Books and special issues of journals – Deadlines October-December 2018

Configuring non-Linearity: A Reassessment of Nadine Gordimer’s Art
41.2, Commonwealth Essays and Studies
Deadline for proposals: 30 October 2018
Alongside her developing a forceful “art of the present moment” (Gordimer 1968 15), Gordimer’s writing is nonetheless haunted by the ghostly traumas of a colonial past and “always in some way in dialogue with an absent future” (Clingman 13). This resonates in new ways a few years after her death as post-apartheid South Africa continues to undergo major social, economic, political and cultural changes. Incidents and accidents, interruptions and disruptions take place on the full range of scales in her works, from the intimate to the national, from the individual to the global. While all chronological (let alone teleological) timelines also appear fractured in Gordimer’s oeuvre, some reconfigurations of linearity find their way in, making for patterns which radiate at all other levels: spatial, ideological, narrative and metafictional, among others. In other words, the irruption of violence in the diegesis can also be read as reiteration, but also possibly as a (tragic?) means towards a new order. Such literary moments of non-linearity and reconnection are crucial to a consideration of how the South African author intended to intervene in the world she depicted, and to how transformative and performative her writing may be in its re-casting of different modes of fissured agencies. Calling attention to such processes as linkage and re-connection is also a way of considering anew the “interregnum” in and on which she dwelt (see Gordimer 1988), a space-time where destruction rules but where odd collocations emerge where and when least expected. Likewise, unusual reconfigurations can be witnessed at temporal but also narratological levels, suggesting possibilities for meaning to circulate again.
This issue of Commonwealth Essays and Studies is meant as a timely re-assessment of Gordimer’s literary experimentations and innovations in relation to her writerly commitment. Foremost among these concerns we wish to address and qualify the category of realism often used to describe Gordimer’s fictional aesthetics, and which in fact often tends to morph into fables and fantastic tales, into postmodern narrative unreliability and satirical irony. The notion of linearity also enables an investigation of the act of reading Gordimer, a writer who tended to favour such potentially fragmented forms as the collection of essays or of short stories. Such a wide variety of texts, spanning different genres, is testimony to Gordimer’s diverse political and aesthetic engagements and invites reflection on epistemological construction.
We invite articles addressing aspects of her work from a wide range of critical viewpoints, and are particularly interested in innovative approaches to her oeuvre (which might include trauma studies, queer and/or feminist, decolonial, transcultural/transnational readings).
Abstracts (150 words) and a short bio-bibliographical note must be sent by July 31st to Kerry-Jane Wallart (kjwallart@yahoo.fr) and Fiona McCann (mccannfiona@gmail.com). Final articles (6000 words, see CES stylesheet: http://www.univ-paris3.fr/commonwealth-essays-and-studies-16669.kjsp) must be submitted by October 30th, and will be blindly peer-reviewed. The issue will be released in May, 2019.
Stephen Clingman. ‘Nadine Gordimer: A Writing Life’, in A Writing Life, Celebrating Nadine Gordimer. Ed. Andries Walter Oliphant. London: Viking, 1998. 3-18.
Nadine Gordimer. ‘The Short Story in South Africa’, in The International Symposium on the Short Story, Kenyon Review XXX (1968): 457-463.
—-‘Living in the Interregnum’, in The Essential Gesture: Writing Politics and Places. Ed. Stephen Clingman. London: Cape, 1988.
(posted 29 June 2018)

Representing Trans
One of the three issues of volume 24 of EJES (2020)
Deadline for proposals: 31 October 2018

The editors of EJES are issuing calls for papers for the three issues of the journal to be published in 2020. Potential contributors are invited to submit detailed proposals of up to 1,000 words to the guest editors of the topic they are interested in. The deadline for proposals for this volume is 31 October 2018.

EJES operates a two-stage review process.

  1. Contributors are invited to submit proposals for essays on the topic in question by 31 October 2018.
  2. Following review of the proposals by the editorial board panel, informed by external specialists as appropriate, the guest editors will invite the authors of short-listed proposals to submit full-length essays for review with a spring 2019 deadline.
  3. The full-length essays undergo another round of review, and a final selection as well as suggestions for revisions are made. Selected essays are then revised and resubmitted to the guest editors in late 2019 for publication in 2020.

EJES employs Chicago Style (T&F Chicago AD) and British English conventions for spelling and punctuation.

Call for papers

Guest editors: Elahe Haschemi Yekani (Berlin), Anson Koch-Rein (Grinnell) and Jasper Verlinden (Berlin)

The last couple of years have been shaped by a paradoxical simultaneity of unprecedented trans visibility in the arts and media and of ongoing transphobic violence, disproportionately affecting economically disadvantaged and communities of colour. How can we approach the (international) success of shows such as Transparent, Hit & Miss, Orange is the New Black, Sense8, The OA or the independent film Tangerine (2015), foreign-language Oscar-winner Una Mujer Fantástica (A Fantastic Woman, 2017) or Arekti Premer Golpo (Just Another Love Story, 2010), and others? How do these visual representations negotiate traditional gendered binaries of the ‘male gaze’ (Villarejo 2016) and the dynamics of trans feminine hypervisibility and trans masculine invisibility? How do these artefacts navigate “the trap of the visual” that offers trans visibility as the “primary path through which trans people might have access to livable lives” (Gossett, Stanley and Burton 2017)? Have we indeed reached a “transgender tipping point” in public and political discourse as the June 2014 heading of Time Magazine, featuring actress Laverne Cox as the first open trans woman on the cover, suggests? What kind of tensions does the mainstream marketability and recognition (e.g. of celebrities like Caitlyn Jenner or Chaz Bono) create?

How do trans visibility and new regulative attempts such as the House Bill 2 (HB2) that gave rise to a new form of ‘bathroom panic’, but also media-savvy counter strategies by trans activists on social media, shape public discourse and how will politics be affected by more trans people running for political office? How does the predominance of US-centred trans representations reflect “the complex global flows of shared subcultural knowledges” (Aizura 2006) and how do they circulate globally and get received, resisted, or repurposed locally? Are there specific national investments in a visibility of legible scripts of trans lives based on identitarian political representation and how does this relate to visual representations of other non-normative forms of embodiment that might not easily fit such narratives?

Topics

The editors invite papers that address trans representations in TV, film, visual art, performance art, video, and social and other media exploring, among others, the following topics:

  • self-representation/trans-produced representations
  • debates about representation, identity, and the conditions of production, for instance, in the call to cast trans actors in trans roles
  • genderqueer and non-binary representations
  • discourses of hypervisibility/invisibility
  • differences in representing trans masculinities and femininities
  • recognition and violence
  • transnational comparisons/US-centrism and postcolonial critique
  • race, class, and intersectionality in trans representations
  • convergences in disability, intersex and transgender studies/activisms

Detailed proposals (up to 1,000 words) for full essays (7,500 words), as well as all inquiries regarding this issue, should be sent to all editors by 31 October 2018: Elahe Haschemi Yekani: elahe.haschemi-yekani@hu-berlin.de, Anson Koch-Rein: akr@alumni.emory.edu and Jasper Verlinden: j.verlinden@fu-berlin.de.

(posted 13 March 2018)


Neo-Victorian Negociations of Hostility, Empathy and Hospitality
One of the three issues of volume 24 of EJES (2020)
Deadline for proposals: 31 October 2018

EJES operates a two-stage review process.

  1. Contributors are invited to submit proposals for essays on the topic in question by 31 October 2018.
  2. Following review of the proposals by the editorial board panel, informed by external specialists as appropriate, the guest editors will invite the authors of short-listed proposals to submit full-length essays for review with a spring 2019 deadline.
  3. The full-length essays undergo another round of review, and a final selection as well as suggestions for revisions are made. Selected essays are then revised and resubmitted to the guest editors in late 2019 for publication in 2020.

EJES employs Chicago Style (T&F Chicago AD) and British English conventions for spelling and punctuation.

Call for papers

Guest editors: Rosario Arias (Málaga) and Mark Llewellyn (Cardiff)

What does it mean to be sympathetic to or antagonistic towards our nineteenth-century past? How do we negotiate the territory between self/other, host/guest, stranger/friend?

This special issue explores the concepts of hostility, empathy and hospitality in neo-Victorianism.

The term ‘hospitality’ encompasses the tension between host and other since, as Emily Ridge has recently noted, hospitality “at its very etymological root, harbours an otherness [and] manifests a paradoxical character.” This leads to an ambiguous understanding of the term, opening up this notion to the analysis of contemporary literary and political landscapes. There has been a recent move to address hospitality in Victorian fiction. In Narrative Hospitality in Late Victorian Fiction: Novel Ethics (2013), Rachel Hollander – drawing on Levinas and Derrida among others – has highlighted “an ethics of hospitality, in which respecting the limits of knowledge and welcoming the stranger define fiction’s relationship to both reader and world.” There has been no such critical intervention into the applicability or challenge to such understandings in neo-Victorianism. The aim of this special issue is therefore to examine neo-Victorian representations of ‘hospitality’ in its amplest sense, inclusive of the states of empathy (a term coined at the turn of the nineteenth century) and hostility as staging points on the spectrum of the hospitable as an ethical, political and aesthetic principle. Taking the double orientation of the neo-Victorian mode as a point of departure (cf. Heilmann and Llewellyn; Gamble; Johnston and Waters), we wish to solicit articles that argue that readings of neo-Victorian host-guest exchanges relate to contemporary anxieties about the glocal and the global, about individual and collective identities, and about affect in host-guest interactions.

We welcome essays dealing with literal and metaphorical readings of hospitality, hostility and empathy in neo-Victorian studies. These essays should address not only the home and the relation between domestic and public spheres but also the receptiveness of contemporary fiction and culture to the Victorian past. We are interested in essays that mobilise the ambiguous nature of hospitality, as well as (troubled) host-guest relations, in neo-Victorianism.

Relevant topics in this context might include (but are not limited to):

  • Hospitality as explicated by Emmanuel Levinas and Jacques Derrida, and concepts such as conditional hospitality and absolute hospitality
  • Hospitality in relation to home/homelessness and domesticity
  • Hospitality as a relationship between host and guest
  • Hospitality to the (Victorian) past
  • Hospitality vs. Hostility and/or empathy e.g. Victorian/Non-Victorian; European/Non-European

Detailed proposals (up to 1,000 words) for full essays (7,500 words), as well as all inquiries regarding this issue, should be sent to both editors: Rosario Arias: rarias@uma.es and Mark Llewellyn: LlewellynM4@cardiff.ac.uk

(posted 13 March 2018)


Decentering Commemorations: Literary, Cultural, Historical and Political Commemorations across and beyond the British Isles
One of the three issues of volume 24 of EJES (2020)
Deadline for proposals: 31 October 2018

The editors of EJES are issuing calls for papers for the three issues of the journal to be published in 2020. Potential contributors are invited to submit detailed proposals of up to 1,000 words to the guest editors of the topic they are interested in. The deadline for proposals for this volume is 31 October 2018.

EJES operates a two-stage review process.

    1. Contributors are invited to submit proposals for essays on the topic in question by 31 October 2018.
    2. Following review of the proposals by the editorial board panel, informed by external specialists as appropriate, the guest editors will invite the authors of short-listed proposals to submit full-length essays for review with a spring 2019 deadline.
    3. The full-length essays undergo another round of review, and a final selection as well as suggestions for revisions are made. Selected essays are then revised and resubmitted to the guest editors in late 2019 for publication in 2020.

EJES employs Chicago Style (T&F Chicago AD) and British English conventions for spelling and punctuation.

Call for papers

Guest Editors: Antonella Braida-Laplace, Jeremy Tranmer and Céline Sabiron (Lorraine)

At a time of crisis concerning Europe’s identity and ideals, commemorations are not only intended as a nation-building process. They can also be appropriated by various actors at national, regional, and local levels, such as cultural institutions, political parties and social media. Increasing mobility and instability trigger off tendencies to go back to the past, to search for one’s roots and to emphasise the importance of heritage. Governments and lobbies/corporations such as Google, Facebook, Amazon and Apple use landmarks to impose their readings of political, cultural and literary events, while grassroot communities organise their own remembrance events or commemorate differently and sometimes more informally and spontaneously.

The years 2018 and 2019 mark multiple anniversaries that will be commemorated transnationally, including the Armistice (1918) and the Treaty of Versailles (1919), the events of May 1968 in France, women’s suffrage in the UK (1918), the publication of Mary Shelley’s Frankenstein (1818), the release of the Beatles’ album Sgt Pepper’s Lonely Hearts Club Band (1967) or the Woodstock Festival (1969). This EJES issue explores why and how these historical events, cultural productions and literary figures will be remembered across Europe. It intends to investigate in what ways and to what extent these commemorations are transferred from one cultural space to another, across and beyond the British Isles. It will also examine their transformations in the contemporary digital age and the shift towards new forms of democratic participation.

The editors invite proposals for articles dealing with transregional and/or transnational commemorations. Essays should account for the relationship between two or more regions or countries, one of them being the United Kingdom. Theoretical or practical approaches to the following topics, from different disciplinary perspectives, are welcomed:

  • forms and modes of commemorating
  • commemoration as an expression of soft power or a means of empowerment
  • commemoration and technology in the digital age
  • commemoration and cultural policies
  • commemoration and hyphenated/conflicting identities (bi-nationals, and European nationals) in the UK due to Devolution and Brexit
  • posterity and the literary canon
  • literary and visual adaptations
  • publishing policies
  • commemorations as a way of asserting human rights

Detailed proposals (up to 1,000 words) for full essays (7,500 words), as well as all inquiries regarding this issue, should be sent to all three editors by 31 October 2018:
Antonella Braida-Laplace: antonella.braida-laplace@univ-lorraine.fr
Jeremy Tranmer: jeremy.tranmer@univ-lorraine.fr
Céline Sabiron: celine.sabiron@univ-lorraine.fr

(posted 13 March 2018)


Borders and Spaces in the English Speaking World
RANAM 52, to be issued in June 2019
Deadline for proposals: 20 November 2018

In the age of globalization, the concepts of borders and spaces have taken new significances. Globalization implies economic and cultural deterritorialization and the consequent issue of the intensification of social relations. But globalization paradoxically generates renewed interest in borders and an anxious desire to stabilise definitions of spaces, as exemplified by the thousands kilometres of border walls built in the world since 2000.

Discourses on borders are fraught with political implications, as borders circumscribe particular spaces, making them concrete, and contributing to a sense that their identities can be delimited and differentiated from those of other spaces. Borders imply power relations, control and sovereignty and therefore participate in processes of stabilisation of space, population, and imagined identities. Setting borders does not only lead to the fencing of territories, it also means organizing spaces through regulations, codes and norms, highlighting the extent to which delineated spaces are social and cultural constructs that shape the way identities are conceived and understood.

Borders however embody the problematic aspect of space division, as they also connect spaces, being points where the known and the other, the recognised-as-familiar and the conceived-as-alien, intersect. Borders are ever permeable, though to various degrees. As a consequence, spaces can be defined not as fixed entities, but as living organisms that are constantly being redefined by means of discourses, political agenda, media representations, literature and art. RANAM 52 will focus on a number of questions linked to current reflections on borders and spaces. How do cultural and artistic productions contribute to the creation of spatial and political borders? Literature and art being themselves institutionalized spaces regulated by social and generic norms, how do they reflect or revisit the concept of borders?
RANAM 52 invites contributions on historical, geographic or artistic issues related to borders and spaces and also on the way political and aesthetic borders and spaces interact.

Submissions should be sent to Jean-Jacques Chardin (chardin@unistra.fr), Anne Bandry (bandry@unistra.fr), Fanny Moghaddassi (f.moghaddassi@unistra.fr) by 20 November 2018.

(posted 29 June 2018)


Restoration Fiction (1660-1714)
A special issue (n°79) of The Revista Canaria de Estudios Ingleses (RCEI)
Deadline for abstracts: 30 November 2018

The Revista Canaria de Estudios Ingleses (RCEI) seeks contributions for a special issue (nº 79) on “Restoration Fiction (1660-1714),” to come out in November 2019. The literary period to be examined under the title of ‘Restoration’ is not confined to Charles II’s reign but covers the age of the later Stuarts, which proved a period of great narrative experimentation and generic instability.

As guest editor, I wish to encourage scholars and PhD students to submit innovative contributions on the prose-fiction in English during the later Stuarts. RCEI/79 monograph section aims to further examine not only the production of narrative and generic experimentation, but also the ways in which this corpus of texts responded to the political, philosophical, religious, social, moral and cultural challenges during these decades of intense transformations. Suggested topics include, though not limited to, the following:

  • The politics of fiction in the late seventeenth-century.
  • Restoration society, debates, controversies and conflicts in fiction.
  • Ethic and morality in the late seventeenth-century fiction.
  • Strategies of ideological persuasion in the Restoration fiction.
  • Printing and publishing in the late seventeenth century.
  • Authorship, gender, and anonymity.
  • Ways of reading Restoration fiction: Readership and critical reception.
  • Late seventeenth-century translations. Transnational novel/fictional relations.
  • Prose fiction as part of an individual author’s production.
  • Restoration critical debates on prose fiction.
  • Prefatory and peritextual material.
  • Genre hybridity.
  • Narrators, style, and language.
  • History, pseudo-history, and roman à clef.
  • Types and characters.
  • Restoration prose-fiction and other (verbal/non-verbal) genres.

Detailed abstracts in Word format (up to 1,000 words), as well as all inquiries regarding this issue, should be sent to Tomas Monterrey (jmonterr@ull.es) by 30 November 2018. On acceptance, full length essays (7,000 or 8,500 words, following MLA Style guidelines) should be submitted before 31 May 2019. Decision on acceptance of contribution is subjected to a double-blind peer-review process. RCEI/79 will be released in November, 2019.

Journal websites:

http://publica.webs.ull.es/publicaciones/detalle/revista-canaria-de-estudios-ingleses/rcey-revista-canaria-de-estudios-ingleses/

http://publica.webs.ull.es/publicaciones/lista-volumenes/rcey-revista-canaria-de-estudios-ingleses/

(posted 13 July 2018)


Contemporary Literature and/as Archive
Special Issue, LIT: Literature Interpretation Theory
deadline for submissions: 31 December 2018

Recent technological and environmental developments have complicated literature’s role as a repository of the past and as the site for the recovery of forgotten voices. In an age of ubiquitous computing and Big Data, digital practices of instantaneous archiving produce the present as much as they record the past. Such technological developments resonate with ecological changes: under the rubric of the Anthropocene, the whole Earth has become an archive of human action; and in the context of the so-called “Sixth Extinction,” many life forms threaten to be obliterated and to only survive in archives. The result of technological acceleration and ecological threat has been a sense of “archive fever” in which we manically record forms of life in the face of their obsolescence.

This special issue welcomes contributions that explore the altered relation between contemporary literature and the archive. Authors are invited to build on recent theoretical reflections on the archive, and on more practical engagements with the archive through new digital methods and the so-called “archival turn” in the humanities and the arts. How do new theories of archives alter the way we understand the relationship between literature and the archive? How do contemporary writers imagine literature’s relation to competing practices of data management? To what extent does the emergence of all-encompassing digital archives affect literature’s engagement with the past? And can a rethinking of archives and databases shed light on recent and ongoing literary developments?

Possible topics include, but are emphatically not limited to:

  • the altered scales of the archive (digital, geological)
  • fictions of extinction (human, nonhuman)
  • archival genres (database, elegy, epic)
  • poetic archives (Goldsmith, Rankine)
  • archiving and curatorship
  • literature as an “encyclopedic” archiving of life (Saint-Amour)
  • the memoir as self-archiving practice (Heti, Knausgaard, Lerner)
  • literary writing and/as geological inscription
  • reading literature as data, reading literature against data
  • literature and other archival media (film, photography)

Submissions must use MLA citation style and should be between 5,000-9,000 words (including notes and works cited). Please direct any questions relating to this cfp to both guest editors, Tom Chadwick (tom.chadwick@kuleuven.be) and Pieter Vermeulen (pieter.vermeulen@kuleuven.be). Submissions should be emailed to litjourn@yahoo.com by 31 December 2018. Please include your contact information and a 100-200 word abstract in the body of your email. LIT: Literature Interpretation Theory also welcomes submissions for general issues.

(posted 1 March 2018)