Notes on Contributors
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Ian Newman is Assistant Professor of English at the University of Notre Dame, and a fellow of the Keough-Naughton Institute for Irish studies. He specializes in eighteenth- and nineteenth-century British and Irish literature and culture. He is the author of The Romantic Tavern: Literature and Conviviality in the Age of Revolution (Cambridge University Press, 2019) and co-editor of Charles Dibdin and Late Georgian Culture (Oxford University Press, 2018). His current research focuses on the relationship between popular song and ballads, and their transmission and circulation.
Gillian Russell is Professor of Eighteenth-Century Literature and Director of the Centre for Eighteenth-Century Studies at the University of York, UK. The Ephemeral Eighteenth Century: Print, Sociability, and the Cultures of Collecting is in press with Cambridge University Press in 2020.
Leith Davis is Professor of English at Simon Fraser University in Canada. She is the author of Acts of Union: Scotland and the Negotiation of the British Nation (Stanford UP, 1998) and Music, Postcolonialism and Gender: The Construction of Irish Identity, 1724–1874 (Notre Dame UP, 2005) as well as co-editor of Scotland and the Borders of Romanticism (Cambridge: Cambridge UP, 2004) and Robert Burns and Transatlantic Culture (Ashgate, 2012). She is currently completing a monograph entitled Mediating Cultural Memory in Britain and Ireland, 1688–1745 which explores the articulation of sites of cultural memory in the British archipelago within the context of the shifting media ecology of the eighteenth century.
James Grande is Lecturer in Eighteenth-Century Literature and Culture at King's College London. He is the author of William Cobbett, the Press and Rural England (Palgrave, 2014) and co-editor of The Opinions of William Cobbett (Ashgate, 2013) and William Cobbett, Romanticism and the Enlightenment (Pickering & Chatto, 2015). He was a postdoctoral research fellow on the ERC-funded project 'Music in London, 1800–51' and is currently writing a book on music, religious dissent and literary culture. He edits the Keats-Shelley Review. [End Page 571]
I. J. Corfe is a doctoral candidate in the Department of English at the University of Ireland, Galway. Her project is funded by the Irish Research Council, and explores the reception of Irish-themed street ballads in nineteenth-century England. She has published on the consumption of street songs in England, and on contemporary accounts of street balladry in the nineteenth century.
Susan Rutherford is Professor of Music at the University of Manchester. Her publications include The New Woman and Her Sisters: Feminism and Theatre, 1850–1914 (co-editor, 1992), The Prima Donna and Opera, 1815–1930 (Cambridge University Press, 2006), Verdi, Opera, Women (Cambridge University Press, 2013), and London Voices 1820–1840: Vocal Performers, Practices, Histories (co-editor with Roger Parker, University of Chicago Press, 2019), as well as numerous essays on voice, performance, and nineteenth-century Italian opera. Her current project (funded by a three-year Leverhulme Trust Major Research Fellowship, 2016–2019) is entitled A History of Voices: Singing in Britain 1588 to the Present.
Oskar Cox Jensen is a Leverhulme Fellow in the History Department of Queen Mary, University of London, writing a book, When London Cried, on life and work in the nineteenth-century street. His first book was Napoleon and British Song, 1797–1822 (2015). His second, The London Ballad-Singer, is in preparation. With David Kennerley and Ian Newman he is co-editor of Charles Dibdin and Late Georgian Culture (2018), and he and David Kennerley are co-editors of a forthcoming special forum of Journal of British Studies on "Music and Politics in Britain, c. 1780–1850" (2020). Oskar has also authored numerous articles, book chapters, and two novels for children. [End Page 572]
