Conference of the Canadian Society for Eighteenth-Century Studies
Congrès de la Société canadienne d'étude du dix-huitième siècle

sponsored by/ commandité par

Eighteenth-Century Studies at the University of Saskatchewan (Research Unit)

SPECTACLE IN THE EIGHTEENTH CENTURY
LE SPECTACLE AU DIXHUITIEME SIECLE

DELTA BESSBOROUGH HOTEL
601 Spadina Crescent E

18–20 October 2001

 
Program / Programme

WEDNESDAY, OCTOBER 17

19:00–22:00 Advance Registration
Welcome reception/ Accueil

19:30 CSECS Executive Meeting

THURSDAY, OCTOBER 18

8:30–16:00 Registration/ Inscription

Session 1: 8:45

Diderot et/ and La Religieuse
Chair: Moishe Black (University of Saskatchewan)

• Berthiaume, Pierre (Université d'Ottawa). "La Religieuse de Denis Diderot ou l'hypotypose spéculaire."
• Ionescu, Christina (University of Toronto). "Clore La Religieuse de Diderot: fermeture de la diegèse, ouverture de la réflexion."
• Person, Alain (Université d'Ottawa). "L'Impossible Union de la persona satirique et du personnage romanesque chez Diderot: les cas de Sélim et de Suzanne."

From the Concert Hall to the Salon/ Salles de concert et salons
Chair: Ron Cooley (University of Saskatchewan)

• Pekacz, Jolanta T. (University of Saskatchewan). "Feminine Salon as a Spectacle."
• Macpherson, Jay (University of Toronto). "HarlequinÑHanswurstÑPapageno."
• Paetsch, Annabelle (University of Western Ontario). "The 'Spectacular' Concerted Works of Wolfgang Amadeus Mozart."

Late 18th-Century Novels/ Le Roman anglais à la fin du XVIIIe siècle
Chair: Anthony Harding (University of Saskatchewan)

• Grogan, Claire (UBC). "The Dangers of Public Display: Female Philosophers, Hottentots and Revolutionaries in Elizabeth Hamilton's Memoirs of Modern Philosophers."
• Hatch, Ronald (UBC). "Zeluco and Moral Inversions."
• Hopper, Karine (University of Alberta). "Ruin and Confinement: Imagination and Pregnancy in Fenwick's Secresy."

Theory, Method, and Applications/ Théorie, méthode, pratique
Chair: David McNeil (Dahousie University)

• Campbell, Grant (University of Western Ontario). "Getting the Dirt: Scholars in Eighteenth-Century Studies Talk about Electronic Text."
• London, April (University of Ottawa). "Literary History and Literary Criticism."
• Wall, Cynthia (University of Virginia). "Poetics of Space, Prose of Things: The Status of Description in 18^th-Century British Literature."

10:15 Coffee/ café

Session 2: 10:30

Staging Spectacle/ Le Spectacle au théâtre
Chair: April London(University of Ottawa)

• Anderson, Mark E. (University of Victoria). "Versions of Harlequin Doctor Faustus and The Necromancer in 1723–24."
• Byrne, Tracy (University of Victoria). "'Expos'd to all the Criticks of Algier.' Katherine Philips's Pompey: The Retired Orinda as Restoration Playwright."
• Eggleston, Robert (Okanagan University College). "'We'll rehearse this piece again tomorrow': Rehearsal Plays and Spectacle."

Sermons, Sacrifice, and Spectacle/ Prédication, sacrifice, spectacle
Chair: Warren Cariou (University of Saskachewan)

• Fields, Polly Stevens (Lake Superior University). "Spectacles of Charity: Observing the Sinful Body."
• Beardsall, Sandra (Saint Andrew's College). "'Colliers Grew Mild and Savages Grew Tame': John Wesley and Field Preaching in England."
• Black, Moishe (University of Saskatchewan). "Visualizing Murder: Iphigenia and Diderot."

Outlandish Spectacle/ Spectacles extraordinaires
Chair: Juliette Merritt (McMaster University)

• Barton, Karin (University of Toronto). "Forgotten Spectacles: The European Insect Trials."
• Phillips, Cassandra (University of Saskatchewan). "Roll on Up! Roll on Up! Come and See the Circus Freaks: Images of Deformity and Disfigurement in Eighteenth-Century England."
• Harper, Heather (University of Alberta). "'Altimira' the Vigilante 'Ghost': Elizabeth Boyd's Marital-Martial Spectres."

12:00 Déjeuner/ Lunch

13:00 Plenary Address/ Conférence plénière
Chair: Kathlenn James-Cavan (University of Saskatchewan)

Paula Backscheider (Auburn) "Public Spectacles and the Making of the Modern Literary History" Defoe in the pillory and sixteen years later in an undignified exchange with the hack Charles Gildon over Robinson Crusoe, Eliza Haywood as Mrs. Novel, Lawrence Sterne as dinner-party-guest/curiosity, Samuel Foote stamping about the stage on his peg leg dressed as a woman and eluding the Licensing Act, Charlotte Smith making her sorrows a national concern, Boswell racing the bodies of hanged men into taverns for resuscitation, and Helen Maria Williams off to the Bastille—these are just some of the portraits of the men and women who created the century's best-known literature. What are the connections between the authors who were made, became, or made themselves public spectacles, the revisionary literature they produced, and its impact on literary history? Are we still influenced by how outrageous these events, actions, and people were as we choose what to teach and research?

14:15 Coffee/ café

Session 3: 14:30

Aesthetics and Gendered Desire/ L'esthétique, le désir, et la femme
Chair: Allison Muri (University of Saskatchewan)

• Lavoie, Chantel (University of Toronto). "Cupid, Blind and Stupid: Fables about Love and Folly."
• Merritt, Juliette (McMaster University). "Originals, Copies and the Iconography of Femininity in The Spectator."
• Pierce, John (Queen's University). "The Radical of Desire: Volatility and Form in Blake's 'There is No Natural Religion.'"

Clothes and Fashion as Spectacle/ Le Spectacle à la mode, la mode comme spectacle
Chair: Cassandra Phillips (University of Saskatchewan)

• Henn, Marianne (University of Alberta). "'It is Clothes that Wear Us and not We Them': The Spectacle of Clothes in Works by Christoph Martin Wieland and Benedikte Naubert."
• Spokiene, Diana (University of Alberta). "Femininity as a Masquerade in Friederike Helene Unger's Albert und Albertine."
• Smith, Chloe Wigston (University of Virginia). "Dressed Down: Descriptions of Women's Clothing in Eliza Haywood's Masquerade Stories, The Masqueraders, Fantomina, and Idalia."

Spectacles of Indigeneity/ L'autochthone comme spectacle
Chair: Gordon DesBrisay (University of Saskatchewan)

• Cariou, Warren (University of Manitoba). "Articulating Alterity: Aboriginals and the Ethnographic Gaze."
• McNeil, David (Dalhousie University). "The Origin, Idealization and Romance of the North American Indigene."
• Perkins, Pam (University of Manitoba). "Imagining North America: Robert Bage on 'Native' Culture."

Session 4: 16:00

Music and the Politics of Spectacle/ La Musique et la politique du spectacle
Chair: Davd Parkinson (University of Saskatchewan)

• Eby, Jack (Bishop's University). "Hercules Triumphant, or Despotism Overthrown."
• Davis, Leith (Simon Fraser University). "Contesting the Spectacle of Colonialism: Irish Music and the Politics of Aurality in the Eighteenth Century."
• Semmens, Richard (University of Western Ontario). "The Subversion(s) of Disguise: Power, Politics, and Gender at the bal public in Eighteenth-Century Paris."
• Reul, Barbara (University of Victoria). "'Praise the Lord, oh my Soul': Performances of Birthday Cantatas by J.F. Fasch (1688–1758) at the Anhalt-Zerbst Court Chapel."

The Barbershop, the Madhouse, and the Court/ Barbiers, fous, rois
Chair: Marianne Henn (University of Alberta)

• Clark, Hilary (University of Saskatchewan). "Visiting Bedlam: Madness as Moral Spectacle in Hogarth's 'The Rake's Progress' and Haslam's Illustrations of Madness."
• Gooding, Richard (UBC). "Hogarth, Heemskerk, and the Iconography of the Barbershop."
• Sokalski, Alexander (University of Saskatchewan). "How To Die Like A King: The Deaths of Louis XIV, XV and XVI."

Mme de Graffigny
Chair: Marie-Laure Girou-Swiderski (University of Ottawa)

• Buchert, Fatima (University of Tennessee). "Les Lettres de Zilia: la résistance d'une Péruvienne."
• Lobban-Viravong, Heather (SUNY Buffalo). "Reflecting Absence: Language and the Mirror Scene in Françoise de Graffigny's Les Lettres d'une Péruvienne."
• Mallinson, Jonathan (Trinity College, Oxford). "Representant les Lettres d'une Peruvienne en 1752: illustration et illusion."
• Simonin, Charlotte (Université de Nantes). "Le Théâtre dans le théâtre, ou le spectacle dans la salle à travers la correspondance de Mme de Graffigny."

Thursday Evening
"So, You Want To Be An 18th-C Studies Scholar?": an evening quizz-show to find out what you really know about your own period at Saskatoon's licensed Jazz Club. Benoît Melançon, the Enlightenment Master of Ceremonies, will draw question after question from a hat until we can no longer bear our own ignorance! This brief catechism will be followed by a French dramatic presentation, an abridged version of Marivaux's Jeu de l'amour et du hasard, directed by Marie-Diane Clarke (University of Saskatchewan).

 

FRIDAY/ VENDREDI

8:30–16:00 Registration/ inscription

Session 5: 8:45

Gothic Hauntings/ Le Frisson gothique au XVIIIe siècle
Chair: John Rempel (University of Manitoba)

• Graham, Kenneth (University of Guelph). "Gothic Perversities in William Beckford's Vathek with the Episodes of Vathek."
• James-Cavan, Kathleen (University of Saskatchewan). "The Ghosts of George Austen, Jr."
• Oakleaf, David (University of Calgary). "The Spectacular Fictions of Penelope Aubin; or, Piety be Damned!"

Women and the Female Writer as Spectacle/ Spectacle de la femme écrivain
Chair: Katherine Binhammer (University of Alberta)

• Robson, Lisa (Brandon University). "Sappho as Spectacle: Mary Robinson and Romantic Poetic Theory."
• Kasmer, Lisa (UCLA). "The 'Remarkable' Mrs. Macaulay."

Private Writing and Public Life/ L'Ecriture privée et la vie publique
Chair: Peter Hynes (University of Saskachewan)

• Baird, John D. (University of Toronto). "The Poet as Spectator: Thomas Gray and the Public Scene."
• Bocquillon, Michele (Hunter College, CUNY). "Le Tableau comme spectacle: la mise en page du corps féminin dans la peinture du XVIIIe siècle."
• Girou-Swiderski, Marie-Laure (Université d'Ottawa). "Le Regard ambigu de Mme de Meinières, épistolière."

Session 6: 10:30

Public Science, Scientific Spectacle/ La Science publique et le spectacle de la science
Chair: John Baird (University of Toronto)

• Keen, Paul (Carleton University). "Consuming Fashions: The 'Balloonmania' in 1780s Britain."
• Stewart, Larry (University of Saskatchewan). "Chemistry and Reform in Late Eighteenth-Century London."

Le Théâtre français/ French Theatre
Chair: Alex Sokalski (University of Saskatchewan)

• Trott, David (University of Toronto). "Voix de la scène, voies vers la scène: Qui parle à travers le théâtre du XVIIIe siècle?"
• Nadeau, Martin (Université McGill). "Le Théâtre de Marivaux et la Terreur."
• Worvill, Romira (Acadia University). "Le Monde du spectacle et le spectacle du monde: sur les rapports entre théâtre, peinture et cosmologie chez certains théoriciens de la nouvelle esthétique dramatique au XVIIIe siècle."

12:00 Free Lunch (there is one after all)/ déjeuner gratuit

12:00 Plenary Address, conférence plénière
Chair: Benoït Melançon (University of Montreal)

Philip Stewart (Duke) "Loisirs: spectacles privés, spectacles publics" The notion of leisure is quite familiar in seventeenth-century France, even though, of course, not everyone is leisured: theatre, the jeu de paume, walks. Already in 1694 the Dictionary of the Académie française defined "leisure" as "the state of someone who has nothing to prevent him from spending his time as he pleases." I will be looking at some images that represent people, whether nobles or commoners, taking part in activities connected with this free time, in order to appreciate their variety, interpret the meaning given to them, and determine the place they occupy in life.

Session 7: 13:00

La Pensée des Lumières/ The French Enlightenment
Chair: Moishe Black (University of Saskatchewan)

• Melançon, Benoît (Université de Montréal). "Les Sociabilités intellectuelles de Condorcet."
• Charles, Sébastien (Université de Sherbrooke). "L'Envers du décor: le scepticisme clandestin au siècle des Lumières."
• Groffier, Ethel (Université McGill). "La Lecture publique: divertissement ou publicité?"

Spectacles of Pity, Misery, and Condescension/ Au-delà de la pitié
Chair: David Oakleaf (University of Calgary)

• Raynor, David (University of Ottawa). "Tragedy, Sympathy, and Scenes of Misery."
• Hynes, Peter (University of Saskatchewan). "Rousseau, Mandeville, and the Spectacle of Pity."
• Johnston, Freya (Newnham College, Cambridge). "Johnson and Boswell: The Spectacle of Condescension."

Sexual Spectacle/ Le Spectacle érotique
Chair: Larry Stewart (University of Saskatchewan)

• Binhammer, Katherine (University of Alberta). "Marie Antoinette in England."
• Easton, Fraser (University of Waterloo). "Cross-Dressing, Spectacle, and Plebeian Life: A Reinterpretation."
• Runstedler, Carrie (University of Saskatchewan). "'Perish all distinctions, but those which originate in mental superiority': Transvestism and Separate Spheres in Mary Robinson's Walsingham."

History, Historiography, and the Utility of Spectacle/ Spectacle du passé, spectacle utile
Chair: William Bartley (University of Saskatchewan)

• Crimmins, James E. (Huron University College). ""Worshipping the Bones of a Dead Man: Jeremy Bentham and the Utility of Spectacle."
• Stephen, Scott P. (University of Manitoba). "'My Commition was Read': Presenting and Preserving Authority in Hudson Bay, 1705–1775."

15:00 Plenary Panel/ séance plénière (at/ à Royal University Hospital, U of S):
Chair: Ray Stephanson (University of Saskatchewan)

The 1st David Popkin Lecture
in the History of Medicine:

David Popkin, former Dean of Medicine
University of Saskatchewan

"Post-Mortem Investigations, Then and Now"

Adel Mohamed (Anatomy & Cell Biology, U of S)

Harry Emson (Pathology, U of S)

Anita Guerrini (UC Santa Barbara)
"Inside Out: The Presentation of the Body in Eighteenth-Century Anatomy"

Helen Deutsch (UCLA)
"Doctor Johnson's Corpse"

Lorna Clymer (CSU Bakersfield)
"Contempt vs. Disgust: A Taxonomy of Putrefaction"

John Bender (Stanford)
"Ways of Looking at the Body: Eighteenth-Century Anatomical Illustrations"

Sponsored by the previous Dean of Medicine at the University of Saskatchewan, Dr. David Popkin, this plenary panel represents a remarkable opportunity for scholars in the humanities to witness something seldom available to any of us: the interior of the human body. Despite our collective familiarity with sophisticated imaging techniques, the Visible Human Project, and other widely available digital resources which provide access to human anatomy and physiology, first-hand encounter with the interior of our own species is still something of a final frontier and a taboo. Ironically, space travel is probably more imaginatively accessible than entry into the efficiently cramped and marvellously equipped workings of the human thorax. And as for cultural regulation over who has the privilege to peer into the darkly mysterious and wet chemical workings of the body-interior, only the surgeon-priest or the certified death-witnesses—the pathologist or undertaker—have been sanctioned in recent western tradition. For many of us who are not in these professions, the very thought of peering into the human body constitutes a grotesque invasion or obscenity, a macabre desecration of what ought to be left shrouded in pseudo-religious mystery or assigned to the metallic and porcelain domains of anatomy departments and medical students. But for those of us who are interested in the history of the body—not only its function as a living cultural entity, but also the cultural resonances of how its interior parts and processes were assigned meaning—the opportunity to peer inside this "ingenious machine of nature" (phrase borrowed from the National Gallery of CanadaÕs brilliant 1996 exhibition of anatomical illustration) may well be irresistable.

The result of previous collaborations between faculty members of the College of Medicine and the College of Arts & Science at the University of Saskatchewan, this special event represents another bridge between the medical sciences and the humanities, creating a dramatic interface between a modern pathologist's post-mortem technique and the expertise of four scholars interested in the history of anatomy, anatomical theatres, dissection, and so forth. For academics interested in the history of the body, and for whom "body studies" are so often only textual—the title of Andrea Carlino's recent book, Paper Bodies, comes to mind—this experience will help close the gap between text-only-bodies and the fleshed-body in significant imaginative and intellectual ways. The panel will be held in the Health Sciences Building at the University of Saskatchewan; an embalmed corpse and a video of an actual autopsy will be used to focus specific connections between Enlightenment post-mortems and early 21st-century approaches; the four Enlightenment scholars will work in concert with an anatomist and a pathologist from the U of S College of Medicine.

Please note that this plenary panel is not open to the public or to the media. Only those with CSECS 2001 registration name-tags will be allowed to attend.


Anonymous engraving
The Anatomy Theatre at Leiden, c. 1700
More on the anatomical spectacle...

17:30 Reception/ réception (at/ à University of Saskatchewan)

Friday evening

Pamela Haig-Bartley (Drama Department, U of S) will direct Naomi Wallace's One Flea Spare. Presently an Associate Professor at the University of Saskatchewan, Pam teaches acting, voice and speech, and directing. Professionally, Pam has worked throughout much of Western Canada and in New England. Favourite roles include: Sophia in The Bay at Nice (Beau Jest Theatre, Boston), Val in Road (Station Street Arts Centre, Vancouver), Dorreen in Girls in the Gang (ATP, Calgary and Theatre Network, Edmonton), Lussurioso in The Revenger's Tragedy (Northern Light Theatre, Edmonton) and Paulina in Death and the Maiden (The Globe, Regina). She recently directed the U of S Summer Stock Company (in association with Shakespeare on the Saskatchewan), and is looking forward to directing Three Days of Rain for Persephone Theatre this winter. One Flea Spare By turns grim and sensual, Naomi Wallace's poetic drama set in 1665 in ailing London deals with issues of gender, class distinction, and the dehumanizing stress experienced by the individual and society during an epidemic. The Observer said: "The London plague is evoked in statistics and the overwhelming reality of quirky, Marivaux-like social role reversals in a single room."

SATURDAY/ SAMEDI

Session 8: 8:45

Le Roman français/ The French Novel
Chair: Alex Sokalski (University of Saskatchewan)

• Woodward, Servanne (University of Western Ontario). "L'Amour à première vue ou le portrait dans les romans féminins du dix-huitième siècle."
• Dionne, Ugo (Université de Montréal). "Le Spectacle et le récit: petite poétique du roman asmodéen."

Revisioning Female Space/ Repenser l'espace féminin
Chair: Lisa Vargo (University of Saskatchewan)

• Fralic, Michael (University of Saskatchewan). "Source and Resource: Constructing a Vision of Women's Agency in Three Bluestocking Texts."
• Masa-Barrieses, Azalea (University of Saskatchewan). "Rewriting the Self: Deterritorialization and Reterritorialization in Scott's Millennium Hall."
• Remlinger, Paula Jane (University of Saskatchewan). "'A Community of Saints': The Construction of Female Utopias in Sarah Fielding's The Governess and Sarah Robinson Scott's Millennium Hall."
• Stewart, Suzanne (University of Saskatchewan). "'Beyond that Small Circle All is Foreign to us': Spatial and Social Cohesion in Sarah Scott's Millennium Hall."

The Body/ Le corps
Chair: Gordon Fulton (University of Victoria)

• Thomas, Chris (UBC). "From Spectacle to Spirit: Borders, Bodies and Souls in the Early Schiller."

10:15 Coffee/ café

Session 9: 10:30

Mechanical Operations: Swift and Willis/ Les opérations mécaniques: Swift et Willis
Chair: Peter Loptson (University of Guelph)

• Rempel, John (University of Manitoba). "The Bespectacled, Telescoped, SPECTACULAR Lemuel Gulliver."
• Muri, Allison (University of Saskatchewan). "Mind, Muscle, and Mechanical Nerves: Operations of the Spirit in Swift and Willis."

Mary Shelley, Anna Maria Falconbridge
Chair: Betty Schellenberg (Simon Fraser University)

• Vargo, Lisa (University of Saskatchewan). "Dr Lardner's Cabinet and the Spectacle of Public Knowledge: The Case of Mary Shelley's Spanish and Portuguese Lives."
• Harding, Anthony J. (University of Saskatchewan). "Anna Maria Falconbridge: A Woman of Sensibility in West Africa, 1790–1793."

Frances Burney
Chair: Peter Sabor (Université Laval)

• Kortes-Papp, Victoria. "'To What a Scene': Public Breakdowns in Burney's Novels."
• Seeber, Barbara K. (Brock University). "'A Parcel of Brutes': Animals in Frances Burney's Evelina."
• Slater, Louise. "'Some Public Exhibition': Elinor, the Revolutionary Sublime, and French Heroic Suicide; or, the Fishwife in The Wanderer."

12:00 Déjeuner/ Lunch

13:00 Plenary Address/ Conférence plénière
Chair: Peter Hynes (University of Saskatchewan)

Paul Hunter (Chicago) "Performing Poetry: The Ear and the Eye in Early Modern and 18th-Century Anglophone Poetry" We think of poetry as being oral in nature—or at least oral in its origins and much of its history. But the history is in fact far more complicated, and the power of both manuscript and print has impacted the way poetry has been performed in most modern periods. "Performance" is a key term; but it often means closet performance—or silent imaginings of the voice—as well as actual readings and actings out of poetry's words and sounds. "Performing Poetry" will trace what we know historically about readings aloud, and suggest the ways that visual signals lead to sound performances and imaginings and that prompt readers to hold in tension eye/ear relationships and the pleasures of verbal music both heard and unheard.

14:00 Coffee/ café

Session 10: 14:15

Captivating Spectacle/ La Captivité comme spectacle
Chair: Frans De Bruyn (University of Ottawa)

• Nordius, Janina (Gothenburg University). "Colonial Gothic and Captivity Narratives: Charlotte Smith and Henry Mackenzie."
• Bartley, William (University of Saskatchewan). "Doesn't Crevecoeur Just Break Your Heart? Slavery and Pity in Early America."

States of Mind in the "Age of Sensibility" (I)/ Etats d'esprit à "L'Age de la Sensibilité" (I)
Chair: John Baird (University of Toronto)

• Budd, Adam (Wellcome Institute). "'Tis Painful Thinking that Corrodes Our Clay': Prescriptions for Sensibility through the Poetry of John Armstrong, M.D."
• Oliver, Kathleen M (University of South Florida). "'The English Malady' as Female Malady in Samuel Richardson's Sir Charles Grandison."
• Ward, Candace (Illinois State University). "'Dangerous Disorders': Sickness and Sensibility in Eighteenth-Century fever Narratives."

Forgettable, Invisible, Sunk without a Trace/ Les Oubliés de la littérature, les oubliés de l'histoire
Chair: Hilary Clark (University of Saskatchewan)

• Schellenberg, Betty A. (Simon Fraser University). "Remembering Beyond 'the Great Forgetting.'"
• Bosley, Vivien (University of Alberta). "Making a Spectacle of Themselves? Women and the Possibility of a Change in Status in Popular Journalism."

Session 11: 15:45

Richardson
Chair: Grant Campbell (University of Western Ontario)

• Mendel, Sue (University of Victoria). "Why is She 'Flowering his Waistcoat'? Or, the Spectacle of Androcentric Bawdy in Pamela."
• Sabor, Peter (Université Laval). "Pamela on the Dublin Stage."
• Fulton, Gordon (University of Victoria). "A Psychoanalytic Reading of Spectatorship in Clarissa."

Burke and/ et Hume
Chair: David Raynor (University of Ottawa)

• De Bruyn, Frans (University of Ottawa). "Edmund Burke: The Political Quixote."
• McElroy, George C. "The Burkes (Edmund, Richard, William) in the Press, 1769–1783."
• Loptson, Peter (University of Guelph). "Shaftesbury, Hume, and Scepticism."

Women and the Stage/ La Femme et le théâtre
Chair: Lisa Vargo (University of Saskatchewan)

• Rempel, Ursula (University of Manitoba). "Chaste, Sweet, Plump, Elegant: Private and Public Representations of 'Spectacle' in Female Musical Performances."
• Ready, Kathryn J. (University of Ottawa). "From the Stage to the Closet: Hannah More's Evolving Views on the Theatre and the Role of Women in Society."
• Grundy, Isobel (University of Alberta). "Women Writing about the Stage."

States of Mind in the "Age of Sensibility" (II)/ Etats d'esprit à "L'Age de la Sensibilité" (II)
Chair: Jene Porter (University of Saskatchewan)

• King, Shelley (Queen's University). "No Interesting Expression of Sentimental Woe': The Representation of Madness and its Treatment in Amelia Opie's The Father and Daughter."
• Hanson, Craig (University of Chicago). "Sensibility and the Virtuosi: Spectacular Connoisseurship and the Rembrandt Hoax."

17:30 Annual General Meeting/ réunion de la SCEDS

19:30 Banquet & Masquerade (More about the banquet...)

There will be a performance of a 20-minute Thomas Arne cantata at the conference banquet, entitled Reffley Spring (1764) (thanks to Paul Rice, Music, Memorial University, who has kindly made available the musical and poetical transcripts for this 21st century premiere)

More on Reffley Spring...