We are pleased to welcome Prof. Regenia Gagnier as our keynote speaker and Dr Flora Wilson as our plenary speaker.
Professor Regenia Gagnier
Department of English, Exeter University
Since 2006 Gagnier’s research has focussed on the global circulation of Anglophone literatures and cultures. She holds the Established Chair in English Language and Literature at the University of Exeter, and is founding and co-editor of the Global Circulation Project and Senior Research Fellow in Egenis, the Centre for the Study of Life Sciences. Her monographs include Idylls of the Marketplace: Oscar Wilde and the Victorian Public (1986); Subjectivities: A History of Self-Representation in Britain 1832-1920 (1991); The Insatiability of Human Wants: Economics and Aesthetics in Market Society (2000); Individualism, Decadence and Globalization: on the Relationship of Part to Whole 1859-1920 (2010); Literatures of Liberalization: Global Circulation and the Long Nineteenth Century (2018). Gagnier has served as Chair of the Consortium of Institutes of Advanced Study, Great Britain and Ireland; Presiding Officer of six MLA Division Executives in the USA; and AHRC and RCUK Global Challenges Research Panels and University English Executive, UK. She is Honorary Centenary Fellow of the English Association; Fellow of the Royal Society of Arts and Academia Europaea; on the International Steering Committee of IAUPE; and was President of the British Association for Victorian Studies 2009-2012. She is on the Editorial Boards of 21 scholarly journals and has supervised to completion 79 doctorates at Exeter and Stanford.Ireland.
Dr Flora Wilson
Department of Music, King’s College London
Flora Willson is a Lecturer in Music at King’s College London, having previously held a Research Fellowship at King’s College, Cambridge. Her work concerns the place of opera in nineteenth-century urban history and culture. She has published in journals including 19th-Century Music, Cambridge Opera Journal, Music & Letters, Opera Quarterly, and in various edited collections; and she is writing a book about networks in operatic culture in 1890s Paris, London, and New York. She is also the editor of a critical edition of Donizetti’s 1840 grand opera Les martyrs (Ricordi, 2015), occasionally writes about music for The Guardian and is a regular guest on BBC Radio 3 and Royal Opera House Live broadcasts.