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 Septembe 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
Deadline for proposals: 31 January 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 January 31st, 2020 to: balzanow@wfu.edu

(posted 16 September 2019)


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
Deadine for abstracts: 1 February 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 February 1st 2020, 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)


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)