M@king It New In English Language Teaching
A special issue of ELOPE Vol. 14, No. 1 (2017)
Deadline for proposals: 10 January 2016
English Language Teaching is a dynamic, extensive and varied research discipline, underpinned by one fundamental question: how best to meet the needs of English learners, especially in our increasingly globalised and digitised world. This single question encompasses a host of related and inter-related issues. Please read the full cfp address here.
This special issue aims to bring together scholars, researchers and practitioners from all levels of the education system to report on and review the latest in English Language Teaching, as well as to explore potential future developments in the field.
Submissions are welcome from all subject areas of English Language Teaching, such as:
- Teacher Training and Education;
- Teaching English as a Second or Foreign Language;
- Teaching Methodology;
- Teaching Literatures in English;
- Language Teaching and Translation;
- Developments in the E-Classroom;
- Psychology in Language Learning;
- and other related fields.
A selection of papers will be published in the spring 2017 (Vol. 14, No. 1) special issue of ELOPE: English Language Overseas Perspectives and Enquiries, a double-blind, peer-reviewed academic journal that publishes original research articles, studies and essays addressing issues of English language, literature, teaching and translation. The volume will be edited by guest editors Melita Kukovec, Kirsten Hempkin and Katja Težak.
Papers of between 5000 and 8000 words in English should be submitted through the ELOPE online paper submission system. To ensure a blind review, the submitted file should not contain the author’s name or other personal data. For formatting and documentation, please see the sample paper in the attachment and Author Guidelines on the ELOPE website.
The submission deadline is 10 January 2017.
(posted 7 November 2016)
Polish science fiction and fantasy literature
Crossroads. A Journal of English Studies is looking for submissions
Deadline for proposals: 15 January 2017
While science fiction and fantasy are inarguably international genres, they have not developed in a uniform manner across the globe. The literary output of any nation is always shaped by many factors, including the country’s history, politics, and culture. This is certainly true as far as Polish science fiction and fantasy literature are concerned, since their present condition—though, undoubtedly, determined also by the achievements of foreign writers (but to what extent?)—has been affected by the nation’s difficult yet rich past, which has been reflected in the writers’ attempts at re-creating the country’s history, in the multiple references to its socio-political reality, and in the return to Slavic mythology and traditions. However, beyond the borders of Poland few of the country’s science fiction and fantasy writers have gained literary and scholarly recognition (which is, of course, due to the number of available translations). While foreign readers might be acquainted with the works of Stanisław Lem and Andrzej Sapkowski, they might know little about other noteworthy Polish writers. Which is not surprising, since not many critical publications on Polish sf and fantasy are available in English. Our work will, hopefully, satisfy that demand.
While papers dealing with the works of Lem and Sapkowski are welcome, we strongly encourage scholars to submit works related to any of the following topics:
- historical development of sf and fantasy in Poland,
- critical assessment of the present condition of Polish sf and fantasy,
- past and present trends in Polish sf and fantasy,
- success and failure of Polish sf and fantasy,
- the role of fandom and popular magazines in the development of Polish sf and fantasy,
- Polish sf and fantasy in translation,
- comparative analysis of Polish and American/English sf and fantasy,
- reception of American/English sf and fantasy in Poland,
- reception of American/English literary criticism on sf and fantasy in Poland,
- religious, gender, racial, social, political, etc. dimensions of Polish sf and fantasy,
- critical analysis of the works of Jacek Dukaj, Elżbieta Cherezińska, Janusz A. Zajdel, Jerzy Żuławski, Marek Oramus, Marek S. Huberath, Maja Lidia Kossakowska, Andrzej Pilipiuk, Jacek Piekara, Robert M. Wegner, Anna Kańtoch, Anna Brzezińska, and other Polish writers of sf and fantasy.
Schedule
- January 15, 2017 – deadline for submitting abstracts (200-300 words)
- January 30, 2017 – notice of acceptance
- April 30, 2017 – deadline for submitting full papers (guidelines for authors will be provided)
After the papers receive a positive review, we will proceed with editing, proofreading, and publishing.
Please send your questions and submission to: crossroads.sfandfantasy@gmail.com
The theme issue will be guest-edited by Weronika Łaszkiewicz, Mariusz M. Leś, and Sylwia Borowska-Szerszun who are part of the research team “Wymiary Fantastyki” established at the University of Białystok. You can visit them at: http://fantastyka.uwb.edu.pl/
Crossroads. A Journal of English Studies is a peer-reviewed electronic quarterly published by the Department of English at the University of Białystok. The journal welcomes contributions on all aspects of literary and cultural studies (including recent developments in cyberculture), linguistics (both theoretical and applied), and intercultural communication. The aim of the journal is to provide a forum for interdisciplinary research, inquiry and debate within the area of English studies through the exchange, crisscrossing and intersecting of opinions and diverse views. The electronic version of Crossroads. A Journal of English Studies is its primary (referential) version. The journal has received 6 points in the listing of scholarly journals issued by the Polish Ministry of Science and Higher Education. For details about the journal visit: http://www.crossroads.uwb.edu.pl/
(posted 17 October 2016)
The Routledge Companion to Women and the Ideology of Political Exclusion
To be publishesd in 2017-18
Deadline for proposals: 15 January 2017
We are seeking contributions for The Routledge Companion to Women and the Ideology of Political Exclusion, edited by Tatiana Tsakiropoulou-Summers (The University of Alabama, USA) and Katerina Kitsi-Mitakou (Aristotle University of Thessaloniki, Greece), to be published by Routledge in 2017-18.
The Companion aims to address the issue of women’s political exclusion throughout the centuries and across cultures and societies from an inter- and multidisciplinary perspective. Taking as a point of reference the earliest configurations of democracy in classical Athens, in which women were not allowed to participate actively in its design and practices, and moving on to the modern times, the book will examine how exclusions of women are created within the very same discourses of inclusion, as well as how ancient biases are recycled, questioned, or cancelled in modern societies. Despite women’s increasing participation in politics today and their open access to political life, there are still insurmountable barriers to gender equality and in many cases formal political equality veils continued exclusion or oppression. The essays will explore the idea of different types of women’s ‘political exclusion’ in a variety of contexts: in relation to civic rights, national belongings, identity politics, socio-economic human rights, etc., and will raise issues about the nature of democratic politics or the (in)stability of the term democracy. We are particularly interested in contributions that consider how gender exclusion intersects with a number of other parameters such as race, class, ethnicity, age, sexuality, disability, etc., which complicate women’s assimilation to a state imperative.
We especially welcome proposals for essays that focus 1) on countries around the globe which constitute paradigmatic cases as far as women and civil/social rights are concerned (for ex. Scandinavia, Australia, etc.), 2) on comparing diverse models of exclusion/inclusion in different countries/societies/cultures, and 3) on the inherent contradictions and ambiguities of the latest debates about women’s exclusion (such as, the clash between state policies of inclusion and socio-cultural and functional constraints that put limits on women’s individual and collective agency [for ex. the case of burkini], the pressure put on women that belong to ethnic minorities, refugee or immigrant groups that have been affected by Exclusion Acts, the latest American elections, etc.).
Please send a 500-word proposal and a short biographical note by email attachment to both Katerina Kitsi-Mitakou (katkit@enl.auth.gr) and Tatiana Tsakiropoulou-Summers (tsummers@ua.edu) by January 15, 2017.
(posted 31 October 2016)
The Subject of Criticism
A volume in an edited collection
Deadline for proposals: 15 January 2017
We are told that the humanities are suffering a downturn. Even as critical thinking, analysis, and compassionate assessment—the backbones of the humanities education—are in high demand now more than ever, the world of the academy outside of science and technology continues to experience cuts, downsizing, and general devaluation. Digital Humanities has been one proposed remedy, yet their increasing popularity has paradoxical implications for the humanities at large: rather than challenging the scientistic epistemology, they perpetuate it by subjecting the arts to the empiricist’s analytical toolkit.
This critical collection is one move toward regeneration that does not attempt to redress the arts and humanities, but rather strives to revitalize them in their acute responsiveness to the social conditions that shape our lives. In particular, we are concerned with re-injecting subjective experience into academic and critical writing about the arts, since it is here that such writing has both its locus and its effect. Our gambit is that insisting that academic and critical writers inhabit, avow, and reveal their “I” will do far more to re-energize the humanities than further inhibiting the place of lived experience in critical writing.
We seek authors who will write both from within their particular area of specialization—whether in literature, philosophy, history, the arts, or other fields in the humanities—and from within their own personal story. Most broadly, we are looking for the narratives that are both originary to, and that stem from, the critical experience: to bring together categories that tend to be held apart (the personal and the professional, the historical and the topical, the popular and the academic), to make manifest the stories that are so often repressed by academic and critical writing, and to reveal the urgency of our own personal investments in the humanities.
Possible forms of narrative might include:
- A personal story and how it has influenced or intertwines with scholarly or critical subject of choice
- A story of an encounter with a subject of critical inquiry: what it was like to read a particular text, view a particular work of art at a particular time, work on a particular historical problem, etc.
- An experience teaching a particular text, subject, or cultural object
- A narrative about why a seemingly obscure academic subject is relevant to one’s own life and contemporary life more broadly
- A comparison between a personal event or story and a work of literature, art, historical writing, etc
- A comparative assessment of “high” and “low/popular” forms of particular personal and scholarly investment (for example, “Haiku and Twitter”)
- A theoretical reflection on the state of criticism or the humanities today
Please send abstracts of approximately 250 words to Alison Annunziata (annunziata06@gmail.com) and Emma Lieber (elieber14@gmail.com) by January 15, 2017.
(posted 10 December 2016)
The Animalizing Literature
Cfp for an edited volume of collected critical essays
Deadline for submissions: 31 January 2017
Submissions are sought from scholars, research aspirants and animal advocates
The rise and expansion of Animal Studies over the past decades can be seen in the explosion of various articles, journals, books, conferences, organizations, courses all over the academic world. With the publication of Peter Singer’s Animal Liberation in 1975 and Tom Regan’s The Case for Animal Rights in 1983, there has been a burgeoning interest in nonhuman animals among academics, animal advocates, and the general public. Interested scholars recognize the lack of scholarly attention given to nonhuman animals and to the relationships between human and nonhuman, especially in the light of the pervasiveness of animal representations, symbols, and stories, as well as the actual presence of animals in human societies and cultures.
Animals abound in literary and cultural texts, either they are animals-as-constructed or animals-as-such. However, we can approach any literary text from a theoretical lens where the representation of nonhuman animals are main operative analytic frame. In literature nonhuman animals are given titular role, they carry symbolic function, they speak human language and so on. But these create problematics and bear the politics of representation.
Proposals for articles on topics relevant to this collective volume may include, but are not limited to:
- HAS or CAS or Anthrozoology
- Animals and Animality Studies
- Animal Studies and Ecocriticism
- Animal ethics and Literature
- Darwinism and Literary Animals
- Posthumanism and Literary Animals
- Womanimalia (woman = animal)
- Animal alterity in Literature
- Postcolonial animal
- Politics of Animal representation
- Anthropomorphism
- Meat eating, fishing and farming in Literature
- Pets and zoo animals in Literature
Contributors have liberty to choose literary texts for their case study, but the papers must theorize the major presence of nonhuman animals in the selected texts. Papers should be around 3000 words following the latest MLA style sheet and must have abstract of 250 words with keywords, relevant end notes, references and authors’ bio-note.
There is NO publication fee. Each contributor will be provided one complimentary copy in April, 2017.
Papers will be scrutinized thoroughly and checked for potential unethical practices. Selected papers will be collected in a book (with ISBN) to be published by a reputed publisher in India.
Submission Deadline: 31st January, 2017.
Submit to: studiesanimal@gmail.com
(posted 12 December 2016)
Sound/Theatre: Sound in Performance
Issue # 16 of Critical Stages/Scènes critiques (December 2017)
Deadline for proposals: 1 February 2017
http://www.critical-stages.org
International Association of Theatre Critics / Association internationale des critiques de théâtre
a/s Jean-Pierre Han, 27, rue Beaunier, 75014 Paris,France
http://www.aict-iatc.org
ISSN 2409-7411
Special Issue Editor: Johannes Birringer (DAP-Lab)
Overview
Inspired by recent productions in theatre and dance as well as by scholarly attention given to an acoustic/sonic turn in recent years that is closely linked to the growth in scenographic and design studies, this special issue of Critical Stages (number 16, December 2017) will focus on sonification/musicalization of the stage environment, generative sonic processes, theatre aurality, music theatre/opera, digital performance and sound design.
Looking at a widening arena of composed theatre as well as interactive and sonic installation art, we encourage vigorous debate on emerging concepts of rhythmic spaces, resonant dramaturgies, audiophonic scenographies, vibrational theatres, multisensory atmospheres in performance.
Many creative processes today (enhanced by diverse technologies and ever-changing techniques) gather momentum, in which audible, but also tactile, haptic and/or visible dynamics, actions, atmospheres and traces are recreated, without that theories of affect and perception have yet fully defined or explored the contours sound affords for the spectators/listeners, especially if interactions unfold within the area of the non-verbal and beyond alignment with signs, narrative threads.
We are also interested in hearing from practitioners who work in collaborative production on such contouring.
This issue invites a broad range of interdisciplinary perspectives drawn from compositional processes and production aesthetics as well as from investigations into the perception of the interplay of analogue/digital, instrumental/vocal, and musical or noise-sound, or various manifestations of sound design and sonic scenographies.
Key Themes:
The issue will approach the role of sound in performance/performance of sound with the following general headings in mind:
- Practices
- Sonic Design/Sonic Scenography
- Vocabularies
- Experiences
- Acoustic Ecologies
- Aesthetics and Politics
Length of papers: maximum 4000 words
Proposals: 1 February 2017
First drafts: 1 August 2017
Publication date: December 2017
All proposals, submissions and enquiries should be sent to:
Johannes.Birringer@brunel.ac.uk
(posted 22 November 2016)
Psychopharmacology and British Literature: 1650 to 1900
An edited volume to be published by Palgrave
Deadline for abstract submissions: 1 February 2017
Natalie Roxburgh, Jennifer Henke
Contact email: natalie.roxburgh@uni-siegen.de, j.henke@uni-bremen.de
Psychopharmacology and British Literature, 1650 to 1900, an edited volume to be submitted for consideration in the series Palgrave Studies in Literature, Science, and Medicine, is now inviting submissions. This volume’s aim is to bring together multi- and interdisciplinary perspectives on plant-based and/or chemical psychoactive substances that were new to contemporaries. Essays will investigate the time period of 1650 to 1900, the period in which psychoactive drug use, which had always been a part of cultural practice, became intensified partly because of colonial exploration and bio-prospecting but also because of the rise of pharmacological sciences and the advent of synthetic organic chemistry in the eighteenth century.
Rather than focusing on biographies of writers who used drugs as many scholarly inquiries already have done, papers in this volume will emphasize 1) the literary representations of drugs in British literature and 2) the contexts in which they were sold, used, and understood to work on the human brain and body.
We welcome contributions on psychoactive substances ranging from, but not limited to: new types of alcohol, opium, morphine, cannabis, coca, laudanum, tobacco, coffee, tea, chocolate, and sugar.
Possible angles include:
- the aesthetics of intoxication
- new approaches to psychopharmacological medicine in literature
- literature and the history of addiction
- new contexts for the biochemistry of drugs as represented in literature
- social attitudes towards drug use as represented in literature
Please submit a 500-word proposal to natalie.roxburgh@uni-siegen.de and j.henke@uni-bremen.de by 1 February 2017.
Acknowledgement of accepted proposals will be given by 1 March 2017. For those invited to contribute to the volume, completed essays of 5000-6000 words will be due by 1 September 2017. Please follow MLA style for in-text documentation and bibliography.
(posted 6 January 2017)
Staging (inter)generational conflicts, crises and discord
Book proposal and call for abstracts:
Deadline for submissions: February 15, 2017
Editor: Dr Katarzyna Bronk, Faculty of English, Adam Mickiewicz University, Poznan, Poland
contact email: kbronk@wa.amu.edu.pl
Samuel Johnson wrote in The Rambler: “This one generation is always the scorn and wonder of the other, and the notions of the old and young are like liquor store of different gravity and texture which never can unite” (in Ottaway 2016: 2.35). His comments, from 1750, were connected to the changing perception of ageing as well as the new dynamics and power play developing between members of the ‘new’ and the ‘old’ generations. This is in contrast to the ideal/idealised situation where “intergenerational relations are best characterized as relationships of reciprocity, differently balanced on both sides at different stages of life according to need” (Thane 2000: 12). Johnson was alluding to a crisis in intergenerational relationships, a concern that he was not alone in. Daniel Defoe likewise noticed that “There is nothing on Earth more shocking, and withal more common, in but too many Famillies, than to see Age and Grey Hairs derided, and ill use” (Protestant monastery). Both writers were openly hinting at intergenerational conflict and this is despite a more empathic attitude towards one’s elders that is said to have developed in the eighteenth century. Naturally, intergenerational contention is not limited to the past as, even quite recently, Brexit revealed the deep-running ‘Us’ versus ‘Them’ divide, juxtaposing young(er) and the old(er) people, millennials and baby boomers, sons/daughters and the parents, and the newer and older immigrants (Brexit saw various forms of hierarchisation of immigrants), etc.
Literature has proved to be an effective medium for presenting, analysing and often offering ways of resolving real or fictional conflicts between age and youth, the “old” and the “new”. Drama, in its textual or performative form, proved even more forceful and imaginative, and theatre has additionally allowed for an almost three-dimensional exploration of various intergenerational dynamics, most often reified as crises and conflicts running additionally along intersectional lines of age, gender, race, class or religion. British drama has always been very sensitive to sociopolitical transformations, often allegorising public or national crises as private conflicts between family members. Thus, for example, youth conquers old(er) age in Renaissance family-themed plots; younger and more progressive characters triumph in Restoration political heroic tragedies or libertine comedies; the aged, more experienced heroes/heroines reclaim the virtue and dispense punishment in eighteenth-century sentimental and affective drama; the Angry Young (Wo)Men blame the earlier generations for ruining their chances for happiness; Oedipal (and Jocastian) crises tear families from the inside; cultural and sexual revolutions embold and enfranchise daughters and sons who question the rules of normativity of their parents’ generations; and, more recently, sons and daughters reject the cultural and religious values cherished by their parents and choose more traditional but also extremist ways of living
We wish to propose a book on these and various other ways and means of presenting, dramatising and staging (inter)generational crises, struggles and conflicts (and their possible solutions) in British theatre and drama across centuries. We invite abstracts (max 500 words) on various shades of staged and dramatised conflicts between the old and the young (age vs youth), the new and the old, etc. Interested authors are kindly asked to send their abstracts by 15th February 2017 to dr Katarzyna Bronk (kbronk@wa.amu.edu.pl and bbronkk@gmail.com). If accepted by the editors, selected abstracts will be collated into a thematic collection and proposed to a publisher. Upon acceptance by the publisher, the authors will be asked to write full versions of their papers. The book’s tentative title is: Dramatic Intergenerationality: Staging conflicts, crises and generational discord.
(posted 23 December 2016)
The Green World in Contemporary Poetry and Philosophy: Mapping Nature in the Twentieth and Twenty-First Centuries
Deadline for proposals: 1 March 2017
A volume edited by Leonor M. Martínez Serrano and Cristina M. Gámez-Fernández
Email addresses: l52masel@uco.es and cristina.gamez@uco.es
Deadline for abstract submissions: 1 March 2017.
Notification of acceptance: 31 March 2017.
Submission of full chapters: 1 October 2017.
Since the very cradle of civilization, Nature has been one of the secular concerns of poetry and philosophy. In a classic like Walden; or Life in the Woods (1854), Henry David Thoreau said: ‘I went to the woods because I wished to live deliberately’. The woods would make him whole again; solitude and Nature would reactivate a claritas of mind in him that had apparently been overshadowed by human commerce. About a century later, Ezra Pound sang in The Cantos: ‘Learn of the green world what can be thy place / In scaled invention or true artistry’ (81/541), aware as he was of the fact that the world is a subtle ecology of vast dimensions that needs our attention and respect. The green world was particularly pervasive in European Romantic poetry, which looked at Earth from a pristine standpoint, but its presence has continued unabated in 20th- and 21st-century literature, particularly in poetry and in prose writings concerned with understanding the natural world as opposed to the man-made world. At a time of worrying environmental degradation at a global scale, it is a matter of the utmost urgency to go back to poetry and philosophy to see how these most ancient modes of thinking (or instruments of mental production, as Northrop Frye puts it) are responding to one of the contemporary wicked problems that human societies are facing worldwide. Finding a solution to these global problems requires huge doses of creativity, cooperation and solidarity at a planetary level. Poetry and philosophy never give up on their call to shed some sort of temporary light on Nature and the human condition. In its forceful and disinterested search for truth, poetry remains intact and pure amid the dissonance of our ferociously post-capitalist world and/or denounces violence against it intensely through its verse, on occasions twisted and/or damaged too. Aware of how central Nature is to their epistemological enterprise, contemporary poets still feel there is something indecipherable at the core of the green world that must be tackled with intellectual and artistic alertness. Similarly, contemporary philosophers appear to address this century-old concern with how humans interact with the natural world, as well as the environmental crisis we are going through. Over 2500 years ago, the Pre-Socratic philosophers themselves were naturalists and ecologists avant la lettre, at a time when there was no point in drawing a clear-cut boundary between poetry, philosophy and ecology. The ultimate lesson is crystal clear: life is but an interdependent continuum of subtle modulations and so, by understanding Nature, humans will understand themselves, and by understanding themselves, they will understand their place within the larger scheme of things. In this sense, both poetry and philosophy represent powerful inquisitive tools to map the green world and render it comprehensible to the human mind.
We seek contributions that explore how contemporary poetry and philosophy address Nature and human beings’ relationship with the natural world. Both theoretical and practical approaches, as well as different critical stances are welcome. The following themes (or other pertinent topics related to the object under scrutiny) are of interest to the volume:
- representations of the green world in contemporary poetry written in English in the postcolonial world (in the UK, Ireland, USA, Canada, South Africa, India, Australia, etc.);
- poems & poets dwelling on the lessons of the green world;
- Nature as a polyphonic place and poetry for multiple voices;
- poets as literary critics fathoming Nature in their prose (non-fiction) writings;
- the green world as an idyllic place (home) vs. the green world as a hostile, alien place (other);
- new forms of pastoral;
- walking and hiking, mountains and trees, rivers and oceans, etc. in 20th- and 21st-century poetry;
- overlapping between Literary Criticism and Nature;
- the insights of contemporary Philosophy: philosophical approaches to Nature and ecological thinking;
- Nature as locus or luogo d?incontro for interdisciplinarity and transdisciplinarity;
- anthropocentrism vs. biocentrism;
- Nature as nonhuman entity vs. Nature as cultural construct;
- portraits of environmental Armageddon: global warming, climate change, political and societal implications thereof;
- the natural world as commodity to be exploited in post-capitalist societies and neoliberal economies.
Prospective authors are invited to submit abstract proposals consisting of a title and a 500-word summary by 1 March 2017. Proposals should also include the following information: author’s name, institutional affiliation, email address, and a 250-word CV. Authors will be notified of their paper proposal acceptance by 31 March 2017. Full chapters (5000-7000 words) will be expected by 1 October 2017. Both abstracts and full chapters must conform to the latest MLA style sheet guidelines and be sent as Word files to l52masel@uco.es and cristina.gamez@uco.es. Selected essays will be compiled in book format and the volume will be published by a prestigious international publisher still to determine in 2018.
(posted 20 December 2016)
Authorial Literary Translation
A special issue of Poli-Femo
New extended deadline for proposals: 20 October 2017
The study of any national literary system cannot exclude a comparative approach and an investigation into the function of translations. Our aim in this monographic issue is to study works translated by leading writers in international literary cultures (not exclusively European), and then analyse the role of these translations in the formation of supranational literary canons.
The leading writers of various literary traditions have in fact very often translated foreign works themselves by turning, on occasions, to translation as a fundamental practice for personal enrichment to creative and stylistic ends.
However widespread this practice may be, it has nevertheless been underrated and, despite the importance given to this phenomenon by a variety of scholars, up to now only a few isolated studies have been carried out on the subject.
Research has shown that there is a European (and not only) community of writers who, through the means of translation, now often share certain tones, structures, symbols and images. We will investigate how the practice of translation is echoed in the works of these writers, and we will try to define the network of interferences that have influenced their works and their national literary tradition.
In this sense, authorial translations have also shown themselves to be a useful way of enriching the literary target language, as it often acts as a response to a need for renewal, and this particular confrontation with the foreigner represents a phenomenon of fundamental importance which has led to interaction between literary traditions.
It is therefore our intention to analyse the practice of translation also as an essential step in the creative process.
Why and when does a writer decide to translate? Which authors or works do they choose to translate and why? What are the dynamics that arise between the writer and the translator? And, above all, how much remains of the translation in the writer’s subsequent work? What are its effects on the canon, culture and receiving language?
It is only by finding an answer to these questions that we will be able to explain the real connections between the individual national systems.
The topics that may be presented will take into consideration:
- Translation of poetry. In order to understand how forms, styles, signs and meanings of one nation’s literature have influenced, through authorial translations, the different national poetical traditions. Studies may take into consideration, amongst others, Baudelaire, Chateaubriand, George, Leopardi, Mallarmé, Fenoglio, Montale, Nerval, Ungaretti, Goethe, Rilke, George.
- Translations and the avantgarde. Avantgarde writers have often turned to translating to overcome a technical impasse or to unearth a resource in the foreign work that can be used to renew their own literary tradition. Contributors could study the role that translating played for the authors of some important avantgarde movements (within a European context, but without necessarily being limited to it, we can think of the avantgarde in 1930’s Italy, or the “Generación del 27” in Spain with Guillén, Salinas and Alonso).
- Translations and minority languages. Contributors could look at the role that the translation of works originally written in minority languages plays for authors of national literatures, as a resource for enriching national literary languages.
- Translation and migration. A possible area of research could be contemporaneity, with reference to migrant authors, who are now an essential element of international literary culture.
- Translations and images. Other potential areas of research could be the way some literary images travel from one nation to another through the translations of writer-translators, analysing their work also from the point of view of language reception and the effects of “the merging of horizons” on the receiving culture.
- Novels translated by novelists. Contributors may wish to analyse the dynamics of interference and influence that the practice of translation has had on the communication of forms and structures typical of the tradition of the European novel (M. Yourcenar, reread in the light of translations by V. Woolf and H. James, as well as the effects Gide’s translations, from Goethe to Conrad, had on the French writer-translator’s own works). It is not expected, however, that contributors will limit their investigation only to the European literary tradition.
- Theorists, writers, translators. In some cases theoretical reflections on translating have constantly accompanied the translations and “own” works of writer-translators. Contributors could look at the theoretical works of these authors, with the main focus on contemporaneity (Y. Bonnefoy, translator of Shakespeare, Petrarch and Leopardi; J. Risset, translator of Dante) or the past, in order to understand, through these reflections, further aspects inherent in authorial translation.
- Authorial translations and the publishing market. We will also look at some of the dynamics of the market linked to the translations of writer-translators. We will analyse, for example, the reasons behind the creation of collections such as Poeti stranieri tradotti da poeti italiani (“Foreign poets translated by Italian poets”) (Scheiwiller), and Scrittori tradotti da scrittori (“Writers translated by writers”) (Einaudi). We will also analyse publishing promotions in a context of works translated by writers.
Other proposals for study on the subject put forward by those intending to collaborate in the publication will be scrupulously examined by the Scientific Committee, in order to widen the field of exploration undertaken in this issue of the Journal. Proposals for contributions will be accepted in Italian, English and French.
To this end, the Editorial Board propose the following deadlines, with an essential preliminary step being the sending, to redazione.polifemo@iulm.it of an abstract (min. 10/max. 20 lines) and a short curriculum vitae of the proposer, by and absolutely no later than 20 October 2017 (new extended deadline).
Authors will receive confirmation from the Editorial Board of acceptance of their contributions by 10 December 2017. Contributions shall be delivered on 31st March 2018. All contributions will be subject to a double blind peer review. The issue, edited by Prof. Paolo Proietti and Dr. Francesco Laurenti, will be published in December 2018.
(posted 7 February 2017, updated 13 August 2017))
The Politics of Location: Feminist and Queer Spaces within Global Contexts
A special issue of Gramma/Γράμμα: Journal of Theory and Criticism (2018)
Deadline for proposals: 15 March 2017
For this special issue of Gramma/Γράμμα: Journal of Theory and Criticism (2018) we invite you to submit papers focusing on what Adrienne Rich termed “the politics of location.” Papers may examine theoretical, literary, and, more broadly, artistic explorations of various kinds of location (for example, in addition to location, allocation, dislocation, relocation). How do cultural, economic, historical, and political legacies, as well as material conditions, inform or produce the movement of bodies across various spaces (for example, textual, media, geographical, temporal, embodied, relational)? How does such movement shape the definition, recognition, viability, and value of those bodies? How have changing conceptions of space produced and reshaped understandings of gender, sex, sexuality, ethnicity, race, disability, and class? Relatedly, in what ways does the body become the site where individual, local and global intersections take place?
Contributions may analyze works from any time period or engage with readings across times and cultures. Topics may include the following:
- digital embodiments and cybersexualities
- new media spaces as counter-geographies
- the globalization of erotic spaces
- race and class questioning within and against feminist and queer geography
- postcolonial locations and bodies
- decoloniality
- feminist politics in local/global frameworks
- transnational activism and body rights
- human trafficking
- migrations
- refugee crises
Proposals (500 words) and a short/abbreviated curriculum vitae should be sent to Margaret Breen (Margaret.Breen@uconn.edu) and Katerina Kitsi-Mitakou (katkit@enl.auth.gr) by March 15, 2017 (drafts will be due by August 1, 2017).
Gramma/Γράμμα: Journal of Theory and Criticism is an international journal, published in English and Greek once a year by the School of English, Aristotle University of Thessaloniki, in collaboration with the Publications Department of the university. It welcomes articles and book reviews from a wide range of areas within the theory and criticism of literature and culture. Of particular interest to the journal are articles with an interdisciplinary approach. Each individual issue has guest editors and is devoted to a subject of recent cultural interest, with book reviews relevant to the topic. All manuscripts are subject to blind peer review and will be commented on by at least two independent experts.
For more information about the journal, visit http://www.enl.auth.gr/gramma/index.html .
(posted 3 September 2016)
Media and Emotions. The New Frontiers of Affect in Digital Culture
A special issue of Open Cultural Studies / De Gruyter Open
Deadline for proposals: 30 March 2017
Editors: Professor Toby Miller (UC Riverside, USA), Dr. Anna Malinowska (University of Silesia, Poland)
The intervention of digitalism and the new media into “a whole way of life” (Williams 1960) has had a significant effect on human emotions and the ways we express and experience feelings in daily interaction . The focus of this special issue is the new media and emotion, analyzed in relation to changing life environments and human emotional interactions. We invite papers that will re-examine the relationship between new media forms, media-ridden realities, and emotional structures (interactions, reactions, affordances etc.) with respect to cultural processes examined from a myriad of scholarly perspectives and methodological approaches.
Suggested topics include: Feelings and the (post)-Anthropocene: emotional interactions between human beings, the natural environment, and non-human technologies; Changes of emotional practice / perception: new sensory dimensions and bodily reactions (non-contact interactions etc. Emotions as objects expressed in new technologies. Affective experiences with the new media; Technologies of emotions / emotions in technologies; Emotional labor and the service industries, from goldmining on-line games to virtual sex work; The commodification and governance of feelings; The relationship between affect theory, phenomenology, and the psy-function (psychoanalysis, psychology, and psychopharmacology; How media-effects models construct the relationship between new media and emotions; The use of feelings discourse in journalism, political communication, and social conflicts
Proposals of 500 words followed by a short bio, listing qualifications and publications, should be submitted to izabella.penier@degruyteropen.com by 30 March 2017.
(posted 20 January 2017)
Desire and the ‘Expressive Eye’ in Thomas Hardy
FATHOM, the electronic journal of the French association for Thomas Hardy Studies
New extended deadline for proposals: 15 April 2017
FATHOM (French Association for Thomas Hardy Studies, http://fathomhardy.fr/) seeks essay submissions on “Desire and the ‘Expressive Eye’ in Thomas Hardy”.
The selected essays will be published in FATHOM, the electronic journal of the French association: http://fathom.revues.org/
Essays can also be examined with a view to publication in The Hardy Review, the American paper journal edited by Rosemarie Morgan and published by the Thomas Hardy Association (http://thethomashardyassociation.org/).
Proposals of 300 words with a short bio are due by 15 April 2017 (new extended deadline). Final papers are due by June 30 2017.
The FATHOM stylesheet is available at : http://fathom.revues.org/482
Please send the submissions to:
– Isabelle Gadoin isabelle.gadoin@univ-poitiers.fr
– Annie Ramel annie.ramel@gmail.com
Thomas Hardy has inspired critics with an interest in the visual arts: many of his texts can be read as “iconotexts”, i.e. as texts with a powerful “painting effect”, even in the absence of any direct reference to painting (L. Louvel). His style, with its characteristic “verbal-visual effects” (J. B. Bullen), owes much to Ruskin and Turner. Desire is another theme which has found its way into major criticism of Hardy’s work—the first item in the series being J. Hillis Miller’s Distance and Desire.
This publication will explore the relation between desire and the gaze in Hardy’s work. In Under the Greenwood Tree for instance, desire is kindled by the sight of a woman, “Miss Fancy Day”, framed within the quadrangolo of her window: the “window of fantasy” (Lacan) opens onto a world of dreamings and yearnings. But the gaze in Hardy’s fiction can also have a lethal power. The “evil eye” looking at Mrs Yeobright through a window-pane in The Return of the Native causes her to meet her doom on the heath: she has been “overlooked” by her daughter-in-law, just as Gertrude is “overlooked” by Rhoda Brown in “The Withered Arm”. Is the eye, then, an “expressive eye” (J. B. Bullen), which makes manifest the “positive, dynamic and productive dimension of desire” (J. Thomas)? Or is it felt as a menace, like the “oval pond” in Far from the Madding Crowd, which glitters “like a dead man’s eye”? Is it full of voracity, intent on devouring whoever comes under its spell?
We will welcome proposals opening new directions in Hardy criticism, linking the desiring subject and the power of the gaze. Studies can focus on the stories told by Hardy, but also on the writing process: on the power of the written word, which is “to make you hear, to make you feel—[…] before all, to make you see!” (Joseph Conrad, Preface to The Nigger of the Narcissus). And how does Hardy the writer manage to turn to good account the power of the gaze in his texts? We welcome essays on any of Hardy’s writings (novels, short-stories, poems, etc.).
BULLEN, J. B.. The Expressive Eye, Oxford: Clarendon Press, 1986.
LACAN, Jacques. The Seminar, Book XI: The Four Fundamental Concepts of Psychoanalysis, translated by Alan Sheridan, Penguin Books, 1979.
LOUVEL, Liliane. Poetics of the Iconotext, edited by Karen Jacobs, translated by Laurence Petit, Farnham: Ashgate 2011.
MILLER, Joseph Hillis. Thomas Hardy: Distance and Desire, London: Oxford University Press, 1970.
THOMAS, Jane. Thomas Hardy and Desire: Conceptions of the Self, Basingstoke: Palgrave Macmillan, 2013.
(posted 6 January 2017, updated 14 March 2017)
Literature and Psychology: Writing, Trauma and The Self
An edited volume
Deadline for proposals: 31 March 2017
Centuries ago, Aristotle fashioned a term that brought literature and psychology face to face: catharsis (psychological or mental purification of the feelings). From that time onwards, literature and human psyche have been correlated either by various writers, philosophers, critics, or by means of several techniques or movements. Not only was it tragedy that combined the elements of psychology with literary production, it was also novel, poetry, short story and even some psychoanalytical theories that brought psyche and literature together. There has always been a mutual partnership of the two: psychology of men and literature of men. It was Sigmund Freud, for instance, who introduced Oedipus complex from what Sophocles held as the plot of Oedipus the King. It was Samuel Richardson who carried the earlier features of sentimental novel and the early flashes of psychological novel through his Pamela. It was Henry James who borrowed the stream of consciousness technique from psychology and introduced it to be used in literature, and then was subtly employed by James Joyce in Ulysses and by Virginia Woolf in Mrs. Dalloway. Charles Dickens, with his famous industrial novel Great Expectations, reflected the well-established norms of psychological realism. George Bernard Shaw’s Pygmalion was named after the mythological figure of Greek Pygmalion, and the name was also adapted into the Pygmalion effect to emphasize the observable phenomena related to the psychology and performance of men. Similarly, Vladimir Nabokov’s Lolita became a focal work that impacted the birth of Lolita complex. Friedrich Nietzsche’s ubermensch (just as it is employed by Bernard Shaw in Superman), MartinEsslin’s theatre of the absurd (employed by Samuel Beckett in Waiting for Godot), Antonin Artaud’s theatre of cruelty (employed by Edward Bond in Saved) and etc. all could be tackled in terms of interrelation of human psyche and literariness.
Psychology has also some observable impacts on the writer’s writing skill. Causing extreme changes in mood, bipolar disorder is addressed by many critics to be the central origin behind creativity. Such writers and critics as John Ruskin, Virginia Woolf, Edgar Allan Poe, Alan Garner, Hams Christian Anderson and Sherman Alexei among others are known to have bipolar disorder that impacted their literary creativity. Feminist urges also produced the female creativity within some genres of literature. It was Emily Dickenson, Elizabeth Barrett Browning, Virginia Woolf, George Eliot, and Bronte Sisters that embraced the psychology of the power of female creativity on the way to writing. For that reason, psychology and literature live in each other’s pockets.
This proposal suggests a forum of differing ideas on the link between literature and psychology, psychology of writing, traumatic literature, the construction of the Self within literature, the psychology of characterization, psychoanalytical approaches, and the psychology of literary creativity.
The topics of interest include but not limited to the following titles:
- Psychology of Literature
- Literature of Psychology
- Psychology and literary genres
- Psychological theories and movements
- Traumatic literature
- Literature and psyche
- Auto/biography and psyche
- Psychoanalytical approaches
- The psychology of Self and Literature
- The Psychology of Writing
- Trauma and Writing
- The Self and Writing
- Psychology and Creativity
Submission ProcedureResearchers and practitioners are invited to submit on or before March 31, 2017, 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 April 30, 2017 about the status of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by October 30, 2017, and all interested authors must consult the guidelines for manuscript submissions at http://www.cambridgescholars.com/t/AuthorFormsGuidelines 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, Cambridge Scholars Publishing. All manuscripts are accepted based on a double-blind peer review editorial process.
Publisher: This book is scheduled to be published by Cambridge Scholars Publishing, UK. For additional information regarding the publisher, please visit http://www.cambridgescholars.com/. This publication is anticipated to be released in 2018.
Important Dates
- March 31, 2017: Proposal Submission Deadline
- April 30, 2017: Notification of Acceptance
- October 30, 2017: Full Chapter Submission
- December 30, 2017: Review Results Returned
- January 30, 2018: Final Acceptance Notification
- February 15, 2018: Final Chapter Submission
- April 15, 2018:Manuscript delivery date
Inquiries
Editor’s Name: Önder Çakırtaş
Editor’s Affiliation: PhD, Assistant Professor, Bingol University (Turkey), Department of English Language and Literature
Editor’s Contact Information
Bingöl Üniversitesi
Fen Edebiyat Fakültesi
Oda No:D2-8 12000 Bingöl/TÜRKİYE
callforliteraturepapers@gmail.com
cakirtasonder@gmail.com
(posted 7 February 2017)