Please address all editorial correspondence to Richard A. Strier at modern-philology@uchicago.edu

Editorial Board:

Editor: Richard Strier

Associate Editor: Lisa Ruddick

Managing Editor: Jessica K. Printz

Editorial Board: David Bevington, Robert Bird, James Chandler, Frederick de Armas, Maude Ellmann, Elaine Hadley, Mark Miller, Michael Murrin, Larry Norman, Haun Saussy, Joshua Scodel, Eric Slauter, Christina von Nolcken, Elissa Weaver, David E. Wellbery, John Wilkinson.

Retrospective: Visionary Poetry Event

Posted on by
1

At our meeting on September 29, the Romanticist Reading Group discussed visionary poetry.  Our discussion encompassed the works of Blake, Coleridge, and Wordsworth as we threshed out the concepts of vision and the visionary as they apply to Romantic poetry, starting with a set of questions: how do we begin to define vision and the visionary? Do these definitions vary from poet to poet and from poem to poem? How are we as critics to negotiate the fact that vision serves as a central trope as well as a generic classification during the period? While Coleridge’s Rime of the Ancyent Marinere or Kubla Khan, Blake’s Visions of the Daughters of Albion—or  any of his prophecies—or even Byron’s apocalyptic masterpiece Darkness may seem more appropriate to the topic, we found ourselves preoccupied with Wordsworth’s “Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye During a Tour. July 13, 1798.” More particularly, we found the similarities between the framing of the “Tintern Abbey” poem and the framing of Coleridge’s “Kubla Khan” intriguing. In both cases, the writer increasingly distances himself from the visionary portions of the poem.

In “Kubla Khan,” the poet says he had a vision of “A damsel with a dulcimer” but he cannot describe or even recall the vision; he says, “Could I revive within me / Her symphony and song,” acknowledging the impossibility of actually reviving the vision. The section of the poem containing the reference to the vision is set off from the rest of the poem by its change in meter. The poet is distanced from the poem by events of the paratext referenced in the title, “Kubla Khan: Or a Vision in a Dream.” The poem recounting the vision is ostensibly the result of a dream he had during a “profound sleep, at least of the external senses” in which he “composed” a long poem, of which the printed poem is but a fragment, produced before he was interrupted by the man from Porlock. He describes the composition process as an almost magical moment: “all the images rose up before him [Coleridge] as things, with a parallel production of the correspondent expressions.” This unlikely framing of the poem’s genesis is countered by another story found in Coleridge’s note to the Crewe manuscript of the poem, in which he says the fragment was “composed, in a sort of Reverie brought on by two grains of Opium, taken to check a dysentery.” While considerably less mysterious, that the poem was composed during an opium high is considerably more credible than the preface’s account of it being composed during a dream. However, these changing accounts of the poem’s composition reveal the poet’s anxiety about recounting the visionary experience as the poet increases the distance between writer and the visionary moment.

Wordsworth displays a similar pattern of distancing in his revisions of “Tintern Abbey”. Over the course of its publication history, “Tintern Abbey” undergoes some subtle but crucial changes. When it first appeared as part of Lyrical Ballads in 1798, the full title of the poem was “Lines Written a Few Miles Above Tintern Abbey, On Revisiting the Banks of the Wye During a Tour, July 13, 1798.” In 1815, Wordsworth changed the lengthy title to “Lines Composed” instead of “Written.” Andrew Bennett reads the change in title as the poet’s attempt to disengage “the site of composition from that of inscription” (Wordsworth Writing 45). In the poem, the poet’s thoughts receive far more description than what the poet sees from his location on the Wye. In this case, ‘vision’ is more an act of the mind than of the eyes. Wordsworth wants to create distance between his experience of the River Wye and the act of writing. “Tintern Abbey” was actually written in Bristol and Bennett makes the provocative suggestion that a more accurate title would be “The Bristol Poem.” In the context of this discussion, we see two poets carefully presenting how their respective works came to be.

Both poems demonstrate their authors’ skepticism about writing their visions. Through various paratextual additions and alterations, Wordsworth and Coleridge increase the distance between themselves as authors and the visionary moments represented in their texts. Tintern Abbey was published in the 1798 Lyrical Ballads, and although it wasn’t published in print until 1816, Kubla Khan was written in the autumn of 1797 and circulated through recitation for several years, so both poems partake of a historical moment which may have contributed to their skepticism regarding the possibility of accurately recording or reporting individual perception. What might account for this anxiety about recounting visions, whether of sensory perception, mental reflection, or revelatory imagination? What about England in the 1790s promotes this skepticism?

~Veronica Goosey

Welcome to our blog!

Posted on by
Reply

Welcome to our new blog!

We are the Romanticist Reading Group of New York University, a graduate student organization sponsored by the Department of English. We began our group formally in the Spring semester of 2011 to offer interested graduate students the chance to convene on occasion to read and discuss varied selections from the Romantic period. By “Romantic” we mean cross-disciplinary and multi-lingual readings from the late 18th and early 19th centuries. We’ve had special sessions on Keats’ Hyperion poems, Romantic Sonnets, and Romanticism and the Visionary Poetry that were well attended. We have also had the privilege of the Faculty presence of Maureen N. McLane and Laurence Lockridge, our two official English Department advisors, at all of our events thus far.

Though our main activity has involved various informal “readings” of the texts, we have recently expanded our scope after realizing that our discussions began generating new and exciting ways to talk about these works. In addition to some collaborative works of scholarship we already have underway, we have created this blog. With this medium, we hope not only to track our activities and record the pulse of the nyuRRG but also to engender further discussion and threads. In that spirit, then, we welcome your responses, comments, and questions on this online forum, and we are delighted you’ve visited our site. We also welcome your participation at our events. Feel free to write us at nyurrg@gmail.com to join our mailing list or if you have any questions or comments.

Yours sincerely,

Veronica Goosey, Omar F. Miranda, and Randie Sessler
Organizers
The Romanticist Reading Group of NYU