Day One: 23 April 2020 – Highfield House, University of Nottingham
10.15 – 10.30 Registration and coffee
10.30 – 10.45 Welcome
10.45 – 12.15 Panel One: Singing Contemporary Identities
chaired by Hannah Scott (University of Nottingham)
Timo Obergöker (University of Chester): ‘L’Œuvre enchantée d’Isabelle Monnin’
John D McInally (University of Liverpool): ‘Songs of Subversion and Anamnesis: Diaspora Identity Crises and Collective Memory Perpetuation in Annick Kayitesi-Jozan’s Même Dieu ne veut pas s’en mêler’
Pauline Eaton (Birkbeck, London): ‘Marias, Maries and a Mermaid: Song and Singers in Two Novellas by Marie NDiaye’
12.15 – 13.15 Lunch
13.15 – 14.45 Panel Two: Decadent Voices
chaired by Katherine Shingler (University of Nottingham)
Eva-Verena Siebenborn (Ruhr-Universität Bochum): ‘La pathologisation de la voix et du chant dans la littérature naturaliste et décadente’
Tommaso Sabbatini (University of Chicago/Bristol): ‘Édouard Dujardin’s Les lauriers sont coupés: A Wagnerian Hypertext of Found Songs’
Peter Dayan (University of Edinburgh): ‘Pourquoi on n’entend pas de bonnes chansons dans les Confessions de Verlaine’
14.45 – 16.15 Panel Three: Female Singers
chaired by Ewa Szypula (University of Nottingham)
Amy McTurk (University of St Andrews): ‘Reworking the Score of the Bildungsroman for the Development of the Young Woman Artist: Lessons in Song and Performance in George Sand’s Consuelo’
Airelle Perrouin (UCL): ‘Song as Love and Redemption: The Narrative Function of Song in George Sand’s Adriani (1853)’
Nina Rolland (University of Birmingham): ‘Romances and Gender Roles in Marceline Desbordes-Valmore’s Novellas’
16.15 – 16.45 Coffee
16.45 – 17.45 Keynote One – chaired by Hannah Scott (University of Nottingham)
Martin Wåhlberg: ‘Towards a theory of song and music in French narrative’ (Norwegian University of Science and Technology)
18.00 – 19.00 Concert and wine reception – Introduction: Helen Abbott (University of Birmingham) Rehearsal Hall, Music Dept – East Rd
19.45 Conference dinner, Mem-Saab, City Centre – Maid Marian Way
Day Two: 24 April 2020 – Highfield House, University of Nottingham
9.30 – 10.30 Keynote Two – chaired by Jennifer Rushworth (UCL)
Elizabeth Eva Leach: ‘Making Prose Sing in Richard de Fournival’s Bestiaire d’amours’ (University of Oxford)
10.30 – 11.00 Coffee
11.00 – 12.00 Panel Four: Medieval Song
chaired by Jennifer Rushworth (UCL)
Joseph W. Mason (UCD): ‘Narrative and the Voice-Body Gap in Old French Song’
Emily Kate Price (Robinson College, Cambridge): ‘Song in Philosophical Narrative: Boethius’s Consolation of Philosophy and Jean-Paul Sartre’s La Nausée’
12 – 13.00 Lunch
13.00 – 14.30 Panel Five: Transnational Song
chaired by Helen Abbott (University of Birmingham)
Sarah Hickmott (University of Durham): ‘Sartre’s Siren’
Foteini Thoma (Paul-Valéry Montpellier 3): ‘Le chant dans les récits de Jean Giono: vers la restitution du rapport analogique entre l’homme et le monde’
Terry Bradford (University of Leeds): ‘Song and Translation Issues in Boris Vian’s Vercoquin et le plancton’
14.30 – 15.00 Coffee
15.00 – 16.30 Panel Six: La Chanson de Rolland (and others)
chaired by Jennifer Rushworth (UCL)
Veerle Dierickx (University of Chicago): ‘Reading or Not Reading Music: Making Narrative Sense of Musical Scores in Romain Rolland’s Jean-Christophe’
Josh Torabi (UCL): ‘Literary-Musical Encounters: Lieder in Romain Rolland’s Jean-Christophe’
Alain Toumayan (Notre Dame): ‘Le chant dans la narration française: Examples in Nerval, Hémon and Makine’
16.30 End of conference
Song in French Narrative 