200 Years of The Nutcracker: Call for Papers

(please note: this event is not hosted by Nineteenth-Century Studies at ARU, but we are looking forward to attending it!)

Date: Saturday 3 December 2016

Location: Anglia Ruskin University, Cambridge, UK

Special Guests:
Maria Tatar (Harvard University)
Kevin Crossley-Holland (Carnegie Medal Winning Children’s Author)

In 1816 E.T.A. Hoffman published his children’s story, The Nutcracker and the Mouse King. Alexandre Dumas, author of The Three Musketeers, later translated this story, inspiring Tchaikovsky’s ballet, The Nutcracker, which has become a common part of Christmas rituals in the contemporary West. Hoffman’s work has inspired many authors of children’s fiction, including Hans Christian Andersen, Lewis Carroll and George MacDonald. This special event will celebrate Hoffman’s story, and its two hundred year legacy, with an academic symposium followed by creative performances. The organizers of this event would like to invite proposals for academic papers of twenty-minute duration devoted to any aspect of Hoffman’s The Nutcracker and the Mouse King.

Areas of engagement might include:

• Literary analysis
• Hoffman’s life and work
• Social and cultural significance
• Performance
• Reception
• Illustrations
• Translations
• Adaptations and retellings

Please submit a title and abstract of no more than 300 words, and a short biographical note of no more than 100 words, to Christopher Owen at: christopher.owen@pgr.anglia.ac.uk by September 1, 2016

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Work in Progress – The Corsair: A Tale of Female Anarchy

Kirsty J. Harris is a postgraduate researcher at Anglia Ruskin University, interested in the intersections of poetry and maritime history, women’s narratives of the sea, the history of piracy, and queer feminist readings of early nineteenth-century texts. Her thesis is titled ‘In Peril on the Sea: Shipwreck and Loss in Poetry 1805-1822’. Blog | Twitter | Email

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Liberty Leading the People.

Le 28 Juillet: La Liberté Guidant Le Peuple
Eugène Delacroix, 1830
Oil on canvas
© Louvre Museum, Paris

Delacroix has also turned a partially naked woman into a partially nude woman, exerting over the female body an aesthetic control that parallels the taming of the warrior woman in popular balladry. Liberty thus contains her contradictions: She is both a “dirty” revolutionary born of action and an other-wordly, idealised female subject born of a classical artistic inheritance and perhaps a new 19th-century definition of femininity.
Delacroix was reading Byron’s poem ‘The Corsair’ – about piracy – as he was painting Liberty between October and December 1830.

(Marcus Rediker)

There are few things more subversive in maritime history than piracy, however romantically pirates from the Age of Sail have come to be seen in the twenty-first century. Byron’s poem The Corsair is often cited as a purveyor and, sometimes, instigator of this romanticised view of a brutal reality. My research focuses on layers of subversion found within poetry of the sea in the early nineteenth century, and what is interesting about The Corsair in particular is that the violence and truly piratical action in the text does not come from Conrad, the eponymous corsair himself. Instead, the character responsible for murder, jailbreak, vengeance and anarchy is the Turkish harem queen, Gulnare.

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