Books and special issues of journals – Deadlines April to June 2020

The wonderful, the fantastic, and the preternatural and their verisimilar representation from the Gothic novel to Fin-de-Siècle Literature
English Literature: Theories, Interpretations, Contexts, published at Ca’ Foscari University of Venice
Deadline for proposals: 15 May 2020

We shall be happy to consider essays that address the representation of the marvellous, the wonderful, the preternatural, the abnormal, the monstrous, the hybrid, and in general the ‘fantastic’ and improbable in the English novels and/or prose works from the early Gothic to the long Fin de siècle. In particular, the articles should consider how writers negotiated with the ruling style of modern novel, realism, and adapted the wonderful/preternatural/monstrousetc. to the poetics and forms of mimetic presentation of events, characters, scenes, places etc. (and viceversa), and to the expectations of the reading public (when the wonderful clashed, and/or collaborated, with mimesis; when the wonderful substituted, supplemented, or integrated realistic ways of fictional representation, when mimetic expectations suppressed or supplanted implausible or illusory stories etc.).

The journal will also consider proposals for the Miscellany section of the journal on any topic, issue, subject-matter related to English literature and literatures in English.

The deadline for sending a proposal and abstract is May 15th, 2020.

To send your proposal online please refer to the journal webpage: English Literature ( https://edizionicafoscari.unive.it/en/edizioni/riviste/english-literature/ ), scroll down and click on “Contacts”, open and fill in the form complete with proposed title and abstract, then click on “Submit”.
Alternatively, you may write to the journal’s director, prof. Flavio Gregori: flagre@unive.it attaching the abstract as word file.
Shortly after your submission of proposal you will receive an answer from the editors informing on how to access the journal website, where you will be able to upload the article and be updated about the peer reviewing and publication process.

The deadline for uploading the articles is September 1st, 2019.

All proposed articles will go through double-blind revision by two peers. The outcome of the revision can be accessed on your personal page within 45 days from the submission of your article.
English literature started its publication in December 2014 and is a fully open access journal. It is indexed in Scopus, ERIH-plus, MLA Directory of periodicals, Crossref, DOAJ.
More information about the journal and its policy can be read here: English Literature(https://edizionicafoscari.unive.it/en/edizioni/riviste/english-literature/).

In full compliance with open-access policies, the journal applies no costs for publication of articles. The journal is licensed under a Creative Commons Attribution 4.0 International License. Contributors can keep their articles’ copyrights and are allowed to re-use their articles for further publication, provided they do not publish the same or modified version before one full year from its publication in English Literature.
English Literature’s policy is inspired by the COPE (Committee on Publication Ethics) ethical code.
If you have any query concerning the journal or the present call, please write to english.lit@unive.it.

(posted 20 March 2020)


Ireland Across Cultures
VTU Review: Studies in the Humanities and Social Sciences, Volume 4, Issue 1 (2020)
Deadline for proposals: 18 May 2020

VTU Review is a peer-reviewed journal, published by St. Cyril and St. Methodius University of Veliko Tarnovo, Bulgaria. The journal comes out twice a year. For details, see http://journals.uni-vt.bg/vtureview/eng/

Special Issue Editors: Ludmilla Kostova and Pádraigín Riggs

Over the last 20 years or so, Irish studies have established themselves as an important field of research and teaching throughout Europe and the rest of the world. This issue’s focus is on representations of Irish history, society, language and language policies, culture, literature and theatre from a comparative and transnational perspective. Special emphasis is placed on intercultural encounters and interactions and their representations.

Topics may include, but are not restricted to:

  • historically determined constructions of Irish identity;
  • ethnopolitics, nationalism, postnationalism and transnationalism;
  • the Irish language in a globalizing world; changing concepts of bilingualism;
  • Hiberno-English as a means of self-expression;
  • Celticism and its (dis)contents;
  • identity and/through religion;
  • imaging the North/South divide;
  • constructions of borders and borderlands;
  • forms of geographical displacement and their consequences;
  • Irish diasporic communities across the world;
  • cultural imports and exports;
  • experiments in literature, drama and film.

Submission deadline: 18 May 2020

(posted 15 January 2020)


Posthuman Pathogenesis: Virus, Disease, and Epidemiology in Literature, Film, and Media
A book edited by Başak Ağın & Şafak Horzum
Deadline for proposals: 18 May 2020

Since the Age of Enlightenment, which glorified reason and empirical observation as the nexus for human knowledge, and the Industrial Revolution, which brought about robust technological changes, science and scientific thinking have been increasingly placed above everything else. But from a humanities perspective, fiction has always moved one step ahead of science, dreaming of the impossible first. Science-fiction and speculative fiction, in both utopian and dystopian forms, are concrete examples of this. From Mary Shelley to Jules Verne, George Orwell, Frank Herbert, Isaac Asimov, Ursula K. Le Guin, and Margaret Atwood, many authors explored what the future holds for the world in their narratives of the ‘back-then’ unimaginable. Following a similar path to the literary examples, film industry and new media genres such as music videos, computer and mobile games, and advertisements have come to shape our imagination and paved the way for the future technologies, at least before they came true.

Germs, bacterial and viral infections, and subsequent pandemics are no exception to the meeting point of science, technology, and fiction. They are, to adopt and evolve Donna Haraway’s metaphor of the cyborg, a blend of myth and social reality. Bending the boundaries between life and death, they are the powerholders in Achilles Mbembe’s “necropolitics,” calling to mind Jacques Derrida’s words in his exploration of the animal question: “The dead-alive viruses, undecidably between life and death, between animal and vegetal, that come back from everywhere to haunt and obsess my writing” (“The Animal that Therefore I am” 406). Be they viral or otherwise, contagious diseases, therefore, constitute a problematic area of literary- and cultural-studies scholarships because they pose unpredictable challenges. Pandemics in our known medical literature, the most notorious of which include Black Death, Cholera Attack, and Spanish Flu, have often created havocs: They led to medical, social, and psychological discussions during and after their charge, yielding both negative and positive results, such as stigmatization, ostracization, delirium as well as fraternities and social bonding over the concerns of disease. One cannot help remembering, for instance, the violating impact of HIV on the homosexual communities in the 1980s and how this later gave birth to support groups. In other words, disease has always been a meddler of systems, triggering a drive to survival, and chaotic, liberating, and captivating impulses.

Literature of disease, especially science-fiction or speculative fiction – in both written and visual forms, has long focused on such viral interpolations in socio-political and environmental systems, creating both conspiracy scenarios and alternative realities whose truthfulness is only bound to the historical unfolding of the real-life examples. In the face of the current COVID-19 outbreak, we are – again – all full of doubts and questions. The answers are hidden only in time and patience. The seemingly simple symptoms of the disease at its onset, which, in certain cases, are currently reported to be non-existent, make it difficult to detect and prevent dissemination, forcing countries to take strict measures on many levels and damaging various areas of life, such as education, business, tourism, and aviation. As the spread of the zoonotic SARS-CoV2 has affected the entire planet with inconceivable numbers of infected cases and deaths all around the world, many of us, unfortunately, cannot help but wonder whether this is the “season finale” for humankind. How these anxieties over existence will shape the future politics, business, education, healthcare, science, and technology remains a mystery. Even if the global community succeeds in overcoming this macro-scale biothreat, its potential consequences on human psychology, world economies, and international politics are still unknown and incalculable at present.

Despite the bleak picture at hand, the current situation has once again proven the fact that the world, with all its beings and things, is an entangled mesh. True, the lack of unionized protocols brings about different measures in different geographical settings. And separatory attempts of administrations are required to slow down the pandemic. But one must notice that all the posthuman bodies of this planet are unified and act, ‘only by sitting at home,’ as a whole. ‘The COVID-19 going viral’ has made our lives even more digitalized, set us apart in social distancing, and yet brought us together for one goal: survival. It has made us understand one more time that, in Karen Barad’s words, every living being and inorganic thing on this planet is “a part of that nature that we seek to understand” (Meeting the Universe Halfway 26; italics in the original). This is a posthuman world and from viruses to non-organic bodies, from geological agents to complex organisms, we are one. Therefore, with the hope of being able to imagine a better future for our world, we call out to scholars from environmental humanities, posthumanities, digital humanities, medical humanities as well as those who work in the fields of literary and cultural studies, biotechnologies, and medical sciences. This edited volume invites you to send interdisciplinary proposals on how literature, film, and/or media has so far dealt with the issue of contagious diseases, with a focus on one or more of the following issues:

Theoretical and Contextual Discussions apropos Literature and Media

  • Historicity of Contagious Diseases
  • Contagious Diseases and Digital Education
  • Posthuman Ecologies of Contagious Diseases
  • Bioethics in Contagious Diseases
  • Contagious Diseases in Environmental Humanities
  • Social, Environmental, Political, Cultural, Economic Impacts of Contagious Diseases
  • Social Media and Contagious Diseases
  • Psychology during and after Contagious Diseases
  • Contagious Diseases in Medical Humanities
  • Contagious Diseases and Techno-Science
  • Contagious Diseases and Disabilities
  • Contagious Diseases and Ecophobia
  • Contagious Diseases and Materiality
  • Contagious Diseases and Monstrosity
  • Contagious Diseases and Animality
  • Contagious Diseases and Thingness
  • Contagious Diseases and Food
  • Contagious Diseases and Humor
  • Posthuman Isolation and Life/Death
  • Contagious Diseases and Posthuman Art

Contagious Diseases in Literature and Media (from the Antiquity to the Contemporary)

  • Posthumanist Approaches to Contagious Diseases in Literature
  • Posthumanist Approaches to Contagious Diseases in Film
  • Posthumanist Approaches to Contagious Diseases in Media
  • Contagious Diseases in Games, Advertisements, Music Videos, and Memes
  • Pandemics and Epidemics in Literature, Film and Media
  • Viral Illnesses in Literature, Film and Media
  • Bacterial Illnesses in Literature, Film and Media
  • Causal Inference in Literature, Film and Media
  • Epidemiology in Literature, Film and Media
  • Molecular Pathological Epidemiology in Literature, Film and Media
  • Molecular Pathology in Literature, Film and Media
  • Pathology in Literature, Film and Media
  • Pathophysiology in Literature, Film and Media
  • Salutogenesis in Literature, Film and Media
  • Blood Pathology in Literature, Film and Media

Please submit your proposals of maximum 500 words and a one-page biography to bashak@gmail.com and shafakhorzum@gmail.com until May 18, 2020. Full papers of accepted abstracts (6000-8000 words, including bibliography and footnotes) will be expected by October 5, 2020. We are planning to contact prominent publishing houses and are open to your suggestions.

(posted 30 March 2020)


The Female Detective on TV
A special issue of MAI: Feminism & Visual Culture
Deadline for proposals: 30 May 2020

For decades now, the female detective has occupied space within a genre that has been all-too-often reserved for the celebratory storylines of self-sacrificial men. She has served to break down sexist barriers placed before women within professional and personal frameworks, acting as an on-screen surrogate and inspiration for (female) spectators. The popularity of female-led TV crime drama across the world points to her success in captivating widespread audience attention.

The topic of women in TV crime drama has inspired a range of significant feminist scholarship (see for example, Pinedo 2019; Coulthard, Horeck, Klinger, McHugh 2018; Greer 2017; Buonanno 2017; Moorti and Cuklanz 2017; Steenberg 2017, 2012; Jermyn 2017; Weissman (2016; 2010; 2007); McCabe 2015; Turnbull 2014; Brunsdon 2013; D’Acci 1994). This work has examined female-led TV crime drama from a variety of angles, including transnational cultural exchanges and currencies, serial form and narrative, gender, class, sexual and racial politics, and postfeminist identities and logics.

Certain series such as The Killing (Denmark 2007-2012, US 2011-2014), The Bridge (Sweden 2011-2018, US 2013-2014), The Fall (UK 2013-2016), and Top of the Lake (NZ/Australia 2013/2017)have been singled out for how their female protagonists (Sarah Lund/Sarah Linden; Saga Noren; Stella Gibson, and Robin Griffin) resonate with viewers across transnational borders. Meanwhile, on primetime episodic US TV crime drama, Mariska Hargitay’s 21-year stint as Olivia Benson on Law & Order: Special Victims Unit (US 1999-present) – the longest running live-action TV series in American history – has turned her into a ‘touchstone figure’ (Moorti and Cuklanz 2017). Hargitay’s real-life activism, and her dedication to fighting sexual violence against women, has attained important cultural recognition, as Law & Order: SVU itself has received renewed critical consideration in the wake of the #MeToo movement.

Notably, though, the female detectives mentioned in the above paragraph are overwhelmingly white. What shifts occur in the genre when a non-white female actor helms the main role as detective? What new possibilities, for example, are opened up by the emergence of black  female legal investigators and detectives on network series such as ABC’s How to Get Away with Murder (US 2014-2019) and online TV series such as Netflix’s Seven Seconds (US 2018)? And to what extent is TV crime drama able to meaningfully engage with issues of intersectionality and the precariousness of social justice in twenty-first century society?

This special issue seeks to build on the existing body of feminist writing on women in TV crime drama, through a further investigation of  the figure of the female detective at this critical juncture for feminist television studies.  What new feminist visions of the female detective have emerged with changes in industrial practices and the growth of online streaming and niche television? How does the female detective of streaming TV compare to the images of the female detective found in the middlebrow crime dramas of linear TV? In an era of networked media in which popular feminism and popular misogyny (Banet-Weiser 2018) are more intertwined than ever before, what notions of empowerment are articulated through the figure of the female detective? To what extent does the female detective enable an exploration of central issues regarding female subjectivity and political resistance against systemic forms of violence?

We hope to open further debate on the subject of the female detective in all her guises. Staying true to MAI spirit, we are seeking papers written from intersectional and multivalent feminist perspectives. We hope this issue not only examines the figures and representations of  women crime investigators on the screen, but also situates their work in related social, cultural and political contexts.

Our definition of the female detective is broad and inclusive. She can, but doesn’t have to be a private eye or a police professional, just as long as she pursues social justice or truth.

While analyses of current and recent examples seem to be an obvious priority as far as contribution to the field knowledge of visual culture analysis, we also welcome papers on female detectives from the past.

In particular, we would like to encourage authors to consider submitting articles on the following titles:

  • Seven Seconds
  • How to Get Away with Murder
  • Marcella
  • Spiral
  • Unbelievable 
  • Killing Eve
  • Safe 
  • Top of the Lake 
  • The Fall
  • The Bridge 
  • Veronica Mars
  • Southland
  • Fargo
  • Prime Suspect 
  • La Mante 
  • Castle
  • The Killing 
  • Broadchurch
  • Lucifer
  • Elementary 
  • The Wire
  • The Closer 
  • Happy Valley 
  • Jessica Jones
  •  Absentia
  • Tatort 
  • The Bletchley Circle
  • Collateral
  • Suspects
  • Witnesses
  • Loch Ness
  • Cagney and Lacey

We recognise that there are many more titles of interests, and the list could run quite long. If you wish to propose a paper on any other TV title, please get in touch with the editors to discuss your suggestion: contact@maifeminism.com

We plan to publish this issue in the first half of 2021.

The editorial team includes: Tanya Horeck (Anglia Ruskin University, UK), Jessica Ford (University of Newcastle, Australia), Anna Backman Rogers (University of Gothenburg, Sweden), Anna Misiak (Falmouth University, UK)

300-word Abstracts due: 30 May 2020

4000-6000-word Full Papers due: 1 December 2020

Please consult the MAI submission guidelines before submitting: https://maifeminism.com/submissions/

Please send your abstracts and forward responses to this call to contact@maifeminism.com

(posted 7 April 2020)


The short fiction of A. S. Byatt
A special issue of Journal of the Short Story in English/ JSSE 78 (Spring 2022)
Deadline for abstract submissions: 1 June 2020

Although mostly renowned for her lengthy realist novels, A. S. Byatt has had a sustained practice of short fiction writing which materialized into five collections of short stories and two novellas published as Angels and Insects. In addition, she regularly publishes short stories in the press: among her most recent ones, “Sea Story” was published in the Guardian on 15 March 2013. She has frequently been solicited to appear on the judging panels of short story prizes like the Sunday Times short story award or the BBC national short story award. However, apart from Celia M. Wallhead’s 2007 A. S. Byatt: Essays on the Short Fiction, Byatt’s short stories have not been studied per se. Thus a special issue devoted entirely to her work with the short form was called for.

In a conversation with Cees Noteboom from 2011, Byatt said that “writing a short story is closer to writing a poem than to writing a novel” because “if you get a word or a sentence wrong in a short story, you somehow destroy the whole fabric”. Finding the right word is consistent with Byatt’s overall preoccupation with precision, especially in her descriptive art, while the notion of the text as a fabric relates to her conception of writing as weaving, as exemplified in the story “Arachne”. In the same conversation, she has said that she hated the word “epiphany” which points to the modernist legacy in the apprehension of the short form as a psychological sketch. Instead Byatt likes to multiply twists and pursue various lines of ideas in one and the same story. Even when they revisit the (fairy) tale, her stories often convey a sense of the ordinary as transformed by craft. This is the case in such stories as “Art Work” (The Matisse Stories), “Raw Material”, or “Body Art” (Little Black Book of Stories). Stories also give her the opportunity to engage with her favourite ekphrastic and taxonomic activities. Narrating how art transforms the everyday, Byatt furthermore indulges in fantastic writing, something the realist novel does not allow, except when embedding short forms within its frame. In the short stories, her exploration turns ontological when she depicts outlandish female beings like a “Stone Woman”, a Lamia, a Fetch, a jinx … Is there a Byattan short story? How much are her stories motivated by narrative drive and representative of what she herself has termed “self-conscious realism”? These are some of the general questions that this special issue aims to explore.

Contributors are invited to deliberate the critical and poetic engagement of Byatt with short fiction. The focus can be on specific stories, a single collection or on her whole work. Suggestions below are not restrictive:

  • Taxonomy and description
  •  Intertextuality and intermediality
  • New female ontologies
  • The everyday
  • The sensory and corporeality
  • Appropriation of the short story form
  • (True or metaphorical) metamorphosis

Proposals of 400 to 500 words should be sent by 1 June 2020 along with a bibliography, and a short bio-bibliography. Completed articles will be due by 30 January 2021.

Please send all queries and proposals to the guest editors:

(posted 2 August 2019)


Podcasting’s Listening Publics
To be publishd in Participations: Journal of Audience and Reception Studies
Deadline for abstract submission: 30 June 2020

Co-editors: Dario Llinares (Brighton), Alyn Euritt (Leipzig), Anne Korfmacher (Köln)

“Listening is essential to the engagement with most of our media, albeit that the act of listening which is embedded in the word ‘audience’ is rarely acknowledged. It is a no less curious absence in theories of the public sphere, where the objective of political agency is often characterized as being to find a voice – which surely implies finding a public that will listen, and that has a will to listen” (Lacey viii).

As podcasting moves through its adolescence, a period of flux in which reformations of the technological and industrial organisation are having fundamental effects on the next phase of its evolution, the ways in which it encourages listening and reception practices are also undergoing fundamental development. The nature of this development depends on the communities, listening publics, and audiences the podcasts serve and/or participate in. As Spinelli and Dann have noted about podcasting, it always implies a relationship between creators and listeners but “while individual listening might be the moment in which a podcast ‘happens’ in some sense, it is possible, and indeed necessary, to consider larger formations of podcast audiences” (13). For Spinelli and Dann, podcast audiences are “much more ‘knowable’ than the radio audience, and the interaction (particularly in fandom) [is] more intense” (13-14). Who are these developing and changing “knowable” podcast audiences and how do they interact with podcasting? What do they listen to, how do they listen and why? Are audiences really knowable in the way Dann and Spinelli suggest and what might this tell us about audio communication practices in the digital age?

In order to understand the complexity, diversity and listening engagements of podcasting’s audiences, this themed section aims to expand the interdisciplinary range of contemporary podcasting studies by including work in literary studies, fan studies, gender studies and disability studies, as well as submissions that critically engage with race. We also explicitly encourage research on podcasts outside the US and Britain.

Possible topics include, but are not limited to:

  • Podcast reception and connectivity in times of crisis
  • How podcast listeners find new content, including the development of taste cultures, content aggregation networks, and platform-specific algorithmic recommendations
  • Podcast participation and “prosumer” medial engagement (cf. Alvin Toffler, The Third Wave)
  • The development of genres, forms, and narrative practices within podcasting that encourage specific types of listening practices and audiences
  • Podcast fans and fan podcasts, podcasting and fandom audiences
  • Podcasts within niche culture, podcasting and marginalisation
  • Podcasts and community-building practices
  • Communal vs. private, on-demand listening
  • The rise of right-wing politics podcasts and their listenership
  • The role of voice (both politically and aesthetically) in podcasting reception
  • How podcasters imagine their listenership and cater their content to specific listening publics
  • Marketing discourses of attention and engagement
  • Cultural values associated with (podcast) listening

Please submit a 300-word abstract and short author bio in an email with the subject “Participations Themed Section Podcasting Publics_Euritt, Korfmacher, Llinares” to alyn.euritt@fulbrightmail.org. For more information about Participations as well as submission guidelines, visit their website at www.participations.org. Unfortunately, we are not in a position to provide extensive copy editing services. If you are in need of such services, please arrange for them before submission of your draft.

Deadlines:

  • Abstracts Due: June 30th, 2020
  • Decisions to Authors: July 10th, 2020
  • Full Submissions: September 30th, 2020

(posted 6 April 2020)

Books and special issues of Journals – Deadlines January to March 2020

The Sound of the Past
A special issue of The Journal of Historical Fictions
Deadline for completed articles: 1 Januay 2020

What is the role of sound in historical fictions? How can we try to replicate  what the world sounded like in the past? What is the role of music in period dramas?  Why are contemporary musicals with historical settings so popular?  How can sound be described in historical novels?

The Journal of Historical Fictions is looking for papers on any aspect of “sound”, broadly defined  (music, mechanical sounds, songs that tell a historical narrative, voices, etc.) for a special issue  on sound in historical fictions, ‘The Sound of the Past’.

Please send completed articles of 6,000-8,000 words to mail@historicalfictionsjournal.org by 1 January 2020
(see our submission guidelines here: http://historicalfictionsjournal.org/submit.html).

We also have a rolling deadline for articles that relate directly to research and teaching questions on  historical fictions of any kind, from all scholarly disciplines, and we welcome spontaneous submissions.

(posted 21 September 2019)


Tradition(s) in the American South – Changing or Adamant?
The Hungarian Journal of English and American Studies (HJEAS)
Deadline for proposals: 13 January 2020

The Hungarian Journal of English and American Studies (HJEAS), published by the Institute of English and American Studies, University of Debrecen, Hungary is soliciting essays for a thematic bloc on contemporary Southern literature and film. As the only undisrupted periodical sequence devoted exclusively to English and American Studies in Hungary from 1963 on, HJEAS is indexed on the MLA Bibliography and has a worldwide readership due to its availability on JSTOR and ProQuest.

The Tradition(s) in the American South – Changing or Adamant? thematic bloc is looking for 6-8 essays of 6-8,000 words, which focus on post-1980 works that explicitly engage with the remembrance and/or renewal of Southern traditions in the broadest sense. In order to do justice to the variety of Southern cultures, HJEAS would be very pleased to offer a selection of essays that reflect the region’s diversity both in socio-cultural and artistic terms.

To express interest and to give HJEAS the chance to compile a selection of various topics and approaches, please send 300-350-word proposals by 13 January 2020 to the editor of the thematic bloc, Imola Bülgözdi at bulgozdi.imola@arts.unideb.hu and the Editor-in-Chief, Professor Donald E. Morse at donaldemorse@gmail.com

The thematic bloc is scheduled for publication in the 2021 Spring issue of HJEAS, therefore finished essays (MLA 7th edition) will be expected by September 2020.

For potential contributors in Central and Eastern Europe

While scholarship on notable twentieth-century literary figures of the American South is well-established in the region, the Southern literature and cinema of the past forty years have received less academic attention than they deserve. Since most post-socialist states in Central and Eastern Europe are still coming to terms with the historical traumas and violence of the previous century, which affect not only traditions as preserved in cultural memory but also the ongoing construction of new traditions, insight into how the literary and cinematic output of the region engages with Southern traditions could also shed light on the processes that have led to radical conservative views in this part of the world as well.

(posted 7 Novembe 2019)


Translation, Rewriting and Adaptation
A special issue of the Hungarian Journal of English and American Studies (HJEAS)
Deadline for proposals: 15 January 2020

The international journal, Hungarian Journal of English and American Studies (HJEAS) solicits papers on “Translation, Rewriting and Adaptation” for a special issue in 2021. HJEAS is available world-wide on ProQuest and archived on JSTOR. Scholarly essays are welcome on a wide range of related topics, such as novels adapted to film, drama productions based on films, free translations of classic drama for the Anglophone stages, continuation of novels or novels rewritten for a new kind of readership (e. g., Foe by Coetzee, The Jane Austen Book Club by Karen Joy Fowler, etc.) poetry and poetry sequences adapted for stage or performance.

Essays should be 7-10,000 words, double spaced with parenthetical citations using Works Cited following the MLA Handbook 7th edition.  A Style Sheet is available at the HJEAS website. Proposals of 300-400 words are due on or before 15 January 2020 with complete essays submitted on or before 4 September 2020. Send proposals and/or queries to Prof. Donald E Morse, Editor in Chief, Hungarian Journal of English and American Studies, HJEAS@Yahoo.com

(posted 7 November 2019)


“Marine Feet and Vesuvian Eyes”: The Volcanic Aesthetics of Maria Orsini Natale
An edited volume
New extended deadline for proposals: 31 August 2020

“The secret for harvesting from existence the greatest fruitfulness and the greatest enjoyment is: to live dangerously! Build your cities on the slopes of Vesuvius!” ~ Nietzsche

“I have marine feet and Vesuvian eyes, and this belonging to a universe that is land, sea, and lava, my allegiance to a world, not only is a poetic inclination but, in its instinct,
a resonant and overwhelming force” ~ Maria Orsini Natale

This volume intends to fill a gap in the critical reception of a remarkable Southern Italian woman writer. A journalist, a poet and a writer, Maria Orsini Natale (1928-2010) lived and worked at the foot of Vesuvius, and began writing at age 69, receiving several literary recognitions. Her novel, initially written as Ottocento Vesuviano, then entitled Francesca and Nunziata, and published for the first time in 1995, was also made into a 2001 film directed by Lina Wertmüller, starring Sophia Loren and Giancarlo Giannini. The book earned her a semifinalist’s place in the Strega Prize, the most prestigious Italian literary award, and features a family from Amalfi, dedicated for generations to the white art of pasta making. More than fiction, it illustrates what in Neapolitan is called a ‘cunto’, part historical account and part allegorical tale, derived from a reservoir of collective as well as personal memories. Among other aims, the writer wishes to reveal the sacrifice that was silently paid by hard-working individuals in the thriving industrial and rural worlds of the South when Italy was in the process of unification. The passion for memories, the act of remembering and reconstructing the past, characterizes Orsini Natale’s urge to write. Her Proustian literary technique is immediately apparent in works such as La Bambina Dietro la Porta, or Il Terrazzo della Villa Rosa, where a colorful crowd of characters in a tightly-woven community are portrayed while loving and living under the shadow of Vesuvius—“’a muntagna” as the locals call it. Indefatigably devoted to celebrate and preserve cherished and ancient traditions, Orsini Natale also pays homage to the age-old heritage and multifaceted knowledge of food-making, with its related rituals (Don Alfonso 1890. Una storia che sa di favola). She particularly treasures the togetherness of breaking bread. In C’era una Notte and Cieli di Carta, as well as in other works, the sense of community, family ties, and religious feelings, heightened by the deep-seated tradition of the presepe (the Nativity scene), draw a distinctive scenario, even while echoing the Neapolitan classic by Edoardo De Filippo, Natale in Casa Cupiello. Throughout her oeuvre, Maria Orsini Natale honors the unrecognized work of many women who worked against the grain and under the weight of an oppressive patriarchal culture. The determination and willpower of such women in the Meridione of Italy serve as a mirror for the ‘volcanic’ splinter of a world that emerges in Orsini Natale’s writing, with all its intelligence and passion, its aspirations and energies, its thirst for redemption from the deadlock of history, its resilience, its creativity and strength. By engaging with different aspects of her literary production, this volume seeks to formulate a vision that characterizes authors as bound not only to a region but to a specific territory and community. Orsini Natale’s chosen self-definition as a “Vesuvian,” rather than Neapolitan author challenges the assumption that contemporary writing is a literary mode of the city, showing how the province, or the margins, and the countryside are fundamental to the development of a very distinctive and rich aesthetic.

Contributors are invited to send proposals relating to one or several of the following themes in Maria Orsini Natale’s oeuvre (but not limited to them):

  • Explorations of Vesuvian identity/volcanic aesthetics
  • Seascapes and cultural frameworks of the Mediterranean Sea
  • Texts and contexts: writing from the Neapolitan province (either as an individual author or in comparison with Michele Prisco and others)
  • Comparisons/contrasts with Elena Ferrante or other women writers from Naples/the Neapolitan province
  • Auto/biographical writing and the role of memory
  • The North-South relationship
  • Historical, political, and economic contexts
  • Writing about local traditions and religious practices and rituals (presepe, patron saint festivals/processions, funerals, washing laundry, pasta making, embroidering, etc.)
  • The pleasure of storytelling: the ‘cunto’, allegories, and metaphors
  • Etymology, culture, and meaning
  • The uses of fairy tales and fables (either as an individual author or with Sabatino Scia, La Favola del Cavallo, Favole a Due Voci)
  • Food practices, with their history and culture
  • War and/or anti-fascist sentiments
  • Emigration, genius loci, nostalgia, and/or loss
  • The literature and cultural history of ‘Il Miglio d’Oro’ (the Golden Mile)
  • Film adaptation of Francesca and Nunziata
  • Intersections between history and allegory
  • Men/ fathers and women/mothers
  • Poetic expression
  • On rhetorics and the language of the writer (uses of Neapolitan and Latin)
  • Any critical analysis from the perspective of animal studies, gender studies, or other disciplines

Please send a short bio and a 250 to 500 word abstract by August 31st, 2020 (new extendd deadline) to: balzanow@wfu.edu

(posted 16 September 2019, updated 7 February 2020)


Shakespeare, Screen and Texts: French Theory and Critical Reception
Issue nr 15 of Shakespeare en devenir
Deadline for proposals: 31 January 2019

Editors:

  • Anne-Marie Costantini-Cornède (PRISMES – Paris 3 Sorbonne-Nouvelle)
  • Pascale Drouet (University of Poitiers, CESCM)

This issue aims to explore the impact of French cinema criticism on texts and screen Shakespeare studies, applying two complementary perspectives: theory and critical reception.

The first perspective will consider the impact of the work of famous French theorists such as André Bazin, Christian Metz (Film Language: A Semiotics of Cinema; The Imaginary Signifier), Jacques Aumont, Alain Bergala, Michel Marie, Marc Vernet (Aesthetics of Film), or Gilles Deleuze (The Movement-Image; The Time-Image), whose writings are increasingly translated and resorted to in international Shakespeare studies, along with those of French philosophers like Derrida and Foucault. With regard to the textual analysis of film, there cannot be a single approach. Each filmmaker attempts to construct a personal diegetic universe according to his/her own interpretations of the model’s original themes, and each film deploys its own internal systems, which are also related to specific genres (tragedy, history, comedy, romance). The critic then has to explore such varied domains as history, philosophy, the history of ideas, sociology, psychoanalysis and aesthetics. What can such ‘tough’ theorists bring to the study of Shakespeare films in terms of critical approaches to adaptation, new readings of the plays or visions of Renaissance worlds? Is such theoretical criticism always relevant, and if so, for which kind of adaptations? The question might be considered of how these concepts are useful for understanding the ideological and aesthetic variables at play in the models, as well as for exploring new fields and issues arising from the hybrid product and the process of recreation.

The issue proposes to address the question of realism and the ‘plausible’, or ‘verisimilitude’, as linked with the notion of a ‘cinema of transparency’ (Bazin, What is Cinema, or Aumont et al.), the issues of cinema, narration and identification (Metz, also taken up by Aumont et al., Gauldreault and Jost, Vanoye), the impact of borrowings from Hollywood codes (Deleuze and the Movement-Image), and pictorial techniques (Pascal Bonitzer), as well as such figures of abstraction or ‘dream-images’ (Deleuze and the Time-Image, ‘deterritorialized’ spaces blurring of limits between the real and the imaginary) such as are prone to define a metaphysical, conceptual cinema. Is such criticism better adapted to specific genres — on the assumption that generic classification itself is regarded as relevant for films?

As regards French theory (the first perspective), one might choose to examine how these concepts operate in texts and in ‘based-on’ Shakespeare films. One could draw examples from textual micro-analyses, adopt a comparative approach or take examples directly from films: ‘classics’ (Olivier, Welles, Kozintsev), foreign or period films (Abela, Kaurismäki, Kurosawa), basically narrative-based versions, but also those which borrow from Hollywood codes (Radford, Parker, Branagh, Nunn), modernisations (Luhrmann, Loncraine, Brozel) or avant-garde and ‘essay’ films (Jarman, Greenaway, Almereyda, Pasolini, Godard). This perspective, then, will reveal personal, mixed approaches, as well as global trends, ranging from fairly ‘straightforward’ narrative or transparent cinema to more symbolical conceptual forms.

As regards critical reception (the second perspective) — but the two perspectives do not have to be ridgidly separated — authors may want to focus on the specifically French critical reception of Shakespearean films (Branagh’s or Stoppard/Madden’s Shakespeare in Love, for instance) by specialised, but widely read, journals like Positif, Cahiers du cinéma or Les Inrockuptibles, and the stances — sometimes very critical indeed — adopted in these. Are such critics ‘tough’ purists, even more demanding in their expectations than Shakespeare scholars themselves, and could this precisely relate to a form of French theoretical heritage? This second perspective will also accomodate directors’ or actors’ points of view and/or personal experience, with regard to both production and critical reception.

Papers may discuss, among other questions:

  1. Aesthetic issues or features as linked to the process of re-mediation and adaptation from page or stage to screen
  2. Critical coincidences: Jack Jorgens’ concept of a ‘realistic’ mode of representation and Bazin’s question about what ‘realism’ is in Shakespeare films? Possible links betweene Jorgens’ ‘filmic-poetic’ mode and Deleuze’s ‘thought-image’?
  3. (Logical) borrowings between comedy, romance and Hollywood conventions, such as the slapstick and screwball comedy (Branagh, Nunn): attempts at and / or limits of such transfers?
  4. (Logical) mirror effects, inter-texts and inter-media: from the meta-theatrical to the meta-cinematic (Tempest versions)?
  5. Does a Shakespeare play need a minimal story and minimal narrative fluidity? Does a post-modern, systematic deconstructive or ‘de-narratized’ stance enhance or weaken the ‘Shakespearean’ dimension? (Jean-Luc Godard’s King Lear)?
  6. Are statements such as ‘This is Shakespeare!’ or ‘This is Shakespearean!’ relevant as applied to films? Does there exist a ‘Shakespearean’ genre in films? Can there exist such a thing as a phenomenology of the Shakespeare film?
  7. Filmmakers’ and actors’ experiences and points of view. How do filmmakers, scriptwriters and actors react to critics?

Deadlines:

Contributors are requested to send a title, an abstract and a biographical notice by late January 2020, to Anne-Marie Costantini-Cornède (PRISMES EA 4398 – Paris 3 Sorbonne-Nouvelle) and Pascale Drouet (University of Poitiers, CECSM UMR 7304): amccde@gmail.com, pascale.drouet@univ-poitiers.fr, shakespeareendevenir@univ-poitiers.fr

Completed papers, in English or in French, should be sent by late June 2020 along with an abstract both in English and French, a biographical notice and a list of 5 or 6 keywords, to Anne-Marie Costantini-Cornède (PRISMES EA 4398 – Paris 3 Sorbonne-Nouvelle) and Pascale Drouet (University of Poitiers, CECSM UMR 7304): amccde@gmail.com, pascale.drouet@univ-poitiers.fr, shakespeareendevenir@univ-poitiers.fr

(posted 15 October 2019)


Age and Performance: Expanding Intersectionality
A special issue of Theatre Research in Canada/ Recherches théâtrales au Canada
New extended deadine for abstracts: 1 March 2020

Guest Editors: Benjamin Gillespie (Graduate Center, CUNY), Julia Henderson (University of British Columbia), Núria Casado-Gual (University of Lleida, Catalonia, Spain)

As aging populations continue to expand rapidly, generating what Robert N. Butler has called the “longevity revolution,” cultural awareness is growing about the systemic cultural inequities restricting and repressing older people. The expanding field of humanities-based age studies has begun to explore how normative cultural expectations surrounding age (frequently translated into assumptions about how to “act one’s age”) not only pose limits on older people, but also condition perceptions (and prejudices) about all ages across the life course. In comparison to other aspects of identity such as gender, sexuality, race, or ability, age often remains ignored. In the words of age studies pioneer Margaret Morganroth Gullette, age is “entrenched in implicit systems of discrimination without adequate movements of resistance to oppose them” (15). Elinor Fuchs, one of the first scholars to explicitly incorporate an age-studies perspective in theatre research, contends that “the dividing line between youth and age is constantly elusive,” precisely because age, contrary to other markers of identity, is an overtly dynamic category based on two contradictory principles: change and continuity (70).

Scholars working within cultural age studies have started to address age as a point of intersection across many disciplines. However, as Valerie Barnes Lipscomb affirms, “theatre has lagged behind, focusing more on theatre projects with older people than on theorizing age” (193). This special issue seeks to understand theatre’s role in, and potential for, reinforcing and resisting ageism as well as the so-called narrative of decline that favours a negative view of old age (Gullette 2004) . Expanding theatre and performance research to incorporate age-studies perspectives will illuminate the constructedness of age and increase our understanding of the diverse phenomenon of aging and its performative qualities. As Michael Mangan demonstrates in his monograph Staging Ageing: Theatre, Performance and the Narrative of Decline, many of the concerns shared by theatre scholars and artists, including issues of empathy or subjectivity in drama and performance, are inherently involved in perceiving age identity (though such perceptions often remain unconscious).

Foregrounding the intersections of theatre, performance, and cultural age studies, this will be the first journal special issue to focus specifically on the role of age in Canadian theatre and performance. The issue will explore age identities across the life course and investigate ageism and its resistance through questions of temporality, aesthetics, embodiment, difference, language, performance, and performativity.

Article submissions may engage with some of the following questions:

  • Following the work of Kathleen Woodward and Anne Davis Basting, how do perfomative renderings of aging and theatrical casting practices help us read the aging      body on and off stage?
  • How do performances of gender, sexuality, race, and ability intersect with age performance and performativity?
  • In what ways do live theatre and performance challenge us to spectate age differently in relation to other cultural forms such as film?
  • How are stereotypical representations of aging overcome by the work of contemporary playwrights, theatre companies, directors, or actors?
  • What new understandings of age and across life course emerge out of theatre and performance practices?

Submissions of 300-word abstracts should be sent by March 1st 2020 (new extended deadline) by email to: ageperformancetric@gmail.com, copied to the TRiC editorial office at tric.rtac@utoronto.ca. TRIC/RTAC is a bilingual journal, and we welcome submissions in both English and French. For detailed submission guidelines see: http://tricrtac.ca/en/for-authors/. The issue is scheduled to appear in November 2021.

(posted 4 December 2019, updated 17 February 2020)


Speaking Margins, Talking Mainstream: Strategies of Inclusivity in Popular Culture
Kultura popularna
Deadline for proposals: 28 February 2020

“There has been an awakening. Have you felt it?” Supreme Leader Snoke

The opening lines of the 2014 teaser for Star Wars: The Force Awakens were followed by the first unmasking of a black stormtrooper which became a subject of immediate controversy for a certain group of fans, some of whom also voiced objections against a strong female lead in the sequel trilogy. And yet with the success of Captain Marvel, Steve Rogers passing his shield to Sam Wilson, Natalie Portman soon to portray Thor (not a “female Thor” – Thor) and with the inclusion of LGBTQI characters in major narratives across all media, a change can definitely be felt.

Kultura popularna seeks articles critically addressing what could arguably be termed as the inclusive turn taking place in the 21st century mass and popular culture, and the various forms of backlash against the shift. We invite discussions of particular textual and discursive formulations as well as analyses of broader cultural practices. Contributors are encouraged to examine intra- and cross-cultural dynamics, and while the focus of the issue remains on the recent developments, historical perspectives tracing back specific current tensions are also welcome. The issue is open to inter- and transdisciplinary investigations addressing, but not limited to the topics below:

  • emergence and role of non-normative protagonists in popular/superhero narratives
  • manifestations of the fourth wave feminisms and the #metoo movement
  • theorizing intersectionality in the 21st century
  • new racial discourses and popular culture
  • inclusivity in/and culture industries
  • market value of inclusivity
  • repetition with a difference: reboots, returns and adaptations
  • rejects and abjects as the agents of change
  • posthuman narratives and territories
  • technology as a vehicle of inclusion
  • non-normative voices and embodiments in the mainstream
  • new strategies of normative violence
  • backlash against demarginalization
  • sex and the mainstream

Deadline for sending articles: 28 February 2020.

Reviews of recent academic works relevant to the scope of the CfP will also be considered for publication.

Texts should be sent to kulturapopularna@gmail.com. Submissions (25 000 – 30 000 characters for articles, 2000-4000 characters for reviews) should be accompanied by a short biography of the author (3-4 sentences). Article submissions should additionally include an abstract (ca 200 words) and 5-7 keywords. Please limit the footnotes to a minimum and, if necessary, use endnotes instead. Otherwise, follow the 8th ed. MLA stylesheet. Submitted articles should not have been published previously, nor be under consideration for publication elsewhere. Selected articles will be published in the 4/2019 issue of the journal.

Kultura popularna [Popular Culture] is a peer reviewed quarterly published since 2002 by the SWPS University in Warsaw. Since 2012 all articles have been available in open access.

https://kulturapopularna-online.pl/resources/html/cms/FORAUTHORSINFO

(posted 28 October 2019)


Religion in South Asian Fictions
Call for chapters for an edited book
Deadline for abstract submissions: 28 February 2020

To be edited by Sk Sagir Ali, Goutam Karmakar and Nasima Islam

Concept Note:

In today’s polarised world, religion is seen as a primary cause of social division, conflict and war, while others have argued that this is a distortion of the true significance of religion, which when properly followed promotes peace, harmony, goodwill and social cohesion. The rhetoric of the ‘war on terror’ and the ‘clash of civilizations’ has promoted a geopolitical enemy. This has been accompanied by a shift towards a more ‘muscular’ liberalism. Secularization and cultural pluralism have dethroned the sacred. It has also destabilized the ‘structure of power’ with the concept that of the sacred was there to uphold a society rooted in a single source of religiously mandated authority. With the emergence of individualism with religion and culture, identity is now as much a matter of individual ‘feeling’ as it is about collective conceptions of the ‘sacred’, whether secularized or not.

The proposed edited book “Religion in South Asian Fictions” will trace the genealogy of South Asian Anglophone writing through blasphemy, the consequence of the complex forces and historical trajectories that go by the name of ‘secularization’. It will provide an account of the reception of South Asian Anglophone writing with the changing conceptions of racial Others and cultural difference, particularly with respect to minority writers. The consumption of these texts will also act as a form of cultural translation.

If you are interested in contributing a chapter of 5,000-6,500 words (including footnotes and Works Cited), submit an abstract of approximately 500 words and a brief bio no later than February 28, 2020. Send e-mail submissions to SK Sagir Ali (skali661@gmail.com) and Goutam Karmakar (goutamkrmkr@gmail.com), using the subject line “Proposals for Religion in South Asian Fictions.”

Editors:

SK SAGIR ALI  is an Assistant  Professor, Co-ordinator (PG) of the Department of English,  Midnapore College (Autonomous), West Bengal and an Assistant  Professor (Guest)  at Vidyasagar University,  (Evening Section) West  Bengal. Besides English literature, he has a passion for South Asian Literature and Critical Theory. He is pursuing his doctoral work at the department of English, Jadavpur University. He has published a book titled Literary  Theory: Textual Applications with Atlantic Publishers in 2017 and another book with Routledge will be published in the month April. He is also a Panel Reviewer for Muse India.

GOUTAM KARMAKAR is an Assistant Professor at the Department of English, Barabazar Bikram Tudu Memorial College, Sidhu-Kanhu-Birsha University, West Bengal, India. His essays, research papers, book reviews and poems have been published in many reputed International Journals. He has taken interviews of many notable Indian poets writing in English. Apart from organizing one international conference in India, he has presented papers in many international conferences in India, England and European countries. He has edited four critical books on Indian poetry in English. He seeks interest in Indian Writings in English, Marxism and Post Marxism, Ecocritical Studies, Dalit literature, Mythology, Folklore and Culture Studies

NASIMA ISLAM is an Assistant Professor in the Department of English at Acharya Girish Chandra Bose college under the University of Calcutta. She has done her M.Phil from Centre for Studies in Social Sciences Calcutta (CSSSC). Her PhD work concerns the Postcolonial Censorship studies. Her broader research interests include analysis of rural Bengali Muslim Sphere of West Bengal, New social movements and various civil society initiatives, postcolonial gender question, queer studies, Dalit literature, and minority literature.

Contributions:

Deadline for abstract submissions: 28 February 2020
Deadline for full manuscript submissions: April 2020
(Minimum word limit: 4000 words, MLA 8th Style of Writing)

(posted 7 January 2020)


The City Speaks: Re-presenting Urban Spaces in Indian Literature
Call for chapters for an edited book
Deadline for abstract submissions: 28 February 2020

Edited by Subashish Bhattacharjee and Goutam Karmakar

The city has been a zone of contention for a considerable amount of time in literature—a producer of narratives as well as a consumer. These cities have embodied their characters and their narratives in a way that is reflective of the city’s topology, genealogy, and living archaeology. Literature, therefore, often serves to excavate the cities through its representations, and is also, in turn, unearthed. Rather than visualising the city as a null-space that exists horizontally to frame the literary work, the cities in literary works across its myriad cultural and national histories have turned more serpentine, more transgressive, and have moved in unpredictable trajectories. These cities can be utopias or dystopias, safe havens or places of terminal oppression, but they are functional mechanisms that are more often than not an intricate aspect of the text/performance itself. Within this extensive histori-‘city’, the urban space in Indian literature/s has arrived at a crucial point, a point of intervention that requires these adaptations to be evaluated from a subjective perspective, informed with the nuances of critical theorisation, rather than as mere set piece. But not merely in the area/s of literary creation, the burgeoning sphere of media studies surrounding urban spaces/spatialities in India has led to the mushrooming of such developments as the Sarai programme (CSDS and the Raqs Media Collective), and its consequent research output that is accessible through their site, and Vinay Lal’s 2-volume The Oxford Anthology of the Modern Indian City besides a whole host of other works that discern the Indian city as the host-space, the ground zero for a fomentation of change, a site of evolution and dissemination of radical thought. And this radical thought courses through the literary works that feed on the cities. While such a commentary poses the risk of being elitist and exclusive in nature— by keeping the rural space outside its deliberation—but, historically, India has a stronger literary tradition of rural spaces than a similar correspondence with urban spaces. The Independence, followed by the Emergency, and thereafter the liberalisation of the economy finally pushed the attention of writers towards the urban centres as more than mere props. Therefore, even if we are to casually remark on the status of Narayan’s Malgudi as contentious towards an urban-representative literary state, it is indeed a more deliberate attempt to ingratiate the city within the story until it is no longer so—Narayan fleshes out Malgudi progressively while it corresponds to a native tradition of rural-urban narrative, and acts more in line with a rural-revivalist narrative. But the more recent developments have been more decisive in this regard. An Anita Desai novel that chronicles the city, In Custody, for example, cannot be mistaken for anything else. And that is still an older example, which is an evolutionary progression on the semi-/pseudo-rural narrative genetically embedded in the likes of Narayan or Raja Rao.

From a representational aspect, cities act as a space provide shelter, comfort, longing for a home, nostalgia, opportunity, fantasies, myth, fear, crime, alienation, enchantment, disease, corruption, excitement, claustrophobia, disorder and threat to socio-political, religious and economic system. Cities become the universal setting in contemporary Indian literature stretching from the development of the modern urban space in India from the turn of the last century, and poets, dramatists, writers of fiction and non-fiction, graphic novelists, travel writers and other documenters from India began to focus on two different aspects as central to the identification of urban literature where the role and impact of cities had started to being vividly portrayed and projected. However, it should be noted that certain cities in India come to exist also, and largely, due to their religious congregation and, therefore, famous Indian epics like The Mahabharata and The Ramayana can be seen to feature socio-cultural and religious bases of, sometimes historical, and, mostly, mythologically re-envisioned, Indian cities like Ayodhya, Varnavat, Hasthinapur, Indraprastha, Kurukshetra, Takshashila, Gokul, Vrindavan, Mathura, Kashi, Magadh, Manipur, Pundru Desh, and Cuttack. The development of a more characteristic narrative concerned with the idea of “Indian literature” culminated in the parallel development of a new canon of writers who, among other things, chose to view the cities of the day and age with a more sceptical perspective, or at least a vision that is propelled with objective inquiry. While poets such as Nissim Ezekiel, A K. Ramanujan, Keki N. Daruwalla, Shiv K. Kumar, Vikram Seth, Jayanta Mahapatra, A. K. Mehrotra, R. Parthasarathy and Bibhu Padhi depict images of filth, squalor, disease, terror, loneliness, landscapes, temples, rituals, pollution, socio-political and religious corruption of Bombay, Cuttack and Delhi, in prose fiction Bombay becomes the narrative setting for Salman Rushdie’s Midnight’s Children, The Satanic Verses, The Ground Beneath Her Feet and The Moor’s Last Sigh, Vikram Chandra’s Sacred Games and Love and Longing, Rohinton Mistry’s A Fine Balance, Family Matters and Such a Long Journey, Kiran Nagarkar’s Ravan and Eddie, Shashi Deshpande’s That Long Silence, Shashi Tharoor’s Show Business: A Novel, Jeet Thayil’s Narcopolis, and Anita Desai’s Baumgartner’s Bombay to name a few—and all these Delhis and Mumbais/Bombays, Kolkatas/Calcuttas and Madrases/Chennais are as different from each other as is permissible from within a factual framework. They are the author’s/poet’s kin, their imagination, and driven by their idea of a container that works to contain and also to allow the narrative to spill over and possess these cities. Dramatists like Mahesh Dattani, Nissim Ezekiel, Manjula Padmanabhan, Girish Karnad, Vijay Tendulkar and Dina Mehta discuss the notion of spatiality and the nature of urban space in their drama and through an appropriation of language, culture, architecture, design, and question the traditional, conventional, the ‘folk’. Similarly, there is an immense spurt in graphic narratives that contain, as their centre, the urban space, the city, and its map acts as the frame on which the artist is able to flesh out her/his characters and narratives. Graphic novels such as Sourav Mahapatra and Vivek Shinde’s Mumbai Confidential, a crime noir, Vishwajyoti Ghosh’s Delhi Calm, which deals with a Emergency era revisioning of Delhi, or Sarnath Bannerjee’s graphic novels—Corridor, The Barn Owl’s Wondrous Capers, The Harappa Files, and All Quiet in Vikaspuri—are works that conform to such a model.

Indian poets, dramatists, short-story writers and novelists not only use cities to showcase the problems posed by cities but also depict how cities give birth to images, experiences and realities of society and these writers show how cities and the characters of their works intermingle to create a larger literary structure of subjectivity. Their works represent the sounds, spaces, and places of cities, and those cities not only reflect human emotions and spirit but also the gradual development of society and its constituents. By adopting and exploring certain theoretical concepts of Western urban thinkers such as Henri Lefebvre, Georg Simmel, Manuel Castells, Walter Benjamin, Louis Wirth, Edward Soja, Steve Pile, Katia Pizzi, Max Weber, David Harvey, Richard Lehan, David Seed, Michael Jaye, Diane Levy and Ann Watts, and bringing into perspective more of localised thought from thinkers such as Ashis Nandy, Arjun Appadurai, Ravi Sundaram, as well as the impressive output from the Sarai programme, a truly unique and contentious presentation of Indian literature is possible, projected against a seemingly monolithic, and now obtusely homogenous Western qualification of urban literatures, especially if said study can involve a more intense engagement with a wider perspective of Indian sociological and philosophical thought.

The present study proposes to study attempts to examine the diverse aspects of urban sensibility and materiality and socio-political, cultural, moral, ethical, religious and economic changes that are connected with the notion of city spaces that make an appearance, visibly, in works of Indian literature. Generally, areas of interest include, but are not limited to the following:

  1. Gendered Cities
  2. The Anthropocene City
  3. Mapping/Portraying the City
  4. Urban vs. Rural or Urban-and-the-Rural
  5. The Urban Industrial Complex in Literature
  6. Imaginary Cities/The Fiction of Fictional Cities
  7. Colonising/Decolonising Cities
  8. The City and Mythology
  9. Histori(y)-city(-ies)
  10. Travel in and about the City
  11. The City and Diaspora
  12. Crime and the City
  13. Migration and the City
  14. Utopian/Dystopian Cities
  15. The City and Nature/Seasons in the City
  16. City and the Culture of Dissent
  17. The City and Memory
  18. Gothic Cities/Uncanny Cities/Strange Cities

Contributors may direct their queries and chapter proposals (within 500 words along with their short bio-biblio) to indianurbanities@gmail.com. The last date for the submission of proposals is February 28, 2020. Completed essays (within 6000 words, excluding works cited and notes), written in accordance with MLA style sheet of formatting, are to be submitted within April 30, 2020.

Subashish Bhattacharjee is an Assistant Professor of English at the Department of English, Munshi Premchand Mahavidyalaya, India. His research focuses on ambient architecture, architectural philosophy, and visual cultures. His recent books include Queering Visual Cultures (Universitas, 2018, edited) and New Women’s Writing (CSP, 2018, co-edited with G.N. Ray).

Goutam Karmakar is an Assistant Professor of English at Barabazar Bikram Tudu Memorial College, India. His essays, research papers, book reviews and poems have been published in many reputed international journals. He has taken interviews of many notable Indian poets writing in English. Apart from organizing one international conference in India, he has presented papers in many international conferences in India, England and European countries. He has edited four critical books on Indian poetry in English. His interests lie in Indian Writings in English, Marxism and Post Marxism, Ecocritical Studies, Dalit literature, Mythology, Folklore and Culture Studies.

(posted 7 January 2020)


A Companion for Literary Terms
A handbook to be published by reputed international publishers
Deadline for proposals: 29 February 2020

The growing insights into literary studies has necessitated multidisciplinary approaches in literary studies. These are compelling grounds to not only explore new literary terminologies but also to reinterpret the old ones in the light of current innovation in critical views and methods. Also to take into account recent landmark publications in literature, criticism and scholarship. The proposed project will define and discuss the terms, critical theories and viewpoints. We may consider specialising this project of literary terminologies into a specific domain or discipline of research like Key Concept and Terminologies in Gender Studies or Postcolonial Studies or Diaspora Studies. By scrutinising the proliferating discourses and its socio-cultural and political impact on learning, we can truly build into new evolving ideas, concepts and terms. The aim is to produce a valuable handbook for people with literary interests especially undergraduate students. Contributions are invited by interested scholars in the areas of their research and expertise.

The Concept/Terms submission:
1. Minimum 10 terminologies (Can be considered up to 20)
2. Per one concept: 250 to 300 words
3. By explaining your own view or with some supportive references.
4. Your short bio (200 words) should mention in the same MS file.
5. Only single MS file is accepted. No other any files. Times New Roman, 12 Font size. Only, the title of the terms/concepts in 14 font size, and Times New Roman.

Last date of submission is 29 February 2020
Acceptance/rejection 10 March 2020.
Final editing 2 March 2020
Submission for print 30 December 2020.

There is no fee for publication.

The Companion is expected to be published by reputed international publishers (Springer/Routledge/any other) with ISBN no.

EDITORS:
Dr Morve Roshan K. (UK)
Dr Amina Hussain (India)

All submissions/query to be emailed @:
Dr Morve Roshan K., United Kingdom
morve_roshan@rediffmail.com

(posted 7 February 2020)


Seaside Resorts, the Coastal Experience and Their Representation in the Arts
HJEAS (the Hungarian Journal of English and American Studies) 2021 spring issue
Deadline for proposals: 1 March 2020

HJEAS (the Hungarian Journal of English and American Studies) 2021 spring issue will be dedicated to the British seaside resorts with a rich history of reflection across the arts.

Since the Victorians discovered the seaside as relief from congested and dirty cities, places like Bournemouth, Brighton, Blackpool, Margate, Newquay, Swanage, and Whitley Bay became centres of the British tourist industry. Offering an escape of varied length to crowds of people of different social classes and education levels in pursuit of the idea of relaxation, the coastal experience has inspired authors including Charles Dickens, Lewis Carroll, Bram Stoker, Alfred Tennyson, Virginia Woolf, L.P. Hartley and Graham Green, John Banville, Iris Murdock, and Colm Tóibin. These authors explored different manifestations of the liminal be they the contact and conflict between the land and the sea, nature and culture, respectability and hedonism.  At the same time, architects sought to fulfil the desires of the general public with bathing machines and pavilions, lidos, sun terraces, promenades, piers and highly popular amusement parks, like the Dreamland of Margate or the Pleasure Beach of Blackpool. By the first half of the 20th century seaside resorts became spectacles in their own right with short term tourism booming, especially during the two world wars when they (in WWII especially west coast resorts) attracted visitors from all over the country. A similar transformation occurred in Ireland with the Skerries, Ballybunion and Tramore.

Even before coastal towns  turned into tourist magnets, the scenic views were captured by the creativity of celebrated British, Irish and American painters including William Turner, Paul Nash, David Cox and Beryl Cook (UK) , John Faulkner, Paul Henry, Sean Keating, Jack B. Yeats, Norah McGuinness and dozens more (Ireland). Before new trends in tourism set in, including cheap overseas travel, the construction of resorts around the Mediterranean, the postwar glory of British seaside resorts were also captured by celebrated photographers, such as Martin Parr, Tony Ray-Jones, David Hurn and Simon Roberts, to name a few, who documented in affectionate and humorous images the eccentricities of this uniquely British experience and national tradition. These photographs immortalized the material culture and the experience of holidaymakers enjoying fish ‘n’ chips, donkey rides, and deck chairs as never seen before. Beside photography, filmmakers have also used the visual medium as a mirror of the changing reality of seaside resorts which, since the 1970s saw a gradual decline in popularity. While belonging to different genres and having distinctive styles, film like Bank Holiday (1938), Brighton Rock (1948), Carry on Girls (1973), Quadrophenia (1979), Bhaji on the Beach (1993) Last Resort (2000) and VS. (2018) mirror the changing perceptions of the resorts. Some of the best known British playwrights, including John Osborne with The Entertainer and Harold Pinter with The Birthday Party have chosen seaside resorts as the backdrop of their plays. In Ireland the sea is never far away and playwrights from G.B. Shaw and J. M. Synge to Lennox Robinson and Deidre Kinahan had set their plays there. More recently reality television series, CBS’ Murder by the Sea, has exploited the dubious reputation of these resorts for hosting some of the most remarkable murder cases of British criminal history.

While music has always featured strongly among the entertainment mix of seaside resorts (promenade and military bands, music-hall, variety), the recent upsurge of festivals and similar events are part of the strategy to rebrand these places. The Boardmasters Festival in Newquay, the Tunes on the Sands (Devon) and the Victorious festival in Portsmouth are part of the British music festival circuit, and offer intense experience similar to the numerous festivals with a thematic focus on watersports, seafood, family activities, nature, the new arts, cinema, sand sculpture, folk culture, maritime heritage, etc.

HJEAS welcomes articles that engage critically with relevant aspects of the seaside resorts and the holiday experience, mapping its spatial, cultural and social construction since the 19th century to the present. Editors seek submissions that include, but are not limited to, the following topics:

  • coastal resorts in literature,  screen media, and the fine arts (both in high and popular culture)
  • the seaside experience and the photographer as flâneur
  • resort architecture: the politics and aesthetics of seaside space (case studies, styles, historical trajectories)
  • spatial varieties and dominant topics: different approaches in the representation of British, and Irish resorts on their north/south/east/west coastlines
  • resort towns as other spaces (heterotopia, liminality, hybridity, Disneyfication)
  • seaside nostalgia, retro and other strategies of cultural memoralization
  • the seaside resort and subcultures
  • gender, class and ethnicity in representations of coastal resorts
  • the holiday atmosphere: carnival, humour and exoticism
  • representation of the seaside resort through binaries: the high and the vulgar, respectability and hedonism, fun and boredom
  • seaside experience, modernism and postmodernism
  • fashion, sunbathing and morality at seaside resorts
  • the semiotics of food in coastal tourist centres
  • correlations between the tourism industry, the experience industry, and the cultural industry
  • holidaymakers and locals: the supply and demand chain of the holiday experience
  • the international dimensions of coastal resort representations (comparative case studies)

Please submit your proposal (200-250 words) and a min-bio before 1 March 2020. After the decision on acceptance, full articles are to be submitted by 31 August 2020. Preferred length of articles is between 4000 and 6000 words and should conform to the 7th edition of the MLA Handbook in all matters of style and citation.

Please send your proposals to the following email addresses: hjeas@yahoo.com, ehmazierska@uclan.ac.uk, gyorizs@yahoo.co.uk

(posted 1 January 2020)


LGBTI Identity and Narratives
A special issue of The UNIverse Jounal
Deadline for propsals: 15 March 2020

International Journal of THE UNIverse Journal is a Quarterly Referred Open Access e-Journal of Language & Literature. This journal is listed at Duotrope, ORCD, SSRN, and accepted for ISSN number. This journal is based in India. Here, The UNIverse Journal is a refereed e-journal and is designed to publish theoretical articles, Poetry, short stories and experimental piece of literature. The UNIverse Journal encourages fresh insights into emerging and established writers and looks forward to generating a serious debate on different academic and literary issues

ABOUT THE THEME OF SPECIAL ISSUE
In this postmodern world, we can see that many subaltern voices have been suppressed by others. And, LGBTI (Lesbain, Gay, Bisexual, Trans gender, ad Intersex) identity is one of them, where still their existence is invisible and has been neglected from years and years. Thus, there is a need to bring out the hidden identities to give them a voice in literature. Through this issue, we are going to make them visible and live in the literary canon. Here, the students/scholars/faculties are invited to write Articles/Research papers/Book review/Interview/Critical Analysis/Short stories/Flash Fiction/Poetry/Original Research Articles /Review Reports /Case Studies / Commentaries / Essays/ Case reports/Short communications or any type of articles or something innovative in writings to make their valuable contribution for this special issue in The UNIverse Journal. As LGBTI group is marginal and excluded community from the mainstream society. This special issue will adhere to the readers/scholars to understand across the globe how LGBTI community is facing many challenges and contemporary issues (health, education, discrimination, unemployment, violence, and so on).

LGBTI narratives are now very significant in 21st century to bring equality and give them equal rights.
Contributors can focus their work on:
1. Short stories/flash fiction/poem on LGBTI
2. Marginality and LGBTI Issues
3. Literature and LGBTI Presentation
4. Postcolonial Issues and LGBTI Identity quest
5. Theories of LGBTI

Articles/Research papers/Book review/Interview/Critical Analysis/Stories/Poetry or something innovative in writings are opened for Special Issue!!

The submission of article guideline:
1. Manuscript should be 2000-3000 words. Times New Roman, 12 Font size.
2. Abstract 200-300 words; and key words 5-6
3. APA Style for references and bibliography
4. Your short bio (200 words) should mention in the same MS file.
5. Only a single MS file is accepted. No other files.
Last date of submission: 15 March 2020
Acceptance/rejection: 20 March 2020.
Final editing: 25 March 2020
Submission for print: 30 March 2020.
Note: For this SPECIAL ISSUE, there is a publication fee: Rs.1000.

EDITORS:
Dr Morve Roshan K. (United Kingdom)
Dr Morve Roshan K. is a Postdoctoral Fellow of Southwest University, China and Honorary Research Associate at Bangor University, United Kingdom

You can send the manuscript as an email attachment to:
Dr Morve Roshan K., China and United Kingdom
morve_roshan@rediffmail.com
Or Chief Editor: C P Pathakk
thejournaluniverse@gmail.com

Ian Craven
Toccoa Falls College, Toccoa, Georgia, Biblical Studies, United States of America.

Website: About Us : http://www.theuniversejournal.com/aboutus.php
Archive: http://www.theuniversejournal.com/archive.php

 (posted 10 March 2020)


The New Humanities in the ‘Post-University’
Word and Text
Deadline for abstract submissions: 30 March 2020

In States of Shock: Stupidity and Knowledge in the Twenty-First Century, the French philosopher Bernard Stiegler asserted that, irrespective of the historical period to which it belongs, the educational system has a unique vocation: forming ‘a type of attention’ that was initially called logos and, later on, reason. The university has the mission of forming this type of attention and also, as Mark Taylor pointed out in Crisis on Campus: A Bold Plan for Reforming Our Colleges and Universities, ‘a responsibility to serve the greater social good’: to cultivate ‘informed citizens who are aware of and open to different cultural perspectives and are willing to engage in reasonable debate about critical issues.’

According to Stiegler, in the twenty-first century ‘logos has become a technologos’ and our societies increasingly profit-driven, two joint tendencies which had also a significant impact on the reorganization of the University as a corporate commodified workplace representative of the ‘capitalocene’. In order to respond to the challenges of the allegedly posthuman digital age, humanities have also mutated into ‘new humanities’ or ‘posthumanities’ whose role, beyond adapting to and engaging with new ways of life, should be to remain vigilant and critical of the marketization of higher education.

Set squarely in the age of technology and technomania that enslave contemporary homo technicus through tele-technologies, this anniversary issue will look into the pragmatic search for socio-political, cultural and educational remedies that must be put forward from within an institution under threat. Taking into account (among others) Bill Readings’s The University in Ruins, Thomas Docherty’s For the University: Democracy and the Future of the Institution, Frank Donoghue’s The Last Professors: The Corporate University and the Fate of the Humanities, Stefan Collini’s What Are Universities For?, Jacques Derrida’s ‘The University without Condition’ (in Without Alibi) and rejecting the already hackneyed idea that the Humanities are in a crisis, this issue will enquire more positively into what role they can acquire within the academic institution still called ‘University’ in the 21st century.

We invite contributions related, but not limited to, the following:

  • new humanities and new disciplines in the humanities in the 21st century
  • the development of ‘posthumanities’ as critical and disciplinary reflections on the posthuman
  • ‘remedial humanities’
  • humanities and techno-science or tele-technologies
  • AI and the new humanities
  • digital humanities now and in the future
  • the role of media technologies in the university
  • the impact of international rankings on academia

We welcome interdisciplinary approaches, ranging across critical theory, literary and cultural studies, linguistics, as well as other disciplines in the humanities and the sciences. Contributors are advised to follow the journal’s submission guidelines and stylesheet, which can be downloaded from the journal’s website at http://jlsl.upg-ploiesti.ro/. The deadline for abstract submission is March 30, 2020. Please send 500-word proposals to the journal editors, who will answer any queries you may have. Articles selected for publication must be submitted by April 30, 2020. All submitted articles will be blind-refereed except when invited. Accepted articles will be returned for post-review revisions by June 30, 2020, and will be expected back in their final version by September 30, 2020 at the latest.

Proposals and articles should be sent as attachments to wordandtext2011@gmail.com and to the editors to anionescu@sjtu.edu.cn and milesi@sjtu.edu.cn.

(posted 17 January 2020)


Climate Change in Literature
Café Dissensus: An International Magazine
Deadline for proposals: 30 March 2020

Editors: Dr Morve Roshan K. United Kingdom, and Prof Niyi Akingbe, South Africa

As the world witnesses persistent flooding, earthquake, landslide and a rise in the ocean surge, Climate change now constitutes a burning issue in a global discourse.  Ecology narratives are now being featured to illustrate the effects of climate change, in most literary works of the world literatures. Eco-criticism looks at the impact of climate change at it affects the environment in terms of food production, desert encroachment and the drying up of the lakes and rivers in the world, and especially in the third world countries which have been described as the most vulnerable parts of the world with possible consequences of a submerge and extinction in another few years.

Contributors are expected to focus on the following areas in their papers:

  • Theories of Eco-criticism
  • Theories of political ecology
  • Analysis of Environmental crisis in Poetry
  • Discourse of climate change in Drama
  • How is the climate change represented in Fiction
  • Climate change in the Short Stories
  • Environmental crisis in the Bio/Auto-Biography
  • A representation of climate change in theatre productions
  • Climate change in Digital literature

We invite papers that relate, but not limited to, the above mentioned questions.

Guideline:
Abstract 200 words
Paper 2,000 to 3,000 words
APA Style

Note: No submission/publication fee.

Submissions will be accepted till 30 March, 2020 and the issue will be published on 1 June, 2020. All papers will publish online ISSN no. Cafe Dissensus international Magazine based in New York City, USA.

Please email your submissions to the issue editor: (Email: morve_roshan@rediffmail.com)

(posted 4 March 2020)


Landscapes and aesthetic spatialities in the Anthropocene
An issue of RANAM (Recherches anglaises et nord-américaines), June 2021.
Deadline for proposals: 31 March 2020

The Western idea of landscape is generally considered to have emerged in the early modern period, resulting from a new relationship to space, a “new spirit of place identity” (Olwig 1996) that was itself the product of changing socio-economic conditions, in particular the development of individual land ownership (Cosgrove 1984,1985). It may notably be understood as a new way of seeing that served comparable purposes to surveying and mapping in the process of appropriation of space which occurred in that period (Cosgrove 1985).

It may, however, also be understood as an aesthetic response to the early stages of European urbanisation which took place at that time and to the new awareness of rural spaces that distance from them entailed. As Michel Collot points out, one can only talk of landscape from the moment one perceives it (“On ne peut parler du paysage qu’à partir de sa perception”) (Roger 2009, 210). “Landscape” is perceived space that is given aesthetic value, the need for which seems to have arisen from an original separation.

Beyond this initial severance, the history of the idea of landscape appears to be punctuated by episodes of tension between man and the natural world, in which aesthetic constructions of the latter appear to be correlated to a sense of loss. Just as a removal from rurality seems to have prompted the development of the Renaissance aesthetics of landscape, the flourishing of landscape painting in the Romantic period could be conceived as a response to industrialisation.

Today, with the rapid degradation of our natural environments, and the observable disjunction between the economic uses of territories and their aesthetic value, the need to make aesthetic sense of the spaces we live in is as pressing as ever. Yet the paradigm of landscape as it was constructed in early modern times may no longer be relevant to contemporary environments that contradict earlier conventions of aesthetisation and representation. While some argue that ours is a “post-landscape” age (Wall 2017), highlighting the obsoleteness of the idea, others experiment with new aesthetic spatialities and suggest new artistic practices of space. Contested, unstable and transitional sites, such as derelict urban spaces, redevelopment projects and borderlands become crucial to these redefinitions.

In this issue of RANAM (Recherches anglaises et nord-américaines), we would like to explore the idea of landscape and its current relevance in the face of contemporary environmental challenges, inquire whether and how we can still give aesthetic and artistic meaning to our environment, but also examine the various ways in which the boundaries between nature and culture may be renegotiated in the context of the Anthropocene.

We welcome contributions that focus on the English-speaking world, analysing artistic representations or practices of space, as well as discourses on landscapes. Papers may discuss temporal and geographical variations of the idea of landscape, previous engagements with landscape in the visual arts, contemporary artistic interventions in and reflections upon our changing environments, but also the role aesthetic spatialities can play in the building of national/regional identity and cohesion, or the ways in which they can be used to respond to economic or political claims over the environment. Please send a proposal of up to 450 words and a short bio (up to 150 words) to Sandrine Baudry (sbaudry@unistra.fr), Hélène Ibata (hibata@unistra.fr) and Monica Manolescu (manoles@unistra.fr) by March 31st, 2020. Notification of acceptance will be given shortly afterward. The deadline for the full articles (5000 to 6000 words) is September 15th, 2020.

References :

ANDREWS, M., Landscape and Western Art, Oxford, Oxford University Press, 1999.
CASTEEL, Sarah Phillips, Second Arrivals: Landscape and Belonging in Contemporary Writing of the Americas, Charlottesville, University of Virginia Press, 2007.
CAUQUELIN, A., L’Invention du paysage, Paris, PUF, 2000.
CHEETHAM, M., Landscape into Eco Art: Articulations of Nature Since the ’60s, University Park, Penn State University Press, 2018.
COLLOT, M., “Points de vue sur la perception des paysages”, in A. Roger (ed.), La Théorie du Paysage en France, Seyssel, Champ Vallon, 2009.
COSGROVE, D., Social Formation and Symbolic Landscape, Madison, University of Wisconsin Press, 1984.
DAVIS, H., and E. TURPIN (eds.), Art in the Anthropocene. Encounters Among Aesthetics, Politics, Environments and Epistemologies, London, Open Humanities Press, 2015.
HOWARD P. et al. (eds.), The Routledge Companion to Landscape Studies, 2nd edition, London, Routledge, 2019.
KAISER, P. and M. KWON (eds.), Ends of the Earth. Land Art to 1974, Munich, Prestel, 2012.
KUSSEROW, K. and BRADDOCK, A.C. (eds.), Nature’s Nation. American Art and Environment, New Haven, Yale University Press, 2018.
KRAUSS, W., “Post-environmental landscapes in the Anthropocene”, in P. Howard et al. (eds.), The Routledge Companion to Landscape Studies, 2nd edition, London, Routledge, 2019.
OLIVER-SMITH, K., The World to Come: Art in the Age of the Anthropocene, Gainesville, Harn Museum of Art, 2018.
OLWIG, K., “Recovering the Substantive Nature of Landscape”, Annals of the Association of American Geographers 86 (4) (1996): 630–653.
ROGER, A., Nus et paysages. Essai sur la fonction de l’art, Paris, Aubier, 1978.
SCHAMA, S., Landscape and Memory, London, Vintage, 1996.
SCOTT, E. and K. SWENSON (eds.), Critical Landscapes. Art, Space, Politics, Berkeley, University of California Press, 2015.
WESTPHAL, B., La Géocritique. Réel, fiction, espace, Paris, Minuit, 2007.

(posted 17 February 2020)

 

Books and special issues of journals – Deadlines October-December 2019

Using Literature to Teach English as a Second Language
Call for Chapters
Proposals Submission Deadline: 2 October 2019

https://www.igi-global.com/publish/call-for-papers/call-details/4239

Full Chapters Due: November 15, 2019
Submission Date: February 23, 2020
Nowadays, in the era of communication, technology and globalisation, English, rather than a complementary subject has become in the last decades a key determinant towards success present in all curricula, studied by learners and people of all ages all around the world. With the passage of time, teachers’ position as simple and arbitrary dispensers of knowledge of a second language – in this case English – has changed, and with this, also the methodologies applied to transmit suitable and valuable pieces of information in the classroom. Innovation has replaced stereotypical and old methods as an attempt to make English language teaching and learning appealing, effective and simple.
O’Sullivan claims that “the teaching of literature has recently been resurrected as a vital component of English language teaching” (2017: 1). Teaching a second language through literature might be a paramount tool to consolidate not only students’ lexical and grammatical competences, but also for the development of their cultural awareness and broadening of their knowledge through interaction and collaboration that foster collective learning. Besides, reading ignites students’ imagination and their critical thinking due to the interpretation, discussion and expression of their opinions on universal themes which might relate to their personal ones.
But precisely these strengths, according to the experts on the field, are transformed into serious difficulties that make the method totter. Language pedagogy using authentic literary texts is definitely not an innovative instrument as it counts with years of tradition; Spack (1985) talked about “bridging the gaps” between the use of literature and the teaching of reading and writing. Already in the 1970s, the methodology of teaching English through literature was displaced and substituted by the so called task-based and content-based approaches. Among the reasons alleged for this exclusion is, on the one hand, the long-standing disassociation of the fields of language teaching and learning to literature and, on the other, the possible frustration caused by literary corpus. The text might present a complex range of vocabulary that might be unknown to the learner, with parts scattered with metaphors and charged with symbolism and motifs which might hinder and obscure the comprehension of the text.
Nonetheless, all seems a problem of focus on the method and on the teaching/schema. According to Sanju Choudhary “literature plays a vital role in teaching the four basic skills of reading, writing, listening, and speaking” (2016), and oral and written abilities must be taught and learnt as being complementary to each other and not isolated units whichever might be the education level or the stage in the learning process. The progression in the acquisition of a foreign language must be perceived as an ensemble, rather than a four-part separate project, but also the adaptation of authentic texts to learners’ educational level. Several have been the studies which tackle the link between teaching methodology and literature, employing not only fiction (Sage, 1987; Collie and Slater, 1990; Stern, 1991; Custodio and Sutton, 1998), but also drama (Lenore, 1993) and poetry (Hiller, 1983; Çubukçu, 2001). In spite of the extensive scholarship on the literary approach to teach English as a second language, the influx of innovative methodologies strongly favour ground-breaking orientations regarding new technologies, gamification, flipped classroom, design thinking, to name a few.

Objective

Objective”>The overall goal of this book is to give a comprehensive picture of the current landscape of learning English across different educational settings, from kindergarten to higher education, placing special emphasis on the latter . In view of the above, then, the main purpose of this book is to expose the current state of this methodological approach nowadays, and to observe its reverberations, usefulness, strengths and weaknesses when used in a classroom where English is taught as a second language. In this way, this book will provide updated tools to explore another way of teaching and learning through the most creative and enriching manifestations of one language, literature. This is how literature’s position in relation to language teaching is revindicated and revalued.

Target Audience

Books such as this one are especially important for compiling high-quality, up-to-date, scholarly cases that can support and enhance the effective design of online courses incorporating current and emerging digital tools to meet the evolving needs of diverse learners in a variety of sectors. The cases will be valuable for teachers, higher education faculty and teacher educators as well as educational designers in educational settings.

Thus, this book is intended for:

  • ESL teachers, instructors, university professors
  • Educational designers and developers
  • Instructional technology faculty
  • Distance learning instructional designers and faculty

Recommended Topics

Recommended Topics include but are not limited to the following:

  • Theoretical review of the use of literature for ESL. The state of the art.
  • New technologies and literature in ESL.
  • Distance learning / Online learning and literature in ESL.
  • Flipped classroom and literature in ESL.
  • What is thematically acceptable? Adapted materials, how to know that a material is suitable to the class’s level? The selection of texts. Should these texts be culturally universal?
  • Creative thinking in ESL classroom.
  • Are all the literary genres (poetry, science fiction, drama, and novel) suitable for teaching English? The benefits of using each genre, pursuing different objectives according to the age of the learner.
  • Possible problems and/or challenges of this approach, among them the preparation of the teacher or professor in the area of literature – do teachers need a solid background in literature in order to use the method? – , the importance of tested-designed materials, the need to establish clear-cut objectives etc.
  • When, why or how literature should be incorporated during the learning process? The importance of pre-reading. The steps to be followed when this method is used.

Submission Procedure

Researchers and practitioners are invited to submit on or before October, 2, 2019, 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 October 7, 2019 about the status of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by November 15, 2019, and all interested authors must consult the guidelines for manuscript submissions athttp://www.igi-global.com/publish/contributor-resources/before-you-write/ 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, Trust in Knowledge Management and Systems in Organizations. All manuscripts are accepted based on a double-blind peer review editorial process.

All proposals should be submitted through the eEditorial Discovery®TM online submission manager.

Publisher

This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), publisher of the “Information Science Reference” (formerly Idea Group Reference), “Medical Information Science Reference,” “Business Science Reference,” and “Engineering Science Reference” imprints. For additional information regarding the publisher, please visit www.igi-global.com. This publication is anticipated to be released in 2020.

Important Dates

September 2, 2019: 1st Proposal Submission Deadline
September 6, 2019: Notification of Acceptance
October 2, 2019: 2nd Proposal Submission Deadline
October 7, 2019: Notification of Acceptance
November 15, 2019: Full Chapter Submission
December 29, 2019: Review Results Returned
February 9, 2020: Final Acceptance Notification
February 23, 2020: Final Chapter Submission

(posted 7 Septembe 2019)


Urban spaces in films
A special issue of Chalchitra Darpan
Deadline for proposals: 14 October 2019

About Chalchitra Darpan
Chalchitra Darpan is an upcoming film journal by Celluloid, the Film Club of Miranda House, University of Delhi. The journal is a medium to bridge the gap between film academia and undergraduate research. It aims at encouraging film and media enthusiasts towards analysing the ever-changing field of films.
Editors-in-chief: Giitanjali and Oli Chatterjee

About the theme
Urbanisation and urbanity have brought with them new cultures, artistic avenues and opportunities. The cultural perceptions of a city, its conception, its morality and its decline have become an arena for discussions of modernity, technology, crime, theology, nostalgia and much more.
Cities have been explored in cinema in a myriad manifestations: as a character, as a fetish, as a historical document, as a cultural monument of religiosity, as a symbol of liberalism, sexuality and decay. The politics and juxtaposition of interior/exterior, public/private, political/civil, urban/rural are themes which deserve more ink to be shed on.
A paucity in urban cinema research and a panel discussion on the city of Kolkata made us evaluate the nature of the urban spaces and the themes it can span to, making us understand the need for such a research.
While we would largely want to focus on South Asian cinema, we do look forward to explorations of the theme beyond what we’ve already talked about. We also highly encourage studies on the vicissitudes of the city vis-a-vis ecology, imperialism, history and capitalism and hope that papers will not be limited to narrative cinema and would also explore the aesthetic and politics of documentary and experimental form. Empirical studies on urban film culture would also contribute substantially of the discourse we’re trying to garner. Issues of film historiography would also require an immensely critical-reading of texts and would be a great addition to the Journal. Of course, these are but a few limited themes and we expect scholars to play around with the subject!

Research Paper Submission
In the light of new developments in film studies and a lack of structured discourse on the same by undergraduates, we urge everyone to send in their papers and examine the theme from various perspectives.
Chalchitra Darpan accepts written pieces for submission. Written pieces can be either essays for our ‘Features’ section, which should be between 5,000-7,000 words (including footnotes, excluding bibliography) or shorter articles of approximately 1,000-3,000 words (including footnotes, excluding bibliography). Book reviews are typically 1,000 words.
While this is largely an undergraduate journal, we do encourage some expert comments or articles from researchers working in field.
All submissions should not be under consideration elsewhere, and should be original and previously unpublished.
Submissions can be in Hindi and English.

Abstract Submission
Proposal abstracts should be of no more than 250 words and must be accompanied by an indicative bibliography. A brief biography of the author of approx. 150 words should be provided along with the abstract. Abstracts should be sent through as Word Documents and titled “For consideration: Author First name Author Surname”
Please submit your proposal on chalchitradarpan@gmail.com

Time-table:
Abstract Submission Deadline: 14th of October, 2019
Abstract Decision Announcement: 25th October, 2019
Final Draft Deadline: 30th December, 2019
Final Draft with Corrections: 5th January, 2020

Please feel free to contact us for further queries.

(posted 21 September 2019)

Dynamics of collapse in fantasy, the fantastic and SF
Issue 63 of Caliban, June 2020
Deadline for proposals: 15 October 2019

Apocalyptic patterns have fuelled SF, fantasy, horror and the fantastic for a long time. The central argument of many classics within these genres is the annihilation of the world or that of civilisation. In this respect, the example of R. Mathesons novel I Am Legend (1954) is typical, with its pandemic turning people into the living-dead. The story spawned multiple movie adaptations,[1] eventually giving birth to the zombie apocalypsesub-genre, via G. Romeros Night of the Living Dead (1968). Along this legacy, another post-apocalyptic piece was a fruitful inspiration to dystopian anticipation, albeit in a perspective closer to action films or motorised western movies: G. Millers Mad Max2: The Road Warrior (1981). Here, it is the depletion of oil resources which brings about the end of civilisation. Thus, the pattern is similar to the evolution the world has actually known since the release of the movie, as the world oil production peaked in 2006, according to the International Energy Agency.[2]

Closer to home, some recent works have been presented and/or interpreted by ecocritics as metaphors for climate change and the catastrophes it triggers: J. VanderMeers Annihilation (2014) and its movie adaptation by Alex Garland, in which air alteration around a growing area causes mutations in the fauna and the flora; or P. Bacigalupi and T.S. Buckells fantasy novels The Tangled Lands (2018), in which excessive use of magic unhinges the environment.[3]

Meanwhile, within the scientific community, more and more speak up to take stock of an undergoing collapse rather than to prevent a remote apocalypse. Among these authors, are the French astrophysicist J. Blamont and his Introduction au siècle des menaces[4], the American historian and geographer J. Diamonds now classic Collapse(2005), in which he analyses the collapse of past societies to understand contemporary threats[5], or, of course, the regular reports of the Intergovernmental Panel on Climate Change (IPCC). These issues were already outlined in The Limits to Growth (1972), akaMeadows report, the seminal essay written for the Club of Rome, but these predictions were not taken seriously at the time.

The most comprehensive synthesis of all those works must be Comment tout peut s’effondrer[6] (2015), written by the engineer in agronomics and ethologist P. Servigne and the independent scholar and eco-advisor R. Stevens, in which they study the implications of signs foreshadowing a global [] economic and probably socio-politicalcollapse leading, potentially, to « the end of thermo-industrial civilisation »[7] and which « might trigger a collapse of the human species or even of all but a few living species ».[8] For the authors, the concept of collapse combines two complementary meanings. They borrow their technical definition from J. Diamond, a drastic decrease in human population size and/or political/economic/social complexity, over a considerable area, for an extended time,[9] and combine it with a more pragmatic perspective borrowing from Y. Cochet : at the end of the process which we will call collapse, the basic needs (water, food, housing, clothing, energy, etc.) are no longer provided to most of the population by services which are regulated by the law[10]. As for collapsology, a science the authors meant tocreate and which has since been developed successfully, it isthe transdisciplinary study of the collapse of our industrial civilisation and of what might come next, based on two cognitive modes, which are reason and intuition, and on scientific works of standing[11]. On this basis and in a perspective both technical and anthropological, collapsologists mean to explore a world in whichglobal warming is already causing longer and stronger heat waves as well as extreme eventsand in whichwe already witness water shortages in highly populated areas, economic losses, social unrest and political instability, as well as the propagation of contagious diseases, the proliferation of pests, the extinction of many living species [], the melting of polar ice caps and glaciers, and the diminution of agricultural productivity.[12]

Caliban #63, entitled Dynamics of Collapse in fantasy, the fantastic and SF, intends to start a reflection on the more or lesscollapsologicalperspectives that our new context can bring to the creation or the reading of apocalyptic and post-apocalyptic works. Those may belong to the fantastic genre, in the classical sense of a supernatural intrusion in a realistic background or in the Todorovian acceptation of a sustained doubt as to the reality of the supernatural occurence. They may also pertain to fantasy (Todorovs marvellous), in the classical sense of a universe in which supernatural events are either normal or beyond ontological doubt. Last but not least, they may belong to science fiction, in a broad acceptation in which the causes of collapse, whether realistic or not, are presented with Suvinian cognitive rigour.[13] Thus, Stephen Kings The Stand (1978) pertains both to the fantastic in the classical sense and to SF, since the apocalypse is caused both by a pandemic (SF) and by the eldritch action of evil supernatural forces (fantastic). The whole spectrum of what can be called more or less loosely science fiction is thus relevant from post-apocalyptic space opera such as the TV series Battlestar Galactica (2004-2009) to various uchronia, dystopia, and works of anticipation which may focus more on sociopolitical evolutions and collapse rather than on technological evolutions and collapse.

The works under study may be literary or cinematographic, of course, but essays on comics, boardgames, role playing games or video games are more than welcome.

The main approaches to these issues are the study of recent works that may have been influenced by the context of undergoing collapse, or the re-reading of older works from the standpoint of our new context and/or of reflections developed by collapsologic-minded scholars. Those works may also be used as starting points to question the concept of collapse, to ponder the ways they illustrate different kinds of collapse (such as collapse of climate, energy ressources, infrastructures, finance, politics, biodiversity) and their interactions, since each type may trigger collapses of a different kind, just as the proposed solutions to each may also trigger other kinds of collapse.[14] Here is a non exhaustive list of relevant works with suggestions of potential thematic perspectives :

Imagining the aftermath:The Walking Dead (comic book series and adaptations), Jack Kirbys Kamandi, Cormac McCarthys The Road, Russel Hobans Riddley Walker,Paolo Bacigalupis The Windup Girl, John Crowleys Engine Summer, Mick Jacksons Threads, Walter Murchs Return to Oz, Franklin J. Schaffners The Planet of the Apes and its sequels. Any post-apocalyptic dystopia or dystopia about an undergoing collapse: George Orwells 1984, Suzanne Collinss The Hunger Games,Margaret Atwoods The Handmaid’s Tale,Alfonso Cuarons Children of Men, Richard Fleischers Soylent Green; the boardgames Outlive or Pandemic Legacy Season 2, the video games Forsaken, Falloutand Wasteland,the role playing game Polaris.

How it all goes crashing down:

with a bang (Isaac Asimovs Nightfall, Max Brookss World War Z, H.G. Wellss The War of the Worlds, Ursula K. Le Guins The Word for World is Forest, Philip K. Dicks Ubik, Stephen Kings The Stand, Dan Simmonss Ilium and Olympos,China Miéville’s Embassytown; the movies Deep Impact, Blindness, Contagion, Perfect Sense, The NeverEnding Story; the boardgame Pandemic;Mark Rein-Hagens role playing game Vampire: The Masquerade)

vs with a whimper (Asimovs Foundation, J.R.R. Tolkiens The Lord of the Rings and The Silmarillion, CrowleysLittle, Big, Le Guins The Farthest Shore; Mike Judges film Idiocracy; Francesco Nepitellos role playing game The One Ring – especially its campaign The Darkening of Mirkwood).

inescapable (Le Guins « Paradises Lost »,  Orson Scott Cards The Call of Earth, Asimovs « The Last Question », C.S. Lewiss The Magicians Nephew andThe Last Battle, Joss Whedons TV series Dollhouse; the board games Small World, Vinci, War of the Ring and the role playing game The One Ring)

vs. preventable  (Deep Impact, Armageddon, The Lord of the Rings, The Farthest Shore, Pullmans His Dark Materials, the board games Pandemic and Arkham Horror or the role playing game The Call ofCthulhu).

individual responsibility (Le Guins Lathe of Heaven, Drew Goddards film Cabin in the Woods, Terry Gilliams12 Monkeys, Rupert Wyatts Rise of the Planet of the Apes, Val Guests The Day the Earth Caught Fire; the video game Plague, Inc.: Evolved; the episode trilogy « Weirdocalypse » concluding the animated series Gravity Falls),

vs collective responsibility (the TV series Dollhouse and Black Mirror, the board game Anacrony, Clifford Simaks novel City, the movies The Day After Tomorrow and Idiocracy and more generally political dystopia),

vs third party responsibility (the series of novels and movies Left Behind or the video game Judgment: Apocalypse Survival Simulation, Seth Rogen and Evan Goldbergs film This is the End)

orintermingled responsibilities (Phillip Pullmans His Dark Materials or David Wongs This Book is Full of Spiders: Seriously, Dude, Dont Touch It)

Submitted articles will be double-blind peer-reviewed. They can be written either in English or French and will not exceed 30,000 signs (including spaces, footnotes and bibliography). They must be sent by 15th Oct, 2019 to both these email addresses: cyril.camus@hotmail.fr / florent.hebert.eng@gmail.com

———————

[1] In 1964, starring Vincent Price; in 1971, starring Charlton Heston; in 2007, starring Will Smith.

[2] “In the New Policies Scenario, production in total does not peak before 2035 […] never attaining its all-time peak of 70 mb/d in 2006”. Nabuo Tanaka, dir. “World Energy Outlook 2010”, International Energy Agency, 2010, p. 125.

[3] cf. Maddie Stone, “The Monsters of Climate Change”, Earther, 2018, https://earther.gizmodo.com/the-monsters-of-climate-change-1829826348

[4] « Introduction to the Age of Hazards ». J. Blamont, Introduction au siècle des menaces (2004), available in French only.

[5] Jared Diamond, Collapse: How Societies Choose to Fail or Succeed, 2005, Londres: Penguin Books, 2011, p. 6-10.

[6] « How Everything Might Collapse : A Collapsology Handbook », Pablo Servigne and Raphaël Stevens, Comment tout peut s’effondrer : petit manuel de collapsologie à l’usage des générations présentes, Paris : Editions du Seuil, 2015.  Available in French only.

[7] Servigne and Stevens, op. cit., p. 25-26.

[8] Ibid., p. 129.

[9] Diamond, op.cit., p. 3. Quoted in Servigne and Stevens, op. cit., p. 178.

[10] In the original: “le processus à l’issue duquel les besoins de base (eau, alimentation, logement, habillement, énergie, etc.) ne sont plus fournis à une majorité de la population par des services encadrés par la loi ». Yves Cochet, « L’effondrement, catabolique ou catastrophique ?”, convention, 27th May, 2011, Institut Momentum, https://www.institutmomentum.org/l’effondrement-catabolique-ou-catastrophique/. Quoted in Servigne and Stevens, op. cit., p. 15.

[11] In the original: “exercice transdisciplinaire d’étude de l’effondrement de notre civilisation industrielle, et de ce qui pourrait lui succéder, en s’appuyant sur les deux modes cognitifs que sont la raison et l’intuition, et sur des travaux scientifiques reconnus” Servigne and Stevens, op. cit., p. 253.

[12] In the original: “le réchauffement provoque déjà des vagues de chaleur plus longues et plus intenses et des événements extrêmes [et l’on] constate déjà des pénuries d’eau dans les parties densément peuplées, des pertes économiques, des troubles sociaux et de l’instabilité politique, la propagation de maladies contagieuses, l’expansion de ravageurs et de nuisibles, l’extinction de nombreuses espèces vivantes […], la fonte des glaces polaires et des glaciers, ainsi que des diminutions de rendements agricoles”. Servigne and Stevens, op. cit., p. 67-68.

[13] See Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre, 1976 p. 7-8.

[14] Servigne and Stevens, op.cit., p. 124-125.


Imagineering violence: the spectacle of violence in the early modern period
A special issue of the Journal of the Northern Renaissance
Deadline for propsals: 30 October 2019

Guest editors: Karel Vanhaesebrouck (Université Libre de Bruxelles) & Kornee Van der Haven (Ghent University)The early modern period witnessed an explosion of the representation and performance of violence. In European cities, renaissance and baroque theatre staged gruesome and passionate plays, while in the streets, during religious festivals and public entries of sovereigns, state and church conjured up violent images of subjection and suffering.The book market added to this spectacle of violence, as the early modern period saw the development of an advanced material infrastructure for the production, distribution, consumption, and appropriation of such imagery.

A fast-growing body of texts and prints registered violent episodes of the past and the present. On a daily basis, the public could study in detail the techniques used in battle, to torture martyrs, or to execute criminals. How can we explain this apparent fascination for violence? What effects and affects did these scenes aim to arouse? What relationships were evoked or enforced between the audience and the depicted or enacted scenes? What groups were depicted as violent, and with what specific violent practices and qualities were they associated?

This special issue aims to analyze early modern techniques of representing violence and their transformations over time. We invite proposals from all relevant fields of studies, including, but not limited to, history, theatre studies, art history and visual culture studies, literature, book history, emotion and sensory studies, the history of ideas, and cultural studies. We specifically invite articles that cover the technical and performative aspects of the depiction of violence, whether in print or painting, on stage, in the anatomical theater, the scaffold, or elsewhere. What regimes of representing and staging violence can we trace?

We assume that by zooming in on the concept of violence, we are forced to rethink traditional boundaries, between secular and religious realms, between East and West, between baroque and classical styles, between theatricality and spectacle, and between the public and the private sphere. Violence engages audiences in complex ways: it provides strong embodied experiences, can fascinate or repulse, exploit the curiosity and the desires of the public of consumers, install a breach with daily life, or turn reality into a stage.

Papers could explore how the development of an advanced market for violent imagery could drive spectators into new realms, getting caught in new technical loops by advanced visual means, and rethinking their own position towards the institutions in power. Authors may also exploit the cultural (social/gendered/religious) distinctions enforced by these visual regimes: which groups were depicted as violent, and how were these distinctions made into embodied experiences?

Submitted articles should be around 6,000 – 8,000 words, including all references and bibliographical material, and should be sent to northernrenaissance+iv@gmail.com. If you plan to submit a significantly shorter or longer paper, please contact the editors beforehand. We welcome informal inquiries from authors considering submitting work: these should be addressed to karel.vanhaesebrouck@ulb.ac.be and Cornelis.vanderHaven@UGent.be.

The deadline for submissions is 30 October 2019.

All essays should be double-spaced, in 12 point Times New Roman, and have paragraphs clearly numbered. When using images, pictures, or sound files, it is the responsibility of the author to secure copyright permission from the relevant copyright holder. Each image or sound file should be accompanied by a caption. JNR follows the Style Guide of the Modern Humanities Research Association (MHRA). For any further information please refer to http://www.northernrenaissance.org/information

(posted 2 August 2019)

Brexit and Academia
A special issue of Volume 25 of EJES (2020)
Deadline for proposals: 31 October 2019

The outcome of the 2016 referendum and the consequences the United Kingdom and Europe are currently facing in its aftermath will have a deep effect on various sectors within academia. It will not only affect research funding, the recruitment of talents and cross-border collaborations between academics on the continent and in the United Kingdom, but also have an impact on student and staff exchanges. Above all, however, Brexit and the debates surrounding the referendum posit new challenges to the role of academics in a renationalising Europe: the Vote Leave campaign was driven by an anti-establishment, anti-supranational, and anti-European rhetoric that did not stop short of academia.

The short- and long-term implications of Brexit on academia and the relationship between British and EU universities are hard to predict, but need to be addressed. While some universities have already reacted to the looming Brexit by founding research networks to support the exchange with researchers from the UK (such as the BritInn-network at the University of Innsbruck) or by establishing strategic partnerships with research institutions in the UK, more initiatives are needed to further support long-term collaboration post-Brexit.

This special issue on Brexit and Academia aims at scrutinizing the consequences of Brexit for the European research landscape, future collaborations between colleagues from Europe and Britain, and academia as a whole from a wide range of different (trans-)disciplinary perspectives.

Papers might address, but are not limited to,

  • analysis of the referendum campaigns, the subsequent Brexit-negotiations, or the future relationship between the UK and the EU;
  • the specific challenges faced by researchers involved in cross-border projects;
  • the impact of Brexit on the arts, humanities, and sciences and possible solutions;
  • the consequences, challenges, and possible solutions for higher education institutions;
  • the impact on different areas within politics, the economy, culture, and society that will have a lasting effect on academia;
  • the role of academia for maintaining collaboration and exchange in post-Brexit Europe
  • possible solutions for universities and research institutions to further support collaboration between researchers from Europe and the UK

Detailed proposals (up to 1,000 words) for full essays (7,500 words), as well as a short biography (max. 100 words) should be sent to sibylle.baumbach@ilw.uni-stuttgart.de and Andreas.Maurer@uibk.ac.at by 31 October 2019.

Main Editors:
Univ.-Prof. Dr. Sibylle Baumbach, Department of English, University of Stuttgart
Univ.-Prof. Dr. Andreas Maurer, Department of Political Science, University of Innsbruck

The EJES website:https://essenglish.org/ejes

(posted 20 May 2019)


The book-to-film debate in the age of visual commodities
Winter 2019 issue of The ESSE Messenger
Deadline for proposals:: 1 November 2019

‘An adaptation is a derivation that is not derivative – a work that is second without being secondary. It is its own palimpsestic thing.’ (Linda Hutcheon)

‘Did you read the novel?’ – ‘No, but I saw the film.’ This is a dialogue that often takes place today. Besides being common, this short conversation is also very revealing about the relation between the printed text and its visual representation as a film or TV series. And, obviously, it couldn’t be otherwise in a world dominated by TV sets, computers, tablets and smart phones with video facilities incorporated, and by video games, rock videos, home cinema, and many other appliances that reproduce images. More than that, the new commercialism could not but take advantage of such a reality and turn everything into commodities and try to extract profit from them. Novels about Harry Potter or Games of Thrones would probably not have achieved such rocketing success if they hadn’t subsequently had their visual adaptations. J.R.R. Tolkien might still be resting on dusty library shelves surrounded by his Middle-earth if he hadn’t been (re)discovered by film makers and adapted for the silver screen.

Today’s reality is that every day we have to face a flood of adaptations, not only in the domain of cinema and television but also in that of virtual reality, thematic parks, clothes, mugs, pens, and household and furniture objects, an impressing array of accessories, etc. We live in a world where everything is adaptable and, in fact, today we become more and more aware of the practice of watching adaptations. Paraphrasing Linda Hutcheon with her fundamental A Theory of Adaptation (Routledge, 2006) — quoted extensively in this Rationale — we can say that anyone who has ever experienced an adaptation (and who hasn’t?) has his or her own theory of what an adaptation means, whether voluntarily or involuntarily.

Watching book adaptations tends to replace the reading of novels, or, on the contrary, to accelerate the selling of the books, when the viewing precedes the reading experience, because the watchers want to compare the adapted text with the film. The responsibility of producing and receiving an adaptation of any kind becomes even more noticeable in the case of novels that are part of the literary canon.

Though films may have their limitations, being unable to dig into the depths of psychology or emotional consciousness, or to render the nuances of voice and tone in spite of good acting on the part of the performers, if understood as cultural translation, the process of adaptation becomes a distinctive, individual work of art. Each adaptation is the product of a cultural context through which various worldviews are expressed, and therefore the adaptation can be contradictory once it has been taken out of its own cultural background. Its existence is not only conditioned by the cultural context that created it but it stays alive within such a context.

What film makers have to decide when they start out on a project of adaptation is not only what to adapt but also how, namely whether their aim is to merely recreate visually the story of the book or to depart from it and offer their own creative vision of that particular story. This double nature of any adaptation is what Linda Hutcheon refers to when she states in A Theory of Adaptation (6) that ‘[a]n adaptation’s double nature does not mean, however, that proximity or fidelity to the adapted text should be the criterion of judgment or the focus of analysis. For a long time, “fidelity criticism,” as it came to be known, was the critical orthodoxy in adaptation studies, especially when dealing with canonical works such as those of Pushkin or Dante. Today that dominance has been challenged from a variety of perspectives […] and with a range of results.

And, […], when a film becomes a financial or critical success, the question of its faithfulness is given hardly any thought.’

But, for Hutcheon, what is of further interest when adapting a novel is not so much the act of deciding between fidelity or creativity as the fact that ‘the morally loaded discourse of fidelity is based on the implied assumption that adapters aim simply to reproduce the adapted text […].

Adaptation is repetition, but repetition without replication.’ (7). The result is what she sees as the urge to consume and erase the memory of the adapted text or to call it into question and problematize it. This is the case when the dictionary meaning of ‘adaptation’ as a process of adjusting, altering or making suitable becomes almost literal.

Starting from this theme and context, the December 2019 issue of the ESSE Messenger invites contributions concerned with what Hutcheon suggests as ‘distinct but interrelated perspectives’

  • of a contemporary process of adaptation:
    1. as a formal entity or product, an announced and extensive transposition of a recognizable particular work;
    2. as a process of creation, an interpretive act of appropriation which involves both (re-)interpretation and then (re-)creation;
  • as an extended intertextual engagement with the adapted work, with the stress on its process of reception, when adaptations are perceived as palimpsests which make our memory of other works resonate ty repetition with

Work Cited: Hutcheon, Linda. A Theory of Adaptation. Routledge, 2006.

(posted 25 July 2019)


Drama
December 2019 – January 2020 issue of Litinfinite
Deadline for proposals: 30 November 2019 (midnight)

Drama can be considered to be a composite whole consisting of theoretical, performative, socio-political, religious, economic, and psychological aspects. Litinfinite invites original and unpublished research papers, interviews, articles and scripts for its December-January issue. Subthemes include, but are not limited to:

  • Drama beyond borders
  • Indian English drama
  • Regional Indian drama
  • Dramatists and their major works (One at a time)
  • Folk drama
  • Song, music, dance, and drama as a performing art
  • Drama and mythology
  • Comparative analysis (drama and theaturgy)
  • Case studies on drama

Submission guideline:

  1. MLA 7th for reference.
  2. Word limit: 1500-2000 words (including citations)
  3. Font: Book Antiqua, 12
  4. Author bio: 50 words maximum
  5. Abstract: 150 words maximum
  6. Keywords: 5 maximum

Note: All papers will undergo a blind peer-review process. Plagiarism of any kind will lead to the disqualification of a paper. Acceptance mail will be sent within 20 days of the last date of submission. Papers will be selected for the print version or online version, or for both. Please check the status of your paper in the acceptance mail after the submission deadline is over.

Along with these, Litinfinite is accepting short stories, poems, book reviews and essays in English and Bengali for its regular section.

Section:
Short stories: English or Bengali (1500 words maximum)
Poems: English or Bengali (Maximum 2)
Book review: 700-800 words, with book details including cover page, ISBN number, price, author name, publisher name and year of publication.
Essays: 1000 words maximum.

Litinfinite does not promote any political party, organization, and religious groups. Please do not send us writings that are influenced by a strong political, religious or communal bias.

We do not provide complimentary copies, and encourage readers to buy books although the online version is completely free and open-access.

(posted 24 October 2019)


Just art. Documentary poetics and justice
A special issue of the journal Synthesis
Deadline: 1 December 2019

Special Issue Editor: Naomi Toth (13. 2020)

The unprecedented scale of violence unleashed during World War I inaugurated a new relationship to the document amongst writers and artists in Europe and North America. Whereas in 19thcentury works, documents were predominantly treated as source material to be transformed into works of art or fiction, in the aftermath of the 1914-1918 conflict, four new trends took centre-stage. Firstly, testimony comes into its own as a genre, defining itself against both fiction and ego-narratives, claiming documentary status in order to shore up its legitimacy under the pressure of negationist discourse on the one hand and in the context of an increasingly positivist historiography on the other. The genre would only gain in importance after World War II and the Shoah, with the work of Primo Levi or Charlotte Delbo. Secondly, avant-gardes in the literary, performing and visual arts engaged in the appropriation and repurposing of documents produced by the press, state bureaucracies and legislatures. In addition to surrealist and Dada works, such practices gave rise to experimental works such as Charles Reznikoff’s Testimony. Documents enter these projects in unmodified or minimally modified form, giving rise to works which foreclose arts’ tendency towards idealisation and elevation above concrete and circumscribed experience. At the same time, building upon the tremendous expansion of the role of the press in the 19thcentury and reinforced by the crisis of the Great Depression, the model of the reporter as producer of documentary narrative and evidence sees the flourishing of photojournalist publications and the rise of the non-fiction novel, which would come into its own with John Hersey’s Hiroshima and Truman Capote’s In Cold Blood. Finally, in theatre, documentary and verbatim practices emerge with works such as Karl Kraus’ The Last Days of Mankind in the interwar years and Peter Weiss’ The Investigation. Such shifts in the relationship to the document cannot be restricted to the industrialised West and its attempts to come to terms with historical and socio-political crises: colonial, post- and de-colonial contexts as well as reactions against authoritarian regimes and the exercise of power deemed illegitimate have seen similar practices flourish across the globe in the course of the 20thcentury.

In both their form and content, these different currents of documentary aesthetics all accord a privileged place to the judicial system, interacting with its regime of proof, the frameworks of the enquiry and the trial, and its mission to administer justice. Historically, the works of Reznikoff, Capote and Weiss are perhaps the most emblematic; today, artists, writers and theatre practitioners such as Luis Camnitzer, France Leibovici and Julien Serroussi, Vanessa Place, Anna Deavere Smith, or Milo Rau continue to produce documentary works in close contact with the judicial system. However, though such works structurally undermine claims to aesthetic autonomy and voluntarily confine themselves to the historical particular, they circulate in extra-judicial spheres and invite forms of judgement that differ from those administrated by the legal system. What motivates this recourse to art, and what effects might this aesthetic supplement seek to engender? Do such works act to shore up the judicial system in place? Do they seek rather to complement it or palliate its shortcomings? Or do they sometimes turn the tables and put the law itself on trial? To what ends? What, if any, alternative conceptions of the just do they generate? And what, if any, changes do such works aspire to effect on the course of the history they engage with?

Exploring the role documentary poetry, literature, theatre and art play in legitimating or questioning legal systems over the past century and in contemporary contexts, this issue of Synthesis invites submissions that reopen the question of literature and art’s critical potential as a laboratory for extra-legal conceptions of justice.

Abstracts of 300 words should be submitted to Naomi Toth atntoth@parisnanterre.fr andsynthesisjournal2008@gmail.com by1 December 2019.

Notification of acceptance will be delivered by 10 January 2020.

Accepted articlesare tobe submitted by 30 May 2020.

Final articles should be 6,000-8,000 words long and include an abstract of no more than 300 words.

All enquiries regarding this issue should be sent to the guest editor, Naomi Toth, at ntoth@parisnanterre.fr.

(posted 16 Septembe 2019)


Feminist Responses to Populist Politics
An issue of Volume 25 of EJES (2021)
Deadline for proposals: 31 December 2019

Guest editors: Mónica Cano Abadía (University of Graz), Sanja Bojanić (University of Rijeka), Adriana Zaharijević (University of Belgrade)

‘Populism’ is as slippery a term as the political soil it rhizomes in. During the last decade, it has been tested in political reality on numerous occasions and with varying outcomes. The distinction between right and left populisms has also become a staple in everyday academic, policy, and civil society discourses. On the left or the right, populisms often act as a bogeyman, as a threat to politics as usual, and as a sure sign that the world is, yet again, out of joint.

But are these misgivings of any substance? Perhaps the world is actually disjointed. It may be that populisms, left or right, fill in the cracks and fissures that have been lain open for only a short period of time, one that coincides with decades of sustained feminist efforts to change the world for the better. Despite the gains, much of what has been won is now being brought to a halt – and it seems that populisms play their share in this stoppage. It is therefore vital to ask what feminist responses to populisms could be. Can the answer to this question be reduced to the issue of political allegiance, or is it a matter of needing to adjust to new political realities? Would this imply then embracing these realities as well? What is the role that populisms now play in shaping the relationship between radical and mainstream feminisms? If we claim that feminism has always been populist to a certain extent, then we have to have a clear notion of the populus at its core. Alternatively, we might categorically posit that feminist populism is a contradiction in terms and therefore also reject the possibility of left populist feminisms.

This special issue addresses feminist visions of politics as a different answer to populisms’ challenges. We wish to mark ambivalences and name conceptual reasons for why it is insufficiently daring or even reactionary to place feminist emancipatory strategies close to politically divisive contemporary tendencies. Instead, we call for a return to notions of feminist resistance and resilience – notions that put an emphasis on agency, change, and hope in the face of the grave challenges we are faced with around the world. The following topics may be addressed:

What does ‘feminist populism’ refer to?

To what does feminist resistance to populism refer?

How does feminist resilience function?

What are the consequences, challenges and possible solutions that feminist resilience can bring about in civil society and institutions?

Detailed proposals (up to 800 words) for full essays (7,500 words), as well as a short biography (max. 100 words) should be sent to all of the editors by 31 December 2019: Mónica Cano Abadía (monica.cano-abadia@uni-graz.at), Sanja Bojanić (sanja.bojanic@uniri.hr), Adriana Zaharijević (zaharijevic@instifdt.bg.ac.rs)

The EJES website: https://essenglish.org/ejes

(posted 20 May 2019)


Disseminating Knowledge: The Effects of Digitalized Academic Discourse on Language, Genre and Identity
An issue of Volume 25 of EJES (2021)
Deadline for proposals: 31 December 2019

Guest editors: Rosa Lorés Sanz (Universidad de Zaragoza), Giuliana Diani (Università di Modena e Reggio Emilia)

Recent decades have seen a substantial evolution in discursive practices, particularly those associated with institutions, the sciences and the economy. This state of affairs has been enhanced by the appearance of digital platforms, which have made of the web a privileged access platform both for knowledge creation and knowledge dissemination in an increasingly globalized society. This scenario is also characterized by the use of English as the international language of communication, most users being non-native speakers of the language. Thus, the spread of electronic platforms as well as the use of English as a vehicle of international communication have led to the emergence of new discursive practices or the adaptation of existing ones to the digital mode.

Digital affordances, and the immediacy, visibility, and connectedness they bring along, have changed the way we communicate and project our identities. They have also changed the way we approach texts as objects of analysis. This special issue aims to become a forum for some of the latest contributions to this topic. Proposals from different analytical approaches are welcome. These approaches might include computer-mediated discourse analysis, pragmatics, intercultural rhetoric, genre-based analysis, corpus studies or multimodality. The following topics may be addressed:

Are digital genres in academic settings modelled on traditional genres in paper format? Or, rather, is the digital mode generating new genres? What are their rhetorical and discursive features?

How is identity constructed and represented in digital academic discourse?

In which ways has the use of English as a Lingua Franca in the academic world been influenced by the use of digital platforms? To what extent do culture and discipline affect the shaping of academic web-mediated discourse?

How do verbal and visual modes interact in academic digital contexts? Which new methods of approaching discourse are needed to understand web-mediated texts?

Detailed proposals (up to 800 words) for full essays (7,500 words), as well as all inquiries regarding this issue, should be sent to both editors by 31 December 2019: Rosa Lorés-Sanz (rlores@unizar.es) and Giuliana Diani (giuliana.diani@unimore.it).

(posted 20 May 2019)


Formal Intersections between Narrative Fiction and Other Media
A special issue of Lublin Studies in Modern Languages and Literature, Vol. 44, no. 2 (2020)
Deadline for contributions: 31 December 2019

A special issue guest edited by Grzegorz Maziarczyk and Wojciech Drąg

The new millennium has seen a resurgence of literary narratives which combine a variety of semiotic modes, such as “image, writing, layout, gesture, speech, moving image, soundtrack and 3D objects” (Kress, Multimodality 79). Some of them situate themselves in the tradition of postmodernist experimentation (represented by such authors as B.S. Johnson, William H. Gass and Raymond Federman), while others aspire to break out of the avant-garde niche and reach a wider audience. As demonstrated by the examples of Douglas Coupland’s Generation X, Mark Z. Danielewski’s House of Leaves and Jonathan Safran Foer’s Extremely Loud and Incredibly Close, multimodal novels are capable of gaining the status of bestsellers. They have succeeded in appealing to a broader audience because most readers are used to the multimedia environment of print, film, computer etc. By drawing on readers’ experiences with other media, contemporary fiction is becoming increasingly hybrid. It has productively engaged with the computer (digital/electronic literature), videogames (interactive fiction), touchscreen devices (Reif Larsen’s Entrances and Exits), photography (works by W.G. Sebald and Steve Tomasula), painting (Tom Phillips’s A Humument) and sculpture (Safran Foer’s Tree of Codes). A synthesis of text, image, sound and video, Tomasula’s TOC: A New-Media Novel may be a harbinger of how fiction will evolve in the decades to come.

We invite original articles examining various aspects of the formal interaction between narrative fiction and one or several other media, including collage/montage, illustrated and tactile works, altered books, card-shuffle novels, electronic fiction, fragmentary writing and other kinds of formal experimentation. We also welcome articles that interrogate the ways in which literary devices and conventions are incorporated/transformed/subverted in other media. We are particularly interested in analyses of Anglophone works published in the second half of the twentieth century and post-2000. The articles should be 25-30,000 signs (with spaces) in length and should follow the house style of Lublin Studies in Modern Languages and Literature as set out in the guidelines for the authors (https://journals.umcs.pl/lsmll/about/submissions#authorGuidelines).

Contributors are requested to submit their works by email to Grzegorz Maziarczyk (grzegorz.maziarczyk@kul.lublin.pl) and Wojciech Drąg (wojciech.drag@uwr.edu.pl) by 31 December 2019.

(posted 26 July 2019)

Books and special issues of journals – Deadlines July-September 2019

Alien in LSP Classroom
An international publication providing guidance for LSP instructors
Deadline for submission: 31 July 2019

The Institute of Foreign Languages at the Faculty of Mechanical Engineering, Brno, University of Technology, Czech Republic is issuing a call for papers on the role of the LSP teacher. We hope to collect papers by LSP practitioners that will make up an international publication providing guidance for other LSP instructors and enlightening them in their uneasy pedagogical efforts. Papers’ topics may include:

  • Curriculum developments, where there are usually very few guidelines, composing one’s own materials, and tailoring course design.
  • Instructors retraining themselves and finding out and staying in touch with
    the demands of the target discipline.
  • Reflection of student’s needs and employers’ requirements.
  • Teaching discipline-specific cultural competencies (including specific corpora) when the instructor is a linguist outside of the target discipline.
  • Developing active and self-evaluative learners as most of their future language learning will be done by themselves.
  • Community-based learning, cooperation with experts, project-based learning while approximating the real-world workplace.
  • Use of any technologies mediating the teacher-student relationship.

Detailed information can be found at: http://www.kj.fme.vutbr.cz/?idh=4
Deadline for submission: 31 July 2019
Questions and papers to be addressed to Martina Vranova: vranova@fme.vutbr.cz


Recontextualising Brexit: discursive representations from outside the UK
Special journal issue CADAAD (Critical Approaches to Discourse Analysis Across Disciplines)
Deadline for proposals: 31 July 2019

Journal website: http://www.cadaadjournal.com

This special journal issue deals with how the Brexit phenomenon is recontextualised outside of the United Kingdom. We are interested in how the post-referendum withdrawal process has been discursively represented in different political, socio-cultural and economic settings as well as in how specific historical factors influence those representations. To complement previous research (Koller et al., 2019, Zappettini & Krzyżanowski, 2019), the focus of the special issue will be on non-UK discourses. The scope for articles is broad, encompassing various stakeholders, discourse domains and (supra-)national contexts. We welcome contributions that address, but are not limited to, any of the following:

  • reactions by business organisations and economists
  • fictional accounts (e.g. novels, films, comedy)
  • responses by national and supranational institutions and individuals
  • citizens’ perspectives in online and offline forums
  • representations of Brexit in news media

To reflect the interdisciplinary editorial team, we aim for this special issue to feature contributions from diverse fields of study and therefore invite researchers working in linguistics, discourse analysis, political science and international relations, communication and media studies, sociology and possibly others. The same broad approach applies to data and methodologies, including spoken, written or multimodal data, and quantitative, qualitative or mixed methods. Please send your abstract of up to 350 words (excl. references) to brexit.SJI@gmail.com by 31 July 2019. In your abstract, please clearly state the aims and research questions of your paper, its theoretical background, the data and analytical methods used as well as indicative findings. We plan to submit the special journal issue for publication by the end of 2020.

First drafts will have to be submitted by 31 March 2020, with final drafts due by 15 August 2020.

We regret that due to the topical nature of the issue, we will not be able to grant any extensions on deadlines, including the one for the abstract. We are looking forward to receiving your abstract!

(posted 20 May 2019)


The Edinburgh Companion to the Essay
Contributions are invited to The Edinburgh Companion to Literature and the Humanities series of reference books
Extended deadline for proposals : 31 July 2019

The Edinburgh Companion to the Essay provides an overview of the theories, histories, contexts and forms of the essay as well as of current debates around the genre and its extensions. The co-editors seek brief (300-word) proposals for chapters that provide original insights into one or more of these thematic threads. The chapters would explore the essay as a 21st century genre with its own inheritances, experiments, theories, receptions, contexts, and readership(s). The book seeks to expand understandings of the essay in and beyond European and North American literary cultures.

Proposed chapters may draw on specific works, authors, movements/periods, concepts, styles, forms, practices, and/or locations. They should especially seek to make innovative contributions to the study of the essay even when revisiting the history of the essay. Chapters should be rigorous and scholarly while reflecting some of the form’s possibilities for inquiry and argument, structure and authorial presence.

About the series: This volume will join The Edinburgh Companion to Literature and the Humanities series of single-volume reference books, which began in 2006 with The Edinburgh Companion to Twentieth Century Literatures in English, and as of 2019 comprises twenty-four titles. This collection will include 35 to 40 pieces of original scholarship and criticism of between 6000 and 7000 words apiece, including notes. The final version will be approximately 600-pages long, published in hard cover.

This project has been commissioned by acquisition editors at Edinburgh University Press.

300-word proposals due by July 31, 2019.

Notification of acceptance by October 1, 2019.

Completed manuscripts for selected proposals due by March 1, 2020.

 Proposals are invited on a wide range of topics, including (but not limited to) the following:

theories and definitions of the essay

  • current debates about the essay
  • written sub-genres of the essay
  • essays in or across media (e.g. film, photos, digital)
  • essaying and essayism
  • genealogy of the essay
  • key figures in the development of the essay as a genre/praxis
  • key historical moments for the essay
  • the essay within English and American traditions
  • New Journalism
  • alternative histories of the essay (e.g. African American, Queer, feminist, etc.)
  • publication contexts
  • pedagogy
  • institutional contexts (e.g. within school contexts—for both children and adults—and within the public sphere)
  • new forms of the essay

Questions and/or proposed abstracts may be directed to the co-editors, Mario Aquilina, Nicole Wallack and Bob Cowser by June 15, 2019. Proposals should be sent as attachments to EUPessay@gmail.com in the form of a Word document or PDF and should include: Title; Abstract of around 300 words; and a short profile of the contributor.

(posted 11 June 2019)


Poetics and Hermeneutics of Pain and Pleasure
An edited volume
Deadline for proposals: 1 August 2019

“I am interested in language because it wounds or seduces me” Barthes
“The aim of the wise is not to secure pleasure, but to avoid pain” Aristotle
“Poetry is a deal of joy and pain and wonder” Khalil Gibran

Pain and pleasure are at the heart of human experiences and literary journeys. Taking the title of Roland Barthes’s text on the pleasure/ bliss/ “Kama Sutra” of writing is a starting point for the discussion of other different wor(l)ds and cartographies of pain and pleasure. Set against the Aristotelian delineation of pleasure as the major principle that should govern a literary endeavor, this volume seeks to investigate other/alternative reflections on the themes of pleasure and pain. Thinking about the ways through which expressions of pain and pleasure may affect the writer/reader as experiences of other pursuits of the human imagination can place/displace, soothe/enrage, and inspire/discourage the individual search for meaning. By engaging with different theories and expressions, it is possible to understand what pain and pleasure have done in the history of humanity, rather than merely looking at them as representations of others’ distant experiences.

This call for papers encourages new reflections on/ a play at the expressions of pain and pleasure to create new meanings for these words in a world vying for expressions of power with/without bliss.

Contributors are invited to send proposals relating to one or several of the following themes (but not limited to them):

  • Writing pleasure and the pleasure of writing: allegories and metaphors
  • Writing pain and the pain of writing: lived and imagined experiences
  • The use of pain to deconstruct the myth of other pleasure
  • Intersection between history and pain/pleasure: resistance and suffering
  • Men/ fathers and Women’s/mothers’ pleasure/pain
  • Individual(s) in pain/communities in pleasure
  • Texts and contexts of pain and/or pleasure
  • Pain and pleasure in art, poetry, fiction, non-fiction, drama…
  • Prohibitions and jouissance in texts and their contexts
  • On rhetorics & the language of pain and pleasure
  • Experimental literature
  • Literature and emotions
  • The paradox of tragedy
  • Experiencing/ reading the sublime
  • Understanding and deconstructing pain and pleasure

Please send a short bio and a 350-word abstract by August 1st, 2019 to: literaryarena@gmail.com
Notification of acceptance: August 20th, 2019
Essay submission by: November 1st, 2019

(posted 25 July 2019)


Poetics of the Native
Call for Articles
Deadline for proposals: 1st August 2019

“Every individual is a meeting ground for many different allegiances, and sometimes these loyalties conflict with one another and confront the person who harbours them with difficult choices. In some cases the situation is obvious at a glance; others need to be looked at more closely.”

Amin Maalouf1

Natives, Aborigines, Indigenous, First Nations are all appellations that assert the legitimacy of the antecessors despite the sub-position granted to them by colonial, postcolonial and neo- colonial theories. In a perpetual quest for agency, over long resistance journeys, looking for self-assertiveness, in the quest for identity and subdued by historical narratives and political discourse, the native has been framed within a set of representational practices that claim for a redress of grievances.

Cultural, mediatized and historical representations of the native tend to fall within the boundaries of either a bottom up or a top down view that fits within a structuralist paradigm that rarely questions the individual let alone the marginalized. However, there is a need to examine the systems within which indigenous narratives operate from a post-structuralist stance in order to re-read indigenous discourses and to celebrate the multiplicity of meanings inherent in them. The need for an intercultural pragmatic reading of native discourse also reveals to be of utmost relevance.

A ‘mass of atrocities’ experienced by natives has been the object of study in literary, historical and linguistic practice. The native’s trauma, subjugation, voicelessness, identity crisis, displacement, shame and resistance are still produced and reproduced through literary archetypes, historiography and narrative techniques. Howard Zinn says in this respect: “the reason these atrocities are still with us is that we have learnt to bury them in a mass of other facts, as radioactive wastes are buried in containers in the earth”2.

This volume attempts to discuss indigenous literary performances, native history and cultural representations of natives and aboriginal discourse all around the world.

Researchers are encouraged to send abstracts focusing on, but not restricted to, the following topics:

  • Historicizing the native: the role of testimony and primary sources
  • Teaching native literature and Anglophone history
  • Native American trauma
  • displacement and the denial of native legitimacy
  • Literary (Mis) representations of natives
  • Cultural representations of natives in the media: the birth of stereotypes
  • Native vs. Refugee
  • Identity, Origins, Belonging
  • Self/Other dichotomy
  • Amin Maalouf, On Identity. London: The Harvill Press, 2000. p 5
  • Howard Zinn. A People’s History of the United States. London & New York: Longman, 1980

Essays should be 7,000-8,500 words, including all quotations and bibliographic references, and should follow the MLA Style for internal citation and Works Cited.

Writers around the world may be considered, but texts must be available in English and essays must be in English.

Short bio and 500 word abstracts by August 1st, 2019 to: native.volume@gmail.com Notification of acceptance: August 10th, 2019

Essay submission by: November 30th, 2019

  1. Amin Maalouf, On Identity. London: The Harvill Press, 2000. p 5
  2. Howard Zinn. A People’s History of the United States. London & New York: Longman, 1980

(posted 25 July 2019)


The Public Place of Drama in Britain, 1968 to the Present Day
A special issue of Humanities (ISSN 2076-0787).
Deadline for manuscript submissions: 31 August 2019

Guest Editor: Dr. Mary Brewer, School of the Arts, English and Drama, Martin Hall 1.01, Epinal Way, Loughborough, LE113TU, UK

This special issue of Humanities will focus on British dramatic narratives and performance from 1968 through the contemporary period with the goal of assessing the public place or social function of drama in contemporary British society. The issue aims to assess the key continuities and discontinues in the relation between dramatic narratives and the British public sphere since the theatre revolution of 1968.  More contemporary indicative topics include: the extent to which drama has been relegated largely to the private sphere and revalued as one of many forms of entertainment for which consumers may opt, the extent to which drama contributes to the public sphere today, how the relation between dramatic representational narratives and the public sphere has developed in different directions among the nations and diverse communities that comprise contemporary British society, the state of political theatre in Britain today, challenges/strategies relevant to sustaining a drama that challenges popular preferences, the extent to which drama retains the power to persuade and offer a model for social action, the impact of ‘austerity’ on British theatre, and drama post-Brexit. The editor welcomes contributions on other topics related to British drama and the public sphere.

The issue will build upon some of the frameworks developed for exploring the relation between theatre and the public sphere, most notably Christopher Balme’s 2014 study, The Theatrical Public Sphere (Cambridge University Press), as well as Arpad Szakolczai’s Comedy and the Public Sphere (Routledge, 2015), and Janelle Reinelt in “Rethinking the Public Sphere for a Global Age,” Performance Research, 2011.  In contrast to these publications, it will focus on contemporary drama and performance in Britain, and, while the issue will respond to Habermas’s definition of the public sphere, it will encompass a wide range of definitions of the public sphere.

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Humanities is an international peer-reviewed open access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charges (APCs) of 350 CHF (Swiss Francs) per published paper are fully funded by institutions through the Knowledge Unlatched initiative, resulting in no direct charge to authors. Submitted papers should be well formatted and use good English. Authors may use MDPI’s English editing service prior to publication or during author revisions.

 (posted 4 June 2019)


Departures and Arrivals: Women, Mobility and Travel Writing
Feminismo/s, Issue 36– 2020
Deadline for proposals: 1 Septembe 2019

Issue editors: Dr. Sara Prieto (University of Alicante) & Dr. Raquel García-Cuevas (University of Kent)

Feminismo/s, from the Institute of Research in Gender Studies from the University of Alicante, is currently accepting submissions for its 36 issue, entitled “Departures and Arrivals: Women, Mobility and Travel Writing”. This issue seeks to approach women travel writing from a transhistorical and transnational perspective. Thus, we encourage submissions that deal with travelling and mobility in women’s writing from different cultural and national backgrounds and periods.
We are particularly interested in contributions that explore the intersections between gender, mobility and identity, including, but not restricted to the following aspects:

  • Religious or spiritual pilgrimages.
  • Transatlantic and transnational experiences.
  • Exploratory journeys and pioneering experiences.
  • Sea narratives, air narratives, railway experiences and road trip experiences.
  • Travelling in/to/from war zones.
  • Diasporic experiences.
  • Enforced migration and refugee experiences.
  • Uprootedness and in-between identities.
  • Ecocritical approaches to travelling.
  • Tourism and neo-colonial experiences of travelling.
  • Travelling and the cyber-world.
  • Mobility and ableism.

Submitted abstracts should be between 300 and 500 words in length, and should be sent to the issue co-editors by no later than 1 September 2019. Please also include an additional biographical statement, of no more than 100 words, that lists your educational level, current academic affiliation, previous publications and any other details you may feel are pertinent.
Applicants can expect to hear back about their proposals by 1 October 2019. Full articles (9,000 words) will be due by 1 February 2020. Notifications about acceptance or required changes will be provided in July 2020, and final articles will be required on 1 September 2020. Contributors must follow the journal’s editorial guidelines and style.
Should you have any further questions, do not hesitate to contact the issue co-editors, Sara Prieto (sara.prieto@ua.es) and Raquel García-Cuevas (r.c.garcia@kent.ac.uk).
Feminismo/s is an Open Acces Journal and is indexed in the following databases: Proquest (Gender Watch), DOAJ, REDIB, InDICEs-CSIC, ERIH PLUS, MLA, CIRC, MlAR, Latindex, Dialnet, Ulrich’s, Dulcinea, Google Scholar, SHERPA/RoMEO, RUA, DICE, REBIUN, RESH, OCLC WorldCat, Copac, SUDOC and ZDB/EZB.


Ecophenomenology
A special issue of Green Theory and Praxis Journal
Deadline for proposals: 1 Septembe 2019

The aim of this special issue is to explore the intersection of phenomenology and environmental philosophy. It examines the relevance of Husserl, Merleau – Ponty etc. on the topics of this field raised by environmental issues, and then proposes new approaches to the natural world and its impact to human nature. The contributors will demonstrate ecophenomenology’s issues to engage in an ecological self – evaluation of natural and human assumptions. This issue marginalized environmental topics and will offer new perspectives between phenomenologists, ecologically-minded theorists and comparative philologists.

Topics of issue:

  • ecophenomenology in literary texts (American and European Literature 19th-20th)
  • transcendental ecophenomenology
  • ecophenomenology as discipline
  • Husserl or M. Merleau – Ponty and their contributions to ecophenomenology
  • ecophenomenology today
  • phenomenology after eco-orientation

Co-editors:

Nikoleta Zampaki, PhD Candidate of Modern Greek Philology, Department of Philology, National and Kapodistrian University of Athens, Greece, International Student at Harvard Extension School, Harvard University, U.S.A. and International Student at Oxford University, U.K. (http://uoa.academia.edu/NikoletaZampaki)

Erik Juergensmeyer, Associate Professor of English, Fort Lewis College, Durango, CO, USA (https://ejuergensmeyer.wordpress.com/)

Website of Green Theory and Praxis Journal

(posted 4 June 2019)


The Influence of the Long Eighteenth Century upon Balkan Identities in the Feminine
A collection of essays to be published
Deadline for proposals: 1 September 2019

You are kindly invited to contribute to a collection of articles entitled The Influence of the Long Eighteenth Century upon Balkan Identities in the Feminine.

This book will emphasise particularly women’s contribution in this area because there is a general deficit of knowledge about women’s lives and their implication in the history of the Balkans. The emphasis on education, the translation of Enlightenment authors, the promotion of the cult of reason as well as of other ideals of the Enlightenment in the Balkan cultures coincide with a very strong tendency towards autonomy and independence in the Balkan political life. The Enlightenment did not constitute only the ideology backing the constitution of the American colonies that became independent during this period, it also inspired the peoples of the Balkans in their fight for independence and consolidation of that independence. The consequence was that the Enghlightenment subsided in the Balkans much longer and in forms different from its traditionally acknowledged Western parameters. The feminists, the women’s activists, and the women writers from the Balkans were inspired by the ideals of the Enlightenment which spread beyond the strictures of traditional historical periodization.

If you are interested in contributing to this project, please send an abstract (300 words maximum) and 6-8 keywords to Michaela Mudure, Babes-Bolyai University, Cluj-Napoca, Romania <mmudure@yahoo.com> by 1 September 2019. The collection will be published by a prestigious academic press.

(posted 25 July 2019)

 

Books and special issues of journals – Deadlines April-June 2019

“All We Are Is Eyes”: The Literary Art of Ali Smith
Authors are invited to contribute to an edited volume
Deadliine for proposals: 14 April 2019

Authors are invited to submit papers for a volume exploring the literary output of Ali Smith. Papers may explore any aspect of Smith’s work, but suggested areas include gender, sexuality, nationality and the relationship between literature and the visual arts. Papers should be between 4,000-7,000 words, preceded by a 200 word abstract and formatted using the MLA system. The deadline for abstracts is 14th April 2019.

Any queries regarding submissions should be sent to:

or

(posted 5 February 2019)


Postclassical Narratology: Twenty Years Later
An issue of Word and Text – A Journal of Literary Studies and Linguistics, IX (2019)
Deadline for proposals: 30 April 2019

Guest Editors: Biwu Shang, Arleen Ionescu and Laurent Milesi

As a term, ‘postclassical narratology’ was proposed by David Herman in his ground-breaking article ‘Scripts, Sequences, and Stories: Elements of a Postclassical Narratology’ (1997) and widely popularized in his edited volume Narratologies: New Perspectives on Narrative Analysis (1999). The last two decades witnessed an explosive interest in narrative studies, which to a large extent could be categorized as the various strands of postclassical narratology. Although in Herman’s view postclassical narratology does contain classical moments, it does not simply mean that the term, in the very literal sense, periodizes narratology into classical vs. postclassical phases. Instead, it refers to those newly-developed approaches beyond structuralism and to new narrative phenomena in the spectrum of analysis.

The boom and rapid development of postclassical narratology is evidenced in an unaccountable number of works produced in the past years; to name a few: James Phelan and Peter J. Rabinowitz’s A Companion to Narrative Theory (2005), Jan Alber and Monika Fludernik’s Postclassical Narratology: Approaches and Analysis (2010), David Herman et al.’s Narrative Theory: Core Concepts and Critical Debates (2012), Biwu Shang’s Contemporary Western Narratology: Postclassical Perspectives (2013), Jan Alber and Per Krogh Hansen’s Beyond Classical Narration: Transmedial and Unnatural Challenge (2014), and Zara Dinnen and Robyn Warhol’s The Edinburgh Companion to Contemporary Narrative Theories (2018). However, we should be aware of the fact that along with its unprecedented development, postclassical narratology has also met controversies from various directions. For instance, Brian Richardson (1997) and Meir Sternberg (2011) are doubtful of both the term ‘postclassical narratology’ and the distinction of the classical/postclassical in narrative studies.

As a rejoinder to the thought-provoking and timely initiative of the second phase of postclassical narratology by such scholars as David Herman and Biwu Shang (2010), Jan Alber and Monika Fludernik (2010), and Biwu Shang (2015), this special issue ‘Postclassical Narratology: Twenty Years Later’, in order to celebrate the 20th anniversary of this new orientation in the field of narratology, attempts to examine and assess the development of narrative inquiries in the postclassical context of the last two decades. Suggested topics include but are not limited to:

  • Classical Concepts, Postclassical Perspectives
  • Narrative Theory Today and Tomorrow: Current State and Future Directions
  • Rhetorical Theory of Narrative
  • Feminist Narrative Theory
  • Unnatural Narrative Theory
  • Cognitive Narrative Theory
  • Transmedial Narrative Theory
  • Fictionality, Emotionality, Ideology,

We welcome interdisciplinary approaches, ranging across critical theory, literary and cultural studies, as well as other disciplines in the humanities. Contributors are advised to follow the journal’s submission guidelines and stylesheet available from http://jlsl.upg-ploiesti.ro/. The deadline for abstract submissions is April 30, 2019. Please send 500-word proposals to the editors of the volume, who will answer any queries you may have. Articles selected for publication must be submitted by June 30, 2019. All submitted articles will be blind-refereed except when invited. Accepted articles will be returned for post-review revisions by July 30, 2019 and will be expected back in their final version by September 30, 2019 at the latest.

Proposals and articles should be sent as attachments to wordandtext2011@gmail.com and the three editors of the issue Biwu Shang (biwushang@sjtu.edu.cn), Arleen Ionescu (anionescu@sjtu.edu.cn) and Laurent Milesi (milesi@sjtu.edu.cn).

(posted 25 January 2019)


The Cinema of Kenneth Branagh: Adaptations, Retellings and Reevaluations
A volume edited by Sabine Planka & Feryal Cubukcu
Deadline for abstracts: 31 May 2019

Since Kenneth Branagh impressed audiences in 1989 with his first film, “Henry V”, movie critics, film scholars, Shakespeare scholars, and Shakespeare enthusiasts alike have noticed two qualities about the young director: he holds back very little, and he borrows from other films quite a bit. Certain portions of his films have been defined appropriately as “lavish”, “over the top”, “energetic”, and “sheer bravura”. His numerous engagements with the mainstream would offer rich and varied ground to explore, and would contribute to a deeper understanding of how a star persona functions; but failure to recognise even the least significance of exploring his recent popular work suggests a persistence in obeying traditional cultural hierarchies and marginalising the mainstream as a site of academic focus.

Branagh does not hesitate to make use of the camera angles, textual imagery, ambiguity, pastiche and parody in his movies and adaptations. If all his movies are taken into account, it would seem that despite the fact that film is so often touted as a visual medium, perhaps its’ most powerful ability of affecting and influencing its viewers lies not only in the images it presents, but also in the personalities of life-like characters.

While lots of research has been done on Branagh’s Shakespeare-adaptations our volume wants to consider the other movies Branagh has directed, too. It is obvious that not only Shakespeare and other authors have had influence on him but also other directors as can be seen, for example, in his film “Dead Again” (1991) that is clearly influenced by Alfred Hitchcock. Additionally Branagh’s work, therefore, contains not only Shakespeare adaptations but also adaptations of other literary works from different genres like “Thor” (2011), “Cinderella” (2015) and the upcoming adaptation of the novel for children “Artemis Fowl” (2019). The newly-announced is a second Agatha Christie-adaptation “Death on the Nile” for 2020 – and which has indirectly be announced by the cliffhanger at the end of his first Christie-adaptation “Murder on the Orient Express” (2017) – which expresses Branagh’s extraordinary talent to handle every genre. It goes without saying that Branagh adapted an opera, too: in 2006 he transferred Mozart’s “The Magic Flute” into a World War I-scenario.

Our volume, therefore, intends to focus on Kenneth Branagh primarily as a director. We are seeking for previously unpublished essays that consider the following topics (but are not limited to) from multidisciplinary perspectives to expand the view on Branagh’s oeuvre that can be divided into

(a) Adaptations of Shakespeare (Henry V (1989)/Much Ado About Nothing (1993)/A Midwinter’s Tale (1995)/Hamlet (1996)/Love’s Labour’s Lost (2000)/As You Like It (2006)/Macbeth (2013)) and

(b) Adaptations of other literary works and the connection to different genres (Mary Shelley’s Frankenstein (1994; Gothic Novel)/The Magic Flute (2006; Opera)/Thor (2011; Comics)/Cinderella (2015; Fairy Tale)/Artemis Fowl (announced 2019; Children’s Literature)/Murder on the Orient Express (2017; Crime Novel/Agatha Christie)/Death on the Nile (announced for 2020; Crime Novel/Agatha Christie)).

Suggested topics include, but are by no means limited to the following:

  • influences of Branagh’s education at Royal Academy of Dramatic Art (RADA) on his movies
  • influences of and connections to other directors
  • the literary basis of his movies
  • techniques of narration
  • colonial/postcolonial readings
  • ‘spatial turn’/architectural concepts in Branagh’s movies
  • class consciousness
  • social life and the role of the individual
  • gender representations/representations and visualizations of femininity and masculinity
  • visual effects/style
  • visualization of garden/landscape/nature and heritage
  • set design/costume design and (collaboration with) set designers/costume designers
  • use of (classical/modern) music

The timetable for the volume is as follows:

  • The deadline for abstracts: May 31, 2019
  • Feedback: Mid of July 2019 at the latest
  • Submission for articles (completed): October 31, 2019
  • Double peer review process and feedback of final acceptance due to: November 30, 2019
  • Articles sent back to editors: December 31, 2019
  • The publication is planned during spring/summer 2020.

If you are interested in proposing a chapter, please send an email with (1) an abstract of 500 words and (2) a short CV (maximum of 200 words, plus 3 titles of relevant publications) to both Dr. Feryal Cubukcu (Dokuz Eylul University) (cubukcu.feryal@gmail.com) and Dr. Sabine Planka (University of Siegen) (mail@sabine-planka.de).

Your abstract should outline your hypothesis and briefly sketch the theoretical framework(s) within which your chapter will be situated. All submissions will be acknowledged. If you do not receive a confirmation of receipt within 48 hours, you may assume that your email was lost in the depths of cyberspace. In that case, please re-submit. Please note that we will not include previously published essays in the collection.

(posted 4 February 2019)


Left-wing radicalism in the United States: a foreign creed?
A special issue of  Transatlantica, Journal of American Studies
Submission date : 31 May 2019

Red Scares have been a feature of US-American history from the end of the 19th to the middle of the 20th century. The repression of anarchists between 1890 and 1910, the Red Scare of 1919-1920 and witch hunt of the 1940s and 1950s helped develop national tools and strategies of intelligence and surveillance (Goodall, Rios-Borde) ; they took place within contexts when US-American identity was being created (reacting to the massive immigration and the industrialization of capitalism at the end of the 19th century) or reaffirmed (on the international scale after World War One, in opposition to the Soviet Union after 1945) (Gerstle, O’Leary). Anarchism, socialism and communism  were framed as foreign ideologies, by politicians, journalists and academics. « Radicalism » was perceived as belonging to other times and other places, as being in contradiction with the values of triumphant Americanism (liberalism, democracy, upward mobility) or ill-adapted to the American political context (Higham, Bell, Ceplair).

This Transatlantica issue will analyze the way in which the construction of radicalism as foreign to US-American identity was received by radicals themselves, to see how they reacted to the branding of their beliefs as un-American, and how they devised counter-discourses in order to Americanize their ideas, sometimes leading to conflict and contradiction. How can the language of patriotism be combined with a belief in internationalism ? What coalitions, what political alliances can be built while maintaining a revolutionary stance ? How can the class struggle be rooted in a discourse on US-American society without succumbing to the sirens of exceptionalism ?

The hegemony of the « national » in the study of social movements as well as in intellectual history has been largely contested by transnational history (Tyrrell) and a local history seeking to unearth the political and social experimentations born of radical ideas in specific geographical contexts (on socialism in Oklahoma, for instance, see Bissett and Plassart). Our desire to reintroduce the prism of the nation in the study of radicalism, without falling into the trap of naturalizing « the nation », stems from recent scholarly work stressing the importance of analyzing the interplay of scales (local, national, transnational) and the conflicts that might result from this interplay, for instance between internationalism and the necessity to root radical ideas in the « imagined community » (Anderson) of the nation. Are radicalism and national identity necessarily incompatible (Bantman, Turcato) ? And how does this feeling of national belonging play in the political strategies of radical activists ?

Proposals can address these issues from a large disciplinary perspective (history, social history of ideas, historiography). Possible topics include figures of the US-American left embodying the Americanization of radicalism (Daniel DeLeon, Emma Goldman, CLR James…), the repression of radicalism resting on the rhetoric of national identity (the « Americanization » defended by the American Legion in the 1920s, the opposition between American and Un-American…), the articulation and conflict between internationalist beliefs and national belonging, foreign-language radicalism (biographies of activists, propaganda in languages other than English…), the role of racial issues – or their absence – in the framing of the relationship between radicalism and national identity, comparative perspectives, theoretical approaches to the conciliation of Marxism and Americanism, controversies among historians on the relationship between radicalism and Americanism (the long posterity of Werner Sombart) and problems arising from this narrative.

Paper proposals (about 500 words) should be submitted by May 31st, 2019. Papers (8 000-10 000 words) will be due in October 2019.

Please send your proposals to alice.beja@sciencespo-lille.eu

Transatlantica website: https://journals.openedition.org/transatlantica/

(posted 30 March 2019)


Learn? Escape? Feel? Contemporary Perspectives in Teen and Young Adult Literature
Romanica Silesiana n° 17
Deadline for  proposals: 31 May 2019

Despite the ongoing debate regarding the declining number of young readers, it is impossible to ignore the results of the surveys carried out by Centre National du Livre between 2016 and 2018 in the age group of 15+, 7-9 and recently also 15-25[1]. Not only do the young read, but also love reading, the research shows. However, even if these results seem optimistic, the analysis should not avoid observations of multiple changes that have been part of the practice of reading among the young as well as of the choice of their read and the causes of their reluctance to opt for this particular activity.

In the framework of Romanica Silesiana 17, we would like to examine, on the one hand, the preferences and behaviors of teenagers and young adults, also by making an attempt to answer the question regarding their expectations and reasons for which they choose a given book. On the other hand, we seek to confront the requirements of the young readership with what contemporary literature offers. It would also be crucial to ponder on the changes related to the representation of the young reader’s world in both realistic and fantasy novels for this age group, especially in the context of its reflection of reality and authors’ creative choices[2]. With reference to the central ideas of literature for teenagers and young adults, which can be expressed with the help of the juxtapositions educate/learn, invite to escape/dream, touch/be moved, our reflection, focused on Francophone, Anglophone and other literatures, may concern, in particular, the following lines of research:

  • What do teenagers and young adults look for in the realistic novel and what can it offer to them with its themes (identity(-ies), religion(s), (in)tolerance, values promoted by society, love, sexuality, body, tyranny of beautiful and athletic bodies, handicap and diseases, violence, death, etc.) [3].
  • In reference to Maria Cecire’s research[4], does literature for teenagers and young adults play an important role in establishing one’s national identity? Does it contribute to the promotion of tolerance and show how to become more open to the other?
  • Do young readers escape reality by choosing imaginative stories in order to live adventures of initiation or rather follow the trends of the media?
  • What interests the young in horror or mystery stories? Are these picked by teenagers or rather young adults? What are the consequences of hybridization of novels for younger audiences? What other methods are used to attract them? Do authors follow the rules which guarantee commercial success at the expense of didactic and literary legitimacy?
  • What is the role of creativity in the construction of imaginary worlds and how does such a world influence the development of imagination?
  • What can young audiences learn about the functioning of the world regardless of the genre represented by the text? What decides about the choice of the genre or the subgenre of a novel? What are the consequences of such decisions on the representation of a given story? And on readers’ perception of the text?
  • What messages are offered by teenage and young adult literature? Can it ever liberate itself from the triad explanation-moralization-simplification? Is YA literature original or does it borrow both from literature for adolescents and adults not to be deemed ‘a marketing ploy’ or ‘an editors’ fantasy’? Has it been created in order to bypass the limitations imposed by the law 49-956 of July 16, 1949 regarding publications for young readers?
  • What is the correlation between the decline in the number of young readers and the mass production of books as well as the growing publishing offer?

The proposals of articles, in French or English, including an abstract of 200 words (with a short bio-note) are to be sent in by 31st May 2019 at romanicasilesiana.jeunesse@gmail.com. The publication of the issue is scheduled for the second half of 2020.

Important dates :
31st May 2019 – deadline for the proposal submission
10th June 2019 – notification of the acceptance / rejection of the proposal
15th September 2019 – submission of the final paper

On behalf of Romanica Silesiana: Ewa Drab and Aleksandra Komandera, editors
Institute of Romance Languages and Translation Studies
University of Silesia in Katowice (Poland)

[1] Cf. https://fr.calameo.com/read/001828715ab2eafcee3ee?page=1

[2] Catherine Butler, “Modern children’s fantasy” in: Edward James and Farah Mendlesohn (eds), Cambridge Companion to Fantasy Literature. Cambridge University Press, 2012, p. 225.

[3] Cf. Denise Escarpit, La Littérature de jeunesse. Itinéraire d’hier à aujourd’hui, Éditions Magnard, 2008 ; Danielle Thaler, Alain Jean-Bart, Les Enjeux du roman pour adolescents, L’Harmattan, 2002.

[4] Maria Cecire, “Medievalism, Popular Culture and National Identity in Children’s Fantasy Literature”, in: Studies in Ethnicity and Nationalism, 9(3), 2009.

(posted 20 May 2019)

 

 

 

Calls for papers – Conferences taking place in December 2020

Play, Masks and Make-believe: Ritual Representations
Cambridge, UK, 5 December 2020
Deadline for proposals: 10 June 2020

organised by London Centre for Interdisciplinary Research

Through the centuries, humans have often shaped their social life by fictional moments and by taking part in fictional events: carnivals, representations, role plays, society plays, structured and semi-structured collective and singular moments where strictly coded contexts organize specific worlds and cultural dimensions. Play, in its wide acception and in its nature of artificial and coded mechanism, reflects historically the symbolic work by which human societies have elaborated, explained and organized the world. Play, fiction, representation and human performance are crucial moments in which categories such as reckoning, planning, ability, strategy, but also turbolence, improvisation, discard and change, are concerned. By organizing fictional moments, plays, rituals and collective experiences, humans bet on the meaning of their social groups. In play and representation, as liminal moments, social groups define relationships, roles, functions and identities. Inside representational and fictional performances, ‘normal’ time is suspended and a new space of experience is defined. Liminal situations produce the possibility of changes, of new and different symbolic experiences.

By exploring the nature of play and of fictional moments of representation, this conference aims to shape a deeper look into different aspects of an anthropology of performance. A focus will be put on how different discourses, disciplines and art forms interact in the definition of a dynamics of social representations where human experience can be analyzed and discussed.

Proposals are welcome from different research fields such as Literary Studies, Film Studies, History of Theatre, Psychoanalys, Anthropology, Art History, Philosophy, Historiography and Sociology.

Papers are invited on topics related, but not limited, to:

  • Theatre, historical perspectives on representation, representations in time
  • Carnival
  • Rituals of remembrance as social representations
  • Ritual forms of representation
  • Art forms as social moments of rituality
  • Masks and masquerades
  • Cultural history of representation
  • Anthropology of experience
  • Time, rituality and representation
  • Rituals and collectivity
  • Sacred representations
  • Representation in society, representation as a social act
  • Anthropology of performance: meaning and social aspects of representation
  • Symbolic meanings in representations

Paper proposals up to 250 words and a brief biographical note should be sent by 10 June 2020 to: masks@lcir.co.uk. Please download paper proposal form.

Provisional conference venue: Lucy Cavendish College – University of Cambridge, Lady Margaret Road, Cambridge CB3 0BU, UK

(posted 10 February 2020)


Frontier(s) and Frontier-zone(s) in the English-speaking world
Université Côte d’Azur, Nice, France, 10-11 December 2020
New extended deadline for proposals: 25 March 2020

It may be argued that any frontier is the expression of what is discontinuous, of the existence of an ‘inside’ and of an ‘outside’, in short, that a frontier is an attempt to keep the ‘other’ at bay, whatever the meaning of the term – a given geographical territory, or a specific political entity, or a different culture, or else all of these put together. These considerations are in tune with the etymological origin of the word ‘frontier’ itself, i.e. anything that helps a group of people ‘develop a united front’. Examples abound, from the so-called ‘natural’ frontier of this or that country to Brexit, to the wall that President Trump has set out to build between his own country and Mexico.  At this stage, however, a number of questions arise: * if we are therefore dealing with static, depthless lines, why can they be crossed, as each and everybody knows from experience, through connecting zones of a sort (e.g. airports, which are sometimes referred to, for that very reason in fact, as ‘free zones’)? Besides, for some, the frontier has actually become an in-between universe, i.e. nothing less than a dwelling place (cf. the ‘Calais Jungle’).  * above all, why is it that the word is used in a high number of contexts and narratives in which the very notion of territory also needs to be understood (primarily) in a figurative sense? One, indeed, talks about – to give just a few examples – ‘religious’, ‘linguistic’, ‘internal’ frontiers, ‘frontiers between rich and poor’ and ‘between political parties’.  Better still, if there exists a whole array of frontiers in connection – as just seen – with realities so diverse as citizenship, territory, religion, language, and so on, how could they possibly always overlap? And what lessons may we draw from this? Put differently, if frontiers do not match, don’t they then inevitably foster hybridity, a description that hardly goes with the notion of ‘developing a united front’, which necessarily presupposes confrontation?

It would be greatly appreciated if conference contributors could address all those issues from the various perspectives related to the fields of study dealing with the English-speaking world, from literature to the arts (e.g. the similarities and differences between literary genres, or art as a means of exclusion or integration), to linguistics (e.g. the dialects of English – professional, generational, etc., or national and regional accents), to civilisation studies (e.g. the frontier myth in the USA or the well-known peace walls that characterise many urban districts in Northern Ireland from Belfast to Derry/Londonderry).

Bibliographical references

  • BARTH Frederik (ed.), Ethnic Groups and Boundaries – The Social Organization of Cultural Difference, Boston: Little, Brown & Company, 1969, 153 p.
  • BIRNBAUM Jean, Repousser les frontières ?, Paris : Gallimard, 2014, 232 p.
  • DEBRAY Régis, Eloge des frontières, Paris : Gallimard, 2010, 87 p.
  • DORLING Danny, So You Think You Know About Britain?, London: Constable & Robinson Ltd., 2011, 320 p.
  • FOUCHER Michel, L’invention des frontières, Paris : Fondation pour les études de défense nationale, 1986, 320p. ; L’obsession des frontières, Paris : Perrin, 2007, 249 p. ; Le retour des frontières, Paris : CNRS Editions, 2016, 64 p.
  • STIGLITZ Joseph E., Rewriting the Rules of the American Economy: An Agenda for Growth and Shared Prosperity, New York: W. W. Norton & Company, 2015, 256 p.
  • WACKERMANN Gabriel, Les frontières dans un monde en mouvement, Paris : Eds. Ellipses, 2003, 159 p.

Submission proposal
AS REQUESTED BY A NUMBER OF COLLEAGUES AND OWING TO THE CIRCUMSTANCES, THE DEADLINE FOR THE CONFERENCE HAS BEEN EXTENDED TO MARCH 25. Abstracts not exceeding 400 words should be sent no later than March 25, 2020  to Ruxandra Pavelchievici ruxandra.pavelchievici@univ-cotedazur.fr and Didier Revest didier.revest@univ-cotedazur.fr Notification of acceptance or rejection will be sent by April 1st, 2020.

Publication of proceedings
A selection of papers will be published in 2021 as conference proceedings in a special issue of Cycnos.

Registration 
Registration no later than November 25 November by e-mail to Ruxandra Pavelchievici <ruxandra.pavelchievici@univ-cotedazur.fr>  and Didier Revest <didier.revest@univ-cotedazur.fr> Free upon presentation of UCA faculty/ student ID and for non-funded PhD candidates. Non-UCA faculty and funded PhD candidates: 5€

Organising committee
Ruxandra Pavelchievici (Université Côte d’Azur) and Didier Revest (Université Côte d’Azur)

Scientific committee
Vanessa Guignery (École normale supérieure de Lyon), Christian Gutleben (Université Côte d’Azur), Isabelle Licari-Guillaume (Université Côte d’Azur), Ruxandra Pavelchievici (Université Côte d’Azur), Didier Revest (Université Côte d’Azur), Nicolas Trapateau (Université Côte d’Azur), Christine Zumello (Université Sorbonne-Nouvelle)

(posted 17 January 2020, updated 19 March 2020)


MemWar: Memory and oblivion of twentieth-century wars and trauma
Genoa, Italy, 10-11 December 2020
Deadline for proposals: 31 May 2020

The twenty-fist century emerges from the troubled history of the twentieth century, with its world wars and its conflicts on a European scale, such as the Spanish Civil War. This conference, organised by the research group “MemWar. Memory and oblivion of twentieth-century wars and trauma” (Department of Modern Languages and Cultures, University of Genoa), aims to look at how the memory of these conflicts is handed down in the twenty-first century, how it is represented, which are the blind spots and/or obscure points in this process – also from a critical perspective (Ricoeur, 2003) − and how power relations between official discourse and counter-discourse are developed.

To this end, the conference will focus on the following topics:

  • Policies of memory and social representations of trauma in the twentieth century

This section will look at social representations of memory in different national contexts. Attention will be paid to the memorial policies adopted by individual European countries (commemorative events, public speeches), to products addressed to significant shares of the European population, such as tourist guides (particularly those devoted explicitely to lieux de mémoire, according to the definition by Pierre Nora, 1984) and to the discourse of traditional − e.g. the press (Ledoux, 2016) and television − and non-traditional media – e.g. social networks. How is official discourse of memory articulated by the different policies pursued by individual European States? Which representations of twentieth century trauma are conveyed by national media? How do official discourse and public speeches interact?

  • Transmission of memory and memorial artistic production

This section will deal with literary and theatrical forms, as well as with architecture, sculpture, visual arts and entertainment directly committed to the trasmission of history (monuments, museums, memorials) or eliciting strong and possibly innovative reflection on these topics (including, but not limited to, counter-monuments, installations in public spaces, art performances).

Particular attention will be paid to non-canonical forms, such as transmedia objects, contaminations, comic books with a strong emotional impact on readers.

How do these artistic productions contribute to the diffusion of discourse on memory? Which memory transmission strategies characterise artistic production? What impact does artistic production have on European policies on memory and, conversely, how much and in which forms is artistic expression determined by the policies adopted by the different countries?

  • Educational tools

The centenary of World War I has led to a proliferation of educational projects on memory all over Europe. A significant example is the French portal “Mission Centenaire 14-18”, aiming to collect and showcase the numerous educational projects on WWI realised in French schools.

This section will include a reflection on good practices and on sample educational projects and tools both in formal and informal (associations, media, etc.) environments, and will offer an opportunity for comparison of such practices in the different countries involved.

The different topics dealt with will allow us to examine how discourses on memory are circulated in Europe, the constitutive dimensions of these discourses, as well as the different national contexts in their specificity. Proposals looking at practical case studies, based on well-defined corpora and with a clear methodological framework are particularly welcome.

Conference languages: Italian, English, French, Spanish, German.

Important dates

  • 31st May 2020: submission of proposals (500 words, including references) MemWar.unige.2020@gmail.com
  • 15th June 2020: notification of acceptance
  • 30th June 2020: confirmation of participation for presenters

Scientific Committee

Elisa Bricco, Alessia Cassani, Roberto Francavilla, Marie Gaboriaud, Anna Giaufret, Joachim Gerdes, Simona Leonardi, Michele Porciello, Laura Quercioli Mincer, Ilaria Rizzato, Micaela Rossi, Marco Succio, Stefano Vicari

Organising Committee

Anna Giaufret, Luca Ciotoli, Laura Quercioli, Stefano Vicari, Marie Gaboriaud

(posted 2 April 2020)


After Postmodernism: American Studies in the 21st Century
National and Kapodistrian University of Athens, Greece, 17-19 December 2020
Extended deadline for proposal submission: 6 March 2020

The Department of English Language and Literature, National and Kapodistrian University of Athens, Greece, 17-19 December 2020 in collaboration with the Hellenic Association of American Studies (HELAAS) invites you to participate in this international conference.

There is a shared sense among a large majority of historians, philosophers, critics and artists that we are now living in a new global moment:  our contemporary era may or may not have started with the fall of the Berlin Wall, in 1989; may or may not have established itself in the wake of the 9/11 attacks; but it is painfully clear that, in the new millennium, a new debate on the “post-postmodern” has opened up. If the Jamesonian taxonomy no longer has the same explanatory power, what is the new dominant cultural logic of post-postmodernism? If, to quote Jameson again, postmodernism was a “radical break or coupure” with modernism, which is post-postmodernism’s cultural imaginary, its strategies and features? However early it may be to describe the nature of post-postmodernism, we can discern three loosely bounded interpenetrating strands: some scholars recognize a heightened degree of intensity and mutation of tendencies and techniques already present in postmodernism, others see a renewed engagement with history and a return to realism. Still, there are those thinkers who have observed a decisive break with the postmodern period and have struggled to mark its contours in the new socioeconomic order, a notable feature of which is the shift or questioning of the paradigm of the American global hegemony. Nevertheless, complicating the study of the cultural shifts that are underway in our current condition is the abundance of terms and tendencies that proclaim to be postmodernism’s successors.

The conference “After post-modernism: American Studies in the 21st century” takes as a point of departure the words of Ben Lerner’s narrator, that “the world [is] rearranging itself” (10.04) and invites both panels and papers that address fresh and original questions relevant to studying the post-postmodern condition. It seeks to investigate questions about changing literary patterns, innovative/shifting cultural practices, and new trends that have risen in the first two decades of the twenty-first century or, to put it simply, what comes after postmodernism.

Possible topics could cover

  • The post-nationalist turn in American Studies
  • American Literature and the posthuman turn
  • Aspects of autofiction in contemporary art, literature and popular culture
  • New literacies and American fiction
  • New Media literacy and authorial practices
  • Post-exceptionalist American fiction
  • Deterritorialization and American migrant literature
  • American literature and Ecoglobalist presences
  • Post theory and the ‘novelizations’ of literary theory
  • Writership/readership in the post-postmodern

Please send 300-word abstracts to Dr. Dora Tsimpouki (tsimpouki@enl.uoa.gr), along with a short (150-word) biographical note by our NEW extended deadline for abstracts: 6 March 2020.

(posted 26 January 2020)

 

 

Calls for papers – Conferences taking place in November 2020

Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature
Université de Lorraine, Nancy, France, 4-6 November 2020
Deadline for proposals: 3 May 2020

In most Western cultures the convention has been that those who receive a work of art do so quietly: whether we look at readers, cinema goers or audiences attending live performances (in the theatre, the opera, …), silence appears as a common denominator and a primary condition of reception. However, contemporary artistic practices often work to challenge this prerequisite, as does a significant portion of academic research into matters of reception. What such work suggests is that audiences can never be considered as perfectly silent agencies. Their voices have a part to play within aesthetic processes – before and after the moment of encounter with a piece, but also in many cases during that very encounter, at the heart of the aesthetic experience itself. The aim of the conference Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature is to explore the issue of reception through the specific phenomenon of the spectator’s voice, which only exists and can only be understood in its dialectic tension with silence. We therefore invite our colleagues to listen to those silent and loud intervals that are among the primary components of any audience’s embodied response to a work of art.

This international conference organised by the members of the research pole « Voices and Silence in the Arts » from IDEA (Interdisciplinarity in Anglophone Studies), as well as members from the CERCLE, CRULH, and LIS labs at the University of Lorraine, and from the ERIBIA research team at University of Caen-Normandy, is part of a transdisciplinary project which has been investigating the dialectics of voice and silence in the arts since its inception in 2016. Besides its biannual seminar, the project convened a first international conference at the University of Lorraine in 2017 (14-17 June in Nancy), which focused on the processes of emission and utterance. The tension between voice and silence was approached through an understanding of vocal emission and breath, and an exploration of transitions between and intertwining of voices and silence, in literature as well as film, theatre, music, and in visual and performance arts. This led to the publication of a collection of essays entitled Voix et silence dans les arts : passages, poïèsis et performativité (2019). The aim of this second conference is to examine the issue from the complementary perspective of reception.

Despite conventional perceptions of silent readers and spectators, the notion that reception cannot be passive is well documented. Merleau-Ponty’s phenomenology (1945) already proposed a theory of perception as activity. Within the field of semiotics, Umberto Eco theorised the ‘interpretive cooperation’ of the reader (1959). Theoreticians of reception from the Constance School, such as Jauss and Iser, paved the way for further investigation into how reception contributes to and shapes literary history. Before them, happenings by Dada forcefully and iconoclastically demonstrated the part that audiences have to play in the act of creation. More recently, Jacques Rancière has also contributed to deconstructing the ancestral image of audiences as passive receptacles by highlighting the work of a spectator who always observes, compares, interprets, and ‘makes his poem with the poem that is performed in front of him’ (‘The Emancipated Spectator’, Artforum, March 2007). Already in 1960 Marcel Duchamp stated his conviction that a painting was a product of the onlooker’s work as much as the artist’s. It is also clear that the reader or spectator is not an abstract entity, but is defined by an embodied condition which plays a crucial part in the act of reception. This was one of the most important conclusions that could be drawn from the practice of happenings and performance art. After a significant amount of research focused on the body of the artist, inspired in part by sociological approaches to creation, more recent work has turned to the bodies of those encountering the work of art. Among articles testifying to the emergence of this academic concern are Serge Proust’s investigations into the body of the spectator in the theatre (2005), and Anne-Marie Picard’s psychanalytical approach to the body of the reader (2010).

This conference on Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature means to apprehend the question of reception by bringing together an understanding of the act of reception and an analysis of our embodied condition as consumers of art. Its aim is to explore the physical manifestation of audiences’ active response as vocal outbursts alternate with moments of silently welcoming what is being presented. It will apprehend the act of reception from the perspective of those two indissociable, concrete phenomena that are voice and silence. The reader or spectator, envisaged as active and embodied subjects, will be seen to keep their peace and raise their voices, alternatively and inseparably.

Topics might find some articulation with, but must by no means be restricted to, the following guidelines:

Questions concerning readers/viewers and reception cultures. In opting for diachronic and intercultural approaches, it will be possible to examine the evolution of the spectator’s/auditor’s/reader’s status and how he/she may have been compelled by literature and the other arts to remain silent or to be vocal. Looking at the contexts in which spectators or readers have been required to remain silent, it will be seen to what extent reception studies have apprehended the historical and cultural conditions that have favoured certain attitudes towards the spectator’s/reader’s right to express himself. Attention will be paid to the conventions that established and modified the attitude of the spectator in front of the play or the text, by more or less restricting his/her freedom of speech. The way these collective histories interact with individual stories and how they affect the spectator’s/reader’s training and education will also be investigated.

From an historical perspective, Western drama has more often been intended for spectators free to express themselves vocally than for spectators reduced to silence (one need only think for instance of Greek drama, Elizabethan drama or the ‘théâtre de la foire’ in Paris). The norm of the silent spectator, which became the prevalent mode in Europe in the late nineteenth century, generated a clear-cut dialectical relationship between the rule of silence and the transgressive breaking of that rule. It is that very norm that needs to be questioned and put into perspective. Similarly, if the issue is addressed on a diachronic scale, it appears that the act of reading was long regarded as an oral and collective activity, more than as a silent and solitary one. In his Histoire de la Lecture, Alberto Manguel reminds us of Saint Augustin’s surprise on discovering Saint Ambrose’s silent reading. He mentions Les Confessions as one of the first texts presenting reading as an interior and intimate activity, as opposed to the monastic tradition of reading aloud. That tradition involved the body thoroughly and completely, so that the text was literally incorporated through the reader’s eyes, mouth, hands and breath. In the nineteenth century, Flaubert’s famous ‘gueuloir’ when writing Madame Bovary – a genuine vocal feat! –, revealed the writer’s desire to anticipate the reader’s voice: ‘Poorly-written sentences do not stand up to this test [reading aloud]; they oppress the chest, disturb the heartbeat, and find themselves thus outside of the condition of life’, he said. In the entirely different context of African American and Caribbean cultures, the participative relation modified the attitude towards reading by presenting the participative mode of reception as the normal one. It is a well-known fact that the reader also gives life to the text with his voice and his silences. As Barthes used to say, it is the role of the ‘reader-producer’ to construct another text through his reading. The conference will thus be the occasion to examine the role of voice and of silences in this process.

What the observer/listener/reader says – or does not say – about the work of art. Examining the audience’s silent or vocal response. How we respond to a work of art, vocally or silently, is a rather complex question to unravel. Responses can range from the clearly-defined, ‘a-posteriori’, critical discourse of the reviewer or other critic, to the more spontaneous, unmediated act of reception, experienced intimately and inwardly. Between these polar opposites, various degrees of critical or aesthetic reception can be envisaged from the perspective of the interplay between voice and silence.

In the performing arts, vocal responses can be unexpected or inappropriate, as in the case of the notorious mayhem provoked by Stravinsky’s The Rite of Spring. But they can also be deliberately provoked as in Dadaists events. Sometimes, they are simply part and parcel of the performance itself, like the recorded applause edited into the soundtrack of sit-coms. Be that as it may, performance venues can be seen as aesthetic spaces, where scenic and pro-scenic voices and silences jostle or attempt to neutralize each other. There are specific moments, peripheral to a performance, during which spectators can express their responses. The intermission is a case in point: it can be seen as a ‘political moment’ (Badiou) when the spectator feels free to break out of his or her silent bubble, to communicate with other spectators, before returning to the customary silence of performance-experiencer. Shows, spectacles, performances or public readings often allow time in their programs for audiences to take part in debates, discussions or other view-sharing forums, and yet the very same audiences are expected to keep their peace during the performance. These instances, in which spectators who had previously been expected to keep silent are encouraged to express themselves audibly and forcefully, deserve also to be investigated from the point of view of the relation voice/silence.

Beyond the performing arts, other art forms are equally concerned by the dynamics of silent/vocal audience reception. Frederic Wiseman caught on film the silent scrutiny or murmurings of the visitors pacing along the corridors of the National Gallery, either alone or following the Museum guide’s explanations (National Gallery, 2014). In this respect, it would be of interest to consider how voice and silence interact against the background of ambient noise or musings of crowds in museums or other exhibition places, but also in casual talk, in press and radio reviews and in academic institutions or even in adaptations seen as a reaction or response to one of these works. From this point of view, it would be possible to go so far as to reflect on those moments when reception, formulated and communicated through different channels – the media, or academic and artistic channels – becomes itself an object of mass consumption, thus raising, in a new interaction between discourse and readers, listeners or spectators, the question of the dialectical relationship between the voices and silences involved in reception.

What the spectator’s/auditor’s voice and silences do in the work and to the work: for a poiesis of reception. Finally, we will look at the multiple ways in which the voices and silences of the receiver contribute to the creative process. In many cases, they are a structuring element of the work produced. The use of Call & Response in the gospel is only a particularly visible example, as are performance poetry, slam poetry and other practices of orality during which the spectator can react at any time. Particular attention will be paid to the ways in which contemporary artists and writers bring into play and stage the voices and silences of the spectators as integral parts of the work. John Cage’s 4 ’33’ ’is the most famous instance of this contemporary trend. In her performance The Artist Is Present, Marina Abramovic creates the conditions for a silent face to face interplay during which glances are exchanged between herself and each of the participants, a type of performance which creates a disturbing counterpoint to the civilization of commentary (Steiner) which piles up discourses and mediation between the work and those who might be confronted with it. In Bruce Nauman’s sound and immersive installations, the spectator’s body is tested physically and mentally by the space in which he/she moves, as in Corridor or in Get Out of My Mind, Get Out of this Room where he/she is assailed from all sides by an impersonal, injunctive and insistent voice. In Sleep No More (Punchdrunk Company, 2011), an emblematic example of promenade theatre, the spectator, who is masked and free to move but invited to remain silence, steps into the fiction as an anonymous but embodied gaze, as a wandering spectre and a silent presence which is disturbing for other spectators. Finally, the contemporary vogue of ‘participatory’ shows, which aim to revive the relationship between actors and spectators, deliberately creates moments when the spectators can speak or sing. This is illustrated, for example, by participatory operas (at Rouen opera, most particularly) and by contemporary immersive theatre (Closer by Patrick Marber, Compagnie du Libre Acteur, DAU). Other illustrations are the recording of people’s experience of listening to music, a project carried out by the members of the LED project (The Listening Experience Database, 2014, a collaborative project between the Open University, the Royal College of Music and the University of Glasgow), and the presence and exchange mechanisms in corporal cinema (Maria Klonaris, Katerina Thomadaki).

The spectator’s voices and silences are also a first-rate material for fiction-making operations which make possible a reflection on the dialogue between the work and its receivers embedded in the work itself. The cinema often depicts spectators at the very moment when they are face to face with the screen. Nana’s entranced look when watching Carl Theodor Dreyer’s Passion of Joan of Arc in Jean-Luc Godard’s Vivre sa vie (1962) is that of a talking character who remains temporarily silent in front of a silent film. Theatre also knows how to stage the words of spectators within the fiction itself: the irascible spectator of Eleutheria by Beckett (written in 1947, published in 1995), the anonymous viewers whose reactions after a show were collected by Jean-Claude Grumberg and made the subject of Sortie de théâtre (2000), the whimsical ‘Old lady in the first row’ who daydreams aloud and appears as the eponymous buffoon of Marion Aubert (Les Histrions, 2006). It is necessary to explore the forms and stakes of these creative gestures which, by staging the act of reception and its audible manifestations, bring the spectator out of the silent obscurity to which he seems to have been destined by a certain tradition of Western thought.

 

This conference invites researchers, theorists and practitioners (directors, filmmakers, performers, storytellers, etc.) and anyone interested in this issue to propose theoretical and practical studies on the voices and silences of receivers in literature and cinema, in the visual and performing arts.

For paper proposals, please send an abstract (500 words) and a short bio-bibliography (150 words) under Word to Claudine Armand and Diane Leblond : Claudine.armand@univ-lorraine.fr and Diane.lebond@univ-lorraine.fr

Languages of the conference: English or French.

Submission dealine : May 3rd, 2020
Scientific Committee’s decision: June 4th, 2020

Keynote speakers
Mathieu Duplay (literature, Université Diderot-Paris 7)
Stéphane Ghislain Roussel (visual art, musicologist, curator, Luxembourg)

Invited artist
Tameka Norris (New Orleans, USA)

Bibliography
Austin, J. L. How to Do Things with Words. London: Oxford University Press, 1962. Traduction française : Quand dire, c’est faire, Paris : Éditions du Seuil, 1970).
Balme, Christopher Balme. “Spectators and Audiences,” The Cambridge Introduction to Theatre Studies. Cambridge: Cambridge University Press, 2008.
Barlow, Helen, David Rowland (eds.). Listening to Music : People, Practices and Experiences. Milton Keynes: The Open University, 2017.
Barthes, Roland. Le Grain de la voix. Paris : Seuil, 1981.
Barthes, Roland. « Écoute ». L’Obvie et l’obtus. Paris : Éditions du Seuil, 1982.
Barthes, Roland. Le Bruissement de la langue. Paris : Paris : Éditions du Seuil, 1984.
Barthes, Roland. « Musica practica ». L’Arc 40, 1970.
Bashford, Christina. “Learning to Listen: Audiences for Chamber Music in Early-Victorian London. Journal of Victorian Culture, 1999.
Bonniol Céline, Marie-Sylvie Poli. « Un monde particulier de réception : les effets de la familiarisation avec l’œuvre à travers le discours du spectateur ». Sociologie de l’Art, 13(3), 2008 : 49-68.
Bourriaud, Nicolas. L’Esthétique relationnelle. Dijon : Les Presses du réel, 1998.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961.
Château, Dominique (dir.). La Direction des spectateurs : Création et réception au cinéma. Paris : Impressions Nouvelles, 2015.
Chich, Cécile (dir.). Klonaris/Thomadaki. Le Cinéma corporel. Corps sublimes /Intersexe et intermédia. Paris : Éditions L’Harmatan, 2006.
Christie, Ian (dir.). Audiences. Amsterdam : University of Amsterdam Press, 2012.
Clarke, Eric. “The Impact of Recording on Listening”. Twentieth-Century Music, 4(1), 2007.
Clayton, Martin, Byron Dueck, Laura Leante (eds.). Experience and Meaning in Music Performance. Oxford University Press, 2013.
Corbin, Alain, Jean-Jacques Courtine, Georges Vigarello. Histoire des émotions. Volume 3, de la fin du XIXe siècle à nos jours. Paris : Editions du Seuil, 2017.
Dufrenne, Mikel. Phénoménologie de l’expérience esthétique. Paris : PUF, 1953.
Gräbner, Cornelia, Arturo Casas (eds.). Body, Place and Rhythm in the Poetry Performance. Amsterdam: Rodopi, 2011.
Didi-Huberman, Georges. Ce que nous voyons, ce qui nous regarde. Paris : Éditions de Minuit, 1992.
Didi-Huberman, Georges. Devant l’image. Paris : Éditions de Minuit, 2004.
Freshwater, Helen. Theatre and Audience, London: Palgrave, 2009.
Hurley, Erin. Theatre and Feeling, London: Palgrave, 2010.
Horowitz, Seth. The Universal Sense : How Hearing Shapes the Mind. London: Bloomsbury Press, 2013.
Gelly, Christophe, David Roche. Approaches to Film and Reception Theories. Clermont-Ferrand : Presses Universitaires Blaise Pascal, 2012.
Guignery, Vanessa (ed.). Voices and Silence in the Contemporary Novel in English. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009.
Jamain, Claude. La Voix sous le texte. Angers : Presses de l’Université d’Angers, 2002.
Jamain, Claude. L’Idée de la voix : études sur le lyrisme occidental. Rennes : Presses Universitaires de Rennes, 2005.
Merleau-Ponty, Maurice. Phénoménologie de la perception. Paris : Gallimard, 1976.
Fried, Michael. La Place du spectateur. Trad. Claire Brunet. Paris : Gallimard, 1990.
Iser, Wolfgang. L’Acte de lecture : Théorie de l’effet esthétique.  Bruxelles : Mardaga, 1985.
Jankélévitch, Vladimir. La Musique et l’ineffable. Paris : Éditions du Seuil, 1983.
Jauss, Hans Robert. Pour une esthétique de la réception, Paris, Gallimard, 1978.
Keen, Suzanne. Empathy and the Novel. New York: Oxford University Press, 2007.
Larrue, Jean-Marc, Marie-Madeleine Mervant-Roux. Le son du théâtre (XIXe-XXIe s). Histoire intermédiale d’un lieu d’écoute moderne, 2016.
Manguel, Alberto. Une Histoire de la lecture. Paris : Actes Sud, 2000.
Mitchell, W.J.T. Que veulent les images ? Une critique de la culture visuelle. Dijon : Les Presses du Réel, 2014.
Mondzain, Marie-José.  Homo Spectator. Paris : Bayard, 2007.
Notte, Pierre. L’Effort du spectateur. Paris : Les Solitaires intempestifs, 2016.
Nancy, Jean-Luc. À l’écoute. Paris : Galilée, 2002.
Oliveros, Pauline. Deep Listening : A Composer’s Sound Practice. New York : iUniverse, 2005.
Patoine, Pierre-Louis. Corps-texte : pour une théorie de la lecture empathique : Cooper, Danielewski, Frey, Palahniuk/Pierre-Louis Patoine. Lyon : Ens éditions, 2015.
Picard, Anne-Marie. « Corps de lecteurs : se donner à lire », in Marika Bergès-Bounez et Jean-Marie Gorget (dir.). Le Corps, porte-parole de l’enfant et de l’adolescent. Paris : ERES, Coll. « Psychanalyse et critique, 2011 : 161-178.
Proust, Serge. « La domestication du corps du spectateur », in Catherine Dutheil-Pessin, Alain Pessin, Pascal Ancel (dir.), Rites et rythmes de l’œuvre II. Paris, L’Harmattan, Coll. « Logiques sociales, » 2005 : 101-116.
Rabinowitz, Peter. “Audience”, Routledge Encyclopedia of Narrative Theory. Edited by D. Herman, M. Jahn and Marie-Laure Ryan, London, 2008.
Radbourne, Jennifer, Hilary Glow, Katya Johanson (eds.). The Audience Experience : A Critical Analysis of Audiences in the Performing Arts. Bristol : Intellect, 2013.
Rancière, Jacques. Le Spectateur émancipé, Paris : La Fabrique, 2008.
Ruby, Christian. Devenir spectateur ? Invention et mutation du public culturel. Toulouse : Éditions de l’Attribut, 2017.
Schechner, Richard. Performance Studies : An Introduction. London, New York: Routledge, 2002.
Szendy, Peter. Écoute. Une histoire de nos oreilles. Paris : Éditions de Minuit, 2001.
Ubersfeld, Anne. L’École du spectateur. Paris : Éditions sociales, 1981.
Weber, William. “Did People Listen in the 18th Century ?” Early Music 25/4, 199 : 678-691.

Organizing Committee: Claudine Armand, Pierre Degott, Jean-Philippe Heberlé, Yannick Hoffert, Lucie Kempf, Diane Leblond, Jean-Marie Lecomte, Gilles Marseille, Barbara Muller, Marcin Stawiarski.

Scientific Committee:
Claudine Armand (Literature and American art, text/image, UL – Nancy)
Kathie Birat (American and Caribbean literature, UL – Metz)
Johan Callens (Theater, performance art, Vrije Universiteit Brussel)
Gilles Couderc (Text and music, 19-20th century, Université de Caen-Normandie)
Pierre Degott (Music 17-18th century, UL – Metz)
Jean-Philippe Heberlé (Text and music 20th-21st century, UL – Nancy)
Yannick Hoffert (Theater and French 20th century literature, UL – Nancy)
Lucie Kempf (Théâtre 20th-21st century, UL – Nancy)
Diane Leblond (British contemporary literature, visual culture, UL – Metz)
Jean-Marie Lecomte (American cinema, UL – Nancy)
Olivier Lussac (aesthetics, visual arts, UL – Metz)
Gilles Marseille (art history, contemporary period, UL – Nancy)
Marcin Stawiarski (Literature and music, Université de Caen-Normandie)
Patrick Van Rossem (art history, contemporary period), Utrecht University)

(posted 3 March 2020)


Capital and the Imagination: Literature, the Arts, and Modern Finance. Relational Forms V
Faculty of Arts and Humanities, University of Porto, Portugal, 5 -7 November 2020
Deadline for proposals: 15 May 2020

Confirmed keynote speakers: David Hawkes (Arizona State University); Margaret Kelleher (University College Dublin)

‘Capital and the Imagination’ addresses the manner in which money and its manifestations in thought and experience have impacted the imagination of writers and artists, now as in past centuries, with some of its ultimate creative outcomes closely bound to tensions and perplexities that have shaped modernity and postmodernity.

The conference is grounded on a sharp historical awareness: western cultures were decisively transformed, in their socio-economic makeup as in their imaginative production, by that fundamental historical change from a land economy to a money economy which, with varying chronologies, played out across Europe from the late medieval through the early modern period. In some of its ensuing stages, over more than five centuries, this extended and momentous historical process has witnessed material gains that have benefited smaller or larger communities, but also fostered scenarios of crisis and disaster. Indeed, this conference takes one of those critical moments for its commemorative starting point: it marks the third centenary of the South Sea Bubble (1720), one of the first major financial scandals that proved the extent to which acquisitive dynamics could be mismanaged and bring disaster to its agents – but, above all, to its many victims.

‘Capital and the Imagination’ finds in such developments of the past an impulse and a pretext for considering the manifold ways in which the desires and practices proper to the money economy have shaped current cultures, with a particular emphasis on literature and the arts.

The organisers will welcome proposals for 20-minute papers in English responding to the above. Suggested (merely indicative) topics include:

  • money in fictions of success
  • money in fictions of disaster
  • money and laughter – the angle from satire
  • money, desire, disgust
  • capital and the theatre: comic and tragic conformations
  • cash and crash: staging success and collapse
  • capital, indulgence and decadence
  • making and unmaking money: performing finance – the material and the virtual
  • “living above their means”: representing life in a time of austerity
  • financial tropes in poetry: Mammon and the lyric
  • money, words and images: the intermedial perspective
  • mobile assets: filming finance
  • LIKE-ing it – or not: discourses of money in the social media
  • wealth and the commonwealth: money, politics and the imagination
  • extraordinary renditions: translation and the language of money
  • desires, acquisitive and otherwise: money, sex and the imagination

As indicated by the number in its title, this conference is the fifth in a series of academic events that reflect the ongoing concerns of the eponymous research group (Relational Forms), based at CETAPS (the Centre for English, Translation and Anglo-Portuguese Studies).

Submissions should be sent by email to relational@letras.up.pt

Please, include RF5 in the subject line of your email.

Please organise your proposal into two separate files:

  • a file containing the full title and a 250-300 word description of your paper;
  • a file containing the author’s data: name, affiliation, contact address, paper title and author’s bio-note (150 words).

Please name these two documents as follows:
Surname_Name_Abstract_RF5
Surname_Name_AuthorInfo_RF5

Deadline for proposals: 15 May 2020
Notification of acceptance: 15 June 2020
Deadline for registration: 5 October 2020
Registration Fee: 80 Euros
Student fee: 65 Euros
Registration details will be posted online in July 2020
All delegates are responsible for their own travel arrangements and accommodation.

More information available later at http://www.cetaps.com/events

Organised by the Relational Forms research area
http://www.cetaps.com/research-areas/relational-forms-medial-and-textual-transits-in-ireland-and-britain/

Executive Committee: Rui Carvalho Homem (coord.),  Jorge Almeida e Pinho,  Jorge Bastos da Silva,  Márcia Lemos,  Miguel Ramalhete Gomes

For further queries please contact:
CETAPS – Centre for English, Translation and Anglo-Portuguese Studies
Faculdade de Letras da Universidade do Porto
Via Panorâmica, s/n
4150-564 PORTO
PORTUGAL
relational@letras.up.pt

(posted 3 March 2020)


The Intermedial Work of art: Conception, Realisation, Performance, Reception, Preservation
Paris and Marne-la-Vallée, France, 5-7 November 2020
Deadline for proposals: 1 April 2020

Venues
Studio Théâtre Marigny,  Paris Champs-Elysée
Auditorium Maurice-Gross, Université Gustave-Eiffel, Marne-la-Vallée

Organized by
LISAA (EA 4120) and Université Gustave Eiffel, International Society for Intermedial Studies (ISIS),
Sorbonne University (IREMUS/Bnf/ CNRS, LAM/ UMR 8212).

Partners
ENS Louis-Lumière, Université de Montréal
Université de Rouen (GRHis EA 3831),
Université de Versailles-St-Quentin-en-Yvelines (CHCSC EA 2448)
aCROSS collective (Art, Création, Recherche, Outils, Savoirs Synesthésies)
Théâtre Marigny

The Organizing Committee:
Lenka Stransky (UGE-LISAA/GRHis Université de Rouen)
Martin Laliberté (UGE-LISAA)

Scientific Council
Christophe d’Alessandro (LAM), Miguel Almiron (LISAA), Maxime Boidy (LISAA), Olivier Brossard (LISAA), Pierre-Albert Castanet (GRHis), Jean-Marc Chouvel (IreMus), Carole Halimi (LISAA), Xavier Hautbois (CHCSC), Aurélie Huz (LISAA), Jean-Marc Larrue (UdM), Geneviève Mathon (LISAA), Giusy Pisano (ENS-LL).

Conference description

As a contribution to numerous theoretical and historical discussions on intermediality by   ISIS and its members, this conference aims to study the intermedial work of art through its different stages, from conception to reception, as well as the related matters of analysis and preservation.

With the introduction of new technologies and new media in the past fifty years, two main tendencies have characterized artistic creation. The first tendency explores the exchanges between artistic domains through the interaction of sound, image, and gesture, which can lead to a true osmosis between different types of perception. The second tendency leans toward the abolition of the distinction of “art” and “non-art”, through the aestheticization and dramatization of other cultural fields (mass-media, sports, politics…).

Thus, forms of art express themselves through the use of intermedial and intersensory phe- nomena, through multidisciplinarity and indisciplinarity (that is, the transgression of limits or boundaries between artistic domains), but also between different types of perception or even different social environments. In the face of such a plurality of approaches outside of clearly defined disciplines and aesthetics, it is necessary to develop a transverse approach to the analysis of interdisciplinary artistic practice and theory, as well as to the critical discourse that accompanies them. It is also necessary to define or develop concepts corresponding to such situations: the decline of the object, crises of languages, syntheses of arts and synaes- thesia, sensorial conjunctions, pluri-artistic environments, active participation, etc. In parallel to all that, it is also necessary to question the different ways of thinking about “non-art” and the significance of the aestheticization of culture.

New notions such as trans– and hyper-, media– or immedia manifest themselves in interme- dial work. The creation of the latter is also at the heart of digital computer creation, which has considerably enlarged original avant-garde conceptions, thus creating an epistemological change and the necessity of a deeper thinking—not theoretical, but anchored in the work itself, its existence, its ways of being in its different stages from conception, performance, and reception. On top of the transdisciplinary and interdisciplinary methods used, the “in- disciplinary” method, in the sense that Huys and Vernant give to the term (2012)—outside of conventional artistic genres, associated to the creators that voluntarily operate outside of any system—could also be an important path of investigation.

This leads to open questions which should be articulated with case studies in intermedial  art. What methodological tools would be necessary to conceive, actually create, and com- prehend such a particular artistic production as an intermedial work? What would be the de- fining characteristics of such a work of art and its practical realisation? What are its creative dynamics, and how do they differ from non-intermedial art? What are the specific problems of its conception, realisation, and performance? How can its different modes of reception be evaluated? What would be the proper analysis tools or the relevant taxonomies? What terminologies would be best suited to investigate such works? Rather than the traditional artistic conceptual vocabulary—perhaps too medium- or disciplinary-specific—this confe- rence could be a moment to discuss terminologies of the common multi-artistic processes involved. Last, since archive centres, libraries, and museums encounter numerous difficul- ties when confronted with such works (at worst, intermedial works of art are badly archived, badly presented, and even excluded from archival collections), this conference aims to ex- plore remedies to those difficulties.

This conference is organized around the following five themes:

  • Conception of the work and its theoretical foundations;
  • Realization and production (the work in the face of reality, archeology of media); Performance or presentation of the intermedial work;
  • Reception of the work, by the public as well as by the theoreticians and analysts; Archives of works, with their institutional, theoretical, and practical problems
  • We welcome, though do not restrict, proposals for papers that pertain to those lines of enquiry.

Keynote speakers
Jean-Marc Larrue (Université de Montréal, CRIalt – CRILCQ)
Nicola Cisternino (Composer and artist, Accademia delle Belle Arti Venezia)

The time for presentations is limited to maximum 20 minutes, followed by a 10-minute debate.
Conference fee (which includes participation, conference buffet and banquet): 80 EUR, special fee (students, unemployed…): 50 EUR.
Please send an abstract (max. 250 words) and a short bio (max. 50 words) in a PDF attachment to: isis.intermedia.colloque20@gmail.com
Proposals should include your name, university affiliation (if applicable), academic status, and the title of your paper. Papers should not exceed 20 minutes.
The deadline for abstract submissions has been extended to 1st April 2020. Notification of acceptance will be communicated on 1st July 2020.

Suggested Bibliography

Roy Ascott, « Y a –t-il de l’amour dans l’étreinte télématique ? », in Annick Bureaud, Nathalie Megnan (dir.) Connexions-art, réseaux, media. Ecole Nationale Supérieure des Beaux-Arts, Paris, 2002.
Auslander Philip, Glam Rock : la subversion des genres, Paris, La Découverte/La Rue musicale, 2015.
Ghislaine Azemard (dir.) 100 notions pour le crossmedia et le transmedia, Éditions de l’Immatériel, Paris, 2013.
Daniel Charles « De Joan Miro à Francis Miroglio, graphique de la projection », Cahiers du CREM, n° 6-7, décembre 1987 mars 1988, p. 9.
Jacques Donguy, 1960-1985. Une génération, Paris, Henri Veyrier, 1985. Morton Feldman,« Entre catégories », Musique en jeu, n°1, Seuil, 1970.
Stanley Gibb, « Understanding Terminology and Concepts Related to Media Art Forms », The American Music Teacher, avril-mai 1973, p. 24-25.
Clement Greenberg, The Collected essays and criticism, J. O’Brian (dir.), University of Chicago Press,1986, vol. 1.
Dick Higgins,« Intermedia », The Something Else Newsletter, vol. 1, n°1, février 1966 P 1 et 3, reproduced in Intermedia 69, Heidelberg, Verlag, Edition Tangente, 1969, also Jefferson’s Birthday Postface, New York, Nice, Cologne, Something Else Press, 1964.
Viviane Huys, Denis Vernant, L’Indisciplinaire de l’art, Presses Universitaires de France, 2012. Henry Jenkins, Convergence Culture: Where Old and New Media Collide, ed. A. Colin/ Ina, 2006 Rosalind Krauss, « La mort des compétences », in Où va l’histoire de l’art contemporain, Paris ENS des Beaux-Arts, 1997.
Richard Kostelanetz, Theatre of Mixed Means, Pitman Publishing, 1970.
Marshall McLuhan, Pour comprendre les média, Paris, Le Seuil, Coll. “Points”, 1968.
W.J.T. Mitchell, « There are no Visual Media », The Journal of Visual Culture, vol. 4, n°2, 2005. Harold Rosenberg, The De-Definition of Art, Collier Books, 1972.
Jonathan Sterne, Une Histoire de la modernité sonore, Paris, La Découverte/La Rue musicale, 2015.
Raymond Williams, Marxism and Literatur

(posted 11 December 2019)


Innovation in Language Learning International Conference – 13th edition
Florence, Italy, 12-13 November 2020
Deadline for proposals: 5 June 2020

The 13th edition of the Innovation in Language Learning International Conference will take place in Florence, Italy, on 12-13 November 2019.

The objective of the Conference is to promote transnational cooperation and share good practice in the field of the application of Information and Communication Technologies (ICT) to Language Learning and Teaching. The Innovation in Language Learning Conference is also an excellent opportunity for the presentation of previous and current language learning projects and innovative initiatives.

The Call for Papers is addressed to teachers, researchers and experts in the field of language teaching and learning as well as to coordinators of language teaching and training projects.

Experts in the field of language teaching and learning are therefore invited to submit an abstract of a paper to be presented in the conference.

Important dates:

  • 5 June 2020: Deadline for submitting Abstracts
  • 15 June 2020: Notification of Abstracts’ acceptance / rejection
  • 22 September 2020: Deadline for submission of Papers
  • 12-13 November 2020: Conference days

There will be three presentation modalities: oral, poster and virtual presentations.

All accepted papers will be included in the Conference Proceedings published by Filodiritto Editore with ISBN, ISSN, DOI and ISPN codes. This publication will be sent to be reviewed for inclusion in Conference Proceedings Citation Index by Thomson Reuters (ISI-Clarivate). The publication will also be included in Academia.edu and indexed in Google Scholar.

For further information, please contact us at the following address: conference@pixel-online.net or visit the conference website: https://conference.pixel-online.net/ICT4LL

(posted 3 April 2020)


Taboo Topics in Foreign Language Education (Tabuthemen im Fremdsprachenunterricht)
Julius-Maximilians-Universität Würzburg, Germany, 13-14 November 2020
Deadline for proposals: 1 June 2020

Organisers

Christian Ludwig & Theresa Summer

Participants

We would like to invite researchers, educators, and practising teachers of ALL foreign languages to take part in our symposium.

Goal

We would like to address the topic taboo topics in foreign language education from a theoretical and practical perspective. Therefore, we welcome presentations with a practical and/or theoretical focus. The symposium aims to provide a platform for an exchange of theoretical concepts and practical ideas with the opportunity to publish a paper in a volume or practical journal.

Programme

  • Plenary talk by Dr John Gray, University College London, UK
  • Presentations by researchers/educators/teachers on a taboo topic
  • Poster presentations by students
  • Workshop: interactive slot for exchanging ideas

Thematic focus

In the context of education, taboos are often subsumed under the acronym ‘PARNSIP’: politics, alcohol, religion, narcotics, sex, isms, communism, and pork – topics that are commonly underrepresented in learning materials and textbooks. Moreover, only some materials have so far been published that specifically deal with taboo issues in (foreign) language education (MacAndrew/Martinez 2001, Linder/Majerus 2016). The focus is on theoretical and conceptual outlines in addition to practical applications and lesson sequences. Thus, we would like to provide teachers and learners with opportunities to get engaged with taboo topics that are central to their human experiences. We therefore welcome contributions on suitable taboo topics such as:

  • Cultural taboos: cultural norms, prejudices and stereotypes, racism, dietary taboos, taboo activities, religious and class conflicts, linguistic taboos
  • Relationships: ways of living together and apart, marriage, divorce, long-distance relationships, age gap relationships, objectophilia, LGBTQ families and adoption
  • Sex: sex education, STDs, HIV, cultural differences in sexuality, abortion
  • LGBTQ/gender issues: changing sex, personal identification, transgenderism
  • Consumerism: zero waste vs. mass consumption, out-of-hand consumerism, environmental risks, environmental footprint, boycotting/buycotting
  • Traditional and modern forms of violence: terrorism, gun-shootings, stalking, economic violence, organised violence, sexual and gender violence, cyberbullying
  • Drugs: use/distribution of drugs, health risks, legalising drugs
  • Addictions: workaholism, shopaholism, internet addiction disorder, sugar addiction
  • Human rights: prostitution/sex for sale, death penalty, right to death with dignity
  • Illnesses: eating disorders, depression, OCD, anxiety disorder

The aim of integrating taboo topics is not to enhance personal stress or fear. Rather than provoking extreme and very negative emotional responses or creating unwanted conflicts in the classroom, a focus should be on developing a greater understanding of particular topics from different cultural perspectives by, for instance, analysing news alerts and fictional or nonfictional texts or inspecting taboo language. The idea is to engage learners with the complex world that they are growing into and to support them in actively discussing perennial and critical issues that occur on a daily basis.

Registration

Please register by 01 June 2020 via email (theresa.summer@uni-wuerzburg.de) and indicate whether you would

  • option A) like to participate (with the possibility of teaming up with like-minded colleagues at the symposium to work on a project together)
  • option B) like to contribute in the form of a 30 min presentation (optionally in English or German).

If you would like to contribute, please attach a Word document to your registration with the following content: your name, institution/school, e-mail address, short bio, working title, short abstract (200 words).

Publication possibilities

After the symposium, we aim to publish a volume that addresses taboo topics in foreign language education from various perspectives.

(posted 17 February 2020)


Heaven and Nature
Corpus Christi College, Oxford, UK,  7 November 2020
Deadline for proposals: 31 May 2020

Humankind has ever been impressed by, and formed by, the natural world. The world’s beginning and end are a subject in numerous narratives. Ecocriticism addresses large scale concerns about anthropocene changes. In literary tradition there is a multiplicity of understandings, while Biblical religion has stated that God made both heaven and earth.

The CLSG interest is in Exploring Christian and Biblical themes in Literature.

Papers, which are also offered for publication as articles in The Glass, and eventually on the CLSG website, will have a reading time of about 20 minutes.

Email your proposal to Dr Roger Kojecky: secretary@clsg.org
Details at https://clsg.org/html/conference.html

(posted 7 Febuary 2020)


Metaphors of Marginality and Otherness: 6th International Conference of TAELS (The Tunisian Association for English Language Studies
Hammamet, Tunisia, 20-21 November 2020
Deadline for proposals: 30 June 2020

In Memory of Prof. Tahar Labassi

The term “marginal” finds roots in the Medieval Latin word “marginalis”, which means on the margin or situated on the border or edge. First introduced by sociologist Robert Park in 1928, the concept was used to describe human migrants and shed light on the singularity of their situation as social beings removed from the center.

In a broader context, marginality not only describes the precarious position of disadvantaged groups systematically excluded from the social, cultural, political and economic spheres, but also helps construct and imagine the margins in their daily struggle. Marginality has long engrossed established scholars and researchers from different academic circles and pushed them to investigate its multiple facets.

Marginality touches upon the question of identity and human consciousness. The processes of self-identification and identification are tightly related to a dichotomous perception of the ‘Self’ and the ‘Other’. In fact, self-awareness is organically related to the construction of ‘Otherness’ because the representation of the ‘Other’ is a determining component of the perception and definition of the self. These processes could also imply a complex system of devaluation of human groups identified as marginal. Obviously, the convergence of the ‘Self’ and the ‘Other’ has most of the time elicited discourses of marginality centering on the proliferation of stereotypes, prejudices, and ethical issues in different research areas affecting thus identity construction.

The social construction of gender is a relevant example of how many societies shape identity, social status and social categories according to binary opposites. Gender relations are not natural. They do represent a hierarchy imposed on biological differences and thus showing the bias of power relationships between men and women. In her discussion of the issue of otherness, Simone de Beauvoir insisted on the hierarchical division of human beings. “The subject can be posed only in being opposed – he sets himself up as the essential, as opposed to the other, the inessential, the object”. Accordingly, de Beauvoir argues that woman is the opposite (other) of man who “defines woman not in herself but as relative to him […] she is the incidental, the inessential as opposed to the essential. He is the Subject, he is the Absolute – she is the Other” (The Second Sex).

The literary study of marginality and otherness is also an occasion for established scholars and researchers to explore the convergences of imagination and expression of a number of writers who succeeded in challenging the question of canonicity. The reading of Afro-American texts, for instance, is a comparative perspective to explore and update one’s own understanding of the grounds of the canon. The movement against the will of the dominant culture is definitely essential in empowering marginalized discourses which often remained silenced by the same dominant culture.

In the critical-discourse tradition, the focus on marginality fueled the debate on identity and representations of the other. It brought more interest in relations of power in society and the themes of discrimination, marginalization, and exclusion in different types of discourses. The emerging research paradigms have offered new instruments and tools for a deeper investigation of the representations of the margins and the other. This relatively new research tradition has disturbed many old views on power relations between different types of human groups.

The human-rights tradition has also given voice to groups that have been marginalized across history. Gender studies and research on all types of minorities have entailed more interest in the voices that have historically been in the margins. This trend has advocated a more equal representation of the “different other” and triggered a wide sense of empathy for all types of communities and groups that do not fit into the “dominant norm”.

The tremendous developments in artistic creation in the last few decades have also devoted space to voices that have never been in the loop. The emerging artistic forms in music, cinema, drama, and many other forms of human creativity, have given prominence to otherness and human differences across the globe. These emerging artistic expressions have profited enormously from the recent technological developments that have erased many of the boundaries between different types of communities and social groups.

It is within this framework that the steering committee welcomes individual and panel proposals related, but not limited, to the following topics:

  • Marginality and marginalization
  • Representations of marginality
  • Representations of the Other
  • Marginality in literature
  • Discourses on Marginality
  • Voices from the margins
  • Marginality in history
  • Marginality in the social sciences
  • Arts on Marginality
  • Marginality and human rights
  • Marginality in the media
  • The sociolinguistics of marginality
  • Metaphors of the Other
  • Stereotyping and stigmatization
  • Identity and (In)visibility
  • Minor/Major (canonical) texts

Submission

We welcome individual abstracts for 20-minute presentations and complete panel proposals of three or four papers treating a similar theme or topic. Priority will be given to panel proposals.

Participants are kindly invited to submit their proposals via one of these links:

The deadline to submit proposals is June 30th, 2020. Notifications of acceptance will be communicated by July 10th, 2020.

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.

Registration

We offer the following packages to presenters of accepted abstracts:

Tunisian Participants International participants
Early bird (before August 25, 2020) Regular (August 25 – September 30, 2020) Early bird (Before August 25, 2020) Regular (August 25 – September 30, 2020)
250 TND 300 TND 300 Euros 350 Euros

The fees include:

·      One full-board night at a four-star hotel in Hammamet: check-in November 20; check-out November 21.

·      Access to all conference sessions and workshops;

·      Two coffee breaks;

·      Conference bag;

·      Certificate of participation;

·      Submission of the paper to peer-reviewing;

·      A hard copy of the conference proceedings after publication.

The fees include:

·      Three full-board nights at a four-star hotel in Hammamet: check-in November 19; check-out November 22.

·      Access to all conference sessions and workshops;

·      Two coffee breaks;

·      Conference bag;

·      Certificate of participation;

·      Submission of the paper to peer-reviewing;

·      A hard copy of the conference proceedings after publication.

For attendance only, the packages are as follows:

Tunisian attendees

(registration open till November 15, 2020)

International attendees

(registration open till November 15, 2020)

One day pass Two-day pass Two-day pass with accommodation (one night) One day pass Two-day pass

Two-day pass with accommodation

(two nights)

100 TND 150 TND 200 TND 50 Euros 100 Euros 200 Euros

 

Payment Modes

Option 1: Bank transfer

Bank account details

IBAN: TN 59 1070 5007 0481 8407 8872

Bank address: Rue Hédi Nouira – 1001 Tunis – Tunisia

Swift code: STBKTNTT

TAELS Address: ISLG, Rue Ali Jemel, 6000, Gabes– Tunisia

Option 2: Western Union transfer

Recipient: Abdelhamid Rhaiem, TAELS treasurer

ISLG, Rue Ali Jemel, Gabes 6000

Tunisia

Letters of invitation will be issued upon receipt of the registration fees.

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

(posted 7 February 2020)


Complementary Views on Anglo-American Fiction: A Critical Comparative Approach, I International Conference
Universidad Complutense, Madrid, Spain, 25-27 November 2020
New extended deadline for abstract submission: 30 April 2020

Research Group: Contextos Literarios de la Modernidad

A prominent tendency in English literary criticism during the twentieth century, among others, has been to trace the influence of Anglo-American literature on the literary production of other traditions and languages. This dominance, built upon and ensured by the colonial empire of Britain up until WWII, and by the socioeconomic sway of the United States since the post-war period, has decelerated in the panorama of decolonization and the institution of the global market.
This trend seems to have been balanced in the cultural production of the last decades of the millennium, in which the influence of the literatures of other traditions over Anglo-American literature is gradually blossoming, becoming widely and openly acknowledged not only by critics but by the authors themselves. May this be the case, for instance, of Paul Auster who in an unpublished interview with Chris Pace in 1993 stressed his dislike for Jorge Luis Borgesone of the usual suspects in Auster’s intertextsyet who would recommend the works of the Argentinian decades later in his novel 4 3 2 1 (2017)? After all, as Borges voiced in one of his stories, “That a present-day book should derive from an ancient one is clearly honorable: especially since no one (as Dr. Johnson says) likes to be indebted to his contemporaries.” (27)
To study the reverence that Anglo-American authors hold for their foreign peers is certainly not new since allusions to the masters like Dante, Cervantes or Flaubert have been a staple in the canon. As Eliot asserted in “Tradition and the Individual Talent” (1919), there can be established a continuity between the work of any given author and that of his contemporaries, a interconnectivity that extends to all texts produced in the nation, as well as to the “whole of the literature of Europe” (14). In that regard, we see efforts in literary criticism like those of Paget Toynbee and Oscar Kuhns who exposed the Dantean germ in the lines of many figures from England’s poetic pantheon; or The Western Canon (1994) by Harold Bloom, in whose multicultural and multilingual index—albeit with a male Anglo-centric predominance—many authors could have found hypotexts for their stories.
It is the objective of this conference to invite scholars whose research has established connections of relationship, influence or rewriting of literature from other countries on contemporary Anglo-American literary texts. This endeavour finds support in Peter Boxall’s study Twenty-First-Century Fiction: A Critical Introduction (2013), in which its author concludes that “The Anglo-American contemporary novel is shaped by its ongoing dialogue with writers from other nations, writing often in languages other than English.” (6) Boxall presents this cultural exchange as a result of the transformation of the concept of national and postnational identity that is taken place in our globalized reality, giving rise to a “global consciousness” (168). Even if we remain skeptic of this totalizing development, it is clear that the hybrid identities constituted in the aftermath of decolonization and diaspora are nurtured in multiple traditions. These, within the context of postcolonial literature, have been articulated in response to the centres of political and cultural authority since, as Bill Ashcroft neatly phrased it, “the empire needs to write back” (6).
This Conference attempts to create a space for academics of different areas, nationalities and cultures where contemporary Anglo-American literature can be approached from the angle of a comparative analysis between different traditions. Although the focus is on contemporary works and authors, submissions that study fiction or poetry from the first half of the twentieth century are also welcome. Possible topics, or areas of inquiry, may include, but not exclusively:

  • Literary exchanges in European literatures: From the Renaissance to the present.
  • Reception of the Boom Generation and of Latin American Magical Realism.
  • Do classics other than Anglo-American matter?
  • Literature of Diaspora and hybrid identities.
  • Postcolonial communities: African and Aboriginal literatures.
  • Legacies of the East: the Middle East and Asia.

The Conference will be held in English and Spanish.

 

Proposals must include: Paper title, contact information, abstract (250 words including 4-6 keywords), bioprofile (150 words).
Proposals will undergo a peer-reviewing process in which relevance, quality, methodology and adaptation to the conference’s thematic lines will be taken into consideration.
Proposals must be sent to: visionescomplementarias@gmail.com

Revised key dates:

  • Abstract submission extended deadline: Thursday, 30 April 2020.
  • Notification of acceptance: Monday, 1 June 2020.
  • Registration: Tuesday, 1 September 2020 – Thursday, 15 October 2020.
  • Conference: 25-27 November 2020

Conference Committee: Manuel Botero Camacho, María Colom Jiménez, Glyn Hambrook, Dámaso López García, Eusebio de Lorenzo Gómez, Félix Martín Gutiérrez, Luis Martínez Victorio, Blanca Puchol Vázquez, Miguel Rodríguez Pérezn Eduardo Valls Oyarzun

Information: https://colimo.wordpress.com/eventos/i-congreso-internacional

(posted 18 January 2020, updated 22 January 2020, updated 2 April 2020)


Work: A Conference on the Labors of Language, Culture, and History: Swiss Association for North American Studies Biennial Conference
School of Humanities and Social Sciences, University of St. Gallen, Switzerland, 27-28 November 2020
Deadline for proposals: 15 May 2020

sanas20.com

Keynotes (tentative titles)

  • Michael Denning (Yale): “Laboring Life: Re-founding the Critical Theory of Work”
  • Jennifer Rhee (Virginia): “The Robotic Imaginary: The Human and the Price of Dehumanized Labor”
  • Katja Kanzler (Leipzig): “Affective Labor in 21st-Century Popular Culture”

When the speaker in Philip Levine’s poem “What Work Is” says that everyone old enough to read a poem knows about work, he means that work is a universal condition. Some people work more often than others, or under more desirable circumstances, or for better pay, but we all do it. You’re probably working right now. If you’re reading a call for papers, you know what work is.

Yet like all fundamental categories, work becomes ever more complex as we examine it more closely. As Raymond Williams and Andrea Komlosy have shown, the terms “work,” “labor,” “job,” “employment,” “occupation,” “profession,” “vocation,” “task,” “toil,” “effort,” “pursuit,” and “calling” form a dense web of overlapping and contrasting meanings. Language must labor to grasp the connections between cooking a Big Mac and writing a novel, lifting a box in a warehouse and making beds at a hotel, professing and caring for children, hammering and tweeting. But if art is also a kind of work, why is the work of art so rarely directed toward its own conditions of production? While North American literature, television, film, theater, and music have helped to make work intelligible or, conversely, communicated its resistance to meaning, they have also been relatively uninterested in it. Moreover, as Kathi Weeks observes, “work produces not just economic goods and services but also social and political subjects.” Thus, the analysis of work must also contend with how histories of class struggle, gendered and sexual divisions of labor, racial hierarchies, and citizenship regimes have determined who counts as a worker and qualifies for the rights, protections, and social respect thereof. And yet waged work is only the tip of an enormous iceberg that feminist theorists call “socially reproductive labor”—the gendered, mostly unpaid, and hidden work of caring for, feeding, nursing, and teaching the next generation of workers. Ultimately, the more we meditate on the breadth and depth of work, the less we know what work is or does.

This conference proposes that the question of work does a great deal of work for the study of North America. The conference is inspired not only by the richness of work as a linguistic, cultural, and historical concept, but also by current conjunctures that are profoundly changing work and its worlds. The bread-winning patriarch has given way to dual-earning households, steady jobs to contingency and “gigs.” Beneath the surface of official unemployment statistics lie decades of stagnant wages, “bullshit jobs,” stress, and alienation. Once a symbol of freedom and opportunity, work has become a symptom of national and international crisis in debates over borders and tariffs, pipelines and policing, “boomers” and “millennials,” healthcare and automation. Do advances in artificial intelligence spell the end of work as we know it? Are we on the verge of a postwork society? If so, is the crisis of work necessarily dystopian? To paraphrase Leonard Cohen: If work has become a crack in North American society and culture, what sort of light might stream through?

We are seeking contributions that address the following aspects of work, broadly conceived:

  • (Non-)Representation of work in North American literature and culture
  • Work and genre/form: proletarian literature, the office movie, the strike song, etc.
  • Class formations and working-class histories
  • Studies of workers and industries: manual and intellectual workers, white-collar/ blue-collar/ grey-collar/ pink-collar, care workers, fast food workers, digital workers, “playbor,” warehouse workers, Amazon Mechanical Turkers, artists, performers, etc.
  • The university, academic labor, the work of professing
  • Work and nation, nationalism, nation-building
  • Electoral politics and the 2020 U.S. presidential election
  • Settler colonialism and empire
  • Race, ethnicity, indigeneity
  • Slavery, incarceration, surplus populations
  • North American work regimes in transnational and global perspective
  • “They take our jobs!”: immigration, borders, citizenship
  • Gendered/sexual divisions of labor, housework and the family, social reproduction, feminist, queer, and trans critiques of work
  • Religions and the work ethic
  • Work’s terminologies, etymologies, dialects, accents, slangs
  • Not-work: unemployment, free time, leisure, play, anti-work
  • Futures of work: technological unemployment, utopian/dystopian speculation, postwork imaginaries, Mincome, Universal Basic Income

Please send paper or panel abstracts of 200-300 words and a short biographical note by 15 May 2020 (new extended deadline!) to sanas2020@unisg.ch. Contact the organizers at jesse.ramirez@unisg.ch and sixta.quassdorf@unisg.ch.

(posted 2 April 2020)

Calls for papers – Conferences taking place in October 2020

Eco Consciousness: Imperatives in American Culture. The 2020 RAAS-Fulbright Conference
Ovidius University Constanta, Romania, 8-10 October 2020
Dealine for proposals: 15 March 2020

The topic of the conference invites contributors to reflect on the significance of ECOlogy as key concern in the United States of America and around the world today. Some of the questions the conference hopes to discuss are: have decision makers and communities developed effective strategies of dealing with climate change and the ECOlogical crises of this century, has American culture addressed the problems that threaten the ECOsystem responsibly and equitably, does ECOcriticism help in raising environmental awareness when applied to American cultural productions. The conversations to take place will focus on developments emerging from environmental humanities, embracing interdisciplinary perspectives originating with literary studies, media studies, cultural studies, geography, sociology, psychology, anthropology, history, political science, international relations, law, economics and other associated fields.

Proposals for papers and panel discussions can relate, but are not limited, to the following topics:

  • ECOcritical readings of American literature / culture;
  • ECOfeminism;
  • ECOdramaturgy;
  • ECOtheology;
  • ECOlogy and the American city;
  • ECOlogy and the American youth culture;
  • ECOlogy and ethnicity in the U.S.A;
  • ECOlogy and trauma;
  • ECOactivism and its discontents;
  • ECOeffectiveness and sustainability in a digitalized world;
  • environmental justice: theory and practice;
  • reversing climate change: challenges and solutions;
  • preserving biodiversity;
  • land / animal / human rights in the context of natural disaster;
  • the return to nature: synchronic and diachronic perspectives;

We are pleased to announce that

  • Professor Philip John Davies, Eccles Centre for American Studies, The British Library, UK
  • Professor Adina Ciugureanu, Ovidius University, Constanta, Romania; Treasurer, the European Association for American Studies; Fulbright Ambassador
  • Professor Roxana Oltean, University of Bucharest, Romania

have accepted our invitation to participate in the conference as key-note speakers.

Proposals for 20-minute papers should be submitted by 15 March 2020 in the form of an abstract of 150-200 words. As each paper will be followed by 10-minute discussions, participants are kindly asked to limit the presentation to their time-slot. Those interested in proposing a panel discussion should submit the title and the names of at least three other academics who will participate in the talk.

If you are interested in participating, please fill in the registration form attached separately to this message and return it at the following e-mail address: raas.conferences@gmail.com.

Conference fee:
RAAS members – 200 RON;
Non-RAAS members – 75 EURO / 100 USD

Download the Conference registration form.

(posted 13 January 2020)


Canadian Ecologies: Thinking about Illness, Wellness, and Wellbeing. The 20th International Baltic Conference on Canadian Studies
Vilnius University, Lithuania, 9-10 October 2020
Deadline for proposals: 15 September 2020

Since Michel Foucault’s delivery of his lectures on bio-politics, there has emerged in contemporary critical theory a whole spate of reflections on the perils of “neoliberal governing” (Wendy Brown), “virtuoso labour” (Isabel Laurey), “precarity” (Judith Butler), “slow violence” (Rob Nixon), and “cruel optimism” (Lauren Berlant), which call to reexamine the Western narratives of progress and modernity. At the heart of these intellectual accounts is the observation that the neoliberal condition, by substituting economic principles for political agency, exacerbates human vulnerability and social insecurity derived from government practices of precarization and bio-political segmentation. As a result, the social formation is depleted of its ethical ligaments that bind individuals to one another in a shared experience of precariousness and structural inequality. In such a magnified state of anxiety the old idea of “the good life” loses traction, bringing to surface the different ways in which ‘the ordinary becomes a landfill for overwhelming and impending crises of life-building and expectation whose sheer volume so threatens what it has meant to ‘have a life” that adjustment seems like an accomplishment.’ (Berlant, 2011: 3)

Concomitant with the cultural critique of neoliberal subjectivity is a new attentiveness to material contexts and counter-hegemonic knowledges, which call for a conceptual revision of the normative scenarios of life-building underlying the logic of the Anthropocene. The intellectual work of ecocriticism, the new materialism, and posthumanist thought has put us on notice to biospheric connectedness, ‘the ecological space of attunement’ (Morton, 2018: 139), and the solidarity with what is given, on the one hand, and technological penetration, violence of efficiency, and waste culture, on the other.

Given these conceptual premises, the conference invites Canada-related critical perspectives on both human and nonhuman historicities, theories and practices of wellbeing, subversive impulses, utopian dreams, minoritarian contexts, and artistic forms, which test the interpretive possibilities of sustainable existence. Conference participants are welcome to address wide-ranging topics that involve variously framed Canadian views on illness, wellness, and wellbeing. These topics include (but are not limited to):

  • Corporate Canada and its “merry bonds”: narratives of wealth vs. a wealth of narratives
  • Indigenous sovereignty and storytelling: place, body, voice, power
  • Rethinking health: historical traumas and the body politic
  • Ecocriticism and bioethics
  • Ethics of vulnerability: narratives of anxiety, contingency, and precarity
  • Theories of “the good life” and “sustainable life”
  • “Going viral”: medicine, market, imagination
  • Food as pharmakon: taste, nourishment, poison
  • Modes and ethics of recycling and upcycling
  • Composted emotions: biopolitics, affect, and the Anthropocene
  • Waste as/and resources: desire, consumption, affect, effect
  • The ethics and aesthetics of the ordinary: narrating domesticity
  • Biodiversity and the arts: plants, animals, and humans in discourse
  • Ecologies of remembering: orthodoxies and alternatives

LENGTH OF PRESENTATIONS: 20 minutes, followed by 10 minutes of discussion.

LANGUAGE OF PRESENTATIONS: the working language of the conference is English, but presentations in French are very welcome.

Please send the title of your paper, an abstract (about 100 words), and a brief bio to Rūta Šlapkauskaitė (ruta.slapkauskaite@flf.vu.lt) no later than SEPTEMBER 15, 2020.

(posted 30 March 2020)


MOOCs, Language Learning, and Mobility: design, integration, reuse: Fourth international conference
Naples, Italy, 9-10 October 2020
Deadline for abstract submission: 10 May 2020

The Universities of Grenoble Alpes (FR), Alicante (ES) and the Open University (UK) together with Federazione Nazionale Insegnanti Centro di iniziativa per l’Europa (IT) invite you to join the Fourth edition of the International Conference on MOOCs, language learning and mobility. The conference will take place on 9 – 10 October 2020 in Naples in the halls of the Palazzo delle Arti Napoli (PAN), via dei Mille n. 60, Naples a few meters from the enchanting promenade of the city, near the Egg Castle, in an area rich in historical and artistic beauty, served by underground.

Confirmed guest speaker
Alessandra Giglio, University of Dalarna,Sweden: “Designing and implementing a MOOC in macro and micro perspectives”

As in the previous editions, this conference aims to bring together higher education professionals, CALL (Computer assisted language learning) and applied linguists and language technologists from around the world to debate issues relating to three topical areas of research, such as MOOCs, language teaching/learning and student mobility, by providing a forum for exchange of ideas, research outcomes and technical achievements. You can see who should attend the Conference here: http://conference.mooc2move.eu/index.php

The conference is free to attend but, given the limited number of places, it is requested a registration. Register at http://conference.mooc2move.eu/register.php . Confirmation of acceptance or non-registration will be sent by e-mail.

We are now calling for proposals including research-related papers, presentations of case studies and results of EU-financed projects as well as posters on the subject of LMOOCs (Language MOOCs), including language learning and teaching with MOOCs; OER/ OEP for language learning and teaching; and MOOCs and student mobility. Details on how to submit an abstract are in the section Submission of abstracts and papers of the conference website. You can find the conference topics here: http://conference.mooc2move.eu/callforpaper.php

We invite to submit abstracts for a 20-minute presentation or a poster. The conference presentations and posters can be in English, French, Spanish or Italian.

To SUBMIT YOUR ABSTRACT now please access: http://conference.mooc2move.eu/abstract.php

Important Dates:

  • Abstract Submission Deadline:  May 10, 2020.
  • Notification of Abstract Acceptance/Rejection:  June 15, 2020.
  • Final Paper Submission Deadline:  October 30, 2020
  • Notification of Paper Acceptance/Rejection:  January 9, 2021

For more information on the call for proposals, the Conference Team, the Presentation Guidelines, Abstract & Paper templates and Conference Location please visit http://conference.mooc2move.eu/ . Stay tuned for updates to the conference program. If you have any enquiries, or wish to be added to the mailing list, please write an email to conference@mooc2move.eu

Publications:

All papers will be peer-reviewed by independent, anonymous expert referees for their inclusion at the Collection of the MOOC2MOVE Conferences proceedings, to be published at HAL (https://hal.archives-ouvertes.fr/), an open-access repository run by the Centre pour la communication scientifique directe, which is part of the CNRS (French National Centre for Scientific Research).

 

(posted 3 April 2020)


An I for an Eye: Poetry in a World of Images, 20th and 21st centuries
Universidad Complutense, Madrid, Spain, 14-16 October 2020
Deadline for proposals: 14 April 2020

The fruitful intersections between the word and the image have long fascinated poets and artists alike. From the early days of the avant-garde, imagism, simultaneism, vorticism, futurism, surrealism, and concrete poetry, among other trends, fully engaged with the rich and inexhaustible play between language and image. In their aesthetic, epistemic and creative dimensions, they paved the way for the Age of the World Picture.

Postmodernism has challenged the distinction between poetry and art, and by extension, between seeing and reading, between the word and the world, as well as between signifier and signified, allowing for a free play of meaning, which does not ignore the materiality of the word. It also actively reverses the roles of author and audience, reader and viewer, and poetry and art.

That we live today in a culture strongly dominated by the visual and the image may seem far too obvious. In the wake of Foucault’s panopticon and surveillance, Debord’s Society of the Spectacle, and Jameson’s late-capitalist postmodern market society, wher social space is saturated with the culture of the image (Jameson 1998), and Kaja Silverman claims that “words have the potential to be as open as our perceptions” (2011, 74). With the possibilities opened up by technological progress, we could also argue that an active resistance to looking may be the measure of our own desire for freedom, as a mode of resistance to power.

At present, social networks and mass culture reconfigure conditions of reading and spectatorship within a global community. In an effort to understand how this process of reconfiguration occurs, poets and writers as much as visual artists have incorporated mass media technologies (the photo, movie camera), appropriated mass cultural forms (the press, film, advertising, slogans) and the social networks (Twitter, Instagram) as models for the construction and composition of their own work.

This conference aims at investigating why so many poets and artists have placed the relations of reading to seeing and of literature to images at the center of their concerns. What is at stake when artists treat words as pictures and pictures as words? What do we mean when we speak of visual poetry at present, and of an understanding of the visual arts that is “literary”? How does poetry and the visual relate to, and reflect upon, issues as crucial as authorship, language, subjectivity, or the relationship between art, history, politics and popular culture in the 20th and 21st centuries?

We welcome creative proposals, workshops, roundtables and panels, as well as individual presentations which address, but are not limited, to the following,

  • The visual in poetry
  • Intersections between the visual and the word
  • Framing the visual in poetry
  • Words on a canvas
  • Calligrams
  • Poetry and optics
  • Poetry, the visual and formalism
  • Myth, visuality and poetry
  • Still Life, Portrait, Landscape, Composition in poetry and the visual
  • Poetry and perspectival notions of vision
  • Poetry and the moving image
  • Visual poetry
  • Poetry and visual art
  • Poetry and vision(s)
  • Poetry and photography
  • Mirroring effects
  • Electronic poetry
  • Holograms
  • Experimental visual poetry
  • Poetry and digital art
  • Scopophilia and scopophobia
  • Poetry, the visual, and techniques of observation
  • Iconicity, indexing, spatial-temporal semiosis
  • The visual and the invisible
  • Haunting images and echo effects
  • Poetry, the visual and synesthesia
  • Poetry on the screen, smartphone apps and other formats
  • Poetry and the modern panopticon

Keynote speaker: Belen Gache

Deadline for submission of 350-word abstracts: Tuesday April 14, 20<20.

Venue: Facultad de Filología, Universidad Complutense, Madrid

Organization: Poetics Group, U. Complutense, Madrid

Contact: poeticsgroupucm@gmail.com

A selection of papers and creative presentations will be submitted to a major publisher

(posted 4 December 2019)


Invisible Lives, Silent Voices In the British Literature, Arts and Culture of the 20th and 21st centuries
Université Paul-Valéry Montpellier 3, France, 15-16 October 2020
Deadline for proposals: 15 May 2020

KEYNOTE SPEAKERS

  • Professor Guillaume Le Blanc, Université Paris 7 – Paris Diderot
  • Dr. Esther Peeren, University of Amsterdam, Amsterdam School for Cultural Analysis (ASCA)

In his ground-breaking work, L’invisibilité sociale, French philosopher Guillaume Le Blanc contends that ‘the different forms of invisibility are rooted in a monopoly of voice whose narrative effects strongly contribute to invisibilise certain lives. Invisibility is widened by the refraction of narratives which contributes to dehumanisation’ (41). Invisibility is the result of power dynamics wherein dominant ideologies, groups or individuals silence precarious and vulnerable ones to political, economic or social ends. The voices of the precarious, who remain ‘outside of power’ (Le Blanc) are undermined by that of the majority, and sink into deeper and deeper silence, resulting in social, political and even psychological dispossession. As Judith Butler and Athena Athanasiou claim, ‘the logic of dispossession is interminably mapped onto our bodies, onto particular bodies-in-place, through normative matrices but also through situated practices of raciality, gender, sexuality, intimacy, able-bodiedness, economy, and citizenship’ (18). Normative discourses and practices thus give way to asymmetrical relationships which deny vulnerable populations the ability to speak up and fully exist. Figures of non-conformity such as minorities, immigrants, women, along with the disabled and the poor are all in dissonance with such oppressive and normative dynamics, raising the question of political and social representation in our contemporary societies – one that deserves to be addressed in light of recent events in the British Isles.

The political turmoil caused by the results of the Brexit referendum in June 2016 is one of many examples of the problematics of invisibility, as some members of the British society were not given proper representation in the referendum, while others who do not always have a say expressed their views. This conference will further the discussion on the divisions that are tearing the British Isles over Brexit, but it will also allow us to extend Esther Peeren’s work on Britain’s ‘living ghosts’, i.e.  ‘undocumented migrants, servants or domestic workers, mediums and missing persons. These groups were chosen because all are frequently – sometimes to the point of cliché – likened to ghosts or related figures, on the basis of their lack of social visibility, unobtrusiveness, enigmatic abilities or uncertain status between life and death’ (5). The in-between status of invisible lives and silent voices, who are neither fully integrated in society nor fully excluded from it, raises the question of the geography of the invisible which resonates in contemporary British literature, suggesting a possible repossession of lives and voices through fiction.

We will also have the opportunity to tackle the mental health struggles and psychological vulnerability of those who remain on the margins of society due to a physical or a mental condition or impairment, with their history of being subjected to social taboos. The private, emotional turmoil of mourning, for instance, was documented by theorists and psychoanalysts throughout the 20th century and well into the 21st century. As anthropologist and author Geoffrey Gorer wrote in 1965: ‘giving way to grief is stigmatized as morbid, unhealthy, demoralizing […] if one can deny one’s own grief, how much more easily can one deny the grief of others; and one possible outcome of the public denial of mourning is a great increase in public callousness’ (113). The silencing of mourners has evolved since the end of the 20th century, since some of them have regained public visibility, with the rise of the ‘grief memoir’ genre and the partial rehabilitation of ‘melancholia’. However, other invisible portions of society (for instance mental patients, be they institutionalised or not) remain largely ostracised. The process of claiming back their voices leads those silent and invisible lives to a tentative reconfiguration of their identities, as Vanessa Guignery argues: ‘by articulating their suffering, by speaking out and speaking back, the unsung and unheard fight to come to terms with the traumas they have experienced and to reconstitute a sense of self, identity, memory and history’ (6).

The aim of this conference is to address those processes of invisibilisation and silencing through multiple frameworks, methods and approaches: literature, history, cultural and visual studies, sociology and of course, philosophy. These invaluable sources will further our understanding of invisible lives and silent voices in the British Isles during the 20th and 21st century: what defines the processes of invisibilisation and silencing? Who decides who is to be visible or not? Can silence and invisibility be a conscious choice, an act of resistance? Is literature a way to give a new voice and a new visibility to the left-behinds? Or does it also fall prey to the power dynamics responsible for invisibility? These questions will guide our conference and will hopefully contribute to a better understanding of British society and culture in times of crises.

Possible topics include:

  • Processes of invisibilisation and silencing
  • Precarity and dispossession
  • Vulnerability
  • The representation of ethnic minorities
  • The place of migrants and refugees in British society / narratives of migration to the British Isles
  • Feminine voices throughout 20th and 21st century Britain
  • Brexlit
  • Unheard nationalisms
  • Class divides
  • The representation of the poor
  • Rhetoric of loss and mourning
  • The invisibility of men’s grief or mental illness
  • Unrecognised cases of PTSD
  • Living with the dead
  • Illness, mental patients
  • Repossession of voice through literature

Papers should be 20 minutes in duration (English only). Proposals should include a 300-word abstract, together with a title and a short biography. Please send your proposal by May 15, 2020 to the following addresses: alice.borrego@univ-montp3.fr, heloise.lecomte@ens-lyon.fr

Notifications for acceptance will be issued on June 15th.

Venue: Université Paul-Valéry Montpellier 3, Site Saint Charles.

Registration fee (including coffee breaks, lunches, and conference folder): 45 euros.

Scientific committee: Professor Christine Reynier, Université Paul-Valéry Montpellier 3; Professor Vanessa Guignery, ENS de Lyon; Professor Emma Bell, Université Savoie Mont-Blanc; Professor Florence Binard, Université Paris 7 – Paris Diderot; Professor Jean-Michel Ganteau, Université Paul-Valéry Montpellier 3; Professor Anne-Marie Motard, Université Paul-Valéry Montpellier 3; Professor Frédéric Regard, Université Paris IV Sorbonne; Dr. Nicholas Sowels, Université Paris 1 Panthéon-Sorbonne

Selective bibliography
Butler, Judith. Precarious Life: the Powers of Mourning and Violence. London : Verso, 2006. Butler, Judith and Athena Athanasiou. Dispossession: The Performative in the Political. Cambridge, Malden: Polity Press, 2013.
Couser, J. Thomas. Vulnerable Subjects: Ethics and Life Writing. Ithaca: NY: Cornell UP, 2004.
Ganteau, Jean-Michel. The Ethics and Aesthetics of Vulnerability in Contemporary British Fiction. London : Routledge, 2015.
Gorer, Geoffrey. Death, Grief, and Mourning in Contemporary Britain. Cresset Press, 1965.
Guignery, Vanessa (ed). Voices and Silence in the Contemporary Novel in English. Cambridge: Cambridge Scholars Publishing, 2009.
Korte, Barbara and Frédéric Regard, eds. Narrating Poverty and Precarity in Britain. Berlin: Walter de Gruyter GmbH & Co KG, 2014.
Le Blanc, Guillaume. Vies ordinaires, vies précaires. Paris: Seuil, 2007.
—. L’Invisibilité sociale. Paris : Presses Universitaires de France, 2009.
Peeren, Esther. The Spectral Metaphor. Living Ghosts and the Agency of Invisibility. New York: Palgrave MacMillan, 2014.
Ross, Stephen. « The Ghost of Ethics in the English Modernist Short Story. » Etudes Britanniques Contemporaines 42 (2012) : 7-20. Web. Consulté le 8 décembre 2018.
Roudaut, Karine. Ceux qui restent: une sociologie du deuil. Rennes : Presses Universitaires de Rennes, 2012.

(posted 12 February 2020)


MCWE 2020: The Second International Conference on Military Culture and War Experience
Military Technical Academy “Ferdinand I”, Bucharest, Romania, 15-17 October 2020
Deadline for proposals: 30th April 2020

Military Technical Academy “Ferdinand I” and New Bulgarian University are pleased to announce The 2nd International Conference on Military Culture and War Experience that will  be held on 15th – 17th October 2020 in Bucharest, Romania. The conference will be hosted by Military Technical Academy “Ferdinand I” and organized in partnership with New Bulgarian University, Sofia, Bulgaria.

The ever-growing debate over whether the propensity toward war is an innate feature of human beings or, on the contrary, a socio-political construct and cultural phenomenon, has created more advocates of both sides than exclusive answers. This is mainly because the definition of war has always been inclusive and subject to a persuasive rhetoric meant to either secure public support or elicit utter dissociation.

From words and expressions like: threat, hostility, attack, conflict, clash of arms, opposing forces, defense, violence, death, destruction, usually associated with the broad term “war” and which tend to come to one’s mind when exposed to messages on the subject, to more recent and topical keywords such as holocaust, concentration camps, gas chambers, crime, terrorist attack, asymmetry, cyber warfare, counterstrike, displacement, refugees, or to abstract words like peace, justice, power, freedom, evil, hostility, bravery, cowardice, it seems that  every  important military and political functional concept, within a particular mind-framing discourse, is inherent to war, although military culture is in essence heavily based on the principle of defense and peacekeeping.

During human history, the definition of war has suffered major changes regarding core concepts, capabilities and manpower, two of the main factors of this ongoing transformation being the refined communication strategies used to report on war and the development of state of the art technology. The war discourses, metaphors and euphemisms we live by structure today’s world and some of the times make language act as a “terrorist organization” (Collins, John and Glover, Ross (eds.), Collateral Language, New York University Press, 2002) that shapes and “domesticates” public response to ideas that otherwise would have been unthinkable or unacceptable. By using war metaphors in communication and discourse, a distinctive frame of mind is set to acquaint the public with the unsettling psychological background of the message, before anything else, so that the tensional context is included in the reception and interpretation process.

Thus, a set of beliefs sedimented through the extensive use of structural metaphors related to war is accessed whenever particular metaphorical clusters meant to shape emotional meaning are used. They automatically set the reading and decoding vibe and fashion the unconscious emotional response to texts/discourses on such topics, mainly due to the past experiences and various definitions of war that have along the history of humankind established a trend of  thought on the matter.

Topics and Scope

This conference aims to create a multinational and multidisciplinary forum for discussions on changes in the rhetoric of military culture and war experience with emphasis on language/communication competence and performance within NATO and on the analysis of historical, (inter)cultural, personal and social identity contexts from the philological and cultural studies perspective. We invite scholars as well as practitioners from different fields of expertise including literature, visual arts, cultural studies, gender and identity studies, philosophy, anthropology, linguistics, language acquisition, etc, and all those interested in exchanging theoretical and practical approaches to these topics. We suggest the following topics; however, papers on other aspects of the conference theme are also welcome:

  • War in literature, biographies and visual arts;
  • Postwar fiction;
  • Utopian and dystopian fiction;
  • Hero cults, myths and legends;
  • Poetry of the World Wars;
  • Confessional poetry;
  • Military anecdotes and slang;
  • War metaphors and identity conflicts;
  • Trauma and migration;
  • Diplomatic language and discourse;
  • Military cross-cultural competence;
  • Power effects of language;
  • Military strategic communication;
  • Totalitarian communication and propaganda;
  • Foreign languages and language policies in the military;
  • Language skill as a main interoperability tool in NATO;
  • Military technical vocabulary;
  • Media coverage of war and terrorism;
  • Gender, race, age and disability in the military;
  • Implications of military culture and stereotypes;
  • Deployment and military families;
  • Education and (re)adjustment to military/civilian/ veteran

The official language of the conference is English, though presentations may also be delivered in any other language provided they are accompanied by a PowerPoint in English. We welcome proposals for individual 20-minute papers, panel sessions where 3 or 4 speakers address a shared topic, and workshops where contributors address questions of practical activism. Please, send your abstract and a short bio-bibliography no later than 30th April 2020, by registering on https://mcwe2020mta.wixsite.com/website or contact us at: mcwe2020.mta@gmail.com.

PUBLISHING OPPORTUNITIES

The accepted paper abstracts will be published in the Book of Abstracts, available to all participants. Abstract proposals should be sent no later than 30th April 2020. Full papers are expected by 30th August 2020 and authors are advised to use the following guidelines:

  • Language:
  • The page-limit for articles: no more than 12 pages, works cited
  • The margins: left – 25 mm, right – 25 mm, top – 25 mm, bottom – 25 mm, header and footer –15
  • Paper setup: A4, 1,15 space between lines, 20 mm margins, justified;
  • Title of the article: Caps, Times New Roman 14 Bold, Centred, at 50 mm above the text;
  • Author’s name, scientific title and academic affiliation: Times New Roman 12 Bold, under the title, at 2 lines distance;
  • Abstract: Approximately 250 words in English, Times New Roman 11, italics, at two lines distance under the author’s name, in English;
  • Five Keywords under the abstract, in English (TNR 11);
  • Text of the article: at one line below the abstract, in English, Times New Roman, 12, justified;
  • No endnotes (footnotes only): font size 10, numbering: continuous; No Page Breaks in the document; All graphic elements set in line with the
  • Bibliography / Works Cited: 2 lines distance from the end of the paper; single column format, Times New Roman 12, italics, under the bibliography, at 2 lines Sources must be quoted according to the latest edition of the MLA Handbook for Writers of Research Papers;
  • Biodata: 2 lines distance from the end of the Bibliography; Times New Roman 12; justified.

Every submitted paper must represent original and unpublished work: it must not  be under review or accepted elsewhere and there must be a significantly clear element of novelty distinguishing a submitted paper from any other prior publication or current submission. Full papers are subject to PEER REVIEW and will be evaluated according to their significance, originality, technical content, style, clarity, and relevance to the conference theme.

Accepted papers will be published in Journals with ISSN such as: Journal of Military Technology and Journal of Philology and Intercultural Communication, or in a prestigious collective volume. More information will be available as soon as possible.

VENUE

The conference will be held at Military Technical Academy “Ferdinand I”. Address: 39-49 George Coșbuc Blvd., Bucharest, Romania, 050141.

REGISTRATION FEE

Further information will be made available on the conference website as soon as possible.

IMPORTANT DATES

Deadline for proposals: 30th April 2020

Abstract acceptance notification: 31st May 2020. Deadline for full paper submission: 30th August 2020. Early Registration: 31st July 2020.

Late Registration: 30th August 2020. Conference dates: 15th -17th October 2020. Conference dinner: 16th October 2020.

CONTACT

For more details on submissions or conference organization, please check our website: https://mcwe2020mta.wixsite.com/website or contact us at: mcwe2020.mta@gmail.com.

We look forward to welcoming you at the conference!

(posted 19 December 2019)


International Conference on Ecocriticism and Environmental Studies
Oxford, UK, 17 October 2020
Deadline for proposals: 20 May 2020

organised by London Centre for Interdisciplinary Research

Multiple environmental crises are increasingly inescapable at both transnational and local levels and the role of the humanities in addition to technology and politics is more and more recognized as central for exploring and finding solutions. Representations of nature’s agency have become central to many studies conducted in literature, culture studies, philosophy, history, sociology or political science. This conference aims to explore the relationship between the physical environment and text in its broader meaning as well as analyse the social concerns raised by environmental crises.

Conference panels will be related, but not limited, to:

  • Sustainable Development
  • Biopolitics
  • Animal Studies
  • Cultural and Literary Ecology
  • Ecolinguistics
  • Ecosophy
  • Ethnobiology
  • Ecofeminism
  • Posthumanism
  • Environmental Arts
  • Environmental History

We invite proposals from various disciplines including political sciences, history, philosophy, sociology, anthropology, literature, linguistics, etc.

Paper proposals up to 250 words and a brief biographical note should be sent by 20 May 2020 to: eco@lcir.co.uk. Please download Paper proposal form.

Registration fee – 100 GBP

(posted 10 February 2020)


Multicultural Discourses in a Turbulent World: 7th International Conference on Multicultural Discourses
Cluj-Napoca, Romania, 24-26 October 2020
New deadline for proposals: 15 July 2020

Co-organised by:

  • International Association of Multicultural Discourse Studies;
  • Babes-Bolyai University, Faculty of Letters, English Department,
    Cluj-Napoca, Romania;
  • Hangzhou Normal University, China

The successful international conferences on Multicultural Discourses organized in China, Brazil, and the Netherlands, respectively, have reinforced the importance of Cultural Discourse Studies in contemporary social science and the humanities.

The 7th International Conference on Multicultural Discourses, under auspices of the International Association of Multicultural Discourses, will be co-organized by the English Department of the Faculty of Letters, Babeş-Bolyai University, Romania and the School of Contemporary Chinese Communication Studies, Hangzhou Normal University, China.

The event will be hosted at the Faculty of Letters, Babes-Bolyai University in Cluj-Napoca, Romania from October 24‑26, 2020.

Mankind is witnessing yet again the centennial moment of global transformation and the world is ridden with grave challenges and great opportunities.

To answer to these uncertain winds of change, scholars from various fields such as communication, media, language, literature, society, culture, international relations, etc. are encouraged to offer their insights into topics including, though not restricted to, the following:

  • Multicultural discourses of (anti)globalization, diversity, connectivity, globalism
  • Multicultural discourses of security, conflict, war, peace
  • Multicultural discourses of protectionism, (in)tangible borders, immigration, racism
  • Multicultural discourses of development, the Developing World, the Global South
  • Multicultural digital, multimodal, literary, cinematic discourses
  • Multidisciplinary, multicultural approaches to human discourses

Plenary Speakers

  • Johannes Angermuller, Open University, UK
  • Ioana Bican, Babes-Bolyai University, Romania
  • Raili Marling, University of Tartu, Estonia
  • Laura Pardo, University of Buenos Aires, Argentina
  • Shi-xu, Hangzhou Normal University, China

Submission

Abstracts of about 250 words, panel proposals of about 500 words (of min 4 speakers with 250 words abstracts) should be sent to the organizers at the following email address: multiculturaldiscourses7@gmail.com

Deadlines

  • Deadline for submission of abstracts and panel proposals extended. New deadline: July 15, 2020.
  • Notification of acceptance will be sent out not later than July 30, 2020.

Conference fee

  • 150 euros (coffee breaks, lunches and conference materials will be covered)
  • 75 euros for doctoral students and young researchers (under 26)
  • Registration fee for participants from Romanian universities: 75 euros
  • Registration fee for doctoral students from Romanian universities: 30 euros.

Ph.D. candidates should present a document from their home institution proving their academic status.

The conference fee can be paid on the spot or electronically. Details will be provided after the acceptance of the papers.

PMresentation format

  • parallel sessions
  • plenary speeches

Confeence website: https://multiculturaldiscourses7.blogspot.com

(posted 14 July 2019, updated 30 April 2020)


Multimodal Im/politeness: Gesture, Sign and Spatial Configurations
University of Zurich, Switzerland, 23 October 2020
Deadline for abstracts: 10 April 2020

The URPP Language and Space of the University of Zurich is pleased to announce a one-day Symposium on Multimodal Im/politeness: Gesture, Sign and Spatial Configurations.

In face-to-face interaction communication is intrinsically multimodal, but im/politeness research has only recently extended its scope to this aspect of communication leading to the emergence of a vibrant interest in multimodal components of im/politeness, such as prosody, gesture and bodily signals and also non-manual features in sign language. The goal of this symposium is to bring together researchers whose work focuses on multimodal aspects of im/politeness and who work in the areas of pragmatics in general, pragmatic development, gesture and multimodality, sign language, social psychology, language and space, and language and cognition. It will be an opportunity to share the latest research on multimodal aspects of im/politeness and to advance new insights in the field of im/politeness studies.

The following scholars have confirmed their participation as plenary speakers at the symposium:

  • Lucien Brown, Senior Lecturer, Korean Studies, Monash University
  • Rachel Mapson, Lecturer in BSL/ English Interpreting, Queen Margret University
  • Takaaki Shochi, Associate Professor, CLLE UMR 5263 & LABRI UMR 5800 CNRS

The symposium welcomes submissions related to:

  • Gesture and bodily signals and im/politeness
  • Acoustics, prosody and im/politeness
  • Sign language and im/politeness
  • Language acquisition and multimodal im/politeness
  • Language, space and multimodal im/politeness

Especially welcome are contributions concerning usually more marginalized groups in im/politeness research such as young and old people, as well as non-WEIRD populations in order to gain a more diverse understanding of im/politeness-related behaviors in interaction.

Talks will be 20 minutes plus 10 minutes for questions and discussion. There will also be a poster session.

Important dates:

  • April 10, 2020: Deadline for abstracts
  • April 30, 2020: Notification about acceptance
  • October 23, 2020: Date of the symposium

The symposium is open and free of charge. Please send abstracts of max. 300 words (excluding references), no later than April 1, 2020, to:

Participation without giving a paper will also be possible, but please register by sending an email to the email addresses above.

Conference website: http://tiny.uzh.ch/10E

The organizers: Iris Hübscher and Andreas H. Jucker

(posted 4 March 2020)


Movement and Mobility in America: 40th  Conference of the American Studies Association of Turkey (ASAT)
Ondokuz Mayıs University, Samsun, Turkey, 26-27 October 2020
Deadline for proposals: 30 April 2020

Movement and mobility lie at the core of American society. Whether through immigration, internal migration, social mobility, or domestic and global expansionism, the United States has always been defined as a nation of frontiers and pioneers, a country that is constantly (re)defining itself, where self-(re)invention is part of the American dream. Movement and mobility in the American context can also be physical, sociological, psychological, or even political, as in the case of mobilizing for social movements.

With its agenda of stemming the alleged “tide of illegal aliens” by building a wall along the US-Mexico border, the Trump Administration has prompted a reevaluation of movement and mobility across the political spectrum. While some argue that this has stimulated a visible resurgence in activism and a revival of social movements in the United States, others have seized the moment to express that this so-called “new wave” of protest is not so new at all, and is part of a long continuum of public engagement that originated during the colonial era.

From protests against the Stamp Act, Tea Act, and Townshend Duties in the eighteenth century; to the abolitionist, and women’s and workers’ rights movements of the nineteenth century; to the peace, civil rights, free speech, and anti-nuclear activism of the twentieth century; to the use of social media as an organizing platform in the twenty-first century, Americans have defined, and have been defined by, movement and mobility, using it to counter injustice by voicing their opinions and taking to the streets. As US Supreme Court Justice Ruth Bader Ginsberg has expressed, “Fight for the things you care about, but do it in a way that will lead others to join you”—a dictum that Americans have been following for over three centuries.

ASAT invites the submission of individual abstracts, panels, and workshop/roundtable proposals that explore all aspects of this theme. Possible subthemes include, but are not limited to:

• The literature of movement, mobility, and activism
• Travel narratives; life writing
• Im/migration; inner and outer space
• Social mobility; self-(re)invention
• Movement, mobility, and rebellion in American history
• Frontiers, borderlands, and pioneers
• Manifest Destiny, expansionism, and imperialism
• Ethnic, class, and race-based activism
• Feminist, women’s, and gender activism
• LGBTQIA+ activism; human rights advocacy
• Social media; virtual activism (#metoo, #TimesUp, etc.)
• Civil rights movements; union and labor activism
• Healthcare movements; patients’ rights activism
• Mobility and dis/ability
• Peace, anti-war, anti-nuclear movements
• Radical activism; power movements
• Environmental activism; free speech activism
• Cross-generational activism; global movements
• Activism and nostalgia; commemorating past movements
• The politics/logistics of activism; activist fatigue; infighting
• Intersectionality; the limits of activism
• Critiques of activism and clicktivism
• Activist pedagogy; teaching activism
• Comparative approaches; future directions

Proposals should be sent to the American Studies Association of Turkey (info@asat-jast.org) and should consist of a 250–300 word abstract, five keywords, and a short (200 word) biography for each participant. The time allowance for presentations is 20 minutes. An additional 10 minutes will be provided for discussion.
We expect all participants to attend the entire conference out of professional courtesy. Please keep this in mind while submitting an abstract.
Submission deadline: April 30, 2020
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: www.asat-jast.org

(posted 2 October 2019)


Powerful Literary Fiction Texts II (PLit. II): A Stylistic, Empirical and Performance-based Approach
Paris, France, 28-30 October 2020
New extnded deadline for proposals: 31 March 2020

Works of prose fiction include pieces of writing that are prone to provide both emotional and cognitive pleasure because they are made of “language at its most distilled and most powerful” (Rita Dove). Yet these passages too often escape an analysis that combines close reading with, on the one hand, the reading aloud of the text – so that it can be experienced to the full by the audience – and, on the other hand, a study of the text’s potential effects on readers – hereby advancing a hypothesis of readers’ impressions and of the linguistic features responsible for them. This international conference series invites contributors to select and explore prose extracts through such a mixed approach.

Each excerpt – be it a set of phrases or sentences, a paragraph or a longer extract – will thus be orally performed and examined as a textual composition likely to elicit specific responses on the readers’ part. Questions dealt with in the presentations can include:

  • How does the text capture the readers’ attention or interest?
  • How does it provide aesthetic appeal and trigger powerful positive, negative or mixed emotions?
  • Which other effects apart from eliciting strong emotions can render prose fiction powerful? Which role do emotions play in these other kinds of effects (e. g. persuasion, behaviour and personality change)?
  • Is the impact closely bound to the time of reading or are some effects created to stick with the reader for longer? And then: How can this be linked to specific stylistic features?

The compelling effects such pieces of text provide are usually due to:

  • The relationship between the part and the whole: the way the selected excerpt articulates with the rest of the narrative it is taken from, its specific function and purport within the respective work of fiction.
  • The chosen piece of text itself: although the powerful effect produced in a reader is partly due to his or her subjectivity, we assume it also results from the way the author’s language organises and conveys the cognitive realities of real or fictitious experience.

The presentation format thus involves four successive stages:

  1. A brief introductory presentation of the story from which the chosen extract is taken, and of the excerpt’s function or purport within the rest of the narrative.
  2. The reading aloud of the extract: thanks to this oral performance, the text will be experienced by the audience as ‘living’ material embodied through human voice.
  3. A close reading aiming to discover the text’s mechanisms. If all linguistic choices are potentially meaningful (Leech & Short 2007: 27), which are the ‘powerful’ ones, responsible for the audience’s reactions? Tools pertaining to the field of literary linguistics may be helpful to identify the effectual stylistic features: lexical choices and coinages; syntactic choices, including tense and aspect; figures of speech and other stylistic devices, such as ellipses, rhythm, sounds, et cetera.
  4. The explicit highlighting of the hypothesized connection between the identified linguistic features and the effects they have on readers.

Contributors are especially welcome to present empirical research on reader perception of specific textual phenomena or stylistic features, but testable hypotheses are also suitable.

Any kind of fictional literary prose or drama text may be considered, irrespective of subgenre, literary tradition, or intended audience. However, poetry, historical non-fiction texts, and translation analyses are unfortunately not suitable.

Note: This conference has been conceived as a convivial event, aiming to foster interaction between attendees: there will be only one talk at a time and lunches will be provided, as well as an opening reception on the first evening of the conference.

Submission guidelines: Presentation time for each paper will be 20-25 minutes, followed by a 5-10 minutes discussion.

Please submit a short bio (not longer than 50 words) including your name and institutional affiliation, and a completely anonymised file consisting of the abstract (up to 300 words, excluding references; unpublished work) and the literary excerpt(s) under study (no longer than 350 words altogether).

If the selected excerpts are not in English, we kindly ask contributors to base their presentation on an English translation (preferably a professional one) that allows following the argument of the paper.

Please send the two files to the following e-mail address: plit.conference@gmail.com

The new extended deadline for submission is 31st March 2020.

Keynote speakers

  • Sandrine Sorlin, Professor of English language and linguistics at Université Paul Valéry – Montpellier 3 (France)
  • Raymond A. Mar, Professor of Psychology at York University (Toronto, Canada)

Organisers

  • Mariane Utudji, Université Sorbonne Nouvelle – Paris 3 (France)
  • Victoria Pöhls, Max-Planck-Institute for Empirical Aesthetics (Frankfurt, Germany)
  • Dr Craig Jordan-Baker, University of Brighton (United Kingdom)

(posted 1 January 2020, updated 22 February 2020)

 

 

Calls for papers – Conferences taking place in September 2020

Cosmopolitan Aspirations in English-Speaking Cinema and Television: 26th Annual SERCIA Conference
Universidad de Zaragoza, Spain, 2-4 September 2020
New extended deadline for proposals: 1 May 2020

It has become almost mandatory to start any piece on cosmopolitanism with a reference to Diogenes the Cynic (412-323 BC) and his famous claim “I am a citizen of the world”. Alluring as the phrase may sound to our 21st century ears, when uttered by Diogenes, it was an invitation to be a social outsider: the allegiance to humanity as a whole implied becoming an exile from the comforts of one’s place of birth and social group (Nussbaum 1994). Two thousand years later, Immanuel Kant considered that the achievement of a cosmopolitan order was a must “if the human race was not to consume itself in wars between nations and if the power of nation-states was not to overwhelm the freedom of individual” (Fine and Cohen 2002). Kant’s ideals about a cosmopolitan world order, cosmopolitan law and cosmopolitan hospitality became the foundation on which moral cosmopolitanism, understood as a philosophical and political project aimed at the creation of cosmopolitan political institutions and the development of a cosmopolitan civil society, started to be theorised. This cosmopolitan tradition became especially appealing in the 1990s, a decade that witnessed the fall of the Berlin Wall and the end of apartheid, among other epochal changes, as well as the widespread use of the Internet and the emergence of the so-called network society. Cosmopolitanism became then a framework  (or a “methodology” in Ulrich Beck’s words) to try to understand and deal with some of the challenges of globalization: the increased mobilities of people and goods, the proliferation of global risks, the redefinition of borders and the proliferation of global media and virtual communities, among others (Beck 2000).

The development of cinema in the late nineteenth century fed into cosmopolitan aspirations of modern city life and an increasing desire for travel. Films crossed national borders and opened up spaces for spectators’ mediated engagement with difference. The history of cinema abounds in examples of filmmakers that abandoned national contexts as their immediate frame of reference and created their work from and for a cosmopolitan imagination. Orson Welles, Jules Dassin, Ernst Lubitsch, Fritz Lang, Max Ophüls and, more recently, Michael Haneke, Alejandro González Iñárritu, Alfonso Cuarón and Yorgos Lanthimos immediately come to mind, but the list of travelling filmmakers, past and present, is much longer, and it includes names much more closely associated with a particular national or local identity, from Jean Renoir to Wong Kar-wai – not to mention, of course, travelling actors contributing to foster cosmopolitan aspirations, from Maurice Chevalier to Marion Cotillard and Charlotte Gainsbourg, from Louise Brooks to Marlene Dietrich, from Jean Seberg to Kristen Stewart, from Ingrid Bergman to Max von Sydow, from Jackie Chan to Maggie Cheung, from Dolores del Río to Penélope Cruz, from Sophia Loren to, yes, Clint Eastwood. The development of communication technologies since the 1980s has also led to the development of “globally dispersed productions.” Filmmakers, actors and technicians from all over the world form networks of international professionals collaborating beyond national differences. The outcome of these constant border-crossings have been innumerable films that have complicated national identities and showcased hybridity, and have explored the dynamic between the familiar and the stranger in a myriad ways. Similarly, from its inception, television brought other cultures and ways of seeing the world into the domestic space of one’s home. Digital television and multimedia platforms can now create cosmopolitan communities on demand. Audiovisual media have always played and are still playing a crucial role in the process that Beck refers to as the “cosmopolitanization” of the world. Yet, when compared to the existing literature on the issue in other areas, cosmopolitanism still remains a largely underexplored subject in film and television studies.

This conference will explore the ways in which cosmopolitan aspirations (and “their enemies” in Ulrich Beck’s words) have made their way into English-speaking cinema and television across different time periods, nations, genres and media. Areas to be explored include but are not limited to:

  • onscreen representations and constructions of cosmopolitan identities
  • the places of the cosmopolitan: borders, borderlands and global cities
  • -he risk society: eco-cosmopolitanism
  • agents of cosmopolitanism onscreen: frequent travellers, tourists, migrants and refugees
  • cosmopolitanism and gender
  • cosmopolitan performances, performing cosmopolitanism
  • intimate encounters in a global context
  • visual and narrative articulations of the cosmopolitan
  • cosmopolitanism in film and television genres
  • cosmopolitan directors and stars. Celebrity cosmopolitanism
  • the limits and contradictions of onscreen cosmopolitanism
  • co-productions as cosmopolitan, global and/or transnational production strategies
  • cinematic and televisual representations of the global society
  • cosmopolitan film and television networks
  • globally-dispersed productions. Global industry, local labour
  • cosmopolitan communities and multimedia digital platforms
  • -film and TV reception around the world: local, global and/or cosmopolitan audiences
  • cosmopolitanism and multilingual films, the politics of dubbing, subtitling and double versions

Keynote Speakers:

Juan Suárez (Universidad de Murcia)

Deborah Shaw (University of Portsmouth)

Scientific Committee:

María del Mar Azcona, Julia Echeverría, Pablo Gómez, Celestino Deleyto, David Roche, Nolwenn Mingant, Juan Suárez, Deborah Shaw.

Submission:

Please submit a 300-500 word abstract and short bio (120 words) in English by 1st May 2020 (new extended deadline) to the conference website: http://eventos.unizar.es/43243/upload/cosmopolitan-aspirations-in-english-speaking-cinema-and-television.html

A select bibliography is available on the Conference website: http://eventos.unizar.es/43243/section/22374/cosmopolitan-aspirations-in-english-speaking-cinema-and-television.html

(posted 9 December 2019, updated 17 March 2020)


Bounded languages… Unbounded: COMELA 2020
The American University, Athens, Greece, 2-5 September 2020
Deadline for proposals: 15 November 2019

Politics of identity are central to language change. Here, linguistic boundaries rise and fall, motivating the ephemeral characteristics of language communities. The Mediterranean and European region is one replete with histories, with power struggles, uniquely demarcating nation, ethnicity, and community. For this, cultural and political identities, language ideologies, as well as the languages themselves, have sought boundedness, dynamics of which have indeed sought change over eons, through demographic movements, through geopolitics, through technological innovation. In a current era of technological advancement, transnational fluidity, intellectual power, capitalism, and new sexualities, then, we question, once again, the boundedness of language and identity, and ways in which to unbound languages and ideologies. More than before, we now increasingly pursue anthropological toil, so to innovate ways to locate these ideologies and their fluid boundaries, actively. We now need to increasingly unbind these languages, and their ideologies, so to arrive at progressive realizations, and to rectify, or at least see and move past, the segregations of old.

The COMELA 2020 theme, “Bounded languages… Unbounded”, encapsulates the ongoing struggle throughout Mediterranean and European regions. As the continuous tension between demarcation, and the concurrent legitimization, of languages, language ideologies, and language identities, enters an era where new modes of interactivity require language communities to take on roles super-ordinate to the past, flexible citizenship now operates within, and not only across, language communities, to unbind languages, and to create new boundaries, unlike those ever seen throughout history.

The COMELA 2020 invites work which addresses the shifting boundedness of Language Communities of the Mediterranean and Europe. Papers and posters should acknowledge and decribe processes of language shape, change, and ideology, pertinent to social, cultural, political histories, and futures of Mediterranean and European regions, and by those working in Mediterranean and European regions.

Speaker: Jan Blommaert, Department of Culture Studies, Tilburg University, The Netherlands. Jan Blommaert is Professor of Language, Culture and Globalization, and Director of the Babylon Center at Tilburg University, the Netherlands. He is of the world’s most prominent Sociolinguists and Linguistic Anthropologists, and has contributed substantially to sociolinguistic globalization theory, focusing on historical as well as contemporary patterns of language and literacy, and on lasting and new forms of inequality emerging from globalization processes.

Strands:

  • Anthropological Linguistics
  • Applied Sociolinguistics
  • Buddhist studies and discourses
  • Cognitive Anthropology and Language
  • Critical Linguistic Anthropology
  • Ethnographical Language Work
  • Ethnography of Communication
  • General Sociolinguistics
  • Islamic Studies and discourses
  • Language, Community, Ethnicity
  • Language Contact and Change
  • Language, Dialect, Sociolect, Genre
  • Language Documentation
  • Language, Gender, Sexuality
  • Language Ideologie
  • Language Minorities and Majorities
  • Language Revitalization
  • Language in Real and Virtual Spaces
  • Language Socialization
  • Language and Spatiotemporal Frames
  • Multifunctionality
  • Narrative and Metanarrative
  • Nonverbal Semiotics
  • Oral heritage
  • Poetics
  • Post-Structuralism and Language
  • Semiotics and Semiology
  • Social Psychology of Language
  • Textualization, Contextualization, Entextualization

All the information about the conference can be found at https://comela2020.comela.me

(posted 26 July 2019)


Evil in literature and cinema
University of Silesia in Katowice, Poland, 17-18 September 2020
Deadline for proposals: 31 March 2020

Although some literary periods and the leading aesthetics associated with them (for example French Classicism) saw literature as the expression of good, beauty and truth, many writers and thinkers were and still are fascinated by evil. The best known apologists of evil include de Sade, Baudelaire and Bataille, among others. Ostensibly, evil seems to have infected literature and cinema.

Certain genres of popular literature are inextricably connected with evil. Horror fiction and cinema are dominated by its various forms, ranging from spaces filled with horror (the motifs of an evil place, a haunted house), through malevolent characters (vampires, demons), to evil-related motifs (curse, paganism, satanism, cannibalism). In classic texts (Mérimée, Maupassant, Stoker, Blackwood, Lovecraft), as well as in contemporary fiction (King, Masterton, Herbert), evil always triumphs at the end. However, the new fantastic (Andrevon) reverses well-known codes and shows humans as the incarnation of evil, destroying the planet, whereas nature takes revenge for all the harm done (end of the Anthropocene). Gore cinema is an apotheosis of evil, which is visible in its varieties, such as “torture gore porn” or “splat-pack.”

Evil constitutes an inseparable element of the opposition with good, and the clash of these two powers determines many fantasy stories – mainly epic or heroic – as well as similar, more canonical texts, for example the struggle of Beowulf resisting the monster Grendel and his mother. Such opposition is the driving force of classic fantasy, as in J.R.R. Tolkien’s The Lord of the Rings, but also of contemporary popular literature and cinema, like Harry Potter. Therefore, while one can study the topic of the battle against evil and its implementation in fantasy, it seems even more interesting to examine how the boundaries between good and evil are blurred in such texts. In this context, how should one perceive such protagonists as Michael Moorcock’s Elric of Melniboné, Stephen Donaldson’s Thomas Covenant or Robert E. Howard’s Conan the Barbarian? In what way should one interpret the ambiguous attitude of the characters of George R.R. Martin’s Game of Thrones? The conflict between good and evil is more and more often presented with no clear boundaries, and the opposing sides have no obvious intentions. For this reason, not only the representations of the struggle between good and evil need to be examined in fantasy literature, but also grey areas, anti-heroes and motives of their wrongdoings.

As far as speculative fiction (littératures de l’imaginaire) is concerned, it is worthwhile to mention the images of evil in texts written by women about women, as more and more works that belong to fantasy, fantastic fiction or science fiction are created by female authors, talk about female characters and are written for female readers. One of the subgenres of speculative fiction most dominated by women is contemporary urban fantasy written both in English (Laurell K. Hamilton, Charlaine Harris, Patricia Briggs, Ilona Andrews, Darynda Jones), and in French (Léa Silhol, Cassandra O’Donnell). Its heroines, like typical fantasy heroes, have to face the evil of the outside world. Therefore, it seems interesting to analyse what roles they play in the fight against evil, how such a struggle changes them and whether they lose their femininity in the battle.

The fantastic, previously dominated by men, also seems to be more and more frequently explored by women. Writers who create the “female fantastic” focus not only on portraying the dark side of women, but also on presenting various aspects of evil that destroys their protagonists (Anne Duguël, Yvonne Escoula, Mélanie Fazi, Shirley Jackson).

Mainstream literature does not fall behind popular genres in the exploration of evil. As Georges Bataille noted, “if literature separates itself from evil, it quickly becomes boring.”  By crossing boundaries and causing anxiety in the reader, literature does not allow anyone to live in the ignorance of the cruellest aspects of human nature, and thus enables confrontation with evil and danger. Evil is always an expression of transgression, and the construction of an anti-hero often simultaneously fascinates and frightens the reader. In this context, one can reflect on the relationship between the oppressor and the victim, as in Ananda Devi’s Green Sari, on physical violence, as well as on some more “subtle” forms of abuse: financial, sexual or emotional. Evil is also associated with discrimination based on sex and race, which entails dehumanization and hate speech. This type of evil and its cultural determinants are visible in African women’s literature written in French, e.g. in the works of Fatou Diome or Ken Bugul. The interpretation of such texts also raises the question of the effects of evil in the characters’ lives (individual and collective traumas), as well as the therapeutic, cathartic role of writing in the healing process.

Evil often manifests itself in violence, which can take various, also less obvious, forms, such as: self-destruction – when the subject, as a result of past harm, mutilates their own body or mentally destroys themselves (e.g. The Bell Jar by Sylvia Plath); aggression against another, usually weaker, person – violence against women, children, animals (e.g. Sharp Objects by Gillian Flynn), violence directed by one group against another (national, ethnic, racial or religious) – manifested in the form of war, genocide, terrorist attacks (e.g. the Algerian literary movement écriture de l’urgence from the 1990s, The Barefoot Woman by Scholastique Mukasonga).

We encourage you to reflect on these topics, as well as to explore any issues that have not been mentioned above, but are related to the given field of study.

Submissions with an abstract of a 20-minute paper and a bio-bibliographic note should be sent to: malevil2020.conference@gmail.com by March 31, 2020. The authors of the accepted proposals will be notified by April 15, 2020. The cost of participation in the conference is 100 euros (430 PLN for participants from Poland), plus 25 euros for those interested in participating in the banquet (100 PLN for participants from Poland). The conference fee of 100 euros covers the cost of publication (after obtaining a positive review), but does not include the cost of travel, meals and accommodation of participants. Payment details will be provided later. The conference will include the publication of a multi-author monograph in a publishing house from the list of indexed publishers – articles will be accepted until December 20, 2020.

The conference languages will be French, English and Polish.

The conference is organized at the Institute of Literary Studies, Faculty of Humanities at the University of Silesia in Katowice.

Organising committee: Katarzyna Gadomska (Assoc. Prof., Professor of the University of Silesia): chairwoman of the organising committee; Ewa Drab (PhD), Anna Swoboda (PhD): coordinators of the English-speaking section; Katarzyna Gadomska (Assoc. Prof., Professor of the University of Silesia): coordinator of the French-speaking section; Grażyna Starak (Assoc. Prof., Professor of the University of Silesia); Magdalena Malinowska (PhD): coordinators of the Polish-speaking section; Magdalena Perz (PhD): coordinator of the financial section

For more information, please contact us at malevil2020.conference@gmail.com

(posted 4 March 2020)


Poetry Between Creation and Interpretation
St. Anne’s College, University of Oxford, UK, 19 September 2020
Deadline for proposals: 30 April 2020

An International Conference on Poetry Studiesorganised by London Centre for Interdisciplinary Research

Poetry is a constant, being produced by all known civilisations from ancient to modern times. Throughout its extensive history, the individual art of high emotions sublimated into perfect language has approached a vast array of subject matters, including love, war, social issues, the beauty of nature, etc. A particular exercise of the mind and soul, and a unique way of apprehending reality, poetry is a self-sufficient universe that intensifies and enlarges life experience. Pointing to inner knowledge rather than real circumstance, it activates different layers of perception, sweeps away human thoughts, feeds emotions and soothes suffering.

Poetry inspires as well as instructs, as it is an initiation into the concealed order of the world. Its intense gratification, unrivalled in authenticity and honesty, appeals to human nature and makes ultimate sense of the self, opening the individual to interaction and communication. Poetry ennobles, enlightens and entertains because its expressive boundaries are virtually unlimited. With the help of translation, it goes beyond strict localisation and cultural arbitrariness, generating a sense of spiritual compatibility and communion between the collective identities of the world.

The conference aims to bring together international poets, literary critics, translators and scholars from diverse contexts and interdisciplinary fields to share their work. As the 2019 edition is dedicated to issues related to poetry, poetics and translation, we invite papers, presentations, manuscripts, panels, roundtables, performances, and other forms of contributions relevant to the areas of investigation.

Topics may include, but are not limited to:

  • from Aristotelian poetics to 21st century aesthetics
  • poiesis, mimesis, kinesis
  • (non-)originality/individuality/voice amidst technical innovation
  • subject-construction in poetry
  • gender and poetic imagination
  • tropes and schemes of the 21th century
  • hybrid & cross-genre poetic modes
  • the immeasurable and/or non-measurable in poetry
  • form, proportion and balance: long poems, poetic sequences
  • associations, juxtapositions and connections
  • ekphrasis and ideology
  • poetry and the arts: poetic and artistic collaborations
  • poetry and science
  • poetry and architecture
  • poetry and mathematics
  • language-centered poetics (including Language- and post-Language writing)
  • conceptual and post-conceptual poetry
  • urban poems and poetry
  • poetics and politics
  • poethics and theopoetics
  • ecopoetics and ecocriticism
  • performance or performative?
  • sound and silence
  • poetry between phrase and metaphrase
  • translation, inerpretation, adaptation
  • the translatability of metaphors
  • limits and limitations of the poetic discourse
  • the role(s) of the reader
  • poetry ages and generations
  • publishing poetry today

Paper proposals up to 250 words and a brief biographical note should be sent by 30 April 2020 to: poetry@lcir.co.uk.

Please download paper proposal form.

Registration fee – 100 GBP      

(posted 15 January 2020)


Mirror, Mirror: Perceptions, Deceptions, and Reflections in Time
St. Anne’s College, University of Oxford, UK, 19 September 2020
Deadline for proposals: 15 May 2020

International Conference organised by London Centre for Interdisciplinary Research

Since ancient times, mirrors have been viewed as place where the dual worlds of soul and self merge. In ancient Mexico, polished obsidian mirrors were viewed as magical portals through which sorcerers traveled to reach the world of the gods. The fictitious mirror of 18th-century author, Oliver Goldsmith, revealed the inner workings of the mind rather than the surface.  In the 21st century, our reflections may obscure rather than uncover the truths we once searched for.  Through technology, we can recreate ourselves and the world around us. We see our altered, perfected reflections in our photos, on our web cams, and in advertising. Images may come to show not necessarily our realities, but visions of the world that we prefer. Indeed, altered visions and the falsehoods they purvey may serve as instruments for political gain, for the accumulation of personal wealth, and as a means of repression.  This conference explores how our virtual concepts and reconstructed worlds impact humanity, the arts, and nature in the age of rising anthropocentrism.

Papers are invited on topics related, but not limited, to:

  1. Illusion and the ancient world-mirrors and other artifacts and their elite metaphysical uses
  2. Specific cultural beliefs related to mirrors, truth, soul, and self
  3. Physical science: knowledge and beliefs relating to mirrors both ancient and modern
  4. Studies of writers, artists, and others who emphasize reality and illusion in their creative works (Lewis Carrol, Oliver Goldsmith, and others)
  5. Trompe l’oeil (Early and Modern Visual Art)
  6. Truth, illusion, and delusion in the age of the Internet–You Tube and other Media
  7. The reinvented self: modern or historical
  8. The dangers of deception (social and environmental concerns)
  9. Specific perspectives on truth and illusion as symbolized or addressed in the visual arts, creative writing, new historical narratives, architecture, and other media
  10. How altered vision can have far reaching impacts on culture, society, and the environment

Paper proposals up to 250 words and a brief biographical note should be sent by 15 May 2020 to: mirror@lcir.co.uk. Please download paper proposal form.

We also welcome poster proposals that will address the conference theme.

Registration fee – 100 GBP

(posted 15 January 2020)


Contact in Times of Globalization: Fifth International Conference on Language
Klagenfurt, Austria, 23-26 September 2020
Deadline for proposal: 15 January 2020

Conference website: https://www.aau.at/en/english/lctg5

After 4 inspiring meetings in Groningen (The Netherlands) and Greifswald (Germany), the ‘Fifth International Conference on Language Contact in Times of Globalization’ will be held at the University of Klagenfurt (Austria) from September 23rd – 26th, 2020, locally organized by the linguistics section of the English Department. As in the previous meetings, the conference language is English. The programme is open to contributions from all types of language constellations in which contact occurs. We warmly invite paper presentations from all areas of interest in language contact including the full range of socio-cultural and cognitive perspectives.

Klagenfurt, the conference venue, is located in Austria’s southernmost region of Carinthia which is linguistically characterized by its vicinity and interchange with Romance (Italian, Friulian) and Slavic languages, and is home to autochthonous Slovene speaking communities.

We look forward to seeing you in Klagenfurt.

The notion of language contact captures multi-faceted phenomena and processes of language use that emerge from the interaction of speakers and their diverse linguistic repertoires. Dependent on socio-cultural conditions as well as the type and medium of interaction, manifestations of language contact have been a constant source of linguistic investigations. In current times of increased physical and virtual mobility and of dynamically shifting boundaries and identities, the notion of language contact is faced with concepts such as fluidity, dynamic systems, transculturality, multilingualism and the break-up of the one nation – one language ideology. This raises the question of how language contact as a theoretical notion and as a field of inquiry is able to capture these current developments.

We invite proposals for presentations (20-minutes + 10 minutes discussion) on current scenarios and aspects of language contact world-wide.

A limited amount of thematic sessions can also be accommodated in the programme. Applications for prospective theme sessions should consist of a general description (500 words max., excluding references) and provide a list of planned paper titles and presenters. Theme sessions should consist of a minimum of 4 and a maximum of 6 papers.

Papers addressing one of the following topics and approaches are particularly welcome:

  • globalization as a catalyst of language contact
  • (socio-)cognitive approaches to language contact
  • the dynamics of language contact: fluidity, hybridity, creativity, translingualism, codeswitching/codemixing
  • processes and linguistic manifestations of language contact
  • language contact in a multilingual world

Slots for paper presentation will be 20 minutes followed by 10 minutes for discussion. Please send your abstracts as doc or pdf files (300 words max., excluding references) to LCTG5 [at] aau [dot] at
Abstracts should be anonymous and preceded by a title sheet stating the author(s) contact details.
Please state “abstract submission LCTG5″ in the subject line of your e-mail.
Final date of abstract submission: January 15, 2020
Notification of acceptance: February 25, 2020

(posted 27 September 2019)


Models and Alternatives: International Conference on Myths, Archetypes and Symbols
London, UK, 26 September 2020
Deadline for proposals: 30 April 2020

A conference organised by London Centre for Interdisciplinary Research 

Humankind has always sought to explain its origins and the mysteries of life to map personal and collective boundaries, and to secure its sense of identity through the power of everyday events and occurrences. Exemplary accounts of imaginary happenings and supernatural creatures from a time beyond history and memory explain the genesis of the universe, the making of a living thing, the formation of an attitude or the inception of an institution. The essence of these traditional narratives reflects a certain system of values and code of self-conduct of a group of individuals bound together by social and cultural ties, and the cardinal virtues and vices of human nature captured in a conventional configuration.

Even though the time and place of performance and reception generate numerous variants and a multitude of interpretations, myths encode a universal sensibility and specificity, and propose generic yet unique models of humanity. They reveal a culture’s deepest understanding of its own beginnings, awareness of purpose and destiny, its position in the world, and meaning of existence and experience. A particular culture creates particular characters to embody its spirit and significant traits of personality, and particular images to convey its most representative attributes and attitudes.

The conference aims to explore the mode of organisation, the fundamental patterns and the paradigms of human memory that lie at the root of quintessential stories, tales and beings. It will also focus on the constants and variables of some particular components and their relationship with other fields of study, such as anthropology, arts, cultural history, literature, literary criticism, philosophy, psychology, pedagogy, sociology, theology, etc.

The main objective of the event is to bring together all those interested in examining the intersections between their professions and/or interests and some distinct local, regional, national, or global aspects related to myths and mythology, archetypal characters, situations and symbols, providing an integrative approach to their perception and relevance in the 21st century.

Topics include but are not limited to several core issues:

  • from The Age of Fable to The Golden Bough and beyond
  • the functions and cultural impact of myths, archetypes and symbols
  • the locality and universality of myths, archetypes and symbols
  • monotheism, polytheism, pantheism
  • gods, demigods and heroes
  • myth, ritual and the sacred
  • holy books and early writings
  • myth-revision from antiquity to the 21stcentury
  • mythology and language
  • mythology and science
  • mythology and religion
  • mythology and visual arts
  • mythology and music
  • mass-media and myth creation
  • mythography and mythopesis
  • euhemerism – history and imagination
  • patterns, prototypes, stereotypes
  • ethos and eidos
  • Jungian archetypes
  • archetypal characters in literature and film
  • archetypal symbolism
  • archetypal psychology
  • archetypal pedagogy
  • symbols – context and meaning
  • major themes, motifs and symbols
  • the meaning and symbolism of colours
  • the meaning and symbolism of numbers
  • signs, emblems and icons
  • semiotics and symbolism

Paper proposals up to 250 words and a brief biographical note should be sent by 30 April 2020 to: myths@lcir.co.uk.

Please download paper proposal form.

Registration fee – 100 GBP   

Provisional conference venue: Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD

(posted 15 January 2020)

Calls for papers – Conferences taking place in August 2020

Identity and Power
London, UK, 1-2 August 2020
Deadline for proposals: 15 March 2020

An international Conference on Communication and Media Studies organised by London Centre for Interdisciplinary Research

Nowadays we live and breathe media, minute-by-minute, hour-by-hour. News, television, social media, celebrity culture, music, and more. As the media and communication sector becomes ever more diverse and dynamic, and we are going to consume it, we also need to understand it.

Today, the new bio-technical forms of life produced by mainstream digital media and by a whole range of artistic and non-artistic practices confront us with unprecedented theoretical questions, which can be dealt with by combining profound and perplexing perspectives. We need appropriate theoretical frameworks in order to understand the phenomena.

Media studies requires the in-depth analysis and criticism. From newspapers, radio and television, to the Internet and mobile technologies, media, communication technologies and information tools impact our daily lives in countless ways. We use them to socialize with others, to seek out or share information and entertainment and to participate in social and cultural debates. But what are media, exactly? How do media institutions and technologies impact the development of society and culture and influence our activities and behaviours?

In turn, how do users shape media? What role does the economic structure of media institutions play in shaping our relationship with them? In what ways does the organization and presentation of information influence our understanding of the world and our place in it? How are user-generated forms of media such as social networking sites, blogs, and collaborative informational sources like Wikipedia changing the modern media environment?

These are just some of the questions the conference aims to answer. It will also focus on modern communication and information technologies, and try to discover the ways they influence our lives.

The conference will bring together speakers from various fields, including mass media, film studies, games industries, political sciences, education, etc., creating closer ties and connections among scholars from different disciplines working on communication and media studies.

Papers are invited on topics related, but not limited, to:

  • Media Cultures
  • Cultural representation and power in media
  • Politics of media and media in politics
  • Censorship, affront and censoriousness in media
  • Media Theory
  • Psychology of media and communications
  • The idea of the virtual
  • Cybernetics
  • Media discourses
  • Media analytics
  • Media Technologies and Processes
  • Mass media and broadcast media: television, radio, newspapers, magazines
  • Cinema and documentary
  • Typographic media
  • Internet and online media
  • Social media
  • Media Business
  • Media management
  • Intellectual property
  • Globalization of media
  • Advertising and marketing
  • Media Literacies
  • Media education
  • Media training and workforce development

Paper proposals up to 250 words and a brief biographical note should be sent by 15 March 2020  to: media@lcir.co.uk. Please download paper proposal form.

Standard registration fee – 220 GBP               Student registration fee – 180 GBP

Provisional conference venue: Birkbeck, University of London, Malet Street, Bloomsbury, London WC1E 7HX

https://media.lcir.co.uk/

(posted 4 January 2020)


Archipelagic Memory: Intersecting Geographies, Histories and Disciplines
University of Mauritius, 4 – 6 August 2020
Deadline for proposals: 20 March 2020

Confirmed keynote speakers
Ananya Jahanara Kabir, King’s College London Isabel Hofmeyr, University of the Witwatersrand/NYU
George Abungu, Archaeologist and International Heritage Consultant Anwar Janoo, University of Mauritius

The concept of the “archipelago” has been discussed and deployed by historians, social scientists, literary and cultural studies scholars since the 1950s to dismantle linear narratives of historical, national and cultural development; to resist the taxonomy of centre-periphery; to emphasise shared human experiences premised on relation, creolisation and cultural diversity; and to inspire research and creative projects tracing discontinuous yet interlinked geographies over a planetary scale.

Taking the Indian Ocean as a principal site for investigating new meanings and experiences of the archipelagic, the conference will marshal and build upon the different strands of archipelagic thinking already engendered by the Caribbean world to explore connected histories across oceans and seas, and to instigate a theoretical dialogue on memory-production encompassing the Indian, Atlantic, Pacific and Southern Oceans and their articulated spatiality. What has been enabled and what has been precluded by thinking primarily through the model of the Caribbean archipelago and its anti- mimetic patterns of repetition and difference? What has not yet been thought of archipelagically? What if ethnic, national and geological borders are in conflict with each other, resulting in fractured archipelagic identities? How does the sea function as an imagined space that reduces or entrenches geographical and affective distance? How, indeed, does the sea enable archipelagic relations?

Simultaneously, the conference explores what it means to remember the past in the present and how to consider future trajectories in individual, collective, as well as national identities, addressing the possibilities offered by an archipelagic approach to memory, one that is mobile and dynamic as much as entangled, even surpassing island and archipelagic spaces. What, in effect, is an archipelagic memory project, and how might it contribute to memory studies? If the past is memorialised as archipelagic, as a series of fragmentary geographies, cultures and histories converging in a fluid space that might also act as a symbol for other, larger connections, how can archipelagic memory enhance continental practices of articulating the past, de-centre or contribute to traditional approaches to memory? How can archipelagic mnemonic projects be multidirectional, reparative and committed to justice, instead of competitive, suppressive or destructive?

We welcome papers and poster presentations from scholars at any point of their academic career addressing the theme of archipelagic memory. Suggested topics for papers include, but are not limited to:

Archipelagic epistemologies

  • The memorialisation of transoceanic connections, transnational movements and displacement, and cosmopolitan cultural entanglements in the archipelagic mode
  • Critical archipelagic methodologies for memory studies
  • Postcolonial studies, multidirectional memory, and the archipelago

Archipelagic memory practices

  • The thematic and symbolic dimension of archipelagic memory in literature and the arts
  • Performative memory-making in and across archipelagos
  • Non-canonical and disobedient archival practices: orality, musicality, embodied knowledge and the senses
  • Textual and symbolical translation, cultural borrowing and divergence

Archipelagic memory spaces

  • Ships, shorelines, port towns and other places where archipelagic memory is inscribed
  • Isthmuses, canals, peninsulas, and their role in increasing the sense of the archipelagic
  • National, ancestral, and imaginary homelands as archipelagic memory palimpsests
  • Trans-oceanic identification across islands and archipelagos; archipelagos as continents, continents as archipelagic

History, traumas, and archipelagic memory

  • Human and natural catastrophes in archipelagic spaces
  • Ways of remembering and moving beyond past conflicts and collective traumas across oceans and continents
  • Vestiges of the colonial past in the postcolonial archipelagic present

Memory and politics in the archipelago

  • Bilateral relations between archipelagic states, small island nations, and established or emerging continental powers
  • Maritime and territorial claims and their impact on regional stability and peace-keeping
  • Activism and its implications in the building of an archipelagic future

We invite contributions in English and French for 20-minute papers. We also invite research posters (e.g. work in progress; research findings) and creative posters (e.g. photography/poetry projects) for display, particularly from postgraduate students. Please send a 300-word abstract for papers and poster proposals, accompanied by a short bio-note (100 words) and 3-4 keywords, to: archipelagicmemory@gmail.com

Deadline for paper and poster proposals: 20 March 2020

Notification of acceptance by 31 March 2020

For more information and regular updates, please visit the conference website, http://www.archipelagicmemory.wordpress.com or contact us at archipelagicmemory@gmail.com

Conference Organisers: Sraddha Shivani Rajkomar (University of Mauritius); Luca Raimondi (CISA, University of the Witwatersrand); Linganaden Murday (University of Mauritius)

Conference Administrator: Rosa Beunel (King’s College London)

(posted 17 January 2020)


The Uncanny in Language, Literature and Culture
London, UK, 15 August 2020
Deadline for proposals: 31 May 2020

An intenational conference organised by London Centre for Interdisciplinary Research

The twentieth-century literature and culture tended to explore and to celebrate subjectivity. But this tendency did not mean the turn to the self, but beyond the self, or as Charles Taylor puts it, “to a fragmentation of experience which calls our ordinary notions of identity into question”.

In his attempts to define the uncanny Freud asserted that it is undoubtedly related to what is frightening – to what arouses dread and horror. It may be something domestic but at the same time unfriendly, dangerous, something that sets the sense of insecurity within the four walls of one’s house. “Persons, things, sense-impressions, experiences and situations which are known and long familiar arouse in us the feeling of danger, fear and even horror. Everyday objects may suddenly lose their familiar side, and become messengers”.

The uncanny suggests an unsettling of the feeling of comfort and reassurance in one’s home, but also in oneself. Architecture takes the place of psychology (Kreilkamp). The perturbed relationship between the characters and their familiar world, the troubled sense of home and self-certainty is a result of a traumatic experience of loss.

In the new literary and artistic discourse authors tend to depict the new human being, “psychologically deep and multi-layered, fragmentary, floating on sensation and consciousness, fed by their random thoughts and their half-conscious dream worlds” (Bradbury). The new style relies on fragments, breaks, ellipses and disrupted linearity of the narration. It serves to convey the idea of the fractured character of modern time and fragmentariness and allusiveness of subconscious thought. As “an externalization of consciousness”, the uncanny becomes a meta-concept for modernity with its disintegration of time, space and self.

This conference seeks to explore the representations of the uncanny in language, literature and culture. Papers are invited on topics related, but not limited, to:

  • uncanny geographies
  • uncanny technologies
  • the uncanny and visual tropes
  • the uncanny and postcolonialism
  • the uncanny and gender studies
  • the uncanny and sexuality

The conference aims to bring together scholars from different fields. We invite proposals from psychology, sociology, anthropology, literature, linguistics, etc.

Paper proposals up to 250 words should be sent by 31 May 2020 to: uncanny@lcir.co.uk.

Download paper proposal form.

Registration fee – 100 GBP

Provisional conference venue: Birkbeck, University of London, Malet Street, Bloomsbury, London WC1E 7HX, UK

https://uncanny.lcir.co.uk/

(posted 29 December 2019)


Culinary Evolutions: International Conference on Food Studies
London, UK, 22 August 2020
Deadline for proposals: 20 February 2020

Food is a basic foundation of culture and society, it is vital to our health and well-being and it plays a significant role in our everyday creative engagement with nature. The shifts in activities surrounding food acquisition, preparation and consumption are not only essential for learning a culinary tradition but for examining a broader societal change.

This conference will explore food as a complex cultural product, an indicator of social, religious and political identity. It will focus on people’s relationship with food and discuss how food choices are determined by historical period, region, class, gender, kinship and/or ethnicity.

The conference will approach the study of food across a range of disciplines such as history, sociology, anthropology, philosophy, literature, culture studies, politics, economics, medicine, biology, psychology, etc.

Papers are invited on topics related, but not limited, to:

  • Food systems and diets
  • Eating/drinking habits and etiquettes
  • Food and rituals
  • Cooking/eating spaces
  • Culinary professions
  • Food and health
  • Food and power
  • Hunger, starvation, and malnutrition
  • Dangerous foods and poisons
  • Cookbooks and food magazines
  • Culinary festivals and TV shows
  • Food in social media
  • Food as pleasure
  • Gastronomic tourism
  • Food, biodiversity and sustainability
  • Agriculture and food technology
  • Food safety and quality

Paper proposals up to 250 words and a brief biographical note should be sent by 20 February 2020 to: food@lcir.co.uk. Please download Paper proposal form.

Registration fee – 100 GBP

Provisional conference venue: Birkbeck, University of London, Bloomsbury, Malet Street, London WC1E 7HX

https://food.lcir.co.uk/

(posted 29 December 2019)


Violence and Society
London, UK, 22 August 2020
Deadline for proposals: 25 April 2020

organised by London Centre for Interdisciplinary Research

Violence has become one of the features of the present-day world, although it has existed throughout times, playing undoubtedly an important role in the development of any society. The analysis of violence is a complicated and controversial issue nowadays, as it may cover different levels – interpersonal, institutional, collective violence; as well as different forms – racist crimes, gender basedviolence, genocide etc. The conference will be an attempt to shed light on the social construction and nature of violence, applying an interdisciplinary approach to various manifestations of violence.

Conference panels will be related, but not limited, to:

  • History of violence
  • Physiology and psychology of aggression and violence
  • Violence, crimes and criminology
  • Racism, gender based violence, homophobic violence
  • Religion and Violence
  • Social norms and culture of violence
  • Domestic violence, mass violence, genocide
  • Cruelty to animals
  • Spaces of violence
  • Violence in media
  • Violent sports
  • Hate speech
  • Violence in literature and art
  • Nonviolence and pacifist movements

The conference will bring together scholars from different fields including philosophy, psychology, sociology, anthropology, history, literature, linguistics, architecture, geography and others.

Proposals up to 250 words should be sent by 25 April 2020 to: violence.society@lcir.co.uk. Download Paper proposal form.

Registration fee – 100 GBP

Provisional conference venue: Birkbeck, University of London, Bloomsbury, London, WC1E 7HX, UK

(posted 10 February 2020)