The Future of Education, International Conference
Florence, Italy, 1-2 July 2021
New extended deadline: 31 March 2021
All accepted papers will be included in the Conference Proceedings published with ISBN, ISSN, DOI and ISPN codes.
The publication will be sent to be reviewed for inclusion in the Conference Proceedings Citation Index by Thomson Reuters (ISI-Clarivate). The publication will also be included in Academia.edu and indexed in Google Scholar.
Make your contribution to innovation in Education, SUBMIT your paper now.
The event will be hybrid: both in Florence, Italy and online
(posted 19 October 2020, updated 26 March 2021)
The Sovereign Erotic: 42nd American Indian Workshop in association with Transmotion journal
Conference to take place online: 12-17 July 2021
Deadline for proposals: 8 January 2021
Proposals are invited for the 41st annual AIW conference, organized by European University Cyprus in association with Transmotion journal, to be held from 12-17 July 2021. Papers are, as always, welcome on any topic in any discipline, though distinct priority will be given to papers that speak to the conference theme. Following the conference, a special issue of Transmotion will be dedicated to articles developed from papers presented at this event.
This iteration of the Workshop ιs inspired by the work of the increasing numbers of American Indian and First Nations thinkers and creative artists who are centering ideas of sexuality and eroticism in their work. Whether in the form of Kateri Akiwenzie-Damm’s anthology Without Reservation: Indigenous Erotica (2003), Brent Learned’s 2017 exhibition Native American Body of Art, or the Edmonton-based ongoing “sexy performance laboratory” Tipi Confessions, not to mention the landmark 2011 collection Sovereign Erotics after which the conference is titled, Indigenous artists have clearly found a powerful sense of sovereignty in the erotic. This has been accompanied by much academic work, particularly from Two-Spirit thinkers, into the history and ethos of tribal understandings of gender and sexuality. Such moves take on all the more force in a context too often dominated by trivializing, distorting, and demeaning settler concepts of sex and sexuality, in which many Native women, children, and LGBTQ2IA+ individuals carry a heavy burden of abuse. However, the decolonization of the erotic is anything but straightforward, raising questions of the body’s interaction with tradition, modernity, gender, and sexuality. This conference will therefore consider questions of, and interdisciplinary approaches to, sex, sexuality, and gender, broadly defined. Questions that could be considered include:
- Reclamations and celebrations of the erotic as life-force in Indigenous literature, film, music and other arts
- Pre- and post-contact Indigenous cultural understandings of sexuality and the erotic
- Indigenous futurist eroticism
- Relationships between Indigenous and other ethnic minority theorizations and experiences of the erotic
- The intersections of rape culture and settler colonialism
- Joy, ecstasy and the erotic
- Narratives of personal erotic self-discovery
- Alternative Indigenous narratives of gender
- Questions of shame and courage in reservation, urban, and other Indigenous societies
- Depictions of intimacy in Indigenous arts
- Erotic interactions in digital Indigenous communities
- Two-Spirit and other LGBTQIA+ Indigenous lives in settler societies
- Pornography, human trafficking and the commoditization of Native bodies
- Attempted cultural appropriation of the erotic self
Proposals for panels and roundtables with 5 participants are especially welcome, as are proposals for discussions that seek to work creatively with the online environment. The major focus of the conference is on the Indigenous peoples of North America, but comparative global work is also welcome.
Due to considerations surrounding international travel during the pandemic, the conference will take place online using the Zoom platform, and we are planning various modifications to the normal physical conference programme in order to recreate the atmosphere of the normal Workshop in digital spaces. Participants will be asked to make 10 minute presentations of their papers, the better to facilitate group discussion and knowledge exchange. Recognizing that participants will likely be coming in from a wide range of time zones, and also that online participation makes additional demands on the audience, the conference is planned to take place over a full week in a narrower time band (likely 15:00-21:00 CET): participants from the Western United States should therefore expect an early morning event, while participants in the Middle East and Asia will need to be prepared to attend late in the evening or early morning. There will be a conference fee of €30 (€20 for graduate students, independent scholars, and retired faculty).
Abstracts of not more than 300 words should be submitted to conference organizer James Mackay at firstname.lastname@example.org, by January 8th, 2021. Please include the words “AIW 2021 submission” as the subject line.
(posted 24 October 2020)
Victorian Inclusion and Exclusion : Victorian Popular Fiction Association’s 13th Annual Virtual Conference
University of Greenwich, UK, 14-16 July 2021, hosted online with MS Teams
Deadline for proposals: 28 February 2021
Keynote: ‘Excluding the Maternal Body in Victorian Popular Literature’, Jess Cox (Brunel University, London)
Reading Group: ‘Against the Grain: Reparative Readings for Victorian Popular Fiction’, hosted by Jesse Erikson (University of Delaware)
Training Session: ‘Doing Things Digitally: An Introduction to Digital Resources and Text Mining Methods’, hosted by Emily Bell (University of Leeds)
Call for Papers
The Victorian Popular Fiction Association is dedicated to fostering interest in understudied popular writers, literary genres and other cultural forms, and to facilitating the production of publishable research and academic collaborations amongst scholars of the popular.
We invite a broad, imaginative and interdisciplinary interpretation on the topic of ‘Victorian Inclusion and Exclusion’ and its relation to any aspect of Victorian popular literature and culture that addresses literal or metaphorical representations of the theme. Inter- and multidisciplinary approaches are welcome, as are papers that address poetry, drama, global literature, non-fiction, visual arts, journalism, historical and social contexts. Papers addressing works from the ‘long Victorian period’ (i.e. before 1837 and after 1901) and on neo-Victorian texts/media are also welcome.
Please send proposals for 20-minute papers, panels of three papers (by individual scholars, or affiliated with another Learned Society), or non-traditional papers/panels, on topics that can include, but are not limited to:
- Canonicity, canon formation and critical recovery (neo-Victorian subjects and texts, pedagogical selections, redressing of Victorian imbalances); ‘inclusion’ in collections/short story anthologies/series;
- 19th-century ideas of taste and cultural value, high-culture/popular culture divide; the theatre, circus, music hall, opera; three-volume novel, penny bloods, railway literature;
- Generic inclusivity/hybridity; genre boundaries and transmedia;
- Equality, diversity and inclusion;
- Sex and gender inclusion and exclusion – domestic spheres, marriage, the ‘third sex’, institutions, workplaces, religious ideas;
- Class inclusion and exclusion – extension of the franchise, organization of labour, class war, exclusionary social mores, poverty and economic inclusion/exclusion;
- Disability, mental health, medical treatments and discourse;
- Racial inclusion and exclusion – Anglo-European racial discourse/pseudo-science, non-Anglo-European racial discourse and practices, imperial ideology and practice, colonial institutions, trans-colonial and global migration, segregated travel;
- National inclusion and exclusion – intra-European alliances and antagonisms, Anglo-American co-operation;
- Geographical spaces, boundaries, borders and liminality;
- Family inclusion and exclusion – family unit, ageing, adoption, orphans;
- Verbal exclusion – gossip, slander, rumour, reputation;
- Inclusive organizations – self-help groups, working men’s clubs/libraries/institutes, literary clubs, social clubs and societies;
- Classification and categorization, anthropology, ethnography, the natural world;
- Exclusion and exile (Wilde); prisons and prison reform; deportation;
- Self-exclusion – breakaway social groups: ideal communities, anarchists, utopians;
- Educational inclusion/exclusion – schools/universities, expulsion, technology-enabled inclusion and exclusion in the (online) classroom; teaching online pedagogy;
- Other forms of inclusion and exclusion – religious; discourse on/treatment of children, animals, wider non-human world;
- The role exclusion plays in facilitating horror and Gothic fiction, boundaries between life and death, Imperial Gothic and Euro-sceptic horror, Irish Gothic and invasion.
Please send proposals of no more than 300 words, a 50 word biography, twitter handle (if you have one) and your availability/time zones over the conference dates in Word format to Drs Anne-Marie Beller, Ailise Bulfin, Janine Hatter and Erin Louttit at:email@example.com.
Deadline for proposals: 28 February 2021
If accepted, audio/visual presentations of 15 minutes or written papers of c.2000 words should be submitted by Monday 14thJune, 2021. This is well in advance of the conference, so that delegates can read/watch the presentations in advance, ready for the Q&A discussions which are live at the conference.Speakers should be members of the VPFA and there will be a minimal cost for the conference to offset technical support.
PGR/Unwaged Fee Waivers
In addition, to acknowledge the financial hardship many scholars are facing as a result of COVID-19, we will exceptionally be offering 3 waivers of the student/unwaged registration fee for those whose proposals are accepted. These waivers are intended for postgraduate students, postdoctoral scholars, independent scholars and precarious academics who at the moment of application do not hold a permanent position. If you wish to be considered for a registration fee waiver, when submitting your abstract, bio and (if applicable) Twitter handle, please include a statement of no more than 60 words as to why you are applying for the waiver. As per the spirit of the VPFA constitution, we want the conference to be open to as many researchers as possible, regardless of means.
VPFA website link:http://victorianpopularfiction.org/vpfa-annual-conference/.
(posted 6 November 2020)
Metagenre: 16th International Connotations Symposium
Ruhr University Bochum / Eberhard Karls University Tübingen, Germany, 25-29 July 2021
New extended deadline for proposals: 30 November 2020
Venue: Eberhard Karls University Tübingen (in-person and online)
Connotations, A Journal for Critical Debate: https://www.connotations.de
It has often been observed that Shakespeare’s Midsummer Night’s Dream is a metaliterary and metadramatic play. It presents not only the rough course of true love but also the glories and failures of the poetic imagination and of theatrical illusion, most obviously so in connection with the play within the play performed by Bottom and his fellows. What has less often been pointed out is the argument about genre(s) that is conducted in A Midsummer Night’s Dream. Peter Quince refers to the play within the play as a “most lamentable comedy” (1.2.11); the list of entertainments offered to Theseus describes it as “tragical mirth” (5.1.57). More than 300 years later, Ford Madox Ford similarly plays with the term tragedy in The Good Soldier. The narrator of the novel initially rejects the label of tragedy for the events he is presenting, preferring to describe them as “the saddest story,” but by the end of his narrative he has changed his mind, calling the story a tragedy indeed.
Our symposium will focus on works that, like A Midsummer Night’s Dream and The Good Soldier, reflect on the genre(s) to which they belong; this self-reflection may be either explicit or implicit. Questions to be dealt with include:
- What are the techniques used to make self-reflexive statements about genre?
- Are parodies by definition examples of metagenre?
- Do the reflection on genre and the performance of genre in one and the same work support or undermine each other?
- Is metagenre an indication of genre change or genre crisis?
- Are some genres more likely to become self-reflexive than others (e.g. sonnets about sonnets)?
- How significant is the concept of genre after the romantic emphasis on originality and uniqueness?
It should be noted that the proposal is not about self-reflexiveness in general (metafiction, metadrama, metahistory …) but about metagenre.
Please send an abstract (300 words max.) to the editors of Connotations by November 30, 2020 (new extended deadline): firstname.lastname@example.org
We would like to meet all of the participants in Tübingen, but as the Corona situation is unpredictable, we include the option of online participation.
Conference website: www.connotations.de
(posted 2 April 2020, updated 2 October 2020)