First Draft Programme for #HFRN2020

See details for booking, hotel and travel on the main conference web page.

9:00-9:30 Registration
9:30-10:30 Intro and keynote “Salzburg Museum”  
10:30-11:00 Coffee  
11:00-12:30 The Past on Film I:
Björn Bergold, “How stories become History”; Milla Fedorova, “Gender, Class, and Power in Lanthimos’s The Favourite and Karassik’s A Glass of Water” (2)
Fictional Pasts I:
Claudia Linden, “Historical fiction as resistance”; Julia Ilgner, “Renaissance narrations.
The Italian late Middle Ages in the German historical novel of the 19th century”; Anna Auguscik, ” Novels about scientific expeditions” (3)
Creating American Histories:
Chris Martin, “Filene’s Department Store: A Fable of American Democracy”; Irene Rabinovich, “Rebekah Hyneman’s The Black Izba”; Ina Bergmann, “Revis(it)ing the Past: The Forms of the New American Historical Fiction” (3)
Sources and Archives I:
Mara Dougall, “Form Filling: medical bureaucracy and narrative flow”; Ebute Agaba, “The Archives and the Preservation of the Nation’s Heritage”; Marcia Morris, “Tynianov’s Second Lieutenant Kizhe” (3).
12:30-13:45 Lunch      
13:45-15:15 The Past on Film II:
Marta Gutiérrez, “The Queen of the Witches has come to Salem”; Dragan Batanchev, “From Sarajevo With Love: Yugoslav War Cinema in China”; Sheila Kreyszig, “The Death of Wolfgang Amadeus Mozart” (3)
Reimagining the Seventeenth Century: William Kolbrener, “Making the 18th Century Subject, Constructing 17th Century History”; Dorothea Flothow, “Charles II, James II and the Victorian Novelists”; Farah Mendlesohn, “Brexit and the English Civil War” (3) Forms of History:
Susanah Ronnie, “Mapping a Mutiny”; Nicholas Beckmann, “Narrating National History”; Elizabeth Bejarano, “Books of Lives and the Construction of the Past” (3)
Sources and Archives II:
Katie Ginsbach, “The Library as a Link to the Past in the Historical Novels of Arturo Pérez-Reverte”; Pascal Lemaire, “Secret histories” (2)
15:15-15:45 Coffee      
15:45-17:15 Creating National Pasts:
Dušan Ljuboja, “Fictional reconstruction of the past in the works of the Pan-Slavists”; Petra Babić , “National-historical operas as pseudo-historiographical works,” Tim Diovanni, “Aisteach: Jennifer Walshe and Irish avant-garde musical history” (3)
Narrative Pasts:
Jerome de Groot, “‘It looked like the opposite of history’”; Will Pooley, “‘Only in Not-telling Can the Story Be Told'”; Diana Wallace, “Scraps of history” (3)
The Visual Past:
Mocharitsch, Teresa, “Heinrich Gerhard Bücker’s ‘Varus Varus'”; Rachel Damian, “The 1913 Armory Show”; Paul Schacher,” The German Revolutions of 1918/19 and 1989 in Images” (3)
Nostalgic Pasts:
Ichrak Dik, “Sometimes I Wish for Peace Again”; Kristina Fjelkestam, “Retrophilia: Dissolving Difference?”; Dennis Henneböhl, “Fragmentation, Intertextuality and Metafictionality: Theorising New Forms of Narrating the Past in Ali Smith’s ‘Seasonal Quartet’ ” (3)
17:15-18:15 Keynote “African Musicians”  


9:15-10:45 Musical Pasts: Walter Kreyzsig, “The Derivation of the Latin Melodic Modes”; Beth P. Chen, “What P. D. Q. Bach’s (Peter Schickele’s) Music Reminds us of”; Kristin Franseen, ““Can You Recall No Melody of Mine?’” (3) The Historical Imagination:
Joanne Paul, “Imagining History: Telling the Story of the Dudley Family”; Laura Kounine, “Imagining Emotions in Eighteenth-Century Witch Trials”; Anne-Marie Angelo, “Imagining women’s lives in 1918 London as a screenwriter and historian” (3)
Contemporary Pasts I: Jonas Hock, “A Tudor Brexiit”; Siobhan O’Connor, “‘The Experience of Home’: Fictional Spaces of the Tudor Past and the Contemporary English Imaginary[1]”; Leila Rahimi Bahmany, “The Historico-Legendary Concurrences in Savoshun” (3) Truth, Lies, Histories, : Kristof Smeyers, “Wishful thinking for historians: truth, lies, and mythology in auto-historical narratives”; Joanna Carraway Vitiello, “Narrative and Truth in the Medieval Criminal Court”; (2)
10:45-11:15 Coffee      
11:15-12:45 Postcolonial Histories I:
Patricia San Jose Rico, “Inhospitable Homelands”; Rizwan Akhtar, “Contours of “alternative history”” (2)
Fictional Pasts II:
Michael Cawood Green, “The Ghosting of Anne Armstrong”; Robert Petersen, “Constructing Meaning in American Civil War Novels”; Tamar Hagar, “Negotiating Historical Silences” (3)
Contemporary Pasts II:
Rita Horvath, “Poetic Historical Fiction and Witnessing Massive Collective Trauma”; Halyna Vypasniak, “The Representation of a War in Contemporary Ukrainian Historical Prose”; Juliette Harrisson, “What is historical fiction?”; (3)
Classical Pasts I:
Richard Cole, “The Framing of History in Assassin’s Creed Odyssey”; Lovisa Brännstedt & Lene Therese Teigen, “Livia’s Room – Rome’s first empress on stage”; Ceclia Trenter, “300 (Snyder 2006) and 300” (3)
12:45-14:00 Lunch  
14:00-15:30 Postcolonial Histories II:
Soumia Bentahar, “Toni Morrison’s Paradise (1998) and the Politics of Spatiality and Liminality in Historicizing the Black Paula Barba Guerrero “Against History: Speculative Memory in Ishmael Reed’s Flight to Canada”; Bozena Kucala, “Telling the past in different tenses: André Brink’s Philida” (3)
Metafictional Pasts:
Yasmina Djafri, “The Historiographic Intention in The Buddha in the Attic (2011): A Need for Visibility?”; Elena Pinyaeva, “Advantages And Limits Of Autobiography”; Didymus Douanla, “The Implicated Reader and the Crisis of Mediation in J. M. Coetzee” (3)
Invening Antiquity:
Edward James, “Josiah Wedgwood and the Creation of Antiquity”; Filomena Giannotti, “A case in point of historical fictions, s Sidonius Apollinaris: The ‘Big’ Reception Of A ‘Minor’ Author”; Lee Michael-Berger, “‘The Kindler of his own Flame: History as Tragedy in Stephen Phillips Oeuvre”‘ (3)
Classical Pasts II:
Morgan, Cheryl, “It’s All About the Source?” ; Murray Dahm, “A Roman Rashōmon”; Philip Peek, “The Irrational in Herodotus and in Annette Gordon-Reed” (3)
15:30-16:00 Coffee  
16:00-16:45 Businessmeeting      
17:00-18:00 Keynote “Cooking up Salzburg”