Rewriting War and Peace in the Twentieth and Twenty-First Centuries: Contemporary British and American Literature
An online conference, 8-9 September 2021
Deadline for proposals: 3 May 2021
Since it is still uncertain what the health situation will be like in the next months, the research group “Rewriting War and Peace in the Twentieth and Twenty-First Centuries: Contemporary British and American Literature” has decided to plan its first conference, “Rewriting War and Peace in the Twentieth and Twenty-First Centuries: Contemporary British and American Literature”, as an online event, which is now scheduled for Wednesday 08 and Thursday 09 September 2021.
The major wars and conflicts of recent times (the two world wars, the Holocaust, the Spanish Civil war, the Vietnam War, the Korean War, the Falkland Islands War, the Iran-Iraq War, the Gulf War, among others) have affected the lives and writings of second-and third-generation witnesses in contexts widely separated from the wars themselves. The conference aims to explore whether contemporary literature can effectively establish adequate representational spaces for approaching and reconsidering these past wars. Bearing in mind the need to approach the experience of war with extreme caution to avoid either the anxiety involved in the representation of conflict or the comforting reassurance of relying on “grand (war) narratives,” our conference will critically reconsider both the issue of “authenticity” in the use of historical sources and the need to access and interpret the past from contemporary settings.
We aim to shed light on the ethical dimensions of war writing and on the possibilities of closure, resolution or consolation in contemporary British and American literature, and to assess whether literature can be of use in the politics of peace-making and conflict resolution, contributing to the formation of fairer, more egalitarian societies.
The keynote lectures will be given by:
- Professor Jay Winter (Yale University): “Silences of the Great War: All the things we cannot hear”
- Professor Kate McLoughlin (Oxford University): “Mesopotamia: Writing the Wars in Iraq?”
- The novelist Rachel Seiffert: “Why do we write about war?”
We invite scholars of all career stages and representing various academic disciplines, including literary studies, theatre studies, film studies, memory studies, peace studies, gender studies, postcolonial studies, and other.
Three forms of presentation are encouraged: 20-minute conference papers, 60-minute roundtables consisting of 3-4 speakers (for which we will post instructions on our website) and 5-minute pecha kucha—lightning talks—for postgraduate participants to highlight their research.
Topics will be grouped around two main areas: (a) post-memory and (b) aesthetic articulations of war. The first is defined by attempts to recapture the immediacy of traumatic events that are not personally experienced but, instead, are socially apprehended through imaginative creativity; and the second severs links from the event’s participants or witnesses, though often imagining proxy figures to transmit authentification.
Suggested topics include but are not restricted to:
- The Narration of War: Representational anxieties. Grey Areas: Authentic vs. fake narratives; literature vs history. From Modern to Postmodern Wars. The Narrative Quality of Historical Facts: Historiographic metafiction.
- Gender and War: Destabilization of gender relations by war. Gender Opposition to War. Gender and the Impact of War. Gender Inequalities.
- The Aftermath of War: Demobilisation and social integration. Memory, Memorialization and Reconciliation. The Healing Power of Nostalgia. Post-traumatic Testimonies of Conflict.
- Representation of “Home” in the Aftermath of War. Haunted Spaces and Places. Gendered Spaces: Tension between domestic sphere and public arena.
- Post-memory: “Familial” and “affiliative” aspects. Official vs. Unofficial “War-After Writings.” Post-memory and Representational Anxieties.
- New Definitions of War and Peace. Conflict Transformation: If warfare is an extension of politics, is politics then an extension of warfare? Have civil liberties in peacetime been reduced as if we were at war?
Conference paper, roundtable and pecha kucha proposals should be no longer than 300 words in length and be accompanied by a short bio-note. Contributions will be peer evaluated, according to the significance of the topic, the importance of the contribution, and originality. Selected full manuscripts will appear in the conference proceedings to be published by the research group after the event.
Please submit proposals, indicating type of presentation, to email@example.com by Monday 03 May 2021.
Although the working language of the conference is English, we welcome discussion of issues outside the English-speaking world.
(posted 15 March 2021)
Cosmopolitan Aspirations in English-Speaking Cinema and Television: 26th Annual SERCIA Conference
Universidad de Zaragoza, Spain, 8-10 September 2021
Deadline for proposals: April 9, 2021
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
- the 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
- -osmopolitanism 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
Juan Suárez (Universidad de Murcia)
Deborah Shaw (University of Portsmouth)
María del Mar Azcona, Julia Echeverría, Pablo Gómez, Celestino Deleyto, David Roche, Nolwenn Mingant, Juan Suárez, Deborah Shaw.
Given the uncertainty of the current context, our intention is to hold a hybrid conference (attendees may deliver their papers online or in person). If this hybrid model were not possible, we would then switch to a fully-online conference.
Please submit a 300-500 word abstract and short bio (120 words) in English by April 9, 2021 through the conference website: http://eventos.unizar.es/43243/upload/cosmopolitan-aspirations-in-english-speaking-cinema-and-television.html
Anzaldúa, Gloria, 1999 (1987). Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt Lute Books.
Appiah, Kwame Anthony, 2006. Cosmopolitanism: Ethics in a World of Strangers. New York: W. W. Norton.
Atkinson, Paul and Rebecca Strating. 2016. “Cosmopolitanism on Demand? Television and the Narrowing of Mediated Social Connection. ” In P. David Marshall et al., eds. Contemporary Publics: Shifting Boundaries in New Media, Technology and Culture. London: Palgrave MacMillan. 129-144.
Beck, Ulrich, 2009. World at Risk. Translated by Cieran Cronin. Cambridge and Malden: Polity Press.
Beck, Ulrich, “The Cosmopolitan Perspective: Sociology of the Second Age of Modernity.” British Journal of Sociology 51: 79-105.
Brown, Garrett Wallace and David Held, eds. 2010. The Cosmopolitanism Reader. Cambridge and Malden: Polity Press. 17–26.
Calhoun, Craig, 2002. “The Class Consciousness of Frequent Travelers: Toward a Critique of Actually Existing Cosmopolitanism”. The South Atlantic Quarterly, 101: 4, 869–897, 871.
Cooper, Anthony and Rumford, Chris, 2011. “Cosmopolitan Borders: Bordering as Connectivity.” In Rovisco, Maria and Magdalena Nowicka, eds. 261–276.
Delanty, Gerard, ed. 2012. Routledge Handbook of Cosmopolitan Studies. London and New York: Routledge. 245-253.
Deleyto, Celestino, 2017. “Looking from the Border: A Cosmopolitan Approach to Contemporary Cinema.” Transnational Cinemas, 8:2, 95-112.
Glick Schiller, Nina and Andrew Irving, eds. 2017. Whose Cosmopolitanism? Critical Perspectives, Relationalities and Discontents. New York & Oxford: Berghahn, 160-174.
Littler, Jo, 2008. “I feel your pain”: Cosmopolitan Charity and the Public Fashioning of the Celebrity Soul’. Social Semiotics, 18:2, 237-251, 239.
Nussbaum, Martha C., 1994. “Patriotism and Cosmopolitanism”. Boston Review, October 1. http://www.bostonreview.net/martha-nussbaum-patriotism-and-cosmopolitanism.
Nussbaum, Martha C., 2008. “Toward a Globally Sensitive Patriotism”, Daedalus, 137 (3), 78–93.
Rovisco, María and Nowicka, Magdalena, eds. 2011. The Ashgate Research Companion to Cosmopolitanism. Farnham: Ashgate. p. 1
Rumford, Chris, 2008. Cosmopolitan Spaces: Europe, Globalization, Theory. London: Routledge.
Sassen, Saskia, 1998. Globalization and Its Discontents: Essays on the New Mobility of People and Money. New York: The New York Press.
Schwartz, Vanessa R., 2007. “It’s so French”: Hollywood, Paris and the Making of Cosmopolitan Film Culture. Chicago: The University of Chicago Press.
Sennett, Richard, 2002. “Cosmopolitanism and the Social Experience of Cities.” In Vertovec, Steven and Cohen, Robin, eds. 42-47.
Skrbis, Zlatko and Ian Woodward, 2013. Cosmopolitanism: Uses of the Idea. Los Angeles, London: Sage. p. 82.
Vertovec, Steven and Robin Cohen, eds. 2002. Conceiving Cosmopolitanism: Theory, Context and Practice. Oxford: Oxford University Press.
(posted 26 February 2021)
Dreams and the Animal Kingdom in Culture and Aesthetic Media
Saarland University, Saarbrücken, Germany, 23-25 September 2021
Deadline for proposals: 15 January 2021
International and Interdisciplinary Conference held by the Research Centre “European Dream-Cultures”, funded by the German Research Foundation: DFG-Graduiertenkolleg 2021 “Europäische Traumkulturen”
Animal dreams — dreams of animals, by animals, or inspired by animals — have concerned poets, mythographers, fabulists, dramatists, painters, musicians, choreographers, filmmakers, and writers of short fictions. Animal dreams have, in fact, become embodiments of the traversal of genres by thinkers, scientists, and writers whose fictions have been inspired by the possibilities of myth, fable, allegory, hybridity, monstrosity, and symbolic hallucination. Animal dreams span all the arts, and they also extend into the worlds of philosophy and even the borders of scientific metaphor. Dreams and dream-images of animals transcend cultures and are frequently taken as avatars, portentous spirits, or disguised divinities. Despite the prevalence of animal dreams across a panoply of genres, media, and cultures, the topic has so far been neglected even by those who have pioneered the emerging fields of animal studies and dream studies.
In accordance with the concept of Saarland University’s research centre ‘European Dream-Cultures’, which investigates the literary, aesthetic, media and cultural histories of the dream, this international conference will pursue the subject of ‘Dreams and the Animal Kingdom’ across different genres, cultural epochs, and aesthetic media. We invite proposals for papers (20 minutes plus time for questions and discussion), pre-constituted panels (three papers of 20 minutes each plus time for discussion), or workshops/roundtables (concentrating on more practical aspects such as research methods, creative practice, teaching) from researchers in the disciplines of art, theatre, film, media, music and literary studies, as well as history, philosophy and other related fields. Contributions should investigate cultural or aesthetic representations of dreams of/by mammals, aquatic fauna, insects, birds, serpents, hybrid mythological creatures, as well as fabulous, fantastical, or cryptozoological animals or other denizens of the animal kingdom, broadly conceived. In accordance with our desire to create a growing and collegiate network of dream-researchers, our aim will be to avoid parallel sessions at the conference, so that participants can hear all papers and take part in all discussions of their choosing.
Possible topics include (but are not limited to):
- An author’s particular dreams about one or more animals
- A single image involving a species interpreted variously in different cultural settings
- Thematic approaches to dreams about various fauna
- Representations of dreaming animals
- The presence of animals in dream interpretation manuals
- Media and multimedia sensitivity in artistic visions of animal dreams or dreaming animals
- Dreams involving fabulous or mythic creatures
- Historical or Art Historical consequences related to dreams about animals
Please submit your proposal as a Word file to firstname.lastname@example.org no later than 15 January 2021. Please describe your project – in English, German, or French – in an abstract not exceeding 200 words and include a short, topic-appropriate CV. For proposals for panels, workshops, or roundtables, please include such a CV for each panellist/participant.
Since this international conference is aimed at researchers from different countries and cultures, the official conference language will be English, but papers may be presented in English, German, or French.
We anticipate the inclusion of cultural events in our programme, and plan to organise a sightseeing trip to nearby places of interest. Please note the Dream-Cultures website (http://www.traumkulturen.de/veranstaltungen/konferenzen–co.html) for up-to-date details such as keynote presentations.
Following the conference, we will publish selected contributions in an edited volume.
(posted 18 July 2020)