The 2013 symposium, held at the Lincoln Center campus of Fordham University, drew an audience of some 45 persons. The symposium was planned by the K-SAA’s current Vice-President, Neil Fraistat, to reflect on what may be the result of major digitization projects now underway in the field of British Romanticism. There were three main sections, each having distinct generic, methodological and technical differences, so as to make the outcome of the interaction between speakers and auditors valuable beyond the local applications of the particular subjects. The first of these, led by Morris Eaves, a founder of the revolutionary digital Blake Archive, and Rachel Lee, a principal editor for the Archive, concentrated on the manuscript of Blake’s unfinished epic, Vala, or the Four Zoas, which the Blake Archive, with permission of the British Library, is rendering in an electronic format. All paper editions of this work have had to undergo significant intervention from their editors, since there . . .
The Keats-Shelley Association of America & the Fordham University New York City Romanticism Group will hold a symposium on Saturday, May 4, 2013 9:15 AM to 1:30 South Lounge, 2nd floor Fordham University, Lincoln Center Columbus (9th) Avenue at 60th Street Jerome McGann has recently and persuasively argued that we are now in the midst of a globalized turn from a “Textual Condition” to a “Digital Condition” in which our entire inherited cultural archive is being digitized and will require re-editing “within a network of digital storage, access, and dissemination.” And nowhere is that shift more evident than in the changing forms of textual editions themselves, and especially in the many digital archives that began emerging in the 1990s, including McGann’s own Rossetti Archive, the Blake Archive, and the Whitman Archive. If the initial motive of the electronic archives of the 1990s was to unite disparate collections and create widespread access to them, new possibilities have emerge . . .
The Keats-Shelley Association of America is happy to announce an all-day Symposium at Fordham University, May 14, 2011, hosted by the New York City Romanticism Group in association with the K-SAA. May 14, 2011 Fordham University, Lincoln Center New York, NY 12th floor conference room 9:15am-6:00pm With an opening Round Table on “1816 as Literary Year” featuring Stephen Behrendt, Sonia Hofkosh, and Jerrold Hogle. and 12 further participants: 1. Suzanne Barnett, “Shelley’s Romantic Paganism” 2. Manu Chander, “Regency Readers and De Quincey’s Unsocial Sociability” 3. Gary Dyer, “Circulating Poetry in the Regency” 4. Michael Gamer, “‘Twenty-Eight Years to Life’: Copyright Reform and Regency Authorship” 5. Steven Jones, “Graphical Satire in the Regency; or, Putting the Print Back in Print Culture” 6. Mark Kipperman, “Rethinking Regency Literature: the Case of William Cobbett” 7. Scott Krawczyk, “Broken Soldiers: Public Bodies and Next-of-Kin Notification” 8. Charles Mahoney, “Regency Litera . . .
The Keats-Shelley Association of America extends its sincere condolences to the family and friends of Carol Pforzheimer, a devoted friend and benefactor of this Association for many years. She lived a long and fruitful life, exemplified by a notable generosity of spirit that we, like all who benefited from her solicitude, treasure in memory. Stuart Curran, President . . .
On 13 September 2009, the Keats-Shelley Association of America hosted a special advance screening of Jane Campion’s new film Bright Star, about the love between John Keats and Fanny Brawne, at the New York Public Library. Following the screening was a special panel of reactions to the movie, featuring Stuart Curran (distinguished professor Emeritus of the University of Pennsylvania and president of the K-SAA), Christopher Ricks (William M. and Sara B. Warren Professor of the Humanities and Co-Director of the Editorial Institute, Boston University), Timothy Corrigan (professor of English and Director of Cinema Studies, University of Pennsylvania) and Susan Wolfson (Professor of English, Princeton University). Special thanks are due to to several people who helped to facilitate this screening/panel and its recording: Marsha Manns (Director, Keats-Shelley Association of America), Oleg Dubson (Apparition, the film’s distributor), Doucet Devin Fischer (Co-editor, Shelley and his . . .
The Keats-Shelley Memorial Association invites applications for the Twelfth Annual Keats-Shelley Prize, sponsored by The Cowley Foundation, The School of English, University of St Andrews, and The Liberal Magazine. There are two competitions, open to all: for an essay and a poem. The essay can be on any aspect of the life or work of John Keats, P. B. Shelley, Mary Shelley or Lord Byron, and should be of 2,000 – 3,000 words, including quotations. Preference will be given to entries showing originality of thought and written in a clear and accessible style. The poem (which may be a narrative) must be original, unpublished and not a parody. It should focus on the theme “Find.” It may be of any length up to 50 lines. Prizes will be presented the prizes at the Annual Awards Ceremony in London in October. The closing date for entries is 30th June 2009. For more information see the KSMA Noticeboard at http://www.keats-shelley.co.uk/noticeboard.html. . . .
Those interested in purchasing a subscription to the Keats-Shelley Review, published by our associates at the UK Keats-Shelley Memorial Association, can find information at http://www.keats-shelley.co.uk/publications.html#TheKeats-ShelleyReview. Please note that individuals can subscribe by becoming members of the KSMA, but institutions will need to go through the subscription manager at their printer, Maney & Son. . . .
In my note Joanna Baillie in New Zealand: Eight New Letters (Keats-Shelley Journal 54  33-42), I included an unsigned 16 August 1813 letter to Mary Berry. The letter was one of a small group held in the Reed Collection of the Dunedin Public Library in New Zealand. A recent reexamination of the letter has convinced me that it was not written by Baillie. The name Joanna Baillie appears on the letter in another hand, and there is much to support this supposition. Baillie and Berry were lifelong correspondents, and the subject matter (concern over Berrys despondency) appears in other Baillie letters. Baillie was traveling in August 1813, and therefore the unidentified place of writing (Combanke) seemed less surprising. However, the handwriting, though quite similar to Baillies own, is not hers. Who is the author of the letter? All evidence so far points to Baillies and Berrys close friend, the sculptor and author Anne Seymour Damer (1749-1828). Damer, whose classically-inspired busts . . .
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