Illustration and Adaptation
University of Burgundy, France, 10-11 October 2019
Deadline for proposals: 1 March 2019
- Illustration as a form of adaptation: can the example of illustration as an intermedial practice participate in redefining what we mean by adaptation? Conversely, can adaptation theory help reappraise illustration as a subject matter and a field of research?
- Intersections between the realms of illustration and adaptation: what are the boundaries of the field of illustration? In the wake of Henry Jenkins’s works, how can one theorize the convergence between illustration and adaptation?
- Transmediation between illustration and other media (texts, painting, graphic novels, comics, video games, theatre, film, television series, documentaries, advertising, etc.): theoretical approaches and artistic practices.
- Professionalisation of illustrators: what approach to adaptation do illustrators have? How to their briefs or commissions impact the perception of illustration / adaptation? What is the role of art school curriculae in this phenomenon?
(posted 11 April 2018)
Short Fiction as Humble Fiction
Université Paul-Valéry Montpellier-3, France, 17-19 October 2019
Deadline for proposals: 15 January 2019
A conference organised by EMMA (Etudes Montpelliéraines du Monde Anglophone) with ENSFR (European Network for Short Fiction Research),
- Elke D’hoker, K.U. Leuven, Belgium
- Ann-Marie Einhaus, Northumbria University, UK
Short Fiction as Humble Fiction
The title of this conference may sound like a provocative statement. It may suggest a definition of the genre as a minor one, as has too often been the case in the history of the short story. Yet the conference has another purpose altogether. We would like to shift the perspective and claim short fiction not exactly as a minor genre, but as a humble one. As such, what can short fiction do that the novel cannot? What can it better convey?
We suggest to use the concept of the ‘humble’ as a critical tool that may help reframe and redefine short fiction, a notoriously elusive genre. How do short story writers deal with humble subjects – humble beings (the poor, the marginal, the outcasts, the disabled, etc.) and the non- human (animals, plants, objects), the ordinary, the everyday, the domestic, the mundane, the prosaic? How do they draw attention to what tends to be disregarded, neglected or socially invisible (Le Blanc) and how do they play with attention and inattention (Gardiner)? How do they contribute to an ethics and a politics of consideration (Pelluchon)? What rhetorical and stylistic devices do they use? What happens when they broach humble topics with humble tools, a bare, minimal style, for instance? How does the humble form of the short story – its brevity – fit humble topics? Does it paradoxically enhance them? Does the conjunction of the two give the short story a minor status or can it be empowering? In other words, should the humble be regarded as a synonym of ‘minor’ or as a quality and a capability (Nussbaum)?
Asking such questions will open a rich debate. How does the humble nature of short fiction connect with the epiphany, the moment of being, the event? If along with Camille Dumoulié we consider that the ethical dimension of short fiction stems from its being ‘a genre of the event’, could a humble genre also be considered an ethical genre? If there is an ethics of short fiction as a humble genre, where can it be located? Since the term ‘humble’, from the Latin humilis, ‘low, lowly,’ itself from humus ‘ground’’ – is often used as a euphemism for ‘the poor’, we can consider its representation of humble characters (as in Joyce’s Dubliners or Eudora Welty’s short stories) as well as the way this genre handles the theme of poverty, of extreme hardship and constructed deprivation (as in Dalit short fiction) or its representations of and reflections on the earth and all that relates to the environment. The theme of the humble is also manifest in its very inclusiveness and openness to the reader, or in the very precarious nature of the genre, in its openness to other genres. Dealing with short fiction as a humble genre will thus lead contributors to take into account its interactions with humble arts and media: the art
of engraving, sketching or photography used in the illustrations of the volumes or magazines in which many modernist short stories were initially published; the radio that broadcast so many short stories, sometimes read by the short story writers themselves, as occurred on BBC4 with, for instance, Frank O’Connor; the web today, with flash fiction online, micro fiction or video performances of short fiction. How do these various art forms and media shape each other and how do these interactions construct short fiction as a humble genre? In other words, how does the motif of the humble morph into an ‘experiential category’ (Locatelli) or a poetics of the humble?
Reframing the humble as an aesthetic category will help reread short fiction and better capture its elusive contours, focusing either on well-known short fiction by famous writers that will be approached from a different angle or retrieving some unfairly neglected texts from oblivion, as, for example, Ann-Marie Einhaus, has started doing in her work on The Short Story and the First World War. Or again, Elke D’hoker’s current work on short fiction and popular magazines.
This conference means to cross national borders and disciplinary boundaries, especially those separating literature and the visual arts or literature and philosophy. The questions asked can be broached through short fiction in English by writers of various nationalities over the 19th and 20th centuries until nowadays. The suggested acceptations of the term ‘humble’ are not limitative but indicative.
Proposals of about 300 words together with a short biographical note (50 words) should be sent to Christine Reynier (email@example.com) and Jean-Michel Ganteau (jean- firstname.lastname@example.org) by January 15th, 2019.
A selection of peer-reviewed articles will be published in The Journal of the Short Story in English and Short Fiction in Theory & Practice.
Lynn Blin, Isabelle Brasme, Jean-Michel Ganteau, Laura Lainvae, Xavier Le Brun, Maroua Mannai, Judith Misrahi-Barak, Christine Reyn
- E. Bowen, Collected Impressions, New York: Alfred Knopf, 1950, 38.
- D’Hoker, Elke, and Stephanie Eggermont, ‘Fin-de-Siècle Women Writers and the Modern Short Story’, English Literature in Transition, 1880-1920, 58/3 (2015): 291-312.
- Dumoulié, Camille, Littérature et philosophie : Le gai savoir de la littérature, Paris: Armand Colin, 2002, 55.
- Einhaus, Ann-Marie, The Short Story and the First World War, Cambridge: Cambridge University Press, 2013.
- Gardiner, Michael, ‘Everyday Utopianism: Lefebvre and his Critics’, Cultural Studies 18.2/3 (March/May 2004): 228-54.
- Le Blanc, Guillaume. L’invisibilité sociale. Paris: PUF, 2009.
- Locatelli, Angela, ‘”The Humble/d” in Literature and Philosophy: Precariousness, Vulnerability and the Pragmatics of Social Visibility’, in The Humble in 19th, 20th and 21st-Century British Literature and Arts, I. Brasme, J-M Ganteau and C. Reynier eds., Montpellier: PULM, 2017, 147-64.
- Nussbaum, Martha, Creating Capabilities. The Human Development Approach, Cambridge, MA: Harvard University Press, 2011.
- Pelluchon, Corine. Ethique de la considération. Paris: Seuil, 2018.
(posted 7 June 2018)