第 12 屆英美文學學會
國際學術資訊 第七十三期
Contents
Conferences in Asia Pacific and Other Places
2
Conferences in North America
6
Conferences in Europe
49
Journals and Collections of Essays
77
1
Conferences in Asia Pacific and Other Places
IDEA: Studies in English
April 17-19, 2013
Due: November 30, 2012
Studies in English: 7th International IDEA Conference
Assist. Prof. Mehmet Ali Çelikel macelikel@pau.edu.tr
CALL FOR PAPERS
Studies in English: 7th International IDEA Conference
April 17 -19, 2013, Pamukkale University
The Seventh International IDEA Conference with keynote speakers
Prof. Gerald Prince Maggie Gee will be held at Pamukkale University, Denizli,
Turkey on 17 – 19 April 2013.
The Conference will be jointly hosted by The Department of English Language
and Literature of Pamukkale University and The English Language and Literature
Research Association of Turkey (IDEA).
The Conference will address topics from the fields of English Studies,
Literatures in English, Comparative Literature, Cultural Studies, Linguistics and
Translation Studies in English.
Abstracts for proposed papers (maximum 250 words) should be submitted to:
idea2013@pau.edu.tr
Please include your name, affiliation, email address and a brief biography.
Add 5-6 keywords pertaining to your topic.
The deadline for proposals is: 30 November 2012.
*Best Presentation Award* will be given to graduate students.
For enquiries, please contact:
Assist. Prof. Mehmet Ali Çelikel macelikel@pau.edu.tr or Res. Assist. Reyhan Ozer
Taniyan rozer@pau.edu.tr
www.pau.edu.tr/IDEA2013
2
The Asian Conference on Cultural Studies 2013
May 24-26, 2013
Due: February 1, 2013
The international Academic Forum (IAFOR)
accs@iafor.org
The International Academic Forum in conjunction with its global partners, including
the Cultural Studies Association of Australasia, is proud to announce the Third Asian
Conference on Cultural Studies, to be held from May 24-26 2013, at the Ramada
Osaka, Osaka, Japan.
www.accs.iafor.org
Conference Theme: Intersecting Belongings: Cultural Conviviality and Cosmopolitan
Futures
Contemporary challenges and contexts of the local, regional, national and global raise
urgent questions about cultural conviviality and cosmopolitan futures across the world.
These are times when trans-cultural, trans-national and multicultural belonging are
particularly being tested through environmental catastrophe, economic volatility,
parochialism, fundamentalism, notions of cosmopolitan and multicultural exhaustion,
and war. A key challenge lies in the paradox of culture, in which belonging has
become a fundamental question of preservation, atavism, tradition and survival as
well as hybridity, transgression, possibility and transformation. The aim of this
conference theme is to respond to this paradoxical challenge by opening up discussion,
critical reflection and analysis about emerging social and cultural identities that are
formed at the intersection of multiple and multi-sited belongings.
ACCS 2013 encourages participants from a range of inter/disciplinary and theoretical
perspectives, including but not limited to:
Cultural Studies
Sociology
Critical Race Theory
Social Criticism
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Queer Theory
Gender studies / Feminist Theory
Black Feminism
Media Studies
Visual Culture
Cultural Geography
Cultural History
Political Theory
Orientalism
Critical Legal Studies
Education
Political Philosophy
Linguistics, Language and Cultural Studies
The conference theme is Intersecting Belongings: Cultural Conviviality and
Cosmopolitan Futures and the organizers encourage submissions that approach this
theme from a variety of perspectives. This theme can be explored in any way, but the
following sub-themes have been suggested by the conference chair, and may provide
some inspiration, as well as offer some direction to researchers.
Sub-themes: ACCS 2013 welcomes papers that focus on, but not limited to:
* Seeking refuge
* Unruly belonging(s)
* Intersections of gender, race, religion, sexuality
* Transforming cultures
* Trans-cultural displacement/belonging
* New imaginings/formations of home
* Citizenship beyond borders
* Communication, new technologies and belonging
* Cultural narratives of belonging/not belonging
* Cultural politics of survival/transgression
* Cosmopolitan exhaustion/renewal
* Belonging in the Anthropocene
* Construction of identities
* Multiple and complex belongings
* Intersecting narratives and identity
* Re-locating culture across borders
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Deadline for submission of abstracts: February 1 2013
Results of abstract reviews returned to authors: Usually within two weeks
Deadline for submission of full papers: July 1 2013
Deadline for full conference registration payment for all presenters: May 1 2013
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Conferences in North America
Dissonant Discourses: An Interdisciplinary
Conference
January 25, 2013
Due: October 12, 2012
University of Oklahoma - The Student Association of Graduate English Scholars
sages@ou.edu
Dissonant Discourses
“A given socio-historical moment is never homogeneous; on the contrary, it is rich in
contradictions.” -- Antonio Gramsci
The University of Oklahoma Student Association of Graduate English Scholars
(S.A.G.E.S) and the OU English Department will host the second annual conference,
Dissonant Discourses: An Interdisciplinary Conference, in the Oklahoma Memorial
Union on January 25, 2013.
The social/cultural context of cohesion masks the dissonance that often lies beneath. It
is the dissensions, contradictions, disputes, and differences of human interactions that
drive the world. Within this world of discord and hesitant alliances, those dissonant
discourses are celebrated or condemned and continuously vie for recognition.
Dissonant voices are present in everything from large-scale reorganization to
day-to-day exchanges and challenges old traditions, questions and promotes ways of
thinking, creates new truths, or even reestablishes dominance.
This conference honors the dissonant discourses found in literature, history, culture,
sociological relations, pedagogical imperatives, politics, anthropological inquiries,
and numerous other possible forms. The possible approaches to this topic afford many
exciting opportunities for scholarly work and we welcome broad interpretations of our
conference theme, with the understanding that innovation often resists categorization.
Possible paper topics and panels include, but are not limited to, the following:
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American Literature
Anthropology
Colonial/Postcolonial Theory
Conquest/Imperialism
Cosmopolitanism
Creative Works
Cultural Encounters
Ecocriticism and environmental studies
Ethnicity and national identity
Film and television
Gender studies and sexuality
Genetics
Ideas of Nationhood
Identity
Indigenous Studies
Law
Local/Regional Political Initiatives
Medieval
Modernist Studies
Military
Music Studies
Pop Culture
Sports
Theory
Travel Literature
Visual Art
Our keynote speaker is Dr. LeAnne Howe, an author, dramatist, scholar, and professor
at the University of Illinois, Urbana-Champaign. An enrolled member of the Choctaw
Nation, she is the celebrated author of Miko Kings, Shell Shaker, and The Evidence of
Red. Her dramatic works have been produced throughout the United States, and she
has been presented her fiction both nationally and internationally. In 2010-2011, she
was a J. William Fulbright Scholar at the University of Jordan, Amman, researching
her latest novel.
As an incentive for submission to our conference, we would like to inform applicants
that we have been in contact with several journals for the possibility of publication for
a special issue. To be clear submission and acceptance to the conference is not a
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guarantee of publication at this or any time. However, we will continue to
aggressively pursue this possibility and keep an open dialogue with journals we have
contacted.
Please send an abstract not exceeding 250 words to sages@ou.edu no later than Friday,
October 12, 2012.
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Medieval Association of the Pacific, San Diego
March 21-23, 2013
Due: October 15, 2012
Medieval Association of the Pacific
Anita Obermeier: AObermei@unm.edu
We are pleased to announce the Call for Papers for the 2013 Medieval
Association of the Pacific conference, hosted by the University of San Diego, in San
Diego, CA on March 21-23, 2013. The Program Committee invites proposals for
individual 20-minute papers in any area of medieval studies, as well as organized
sessions of three 20-minute papers. All speakers must be fully-paid (“active”)
members of MAP in order to register for the conference. Our membership fees are
modest and details can be found on the website.
To submit an individual abstract or a session proposal, please go to the MAP
website: http://www.csun.edu/english/map/ for details and links to submission forms
and further information.
Deadline for submissions: October 15, 2012
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1874, NVSA
April 5-7, 2013
Due: October 15, 2012
Northeast Victorian Studies Association
tmstolte@nmsu.edu
All the breath and the bloom of the year in the bag of one bee:
—Robert Browning
NVSA solicits submissions for its annual conference. The topic this year is 1874.
The conference will feature a keynote panel including Isobel Armstrong, Robert
J. Richards, and Herbert Tucker, and a walking tour of Victorian Boston led by
Martha Vicinus.
The Northeast Victorian Studies Association calls for papers from all disciplines
on any aspect of 1874, the year in which The Way We Live Now was serialized in
monthly numbers, John Tyndall delivered his “Belfast Address” on scientific
materialism, Benjamin Disraeli was appointed prime minister for the second time, and
red became the standard color for pillarboxes of the Royal Mail. We welcome
submissions on any topic relevant to 1874, as well as papers that engage with the
conceptual and methodological issues raised by taking a single year as a focus for
study.
What are the consequences of thinking about Victorian works of art, texts,
objects, and events in relation to their specific year in history? How is our perspective
on the period—or on periodization itself—altered by this vantage point? What does
the close examination of a single year—a year literally picked out of a hat by the
program committee rather than chosen for its significance—reveal about the
relationship between dates that “matter” in Victorian Studies and dates that do not? Is
the calendar year a significant unit of time or useful organizational framework for our
exploration of the Victorian period as a whole? How is our understanding of annual
publications, commemorations, and other yearly events and forms changed when we
concentrate on a single occurrence of each? In 1874 S. O. Beeton’s Christmas annual
Jon Duan sold 250,000 copies in three weeks, vastly outperforming Thomas Hardy’s
Far from the Madding Crowd. Which, then, is the “major” text under the rubric of our
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conference? How does our sense of the canonical and non-canonical shift as a result
of such micro-periodization?
Other texts and events from 1874 worth considering:
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Texts
 M. E. Braddon’s Lost for Love
 William Benjamin Carpenter’s Principles of Mental Physiology
 Wilkie Collins’s The Frozen Deep and Other Stories published; The Law
and the Lady serialized
 John William Draper’s History of the Conflict between Religion and
Science
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Amelia Edwards’s A Night on the Borders of the Black Forest
George Eliot’s The Legend of Jubal, Arion, and A Minor Prophet; first
one-volume edition of Middlemarch
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F. W. Farrar’s Life of Christ
John Forster’s Life of Charles Dickens, final volume
Francis Galton’s English Men of Science
W. S. Gilbert’s Charity
John Richard Green’s Short History of the English People
Thomas Huxley’s “On the Hypothesis that Animals are Automata”
G. H. Lewes’s Problems of Life and Mind, Vol. 1
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Henry Maudsley’s Responsibility in Mental Disease
George Meredith’s Beauchamp’s Career serialized
Margaret Oliphant’s A Rose in June and For Love and Life
John Ruskin’s Fors Clavigera: Letters to the Workmen and Labourers of
Great Britain, Vol. 4
Henry Sidgwick’s Methods of Ethics
James Sully’s Sensation and Intuition
Albernon Charles Swinburne’s Bothwell: A Tragedy
James Thomson’s The City of Dreadful Night
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 Anthony Trollope’s Lady Anna and Phineas Redux published
 Alfred Russell Wallace’s “A Defence of Modern Spiritualism”
 Mrs. Henry Wood’s Johnny Ludlow
Events
 London School of Medicine for Women founded
 Cavendish Laboratory, Cambridge founded
 Fiji Islands annexed by Britain
 Ghana established as a British colony
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Shipton-on-Cherwell train crash (and other notable train crashes)
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David Livingstone’s body returned to England
Victoria Embankment opened
Astley Deep Pit disaster
Public Worship Regulation Act
Factory Act of 1874
1874 Transit of Venus
Wilkie Collins’s readings in America
Journal of Nervous and Mental Disease founded
First Impressionist exhibition, Paris
Proposals (no more than 500 words) by Oct. 15, 2012 (e-mail submissions only,
in Word format): Professor Tyson Stolte, Chair, NVSA Program Committee
(tmstolte@nmsu.edu).
Please note: all submissions to NVSA are evaluated anonymously. Successful
proposals will stay within the 500-word limit and make a compelling case for the talk
and its relation to the conference topic.
Please do not send complete papers, and do not include your name on the
proposal.
Please include your name, institutional and email addresses, and proposal title in
a cover letter. Papers should take 15 minutes (20 minutes maximum) so as to provide
ample time for discussion.
For information about NVSA membership and travel grants, please visit the
NVSA website at http://nvsa.org/
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Ecocriticism and Narrative Theory
May 28-June 1, 2013
Due: October 26, 2012
Association for the Study of Literature and the Environment (ASLE)
ejames@uidaho.edu
Association for the Study of Literature and the Environment (ASLE) 2013 CFP:
Ecocriticism and Narrative Theory
University of Kansas, Lawrence, KS
May 28 - June 1, 2013
This panel welcomes proposals on any topic that explores possible points of dialogue
between ecocriticism and narrative theory. Despite the fact that both of these
approaches to the study of literature and culture are well established, they appear to
have said little to one another; Narrative, the flagship journal of narrative theory, has
never featured a special issue focusing on the environment in narratives, and ISLE,
the flagship journal of ecocriticism, has never featured a special issue exploring the
role that narrative structures play in representations of the environment.
But if these conversations have not yet occurred, it is not because the two approaches
lack overlapping interests. On the contrary, opportunities for cross-pollination abound.
The vocabulary developed by narratologists could benefit certain ecocritical studies,
especially in helping ecocritical scholars better account for the formal aspects of
representations of environment in various types of narratives (novels, short stories,
films, etc). Ecocritical insights could help to broaden narrative theory, particularly in
strengthening the connection between text and extratextual world of interest to many
postclassical narratologists and expanding the repertoire of questions narrative
theorists ask of narratives. This panel seeks to explore both directions of this
developing conversation. Possible topics include:
-Access to nature alongside/versus access to narrative
-Animals as characters
-Chronotopes
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-Gendered approaches to narrating natural experience
-Mimesis and diegesis
-Narration, expectation, and natural experience
-Narrative and/as environmental rhetoric
-Narrative and ecocentrism
-Narrative and/of space or place
-Narrative as mediator of natural events (journalism, nature, and narrative)
-“Natural” and “Unnatural” narrative
-Natural disaster as plot device, deus ex machina
-Person and narration (first, third; omniscient, restricted) and nonhuman narrators
-Role of nature in indigenous forms of narrative
-Narrative storyworlds as virtual environments
Send 300 word abstracts to Erin James at ejames@uidaho.edu by Friday, October
26th, 2012.
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International Performing Arts Summit on
DIRECTING
June 20-21, 2013
Due: October 31, 2012
DiPA Research Network with Acadia University, Dalhousie Theatre and Humber
School of Creative & Performing Arts
anna.migliarisi@acadiau.ca
An Invitation to an International Performing Arts Summit ON DIRECTING
Presented by the DiPA Research Network
In collaboration with Acadia University
Dalhousie Theatre and Humber School of Creative & Performing Arts
June 20-21, 2013
Humber College Lakeshore Campus
Toronto, Canada
This International SUMMIT will explore DIRECTING as a uniquely
interdisciplinary art form. We invite proposals from artists and researchers for papers,
practical presentations and conversations. Our focus is on DIRECTING across the
disciplines, from theatre to film/TV to dance to musical drama to new media. Topics
include, but are not limited to:
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Directing in new media
Director as: writer/actor/producer/designer
Collaborations: Director-Performer
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Women Directors
History of Directing
Keynote Presenter
CHARLES MAROWITZ
Universally acclaimed director/playwright/critic
Please submit brief proposals and bio’ by 31 October, 2012
Email: anna.migliarisi@acadiau.ca
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The Objects of Textual Scholarship
March 6-8, 2013
Due: November 1, 2012
The Society for Textual Scholarship, Seventeenth Biennial International
Interdisciplinary Conference
s3jones1@gmail.com
The Society for Textual Scholarship
Seventeenth Biennial International Interdisciplinary Conference
March 6-8, 2013
Loyola University Chicago
“The Objects of Textual Scholarship”
Program Chairs: Steven Jones, Peter Shillingsburg, Loyola University Chicago
Deadline for Proposals: November 1, 2012
KEYNOTE SPEAKERS
DIRK VAN HULLE, University of Antwerp
PAULIUS SUBACIUS, Vilnius University
PAUL GEHL, The Newberry Library, Chicago
ISAAC GERWITZ, The Berg Collection, New York Public Library
The conference will be held at Loyola University’s Water Tower Campus, just
north of the Loop, off the Magnificent Mile and near the Newberry Library, Museum
of Contemporary Art, etc.
This year’s topic is “The Objects of Textual Scholarship,” and the program chairs
invite submissions on any aspect of interdisciplinary textual scholarship, but with a
possible focus on the role of primary objects, artifacts. and archival materials as the
basis of and challenge to textual scholarship in all its forms, including the digital
representation by textual criticism of primary materials and physical artifacts.
Submissions may focus on any aspect of textual scholarship across the
disciplines, including the discovery, enumeration, description, bibliographical analysis,
editing, annotation, and mark-up of texts in disciplines such as literature, history,
musicology, classical and biblical studies, philosophy, art history, legal history, history
of science and technology, computer science, library and information science,
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archives, lexicography, epigraphy, paleography, codicology, cinema studies, new
media studies, game studies, theater, performance studies, linguistics, and textual and
literary theory.
Submissions may take the following forms:
1. Papers. Papers (or papers with slideshow presentations) should be no more than 20
minutes in length, making a significant original contribution to scholarship. Papers
that are primarily reports or demonstrations of tools or projects are discouraged.
2. Panels. Panels may consist of either three associated papers or four to six
roundtable speakers. Roundtables should address topics of broad interest and scope,
with the goal of fostering lively debate with audience participation.
3. Seminars. Seminars should propose a specific topic, issue, or text for intensive
collective exploration. Accepted seminar proposals will be announced on the
conference Web site (http://www.textual.org) at least two months prior to the
conference and attendees will then be required to enroll themselves with the posted
seminar leader(s). The seminar leader(s) will circulate readings and other preparatory
materials in advance of the conference. No papers shall be read at the seminar session.
Instead participants will engage with the circulated material in a discussion under the
guidance of the seminar leader(s). All who enroll are expected to contribute to
creating a mutually enriching experience.
4. Workshops. Workshops should propose a specific problem, tool, or skillset for
which the workshop leader will provide expert guidance and instruction. Examples
might be an introduction to forensic computing or paleography. Workshop proposals
that are accepted will be announced on the conference Web site
(http://www.textual.org) and attendees will be required to enroll with the workshop
leader(s).
Proposals for all four formats should include a title, abstract (one to two pages) of the
proposed paper, panel, seminar, or workshop, as well as the name, e-mail address, and
institutional affiliation for all participants. Format should be clearly indicated.
Seminar and workshop proposals in particular should take care to articulate the
imagined audience and any expectations of prior knowledge or preparation.
***All abstracts should indicate what if any technological support will be
required.***
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Inquiries and proposals should be submitted electronically–as plain text–to:
Professor Steven Jones: s3jones1-at- gmail -dot- com
See http://stevenejones.org for further contact information.
A small number of stipends will be available to offset the travel costs for
graduate students traveling to Chicago from outside North America. Please note your
interest in being considered for this award as part of your application.
All participants in the STS 2013 conference must be members of STS. For
information about membership, please visit the society for Textual Scholarship
website http://textualsociety.org/membership-information/. For conference updates
and information, including a list of keynote speakers, see the STS website at
http://textualsociety.org.
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Caricature: A Lost Origin of Animation
April 19-21, 2013
Due: November 1, 2012
Dartmouth College
boul.sc@gmail.com
This call is for a panel proposal for the Illustration, Comics, and Animation
Conference to be held at Dartmouth College, April 19 – 21 2013.
While most animation historians look for the origins of animation in lanterna
magicae, shadow theatre and vaudeville, among others, one major influence seems to
be often overlooked: caricature, or « print cartoon ».
By exploring the conditions of emergence of animation and especially the artistic
backgrounds of its pioneers, this panel seeks to discover the roots of animation
aesthetics in caricature and comic strips, also known at the turn of the century as «
print cartoons ».
How do contemporary animated films and shorts retain the aesthetic priorities of
early print cartoons?
Are there particular animated films or shorts that demonstrate this origin in
caricature more forcefully than others?
What new understandings are forged when we accept print cartoons as a direct
ancestor and still very close relative of animation?
And how might this cross media approach encourage a more global and/or
interdisciplinary study of caricature, the image, visuality, or the cartoon?
What qualities specific to animation resist this genealogical approach to the
medium rooted in caricature and print cartoon? What, in other words, refuses to
cross-over?
Please send 300 word abstracts and a brief bio no later than November 1, 2012 to:
Stéphane Collignon: boul.sc@gmail.com
Inquiries about the conference should be addressed to Michael A. Chaney:
michael.chaney@dartmouth.edu
The official website is coming soon, a facebook page is up already.
http://www.facebook.com/IllustrationComicsAndAnimationConference
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Out of Control Suburbs? Comparing Representations
of Order, Disorder and Sprawl
June 27-28, 2013
Due: November 1, 2012
Leverhulme Cultures of the Suburbs International Research Network
suburbs@exeter.ac.uk
Following the success of our 2011 Inaugural Symposium, our second meeting seeks to
discuss the nature and representation of suburbs, suburban life and sprawl whether
local, regional or global. Where are the margins of suburbia and do they represent
order, disorder or nostalgia? How is sprawl defined – as organic social process or
negative cultural impact? And how is it experienced by diverse communities and
individuals? What are the aesthetics of order and sprawl? How do representations of
suburban sprawl and disorder converge or diverge between the Global South and
North – and within the Global North?
Questions that the symposium aims to address include: how are order and disorder
understood and represented in relation to suburban zoning, planning and placemaking;
greenbelt spaces, public parks and private gardens? How do poverty, physical
deterioration and crime change the ways that particular communities are envisaged,
and for whom are these places policed and controlled? In what ways would a “Right
to the Suburb” differ from a “Right to the City”? How does the disorderly mobility of
suburbanites – pedestrians, commuters and migrants – give rise to new visions for
managing their movements at various scales? In what ways do the artistic, social,
civic, sporting and religious aspects of a community shift and change according to the
sprawling sites and changing infrastructures around them? And how do children and
their elders reflect on the order or disorder of their suburbs?
In a continuation of the practice that worked so effectively at our first symposium,
and in order to encourage maximum participation and dialogue, we welcome
proposals for 10-minute papers from a range of disciplines including (but not limited
to) the arts and humanities, social sciences, and applied sciences such as Architecture,
Design and Planning.
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Please submit a 250 word proposal for your paper by Thursday 1 November 2012 to
suburbs@exeter.ac.uk
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Children in Film SWTXPCA/ACA
February 13-16, 2013
Due: November 10, 2012
Southwest Texas Popular culture/American Culture Assocation
dolson@uta.edu
debbieo@okstate.edu
CFP: Children in Film, SWTXPCA/ACA, Albuquerque, NM, Feb 13-16, 2013
Deadline: November 10, 2012.
Proposals are being accepted for the Children in Film Area of the 34rd annual
SWTX PCA/ACA conference "Celebrating Popular/American Culture(s) in a Global
Context," February 13-16, 2013, in Albuquerque, New Mexico.(www.swtxpca.org).
Proposals are welcome that explore and interrogate the representations of
children in film: Hollywood film, independent film, foreign film, short films,
web-based films, and children’s film. Additional topics of interest concerning children
in film or images of children in film may include, but are not limited to:
coming-of-age; children of color; negotiations of racial/ethnic/cultural differences;
negotiations by children of social, political, economic conditions; children’s
relationships with adults, parents, siblings, or peers as represented in film; gender and
children; sexuality and children; children of the Diaspora as portrayed in film;
children and technology; the child body; mechanized children; ideology and the child;
children’s education, or any other topic that explores the child image in film.
Panel suggestions are welcome! Please email for information on panelsdolson@uta.edu
The deadline for submissions is November 10, 2011.
Abstracts of 200-300 words must be submitted to the SWTX conference
database: conference2013.swtxpca.org.
All abstracts must be submitted by the presenter to the above database.
Deadline for submissions is November 10, 2012.
For area information please contact:
Debbie Olson
Area Chair, Children in Film
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Department of English
University of Texas, Arlington
PO Box 19035
203 Carlisle Hall
Arlington, TX
76019
dolson@uta.edu
Registration for the 34th annual 2013 Southwest Texas Annual Conference will
begin on September 1, 2012. The SW/TX PCA/ACA for our 34th annual conference,
February 13-16, 2013, at the Hyatt Regency Hotel and Conference Center in beautiful
Albuquerque, New Mexico, at the Hyatt Regency Hotel and Conference Center, ABQ,
NM 87102. Reservations can be made online or by calling 888-421-1442.
Further details regarding the conference (listing of all areas, hotel, registration,
tours, etc.) can be found at www.swtxpca.org.
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Changing Nature: Migrations, Energies, Limits,
ASLE Tenth Biennial Conference
May 28-June 1, 2013
Due: November 15, 2012
Association for the Study of Literature and Environment
paul.outka@ku.edu
Submit at http://www.asle.ku.edu, All proposals due by November 15, 2012.
The Association for the Study of Literature and Environment (ASLE) invites
proposals for its Tenth Biennial Conference, May 28-June 1, 2013, at the University
of Kansas in Lawrence. The decennial conference theme is intended to reflect some of
the most engaging current conversations within the environmental humanities and
across disciplines, and to link those discussions to the transnational nexus of energy,
labor, borders, and human and nonhuman environments that are so fundamentally
"changing nature," and with it the widely varied kinds of environmental critique we
practice, art we make, and politics we advocate. Migrations--of humans, of
non-human creatures, of "invasive species," of industrial toxins across aquifers and
cellular membranes, of disease across species and nations, of transgenic pollen and
GM fish-have changed the meanings of place, bodies, nations, and have lent new
urgency to the old adage that "everything is connected to everything." Energies--fossil,
renewable, human, spiritual, aesthetic, organic-radically empower our species for
good and for ill, and make our individual and collective choices into the
Anthropocene. And those choices are profoundly about Limits on resources, climate,
soil, and water; about voluntary and involuntary curbs on individual and collective
consumption and waste; about the often porous and often violently marked borders of
empire, class, race, and gender.
We seek proposals for papers, panels, roundtables, workshops, and other public
presentations that address the intersections between representation, nature, and culture,
and that are connected to the conference's deliberately broad and, we hope,
provocative theme. As always, we emphatically welcome interdisciplinary approaches;
readings of environmentally inflected fiction, poetry, creative nonfiction, and film;
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and proposals from outside the academic humanities, including submissions from
artists, writers, practitioners, activists, and colleagues in the social and natural
sciences. An incomplete list of possible topics might include, combine, and are
certainly not limited to:
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Petro-culture and the Energies of Modernity: the Keystone pipeline,
hydrofracking, tar sands, global capital and resource wars, the possibility of
change
Aesthetics and the Futures of Environmental Representation
Climate Change: mitigation, adaptation, costs, and the concept of place
Empire, Race and Environment: postcolonial ecocriticism
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The Futures of Ecofeminism
Indigenous Environmentalisms
"Natural" Histories of Race, Ethnicity, Gender, Class, Sexualities...
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Ecocomposition, environmentalism and rhetoric, sustainable pedagogies/the
pedagogies of sustainability
Environmental Justice: toxins, food, climate, sovereignty
Postnatural Nature, Posthuman Humanism
Digital Representation and Natural Experience
Biotechnology: prostheses, genetic modification, synthetic life
Waste: from adopt-a-highway to the pacific garbage patch
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Animals, Animality: us and us
Evolution, Epigenetic Change, Politics
Affect and Environmentalism: love, despair, postdespair
Submission Guidelines:
 One proposal submission allowed per person.
 Participants can present on only one panel/paper jam/or roundtable (though
serving as a chair on a panel, in addition to presenting, is permitted.)
 Pre-formed panels are highly encouraged. To encourage institutional
diversity and connection, all pre-formed panels must include participants
from more than one institution and from more than one academic level.
 Proposals must be submitted online (though if this poses a significant
difficulty for an individual member, please email Paul Outka to work out an
accommodation.)
All proposals must be submitted by November 15, 2012. We will evaluate your
proposal carefully, and notify you of its final status by January 31, 2013.
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Contact Paul Outka, at paul.outka@ku.edu with questions.
For additional information and to submit a proposal please visit the conference
website: http://www.asle.ku.edu.
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Cinematic Melodrama, AAIS 2013
April 11-14, 2013
Due: November 15, 2012
Maria Alexandra Catrickes / AAIS
maria.catrickes@yale.edu
Cinematic Melodrama, AAIS 2013 at University of Oregon, April 11-14
This panel will explore cinematic melodrama in relation to literature, visual arts,
opera, politics, morality, or religion. Papers that analyze specific use of posture,
gesture, and spatial and musical categories are encouraged. All theoretical approaches
are welcome. Please send a 250-300 word abstract and brief biographical note by
November 15, 2012 to maria.catrickes@yale.edu.
Organizer: Maria Alexandra Catrickes, Yale University, maria.catrickes@yale.edu
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Mystery/Detective
February 13-16, 2013
Due: November 16, 2012
34th Annual SW/TX PCA ACA Conference Albuquerque, NM
aclark-moore@sunyjefferson.edu
Call for Papers: Mystery/Detective Fiction
34th Southwest/Texas and American Popular Culture Association Conference
February 13-16, 2013
Albuquerque, NM
http://www.swtxpca.org
This year’s theme: "Celebrating Popular/American Culture(s) in a Global Context."
Proposal submission deadline: November 16, 2012
Conference hotel:
Hyatt Regency Albuquerque
300 Tijeras Avenue NW
Albuquerque, NM 87102
Further conference details are available at http://www.swtxpca.org
Proposals are now being accepted for panels in the mystery/detective section area.
Professionals, independent scholars, teachers, graduate students, and others are
encouraged to submit 200-250 word abstracts for individual presentations or 500
word proposals for panel presentations on subjects ranging from the classic
detective/mystery to the marginalized, innovative, and/or speculative.
Submit proposals through the conference’s database at
http://conference2013.swtxpca.org.
Possible areas include, but are not be limited to:
Speculative Crime Fiction
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Re-creating Holmes
The Criminal Other
Recent Developments in the Police Procedural
Defining Crime/Defining Class
The Past in Mystery Novels
Queering the Mystery
Eco-noir
Humor in Crime Fiction
Inter/Extra-textuality in Mystery/Detective Fiction
Third Wave Feminism
Pastiche
We Don’t Have that Kind of Crime Here
Cultural Representations of Crime/Criminal
The Criminal as Hero/Anti-Hero
Alcohol and Addiction and the Detective/Cop
The “Other” as Sleuth
Apocalyptic Detective Fiction
Moral Certainty/Uncertainty in Post-Modern Detective/Mystery Fiction
Genre Blending and Bending in Detective Fiction (Sci-Fi/Romance/Western/Etc.)
The Supernatural in Mystery Fiction
Gonzo Crime Fiction (Willeford, Leonard, Hiassen, Dorsey, et. al.)
High Brow Detective Fiction
Cats, Food, and Handicrafts: Defending the Cozy
Hard-Boiled
The Stupid One: In Defense of Arthur Hastings, Doctor Watson, and Second Fiddles
Everywhere.
Race/Ethnicity in Crime Fiction
If you have any questions, contact the area chair:
Ann Clark-Moore
Area Chair: Mystery/Detective Fiction
aclark-moore@sunyjefferson.edu
Visit the website: http://swtxpca.org
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Literature: Ecocriticism & The Environment
February 13-16, 2013
Due: November 16, 2012
Southwest/Texas Popular Culture Association
khada@ecok.edu
Call for Papers: Literature: Ecocriticism & Environment
For presentation at the 34th Annual Conference:
Southwest/Texas Popular Culture & American Cultural Association
Celebrating Popular/American Culture(s) in a Global Context
February 13 - 16, 2013 – Albuquerque, New Mexico
Hyatt Regency Hotel & Conference Center
For detailed information please go to: http://www.swtxpca.org including information
about monetary awards for best graduated school papers in a variety of areas.
Panels are now being formed for presentations regarding Literature: Ecocriticism and
the Environment. Specific areas might include:
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ecocritical approaches to literature
environmentally-focused artists and their art
representations of nature and the environment in popular and American culture
interdisciplinary approaches to the environment by environmental historians,
philosophers, geographers, ecologists, governmental agencies, etc.
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environmental/ecocritical pedagogy & environmental education
environmental discourse in the media
the environment in film
ecofeminism
environmental issues in the Southwest
urban environmentalism
nature writing and its authors
environmental activism, non-profit, governmental issues, etc.
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To submit a proposal, go to http://conference2013.swtxpca.org and enter the proposal
into the database. Deadline for submissions is November 16, 2012. Accepted
applicants will be notified by email, and must register for the conference by
December 31, 2012.
Information: Dr. Ken Hada, Chair
Literature: Ecocriticism & Environment
khada@ecok.edu
East Central University
1100 E. 14th St.
Ada, OK 74820
580-559-5557
http://www.swtxpca.org
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American History and Culture Area
February 13-16, 2013
Due: November 16, 2012
Southwest/Texas Popular Culture and American Culture Association
LMohsene@chancelloru.edu
Call for Papers: American History and Culture Area
Southwest/Texas Popular Culture and American Culture Association
34th Annual Conference
February 13-16, 2013
"Celebrating Popular/American Cultures in a Global Context"
Hyatt Regency Hotel & Conference Center
in Albuquerque, New Mexico
http://www.swtxpca.org
Proposal submission deadline: November 16, 2012
Proposals are now being accepted until November 16, 2012 for the American
History and Culture Area at the 2013 SW/TX PCA/ACA Conference. We invite you
to submit presentations about American history and culture, ranging from critical
essays to analyses employing recognized research methodologies. Paper presentations
should be 15 to 20 minutes. Proposals with a global scope are especially welcomed.
All proposals for the “American History and Culture” area must have a historical
focus and should emphasize culture.
Panels are still forming for all of the conference’s individual subject areas,
including the “American History and Culture” area.
Below are some suggestions for presentation/panel topics related to the area of
“American History and Culture.”
Topics not mentioned here are also welcome for consideration.
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Specific eras / periods in American history
Regional and local history (especially in the Southwest)
Public history, collective memory, representation, nostalgia, memorials /
monuments
Historic preservation and historical sites
Consumer culture and advertising
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Leisure, public amusements, travel, and tourism
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Urban studies, architecture, city planning, cultural geography, cultural landscapes
Local image/identity creation, boosterism, and the marketing of place
Radio
Sports
Youth culture/subcultures, children’s culture, senior culture, etc.
Visual culture, art, and design
For individual presentations, submit a proposal with the following items:
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maximum 250-word abstract, including paper/presentation title;
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current curriculum vitae;
working bibliography for your paper; and
contact information (name and email).
All presenters must enter their own information and proposals into the
conference database.
Proposals for panels of 3-4 presenters are also welcome. To propose a panel,
submit the following:
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panel title;
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name and email address for the panel chair;
titles and abstracts of each paper; and
name and email address for each presenter.
Submit all proposals to http://conference2013.swtxpca.org.
Please see http://www.swtxpca.org/documents/48.html for a list of graduate
student awards and requirements.
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Captivity Narratives
February 13-16, 2013
Due: November 16, 2012
Southwest/Texas Popular Culture and American Culture Association
bmallen@southtexascollege.edu
CFP: CAPTIVITY NARRATIVES
Abstract/Proposals by 16 November 2012
Southwest/Texas Popular & American Culture Associations 34th Annual Conference
Celebrating “Popular/American Culture(s) in a Global Context”
Albuquerque, NM February 13-16, 2013
Hyatt Regency Albuquerque
330 Tijeras
Albuquerque, NM 87102
Phone: 1.505.842.1234
Fax: 1.505.766.6710
Panels are now forming for presentations regarding all aspects (historical, literary,
cultural, etc.) of Captivity Narratives. All topics and approaches to the genre are
welcomed. Please send an abstract of your presentation to the address below.
Graduate students/future teachers are particularly welcome to participate or register to
attend the conference and captivity forum.
Those interested in the captivity narrative panel should contact Dr. B. Mark Allen,
Captivity Narratives Chair, at bmallen@southtexascollege.edu as soon as possible
with questions and/or to notify of your proposal.
If your work does not focus on captivity narratives in particular but fits within
the broad range of areas designated for the upcoming conference on American &
Popular culture, I still encourage you to participate. Please pass along this call to
friends and colleagues.
Send materials with your email address by 16 November 2012:
Dr. B. Mark Allen, Captivity Narrative Chair
Asst. Professor of History
South Texas College
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PO Box 5032
McAllen, TX 78502-5032
Phone: 956-872-2037
bmallen@southtexascollege.edu
Conference Website: (updated regularly)
For General Inquiries:
Tamy Burnett, PhD
Public Relations Coordinator
SWTX PCA/ACA
swtxpca.org@gmail.com
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Environment, Ecology, and Native Nations
February 13-16, 2013
Due: November 16, 2012
Native/Indigenous Area Southwest/Texas Popular & American Culture Association
nativestudiespca@gmail.com
Southwest/Texas Popular & American Culture Association's
34th Annual Conference in Albuquerque, NM
Submit abstracts to: http://conference2013.swtxpca.org/
DEADLINE Nov 16, 2012
Paper proposals are now being accepted for a panel dedicated to environmental and
ecological issues and Native communities worldwide.
Listed below are some suggestions for possible presentations but topics not included
here are welcomed and encouraged:
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Environmental(In)justice
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Sovereignty and Land Management
Environmental Leaders in Indian Country
Wildlife Management and Native Nations
Treaties, Land, Hunting, Fishing, and Gathering
Food Sovereignty and Traditional Foods
Climate change and Native Nations
Environment and Native American Representations
Past, Present and Future Environmental Land Management
Language and Environment/Ecology
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Environmental Justice and Native Communities
Ecological Knowledge
Gender and Environment in Native Communities
Historical Trauma and Ecology/Culture/Place Nexus
Place Names Research
MORE IDEAS ENCOURAGED
Inquiries regarding this area may be sent to Brian Hudson and Margaret Vaughan at
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nativestudiespca@gmail.com
Please forward this information to people who would be interested in participating.
Follow us on Facebook (www.facebook.com/nativeswtxpca) and Twitter
@nativeswtxpca
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Date Correction: O'Neill & Irishness
April 4-6, 2013
Due: November 26, 2012
37th Annual Comparative Drama Conference
jcwestgate@fullerton.edu
O’Neill & Irishness
37th Annual Comparative Drama Conference
Stevenson University, Maryland
April 4-6, 2013
Sponsored by
The Eugene O’Neill Society
Eugene O’Neill is regularly described as one of the foremost American dramatists, but
this description downplays concerns about O’Neill’s Irish heritage and Irish history.
So crucial was this heritage and history that O’Neill once told his son, Eugene Jr., “the
critics have missed the most important thing about me and my work—the fact that I
am Irish.” Naturally, this fact leads to questions about the nature of O’Neill’s life and
work. What about them are distinctly Irish? How do they address concerns about
immigration and acculturation, religion, class and culture? Also, how has O’Neill’s
Irishness influenced Irish and Irish-American writers?
This panel welcomes papers that examine the relation of O’Neill’s plays to Ireland,
the Irish-American experience, and to Irish and Irish-American literature, using a
variety of approaches: New historicism, cultural materialism, post-colonialism,
Marxism, etc. Our ambition is to bring renewed attention to O’Neill’s connections
with Ireland and to questions about Irishness.
Please send 250 word abstracts J. Chris Westgate (jcwestgate@fullerton.edu) by
November 26, 2012. This panel is sponsored by the Eugene O’Neill Society.
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Science Fiction and Fantasy Area of PCA
March 27-30, 2013
Due: November 29, 2012
Popular Culture Association
pcasff@gmail.com
One of the largest and most vibrant of the association, the Science Fiction and Fantasy
(SF/F) Area invites proposals for its 2013 national conference. The goals of our area
are (1) to share and support research, scholarship, and publication and (2) to mentor
emerging scholars. As a result, we invite proposals from professors, independent
scholars, graduate students, and undergraduates (with the guidance of a professor).
PCA/ACA SF/F welcomes any theoretical or (inter)disciplinary approach to any topic
related to SF/F: art; literature; radio; film; television; comics and graphic novels;
video, role-playing, and multi-player online games. Though not at all an exhaustive
list, potential presenters may wish to consider the following topics. We would
particularly like to encourage submissions for 2013 that celebrate a momentous event
in the history of SFF. Next year marks the 50th anniversary of Doctor Who. We
welcome proposals that examine and celebrate this remarkable achievement. Next
year also marks the 5th anniversary of the end of Buffy the Vampire Slayer, a series
that changed the face of television.
General Topics
• Fans and Fandom/Community Building
• Gender and Sexuality
• Class and Hierarchies
• Hybridity and Liminality
• Utopia/Dystopia
• Audience Reception
• Translation Issues
• Cross-Media Texts
• Regeneration—Moving Narratives from One Medium to Another
• Language and Rhetoric
• Genre—Space Opera, Cyberpunk, Dark Fantasy, etc.
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• Franchising Narratives
• Intertexuality
• Marketing and Advertising
• Textual Analysis
• Sociological or Psychological Readings
• Archival Research
• Technology—Textual and Literal
• Pedagogy—Teaching Science Fiction and Fantasy
• Online Identity Construction
• Use of Music and Silence
• Visual, Spatial, and Design Elements
• Mythology and Quest Narratives
• Steampunk
Examples of Fantasy Texts
• Classic and Contemporary Literature—Gilgamesh; Homer’s Odyssey; J.R.R.
Tolkien’s The Lord of the Rings; C.S. Lewis’s Chronicles of Narnia; Terry Pratchett’s
Discworld novels; J.K. Rowling’s Harry Potter series; Phillip Pullman’s His Dark
Materials collection; Frank Baum’s Oz series; Lewis Carroll’s Alice in Wonderland,
Through the Looking Glass and Alice’s Adventures in Wonderland; and works by
such authors as Piers Anthony, Marian Zimmer Bradley, Neil Gaiman, Douglas
Adams, Orson Scott Card, Margaret Weis, Ursula K. LeGuin, Mercedes Lackey,
Patricia McKillip, and others.
• Film—The Princess Bride (1987), Willow (1988), Labyrinth (1986), The Dark
Crystal (1982), The NeverEnding Story (1984), The Clash of the Titans (1981; 2009),
Ladyhawke (1985), Spirited Away (2001), Donnie Darko (2001), Chocolat (2000),
Amelie (2001), Pan’s Labyrinth (2006), etc.
• Television—The Twilight Zone (1959-64), The Prisoner (1967-68), Dark Shadows
(1966-71), Wonder Woman (1975-79), Beauty and the Beast (1987-90), Wonderfalls
(2004), The Dresden Files (2007), Supernatural (2005-), Xena: Warrior Princess
(1995-2001), Charmed (1998-2006), Angel (1999-2004), Buffy the Vampire Slayer
(1997-2003), Lost (2004-), Being Human (2009-), Grimm (2011-) and others.
• Comics and Graphic Novels—Buffy the Vampire Slayer, Season 9; Japanese
manga; European comics; underground comics movement, etc.
• Gaming—Tomb Raider, World of Warcraft, Dungeons & Dragons, Everquest, Myst,
Vampire: The Masquerade, etc.
Examples of Science Fiction Texts
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• Classic and Contemporary Literature—from the works of Jules Verne, H.G. Wells,
and Mary Shelley to Isaac Asimov, Robert Heinlein, Phillip K. Dick, Kurt Vonnegut,
Octavia E. Butler, Anne McCaffrey, Marge Piercy, James Tiptree Jr., Frank Herbert,
and Candas Jane Dorsey.
• Film—from Le Voyage Dans La Lune (1902), Frankenstein (1931), and Invasion of
the Body Snatchers (1956) to 2001: A Space Odyssey (1968), Star Wars (1977), Alien
(1979), Blade Runner (1982), 12 Monkeys (1995), The Matrix (1999), Children of
Men (2006), Iron Man (2008), The X-Files: I Want to Believe (2008), Transformers 2
(2009), Star Trek (2009).
• Television—classic TV such as Star Trek: The Original Series (1966-1969) and
The Twilight Zone (1959-1964) to recent series of interest, including Lexx
(1997-2002), Twin Peaks (1990-91), The X-Files (1993-2002), Dark Angel (2000-02),
The 4400 (2004-07), the Stargate series including Universe, Babylon 5 (1993-98),
Battlestar Galactica (2004- 2008), Terminator: the Sarah Connor Chronicles (2007 2009), Torchwood (2006-), Primeval (2007-), Heroes (2007-), Firefly (2002-03),
Sanctuary (2008-12), Eureka (2006-12), and others.
The SF/F Area is also interested in featuring science fiction and fantasy writers and
poets. Creative writers are welcomed.
Submission Guidelines: In Word (.doc/.docx), Rich Text Format (.rtf), or PDF,
completed papers or 250-word proposals for individual papers, panels, roundtables,
workshops, or creative writing readings should be submitted through the PCA website.
Instructions for submission can be found at
www.pcaaca.org/conference/instructions.php and submissions made at
http://ncp.pcaaca.org . The document should contain the following information in this
order:
• Name(s) of presenter(s)—indicate main contact person if submitting a group
presentation
• Institutional affiliation—if applicable
• Name and contact information of cooperating professor—undergraduates only
• Address(es), telephone number(s), and email address(es) of presenter(s)
• Title(s) of paper(s), panel, roundtable, or workshop
• Completed paper(s) or 250-word proposal(s)—if submitting a workshop, please
specifically indicate what those in attendance will gain
The paper/panel proposal will be acknowledged when received, and the sender will
be notified of the submission’s status no later than 1 January 2013.
Please be aware that the Area Chairs are not able to submit proposals on your behalf.
If there is a problem while submitting papers please contact the Chair.
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Please, do not simultaneously submit the same proposal to multiple areas. Doing so is
a discourtesy to area chairs. Also please note that, per PCA/ACA guidelines, a person
may present only one paper at the annual meeting, regardless of subject area. This
includes roundtables, that is, a person cannot present a paper and a roundtable
discussion.
Submission Deadline: 29 November 2012
Each year after the last conference panel on Saturday evening, the SF/F Area hosts a
fundraising event that includes a film, snacks, and a prize raffle of DVDs, novels,
academic books, etc.—thousands of dollars in merchandise. Come enjoy the food,
friendship, and fun! Location TBA; film TBA. Fundraising supports area activities
and, beginning with the 2011 conference, awards to the two best papers, graduate
student and professional. More details about these awards can be found at the area’s
website: www.pcasff.org
Please be aware that the PCA offers several travel bursaries and deadlines for them
are the 7 January 2013. Check the PCA website www.pcaaca.org for more
information.
Hope to see you in DC!
Your Area Co-Chairs:
Dr. Gillian I Leitch
23 Blvd Mont-Bleu, #1
Gatineau, QC
Canada J8Z 1H9
and
Dr. Sherry Ginn
Rowan-Cabarrus Community College
1531 Trinity Church Rd
Concord, NC 28110 USA
Direct all enquiries to our email address: pcasff@gmail.com
NOTE: While the PCA/ACA welcomes fresh approaches to subjects, we also
appreciate serious commitment to scholarship and to presenting at the conference.
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Illustration, Comics, and Animation Conference
April 19-21, 2013
Due: December 1, 2012
Illustration, Comics, and Animation Society
michael.chaney@dartmouth.edu
What is the future of illustration studies?
What can comics scholars learn from animation studies and vice versa?
Do illustrated books or graphic novels resist the supposed obsolescence of the
book?
What do pictures want (now)?
These and related questions will be explored at the Illustration, Comics, and
Animation Conference at Dartmouth College to be held April 19 – 21 2013.
Scholars interested in the illustrated image in all of its mediated guises are
invited to participate in this interdisciplinary conference. Nearly all illustrated or
drawn ‘texts’ are eligible for consideration:
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comics and graphic novels
cartoons and animated films
illustrated books
And given the uniquely plenary nature of the conference, which brings together
scholarship on static and moving illustrations, preference will be given to proposals
that seek to bridge visual media.
Possible topics may include:
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Individual titles by prominent practitioners
Identity, subjectivity, ideology, or culture in one or more type of illustration
media
The future of particular schools of criticism (psychoanalysis, critical race theory,
phenomenology, Marxism, feminism, queer theory, post-colonialism, formalism,
aesthetic theories, etc.) and one or more type of illustration media
The location of the conference may also be a source of inspiration for
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prospective participants. Not only does Dartmouth College lie in close proximity to
the Center for Cartoon Studies in White River Junction, Vermont, but it is also the
alma mater of Theodore Geisel, Dr. Seuss, whose illustrated books continue to inspire,
befuddle, and provoke.
Interested participants may propose individual papers or panels. Individual
papers should be no longer than 20 minutes. Panels shall be ninety minutes long and
should be comprised of three presenters and one (ideally separate) panel chair. Please
send 300 word abstracts and a brief bio for each proposed paper no later than
December 1, 2012.
Send all proposals and inquiries to Michael A. Chaney
michael.chaney@dartmouth.edu
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Andrew Marvell Society Sessions for the
South-Central Renaissance Conference
March 21-23, 2013
Due: December 15, 2012
The Andrew Marvell Society at the South-Central Renaissance Conference
jfaust@selu.edu
Creighton University will host Exploring the Renaissance 2013: An International
Conference on March 21-23, 2013. The Andrew Marvell Society will be hosting
sessions on a variety of topics concerning Marvell’s poetry and prose, including a
panel discussion on “Bermudas,” featuring presentations by Joan Faust, George
Klawitter, and Timothy Raylor. Other proposals for papers or for sessions are now
invited.
Proposals are especially welcomed on the following topics:
• The dating of Marvell’s poems
• Digitizing Marvell’s works
• Marvell and Fairfax
• “The Rehearsal Transpros’d”: Decorum, Butler, and Other Issues
Full details about the conference will be posted at the SCRC website:
http://scrc.us.com/archives/2013conference.shtml
Abstracts only (400-500 words; a shorter 100-word abstract for inclusion in the
program), for papers of no more than 20 minutes reading time, should be submitted
online no later than December 15, 2012 via the SCRC website's submission abstract
form: http://scrc.us.com/abstractform.shtml
Sessions should be proposed no later than Dec. 15, 2012.
Program participants are required to join SCRC and are encouraged to submit
publication-length versions of their papers to the SCRC journal, Explorations in
Renaissance Culture:
http://www.cwrl.utexas.edu/~nydam/scrc/explorations.shtml
For more information, please consult Executive Secretary Joan Faust
(jfaust@selu.edu).
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Media in Transition 8: Public Media, Private Media
May 3-5, 2013
Due: March 1, 2013
Brad Seawell / Massachusetts Institute of Technology
seawell@mit.edu
MIT Comparative Media Studies and the
MIT Communications Forum
present
Media in Transition 8: public media, private media
International Conference
Conference dates: May 3-5, 2013 at the Massachusetts Institute of Technology,
Cambridge, MA.
Conference website: http://web.mit.edu/comm-forum/mit8 (watch for updates).
CALL FOR PAPERS
Submissions accepted on a rolling basis until Friday, March 1, 2013 (evaluations
begin in November). Please see the end of this call for papers for submission
instructions.
The distinction between public and private – where the line is drawn and how it
is sometimes inverted, the ways that it is embraced or contested – says much about a
culture. Media have been used to enable, define and police the shifting line between
the two, so it is not surprising that the history of media change to some extent maps
the history of these domains. Media in Transition 8 takes up the question of the
shifting nature of the public and private at a moment of unparalleled connectivity,
enabling new notions of the socially mediated public and unequaled levels of data
extraction thanks to the quiet demands of our Kindles, iPhones, televisions and
computers. While this forces us to think in new ways about these long established
categories, in fact the underlying concerns are rooted in deep historical practice. MiT8
considers the ways in which specific media challenge or reinforce certain notions of
the public or the private and especially the ways in which specific “texts” dramatize
or imagine the public, the private and the boundary between them. It takes as its foci
three broad domains: personal identity, the civic (the public sphere) and intellectual
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property.
Reality television and confessional journalism have done much to invert the
relations between private and public. But the borders have long been malleable.
Historically, we know that camera-armed Kodakers and telephone party lines
threatened the status quo of the private; that the media were complicit in keeping from
the public FDR’s disability and the foibles of the ruling elite; and that paparazzi and
celebrities are strategically intertwined in the game of publicity. How have the various
media played these roles (and represented them), and how is the issue changing at a
moment when most of our mediated transactions leave data traces that not only
redefine the borders of the private, but that serve as commodities in their own right?
The public, too, is a contested space. Edmund Burke’s late 18th century
invocation of the fourth estate linked information flow and political order, anticipating
aspects of Habermas’s public sphere. From this perspective, trends such as a siege on
public service broadcasting, a press in decline, and media fragmentation on the rise,
all ring alarm bells. Yet WikiLeaks and innovative civic uses of media suggest a sharp
counter-trend. What are the fault lines in this struggle? How have they been
represented in media texts, enacted through participants and given form in media
policy? And what are we to make of the fate of a public culture in a world whose
media representations are increasingly on-demand, personalized and
algorithmically-designed to please?
Finally, MiT8 is also concerned with the private-public rift that appears most
frequently in struggles over intellectual property (IP). Ever-longer terms of IP
protection combined with a shift from media artifacts (like paper books) to services
(like e-journals) threaten long-standing practices such as book lending (libraries) and
raise thorny questions about cultural access. Social media sites, powered by users,
often remain the private property of corporations, akin to the public square’s
replacement by the mall, and once-public media texts, like certain photographic and
film collections, have been re-privatized by an array of institutions. These undulations
in the private and public have implications for our texts (remix culture), our access to
them, and our activities as audiences; but they also have a rich history of contestation,
evidenced in the copybook and scrapbook, compilation film, popular song and the
open source and creative commons movement.
MiT8 encourages a broad approach to these issues, with specific attention to
textual practice, users, policy and cultural implications. As usual, we encourage work
from across media forms and across historical periods and cultural regions.
Possible topics include:
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Media traces: cookies, GPS data, TiVo and Kindle tracking
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The paradoxes of celebrity and the public persona
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Representing the anxieties of the private in film, television, literature
MMORPGs / identities / virtual publics
The spatial turn in media: private consumption in public places
Historical media panics regarding the private-public divide
When cookies shape content, what happens to the public?
Creative commons and the new public sphere
Big data and privacy
Party lines and two-way radio: amplifying the private
The fate of public libraries in the era of digital services
Methodologies of internet and privacy studies
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Creative commons, free software, and the new public sphere
Public and civic WiFi access to the internet
Surveillance, monitoring and their (dis)contents
Submit an Abstract and Short Bio
Short abstracts for papers should be about 250 words in a PDF or Word format
and should be sent as email attachments to mit8@mit.edu no later than Friday, March
1, 2013. Please include a short (75 words or fewer) biographical statement.
We will be evaluating submissions on a rolling basis beginning in November and
will respond to every proposal.
Include a Short Bibliography
For this year’s conference, we recommend that you include a brief bibliography
of no more than one page in length with your abstract and bio.
Proposals for Full Panels
Proposals for full panels of three or four speakers should include a panel title and
separate abstracts and bios for each speaker. Anyone proposing a full panel should
recruit a moderator.
Submit a Full Paper
In order to be considered for inclusion in a conference anthology, you must
submit a full version of your paper prior to the beginning of the conference.
If you have any questions about the eighth Media in Transition conference,
please contact Brad Seawell at seawell@mit.edu.
48
Conferences in Europe
Non-Reproduction: Politics, Ethics, Aesthetics
February 1, 2013
Due: October 1, 2012
Fran Bigman, PhD Researcher, Faculty of English, University of Cambridge, Sophie
Jones and Harriet Cooper, PhD Researchers, Department of English and Humanities,
Birkbeck College,
non.reproduction@gmail.com
Cultural anxieties concerning biological reproduction often pivot around the
notion of the non-reproductive body, in which intersecting fears about class, race,
sexuality, gender and disability are encoded. Media discussions of abortion rates,
teenage use of contraception, and gay marriage all register the perceived threat of sex
without procreation. In a broader sense, the imperative to safeguard the future by
‘thinking of the children’ is powerful ideological currency, animating activists on both
the left and the right.
A number of writers have responded to this tendency by considering the
aesthetics and ethics of the non-reproductive. Recent work in cultural studies has
emphasised the radical potential of the subject that refuses reproduction. In Unmarked:
The Politics of Performance (1993), Peggy Phelan locates the radicalism of feminist
performance art in its status as ‘representation without reproduction’. More recently,
Lee Edelman’s No Future: Queer Theory and the Death Drive (2004) argues that
resisting heternormativity entails refusing to participate in ‘the cult of the child’.
According to Judith Halberstam (2008), Edelman’s work is part of an ‘anti-social turn’
in queer studies which ‘always lines up against women, domesticity and
reproduction’.
Inspired by Halberstam’s intervention, this one-day interdisciplinary humanities
symposium invites critical perspectives on the idea of non-reproduction. How is the
assumption that the non-reproductive necessarily resists the dominant order
undermined by right-wing strategies that seek to limit reproduction, such as forced
sterilisation, 'population bomb' rhetoric, discriminatory welfare policies or the
stigmatisation of single parents. Is it helpful to draw a conceptual opposition between
the reproductive and the non-reproductive? Are there alternatives to this framework?
49
What are the implications of ‘non-reproduction’ and anti-futurity for approaches to
the archive and the preservation of cultural and social documents?
Contributions are welcome from graduate students and early career researchers
across the arts and humanities, as well as thinkers, activists, writers and artists
working outside academia.
Topics could include, but are not limited to:

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pro-choice politics versus reproductive justice
global warming and population discourse
Refusing parenthood in art and literature
Infertility and IVF
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Contraception and abortion politics
Queer theory and the family
Gay marriage in the media
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Feminism and maternity
Museums and heritage
Textual repetition and reproduction
Discourses about the child (e.g. the child as commodity)
The disabled child and controversial sterilization procedures (eg. The Ashley
Treatment)
The politics of non-reproduction in an age of accumulation
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copyright law
Gustav Metzger and destruction in art
Derrida on the archive
Performance theory
Abstracts of 250-300 words for 20-minute papers should be sent to
non.reproduction@gmail.com by Monday 1 October.
Organizing Committee:
Fran Bigman, PhD Researcher, Faculty of English, University of Cambridge
Harriet Cooper, PhD Researcher, Department of English and Humanities, Birkbeck
College, University of London
Sophie Jones, PhD Researcher, Department of English and Humanities, Birkbeck
College, University of London
50
"Making Sacrifices": Visions of Sacrifice in American
and European Cultures
November 3, 2012
Due: October 1, 2012
Salzburg Institute of Gordon College
salzburg.symposium@gordon.edu
As Italian premier Mario Monti recently did, politicians are increasingly calling on
citizens to make sacrifices for the future of their countries. Such public invocations of
sacrifice place politicians and their constituents in a state of tension at least partly
because of the difficult and often contradictory connotations of sacrifice. Sacrifice, a
concept of religious provenance deeply embedded in contemporary culture, can mean
to offer for destruction and to make amends, to hurt and to heal, make whole, or
sacred. Such oppositions at the heart of sacrifice make it a dangerous and
much-fraught concept, as well as a fruitful and powerful one in numerous spheres of
culture.
This year's symposium of the Salzburg Institute of Gordon College is dedicated to
investigating notions of sacrifice as they appear at important junctures of
contemporary culture and its past. The following questions, among others, will be
considered: In what ways does sacrifice form a key theme in European and/or
American literature, art, and thought? How have concepts of sacrifice taken shape in
those historical and contemporary situations where sacrifice has become a particularly
important, urgent, or contested matter? How have the meanings of sacrifice shifted
(and how may they yet shift) as a result of their circulating between different spheres
of activity? (For example, what meaning is gained, lost, or otherwise changed when a
religious notion of sacrifice is transposed into philosophical conceptuality, a political
principle, or a key idea of fiscal reform? As for the inverse, what do avowedly
religious understandings of sacrifice owe to ancient and modern legal, political, and
philosophical invocations of sacrifice?) Finally, how has sacrifice been envisioned
within various Christian, Jewish, and Muslim traditions and how might the notions of
sacrifice belonging to these traditions be profitably compared?
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The interdisciplinary symposium appeals to scholars of various disciplines (the
humanities, sociology, philosophy, literature, history, political science, religious
studies, Jewish studies, and theology among others).
Date of the symposium: November 3, 2012.
Location: Gordon College, Wenham, MA. Gordon College is located just 25 miles
north of Boston on Boston's historic North Shore.
Please send abstracts for papers and a brief bio by October 1, 2012 to
salzburg.symposium@gordon.edu . Presentations should not exceed 20 minutes in
length. The organizers cannot offer contributors compensation for conference- or
travel expenses. Select contributions will be considered for publication in an edited
collection.
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Unhealable Wounds: Gothic and the Question of
Trauma
November 24, 2012
Due: October 8, 2012
Dale Townshend, University of Stirling
dt8@stir.ac.uk
A one-day Symposium for Postgraduates and Early Career Researchers at the
University of Stirling, Scotland
Saturday 24th November 2012
Plenary Speakers: David Punter and Linnie Blake
Since the eighteenth century, the Gothic aesthetic has been intimately tied to the
experience and representation of trauma, be it personal, historical, cultural or
otherwise. Early writers of the Gothic continuously rehearsed their preoccupations
with familial violence and rupture, while the chaotic historical events of the French
Revolution inscribed their traces in some of the mode’s most enduring conventions.
During the nineteenth century, Gothic became enlisted in addressing the wounds and
traumas of the bourgeois subject, the subject of sexuality, gender, nationhood, class
and race. In the films, fictions, graphic novels and art-works of modernity and
post-modernity, the Gothic aesthetic is often used to signify or at least gesture towards
the fall-out of the traumatic event, from the World at War to Hiroshima, Chernobyl,
global terrorism, 9/11 and beyond. While psychoanalytically-derived trauma theory
might teach that the traumatic event remains, at heart, unrepresentable, traces of the
Gothic are often perceivable in those cultural modes that do variously seek to register,
address, confront, represent, respond to or work through an experience of traumatic
wounding. This one-day interdisciplinary symposium seeks to explore the connections,
intersections and overlaps between trauma and the Gothic from the eighteenth century
through to the present day. Possible topics might include (but are not limited to) the
following:
• Gothic in/and the work of trauma theory
• Trauma, mourning and the Gothic
• Traumatic haunting
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• Primal Scenes / Screens / Screams
• Trauma and/as Gothic spectacle
• Psychoanalysis, trauma and the Gothic
• Wounds literal and metaphorical
• Repetition, re-enactment and the Gothic
• Misery Memoirs and the Gothic
• Traumatic memory and the Gothic
• Trauma and the War on Terror
Please send 250-word abstracts for 20-minute presentations to Dale Townshend at
dt8@stir.ac.uk by 8 October 2012.
54
Turning Points in Biography: The Collective, the
Event and the Return of the Life in Parts
February 9-10, 2013
Due: November 1, 2012
Kathryn Holeywell University of East Anglia
UEABiographyConference@gmail.com
CFP - Turning Points in Biography: the collective, the event and the return of the life
in parts
Turning Points in Biography: the collective, the event and the return of the life in
parts
9-10 February 2013
University of East Anglia
Organised under the auspices of the University of East Anglia’s School of Literature,
Drama and Creative Writing’s Biography and Creative Non-Fiction Programme
Keynote speakers TBA
CALL FOR PAPERS
They say the devil’s in the details. So what kind of life do we get when depth
overshadows breadth? In serious biography, more and more, it means a partial life: a
focus on what is called the ‘collective’ or group, and (in what is swiftly becoming the
new trend) on a pivotal event or age. The conventional biographer must wonder: how
do these shorter, closer cuts stand up to definitive, cradle-to-grave lives? What new
challenges do they present, and what old ones do they overcome? Are certain subjects
better served by it? How is the structure already evolving?
Biographers such as Richard Holmes, Charles Nicholl, Helen Rappaport and
Francis Wilson have chosen a pivotal event, a series of events, or the relationships
within a group to create closer and perhaps even truer portraits of their subjects than
ever before. This two-day international and interdisciplinary conference invites papers
from postgraduates, academics and practicing biographers that explore this recent
innovation in life writing by addressing such questions as:
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Is there still a place for the definitive life?
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What new obstacles does the event-based narrative put before us?
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Is it necessarily problematic that this approach distorts the life?
How do we find a sense of wholeness in parts?
How do we assess rigor of scholarship in this context?
How does an event-driven narrative answer the weaknesses in the conventional
cradle-to-grave structure?
What subjects are most suited to this structure?
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Topics may include but are not confined to papers on biographical works in
progress, critical readings or theoretical approaches.
Please send abstracts of 250 words for 20 minute papers with your name, email
address and university affiliation to Kathryn Holeywell and Blake Darlin at
UEABiographyConference@gmail.com
Deadline: 1 November 2012
56
Transmediality and the Role of the U.S. in Cultural
Translation
August 29-31, 2013
Due: November 1, 2012
European Society for Translation Studies
freitagf@uni-mainz.de
This panel at the 7th Congress of the European Society of Translation Studies
will address questions of transmediality and cultural translation with a focus on the
U.S. As evidenced by terms and concepts such as Americanization, McDonaldization,
or Disneyfication, the United States as well as concepts and products commonly
associated with America have, in processes of cultural translation and particularly
with respect to the 20th century, been considered a center. In his classic text on the
changing role of America in transcultural dynamics, “American Culture: Creolized,
Creolizing” (1988), for instance, Ulf Hannerz distinguishes between, on the one hand,
the period of the formation of a distinctive American culture, which evolved as a
creolized or hybridized version of various European cultures, and, on the other hand, a
later period, during which America increasingly exported its (mass) cultural products
to a periphery where they creolized or, indeed, Americanized local cultures.
Following the “transnational turn” in 21st-century American Studies, this
center-periphery dichotomy has increasingly been challenged. Using concepts such as
“ChinAmerica,” transcultural and transnational American Studies have attempted to
overcome scholarly truisms about cultural metropolitan dominance and peripheral
dependency and passivity. Instead, they have considered the ways cultural products,
forms, concepts, and movements pass through America as they crisscross the globe,
changing their surroundings and changing themselves along the way.
What has been largely overlooked in this reconceptualization of America as a
cultural crossroads rather than either a cultural center or periphery, however, is the
role of intermediality. For at least with respect to specific mass media such as movies,
television, video games, or theme parks as well as with respect to the distribution of
cultural products via the internet, the U.S., with their often superior expertise and
infrastructure, do seem to function as a center of cultural translation. Thus, for
instance, the Harry Potter film series and theme park attractions, although based on
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the literary works of a British author, were co-produced and created, respectively, in
the U.S., before they were re-exported into the global market. Hence, the role of
media and intermediality in the consideration of the U.S. as either a center, a
periphery, or, indeed, a crossroads of cultural translation and transcultural dynamics
offers a rich field for both broader theoretical discussions and specific case studies.
Questions to be asked in this panel include, but are by no means limited to, the
following:
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How do medial and cultural translation generally interact to produce new cultural
forms?
Can the alterations that specific “foreign” cultural forms and products have
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undergone in the U.S. be attributed mainly to the requirements of intermedial
translation or rather to intercultural translation?
Is there something intrinsically “American” about cultural forms and products
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that have been medially and/or culturally translated in the U.S.?
Do specific media favor the positioning of the U.S. as a cultural center and if so,
which media are these?
Have the U.S. developed into a center of remediation that imports cultural
content from the periphery only to medially and culturally translate it and
re-export it?
What roles have specific American companies in the culture and entertainment
industry played in processes of medial and cultural translation?
How are cultural forms that have been medially and/or culturally translated in the
U.S. received in the global market?
Paper proposals can be submitted until November 1, 2012, at
http://www.est-translationstudies.org/events/2013_germersheim/session_proposal.htm
l
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Money Matters: Shakespeare’s Finances, Munich,
Germany
April 26-28, 2013
Due: November 15, 2012
German Shakespeare Association
felix.sprang@uni-hamburg.de
Money Matters: Shakespeare’s Finances
“Put money in thy purse,” Iago keeps reminding Roderigo throughout the play
Othello but we never actually learn why Iago presses Roderigo for money. Iago is not
a spendthrift, he does not follow expensive fashions, and he is certainly not a
generous husband. What matters is that as creditor Iago is in control of Roderigo:
Iago’s demands create a vacuum that arguably sets Iago’s plot and the whole play in
motion. Money matters are central to the plot of Othello, but they are at the same time
peculiarly obscure.
Financial transactions, the exchange of goods, credit and debt, possession, profit and
loss all feature prominently in the plays (and poems) of Shakespeare and his
contemporaries. Even Karl Marx was impressed by how accurate Shakespeare
portrayed the real nature of money as ‘visible divinity’ that is capable of ‘the universal
confounding and distorting of things’ and should be regarded as the ‘common whore’
and ‘common procurer of people and nations.’ Essentially, Elizabethan England was
an economy of obligation due to the chronic shortage of ready money. As coins were
devaluated, Shakespeare’s London saw a credit crunch not unlike the financial crisis
we experience today. It is thus hardly surprising that our pecuniary concerns are also
central concerns in the plays by Shakespeare and his contemporaries.
The Shakespeare Seminar aims at exploring the link between money matters on
stage and the role that money plays in society at large. How do the plays envision the
economic, social, and psychic repercussions of financial trade? How do they reflect
the beginnings of capitalism in Shakespeare’s day? Is money indeed shown to have
transformative, and most often corruptive, power, as Marx argued? How is the
financial sphere related to other discourses? For instance, how are ideas of financial
credit and debt associated with religious and moral ideas of integrity and guilt? Do
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Shakespeare’s financial statements also lend themselves to metatheatrical and
metapoetic use? How can we relate our current concerns with financial crises in a
globalised capitalist system to Shakespeare’s theatrical world? How have theatrical
and filmic productions of Shakespeare’s plays envisioned the role of money?
Our seminar plans to address these and related questions with a panel of six papers
during the annual conference of the German Shakespeare Association,
Shakespeare-Tage (26-28 April 2013 in Munich, Germany). As critical input for the
discussion and provocation for debate, panellists are invited to give short statements
(of no more than 15 minutes) presenting concrete case studies, concise examples and
strong views on the topic.
Please send your proposals (abstracts of 300 words) and all further questions by 15
November 2012 to the seminar convenors:
Felix Sprang, University of Hamburg: felix.sprang@uni-hamburg.de
Christina Wald, University of Augsburg: christina.wald@phil.uni-augsburg.de
See also: http://shakespeare-gesellschaft.de/publikationen/seminar.html
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Leiden University Graduate Conference “Death: the
Cultural Meaning of the End of Life”
January 24-25, 2013
Due: November 15, 2012
Leiden University Centre for the Arts in Society (LUCAS)
lucasconference2013@gmail.com
Death is a defining factor in the explorations of our subjectivity, art, history,
politics, and many other aspects of our social interactions and perceptions of the
world. In the modern age, conceptions of death have continued to shift and evolve, yet
our perceptions are still fueled by an instinctive fear of the end of life.
In recent decades, we have rebelled against the threat of death by inventing new
technologies and medicines that have drastically increased our life
expectancy—diseases and disabilities are gradually disappearing. Some believe that
one day we will completely conquer the aging process, and ultimately death. Life can
now be seen as a new form of commodity, a material object that we can trade, sell, or
buy.
Despite our attempts to shut-out death or overcome its inevitability, the end of
life has remained a visible and unavoidable aspect of our society. From antiquity to
the present day, perceptions of death have been represented through various different
mediums: visual culture, art, literature, music, historical writing, cinema, religious
symbols, national anniversaries, and public expressions of mourning.
This conference aims to explore how death has been represented and
conceptualized, from classical antiquity to the modern age, and the extent to which
our perceptions and understandings of death have changed (or remained the same)
over time. The wide scope of this theme reflects the historical range of LUCAS’s
(previously called LUICD) three research programs (Classics and Classical
Civilization, Medieval and Early Modern Studies and Modern and Contemporary
Studies), as well as the intercontinental and interdisciplinary focus of many of the
institute’s research projects.
PROPOSALS:
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The LUCAS Graduate Conference welcomes papers from all disciplines within
the humanities. The topic of your proposal may address the concept of death from a
cultural, historical, classical, artistic, literary, cinematic, political, economic, or social
viewpoint.
Questions that might be raised include: How have different cultures imagined the
end of life? What is the role of art (literature, or cinema) in cultural conceptions of
death? How might historical or contemporary conceptualizations of death be related
to the construction of our subjectivity and cultural identity? What is the cultural
meaning(s) of death? To what extent has modern warfare changed our perceptions of
death? How is death presented in the media and how has this changed? In what ways
has religion influenced our reflections on death and the afterlife?
Please send your proposal (max. 300 words) to present a 20-minute paper to
lucasconference2013@gmail.com. The deadline for proposals is 15 November, 2012.
You will be notified whether or not your paper has been selected by 1 December,
2012.
As with the previous LUCAS Graduate Conference (2011), a selection of papers
will be published in the conference proceedings. For those who attend the conference,
there will be a registration fee of €45 to cover the cost of lunches, coffee breaks, and
other conference materials. Unfortunately we cannot offer financial support at this
time.
If you have any questions regarding the conference and/or the proposals, please
do not hesitate to contact the organizing committee at:
lucasconference2013@gmail.com. Further details will be available online in the Fall.
The organizing committee:
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Odile Bodde
Maarten Jansen
David Louwrier
Jenny Weston
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On Liberties: Victorian Liberals and Their Legacies
July 3-5, 2013
Due: December 3, 2012
Gladstone's Library, Hawarden, UK
louisa.yates@gladlib.org
matthew.bradley@liverpool.ac.uk
What did it mean to be liberal, or even ‘a’ liberal in the Victorian period? Lord
Rosebery said he called himself a liberal because he wanted to be associated with ‘the
best men in the best work’; but this rather Arnoldian ideal of ‘the liberal’ wasn’t even
shared by Arnold himself, who qualified his own position by calling himself a liberal,
but a liberal ‘tempered by experience, reflection and renouncement.’ The
nineteenth-century may have seen the publication of one of political liberalism’s
ur-texts in John Stuart Mill’s On Liberty, and the founding of the modern Liberal party,
but the Victorian idea of the ‘liberal’ was always wider, more conflicted, more
capacious, more difficult. Religious liberals, for example, were re-defining the
fundamentals of belief; writers and poets used a devotion to ‘liberty’ to support
various radical causes at home and abroad; some like Swinburne were rendering a
devotion to liberty and an avowed sexual libertinism uneasily indistinct.
Liberal impulses remain firmly with us. Indeed, it is worth asking why the
Victorians still to some extent remain the benchmark against which we measure our
own liberation, our own modernity; when we look to see how far we’ve come (or not),
and what liberties we’ve secured (or not), it is to the nineteenth-century that we
frequently look - often to the Victorians’ disadvantage. Or, conversely, we might ask
whether we perhaps ‘take liberties’ with the Victorians when trying to re-positioning
them against this myth - are we simply re-writing, revising and re-fashioning them in
our own ‘liberal’ image?
Hosted at Gladstone’s Library on 3rd-5th July 2013, and part of Gladstone’s
Library’s broader ‘Re:defining liberalism’ project over 2013, this two day conference
(presented by Gladstone’s Library in association with the Gladstone Centre at the
University of Liverpool) intends to explore the various implications of the idea of the
‘liberal’ in the Victorian period, but also its multifarious legacies: its legacies for
modern politics, for the ways we conceptualize the Victorian period today, and most
fundamentally for our notions of broader categories and concepts we still associate
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with ‘the liberal’ and with liberalism: knowledge, licence, education, and human
freedom.
Papers may consider:
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sexual liberation in the Victorian period
religious and theological liberalism, then and now
Literary liberalism – the political purposes of contemporary literature
Liberalism with a big ‘L’, the Liberal Party and its politicians
‘Victorian values’ in political discourse today
The modern Liberal Democrats and nineteenth-century ideas of liberalism
liberal enactments: what does it mean to be liberal today?



John Stuart Mill
Campaigns for ‘liberty’ abroad in the Victorian period
The figure of the libertine in the Victorian period

Limited liberalism – problems of liberal representation and subjectivity
Please send proposals of between 250-300 words to Dr. Matthew Bradley
(matthew.bradley@liverpool.ac.uk) or Dr. Louisa Yates (louisa.yates@gladlib.org), by
Monday 3rd December 2012. Completed papers should be approximately 20 minutes
in length.
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Adapting Dickens: A One-day Conference at DMU
Centre for Adaptations
February 27, 2013
Due: December 6, 2012
De Montfort University, Leicester, UK
ygriggs@dmu.ac.uk
Adapting Dickens: A One-Day Conference
Wednesday 27 February, 2013
De Montfort University, Leicester, UK
Centre for Adaptations
Papers are invited on all aspects of Dickens and Adaptation.
Abstracts (100-200 words) should be sent to Dr Yvonne Griggs by 6 December 2012.
ygriggs@dmu.ac.uk
In the year following the bicentenary celebrations of Charles Dickens’ birth, this
conference aims to continue the celebrations by shifting the focus of discussion from
the works of Dickens to the varied body of adaptive responses generated by his texts.
We welcome papers which may include but are not limited to the following topics:
Dickens and cinema
Dickens on stage
‘Novel’ responses to Dickens’ texts
Dickens on the ‘small screen’
Re-visioning Dickens and the Dickensian from an adapter’s perspective
Global reinventions of Dickens’ works
Pop culture appropriation of Dickens’ works
Dickens and the cinematic remake
Dickens and silent cinema adaptations
Guest speakers (screenwriters) TBC
65
Conference on English Language and Literary
Studies
June 6-8, 2013
Due: December 20, 2012
University of Banja Luka & DeMontfort University
cells@unibl.rs
1st International Conference of the University of Banja Luka (BiH) in cooperation
with De Montfort University (UK)
CELLS - CONFERENCE ON ENGLISH LANGUAGE AND LITERARY STUDIES
GOING AGAINST THE GRAIN
Contemporary Approaches to the Study of Language, Literature and Culture
Banja Luka, 6 – 8 June 2013
CALL FOR PAPERS
The Department of English, at the Faculty of Philology, University of Banja
Luka (Bosnia and Herzegovina) and the Department of English and Creative Writing,
Faculty of Design, Arts and Humanities, De Montfort University (United Kingdom)
are pleased to announce their first conference on English language and literary studies
CELLS: Going against the Grain – Contemporary Approaches to the Study of
Language, Literature and Culture.
The aim of the conference is to provide an international forum for the exchange
of ideas and experiences across the fields of English language and literary studies,
with particular emphasis on cross-disciplinary and interdisciplinary issues raised in
the fields of literature, culture, linguistics, translation studies and applied linguistics.
Topics might include (but are not limited to):


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


contemporary approaches to the study of language, literature and culture;
traditional vs. new approaches to the study of language, literature and culture;
the migration of meaning across different languages;
human universals and cultural/linguistic difference;
the relationship between meaning, multiplicity of meaning and meaninglessness;
integration of languacultural and intercultural studies into existing FLT curricula.
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The official language of the conference is English.
PLENARY SPEAKERS



Terry Eagleton (Distinguished Professor of English Literature, Lancaster
University, UK)
Geoffrey K. Pullum (Professor of General Linguistics, University of Edinburgh,
UK)
Andy Mousley (Reader in Critical Theory and Renaissance Literature, De
Montfort University, UK)
SUBMISSION OF ABSTRACTS
Please send an abstract of up to 300 words (MS Word 2003-2007) to the
following e-mail address: cells@unibl.rs
Abstracts should be anonymous containing only the name of the paper, the body
of the abstract and references.
Please send the following information in the body of the e-mail:
(1) Title of the paper
(2) Name of the author(s)
(3) Affiliation of the author (s)
(4) Key words
(5) E-mail address
(6) Bio note (no more than 100 words)
IMPORTANT DATES
20 December Deadline for Submission of Abstracts
15th January, 2013 Notification of Acceptance
15th February, 2013 Registration
CONFERENCE FEE
The conference fee is 80 Euros. The fee includes:



conference pack
conference break refreshments
wine reception.
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For the participants from Bosnia and Herzegovina, the conference fee is 50
Euros.
ACCOMMODATION
Accommodation can be arranged by the organizers upon request.
CONFERENCE WEBSITE
All the details and important information can be found at the conference website.
www.cellsbl.com (active from September 15th, 2012)
A selection of papers will be published after the conference.
CONTACT:
E-mail: cells@unibl.rs
We look forward to your proposals.
On behalf of the Organizing Committee,
Dr Petar Penda,
Vice-Dean for Publishing and Science
Faculty of Philology
University of Banja Luka
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Southern Short Fiction: Representation and
Rewriting of Myth
June 20-22, 2013
Due: January 30, 2013
Centre de Recherche Interdisciplinaire en Langue Anglaise (Angers, France); Suds
d’Amériques (Versailles, St Quentin en Yvelines, France); Catholic University (Lille,
France).
alice.clarkoo@gmail.com
gerald.preher@gmail.co
emmanuel.vernadakis@univ-angers.fr
Call for papers: Lille, FRANCE June 20-22, 2013
Southern Short Fiction: "Representation and Rewriting of Myth"
In Mythologies, Roland Barthes defines myth as a “language and a system of
communication” which has developed a primal and residual space in the architecture
of human memory. Following Barthes’ conception of myth as a reservoir in which
memory ebbs and flows from culture to culture, we can detect the presence of this
system of communication in the South of the United States, a region imbricated with a
profound and singular sense of myth. As a result, rereading literature through the
prism of myths allows us to better understand how the Southerners have integrated
myth so as to affirm or negate their cultural heritage in the country, as well as
social-economic relationships and gender roles. As such, the South’s discourse with
myth formulates a condition, sine qua non, for creating its specific identity. This is
why myths can inform paradigms of marginality, disruption and clan conflict encoded
within southern short stories. By engaging in the study of the representation and
rewriting of myth in short stories from the South, we will endeavor to grasp the extent
to which myths tap into the resources of short fiction. We will consider how they are
inherent to, and formative of the literary genre of brevity, which draws on parabolic
sources.
Authors for papers should submit anonymous proposals. They should give a
clear analytical framework linked to the topic of the conference, the corpus under
investigation and a brief list of references, and indicate whether they will be using
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audio-visual material. Please send your abstract in the form of anonymous
attachments (word.doc or PDF). Presentation of papers will be allocated 20 minutes.
Please email your abstracts (250 words) by January 30, 2013 to the organizers:
Emmanuel Vernadakis , Alice Clark and Gérald Préher Specify subject of the message:
CFP June 2012: “Southern Short Fiction: Representation and Rewriting of Myth.” In
body of message stipulate: name of author, title of paper, institution.
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Oxford Centre for Life-Writing: ‘Lives of Objects’
September 20-22, 2013
Due: January 31, 2013
Oxford Centre for Life-Writing at Wolfson College, University of Oxford
rachel.hewitt@wolfson.ox.ac.uk
The Oxford Centre for Life-Writing (OCLW) exists to encourage practice and
research in life-writing in all forms, from biography to autobiography, diaries to blogs,
letters to memoirs. It is directed by renowned biographer Professor Hermione Lee,
associate-directed by eminent colonial scholar Professor Elleke Boehmer,
administered by literary historian Dr Rachel Hewitt, and is based at Wolfson College,
Oxford. From 20-22 September 2013, OCLW will hold its first major triennial
conference, on the subject of ‘The Lives of Objects’.
The application of life-writing to objects lies at the heart of many recently published
biographies, memoirs and histories, including Neil MacGregor’s A History of the
World in 100 Objects (2010), Edmund De Waal’s The Hare with Amber Eyes: A
Hidden Inheritance (2010), Steven Connor’s Paraphernalia: The Curious Lives of
Magical Things (2011), Mark Kurlansky’s Salt: A World History (2003) and Lorraine
Daston’s Biographies of Scientific Objects (2000). Biographies of objects raise
important methodological issues pertinent to life-writing, regarding narrative,
structure and chronology; the representation of change and improvement; and the
influence of objects in human lives, communities and material history. The study of
‘object biographies’ continues to generate fruitful areas of academic research,
including Bill Brown’s work on ‘thing theory’ (2001); Chris Gosden and Yvonne
Marshall’s 1999 study of ‘the cultural biography of objects’ (in relation to
archaeology); and explorations of value and exchange of objects in cultural and
material history, such as the essays included in Arjun Appadurai’s edited volume The
Social Life of Things: Commodities in Cultural Perspective (1986).
The ‘Lives of Objects’ conference will be an interdisciplinary, international event,
inviting 20-minute papers from a wide range of backgrounds. Papers may offer
biographical accounts of particular objects (including, but not limited to, portraits,
sculpture, scientific instruments, archaeological finds, domestic artefacts and items of
71
clothing). The organisers also invite papers that reflect on the methodology of object
biographies or outline existent projects concerned with objects’ lives; papers
considering the influence of life-writing on material history and/or archaeology;
papers exploring the relationship between curating and auto/biography; the history of
the book; the history of museums; and any other facets of the conference theme. The
organisers also invite submissions for an informal workshop, in which delegates will
present and discuss the lives and meanings of individual objects.
The conference will comprise panels of 20-minute papers, four plenary lectures, visits
to the Ashmolean Museum and other museums in Oxford, and the objects workshop.
A number of postgraduate bursaries will be provided to help contribute towards the
costs of the conference registration, accommodation and travel (tbc).
Confirmed plenary speakers include Jenny Uglow and Edmund De Waal.
Please submit a 200-word abstract of your conference paper or poster session (making
it clear which format your submission will take) by 31 January 2013 to OCLW’s
Research Fellow and Administrator, Dr Rachel Hewitt
(rachel.hewitt@wolfson.ox.ac.uk). Please provide details of your contact details and
institutional affiliation, if any. You will be informed by email by Friday 15 March
2013 whether your paper or submission has been accepted. Registration for the
conference will open shortly afterwards.
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'The Locations of Austen' Interdisciplinary
Conference
July 11-13, 2013
Due: January 31, 2013
University of Hertfordshire
p.1.pritchard@herts.ac.uk
To celebrate the bicentenary of the publication of Jane Austen’s Pride and Prejudice,
set in Hertfordshire, the University of Hertfordshire is hosting an interdisciplinary
conference to consider the ‘locations of Austen’.
Jane Austen’s fiction is situated in a landscape both familiar and unknowable. It
manages to evoke a strikingly detailed portrait of contemporary English geography
and culture even while it remains, under closer scrutiny, fabricated. The questions that
concern us include how Austen’s work is located in its historical moment, and the
implications of mapping Austen’s fictional settings onto real topographies of the
English landscape.
Scholars interested in the cultural, literary, and historical contexts of Austen’s oeuvre
are particularly invited to give a paper, and to attend this important event. Proposals
for 20-minute papers or three-paper panels are warmly welcomed, and
multidisciplinary/multi-platform academic approaches are particularly encouraged.
Paper and panel proposals could consider (but are not limited to):

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how Austen’s works represent social change during the French wars,
especially in agricultural communities;
how they seek to reposition the landed elite;
how they use romance as a genre of intervention in the construction of
women;
how her work is located in different global and national cultures in the
twenty-first century.
Invited speakers attending this conference include
73
Robert Clark (University of East Anglia)
Elizabeth Kowaleski-Wallace (Boston College)
James Thompson (University of North Carolina at Chapel Hill)
Emma Clery (University of Southampton)
The University of Hertfordshire offers a state-of-the-art campus readily accessible by
train, car, and London’s three airports. Excursions to Hertfordshire locations of
interest to Austen scholars, in particular places which might have provided models for
Pemberley, will form part of the conference itinerary. Publication of the conference’s
proceedings, both in book form and in a special edition of Critical Survey, is also
anticipated. Interested scholars are invited to submit a proposal of no more than 200
words for 20-minute papers, or send an email outlining a possible panel subject, to Dr
Penny Pritchard at the University of Hertfordshire (Email : p.1.pritchard@herts.ac.uk)
by the deadline of 31 January 2013.
74
The 15th Annual Conference of the English
Department of the University of Bucharest, Romania
June 6-8, 2013
Due: March 16, 2013
University of Bucharest, Faculty of Foreign Languages and Literatures
litcultstbucharest@gmail.com
ACED-15
THE 15th ANNUAL CONFERENCE OF THE ENGLISH DEPARTMENT
UNIVERSITY OF BUCHAREST, ROMANIA
The English Department of the University of Bucharest will hold its 15th Annual
Conference from 6–8 June, 2013.
The Conference will be organized in two sections:

LINGUISTICS
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Papers are invited in:
General Linguistics
Linguistic Theories
Theoretical Linguistics (syntax, phonology, semantics and the interfaces)
Language acquisition
Applied Linguistics
LITERATURE AND CULTURAL STUDIES
General theme: “Cultures of Memory, Memories of Culture”,
Papers are invited in:
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British, Irish and Commonwealth Literatures
American Literature
Cultural Studies
Intellectual and Cultural History
Literary Theory
Translation Studies
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Presentations should be in English, and will be allocated 20 minutes each, plus
10 minutes for discussion. Prospective participants are invited to submit abstracts in
Word format*. Proposals should include title of paper, name and institutional
affiliation, a short bio (no more than 100 words), and e-mail address.
Conference fee: 50 euro (covering lunches and refreshments during the
conference, but not evening meals).
Deadline for of proposals: 16 March 2013.
A selection of papers from the conference will be published in University of
Bucharest Review and in Bucharest Working Papers in Linguistics.
Please send proposals (and enquiries) to the following e-mail addresses:

For the Linguistics section: ACED.15th@gmail.com

For the Literature and Cultural Studies section: litcultstbucharest@gmail.com
Further details about the Conference will be posted at
http://www.unibuc.ro/depts/limbi/literatura_engleza/conferinte.php
We look forward to welcoming you in Bucharest.
Assoc. Prof. Octavian Roske
Head of Department
* Abstracts for the Literature and Cultural Studies Section should be of maximum 200
words, including a list of keywords. Abstracts for the Linguistics section should be
between one and two A4 pages, Times New Roman 12, single spaced.
76
Journals and Collections of Essays
WSQ: Engage!
Due: October 1, 2012
Women's Studies Quarterly
WSQEngageIssue@gmail.com
Call for Papers
WSQ Special Issue: Engage!
Guest Editors: David A. Gerstner & Cynthia Chris
“I must decline your invitation owing to a subsequent engagement.” — Oscar Wilde
“There is always something to do. There are hungry people to feed, naked people to
clothe, sick people to comfort and make well. And while I don’t expect you to save
the world I do not think it’s asking to much for you to love those with whom you
sleep, share the happiness of those whom you call friend, engage those among you
who are visionary and remove from your life those who offer you depression, despair
and disrespect.” — Nikki Giovanni
“We were engaged once though, weren't we?. . . But you were the one that called off
the engagement, do ya remember? I'm still available.” — John “Scottie” Ferguson
(James Stewart) to Midge Wood (Barbara Bel Geddes) in Vertigo (Alfred Hitchcock,
1958)
The declarative verb “engage” occupies cross-purposes. “To engage” spans
innumerable social and cultural arenas: business, politics, sex, and other activities in
which we engage. The word means, in some senses, to begin, to attract, to hire: she
engaged me in conversation; the driver engaged the clutch. In other senses, the word
indicates an invitation, a promise, a binding occupation: one engages by hiring, by
engaging in a business, or in politics; one is betrothed to a beloved in the act of
engagement. An engagement is entangling, drawing together participants in a
cooperating unit (a workplace, a relationship, a contractual agreement) even as that
entangling may be one of violent division: troops may engage in battle. Yet:
engagement is more than co-presence, it is relational: at work or in love, one can
77
simply go through the motions or one can engage with a vigor that is both actively
corporeal and soulfully internalized. To engage encompasses processes of both setting
in motion and sustaining a commitment, both to splice and to confront. To disengage,
even, is to begin again in relation to some other being or entity; that is, to re-engage.
We are interested in the dynamic of all forms of engagement, and seek to explore
its valence in explorations of the various kinds of engagements that gather individuals
into pairings, partnerships, or groups, with particular attention given to the gendered
stakes and sexual aspects involved in engagement. We are moved by discussions
informed by feminist and queer theory that regard how one engages (explicitly or
implicitly) in social alliances and political work. Consider for example, “The Tyranny
of Structurelessness” by Jo Freeman (1972), “The Personal Is Political” by Carol
Hanisch (1969), the anonymous manifesto “Queers Read This/I Hate Straights”
(1990); Lauren Berlant and Michael Warner’s engagements of sexuality in the public
sphere in “Sex in Public” (1998); Michael Worton’s theoretical engagement of erotic
practices in “Cruising (Through) Encounters” (1998); and the engaging interrogation
of pedagogy in “Teaching Shame” by Ellis Hanson (2009).
Such an inquiry—at once etymological, theoretical, and practical—is necessarily
broad-based. But it allows us to ask: What does it mean to begin, to broach, to breach
a public, political, or cultural sphere? How do the dynamics of academic disciplines,
relational, social, and political engagements inform one another? How are our
relationships to work, play, ideas, institutions, identities, bodies (our own and others’),
defined by the degree to which we engage, through indifference, resistance, denial,
hostility, advocacy, identification, fandom, or action? What deconstructive
possibilities does the imperative—to engage—invite given its generous applications
in contemporary culture?
We invite scholarly submissions—as well as poetry, prose, and visual
essays—that approach engagement or the imperative, “to engage,” from a variety of
methodological perspectives. Suggested topics to engage include, but are not limited
to:
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The erotics of being engaged by technology: engaging avatars, engaging with
machines; gendered gadgetry and digital fetishes;
Engagement marketing: identity politics of evangelistic branding campaigns; the
tactility of word-of-mouth branding;
Academic engagements: feminist and queer pedagogy and interdisciplinarity;
practices of engagement in sociology, anthropology and other disciplines;
78

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Getting engaged: marriage, monogamy, polyamoury, flirtation, seduction; trans-,
genderqueer and refusing to engage gender binaries; public sex, sex work;
coupling, uncoupling;
Gendered practices in partisan polemics, flip-flopping, direct action, occupation,
military engagement, civil disobedience, joining, supporting, standing by.
For academic work, please send articles by October 1, 2012 to the guest editors,
Cynthia Chris and David Gerstner at WSQEngageIssue@gmail.com. Please send
complete articles, not abstracts. Submission should not exceed 22 double spaced, 12
point font pages (including references) and should comply with the formatting
guidelines at http://www.feministpress.org/wsq/submission-guidelines.
Poetry submissions should be sent to WSQ's poetry editor, Kathleen Ossip, at
WSQpoetry@gmail.com by October 1, 2012. Please review previous issues of WSQ
to see what type of submissions we prefer before submitting poems. Please note that
poetry submissions may be held for six months or longer. Simultaneous submissions
are acceptable if the poetry editor is notified immediately of acceptance elsewhere.
We do not accept work that has been previously published. Please paste poetry
submissions into the body of the e-mail along with all contact information.
Fiction, essay, and memoir submissions should be sent to WSQ's
fiction/nonfiction editor, Nicole Cooley, at WSQCreativeProse@gmail.com by
October 1, 2012. Please review previous issues of WSQ to see what type of
submissions we prefer before submitting prose. Please note that prose submissions
may be held for six months or longer. Simultaneous submissions are acceptable if the
prose editor is notified immediately of acceptance elsewhere. We do not accept work
that has been previously published. Please provide all contact information in the body
of the e-mail.
Art submissions should be sent to Margot Bouman at WSQArt@gmail.com by
October 1, 2012. After art is reviewed and accepted, accepted art must be sent to the
journal's managing editor on a CD that includes all artwork of 300 DPI or greater,
saved as 4.25 inches wide or larger. These files should be saved as individual JPEGS
or TIFFS.
“Engage!” — Captain Jean-Luc Picard, Star Trek: The Next Generation
79
Collection of Essays on the Role of Music in
Multicultural Activism
Due: October 1, 2012
Ed. Lindsay Michie Eades, Eunice Rojas
eades.l@lynchburg.edu
rojas.e@lynchburg.edu
This book is a two volume series of essays telling stories of the ways in which
music has propelled resistance and revolutionary movements in the United States and
around the world.
The two-volume series will illustrate a consistent pattern of musical influence on
political resistance movements by providing accounts describing a vast array of
musical styles from diverse parts of the world and their use in these movements. One
volume covers movements in the U.S. and the other has an international focus. The
purpose of this series is to encompass a wide perspective on the role of music in
political activism.
We are especially interested in essays that deal with the following:

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Northern Africa
Brazil
Middle East
Southeast Asia
Indonesia
Australia/New Zealand
Ireland
Please submit completed essays of 6000-9000 words with citations in Chicago
Manual of Style endnotes by October 1, 2012 to Lindsay Michie Eades
(eades.l@lynchburg.edu) and Eunice Rojas (rojas.e@lynchburg.edu). Contributors
will be notified of acceptance by October 15, 2012. The series is under contract and
scheduled for publication with Praeger Publishing Company in August 2013.
80
Nationalism and Youth in Theatre and Performance
Due: October 1, 2012
Angela Sweigart-Gallagher / Northeastern Illinois University, Victoria Pettersen Lantz
/ Sam Houston State University
vicky.lantz@shsu.edu
Abstracts are now being accepted for an edited collection on historical narratives and
theoretical implications of how children and youth relate to political performances. By
examining different avenues of youth participation in theatrical moments of
nationalism, this book will engage in a dialogue about how children and/or youth
involved with public events intersect political ideologies/practices. Therefore, we
invite studies on theatre created by and/or for children and/or youth on themes of
nationalism and politics, as well as studies into youth-driven/centered political
performance in the broader sense, from parades to protest movements.
We invite contributors to consider the following questions: What role can/do children
and/or youth play in nationalistic public performances? How do adults affect
(positively or negatively) these roles? How do audiences respond to perceived and/or
imagined roles of children and/or youth in political events? How are children and/or
youth in the performance or in the audience imagined/ presented/ manipulated/
educated/ engaged? How do particular performances look back on a specific national
history and charge ahead with their particular educational or political goals?
Topics may include, but are not limited to:
 History of educational drama in the United States and abroad
 International perspectives on the intersection of youth, nationalism, and
theatre/performance
 Feminist and gender approaches to children, youth, and national identity in
theatre/performance
 Post-colonial perspectives on national identity, nationalism, and youth in
theatre/performance
 Representations/Participation of children/youth in productions at state sanctioned
performances or at National theatres
 Representations/Participation of children/youth in political protests and events
that engage with issues of nationalism and national identity.
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 Performances of nationalism presented by adults for children/youth, as well as
performances created by children/youth
 Performances or explorations of nation and nationalism that extend the
categories of childhood or youth beyond traditional definitions
We are interested in a wide range of essays that examine these issues. We encourage
submissions on US and international theatre, as well as submissions that define or
redefine national performance(s) more broadly. We also invite essays on nationalism
and performance that examine and interrogate the category of “youth.”
Interested contributors are encouraged to forward a 300-350 word abstract, along with
a brief bio (including name, contact info, and affiliation), to
A-Sweigart-Gallagher@neiu.edu and vicky.lantz@shsu.edu by October 1, 2012.
Authors will be notified of acceptance by November 1, 2012. Deadline for completed
essays of 6000-8000 words in length is January 7, 2013.
Please contact us with any questions.
Thank you,
Angela Sweigart-Gallagher and Victoria Pettersen Lantz
Angela Sweigart-Gallagher, PhD
Assistant Professor of Theatre
Department of Communications, Media, and Theatre
Northeastern Illinois University
Email: A-Sweigart-Gallagher@neiu.edu
Victoria Pettersen Lantz, PhD
Faculty
Sam Houston State University
Email: vicky.lantz@shsu.edu
82
Teaching Over-looked, Non-Traditional Medieval &
Renaissance Texts
Due: October 1, 2012
This Rough Magic / www.thisroughmagic.org
boechem@sunysuffolk.edu
This Rough Magic (www.thisroughmagic.org) is a journal dedicated to the art of
teaching Medieval and Renaissance Literature.
All too often, the same canonical works and authors find their way into Medieval and
Renaissance Literature courses. While canonical literature is extremely important and
not to be avoided, a great many authors (i.e., Cyril Tourneur) and texts (i.e., Life of St.
Margaret of Antioch) go un-noticed. We are therefore looking for short essays (i.e.,
5-10 pages) that encourage readers to try non-traditional, over-looked, teachable texts
inside their classrooms. Essays should answer the following:

How can the author/text in question be used in a particular class?

What audience (undergraduate/graduate) should the author/text in question be
geared towards?
What themes/ideas can one cover using the author/text in question?

It is important to try new things; submissions to "Short Essays: Teaching
Non-Traditional Text" should encourage faculty to do just that.
Submission deadline for our Winter 2012 issue is currently October 1st, 2012.
For more information, please visit our website www.thisroughmagic.org or contact
Michael Boecherer: boechem@sunysuffolk.edu
Faculty and Graduate Students are encouraged to submit.
This Rough Magic's editorial board members are affiliated with the following
academic institutions and organizations:
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The American Shakespeare Center
Bridgewater State University
California State University, San Bernardino
The Catholic University of America
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 Fitchburg State University
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Newman University
State University of New York - Stony Brook
Suffolk County Community College
University of Connecticut
Vassar College
84
Representations of Internarrative Identity
Due: October 1, 2012
Representations of Internarrative Identity
lori.way@email.myunion.edu
Call for Chapter Submissions – Representations of Internarrative Identity
Overview
Submissions are now being accepted for a new collection of works based upon
the ideas presented in Internarrative Identity: Placing the Self by Dr. Ajit Kaur Maan.
This project will be the first extensive examination of Dr. Maan’s theories as applied
to diverse areas of scholarship and practice. Full chapters may be submitted with or
without prior chapter proposals. Those who would like to send a short proposal of
their chapter to determine its relevancy to the overall project may send an abstract of
300-500 words (email to lori.way@email.myunion.edu). Multiple works from the
same author will be considered, and co-authored submissions are also acceptable. Full
chapter material should be no longer than 25 pages, inclusive of all tables, figures and
references. The final collection will be published in MLA style, and prospective
chapters should be presented in this format. All work should be submitted as
electronic files in Microsoft Word.
Background
Ajit Kaur Maan earned a bachelor’s degree in journalism from North Dakota
State University and a master’s degree in English literature from Kansas State
University before earning her Ph.D. in philosophy from the University of Oregon. She
specializes in the philosophy of literature and postmodern aesthetics. Maan’s
breakthrough theory of Internarrative Identity came in 1997; she published a book by
the same name in 1999 which was released in its second edition in 2010.
Internarrative Identity Theory deals with one’s sense of self as expressed in personal
narrative, connecting the formation of identity with one’s life experiences. This theory
examines perceptions both at the interpersonal level of interaction and also within
broader discourses such as Post-Colonial Theory and Postmodernism. Through the
application of Maan’s theory, one may embrace a sense of identity that has multiple
definitions and expressions. Maan’s work in this area is influenced by Paul Ricoeur’s
writings on Narrative Identity Theory. She states that “Following Ricoeur, I’ve argued
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that who one is and what one will do will be determined by the story one sees oneself
as a part of. Going further than Ricoeur, I have suggested that a genuinely imaginative
theory of narrative identity would be inclusive of alternatively structured narratives”
(Internarrative Identity: Placing the Self 71-72). Maan’s ideas can be applied to the
role of identity in behavior as well as cultural norms, deviance and marginalization.
Topics
Authors may choose to expand upon Maan’s theories as they relate to aesthetics
and identity, identity as performance, alternative narrative structures, anti-colonial
strategies of resistance, or other applications of Internarrative Identity demonstrated
within other disciplines. Submissions may also take the form of documenting actual
identity performances from the visual and performance arts that: 1) resist culturally
sanctioned descriptions of self and experience; 2) resist homogenized creative
processes; 3) put into practice one or some alternative self strategies; or 4) develop
new ones.
Criteria
The selection process will be based upon those submissions that are judged to be
most applicable to the overall publication; these works will demonstrate
representations and explorations of Internarrative Identity from a range of academic
fields. Editing of works will vary dependent upon the quality and potential of the
proposed chapters, yet every effort will be made to maintain the individual style and
intent of the author’s piece. Feedback will be given for each submission presented to
the editors.
General Timeline


October 1, 2012: Final chapter submissions due in MLA format
November 1, 2012: Submission feedback sent to authors (accepted, accepted
with revision, or rejected)
For more information on the submission of chapters, or to submit chapters and
abstracts, please send your email to Lori Way (lori.way@email.myunion.edu). Thank
you for considering submission to this publication.
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9/11 and Beyond: Movies, Terrorism, and the
Paranoia
Due: October 2, 2012
Satwik Dasgupta / Victoria College
sdg1980@gmail.com
We are inviting papers that consider the socio-cultural ideology underlying the
emerging trends in world cinema that try to grapple with the supposed roots of various
emerging faces of terrorism, domestic or international, especially in the aftermath of
9/11. Across the globe, the focus has interestingly shifted from the act of ‘terrorism’
itself to the paranoia revolving around America and her allies, their insurgencies in the
Middle East and the subsequent tremors felt everywhere, especially by immigrants.
This shift is an important one, for quite some time now, cultural and racial profiling
has been a sensitive issue for a lot of Muslims and other minorities on the American
soil, especially since 9/11. For instance, travelers of Islamic origins have been
frequently hauled up at airports and other such strategic points for additional security
screenings. So, how has mainstream cinema portrayed dealt with such core
fundamental issues? How have immigrants been portrayed as they struggle through
their revelation of personal identities? How has America and other first-world
countries facilitated/hindered their hopes of a better or even normal life? These are
some of the issues that this collection of essays would try to address. A narrower focus
would also be welcome (South Asian cinema, Sino-American movies, South
American movies, Mexican movies)
Topics may include, but are limited to:
 South Asian expatriates as (in)direct victims of global terrorism.
 War and its impact on immigrants around the world
 Ordinary folks undergoing ideological changes owing to extraordinary
circumstances
 Ignorance of or sensitivity to cultural diversity and its relation to the experiences
of immigration
 Expatriates as terrorists
 Changing trends in attitude towards global and domestic terrorism
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 Role of America (or other first world countries) in handling issues of race,
culture, or morality
 Character(s) as product of the friction between ideology and reality
Please submit a 300-word abstract and a brief CV by October 2, 2012 to: Satwik
Dasgupta or Leanne Troop at sdg1980@gmail.com
Full submissions are due by January 31, 2013 and must be between 7000—10000
words in the MLA format.
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Co-edited Collection of Essays on Kazuo Ishiguro
Due: October 15, 2012
Co-edited Collection of Essays on Kazuo Ishiguro
huyildiz@metu.edu.tr
Cynthia.Wong@ucdenver.edu
We invite scholars to submit abstracts for a new collection of critical essays on
acclaimed contemporary British author Kazuo Ishiguro. Topics may include any
aspect of Ishiguro’s works: novels, short stories, adaptations of his fiction for film,
and/or his screenplays for film or television.
Please send abstracts of 250-300 words, along with a brief CV in Word format as an
attachment to Hülya Yıldız (huyildiz@metu.edu.tr) or Cynthia F. Wong
(Cynthia.Wong@ucdenver.edu) by October 15 to be considered for this collection.
Contributors will be notified of acceptance by October 31, 2012. Editors will invite
contributors to submit completed essays by January 31, 2013.
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Queer Cinema in the 21st Century
Due: October 15, 2012
New Cinemas: Journal of Contemporary Film
k.hart@tcu.edu
CALL FOR PAPERS
New Cinemas: Journal of Contemporary Film
Theme Issue: Queer Cinema in the 21st Century
Queerness has been represented on film, in varying ways, from the advent of
motion pictures to the present day. This special issue of New Cinemas: Journal of
Contemporary Film will explore the forms and functions of queer cinema in the early
years of the 21st century. Completed articles on any topic pertaining to contemporary
cinema studies at the intersection of gender/sexuality studies and/or queer theory are
invited from scholars, educators, and students of various levels and disciplines.
Questions of relevance to the contents of this special journal issue include: (1)
What cultural status does queer cinema possess in the early 21st century? (2) In what
noteworthy ways does 21st-century queer cinema represent an extension of, and/or a
significant deviation from, queer cinematic offerings of the past? (3) What sorts of
representational patterns are evident in contemporary queer cinema, and whose
interests do they ultimately serve? (4) What does the (near) future of queer cinema
look like, and what are the cultural implications of this likely state of affairs for
members of various cultural and demographic groups?
Of particular interest are insightful, theoretically informed articles pertaining to
especially unique, noteworthy, and/or culturally influential representations of gay men,
lesbians, bisexuals, and/or transgendered individuals in films (and/or related emerging
media forms) released from the year 2000 to the present. Also of interest are articles
pertaining to other topics of relevance to queer theory (e.g., fetishism, gender bending,
homoeroticism, homosociality, masochism, sadism, sex work, etc.) as they are
explored in cinematic offerings of the early 21st century.
Original submissions of approximately 15-25 typed, double-spaced pages should
be e-mailed to guest editor Kylo-Patrick Hart (k.hart@tcu.edu) by October 15, 2012.
To facilitate the process of blind peer review, please include your name,
complete contact information, and essay title on a separate cover sheet; with the
exception of your essay title, please do not repeat this information on your first page
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of text. Please prepare your submission using the Harvard referencing system, with
bibliographical references embedded in the main text in the following format (Harper
1999: 27) and a single bibliography at the end of the article. For additional references
and style information, please consult the Intellect Journals House Style guide at
www.intellectbooks.co.uk/journals/page/index,name=journalstyleguide/.
Please direct any inquiries to the editor of this themed issue, Kylo-Patrick Hart,
at k.hart@tcu.edu.
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“Imagined Encounters”: Special Issue of
Postmedieval: A Journal of Mmedieval Cultural
Studies, Vol. 7
Due: October 15, 2012
Roland Betancourt, Editor
roland.betancourt@yale.edu
José Saramago’s History of the Siege of Lisbon (1989) is structured around a
transgressive proofreader who alters the course of history with the insertion of the
word “not” in a historical text. By negating a crucial statement in the text, the
proofreader then sets out to rewrite the history of the siege of Lisbon. Medievalists
must often reconstruct the nature of their objects and audiences in order to produce
narratives on visual and literary interactions between images, texts, and their
communities. Through excavations, primary texts, and artifacts, cultures of reception
are articulated and experiences with objects and texts are interpolated. Similar to a
proofreader’s ethical code, archaeologists and art historians operate with an infinite
list of assertions and negations that define the possibility of certain inquiries and
narratives. The scholar knows, for example, that an eleventh-century Byzantine
viewer did not use an iPad for worship. Despite understanding the visualities of a
Byzantine beholder and the workings of an iPad, the extrapolation of this encounter is
verboten as a scholarly narrative. Nevertheless, such encounters across time offer
fruitful parallels and sites of generative critical resistance that operate within the same
processes of imaginative and discursive (re)construction that a scholar deploys to
produce any historical narrative. The “imagined encounter” enables the scholar to
produce scholarship that is socially motivated, rooted in the concerns of the present
while still offering critical feedback beyond anachronism. This volume’s essays
encourage the suspension of disbelief and the negation of historical ‘givens’ in order
to construct imagined (rather than imaginary) historiographies.
Topics may include, but are not limited to:
-Failed projects and dead ends in scholarship
-Fictional worlds as discursive tools
-Modern objects in medieval worlds
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-Medieval viewers/readers/users in modern worlds
-Speculation and object-oriented ontologies
-Queer temporalities and other forms of trans-temporal belonging
Please submit a 500-word abstract along with a CV to the volume’s editor, Roland
Betancourt (roland.betancourt@yale.edu) by 15 October 2012.
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Parasocial Politics: Audience Readings of Cultural
Politics in Pop Culture
Due: October 15, 2012
Jason Zenor SUNY-Oswego
jason.zenor@oswego.edu
There is no doubt that people learn about politics from television. The popularity of
cable news and satire suggest that people are often absorbing and dissecting political
messages from these channels. But, other channels, media and texts will also discuss
the important political issues of our time, even if it is not as overt. Ultimately, media
consumers learn about, debate about, and decide on important political issues through
their relationship with fictional media- just like we learn about debate political issues
with our real life friends.
Though there are many scholarly books that examine the ‘political’ messages of
popular culture, very few examine how audiences read (or create) these messages.
This edited collection will examine how consumers form complex relationships with
media texts (and characters) and how these readings exist in the nexus between the
real and fictional worlds. All methodologies are welcomed (surveys, experiments,
focus groups, mixed methods, etc). This would be a collection of essays, based on
empirical research that shows how consumers read the text (not a rhetorical or
thematical analysis of the text itself, unless it guides the audience research).
Possible topics include, but are not limited to:
“South Park and Political Correctness”
“Jersey Shore and Italian Stereotypes”
“Grey’s Anatomy and Health Care”
“Modern Family and Homosexuality and Family”
“The Middle and the American Dream”
“Parks and Recreation and Bureaucracy”
“The Office and Labor Issues”
“Community and Education”
“Survivor and Social Welfare”
“Undercover Boss and the 1%”
“Breaking Bad and the War on Drugs”
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“Walking Dead and Environmentalism”
“True Blood and Poverty”
“Dexter and Justice”
“Boondocks and Race”
The editor foresees an emphasis on television programming because of the long-term
relationship that audience form with characters. But, the submissions do not have to
be limited to television as works on film, music, and advertising are welcomed.
Creative ideas, unique media texts and approaches are welcomed. The greater
emphasis will be placed on fictional content and cultural politics (so your submission
should not analyze news, news satire, documentaries or shows and films about
political institutions).
Deadline for submission is October 15, 2012. Abstracts (up to 500 words) and a brief
curriculum vitae should be emailed to the editor with the byline: Parasocial Politics.
Abstract should include research question, method and any theoretical perspectives.
All inquiries should be sent to the editor as well.
EDITOR:
Jason Zenor
Assistant Professor
School of Communication, Media and the Arts
SUNY-Oswego
jason.zenor@oswego.edu
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Cinema and the Letter: Epistolary Modes in Film
Culture
Due: October 15, 2012
Rebecca Sheehan and Ilinca Iurascu
epistolaryfilm@gmail.com
Proposed Edited Collection
Edited by: Rebecca Sheehan (California State University, Fullerton) and Ilinca
Iurascu (University of British Columbia)
Contact E-mail: epistolaryfilm@gmail.com
CFP and updated information: epistolaryfilm.wordpress.com
Having long served a variety of functions in narrative and non-narrative, silent
and sound cinema, letters help illuminate an array of complex relationships between
image, sound and the written word in the history of film. This collection proposes to
examine the manifold uses of letters in narrative cinema, and take a close look at the
epistolary film as a largely unrecognized subgenre of the essay film. It also seeks to
explore the role of written correspondence in the contexts of film production and
spectatorship, bringing these aspects to bear upon a discussion of cinema’s
long-standing engagement with epistolarity and the letter as an object of cinematic
spectacle and reflection.
The collection seeks contributions that approach letters in film and film within
the technological, social and cultural life of the letter from a variety of critical
perspectives, including, but in no way limited to:



the use of letters as mediators of information and knowledge, facilitators of
surprise, suspense or continuity in film
the letter film’s relationship to other film forms and genres (the essay film, the
documentary, the travelogue) and other modes of constructing subjectivity and
communication in writing (the essay, the diary and the notebook)
theories of epistolarity in literature and film; the politics of cinematic adaptations
of epistolary texts
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



the ethics of the letter’s mediation and enunciation of encounters between self
and other, constructions of identity and modes of address between sender and
receiver, filmmaker and audience
the letter’s function in film as a point of intersection between the machinations of
an industrial system and the private, personal lives of individuals
the cult status of the letter in melodrama film; the epistolary object and the
economy of nostalgia; the melodramatic imagination and the complicity of the
epistolary act with the structures of film ideology
cinema’s relationship with and reflection on the modalities of postal circulation,
the postal principle and the standards of communication
These and other topics will be tentatively grouped into three sections,
highlighting different aspects of the relation between letters and film. The sections
and their contents are meant to be fluid and by no means exhaustive:
Part One: The Letter and Narration - Considerations of the letter as a device that
enables plot and narrative by constructing disparities in knowledge between
characters and audience; epistolary elements as points of contingency, delay, temporal
confusion and displacement; the letter as insert, both converging with and diverging
from the intertitle in silent cinema; the letter’s mediation of elements of film form
(framing, image and sound) and the relationship between image, voice and text; the
use of letters in classical film narrative; the staging of the epistolary subject in
melodrama film; narrative strategies in film adaptations of epistolary literature; the
use of letters in remapping, reimagining and recycling the cultural, social and
structural elements of the epistolary novel tradition
Part Two: The Letter Film and the Document – The epistolary form and its
participation in the documentary and essay film; recent theoretical formulations, such
as Hamid Naficy’s notion of an “accented cinema,” that consider letters as a means of
generating various modes of address and constructions of national, ethnic, and
gendered identity in film; the ethics of the epistle, its function in representing and
constructing self and other, emplacement and displacement, home and exile; images
as letters, and the relationships they enable between origins and destinations,
filmmaker and spectator, speaker and addressee.
Part Three: Postal Circulation Within and Beyond the Screen – The cinematic
trajectory of the letter and the underlying technological conditions of communication;
the postal and cinematic networks as competing media systems; cinematic and/or
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written correspondences between directors; cinema and or as mail art; the politics of
the postal film, as a subcategory of the advertising genre; the film picture postcard as
an interface between epistolary and film culture; the circulation of film images as mail
in the construction of spectatorship communities and production of popularity in
commercial cinema
We invite abstracts of no more than 500 words and short biographical statements
by October 15, 2012. For submissions and all other inquiries, please e–mail
epistolaryfilm@gmail.com
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Edited Collection on Dark Fairy Tales in Children's
and Young Adult Literature
Due: October 20, 2012
Tanya Jones and Joe Abbruscato
editors@lilredwritinghood.com
Scholarly essays are sought for a collection on the "dark/gothic" fairy tale motif in
children's and young adult literature. One of the most popular and long standing
traditions in literature for youth, fairy tales have always had elements of fantastical
horror, dark motifs, and other Gothic themes built into them. Cannibalism, murders,
despair, rape, kidnapping, reincarnations, broken families and many other horrific
elements are to be found in these stories. Countless experts insist that their inclusion
was, and still is, vital to the growth and maturation of the child reader. The melding of
the traditional fairy tale and Gothic literature themes help the reader not only to see
the positive aspects of life, but the darker side as well. Ghosts and ghouls, graveyards,
ancient houses, and other such spooky elements allow the reader to transpose their
fears into the fairy tale, analyze them, and grow past that obstacle.
Books such as The Graveyard Book (Gaiman), Coraline (Gaiman), Red Riding Hood
(Blakely-Cartwright), The Book of Lost Things (Connolly), Cinder (Meyer), Beastly
(Flinn), and Fablehaven (Mull), to name but a few, provide example of such modern
stories which expose young readers to both the positive and negative sides of life, to
love and hate, to victory and defeat, etc. Such dark/Gothic motifs helped foster the
longevity of the traditional fairy tales for hundreds of years, as well as thematically
drive their modern counterparts.
Focusing upon contemporary children's and young adult literature, classic fairy tales,
and modern retelling's thereof, this collection is calling upon academics, scholars,
researchers, students, and lovers of fairy tales to submit abstracts of 250 to 300 words
for consideration. Topics may include, but are not limited to the following:



Critical and theoretical approaches
The child as fairy tale hero
The role of the female hero
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
The “monster” as fairy tale hero



Retellings of classic fairy tales (Red Riding Hood, Beastly, Zel, etc.)
Comic and graphic novel adaptations
Fairy tale structure in non-traditional fairy tale texts (The Graveyard Book,
Coraline, Someone Comes to Town/Someone Leaves Town, etc.)
Societal/psychological/cultural implications of dark fairy tales in literature for
children and young adults
Dark fairy tales and popular culture
Coming of age issues (sexuality, maturity, etc.) in young adult “fairy tales”



Please send abstracts of 250 to 300 words to Tanya Jones and Joe Abbruscato at
editors@lilredwritinghood.com by October 20, 2012. Please include contact
information, CV, and a short bio.
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Gaskell Project 2015: Place, Progress, and
Personhood
Due: October 31, 2012
Emily Morris/Saskatchewan, Sarina Gruver Moore/Calvin College, Lesa
Scholl/Emmanuel College, UQ
gaskellproject2015@gmail.com
In anticipation of the 150th anniversary of Gaskell’s death, we are seeking abstracts
for an edited volume on the subject of Place, Progress, and Personhood in the Works
of Elizabeth Gaskell. The nineteenth century saw dramatic changes in the landscape
of Britain as industry and technology reshaped the geographical space. The advent of
the railway and the increasing predominance of manufactory machinery reoriented the
nation’s physical and social countenance. But alongside the excitement of progress
and industry, there was also a sense of fear and loss manifested through an
idealisation of the country home, the pastoral retreat, and the agricultural South. This
collection of interdisciplinary essays will present a variety of geographical, industrial,
archeological, psychological, and spatial perspectives not only on Gaskell’s work, but
also on Gaskell’s place within the narrative of British letters and national identity.
Gaskell’s importance, both as a literary figure and as a cultural touchstone, continues
to rise. In the popular imagination, new BBC adaptations of her novels have perhaps
given her the greatest celebrity she has had since her own lifetime. In addition, the
recent Heritage Lottery Fund award of £1.85 million for the restoration and
preservation of the Gaskells’ house in Manchester, Plymouth Grove, indicates her
renewed national influence.
This collection is very consciously an international and egalitarian collaboration, and
we invite scholars of any level or discipline to submit an abstract.
Topics might include (but are not limited to):
Geography / materiality of place
Digital transformations of texts/mapping
Concepts of home and not home
Foreign places, travel, and national identity
101
Rural vs. urban landscapes
Ecology / environmentalism
Imagined places
Place and gender, the gendering of spaces
Space theory and Victorian spaces
Correspondence
Landmarks of progress, modernity, and personal identity
Gaskell’s place in the popular imagination/literary tourism
Architectural spaces and everyday life
Ideas of belonging
Please submit an abstract of 300-500 words and a brief CV to
gaskellproject2015@gmail.com by 31 October 2012. Authors will be notified by 5
January 2013 whether or not their abstract has been accepted. The deadline for the
full-length article, if accepted, is 15 April 2013. Articles should be between 4,000 and
6,000 words in length, accompanied by an abstract of around 200 words.
Preliminary inquiries are welcome: kindly address them to
gaskellproject2015@gmail.com.
Emily Morris
Department of English
St. Thomas More College, University of Saskatchewan
Canada
emorris@stmcollege.ca
Sarina Gruver Moore
Department of English
Calvin College
Grand Rapids, Michigan
USA
sgm5@calvin.edu
Lesa Scholl
Dean of Academic Studies
Emmanuel College, University of Queensland
Australia
l.scholl@emmanuel.uq.edu.au
102
The Age of Lovecraft: Cosmic Horror, Posthumanism,
and Popular Culture
Due: October 31, 2012
Carl Sederholm / Brigham Young University
csederholm@byu.edu
Call for Proposals: The Age of Lovecraft: Cosmic Horror, Posthumanism, and Popular
Culture
Editors: Carl Sederholm csederholm@byu.edu and Jeffrey Weinstock
Jeffrey.Weinstock@cmich.edu
250 word proposals are sought for chapter contributions to an edited scholarly
collection on H. P. Lovecraft and his place in 21st century literature, film, media, and
popular culture.
This collection will consider the late 20th and early 21st century as “The Age of
Lovecraft,” a time in which his popularity, his writing, and his influence, have
achieved unprecedented levels of cultural saturation. Our goal is to assemble a
collection of essays that will help us assess Lovecraft’s place in contemporary culture.
In short, we will be asking why Lovecraft, why now?
250 word proposals should be submitted to the editors by October 31st 2012, with
essays of approximately 6000 words due one year later. We are more than happy to
discuss possible ideas in advance of submission of a proposal.
Possible topics include but are not limited to:
 Critical and Theoretical Reconsiderations of HPL's oeuvre
 Interrelations between Cosmic horror and ecological disaster
 Lovecraft, Monstrosity, and Posthumanism
 The Lovecraft Circle and Lovecraft's shadow: King, Gaiman, Mieville, F. Paul


Wilson, Tim Powers, and others
Popular culture appropriations of H.P. Lovecraft
Adaptation Theory and Cinematic adaptations of HPL
Questions may be addressed to Carl Sederholm at csederholm@byu.edu and Jeffrey
Weinstock at Jeffrey.Weinstock@cmich.edu
103
New Essay Collection on Charles Chesnutt's Novels
Due: November 1, 2012
D. Quentin Miller, Suffolk University
qmiller@suffolk.edu
Critics have begun to reassess Chesnutt’s legacy over the past two decades, but his
novels, including those published posthumously, have not received the critical
attention they deserve. I am proposing a new volume on Chesnutt’s novels, with
special attention paid to the truly neglected ones (*The Colonel’s Dream* and the four
posthumously published novels) as well as new approaches to the two novels that
have been the subject of more critical work (*The Marrow of Tradition* and *The
House Behind the Cedars*). 500-word abstracts and brief CVs due by November 1.
104
The Empire Tele-Calls Back: Indian Science Fiction
in the Global Age
Due: November 30, 2012
Dr. Amit Sarwal, Sami A Khan (ed.)
sakhan1607@gmail.com
The Empire Tele-Calls Back: Indian Science Fiction in the Global Age (working title)
Edited by Amit Sarwal and Sami Ahmad Khan
According to Prof. James Gunn, SF and its study came late to India. In late 1950s,
Indian cinema did mange to produce some B-grade SF movies, while on the other
hand, SF writing in regional languages, particularly through serialisation in magazines,
short stories and later as novels, has slowly but steadily also gained popularity. The
present collection is an attempt to explore the available Indian SF literature and films,
in the context of India aiming to shape itself as a scientific powerhouse, and analyze
the ways in which SF is being read, viewed and accepted in India.
We invite papers on Indian Science Fiction Literature and Cinema, on texts in English,
Hindi and other regional languages.
Please email your 5000-6000 words chapter in MS Word format and MLA style to
Sami Ahmad Khan at sakhan1607@gmail.com by 30th November 2012.
About the Editors
Amit Sarwal is Assistant Professor in the Department of English, Rajdhani College
(University of Delhi) and Founding Convenor of Australia–India Interdisciplinary
Research Network (AIIRN), New Delhi, India. He has edited a number of books in
the field of Australian studies, latest being: Bridging Imaginations: South Asian
Diaspora in Australia (2012).
Sami Ahmad Khan read Literature at University of Delhi. He then completed his
master’s in English at Jawaharlal Nehru University. Sami was awarded a Fulbright
grant at The University of Iowa, USA, in 2011-12. He has engaged in film production,
105
teaching, theatre and writing. His short stories, plays and articles have been published
in magazines and academic journals. His first novel, Red Jihad, was released by Rupa
& Co. in 2012 to a positive reception. Currently, he is a Doctoral Candidate at JNU,
where he is working on Science Fiction and Techno-culture Studies.
106
Trespassing Journal-Call for Book and Film Reviews
Due: November 30, 2012
Trespassing Journal: An Online Journal of Trespassing Art, Science, and Philosophy
editor@trespassingjournal.com
The editors of Trespassing Journal seek book and film reviews for its second issue on
genre to be published online in January 2013.
Trespassing Journal is a new, fully peer-reviewed biannual journal that is committed
to publishing fresh and original research in the fields of artistic production (including
literature, film, new media, video-art, fine arts, experimental and avant-garde art, etc.)
that trespass the sacrosanct grounds of the theoretical and artistic disciplines, and also
question the established boundaries between art, science, and philosophy. Trespassing
Journal focuses on artistic misfits, art and politics, artistic production in exile, and
contradictory realms where art and technics break away from conventions.
Trespassing Journal accepts relevant book and film reviews on recent books and films
for its second issue on 'Trespassing Genre'. Potential contributors are invited to submit
a book or film review (700-1500 words in MLA style), along with contact information
to the editors by 30 November 2012.
For more information please contact the editors at editor@trespassingjournal.com and
visit the journal's website http://trespassingjournal.com/
107
Special Issue of South Atlantic Review: The Power of
Poetry in the Modern World
Due: December 1, 2012
South Atlantic Modern Language Association
sar@gsu.edu
In conjunction with its 2011 SAMLA Conference theme, “The Power of Poetry
in the Modern World,” South Atlantic Review invites the submission of essays on any
aspect of this topic for a special issue of the journal. The guest editor of the issue is
Nancy D. Hargrove.
All submissions must be double-spaced and between 6,000 and 7,500 words in
length, not including the Works Cited, and must be formatted in accordance with
MLA style with endnotes.
Submissions are due by December 1st, 2012, to sar@gsu.edu. E-mails should
include the submitter’s name, affiliation, a brief bio, and the essay, attached as a Word
document.
Please direct inquiries to Jennifer Olive, Assistant Editor of the special issue, at
sar@gsu.edu.
108
Otherness: Essays and Studies 3.2
Due: December 1, 2012
Center for the Studies of Otherness - www.otherness.dk
otherness.research@gmail.com
Call for Papers: Otherness: Essays and Studies 3.2
The Centre for Studies in Otherness invites papers for the e-journal issue Otherness:
Essays and Studies 3.2.
Otherness: Essays and Studies, a peer-reviewed interdisciplinary e-journal, publishes
research articles from and across different academic disciplines that examine, in as
many ways as possible, the concepts of otherness and alterity. We particularly
appreciate dynamic cross-disciplinary study. We publish two issues a year, alternating
between special topic issues and general issues. This is a call for our general issue,
forthcoming in Winter 2012.
Articles should be between 5,000 – 8,000 words. All electronic submissions should be
sent via email with Word document attachment formatted to Chicago Manual of Style
standards, to editor Matthias Stephan at otherness.research@gmail.com
Previous issues can be found at our website at www.otherness.dk
The deadline for submissions is Friday the 1st of December 2012.
109
Volume on Teaching Representations of the First
World War
Due: December 1, 2012
Douglas Higbee and Debra Rae Cohen/University of South Carolina
douglash@usca.edu
Essay proposals are invited for a volume in the MLA’s Options for Teaching series
entitled Teaching Representations of the First World War, to be edited by Debra Rae
Cohen and Douglas Higbee.
Timed to coincide with the centenary of the conflict, the volume will serve as a
wide-ranging and up-to-date resource for instructors teaching literature and other arts
and media associated with the war. The opening section will offer four longer essays
that explore key critical paradigms associated with the study of the war and its
representations, including changing definitions of war, new understandings derived
from global historiography, the relation of the war to modernism, and myths of
rupture and continuity. The second section will underscore the importance of teaching
the war in a global context, offering approaches to a wide range of national and
transnational perspectives on war representations. The third section will offer
contextualizations of war representations across a variety of sub-fields, such as
medicine, media, and queer studies, while the fourth will discuss teaching the war via
various literary, artistic and popular genres. The fifth section will address the
pedagogical challenges of introducing these materials in a variety of courses and
institutional contexts, while a final section will discuss various resources—online,
archival, and institutional—available for instructors.
If you are interested in contributing an essay to one of these sections (essays will
average about 3,000 words), please send 1-2 page abstracts and a brief CV to Debra
Rae Cohen (cohendr@mailbox.sc.edu and Douglas Higbee (douglash@usca.edu) by 1
December 2012. Hard copy proposals can be sent to Douglas Higbee, English Dept.,
471 University Pkwy, University of South Carolina, Aiken, SC 29801. The editors
would be happy to entertain preliminary inquiries in advance of the deadline, and a
list of possible topics is available via email.
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Click and Kin: Transnational Identity and Quick
Media
Due: January 1, 2013
Silvia Schultermandl
silvia.schultermandl@uni-graz.at
We are looking for original chapters which take up the themes of
transnationalism, family, kinship, and subject-formation mediated through new media
technologies. The collection investigates phenomena of second orality, new literacy,
and quasi-embodied modes of encounter within migration, nationalism and citizenship,
including themes of indigeneity and colonialism. Chapters should explore a
transnational sensibility (Friedman and Schultermandl, 2011) which honors the
ambiguity of borders, families, and identities and views "a lack of fixity as
simultaneously inevitable and rich in possibility." We are interested in discussing new
and shifting understandings of how we inhabit and interact through time and space;
how we re-think identity and our ideas of close and far relations, both in terms of
kinship and physical distance; of how the emergence of new media technologies
generates new perspectives on bifurcated and hybridized lives.
Possible contributions may include, but are not limited to discussions of the
following:






negotiations of national, cultural, and ethnic identities through both familial and
extra-familial media connections such as in chat rooms and blogs
implications of plummeting long distance telephone costs
limitations of the digital divide and bans on technology in various jurisdictions
effects of real-time connectivity through media such as IM, skype, twitter
face-to-face technologies such as skype and video messaging
quasi-embodied technologies such as second life or gaming technologies that
create an alternate virtual embodiment
We invite 500-word chapter abstracts of critical scholarly, creative, and
autoethnographic essays. Deadline is January 1st, 2013. Please send abstracts to May
Friedman (may.friedman@ryerson.ca) AND Silvia Schultermandl
(silvia.schultermandl@uni-graz.at).
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Comics and the American Southwest and Borderland
Due: January 31, 2013
James Bucky Carter & Derek Parker Royal
jbcarter777@gmail.com
CFP: Comics and the American Southwest and Borderland
The editors of Comics and the American Southwest and Borderlands seek
submissions for this collection, which has interest from the University Press of
Mississippi. We hope the collection does for the Southwest and Border region what
Costello and Whitted’s Comics and the U.S. South did for that region and Southern
studies via mining, creating, and illuminating the intersections of comics scholarship
and established academic writing on the Southwestern United States, the U.S-Mexico
border, and their literatures, identities, and cultures.
Submissions might consider:

The impact of comics creators from the Southwest or Border region





The work of Jaxon/Jack Jackson, specifically
Characters or storylines set in and/or influenced by the Southwest or Border
region
Depictions of the Southwest or Borderlands in comics
Examinations of how non-American artists have represented the American West
(Charlier, Moebius, Blain, etc.)
U.S-Mexico relations in comics
Immigration; citizenship; nationalism in comics from or about the region
Race, gender, sex and ethnic studies in comics from or about the region
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Nationalism; politics; violence in comics from or featuring the region
Liminal spaces; contact zones; politics of the region in comics
Westerns
Adaptations of Southwest, Chicano, Latina, or Mexican literature
Chicana/a or Latina/o studies as frames for analysis of comics
Class and economic issues in comics from or featuring the region
Depictions of Native peoples from the region in comics
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Submissions may explore comic strips, comic books, graphic novels, web comics, and
editorial cartoons. Submissions may focus on any genre.
Please send 300-500 word abstracts to both Dr. James Bucky Carter
(jbcarter777@gmail.com) and Dr. Derek Parker Royal (Derek@DerekRoyal.com) by
January 31, 2013.
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Contemporary Asian American Literature and
Popular Visual Culture: New Reading and Teaching
Practices
Due: July 1, 2013
Asian American Literature: Discourses and Pedagogies Special Issue
pthoma@wsu.edu
Whether through graphic novels, filmic adaptations, digital Internet memoirs, or
authors’ blogs, contemporary Asian American literature is increasingly linked to
popular visual culture. Indeed, Asian American literature often reaches a broad
audience through a media landscape which foregrounds screens, big and small. This
special issue of Asian American Literature: Discourses and Pedagogies invites
scholars and critics to explore the visual dimensions, expressions, and projections of
Asian American literature. It especially welcomes contributions that highlight reading
and pedagogical approaches designed to address the relationship between Asian
American literary and popular visual culture. Essays may discuss how literary texts
expand or contest established concepts of spectacle, spectatorship, fandom, fetishism,
gaze theory, visual pleasure, or cultural citizenship. Essays may also consider newer
concepts, such as “cosmetic multiculturalism” (Lisa Nakamura), “oriental style” (Jane
Chi Hyun Park), or “media convergence” and the ways in which literary genres and
tropes are re-made through encounters with new media forms in the process of
“re-mediation.” Other possible topics include the importance of Asian American
literary texts that “crossover” to visual or digital media for the vitality of the
contemporary novel in general or ethnic literature more specifically. Finally,
contributions may consider the particular meanings of visibility and visuality for
Asian Americans in the late twentieth and early twenty-first centuries, an era in which
post-racial aesthetics and colorblind rhetorics have carried considerable sway in US
culture at the same time that racial profiling proliferates a post-9/11 society.
Articles must be between 2,000-7,000 words. Book reviews on related texts are
also welcome. Book reviews must be under 1,000 words. Please follow the most
current MLA format. Please address all inquiries for this Special Issue to Dr. Pamela
Thoma, pthoma@wsu.edu
Full articles must be submitted by July 1, 2013 online at
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http://onlinejournals.sjsu.edu/index.php/AALDP/information/authors
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