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Podcasts of previous sessions

 

Archived session listings

28 April 2015: Claire Hutton (Loughborough) ‘Reading Ulysses in the Little Review’, 28 April 2015

From the perspective of literary history, Ulysses is identified with both the aesthetic and moment of its first edition in Paris in 1922. Yet that first edition was not the first iteration of Ulysses in print. Joyce never visited the US, but Ulysses was first published serially in the US periodical, the Little Review, between 1918 and 1920. This paper looks at the circumstances which led to the publication of Ulysses in that context. It examines: the journal’s origins and intellectual context; the cultural formation and mentalité of the editors (Margaret Anderson and Jane Heap); the significance of Ezra Pound’s appointment as the Review’s Foreign Editor in 1917; the political context in which the journal appeared; and the associative structure between the journal’s regular content, and the serial text of Ulysses.

BIOGRAPHY

Clare Hutton is Senior Lecturer in English at Loughborough University. She was editor of volume 5 of the Oxford History of the Irish Book (OUP, 2011) and is now completing a monograph (Serial Encounters: Ulysses and the Little Review) on the textual and contextual significance of Ulysses as it appeared serially in the Little Review (forthcoming with OUP, 2016). She has a second monograph in progress on the textual culture of the Irish Literary Revival. Her work on the Little Review and Ulysses was funded by the Leverhulme Trust.

 

24 February 2015: Laurel Brake, ‘Pater and the new media: the “child” in the “house”’

In this seminar, I will argue that the efflorescence of periodicals after 1855 permeated discourse of all kinds, including the writing of aesthetes and decadents such as Swinburne, Walter Pater, and Oscar Wilde. The ‘move’ from literature to periodicals – albeit ‘little’ magazines – manifest in high modernism is already firmly established in the 19th century.

I will explore how Walter Pater’s writing, and the trajectory, locations and character of his publications, relate to the media of his day. Pater’s career exactly maps onto the timeline and development of the new media of the 1860s, through the mid-1890s. In this sense he is a ‘child’ in the ‘house’ of publishing. The new media, in which I shall argue Walter Pater’s writing almost exclusively appeared, are the new forms of the newspaper, magazine and review genres that follow the repeal of the newspaper taxes 1855-61.

How did Pater navigate the shoals of the new journalism, the movement between lectures, periodical article and book publication, and celebrity in comparison with peers, such as J A Symonds, and his juniors, such as Arthur Symons and Oscar Wilde? I will also investigate serials to which he was invited to contribute but did not (for example, to the Century Guild Hobby Horse, Good Words, the Illustrated London News and the Yellow Book) to explore the limits of his participation in the new journalism and the avant-garde (e.g., the Dial) as well as the popular press. I will also look at the immediately posthumous reprinting and circulation of Pater’s works by the American publisher Thomas Mosher in series and serials such as the Bibelot, a little magazine. Mosher’s publications of selected ‘choice’ works of Pater, in formats of fine printing, relatively cheaply, combined elements of the popular press, aesthetic elitism, and proto-modernism, reflecting that transitional moment of the turn of the century.

Biography

Laurel Brake is Professor Emerita of Literature and Print Culture at Birkbeck, University of London. She is the author of Subjugated Knowledges, Print in Transition and Walter Pater. She has edited and co-edited many other books, including several on Pater. Work since 2009 includes five articles on Walter Pater; ncse (Nineteenth-Century Serials Edition), a digital edition of seven 19C periodicals (www.ncse.ac.uk); and DNCJ (Dictionary of Nineteenth-Century Journalism), co-edited with Marysa Demoor. In 2012/13 she co-edited WT Stead, Newspaper Revolutionary, co-organised a centenary conference on Stead at the British Library, and co-edited a special issue on Stead in 19. An Interdisciplinary Journal (www.19.bbk.ac.uk). She is currently co-editing a collection of articles on the News of the World for Palgrave, and writing Ink Work, a biography of Walter and Clara Pater. She is editor of Vol 5, on Pater’s journalism, of the forthcoming Collected Works (OUP).


9 December 2014: Cathryn Setz (Oxford) led a workshop session on the little magazine transition

transition (1927-1938) was the largest non-commercial “little magazine”, and a major cultural document of transatlantic avant-garde culture. Yet the journal has been overlooked. Joyce scholars know it to an extent for its seriatim publication of the ‘Work in Progress’, the ongoing project that would become Finnegans Wake. Beckett scholars are aware that some of the playwright’s earliest poems and prose appear in over six issues across transition’s eleven-year run. Those who work on Stein know that the editors joined together in outrage at her exaggerated claims at having “started” the magazine, and released a 1935 pamphlet entitled “Testimony Against Gertrude Stein.” Fewer people are aware that the journal produced the earliest translations of Kafka made available for a US audience, or that more than any other title, transition translated almost every surrealist and expressionist poet contemporary to and preceding its production. Though it carried a different ethos to its more committedly avant-gardist fellow projects, such as Broom and Secession, or the Little Review, Maria and Eugene Jolas’s magazine aspired to offer a cultural bridge between Europe and North America. Problematic though such a gesture might be, the journal nonetheless packaged literary culture for its audiences, inspiring such later figures as Djuna Barnes, Henry Miller, Saul Bellow, and William Gaddis.

In this workshop, Cathryn Setz will look at some of the reasons why transition has been critically sidelined. We will look at its famous so-called “manifesto”, “The Revolution of the Word”, and consider how the journal was both innovative and stale, in different ways. We will also read over some key texts and editorial configurations that might help orient a closer reading, discussing the methodological issues we share in working on modernist periodicals, and critical strategies as emergent in the scholarly field. Cathryn will then discuss some of the parameters of her book-length study of the magazine, with the aim of sharing a conceptual framework and research questions of interest to us all.

4 November 2014: Catherine Clay, author of British Women Writers 1914-1945 (2006), spoke on ‘Time and Tide, Feminist Periodical Networks, and Cultures of the New’

Time and Tide, Feminist Periodical Networks, and Cultures of the New’

In a discussion of the ‘Anglo-American feminist press and “emerging modernities”’ Lucy Delap and Maria DiCenzo warn of the ‘problems and pitfalls of modernism as a critical paradigm, as modernist studies expands into the field of print culture.’ (In Transatlantic Print Culture, 1880-1940: Emerging Media, Emerging Modernisms, p. 49) Literary and cultural approaches privileged in modernist studies provide a limited lens, they argue, for comprehending the ‘new’ in forms of print media that had other social and political priorities, and feminist periodicals show us that ‘it is crucial to look for and understand emerging modernities […] from a broader and more flexible perspective and critical context.’ (52) This seminar will consider the implications of these arguments for ‘modernist magazines research’ with reference to the modern, but not modernist, magazine Time and Tide. Locating this magazine within an overlapping set of feminist periodical networks, the seminar aims to address questions of the modern, modernity and the ‘new’ beyond the parameters of literary modernism, and to recover a neglected history of women’s modern print media.

Speaker bio:

Catherine Clay is Senior Lecturer in English at Nottingham Trent University. She is author of British Women Writers 1914-1945 (2006) and is currently completing a monograph on the feminist periodical Time and Tide.

Supporting material:

Lucy Delap and Maria DiCenzo, ‘Transatlantic Print Culture: The Anglo-American Feminist Press and Emerging “Modernities”’, in Ann Ardis and Patrick Collier (eds.) Transatlantic Print Culture, 1880-1940: Emerging Media, Emerging Modernisms (Basgingstoke: Palgrave, 2008), pp. 48-65.

Catherine Clay ‘“WHAT WE MIGHT EXPECT – If the Highbrow Weeklies Advertized like the Patent Foods”: Time and Tide, Advertising, and the “Battle of the Brows”’, Modernist Cultures 6:1 (2011), pp. 60-95.

12 June 2014, Dr Gerri Kimber (Northampton) ‘”The artists sail in stately golden ships over this familiar and adventurous ocean”: Katherine Mansfield, Rhythm and Foreignness’

Abstract:

Rhythm, established in the summer of 1911, and which ran for 14 issues until its demise in March 1913, was an avant-garde publication with a bias towards Symbolism, the arts and Post-Impres­sionism, the music of Debussy and Mahler and the philosophy of Bergson. The list of contributors, mostly unknown at the time beyond the confines of the Left Bank in Paris, reads impressively today and included Derain, Picasso, Tristan Derème and Francis Carco.

Co-editors John Middleton Murry and his future wife Katherine Mansfield were well read in foreign literature; Murry had spent time in Paris and made many acquaintances within its artistic community and Mansfield had spent almost a year in Bavaria in 1909, where she had befriended a group of Polish writers. Thus there developed an émigré aspect to the contributors of both journals; Mansfield and Carco were both born and brought up in the south Pacific, and Eastern Europe was also strongly represented, with contributions by Floryan Sobienowski, with whom Mansfield had had a liaison in Bavaria in 1909, and who became the magazine’s ‘Polish correspondent’. In addition Mansfield’s passion for the oriental brought foreign contributors such as Yone Noguchi into the Rhythm stable.

This paper will highlight the extent of the émigré creative input into Rhythm and also consider Mansfield’s own contributions, which frequently took émigré subjects as their theme. This influence would manifest itself throughout the pages of Rhythm and its short-lived reincarnation as the Blue Review. As a result, both little magazines could be described as having a transnational identity, with a plethora of international correspondents publicising the new movement of the avant-garde.

All copies of Rhythm and the Blue Review are now digitised and can be viewed here: http://library.brown.edu/cds/mjp/journals.html

If participants would like to do some background reading before the evening, they are invited to look at this issue which features an article about Stanislaw Wyspianski by Floryan Sobieniowski: http://library.brown.edu/cds/mjp/render.php?view=mjp_object&id=1159897880678184 [/embed][/embed]

Gerri Kimber Biosketch:

Dr Gerri Kimber is a Senior Lecturer in English at the University of Northampton. She is co-editor of Katherine Mansfield Studies, the peer-reviewed yearbook of the Katherine Mansfield Society. She is the deviser and Series Editor of the four-volume Collected Works of Katherine Mansfield (2012-15). She is the author of Katherine Mansfield: The Early Years (forthcoming, 2015), Katherine Mansfield: The View from France (2008), and A Literary Modernist: Katherine Mansfield and the Art of the Short Story (2008). She is also co-editor of the following volumes: Katherine Mansfield and Continental Europe: Connections and Influences (forthcoming, 2015), Katherine Mansfield and World War One (forthcoming, 2014), Katherine Mansfield and the (Post)colonial (2013); Katherine Mansfield and Literary Modernism (2011); Celebrating Katherine Mansfield: A Centenary Volume of Essays (2011); Framed! Essays in French Studies (2007). As well as having published numerous articles, she has contributed chapters in the following books: The Great Adventure Ends: New Zealand and France on the Western Front (2013); Bloomsbury: Inspirations and Influences (2013); Katherine Mansfield and Literary Modernism (2011); Translation and Censorship: Arts of Interference (2008); Companion to the British Short Story and Short Fiction (2007). Gerri is Chair of the International Katherine Mansfield Society and has co-organised numerous international Mansfield conferences and events. In 2014, Gerri was one of three nominees for the title UK New Zealander of the Year, for her services to New Zealand culture.

15 May 2014, Charlie Dawkins (Oxford): ‘Why Start a Weekly Magazine? Time and Tide and Modernism, 1920′, 6pm to 8pm

20 February 2014, Dr Jason Harding: ‘The Use and Abuse of Archives: Reading The Criterion and Encounter magazines’, 6.30pm (N.B. later start time)

Participants can familiarise themselves withThe Criterion and Encounter at the following websites:

http://modernistmagazines.com/magazine_viewer.php?gallery_id=287

http://www.unz.org/Pub/Encounter

16 January 2014, Dr Bernard Vere (Sotheby’s) on art work in The New Age

Session reading: New Age Art Show exhibition site: http://newage.omeka.net/exhibits
Huntly Carter’s ‘Art’ from New Age, 9 June 1910, pp. 135-36 and T. E. Hulme’s ‘Modern Art IV – Mr David Bomberg’s show’, New Age, 9 July 1914, pp. 230-32
Both available via the Modernist Journals Project (www.modjourn.org)

Dates for the diary:
20 February 2014: Dr Jason Harding (Durham) on the Criterion
20 March 2014: Dr Cathryn Setz (Oxford) on Transition

Previous sessions:

December 12: Virginia Woolf and Good Housekeeping

Alice Wood, author of Virginia Woolf’s Late Cultural Criticism
November 14: The London Magazine

Faith Binckes, author of Modernism, Magazines, and the British Avant-Garde

Session reading:

The London Magazine, February 1962 (1.11)

This issues features Jean Rhys’s ‘Let Them Call it Jazz’.

Please note room change: we will be in Room 246.
October 10: Rhythm

Andrew Thacker, editor of The Oxford Critical and Cultural History of Modernist Magazines

Session reading:

Rhythm Winter 1911
Chapter 13 of The Oxford Critical and Cultural History of Modernist Magazines, Volume I: ‘Harmony, Discord, and Difference: Rhythm (1911-1913), The Blue Review (1913) and The Signature (1915)’ by Peter Brooker.

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