The Gaskell Journal: Joan Leach Memorial Graduate Student Essay Prize 2018

Deadline for submissions: 1st February 2018

The Gaskell Journal runs a biennial Graduate Student Essay Prize in honour of Joan Leach MBE, founder of the Gaskell Society.

Terms

The essay competition is open to all graduate students currently registered for an MA or PhD in Victorian Studies. Entries are invited that offer an original contribution to the field of Gaskell studies, whether by reading her works in relation to Victorian cultural, religious, aesthetic and scientific contexts, or through innovative close readings enlightened by critical theory, or a comparative study connecting Gaskell’s with another author’s work.  Essays will be shortlisted by the Gaskell Journal Editorial Board, with the final judgment being made by a leading scholar in Gaskell studies.

Prize

The winning essay will be published in the Gaskell Journal (subject to appropriate revisions), and its author will receive £200 from the Gaskell Society, and a complimentary copy of the Journal. High quality runners-up will also be considered for publication.

Conditions

Essays should be 6000-7000 words, and not under consideration for publication elsewhere. Please see the Gaskell Journal website for the stylesheet (MHRA with endnotes), and for the form to submit with your anonymised essay: www.gaskelljournal.co.uk

Please submit these directly to the Editor Dr Rebecca Styler rstyler@lincoln.ac.uk by/on 1st February 2018, who can also answer any inquiries.

 

Middlemarch: ‘Unabridged’

middlemarch-tl crop

[cropped] Eliot’s Manuscript of Middlemarch © Jonathan Garnault Ouvry / British Library

Guest Post from Unit Member Kathy Rees: on reading George Eliot’s Middlemarch again, abridgement, and the significance of paratext mottoes. 

 

I was very excited when the Research Unit Reading Group embarked on George Eliot’s Middlemarch (1871), but also slightly stressed, because I knew that I didn’t have time to re-read it.  The obvious solution was audible.com, and I imagined myself happily absorbed in the dramas and doings at Tipton Grange and Freshitt Hall while I trailed around Tesco or stirred the soup.

At the point of purchase I was puzzled to note that the length of the ‘Audible Studios’ edition, narrated by Maureen O’Brien (£21), was 32 hours and 28 minutes, while the ‘Naxos’ edition, narrated by Juliet Stevenson (£37), was 35 hours and 40 minutes.  Given that both versions were emphatically marked UNABRIDGED, it seemed outrageous to pay £16 for an additional 3 hours and 12 minutes of an amorphous ‘something’ – maybe pregnant pauses, or musical intervals – so, like dear Mr Brooke, I had good intentions but was ‘spending as little money as possible in carrying them out”.[i] The outcome of my penny-pinching provoked the subject of this blog.

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