Books and special issues of journals – Deadlines January-March 2018

The 20th- and 21st- Century Irish Literatures: Between Realism and Experimentation
HJEAS (Hungarian Journal of English and American Studies)
Deadline for proposals: 15 February 2017

HJEAS (Hungarian Journal of English and American Studies) seeks essay submissions for a thematic section of a 2019 issue on “The 20th and 21st Century Irish Literatures between Realism and Experimentation.” HJEAS is a peer-reviewed journal of the Institute of English and American Studies, University of Debrecen, Hungary, publishing critical articles and book reviews in the fields of American, British, Canadian, and Irish literature, history, and culture, and is available from JSTOR and ProQuest. (http://www.hjeas.unideb.hu)

The tension between realism and experimentation has marked the development of modern Irish literature, being intrinsic to the work of a number of major Irish writers. Often regarded as a father-figure of all experimental writing, James Joyce was attacked by as different commentators as Lukács and Pound for the scope and radicalness of experiment, particularly in Finnegans Wake. Joyce himself considered his work to be firmly set in the realist tradition. At a time when he was yet to publish his first collection of lyrics, W. B. Yeats was encouraged by his father to write realist prose, which may eventually have contributed to his abhorrence of realism in favour of ever more daring experimentation in verse writing. Nonetheless, Yeats’s poetry is packed full of amazingly realist portrayals of the world about him. J. M. Synge may have worked in a realist mode but his implementation of vernacular Aran speech paved the way for the linguistic experimentation of the following generations of Irish (also English-language) playwrights.

Modern Irish literature may seem to be a field of vacillators (whether conscious or not remains to be investigated) who employ traditional genres and modes of writing, while at the same time, almost instinctively, seeking to supersede conventions. Sometimes this happens tacitly, by pushing the boundaries of expressiveness a little further, like with Synge. Occasionally the revolt engulfs conventions in flames in which new means of expression are forged, as is the case in Joyce.

Papers may include but are in no way limited to:

  • Realist and experimental modes in high modernism and onwards
  • Experimental literature today and a century ago: continuity and change
  • Revisions of the realist mode in contemporary Irish literatures
  • Ethics and aesthetics of realist and/or experimental literature
  • The great masters’ (stifling/enabling) influences
  • Contemporary realisms (including magical realism)
  • Voices from the margin (social, cultural, racial, etc.) and the conventions and aesthetics they have embraced or created
  • Cosmopolitanism vs. parochialism – openness and resistance to foreign trends
  • Irish literature and globalization (e.g., realism and experimentation in literary responses to global traumas, literature and the new media, literature and migration, etc.)
  • The aesthetics of nostalgia and futurity

Completed manuscripts of 5,000-10,000 words must follow the MLA parenthetical citation with Works Cited. Please follow the HJEAS Style Sheet available at http://www.hjeas.unideb.hu/submitting-manuscripts.html

Proposals of 500 words with a 100-150 bio are due by February 15, 2018. Final papers are due by July 15, 2018. Please send the submissions and all inquiries to the guest editors, Wit Pietrzak (witpietrzak@wp.pl) and Katarzyna Ojrzyńska (k.ojrzynska@sens.net.pl)

(posted 14 August 2017)


Black Womanhood in Popular Culture
Open Cultural Studies, Peer-Reviewed Journal by De Gruyter Open
Deadline for proopsals: 15 January 2017

Editors: Dr Katharina Gerund (Erlangen/Nürnberg) and Dr Stefanie Schäfer (Jena).

In contemporary popular culture, black womanhood frequently takes centre stage. It occupies an increasingly central place and articulates new and renewed dimensions, prompting questions about the status of black women in the cultural imaginary of the US and beyond. Most prominently, Michelle Obama’s First Ladyship has sparked scholarly and media discussions around the significance of stereotypes associated with black women, the possibilities and limitations of public figures to create new images and anchor them in the cultural imaginary, and about the subject positions and images that express and shape constructions of black womanhood. Further examples include the pop singer Beyoncé, who has proclaimed her commitment to feminism and designed an already iconic celebration of black motherhood (concerning Afro-futurist tropes), wildly popular TV shows like Scandal or How to Get Away with Murder which feature black female protagonists, or literary works and feminist manifestos such as Chimamanda Ngozi Adichie’s Americanah (2013) or We Should All Be Feminists (2014) and Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions (2017). Our special issue aims to examine the multifaceted ideological implications of this proliferation of black womanhood in popular culture. We would like the contributions to this special issue to discuss representations and performances of black womanhood in the transatlantic sphere. Contributions may address a broad range of topics, pertaining to e.g. visual culture (comics, films, TV shows, etc.), material culture and bodily practices, literature, performances, or the arts. We welcome academic essays as well as images to our volume. Issues to be explored include but are not limited to:

  • Black women as cultural agents
  • Feminist agendas and their representation in cultural discourses
  • Epistemologies of black womanhood and systems of knowledge production
  • Afropessimisms and ontologies of black subjecthood
  • · Histories and genealogies of representing black womanhood

Please submit abstracts (500 words maximum) and biographical information to schaefer.stefanie@uni-jena.de and katharina.gerund@fau.de by January 15, 2018. Manuscripts of 5000 to 7000 words will be due by May 1, 2018.

Full call for papers is available here: https://www.degruyter.com/page/1431

(posted 5 September 2018)


Industrial Heritage in the UK : Mutations, Conversions and Representations
Contributions are invited to an issue of LISA e-journal
Deadline for proposals: 1 March 2018

https://lisa.revues.org/9025

Since the mid-1950s, the UK has witnessed a growing interest in the study, protection and conservation of industrial heritage, and is often considered as a leader in the exploration of the significance and potentialities of such historical remains. This rise in public awareness was accompanied by the development of industrial archaeology as a discipline in its own right, which later led to industrial heritage being seen as a resource for regeneration and for a global reflexion on the protection of memories of the collective past. The discovery of the economic and social potential of derelict buildings has gone hand in hand with the development of (living) museums, with a surge in urban renewal policies in the context of deindustrialization and with preoccupations with sustainable development or green tourism.

This LISA e-journal issue will thus focus on industrial infrastructures such as former textile mills, factories or warehouses – whether listed or not – along with their surroundings when they constitute a landscape and/or are integrated into a conservation area. The palimpsestic quality of this industrial past is integral to popular and collective memories that are kept alive through museum initiatives whether in the private, public or charitable sectors but also through fictional or documentary films, web sites or the social media. Nostalgia for a glorious past era of British history contributes to the desire to preserve and celebrate the unique skills, the impressive know-how and more generally the salient traits of a bygone civilization.

We welcome contributions aiming to explore changes in the field of industrial heritage and industrial conservation and their instrumental role in the provision of spaces for tourism, culture, and urban regeneration, while bearing in mind the potential conflicts arising from the relationship between these various processes. Examining representations of industrial society and the tangible traces of industry in order to foreground mutations in how industrial heritage has been depicted and perceived since the beginning of the industrial revolution thus offers a more comprehensive picture of the contrasting visions of a once neglected heritage.

The perspective chosen for this Revue LISA / LISA e-journal issue is inter- and pluri-disciplinary, articulated around a variety of approaches including cultural geography, cultural history, art history, media studies, urban studies, heritage studies, architecture, etc.. Studies offering comparisons between the UK and other geographical area(s) or country/ies, are also welcome.

Possible themes thus include (but are not limited to):

  • Care of industrial and technical collections, the conservation of industrial artefacts.
  • Representations of a vanishing industrial society and its heritage: depicting the industrial past, its people and its physical reminders in urban and rural landscapes.
  • Memorizing the industrial past: educational projects, social media, TV or cinematic fictions or documentaries, festivals, attractions, museum developments, memorabilia…
  • Industrial ruins and post-industrial landscapes: creative acts inspired by engagements with physical testimonies to the past, their otherness and unstable state.
  • Recycling industrial buildings and their immediate environment through culture and heritage.
  • New functions for vacant industrial buildings: the discourse of sustainable urban development or of imaginative regeneration of derelict or unused sites.
  • Reinterpreting industrial sites for creative uses: questioning the inventiveness, viability and durability of adaptive re-use by such projects.
  • Conservation and conversions: conflicts arising between architectural, cultural, historical, economic and promotional priorities.
  • The contribution of industrial heritage to tourism and employment in post-industrial areas.
  • Industrial heritage/past as an inspiration for fashion, design, decoration or life style …

Proposals (abstract and bio, not exceeding 500 words) should be sent to Aurore Caignet, Renée Dickason and Tim Edensor by 1st March 2018. The deadline for completed articles is 1st October 2018.
Contributions should not exceed 6,000 words in length and should be sent together with a short biography of the author (max. 200 words) and an abstract (max. 300 words). For submissions, you are invited to read and follow the norms for presentation indicated on the peer-reviewed Revue LISA / LISA e-journal website https://lisa.revues.org/159
ISSN: 1762-6153, Presses Universitaires de Rennes, Revues.org.

(posted 8 July 2017)

National Correspondents of the Gender Studies Network

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Austria:

Julia LAJTA-NOVAK, Univ. of Salzburg/Vienna, julia.lajta-novak@univie.ac.at

Estonia:

Julia TOFANTŠUK, Tallinn University, jul@tlu.ee

Finland:

Elina VALOVIRTA, Univ. of Turku, elmava@utu.fi

France:

Shirley DOULIÈRE, Univ. of Bordeaux, shirley.douliere@univ-fcomte.fr

Greece:

Katerina KITSI-MITAKOU, Univ. of Thessaloniki, katkit@enl.auth.gr

Hungary:

Katalin G. KÁLLAY, Károli Gáspár Univ., katalin.g.kallay@gmail.com

Ireland:

Aoife LEAHY, aoifebleahy@hotmail.com

Italy:

Eleonora RAO, Univ. of Salerno, erao@unisa.it

Romania:

Ana-Karina SCHNEIDER, Univ. of Sibiu, karina.schneider@ulbsibiu.ro

Spain:

Pilar CUDER, Univ. of Huelva, picuder@uhu.es
María Jesús LORENZO MODIA, Univ. of A Coruña, mlorenzomodia@udc.es
Alejandra MORENO ÁLVAREZ, Univ. of Oviedo, morenoalejandra@uniovi.es

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Calls for papers – Conferences taking place in October 2018

Frederick Douglass across and against Times, Places, and Disciplines
Paris, France, 11-13 October 2018
Deadline for proposals: 31 January 2018

In an article entitled “Frederick Douglass, Refugee,” published in the Atlantic in February 2017, historian David Blight argued that “[o]ne place to begin to understand our long history with the controversies over immigration is with Douglass.” In his 2015 The Strangers Book: The Human of African American Literature, American Literature scholar Lloyd Pratt insisted on Douglass’s engagement with the figure of the stranger, his inhabitation of the stranger persona as a tool to build up a polis and found a demos on what Pratt calls “stranger-with-ness.” This conference, organized on the occasion of the bicentennial of Douglass’s birth, proposes to reconsider Douglass’s practice and “art of estrangement” (Giles) broadly understood as spatial and temporal displacement and philosophical, epistemological and disciplinary decentering.

2018 will mark the bicentennial of Frederick Douglass’s birth. The wide array of events and activities already planned testifies to Douglass’s relevance to present debates in the United States and other countries. Frederick Douglass Family Initiatives (FDFI)’s “One Million Abolitionists” plans to print one million copies of the Narrative of the Life of Frederick Douglass: An American Slave for distribution in schools as well as the creation of projects addressing present social justice issues. In 2018, the National Park Service (NPS) will organize public and educational programs at the Frederick Douglass National Historic Site (NHS) in Washington, D.C. Likewise, the bicentennial conference that will be held in Paris in 2018 will be an opportunity to reexamine the figure of Frederick Douglass across times, places, and disciplines. It encourages contributions that read Douglass’s writings—not his serial autobiographies and speeches only, but also his antebellum journalism, his letters, his (rare) poetry and his one foray into fiction—as well as his life beyond the familiar chronological and geographical boundaries. It thereby hopes to contribute to revisiting the heuristic coordinates of Douglass’s scholarship.

The purpose of this conference, however, is not to commemorate Douglass as a solitary, exceptional figure, but rather to consider him in relation to his contemporaries and to his world, as one voice, powerful though it was, among others. Douglass collaborated with and opposed other black and white intellectuals, activists, artists and politicians. He was a man involved in the conflicts and ruptures of his time, in the United States and beyond. His authority and centrality also must be re-examined.

Panels or individual papers may address, but are not limited to, the following topics:

Reading Douglass across and against times

  • Reading Douglass reading his time as a “witness and participant” but also as a promoter of anachrony used as a political tool to “repeat history in order to deform it” (Castronovo).
  • Reading Douglass’s writings “against 1865,” against the “before-after narrative of emancipation” (Hager and Marrs), in the hope of complexifying our interpretation of Douglass’s use of the genre of the slave narrative.
  • Reading Douglass’s “lives” beyond the chronology of Narrative of the Life of Frederick Douglass (Levine), in particular his ambivalent career as a diplomat (Bourhis-Mariotti), a Republican appointee, and an activist in the 1890s.
  • Douglass and radical democracy and activism: considering Douglass’s role in a larger history of abolitionism understood as “a radical, interracial movement, one which addressed the entrenched problems of exploitation and disenfranchisement in a liberal democracy and anticipated debates over race, labor and empire” (Sinha).
  • Douglass’s engagement with an ecological antislavery logics (Ellis).
  • Re-reading Douglass’s reception. Reading Douglass within an enlarged canon of African American writing (White & Drexler; Hager) in conjunction with other North American slave narratives and early African American fiction, history and journalism (William Wells Brown, Harriet Jacobs etc.). How does this enlarged canon affect Douglass’s critical reception and his status today as the greatest black pre-Civil war author?
  • Reading Douglass today so as to open new perspectives on the interplay between history, memory and activism at play in Douglass’s and our times.
  • Douglass and the discourse of liberation, human rights and humanitarianism; Douglass’s practice of a stranger humanism based on mutually acknowledged and always evolving differences (Pratt).
  • Reconsidering Douglass and public history: What aspects of present debates are illuminated by Douglass’s words (Davis)? Why teach Douglass today?

• Reading Douglass across and against spaces

  • Changing the maps and geographical coordinates that have shaped our understanding of Douglass. Using Martha Schoolman’s “abolitionist geographies,” for example, which include both the local and the circum-atlantic, invites us to explore imaginative routes for Douglass’s legacy, from Canada to Rome and London to Haiti and Liberia, via the more expected yet still understudied Afro-Caribbean geopolitical spaces (Nwankwo).
  • Reexamining issues of mobility and displacement in Douglass’s life; Douglass as an American and international figure; Douglass and transnationalism; Douglass and the Americas (Hooker); Douglass and France (how The North Star covered the 1848 Revolution, for example [Fagan, Alimi-Levy]); Douglass and the diasporic self.
  • Translating Douglass across languages and spaces
  • Investigating the different spaces of Douglass’s life and work; Douglass’s “public body” (Fanuzzi); Douglass’s “feminine space” (Fought).
  • Decentering our reading of Douglass may lead us to complicate the genealogy of his writing beyond the racial divide and find other significant intertextualities—not only the “Founding Fathers,” the New England Transcendentalists, his contemporaries Hawthorne and Melville (Otter and Levine) and Harriet Beecher Stowe, but also his Black Atlantic peers (Giles) and a broader intellectual tradition from the political thought of John Stuart Mill to the transatlantic print culture of the time.

• Reading Douglass across and against disciplines

Douglass wrote at a moment when “modern academic fields were becoming increasingly defined” but his writing cut across disciplinary boundaries (Lee). To be considered:

  • Douglass’s use of fiction or of the tools of fiction in his journalism, in his speeches;
  • Douglass’s “rhetorical legacy” (John R. Kaufman-McKivigan);
  • Douglass’s role as an editor (Meer)
  • Douglass and book history: questioning the vision of Douglass and his African-American peers as autonomous author-artisans in the sphere of print, free of white abolitionist control in the pre-Civil War period (Roy)
  • Douglass’s philosophy or philosophies (Lee);
  • Douglass’s “visual affirmations” of himself (Wexler) as well as his celebration of photography “as a great democratic art” (Stauffer, Trodd, & Bernier); Douglass as a celebrity; Douglass and the media.

We plan to organize activities before and after the conference in relation to community-based teaching, performances and public readings.

Deadline for all submissions: January 31, 2018.
Proposals (500 words in English or French and a short bio) to be sent to:
DouglassParis2018@gmail.com
(We welcome papers from graduate and doctoral students.)

Proposals will be reviewed by the Conference Committee:
Claire Bourhis-Mariotti, Université Paris 8; Agnès Derail, ENS; Hélène Le Dantec-Lowry, Université Sorbonne Nouvelle; Claire Parfait, Université Paris 13; Hélène Quanquin, Université Sorbonne Nouvelle; Marie-Jeanne Rossignol, Université Paris Diderot; Cécile Roudeau, Université Paris Diderot; Michaël Roy, Université Paris-Nanterre.

Keynote speakers (confirmed): Leigh Fought (Le Moyne College), Lloyd Pratt (University of Oxford), Michaël Roy (Université Paris Nanterre).

(posted 9 September 2017)

Calls for papers – Conferences taking place in September 2018

Vladimir Nabokov and Translation: Transatlantic Symposium
Lille, France, Spring 2018, and Chapel Hill, USA, Fall 2018 (the precise dates will be announced later)
Deadlines for proposals: 1 September 2017 (Lille), 1 May 2018 (Chapel Hill)

The precise date of this conference will be announced later.

Please send your abstracts (maximum 500 words, in English or French) to the following email addresses: julie.loison-charles@vladimir-nabokov.org and shvabrin@email.unc.edu
If you wish your abstract to be considered for the first installment of the Symposium in Lille, France, please send your abstract by September 1, 2017, and by May 1, 2018, for Chapel Hill, North Carolina, USA.

This project is organized with the French Society Vladimir Nabokov – Les Chercheurs Enchantés, The Université of Lille, SHS (France) (Unit Research CECILLE) and the Center for Slavic Eurasian and East European Studies at The University of North Carolina at Chapel Hill (USA).

See the full call for papers at http://essenglish.org/cfp/conf1805/#Nabokov

(posted 16 May 2017)


Calls for papers – Conferences taking place in July 2018

British Women and Parody
Amiens, France, 6 July 2018
Deadline for proposals: 17 December 2017

Keynote speaker: Professor Margaret Stetz

(University of Delaware)

This one-day conference will investigate the relationships between women and parody in the British Isles. It is organized by the research team CORPUS (EA 4295) at the University of Picardy and will be held at the Logis du Roy (Amiens, France) on Friday 6th July 2018.

Parody, a simultaneous act of revival and revision, is double-coded. Imitating the original work implies familiarity with the original work and includes reactivation and renewal. The parodic ethos is partly “respectful or deferential” (Linda Hutcheon) and imitation has a large part to play in literary apprenticeship, yet repetition with an element of transformation can also have comical, satirical and distancing effects. The historical distance between the parodist and the imitated text takes on a reflexive and critical form when the work is revisited with a view to question or comment. In “claiming and appropriating” other texts (Julia Kristeva), the parodist situates himself or herself in relation to the original author. The purpose of this conference is to investigate the part played by gender in this positioning.

Women scholars are well-represented among theorists and analysts of parody, but the engagement of women authors with parody has been neglected. However, the British literary tradition includes many highly respected – and parodiable – female authors while, for many women, writing has meant “revision (…) an act of survival” (Adrienne Rich). Women’s writing has indeed often been judged secondary in intention, scope and even literary value. So, how can women’s engagement with parody be read? Does the under-representation of women writers in anthologies of parody, both as parodied authors and as parodists, reflect the masculine domination and appreciation of the Western literary canon? Do cases of conscious cross-gender parody work to denounce clichés of femininity and masculinity, thus destabilizing gender (Judith Butler)? What is at stake in women’s parodies of each other? An anxiety of influence? Rivalry? Differing perceptions of what femininity is? Can the question of female parodies be historicized?

Please send proposals (300 words) for 20-minute papers with a title and a short bio-bibliographic note to nathalie.saudo@u-picardie.fr by December 17th.

We will consider papers on parodies that are both literary and visual: fiction, poetry, drama, graphic novels as well as other media and the history of publishing.

Possible topics include but are not limited to:

  • Women parodying men
  • Women parodying women
  • Parodies of femininity and écriture féminine
  • Female literary models and their imitators
  • Gendered revisions of canonical texts
  • Women in anthologies of parody
  • Women during the Victorian “golden age of parody”
  • The politics of parodic humour
  • Self-parody
  • Uncertain authorship and literary hoaxes

(posted 19 July 2017)


Romantic E-Scapes: Popular Romance in the Digital Age
University of the Balearic Islands, Spain, 9-11 July 2018
Deadline for proposal: 28 February 2018

This conference is organized in the context of the research project “The politics, aesthetics and marketing of literary formulae in popular women’s fiction: History, Exoticism and Romance” (HER) and aims to discuss recent developments in the production, distribution and consumption of popular romance that account for its escalating popularity and its increasing complexity. How comes that the genre’s traditional formulae are thriving in the murky waters of cultural industries in the global marketplace, particularly in light of the new ways and challenges of the Digital Age?
Evidence has it that the scope, production and range of popular romance has continued to diversify throughout the late 20th and early 21st century, reaching an astonishing variety of imprints, categories and subgenre combinations. As an example, Ken Gelder lists the different “brand portfolios” (2004: 46) from the most popular romance publishing houses with series categories that identify subgenres of romance: Modern, Tender, Sensual, Medical, Historical and Blaze (Mills and Boon); or Desire, Sensation, and Intrigue (Silhouette). Beyond these, the list goes on to include other developments or subgenre combinations from the more classical, gothic, thriller or fantasy romance to the more reader oriented Chick Lit, Black (or African-American) romance and the, arguably, more radically modern Lesbian or Gay romance, etc. High in our agenda is then to interrogate the roots and consequences of this diversification of generic traits and target readers within the more general framework of Global Postmillennial cultural developments. Likewise we also aim to examine the political reasons that inspire and transpire from the industry’s imaginative and aggressive commercial and authorial strategies.
Departing from dismissive academic analyses and conventional understandings of popular romance as lowbrow, superficial and escapist, conference participants are asked to unpack the multiple practices and strategies behind the notion of “Romantic Escapes”. A critical or political reengagement with the recreation of these temporal or spatial settings, whether idyllic and exotic locations, specific historical contexts or alternative futuristic scenarios, can help rethink popular romance beyond the mere act of evasive reading or the unreflective consumption of literary romantic experiences, resituating the genre as a useful tool for sociocultural discussion (Radway 1984; Illouz 1997). In this sense, contributions may engage with the multiple ways which the escapist romantic experience can be put to use in more “serious” formats (e.g. Neo-Victorian, historical fiction and historiographic metafiction) and thus with the implications of adapting well-known romantic patterns, formulae or conventions to more culturally “prestigious” genres.
Moving on from these contested acts of escapism, and expanding on Appadurai’s well-known formulation of “scapes” as the multiple “dimensions of global cultural flow” (1996: 33), conference participants are also encouraged to explore the multivalent meanings of these “Romancescapes”, that is “the multiple worlds which are constituted by the historically situated imaginations of persons and groups spread around the globe” (1996: 33) articulated in ever increasing complex and diverse literary formulations of the romantic experience. What are the effects of the global flows of symbolic and cultural capital on the genre? To what extent are romantic narratives determined by specific local conditions and “situated knowledges” (Haraway 1988)?
The impact of these glocal forces is evident in the writing, teaching, translation, production, reception and marketing of romance as mediated by the global “E-scapes” (Rayner 2002) of the digital age. The ever-changing demands of the glocal literary marketplace have also altered the conventional roles of writers, readers, and publishers, now blurred in practices such as self-publishing, specific subgenres like fan fiction, or increasingly influential spaces of literary discussion like virtual book clubs. Participants who may want to venture off the beaten tracks of the conventional romance industry are also welcome to explore and chart these new E-scapes of popular romance.
We invite scholarly submissions that address these and other related topics in relation to any of the multiple sub-genres of popular romance as well as the multifarious “romancescapes” in other popular narrative media. Contributors may address these topics from different critical perspectives and disciplines: cultural studies, gender studies, postcolonial studies, neo-Victorian studies, comparative literature, and digital humanities, among others.

Please submit a 200-word abstract and a short biographical note for a twenty-minute paper by 28 February 2018.  Submissions of thematic panels are also welcome.

Submissions should be sent to Dr. Paloma Fresno-Calleja (University of the Balearic Islands) (paloma.fresno@uib.es)

For more information visit http://her.uib.es/romantic-e-scapes/

(posted 19 September 2017)


Alliance, Antagonism, Authorship: Eleventh International Scott Conference
Université Paris-Sorbonne, France, 10-13 July 2018
Deadline for proposals: 30 September 2017

“Children know, / Instictive taught, the friend and foe” (The Lady of the Lake)

Walter Scott’s ties with France were personal as well as intellectual and artistic. His wife was of French birth and his interest in France was manifested both in his non-fiction (with his Life of Napoleon and the final Series of Tales of a Grand-father) and in his novels, since he chose 15th-century France as the location of his first novel set on the European continent. While Quentin Durward took some time in achieving success in Britain, its French translation, Quentin Durward, ou l’Écossais à la cour de Louis XI was immediately popular and inspired French writers and artists. Victor Hugo, for instance, wrote a laudatory review of the novel in La Muse française, the chief organ of the French Romantic movement, and partly conceived his own Notre-Dame de Paris as a response to it. Eugène Delacroix, one of the foremost French Romantic artists, drew several sketches based on scenes from Scott’s novel and painted L’Assassinat de l’évêque de Liège (The Murder of the Bishop of Liège, 1829, musée du Louvre).

Given that the eleventh international Scott conference will take place in Paris, the Auld Alliance seemed an obvious choice for the general theme of the conference. As the French poet and political writer Alain Chartier declared in 1428, sixty years before the events described in Quentin Durward, ‘this alliance was not written on a sheepskin parchment but engraved in man’s live flesh, written not with ink but with blood’. While these words underline the depth of the relation uniting France and Scotland they also ominously hint at the violent wartime context in which the treaty was concluded for the first time.

The typical pattern of Scott’s plots is one in which the main protagonist is caught in a conflict between two opposite forces embodying different stages in the evolution of society. As a result, antagonism is one aspect of his work that has been the focus of much critical study, especially from a Marxist angle, following Georg Luckács’s seminal work on the historical novel. It might however still be possible to engage in this field by resorting, for instance, to contemporary debates on the values of agonistic rhetorics – which some critics see as a means to justify domination while others, on the contrary, stress “the affirmative dimension of contestation” (Bonnie Honig, Political Theory and the Displacements of Politics, 1993: 15). The polyphonic – sometimes even verging on the carnivalesque – quality of Scott’s works has, in the past few decades, been emphasized to qualify earlier critical suggestions that the Waverley Novels were a teleological tale of Union.

Acknowledging the agonistic structure of Scott’s texts and being aware that early analyses of Scott’s works as straightforward, unequivocal unionist propaganda are now perceived as an over-simplification, should not, however, lead us to reject the notion of alliance as a potentially meaningful trope to analyse his texts, especially if we choose to define this notion of alliance not simply in terms of its political dimension, but, more broadly, as a bond or connection, an affinity. Speakers are therefore invited to consider such issues as national or international cultural dialogue, within Scott’s own body of works as well as between his work and that of other artists. Indeed, on the back of A.-J.-B. Defauconpret’s immensely influential French translations, the international success of the Waverley novels was such that they influenced many of his contemporaries – as well as subsequent generations of authors – at home and abroad. Works such as Louis Maigron’s Le Roman historique à l’époque romantique : Essai sur l’influence de Walter Scott (1898) or, more recently, Ian Duncan’s Scott’s Shadow : The Novel in Romantic Edinburgh (2007), The Reception of Sir Walter Scott in Europe, ed. Murray Pittock (2007), Richard Maxwell’s The Historical Novel in Europe 1650-1950 (2009) or Ann Rigney’s The Afterlives of Walter Scott: Memory on the Move (2012) have demonstrated that studying Scott’s works from a comparative literature or inter-textual perspective – or even within a broader cultural and social framework – can be most illuminating. In the wake of the ‘Reworking Walter Scott’ Conference (Dundee, April 2017), we will not only welcome papers analysing the influence of Scott on other writers – or the latters’ resistance to his ascendancy – but also papers that study the dialogue between Scott’s works and all forms of adaptation or secondary authorship.

Scott’s historical works and his involvement in contemporary politics will clearly offer opportunities to discuss his conception of the importance and value of alliances between countries – including Scotland’s complex position, torn between Anglophile and Francophile parties. It might also be interesting to compare the views he expresses in his fiction with the ones he expresses in his non-fictional works to determine whether they coincide or follow different logics. Finally, studying his work as a ballad collector and his social or epistolary connexions with most of the other great writers and the great publishing houses of the period will make it possible to see whether he saw writing as a collaborative or competitive activity.

These are of course only a few lines along which the theme of alliance can be interpreted and potential speakers should feel free to offer other interpretations of or variations on this theme.

Please note that the deadline for this conference is unusually early. Unfortunately, the French academic calendar implies that we should be able to finalise the programme by mid-October 2017 in order to book rooms for the conference and apply for funding.

Speakers are therefore invited to send a 300 word proposal to the following address by September 30th 2017: scottconference2018paris@gmail.com

https://www.facebook.com/eleventhinternationalscottconference

(posted 1 June 2017)

 

 

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Books and special issues of journals – Deadlines October-December 2017

Jane Austen Ours
The Winter 2017 issue of The ESSE Messenger
Deadline for proposals: 1 October 2017

The ESSE Messenger invites submissions for its Winter 2017 section of professional articles on the topic: Jane Austen Ours

2017 marks the 200th anniversary of Jane Austen’s death. What she left as her bequest to the world was to become a prolific space where sense, persuasion, sensibility and pride remained pre-eminent and where the Elinors, Mariannes, Janes, Elizabeths, Emmas, Darcys, Brandons, Willoughbys and Dashwoods still congregated together or at least briefly crossed each other’s paths. More than 200 years after their first publication, her novels are still avidly read as books and even transformed into successful film adaptations. In the 21st century her creations still provide a source of fascination and continue both to captivate well-seasoned readers and to animate fresh audiences. The questions that naturally arise are, then:

  • Why are people still so obsessed with Jane Austen?
  • Why is her legacy still alive and spreading?
  • Is it because she has a sincere, direct, natural and convincing way of depicting human nature?
  • Is it because her works are easily translated or adapted across various mediums, cultures and time periods?
  • What is it that constitutes Jane Austen’s face in the 21st century?

Questions such as these may help to suggest some of the topics for the Winter 2017 issue of the ESSE Messenger.

Proposals should be submitted to the Editor by 1 October 2017.

(posted  30 July 2017)


Body, Voice and Language Learning in Higher Education
Volume 37 No 2 (June 2018) of The journal Researching and Teaching Languages for Specific Purposes
Deadline for proposals: 30 October 2017

http://apliut.revues.org/5688

The journal Researching and Teaching Languages for Specific Purposes publishes the results of research carried out in the domain of language teaching and learning in Higher Education, for all languages and cultures. Since its beginnings it has been oriented towards both theoretical and applied research while maintaining a pedagogical dimension through the publication of notes on teaching experiences in each issue.

The journal has four main objectives. The first is to encourage the publication of research carried out in the field of teaching and learning languages in Higher Education. The second objective is to contribute to the training of teachers of languages for special purposes by publishing research results and notes on teaching experiences. From the beginning, the third objective has been to encourage the teaching and learning of all foreign languages. Even though most articles are written in French and English, they deal with the teaching and learning of different languages. The fourth objective is to promote young researchers. The journal is recognized for encouraging new authors and, thanks to its wide circulation, allows young researchers to be introduced to the academic community.

Volume 37, number 2, to be published in June 2018, will adress the key question of “Body, Voice and Language Learning in Higher Education”. We welcome all contributions written in either English or French.

Submissions to our journal are peer-reviewed. They must follow fall within one of the four following categories:

  • research articles (25 000 to 40 000 characters altogether, spaces not included);
  • reports (10 000 to 20 000 characters altogether, spaces not included;
  • notes on teaching experiences (8000 to 15 000 characters altogether, spaces not included);
  • book reviews (8000 to 15 000 characters altogether, spaces not included).

Deadline for proposals is October, 30th 2017.

Please send your submission to: apliut@revues.org and linda.terrier@univ-tlse2.fr.

In order to be submitted to the peer-review process, contributions must respect the guidelines for authors as well as the maximum lengths indicated above. See recommendations for authors : http://apliut.revues.org/1965.

(posted 24 June 2017)


Narratives of Religious Conversion from the Enlightenment to the Present
An issue of Vol. 23 of EJES to be published in 2019
Deadline for proposals: 31 October 2017

Guest editors: Ludmilla Kostova (Veliko Turnovo), Efterpi Mitsi (Athens)

Detailed proposals (up to 1,000 words) for essays, as well as all inquiries regarding this issue, should be sent to both editors: Ludmilla Kostova: ludmillak3@gmail.com and Efterpi Mitsi: emitsi@enl.uoa.gr

The deadline for proposals for this volume is 31 October 2017, with delivery of completed essays by 31 March 2018.

The full call for papers is available at http://essenglish.org/ejes/current-cfps/

(posted 24 March 2017)


Fact and Fiction in Contemporary Narratives
An issue of Vol. 23 of EJES to be published in 2019
Deadline for proposals: 31 October 2017

Guest editors: Jan Alber (Aachen) and Alice Bell (Sheffield Hallam University)

Detailed proposals (up to 1,000 words) for essays, as well as all inquiries regarding this issue, should be sent to both editors: Jan Alber: jan.alber@ifaar.rwth-aachen.de and Alice Bell: a.bell@shu.ac.uk

The deadline for proposals for this volume is 31 October 2017, with delivery of completed essays by 31 March 2018.

The full call for papers is available at http://essenglish.org/ejes/current-cfps/

(posted 24 March 2017)


Shame and Shamelessness
An issue of Vol. 23 of EJES to be published in 2019
Deadline for proposals: 31 October 2017

Guest editors: Kaye Mitchell (Manchester), Katrin Röder (Potsdam), Christine Vogt-William (Berlin)

Detailed proposals (up to 1,000 words) for essays, as well as all inquiries regarding this issue, should be sent to all three editors: Katrin Röder: kroeder@uni-potsdam.de, Kaye Mitchell: Kaye.Mitchell@manchester.ac.uk and Christine Vogt-William: cvogtwilliam@yahoo.com

The deadline for proposals for this volume is 31 October 2017, with delivery of completed essays by 31 March 2018.

The full call for papers is available at http://essenglish.org/ejes/current-cfps/

(posted 24 March 2017)


Beyond Books and Plays. Cultures and Practices of Writing in Early Modern Theatre
Journal of Early Modern Studies, Volume 8, 2019
Deadline for proposals: 31 October 2017

Edited by Lene Buhl Petersen and Raimondo Guarino.

The 2019 issue of JEMS will address the major cultural phenomenon of the production of written texts and, in a broader sense, the uses of writing in early modern theatre. Thus the volume is situated at the crossroads between textual studies, performance studies, and studies of orality vs. literacy. Going further than the relationships between book and stage, initiated by D.F. McKenzie and R. Chartier, and developed in a number of important studies concerning the printing of early modern drama, the range of suggested topics is expected to address textual practices both as sources and offshoots of theatrical enterprises, the skills related to writing and reading in players’ cultural environments, and the relationship between the popular professional theatre and literary milieux.

This call for papers invites researchers interested in the production of manuscripts (plays, promptbooks, parts, plots) in theatrical practice, from the late fifteenth to the seventeenth centuries, not only in the contexts of major national traditions (i.e. Elizabethan and Jacobean theatre, Siglo de oro, French Classical theatre, Italian Academic and professional theatrical environments) but also in peripheral and lesser known areas. Specific attention could also concern the connections between printed texts (not only printed plays, but also treatises, reports and players’ literary works) and performances, including civic and religious representations. In addition to philological and historical assessments, articles could draw attention to players’ literary competence, texts as tools for memorization, practices of oral/aural reproduction, the setting up of dramatic repertoires; and/or the rise of specific professional figures such as prompters and scribes employed in professional theatres to keep and reproduce manuscripts. Thus, the collection of articles should hopefully open up new horizons in the syntheses and synergies between literary traditions and performance cultures in early modern Europe.

Main deadlines:

  • 31st October 2017: adhere to project and send working title and abstract to Raimondo Guarino (raimondo.guarino@uniroma3.it) and Lene Buhl Petersen (lenebuhlpetersen@gmail.com).
  • 28th February 2018: finalize paper for submission to referees. Articles must comply with the editorial norms and must not exceed 12000 words, including footnotes and bibliography. All articles are published in English. Please be so kind as to have your paper revised by a native speaker.

Journal of Early Modern Studies (JEMS) http://www.fupress.net/index.php/bsfm-jems/index is an open access peer-reviewed international journal that promotes interdisciplinary research and discussion on issues concerning all aspects of early modern European culture.

(posted 4 August 2017)


Staging motherhood and mothers in British drama across centuries
A thematic volume
Deadline for proposals: 1 November 2017

Due to the ongoing discussions on the value of family in the contemporary world, the subject of motherhood returned to the forefront of public discourse in Europe and incited new polemics on – as is suggested by rightist politics – the natural drive towards maternity. Moreover, ‘ideological apparatuses’, to use Althusser’s nomenclature, such as the Church, promote motherhood and popularize pro-familial ideology, even offering particular “models of mothering” (Gawlina 2003: 37). Apart from using religious argumentation in propagating motherhood, conservative discourse conceptualises mothering as a moral value, the negation or rejection of which is presented as equal to monstrosity (Jones 1997; Łamejko 2003). Additionally, as Deirdre Johnston and Debra Swanson remind patriarchal culture perpetuates the idea that “[t]he maternal bliss myth – that motherhood is the joyful fruition of every woman’s aspirations – perpetuates systems of patriarchy by attributing any maternal unhappiness and dissatisfaction to failure of the mother” (2003). On a more demographic and social politics level, there are continuous attempts to encourage European women to have children and devote themselves to motherhood, prioritising it over career (in the Polish context, the recent controversial campaign, “Nie odkładaj macierzyństwa na potem!” [‘Don’t delay motherhood’] is a good example). Taking such a socio-political and religious background into consideration, we wish to broaden the research on motherhood and focus on topics and tropes of motherhood, mothers, maternity, and mothering as shown on stage and presented in published/written British drama.

We invite you to send abstracts on literary/dramatic and linguistic/semantic aspects related to the idea of dramatised motherhood. We are particularly looking for papers on:

  • Staged mothers and mothers on stage
  • Motherhood as a trope, staging motherhood as an idea
  • Good and bad mothers and anything in-between
  • Monstrous mothers and ‘mothering’ a monster
  • Mother(ing) as a metaphor, the idea of the ‘motherland’
  • (m)othering
  • stepmothers and stepping in as a mother
  • Staging maternity and mothers-to-be
  • Single mothers
  • Older and aging mothers
  • Holy mothers
  • Matricide and infanticide
  • Unwanted motherhood
  • Mothering fathers
  • Gender and motherhood
  • Queering motherhood
  • Surrogate motherhood
  • absent mothers and losing a mother
  • Suffering mothers
  • Mothers of nations, generations of mothers
  • Immigrant mothers and migrating mothers

Interested authors are kindly asked to send 500-word abstracts by 1st of November 2017 to dr Katarzyna Bronk (kbronk@wa.amu.edu.pl and bbronkk@gmail.com). If accepted by the editors, dr Bronk and dr Rogos-Hebda, selected abstracts will be collated into a thematic volume and proposed to an international publisher. Upon acceptance by the publisher, the authors will be asked to write full versions of their papers.

Bibliography

  • Althusser, Louis. 2008. On ideology. London: Verso.
  • Gawlina, Z. 2003. „Macierzyństwo jako wartość w kontekście przemian społecznych”. Blaski i cienie życia rodzinnego”. Roczniki Socjologii Rodziny, XV. Poznań: Adam Mickiewicz University Press, pp. 33-45.
  • Johnston, D. and D. H. Swanson. 2003. ‘Invisible Mothers: A Content Analysis of Motherhood Ideologies and Myths in Magazines’. Sex Roles, Vol. 49, Nos. ½, PP.21-33.
  • Jones, V. 1997. Women in the eighteenth century: Constructions of femininity. London and New York: Routledge.
  • Łamejko, D. 2003. „Macierzyństwo jako wartość filozoficzna i moralna”. Etyka 36, 193-208.

(posted 14 August 2017)


(Im)possible Worlds
Journal of Philology and Intercultural Communication
Deadline for proposals: 1 November 2017

The editorial board of the JOURNAL OF PHILOLOGY AND INTERCULTURAL COMMUNICATION invites papers on the theme of “(Im)possible Worlds” from a wide range of disciplinary and interdisciplinary perspectives: comparativism, discourse analysis, cultural studies, gender studies, philosophy, imagology, pragmatics, semiotics, cognitive linguistics, intercultural communication, new media and anthropological mutations, pragmasemantic aspects of communication and so on.
Please note that the above topics are not exclusive and all contributions on the proposed theme are warmly welcomed. Likewise, the journal section titled Miscellaneous may include papers that are not related to the present theme.

Contributions should be sent by November 1st 2017 to:
– Adela Catana: adela.catana@yahoo.com or
– Daniela Mirea: daniela_mirea@yahoo.com

For more information, feel free to check our website: http://www.llcs.journal.mta.ro/en_US/home/Journal of Philology and Intercultural Communication
39-49 George Cosbuc Ave., Sector 5, 050141, Bucharest, Romania
E-mail: jpic@mta.ro

(posted 13 September 2017)


Scottish Kitsch
Scottish Studies / Études écossaises nr 18, 2018 Issue
Deadline for proposals: 15 November 2017

“It is easy to sympathise with Fordyce Maxwell [in a Scotsman article from 30 November 2000] in his lament over the amount of kitsch used to promote Scotland and its products. However, whatever we think of it, it is there, as it has been since we can remember, because people furth of Scotland buy it, either as advertising or as kilted dolls to take home as souvenirs. It is likely that other nations dislike the concentration on their perceived icons as promotional material as much as we do. And there remains the question: if not that, what?” R. J. McLEAN, December 2001 (http://www.scotsman.com/news/scottish-kitsch-1-588261)

In the popular imagination, clichés about Scotland abound. One particularly persistent notion is the association of Scotland, the land of ghosts and storm–battered castles and landscapes, with a perceived Gothic character.

But to judge from a not-so-recent preoccupation with the tourism industry and the widespread dissemination of a national imagery and paraphernalia sometimes cut off from their historical or geographical contexts, one could think that if its “perceived aesthetics” are Gothic, Scotland has had, for some time already, a far more evident susceptibility to and affinity with kitsch.

It is all too easy to be dismissive of a purported artificiality of “Scottish Kitsch” when a considerable part of Scotland’s economic prospects, and a good deal of its international image, depend upon it. A reassessment might prove a productive challenge for the specialist.

Of course, inseparable from the imposition of aesthetic categories like the Beautiful, the Sublime, the Picturesque, or kitsch in a modern sense, is the opposition between good taste and bad taste and the attendant, often self-imposed, responsibility of the proponents of such categories to educate the public through the senses. There is a political side to aesthetics, as the sociology of taste demonstrates, and normative tastemakers of all kinds are always exponents of a view of the public good; aesthetic pronouncements are acts of power. Who determines what is kitsch, for what purposes and to what effects? What are the social, political and economic implications of controversies over the nature of Scottish Kitsch, at home or abroad?

“Scottish Kitsch” conditions the perception of Scotland, within and without. Several positions are possible: resisting Scottish kitsch is a political act, as is the tolerance for it, or even the fact of embracing it to reconfigure Scottishness, in a postmodern gesture. As the quotation above exemplifies, Scotland’snegotiation of its self-image through its abrasive relationship to kitsch problematizes both its relation to itself and its integration in the alliance of nations (“if not that, what?”), and has done so for quite some time. In opposition to nationalism’s assured rhetoric of authenticity, this uneasiness and sense of alienation will prove helpful in understanding the problem that is “Scottish Kitsch”, the focus of the upcoming issue of Scottish Studies / Études écossaises, a multidisciplinary journal.

Of course, the issue’s theme lends itself particularly well to developments about the many forms of the tourism industry and “the brand, Scotland”. Cultural policy from official or unofficial agents (the Homecoming project, for example) is also a stimulating topic.

However, more properly aesthetic considerations will be accepted: proposals about Scottish painting, whether modern/contemporary (Vettriano?) or more dated, as well as elements about literary aesthetics (Kailyard/counter-Kailyard…).

Other forms of “gaudiness” might also prove to be fruitful areas of study, especially sports: the Highland Games, Scotland’s place in the Commonwealth games (see for example Ian Jack’s article “The Commonwealth Games Opening Ceremony: Just the Right Side of Kitsch” from Friday 25 July 2014)… and their self-conscious displays of a certain Scottishness.

A brief proposal (200-300 words) should be sent by 15 November 2017.

Papers (45,000 signs max., including spaces) may be submitted in French or English, but authors must first obtain the appropriate style-guide. The deadline for finished papers is 10 January 2017.

Contact : cyril.besson@univ-grenoble-alpes.fr

The journal Études écossaises/Scottish Studies contributes to the ongoing research project of the Institut des Langues et Cultures d’Europe, des Amériques, d’Afrique, d’Asie et d’Australie (ILCEA4 — Grenoble Alpes University).

EA 7356, ILCEA 4, Univ. Grenoble Alpes, ILCEA4, 38000 Grenoble, France

(posted 9 September 2017)


Unsettling Oceania
Commonwealth Essays and Studies, 41.1 (Autumn 2018)
Daedline for proposals: 1 December 2017

This issue of Commonwealth Essays and Studies will focus on textual productions from Oceania – which is understood here as the region comprising Australia, New Zealand, as well as the Pacific Islands that were integrated into their sphere of influence. The term Oceania draws attention to the centrality of the sea for Pacific Islanders, and emphasizes the relations among them (Hau’Ofa 2008), looking outwards. By contrast, in the imaginary of Australia, the island-continent, the pull is inwards, towards the centre and the desert. The focus of this issue will be the multifaceted process of re-imagining Oceania in the contemporary period (late 20th-21st centuries), looking simultaneously towards the future and back in time towards the colonial period and the mythical times before that. The colonial history of Australia and New Zealand, of “settler societies” that led to the dispossession of Indigenous people, gave rise in these literatures of the South Pacific, among other trends, to a strong, unsettling sense of the uncanny, in the Freudian sense of “the combination of the familiar and the unfamiliar – the way the one seems to inhabit the other” (Gelder & Jacobs 1998: 23). In the postcolonial context, the uncanny emphasizes “the contradictions that mark points of intersection between [various] worlds” (White in Hau’ofa 2008: x). Australian literature is thus “recurrently afflicted […] by some deep-seated sense of ontological dis-ease,” as it continues to free itself from residual colonial ideologies, to reimagine “a nation of self-mythologized ‘unsettled settlers’” (Huggan 2007: viii, xi). In contemporary New Zealand literature, “writers go back to the colonial past for their subject matter but as a way of reinventing literature or unsettling history, not as a homage or a record but as a source of something new and often disquieting” (Stafford and Williams 2012: 941). Indigenous Pacific literatures in English emerged in the late 1960s and early 1970s, in a period of worldwide decolonisation and civil rights protest. While many Pacific writers draw on indigenous traditions, much contemporary Pacific writing is still engaged with colonialism and its legacies (Keown 2007: 7).

We welcome articles that explore any aspect in literature and the arts of these processes that aim at reinventing the meaning of home and of relations, in both a post/colonial context and a globalised world. Relevant areas of interest include:

  • Indigenous writings, arts and spirituality
  • post/colonial representations of Pacific history
  • imagined geographies of Oceania
  • Gothic fiction, including Aboriginal Gothic
  • visions and utopias
  • science-fiction stories, fantasy
  • eco-criticism
  • spirituality, New Age environmentalism

CES is a double-blind peer-reviewed journal. Please send 250-word proposals for articles up to 6,000 word including an abstract, five keywords and a bibliography to guest editors Salhia Ben-Messahel salhiabm@free.fr and Christine Lorre-Johnston christine.lorre@univ-paris3.fr by 1 December 2017. Confirmation of acceptance will be sent out within a month after this deadline, and draft versions of papers will be due by 1 April 2018.

(posted 1 August 2017)