New Perspectives in Science Education International Conference -11th Edition
A Hybrid Event, on-line and in Florence, Italy, 17-18 March 2022
Deadmline for proposals: 20 October 2021
We will deliver a full 2 days programme of inspiring sessions in the framework of a highly interactive hybrid conference experience. We will provide enhanced contents that will give participants greater access to learning, sharing and networking.
– All accepted papers at the conference will be presented on-site and on-line.
– Interactive questions and answers sessions will follow each paper presentation.
– On-site and on-line poster presentation sessions will also be held.
– Networking opportunities will be organized.
All accepted papers will be included in the Conference Proceedings published with ISBN, ISSN and DOI 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 and indexed in Google Scholar.
- 20 October 2021: Abstract submission deadline
- 3 November 2021: Notification of abstract evaluation
- 21 January 2022: Deadline for paper submission
- 17-18 March 2022: Conference days
There will be five presentation modalities: oral and poster presentation on-site; oral, poster and asynchronous presentation on-line.
Official website: http://conference.pixel-online.net/NPSE/callforpapers.php
Health and Safety issues in relation to COVID-19:
Please notice that in the event the international conditions and regulations allow to organize the conference on-site, participants will have the possibility either to switch their virtual presentation with an onsite presentation (adding a supplement to the registration fee), or confirming their participation with a virtual presentation.
More details can be found at https://conference.pixel-online.net/NPSE/registration_fees.php
(posted 27 April 2021)
Hinterlands: Cultural and Literary Perspectives
Université of Wrocław, Poland March 18-20, 2022
Deadline for proposals: 31 September 2021
Dictionaries, which are written from a metropolitan perspective, tend to be biased against the term ‘hinterland’, variously defining it as the area beyond that which is visible or known; the back country that lies behind the strip adjacent to a coast or river shore; and the fringe areas of a port, town, or city. Geographically, ‘hinterland’ denotes underdeveloped heterotopias perceived as lacking an elite and ‘cultural currency’. Yet from the perspective of those who live beyond metropolitan centers, their environments are neither invisible nor unknown. Arguably, then, ‘hinterland’ stands for fullness as much as it does for lack. From a psychoanalytic or trauma studies perspective, in turn, ‘the area lying beyond that which is visible or known’ can serve as a productive metaphor, for it is in the real or metaphorical ‘land behind’, or the place over the border, that the repressed can be explored. Thus the hinterland may function as a ‘Gothic repository’ (Doolan 175).
‘Hinterland’ implies hybridity. As far back as the 1990s, the concept of the ‘spatially bounded city’ was questioned by, among others, William Cronon (Nature’s Metropolis, 1991) and Matthew Gandy (Concrete and Clay: Reworking Nature in New York City, 2002). The cities emerging from their books are both defined by and define their hinterlands, and the line of demarcation between the two spaces becomes fuzzy. We wish to go a step further and displace the bounded city concept with processes traceable within dynamically transforming spaces called hinterlands. By invoking current understandings of the hinterland, we hope to avoid the no longer sustainable demarcation of a ‘coherent urban’ and non-urban realm (Wachsmuth) naturalized by such writings as Raymond Williams’s The Country and the City. We propose that the city is no more than a ‘regulatory fiction’ (Robinson 112), an ‘ideology’ (Wachsmuth) rather than a ‘reality’. Neither can the city account either for transnational networks. As Andy Merrifield observes, ‘The urbanization of the world is a kind of exteriorization of the inside as well as interiorization of the outside. . . . The urban unfolds into the countryside just as the countryside folds back into the city’ (542). Shifting the focus from cities to real and imagined hinterlands, this conference sets out to address a spectrum of topics, ‘an assemblage of material and cultural practices’ (Foster), hitherto discussed in the urban context, and to revise their re/presentation in literary and cultural studies.
To describe a place as a hinterland in colonial and imperial contexts, Douglas Kerr argues, ‘might already be to make a territorial claim on it’ (11). It is a conceptual space imbued with connotations of imperial possession, othering and marginality (Doolan 175). In the last century or so, agglomeration centres rather than colonial empires began to draw on or engulf both near and distant hinterlands. Writing The Sound and the Fury, William Faulkner acknowledged yet resisted the urban North’s perception of the American South as a hinterland. For the post-World War II Polish ‘settlers’ arriving in the former German region of Silesia, the land posed the enigma of a hinterland, a Gothic text whose hidden, obscured and unspeakable histories remained illegible, while its ‘natural’ resources retrieved from the rubble were swiftly packed and transported to the capital, to be used in the reconstruction of Poland’s urban core. The popular detective drama series Hinterland, set in Aberystwyth, Wales, is shot in and around the town, often in rural locations and emotionally charged landscapes ‘newly discovered’ by the film industry. In South African writing, the hinterland is the heartland once controlled by fortified farms (Foster). Ivan Vladislavić remarks that after the fall of apartheid, followed by massive migrations, there has been a relentless urban expansion whose symptom is the Restless Supermarket established on an ‘abandoned aerodrome in the hinterland, at the end of a country road’ (245). Once invisible, hinterlands emerge from obscurity by contributing to the rising, global high-intensity infrastructures/networks.
Our interest is in three categories of hinterlands. Firstly, in extensions of agglomeration centres into what has been historically defined as peripheries, fringes or fuzzy edges – suburban and rural developments sometimes referred to as ‘up-building’ (industrial and infrastructural clustering) and ‘un-building’ (post-industrial degradation of landscape) in hinterlands. Secondly, in far-away lands, territories, and heartlands – non-city spaces tied to urban cores and transformed into high-intensity infrastructure called operational landscapes. Thirdly, in metaphorical and real territories that function as hinterlands, and are thus invested with special qualities which contribute to their representation even though they are located close to the heart of urban cores, e.g. London’s East End.
We invite papers and presentations that address the subject of hinterlands by adopting either a literary studies or a cultural studies perspective. The welcome topics are related but not limited to the following fields of research:
- Hinterland or non-city: material and cultural practices in the rural urban fringe, urban hinterland and in distant hinterlands functioning as operational networks or historical sources of natural supplies,
- Hinterlands as neglected and disturbed landscapes of refuse, waste and loss, marked by histories of ecological violence and climate change, junkspace (Rem Koolhaas),
- Reclaiming and inhabiting hinterlands,
- Reinvention, appropriation and gentrification of hinterlands
- Hinterland as a tourist retreat and idyll,
- Memory, nostalgia, trauma and search for roots in hinterlands with histories of colonial, imperial, and political violence,
- Ethical considerations of hinterlands: incorporating otherness and embodying the self in hinterlands,
- The politics of memory in the hinterland – controlling, censoring, and restoring memory,
- Transforming and representing hinterlands: land, landscape, territory, and their populations
- Re-imagining and remapping hinterlands. Writing hinterlands as mediation between analytic maps and new pathways of meaning, between a psychogeographical understanding of particular landscapes and locations and the imagined narratives that rewrite these maps from new perspectives,
- Writing hinterlands as a ‘writing of excess’ (Botting) and the repressed to be explored, representing hinterlands in various literary genres,
- Hinterland as a projected space and metaphor; metaphorical land behind a person; the ground on which political thought, knowledge and conviction are (Doolan 177).
Botting, Fred. 2014. Gothic. Abingdon, UK: Routledge.
Brenner, Neil, ed. 2013. Implosions/Explosions: Towards a Study of Planetary Urbanization. Berlin: Jovis.
Browarny, Wojciech. 2020. Historie odzyskane. Warszawa: PWN.
Cronon, William. 1991. Nature’s Metropolis. New York: Norton.
Doolan, Emma. 2019. “Hinterland Gothic: Subtropical Excess in the Literature of South East Queensland.” eTropic – Special Issue: Tropical Gothic 18.1, 174-191.
Foster, Jeremy. 2008. Washed with Sun: Landscape and the Making of White South Africa. Pittsburg: University of Pittsburg Press.
>Gandy, Matthew. 2002 Concrete and Clay: Reworking Nature in New York City. Cambridge, MA: MIT University Press.
Jameson, Fredric ‘Cognitive Mapping.’ 1990. Marxism and the Interpretation of Culture: Eds. Cary Nelson and Lawrence Grossberg. Urbana: University of Illinois Press. 347-60.
Kerr, Douglas. 2008. Eastern Figures. Orient and Empire in British Writing. Hong Kong: Hong Kong University Press.
Kusznik, Karolina. 2019. Poniemieckie. Wołowiec: Wydawnictwo Czarne. McEvoy, Emma. 2016. Gothic Tourism. Palgrave Macmillan.
Merrifield, Andy. 2013. ‘The Urban Question under Planetary Urbanization.’ Implosions/ Explosions: Towards a Study of Planetary Urbanization. Berlin: Jovis. 164-180.
Robinson, 2006. Jennifer. Ordinary Cities. Between Modernity and Development. London: Routledge.
Turner, Victor. 1969. “Liminality and Communitas”. The Ritual Process: Structure and Anti-Structure. Chicago: Aldine Publishing. 94-113.
Vladislavić, Ivan. 2006. The Restless Supermarket. Cape Town: David Philip Publishers.
Wachsmuth, David. 2014. ‘City as ideology: reconciling the explosion of the city form with the tenacity of the city concept.’ Environment and Planning D: Society and Space, vol. 31, 75-90.
Williams, Raymond. 1973. The Country and the City. London: Chatto and Windus.<
This conference is planned as an online event.
The organizers intend to publish selected proceedings in the form of a journal issue or essay collection. Proposals of about 300 words, together with a biographical note, should be sent to firstname.lastname@example.org by September 31, 2021
Conference fee: € 50.00
Organizing committee: Ewa Kębłowska-Ławniczak, Dominika Ferens, Marcin Tereszewski, Katarzyna Nowak (Institute of English Studies, University of Wrocław, Poland)
Rainer Emig (Department of English, Gutenberg Universität, Mainz, Germany)
Zofia Kolbuszewska (Institute of English Studies, University of Wrocław, Poland)
Ruth Mayer (Englisches Seminar, Leibniz Universität, Hannover, Germany)
Michael C. Steiner (American Studies, California State University, Fullerton, United States) Michael Titlestad (Department of English, University of the Witwatersrand, Johannesburg, South Africa) Shelley Trower (School of Humanities, University of Roehampton, London, United Kingdom)
(posted 5 March 2021)
Epic and Intermediality: Third CIMEEP Colloquium
MSHS Poitiers, France, 28-30 March 2022
Deadline for proposals: 29 April 2020
Centro Internacional e Multidisciplinar de Estudos Épicos (http://en.cimeep..com) in collaboration with FoReLLIS pole B (Poitiers) Université de Poitiers
The tradition of the epic or the “dream of the epic” (H. Christians, 2004), the search for the ideal by the inaccessible definition of the Homeric model, has always been accompanied by a question of the boundaries amongthe various mediums: the description of the shield ofAchilles in the Iliad, the first ekphrasisin the European literary history, traditionally marks the beginning of reflections on text–image relations. Thus, since Classical Antiquity, the idea of the aoidosand the ideal writing determined by the oral presentation have accompanied the production of intrinsically ambivalent epic texts, situated on the border between text and speech. The epic matter – stories of radiant heroes fighting for the collective – inspires authors in the search for an ideal text, capable of describing and at the same time uniting the community in a sophisticated and often versed language. But, to the same extent, these matters, whether based on concrete text or hybrid sources, also become motifs in the visual arts: they are found in the form of paintings or sculptures. The question of epic intermediality also arises when epic matteris staged – from classicaltragedy and classicalopera to long 19th century historical dramas, which often deliberatelyrefer to the tradition of national epics and are received as “epic dramas”. But while the possibilities of representation on the classical stage were subject to clear spatial and moral limits, the emergence of the film in the 20th century was able to opencompletely new possibilities: on the screen, many adaptations of classicalepic mattersfinally achieved the much expected popular success; in Hollywood, the epic film even becamea genre of its own. More recently, this success has been amplified by videogames and comics, which allowed, among other things, to question the linearity of the narrative and to resort to countless intertextual and intermedial quotes.The evolution over the centuries shows that each new medium evokes the skepticism of the previous ones, while opening up new possibilities for traditional or more recent epic matters.The emergence of new aesthetics, therefore, always reflects the long tradition of epic narratives.
- the intermedial palimpsest of epic works: the evocation and citation of old mediumby more recent medium;
- the intermedial transformation of epic matters: changes in shape, aesthetics and linearity through a change in medium, for example, the adaptation of old epic mattersin the arts of modernity, from photography to video games, including comics and films;
- the aesthetic characteristics and (im) possibilities of epic narratives in different mediums, for example for the study of the same epic matteradapted in different works and / or different mediums;
- the issue of ekphrasis;
- the question of orality represented by writing.
The third CIMEEP colloquium will take place in Poitiers (France), at the Maison des Sciences de l’Homme et de la Société (MSHS) at the University of Poitiers and in collaboration with the research group FoReLLIS (Poitiers).
Charlotte Krauss, Senior Lecturerat Poitiers University
María del Mar López–Cabrales, Full Professor at Colorado State University (United States of America)
Karina Marques, Senior Lecturerat the University of Poitiers
Fernando de Mendonça, Adjunct Professor at the Federal University of Sergipe (Brazil)
Christina Bielinski Ramalho, Associate Professor at the Federal University of Sergipe (Brazil)
Maria Aparecida Rodrigues Fontes, Professor–Researcher at Università degliStudi di Padova
Key conferences (keynote):
Liliane Louvel, Professor of English Literature at the Université de Poitiers
Raúl Marrero–Fente, Professor, Department of Spanish and Portuguese, University of Minnesota
Languages of the event:French and English –as well as Spanish and Portuguese for topics specifically dedicated to epic matters from South and Central America.
Registration fee: 30 euros (CIMEEP and FoReLLIS members are free from registration fees).
Please, send your communication proposal (title + summary of a maximum of 2,000 characters) to email@example.com before April 30, 2021.
All abstracts of accepted articles will be compiled in the form of a summary notebook. A selection of contributions will be published in the online magazine Revista Épicas, in the number scheduled for the end of 2022 (publication with reading committee).
(posted 27 April 2021)