Books and special issues of journals – Deadlines October-December 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: and Efterpi Mitsi:

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

(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: and Alice Bell:

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

(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:, Kaye Mitchell: and Christine Vogt-William:

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

(posted 24 March 2017)


Books and special issues of journals – Permanently valid

“Ecocritical Theory and Practice” book series

“Ecocritical Theory and Practice” (Lexington Books, imprint of Rowman & Littlefield) highlights innovative scholarship at the interface of literary/cultural studies and the environment, seeking to foster an ongoing dialogue between academics and environmental activists. Works that explore environmental issues through literatures, oral traditions, and cultural/media practices around the world are welcome. The series features books by established ecocritics that examine the intersection of theory and practice, including both monographs and edited volumes. Proposals are invited in the range of topics covered by ecocriticism, including but not limited to works informed by cross-cultural and transnational approaches; postcolonial studies; ecofeminism; ecospirituality, ecotheology, and religious studies; film/media and visual cultural studies; environmental aesthetics and arts; ecopoetics; and animal studies.

Contact person: Julia Tofantšuk, Tallinn University, Estonia

(posted 23 December 2016)

The Journal of Cultural Mediation

The Journal of Cultural Mediation of the SSML Fondazione Villaggio dei Ragazzi “don Salvatore d’Angelo” focuses on the role of culture in perceiving and translating reality. The aim of this Journal is to promote research in communication, especially by investigating language, languages, cultural models, mediation and interculturality, welcoming contributions focussing on cultural mediation in modern society.
In particular manuscripts should concern:
– The role of the cultural mediator
– Linguistic/cultural mediation teaching methodologies
– Cultural mediation and identity
– Linguistic mediation in specialized discourse
– Analysis of text translations
– Quality interpreting – Interpreting as cultural mediation
– Professionalization and professional issues of interpreters
– Interdisciplinarity within Interpreting Studies
– Teaching methodologies in interpreter training
– Research on any aspect of interpreting in any research paradigm (including cognitive science, psycholinguistics, neurolinguistics, sociolinguistics, applied linguistics, discourse analysis, pragmatics, anthropology, semiotics, comparative cultural studies, cross-cultural communication, etc.)

All papers submitted to The Journal of Cultural Mediation should be original, neither having been previously published nor being considered elsewhere at the time of submission.
Papers can be written in Italian, English, French, Spanish or German, they should not exceed 6000 words and should be preceded by an abstract of 200-250 words. If the language of the paper is not English, please include a translation of the abstract in English as well. At the head of your abstract please indicate the title of the proposal, the name of the author/s, affiliation and email address. Please include five to six keywords.
The editor will select contributions for each issue and notify authors of acceptance or otherwise according to the dates below.
Authors wishing to contribute to the Journal of Cultural Mediation are welcome to submit their abstracts as email attachments to:

For further information, contributors are encouraged to read the guidelines of the journal, given on our website:

(posted 16 February 2012)

The Brontës and the Idea of Influence
A thematic dossier in the “Writers, writings” section of LISA e-journal

In March 2007, Stevie Davies, Patricia Duncker and Michele Roberts gathered around Patsy Stoneman at Haworth in Yorkshire to talk about the influence that the Brontës had had on their evolutions as authors, and more generally, about the source of inspiration that the most famous family of writers in England could represent. Patsy Stoneman had already tackled the topic by publishing a book entitled The Brontë Influence in 2004 with the help of Charmian Knight. The issue of LISA e-journal “Re-Writing Jane Eyre: Jane Eyre, Past and Present” is further evidence of Charlotte Brontë’s influence on the writers of the following decades or centuries. So far, these studies have been quite limited and this field of research, “the Brontë influence”, offers a wide range of possible developments.
Moreover, if the four authors’ poetry and novels have already been the object of numerous studies, there is much left to write about the influences which were exerted on the Brontës, whether religious, literary, philosophical or cultural. Taking account of the context of  a work is often a good way of understanding the issues underlying a text: the path taken by the Brontës, their journeys, their stays abroad, the books they read, etc. could prove to be very enlightening. Besides these external factors, one could also consider the interactions between the three sisters, who wrote in the same room and who read passages from their works aloud.
A final aspect to identify and study could be the influences which are exerted within the Brontës’ works themselves. How can one account for the progress of the heroes and heroines? How is the influence that characters have on one another expressed? What role does nature play in the destiny of characters? Which other elements intervene in the novels?

This dossier devoted to the Brontës intends to analyse the works through the perspective of influence and three different fields of research can thus be considered:
–    influences on the Brontës
–    the idea of influence in the Brontës’ works
–    the Brontë influence on the writers of the 19th, 20th and 21st centuries.
Please send your proposals (one A4 page maximum) to Dr. Élise Ouvrard
Accepted articles will be published in the thematic dossier “The Brontës and the Idea of Influence” on the website of LISA e-journal:

(posted 10 January 2008, updated 3 November 2010)

Controversy: Literary Studies and Ethics
JLT-Journal of Literary Theory online

Submissions are continuously accepted.
Are literary scholars and critics supposed to voice their view on normative questions within their academic writings? How far should world views, political opinions and evaluations enter into the scholarly and critical work with literary texts? Is it even possible to exclude such judgements from literary studies? How and why do different traditions of literary studies treat these problems divergently?
Submissions are expected to refer to previous contributions to this controversy by Peter J. Rabinowitz and Marshall W. Gregory, which can be found at and at
Please contact the editorial office for further details at

(posted 10 February 2011)

Books and special issues of journals – Deadlines July-September 2017

Women’s work: an ongoing (r)evolution (19th-21st centuries)?
Deadline for proposals: 15 July 2017

Following our international workshop on 16th/17th June this year organised by CRINI (EA1162) at the Faculty of Foreign Languages and Cultures of the University of Nantes (France) we are interested in receiving articles with a view to publication on the theme of changes in women’s work in a historical and European context, from an agrarian-based economy through the upheaval of the industrial revolution and later of the digital revolution has affected women’s employment and work opportunities since the 19th century.

The issues raised, for women and more specifically mothers, are multifaceted and complex. In the context of the (work) landscape and environment, one might consider first of all the issue of travel to and from work/commuting, the shift in the relationship between home and work, the restructuration of families’ and women’s lives around these changes and over those three centuries.

What impact have these changes had on the use and perception of production tools, which started as specific and traditional/iconic items (such as the spinning wheel or the weaving loom) and have, in some cases, become dematerialised or virtual.

Other possible thematics could include the way in which women, at various times in history, have claimed or reclaimed ownership of these tools through arts and crafts activities and working from home; the possession (or lack of possession) of tools and the control (or lack of control) over working conditions and hours.

Last but not least, there are some interesting comparisons to be made between different working environments, in the context of globalisation, growing competition, flexibility or lack thereof begging the question whether the workplace has become more or less woman- and even more so, mother-friendly.

Articles in English between 6,000 and 10,000 words together with a 300-word abstract and a short biographical note should be sent to and by July 15th, 2017 for publication early 2018.

Publications in French

BUSSY GENEVOIS Danièle, «Propos féminins sur le travail (1860-1933)», Mélanges de la Casa de Velázquez, 40-2, 2010, p.117-134.

FINDING Susan et KOBER-SMITH Anémone (dir.), Politiques familiales et politiques d’emploi “genrées” au Royaume-Uni et en Europe, Observatoire de la société britannique, No 14, juin 2013.

KNITTEL Fabien et RAGGI Pascal (dirs.), Genre et Techniques. XIXe – XXIe siècle, Rennes, Presses universitaires de Rennes, collection « Histoire », 2012.

PERROT, Michelle, Mélancolie ouvrière : « Je suis entrée comme apprentie, j’avais alors douze ans », Lucie Baud, 1908, Paris, Grasset, coll. « Héroïnes », 2012.

Publications in English

GLOVER Judith and KIRTON Jill, Women, Employment and Organizations, London, Routledge, 2006.

GLUCKSMANN Miriam, Cottons and Casuals: the Gendered organization of Labour in Time and Space, Durham, Sociologypress, 2000.

HAKIM Catherine, Key Issues in Women’s Work: Female Diversity and the polarization of women’s employment, London, Routledge, 2004.

PFAU-EFFINGER Birgit , FLAQUER Lluis and JENSEN Per, Formal and Informal Work: the Hiddden work regime in Europe, London, Routledge, 2012.

Publications in Spanish

BORDERÍAS MONDEJAR Cristina (ed.), Género y políticas del trabajo en la España contemporánea 1836-1936, Icaria Editorial, Universitat de Barcelona, 2007.

CARRASCO Cristina, (ed.), Tiempos, trabajos y flexibilidad: una cuestión de género, Serie Estudios n°. 78, Madrid, Instituto de la Mujer, 2003.

ORTEGA María Teresa (ed.), Jornaleras, campesinas y agricultoras. La historia agraria desde una perspectiva de género, Zaragoza, SEHA, Prensas Universitarias de Zaragoza, 2015.

MUÑOZ ABELEDO Luisa, Género, trabajo y niveles de vida en la industria conservera de Galicia, 1870-1970, Icaria Editorial, Universitat de Barcelona, 2010.

(posted 18 January 2017)

Katherine Mansfield and Virginia Woolf
Volume 10 of Katherine Mansfield Studies
Deadline for submissions: 31 August 2017

The Katherine Mansfield Society is pleased to announce its Call for Papers for volume 10 of Katherine Mansfield Studies, as well as its annual essay prize. Our theme for this year is Katherine Mansfield and Virginia Woolf.  Alongside the permanent editors, Professor Todd Martin and Dr Gerri Kimber, the volume will be guest-edited by Professor Christine Froula of Northwestern University, USA, who is also Chair of the specialist judging panel for the essay prize. The other judges are: Professor Christine Reynier, Stuart N. Clarke, and Dr Kathryn Simpson.

The deadline for submissions is 31 August 2017. All details can be found by going to the following web pages of the Katherine Mansfield Society, where PDFs of the CFPs can be downloaded:

General CFP for Volume 10:
Essay Prize CFP:

All essays submitted for publication will be considered for the Essay Prize, unless we are advised alternatively. (Contributors whose essays are subsequently selected for publication must be members of the Katherine Mansfield Society.)

(posted 2 February)

Books and special issues of journals – Deadlines April-June 2017

Before and after Beat exploded: Essential studies on ruth weiss
Deadline for proopsals: 12 April 2017

ruth weiss has worked for almost seven decades – and at 88 continues to work – with a plurality of artistic forms: she has authored around twenty poetry books, performed and recorded Jazz & Poetry, written more than ten plays, exhibited her water-color haiku paintings, acted in films and even written and directed one. As such, weiss embodies the artistic confluence of the 1950s and 1960s bohemia, breaking down, as Randy Roark writes, “the barriers between word, film, song, painting, and theatre”. Despite her extensive poetry career and very active participation in the West Coast buzzing artistic community since the early 1950s, weiss has remained an essentially overlooked figure in poetry history. This neglect might be representative – or shall we say a consequence – of the overshadowing of female artists within the Beat Generation as “a marginalized group within an always already marginalized bohemia” (Ronna C. Johnson).

Following her re-discovery in the course of Brenda Knight’s Women of the Beat Generation (1996), weiss’s work has benefitted from a boost in Beat-related academic and cultural activities in the last decades. Nevertheless, twenty years after the publication of Knight’s groundbreaking anthology, and despite the rekindled interest in the movement in general and in the work of women in particular, the Beat Generation academic niche is still lacking in terms of monographs and individual studies dealing with the work of female poets. Our book taps directly into this lacuna by providing up- to-date, comprehensive, critical analyses around one of the most prolific members of the so-called “Beat women”: ruth weiss.

The collection of essays aims to include studies on all areas of weiss’s body of work – poetry, film, theater, performance or painting – as well as contrastive or comparative studies between ruth weiss’s poetics and aesthetics and that of other poets and artists, both inside and outside the scope of the Beat Generation. In order to respond to the existing cross-pollination between art forms in weiss’s oeuvre, this collection maintains a multidisciplinary approach that the editors consider not only essential when dealing with weiss’s poetry, but also a methodological necessity in the postmodern 21st century. As the first collection on the every-day trendier ruth weiss, this collection will be one of a kind, becoming a mandatory reading for all of those interested in the Beat

Generation in general and “Beat women” in particular. With this in mind, the scope of this collection addresses:

  • detailed analyses of individual collections of poetry, as well as the position of ruth weiss as a Jazz & Poetry artist. In this regard, we are interested in historical accounts documenting the early years of innovation of Jazz & Poetry and weiss’s involvement in it, as well as her further development of the genre until today.
  • weiss’s personal biography and its effect on her poetic and artistic vision.
  • weiss’s involvement with the visual arts and the visual aspect in her In this regard, the collection explores both weiss’s involvement with visual arts such as painting or film and the influence of visual aesthetics in her poetry.
  • weiss’s use of poetic language in written and oral forms. Attention is paid in this respect to the performance aspect of weiss’s poetry, as well as to the way the poet plays with, bends and re-invents
  • weiss’s involvement in the Underground Film (The Brink, Ron Rice’s Flower Thief and Steven Arnold’s films), other audiovisual projects (ruth weiss meets her Prometheus [2007], Las Cuevas de Albion [2002]) – and the connections between these and weiss’s poetry.
  • weiss and the Beat Generation legacy: aesthetics, vision, and the issue of synchronicity.
  • weiss and literary genre. This includes essays paying attention to the mixture of genres in weiss’s oeuvre (lyric and narrative poem, travel journal, haiku, theatrical play, etc.)
  • adaptations of weiss’s work: Gerhard Samuel’s “Fortieth Day” – composed from weiss’s Desert Journal – and theatrical adaptations of her plays.
  • weiss’s collaborations and artistic network, which includes such diverse artists as novelist Jack Kerouac, poets Madeline Gleason, Philip Lamantia, Bob Kaufman, Anne Waldman, the painters Sutter Marin and Paul Blake, actor Taylor Mead, director Steven Arnold, a number of musicians (e.g., Sonny Wayne k.a. Sonny Nelson, Boo Pleasant, Doug Lynner), legendary stripper and comedian Carol Doda, etc.

Essays will be due December 31, 2017 and should be between 5000 and 6000 words in length. Interested contributors should send an abstract of 250–500 words with a short bio or their CV by April 12, 2017 to one of the editors,
Estíbaliz Encarnación Pinedo:
Thomas Antonic:

(posted 8 March 2017)

Africa’s Informal Transport Workers: Reconfiguring the margins
An edited volume
Deadline for proposals: 10 April 2017

With its micro-level approach towards one of the most pressing urban agenda in Africa today – that of public transport – this collection of field-based studies is a timely and nuanced contribution to a literature preoccupied with the neoliberal urban restructuring of public transport systems in Africa, while maintaining a weird silence on the vested interests, agency, politics, and struggles for survival and respectability of its criminalised workforce. The book tackles the overriding question: What might a micro-level analysis of the politics of informal transport in urbanizing Africa tell us about the precarious existence and social agency of its informal workforce, especially their lifeworlds, fears, and aspirations?

This edited volume is the first full-length study of the micropolitics of informal public transport in contemporary urban Africa, with attention to its dynamic, relational, predatory, and apparently chaotic functioning. By mapping, analysing, and comparing the experiences of informal transport workers across the African continent, this book sheds light on the daily challenges facing marginalised urban groups as they negotiate the contours of city life, expand horizons of possibility, and define hopes for a better future. Such grounded insights into the mobile practice of daily and nightly life in the city open the window for a more informed and effective policy response to Africa’s informal public transport sector, which is changing fundamentally and rapidly in light of neoliberal planning visions.

The book enhances our rather tenuous grasp of the entangled layers of relations between ‘formal’ (state) and ‘informal’ (non-state) urban actors, especially in those marginalised and transgressive public spaces (i.e. motor-parks, bus stops, and junctions) where practices of governance are exercised and contested on a daily basis. In this way, the book critically engages with the overriding theme of the UN Habitat III’s ‘New Urban Agenda,’ which underscores the need for more inclusive cities and urban reformations that leaves no one behind. The book also advances our understanding of public spaces in Africa as essentially a multiplicity of publics and counter-publics, rather than a single public (Weber, 1978) or two opposing publics (Ekeh, 1975). Lastly, the book sheds light on the ramifications of urban renewal or transformation for the livelihoods of informal workers, and, crucially, how those workers are responding to ‘modernizing’ interventions that impinge on their opportunities in, visions of, and rights to, the city.

Theorising city space as a complex social construct (Lefebvre, 1996) and spatial practices as tactical in nature (de Certeau, 1984), the chapters in this edited volume will bring into critical conversation interconnected themes like violence, extortion, poverty and inequality, power, legality, gender, identity, gang culture, unions, patronage politics, and social networks. Foregrounding crisis as context and possibility (Vigh, 2008; Cooper and Pratten, 2015), the book interrogates the interplay between agency and social forces, advancing our understanding of the multiple ways in which informal urban workers navigate precarious urban roads to survive and make the most of their time. In foregrounding the micro-level dynamics and predatory politics of informal public transport, this book challenges much ‘aesthetic’ framing of Africa’s informal sector.

Researchers are invited to submit on or before April 10, 2017 a chapter proposal (1 page) explaining the thematic concerns and approach of proposed contribution to the edited volume. Authors of accepted proposals will be notified by May 15, 2017. Full chapters will be sent out for review by August 15. The edited volume is expected to come out by the end of 2017. We are planning to publish the book either with University of Pennsylvania Press, Cambridge/Oxford University Press, Palgrave Macmillan, or Routledge (Cities and Society Series).

We invite researchers to send chapter proposals to Daniel Agbiboa, University of Pennsylvania:
Deadline: April 10, 2017
Subject Categories: Urban Sociology; Urban Geography; Urban Politics

(posted 20 February 2017)

Intersemiotic Translation and New Forms of Textuality
Second Issue of Comparatismi
Deadline for the submission of articles: April 15th, 2017

Comparatismi is the digital periodical of the Board of Literary Criticism and Compared Literature.

Intertextuality, interculturality, intermediality, interactivity, intersemiosis: literary theory and media studies have started long ago to explore the more and more wide and labyrinthine continent of relationships between texts, cultures, media, processes of production/reception, complex systems of signs. The new technologies of information (the digital, the net), the economic globalization and the pandemic phenomena of remediation of messages have exponentially accelerated the processes of osmosis between cultures and semiospheres, making more and more urgent a reflection on how substantially the social dimension of every message (inter-) reshapes the structure of the message itself (intra-).
If we are used to take for granted that movies and television series have assimilated forms and contents peculiar to literary narrative, or that literature (poetic or narrative) has takes possession the descriptivity of figurative arts and photography, it is not so obvious that at present literature is unceasingly and deeply remodeled by the new forms of mimesis and by the new imaginary peculiar to audiovisual media and to the internet (in its social version), on a background of irreversible cognitive and epistemological metamorphosis of the contemporary man. While the author becomes virtual and the reader becomes a prosumer, the text more and more looks like an “emergent” system, marked out by difference, organization and connectivity: its general qualities cannot be explained by the laws ruling its single components, but they show new levels of evolution of the system resulting from not-linear interactions between the components themselves (so as in the videogames, the world wide web, the digital markets etc.).
The second issue of “Comparatismi“, the official digital periodical of the Board of Literary Criticism and Compared Literature, aims at hosting contributes : a) representing as widely as possible the current reflection on intersemiotic translation and on the new forms of textuality; b) analyzing actual examples of intersemiotic translation (from the novel to the film, from the videogame to the television series, from the television series to the novel etc.) and of new hybrid texts.
Contributes, in the form of articles ready for publication and inclusive of an abstract, should be submitted within 31st March 2017, following the instructions available on this website (see Online submissions). The texts selected to be submitted to peer review will be notified within 15th May 2017. The articles reviewed should be submitted within 31st July 2017. The articles accepted after reviewing will be published in November 2017. Submissions in languages other than Italian (preferably English, otherwise French) are encouraged and appreciated.
For further information, please write to Francesco Laurenti ( or to Stefano Ballerio (
You can read the call for papers and submit your proposals here:

(posted 18 January 2017)

50 Years + – The Age of New French Theory (1966-1970)
An edited volume
Deadline for proposals: 30 April 2017

Editor: Laurent Milesi (Cardiff University)

In 1966, at Johns Hopkins University, a major international conference brought together for the first time in the United States, and was intended to celebrate, some of the most illustrious representatives of ‘Parisian structuralism’, practitioners of a controversial nouvelle critique (Barthes, Todorov, etc. – cf. Picard’s 1965 Nouvelle critique ou nouvelle imposture) alongside other influential intellectuals such as Jacques Lacan, Jacques Derrida and René Girard, among others. Published four years later as The Languages of Criticism and the Sciences of Man, the colloquium’s original title, the volume of proceedings was reedited in 1972 under a new name: The Structuralist Controversy, with a preface that took stock of ‘The Space Between’, when what was perceived as the ‘turn towards post-structuralism’ had effectively been consummated and landed in America.

Half a century after the first trilogy of books by one of the major protagonists in these ‘original scenes’ was published, Jacques Derrida’s L’Écriture et la diffférence, De la grammatologie and La Voix et le phénomène, this year’s issue of Word and Text invites original contributions to another ‘space between’: the years 1966-1970, when arguably most of the works ‘responsible’ for such a long-lasting intellectual sea-change appeared in quick succession, on either side of the May ’68 events – to name a few others: Lacan’s Écrits (1966), Foucault’s Les Mots et les Choses (1966) and L’Archéologie du savoir (1969), Macherey’s Pour une théorie de la production (1966), Barthes’s ‘The Death of the Author’ (1967) and S/Z (1970), Deleuze’s Différence et répétition (1968) and Logique du sens (1969), Tel Quel’s Théorie d’ensemble (1968), Goux’s Numismatiques (1968), Baudrillard’s Le Système des objets: La consommation des signes (1968), Kristeva’s Séméiôtiké: Recherches pour une sémanalyse (1969), Blanchot’s L’Entretien infini (1969), etc., but also Hélène Cixous’s first novels: Le Prénom de Dieu (1967), Dedans (1969), Le Troisième Corps and Les Commencements (1970).

The following is a non-exhaustive list of possible topics and approaches on which we are seeking submissions:

  • new historical, critical (etc.) perspectives on the ‘turn towards post-structuralism’ or the ‘sense of an ending’ (to appropriate the title of Frank Kermode’s famous 1967 study on the theory of fiction);
  • new evaluations of the impact of these thinkers and novel ideas or concepts on literary studies, criticism, philosophy, psychoanalysis and other humanistic disciplines;
  • the ‘age’ of these books (and others): how they have fared during this half-century and what they can still teach us today;
  • contributions on then notorious figures and works no longer fashionable nowadays or, conversely, revaluations of personalities, books, essays, etc. that became influential later but were relatively unknown or ignored at the time;
  • the resistance of ‘classical’ structuralism to the critical tensions of this ‘nouvelle critique’;
  • the role of the discovery and publication of the ‘other Saussure’ of the anagrams (the Geneva linguist’s Anagram Notebooks was serialized by Jean Starobinski between 1964 and 1971) on the years 1966-1970 and beyond;
  • May ’68 and its immediate or longer-term intellectual legacy;
  • the relation of the afore-mentioned thinkers and works to their contemporaries: Lévi-Strauss (who remained a structuralist anthropologist), Althusser (Marxism), Levinas (phenomenology, ethics), Sartre (existentialism), etc. as well as to then current thinking beyond the French borders; e.g. the Adorno († 1969) of Negative Dialectics (1966) and Aesthetic Theory (1970).

The deadline for abstract submissions is 30 April 2017 and acceptance (or rejection) will be notified around 15 May 2017. Selected contributors are then expected to send their full article by 15 September 2017. All submitted articles will be blind refereed except when invited. Accepted articles will be returned for post-review revisions by 15 October and are expected back in their final version by 30 October.

Please send your abstract to the editor of the volume,, and to the journal’s e-mail address,

(posted 30 January 2017)

Global Fantastika
A special edition of Fantastika Journal
Deadline for articles: 30 April 2017

“Fantastika”, coined by John Clute, is an umbrella term which incorporates the genres of fantasy, science fiction, and horror, but can also include alternative histories, steampunk, young adult fiction, or any other imaginative space.

The third annual Fantastika conference focused on productions of Fantastika globally, as well as considering themes of contact across nations and borders within Fantastika. We are now seeking to supplement extended conference papers with other work in order to publish a special edition of Fantastika Journal which represents the diversity of Fantastika publications globally.

We welcome articles on Fantastika as they occur in any medium and form. Some suggested topics are:

  • Fantastika genres that are specific to a nation or culture (e.g. contemporary mythologies, magical realism, anime, etc.)
  • the representation of national or cultural ideologies in Fantastika
  • the production and development of Fantastika in non-English-speaking countries (English translation required for all non-English components)
  • fictional and real empires
  • globalization, industrialization, development and the future
  • global networks, mobilities, migrations
  • borders, defence of borders, crossing borders, and occupations
  • (post)colonial texts and readings
  • notions of the ‘other’

If you would like to submit an article for publication with Fantastika Journal, please send a 5000-7000 word article, with an abstract and a bionote in separate word documents, to Please use MLA referencing style. All articles will undergo peer review following submission. Articles are due April 30, 2017.

We will also be including reviews of fiction or non-fiction works released in 2016 and 2017. Please contact us under the subject line “reviews” if you are interested in reviewing a film or book that considers any of the above themes.

Visit for details of the journal and annual conferences.

(posted 21 February 2017)

Shakespeare and Africa
Anniversary Issue (10 Years) of the e-journal Shakespeare en devenir 2017
Deadline for completed articles: late April 2017

This issue would like to explore the relationship between Elizabethan and Jacobean drama, that of Shakespeare but also his contemporaries, and the representation of Africa, or, from a contextual viewpoint, the perception of the African continent in early modern England. The issue will also discuss 19th-21st c. re-writings, appropriations and adaptations of Shakespeare by African and African-American writers, stage directors and film directors.

Proposals may discuss, among other issues:

  1. The perception of the African continent in early modern England (in history, cartography, or history of ideas); the appropriation, discussion or rejection of foreign texts on/from Africa, as that of Leo Africanus (translated in 1600 as A Geographical Historie of Africa).
  2. Africa and African culture represented in drama by Shakespeare and his contemporaries.
  3. Rewritings of Shakespeare and his contemporaries by black writers: appropriations and distortions of the canonical texts, changes of focus and viewpoints, prequels and sequels, as, for example, Aimé Césaire’s Une Tempête, Djanet’s Sears’ Harlem Duet, Toni Morrison’s Desdemona, etc. Or more sporadic or indirect appropriations of Shakespearean elements by, for example, South-African writers like John M. Coetzee, Geoffrey Haresnape or Nadine Gordimer.
  4. 19th-21st century performances of early modern plays or their later rewritings in Africa, in French-speaking, Arabic-speaking, English-speaking, Portuguese-speaking countries; screen adaptations such as Alexander Abela’s Makifebo or Youssef Chahine’s Alexandria Trilogy.
  5. Performances (outside of Africa) by African-American companies. For example, Orson Welles’ 1936 voodoo Macbeth at the Federal Theatre; Brett Bailey’s transposition of Verdi’s Macbeth to the Congo and the Congolese regime; Toni Morrison’s Desdemona with Malian singer Rokia Traoré; work by the African-American Shakespeare Company in San Francisco, etc.

Completed papers, in English or in French, should be sent by late April 2017 along with an abstract, a contributor’s bio and a list of keywords, to Yan Brailowsky and Pascale Drouet:,

Selected References

  • Andrea, Bernadette, “The Ghost of Leo Africanus from the English to the Irish Renaissance”, in P.C. Ingham & M. Warren (eds.), Postcolonial Moves: Medieval through Modern, New York, Palgrave Macmillan, 2003, p. 195-215.
  • Banham, Martin, Mooneeram, Roshni, Plastow, Jane, “Shakespeare and Africa”, in S. Wells & S. Stanton (eds.), The Cambridge Companion to Shakespeare on Stage, Cambridge, CUP, 2002, p. 284-299.
  • Brookes, Kristen, “Inhaling the Alien: Race and Tobacco in Early Modern England”, in B. Sebek & S. Deng, Global Traffic: Discourses and Practices in English Literature and Culture from 1550 to 1700, New York, Palgrave Macmillan, 2008, p. 157-178.
  • Cimitile, Anna Maria, “Shakespeare and Literary Africa: Encounters by Dissonance in Coetzee, Soyinka, Gordimer”, Ranam: Recherches Anglaises et Nord-Américaines, 2014, vol. 47, p. 245-264.
  • Darragi, Rafik, “The Tunisian Stage: Shakespeare’s Part in Question”, Critical Survey, 2007, vol. 19 issue 3, p. 95-106.
  • Fensome, Rebecca, “Giving place to Shakespeare in Africa: Geoffrey Haresnape’s African Tales from Shakespeare”, in G. Bradshaw, T. Bishop, L. Wright (eds.), The Shakespearean International Yearbook 9: Special Section, South African Shakespeare in the Twentieth Century, Farnham, Asgathe, 2009, p. 171-191.
  • Gouws, John, “Shakespeare, Webster and the Moriturus Lyric in Renaissance England”, Shakespeare in Southern Africa, 1989, 3, p. 45-57.
  • Guarracino, Serena, “Africa as Voices and Vibes: Musical Routes in Toni Morrison’s Marget Garner and Desdemona”, Research in African Literature, 2015 Winter, vol. 46 (4), p. 56-71.
  • Lebdai, Benaouda, “Traces of Shakespeare’s Tragedies in Africa”, in Eric C. Brown & Estelle Rivier (eds.), Shakespeare in Performance, Newcastle, CSP, 2013, p. 182-193.
  • Mafe, Diana Adesola, “From Ogun to Othello: (Re)Acquainting Yoruba Myth and Shakespeare’s Moor”, Research in African Literatures, Fall 2004, vol. 35, issue 3, p. 46-61.
  • Malère, Kaf, “Un Hamlet africain”, Horizons Maghrébins: Le Droit à la Mémoire, 2005, 53, p. 163-171.
  • Plastow, Jane (ed. And introd.), Shakespeare In and Out of Africa, Woodbridge, Currey, 2013.
  • Roux, Daniel, “Shakespeare and Tragedy in South Africa: From Black Hamlet to A Dream Deferred”, Shakespeare in Southern Africa, 2015, vol. 27, p. 1-14.
  • Seeff, Adele, “Titus Andronicus: South Africa’s Shakespeare”, Borrowers and Lenders, 2008 Fall-2009 Winter, 4 (1), no pagination.
  • Sher, Antony, Doran, Gregory, Woza Shakespeare: Titus Andronicus in South Africa, London, Bloomsbury, 1997.
  • Ungerer, Gustav, “The Presence of Africans in Elizabethan England and the Performance of Titus Andronicus at Burley-on-the-Hill, 1595-96”, Medieval & Renaissance Drama in England, 2008, vol. 21, p. 19-55.
  • Voss, Tony, “South Africa in Shakespeare’s ‘wide and universal theatre’”, Shakespeare in Southern Africa, 2015, vol. 27, p. 61-69.
  • Wilkinson, Jane, Africa: Rivista Trimestrale di Studi e Documentazione dell’Instituto Italo-Africano, 1999 June, 54 (2), p. 193-229, 230.
  • Willan, Brian, “Whose Shakespeare? Early Black South African Engagement with Shakespeare”, Shakespeare in Southern Africa, 2012, vol. 24, p. 3-24.
  • Woods, Peneloppe, “The Two Gentlemen of Zimbabwe & Their Diaspora Audience at Shakespeare’s Globe”, in J. Plastow (ed.), Shakespeare In and Out of Africa, Woodbridge, James Currey, 2013, p. 13-27.

(posted 1 August 2016)

Towards Common European English?
The ESSE Messenger, Summer 2017 issue
Deadline for proposals: 1 May 2017

The ESSE Messenger invites submissions for its Summer 2017 section of professional articles on the topic: Towards Common European English?

In recent decades a surge of studies have focused on English as it appears around the globe, giving rise to a plethora of new terms to describe various “types” of English (Global English, English as an International Language, New Englishes, …). The greatest effort has, however, gone into the description of English as it appears in what Kachru (1985) calls the Outer Circle, i.e. countries where English has an official status without being the mother tongue of the inhabitants. The question that this issue of the Messenger wishes to address is whether similar descriptions are possible for English in Europe. Is there, in other words, something like Euro-English? Does English have or need a special status in the countries of Europe?

The deadline for submissions is 1 May 2017.
The issue is due out on 1 July 2017.

(posted 23 January 2017)

2017 International Poetry Competition
The shortlisted poems will be published in a collected volume
Deadline for submissions: 1 May 2017

This suspense is terrible. I hope it will last.
Oscar Wilde

A competition organised by Interdisciplinary Research Foundation

Life and poetry walk hand in hand. Life is inextricably filled with poetry, while poetry inevitably fills life. Poetry, the textual avalanche of emotions, contains our inner peaks and valleys: joys, elation, sadness and woes. Poetry carries a sparkle – the flicker of hope, the fire of unknown, the textual suspense. It may be disturbing, it may be blissfully euphoric, but it always embraces the world and the self. The thrill of poetic creation. We hope it will last.

We invite submissions of one unpublished poem (max. 2 pages long) by 1 May 2017

Entry fee: 25 EUR
First prize: 250 EUR
Second prize: 100 EUR
Third prize: 50 EUR

All the shortlisted poems will be published in a collected volume.

We are planning to invite the winners to read their poems at the International Conference on Poetry Studies on 27 May 2017 in London

Enquiries email address:

(posted 4 March 2017)

Re-writing Women as Victims: From Theory to Practice
Contribution sare invited
Deadine for proposals: 24 May 2017

Eds.: M. J. Gámez Fuentes, S. Núñez Puente and E. Gómez Nicolau

This proposed edited collection of interdisciplinary essays aims to critically analyse scientific approaches, political strategies, civil society initiatives and modes of representation that aim at dismantling the conventional narratives that sustain the present configuration of women in contexts of violence.

It would appear that, in the fight to eradicate violence against women, hegemonic narratives, mediated via institutional proposals and popular discourses, although geared towards gender equality, have succumbed to moral reductionism and legal discourses. Thus the entire problematic of inequality has been reduced to the categories of the victim and the victimiser/criminal. In the current panorama of revising frameworks of political and cultural understanding, it becomes therefore indispensable to search for modes of resignifying the woman-victim scheme in order to update narratives about experienced violence from a new theoretical perspective. This would enable us both to revise current institutional approaches and to explore modes of ascribing political value to the act of spectatorship.

It is on these grounds that we are interested in initiatives and narratives that make new spaces possible in which to name, self-identify, and resignify the female political subject as a social agent in situations of violence.

This area of inquiry requires a critical re-examination of both its foundations and its specialized academic production. A number of novel approaches —including epistemological, methodological, and analytical ones, especially emerging from feminist critical theory— have recently aimed to do so (J. Butler & A. Athanasiou, 2013, Dispossession. The Performative in the Political; J. Butler et al., eds., 2016, Vulnerability in Resistance). Therefore, we are looking for proposals that transcend the pair abuser-victim and explore the complex relations between gender and violence, and individual and collective accountability. In order to do that, the book initially comprehends four areas of enquiry:

  • EPISTEMOLOGIES: new theoretical and methodological approaches
  • POLITICS: innovative proposals from institutional politics and/or social policy
  • ACTIVISM: transformative initiatives from associations and/or civil society
  • CULTURAL PRODUCTION: analysis of case studies deconstructing hegemonic narratives

Proposal topics may include, but are not restricted to:

  • Critical theoretical approaches on victimology and gender
  • Research methodologies tackling women’s agency in contexts of violence
  • Women’s resistances and responses to violence
  • Worldwide public policies challenging the concept of women-victim
  • Critical evaluation of secondary victimization of women as victims through public policies, media and cultural and social discourses
  • Counter-hegemonic media narratives of women as victims
  • Film and television innovative approaches to women as political agents in context of violence
  • On-line activism and Social Network Sites discussing hegemonic recognition of women as victims
  • Feminist and grassroots activism re-writing women as victims
  • Emancipatory social projects and practices of women challenging violence

We will market the book for an international audience (the volume will be in English language). Routledge has indicated interest as part of the Gender & Sexuality series, and we will continue to consider other reputable academic publishers. Please circulate the CFP widely with graduate students, faculty, and independent scholars who work on any transformative aspect of women and violence from Sociology, Film & Media Studies, Politics, Social Policy, Philosophy, Cultural Studies, Social Movement Studies, etc…

Submission guidelines:

  • A 500-600 words abstract in English with 4-5 references should be sent to Drs. María José Gámez Fuentes (Univ. Jaume I, Castellón, Spain) at, Sonia Núñez Puente (Univ. Rey Juan Carlos, Madrid, Spain) at, and Emma Gómez Nicolau (Univ. Jaume I) at by May 24th 2017. Please state in which of the four areas (Epistemologies, Politics, Activism or Cultural Production) you envisage your contribution to fit in.
  • Please include a title, name, e-mail address, and affiliation if applicable, plus a two pages CV.

If accepted, the final draft version of your chapter, approximately 6,000 words, would most likely be due by May 10th 2018. Decisions about the final shape of the project will be made once the publisher has reviewed and agreed upon accepted full chapter proposals. Feel free to write to us with any questions you might have. We look forward to reading your submissions.

(posted 3 March 2017)

Reading World War I Literature 100 Years After
A special issue of Revista Alicantina de Estudios Ingleses (2018), No. 31
Deadline for proposals: 26 May 2017

Editors: Nick Milne (University of Ottawa) & Sara Prieto (University of Alicante)

A hundred years after the Armistice of World War I, further review of the literature focused on and emanating from the conflict is needed. This special issue of Revista Alicantina de Estudios Ingleses ( seeks to approach WWI from a multidisciplinary perspective, beyond the traditional canonical voices associated with the literature of the Great War.

The issue will deal with the literature of the war from different literary and cultural angles, with a particular emphasis upon the relationships between memory (however broadly described) and the representation of war. For this reason, we are looking for articles that approach the literary and cultural manifestations of WWI in English dealing with, among others, the following topics:

  • WWI: Other contexts, other voices.
  • WWI: Memory and commemorative space.
  • Drama and WWI: representation and reception.
  • WWI in cinema and television.
  • WWI in contemporary fiction.
  • WWI and the printed press.
  • WWI and revisionist history.
  • WWI and (post)modern literature.
  • Home front vs. fighting front narratives.
  • Combatants vs. objectors.

Submitted abstracts should be between 300 and 500 words in length, and should be sent to by no later than Friday, May 26th. Please also include an additional biographical statement, of no more than 100 words, that lists your educational level, current academic affiliation, and any other details you may feel are pertinent.

Applicants can expect to hear back about their proposals by the end of June. Full articles (8,000 words, MLA style) will be due by the end of November. Notifications about acceptance or required changes will be provided in January of 2018, and final articles will be required in March/April of 2018.

Should you have any further questions, do not hesitate to contact the issue co-editors, Sara Prieto ( and Nick Milne (

(posted 27 March 2017)

B(l)ack Futures – Flat Time in Black Performance
Special Issue of Open Cultural Studies
Deadline for proposals: 31 May 2017

Editors: Dr Nicole Hodges Persley, (University of Kansas, Department of Theatre) & Dr Baron Kelly (University of Louisville, Department of Theatre)

This special issue plays against African American theater scholar Harry Elam’s discussion of playing the past in the present in the work of August Wilson (Elam 2005) and current discourses of new materialism and post-humanity to explore the specificity and malleability of time and futurity in Black performance.  Riffing off of the past, imperfect and future tenses of black life captured in transnational and intersectional representations of black performance, the works in this special issue will move back and forth across time to flatten past and present performances and forms of black expression that foreshadow and shape black futures the 21st century. We seek to interrogate the theme of new materialism as it relates to political economy, embodiment, resistance, rage, bio-politics, improvisation, resistance, and post-humanity as manifest in transnational black performance. This volume explores black life in the 21st century in flat-time, or in perpetual suspension, without promise of release or relief, to understand how the present has been materially and psychically shaped by the past. We see flat time as a conditional structure of perpetual present that makes future projections of black performance contingent and vulnerable to perpetual looping of past experiences of anti-black violence and trauma.

Article submissions may speak to the following themes:

  • How do engagements with “new materialism” and “post-humanity” shape our understanding of black performance transnationally?”
  • How do “alternate facts” and the rise of the so called “alt right” affect the past, present, and future of black performance?
  • What does improvised strategies of resistance offer to black artists and scholars as a devise to manipulate time in performance?
  • How do “freedom” and “rage” fuse to become a revised thematic in black performance at this historical conjuncture?
  • How does the rise of the so-called alt-right leadership in the United States impact the legibility and audibility of black life?
  • How do non-binary genders, people of color, and those who self-identify as anything other than heterosexual, able to manifest futures in a present that loops to the past?
  • How does (under)commons democracy shape black performance in the 21st century?
  • What are the ethical and political ramifications of new materialism in the analysis of black performance?
  • In what ways does white cis-het male patriarchy affirm “alt-histories” and “alt-facts” that seek to arrest the expression of black futures?
  • How does blackness become a sanctuary that can cover the trauma of intersectional living and quests for liberation?
  • What role does the media play in underscoring and disseminating arrested perspectives black performance?
  • What possibilities for freedom are imagined and improvised within constraints of perpetual black trauma?
  • How are histories of blackness inherited through intergenerational practice?

The deadline for submission of proposals is 31 May 2017. Please send the proposals to the Managing Editor The authors of the accepted proposals will be notified by 31 June 2017. The deadline for submitting full articles will be 30 September 2017

(posted 28 February 2017)

Materiality, Objects and Objecthood
A special issue of Open Cultural Studies / De Gruyter Open
Deadline for proposals: 31 May 2017

Editors: Professor Erick Felinto (State University of Rio de Janeiro)

After a comprehensive deconstruction of the central place occupied by human actors in social life, it became necessary not only to investigate the role of things and objects in the social sciences (media, nature, animals, machines etc), but also to highlight the issues that the strong tradition of hermeneutics of the humanities have often obscured. Spurred by the impact of new digital technologies, the field of media studies cleverly learned to appropriate the epistemological principles and major theoretical issues that have come to characterize the contemporary cultural scene. The main goal of this special issue is not only to explore the place of human actors in a world enriched by the life of polymorphic objects, but also to investigate more deeply the role of objecthood and materiality in the development of cultural processes.

Suggested topics include: In what ways does technological materiality inform cultural worlds and determine forms of cognition? ŸWhat new models of historical research of techniques and culture are emerging within the current epistemological paradigms? How are the material dimensions of experience combined with the intangible dimensions of culture? What does it mean to purport an “object-oriented” philosophy, a “materialist feminism” or an “actor-network theory”? In what sense does the category of the human is reconfigured in light of our new relations with objects and nonhuman entities? How important is the legacy of the genealogy and archeology of knowledge (Nietzsche, Foucault) to a perspectivization of the impacts of “new” digital culture?

Complete proposals should be submitted to  by May, 31 2017.

(posted 20 January 2017)

On Uses of Black Camp
A pecial Issue of Open Cultural Studies / De Gruyter Open
Deadline for proposal: 31 May 2017

Editors: Dr Anna Pochmara, Dr Justyna Wierzchowska

Andrew Ross, in his now classic text “Uses of Camp,” points to Prince and Michael Jackson and their polysexual identities as emblematic of camp aesthetics yet completely neglects the significance of the race factor in their campiness. In turn, he fails to consider the connection between camp and race. Moreover, the focus on racial authenticity in black culture has led to the privileging of texts explicitly embedded in historical discourses, such as slave narratives, and to the marginalization of, especially nineteenth-century, fiction, and particularly texts parading non-black, white-looking, or racially indefinite characters (cf. Maria Giulia Fabi, Passing and the Rise of the African American Novel, 2001).  On Uses of Black Camp, a 2017 special issue of Open Cultural Studies, aims to fill in this lack in critical discourses of both camp and black cultures, to help us better understand the reasons for such scarcity of texts on blackness and campiness.

The call for papers encourages essays that address such topics as: Performances of racial passing and excesses of mulatta melodramas; Blues and the politics of non-normativity, or “The race problem had at last been solved through Art plus Gladys Bentley,” to misquote Langston; Black English and “the will to adorn,” to quote from Zora; Superflies and Foxy Browns, or Blaxploitation (and anti-Blaxploitation);  Black dandies, sweetbacks, and processes of citification;  Diva gangstas – to paraphrase A. Ross – and swagger queens, or the glamorous campiness of hip-hop culture;  From Sun Ra to the Electric Lady, or black to the extraterrestrial funkadelic Afrofuture, to signify on Mark Dery;  Signifyin’ and “camping the dirty dozens,” to borrow from M.B. Ross; o Symbolic gayness of camp and symbolic whiteness of homosexuality;  Race perfomativity and race plasticity; Gender performativity, Wilde sexuality, and black camp;  Posthumanism and alleged postraciality.

Please, send complete papers to by May, 31 2017.

(posted 20 January 2017)

Migration and Translation
A special Issue of Open Cultural Studies / De Gruyter Deadline for proposals: 31 May 2017

Editor: Dr. Hab. Ewa Kołodziejczyk (Institute of Literary Research, Polish Academy of Sciences)

Migration and translation are distant but closely related phenomena that understand migration discursively as mobility of texts, international transfer of knowledge and transformation in the field of cultural literacy.  The migrant’s hybrid status opens up new research areas in relation to: 1). Central European émigré literature before the collapse of communism, 2). writings of post-socialist Central European migrants abroad, 3). literary writings of migrants residing in Central Europe.

This special issue will focus on the ways in which migrant literatures manage to capture and explore new cultural territories through translation. Suggested topics may include: creation of ethnic enclaves and myths, as alternative structures in which literature is both a channel for and a reflection of communication in the diaspora and beyond; re-narrating native cultures in confrontation with the host country; auto-translations and problems they pose; inscriptions of migrant experiences; translations of migrants’ writings, Central European literature abroad and foreign literature in Central Europe;  eco-translatology.

The special issue also wishes to to take a closer look at forced migrants, called by Mary Gallagher “naked migrants,”  and bring research on Central European post-socialist émigré literature with the literary output of arrivals in Central Europe in a common framework of transculturation.

Complete papers should be submitted to by 31 May 2017.

(posted 20 January 2017)

Minority languages and cultures and the politics of disenfranchisement
A special issue of the Open Cultural Studies/ De Gruyter
Deadline for propsals: 31 May 2017

Editor: Prof. Enrique Uribe Jongbloed (Universidad de Bogotá Jorge Tadeo Lozano)

The recent changes in the political leadership of various countries has revealed attitudes ranging from disinterest to downright disenfranchisement towards immigrants. Under the ideas of stronger border controls and a new bout of nationalism, minority cultures and languages seem to be at a higher risk than before. With these discourses sparking up in swaths of the global North, there are a great deal of questions arising for minority groups world-wide. The return of political parties that favour the one-country, one-culture, one-language ideas imply new challenges for minority cultures and languages within their borders. What avenues are there for these minority groups to defy the homogenization and acculturation paradigm that is ensuing?

Topics of interest may address issues such as: political participation of minority cultures and languages after Brexit; media policy for minority cultures and languages; international debates and policy regarding migration, travel requirements and other conditions; effects of the recent political changes to international conventions, agreements and accords (i.e. The European Charter for Regional or Minority Languages); current situation of trans-border cultural minorities and diasporas; political participation and recognition of indigenous, aboriginal, first nations, and ethnic minorities within national/international borders; resistance strategies of minority cultures;  conceptual discussions of the categories “minority” and “minoritised” in regards to language; specific minority language situations after recent political changes (i.e. Spanish-language instruction in the US); counter-hegemonic and post-colonial resistance and critique.

The politics of disenfranchisement work against the many advances to recognize the multicultural nature of most nation-states and the intercultural relationships that stem from the history of colonization and the recent trends of migration and ICTs development. Contrary to a general openness to intercultural dialogue, the new paradigm returns to a monocultural and monolingual conception of the State. It sets itself against international or regional integration and promotes a separatist stance that favours cultural homogeneity and culturalization strategies. This call seeks to reach as many international perspectives and developments that may contrast those examples of the global North by showing that, despite its political and media influence and preponderance, there is a distinct move against such a perspective in various corners of the world. Not only does this call mean to highlight that the global North is not the only point of reference, but also that there is a great diversity of approaches, resistance strategies, and standpoints for the maintenance of minority languages and cultures in the global South.

The deadline for expressions of interest will be 31 May 2017, and for final manuscript submissions 10 July 2017. Please submit your proposals to

(posted 22 March 2017)

The Life of Others: Narratives of Vulnerability
A special issue of Canada & Beyond: A Journal of Canadian Literary and Cultural Studies (Spring 2018 issue)
Deeadline for submissions: 1 June 2017

Guest Editor: Eva Darias-Beautell

In her Levinasian discussion of the functioning of ethical obligations in the face of global and local forms of precarity, Judith Butler links the production of vulnerability with a situation of “up againstness” or “unwilled adjacency,” of one’s involvement in a relation of proximity that has not been chosen (134). Vulnerability in those cases arises from the realization that “one’s life is also the life of others”, and that “the bounded and living appearance of the body is the condition of being exposed to the other, exposed to solicitation, seduction, passion, injury, exposed in ways that sustain us but also in ways that can destroy us” (141). Itself the site of production of various forms of violence and vulnerability, this adjacency also triggers the affective and creative engagements necessary for action (134).
These seem crucial issues in Canada, where contemporary debates over citizenship and social justice often take place within complex transnational, transcultural, and (post)colonial contexts as well as beside the historical experiences of settlement and migration, with their contested forms of national or cultural belonging. Additionally, Canada’s humanitarian tradition, itself marked by convoluted narratives, is increasingly challenged by new conditions of global violence, environmental threats, social and political unrest. Canadian literatures do not merely reflect on these conditions but engage with them, exploring the aesthetic possibilities of what could be thought of as a reconnection between the text and the world. How does cultural production articulate and propose strategies of resistance to the massive production of vulnerability? Are the examples of resilience offered by Canadian literature, film, performance and visual arts able to reactivate ethical responsibility and political activism?
This special issue invites contributors to offer a critical examination of Canadian cultural production with an emphasis on the discursive modes that deconstruct the hegemonic structures that produce vulnerability. We also wish to invite research articles that interpret the present condition of (un)willed adjacency in its real and metaphoric possibilities as a site of production of violence and vulnerability, but also (potentially) of lucid creativity, exposing, soliciting, seducing “in ways that sustain us but also in ways that can destroy us.”
Possible areas of interest include (but are not limited to): urban poverty, the medicalized body, indigenous activism, colonial violence, migration and war narratives, ecological vulnerability, the posthuman seduction, emotional precarity, sexuality and (trans)narrative desire, gender and agency, technological liquidity, queer creativities, precarious labour, (non)narratives of resistance, narrative ethics and the post-truth moment. Comparatist and interdisciplinary approaches are most welcome.
All submissions to Canada & Beyond must be original, unpublished work. Articles, between 6,000 and 7500 words in length, including endnotes and works cited, should follow current MLA bibliographic format.
Submissions should be uploaded to Canada & Beyond’s online submissions system (OJS) by the deadline of June the 1st, 2017. They will be peer-reviewed for the Spring 2018 issue.

Work Cited: Butler, Judith. 2012. “Precarious Life, Vulnerability, and the Ethics of Cohabitation.” The Journal of Speculative Philosophy 26.2: 134-151.

(posted 9 February 2017)

The Pre-Raphaelites and Antiquity
Special Issue of Open Cultural Studies
Deadline for proposals: 30 Jun 2017

Editor: Dr Richard Warren (Royal Holloway, University of London).

The focus of this special issue will be on how the British artists of the Pre-Raphaelite Brotherhood received and transformed antiquity. The issue aims to explore the diversity of Pre-Raphaelite receptions of the ancient world particularly, but not limited to, the legacy of the civilisations of ancient Egypt, the Middle East, ancient Greece, ancient Rome and ancient Britain. This special collection of studies will seek to break new ground in elaborating how the Pre-Raphaelites used the ancient to express their ideals and fears, and their reactions to the contemporary Victorian society in which they lived. Building on the many existing studies of the art of the Pre-Raphaelite Brotherhood, the collection will ideally enrich this literature through a series of case studies on individual artists and on individual themes (such as gender and nationalism).

Suggested topics for articles for the collection could include:

  • John Ruskin’s relationship with antiquity and the impact of this upon the Pre-Raphaelites;
  • studies of individual artists and their relationship with classical antiquity (Possible subjects might include Frederic Leighton, Lawrence Alma-Tadema, John William Waterhouse, and Edward Burne-Jones);
  • the roles of ancient Britain and ancient Rome in defining the Victorian national and imperial ideal;
  • the Pre-Raphaelite uses of antiquity in articulating Victorian ideas about gender;
  • the relationship between the articulation of the ancient in Victorian poetry and Pre-Raphaelite painting, the impact of Pre-Raphaelite receptions of antiquity on later Victorian art and criticism (Possible subjects might include Oscar Wilde’s art criticism and Aubrey Beardsley’s illustrations).

Submission deadline: June 30, 2017 via the online submission system:

(posted 28 February 2017)

Nationalism  in Contemporary Literature and Culture
A monograph or a special issue at De Gruyter Open
Deadline for proposals: 30 June 2017

Editors: Izabella Penier University of Central Lancashire & Magda Rekść University of Lodz.

A year ago died Benedict Anderson, the author of Imagined Communities, arguably the most influential study of nationalism. Anderson saw nationalism as an integrative imaginative process that allows us to “[conceive] . . . a deep, horizontal comradeship” with unknown people who share the same beliefs and values. On the other hand, however, he was not blind to the uglier underside of nationalism. He was aware of the fact that it can take the pathological form of the hatred of the Other. In the current political climate, we can see a resurgence of the ideology of nationalism all over the world. Since contemporary nationalism spawn intolerance, authoritarianism and religious fundamentalism and give rise to totalizing notions of identity (nationalistic, ethnic, religious or imperial), we think this is the right moment to broach the subject of nationalism and commemorate at the same time the great work of Benedict Anderson.

We welcome papers on contemporary literary and cultural texts that engage in revaluation nationalisms; contemporary notions of citizenship, national identity and belonging; notions of cultural identity, gender, ethnicity, religion and nationhood; concepts of masculinity, sexuality and nationalism, the relationship between sex, violence and the notion of national belonging; the role of literature, culture and art in building/deconstructing national/ethnic identities;  narratives of collective memories and other related topics.

Please submit full papers to Izabella Penier at The deadline for submissions is 30.06.2017. Please use MLA stylesheet.

(posted 30 January 2017)

Popular Mediations of Science – Critical Perspectives on Science and its Contexts
A special issue of Open Cultural Studies / De Gruyter Open
Deadline for proposals: 30 June 2017

Editors: Dr Maureen Burns & Dr Adam Dodd (The University of Queensland)

This issue provides a collection of critical cultural perspectives on popularising science. Many cultural studies scholars use science studies, science and technology studies and feminist science studies in our work. This issue offers critical cultural studies, communication and media studies perspectives specifically on the dissemination of science. Instead of exploring the ways that science is communicated to the general public, this issue will explore how mediation is intrinsic to the core practices of science, and the ways in which popular genres feed back into scientific institutions and disciplines.

Using popular media artefacts and methods from critical cultural studies and associated disciplines, articles will explore issues around scientific disciplines, institutions and publics.

Topics may include, but are not limited to: critiques of classical humanism in the sciences; the construction and maintenance of scientific publics; how the visual mediates scientific practice; aestheticisation within science and of scientific objects of inquiry; science as performative; science experts and celebrities; popular and unpopular science and scientists; science PR and advocacy; depopularising ‘abnormal’ science.

SUBMISSION DEADLINE:  June 30, 2017 Please submit full papers to Izabella Penier at  

For details and guidelines see the journal website:

(posted 30 January 2017)



Books and special issues of journals – Deadlines January-March 2017

M@king It New In English Language Teaching
A special issue of ELOPE Vol. 14, No. 1 (2017)
Deadline for proposals: 10 January 2016

English Language Teaching is a dynamic, extensive and varied research discipline, underpinned by one fundamental question: how best to meet the needs of English learners, especially in our increasingly globalised and digitised world. This single question encompasses a host of related and inter-related issues. Please read the full cfp address here.

This special issue aims to bring together scholars, researchers and practitioners from all levels of the education system to report on and review the latest in English Language Teaching, as well as to explore potential future developments in the field.

Submissions are welcome from all subject areas of English Language Teaching, such as:

  • Teacher Training and Education;
  • Teaching English as a Second or Foreign Language;
  • Teaching Methodology;
  • Teaching Literatures in English;
  • Language Teaching and Translation;
  • Developments in the E-Classroom;
  • Psychology in Language Learning;
  • and other related fields.

A selection of papers will be published in the spring 2017 (Vol. 14, No. 1) special issue of ELOPE: English Language Overseas Perspectives and Enquiries, a double-blind, peer-reviewed academic journal that publishes original research articles, studies and essays addressing issues of English language, literature, teaching and translation. The volume will be edited by guest editors Melita Kukovec, Kirsten Hempkin and Katja Težak.

Papers of between 5000 and 8000 words in English should be submitted through the ELOPE online paper submission system. To ensure a blind review, the submitted file should not contain the author’s name or other personal data. For formatting and documentation, please see the sample paper in the attachment and Author Guidelines on the ELOPE website.

The submission deadline is 10 January 2017.

(posted 7 November 2016)

Polish science fiction and fantasy literature
Crossroads. A Journal of English Studies is looking for submissions
Deadline for proposals: 15 January 2017

crossroadsWhile science fiction and fantasy are inarguably international genres, they have not developed in a uniform manner across the globe. The literary output of any nation is always shaped by many factors, including the country’s history, politics, and culture. This is certainly true as far as Polish science fiction and fantasy literature are concerned, since their present condition—though, undoubtedly, determined also by the achievements of foreign writers (but to what extent?)—has been affected by the nation’s difficult yet rich past, which has been reflected in the writers’ attempts at re-creating the country’s history, in the multiple references to its socio-political reality, and in the return to Slavic mythology and traditions. However, beyond the borders of Poland few of the country’s science fiction and fantasy writers have gained literary and scholarly recognition (which is, of course, due to the number of available translations). While foreign readers might be acquainted with the works of Stanisław Lem and Andrzej Sapkowski, they might know little about other noteworthy Polish writers. Which is not surprising, since not many critical publications on Polish sf and fantasy are available in English. Our work will, hopefully, satisfy that demand.

While papers dealing with the works of Lem and Sapkowski are welcome, we strongly encourage scholars to submit works related to any of the following topics:

  • historical development of sf and fantasy in Poland,
  • critical assessment of the present condition of Polish sf and fantasy,
  • past and present trends in Polish sf and fantasy,
  • success and failure of Polish sf and fantasy,
  • the role of fandom and popular magazines in the development of Polish sf and fantasy,
  • Polish sf and fantasy in translation,
  • comparative analysis of Polish and American/English sf and fantasy,
  • reception of American/English sf and fantasy in Poland,
  • reception of American/English literary criticism on sf and fantasy in Poland,
  • religious, gender, racial, social, political, etc. dimensions of Polish sf and fantasy,
  • critical analysis of the works of Jacek Dukaj, Elżbieta Cherezińska, Janusz A. Zajdel, Jerzy Żuławski, Marek Oramus, Marek S. Huberath, Maja Lidia Kossakowska, Andrzej Pilipiuk, Jacek Piekara, Robert M. Wegner, Anna Kańtoch, Anna Brzezińska, and other Polish writers of sf and fantasy.


  • January 15, 2017 – deadline for submitting abstracts (200-300 words)
  • January 30, 2017 – notice of acceptance
  • April 30, 2017 – deadline for submitting full papers (guidelines for authors will be provided)

After the papers receive a positive review, we will proceed with editing, proofreading, and publishing.
Please send your questions and submission to:

The theme issue will be guest-edited by Weronika Łaszkiewicz, Mariusz M. Leś, and Sylwia Borowska-Szerszun who are part of the research team “Wymiary Fantastyki” established at the University of Białystok. You can visit them at:

Crossroads. A Journal of English Studies is a peer-reviewed electronic quarterly published by the Department of English at the University of Białystok. The journal welcomes contributions on all aspects of literary and cultural studies (including recent developments in cyberculture), linguistics (both theoretical and applied), and intercultural communication. The aim of the journal is to provide a forum for interdisciplinary research, inquiry and debate within the area of English studies through the exchange, crisscrossing and intersecting of opinions and  diverse views. The electronic version of Crossroads. A Journal of English Studies is its primary (referential) version. The journal has received 6 points in the listing of scholarly journals issued by the Polish Ministry of Science and Higher Education. For details about the journal visit:

(posted 17 October 2016)

The Routledge Companion to Women and the Ideology of Political Exclusion
To be publishesd in 2017-18
Deadline for proposals: 15 January 2017

We are seeking contributions for The Routledge Companion to Women and the Ideology of Political Exclusion, edited by Tatiana Tsakiropoulou-Summers (The University of Alabama, USA) and Katerina Kitsi-Mitakou (Aristotle University of Thessaloniki, Greece), to be published by Routledge in 2017-18.

The Companion aims to address the issue of women’s political exclusion throughout the centuries and across cultures and societies from an inter- and multidisciplinary perspective. Taking as a point of reference the earliest configurations of democracy in classical Athens, in which women were not allowed to participate actively in its design and practices, and moving on to the modern times, the book will examine how exclusions of women are created within the very same discourses of inclusion, as well as how ancient biases are recycled, questioned, or cancelled in modern societies. Despite women’s increasing participation in politics today and their open access to political life, there are still insurmountable barriers to gender equality and in many cases formal political equality veils continued exclusion or oppression. The essays will explore the idea of different types of women’s ‘political exclusion’ in a variety of contexts: in relation to civic rights, national belongings, identity politics, socio-economic human rights, etc., and will raise issues about the nature of democratic politics or the (in)stability of the term democracy. We are particularly interested in contributions that consider how gender exclusion intersects with a number of other parameters such as race, class, ethnicity, age, sexuality, disability, etc., which complicate women’s assimilation to a state imperative.

We especially welcome proposals for essays that focus 1) on countries around the globe which constitute paradigmatic cases as far as women and civil/social rights are concerned (for ex. Scandinavia, Australia, etc.), 2) on comparing diverse models of exclusion/inclusion in different countries/societies/cultures, and 3) on the inherent contradictions and ambiguities of the latest debates about women’s exclusion (such as, the clash between state policies of inclusion and socio-cultural and functional constraints that put limits on women’s individual and collective agency [for ex. the case of burkini], the pressure put on women that belong to ethnic minorities, refugee or immigrant groups that have been affected by Exclusion Acts, the latest American elections, etc.).

Please send a 500-word proposal and a short biographical note by email attachment to both Katerina Kitsi-Mitakou ( and Tatiana Tsakiropoulou-Summers ( by January 15, 2017.

(posted 31 October 2016)

The Subject of Criticism
A volume in an edited collection
Deadline for proposals: 15 January 2017

We are told that the humanities are suffering a downturn. Even as critical thinking, analysis, and compassionate assessment—the backbones of the humanities education—are in high demand now more than ever, the world of the academy outside of science and technology continues to experience cuts, downsizing, and general devaluation. Digital Humanities has been one proposed remedy, yet their increasing popularity has paradoxical implications for the humanities at large: rather than challenging the scientistic epistemology, they perpetuate it by subjecting the arts to the empiricist’s analytical toolkit.

This critical collection is one move toward regeneration that does not attempt to redress the arts and humanities, but rather strives to revitalize them in their acute responsiveness to the social conditions that shape our lives. In particular, we are concerned with re-injecting subjective experience into academic and critical writing about the arts, since it is here that such writing has both its locus and its effect.  Our gambit is that insisting that academic and critical writers inhabit, avow, and reveal their “I” will do far more to re-energize the humanities than further inhibiting the place of lived experience in critical writing.

We seek authors who will write both from within their particular area of specialization—whether in literature, philosophy, history, the arts, or other fields in the humanities—and from within their own personal story.  Most broadly, we are looking for the narratives that are both originary to, and that stem from, the critical experience: to bring together categories that tend to be held apart (the personal and the professional, the historical and the topical, the popular and the academic), to make manifest the stories that are so often repressed by academic and critical writing, and to reveal the urgency of our own personal investments in the humanities.

Possible forms of narrative might include:

  • A personal story and how it has influenced or intertwines with scholarly or critical subject of choice
  • A story of an encounter with a subject of critical inquiry: what it was like to read a particular text, view a particular work of art at a particular time, work on a particular historical problem, etc.
  • An experience teaching a particular text, subject, or cultural object
  • A narrative about why a seemingly obscure academic subject is relevant to one’s own life and contemporary life more broadly
  • A comparison between a personal event or story and a work of literature, art, historical writing, etc
  • A comparative assessment of “high” and “low/popular” forms of particular personal and scholarly investment (for example, “Haiku and Twitter”)
  • A theoretical reflection on the state of criticism or the humanities today

Please send abstracts of approximately 250 words to Alison Annunziata ( and Emma Lieber ( by January 15, 2017.

(posted 10 December 2016)

The Animalizing Literature
Cfp for an edited volume of collected critical essays
Deadline for submissions: 31 January 2017

Submissions are sought from scholars, research aspirants and animal advocates

The rise and expansion of Animal Studies over the past decades can be seen in the explosion of various articles, journals, books, conferences, organizations, courses all over the academic world. With the publication of Peter Singer’s Animal Liberation in 1975 and Tom Regan’s The Case for Animal Rights in 1983, there has been a burgeoning interest in nonhuman animals among academics, animal advocates, and the general public. Interested scholars recognize the lack of scholarly attention given to nonhuman animals and to the relationships between human and nonhuman, especially in the light of the pervasiveness of animal representations, symbols, and stories, as well as the actual presence of animals in human societies and cultures.

Animals abound in literary and cultural texts, either they are animals-as-constructed or animals-as-such. However, we can approach any literary text from a theoretical lens where the representation of nonhuman animals are main operative analytic frame. In literature nonhuman animals are given titular role, they carry symbolic function, they speak human language and so on. But these create problematics and bear the politics of representation.

Proposals for articles on topics relevant to this collective volume may include, but are not limited to:

  • HAS or CAS or Anthrozoology
  • Animals and Animality Studies
  • Animal Studies and Ecocriticism
  • Animal ethics and Literature
  • Darwinism and Literary Animals
  • Posthumanism and Literary Animals
  • Womanimalia (woman = animal)
  • Animal alterity in Literature
  • Postcolonial animal
  • Politics of Animal representation
  • Anthropomorphism
  • Meat eating, fishing and farming in Literature
  • Pets and zoo animals in Literature

Contributors have liberty to choose literary texts for their case study, but the papers must theorize the major presence of nonhuman animals in the selected texts. Papers should be around 3000 words following the latest MLA style sheet and must have abstract of 250 words with keywords, relevant end notes, references and authors’ bio-note.

There is NO publication fee. Each contributor will be provided one complimentary copy in April, 2017.

Papers will be scrutinized thoroughly and checked for potential unethical practices. Selected papers will be collected in a book (with ISBN) to be published by a reputed publisher in India.
Submission Deadline: 31st January, 2017.
Submit to:

(posted 12 December 2016)

Sound/Theatre: Sound in Performance
Issue # 16 of Critical Stages/Scènes critiques (December 2017)
Deadline for proposals: 1 February 2017
International Association of Theatre Critics / Association internationale des critiques de théâtre
a/s Jean-Pierre Han, 27, rue Beaunier, 75014 Paris,France
ISSN 2409-7411

Special Issue Editor: Johannes Birringer (DAP-Lab)


Inspired by recent productions in theatre and dance as well as by scholarly attention given to an acoustic/sonic turn in recent years that is closely linked to the growth in scenographic and design studies, this special issue of Critical Stages (number 16, December 2017) will focus on sonification/musicalization of the stage environment, generative sonic processes, theatre aurality, music theatre/opera, digital performance and sound design.

Looking at a widening arena of composed theatre as well as interactive and sonic installation art, we encourage vigorous debate on emerging concepts of rhythmic spaces, resonant dramaturgies, audiophonic scenographies, vibrational theatres, multisensory atmospheres in performance.

Many creative processes today (enhanced by diverse technologies and ever-changing techniques) gather momentum, in which audible, but also tactile, haptic and/or visible dynamics, actions, atmospheres and traces are recreated, without that theories of affect and perception have yet fully defined or explored the contours sound affords for the spectators/listeners, especially if interactions unfold within the area of the non-verbal and beyond alignment with signs, narrative threads.

We are also interested in hearing from practitioners who work in collaborative production on such contouring.

This issue invites a broad range of interdisciplinary perspectives drawn from compositional processes and production aesthetics as well as from investigations into the perception of the interplay of analogue/digital, instrumental/vocal, and musical or noise-sound, or various manifestations of sound design and sonic scenographies.

Key Themes:

The issue will approach the role of sound in performance/performance of sound with the following general headings in mind:

  • Practices
  • Sonic Design/Sonic Scenography
  • Vocabularies
  • Experiences
  • Acoustic Ecologies
  • Aesthetics and Politics

Length of papers: maximum 4000 words
Proposals:   1 February 2017
First drafts: 1 August 2017
Publication date: December 2017
All proposals, submissions and enquiries should be sent to:

(posted 22 November 2016)

Psychopharmacology and British Literature: 1650 to 1900
An edited volume to be published by Palgrave
Deadline for abstract submissions: 1 February 2017

Natalie Roxburgh, Jennifer Henke
Contact email:,

Psychopharmacology and British Literature, 1650 to 1900, an edited volume to be submitted for consideration in the series Palgrave Studies in Literature, Science, and Medicine, is now inviting submissions. This volume’s aim is to bring together multi- and interdisciplinary perspectives on plant-based and/or chemical psychoactive substances that were new to contemporaries. Essays will investigate the time period of 1650 to 1900, the period in which psychoactive drug use, which had always been a part of cultural practice, became intensified partly because of colonial exploration and bio-prospecting but also because of the rise of pharmacological sciences and the advent of synthetic organic chemistry in the eighteenth century.

Rather than focusing on biographies of writers who used drugs as many scholarly inquiries already have done, papers in this volume will emphasize 1) the literary representations of drugs in British literature and 2) the contexts in which they were sold, used, and understood to work on the human brain and body.
We welcome contributions on psychoactive substances ranging from, but not limited to: new types of alcohol, opium, morphine, cannabis, coca, laudanum, tobacco, coffee, tea, chocolate, and sugar.

Possible angles include:

  • the aesthetics of intoxication
  • new approaches to psychopharmacological medicine in literature
  • literature and the history of addiction
  • new contexts for the biochemistry of drugs as represented in literature
  • social attitudes towards drug use as represented in literature

Please submit a 500-word proposal to and by 1 February 2017.

Acknowledgement of accepted proposals will be given by 1 March 2017. For those invited to contribute to the volume, completed essays of 5000-6000 words will be due by 1 September 2017. Please follow MLA style for in-text documentation and bibliography.

(posted 6 January 2017)

Staging (inter)generational conflicts, crises and discord
Book proposal and call for abstracts:
Deadline for submissions: February 15, 2017

Editor: Dr Katarzyna Bronk, Faculty of English, Adam Mickiewicz University, Poznan, Poland
contact email:

Samuel Johnson wrote in The Rambler: “This one generation is always the scorn and wonder of the other, and the notions of the old and young are like liquor store of different gravity and texture which never can unite” (in Ottaway 2016: 2.35). His comments, from 1750, were connected to the changing perception of ageing as well as the new dynamics and power play developing between members of the ‘new’ and the ‘old’ generations. This is in contrast to the ideal/idealised situation where “intergenerational relations are best characterized as relationships of reciprocity, differently balanced on both sides at different stages of life according to need” (Thane 2000: 12). Johnson was alluding to a crisis in intergenerational relationships, a concern that he was not alone in. Daniel Defoe likewise noticed that “There is nothing on Earth more shocking, and withal more common, in but too many Famillies, than to see Age and Grey Hairs derided, and ill use” (Protestant monastery). Both writers were openly hinting at intergenerational conflict and this is despite a more empathic attitude towards one’s elders that is said to have developed in the eighteenth century. Naturally, intergenerational contention is not limited to the past as, even quite recently, Brexit revealed the deep-running ‘Us’ versus ‘Them’ divide, juxtaposing young(er) and the old(er) people, millennials and baby boomers, sons/daughters and the parents, and the newer and older immigrants (Brexit saw various forms of hierarchisation of immigrants), etc.

Literature has proved to be an effective medium for presenting, analysing and often offering ways of resolving real or fictional conflicts between age and youth, the “old” and the “new”. Drama, in its textual or performative form, proved even more forceful and imaginative, and theatre has additionally allowed for an almost three-dimensional exploration of various intergenerational dynamics, most often reified as crises and conflicts running additionally along intersectional lines of age, gender, race, class or religion. British drama has always been very sensitive to sociopolitical transformations, often allegorising public or national crises as private conflicts between family members. Thus, for example, youth conquers old(er) age in Renaissance family-themed plots; younger and more progressive characters triumph in Restoration political heroic tragedies or libertine comedies; the aged, more experienced heroes/heroines reclaim the virtue and dispense punishment in eighteenth-century sentimental and affective drama; the Angry Young (Wo)Men blame the earlier generations for ruining their chances for happiness; Oedipal (and Jocastian) crises tear families from the inside; cultural and sexual revolutions embold and enfranchise daughters and sons who question the rules of normativity of their parents’ generations; and, more recently, sons and daughters reject the cultural and religious values cherished by their parents and choose more traditional but also extremist ways of living

We wish to propose a book on these and various other ways and means of presenting, dramatising and staging (inter)generational crises, struggles and conflicts (and their possible solutions) in British theatre and drama across centuries. We invite abstracts (max 500 words) on various shades of staged and dramatised conflicts between the old and the young (age vs youth), the new and the old, etc. Interested authors are kindly asked to send their abstracts by 15th February 2017 to dr Katarzyna Bronk ( and If accepted by the editors, selected abstracts will be collated into a thematic collection and proposed to a publisher. Upon acceptance by the publisher, the authors will be asked to write full versions of their papers. The book’s tentative title is: Dramatic Intergenerationality: Staging conflicts, crises and generational discord.

(posted 23 December 2016)

The Green World in Contemporary Poetry and Philosophy: Mapping Nature in the Twentieth and Twenty-First Centuries
Deadline for proposals: 1 March 2017

A volume edited by Leonor M. Martínez Serrano and Cristina M. Gámez-Fernández
Email addresses: and

Deadline for abstract submissions: 1 March 2017.
Notification of acceptance: 31 March 2017.
Submission of full chapters: 1 October 2017.

Since the very cradle of civilization, Nature has been one of the secular concerns of poetry and philosophy. In a classic like Walden; or Life in the Woods (1854), Henry David Thoreau said: ‘I went to the woods because I wished to live deliberately’. The woods would make him whole again; solitude and Nature would reactivate a claritas of mind in him that had apparently been overshadowed by human commerce. About a century later, Ezra Pound sang in The Cantos: ‘Learn of the green world what can be thy place / In scaled invention or true artistry’ (81/541), aware as he was of the fact that the world is a subtle ecology of vast dimensions that needs our attention and respect. The green world was particularly pervasive in European Romantic poetry, which looked at Earth from a pristine standpoint, but its presence has continued unabated in 20th- and 21st-century literature, particularly in poetry and in prose writings concerned with understanding the natural world as opposed to the man-made world. At a time of worrying environmental degradation at a global scale, it is a matter of the utmost urgency to go back to poetry and philosophy to see how these most ancient modes of thinking (or instruments of mental production, as Northrop Frye puts it) are responding to one of the contemporary wicked problems that human societies are facing worldwide. Finding a solution to these global problems requires huge doses of creativity, cooperation and solidarity at a planetary level. Poetry and philosophy never give up on their call to shed some sort of temporary light on Nature and the human condition. In its forceful and disinterested search for truth, poetry remains intact and pure amid the dissonance of our ferociously post-capitalist world and/or denounces violence against it intensely through its verse, on occasions twisted and/or damaged too. Aware of how central Nature is to their epistemological enterprise, contemporary poets still feel there is something indecipherable at the core of the green world that must be tackled with intellectual and artistic alertness. Similarly, contemporary philosophers appear to address this century-old concern with how humans interact with the natural world, as well as the environmental crisis we are going through. Over 2500 years ago, the Pre-Socratic philosophers themselves were naturalists and ecologists avant la lettre, at a time when there was no point in drawing a clear-cut boundary between poetry, philosophy and ecology. The ultimate lesson is crystal clear: life is but an interdependent continuum of subtle modulations and so, by understanding Nature, humans will understand themselves, and by understanding themselves, they will understand their place within the larger scheme of things. In this sense, both poetry and philosophy represent powerful inquisitive tools to map the green world and render it comprehensible to the human mind.

We seek contributions that explore how contemporary poetry and philosophy address Nature and human beings’ relationship with the natural world. Both theoretical and practical approaches, as well as different critical stances are welcome. The following themes (or other pertinent topics related to the object under scrutiny) are of interest to the volume:

  • representations of the green world in contemporary poetry written in English in the postcolonial world (in the UK, Ireland, USA, Canada, South Africa, India, Australia, etc.);
  • poems & poets dwelling on the lessons of the green world;
  • Nature as a polyphonic place and poetry for multiple voices;
  • poets as literary critics fathoming Nature in their prose (non-fiction) writings;
  • the green world as an idyllic place (home) vs. the green world as a hostile, alien place (other);
  • new forms of pastoral;
  • walking and hiking, mountains and trees, rivers and oceans, etc. in 20th- and 21st-century poetry;
  • overlapping between Literary Criticism and Nature;
  • the insights of contemporary Philosophy: philosophical approaches to Nature and ecological thinking;
  • Nature as locus or luogo d?incontro for interdisciplinarity and transdisciplinarity;
  • anthropocentrism vs. biocentrism;
  • Nature as nonhuman entity vs. Nature as cultural construct;
  • portraits of environmental Armageddon: global warming, climate change, political and societal implications thereof;
  • the natural world as commodity to be exploited in post-capitalist societies and neoliberal economies.

Prospective authors are invited to submit abstract proposals consisting of a title and a 500-word summary by 1 March 2017. Proposals should also include the following information: author’s name, institutional affiliation, email address, and a 250-word CV. Authors will be notified of their paper proposal acceptance by 31 March 2017. Full chapters (5000-7000 words) will be expected by 1 October 2017. Both abstracts and full chapters must conform to the latest MLA style sheet guidelines and be sent as Word files to and Selected essays will be compiled in book format and the volume will be published by a prestigious international publisher still to determine in 2018.

(posted 20 December 2016)

Authorial Literary Translation
A special issue of Poli-Femo
Deadline for proposals: 10 March 2017

The study of any national literary system cannot exclude a comparative approach and an investigation into the function of translations. Our aim in this monographic issue is to study works translated by leading writers in international literary cultures (not exclusively European), and then analyse the role of these translations in the formation of supranational literary canons.
The leading writers of various literary traditions have in fact very often translated foreign works themselves by turning, on occasions, to translation as a fundamental practice for personal enrichment to creative and stylistic ends.
However widespread this practice may be, it has nevertheless been underrated and, despite the importance given to this phenomenon by a variety of scholars, up to now only a few isolated studies have been carried out on the subject.
Research has shown that there is a European (and not only) community of writers who, through the means of translation, now often share certain tones, structures, symbols and images. We will investigate how the practice of translation is echoed in the works of these writers, and we will try to define the network of interferences that have influenced their works and their national literary tradition.
In this sense, authorial translations have also shown themselves to be a useful way of enriching the literary target language, as it often acts as a response to a need for renewal, and this particular confrontation with the foreigner represents a phenomenon of fundamental importance which has led to interaction between literary traditions.
It is therefore our intention to analyse the practice of translation also as an essential step in the creative process.
Why and when does a writer decide to translate? Which authors or works do they choose to translate and why? What are the dynamics that arise between the writer and the translator? And, above all, how much remains of the translation in the writer’s subsequent work? What are its effects on the canon, culture and receiving language?
It is only by finding an answer to these questions that we will be able to explain the real connections between the individual national systems.
The topics that may be presented will take into consideration:

  • Translation of poetry. In order to understand how forms, styles, signs and meanings of one nation’s literature have influenced, through authorial translations, the different national poetical traditions. Studies may take into consideration, amongst others, Baudelaire, Chateaubriand, George, Leopardi, Mallarmé, Fenoglio, Montale, Nerval, Ungaretti, Goethe, Rilke, George.
  • Translations and the avantgarde. Avantgarde writers have often turned to translating to overcome a technical impasse or to unearth a resource in the foreign work that can be used to renew their own literary tradition. Contributors could study the role that translating played for the authors of some important avantgarde movements (within a European context, but without necessarily being limited to it, we can think of the avantgarde in 1930’s Italy, or the “Generación del 27” in Spain with Guillén, Salinas and Alonso).
  • Translations and minority languages. Contributors could look at the role that the translation of works originally written in minority languages plays for authors of national literatures, as a resource for enriching national literary languages.
  • Translation and migration. A possible area of research could be contemporaneity, with reference to migrant authors, who are now an essential element of international literary culture.
  • Translations and images. Other potential areas of research could be the way some literary images travel from one nation to another through the translations of writer-translators, analysing their work also from the point of view of language reception and the effects of “the merging of horizons” on the receiving culture.
  • Novels translated by novelists. Contributors may wish to analyse the dynamics of interference and influence that the practice of translation has had on the communication of forms and structures typical of the tradition of the European novel (M. Yourcenar, reread in the light of translations by V. Woolf and H. James, as well as the effects Gide’s translations, from Goethe to Conrad, had on the French writer-translator’s own works). It is not expected, however, that contributors will limit their investigation only to the European literary tradition.
  • Theorists, writers, translators. In some cases theoretical reflections on translating have constantly accompanied the translations and “own” works of writer-translators. Contributors could look at the theoretical works of these authors, with the main focus on contemporaneity (Y. Bonnefoy, translator of Shakespeare, Petrarch and Leopardi; J. Risset, translator of Dante) or the past, in order to understand, through these reflections, further aspects inherent in authorial translation.
  • Authorial translations and the publishing market. We will also look at some of the dynamics of the market linked to the translations of writer-translators. We will analyse, for example, the reasons behind the creation of collections such as Poeti stranieri tradotti da poeti italiani (“Foreign poets translated by Italian poets”) (Scheiwiller), and Scrittori tradotti da scrittori (“Writers translated by writers”) (Einaudi). We will also analyse publishing promotions in a context of works translated by writers.

Other proposals for study on the subject put forward by those intending to collaborate in the publication will be scrupulously examined by the Scientific Committee, in order to widen the field of exploration undertaken in this issue of the Journal. Proposals for contributions will be accepted in Italian, English and French.
To this end, the Editorial Board propose the following deadlines, with an essential preliminary step being the sending, to of an abstract (min. 10/max. 20 lines) and a short curriculum vitae of the proposer, by and absolutely no later than 10th March 2017. Authors will receive confirmation from the Editorial Board of acceptance of their contributions by 20th March 2017. Contributions shall be delivered on 5th July 2017. All contributions will be subject to a double blind peer review. The issue, edited by Prof. Paolo Proietti and Dr. Francesco Laurenti, will be published in December 2017.

(posted 7 February 2017)

The Politics of Location: Feminist and Queer Spaces within Global Contexts
A special issue of Gramma/Γράμμα: Journal of Theory and Criticism (2018)
Deadline for proposals: 15 March 2017

For this special issue of Gramma/Γράμμα: Journal of Theory and Criticism (2018) we invite you to submit papers focusing on what Adrienne Rich termed “the politics of location.” Papers may examine theoretical, literary, and, more broadly, artistic explorations of various kinds of location (for example, in addition to location, allocation, dislocation, relocation). How do cultural, economic, historical, and political legacies, as well as material conditions, inform or produce the movement of bodies across various spaces (for example, textual, media, geographical, temporal, embodied, relational)? How does such movement shape the definition, recognition, viability, and value of those bodies? How have changing conceptions of space produced and reshaped understandings of gender, sex, sexuality, ethnicity, race, disability, and class? Relatedly, in what ways does the body become the site where individual, local and global intersections take place?

Contributions may analyze works from any time period or engage with readings across times and cultures. Topics may include the following:

  • digital embodiments and cybersexualities
  • new media spaces as counter-geographies
  • the globalization of erotic spaces
  • race and class questioning within and against feminist and queer geography
  • postcolonial locations and bodies
  • decoloniality
  • feminist politics in local/global frameworks
  • transnational activism and body rights
  • human trafficking
  • migrations
  • refugee crises

Proposals (500 words) and a short/abbreviated curriculum vitae should be sent to Margaret Breen ( and Katerina Kitsi-Mitakou ( by March 15, 2017 (drafts will be due by August 1, 2017).

Gramma/Γράμμα: Journal of Theory and Criticism is an international journal, published in English and Greek once a year by the School of English, Aristotle University of Thessaloniki, in collaboration with the Publications Department of the university. It welcomes articles and book reviews from a wide range of areas within the theory and criticism of literature and culture. Of particular interest to the journal are articles with an interdisciplinary approach. Each individual issue has guest editors and is devoted to a subject of recent cultural interest, with book reviews relevant to the topic. All manuscripts are subject to blind peer review and will be commented on by at least two independent experts.

For more information about the journal, visit .

(posted 3 September 2016)

Media and Emotions. The New Frontiers of Affect in Digital Culture
A special issue of Open Cultural Studies / De Gruyter Open
Deadline for proposals: 30 March 2017

Editors: Professor Toby Miller (UC Riverside, USA), Dr. Anna Malinowska (University of Silesia, Poland)

The intervention of digitalism and the new media into “a whole way of life” (Williams 1960) has had a significant effect on human emotions and the ways we express and experience feelings in daily interaction . The focus of this special issue is the new media and emotion, analyzed in relation to changing life environments and human emotional interactions. We invite papers that will re-examine the relationship between new media forms, media-ridden realities, and emotional structures (interactions, reactions, affordances etc.) with respect to cultural processes examined from a myriad of scholarly perspectives and methodological approaches.
Suggested topics include:  Feelings and the (post)-Anthropocene: emotional interactions between human beings, the natural environment, and non-human technologies; Changes of emotional practice / perception: new sensory dimensions and bodily reactions (non-contact interactions etc. Emotions as objects expressed in new technologies. Affective experiences with the new media; Technologies of emotions / emotions in technologies; Emotional labor and the service industries, from goldmining on-line games to virtual sex work; The commodification and governance of feelings; The relationship between affect theory, phenomenology, and the psy-function (psychoanalysis, psychology, and psychopharmacology; How media-effects models construct the relationship between new media and emotions; The use of feelings discourse in journalism, political communication, and social conflicts

Proposals of 500 words followed by a short bio, listing qualifications and publications, should be submitted to by 30 March 2017.

(posted 20 January 2017)

Desire and the ‘Expressive Eye’ in Thomas Hardy
FATHOM, the electronic journal of the French association for Thomas Hardy Studies
New extended deadline for proposals: 15 April 2017

FATHOM (French Association for Thomas Hardy Studies, seeks essay submissions on “Desire and the ‘Expressive Eye’ in Thomas Hardy”.
The selected essays will be published in FATHOM, the electronic journal of the French association:

Essays can also be examined with a view to publication in The Hardy Review, the American paper journal edited by Rosemarie Morgan and published by the Thomas Hardy Association (

Proposals of 300 words with a short bio are due by 15 April 2017 (new extended deadline). Final papers are due by June 30 2017.
The FATHOM stylesheet is available at :
Please send the submissions to:
– Isabelle Gadoin
– Annie Ramel

Thomas Hardy has inspired critics with an interest in the visual arts: many of his texts can be read as “iconotexts”, i.e. as texts with a powerful “painting effect”, even in the absence of any direct reference to painting (L. Louvel). His style, with its characteristic “verbal-visual effects” (J. B. Bullen), owes much to Ruskin and Turner. Desire is another theme which has found its way into major criticism of Hardy’s work—the first item in the series being J. Hillis Miller’s Distance and Desire.

This publication will explore the relation between desire and the gaze in Hardy’s work. In Under the Greenwood Tree for instance, desire is kindled by the sight of a woman, “Miss Fancy Day”, framed within the quadrangolo of her window: the “window of fantasy” (Lacan) opens onto a world of dreamings and yearnings. But the gaze in Hardy’s fiction can also have a lethal power. The “evil eye” looking at Mrs Yeobright through a window-pane in The Return of the Native causes her to meet her doom on the heath: she has been “overlooked” by her daughter-in-law, just as Gertrude is “overlooked” by Rhoda Brown in “The Withered Arm”. Is the eye, then, an “expressive eye” (J. B. Bullen), which makes manifest the “positive, dynamic and productive dimension of desire” (J. Thomas)? Or is it felt as a menace, like the “oval pond” in Far from the Madding Crowd, which glitters “like a dead man’s eye”? Is it full of voracity, intent on devouring whoever comes under its spell?

We will welcome proposals opening new directions in Hardy criticism, linking the desiring subject and the power of the gaze. Studies can focus on the stories told by Hardy, but also on the writing process: on the power of the written word, which is “to make you hear, to make you feel—[…] before all, to make you see!” (Joseph Conrad, Preface to The Nigger of the Narcissus). And how does Hardy the writer manage to turn to good account the power of the gaze in his texts? We welcome essays on any of Hardy’s writings (novels, short-stories, poems, etc.).

BULLEN, J. B.. The Expressive Eye, Oxford: Clarendon Press, 1986.
LACAN, Jacques. The Seminar, Book XI: The Four Fundamental Concepts of Psychoanalysis, translated by Alan Sheridan, Penguin Books, 1979.
LOUVEL, Liliane. Poetics of the Iconotext, edited by Karen Jacobs, translated by Laurence Petit, Farnham: Ashgate 2011.
MILLER, Joseph Hillis. Thomas Hardy: Distance and Desire, London: Oxford University Press, 1970.
THOMAS, Jane. Thomas Hardy and Desire: Conceptions of the Self, Basingstoke: Palgrave Macmillan, 2013.

(posted 6 January 2017, updated 14 March 2017)

Literature and Psychology: Writing, Trauma and The Self
An edited volume
Deadline for proposals: 31 March 2017

Centuries ago, Aristotle fashioned a term that brought literature and psychology face to face: catharsis (psychological or mental purification of the feelings). From that time onwards, literature and human psyche have been correlated either by various writers, philosophers, critics, or by means of several techniques or movements. Not only was it tragedy that combined the elements of psychology with literary production, it was also novel, poetry, short story and even some psychoanalytical theories that brought psyche and literature together. There has always been a mutual partnership of the two: psychology of men and literature of men.  It was Sigmund Freud, for instance, who introduced Oedipus complex from what Sophocles held as the plot of Oedipus the King. It was Samuel Richardson who carried the earlier features of sentimental novel and the early flashes of psychological novel through his Pamela. It was Henry James who borrowed the stream of consciousness technique from psychology and introduced it to be used in literature, and then was subtly employed by James Joyce in Ulysses and by Virginia Woolf in Mrs. Dalloway. Charles Dickens, with his famous industrial novel Great Expectations, reflected the well-established norms of psychological realism. George Bernard Shaw’s Pygmalion was named after the mythological figure of Greek Pygmalion, and the name was also adapted into the Pygmalion effect to emphasize the observable phenomena related to the psychology and performance of men. Similarly, Vladimir Nabokov’s Lolita became a focal work that impacted the birth of Lolita complex. Friedrich Nietzsche’s ubermensch (just as it is employed by Bernard Shaw in Superman), MartinEsslin’s theatre of the absurd (employed by Samuel Beckett in Waiting for Godot), Antonin Artaud’s theatre of cruelty (employed by Edward Bond in Saved) and etc. all could be tackled in terms of interrelation of human psyche and literariness.

Psychology has also some observable impacts on the writer’s writing skill. Causing extreme changes in mood, bipolar disorder is addressed by many critics to be the central origin behind creativity. Such writers and critics as John Ruskin, Virginia Woolf, Edgar Allan Poe, Alan Garner, Hams Christian Anderson and Sherman Alexei among others are known to have bipolar disorder that impacted their literary creativity. Feminist urges also produced the female creativity within some genres of literature. It was Emily Dickenson, Elizabeth Barrett Browning, Virginia Woolf, George Eliot, and Bronte Sisters that embraced the psychology of the power of female creativity on the way to writing. For that reason, psychology and literature live in each other’s pockets.

This proposal suggests a forum of differing ideas on the link between literature and psychology, psychology of writing, traumatic literature, the construction of the Self within literature, the psychology of characterization, psychoanalytical approaches, and the psychology of literary creativity.

The topics of interest include but not limited to the following titles:

  • Psychology of Literature
  • Literature of Psychology
  • Psychology and literary genres
  • Psychological theories and movements
  • Traumatic literature
  • Literature and psyche
  • Auto/biography and  psyche
  • Psychoanalytical approaches
  • The psychology of Self and Literature
  • The Psychology of Writing
  • Trauma and Writing
  • The Self and Writing
  • Psychology and  Creativity

Submission ProcedureResearchers and practitioners are invited to submit on or before March 31, 2017, a chapter proposal of 1,000 to 2,000 words clearly explaining the mission and concerns of his or her proposed chapter. Authors will be notified by April 30, 2017 about the status of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by October 30, 2017, and all interested authors must consult the guidelines for manuscript submissions at prior to submission. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for this project.
Note: There are no submission or acceptance fees for manuscripts submitted to this book publication, Cambridge Scholars Publishing. All manuscripts are accepted based on a double-blind peer review editorial process.

Publisher: This book is scheduled to be published by Cambridge Scholars Publishing, UK. For additional information regarding the publisher, please visit This publication is anticipated to be released in 2018.

Important Dates

  • March 31, 2017: Proposal Submission Deadline
  • April 30, 2017: Notification of Acceptance
  • October 30, 2017: Full Chapter Submission
  • December 30, 2017: Review Results Returned
  • January 30, 2018: Final Acceptance Notification
  • February 15, 2018: Final Chapter Submission
  • April 15, 2018:Manuscript delivery date

Editor’s Name: Önder Çakırtaş
Editor’s Affiliation: PhD, Assistant Professor, Bingol University (Turkey), Department of English Language and Literature

Editor’s Contact Information
Bingöl Üniversitesi
Fen Edebiyat Fakültesi
Oda No:D2-8 12000 Bingöl/TÜRKİYE

(posted 7 February 2017)

Calls for papers – Conferences taking place in January 2018

Shakespeare Unbound: 2018 Conference of the French Shakespeare Society
Paris, France, 18-20 January 2018
Deadline for proposals: 25 April 2017

The Société Française Shakespeare is dedicating its annual conference to “Shakespeare Unbound”. The topic addresses Shakespeare’s propensity to negotiate with dominant ideologies, his ability to break and renew formal and cultural rules and his long-lasting influence in creating innovative dramatic and poetic forms, new words and thoughts, “And all that faith creates or love desires, / Terrible, strange, sublime and beauteous shapes” (Shelley), Prometheus-like.

The conference topic also points to the ways in which Shakespeare’s work has come down to us: through bound Quartos and Folios, emended, truncated, annotated, as well as through unbound scripts and performances, “faithful” or “adapted”, many of which exceed the place of the stage, flowing down into the audience, out onto the streets, showing up on screens, in anime, graphic novels and narrative recreations and appropriations — contributing to the aesthetic liberation of drama, poetry, the visual arts, music, etc.

This conference will provide an occasion for academics, theatre, performance and arts practitioners to discuss Shakespeare and his contemporaries’ abilities to question and renew the boundaries of art.

We welcome proposals (in English or in French) on topics such as:

  • The publication and editorial history of Shakespeare’s and his contemporaries’ works — in bound and unbound formats;
  • Shakespeare’s and his contemporaries’ reappropriation of classical and early modern culture, Shakespeare’s “borrowed robes”, his contribution to liberating dramatic and poetic aesthetics, and ability to “beguile Nature of her custom”;
  • Shakespeare adaptations and appropriations from the 17th to the 21st century which have contributed to liberating or rediscovering his work and/or influence.

Selected proceedings will be published in the Société Française Shakespeare’s peer-reviewed online journal:
Please send proposals by April 25, 2017 to
Proposals should include a title, an abstract (750-word max.), and a short bio.

(posted 22 February 2017)

Calls for papers – Conferences taking place in December 2017

2017 4TH ICIIP – International Conference on Image Information Processing
Jaypee University of Information Technology (JUIT), Shimla, India, 21-23 December 2017
Deadline for full paper submissions: 31 August 2017

The ICIIP (International Conference on Image Information Processing) conference has been a biennial Conference since 2011. ICIIP is the one of the premier, renowned, and biggest technical conference focused on all aspect of Image Processing, Computer Vision, and Information security. Like previous conferences, ICIIP 2017 will feature world class speakers, tutorial sessions. The theme of ICIIP 2017 is “Image Processing for Digital Life”.

ICIIP 2017 will feature both invited and contributed papers. The presented papers will be submitted to IEEE Xplore, which is indexed by major databases like SCOPUS, Web of Science, ACM etc… Prospective authors are invited to submit full papers with four to six pages, in double column IEEE Conference format.


  • Image Processing – Imaging Informatics for Healthcare, Document Image Processing, Image and Video Processing Architecture, Bio-Medical Imaging, etc…
  • Computer Vision – Computational and Statistical Methods, Motion and Video Analysis, Sensors, Imaging model and Simulation, Stereo Vision, Robotics, Robot Vision, etc…
  • Computer Graphics – Modeling, Rendering, Clipping, Imaging, Human-Computer Interaction, Computer Games, Scientific Visualization etc…
  • Image security and forensics – Cryptanalysis, Information Technology Audit, Steganalysis, Data Remanence, Information Privacy, Usable Security, etc…


  1. Dr. Subhasis Chaudhari, Deputy Director (Academic & Infrastructure Affaris), IIT Bombay, India.
  2. Dr. Joaquim Jorge, Editor-in-Chief, Computers & Graphics Journal, Univ, Lisboa, Portugal.
  3. Dr. Lipo Wang, Nanyang Technological University, Singapore


  • Best innovation award
  • Best Thematic Award for work presented for Blind or Visually Impaired children’s society.
  • Best Algorithmika award(s) related to conference tracks.
  • Best paper award(s) related to conference tracks.
  • Senior Professor(s)/Researcher(s)/Scientist(s) may apply for chairing a session during ICIIP 2017.

PROPOSAL FOR Tutorials/Special Sessions/Track Chairs/Reviewers:

Organizers are inviting Tutorial & Special Session proposals within the scope of ICIIP 2017. Organizers also invite VOLUNTEERS to serve as reviewers or as track chairs. If you are willing to assist as a special session organizer or track chair or reviewer, please inform us by sending an email to:,,,

  • For Tutorials : Professor and above with significant experience in the field OR IEEE Fellow. If required, conference grant might be provided for travelling.
  • For Reviewers: 2+ years of research or industrial experience,
  • For Special Session & Track Chair: Postdocs with good experience and above, etc.


Full paper Submission Deadline: August 31, 2017
Acceptance Notification Deadline: October 15, 2017
Conference registration Deadline: November 15, 2017


Prospective authors are required to submit full-length papers of 6 pages using EDASconference management system formatted with IEEE standard template, at the following link:

Authors are required to go through with the various instructions available under conference policy and manuscript preparation and submission link at:

For more information, please contact:
ICIIP 2017 Secretariat
Dr. P.K. Gupta
Executive General Chair
Prof. Dr. Vipin Tyagi
Conference Co-Chair
Phone +91-1792-239341

(posted 8 March 2017)

Calls for papers – Conferences taking place in November 2017

Manifestations of Love and Hate in American Culture and Literature: 38th Conference of the American Studies Association of Turkey
Hacettepe University, Ankara, Turkey, 1-3 November 2017
Deadline for proposals: 3 March 2017

35th Anniversary Conference

“It is a curious subject of observation and inquiry, whether hatred and love be not the same thing at bottom. Each, in its utmost development, supposes a high degree of intimacy and heart-knowledge; each renders one individual dependent for the food of his affections and spiritual life upon another; each leaves the passionate lover, or the no less passionate hater, forlorn and desolate by the withdrawal of his object. Philosophically considered, therefore, the two passions seem essentially the same, except that one happens to be seen in a celestial radiance and the other in a dusky and lurid glow.”
Nathaniel Hawthorne, The Scarlet Letter

asat-jastTwo of the most perennial topics in art and literature throughout human history, love and hate, in their multifarious forms and contexts, have always appealed to a large number of readers and audiences. Not only inspiring thousands of works of art and literature, but also giving birth to genres and sub-genres, love and hate have been essential elements of all popular cultural forms, including music and cinema. American literature and culture are no exception in terms of its keen interest in this binary. Some cultural critics have even pointed out the uniquely American way of dealing with matters of the heart. For instance, both Henry Adams in the well-known “The Dynamo and the Virgin” chapter of The Education of Henry Adams, and Leslie Fiedler in Love and Death in the American Novel, have pondered, with a critical tone, why American society has always been uneasy with the topic of love. Whether it is an uneasiness, as Adams and Fiedler claim, or another distinctive characteristic that distinguishes love in the United States, this conference hopes to stimulate discussion about representations of love, and its antitheses, in the American context.

We invite the submission of individual abstracts, panels, and proposals by
graduate students from any branch of American Studies. Possible areas may
include, but are not limited to:

  • Literature/literary criticism
  • Gender and queer studies
  • Cinema, (social) media, communication
  • Music, art, theater, and performance
  • Cultural studies
  • Life writing (travel writing, journals, diaries, and memoirs)
  • History of emotions
  • Sociology
  • Psychology and psychoanalysis
  • Visual culture
  • Environmental studies/urban studies

Proposals should be sent to the American Studies Association of Turkey ( and should consist of a 250–300 word abstract, three to five keywords, as well as a short (one paragraph) biography for each participant. The time allowance for presentations is 20 minutes. An additional 10 minutes will be provided for discussion.
While the conference language is English, we will accept a limited number of abstracts in Turkish for a Turkish-language panel at the end of the conference.
Deadline for proposal submission: March 3, 2017
All presenters residing in Turkey must be/become ASAT members.
Selected papers will be included in a special issue of the Journal of American Studies of Turkey (JAST) based on the conference theme.*

More information will be posted on our website as it becomes available:

(posted 12 October 2016)

Evidently Set Forth: God and the Human Stage
Corpus Christi College, Oxford, UK, Saturday 4 November 2017
Deadline for proposals: 31 May 2017

Offers of papers are invited on aspects of the history and theory of drama, tragedy, drama in Biblical narrative, mystery plays, Biblical dramas, Puritanism and the theatres, and modern drama, including poetic drama, closet drama and studio drama. Performance is within this remit, as also is theo-drama. Papers may adopt a historical or thematic approach, or may discuss individual plays or books, or draw comparisons e.g. as between King Lear and the Book of Job. The CLSG interest is in Exploring Christian and Biblical themes in Literature.
The deadline for proposals, which should be emailed to Dr Roger Kojecký (, is 31 May. Your proposal should give a provisional title, should state in a few words how you will tackle your topic, and give brief information about your background.

The full form of the Call for Papers can be found on the website of the Christian Literary Studies Group,

(posted 20 February 2017)

Illustrating Identity/ies
Université de Lorraine, Nancy, France, 9-10 November 2017
Deadline for proposals: 15 May 2017

Confirmed keynote speaker: Professor Alan Male

An international conference organised by IDEA, Illustr4tio and Illustration Research Network

This conference invites participants to explore the interdisciplinary and cross-cultural means through which illustration, in all of its forms, contributes, and has contributed historically, to the shaping of ‘identity/ies’.
The study of illustration provides powerful insights into not only the representation, but also the construction of identity – including gender identities, national and political identities, subcultures, hybrid identities and performative identities. Illustrators as cultural agents have the power to both reinforce and problematise ‘the visual vocabulary of politics’ (Steven Heller, Iron Fists: Branding the 20th Century Totalitarian State, 2008; rep. 2010) through their use and manipulation of cultural narratives and stereotypes.
Illustrators often navigate several personas when creating artwork – for example the desires of the client, the reception of the audience, and the voices within the text. They may also produce highly personal and subjective work documenting emergent or performed identities in relation to historical, geographical, social, cultural and phenomenological matrices.
We are keen to encourage critical and theoretical frameworks which foster understanding of the cultural relevance of illustration, and to examine the links between book history, print and digital culture and identity. Both practice-led and theoretical papers are welcome. Papers may cover any form (book illustrations, extra illustrations, press cartoons, digital art, etc.) or type (decorative, narrative, scientific, technical, historical, educational, satirical, etc.) of illustration from the Early Modern period or Renaissance to the present day.
Subjects for discussion may address (though are not limited to) the following themes and questions:

  • The political agenda of illustration/illustrators: illustration as critique and social or political protest
  • The illustrator as agitator, mediator, witness and/or opinion former
  • The performance and performative aspects of illustration
  • Illustrating identity/ies and changing technologies
  • The participation of illustration in the construction and definition of individual identity
  • The participation of illustration in the construction and definition of collective / cultural / social / political / ethnic identity/ies
  • The illustration of historical and ‘grand narratives’ relating to national identity/ies

Please submit 300 word proposals for a 20 minute presentation to Nathalie Collé (IDEA & Illustr4tio) at and Desdemona McCannon (Illustration Research) at
Proposals for workshops and poster presentations are also welcome.
Deadline: Monday 15th May 2017.

IDEA, Université de Lorraine
Illustration Research

EA 2338 IDEA, Interdisciplinarité Dans les Études Anglophones, Université de Lorraine
EA 4182 TIL, Texte Image Langage, Université de Bourgogne Franche-Comté
EA 4343 CALHISTE, Cultures, Arts, Littératures, Histoire, Imaginaires, Sociétés, Territoires,
Environnement, Université de Valenciennes et du Hainaut-Cambrésis
EA 4363 ILLE, Institut de recherche en Langues et Littératures Européennes, Université de Haute

(posted 15 February 2017)

Dennis Kelly International Symposium
Lincoln Performing Arts Centre, University of Lincoln, UK, 18 November 2017
Deadline for proposals: 3 April 2017

Keynote Speaker: Dr Clare Finburgh, University of Kent

Following the success of its previous International Playwriting Symposia (Churchill, 2011; Kane, 2012; Ravenhill, 2013; Greig, 2014; tucker green, 2015), the Lincoln School of Fine and Performing Arts is delighted to announce its 2017 Playwright’s Symposium, dedicated this year to the works of Dennis Kelly. On 18 November 2017, there will be a one-day symposium bringing together scholars, theatre practitioners and students to discuss one of the most distinctive and compelling voices to emerge in the first decade of 21st century theatre.

Kelly’s imaginatively daring and often politically acerbic plays have been performed worldwide and translated into nearly forty languages. In a relatively brief but wide-ranging career that spans stage, television, radio and film, award-winning plays include Osama the Hero (2006), Taking Care of Baby (2007), for which he won the John Whiting Award and Best Foreign Playwright from Theater Heute, Orphans (2009) and Matilda the Musical (2010), which won both a Tony and an Olivier for Best Book of a Musical. Plays for young audiences include Our Teacher’s A Troll (2009) and DNA, which in 2010 became a set text on the English Literature GCSE syllabus. Kelly co-wrote the award-winning BBC 3 comedy Pulling (2006-2009) and his Channel 4 television drama, Utopia (2013-14) won the International Emmy for Best Drama Series.

We invite 20 minute papers on all aspects of Dennis Kelly’s plays for stage and screen. Papers may, for example, address specific works dramaturgically and/or thematically, consider Kelly’s position within contemporary cultures and traditions of British (and European) theatre-making, focus analysis on a particular medium, or critically reflect upon the material challenges of staging Kelly’s plays.

Possible topics or themes might include (but are not limited to):

  • New writing and formal experimentation
  • Lineages of aesthetic influence (theatrical, literary, filmic, televisual)
  • Narrative/generic conventions and their subversion
  • Theatrical adaptation (parody, pastiche, bricolage)
  • Story-telling as mise-en-abyme
  • The contemporary ‘grotesque’
  • The mediatization of public (political) spaces
  • Class and consumerism
  • Disaster capitalism’ and its aesthetics
  • ‘State of the Nation’ theatre in an age of globalisation
  • Ecology and economics
  • International (geo)politics on the British stage
  • Representation and ontological (in)stabilities of truth, authenticity and belief
  • Representation and metaphor
  • Ethics and spectatorship
  • Language and its rhetorical operations
  • Media exploitation and hypertheatricalization
  • Utopias and dystopias
  • The playwright as ‘portfolio’ writer – writing for stage, film and television
  • Writing for Young Audiences
  • Directorial approaches and staging challenges
  • Critical receptions of Kelly’s works overseas

Deadline for abstracts of 200 words: Monday 3rd April

Please send abstracts and a brief biographical note to: and

(posted 2 February 2017)

Memories, Marks and Imprints
Université Jean Monnet, Saint-Etienne, France, 20-21 November 2017
Deadline for proposals: 31 May 2017

An international and interdisciplinary conference organized by Elisabeth Bouzonviller, Floriane Reviron-Piégay and Emmanuelle Souvignet

Memory as the faculty to keep and recall past states of consciousness and what is associated with them cannot be distinguished from the numerous forms adopted by its expression. If, at first, “marks” and “imprints” can be perceived as synonymous, their interconnections are more subtle and complex. Marks and imprints seem to involve the body rather than the intellect, on the other hand, memories seem more intangible and pertain to a more intellectual sphere. Nevertheless, they rely on the individual’s capacity to register impressions related to the body, in a manner which is more or less perfect or flawed. Despite the enmity between memory and writing pointed out by Plato’s Phaedrus, memory cannot be dissociated from the writing process with its deletions, erasures, drafting and re-writing, which are so many marks of it. Marks are far less formal than prints since marks are almost always linked to some sort of injury, abduction, aggression, which is not the case for imprints which rely on the input of material (Jacques Clauzel). This material aspect of things requires that we should consider the very nature of marks and prints: is the memory act accidental (outbreak memory) or is it the result of a remembering effort (reconstructing memory)? In both cases, we shall consider the relationship between the three terms from the standpoint of omission, oblivion or, on the contrary, comprehensiveness. If, in both cases (marks and imprints), the body is involved, memory and its relationship with injury and pain shall be considered: is the created work a remedy, a suture, or, on the contrary, a simple scar, a stigma of the painful past? In other words, what is the role of this mark or imprint? Imprints, which are related to impression, also lead us to think of the links between perception and sensation as memory –whether individual or collective, whether the result of an outbreak or a reconstruction– is a form of impressionistic perception: it works, like impressionism, by association of ideas and selection. Memory mixes sensations and images linked by similarities and closeness, thus a memory calls forth another one, like a dot, in an impressionist painting, which cannot be read independently.

One of the goals of this conference will be to reconsider the link between memory and its various ways of being expressed: memory particularly expresses itself in introspective and intimate works like memoirs, an in-between literary genre at the crossroads of annals, diary, autobiography, which will need to be redefined. But fiction can also convey memory when it tries to evoke significant historical events. The writer’s task is then to pay tribute, to make a memorial, to leave marks for those unable to do it or to leave traces of previous texts or works. In this respect, presentations on the contemporary use of canonical works, the way some texts recall other texts, and any other forms of intertextuality, will be welcome.

Lastly, another aspect could be considered; the link between memory and space, since collective memory necessarily involves a spatial frame (Halbwachs). Thus, the artistic monument, whether literary or real, might be studied, together with the links between architecture and text. No matter what its nature is, the memorial work is supposed to build and perpetuate a memory –maybe one’s own first– if we assume that famous works by great writers are more enduring monuments than marble ones. In that respect, marks and monuments are different since the formers are the result of a distortion, a rupture, a deposit that can always be erased, whereas the latter assert their presence massively and materially; marks pertain to unintended residues Jean-Luc Martine says, which is not the case of monuments as they freeze presence in a sort of eternity. It will then be necessary to go beyond the monuments/marks dichotomy to see how memory is embodied in certain specific places (like mausoleums, epitaphs, funerary monuments, historical conservation sites, any type of monument designed to pay tribute to certain events, social groups or memorable figures).

The various literary, sociological, philosophical or artistic forms of expression of memory in Anglo-Saxon and Hispanic cultures will be the object of interest of this conference, whether they are collective, familial or individual.

Presentations will be in English, Spanish or French.
Abstract (about 300 words) and short autobiographical notices should be sent by May 31st 2017 to:
Elisabeth Bouzonviller
Floriane Reviron-Piégay
Emmanuelle Souvignet

(posted 27 March 2017

Space, Place and Hybridity in National Imagination (Colonial and Postcolonial English-speaking World, 18th – 21st century)
Grenoble-Alpes University, France, 23-24 November 2017
Deadline for proposals: 6 January 2017

The research group ILCEA4 is pleased to announce the organisation of an international conference on “Space, Place and Hybridity in National Imagination” to be held at Grenoble Alpes University. It proposes to examine the notion of hybridity or cross-fertilization in the highly controversial field of national identity–namely the spaces, figures and historical events that best symbolize it, as exemplified in the cultural productions originating from a nation or an ethnic or community group. The concept of “third space” as developed by Homi Bhabha in his seminal book The Location of Culture, is particularly productive in that it suggests a vision of space based not on confrontation, binary oppositions or antagonistic relationships of lordship and bondage, but on interactions involving exchange, transfer and mediation.

The conference shall examine the foundations of any “imagined community” (Benedict Anderson) and the ways in which artistic productions cause this set of images, values and references to evolve. These both reflect a history and a heritage but also expose their inherent limitations and underlying ideology, thus paving the way for the progressive transformation of such national figures, values and spatial representations.

All the elements pertaining to culture in a general sense and commonly considered as representative of national identity are within the scope of the symposium:

  • Iconography: flags, posters (nationalistic or otherwise), emblematic figures (specimens from the local flora and fauna for example), the representation of the national landscape in painting or photography, allegorical figures of the nation.
  • The short form as a medium for the national sentiment: national anthems, songs, poems.
  • Literature in a general sense: fiction, children’s and young adult literature, textbooks, political speeches, philosophical essays, history books.
  • Places, types of geographical spaces but also historical events crystallizing what the nation is supposed to represent (map making, memorial ceremonies, official events).
  • Cultural productions: film, dance, street art.

Every nation perceives itself as articulated around the concept of origin: a choice then emerges between a founding myth specific to it (a sort of self-generation devoid of any hybridity), and an impure, problematic genesis, born out of the contact with another cultural, historical and geographical sphere. Thus, within the British world itself, Scotland for example can be said to have been defined, both historically and culturally, in close relation to its rival and double, England. Similar considerations are relevant for Ireland and Wales.

More generally, former colonies of the British Crown have founded themselves in an ambiguous relationship to the “motherland” while trying to free themselves from its influence. After the colonial period, the goal was for the settler colonies (the United States, Canada, Australia, New Zealand, South Africa) to found their identity antagonistically to that of the motherland, especially by focusing on their new land and the type of relationship they had with it so as to invest both with distinctive national characteristics.

An interesting and contentious point of study is the undeniably hybrid character of such early identity formations devoid of any cultural heritage or history except for those bequeathed by the motherland. Another essential and no less challenging issue is that of the relationship to the Indigenous populations of the colony whose culture and values, whose very existence sometimes, were voluntarily erased. The question of a possible hybridization between the culture of the colonizer and that of the colonized could be seen as a form of defilement, corruption or degeneration. Conversely, the appropriation and even the instrumentalization of symbols, places and values specific to Indigenous peoples in national mythologies is a highly controversial issue deserving careful scrutiny.

In what is commonly referred to as the “postcolonial” period, the discussion often centres on the denunciation or re-definition of national figures, symbols and places as well as the great texts and events constitutive of the core of a nation’s identity. Examining those shows how much they have evolved, across generations, through an underlying hybridization allowing greater representativeness, not only of the first inhabitants but also of new migrant communities or minority groups.

Space and place are not to be apprehended as exclusively geographical or referential but also as textual, thus enabling new hybrid subject positions within national mythologies. The rewriting or new adaptation of famous works into other forms (with generic, gender or modal variations) characteristic of the postmodern approach also allow the reevaluation of what constitutes the core of a nation’s identity, changing it into a field of experimentation and cross-fertilization. The contribution of historians, geographers, sociologists and semiologists will also enable the conference to examine the complexity and variety of the forms and functions of hybridity in national representations.

The deadline for proposals is 6 January 2017. Please send an abstract (max. 300 words) either in French or in English, and a short biographical note (max. 150 words) to both Christine Vandamme ( and Cyril Besson ( by January 6, 2017. The notification of acceptance will be sent by February 10, 2017, at the latest. Selected papers will be considered for publication (in English).

(posted 24 June 2016)

Thinking the Sea in the Global World: Discourses and Practices
Brest, France, 23-24 November 2017
Deadline for proposals: 15 March 2017

The international conference “Thinking the sea in a global world: discourses and practices” aims at examining the convergences and the tensions between the representation of the sea in global discourses, whether from the media or from the political, advertising or environmental spheres, and the sea as a space shaped by the everyday practices and the arts of the local populations. Three major areas of research can be identified:

1. How sea discourses are built
Even though the sea may be indifferent to mankind, human beings have always sought to project upon its surface or on its shores their desires and anxieties. Marine debris materialize, to a certain extent, those human projections. As Pierre Cassou-Noguès in Métaphysique d’un bord de mer argues, “the sea has been humanized […] we leave oil spills and all kinds of waste, bottles, cans, beach balls, etc”. Pollution, like global warming, is a worldwide phenomenon, which may obscure the question of its exact provenance. Contributions are invited to examine how sea imaginaries in various cultures seize those global phenomena and voice or construct their own sea discourses.
• How do aesthetic theories influence the way we look at and conceptualize the sea?
• What concepts, ideas, values shape our aesthetic consumption of the sea?
• How can we analyse cross-cultural phenomena in relation to the sea?
• How is the sea taught in school curriculums and innovative projects? How are the seas and oceans represented in children’s literature or TV series?
• How can “sound practices” in relation to the sea be defined? What is their final objective, and how are they spread? (one may here think about leisure fishing, the protection of coastal systems, sailing, maritime transport, marine protected areas,…)

2. The sea in practice: a consumer resource?
We invite contributions that question the definition of the sea as a source of minerals, fossil fuels, vegetable matter, food, but also of landscapes, services, leisure, tourism, culture and identities. Do all human practices in relation to the sea amount to a form of consumption?
• Can the sea envisaged as a resource accommodate the idea of the sea as a living entity?
• How do advertising, environmental and health discourses influence our consumption of sea products?
• Can we identify normalized and normalizing discourses on the sea? How different are they from one culture to the next?
• Does maritime tourism take the risk of turning sea cultures into commodified simulacra?

3. Conflicts, resistance, creativity
As the space of various forms of both exchanges and conflicts, the sea generates original patterns of social organisation or artistic creation that may lead in turn to new uses and practices. Contributions may identify and analyse these original social and cultural uses of the sea, as well as the instances of one-sided, partisan representations. Contributions may also examine how discourses and representations affect cultural forms related to the sea, whether in the field of sociality or art.
• What discourses, what forms of action are deployed against dominant economies and ideologies?
• How is conflict between users of the sea played out? What are the discourses used by the different parties involved?
• To what extent have the concepts of ‘environment’ and ‘ecosystem’ been recycled, and their meaning altered, by political discourses?
• How is the sea expressed in popular art forms, from sea shanties to leisure painting?
• Are certain practices or users linked to the sea changed into myths, or on the contrary made invisible, in keeping with current dominant visions of the sea?
• How are the practices linked to the sea represented in literature?
• Can the practice of writing or other forms of art reshape a globalized perception of seas and oceans?
• How can the sea help us rethink our understanding of the artistic practice?

Abstracts of no more than 1,500 signs for 20-minute papers in English or in French must contain the following:
• First and last names, contact e-mail.
• Academic affiliation
• Research interests and recent publications
• A provisional title for your paper
Proposals should be sent no later than 15 March 2017 to:, Notification of acceptance will be given around 15 April 2017.
A selection of papers will be published in a collective work.

(posted 7 January 2017)

Beyond the Ruin: Investigating the Fragment in English Studies: 10th International Conference of the Hellenic Association for the Study of English (HASE)
Department of English Language and Literature, National and Kapodistrian University of Athens, Greece, 23-25 November 2017
Deadline for proposals: 31 March 2017

Confirmed Keynote Speakers:

  • Apostolos Lampropoulos,  Université Bordeaux-Montaigne
  • Carl Lavery, University of Glasgow
  • Jyotsna Singh, Michigan State University
  • Julian Wolfreys, University of Portsmouth 

HASE-logoThe ruin and the fragment have enduring, interconnected, yet also distinct legacies, as historical realities, material and/or aesthetic objects, and as categories of thought. The ruin predominantly recalls a classical or distant past, and is valued as a silent yet privileged ground for the reconstruction of the past. On the other hand, the fragment is primarily a conceptual category and a stylistic form, a metonymy of nostalgic wholeness, and a metaphor of and for a modernity that contemplates wholeness as irreversibly lost. In response to historical vicissitudes, the literary and the artistic imagination turned to the fragment in all its forms, as an expression of dislocation, fragmentation, and fragmentariness in modernity. In the wake of the ruin of representation in postmodernism, ruins and fragments may operate as tropes of relatedness and separation, discontinuity and destruction, uniqueness and multiplicity, open-endedness and incompleteness. Whether literal or metaphorical, ruins and fragments bear dualities that are continually recuperated and revisited as they speak of creation and destruction, recovery and silence, memory and forgetting, war and catastrophe, classicism and avant-gardism.

As divisions and conflicting notions about our past and our present are now tokens of our own despair; as quests to restore an illusory wholeness persist; as the tension between the timeless and the crumbling is becoming all the more manifest; as violence and uncertainty are all around us; as ruins make invisible vulnerability visible, this conference invites reflection on the histories, theorisations, and representations of fragments and ruins in Anglophone literatures and cultures.

Possible topics include, but are not restricted to, the following:

  • Reception, representations, and the significance of ruins through the ages
  • The dialectic between the ruin and the monument
  • Fragments and ruins in travel writing
  • The ruin as metaphor/metonymy
  • Fragments, ruins and incompleteness
  • The (un)timeliness of the ruin: silence, erasure, and memory
  • Ruins and melancholia
  • Fragmented states of consciousness
  • Colonial and postcolonial ruins and fragments
  • Cultural appropriation, recovery, and/or destruction of ruins
  • Narratives of destruction and catastrophe
  • Fragments, ruins as palimpsests
  • The ruin and/or fragment as spectacle
  • Morality, ethics, responsibility, solidarity vis-à-vis the ruin
  • The (un)ethics and the politics of material and cultural devastation
  • Terrorism as/and the creation of ruins
  • Textual fragmentation and contemporary literature
  • The fragment in new technologies and the media

The conference will be held at the Main Building of the University of Athens (

The deadline for the submission of proposals for individual 20-minute papers (200-250 words) and of proposals for panel sessions (no longer than 500 words) is March 31st, 2017. Please send a short biographical note (circa 150 words) together with your proposal. Prospective panel organisers should also send the panelists’ names, paper titles, and short bio notes for each panelist and their contact details.

Confirmation of acceptance: 30 April 2017

Proposals should be sent to

Conference Organisers:

Emmanouil Aretoulakis (National and Kapodistrian University of Athens),
Anna Despotopoulou (National and Kapodistrian University of Athens),
Stamatina Dimakopoulou (National and Kapodistrian University of Athens),
Efterpi Mitsi (National and Kapodistrian University of Athens),

Conference Website:

(posted 16 January 2017)

Self-portraits in costumes: multiple identities at play
Nantes, France, 24 November 2017
Deadline for proposals: 31 May 2017

Venue: Campus de l’Ecole des Beaux Arts de Nantes Métropole, Nantes, France

Self-portraits admittedly waver between earnest confession (as stressed by Philippe Le Jeune in Le Pacte autobiographique, Seuil, coll. “Poétique”, 1975) and concealment. It is often a representation of the self that goes beyond the idea of the artist as subject in order to tackle wider notions. In a similar way, the self-portrait in costume or disguise (in painting, photo or video) may either protect the artist from self-disclosure or put his own self at risk. It is a multi-faceted genre or mode that this conference purports to explore. In painting, clothing has recently received a long-deserved interest: in  Fabric of Vision : Dress and Drapery in Painting (Bloomsbury Academic, 2016), Anne Holander underscore that clothing does matter as much as any other component of the composition in the eyes of the painter. This applies even more forcefully to self-portraits in costume.

Some classical painters have playfully included an image of themselves in period costumes in their compositions or painted self-portraits in costume. Veronese features dressed in white in The Wedding Feast at Cana (1562) while Rembrandt portrayed himself in oriental costume in The artist in an Oriental Costume (1631). The act of self-portrayal –as a creative process—may be viewed as an intimate act and private performance or as a staging of the self for public display, questioning the social and political status of the artist, the individual or his community. The costume inevitably introduces a twist or trick that may be playful or more intriguing: this strategy has not been fully explored and deserves more attention.

Given that self-portraiture is an experimental and mediated exploration of the self (and a nearly unavoidable step for many artists in the intimacy of the creative process), it is an invitation to explore lighting, stances, and costume either humorously or more introspectively. Costuming or masquerading, that is seemingly assuming someone else’s identity, may partake of a documentary or fictitious project and rely on various autobiographical modes. The artist may metamorphose him/herself exploring different time-periods, geographical areas, or identities; the dress may be normative or conversely singular. The manipulation of the self in the visual arts may be liberating, as is the case in the tradition of the masquerade or fantasy photographic portraits: through costuming the artists free themselves from the constraints of society and its prevalent dress-codes. Handicrafts, intermediality and bricolage may be used to costume the self in a process-oriented approach sometimes close to artistic performance. The body may disappear entirely and the artist be buried in the costume, faceless; conversely the artist may be reduced to a shadow or use synecdoche to escape exposure.

The costume (attire, dress, props, or make-up) being more than a sign of belonging entails performative embodiments and blurs the identification process thereby disrupting the conventions of self-portraiture. As a matter of fact, the self-portrait in costume often entails narrativity and fictitious self-representations in which the artist may drift towards fantasy and virtuality to explore complex forms of otherness.

Portraying oneself in exotic attire is a means of drawing the spectator’s attention to the artificiality of portrait-painting and the theatricality of social roles. The self-portrait in costume, relying as it does on shared sartorial norms and social codes, articulates culture and counterculture and may debunk myths, stereotypes and normative discourse centered on the body. The self-portrait in costume thereby constitutes a puzzle for the viewer who finds himself trapped into the contrivances of the staging. When costuming also means revisiting previous images and relies on intericonicity, the viewer may be complicit and laugh or mislaugh at the quote or distortion. Contemporary photographers and video-artists conceive fictional or fictitious autobiographies inducing generic and referential instability. Artists related to postmodern and postcolonial art portray themselves in costume to critically explore identity construction and the notions of authenticity and nostalgia. In a postcolonial perspective, self-portraits in costume tends to question the politics of representation, power relationships in the modern society, representation of minorities and a multiplicity of possible identifications torn between cultural and social contradictions. Other self-portraits are haunted by a nightmarish vision of the artist as Other, referring to the divided self from a psychoanalytic perspective. The advent of the post-human has made these imaginary explorations more tangible.

There is, we suggest, more than imaginary playfulness in these self-staged performances: the self-portrait in disguise may verge on parody or satire and entail carnivalesque reversals; it may conceal, even camouflage, the true personality of an artist for various reasons; it may also challenge the notion of physical integrity, singularity and authenticity especially when produced in series. By changing his/her sexual, ethnic, social identity, the artist may convey a strong message and situate his/her practice within society. This conference is an invitation to consider the complexity of the self-portrait in costume particularly in the contemporary period. Indeed, both postmodern reflexivity and self-referentiality, and the extended possibilities offered by image manipulation have revived this genre, with the success of selfies or avatars for instance raising new questions.

Contemporary creation puts the relationships between animality/humanity, body/machine under scrutiny, and is inspired by ontological theories (E. Kosofsky Sedgwick, Donna Haraway, Mel Y. Chen). The otherization of the self or the incorporation of the other –and the other-self in works concerned with the motif of the doppleganger—are processes of self-investigation that are worth analysing.

Proposals of approximately 300 words may be submitted to, and, along with a short biographical note before May 30, 2017.

(posted 29 March 2017)

The Poetics and Politics of Identity
Hammamet, Tunisia, 24-25 November 2017
Deadline for proposals: 30 April 2017

The Tunisian Association for English Language Studies (TAELS) organises its 3rd International Conference on: “The Poetics and Politics of Identity” 
Venue: Vincci-Marillia Hotel **** Hammamet – Tunisia

Recent scholarship in Identity Studies has engaged in a passionate debate that captures the proliferation of the concept among various academic traditions, seeking to formulate a balance between the aesthetic representations of identity and its political potential. In sociology, literature, anthropology, arts, linguistics and other related disciplines, the question of identity represents a core investigation area, lending itself to an impressive array of political and aesthetic approaches. Reflecting on the versatility of identity, different research paradigms have sought to elucidate the intricate links between social experiences, cultural practices, political standpoints and literary forms, taking into account the collapse of geographic and cultural boundaries in a world dominated by unlimited and multiplying connectivity.

Equally integral to the study of identity is language with its different cultural manifestations. From sociolinguistics to discourse studies, language represents an important venue to examine the relationships of power and to reconceptualize identity within one’s social, political, and cultural contexts. In language teaching and learning, identity has proven to be a central concept in the study of teaching-learning styles, educational policies, and teaching methods and approaches.

In the arena of sociopolitical discourses, the overwhelming waves of immigrants and displaced people have led to a pressing urgency of rethinking the chasm between the Global North and the Global South. Election discourses – and results – have been influenced by a popular glorification of nationalist voices weary of the potential threat posed by immigrants and asylum seekers. Studies on the discourses of recent election campaigns have been attentive to the politics of ‘race’, ‘class’ and ‘national identity’ in the light of the unprecedented surge of ‘racism’, ‘sexism’, ‘bigotry’, and ‘xenophobia’ and the mass manipulation of people to vote for the advocates of nationalist supremacy and ‘protectionist’ policies.

In culture and literary studies, interest in identity has spurred critical debate among theorists, critics and writers, negotiating the intricate crossovers between the literary and cultural domains, on the one hand, and identity construction, on the other. Novelists, for instance, have been attentive to the representation of identity and have sought to engage creatively in dismantling preset models of racial, ethnic and gender straight-jackets to celebrate constructionist approaches to identity. Diasporic literature, for instance, bears witness to the growing interest in negotiating identity formation, adopting a transcultural vision that refocuses attention from scripting essentialist norms to more fluid dynamic attitudes to identity.

The steering committee welcomes proposals related, but not limited, to the following topics:

  • The sociolinguistics of identity
  • Identity in discourse studies
  • Individual/collective identity(-ies)
  • Depictions of identity in the media
  • Identity politics
  • Cultural identity
  • Diasporic identities
  • Gender identity
  • Identity and ethnicity
  • Nationalism and identity
  • Identity and memory
  • Identity and engaged arts
  • TEFL and learner identity(-ies)

Submission Guidelines
Participants are invited to send their abstracts through the following link no later than April 30th, 2017. Notifications of acceptance will be sent by May 15th, 2017.
We accept abstracts and papers written in English, Arabic and French.
TAELS editorial board will select a number of papers that will be published after peer-reviewing in a collective volume on the proceedings of the conference.

Participation fees
Presenters of accepted papers will be required to deposit a participation fee of 200 TND (200 Euros for international participants) to TAELS bank account no later than August 31, 2017.
IBAN TN 59 1070 5007 0481 8407 8872
Swift code: STBKTNTT

The amount will cover:

For Tunisian participants

  • One full accommodation night at Vincci-Marillia Hotel in Hammamet, Tunisia
  • An annual membership in TAELS
  • Conference materials
  • Two copies of the conference proceedings after publication

For International participants

  • Two full accommodation nights at Vincci-Marillia Hotel in Hammamet, Tunisia
  • An annual membership in TAELS
  • Conference materials
  • Two copies of the conference proceedings after publication

For partners accompanying participants, an additional fee of 100 TND (100 Euros for International participants) will be required to cover the one/two-day stay at the hotel.

For Tunisian M.A and PH.D students, participation fees have been reduced to 150 TND to cover all benefits listed above.

For advice and more details about transportation and accommodation, please send your requests to TAELS team will be happy to assist in making your stay most comfortable.

(posted 1 February 2017)

Calls for papers – Conferences taking place in October 2017

The American Short Story: New Horizons
Johannes Gutenberg-University, Mainz, Germany, 5-7 October 2017
Deadline for proposals: 30 June 2017

In cooperation with:
– the Society for the Study of the American Short Story,
– the American Literature Association, and the Obama Institute

Program coordinator: Oliver Scheiding
Organizing Committee:
James Nagel, Olivia Edenfield, Elke D’hoker,
Jochen Achilles, Dustin Anderson, Damien Schlarb

Throughout its history, the American short story has been praised either as a highly polished gem or condemned as literary fast food. Despite such rise-and-fall predictions, the short story has always been a demanding form. Its narrative economy in terms of time and space records decisive, intimate moments of life that give the American Short Story a broad social resonance. As such, the short story offers a vibrant field of research. There is a renaissance in progress not only in terms of the short story’s productivity but also in terms of innovative theoretical questions. The current state of research is, however, probably best described as “ripening.”

The conference “The American Short Story: New Horizons” invites both panels and papers that address fresh and original questions relevant to studying the American short story: how the genre works as performance in itself; how it conveys a theory of culture in which aesthetic structures and the presentation of cultural problematics interrelate; how the short story and the practices of text-making are related to the cultures of print in which textual circulation and economic exchange are homologues; how we can read the short story as an expressive form alongside its material dimensions, its vitality of forms (i.e., short-short fiction, flash fiction), and the multiple meanings of such concepts as authorship and genre; how we can reassess the short story as a field to map out exchanges not just among authors, but also among editors, publishers, reviewers, readers, and the physical text, with its advertisements, illustrations, and editorial changes. The conference thus seeks to explore the American short story as a coming together of the enduring narrative practice of compression and concision in American literature, presently culminating in a digital culture in which brevity rules.

Suggested Topics:

  • History of the American Short Story
  • American Short Story and Ethnicity
  • Gender/Sexuality Studies and the American Short Story
  • American Short Story and Literary/Cultural Theory
  • American Short Story and Linguistics
  • American Short Story and Psychology
  • American Short Story and Religion
  • Early Short Narratives prior to 1800
  • American Short Story and Periodicals
  • American Short Story and Graphic Narratives
  • American Short Story and Print Culture/Material Culture
  • American Short Story and Translation/Translators
  • American Short Story and Storytelling
  • New and old Forms: Short and Short-Short Stories
  • American Short Story Cycles
  • The American Short Story and Life Writing
  • American Short Stories and Authors
  • Flash Fiction and Microfiction
  • American Short Story and Visual Arts/Film
  • American Short Story and Digital Research
  • American Short Story and the Digital Age
  • American Short Stories and Globalization
  • American Short Stories and Transnationalism
  • American Short Stories and Medical Humanities
  • American Short Story and Literary Periodization/Movements
  • American Short Story and MFA Programs
  • American Short Story and Music/Theater
  • Editing and Anthologizing the American Short Story
  • Publishing and Reception of the American Short Story
  • American Short Story and Pedagogy
  • American Short Story and Genres (Novel, Novella, Essay etc.)
  • New Literary Histories on American Short Stories (1980s to the Present)

Panels and roundtables have three presenters, although some may have more. Proposals for pre-arranged panels should include a 250-300-word description of the topic and full contact information for all members of the group. The person submitting the proposal is the chair of the session. He or she may also be a presenter, but need not be.

All persons wishing to give a paper at the conference, including all members of pre-arranged panels, should give a one-paragraph abstract of the paper to be presented along with a biographical paragraph giving the credentials of the presenter to address this topic. Individual papers should be scheduled for 20 minutes.

The organizing committee screens all proposals and abstracts, issues acceptances, and arranges the presentations on the program.  It will form panels to accommodate papers not included in pre-arranged groups.
Please submit all proposals and abstracts to Oliver Scheiding ( by June 30, 2017.

(posted 22 November 2016)

The poetics of Woolf through the prism of translation
Paris, France, 7 October 2017
Deadline for proposals: 31 May 2017

Something rich and intensely poetic is at work in Virginia Woolf’s writing, arising from her extraordinary ability to recreate moments of fullness of being. These dazzling yet fleeting moments are laden with a multifaceted sensory truth and they act on us like the perfect language that the author praises in a review of The Greek Anthology, a translation of Greek poetry into English by W.R. Paton : “In [these moments] we seem not to read  so much as to recollect what we have heard in some other life.” Something rich and finely chiselled that speaks to us, that we recognize as being true, that sounds and feels deeply familiar. These moments of intense plenitude are set against the backdrop of the stream of consciousness, the subtle racing of thought and time as Virginia Woolf endeavours to capture that perfect language so that the “veil lifts in the […] writing to reveal something beautiful, something strong and sincere.”

In her essays, in her diary and her correspondence Virginia Woolf reflects upon the translator’s activity, which she likens to the pirouettes of an acrobat, a thing of beauty, or again an impossible task….  The theoretical conclusions that she comes to are rooted in the experiencing of the source text and its translation, and they touch upon a range of issues whether these be social, cultural, linguistic… In the process of translation, something else is at stake: the specificities of each language – the genius of the other language -, echoes and memory, the unconscious language brought to light, the hesitant reading and understanding of an elusive text that can only be grasped through the use of a bilingual edition, the emotion that springs from a first impression, the role of rhythm and sounds, the intricate relationship between translation and the imagination.

What do Woolf’s essays, book reviews, diary and correspondence tell us about her poetic theory of translation? How do her collaborative translations and perhaps her own writing reflect this critical thinking? Do her insights into translation herald 20th and 21st-century translation theories? Finally how does the poetic quality of Virginia Woolf’s writing translate into French?

Abstracts of around 250 words should be sent by May 31st to Jessica Stephens ( and Claire Pegon Davison (, together with a short biographical note.

(posted 29 March 2017)

Industrial Heritage in the UK: Mutations, Conversions & Representations
University of Rennes, France, 10 October 2017
Deadline for proposals: 15 May 2017

University of Rennes, France – Research team ACE (EA 1796)


Since the mid-1950s, the UK has been experiencing a growing interest in the study, protection and conservation of industrial heritage, and is often considered as a forerunner in the advocacy of this idiosyncratic heritage and of its significance and potentialities. This rise in public awareness started with the development of industrial archaeology as a discipline in its own right, which later led industrial heritage to be seen as a resource for regeneration. In this respect, regeneration through the provision of new uses for derelict buildings also corresponded to a surge in urban renewal policies in the context of deindustrialization and to the current calls for sustainable development.

If the intentional disappearance of industrial vestiges caused popular outrage in the past and if industrial archaeologists and conservationists are sometimes unable to keep up with the quick pace of creative destruction in today’s redeveloping urban areas, the rhetoric of the tabula rasa is nonetheless increasingly contested. This is partly due to the positive contribution that innovative reinterpretations of existing industrial structures can make towards the retention of the palimpsestic quality of the urban fabric, as well as towards the promotion of a sense of place also based on an interconnection between past and present. Last but not least, nowadays the demolition of sound industrial buildings as if they were disposable resources runs counter to the promotion of a rational, cost-efficient – and environmentally friendly – urban revitalization.

The research project will mainly revolve around industrial buildings such as former textile mills, factories, warehouses, industrial infrastructures – whether they are listed or not – as well as on their surroundings when they constitute a landscape and/or are integrated into a conservation area. The scope of objects of study is not limited to sites inherited from the 18th and 19th centuries as it also includes those which came into being throughout the 20th century. The ambition of this one-day conference is to explore changes in the field of industrial heritage, its instrumental role in the provision of spaces for tourism, culture, and urban regeneration in general, and potential conflicts arising from the relationship between those various processes. Yet it will also be crucial to examine representations of industrial society and the tangible traces of industry in order to foreground mutations in terms of how industrial heritage has been depicted and perceived ever since the beginning of the industrial revolution. Thus it will offer a more comprehensive picture of the contrasting visions of a once neglected heritage.

The chosen perspective for this one-day conference is an inter- and pluri-disciplinary one and it is therefore articulated around a variety of approaches such as cultural geography, cultural history, art history, media studies, urban studies, heritage studies, architecture, etc. Possible subthemes of research may include:

  • 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.
  •  Reinterpreting industrial sites for creative uses: questioning the inventiveness, viability and durability of adaptive re-use by the creative industries.
  • Assessing the legibility and permanence of the past in the conversion of industrial buildings.
  • Conservation and conversions: conflicts arising amidst architectural, cultural, historical, economic and promotional priorities.
  • Contemporary architectural interventions on the industrial urban fabric: an act of enhancement, detraction or debasement of heritage?
  • The protection and conservation of the industrial built environment: a challenge for urban planners and developers.
  • Representations of a vanishing industrial society and its heritage: depicting the industrial past, its people and its physical reminders in urban and rural landscapes.
  • The contribution of industrial heritage to tourism in post-industrial areas.
  • The birth of environmentalism in an increasingly industrial and urban British society in the late 18th century and its development in the 19th century onwards.
  • New functions for vacant industrial buildings: the discourse of sustainable development in cities.

Scientific Committee : Aurore Caignet, Renée Dickason, Tim Edensor, Julian Holder, David Haigron, Guillaume Clément, Nicole Cloarec, Jose-Manuel Lopes-Cordeiro, Laurence Gourievidis, Lesley Lelourec.

Please send your proposals (maximum 500 words) in English with a short biography to Aurore Caignet by 15 May 2017.

(posted 21 November 2016)

And in the end, life laughs at death… Rethinking Laughter in Contemporary Anglophone Theatre
Toulouse, France, 12-13 October 2017
Deadline for proposals: 31 mars 2017

Université Toulouse-Jean Jaurès, laboratoire CAS, Département des Études du Monde Anglophone et Théâtre du Grand Rond

Plenary speakers:
Elisabeth Angel-Perez (Université de Paris-Sorbonne)
Linda Ben-Zvi (Tel Aviv University)
Annette J. Saddik (City University of New York)

“All destruction is finally petty and in the end life laughs at death” Edward Bond, The Sea

To laugh and to relish, as some people, historically, always seem to do, how far the rampant disorder had spread, enjoying enormously the assailability, the frailty, the enfeeblement of supposedly robust things.
Philip Roth, American Pastoral

All those tooth-whitening ads you’ve got on television – sheer mania for showing your bones. I mean no other animal exhibits its skeleton the way we do.
Brian Parker, Tennessee Williams and His Contemporaries

The revival on the contemporary stage of long-established aesthetic categories inherited from the comic tradition and comprising a wide variety of styles, ranging from the burlesque, the slapstick or the farcical to satirical and black comedies, calls for a reexamination of the role and function of laughter in Anglophone theatre since the second half of the twentieth century. In a post-Auschwitz world where, according to Theodor Adorno’s well-known remark, “it has become impossible to write poetry,” the diversity of comic forms seems to have provided playwrights with the means of filling the void of the unspeakable. As early as 1958, Ionesco felt the need for a theatrical medium that had to be violently comical, that had “to push everything to paroxysm, to the point where the sources of the tragic lie.” In this light, the comic voice, as it manifests itself on stage today, could prove to be the catalyst for a new understanding of the tragic. This idea was suggested by Mireille Losco-Lena in 2005, when she wrote that the use of comic forms could breathe new life into theatre and help redefine the tragic. So, if it is still possible for spectators to laugh today, why do they laugh and what makes them laugh? What is the meaning of the “bursting, inarticulate voice” (Descartes) that shakes them? Is it simply the only possible answer to the strangeness of the world, to its radical inhumanity? Or, in that shared space created by laughter, couldn’t there be a desire to go beyond nihilism and an affirmation of humanity? The Rabelaisian experience of laughter as pure outburst or Baudelaire’s description of the intoxicating power of laughter seem indeed to hint at something absolute, “something terrible and irresistible” (Baudelaire) that undermines the relation of the public to the spectacle and renews the comic tradition to expand the potentialities of laughter, making it not just “the only imaginable and definitively terminal result” (Bataille), but also a means of setting thought in motion and continuing to be human in a world that no longer seems to be so.

The conference invites participants to explore the new potentialities of laughter on the contemporary Anglophone stage through the following themes:

  • The object of laughter: What provokes laughter in the text/on the stage? How do contemporary playwrights and directors appropriate the comic tradition?
  • The playwright/director’s intentions: How does the comic intention manifest itself in the text/on the stage? How does this intention transpose from page to stage? What are its aesthetic, ethical and/or political implications?
  • Laughter in translation: How does the comic intention translate into another language? Surtitling laughter and its challenges.
  • Laughter on stage: What happens when a character laughs and her/his voice frees itself from meaning and language? Is laughter a negation of language or an expansion of its potentialities? What is the difference between real and acted laughter?
  • The spectator’s laughter: Distance or empathy? Can laughter be considered as a form of catharsis? Does laughter take part in the creation of a shared space between the public and the stage or does it instead imply the idea of a separation, of a critical distance?

Proposals should include a 300-word abstract and a brief bio-bibliography. Please send them to and  by the deadline of 31 March 2017.

(posted 8 March 2017)

Transitio, Transmissio, Translatio: Spaces of Transition in the Modern World: The 16th International Conference “Language, Literature, and Cultural Policies”
Craiova, Romania, 12-14 October 2017
Deadline for proposals: 1 July 2017

Plenary Speakers:

  • Professor Stephen Prickett, Regius Professor Emeritus of English at the University of Glasgow, Honorary Professor at the University of Kent at Canterbury)
  • Professor Patricia Erskine-Hill, Professor of Italian and Medieval Literature at Baylor University, Texas (retired)
  • Professor Mihaela Irimia, Director of Studies, British Cultural Studies Centre, Director, Centre of Excellence for the Study of Cultural Identity, University of Bucharest

Transitional spaces are spaces which, by definition, epitomize the uncertainty of an existence caught in-between conditions, stages of development and worlds. Passages, pathways, hallways, and courtyards continuously negotiate cultural identities and meanings. This chapter provides a perfect occasion for a multidisciplinary and interdisciplinary exchange of ideas. The conference hopes to bring together scholars and postgraduate students working in a range of disciplines and departments. Speakers are warmly invited to address the discourse of transition from one of the perspectives sketched out below. Also welcome are papers which look at this topic from other viewpoints concerning the past and present states of transitional space. Possible topics can include, but are not limited to, the following themes:

  • Geopolitical transitional spaces
  • Literature as a transitional space
  • (Socio-) linguistic transitional spaces
  • Cultural practices in transition
  • Transition and spaces of in-between in translation

Proposals (maximum 200 words) for 20-minute papers along with a short autobiographical note (maximum 100 words) can be sent to the organizers, Dr Elena Butoescu, Dr Andreea Bratu, Dr Alina Resceanu and Dr Daniela Rogobete, at by 1 July 2017. The languages of the conference are English and German.

Conference fees

  • participants presenting papers: 250 RON / 60 EUR
  • attendance without presentation: 70 RON/ 15 EUR

Conference venue
Casa Universitarilor 57, Calea Unirii, 200329, Craiova, Romania


(posted 13 March 2017)

Iasi-Chernowitz Conference: Embracing Linguistic and Cultural Diversity through English
Iaşi, Romania, 12 October 2017, and Chernivtsi, Ukraine, 13-14 October 2017
Deadline for proposals: 15 June 2017

Alexandru Ioan Cuza University of Iaşi, Romania, Faculty of Letters, Department of English
Yuriy Fedkovici University of Chernivtsi, Ukraine, Faculty of Letters, Department of English

We all should know that diversity makes for a rich tapestry,
and we must understand that all the threads of the tapestry
are equal in value no matter what their color.

Maya Angelou

Discourse on linguistic and cultural diversity is by no means new and the topic has been approached from the most diverse angles of investigation: from cultural studies, anthropology and linguistics to literature, translation studies and foreign language teaching –if we were to mention some of the disciplines that are closest to this area of research. Despite its recurrence, though, the subject is far from losing its high relevance at a time when cultural and linguistic identities are constantly challenged by the powerful – and inevitable – phenomenon of globalization. Moreover, the interdisciplinary potential of the topic makes it still attractive to further multifaceted research and thought-provoking inquiries.

However, the novelty and challenge of this conference are also determined by its cross-border dimension, with two outstanding universities in their respective countries, enjoying well-respected academic traditions, as main organizers. Its unique context of development is marked by geographical vicinity, by the intercultural dialogue of two areas in which distinct, yet occasionally merging cultures and languages have co-existed. In addition, this scientific event is the joint venture of two Departments of English. Consequently, the main general questions that the conference addresses are: how has the study of English foregrounded cultural and linguistic plurality on our planet? How has it encouraged the assertion of linguistic and cultural identities?

In keeping with its topic, the conference also offers a unique opportunity for profitable encounters between participants from the most diverse geographical areas – who are invited to present papers from the perspective of such (inter)disciplines as

  • cultural studies
  • linguistics and stylistics
  • literature, film and the media
  • translation studies
  • ELT

to which other fields of interest could be added.

Interested participants are invited to send a 300-word abstract and a brief bio-biblio note to the following email address:
Deadline for proposal submission: 15 June, 2017
Notification of acceptance: 31 July , 2017

The Conference registration fee is 150 EUR (100 EUR for Chernivtsi to be paid by 1 September, 2017 on a bank account that will be published on the conference site), and another 50 EUR to be paid in Iasi upon arrival. The conference fee covers the conference folder, the conference volume, refreshments, 3-day- lunches, a welcome reception, a welcome dinner, and a farewell cocktail. The conference fee does not cover travel expenses and the cost of accommodation. Further information on accommodation [some most convenient possibilities included] will soon become visible on the conference web page at

(posted 27 March 2017à

Last pages, last shots
Université de Caen Normandie, France, 13-14 October 2017
Deadline for proposals: 27 March 2017

This conference continues a sequence of international events exploring the question of closure  as well as the question of adaptation.[1] We would like to turn now to the adaptation of the last pages of a novel to the screen.

In this conference, we intend to measure and comment the stakes of adaptation to the screen at the end of a novel. An adaptation is necessarily the product of a specific reading of a text; it is an appropriation that can lead to a change in the end of the source text. The close of a novel, however, is both the moment when literary traditions hold strongest – and when the author may take up the challenge to buck those traditions, to distance the work once and for all from foregone conclusions (Larroux). Can the same be said of film? Does the filmmaker’s vision replace that of the novelist? Does the end of a film also signal its tendency to either follow or challenge tradition? Classic Hollywood films end with a concluding scene, followed by an epilogue (Bordwell), thus imitating the traditional novel, but adaptations are frequently the subject of narrative and structural changes, for various reasons. Hollywood’s love of the happy end is well known, while the transformation of Jane Austen’s novels into simple love stories is a striking example of Hollywood’s need to appeal to a mass audience. In animated adaptations of fairy tales, the trend is even more obvious: Walt Disney’s The Little Mermaid (1989) is but one example, born of a desire to not shock children (or their parents). Beyond this, a change to the ending can be a selling point: the producers of the recent adaptation of Gone Girl (2014) actually promoted the film by promising that it rewrote the final act, thus maintaining the suspense that readers felt, or perhaps correcting an ending that was somewhat controversial.

Beyond these transformations made to the storyline, writing for the screen necessarily engenders structural changes, be it the transition from the last images to the credits, or the move from a last chapter to the last act of a film. When the adaptation is to the endless present of television, where the ending (or conversely, the continuation) of a story is often decided not by creative choice but by ratings and network dictate, these structural changes are even more pronounced. Thus we are interested in both the ideological implications of changes made in adapting these final pages to the screen, as well as the aesthetic stance taken in modifying (or on the contrary, maintaining) the ending of the source text.

We could also compare open and closed endings when they are adapted to the screen; if we think of the open endings that Torgovnik referred to as “scenic” that proliferate in the novels of Henry James, and are themselves a testament to the influence of the theater, ending with an ongoing dialogue – can we find a similar technique at work in film, or does the adaptation tend to offer a more definitive ending?


  • Bordwell, David. “Happily Ever After, Part 2”. Velvet Light Trap 19 (1982): 2-7.
  • —.  Narration in the Fiction Film. London: Routledge, 1985.
  • Hock, Tobias.  “Film endings”. In Last Things: Essays on Ends and Endings. Ed. Gavin Hopps et al. Aachen British and American studies 19. Frankfurt: Peter Lang, 2014. 65-79.
  • Larroux, Guy. Le Mot de la fin. La clôture romanesque en question. Paris : Nathan, 1995.
  • Neupert, Richard. The End, Narration and Closure in the Cinema. Detroit: Wayne State University Press, 1995.
  • Torgovnick, Mariana. Closure in the Novel. Princeton, N.J.: Princeton UP, 1981.

Proposals are to be sent to Dr Armelle Parey, Université de Caen Normandie ( and Pr. Shannon Wells-Lassagne, Université de Bourgogne Franche Comté ( by March 27th, 2017. Answers will be received in the following month.

[1] Happy Endings and Films (dir. Armelle Parey, Isabelle Roblin et Dominique Sipière). Paris : Michel Houdiard, 2010; Literary Happy Endings : Closure for Sunny Imaginations. (dir. Armelle Parey and Isabelle Roblin). Aachen : Shaker Verlag, 2012; L’Inachevé ou l’ère des possibles dans la littérature anglophone, Récits ouverts et incomplets. (dir. François Gallix, Armelle Parey et Isabelle Roblin). Caen: Presses Universitaires de Caen, 2014; Character Migration in Anglophone Literature. (dir. Armelle Parey et Isabelle Roblin).  E-rea [on-line], 13.1 | 2015.

L’adaptation cinématographique : première pages, premiers plans. sous la direction de D. Letort et S. Wells-Lassagne, Mare &Martin, 2014.

(posted 7 November 2016)

Translating the Senses in Children’s Literature
TRACT Conference, Sorbonne Nouvelle, Paris, France, 13-14 October 2017
and issue 31 of Palimpsestes
Deadline for proposals: 31 March 2017

This is both a call for papers for the TRACT Conference and a call for contributions to issuse 31 of Palimpsestes.
Center for Research in Translation and Transcultural Communication

In Orbis Sensualium Pictus (1658), Comenius, established a parallel between the physical pleasure that results from a child’s relationship with the book and his/her connection to the surrounding world. Comenius’s encyclopaedia enabled children to learn new words through the visual representation of objects. The book relied on the movement between languages and modes of representation, in keeping with the maxim beloved of both Aristotle and Thomas Aquinas: “Nothing is in the intellect that was not first in the senses” (“Nihil est in intellectu nisi prius fuerit in sensu”).

Children’s literature emerged as a distinct genre a century after the publication of Comenius’ work. At that time, the notion of the pleasure of the text became more firmly established. From its earliest stages, the central role of the image in children’s literature was consolidated by printing’s technical progress. The importance of the non-verbal dimension of the children’s book has made it the multimodal corpus par excellence. The materiality of the book as object plays with size, form, texture, and graphics, thus allowing for forms of physical interaction which are close to those provided by toys (pop-up books, kamishibaï, fold-out books, tactile books, lift-the-flap books) which have a strong meta-linguistic dimension.

Translating a book for children implies far more than simply translating the written text. The translator is only one of the different mediators involved in the process of recreating the sensorial experience. Both the text and the relationship between text and image need to be translated, as indeed does the non-verbal dimension of the book (graphics, layout, the texture of the paper).

Translation has played a fundamental role in the emergence of young people’s literature from the 18th century, as illustrated by the development and circulation of a European literary corpus for children, via a continuous process of translation, retranslation, rewriting and adaptation. Since children’s literature is the only genre defined by its readership, the translation required in the expansion of children’s literature further complicated the relationship this corpus had to the translated book. As a result of the founding paradox on which children’s literature is based (the adult writing for the child he once was), the notion of reception and the specificity of the corpus is vital. The translation process reproduces the inextricable equilibrium between the adult and the child. Translation also takes account of the sensorial links that characterize this asymetrical relationship, in which the senses occupy an essential place. For the young reader the connection to his/her mother tongue, the physical presence of the adult and the timbre of the adult’s voice when s/he reads aloud to the child are part of the peculiar challenges that this literature represents. Yet, translating orality for older readers is also difficult, implying the transposition into the target language of the musicality of a form of writing ever more resolutely multicultural and diverse.

In the case of the translation of children’s literature the following aspects may be addressed:

  • the translation of the relationship between text and image in children’s picture books and graphic novels
  • the case of manga, especially the translation of onomatopoeia as expressions of the senses
  • the translation of non-verbal elements in children’s books
  • the book as object in translation (layout, colours, graphics, materials, textures, format, cut-outs)
  • the translation of orality and musicality in children’s books
  • the specificities of the translation of e-books for young people
  • the senses/meaning and translation of nonsense

Propositions (a half page in English or in French) plus a short CV should be sent, by 31 March 2017 at the latest to Clíona Ní Ríordáin ( and Virginie Douglas (

(posted 2 February 2017)

Saints and Sanctity in Language, Literature and Culture
Departments of English and German Philology, University of Warmia and Mazury, Olsztyn, Poland, 18-20 October 2017
Deadline for proposals: 30 April 2017

The conference concerns the motifs of sanctity, sacred places and figures of the saints, which have undergone culturally de- termined transformation perceptible on the diachronic and synchronic scales. In contemporary times many texts revert to the ancient genre of hagiography. The motifs of saintly lives de- termine the plot development of multiple dramatic and liter- ary texts, as well as of many films, such as, among others: T. S. Eliot’s Murder in the Cathedral, Graham Greene’s The Power and the Glory, Thomas Mann’s The Holy Sinner (Der Erwählte), George Mackay Brown’s Magnus, A Man for All Seasons (1966) directed by Fred Zinnemann, The Mission (1986) dir. Roland Joffé, Life for Life: Maximilian Kolbe (1991) dir. Krzysztof Zanussi, The Messen- ger: The Story of Joan of Arc (1999) dir. Luc Besson. The genre ele- ments of hagiography have also influenced the ways of consti- tuting literary, dramatic and film characters in many works that do not openly deal with the lives of the saints.

The linguistic research conducted into many languages has revealed the rich layers of meaning of the terms sanctity, saintliness, holiness, saint, saintly, holy. One of the purposes of such analyses is reaching the primary semantic core of who is regarded as a saint, what is regarded as saintly, or the primary experience of sanctity. Some interesting conclusions have been reached by Polish historical linguists who have established the primary sense of the lexeme saint and have proved its word-forming activity over the centuries. In old Polish the word meant strong, mighty and enduring and it originated from early Slavonic.

Who or what is understood as saintly in many different texts, works of art, languages and epochs? What are the changes in constituting the motifs of sanctity, and in the meanings of words from the families of the words saint and holy? What changes are perceptible in the linguistic, literary, dramatic, cultural and artistic depiction of a male or female saint or a sacred place? Are there any narratives of sanctity that have not been questioned these days, and, if so, to what extent are they shared by different cultures and world views?

The conference welcomes the participation of English, German and Polish studies specialists, historians, culture studies specialists, film studies specialists, philosophers and specialists in the related disciplines.

We suggests the following research topics:

  • etymology and semantics of the words saint, holy, sanctity, holiness in English, German, Polish and other languages,
  • phraseology of lexemes saint and holy;• axiolinguistic dimension of sanctity;
  • ways of desacralising the lexemes from the families of words saint and holy
  • language evolution and conceptualising sanctity;
  • realisations of semantic aspects of the lexemes saint, holy, sanctity and holiness in various literary epochs;
  • figures of the saints and motifs of sanctity in poetry, fiction and drama;
  • depiction and conceptualisation of sanctity in film, old and new media, art;
  • topos of a holy place;
  • archetypes related to sanctity;
  • a saint as a symbolic figure;
  • (non)ideal sanctity as a popular motif;
  • literary and nonliterary texts authored by the saints;
  • a saint as a culture-forming and historiocentric foundation;
  • a saint as a new beginning, the vortex of community formation and a model for it;
  • martyrdom of the saints in the context of constituting “national spirit” and/or“community spirit”;
  • cultural differences in perception of sanctity;
  • saints as patrons of the nations;
  • images and words of the saints in public

The above list is not exhaustive. We invite other panel papers which come within the thematic scope of the conference.

Our conference will take place in the Humanities Centre at the University of Warmia and Mazury in Olsztyn, Kurta Obitza Street 1, 10-725 Olsztyn, Poland. Proposals for twenty-minute papers, with abstracts up to 200 words, should be sent by 30th April 2017. Please use the enclosed Registration Form. Please name the files with your surname and shortened title, using the formula Surname_Shortened title. doc(x). We will inform you about acceptance of the proposals by 15th May 2017.

Proposals should be sent to

Languages of the conference: English, German and Polish.

The conference fee will be 100€ (450 PLN for Polish attendees) and it will cover conference materials, coffee breaks, a dinner and a lunch. We inform you that it does not cover the hotel. We recommend Hotel Park which is close to the venue of the conference (address: Warszawska Street   119, Olsztyn), or budget lodgings in the guest rooms of Fundacja Żak UWM, situated within the University campus in Kortowo: DS   1,   Kanafojskiego   Street   3,   tel.   +48   89   523   33   29, +48 89 523 34 95, +48 89 522 74 50; DS 3, Oczapowskiego Street   9,   tel.   +48   89   523   33   42,   +48   89   522   74 78, +48 89 523 44 76; DS4, Kanafojskiego Street 2, tel. +48 89 523 44 81.

We plan the publication of a peer-reviewed thematic monograph that will comprise the positively reviewed articles in English, German and Polish.

Academic Committee:
dr Halszka Leleń
dr Tomasz Żurawlew

Organising Committee:
dr Dorota Gładkowska
dr Renata Supranowicz
Student Interest and Initiative Group Anglo-Cooltura Juniors
Young Germanist Student Interest Group

(posted 4 March 2017)

The Reformation in Europe and its Echoes: Marking the 500th anniversary of Luther’s theses
Osijek, Croatia, 19-20 October 2017
Deadline for proposals: 1 April 2017

osijekThe Faculty of Humanities and Social Sciences Osijek, Evangelical Theological Seminary, and the Department of Cultural Studies at the Josip Juraj Strossmayer University of Osijek, together with the Croatian Institute of History, Department for the History of Slavonia, Syrmia and Baranya in Slavonski Brod invite paper proposals for an interdisciplinary conference marking the 500th anniversary of the Reformation
Venue: Faculty of Humanities and Social Sciences, Jägerova 9, Osije, Croatia
The sixteenth century saw the beginning of the Reformation, a religious and social movement which, based on the ideas of Renaissance and Humanism, constitutes one of the most significant events in the theological, cultural and political history of Europe, its effects long-lasting and visible to this day. The Reformation challenged the structure, practice, and theology of the Church resulting in its schism, but the Reformation’s consequences greatly transcended the area of theology and religious practice. Religious conflicts instigated wars, altered borders and political structures in Europe, and left a deep mark on European culture and art. The translations of the Bible into national languages, the freedom and the right of an individual to interpret the Bible for themselves, as well as the belief that it is everyone’s individual responsibility to provide for their own salvation increased the interest in and reverence for the written word. This has effected a great change in the perception of national (vernacular) languages which changed the general attitude toward literature, and brought about the development of new literary genres and a new style in art.
Based on the comprehensiveness of the causes, consequences, and effects of the Reformation, the conference organizers invite scholars from various disciplines to reflect on the following topics, or other topics related to the conference theme:

  • Pre-Reformation Period: movements and leaders
  • Leading figures of the Reformation
  • Reformation and Humanism
  • Pontificate during the Reformation
  • Catholic Revival and Counter-Reformation
  • Historical development of Protestant confessions and denominationsReformation and political history
  • Reformation and social history
  • Reformation and cultural history
  • Reformation and source criticism
  • Reformation and history of mentality
  • Reformation and Protestantism in Croati
  • Leading figures of the Reformation in Croatia
  • Reformation and historiography


  • Reformation and (post)modernisation
  • Reformation and social values
  • Reformation and secularization
  • Reformation and demographic changes
  • Reformation and economic development


  • Ethics and Reformation
  • Philosophy of politics
  • Philosophy of religion


  • Theoretical precepts of Reformation pedagogy
  • Luther’s views on education
  • Criticism of scholastic pedagogy from the point of view of Protestantism
  • Attitudes to higher education and universities
  • Family education in the spirit of Protestantism
  • Education in the spirit of the Reformation and its main regional proponents
  • Echoes of the Reformation in educational practice in Croatian schools
  • Impact of the Reformation on education in Croatian lands


  • Cultural and literary echoes of the Reformation
  • Sermon as a literary gen
  • Reformation and the Bible
  • Lollards and adaptations of orthodox texts
  • Precursors to the novel
  • The Book of Common Prayers and prayer-books
  • Echoes of the Reformation in the methodology of literary scholarship
  • The character of Martin Luther in the realm of literary fiction
  • Reformation, drama, and theatre
  • Reformation and the German language
  • Echoes of the Reformation in Croatian linguistic and literary traditio
  • National and European frameworks of Croatian Protestant literature during the Reformation
  • Croatian Protestant translators in Urach and Regensburg
  • Reformation movement in the realm of Croatian Glagolitic literary and linguistic history
  • Dissemination of Reformation teaching in Croatian religious literature for common people
  • The working languages of the conference are Croatian, English, and German.

Please e-mail your 300-word abstracts by 1 April 2017 to the official address of the conference:
The conference fee is 300 HRK or 50,00 EUR (student fee: 100 HRK or 15,00 EUR) and is due by 10 September 2017.
Payment details:
Faculty of Humanities and Social Sciences Osijek, Croatia
IBAN: HR8423600001102484368
Reference: Reformation Conference

The deadline for submission of papers to be published will be announced at a later date. All papers will undergo peer-review. The accepted papers will be published in the conference proceedings.

Conference secretary: Luka Pejić, mag. educ. philol. angl. et mag. educ. hist.
Organizational board:
Assistant professor Dubravka Božić Bogović, Ph.D., Full professor Peter Kuzmič, Ph.D., Stanko Andrić, Ph.D., Full professor Ružica Pšihistal, Ph.D., Full professor Milica Lukić, Ph.D., Associate professor Zoran Velagić, Ph.D., Associate professor Jelena Lakuš, Ph.D., Assistant professor Željko Pavić, Ph.D., Assistant professor Ljubica Matek, Ph.D., Assistant professor Mirko Lukaš, Ph.D., Sonja Novak, Ph.D., Zdravko Perić, Ph.D., Gabriela Dobsai, mag. philol. hung. et mag. educ. hist.

Downland the call for papers in English or in German.

(posted 21 November 2016)

Landscape / cityscape : Writing / Painting / Imagining Situational Identity in British Literature and Visual Arts (18th – 21st centuries)
Senate House, London, UK, 19-20 October 2017
Deadline for proposals: 31 May 2017

Joint conference of the SEAC (Société d’Etudes Anglaises Contemporaines) and the SAIT (Société Angliciste – Arts, Images et Textes)

The very etymology of the word “landscape,” derived from the Dutch “skip”—view—from the start underlines the constructedness of our relation to space. The space we inhabit is a lived space inscribed with the cultural traces of a collective imaginary itself informed by the art of landscape painting and writing. This conference organized jointly by The Société d’Études Anglaises Contemporaines (SEAC) and the Société Angliciste – Arts, Images et Textes (SAIT) aims at exploring the complex relation of identity to site and the way this relation may have been transformed across the centuries.

Several studies have, since the late 70s, stressed the tight correlation between the fashioning of collective identity in Britain, the rise of a specific sensibility to landscape and the underlying political and economic agenda of nature engineering, from Raymond Williams’ famed The Country and the City (1973) to David Matless’ Landcape and Englishness (1998). In 2012, the British Library’s contribution to the Olympic’s festivities took the form of an exhibition focusing on Britain’s spatial imaginary: Writing Britain. Wastelands to Wonderlands (see Christina Hardyment, Writing Britain: Wastelands to Wonderlands, London: The British Library, 2012), although, at the same time, Iain Sinclair lamented the depletion of that same collective imaginary at the hands of urban speculators. More recently, such explorations have also turned to the weather imagination and the way it informs English literature and visual arts (see Alexandra Harris’ Weatherland: Writers & Artists Under English Skies [2015]), as well as to the affective impact of site and space (see Christine Berberich, Neil Campbell and Robert Hudson [eds.], Affective Landscapes in Literature, Art and Everyday Life, London, Ashgate [2015]).

From Gainsborough’s early insights into the discursive potential of landscape painting to Turner’s modern take on landscape and seascape painting under the double injunction of myth and modernity (see The Fighting Temeraire, 1839) or L.S. Lowry’s industrial scapes, landscape painting has captured the mutations of English identity in its relation to space and vision. Similarly, from Romantic poetry to Thomas Hardy’s or D. H. Lawrence’s mytho-poetic visions and Simon Armitage’s reappropriation of that tradition, English literature has invented itself in an organic embrace with landscape, i.e. nature always already culturally inscribed.

Although specific emphasis may be placed on the 20th and the 21st centuries, papers may also address the longue durée of such imaginary and the specific intertextuality and inter-iconicity produced by the landscape and cityscape aesthetic tradition. One may choose to turn to turn-of-the-century morphing visions of landscape as it was harnessed to nascent metroland modernity, or to the lasting pastoral model as explored and deflated both by Virginia Woolf in Between the Acts (1941) and Evelyn Waugh in Brideshead Revisited (1945). Intermedial treatments of landscape and cityscape are also crucial to the understanding of the fashioning of identity in relation to site-specificity. Ted Hughes’s Remains of Elmet (1979), as well as Hamish Fulton’s blend of poetry and site-specificity art are examples of the way writing, images, and site-specific works allow art to reinvent England’s relation to its own situational memory. Such intermediality has also been of key importance to the exploration of England’s conflicted urban imagination: from Dickens’s foundational definition of urban city-writing, to Zadie Smith’s new take on urban identity fashioning or Howard Jacobson’s recent dystopian vision of a world that may no longer be mapped in J (2014).

The conference will also be the occasion to explore the epistemological distinctions between landscape and nature-writing and between landscape and nature-studies or Green studies as defined by Jonathan Bate or Lawrence Buell.

Proposals will be examined by a scientific committee.

Selected papers will eventually be submitted to two peer-reviewed academic journals (Etudes britanniques contemporaines and Polysèmes), both available on the platform (

Abstracts (300 words + selected bibliography and short biographical note) should be sent to Isabelle Gadoin (, Catherine Lanone ( and Catherine Bernard ( by May 31st 2017.

(posed 16 January 2017)

Biography & Verity
Maison de la Recherche – Aix-Marseille Université, France, 20-21 October 2017
Deadline for proposals: 1st February, 2017

mosaic-verity-of-a-lifeInterdisciplinary Colloquium of Federation CRISIS
Biography Society
LERMA (EA 853) – CAER (EA 854) – IrASIA (UMR 7306)

Biography entertains a peculiar relationship to the notion of verity, by aiming far less at the Truth than at the fluctuating truths of unique individual lives. Indeed, in science and in the humanities alike, truth appears to us today as a construction, always conveyed by a discourse ; indeed, verity is an unattainable horizon, an object of desire that keeps receding on and on as we strive to get closer to it, but the very quest ceaselessly modifies the landscape of our knowledge. The recent development of ‘biofiction’ can be interpreted as a ‘biographisation’ of contemporary fiction, which characterises our time, and is comparable to the ‘novelisation’ of genres one century ago. This phenomenon is what Hans Renders, Binne de Haan et Jonne Harmsma investigate in The Biographical Turn : Lives in History (Routledge, 2016). In historiography and philosophy of history, Hayden White’s theses, especially in The Fiction of Narrative (Johns Hopkins University Press, 2010), like Ivan Jablonka’s in L’histoire est une littérature contemporaine (Seuil, 2014), clearly pose the problem of the partly fictional, and in any case literary nature of historiography. Biography, commonly described as a hybrid genre, between history and literature (see Michael Benton, Toward a Poetics of Literary Biography, Palgrave Macmillan, 2015), is distinguished by a peculiar aesthetics; it is assessed (by readers, critics, and the juries of literary awards) by the double standard of the verity of the knowledge it conveys, and the quality of the style in which it is expresses it.
A biographer is expected, on the one hand, to administrate the proof of what she writes in her texts and paratexts, and, on the other hand, to do so while producing a text where the pleasure to read must satisfy the desire to know: where scientific quest and aesthetic experience cross-fertilize one another. The most interesting biographers are those for whom literary writing is not a mere form but their very method, the very path of their thinking towards a better understanding of their subject. Some are fascinated by the gradual metamorphoses their characters goes through, others keep swinging backward and forward in the chronological unravelling of a life, unwilling to wrench their eyes from the accomplished historical personage. Mixing memory and desire, scientific truth and literary verity, biography is a peculiar field, a crossroads of humanities, where a significant turn is taking place. The biographic turn partakes of a reprise, a new start, a reorientation of writing and reading towards this verity, always surprising, of which we cannot but see that it is the text that our lives are made of.
Contributions can propose theoretical reflexions on the notion of verity in biography, or case studies, interrogating for instance the political uses of biography to inflect the “truth” about a person in the eyes of the public, addressing methods of investigation and verification of the facts, or analysing literary, rhetorical, strategies of administration of the proof. They also be studies of the paratexts (footnote, prefaces, postfaces, documentary appendixes, etc.), or of the iconographic illustrations, taking especially into account the impact of photography. Considerations on the cinema are also expected, investigating the special relationship of biographical films to historical truth. In the field of digital humanities, the truth effect of on-line biographical notices and dictionaries of biography, as well as the impact of digital tools on biographical research are a case in point. Papers should also address fictionalisation as a method of investigative construction to fill in the gaps of documentation.
Proposals, in French or in English, with a provisional title, an abstract no longer than 100 words, and 5 key-words, should be sent before February 1st, 2017, to Pr Joanny Moulin & Pr Yannick Gouchan

(posted 5 November 2017)

The experience and representation of the disabled body in literature and the arts
Lyon and Saint-Étienne, France, 20-21 October 2017
Deadline for proposals: 15 May 2017

A two-day interdisciplinary conference organised by Université Jean Monnet, Saint-Etienne (CELEC) & Université Jean Moulin-Lyon 3 (IETT), France, 20-21 October 2017
Venue: Université Jean Monnet, Saint-Etienne (20 October) and University Jean Moulin-Lyon 3 (21 October)

This international conference will explore the experience and representation of disability in literature and the arts. Whether we think of paralyzed or amputated limbs, visual or mental impairments, war cripples or traffic accident victims, the disabled body has always been an object of fascination in the arts and in the popular imagination. Since it is outside the norm and literally extraordinary, it seems to resist both representation and interpretation. Consequently, what is stake in the disabled body has often been ignored, for it has been perceived as a diminished or dysfunctional version of the “normal body”. Besides, since the ideal of a “sound mind in a sound body” has long prevailed, the disabled body has often been presented as a symptom of a moral wrong or the physical manifestation of an ontological failure, an approach which has confined it to a metaphorical or allegorical reading.

It is only with the emergence of disability studies as an autonomous disciplinary field in the 1980s, essentially in North America, that the question experienced a renewed interest. In France, it has gained momentum only recently. Intersecting with notions of gender, race and class, disability studies became fully engaged in an interdisciplinary dialogue on identity. This newly acquired visibility has led artists and critics to change our perception of the impaired body as they stopped considering it only in terms of deficiency, incapacity or lack.

Disability studies have indeed put the disabled body at the center and helped it discard the stigma it had long been bearing. The relationship between normalcy and pathology was thus radically challenged as some other ways of relating to the world and the self were exposed. Focus has particularly been put on the enabling strategies allowing the disabled subject to transcend the limitations imposed by his/her afflicted body, whether in daily life or artistic practice. In that perspective, the conference invites contributors to reflect on this recent shift and welcomes papers that explore the disabled body in literary productions, movies and the arts.

First, disability is an experience which is intimately connected to storytelling and the narrative forms it adopts and adapts should be carefully examined. Disability demands a story: a missing limb, a paralyzed body or a cognitive impairment must be accounted for.  This implies the repeated production of a narrative that is constantly refashioned over one’s life and depends upon context. Reciprocally, the self is reshaped by the performative potential of the narrative and liberated from clinical or institutionalized discourses. Through its repetition, the narrative produced allows the disabled subject to go beyond the experience of trauma and forge his/her own identity.

The experience and representation of disability have initiated a new reflection on genres (from comedy to tragedy) and narrative forms. Consequently, the narrative role of disabled characters must be examined as well as the strategies and structures at stake in such literary productions. Indeed, disability poses a challenge to space (limits, immobility, confinement), time (duration, repetition, projection), the self (acceptation, rejection) and others (dependence, perception), as well as language and the creative process.

Besides, the experience of disability implies a renewal of artistic practices that explore the potentialities of hesitant gestures, faltering speech and vulnerable bodies Disability is not only inducing a wide range of strategies that are meant to address the failures of the disabled body. Prosthesis, for instance, may not just be considered as some substitution/imitation of the missing limb or organ: the use of technology can lead to fruitful cognitive adaptation, unexpected deterritorializing of the human body and enhanced performance. The disabled body can thus channel unprecedented practices and forms of expression.

If a poetics of disability cannot merely feed on the dysfunctions and failures of the impaired body, can it escape the persistent dialectics of lack and excess, powerlessness and superpower? Similarly, can it offer any alternative to the binary opposition between exhibition and concealment, repulsion and sublimation, stigmatization and idealization? Since the disabled body does not conform to aesthetic canons, how do poets, artists, photographers, filmmakers and novelists who work with/on disability transform aesthetic codes and reconfigure notions like beauty and ugliness, attraction and repulsion? We wish to pay particular attention to the disruptive potential of disability, the singular affects it implies, and the irreducible difference that disability represents. The cognitive potentials of disability inaugurate a whole series of uncharted aesthetic experiences and the power of fiction helps the construction of an identity that is often built on a different relationship to time, space and the body. Mapping those forms and potentialities may prove crucial in understanding and transforming collective representations of disability.

Selected Bibliography
Couser, Thomas G. and Thomas Griffith, Signifying Bodies: Disability in Contemporary Life Writing, Ann Arbor: University of Michigan Press, 2009.
Davis, Lennard J., Bending over Backwards: Disability, Dismodernism and Other Difficult Positions, New York: New York University Press, 2002.
Eco, Umberto (dir.), Histoire de la laideur, Flammarion, 2007.
Garland-Thompson, Rosemarie, Extraordinary Bodies, Figuring Physical Disability in American Culture and Literature, New York: Columbia University Press, 1997.
Hall, Alice, Literature and Disability, London: Routledge, 2016.
Mitchell, David T., and Sharon L. Snyder. Narrative Prosthesis: Disability and the Dependencies of Discourses, Ann Arbor: University of Michigan Press, 2000.
Sandhal, Carrie and Philip Auslander (ed.), Bodies in Commotion, Disability and Performance, Ann Arbor: University of Michigan Press, 2005.

We welcome papers focused on any region or period and will privilege contributions addressing the following topics:

  • the disabled body and technology
  • motor / mental disability and the limitations of perception
  • disability and tragedy / comedy
  • narratives of disability and (re)construction of identity
  • the disabled character as a hero or minor character
  • disability and artistic practices
  • disability in body arts / visual arts
  • the reception of disability studies and the question of terminology
  • the relationship between the abled body and the disabled body
  • disability and old age
  • disability and sexual/gender/queer identities

300-word abstracts should be sent to Pierre-Antoine Pellerin ( and Sophie Chapuis ( by May 15th, 2017

(posted 18 March 2017)

Spaced Out: Spatiality in Comics
Cagliari, Italy, 26-27 October 2017
Deadline for proposals: 31 May 2017

26 October / Aula Magna / Department of Humanities
27 October / Conference Hall/ MEM

Keynote speaker: Michael A. Chaney (Dartmouth College)
with the participation of Sara Colaone / Manuele Fior

Scientific project and organisation: Andrea Cannas, University of Cagliari; Claudia Cao, University of Cagliari; Giovanni Vito Distefano, University of Cagliari; Marina Guglielmi, University of Cagliari; Fiorenzo Iuliano, University of Cagliari; Lucia Quaquarelli, Paris Nanterre University

Scientific committee: Giuliana Benvenuti, University of Bologna; Tatiana Cossu, University of Cagliari; Enrico Fornaroli, Academy of Fine Arts Bologna; Donatella Izzo, University of Naples “L’Orientale”; Mauro Pala, University of Cagliari; Bepi Vigna, International Centre of Comics – Cagliari

Space does for comics what time does for film.
McCloud 1994

How is space thematised and transformed, strengthened or weakened in the narrative comic? To what extent do comics rewrite and reinvent space by offering a place where spatial coordinates can be reconfigured in a utopian or fantastic manner? How does this reconfiguration affect perception devices? And again, how can the representation of spatiality in comics be modified within the network of the ongoing transmedia transformations?

Comics writers have long shown a preference for setting their works in the city and have implicitly tailored their works for readers, whose lifestyle and way of consuming comics as ‘products’ of the cultural industry single them out as a completely urbanised audience. Alongside this representation, interest has also been growing in internal or domestic space, from houses to artists’ studios, from apartment buildings to nursing homes, from hospitals to prisons. Such spaces are anything but neutral settings and, just like urban spaces, play a decisive role in shaping the narrative and the characters that move therein. Last but not least, space must be considered as a semiotic phenomenon: the language of comics manages to produce its own spatiality on the flat surface of the page, a spatiality that defines the coordinates of perception and the representation of space.

The Spaced Out. Spatiality in Comics Conference calls on scholars to tackle the issue of space in the narration of comics, against the background of the broader contemporary narrative and transmedia landscape, adopting various theoretical and critical approaches. There are two ways to participate:

  • submitting a proposal for a paper to be presented at the general sessions coordinated by the respondent appointed by the Scientific Committee;
  • submitting a workshop proposal for the two roundtable sessions that will focus on how the City and House are represented in the following works:

The city
Andrea Pazienza, Le straordinarie avventure di Pentothal (1982)
Art Spiegelman, In the Shadow of No Towers (2004)

The house
Richard McGuire, Here (2014)
Paco Roca, La casa (2015)

Paper proposals should be around 500 words long. A short bio-bibliography of the author and an essential annotated bibliography must also be submitted. Two papers can be presented if one of these concerns the workshop sessions.

Proposals must be submitted by May 31, 2017 to Authors will be notified of paper acceptance by June 30, 2017. Papers presented at the conference will be peer-reviewed and considered for publication. The deadline for sending the final version of the articles is December 30, 2017.


  • Michael A. Chaney is Associate Professor of English at Dartmouth College, Chair of African and African American Studies. He specialises in nineteenth-century American literature and African American literature, visual culture studies and mixed race representation, comics and graphic novels. He has published Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel (University Press of Mississippi, 2017) and edited Graphic Subjects: Critical Essays on Autobiography and Graphic Novels (The University of Wisconsin Press, 2011).
  • Sara Colaone is a comics writer, illustrator and animator of short films. She teaches Illustration at Bologna’s Academy of Fine Arts. Her work has been published by Kappa, Dargaud, Coconino, Norma, Schreiber&Leser, Centrala, Stripburger, Giunti, Zanichelli, Pearson and in several journals: Internazionale, Le Monde Diplomatique DE, Rivista Il Mulino, Ventiquattro Magazine. Her latest graphic novel is Leda.Che solo amore e luce ha per confine (Coconino, 2016).
  • Manuele Fior is a comics writer and illustrator. His work has been published by Coconino, Atrabile, Futuropolis, Delcourt and in several newspapers and magazines: The New Yorker, Le Monde, Vanity Fair, La Repubblica, Sole 24 Ore, Internazionale, Il Manifesto, RollingStone Magazine. His latest book is entitled I giorni della merla (Coconino, 2016); his latest graphic novels are L’Intervista (Coconino, 2013) and Cinquemila Chilometri al Secondo (Coconino, 2010), which won the Fauve d’Or (Golden Wildcat) at the 2011 Angoulême Festival.

(posted 21 February 2017)

Adaptation in the Age of Sterne
Kazimierz Wielki University, Bydgoszcz, Poland, 26-28 October 2017
Deadline for poroposals: end of May 2017
“Shall we for ever make new books, as apothecaries make new mixtures, by pouring only out of one vessel into another?”
Laurence Sterne, Tristram Shandy

the International Laurence Sterne Foundation
the Department of English, Kazimierz Wielki University in Bydgoszcz, Poland
invite paper proposals for
The Second International Laurence Sterne Foundation Conference
on the theme of Adaptation in the Age of Sterne

Although the primary concern of the conference will be the work of Laurence Sterne and its afterlife, we are also interested in papers shedding light on the broader context of the Age of Sterne.

Paper proposals (200-word abstracts) should be sent to Peter de Voogd and Jakub Lipski by the end of May 2017.

Notifications of acceptance will be sent at the beginning of June 2017. For more information, see

Delegates wishing to present a paper must be members of the Foundation, the online membership form can be found here.

(posted 23 December 2016)

Is economic inequality also a literary problem? An international conference on culture, society and economy
Uppsala, Sweden, 26-28 October 2017
Deadline for proposals: 1 May 2017

‘We wish, in a word, equality.’ – Mikhail Bakunin

To call economic inequality a ‘problem’ is probably to say too little about it. Equality is not just a function of modern life, which may fail to work under certain conditions. Equality is a horizon of expectation. What then makes advanced contemporary society, especially in nations like the US and UK, so economically unequal? Certainly there are conditions of the market since the Second World War, despite all its successes, that have operated against equality – not as a failure of capitalism but as an expression of its nature. This was observed as early as 1958 by John Kenneth Galbraith and 1970 by Jean Baudrillard. It has recently become a dominant theoretical postulate since the publication of Thomas Piketty’s Capital in the 21st Century (2013).

Does literature have anything to do with this? Does it have something to so with creating a culture where inequality has been increasingly tolerated, or even promoted? Does it have something to do with the effacement of that horizon of expectation of an equality to come?  Or has literature been a force of resistance or a zone of neutral alterity? Is it fair even to ask of literature and literary studies that they address the problem of economic inequality? We know about reformers like Charles Dickens and Elizabeth Gaskell. But where are the reformers now? Is anybody listening? Does it matter? ‘The entire U.S. school system, from pre-K up’, wrote Walter Benn Michaels a decade ago’ ‘is structured from the very start to enable the rich to out-compete the poor, which is to say, the race is fixed’. Since then the gap between the rich and everyone else has only grown in most of the developed world, even in Sweden, and we critics and teachers find ourselves complicit in one of the main institutions of economic and cultural division. Our interest in this conference is manifold: first, in the representation of economic relations in literature, and what it may or may not have to tell us; second, in the institutions of literary production, and how they work in relation to economic inequality; third, in the institutions of higher education, which promote cultural aspiration at the expense of inequality; fourth, in the history of all this, going back to the origins of capitalism.

We invite proposals for presentations of up to 20 minutes on literature and theory in any language. The conference language is English. Proposals about any period since 1550 are welcome. We are especially interested in inequality in the context of modern economies, beginning with the Industrial Revolution, and seeing how literature has adapted to changes in productive powers and the distributions of income. We also welcome contributions on subjects related to literature – from film and TV to Internet writing. A limited amount of funding is available for all participants to help cover travel and accommodation costs.

Subtopics may include:

  • The Drives and Drivers of Inequality in the Literary Domain
  • Race and Class in Popular Culture
  • The Forms of Inequality
  • Shakespeare and Inequality
  • Literature and Unremunerated Labour
  • Gender and Economic Inequality
  • Narratives of Success and Their Discontents
  • Queer Inequality
  • Economic Inequality and the Circulation of Objects
  • After Social Democracy
  • Beyond North and South?
  • Extreme Poverty: Literary Representations
  • The Literary Commons and Parallel Economies
  • Literature and Social Reform in the Eighteenth and Nineteenth Centuries
  • Epic Theatre and Its Social Horizons
  • Literary Reviews and the Problem of Inequality
  • Not Everyone is Getting Poorer: Developing Countries and Their Literature

Submissions of up to 500 words including biographical information should be sent by

1 May 2017 to the conference organisers:

Robert Appelbaum:
Roberto del Valle Alcalá:
For more information about the conference, please go to:

(posted 21 February 2017)

Food and Drink as Symbols: historical perspectives
Pedagogical University of Krakow, Poland, 27-28 October 2017
Deadline for proposals: 15 May 2017

Food and Drink as Symbols: historical perspectives. The 2nd International Conference, organized by  the Department of History and Material Culture of English Speaking CountriesPedagogical University of Krakow, Poland

Eating and drinking have always been a part of socialisation. Humans have eaten together and mealtimes are events when the whole family or community comes together. Eating food can also be an occasion for sharing, for giving to others, for example, parents give food to their children, a mother gives her milk to her infant, thus making food a symbol of love and security. Two thousand years ago Jesus taught us to share food with others. He used food for both instruction and revelation, and food items bear a religious symbolism in the way they are made or the way they are eaten. For instance, in Christianity bread and wine have a symbolic meaning. Indeed, many dietary habits are derived from religious laws with certain foods chosen or avoided according to religious beliefs. In Greek mythology, food plays a role in defining the hierarchy of being: there is food for gods, food for men, and food for animals. In modern societies food indicates the status, power and wealth of individuals, and humans often symbolically interact when eating, for example, sitting at the head of the table symbolizes head of the house. Additionally, certain foods symbolize wealth and social class, and foods are symbolic or act as metaphors for body parts involved in sexual relations. In fact, any particular item of food might carry a system of symbolic meaning. Moreover, foods have been an important theme in the arts and various artists have employed them, for instance, to underline social issues.
This conference invites papers to be submitted that explore the meaning of food and drink as symbols, with focus on historical perspectives in different contexts. Although potential areas of interest might include the symbolism of food and drink in life and sensuality, its relation to political consciousness, honour and status, ethnicity, lifestyle, religions or art may also be addressed. The conference is not restricted to any specific historical period.

Keynote Lecture: Prof. Fabio Parasecoli (Associate Professor at The New School, New York; co-editor of Cultural History of Food)

The conference organisers: Andrzej K. Kuropatnicki, Paweł Hamera, Artur Piskorz

Abstract submission: All submissions should include:

  • Title of the presentation
  • Abstract of no more than 200 words
  • A brief biography of the presenter or presenters
  • Contact details

Submissions should be sent to
The closing date for submissions is 15 May 2017.
The conference language is English. The conference fee is 200 PLN or 50€ (130 PLN or 30€ for students and PhD candidates) which will include the conference dinner, tea and coffee, the conference materials and the publication of a monograph (selected papers will be published in a peer-reviewed monograph).
Please visit the conference website at for details regarding the venue, conference programme, suggested accommodation, transportation and otherpracticalities.

(posted 14 February 2017)

Experiment in Drama, Theatre, Film and Media
Department of Studies in Drama and Pre-1800 English Literature, University of Łódź, Poland, 27-28 Oct 2017
Deadline for proposals 30 May 2017

The conference poses the question about the value and outcome of experiment in literary, theatrical, dramatic and cinematographic representations. Centuries of experiments in these disciplines culminated in the 20th century, with the rise of a number of alternatives to traditional modes of expression: realism and naturalism gave way to symbolism, Epic Theatre, Theatre of Cruelty, Theatre of the Absurd, Third Theatre, in-yer-face theatre, immersive theatre and other avant-garde movements. Most of these movements in the course of time have been accommodated into the mainstream or eventually institutionalised. Many experiments have also been stimulated by political conviction or produced, in their turn, a certain policy in the given area of the arts, creating an intersection between aesthetics and social concerns.

The advent of new and accessible technologies has forwarded most recent experiments in film and media. The blurring of borders between genres and types of the arts in question, disintegration and fragmentation of categories, also generate the question about the definition of experiment and art as such, especially in the digital age of popular culture where everyone can become a film maker or media artist.

Suggested themes of conference papers (other topics are also welcome):

  • Experiment and intermediality
  • The politics of aesthetic experimentation
  • Experiment and audience reception
  • Experiment and conventional forms
  • Crypto-experimental spirit of older drama
  • Experiment and criticism
  • British experiments and the continental avant-garde
  • Failed experiments
  • Minority voices

The names of keynote speakers will be announced soon.

Papers should be presented in English although the conference is open also to themes pertaining to other cultures than Anglophone ones.
Topics and abstracts (250 words) should be submitted by 30 May 2017.
Conference fee: 100 euro (70 euro for doctoral students). It includes conference materials, coffee breaks and the banquet.
For submissions and enquiries please contact dr Joanna Kruczkowska – secretary (
Conference information will be gradually updated at

(posted 29 March 2017)

Calls for papers – Conferences taking place in September 2017

Decolonial Turns, Postcolonial Shifts and Cultural Connections: English Academy of Southern Africa 2017 International Conference
Cape Town, Western Cape, South Africa, 6-8 September 2017
Deadline for proposals: 30 April 2017

Keynote speakers:

  • Professor EllekeBoehmer, Professor of World Literature in English, University of Oxford
  • Professor PitikaNtuli, South African poet, sculptor, public intellectual, insanusi and former University of Durban-Westville

This conference focusses on decolonial turns and postcolonial shifts in English writings, and on the ownership of English today: how the Commonwealth and other English-using polities are assimilating, adapting and re-inventing the global lingua franca to advance education and reflect the culture, individuality and rapidly changing nature of these societies. Is English proving itself a malleable and useful instrument in economic advancement and cultural development, or is it dominating countries and regions as an oppressive political or cultural behemoth, and thwarting advance? That is the question.

The English Academy of Southern Africa interests itself in all aspects of English literary and language studies, encouraging research and debate in these fields across the globe. Uniquely in the world, the multilingualism underwritten by the South African Constitution guarantees rights for all the official languages of South Africa. This challenging constitutional provision and the Academy’s commitment to an evolving and inclusive linguistic and cultural ecology, nationally, regionally and internationally, coalesce in its concern for preserving and developing linguistic and cultural ecologies. Consciously treating language, literature and culture from an ecological perspective invites the fresh and innovative perspectives which form the central focus of this conference.

Papers are welcome in all areas of English scholarship but particularly where research explores English as a force for effective change in postcolonial environments. Engagement with literacy in its broad Freirean definition is particularly welcomed. This conference examines how English literacy is being used, and could be used further, as a means of individual enlightenment and effective social amelioration and advance. Literacy is at the heart of basic education for all and can play a large role in eradicating poverty, ensuring sustainable development and disseminating democratic principles. Language education papers should reflect the conference focus on English as a transformative and dynamic force, whether within the southern African region or elsewhere in the world.

Papers dealing with topics and issues related to any of these areas in English literature, education, language and literacy are invited from colleagues throughout the world. There will be a 20 minute time slot for each paper with 10 minutes associated discussion. Presentations should not exceed 20 minutes. Selected papers will be offered publication in the English Academy of Southern Africa’s accredited and peer-reviewed journal, The English Academy Review.

The conference programme will be organised around themes and issue-centred concerns, and there will be a core of invited contributions on these topics. We invite papers on the following or related themes:

Sub-themes include but are not confined to the following areas:

  • The decolonial turn in English literature
  • Disrupting the English curriculum
  • Circling definitions: Commonwealth/ Postcolonial/ Transnational/ Diasporal
  • Postcolonial writings
  • Short-circuiting genre: literary experimentation
  • Linguistic ecologies
  • Cross cultural translation
  • Writings from the Commonwealth
  • Language and education
  • Language policy, theory and practice
  • Language and (social) media, television and film
  • Language, culture, gender and identity
  • Language and transformation
  • Technology and the teaching of English

Several outstanding speakers of international stature will deliver plenary addresses at the conference. The programme consists of three days of plenary presentations and a diverse range of concurrent workshops and parallel sessions for paper presentations. The academic programme will be complemented by social activities including a welcome reception, a poetry reading festival and a closing gala dinner. This conference will be one of the most significant events on the English studies calendar for 2017.

Guidelines and instructions:
An abstract not exceeding 300 words should be submitted by e-mail as an Ms Word file accompanied by the following information:

  • Title, full names and surname:
  • Institutional affiliation:
  • E-mail address:
  • Telephone:
  • Postal address and postal code:
  • Full title of the paper:

Submission of abstracts:
Final Deadline for abstract submission: 30 April 2017. Colleagues are encouraged to send their abstracts early as the conference can accommodate only a limited number of papers. Abstracts should be sent to the English Academy:

All abstracts will be peer reviewed.

(posted 11 February 2017)

Forms of the Supernatural on Stage: Evolution, Mutations: Fifteenth Round Table on Tudor Theatre
Centre d’Études Supérieures de la Renaissance, Université François-Rabelais de Tours, France,  7-8 September 2017
Deadline for proposals: 15 December 2016

The subject presents an obvious specific interest in the English context, given the impact of the religious reforms (and counter-reforms) over the sixteenth century. On the one hand, the medieval biblical plays, miracles and moralities disappeared (though in chronologically and geographically uneven fashion), while, despite sporadic upsurges of a theatre of Protestant propaganda, the dramatic representation of sacred personages and explicitly religious themes became progressively more difficult, to the point of near-impossibility. On the other hand, from the development of the Elizabethan public theatre in the 1570s, playwrights found indirect and innovative means of dramatising spiritual issues and entities. With respect to dramatic works ranging from the Middle Ages to the seventeenth century, contributors to the Round Table will attempt to identify points of rupture and continuity in evolving dramaturgical practices, taking into account the operations of censorship, as well as questions of genre, the mentality of spectators, and staging techniques.
Proposals (200-300 words) for 30-minute papers in English should be directed to Richard Hillman ( by 15 December 2016.

(posted 16 October 2016)

Reading Michèle Roberts
University of Lodz, Poland, 7-8 September 2017
Deadline for proposals: 1 June, 2017

Special guest speaker: Michèle Roberts

Michèle Roberts is an author who escapes easy classifications, her books being as rich and complex as her personal history and the sources of her inspiration. Born in an Anglo-French family and raised in a repressive Catholic background, she has blossomed into a writer who draws inspiration from this complex heritage without being inhibited by its limitations. In consequence, her oeuvre—which includes novels, short stories, poems, essays and theatrical plays—offers a seemingly effortless marriage of oppositions. Like no other contemporary writer, Roberts combines spirituality with sensuality, engages literary tradition in the service of radical experiment and employs religious motifs and images to express progressive feminist ideas. Provocative and witty, her work ranges far beyond the trio of “food, sex and God” that she jokingly named as her principal thematic concerns.

The conference offers a rare opportunity to reflect on Michèle Roberts’s achievement by bringing together scholars interested in her writings. Papers are invited on all aspects of the author’s work. They may concentrate on particular texts or address recurrent themes, motifs and formal strategies. Suggested topics include, but are not limited to, the following:

  • spirituality and religion
  • feminist theology
  • sensuality, desire and sexuality
  • literary representation of sensory experience
  • (maternal) body
  • male/female dynamics
  • family dynamics
  • female space(s)
  • feminine experience and identity
  • history, memory and the past
  • intertextuality: tradition and the practice of “writing back”
  • historical, literary and biblical inspirations
  • narrative technique and formal experiments
  • metafictionality
  • representations of London / representations of small-town France
  • language, symbolism, recurrent images and metaphors
  • society, ideology and politics

We take pleasure in announcing that Michèle Roberts has kindly accepted our invitation to be a special guest speaker during the conference. Her presence will give the participants a unique opportunity to discuss their research ideas with the author.

Proposed presentations should be 20 minutes long. Please submit an abstract of 200-300 words, including the title of your presentation and a brief academic CV to The deadline for submissions is 1 June 2017 and the participants will be notified by 15 June 2017.

For further details, see conference site:

Conference fee:
Early bird fee (paid until 31 July 2017)
Polish academics: 350 PLN
Foreign academics: 100 EUR
Polish Ph.D. candidates: 250 PLN
Foreign Ph.D. candidates: 70 EUR
Regular fee (paid until 31 August 2017)
Polish academics: 450 PLN
Foreign academics: 130 EUR
Polish Ph.D. candidates: 250 PLN
Foreign Ph.D. candidates: 100 EUR

Conference organisers: Marta Goszczyńska, Tomasz Dobrogoszcz

(posted 29 March 2017)

Erotema: Conference on Rhetoric and Literature
Karlstad University, Sweden, 14–16 September 2017
New extended deadline for proposals: 10 MAY 2017

Could rhetoric play a more central role in literary studies than it hitherto has? Do both fields stand something to gain by a closer collaboration? Might such a combination of perspectives even be a means to open up rhetoric and literary studies alike to other disciplines, such as media studies, language studies, art history and pedagogy?

Erotema: A Conference on Rhetoric and Literature proceeds on the assumption that although questions of the above order may seem mere rhetorical questions – erotemata – to some of us, they demand genuine answers. To that end, we invite papers that address old and new ways in which the relations between rhetoric and literature may be further explored. Proposals of 300-400 words for 20-minute papers dealing with rhetoric and literature in relation to the history of literature and/or rhetoric, language studies, translation studies, historical studies, teaching, subject specific teaching methodology, media theory, genre theory, political theory, gender studies, postcolonial studies, cultural studies, or any other topic, should be sent to, by January 13, 2016.

Confirmed keynote speakers are Roy Eriksen, Xing Lu, Richard Walsh, Andrzej Warminski, and Laura Wilder.

For more information on the conference and the speakers, please visit the conference web-site:

New extended deadline for proposals: 10 May 2017

Erotema is organized by KuFo, the culture studies research group at Karlstad University.

(posted 10 October 2016, updated 29 March 2017)

Globalisation: 2017 Convention of the Postcolonial Studies Association
School of Advanced Study, Senate House, University of London, UK, 18-20 September 2017
Deadline for proposals: 28 February 2017

We are pleased to announce that the 2017 PSA Convention will be held at the School of  Advanced Study, Senate House, University of London, from 18th to 20th September 2017. Paper and panel proposals are invited from academics, scholars and postgraduates with research interests in any area of postcolonial studies from any disciplinary, cross- or interdisciplinary perspective.

Confirmed keynote speaker: Dr. Sharae Deckard (University College Dublin)
Other keynotes to be confirmed shortly

2017 PSA Convention website

The Special Topic of the 2017 Convention is Globalisation. Proposals for panels and papers on this theme are particularly encouraged.
While the transregional history of globalisation can be traced back to antiquity, its discursive entanglement with the temporal realm of the ‘postcolonial’ has been the subject of much discussion and analysis in recent times. The 2017 convention seeks to investigate the crucial role of postcolonial studies in furthering newer understandings of economic, political and cultural globalisation in the light of the current international climate: the complex socio-political ramifications of the Brexit verdict, Trump’s electoral victory, or the European refugee crisis, which
have come to be regarded as the reactionary ‘whitelash’ against globalisation.
Harnessing the philosophical scope of the postcolonial field, our special topic aims to examine the nexus between a ‘neoliberal’ grand-narrative and ‘neocolonial racism’ as a mainstream ideological position in both the North and South. How are these ongoing developments in the global North perceived by peoples and communities in the global South? How is the North/South binary interrogated by the liminal story spaces of illegal immigrants, temporary workers, refugees and asylum seekers? How might we postulate an alternative global economy? In what ways could
informal citizenship practices collaborate with radical discourses of ecofeminism, or the transnational agency of a globalised digital resistance, to pose a concerted challenge to the reductive hierarchies of neocolonial racism? In what ways might postcolonial analyses of cultural production account for globalisation within the current economic and political conjuncture?

Please send abstracts of no more than 250 words for 20-minute individual
papers and 500 words for panels of three, along with a brief biographical note of participants (2-3 sentences max), to
he deadline for the receipt of abstracts is Tuesday, 28th February 2017.

(posted 26 Januarey 2017)

à corps perdu: The Body: limits, constructions, intensity. International PhD Conference
Università di Verona, Italy, 20-22 September 2017
Deadline for proposals: 30 April 2017

“Nous habitons notre corps bien avant de le penser”
Albert Camus

The body has been the object of manifold re-definitions, and yet it remains an undiscovered territory, bordering on the uncanny. It is a nomadic entity, a witness of history, of stasis and movement. While various forms of knowledge can but asymptotically touch the body, art gives a kaleidoscopic representation of it. Existence seems to be the only common ground of this whirlwind of art, science and philosophy. Indeed, for all human beings, to exist means, more than anything, to adhere to the body that we are. The body turns into the precondition not only of every gesture, but also of every thought. And yet it seems absurd to reduce existence to its biological dimension only. Whereas grasping the irreducible complexity of the body is at the core of the scientific project, voicing it is the ill-concealed destiny of literature. If, according to Nietzsche, “only that which has no history can be defined”, we face here an irreducible complexity that escapes the realm of words, an elusive swerve that is nonetheless intimately tied to life. This conference aims at theoretically thinking the multi-faceted core of being in the world, the body.

Proposals are not limited to, but may address any of the following topics:

The altered body

  1. Body and illness
  2. Body and trauma
  3. Body and suffering
  4. The fragmented body

The transformations of the body

  1. The Seasons of the body: from childhood to old age
  2. Pregnancy, maternity, abortion
  3. Suicide and euthanasia
  4. The dead body
  5. The mask and the double
  6. Obesity and anorexia
  7. The body and the Other

The limits of the body

  1. The self vs the body
  2. The body as jail
  3. The body of the Other
  4. Cyborg

Body and sexuality

  1. Sexual satisfaction
  2. Sexual dependency
  3. Transexuality, intersexuality
  4. Sexual orientation
  5. Sado-masochism

Body and culture

  1. Religion
  2. Rites of passage
  3. Death rituals
  4. Reincarnation
  5. Anthroporfism and zoomorfism
  6. The body as political act
  7. Body’s rights
  8. Body trade

Body and arts

  1. Body art
  2. Performance art
  3. Actual body and virtual body

Abstracts: The Conference is addressed to PhD students and researchers who have no more than 5 years post- Doctoral experience. Please submit an abstract of 250 words as well as a short biography of 100 words by April 30, 2017 to the following address: The time limit for each presentation is 20 minutes, followed by discussion. All submissions should be written in English or Italian.

Organising and scientific committee: Giulia Angonese, Francesca Dainese, Andrea Nicolini, Carlo Vareschi

Address: Università degli Studi di Verona, Via San Francesco 22, 37129 Verona, Italy.

(posted 22 March 2017)

Between Texts and Theory: Transnational Conrad
University of Limoges, France, 21-22 September, 2017
Deadline for proposals: 30 April 2017

EA 1087 EHIC (Espaces Humains et Interactions Culturelles) & Société Conradienne Française, with the support of Associazione Italiana di Studi Conradiani

Joseph Conrad’s work has acquired a symbolic status in contemporary globalized culture. After 9/11, The Secret Agent “became one of the three works of literature most frequently cited in the American media”[1] and the same happened after the November 2015 attacks in Paris. His colonial fictions in particular have in the past decades become a contentious site of debate, as a great number of critics have chosen them as case studies for the application of postcolonial theory. Few other polemics in the field of English Studies have equalled the early responses to Chinua Achebe’s essay in which Conrad is called a “thoroughgoing racist” – an accusation that has changed for ever the reception and evaluation of Heart of Darkness. And yet, Conrad is also mentioned as a major source of inspiration by contemporary writers worldwide with, for instance, dozens of novels inspired by Heart of Darkness alone (not to mention the films, graphic novels, the multiple translations and re-translations, etc.). In all these cases, his works have been appropriated by people with very personal agendas that have little to do with the original texts.

As someone born in Poland, brought up as a Francophile, writing in English, it seems that “the whole of Europe contributed to the making of” Mr Conrad, giving him a transnational dimension: his works mirror this cultural and linguistic diversity and this is also why, perhaps, they have constantly been re-interpreted according to changing critical trends and ideological perspectives. In the process, however, the literary and aesthetic dimension of his novels has often been forgotten in favour of the debate of ideas. Yet Conrad was also an experimenter, playing with forms, genres, narrative modes, literary conventions.

We would like to interrogate our reading of Conrad nowadays, from a transnational perspective in order to explore how his approach to fiction makes it possible for us to question the way we read novels as aesthetic and ethical artefacts in the contemporary world.

We wish to address such issues as:

  • Conrad and ideology
  • Conrad between theory and close reading
  • Conrad as European icon
  • Conrad as English writer and transnational author
  • Conrad as a “chamber of echoes” for a diversity of cultures, languages, genres, traditions
  • Conrad’s influence on contemporary literature
  • Conrad’s relevance in the contemporary landscape
  • Multidisciplinary approaches of Conrad
  • Reading Conrad after/in spite of Achebe

All proposals should be addressed before 30 April 2017 to:

Nathalie Martinière: or

A selection of papers will be published in L’Epoque Conradienne

[1] Peter Lancelot Mallios, “Reading The Secret Agent Now: The Press, the Police, the Premonition of simulation” in Conrad in the Twenty-First Century. Contemporary Approaches and Perspectives, ed. by Carola M. Kaplan, Peter Lancelot Mallios, Andrea White, New York: Routledge, 2005, 155.

(posted 23 January 2017)

“‘Literary Offenses’ and Other Contentious Matter”: A one-day conference on Literary Controversy in Great Britain and the United States (1800-1900)
University of Burgundy, France, 22 September 2017
Deadline for proposals: 30 April 2017

This one-day conference will address the subject of controversial or polemical texts such as reviews, essays, letters, prefaces and/or postfaces published between 1800 and 1900 in Britain and the United States. It seeks to open fresh approaches to controversies or polemics by focusing on literature and the literary aspects of these questions. Indeed, if controversy can be defined as a debate between two or more parties with different viewpoints before an audience, studies have mainly come from the fields of social sciences and science studies, with some interest in rhetoric and/or argumentation. However, literary controversies are as important as scientific ones for the constitution of the public, democratic debate as it was shaped in Britain and in the U.S. in the nineteenth century. Controversies and polemics contributed to legitimizing some literary genres; they gave publicity to new or avant-garde authors; they redefined the content and contours of the public debate.

Surprisingly, most controversies or polemics have elicited scant attention from literary or cultural scholars: no single history of controversy either in the U.S. or Britain exists, and partial histories or studies of more limited controversies are rare. This one-day conference seeks to address such neglect and to bring together scholars in literature, history, cultural studies or rhetoric interested in various quarrels, scandals, polemics and debates of the nineteenth century. Transatlantic perspectives are especially encouraged.

If we envisage controversy as a means of reconfiguring both the literary field and the public debate, perspectives could include:

  • reasons for controversies and polemics in literature
  • issues of nationhood and/or ethnic/sexual/religious identity
  • personal/group legitimacy and authorship
  • the meaning and value of agreements and disagreements and their consequences on the public debate
  • participants, institutional positions, and degrees of involvement in controversies
  • the different media used in controversies (which periodicals? which formats?)
  • the discursive conditions of debate, and the constraints at work in literary controversies
  • the issue of explicit or implicit limits, and transgression: when does a polemic morph into a full-fledged controversy?
  • the beginning, development, and ending of controversies: is there a pattern for nineteenth-century literary controversies?
  • The importance of literary controversy as opposed to other controversies for re-shaping both literature and the public debate
  • The place of literary controversy/polemic in literary history

Proposals can address, but are not limited to, controversies such as ‘the fleshly school of poetry’, the definition of ‘modern culture’, literary realism vs romance, obscenity in fiction, literary nationalism (including British attacks on American literature & American defences—and criticisms—of American literature), the “republican” novel with its civic utility vs the “liberal” novel with its greater emphasis on aesthetics and individualism, “masculine” vs “feminine” writing, James Fenimore Cooper’s quarrel with America, Hawthorne and Melville’s rumoured estrangement, Mark Twain’s attacks on Cooper and the many negative, if not savage, contemporary reviews of works now considered classics.

Send 250-300 word abstracts with a short bio-bibliographical notice to Bénédicte Coste ( AND Mark Niemeyer ( before 30 April 2017.

(posted 18 March 2017)

Fragmentary Writing in Contemporary British and American Fiction
Wrocław, Poland, 22-23 September 2017
Deadline for proposals: 15 March 2017

Conference website:

University of Wrocław and École Normale Supérieure de Lyon

In 1968, Donald Barthelme had one of his narrators declare: “Fragments are the only forms I trust.” The last decades have brought a number of acclaimed novels in Britain and the US that illustrate their authors’ interest in fragmentary structures. David Mitchell constructed Cloud Atlas (2005) out of six stories with different settings, characters and generic features. David Markson produced an 800-page-long tetralogy, culminating in The Last Novel (2007), which juxtaposes several thousand succinct anecdotes and quotations with metafictional references to the elusive authorial figure. The year 2014 saw the publication of three notable fragmentary novels: Will Eaves’s The Absent Therapist – an amalgam of the voices of 150 speakers, Richard McGuire’s Here – a graphic novel created out of over 150 images (non-chronologically arranged) of the same location throughout several million years, and Jenny Offill’s Dept. of Speculation – an account of a marriage crisis narrated with the use of several hundred loosely connected paragraphs. As the example of Cloud Atlas – alongside those of Zadie Smith’s NW, Anne Enright’s The Green Road and, most recently, Julian Barnes’s The Noise of Time – demonstrates, fragmentation is not only the domain of niche, “experimental” writing.

Although it may have arguably earlier origins, fragmentation has been a vital aspect of twentieth- and twenty-first-century literature. Several canonical novels of modernism – such as Ulysses and The Waves – could be classified as fragmentary, since they are constructed in parts that refuse to cohere, and as Gabriel Josipovici suggested, the fragmented form of modernist works may be seen as a response to the human need to escape linearity. More radical examples of fragmented novels were written in the 1960s and 70s by authors sometimes associated with postmodernism: J.G. Ballard, John Barth, Donald Barthelme, Robert Coover, B.S. Johnson and Gabriel Josipovici, among others. Despite the fact that many renowned novelists have contributed to fragmentary writing, the term itself is rarely used in Anglophone criticism. The aim of our conference is to postulate a renewed engagement with fragmentary literature. We are particularly interested in contemporary writing and invite papers that approach chosen aspects of fragmentation in British and American fiction published over the last five decades (post-1966). We wish to examine the typical ingredients of the fragmentary mode (such as enumeration, non-linearity and the unconventional layout of the page), the mechanics of organising the disparate parts, and the various rationales for writing in fragments.

Proposals may consider but are not limited to:

  • the extent to which fragmentation in contemporary literature borrows from modernist (or postmodernist) experiments and the degree to which it creates its own aesthetics,
  • the correspondence between literary fragmentation and the social, political and technological reality of the contemporary world (e.g., Twitter fiction),
  • the influence of various art forms (particularly the visual arts and cinema) on literary fragmentation (e.g., Joseph Frank’s notion of “spatial form” and Sharon Spencer’s conception of the “architectonic novel”),
  • the fragmentation of a single monolithic reassuring voice into a myriad of voices,
  • the physical fragmentation of the page,
  • card-shuffle texts,
  • forking-path narratives,
  • novels built out of potentially self-contained parts (blurring the distinction between the novel and the collection of short stories),
  • generic eclecticism and the aesthetics of mash-up,
  • collage-like works, altered fictions and other examples of appropriation.

Keynote speakers:

Dr Alison Gibbons – Senior Lecturer at Sheffield Hallam University, author of Mark Z. Danielewski, Multimodality, Cognition, and Experimental Literature (2014) and co-editor of The Routledge Companion to Experimental Literature (2014).

Dr Grzegorz Maziarczyk – Assistant Professor of English and American Literature at John Paul II Catholic University of Lublin, author of The Narratee in Contemporary British Fiction (2005) and The Novel as Book: Textual Materiality in Contemporary Fiction in English (2013).

Guest writer to be announced soon.

Proposals (300-400 words), together with a biographical note, should be sent to Wojciech Drąg ( and Vanessa Guignery ( by 15 March 2017.

Conference fee: 75 euros

Scientific Committee: Prof. Vanessa Guignery, École Normale Supérieure de Lyon; Dr Wojciech Drąg, University of Wrocław; Dr Marcin Tereszewski, University of Wrocław

Organising Committee: Prof. Vanessa Guignery, École Normale Supérieure de Lyon; Dr Wojciech Drąg, University of Wrocław; Ewa Błasiak, MA, University of Wrocław; Krzysztof Jański, University of Wrocław; Jakub Krogulec, MA, University of Wrocław; Angelika Szopa, MA, University of Wrocław

(posted 19 April 2016)

7th Biennial International Conference on the Linguistics of Contemporary English (BICLCE)
University of Vigo, Spain, 28-30 September 2017
Deadline for proposals: 31 January 2017

logo_biclce2017We invite papers on every aspect of the linguistics of contemporary English.
Conference website:
Any enquiries about the conference should be sent to

The attention devoted to the linguistics of the English language has resulted in a broad body of work in diverse research traditions. The aim of the BICLCE (formerly ICLCE) conference is to encourage the cross-fertilisation of ideas between different frameworks and research traditions addressing the linguistics of contemporary English. Previous conferences were held in Edinburgh (2005), Toulouse (2007), London (2009), Osnabrück (2011), Austin TX (2013) and Madison WI (2015), along the same lines. We aim for the conference in Vigo to build on the success of those events.
BICLCE2017 aims to provide a platform for work which deals with contemporary varieties of English, in terms of their phonology, morphology, syntax, semantics, pragmatics, etc., in any way which aims to be explanatory. Traditionally in this conference, syntax (specifically constructions), sociolinguistics, processing and discourse analysis are four of the focus areas. We invite proposals on these and other areas, such as variationist work which engages with issues of linguistic structure. We do not envisage work which is purely historical, but work which brings in diachrony in order to explain the structure of Present-Day English is certainly welcome.

The following speakers have agreed to deliver plenary addresses at BICLCE2017:

  • Teresa Fanego (University of Santiago de Compostela)
  • Martin Hilpert (University of Neuchâtel)
  • Padraic Monaghan (Lancaster University)
  • Jennifer Smith (University of Glasgow)
  • Anja Wanner (University of Wisconsin-Madison)

We invite abstract submissions for (a) 20-minute paper presentations, (b) thematic workshops, and (c) poster presentations. The deadline is 31 January 2017.
Abstract submissions will be handled via EasyABS at the following URL:
PAPERS. Abstracts for 20-minute presentations should be no longer than 350 words (excluding references). They should be submitted as a .PDF file or in MS Word document format (.doc or .docx). Please use only common phonetic fonts such as SIL. The abstract document itself should be anonymous, i.e. it must not contain the name of the author(s).
THEMATIC WORKSHOPS. Colleagues interested in organising athematic workshop are also welcome to submit a proposal. This should start with a description of the overall panel up to one page in length, followed by abstracts for all papers included. For abstracts, please use the same format as for paper submissions (see above).
POSTERS. Posters will be presented in a special session and remain on display during the conference. Please use the same format as for paper submissions (see above).

SUBMISSION. At the top of the abstract – preceding the title – please:
(1) State whether you are submitting a proposal for a 20-minute presentation, for one of the planned thematic workshops, or for a poster session.
(2) List one or several subfield(s) of contemporary English linguistics that your work pertains to. This information helps us to assign your abstract to the right reviewers. You may choose from among the following list and/or name additional subfields where appropriate: Cognitive linguistics, Computer-mediated communication, Corpus linguistics, Language acquisition, Lexicography and lexicology, Morphology and morphosyntax, Phonetics and phonology, Pragmatics, Processing, Psycholinguistics, Semantics, Sociolinguistics, Syntax, Typology, Varieties of English, Variationist research.
You may submit more than one abstract but we will accept a maximum of two abstracts from any one person for presentation (one joined, one single-authored), as this allows more people to take part in the conference.
All abstracts will be reviewed anonymously.
Notification of acceptance will be sent out by 15 March 2017.

There are plans for publishing a peer-reviewed selection of papers from the conference, most likely in thematically coherent volumes which will be submitted for the consideration of international publishers.
The conference language will be English.
Time for general sessions and workshop presentations: 20 minutes plus 10 minutes for questions/discussion

(posted 6 June 2016)

Phonology and interphonology of contemporary English: from native corpora to learner corpora. PAC 2017
Université Paris Nanterre, France, 28-30 September 2017
Deadline for proposals: 31 March 2017

Guest Speakers
Jacques Durand, Université Toulouse Jean Jaurès
Dan Frost, Université de Grenoble
Patrick Honeybone, University of Edinburgh

All papers focusing on the main theme summarized by the title of the conference are welcome but, to contextualize this forthcoming event, participants should be aware that PAC 2017 is a logical extension of the conferences that the PAC project has organized annually since 2000, on a European level, at the universities of Toulouse II, Montpellier III and Aix-Marseille I, and reflects the developing activities of this project.
All contributions on the phonology and phonetics of contemporary English as well as on the interphonology of English are welcome.


The general PAC session will be dedicated to the following theme: Usage-based accounts and phonological models: how to articulate phonetic-acoustic studies and phonological theory??.

In recent years, usage-based accounts, especially within the framework of Exemplar Theory (Pierrehumbert 2001, 2006), have been put forward as relevant explanations for various phenomena observed, on the basis of oral corpora, in the different varieties of oral English. By relying on frequency effects, such accounts have shed light on the emergence and evolution of New Zealand and Australian English (Trudgill 2004, Gordon et al. 2004) or on the dynamics of rhoticity and r-sandhi phenomena in contemporary non-rhotic varieties (Cox et al. 2014) for example. However, such accounts are often criticised for lacking phonological abstraction and for not being able to fully account for the phenomena in question as they do not model their underlying mechanisms at the phonological level. That is why many phonologists have rejected these accounts. However, other phonologists have shown how the results provided by phonetic-acoustic studies and usage-based accounts of corpora can lend themselves to theoretical analyses and help model the emergence and evolution of phenomena at the phonological level (see Patrick Honeybone?s work on T-to-R in Liverpool English (to appear) for an example of such an approach).


The interphonology session will be dedicated to the following theme: Variation, correctness and correction. We encourage participants to investigate the phonetic and phonological systems developed by non-native speakers/learners of English who have command of English either as a foreign language (EFL) or a second language (ESL) in various parts of the world and in different contexts of communication. Interphonology will be discussed both as a theoretical, linguistic construct and empirically by looking into aspects of the learners? new phonological system, while in the process of establishing itself or when it has already been stabilised and/or regularised. Inter-speaker and intra-speaker variation will also be central to our study of interphonology to understand, for instance, how segmental variability is integrated in the newly developed phonological system and how the phonologies of two (or more) languages at work mutually influence each other. ?Correction? can be envisaged as a didactic tool for improving students? oral performances. It can also be rejected on theoretical grounds. It can be tackled as the adaptation process, or modification process, put in place by students when trying to reach specific phonological or phonetic targets. ?Correctness? can constitute a goal as far as communication and interaction in English are concerned for learners. It can also be questioned as a pedagogical goal, for instance with the prevalence of RP as a target accent in the French academic context. The problem of conciliating variation and correction in the study / teaching of English as a foreign or second language can lend itself to relevant reflections here.

Submission of papers
Abstracts should be no longer than one side of A4, with 2.5 cm margins, single-spaced, with a font size no smaller than 12, and with normal character spacing. All examples and references in the abstract should be included on the one single page, but it is enough, when referring to previous work, to cite “Author (Date)” in the body of the abstract – you do not need to include the full reference. Please send two copies of your abstract – one of these should be anonymous and one should include your name, affiliation and email at the top of the page, directly below the title. All abstracts will be reviewed anonymously by members of the scientific committee or other experts in the field. The named file should be camera-ready, as it will be used in the abstracts booklet if the proposal is accepted.
Abstracts should be submitted in the same form, in a PDF file, by email to with copy to and
Time for papers: 30 minutes, plus 15 minutes for questions.

Dates and deadlines
Conference: September 28th / September 30th 2017 ?
Final deadline for submissions: March 31st 2017 ?
Results of refereeing of abstracts: Friday June 30th 2017

The PAC project (Phonologie de l?Anglais Contemporain: usages, variétés et structure – The Phonology of Contemporary English: usage, varieties and structure) is coordinated by Anne Przewozny-Desriaux (Toulouse Jean Jaurès University), Sophie Herment (University of Aix-Marseille), Sylvain Navarro (Paris Diderot University) and Cécile Viollain (Paris Nanterre University).

The main aims of the project can be summarized as follows: to give a better picture of spoken English in its unity and diversity (geographical, social and stylistic); to test existing theoretical models in phonology, phonetics and sociolinguistics from a synchronic and diachronic point of view, making room for the systematic study of variation; to favour communication between specialists in speech and in phonological theory; to provide corpus-based data and analyses which will help improve the teaching of English as a foreign language.

To achieve these goals, the cornerstone of the PAC project is the creation of a large database on contemporary oral English, coming from a wide variety of linguistic areas in the English-speaking world (such as Great Britain: Received Pronunciation, Lancashire, York, Ayrshire, Edinburgh, Glasgow, West Midlands: Birmingham, Black Country ; Republic of Ireland: Limerick, Cork ; Canada: Alberta, Ontario ; Australia: New South Wales ; New Zealand: Christchurch, Dunedin ; India: Delhi English, Mumbai ; USA: California, West Texas, Saint Louis, Boston, North Carolina). The protocol used is shared by all researchers in every survey location and was inspired by the classical methodology of William Labov.

Although significant corpora of oral English already exist, many of them have been conceived along exclusively sociolinguistic rather than explicitly phonological lines. In other cases, hardly any information is available on speakers beyond gender and regional affiliation. Furthermore, few corpora are based upon a single methodology permitting a fully comparative analysis of the data.

The approach chosen by the PAC program is modelled on the French PFC program (La Phonologie du Français Contemporain, coordinated by M.-H. Côté (Ottawa University), J. Durand (Université Toulouse Jean Jaurès), B. Laks (Université Paris Ouest Nanterre la Défense) and C. Lyche (Oslo/Tromsø). This parent program has demonstrated how a corpus which was originally conceived for phonology can lend itself to many other types of linguistic exploitation: the lexicon, morpho-syntax, prosody, pragmatics, dialectology, sociolinguistics and interaction.

PAC 2017 and PAC programme available at

(posted 1 February 2017)

Women in the public space 1800-1939: Great Britain, Ireland, Empire and Commonwealth
Université de Franche-Comté, Besançon, France, 29 September 2017
Deadline for proposals: 2 May 2017

Keynote Speaker : Florence Binard, Université Paris 7, Université Paris Diderot

“The Angel in the House” is the image most commonly retained of British women in the nineteenth century. This reductive and repressive ideal, emerging from values propagated by the literary, religious, medical political discourses of the time, still persists today in the collective unconscious. Although this model has increasingly been questioned by researchers in the humanities, the focus has tended to be on the beginning of the 20th century.

This one-day conference aims to pursue this still neglected area, bringing the Victorian and Edwardian woman further out of her “cloister” or “sphere”, and exploring the destinies of those women who occupied the public space in Great Britain, Ireland and, by extension, the Empire: activists, explorers, artists, writers and sportswomen to name but a few.

The endorsement of women in the public space, may be viewed in dialectical terms, as an ongoing process which, while it is still not complete today, was a site of increasing negotiation in the long nineteenth century, with women’s right to vote and to attend university standing as two particularly noteworthy landmarks.

One important question underpinning our reflection would be whether women simply “broke into” a hitherto exclusively masculine space or if they benefitted from the evolution of some traditionally female realms—charitable institutions’ increased interest in more political concerns for instance—thereby causing a shift in the very terms of political debate towards more humanitarian ends.

Another angle of exploration might be how women were able to circumscribe or even overcome the public / private divide and the gender dualisms that sustained it (culture / nature, rationality / emotionality, power / morality and so forth) by deploying their supposedly feminine qualities in the service of their own emancipation. The argument of women’s greater “moral purity” advanced by the Suffragettes, for example, had in fact already served female members of the Anti-Corn Law League in the period around 1840: their campaign against the importation of grain was couched in pious philanthropic terms that were a far cry from “grossly” political demands that would have been deemed unsuitable for any respectable lady to articulate.

If this pattern were indeed to prove a prominent one in the course of the period under study, it might then be possible to speak of the arrival of women in the public space not just as one of a number of symptoms evidencing the gradual opening up of society, but rather as a factor that in and of itself influenced the course of social and political history (the key role played by women during the Easter Rising of 1916 would be just one example of this).

Another area of investigation would be the status of those “little” women —prostitutes, factory workers— who operated in the shadows or wings of the public space, silently and invisibly transgressing “official” Victorian ideals, or the negotiation by women of in-between spaces, on the threshold of public and private spheres. Working-class women were active in the Reform Movement from the 1810s and they would later join the Chartists. Although women from the lower or under classes were scarcely (if ever) in the public spotlight, their limited household resources often forced them to penetrate the public world of work where certain sectors (the textile industry in particular) actually recruited a predominantly female workforce.

We welcome proposals in English or French
Please send your abstracts to the organising committee: (CRIT) (CRIT et CLIMAS) (CRIT)
together with

  • 300-word maximum abstract in French or English
  • Short biographical note (academic position & affiliation, laboratory, area of research)
  • 5 key words

Deadline for abstracts: May 2nd
Notification: May 15th
A selection of papers will be published

(posted 24 March 2017)

International Conference on Annie Besant (1847-1933)
London, 30 September-1 October 2017
Deadline for proposals: 1 June 2017

The Theosophical Society in England ( ) is holding a two-day international conference on Annie Besant (1847-1933) at the TSE Headquarters at 50 Gloucester Place, London W1U 8EA on Saturday and Sunday, 30 September and 1 October 2017.

The chair of the first day of the conference, which is primarily concerned with Annie Besant’s public work as a feminist, secularist, socialist and anti-imperialist, will be Dr Muriel Pécastaing-Boissière of the University of Paris-Sorbonne, Paris 4 (author of the new biography Annie Besant (1847-1933) : La lutte et la quête, soon to be published in English).

Those who wish to submit a paper for the first day on any aspect of the subject should send a summary of not more than 200 words by 1 June 2017 to Mr Leslie Price, secretary of Programme Committee, at TSE History & Archives (history&, copied to Speakers will normally have 30 minutes including questions.

Conference participants will be responsible for their own travel, meals and accommodation.  Those presenting papers will be exempt from registration fees and will also be admitted free to the second day, chaired by Kurt Leland (author of Invisible Worlds: Annie Besant on Psychic and Spiritual Development), which is a study day concerned with research problems in assessing Besant’s Theosophical work. If you wish to register for the conference, or to be kept informed of the programme, please contact The Theosophical Society in England (

[Muriel Pécastaing-Boissière writes:] It is impossible to study late-nineteenth- and early-twentieth-century Britain without coming across Annie Besant’s name. So the fact that she has fallen into relative obscurity, at least among the general public, remains difficult to understand.
From a historiographical point of view, Besant seems to have become a victim of trends in historical research that increasingly favour highly specialised and circumscribed studies. Most research has been limited to specific struggles, especially her pioneering fight in 1877–78 for the right to information on birth control and her support of the Match Girls’ Strike of 1888. Her influence on British secularism and socialism are just beginning to be re-evaluated. Yet the logic behind her personal evolution, leading from an early religious crisis to secularism, socialism, Theosophy, and Indian nationalism, has barely been addressed.
Besant’s conversion to Theosophy remains poorly understood and has even been ridiculed by researchers who underestimate the scope of the late-Victorian spiritual and occult revival, in which the Theosophical Society played a critical role. Some writers even lose interest in the second half of Besant’s life or evaluate her earlier struggles with scepticism in light of this conversion. Conversely, though the Theosophical Society has done a remarkable job in preserving and making available Besant’s Theosophical texts, many of its members remain unfamiliar with Besant’s life prior to her conversion.
Furthermore, in a climate of understandable post-colonial guilt, the role that this British woman played in India is an embarrassment to some Western historians, who tend to minimise it. Thus her presidency of the Indian National Congress in 1917 has been almost completely forgotten in the West — even though Indians themselves have preserved the memory of Besant as one of their freedom fighters. Streets in Chennai, Mumbai and indeed many other places in India bear her name and a prominent golden statue of Besant stands on the Chennai seafront alongside monuments to other influential Indian leaders. Despite the criticism of her cautious reformist approach that was expressed in her lifetime by more radical nationalists — including Gandhi — and that are occasionally repeated by Indian historians, Besant remains sufficiently well-known for the State Bank of India to have used her name and image in a publicity campaign in the early 2010s, with a slogan proudly proclaiming: “The banker to this Indian.”
Sadly, Annie Besant’s having been a woman may also have prevented her from passing into posterity. Though she worked and fought alongside a number of talented men in a spirit of brotherhood, many of them would be surprised today to learn that their memory has often eclipsed that of their female comrade.
The purpose of the Theosophical Society in England’s two-day international conference on Annie Besant is to bring together researchers on all aspects of her public life and work, so as to reflect on Besant’s ideological and spiritual evolution within the religious, ethical, social, and political context of her time.

(posted 22 March 2017)