Club Membership of the Late 1880s: Women and Fin-De-Siecle Authorship, Fulya Kincal ‘Not indeed a good writer of novels’: The Trolling of Sydney Owenson, Sara J. Kerr Authorship, in fiction and theory Chair: Megen de Bruine- Molé Braddon’s ‘Grub-Street Scribbler’: Antonia Thornton the professional writer at the end of Braddon’s career in The Infidel, Helen McKenzie Mary Ward and the Business of Romance, Stephen Edwards Gendering the text – form and content Chair: Evan Hayles Gledhill Ellen Wood’s gender bending – male voices from the quintessential Chloé Holland The Reception of a Nineteenth-Century Female Writer of ‘Unfeminine’ International European Politics, Rachel Egloff Jane Austen: an honorary man, Chiara Codecà Gendering the performer Chair: Fulya Kincal Performing Restraint: Alice Meynell’s American Lecture Tour, 1901-1902, Sarah Parker ‘What an actress this woman is! What an arch trickster – what an all-accomplished deceiver’: Mary Braddon’s Literary, Theatrical, and Personal Performances, Anne-Marie Beller ‘Marry an actress! No words can describe the horror’: Images of the professional actor and propriety in Mabel’s Progress (1867), Eleanor Dumbill Recontextualising – diaries and scrapbooks Chair: Sarah Parker Recovering the Female Poetry Reader: Ann Warton Stock’s Illustrated Commonplace Book (1852-1860), Melissa Tricoire Poaching, Gleaning, Spinning: The Gendered Metaphors of Appropriative Art, Megen de Bruin-Molé Female authorship and celebrity in nineteenth-century Polish theatre: Helena Modrzejewska and her female fans, Agata Łuksza Revisioning the past Chair: Simon Avery
Club Membership of the Late 1880s: Women and Fin-De-Siecle Authorship, Fulya Kincal ‘Not indeed a good writer of novels’: The Trolling of Sydney Owenson, Sara J. Kerr Authorship, in fiction and theory Chair: Megen de Bruine- Molé Braddon’s ‘Grub-Street Scribbler’: Antonia Thornton the professional writer at the end of Braddon’s career in The Infidel, Helen McKenzie Mary Ward and the Business of Romance, Stephen Edwards Gendering the text – form and content Chair: Evan Hayles Gledhill Ellen Wood’s gender bending – male voices from the quintessential Chloé Holland The Reception of a Nineteenth-Century Female Writer of ‘Unfeminine’ International European Politics, Rachel Egloff Jane Austen: an honorary man, Chiara Codecà Gendering the performer Chair: Fulya Kincal Performing Restraint: Alice Meynell’s American Lecture Tour, 1901-1902, Sarah Parker ‘What an actress this woman is! What an arch trickster – what an all-accomplished deceiver’: Mary Braddon’s Literary, Theatrical, and Personal Performances, Anne-Marie Beller ‘Marry an actress! No words can describe the horror’: Images of the professional actor and propriety in Mabel’s Progress (1867), Eleanor Dumbill Recontextualising – diaries and scrapbooks Chair: Sarah Parker Recovering the Female Poetry Reader: Ann Warton Stock’s Illustrated Commonplace Book (1852-1860), Melissa Tricoire Poaching, Gleaning, Spinning: The Gendered Metaphors of Appropriative Art, Megen de Bruin-Molé Female authorship and celebrity in nineteenth-century Polish theatre: Helena Modrzejewska and her female fans, Agata Łuksza Revisioning the past Chair: Simon Avery
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