Shakespeare on Screen in the Digital Era: The Montpellier Congress
Montpellier, France, 26-28 September 2019
Deadline for Seminar and Panel proposals; 30 May 2019
Venue: Université Paul-Valéry Montpellier 3, site Saint Charles, France
Conference coordinators: Sarah Hatchuel (GRIC, EA 4314, Université Le Havre Normandie) and Nathalie Vienne-Guerrin (IRCL, UMR5186, CNRS/ Université Paul-Valéry Montpellier 3)
Sylvaine Bataille, Université de Rouen Normandie, France; Victoria Bladen, University of Queensland, Australia; Claire Cornillon, Université Paul-Valéry Montpellier 3, RIRRA21, France; Christy Desmet, University of Georgia, USA; José Ramón Díaz, University of Málaga, Spain; Patricia Dorval, IRCL, UMR5186, CNRS/Université Paul-Valéry Montpellier 3, France; Sujata Iyengar, University of Georgia, USA; Pierre Kapitaniak, IRCL, UMR5186, CNRS/ Université Paul-Valéry Montpellier 3, France; Ronan Ludot-Vlasak, Université Lille 3, France
Douglas Lanier, University of New Hampshire
Courtney Lehmann, University of the Pacific
Samuel Crowl, Ohio University;
Russell Jackson, University of Birmingham
Judith Buchanan, University of York
Poonam Trivedi, University of Delhi
120 years after the filming of King John by Herbert Beerbohm Tree in 1899, which inscribed Shakespeare on celluloid for the first time; thirty years after the release of Kenneth Branagh’s Henry V(1989), which triggered the fin-de-siècle wave of screen adaptations; twenty years after the publication of Kenneth S. Rothwell’s seminal History of Shakespeare on Screen (CUP, 1999) and twenty years after The Centenary Shakespeare on Screen Conference organized by José Ramón Díaz at the University of Málaga in September 1999, which constituted “Shakespeare on Screen” scholars into an international academic community, time has come to gather together again to reflect on the evolutions of both our objects and methods of study.
The “Shakespeare on Screen in the Digital Era” International Conference invites scholars worldwide to explore the consequences of the digital revolution on the production, distribution, dissemination and study of Shakespeare on screen. Since the 1999 Málaga conference, the rise (and fall) of the DVD, the digitalization of sounds and images allowing us to experience and store films on our computers, the spreading of easy filming/editing tools, the live broadcasts of theatre performances in cinemas or on the Internet, the development of online video archives and social media, as well as the increasing globalisation of production and distribution (raising the question of technological availability worldwide), have changed the ways Shakespeare is (re)created, consumed, shared and examined. Shakespeare’s screen evanescence and his transfictional and transmediatic spectrality have blurred the boundaries between what Shakespeare is and is not, leading us to question our own position as scholars who keep spotting, constructing and projecting “Shakespeare” in audiovisual productions.
We invite seminar proposals (international pairs or trios of convenors are welcome) and panel proposals (featuring 3 short contributions) exploring the screen afterlives of Shakespeare’s works in the digital era all over the world, revisiting the Shakespearean “classics” as they have been re-released in various formats, examining how the technological and aesthetic issues intersect with questions of gender, class, ethnicity and ethics, and interrogating more theoretically what “is” and “is not” Shakespeare on screen. Seminar proposals (including a 400-word presentation and a short bio for each convenor) and panel proposals (including three 300-word abstracts and three short bios) should be sent by 30 May 2018 to Sarah Hatchuel (firstname.lastname@example.org) and Nathalie Vienne-Guerrin (email@example.com)
(posted 26 January 2018)
ELOPE: English Language Overseas Perspectives and Enquiries (http://revije.ff.uni-lj.si/elope) is a double-blind, peer-reviewed academic journal that publishes original research of English language, literature, teaching and translation.
The spring 2018 issue of ELOPE is dedicated to the position and role of speculative fiction and especially science fiction in a world that is increasingly becoming speculative and science fictional. The globalized, digitally mediated nature of contemporary realities and, indeed, individuals, increasingly corresponds to those imagined by the literary cyberpunk of the 1980s – by the movement which with its formal and thematic properties arguably blurred the dividing line between the “mainstream” literary fiction and the science fiction genre. In the first decade of the third millennium, the extrapolations of current technologies and science typically associated with the genre seem to be moving from the temporal to the spatial axis, that is, from the futures far far away to the multiplicity of presents and realities that are parallel to ours. Jaak Tomberg attributes this collapse of futurity to the “cognitively dissonant pace of change in contemporary technocultural society” which renders imagining of ontologically different futures impossible. Approaching the issue from the perspective of postmodern theory, we can similarly ascertain that in a world in which the digital code precedes reality, the present is a priory infused with futurity, and any (literary) speculation cannot NOT be realistic. On the other hand, recent developments in the field increasingly reveal an alternative, radically different approach to futurity. In the 2014 collection of essays on contemporary science fiction SF Now, for instance, contributors acknowledge the prevalence of texts in which the future is a furtherance of the technocultural, late capitalist present; however, with regard to the social, cultural and historical relevance of the genre in the coming years, their focus is directed at the narratives in which the future transcends imaginable possibilities and inspects the potentialities of a different ontological order.
What, then, is science fiction today? What is its role? Has the collapse of futurity onto the present caused an irretrievable convergence of the speculative and the mimetic? How does that reflect on the language used? The stylistic properties? On the ways such fiction is translated? How much sense does it make to treat science fiction – or anything else for that matter – as a genre significantly different from other instances of writing in the context of the postmodern paradigm which fundamentally revels in hybridity? To what an extent do traditional definitions of the genre still apply? What can be considered cognitively dissonant and what can be considered a novum in a world that seems to have no outside? Can there be an outside, and if so what is it (would it be) like? What role can science fiction play in our imaginings of the future? And of our present? What does it have to offer? What can it teach us? These are some of the issues we would like to address in the up-coming issue of ELOPE. The editors warmly invite contributors to submit original research on these and related topics, and to provide insights from as wide a range of perspectives, approaches and disciplines as possible – not only from the seemingly primary domain of literary studies, but also from the perspective of language and translation studies, as well as ELT.
The language of contributions is English. Papers should be between 5,000 and 8,000 words in length, with an abstract of 150–180 words. They should be submitted electronically, and should conform to the author guidelines (http://revije.ff.uni-lj.si/elope/about/submissions). Any inquiries can be sent to Andrej Stopar (firstname.lastname@example.org). Submission deadline: April 1st, 2018.
(posted 23 November 2017)
Multi/Inter-culturalism and identity negotiation
Summer 2018 issue of the ESSE Messenger
Deadline for submissions 1 May 2018
Identity and the redefinition of identity have become of major significance in the modern world. On the one hand, multiculturalism is perceived as a form of identity politics that tends to advance the interests of particular groups and to determine the cultural values, norms and assumptions through which individual identity is formed. In addition, interculturalism is frequently regarded as a form of acceptance of differences in an atmosphere of interest, tolerance, self-realization, and support for cross-cultural dialogue.
In light of this, the aim of this issue will be to discuss the perceived (im)balance between dominant host cultures and transnational / immigrant cultures and also the ways in which identity may be regarded as a reflexive self-concept, self-image or outer perception derived from gender, cultural, ethnic values, and individual socialization.
The deadlines for submissions is 1 May 2018.
The submissions should be sent to the ESSE Messenger Editor at: email@example.com
All contributions sent to the ESSE Messenger should observe the ESSE Messenger Editorial Code and Stylesheet.
Details at: http://essenglish.org/messenger/contributors/calls-for-articles/
(posted 16 January 2018)
Negotiating Aging and Ageism in English-speaking Literatures, Theatre and Performance Arts
Hungarian Journal of English and American Studies (HJEAS)
Deadline for proposals: 1 May 2018
Scholars and Ph.D. students in literary, theatre, and performance studies are invited to offer abstracts of prospective papers for a special block of essays Negotiating Aging and Ageism in English-speaking Literatures, Theatre and Performance Arts to be published in the Hungarian Journal of English and American Studies (HJEAS), an MLA indexed, JSTOR archived, and ProQuest-available journal of the Institute of English and American Studies at the University of Debrecen, Hungary. Publication is planned for 2019-2020.
Many societies in the world today are challenged by the phenomenon of an aging population with its special problems and needs. In the last couple of decades, studies of aging have emerged within the humanities assuming that age is as important a marker as gender, class, race, ethnicity and ability for the understanding of communal and personal identity. Critics agree that age is not only a biological fact but is also socially constructed and performative by nature. Valerie Barnes Lipscomb contends: “Because any age can be performed, viewing age as performance contributes to the broadening of the field of aging studies . . . combating the marginalization of criticism regarding either childhood or old age, the ‘marked’ ends of the life course.” HJEAS welcomes proposals of how the joint subjects of age, aging and ageism are negotiated, portrayed and/or represented subversively in literature, theatre, and/or performance arts.
Proposals of about 400-500 words together with a brief CV should be sent to the block editor before 1 May 2018. Contributors will be notified about the decision regarding their proposal by 20 May 2018. Accepted papers are due via e-mail by 1 September 2018 and should follow the house style of HJEAS, conforming to the 7th edition of the MLA Handbook using parenthetical citations keyed to a Works Cited section. Papers should be 6,000-7,000 words. Each paper will be submitted for blind review by two peer readers.
Editor of the special block: Dr. Mária Kurdi, professor emerita, University of Pécs, Hungary
E-mail address: firstname.lastname@example.org
Snail-mail address: University of Pécs, Department of English Literatures and Cultures, Institute of English Studies, 6, Ifjúság St, 7624 Pécs, Hungary
(posted 10 February 2018)
Experiments in short fiction: between genre and media/La brièveté et l’expériment: entre genre et media
IL LI 23, Fall 2018
Deadline for submissions: 30 June 2018
Editors : Elke D’hoker and Bart Van den Bossche
Short narrative texts have a long and ancient lineage in the Western literary tradition: from ancient folk tales and myths over fables and novellas to short stories and flash fiction in recent times. Over the course of the centuries, short fictional texts have formed genres and traditions with a remarkable stability, yet at the same time they frequently have been the locus of experimentation, border crossings and generic hybridity, often in tandem with the spread of media and the development of new contexts of publication and dissemination. In modern literature, it suffices to think of the importance of short fiction for the development of fantastic literature, the illustrated prose poems of the Decadents, the short fiction experiments in early 20th-century avant-garde periodicals, or the short stories dramatized for radio in the mid-twentieth century. In recent years, the arrival of new media – websites, blogs, twitter and facebook – have similarly given rise to new experiments in short fiction. Hyper fiction, twitter fiction, microfiction, and nanofiction are only some of the forms that have been developed in response to these new media.
This special issue aims to investigate these and other short fiction experiments as they have emerged since the late nineteenth-century in different literary traditions. It will explore the formal, generic and intermedial aspects of these short fictional texts – from microfiction to the novella – and the way they create meaning. As Paul Zumthor famously argued in “Brevity as Form”, brevity is not just a matter of length. Rather it “constitutes a structuring model” in which formal constraints enable creativity and invention. One of the central questions of this issue is therefore how writers work with the limits imposed by brevity in a variety of genres and forms: from the constraints imposed on newspaper stories to the 140-character limit of the Twitter story, from the generically hybrid novella to the epigram-like microfiction, from Felix Fénéon’s faits divers to Teju Cole’s “Small Fates”. The question how short a story can possibly be has often been debated – think of Hemingway’s famous “For Sale. Baby Shoes. Never worn” – but has received new urgency given the many platforms for nanofiction and microfiction that have emerged in recent years. At the other end of the spectrum, the question of length is also debated with regard to the novella: what distinguishes a novella from a short story and a short novel? And how is the same story changed when its length or format is changed; when it migrates from newspaper story to novella, from serialized Twitter story to complete short story. In this and in many other instances, the contexts of publication also have an impact on short fiction experiments, as these contexts – whether magazine, newspaper, story collection, twitter feed, website or blog – shape the production and reception of short fictional texts to an arguably greater extent than in the case of the stand-alone novel and, hence, need to be taken into account in any study of short fictional texts.
We invite articles addressing these questions in different literary traditions from the late nineteenth century onwards. Articles of about 6000 to 8000 words in length can be written in both French and English. Deadline for submissions is 30 June 2018, but we would like you to get in touch with the editors with a proposal before submitting the full article. Proposals and articles should be sent to Elke D’hoker (email@example.com) and Bart Van den Bossche (firstname.lastname@example.org). The articles will be sent out for double blind peer review.
(posted 22 February 2018)
Reenchanting Urban Wildness: To Perceive, Think and Live With Nature in its Urban Environment
Perpignan, France, 11-14 June 2019
Deadline for proposals: 1 October 2018
An international Conference under the aegis of the CRESEM, UPVD
- Belinda Cannone, French writer, sponsor of the PUP (Presses Universitaires de Perpignan), author of S’émerveiller, 2017.
- Nathanael Johnson, American journalist and writer, expert in nature in cities and environmental issues, author of Unseen City The Majesty of Pigeons, the Discreet Charm of Snails & Other Wonders of the Urban Wilderness, 2016
- Nathalie Blanc, Geographer, French CNRS Supervisor, urban nature expert
- Serenella Iovino, University of Torino, Italy. Ecophilosopher, New Materialism and Environmental Humanities expert
- Anne Simon, CNRS Research Director, Head of the Animots program, zoopoetics expert
This international conference comes as an offshoot of a previous ecopoetics conference on “Dwellings of Enchantment: Writing and Reenchanting the Earth,” which took place in Perpignan in June 2016 (with three collective volumes on their way to being published). While this first event successfully brought together many academics and writers from various backgrounds, countries and disciplinary fields, it appeared that the call for papers attracted studies mostly concerned with dwellings of enchantment outside of cities. From there sprouted the notion that, while humans’ intra-connections with their natural environments outside of densely populated areas were indeed of essential concern, it may be just as necessary and urgent to reconsider the many entanglements between human and non-human naturecultures within urban and suburban milieus. For, as opposed to what modernity has often wrongly entailed, nature does not evolve solely starting on the outskirts of our urban dwellings, but has instead become an integral part of the daily lives of a majority of humans, living in densely populated areas. As over half of humanity now resides in urban places––a tendency that has been predicted to keep growing on the increase––, nonhuman life forms have simultaneously been coevolving with us in environments that can no longer be conceived of as antagonistic to the notion of nature. In more or less visible ways, vegetal, animal, elemental, and microbial agencies have followed the roads we have paved, adapting to and, in turn, shaping our shared urban habitats, sometimes even encroaching upon the more intimate dwelling places of our bodies.
If so-called moderns seek shelter in the notion of a civilized dwelling place keeping wilderness at bay, such an anthropocentric vision remains blind to the hardly controllable coexistence of myriad life forms within our gridded, sometimes walled or gated, shared, urban and suburban pluriverses. Suffice it to mention the pullulating of coyotes in North American suburbs, of spotted hyenas in Ethiopian cities, of foxes in all European metropoles, of raccoons in Parisian forests, of parakeets vividly coloring the sky in Brussels, of Geckos nesting on the walls of our homes in Spain and India––or in Perpignan for that matter––and the less glamorous domestic intrusions of cockroaches, ants, or other insects in our urban ecosystems to heal from the delusional idea of a dichotomy separating humans and cities from nonhumans and natural environments. Moreover, while some of these feral animals tend to first be considered as a pestilence or jeopardy, in many cases local communities have been finding ways to reconsider the potential intra-actions between various populations – whether they be part of the vegetal, animal or human worlds – in ways forcing humans to adapt to nonhuman agencies, and reciprocally. As for plants, the wild proliferation of weeds, the cultivation of city parks, balconies, greenways, gardens etc. has made these vegetal populations ever-present in our quotidian commutes, walks, leisure, workplaces, etc.
With a one-day conference held in Perpignan in May 2017 and exclusively devoted to “Vegetal Life in its Urban Milieu,” this new international event builds further on previous research, seeking to extend the enterprise of re-enchanting the complex, often invisible relationships between humans and non-humans that germinate from specifically urban worldings.
If the organizers themselves mostly specialize in ecocriticism and ecopoetics, we would like to encourage transdisciplinary dialogues, and therefore invite academics and artists across a wide range of disciplines to come together and advance current research and thinking on the hidden wonders of urban ecosystems (urban planning, biology, anthropology, ecology, botany, geography, sociology, entomology and ornithology, history, philosophy, visual arts, and academics of the inherently transdisciplinary fields of ecocriticism, ecopoetics, zoopoetics, ecopsychology). The scientific committee will particularly, yet not exclusively, welcome papers addressing some of the following issues:
- Magical realism as an artistic mode particularly apt to reveal urban wonders
- Postmodernism and the rewriting of myths about urban culture
- How material ecocriticism or new materialism have been sowing seeds for new ecopoetic paradigms to envision the products of our naturecultures as co-produced songs
- The role of urban planning in re-enchanting humans’ conception of nature in cities
- The enchantments of old cities compared with those of newer cities
- Community and grassroots initiatives to reweave naturecultural fabrics
- Ecofeminist practices, rituals and thought in urban settings
- Ecospsychology as a way of repairing human connections with their environments
- The latest developments in ecosophy and what light it sheds on an ontology of urban co-dwelling
- Postcolonial urban populations and their relationships to urban wildness
- Multicultural cities’ melting pots and plants
- Waste theory and production in urban areas
- Plant communication in urban ecosystems
- What biosemiotics teaches us about urban wonders
- Urban sources of food (Ava Chin, the New York Times“urban foraging” blogger and the author of a book called Eating Wildly)
- Health issues and urban nature
- The conceptual implications of the word “feral”––referring simply to that which has broken free from human domestication, a term that was applied first to animals and now to plants as well––with no exact translation in other European languages such as French or Dutch (George Monbiot, Feral, 2013)
- Education about nature in urban settings
- Urban naturecultural art forms (graph, dance, music, etc)
Scientific coordinator: Bénédicte Meillon, University of Perpignan
Organizing committee: Margot Lauwers, University of Perpignan, France; Bénédicte Meillon, University of Perpignan, France; Claire Perrin, University of Perpignan, France; Caroline Durand-Rous, University of Perpignan, France
Scientific committee: Pascale Amiot, University of Perpignan (Irish Studies and Ecopoetics), Anne-Laure Bonvalot, University of Montpellier (Hispanic and Portuguese-language Ecocriticism and Ecofeminism), Françoise Besson, University of Toulouse (Anglophone ecopoetics), Marie Blaise, University of Montpellier (Francophone Ecocriticism), Anne-Lise Blanc, University of Perpignan (Francophone Ecopoetics), Nathalie Blanc, CNRS, Paris (Urban Geography, Environmental Humanities), Clara Breteau, (CNRS UK, University of Leeds, Environmental Humanities), Isabelle Cases, University of Perpignan (British History and Culture), Joanne Clavel, Danse Researcher, University Paris 8, Doctor in scientific ecology, Nathalie Cochoy, University of Toulouse (Anglophone ecopoetics), Aurélie Delage, University of Perpignan (City planning and Urbanism), Jocelyn Dupont, University of Perpignan (American Literature and Cinematographic culture), François Gavillon, University of Bretagne Occidentale (Anglophone Ecopoetics), Bertrand Guest, University of Angers (French Ecocriticism), Daniel Finch-Race, Durham University (Francophone ecocriticism and ecopoetics), Karen Houle, Guelph University, Canada (Philosophy, ecocriticism, ecopoetics, ecopoetry), Thibault Honoré, University of Bretagne Occidentale (Fine Arts), Serenella Iovino, University of Torino, Italy (Ecophilosophy, New materialism), Edith Liégey, National Museum of Natural History (Ecology and contemporary arts sciences), Margot Lauwers, University of Perpignan (Ecofeminism, anglophone feminist ecocriticism), Bénédicte Meillon, University of Perpignan (Anglophone ecocriticism and ecopoetics, American Short Story, Magical Realism), Serpil Opperman, Hacettepe University, Turkey (Ecocriticism, New materialism, ecofeminism), Stéphanie Posthumus, McGill University, Montreal, Quebec (Francophone ecocriticism and ecopoetics), Jonathan Pollock, University of Perpignan (Ecopoetics, ecophilosophy, Shakespearean wild), Thomas Pughe, University of Orléans (Anglophone ecocriticism and ecopoetics), Sylvain Rode, University of Perpignan (City planning and urbanization), Anne Simon, CNRS Research Director, Head of the Animots program, zoopoetics expert, Scott Slovic, Idaho University, USA (Ecocriticism), François Specq, ENS Lyon (Anglophone ecocriticism)
The conference will take place in English and French. Communication proposals are to be sent as abstracts (300-400 words), with a brief bio-biblio note (5-6 lines) to email@example.com, before October 1st, 2018. Feedback from the scientific committee will get sent by mid November 2018.
(posted 12 February 2018)