NAVSA 2014

Banner for NAVSA 2014, "Classes and Classifications, showing butterflies
The banner for NAVSA 2014,

Along with other Floating Academy bloggers, including Daniel Martin, I’ve just returned from NAVSA 2014 in London, Ontario.  It was a wonderful conference as always, and we all owe a huge thanks to Chris Keep and the conference organizers at Western.  I realized that I have now been attending NAVSA for ten years.  Where did that time go?  I attended my first NAVSA as a graduate student and observer back in 2004, when it was at the University of Toronto.  As a Canadian, I have to say that it’s great that NAVSA, the North American Victorian Studies Association, is in Canada every three years or so.  Little did I know in 2004 that NAVSA was a young organization at the time, founded in 2002.  This year, the presidency was handed over from the inimitable Dino Felluga to Marlene Tromp.  As I remarked to a grad school friend, we pretty much came of age in the profession as NAVSA did.  Now that I’m a few years out of grad school I value NAVSA not only for the intellectual exchange but also as an opportunity to reconnect with colleagues and scholars I’ve met throughout the years.  Though, as I noted back in 2012, it’s a big conference, and if you want to make sure you see people it pays to make plans for coffee or dinner in advance!

A few trends that I noticed at this year’s NAVSA were many papers touching on animal studies (including Gillian Beer’s keynote), the great popularity of Dickens (even more so than George Eliot) and the increased presence of social media.  But, rather than trying to summarize the whole conference myself, I thought I’d do something different and make a Storify of all the tweets.  Enjoy!

Close Reading Christmas Comedy

Mr. Fezziwig's Ball by John Leech. Image courtesy of  Philip V. Allingham and the Victorian Web
Mr. Fezziwig’s Ball by John Leech. Image courtesy of Philip V. Allingham and the Victorian Web

One of my Digital Humanities classes is working on a digital archive of A Christmas Carol. In addition to encoding and annotating each stave, they will be creating introductions to the text, to John Leech’s illustrations, and to a few key early 20th-century adaptations (from the first film version (1901), to Edison’s adaptation (1910), and Orson Welles and Lionel Barrymore’s radio play (1939) to a TV version narrated by Vincent Price (1949). I will spare you the rationale for these particular choices (“why no Victorian theatre adaptations?” you ask, to which I say “is there no copyright? Are there no license fees?”) and will zip right along).

I have given many Victorian Studies lectures in Digital Humanities classes. I am a Victorianist by training and passion, and while Digital Humanities classes tend to focus on digital methods and building as a methodology, they rely on a deeply humanist engagement with the material and cultural past. In short, the humanities part of Digital Humanities mandates that DH projects, while D, must be about and through H. This time ‘round, I decided to give the students a contextual lecture about class, the workhouse, and early Victorian childhood, with a little excursus on early-Victorian Christmas traditions (or lack of them—Cratchit and his daughter Martha only get to pick their employers’ pockets, as Scrooge put it, on the 25th of December and not on the day before or after, as they might have 100 years on). Not all my students have a background in Victorian literature and culture, or even in English, but the child Dickens, Tiny Tim, and indeed, even junior Scrooge, make for very sympathetic lecture material, so all went well. Continue reading “Close Reading Christmas Comedy”