Calls for papers – Conferences taking place in April 2018

‘with shut eyes, but acute mental vision’: Dream and Literary Creation in Women’s Writings in the 18th and 19th Centuries
Clermont-Ferrand, France, 5-7 April 2018
Deadline for proposals: 30 September 2017

Université Clermont-Auvergne – CELIS

In June 1816, in a house on the shores of Lake Geneva, a young girl of barely 19 had a dream which would turn out to be the source of one of the greatest contemporary myths of modern times. This pivotal dream has remained prominent thanks to the preface that Mary Shelley wrote for the 1831 edition of Frankenstein, in which she describes a vivid, integrally visionary experience: “I saw – with shut eyes, but acute mental vision, – I saw the pale student of unhallowed arts kneeling beside the thing he had put together […].” In a lesser-known dream, a year earlier, Shelley brings her premature, unnamed first-born back to life: “Dreamt that my little baby came to life again; that it had only been cold, and that we rubbed it before the fire, and it lived. Awake and find no baby” (19th March 1815).

Dreams in Frankenstein are at the heart of the writing process but they also constitute the diegetic substance of the narrative. Victor’s nightmare, which follows the opening of the Creature’s “dull yellow eye” (Volume I, chapter 4), is difficult to overlook in any critical consideration of the importance of dreams in the novel. To mark the bicentenary of Frankenstein’s publication in 1818, this conference will re-examine the previously-recognised oneiric facets of the novel and develop fresh perspectives on dreams and dreaming in Mary Shelley’s fiction. Proposals with a special focus on those three dreams, as well as on other works by Mary Shelley in which dreams are often premonitory (Valperga, Matilda, “The Dream” for example), are particularly welcome. Discussion may also extend to analyses of day-dreaming which Mary Shelley also refers to in her preface when she distinguishes between her youthful fancies, “all [her] own”, and her fiction, destined to be read by others.

In addition, the oneiric character of Frankenstein is particularly relevant in any reappraisal of the textuality of dreams and their link to women’s creativity and creation as a whole. Accounts of real dreams in diaries and letters may interrogate the paradox of the invasion of Self by a radically Other force (“My imagination, unbidden, possessed and guided me”, wrote Mary Shelley), when the passive dreamer turns into a waking creative subject. Ontological alterity may be considered as being located at the core of such processes. Is there a specifically female understanding or expression of this encounter with the Other within? Literary dreams, whose putative oneiric nature needs further clarification, oscillate between narrative dexterity and the expression of possibly subconscious scenarios. How significant is a character’s dream? Is it radically inconsistent and heterogeneous? We therefore also invite papers on these, and other, connections between dream and fiction in novels written by Shelley and other female novelists.

Thus, the central issue of authorial intention in novels (or in poetry or plays if relevant), published from the end of the 17th century to the late 19th century, is the line of enquiry which this conference hopes to pursue. How is Mary Shelley’s creative outlook and experience mirrored in the writing of her contemporaries’ (Frances Burney’s or Ann Radcliffe’s for example), or in that of female authors who came before or after her (Jane Barker and the Brontë sisters for example)? Approaches developed by Margaret Anne Doody (“Deserts, Ruins and Troubled Waters: Female Dreams in Fiction and the Development of the Gothic Novel”, 1977), Ronald Thomas (Dreams of Authority, 1990, on the Gothic and nineteenth-century novels) or Julia Epstein on Burney (The Iron Pen, 1989) may be particularly pertinent here.

Papers may be given in English (preferably) or in French.
Please send your proposals to Isabelle Hervouet-Farrar and Anne Rouhette at before 30th September 2017.

Scientific committee:
Caroline Bertonèche, Université de Grenoble
Lilla Maria Crisafulli, University of Bologna
Isabelle Hervouet-Farrar, Université Clermont-Auvergne
Anne Rouhette, Université Clermont-Auvergne
Victor Sage, University of East Anglia
Jean Viviès, Université d’Aix-Marseille

(posted 23 March 2017)

History & Memory: Fifth International Conference on Humanities
Beja, Tunisia, 5-7 April 2018
Deadline for proposals: 30 November 2017

Organized by the Department of English at the Institut Supérieur des Langues Appliquées et
d’Informatique de Béja (ISLAIB) in Tunisia in partnership with Birmingham-Southern
College (BSC) in Alabama.
Venue: Higher Institute of Applied Languages and Computer Science of Beja, Tunisia

Texts act like receptacles for an ever present remembered past, or what the French philosopher Paul
Ricoeur calls “the present representation of an absent thing” (7).1 They might embody an efficient
remedy to forgetting but could also become a vivid testimony for exorcised traumas, and “it is on this
level and from this viewpoint that we can legitimately speak of wounded, even of sick memory”
(Ricoeur, 69). According to Ricoeur, “the work of mourning is the cost of the work of remembering,
but the work of remembering is the benefit of the work of mourning” (72). Thus remembering brings
back a bitter past but might heal revived memories. As to history, it is always in tension between
memory and forgetting; it relies on memory and prevents from forgetting. But it is also questionable
because it depends on its source and its context and sways between hiding and revealing.
During this conference the debate will focus on Ricoeur’s phenomenology of memory, epistemology
of history, and hermeneutics of forgetting. A special emphasis will be laid on the dissension between
individual and collective institutional memory.
Topics will pivot around the relationship between history, memory and social justice in different
academic fields such as history, political science, sociology, cultural studies, human rights, media
studies, gender studies, anthropology, linguistics, literature, psychology, and pedagogy. Materials
covered are historical documents, novels, short stories, poems, plays, autobiographies, biographies,
texts, paintings, films, museums, national archives, etc.
1 Ricoeur, Paul. Memory, History, Forgetting. Chicago & London: The University of Chicago Press, 2004.
We welcome proposals focusing on, but not restricted to, the following topics:
Language and Linguistics
Text as memory
Socio/psychoanalysis of a text
Cognitive load theory,
Learning: memory& forgetting
Teaching history
Bilingual memory
Role of memory in second language and foreign language acquisition
Linguistic memory
Language and memory
Memory and engaged learning
Cultural Studies
The historical and the political
History of ideas
Tunisian history and tradition
Cultural studies and historical approaches
Individual and collective memory
Socio-cultural dimension of memory
History in the digital age
Digital memory and the archive
Collective memory and history
Cities and the architecture of memory
social justice and human rights
Literary Studies
Theories of memory
Intentional fallacy
Trauma and traumatic memory
Film and memory
Historical movies
Art and memory
Art history
Memory, history, forgetting in novels, plays, and poems
Literature for the reconstruction of history

Submission Details:
The reviewers will welcome abstracts of 300 words (maximum) and at least 3 key words for 15-
minute presentations in English, French and Arabic, addressing aspects of the above-cited areas or
other concerns pertinent to the topic of this conference.
All submitted proposals will be unanimously peer-reviewed by two external reviewers.
The abstract and the author’s personal information sheet must be submitted together in two separate
files. The abstract file must contain no reference that may identify the author. The second file must
include the author’s contact information, institutional affiliation, and a short biography (100 words
Once an abstract is accepted, the author is required to submit the full draft to the panel respondent no
later than February 1st, 2018.
Send your abstracts to:
Important Dates
Submission of abstracts: November 30th, 2017
Notification of acceptance: December 15th, 2017
Submission of articles: February 1st, 2018

Conference Fees:

Registration with accommodation (April 6th and 7th in Tabarka):
Tunisian Teachers or researchers, TND 150
Foreign Teachers orresearchers, 300 US Dollars

Registration ithout accommodation
Tunisian Teachers or researchers, TND 80
Foreign Teachers orresearchers, 100 US Dollars

(posted 54 September 2017)

Singularity and Solidarity: Literature, Arts and Society in the British Isles, 19th-20th-21st Centuries
Université Paul-Valéry Montpellier 3, France, 6-7 April 2018
Deadline for proposals: 15 January 2018

A Conference organised by EMMA (Études Montpelliéraines du Monde Anglophone) and CAS (Cultures Anglo-Saxonnes)

Venue: Site Saint Charles

The ongoing negotiations on the withdrawal of the UK from the European Union seem to provide an illustration of the contrary tendencies that the notions of singularity and solidarity may be understood to represent: isolationism vs unity, exceptionalism vs shared destiny, divergence vs convergence, etc. Such contrary tendencies do not only play out at the level of the nation-states and of the international order, but also within the societies and cultures of the British Isles: individual vs collective dynamics, minority vs majority aspirations, etc. – these are some of the terms in which the debates on austerity policies, on the future of the welfare state and on Scottish independence, among others, have been framed. Indeed, one may want to use discourse analysis to examine the prevalence of such terms and notions, or of close terms and notions, and how they have been articulated into coherent discourses.
At first sight, singularity and solidarity may therefore seem to be polar opposites. However, one should be wary of being drawn, for epistemological purposes, into blankly accepting radical alternatives between individual and collective, or between agency and structure. The combination of the notions of singularity and solidarity is also as an invitation to discuss the processes by which what is experienced or perceived initially as individual or singular interests may be reframed as collective interests or matters of solidarity. Such processes may be top-down, as is often the case in public policy-making (how does the collective or general interest come to be defined?), or they may be more bottom-up, when one looks at the dynamics of social movements (how are individual grievances transformed into collective claims? how may social movements based on distinct experiences converge politically?). Such processes are worth analysing, as are the terms in which they are debated. Indeed, the general character of language categories poses a challenge to any translation of individual or singular experiences into larger narratives. In broader terms, combining the notions of singularity and solidarity raises the question of how accounts of oneself and collective histories may fit together.
The concepts of singularity and solidarity evince a form of emotional, social, political or ethical relationship to the other that may be apprehended in terms of difference from the other, care for the other or else care for oneself, a relationship between the self and a group that engages with ethics and politics. In British literature and arts, does attention to singular, invisible beings open the way to ‘narrative democracy’ (Rancière)? While they apparently negate all possibility of a radical autonomy for the subject and favour a relative or ‘mutual’ form of autonomy, do British literature and arts contribute to the rise of a form of interdependence based on attention to singularities in their concrete, vibrant dimensions and
that could translate into a praxis?
The aim of the conference is to explore the two concepts and the relations they entertain in the British arts, literature and society of the 19th, 20th and 21st centuries. The theoretical framework will be provided by phenomenology, ethics or history, political science, sociology or other fields; transdisciplinary approaches will be welcome.
The following topics can be addressed (but the list is not exhaustive):

  • Community
  • The individual vs the collective;
  • Agency vs structure;
  • Minor vs major;
  • The ascendance of abstraction;
  • Intimacy, self-narrative, collective history;
  • Collaboration, negotiation, exchanges;
  • Politics

(posted 21 September 2017)

Samuel Beckett: Literature and Translation
Faculty of Letters, University of Extremadura, Cáceres, Spain, 12-13 April 2018
Deadline for proposals: 30 September 2017

Samuel Beckett’s importance for both Irish and Universal literature is unquestionable. He has actually reached the level of cultural icon in recent years. Beckett’s international recognition was established with Waiting for Godot (1953), a work originally written in French which he immediately rendered into English, a pattern he would repeatedly use all through the rest of his life. In fact, he translated into French most of the works he wrote in English, becoming the most important 20th-century bilingual writer. Bilingualism in Beckett could be said to have reached aesthetic status: when Beckett seemed to “fail again” without being able to advance any more, bilingualism offered him the possibility to progress. As a matter of fact, writing in another language seemed the only possible way to further develop for a type of literature that was self locked up. As a result of this process, by the end of his life, as Sinead Mooney points out, Beckett had created an unstable and complex canon in which, from the end of World War II onwards, the difference between original and translation becomes more difficult to ascertain. Beckett was conscious of the enormous importance bilingualism and self-translation had in his literary production and he is known to have helped many translators of his works, showing a keen interest in the way in which his novels and plays were translated into other languages.

However, despite the international recognition provided by the 1969 Nobel Prize in Literature, unfortunately his works still remain somewhat unknown in Spain. The aim of this conference is to analyse Beckett’s presence in the Spanish cultural life during the last sixty years with special attention to the Spanish renditions of his works. Although almost all his novels, dramatic works and prose and poetic texts have been translated into Spanish, the quality of those versions greatly varies. Apart from that, many of Beckett’s emblematic texts are now out of print and others are found in very limited editions. This conference intends to provide a forum for debate about the translations of Beckett’s works into Spanish, so that the conclusions of the studies presented here may contribute to future research and to promote a better reception of his works.

For the International Conference “Samuel Beckett: Literature and Translation”, interdisciplinary proposals, either in Spanish, French or English, on the following topics (but not exclusively) are welcome:

  • Samuel Beckett and bilingualism in his works
  • Translations of Samuel Beckett’s works into Spanish and other peninsular languages: An analysis of particular cases and state of the art
  • Samuel Beckett’s reception in Spain
  • Censorship of Samuel Beckett’s works in Spain
  • Beckett and self-translation into English and French
  • Critical trends in the interpretation of Samuel Beckett’s works
  • Samuel Beckett’s philosophical thought
  • Beckett’s exploration of other artistic forms
  • An analysis of Samuel Beckett’s works

Proposals should be sent by e-mail to the following address:, before 30th September 2017, and should include:

  • Title
  • Participant’s name, institutional affiliation and e-mail address
  • 200-300-word abstract

The Scientific Committee will evaluate the proposals and a final decision will be notified during November, 2017 in order to proceed with the process of registration.

Plenary Speakers:
Alan Graham (University College Dublin, Ireland)
Nadia Louar (University of Wisconsin, USA)
José Francisco Fernández (Universidad de Almería)

Organized by
-Universidad de Extremadura, Cáceres. Facultad de Filosofía y Letras.
-Proyecto I+D FFI2016-76477-P (MINECO y AEI/FEDER)

Conference Chair:
Bernardo Santano Moreno (Universidad de Extremadura)

Organizing Committee:
Carolina Amador Moreno (Universidad de Extremadura)
Lourdes Carriedo López (Universidad Complutense de Madrid)
Nuria Fernández Quesada (Universidad Pablo de Olavide)
José Francisco Fernández Sánchez (Universidad de Almería)
María Carmen Galván Malagón (Universidad de Extremadura)
María Carmen Galván Malagón (Universidad de Extremadura)
Luis Girón Echevarría (Universidad de Extremadura)
Noelia Plaza Fernández (Universidad de Extremadura)
Olvido Soria Pequeno (Universidad de Extremadura)
Diana Villanueva Romero (Universidad de Extremadura)

Scientific Committee:
Antonio Andrés Ballesteros González (UNED)
María José Carrera de la Red (Universidad de Valladolid)
Lourdes Carriedo López (Universidad Complutense de Madrid)
Nuria Fernández Quesada (Universidad Pablo de Olavide)
Alan Friedman (University of Texas at Austin)
José Ángel García Landa (Universidad de Zaragoza)
Karine Germoni (Université Paris-Sorbonne)
María Jesús López Sánchez-Vizcaíno (Universidad de Córdoba)
François Noudelmann (Université Paris 8)
Bernardo Santano Moreno (Universidad de Extremadura)
Pascale Sardin (Université Bordeaux Montaigne, France)
Dirk Van Hulle (Universitet Anwerpen, Belgium)
Feargal Whelan (UCD, Ireland)

(posted 1 June 2017)

Dissonance, eclecticism and the blurring of genres in the modern and contemporary culture of the English-speaking worl
University of Reims-Champagne Ardenne (URCA), France, 13 April 2018
Deadline for proposals: 15 November 2017

A one-day symposium organised by CIRLEP (EA4291)

Over the past twenty years, sociologists of culture, on both sides of the Atlantic and from different theoretical standpoints, have insisted on the fact that individuals’ engagement with culture, far from being confined to a restricted number of elitist, distinctive, “snobbish” practices, actually span a broad range of registers, ranging from “low” to “high” and from “legitimate” to “illegitimate” culture. Peterson, Di Maggio, Holt, Lahire, Glevare, Coulangeon have thus all written about what they call either eclecticism, omnivorousness, or dissonance. A lot of individuals, belonging to various, diverse social groups, have been observed to practice – alternatively or conjointly – forms of culture which are categorized either as legitimate or popular. The collapse of the hierarchy between high, legitimate culture, and low, mass culture, as well as the dissociation of cultural hierarchy and the dominance of a given social class has even been said to be one of the defining features of contemporary society, and indeed of the postmodern condition itself.
Because of the dilution of traditional forms of legitimacy, cultural legitimacy has assumed various forms and guises. Among cultural and intellectual elites, it has thus become more important to be seen to like different or differentiated cultural objects than to limit oneself to the sole range of ‘legitimate’ objects. ‘Omnivorousness’, a term coined by sociologist Richard A. Peterson, is now opposed to intellectual ‘snobbishness’. More broadly, culture is now understood as a means to conform or to differentiate oneself: from other social and age groups, but also from one’s own social peers and even sometimes from oneself, as Lahire explains when he speaks of ‘dissonant’ practices. All cultural genres (from comic strips to pop/rock/rap music or television programmes) have now acquired a definite cultural legitimacy and can thus be invested with affective or intellectual value, giving rise to the creation of new hierarchies within the boundaries of one genre and to new forms of distinction among individuals.
The aim of this one-day symposium is to open the investigation of these concepts pioneered in the sociology of culture to other fields, notably those (cultural studies, literature, history) which have traditionally been linked to specific cultural areas (the English-speaking world, for instance) and which are more receptive to the combination of various theoretical standpoints than sociology. Does the notion of the blurring of genres help to define a comprehensive theory of culture?
Papers can focus either on the point of view of consumers, producers or cultural products. Proposals are welcome in the three following topic strands:
– The evolution of cultural tastes and practices in the English-speaking world, taking into consideration the new concepts defined by sociologists, as described above, but also the rise of new practices, particularly those based on the use of digital technology and social networks. Analysis may thus bear on ultracontemporary practices, in particular the role of digital technology in the evolution and transformation of cultural practices. But historical approaches are also welcome: do eclecticism and cultural dissonance have a long history or are they necessarily restricted to hyper-contemporary practices? Is there a ‘long history’ of eclecticism and cultural dissonance or is it a purely contemporaneous phenomenon? Comparative approaches aiming at measuring precisely the ground-breaking role of Anglo- American culture in the process of eroding cultural hierarchies are also welcome.
– Dissonance as seen from the point of view of the creators: is it a recent phenomenon or on the contrary is it a natural part of any creative act? To what extent do artists and creators participate in the blurring of the frontiers between “high” and “low”, “legitimate” and “illegitimate” culture? Examples may be drawn from the fields of literature, the arts, cinema and music. Possible topics may include authors who write both for adults and children, or experiment with “illegitimate” forms such as romance, detective novels, erotic fiction, or write scripts for Hollywood, television, or Broadway; musicians who move from “classical” to “popular” music; film-makers who shoot both for the big screen or for television; visual artists who mix painting, sculpture and comics strips or digital technology.
– The third strand is more self-reflexive and involves the practices of the intellectual elite, to which academics and researchers belong: in what ways do the ‘omnivorous’ habits of that group exert an influence over the blurring of genres and enable the transition of certain cultural objects from the category of the illegitimate to that of the legitimate? How does this process operate? To what extent have researchers, critics and academics become ‘omnivorous’? What effect does this process have over cultural objects and their reception? Isn’t it the case that a certain kind of hierarchy is reinstated between the said objects, based on standards of taste that, rather than being erased, might simply be displaced? What part does teaching play in those evolutions? Does the wish to adapt to the students’ cultural practices shift the boundaries of the various fields of study? Are educational methods not often a step ahead of academic research?

Proposals, no longer than 400 words, must be sent to, or to, before November 15, 2017.

(posted 1 August 2017)

12th International IDEA Conference: Studies in English
Akdeniz University, Turkey, 18-20 April 2018
Deadline for proposals: 30 November 2017

The Conference will be jointly hosted by
Akdeniz University’s Department of English Language & Literature
English Language & Literature Research Association of Turkey (IDEA).

The Conference will address topics from the fields of

  • English Literature
  • British and Cultural Comparative Studies
  • Translation Studies
  • Linguistics and ELT

Abstracts for proposed papers (maximum 250 words and 5-6 keywords) should be submitted to:
Please include your name, affiliation, email address and a brief biography.
Deadline for proposals is November 30, 2017

For enquiries, please contact Asst. Prof. Dr. Orkun Kocabıyık,     Akdeniz University, Faculty of Letters, Department of English Language and Literature, Konyaalti, Antalya/Turkey

(posted 19 July 2017)

TAML2: Tense, Aspect and Modality in L2
Leiden University, the Netherlands, 19-21 April 2018
Updated deadline for proposals: 29 September 2018

Venue:Van Wijkplaats 4
2311 BX Leiden

Conference website:

The Conference will start on the afternoon of 19th April 2018 and close on the afternoon of 21st April and is hosted by Leiden University Center for Linguistics, Leiden University, The Netherlands. This conference discusses Tense, Aspect and Modality in L2, with an emphasis on (a) aspectual representations in L2; (b) pedagogical applications of TAML2 research findings; (c); futurity and modality and  (d) theory building.

You are cordially invited to submit abstracts for papers and posters on any domain and subdomain of temporality in SLA research.

Information about the fees*
Regular rate: € 75,-
Student rate: € 40,-
Special rate LUCL/LLRC members: € 30,-
the participation fee includes  the conference dinner, lunch and coffee and tea

Plenary speakers
Dr. Ll. Comajoan, University of Vic, Spain
Dr. L. Domínguez, University of Southampton, UK
Prof. Dr. R. Salaberry, Rice University, USA
Dr. K. Schmitz, University of Wuppertal, Germany
Prof. Dr. H. Verkuyl, University of Utrecht, The Netherlands

Key dates
Note: the abstract submission date has been rescheduled.
31th August 2017: the renewed abstract submission deadline is 29th September 2017
30th November 2017: notification of acceptance
1st December 2017: registration starts
20th March 2018: registration closes
19th -20th – 21st April 2018: conference

Paper submission policy
Paper and poster proposals should not have been previously published. More than one abstract per author can be submitted. All submissions will be reviewed anonymously by the scientific committee and evaluated in terms of rigour, clarity and significance of the contribution, as well as its relevance to research on L2 temporality. Abstracts should not exceed 300 words (excluding title and optional references). Proceedings will follow.

Submission guidelines
This year we are using the EasyAbs system to automate our workflow. To submit an abstract, click on the following link.

You can change any information about your paper before the abstract submission deadline on 29th September  2017. Before this date, please check that your abstract is complete and that it has also been uploaded in PDF format. For any submission-related questions please email

We look forward to receiving your submission.

(posted 9 September 2017)