My main field of research is related to the primary sources for the study of Medieval and Renaissance Iberian literatures and cultures, especially what we called ‘Poesía de cancionero’ (Songbook Poetry) written in Spanish. Other research lines I am involved with are Spanish vernacular Humanism, nobility’s patronage of Spanish culture, and the Islamic, Hebrew, and Christian background of medieval Iberia. I seek to show how medieval literature, especially poetry, must be studied within the context of the political and social culture from which it emerges. My research is also focused on the role of gender and racial issues in the construction of authorship, in particular the role of both women and Jewish and converso writers, in the midst of the turmoil of the 15th-16th centuries. I have been involved in Digital Humanities since 1999, when I joined ADMYTE. Later on, in 2002, I joined the PhiloBiblon Project as a Junior Assistant; I currently serve there as Co-Director of BETA (Bibliografía Española de Textos Antiguos) and collaborator of both BITECA (Bibliografia de textos antics catalans, valencians i balears) and BIPA (Bibliografía de la Poesía Áurea). I have also the pleasure of being the Director of the PhiloBiblon Seminar, a workshop in which we train students in our database and methods. The first two editions of this Seminar were held at San Millán de la Cogolla, La Rioja under the patronage of Cilengua; the third edition was celebrated in June 2017 at the Biblioteca Nacional de España, Madrid. From the fourth edition on forward, June 2018 and June 2019, the Seminar had one more session at Biblioteca Marqués de Valdecilla (UCM), aside from the one at BNE. This will be also the format expected for the forthcoming sixth edition, tentatively scheduled June 2020 at both BNE and UCM. A few years ago I began to write a blog in which I am trying to spread both my research and my teaching to the general public, for I consider essential the popularization of the research done as a logical counterweight to the scientific investigations I am currently doing.
Todd Landon Barnes is Associate Professor of Literature at Ramapo College of New Jersey. His essays and reviews have appeared in Shakespeare Bulletin, Public Books, Renaissance Quarterly (forthcoming), Weyward Macbeth: Intersections of Race and Performance, Shakespearean Echoes, Hamlet Handbook: Subject Matter, Adaptations, Interpretations, and Julius Caesar: A Critical Reader, part of the Arden Shakespeare’s Early Modern Drama Guides series. Barnes has served as dramaturg for the African-American Shakespeare Company in San Francisco, where he also worked in educational outreach. He is currently completing a monograph on Shakespeare, performance, and neoliberalism. He serves on the editorial board for Cambridge University Press’s forthcoming Elements: Shakespeare Performance series.
I am an engineer by diploma, a literary scholar by profession and a book nerd by night. Since 2009, I am the mother of Ali Liber Erkol, who likes football and ice-cream. Currently working as: -assistant professor of Turkish Literature at Özyeğin University, Istanbul -co-editor of the online biannual journal Masculinities: A Journal of Identity and Culture http://masculinitiesjournal.org/ -dreamer (assisting Ali Liber)
I am currently Lecturer in Mediterranean History at the University of Liverpool. I am a cultural historian of late antiquity and the early middle ages. My research and teaching focus on the later Roman Empire and its early medieval successors, with a particular interest in issues of religious diversity, social identity, ethnic communities, and political culture. My first book, Being Christian in Vandal Africa (University of California Press, 2018) is about the consequences of church conflict in post-Roman Africa (modern-day Tunisia and Algeria). My current project considers how Christian ideology reshaped the representation and practice of governance in late antiquity. Before coming to Liverpool in January 2018, I was Hulme Humanities Fellow at Brasenose College, Oxford and The Oxford Research Centre in the Humanities (2014-2018), and a temporary Lecturer in Early Medieval History attached to various Oxford colleges (2016/17).
20th Century Literature, Modernist Studies, Fairy Tale and Myth, Mystery and Detective Fiction, Speculative Fiction, Cinema Studies, Museum Studies
Professor Fiona M. Palmer is a musicologist and a performer whose research focuses on the socio-economic history of music and musicians in Britain (1780s–1940s). A double bassist, mezzo-soprano and flautist, Fiona is a first-class graduate of Birmingham Conservatoire and undertook her PhD in Musicology at the University of Birmingham (British Academy Scholar). Aside from academic posts, her career has included work as a professional orchestral player, as the Manager of the Examinations Department at the ABRSM, and as a peripatetic instrumental and vocal teacher and conductor. In October 2007 Fiona moved from a Senior Lectureship at Queen’s University, Belfast, to take up the position of Professor of Music and Head of Department at Maynooth University. Under her Headship (2007–2014) the Department of Music benefited from (inter alia) expanded personnel and physical resources; a systematic review, revision and development of its research activities and undergraduate and postgraduate programmes; and an expansion of its conference hosting, portfolio of ensembles and concert-giving activities. Research & Publications Fiona’s publications focus on music and musicians in the British marketplace between the late eighteenth and twentieth centuries. They are concerned with the culture and commerce of the music profession and examine institutions, standards and competition, performance practice, canonization, publishing, reception and socio-economic issues. Books Fiona’s most recent monograph is Conductors in Britain c. 1870–1914: Wielding the Baton at the Height of Empire (Woodbridge: Boydell Press, 2017). This book contextualizes and reconsiders the emergence and reception of the role of conductor in the late Victorian age. It examines evolving institutional and professional opportunities during this richly dynamic period. The conductors at the heart of this re-evaluation include Julius Benedict, William Cusins, Arthur Sullivan, Joseph Barnby, Alexander C. Mackenzie, Frederic H. Cowen, Dan Godfrey Jr and Landon Ronald. Their varying experiences, contributions, networks and opportunities combine to reflect the progress of the emerging conducting profession. This large project draws on Fiona’s detailed research into British concert-life and sheds new light on the histories of organizations such as the Philharmonic Society of London, the Liverpool Philharmonic Society, Manchester’s Hallé Orchestra, the Bournemouth Municipal Orchestra, the Royal Choral Society, Birmingham Promenade Concerts and music festivals nationwide. Fiona’s previous books include: Vincent Novello (1781–1861): Music for the Masses (Aldershot: Ashgate, 2006) — the first large-scale contextualized reappraisal of the career of the pioneering London-based editor and publisher. This monograph complements her earlier book which repositioned one of the most influential, well-connected and successful virtuosi in nineteenth-century London: Dragonetti in England (1794–1846): the Career of a Double Bass Virtuoso (Oxford University Press, 1997). Other Research Outputs Recent publications include: an interrogation of the value and exploitation of pedigree, networks and marketing in the careers of conductors in 19th-century Britain (Woodbridge: Boydell Press, 2016); an appraisal of the role of Handel’s Messiah in 19th-century Britain in relation to wider European nationalism and choral power (Leiden: Brill, 2015); and a contextualization of the Liverpool Philharmonic Society’s conductors in the second half of the nineteenth century (Turnhout: Brepols, 2014). Chapters currently in the press include a detailed analysis and contextualization of the socio-economic and professional underpinnings of the Liverpool Philharmonic Society’s development in the mid-19th-century (OUP, 2017). A chapter examining the inauguration of the Liverpool Philharmonic Society’s Hall (1849): ‘A Home for the ‘Phil’: Liverpool’s First Philharmonic Hall (1849)’ appeared in P. Rodmell ed., Music and Institutions in Nineteenth-Century Britain (Ashgate, 2012). Other published articles and reviews can be found in the Journal of the Royal Musical Association, 19th-Century British Music Studies 3, The Musical Times, The Strad, Muzio Clementi: Studies & Prospects, Early Music, the Journal of the Society for Musicology in Ireland and the newsletters of the North American British Music Studies Association and of the Handel Society. Fiona has written and revised entries for New Grove 2, the New Dictionary of National Biography, Musik in Geschichte und Gegenwart, the Dictionary of Hymnology and the Encyclopaedia of Music in Ireland. Recent and forthcoming international conference papers and invited lectures include locations such as the USA, Italy, Croatia, Oxford, Liverpool, London, Bristol, Birmingham, Cardiff and Cambridge. Performing Activities Fiona was very lucky to be trained via the Northamptonshire Music Service from a young age and participated in multiple ensembles, recitals, international tours and residential courses. As a first-class graduate of the Birmingham Conservatoire, with double bass as her first study, she freelanced with many ensembles, especially the City of Birmingham Symphony Orchestra (1989–1997). During these years the CBSO enjoyed the stewardship of Sir Simon Rattle and Fiona was involved with recordings under the direction of such maestri as Walter Weller and Paarvo Jaervi; she also spent some time as a member of New Zealand’s Auckland Philharmonia Orchestra. Synopsis of Training and Employment Fiona undertook her doctoral research at Birmingham University (1990–93) where she was fortunate to enjoy the mentorship of Professor Cyril Ehrlich alongside supervision from Professors Basil Deane and Colin Timms. She was Manager of the Examinations Department at the Associated Board of the Royal Schools of Music in London (1997–99). During this time she project-managed the ground-breaking Diploma 2000 Syllabus and liaised with educational agencies (such as the QCA) over matters of comparability. In July 1999 she moved to Northern Ireland to work at Queen’s University in Belfast and was promoted to Senior Lecturer in 2002. During her eight years at QUB she transformed the Performance Programme, convened the BMus degree, taught modules across the curriculum (undergraduate and postgraduate) and served on committees at School, University and national level. She also regularly played the double bass on a freelance basis with the Ulster Orchestra, travelling with them to New York and to perform at the BBC London Promenade Concerts. Outreach Fiona currently serves on the Board of the National Youth Orchestra of Ireland (2007—), as External Examiner for the BA Music programme at Liverpool Hope University (2015-19) and a member of the Development Committee of the North American British Music Studies Association. Formerly a Councillor of the Royal Musical Association (2002–05), Fiona was an elected Councillor of the Society for Musicology in Ireland for three consecutive terms (2006-15). Fiona has chaired for HETAC and participated in inter-institutional curricular discussions; she has also chaired the finals of the Catherine Judge Memorial Award (2014; 2015). She has acted as an external examiner for programmes at the Royal College of Music and at Dundalk Institute of Technology, and for doctoral dissertations at the Universities of Melbourne, Leeds, Canterbury Christchurch College, Queen’s University Belfast, the Royal College of Music and the Royal Northern College of Music. She has contributed to radio documentaries and discussions on Bayerische Rundfunk Klassik, BBC Radio Ulster, RTÉ Radio 1, and RTÉ Lyric FM. Fiona is a member of the International Advisory Board for the Royal Musical Association Research Chronicle and acts as a peer reviewer for a number of publishers.
I am an internationally recognised scholar in the fields of twentieth-century and contemporary literary studies with an extensive track record of publications, successful research funding applications and public engagement. I am the author of four books, numerous articles in peer reviewed journals, edited volumes and other publications, and have edited four essay collections and a journal special issue. My recent funding successes (as Principal Investigator) include a Research Councils UK Global Uncertainties Leadership Fellowship (£491,133) to lead a project entitled Muslims, Trust and Cultural Dialogue from 2012 to 2015, and the AHRC funded Framing Muslims international research network, 2007-2010 (£49,550). I currently hold a Chair in 20th Century English Literature at the University of Birmingham, and have taught across a wide range of modern and contemporary literature modules at both undergraduate and postgraduate levels throughout my career. Research Interests · Twentieth Century and Contemporary Literature · Postcolonial and World Literature and Theory · Multiculturalism, Globalisation and Islamophobia · Religion, Communalism and the Secular · The Politics of Representation in Literature, Film and Television
Shirley Wajda, most recently Curator of History at the Michigan State University Museum, has spent much of her adult life thinking and writing about the many lives of stuff—the objects humans create, buy, sell, and give, use and alter, save and destroy. Her interdisciplinary research work explores the ways humans understand their lives, their families, and their communities through material and visual culture. Whether a child’s handmade toy or royal scepter or a computer mouse, a physical object may be analyzed to explore how cultural meaning is created and reified, how social relations and social status are clarified and debated, how economies function, how knowledge is secured, exchanged, and distributed. With Helen Sheumaker, Wajda co-edited Material Culture in America: Understanding Everyday Life (2008).