Calls for papers – Conferences taking place in May 2017

International James Baldwin Conference
Ankara, Turkey, 4-5 May 2017
Deadline for proposals: 1 November 2016

The Department of American Culture and Literature, Başkent University, Ankara, is pleased to announce its International James Baldwin Conference, the third in a series of international biennial conferences organized by the Department on American writers. As a novelist, short fiction writer, essayist, playwright, poet, social/literary critic, and political activist, Baldwin continues to inspire many readers, critics, and artists today. Having lived as an expatriate in several countries, including Turkey, Baldwin left a literary, cultural, and intellectual legacy that extends well beyond the United States. It is hoped that during the conference Baldwin will be discussed through multiple, cross-cultural, and interdisciplinary approaches. Suggested topics for papers include but are not limited to:

  • Baldwin the American
  • Baldwin the Expatriate
  • Baldwin and Identity
  • Baldwin and Race
  • Baldwin and the Civil Rights Movement
  • Baldwin and African American Culture
  • Baldwin on Stage and Screen
  • Baldwin and Sexuality
  • Baldwin and Literary Criticism
  • Baldwin and Literary Journalism
  • Baldwin and His Contemporaries
  • Baldwin and Music
  • Baldwin and the Arts
  • Baldwin and Religion
  • Baldwin: Sources and Influences
  • International Reception of Baldwin
  • Baldwin in Translation

Please visit the conference website to submit an abstract of maximum 250 words for a twenty-minute oral presentation, and also a short biographical note of maximum 100 words.  The deadline for the submission of abstracts is 01 November 2016. You will be notified by 15 December 2016 whether or not your paper has been accepted for presentation at the Conference. Further information concerning plenary speakers, travel, accommodation, conference program and other details will be available on the conference website in due course. Should you have any further queries, please do not hesitate to contact us at

(posted 29 July 2016)

Alphonse Legros in France and in Britain : A Tale of Two Countries
University of Burgundy and Museum of Fine Arts, Dijon, France, 4-5 May 2017
Deadline for proposals: 1 January 2017

Keynote Speakers
Elizabeth Prettejohn, University of York
Stephen Bann, University of Bristol

Conference convenors :
Sophie Aymes, University of Burgundy
Bénédicte Coste, University of Burgundy
Bertrand Tillier, University Paris 1 Panthéon-Sorbonne

Although he was born and possibly taught in Dijon, Alphonse Legros spent most of his life in Britain where he was appointed professor at the Slade School of Fine Art in 1876. Legros held the position until 1893, introducing etching and, later, sculpture to the syllabus. In 1880, he was one of the six founding members of the Society of Painter-Etchers which was to play an influential role in the late Victorian revival of printing. He was also instrumental in the modern revival of the cast portrait medal. When he died in 1911, Legros was a British citizen and a distinguished artist. The Tate Gallery organized the largest-ever retrospective of his works. However Legros did not forget France, nor did France forget him: a one-man show was held at Samuel Bing’s L’Art Nouveau gallery in 1898, and a large retrospective exhibition was curated by Léonce Bénédite at the Musée du Luxembourg in 1900. In Dijon, the Musée des Beaux-Arts set up an exhibition in 1987 and recent smaller events in France testify to an enduring interest for this transnational and transmedia artist.

The conference organized at the University of Burgundy (Dijon) in May 2017 by the Centre Interlangues (Texte-Image-Langage) and the Musée des Beaux-Arts will revisit Legros’s work and role as well as his legacy and reception in the 20th and 21st centuries.

We invite art historians, specialists of Victorian visual culture and aesthetics, curators, collectors and art school teachers to send proposals for 20-minute papers that explore the following themes in this non exhaustive list:

  • Legros and the visual culture of his time in relation to Aestheticism, pre-Modernist aesthetics and the revival of the graphic arts;
  • Legros, a multi-media artist with an experimental legacy: techniques (etching, lithography, painting, drawing, medal making) and transmediality;
  • Legros in France: the ‘Société des Trois’; the creation of the Société des Aquafortistes, and its first portfolio in 1862; Legros’s later career in France;
  • Legros and illustration: his own illustrations (to Edgar Poe’s stories for instance); his influence on contemporary illustrators;
  • Legros and British artists: acquaintanceships, avant-garde, networks of sociability and influence (D. G. Rossetti and F. Watts for instance);
  • Art school teaching: Legros’s teaching method and influence as professor of etching at the South Kensington School of Art and as Slade Professor; changes to the curriculum, Legros in the history of the teaching of fine arts and draughtsmanship;
  • Legros’s influence on younger artists (H. S. Tuke, Charles Furse, and William Strang, Philip Rothenstein, Charles Shannon, Augustus John);
  • France and England: cross-fertilisation and artistic transfers, recognition and/or neglect;
  • The history of the reception of his work: connoisseurship, tradition and transmission; building up collections in the UK and in the US; Legros on the contemporary market both in Britain and in 

Please send a 300-word abstract and a short biography before 1st January 2017 to:
Sophie Aymes:

Bénédicte Coste:

Bertrand Tillier: 

Notification of acceptance: 15th January 2017.

(posted 2 December 2016)

Women and Popular Culture(s) in the Anglophone Worlds (1945-2015)
University of La Rochelle, France, 4-5 May 2017
Deadline for proposals: 15 January 2017

Keynote speakers:

  • Kim Akass (Senior Lecturer, Film and Television Studies, coordinator of the Media Research Group, University of Hertfordshire)
  • Janet McCabe (Department of Film, Media and Cultural Studies, co-director of the Centre for Media and Creative Practice, Birkbeck College, University of London)

The interdisciplinary two-day conference “Women and Popular Culture(s) in the Anglophone Worlds: 1945-2015” proposes to review the present state of knowledge on such elastic notions as those of “woman” and “popular culture” and to underline their permanence and evolution at a time when the influence of Gender and Cultural Studies seems undisputed in both academic and social fields. The conference addresses the issue of how, through popular culture and cultural industries, women have been involved in social, cultural, and economic sectors they were previously barred from and what means and channels they have used to invest and invent specific places, spaces, and cultural milieu from the middle of the 20th century the present time.

The term “popular culture” will be central. From Matthew Arnold’s book (Culture and Anarchy) to the more recent works, it is open to debate: it is not the “high culture” of the Leavis’s nor folk culture. It is not what Christopher Lasch coined as “mass culture” either (Mass Culture or Popular Culture?). Situated at the crossroads between the unique and the expected, and between high, folk and mass cultures, popular culture is everything that they are not. The issue is even more complex if we take into consideration the multiple examples of hybridization between these forms of culture. How have women taken advantage of this lack of consensus?

Since the middle of the 20th century, the presence of women has become increasingly visible in all fields of popular culture and in cultural industries (cinema, music, visual and performing arts, etc.). But the last decades, which have been at the origin of multiple women’s culture(s), produced exclusively by women and for women have also proved that stereotypical and archetypal figures associated with femininity are still rife (i. e. the all-pervasive mother-figure). Is “feminine culture,” as Georg Simmel coined it in “Philosophy of Love,” still subjected to male prerogative or has it become a dominant, not to say global culture which is part and parcel of the contemporary popular culture(s)? What parts have ecofeminist theory and practices and literary women dealing with womens’ “naturecultures” (Donna Harraway) played? Papers are welcome that will look, for instance, at the influence of ecofeminist critics and writers over the representations and discourses concerning women, nature, and culture.

The conference is also interested in the interactions between literature, comparative studies and popular culture, and in defining who the “learned” women of today are (politicians, scholars, noted authors and artists, patrons, etc.). Have new categories emerged among literary women and have women’s writings been catalysts to new literary and artistic genres? Is social background still a determining factor? What recognition have women been given and how have they been perceived and represented? Is the line separating popular culture and “high culture” still perceptible? We will pay special attention to multi-talented, versatile women whose production signals a blurring of the boundaries between “popular” and “high” cultures, between the masculine and the feminine, and reflects the overlapping of literary genres and academic subjects.

In the economic field, we shall consider the place of women in the workplace and delimit the economic networks of the feminine, the way they have developed and have been dismantled over time. What is the place of women in cultural industries? Do women’s economic networks necessarily reflect women’s economic and purchasing power? We encourage proposals that highlight the specificity of female economy, but we also welcome papers that approach women’s merchandising in the media and visual culture as well as the close relationship between capitalism and sexism: women as actors vs. objects of bargaining, the working woman vs. the whore, women as consumers vs. commodities.

The real and symbolic spaces associated with women should not be overlooked. In what ways and with which tools can we define and delimit them? Are the traditional categories based on ethnicity, geography, social background, and gender still valuable standards when considering popular representations? Current arguments about intersectionality lead us to question the epistemological value of traditional concepts in the mapping of the feminine, and to discuss the place of the body and of its uses in the building of new feminine spaces.

Special attention will also be paid to the use of the Internet and digital technology thanks to which “celebrities” 2.0, influenced by post-feminist criticism, present themselves as the spokespersons for gender equality. What can be said about the omnipresence of feminine figures on social media and about their “practice” of freedom and equality? Is popularization synonymous with politicization and do “feminine culture” and feminism(s) necessarily go hand in hand? If the core gender identity has regularly been attacked, feminism and its ramifications seem to be engulfed to the extent that the appropriateness of the concept of a feminist “wave” is becoming more and more controversial, which is all the more obvious as multiple feminist groups, trends and labels coexist (radical, eco-, post-feminism, …). Where do feminisms stand today? What is the consequence of their cultural assimilation? Dissemination or dissolution? Autonomy or fragmentation?

The conference theme can be approached through several, non-exclusive angles, among which:

  • Cultures of women
  • Feminine and/vs. feminist culture
  • Learned and/vs. “popular” women
  • Culture and acculturation of feminism(s)
  • The economy of the feminine/female economy
  • Cartographies and geographies of the feminine
  • The representations of women in popular culture
  • Women’s consumer behavior/practices and the merchandising of women
  • Feminism and capitalism
  • Women and culture 2.0

Despite its title, the conference is not restricted to feminist and gender studies. Spanning the Anglophone worlds over 70 years, it encourages the sharing of contrasting points of view in order to enhance how certain women, from all social, ethnic, economic, and geographic backgrounds and with different sexual orientations, have been playing down and playing with popular culture and gender stereotypes. The conference thus aims to explore the means and channels women have been using according to the milieu or group to which they belong, and the ways these tools and channels have been coopted, subverted and recycled. In this perspective, we would like to bring together specialists from various disciplines, such as sociologists, historians, geographers, economists as well as scholars in (comparative) literature, art and visual arts, music, and costume/fashion history.

Abstracts (approximately 350 words) and a short bio should be sent to: before January 15, 2017. Papers will be selected for publication.

(posted 2 December 2016)

Translation and Philosophy
University of Liège, Belgium, 4-6 May 2017
Deadline for proposals: 31 July 2016

The present conference, co-organized by the Centre interdisciplinaire de recherches en traduction et en interprétation (CIRTI) and the philosophy department at the University of Liège, aims at exploring recent research on connections between philosophy and translation. Two approaches will be developed.
Translating philosophy
As a rule, a first requirement when translating philosophical texts is to adequately convey the various underlying concepts. In this respect each translation or retranslation offers its interpretation of the theories and notions used by the translated philosopher. How can translation choices (conditioned by the nature of the respective languages?) change the way a given work is perceived? Can misunderstandings (or plain mistranslations) open the door to new interpretations of the translated work in the target language? More generally, what is the impact of translations and retranslations of philosophical texts on the development of both philosophical and translatological theory? Is the approach of a translating philosopher in any way different from that of a translator without any philosophical training? Is there a specific branch of translation studies devoted to the translation of philosophical works?

The philosophy of translating
The second approach that will be developed is related to philosophical issues involved in translating. Is translating an act of violence, a form of cannibalism or does it provide a way of overcoming violence? Is not translation also a heuristic concept that provides a map of the mental and cultural networks that structure each culture at a given time as well as an epistemological tool that brings up issues emerging at the crossroads of areas such as philosophy of language, sociology, or indeed environmental studies?
In this context what is the function of untranslatability? Is it an obstacle to the universal project inherent in translation or is it the very condition that makes it possible? Does it reflect the fundamental instability of meaning? Does not translation open onto new perspectives on both language and otherness? Cannot the emergence of “translation ecology” (Michael Cronin, Translation and Globalization) help us to redefine and renegotiate the bond between humankind and its own diversity, and beyond, to its environment and to the world?

We have only sketched some possible avenues on affinities between translation and philosophy.
Papers will be delivered in English or in French and will not exceed 20 minutes.
A short abstract of no more than 500 words will be sent to Valérie Bada and Bernard Smette by 31 July 2016.

(posted 12 July 2016)

Short Fiction: Co-texts and Contexts. 3rd ENSFR Conference
University of Leuven (KU Leuven), Belgium, 4-6 May 2017
Deadline for proposals: 15 January 2017

Since the emergence of the modern short story as a distinct literary form in the second half of the nineteenth century, many critics and writers have sought to decide what it is exactly that distinguishes the short story from longer fiction, such as the novella or the novel – Is it length? Conciseness? A specific thematic concern? Or a particular stylistic feature? The matter has not yet been settled. Perhaps we need to look to more circumstantial, material elements for a pragmatic answer to that question. Indeed, one could argue that one of the discerning features of the short story is that it is rarely if ever published separately. Instead, it appears as one text among others, whether in a newspaper or magazine, an anthology or collection, a short story cycle or sequence, on a website or in a twitter feed. Precisely these different formats and contexts of publication have also been instrumental in the birth and development of the modern short story as we know it today. As several critics have argued, the short story rose to fame as a new and fashionable literary form in the 19th century thanks to the boom in the periodical press. Similarly, its decline in popularity in the second half of the 20th century correlates with the decimation of magazines willing to publish short fiction. And one could argue that the renewed interest in short fiction today is related to the proliferation of new publishing opportunities through digital media.
This necessary co-textuality of the short story or the different contexts in which it is published and read are slowly receiving more critical attention. Dean Baldwin’s Art and Commerce in the British Short Story: 1880-1950  documents the rise and fall of British short fiction through a study of its modes of publication. Other studies address the processes of unification and collection that go into the making of short story cycles, anthologies or collections, while the interactions between short fiction and new (digital) media formed the topic of the previous ENSFR conference.
This third annual ENSFR conference wants to further explore the many different ways in which short fiction interacts with its co-texts and contexts in different literary traditions. Questions we would like to address are:

  • How have the publication formats of short fiction changed over the centuries?
    How is the development of the short story bound up with the printing and publishing context of a particular time and space?
  • To what extent have the publication contexts of the short story influenced its perception as an avant-garde or popular genre, or as highbrow/middlebrow/lowbrow literary form?
  • What are the new publishing formats emerging today and how do they influence the short story?
  • What is the interaction between short fiction and other media (e.g. illustrations, typography, photographs) in such multimedial publishing formats as the magazine or the website?
  • What is the importance of the book trade and its marketing strategies on the writing and publishing of short stories?
  • How is the co-textual nature of a single-author collection different from that of an anthology or from a short story cycle? How does this context influence our reading of a given short story, as it moves, for instance, from a magazine, to a collection and on to an anthology or syllabus?
  • How does a short story take on new meaning throughout its migration across different publishing contexts? What metamorphoses can be observed from a story’s initial publication to later, revised versions?
  • What connections might be made within an author’s complete oeuvre? For example, do authors sometimes return to initial stories or storyworlds later in his/her career, creating connections that extend beyond the temporal frame of an initial publication, but also beyond the material boundaries of a single collection?
  • In what way do stories interact with the socio-political context of the time and place they reflect? How do they evoke that larger context within a restricted frame?

In other words, possible topics can include, but are not limited to, the following themes:

  • The short story cycle
  • The anthology
  • The collection
  • The story as part of an author’s oeuvre
  • Short fiction in magazines
  • Short fiction and other media
  • The short story and the book trade
  • The short story and prize culture
  • The short story and its socio-political contexts
  • Interpreting the short story

We welcome papers (in both English and French) that address these questions and topics either through individual case studies or more theoretical or historical explorations as well as in different literary traditions. Proposals for three-paper panels are also welcome.
300-word abstracts for 20-minute papers should be sent to Elke D’hoker ( and Bart Van den Bossche ( by the 15th of January 2017. Contributors should also send a short biographical note indicating institutional affiliation.
Further information about the conference will be posted on the conference website Further information about the ENSFR can be found on The conference will take place in the Leuven Irish college (

(posted 4 October 2016)

New Stage Idioms: South African Drama, Theatre and Performance in the Twenty-first Century
Université Libre de Bruxelles (ULB), Belgium, 11-13 May 2017
New extended deadline for proposals: 26 September 2016

In the years that followed the end of Apartheid, South African drama, theatre and performance were characterized by a remarkable productivity, which entailed a process of constant aesthetic reinvention. In the post-apartheid period, South African playwrights and theatre makers sought to come to terms with the traumatic legacy of the pre-democratic past. Witness thereof are performance works documenting the Truth and Reconciliation Commission hearings. After 1994, the “protest” theatre template of the apartheid years morphed into increasingly more diverse forms of stage expressions, detectable in the works of Mike van Graan, Craig Higginson, Zakes Mda, Lara Foot, Paul Grootboom, Omphile Molusi, Fatima Dike, Nadia Davids, Aubrey Sekhabi, Magnet Theatre, Yael Farber, and Neil Coppen to name only a few. This conference will seek to document the various ways in which the “rainbow” nation has forged these new stage idioms, inviting contributions about different forms of performance modes. In order to foreground theatre, the keynote speakers will be active figures from the contemporary post-apartheid stage: Mike van Graan, Craig Higginson, Greg Homann, Nadia Davids, and Omphile Molusi. Here is a list of potential topics for consideration:

  • Contemporary theatre makers working in English, Afrikaans, Zulu, Xhosa, and/or other African languages. How can Indigenous playwriting be defined?
  • New thematic and aesthetic trends in playwriting.
  • Impact of globalization on South African playwriting and stage practices.
  • Theatre making from marginalised voices (expressing gender, social or ethnic differences; LBGT voices on the stage; playwriting by women) and other issues of identity representation.
  • Contemporary township and community theatre.
  • Reinterpretations of European classics for the South African stage;
  • How are of issues of trauma, violence and cultural memory/amnesia enacted on the contemporary stage?
  • New forms of political theatre.
  • Alternative dramaturgies (installation art, site-specific performance, contemporary dance).
  • The politics of festivals; politics of funding.

A selection of conference presentations will be considered for publication. Prospective participants should send a short proposal and a brief vita to the convenor, Professor Marc Maufort, Université Libre de Bruxelles, by the extended deadline of September 26, 2016 ( Notifications of acceptance will be sent in late October 2016.

Confirmed keynote speakers: Mike van Graan, Craig Higginson, Greg Homann, Nadia Davids, and Omphile Molusi.

An evening of readings from these playwrights’ and theatre practitioners’ works will be held during the conference.

(posted 4 September 2016)

27th BAS Conference on British and American Studies
Timişoara, Romania, 18-20 May 2017
Deadline for proposals: 15 February 20

The English Department of the Faculty of Letters, University of Timişoara, is pleased to announce its 27th international conference on British and American Studies, which will be held in May 18-20, 2017.

Confirmed plenary speakers:
Professor Alexander Onysko, Alpen-Adria University of Klagenfurt
Professor Mircea Mihăieș, West University of Timișoara

Presentations (20 min) and workshops (60 min) are invited in the following sections:

  • Language Studies
  • Translation Studies
  • Semiotics
  • British and Commonwealth Literature
  • American Literature
  • Cultural Studies
  • Gender Studies
  • English Language Teaching

Abstract submission
Please submit 60‑word abstracts, which will be included in the conference programme:

Deadline: 15 February 2017

Conference fee
The early conference registration fee is EUR 100, to be paid by March 15; the late registration fee is Euro 120.
For RSEAS members, the early registration fee is lei 300; the late registration fee is lei 350.

Conference website:

vent website:

For additional information, please contact:
Luminiţa Frenţiu,;, tel + 40 744792238;
Loredana Pungă,;, tel + 40 763691704

(posted 4 October 2016)

The Past is Back on Stage – Medieval and Early Modern England on the Contemporary Stage
EMMA, University Paul-Valéry Montpellier 3, France, 26-27 May, 2017
Deadline for proposals: 31 January 2017

From the 1960s when Robert Bolt wrote A Man for All Seasons first for BBC radio, then for television and finally for the stage, to the 2010s when Hilary Mantel’s successful novel Wolf Hall was adapted to the stage and then for television, the past several decades have witnessed a renewed interest in medieval and early modern England among contemporary writers and audiences.

The extended period from the Protestant Reformation to the Glorious Revolution provides novelists, playwrights, and screenwriters with material through which to engage pressing current issues, and the success of their works among diverse socio-economic, ethnic, and generational groups indicates a popular phenomenon that reaches beyond academic and artistic communities.

This international conference, organized by EMMA at University Paul-Valéry in Montpellier, France, aims to understand why contemporary playwrights find this particular past appealing. More precisely, it aims to shed light on the political and cultural significance of medieval and early modern England for twentieth- and twenty-first century writers and audiences.

Centring on contemporary theatre in the English-speaking world, it invites scholars of medieval, early modern, and contemporary drama, performance, and culture to submit papers on any of the following topics:

  • History Plays: what do playwrights deem useful about the past in the creation of politically-committed theatre? Could such a distant period be considered as a valid mirror image of our contemporary world? How are the uses of the past today comparable to the way it was used by medieval and early modern dramatic writers?
  • Medieval Exceptionality: why is this particular period of English history seen as a cultural reference which is understood and appropriated world-wide
  • The Place of Diversity: how do women, racial and ethnic minorities, writers from nations and national traditions outside England, respond to and use the medieval English past?
  • Rewriting History: what is the cultural, historical and political bias of contemporary writers and audiences?
  • Recreation and Entertainment: the choice of certain historical figures as new heroes may be discussed, as well as the way those historical figures may be depicted as endearing champions of the Good, or loathsome villains, for the entertainment of audiences today.
  • Canonicity and Beyond: to what extent and in what ways do contemporary playwrights allude to, adapt, endorse, expand on and/or critique the canon?
  • Adapting Elizabethan Theatre: how do contemporary playwrights, stage-directors or theatre companies rewrite and renew Elizabethan plays for contemporary audiences? How can they use the assets of site-specific performance?

Our plenary speaker will be British playwright and writer David Edgar, who has had more than sixty of his plays published and performed on stage, radio and television around the world. Edgar has repeatedly looked to other periods and other writers to engage the stage and screen as media for political activism. Most recently, in Written on the Heart, which was produced in 2011 by the Royal Shakespeare Company on the occasion of the four-hundredth anniversary of the King James Bible, Edgar exposed the historical situatedness and composite composition of this “authoritative” text of scripture.

Please send proposals of no more than 300 words in English and a brief CV indicating your institutional affiliation to Marianne Drugeon by January 31, 2017. Notification of acceptance will be sent by March 15, 2017.

(posted 24 October 2016)

Phraseological Units in Specialised Corpora: CILC17 Conference
Paris, France, 31 May – 2 June 2017
Deadline for proposals: 30 November 2016

The Spanish association for corpus linguistics is holding the 9th annual international conference on corpus linguistics  in Paris May 31-June 2 2017.

As part of AELINCO’s on-going programme of research activities and annual conferences, the broad aim of the CILC conferences is to provide language researchers an opportunity to present and communicate their work from a variety of corpus analysis perspectives, that is to say any research which attempts to account for attested language phenomena on the basis of empirical textual data. For CILC17, it has been decided that particular attention will be paid to phraseological units in specialised corpora (whether monolingual or multilingual). The assumption which underpins this topic is Sinclair’s (1991) “Idiom Principle”, according to which language is made up of largely pre-fabricated elements which can most usefully be identified in text corpora through the use of statistical techniques. From this point of view, “Language” is seen primarily as a textual phenomenon, and as such is studied in terms of lexical co-occurrence, collocation, semantic preference, colligation, semantic prosody, and so on. More generally these terms can all be related to “Phraseology”, understood here as the regular patterns of language which underlie all types of discourse. The particular aim of CILC17 is thus to examine the means by which corpus linguistics attempts to detect and analyse these kinds of units, with the ultimate aim of better understanding how they function in discourse and the language system, as well as to examine how phraseological units can be useful to related disciplines, notably terminology, second and foreign-language learning, languages for specific purposes, lexicography, specialised or pragmatic translation.

Abstract submissions:

  • An extended abstract in English, French or Spanish, between 450-550 words, not counting Bibliography. Authors should present a main argument, aims, theoretical framework and some results. The abstract will be submitted to review and should be formatted in the following style:
    – Title, centred, bold, font /Times New Roman/ 14 pts,
    – Keywords, italics, font /Times New Roman/ 12 pts, below the title,
    – Main text, justified, font /Times New Roman/ 12 pts, linear interspacing 1,
    – No references to the author(s),
    – Bibliography.
  • A short summary in English, French or Spanish, between 150-200 words, no Bibliography, using the same guidelines as the extended abstract, PDF Formation.
  • The author(s) should assign the paper to one of the 9 specific topics mentioned above.
  • Submissions can be made using thelinkon the Conference website

Provisional Deadlines

  • 30  Nov 2016: Deadline for submissions
  • 15  Feb 2017: Notification of acceptance
  • 20 Feb  2017: Start of registration
  • 31 March 2017: End of registration

(posted 16 October 2016)