The deadlines have passed for the following listings, orthey are notices of new issues of life writing journals. We provide this information here for points of reference for scholars interested in trends in the field.

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Hybridity in Life Writing: How Text and Images Work Together to Tell a Life
Organizers: Clare Brant (King’s College London), Arnaud Schmitt (Bordeaux University & LARCA, Université de Paris)
Venue: Université de Paris, Paris, 7–8 July, 2022
Keynote Speaker: Pr. Teresa Bruś (Wrocław University)

• Please submit an abstract of approx. 250 words and a short bionote to

clare.brant@kcl.ac.uk and arnaud.schmitt@u-bordeaux.fr by 30 November, 2021 at the latest.

It might seem that, to some extent, almost all visual content in autobiographical texts is visual aid. But what is it in aid of? Of the text, somehow. Victor Burgin notes that “we rarely see a photograph in use which does not have a caption or a title, it is more usual to encounter photographs attached to long texts, or with copy superimposed over them. Even a photograph which has no actual writing on or around it is traversed by language when it is ‘read’ by a viewer.” As powerful as images can be, and they frequently outshine the text that precedes or follows them, their narrative potential is nevertheless tethered to the text that introduces them or comments them a posteriori. In other words, the text has the first or last word, it frames the picture and, in a way, ‘tames’ its impact: a picture is at the text’s service. And yet, it can also be argued that images contradict texts in the same Derridean way as texts and more particularly words contradict each other, or at least unsettle themselves. In Picture Theory, W. J. T. Mitchell states that he wants “to concentrate, however, on the kinds of photographic essays which contain strong textual elements, where the text is most definitely an ‘invasive’ and even domineering element.” Thus, even if and when they are supposed to work together, words and images in a memoir establish a balance of power, one that requires investigation as the autobiographical narrative of a hybrid memoir depends on this very balance.
From a historical point of view, this balance of power may also result from the evolution of each medium’s status, as an art form or cultural artefact. For instance, it can be argued that the first memoir written by a photographer is Talbot’s The Pencil of Nature. Teresa Bruś claims that “The Pencil of Nature, presented to the public in 1844, is the first autobiographical book of a photographer. […] aligning the ‘art’ of photography with a rhetorical, if not a literary, project.” But in Photography and Literature, François Brunet points out that, contrary to what might have been expected, Talbot’s effort had little effect on the publishing world, and this “estrangement of photography from literature,” with the odd exception, lasted until the end of the 19^th century. According to him, nothing much happened before the beginning of the 20^th century and “the growing recognition of photography as a distinct art form.” It makes sense that photography’s relation with literature very much depended on its evolving status.[1]
On a more positive note, hybridity may also be seen to operate beyond this semantic and cultural balance of power and to aim at an additional meaning created thanks to intermediality at a level where, despite their intrinsic cognitive features and differences, text and images are able to produce content that they would not have been able to produce had they been kept separate. In a way, it hinges on how a book balances text and images, how it ‘monitors’ intermediality. But Gilles Mora writes that “photography has rarely generated autobiographical works able to exist without the support of language” (“la photographie a rarement produit des œuvres autobiographiques qui puissent se passer de l’appui du langage”). Maybe because one of the main (if not the only) functions of photographs in life writing is to authenticate. Roland Barthes is mostly responsible for the widespread belief that photography is better at accessing the past than words, principally through two assertions he made in Camera Lucida: “it [photography] does not invent; it is authentication incarnate. […] Every photograph certifies a presence” (“elle [la photographie] n’invente rien ; elle est l’authentification même. […] Toute photographie est un certificat de presence”) and “It seems that Photography always carries its referent with it […]” (“On dirait que la Photographie emporte toujours son référent avec elle […]”). The role of non-photographic images in hybrid memoirs or autobiographical works is thus more complex as paintings for instance do not have this ability to authenticate and similarly to words do not “carry their referent with them.” However, in a post-PhotoShop age, the way photographs have the ability to tamper with or even falsify “their referent” can be seen as highly problematic in an autobiographical context.
The same can be said about graphic memoirs, a booming field, as drawings are also very low on the ‘authentication scale’. Nevertheless, Narratologist Robyn Warhol made the following remark regarding them: “The juxtaposition of cartooning with verbal memoir offers methods of representing subjectivity that are unprecedented in traditional autobiography. Indeed, as Versaci asserts ‘while many prose memoirists address the complex nature of identity and the self, comic book memoirists are able to represent such complexity in ways that cannot be captured in words alone’.” But is this “subjectivity” represented separately or jointly? And in the latter case, how? Also not as authenticating as photographs, paintings remain nevertheless a potential narrative resource for any autobiographer. In The Privileged Eye, Max Kozloff reminds us that “a main distinction between a painting and a photograph is that the painting alludes to its content, whereas the photograph summons it, from wherever and whenever, to us.” It might only be “alluding to a content,” but a painting in a memoir simply is another form of hybridity and a way for an author to diversify the work’s content. Stanley Cavell wrote that we might say that “a painting is a world” and that “a photograph is of the world” but a painting in many ways continue to allude to the world, and more precisely to the autobiographer’s world.
Finally, beyond the intermedial question, there is the issue of autobiography, and more specifically autobiography at the beginning of the 21^st century, a different type from previous centuries, one more informed of the limits of referential writing and more than ever aware of its importance; one also that has often outgrown its usual vessel—even though the latter remains its most prestigious one in terms of official recognition­—and has branched out into social and often more visual media (just one example among so many: the renowned American photographer Stephen Shore’s Instagram account on which he posts one picture everyday). Sidonie Smith and Julia Watson have identified and explored “the visual-verbal-virtual contexts of life narrative” which have multiplied through for example performance and visual arts, autobiographical films and videos, and variously curated online lives.
Véronique Montémont rightfully points out that Philippe Lejeune, one of the most prominent life writing theorists, “does not mention photography because for him autobiography involves enunciation, a narrator in other terms.” And yet photography has entered the field of autobiography in a multitude of ways. In Picturing Ourselves: Photography & Autobiography, Linda Haverty Rugg sums up her study’s main objectives thus: “This book explores the intersection of these two debates—the point at which photographs enter the autobiographical act. What (or how) do photographs mean in the context of an autobiography?” The aim of this symposium is to explore the point at which an image, any image, whether fixed or moving (in vlogs for instance), enters the autobiographical act and confronts the verbal form.

Keynote Speaker: Pr. Teresa Bruś (Wrocław University), author of the forthcoming Face Forms in Photography and Life Writing of the 1920s and 1930s 

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Deadline for Submissions 9/30/2021

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Deadline for Submissions April 15, 2021

Announcement: Call-for-Papers

This call is for abstracts for a scholarly, international edited collection entitled, Writing Australian History on Screen: cultural, sociological, and historical depths in television and film period dramas “down under”.

Due to effects of the covid-19 pandemic 2020-21, and the strain this has placed on people and businesses (including academics and universities world-wide), the deadline for abstracts for this project has been extended.

New deadline for abstract submissions: 15 April 2021.

It could be said that Australia’s unique history has shaped the diversity of its peoples, and the Australian life-styles of today. Australia is both a very ancient and a very young nation. The diverse Australian Indigenous peoples were and still are the First Australians, and the true owners of the land. Despite the British Empire’s 1770 claim on the land as one of its colonies, and white Australia’s announcement of Australia as a nation with the birth of Federation in 1901, “Australia” was in fact a nation long before that; and so long before the British deportation of convicts to Australia and the subsequent arrival of the Anglo-Celtic-European settlers; and the supposed much earlier arrival of Chinese traders; and the much later arrival of the many different nationalities during the Gold Rushes. In more modern times, there is also the extensive immigration from many different nationalities and cultures, and Australia’s intakes of refugees. All these peoples, whether born in Australia or naturalized, are Australians though some hold dual citizenship.

The Australian nation’s history is closely tied to the national and cultural identity. In many countries, but perhaps more so in Australia, there is no single or fixed national identity. In actuality, an  Australian national identity does not exist rather there is a process of something that is unfurling or “becoming” some semblance of a sort of truth; there is no one history rather many diverse histories that overlay or color each the other; there is no one heritage or culture rather divers heritages and cultures; there is no one religion rather many; all of which sit together, side-by-side, and despite the common myths, not always so well or easily. Numerous writers note that in the Australian society there is a “visible” fracture, and also a disconnectedness between what many Australians have imagined themselves to be a part of in the past. The Australian histories, what came before and what has happened since, and how this has been incorporated or interpreted, together with the Australian environment and the geography of the land, and with Australia’s unique type of multiculturalism, has helped to shape what is variously described as the Australian character, and the society.

Australian television and film period dramas are involved in conversations about who the Australian peoples were, and who they are now in the current time. These types of productions work, or rework, the numerous factors involved in “telling” the Australian story, and in so doing explicitly and implicitly bring to light the many various issues that are as relevant to the Australian society today as they were in the period portrayed on screen. In exploring the deeper issues, these sorts of filmic dramas capture and convey something of the atmosphere/s of a particular time. Admittedly, these same issues may have been viewed differently and drawn different responses in the past to what happens now. Of course, with period dramas, the angle from which the issues are approached, the way in which past times are depicted, and the questions that arise from these discussions,  also depend to some degree or another, on the writer/s and the producer/s own points-of-view and particular agendas and artistic skills, as well as the message/s intended for, or inadvertently conveyed to, the viewer. It can be said that Australian television and film  period dramas raise big questions for the Australian society of today to ponder. Staying specifically with those produced in Australia, examples of these types of period dramas are: the hugely popular television series, The Sullivans (aired 1976-1983); Against the Wind (released in 1978); Redfern Now (aired 2012-2013); A Place to Call Home (premiered in 2013); and the much-loved films, The Chant of Jimmie Blacksmith (first screened in 1978); Rabbit Proof Fence (released in 2002); The Dressmaker (released in 2015); Ladies in Black (premiered in 2018).

Some suggestions for potential contributors and questions that could be addressed may include but are not limited to:

• What are some of the cultural and/or social aspects and issues raised in a particular Australian television/ or film period drama?
• What are, and how do these types of productions convey, the differences or sameness between the fictionalized portrayals and the realities of the times, and social dictates of the Australian culture then in relation to those of today?
• In Australian television and filmic period dramas, how might class, ethnicity, culture, race, gender, and history, shape these representations for the viewers?
• Are there cultural or historical antecedents for consideration of portrayals of the Australian outlook in small and-or large screen period dramas?
• How are the Australian viewpoints expressed in any one or two or more Australian period screen dramas conveyed to the viewer, and what might be the producers motivations in each case?
• What makes Australian period drama TV/films distinct from (maybe even bolder than), say, their British counterparts? What happens when British dramas present Australia on film (for example, “Banished” (first released 2015) )?Is Australian history sometimes just a different backdrop or central to interrogating specific issues/themes?
• How do these Australian dramas restore marginalized histories and voices?
• Chapters about late 20^th-c dramas as well as recently popular ones are encouraged, and could include APTCH, Miss Fisher’s Murder Mysteries, Ms. Fisher’s Modern Murder Mysteries, Love Child, The Doctor Blake Mysteries, Australia, My Brilliant Career, Gallipoli, Anzac Girls, Emma’s War, and more.

Submission instructions:

At this initial stage, in lieu of “chapters,” this proposed work, Writing Australian History on Screen, calls for extended abstracts for consideration for inclusion in the book.

• The extended abstracts must be more than 1,000 and less than 1,500 words.

(Full-length chapters of 6,000 – 7,000words each (including notes but excluding references lists, title of work, and key words) will be solicited from these abstracts.)

• Please keep in mind that your essay-chapter will be written from your extended abstract. Your abstract will carry the same title as your essay-chapter.
• To be considered, an abstract must be written in English, and submitted as a Word document.
• When writing your abstract use Times New Roman point 12,and 1.15 spacing.
• At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.
• Use the Chicago Manual of Style 16th Edition.
• Since this work is intended for Lexington Books, USA, please use American (US) spelling not English (UK) spelling, and not Australian English spelling;
• Use the Merriam-Webster’s Collegiate Dictionary;
• Use endnotes and not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible;
• Do cite all your work in your extended abstract as you would in a full chapter.

1. a) in the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230);
   b) fully reference all in-text citations in alphabetical order, in the References list at the end of your abstract;

• Please send your abstract as a Word document attached to an email;
• To this same email please also attach, as separate Word documents, the following:
• Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone, your home address, and your email contact details;
• A short bio of no more than 200 words;
• Your C.V., giving your publications to date, and the publishing details and dates.

Editors: Professor Julie Anne Taddeo, Research Professor of History, University of Maryland, USA,
and Dr Jo Parnell, Conjoint Research Fellow, School of Humanities and Social Science, College of Human and Social Experience, University of Newcastle, Australia. 
Papers should be forwarded to both editors:
Julie Anne Taddeo taddeo@umd.com
Jo Parnell Jo.Parnell@newcastle.edu.au  alternatively annette.parnell@newcastle.edu.au  or joandbobparnell@bigpond.com

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Deadline for Submissions, April 3, 2021

Announcement: Call-for-Papers

This call is for abstracts for a scholarly, international edited collection entitled, Cultural Representations of the Second Wife: Literature, Stage, and Screen.
Currently I am seeking a number of academics and professionals in the field who might like to send me an abstract for consideration for inclusion in the book.

Deadline for abstracts: 3 April 2021.

In any culture, religious and cultural beliefs are inseparable, and intrinsic one to the other, and are important to the marriage  customs and laws.

Regardless of whether a culture is mainly monogamous or polygamous, one female figure that attracts attention is the second wife. A woman may become the “second wife” either by fact or by custom, or by religious law, or by de facto relationship, or by concubinage. In most though not necessarily all cultures, and according to the religious and cultural beliefs and laws of a culture, as well as the civil laws of that country, a man who has been but is no longer married may remarry; and in some cultures also, a man who is currently married may marry or take a second wife who may or may not have been formerly married to some different man. In some other cultures, cultural customs, or religious dictates, or accepted practices, or inheritance factors, forbid men who are divorcees or widowers to remarry. Similarly, and perhaps more so than with men, some cultures forbid widows or divorced or abandoned women from remarrying.

It is generally understood that whether she is welcomed by her new in-law family, or not, the first wife as a new wife, brings with her some baggage into the new relationship, into the life of the man she weds, and hence into the family into which she marries, and ultimately into that society; but perhaps this is more so in the case of the second wife.  From antiquity to the present, like the first wife, the second wife features in stories, anecdotes, and jokes, and in both high and low culture, but in a way that is vastly different to how the first wife is depicted. The concept of the second wife is an important part of social and cultural history and ritual in most societies, world-wide, yet it would seem that to date, there are no published scholarly edited collections, no academic books, on representations of the second wife from the angle suggested in this cfp.

In can be said that in any culture, the role of the second wife may differ to that of a first wife. The act of becoming and the experience of being a second wife may also be somewhat different to that of being a man’s first wife. Questions arise: within any culture, regardless of her status as a woman, what are the implications for a woman who marries a widower or divorced man? Likewise, what are the implications for a second wife in a polygamous relationship? This scholarly edited collection will reveal how the personal expectations and actual experiences of the second wife may differ from the social and cultural expectations and realities of the role of the second wife; and how the second wife may be perceived in the popular and social culture of various cultures, in screen, stage, and literary productions and pop culture narratives.

Some suggestions for potential contributors to consider, and that could be addressed, may include but are not limited to are:

• What are the cultural and social duties of the second wife; what are the cultural expectations of her; and what are her personal realities and expectations, as represented in the popular culture of a particular culture/society? Is it possible to detect differences or sameness between the fictionalized portrayals and the realities and social dictates of that culture?
• What are the distinctions between how the second wife has been typically represented in jokes and anecdotes, to that in popular and social culture as literature, film, drama, and television?
• How do class, ethnicity, culture, race, gender, and possibly history, shape representations of the second wife?
• Are there any powerful cultural or socially historical antecedents for the representation of the second wife in popular/social culture, as screen, stage, and literary productions?
• What are the creators and/or the producers intentions behindtheir portrayals of the second wife; what are the messages or lessons they intend for their audiences through these depictions?
• How would we establish the underlying cultural, historical, or production motivations for particular depictions of the second wife?
• How often, if at all, are these representations told from the point-of-view of the second wife herself?
• What is the range of ways in which the second wifeis represented in the popular/social culture of the various societies?
• Is it possible to identify contemporary writers of popular culture in literature, film, and drama, who center their work on representations of the second wife? Do any of these writers illuminate individual representations of the second wife figure in a new and innovative way?
• Is there a difference between the ways in which the second wife is represented in cinematic film to that in small screen, and between those mediums to representations in drama, and to literature? Or in these representations, is there a reasonably broad consensus between these genres?

This collection of scholarly essays will make an intervention in the field: it will be the first of its kind to make a comprehensive study of what being a second wife means to and for the woman, the family, the community, the culture, and the society to which she belongs; to explore whether or not there are characteristic features of the second wife between cultures that may have either some similarity, or that are totally dissimilar, in popular belief and popular culture; to document and record how various eastern and western societies perceive and represent the socially and culturally important figure of the second wife in screen, stage, and literary works and pop culture narratives; to indicate if there is agreement or difference between the various cultures on how the figure of the second wife is represented in popular culture to the viewing/reading audiences; to establish a new and dynamic area of theoretical research crossing family studies, women’s studies, cultural studies, social history, gender studies, social studies, and the humanities in general; to point the way to possible future cross-disciplinary work through examining various peoples and societies by way of cultural representations of the second wife; and to permit scholarly consideration of the extent to which the creators and producers of narratives about the second wife place this figure on the perimeter of society or at its center.

Full-length chapters of 6,000 – 7,000words each (including notes but excluding references lists, title of work, and key words) will be solicited from these abstracts.

The extended abstracts must be more than 1,000 and less than 1,500 words.

• Please keep in mind that your essay-chapter will be written from your extended abstract. Your abstract will carry the same title as your essay-chapter.
• To be considered, an abstract must be written in English, and submitted as a Word document.
• When writing your abstract use Times New Roman point 12,and 1.15 spacing.
• At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.
• Use the Chicago Manual of Style 16th Edition.
• Since this work is intended for Lexington Books, USA, please use American (US) spelling not English (UK) spelling, and not Australian English spelling;
• Use the Merriam-Webster’s Collegiate Dictionary;
• Use endnotes and not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible;
• Do cite all your work in your extended abstract as you would in a full chapter:

  Submission instructions:
  At this initial stage, in lieu of “chapters,” this proposed work, Cultural Representations of the Second Wife, calls for extended abstracts for consideration for inclusion in the book.

1. a) in the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230);
   b) fully reference all in-text citations in detail and in alphabetical order, in the References list at the end of your abstract;

Please send your abstract as a Word document attached to an email;

• To this same email please also attach, as separate Word documents, the following:
•  
• Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone numbers, your home address, and your email contact details;
• A short bio of no more than 250 words;
• Your C.V., including a full list of your publications and giving the publishing details and dates, and including those in press, and published.

Editor: Dr Jo Parnell, Conjoint Research Fellow, School of Humanities and Social Science, Faculty of Education and Arts, University of Newcastle, Australia. 
Papers should be forwarded to:  
Jo Parnell at: Jo.Parnell@newcastle.edu.au  or annette.parnell@newcastle.edu.au or joandbobparnell@bigpond.com

Deadline for Submissions, March 31, 2021

CFP–Four Life Writing Forum Panels, Modern Language Association (3/5/2021; 1/6-9/2022) Washington DC, USA

Documenting Isolation

How do life writers make meaning of selves and experiences in/of isolation in or through their texts? Papers examining historical and/or contemporary life narratives of isolation invited. Submit 300-word abstract and bio.
Deadline for submissions: Friday, 5 March 2021
Megan Brown, Drake U (megan.brown@drake.edu ) Laurie McNeill, U of British Columbia (laurie.mcneill@ubc.ca )
 
Transnational Black Auto/biography

Papers on Black life writing engaging African diasporic transnationalism, self-representation, Black liberation, political activism, and/or intellectual analysis, from precolonial petitions to BLM auto/biographies and beyond. 300-word abstract and bio.
Deadline for submissions: Friday, 5 March 2021
Joycelyn K. Moody, Joycelyn Moody (joycelyn.moody@utsa.edu ) Angela Ards, Boston C (ardsa@bc.edu )
 
Memoir as Politics

How do life stories in various forms reflect and comment on political and social issues? Papers may address (but are not limited to) memoirs by politicians and other public figures. 300-word abstract and brief bio.
Deadline for submissions: Friday, 5 March 2021
Angela Ards, Boston C (ardsa@bc.edu ) John David Zuern, U of Hawai‘i, Mānoa (zuern@hawaii.edu )


Stories of Destierro
How to craft contemporary life stories of destierro: expulsion, banishment, and deportation? Who’s telling these stories, and in what forms? 300-word proposals focused on Greater Mexico and beyond.
Deadline for submissions: Friday, 5 March 2021
Sergio Delgado Moya, Emory U (sdelga4@emory.edu ) John David Zuern, U of Hawai‘i, Mānoa (zuern@hawaii.edu )
 

Deadline for Submissions March 1, 2021

Call for contributions to a Journal of Scandinavian Cinema In Focus section highlighting Musical Biopics and Musical Documentaries from the Scandinavian countries

This is a call for short subject contributions (2000-3000 words) focusing on how Scandinavian film and television have presented musicians, singers, bands and orchestras in biopics and documentaries. We welcome submissions that – after a quick theoretical introduction and concise contextual background – offer discussions of topics such as:

– the film’s role within cultural memory – usually restricted to a single national market and often catering to a certain age group’s intragenerational memories

– the handling of generic conventions; from narration and characterization to the selection of music, casting choices and staging of performances

– the function of music in specific films and film genres

– marketing and authentification discourses, including media coverage of stars and their work with particular roles and performances, as well as screenwriters’ and directors’ use of biographies, interviews, original footage and recordings

– national and international reception of such films

Please send contributions to Anders Marklund (anders.marklund@litt.lu.se) and Ewa Mazierska (EHMazierska@uclan.ac.uk) by 1 March 2021. Make sure that you follow the most recent Notes for contributors, available at Intellect’s journal pages: https://www.intellectbooks.com/journal-of-scandinavian-cinema.  

The publication of the In Focus section will coincide with the eighth Lübeck Film Studies Colloquium discussion of the topic and with screenings of select musical biopics and documentaries at Lübeck’s Nordic Film Days festival. These events are arranged in October/November 2021 – with more information available (in due course) online at https://www.nordische-filmtage.de/en/index.html.  

Deadline for Submissions March 1, 2021

2021 Oral History Association Annual Meeting CFP: “Moving Stories” (3/1/2021; 10/17-21/2021)

The OHA’s Call for Proposals for the 2021 Annual Meeting is now open!

Find the portal here: https://convention2.allacademic.com/one/oha/oha21.

Find additional tips and guidelines for submitting here: https://www.oralhistory.org/submission-guidelines/.

Keep an eye out for additional information about the Annual Meeting here: https://www.oralhistory.org/annual-meeting/.

The deadline for submission is March 1. 

Proposal Queries may be directed to:

Nikki Yeboah, 2021 Program Co-chair (San Jose State University, nikki.yeboah@sjsu.edu)
Sara Sinclair, 2021 Program Co-chair (Columbia University, ses2235@columbia.edu)
Amy Starecheski, OHA Vice President (Columbia Oral History MA Program, aas39@columbia.edu)

For submission inquiries or more information, contact:

Faith Bagley, Program Associate, 615-898-2544, oha@oralhistory.org

Contact Info: 

Oral History Association

Box 193/Middle Tennessee State University

Murfreesboro, TN. 37132

Contact Email: 

oha@oralhistory.org

URL: 

http://oralhistory.org

Deadline for Submissions March 1, 2021

Biographers International Organization (BIO)

is accepting applications for

The Hazel Rowley Prize
$2000 for an Exceptional Book Proposal from a First-time Biographer


This prize is given to the author of an exceptional book proposal for a full-length biography. In addition to the $2,000 award, the winner will have their proposal evaluated by an established literary agent. They will also receive a year’s membership in BIO, along with registration for the annual BIO conference, and publicity for the author and project through the BIO website, The Biographer’s Craft newsletter, and social media. The prize advances BIO’s mission to reach talented new writers in the genre. The deadline for applications is March 1, 2021.  

For further information and application instructions, see https://biographersinternational.org/award/hazel-rowley-prize/#apply 

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Deadline for Submissions February 28, 2021

“Literary [Non-]Fiction in Times of Crisis”, 13th May to the 15th May 2021

(Submission Deadline 2/28/2021)

CRISIS: “a time of great danger, difficulty, or confusion when problems must be solved or important decisions must be made” (OED)

The fall of the Berlin Wall; refugee movements across Europe; Brexit; political populism; divided societies in Europe and USA; or the pandemic of Covid-19 – it is almost unlikely to formulate a complete list of crises that have emerged in recent times. The notion of crisis, however, is by no means confined to the socio-political realm and its grand narratives/grand challenges. Personal, religious and identity crises seem idiosyncratic in essence, but are in reality experiences shared collectively by different cultures and generations. The idea that crises are not only destructive or arresting, but rather necessary for progress and/or self-development is communicated not only by means of historical accounts or political analyses, but also via personal life reviews as well as fictional, literary works. Literary [non-]fiction is, after all, the most multi-faceted medium of communication. Many times the individual’s need for literary (self-)expression is driven by the need to make sense of the surrounding reality [also by highlighting different versions of reality] and contextualize one’s personal, socio-political or environmental crisis. Facing a political/cultural/social/religious predicament, authors are often driven by an imperative to voice their disagreement over transgressions/half-truths/ lies/manipulations, which eventually makes one unable to turn away from the presumed obligation to right a wrong. This is why Nadine Gordimer once said that writing about ‘public policies’ [sensu largo], particularly if their impact on the social fabric is negative, corresponds to writing about morality.

Department of English Literature and Literary Linguistics is pleased to announce its conference, “Literary [Non-]Fiction in Times of Crisis”, to be held online at Adam Mickiewicz University from the 13th May to the 15th May 2021. The conference’s objective is to explore both writerly and non-writerly involvement, analyses and suggestions regarding descriptions of and possible solutions to the ills of a given society/community/individual and collective mindsets. Our intention is to set up an interdisciplinary dialogic space for academics interested in restoring the strength of referentiality in [non-]fiction writing, with the overall aim to make textual reality relevant again. Our invitation is addressed to researchers from various fields of scholarly investigation, including literary studies, culture studies, film studies, identity studies and other interdisciplinary studies.

Suggested topics include but are not restricted to:

SECTION I Socio-Political crisis in texts

Session Chairs: prof. dr hab. Liliana Sikorska [sliliana@amu.edu.pl] and prof. UAM dr hab. Ryszard Bartnik [rbartnik@amu.edu.pl]

* Black Lives Matter

* Wars [culture wars/terrorist extremism]

* Arab Spring [and other ‘revolutions’]

* Minority and human rights

* Brexit

* Political transitions of divided societies

SECTION II Psychological crisis in texts

Session Chairs: dr Katarzyna Bronk-Bacon [kbronkk@amu.edu.pl] and prof. UAM dr hab. Dominika Buchowska-Greaves [drusz@amu.edu.pl]

* Narration and representation of personal or collective trauma

* Crisis of identity and belonging

* Rites of passage in human life [motherhood/fatherhood; middle age/old age, crisis of faith]

* Sexual/gender assault/abuse/asymmetry

SECTION III Environmental crisis in texts [Ecocriticism]

Session Chairs: dr Jeremy Pomeroy [jerpom@amu.edu.pl] and dr Jacek Olesiejko [olesiejk@amu.edu.pl]

* The crisis of Anthropocene

* Climate change

* Pan- and epidemics

SECTION IV ‘Institutional’ crisis in texts

Session Chairs: dr Marta Frątczak-Dąbrowska [mfratczak@amu.edu.pl] and dr Joanna Jarząb-Napierała [joanna.jarzab@amu.edu.pl]

* Crisis of democracy

* Crisis of neoliberalism

* The [re]birth of populism

* Crisis of the state [Truth/Trust/Rule of law]

Authors are encouraged to prepare 20 minute presentations in English. Abstracts of around 300-500 words should be submitted to crisisandliterature2021@amu.edu.pl by the 28th February 2021 [in the event of any technical problems use the alternative email address crisisrb@amu.edu.pl]. In addition, we would like to inform about that the Department of English Literature and Literary Linguistics is planning to launch, presumably in 2022, a postconference publication, in cooperation with Wydawnictwo Naukowe UAM. The full-length papers to be considered for this volume shall be peer-reviewed and must not be under consideration by any other journal or publication.

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Deadline for abstracts: 27 February 2021

Announcement: Call-for-Papers

This call is for abstracts for a scholarly, international edited collection entitled, Writing Australian History on Screen: cultural, sociological, and historical depths in television and film period dramas “down under”.

Deadline for abstracts: 27 February 2021.

It could be said that Australia’s unique history has shaped the diversity of its peoples, and the Australian life-styles of today. Australia is both a very ancient and a very young nation. The diverse Australian Indigenous peoples were and still are the First Australians, and the true owners of the land. Despite the British Empire’s 1770 claim on the land as one of its colonies, and white Australia’s announcement of Australia as a nation with the birth of Federation in 1901, “Australia” was in fact a nation long before that; and so long before the British deportation of convicts to Australia and the subsequent arrival of the Anglo-Celtic-European settlers; and the supposed much earlier arrival of Chinese traders; and the much later arrival of the many different nationalities during the Gold Rushes. In more modern times, there is also the extensive immigration from many different nationalities and cultures, and Australia’s intakes of refugees. All these peoples, whether born in Australia or naturalized, are Australians though some hold dual citizenship.
The Australian nation’s history is closely tied to the national and cultural identity. In many countries, but perhaps more so in Australia, there is no single or fixed national identity. In actuality, an  Australian national identity does not exist rather there is a process of something that is unfurling or “becoming” some semblance of a sort of truth; there is no one history rather many diverse histories that overlay or color each the other; there is no one heritage or culture rather divers heritages and cultures; there is no one religion rather many; all of which sit together, side-by-side, and despite the common myths, not always so well or easily. Numerous writers note that in the Australian society there is a “visible” fracture, and also a disconnectedness between what many Australians have imagined themselves to be a part of in the past. The Australian histories, what came before and what has happened since, and how this has been incorporated or interpreted, together with the Australian environment and the geography of the land, and with Australia’s unique type of multiculturalism, has helped to shape what is variously described as the Australian character, and the society.
Australian television and film period dramas are involved in conversations about who the Australian peoples were, and who they are now in the current time. These types of productions work, or rework, the numerous factors involved in “telling” the Australian story, and in so doing explicitly and implicitly bring to light the many various issues that are as relevant to the Australian society today as they were in the period portrayed on screen. In exploring the deeper issues, these sorts of filmic dramas capture and convey something of the atmosphere/s of a particular time. Admittedly, these same issues may have been viewed differently and drawn different responses in the past to what happens now. Of course, with period dramas, the angle from which the issues are approached, the way in which past times are depicted, and the questions that arise from these discussions,  also depend to some degree or another, on the writer/s and the producer/s own points-of-view and particular agendas and artistic skills, as well as the message/s intended for, or inadvertently conveyed to, the viewer. It can be said that Australian television and film  period dramas raise big questions for the Australian society of today to ponder. Staying specifically with those produced in Australia, examples of these types of period dramas are: the hugely popular television series, The Sullivans (aired 1976-1983); Against the Wind (released in 1978); Redfern Now (aired 2012-2013); A Place to Call Home (premiered in 2013); and the much-loved films, The Chant of Jimmie Blacksmith (first screened in 1978); Rabbit Proof Fence (released in 2002); The Dressmaker (released in 2015); Ladies in Black (premiered in 2018).
Some suggestions for potential contributors and questions that could be addressed may include but are not limited to:

·  What are some of the cultural and/or social aspects and issues raised in a particular Australian television/ or film period drama?

·  What are, and how do these types of productions convey, the differences or sameness between the fictionalized portrayals and the realities of the times, and social dictates of the Australian culture then in relation to those of today?

·  In Australian television and filmic period dramas, how might class, ethnicity, culture, race, gender, and history, shape these representations for the viewers?

·  Are there cultural or historical antecedents for consideration of portrayals of the Australian outlook in small and-or large screen period dramas?

·  How are the Australian viewpoints expressed in any one or two or more Australian period screen dramas conveyed to the viewer, and what might be the producers motivations in each case?

·  What makes Australian period drama TV/films distinct from (maybe even bolder than), say, their British counterparts? What happens when British dramas present Australia on film (for example, “Banished” (first released 2015) )?Is Australian history sometimes just a different backdrop or central to interrogating specific issues/themes?

·  How do these Australian dramas restore marginalized histories and voices?

·  Chapters about late 20^th-c dramas as well as recently popular ones are encouraged, and could include APTCH, Miss Fisher’s Murder Mysteries, Ms. Fisher’s Modern Murder Mysteries, Love Child, The Doctor Blake Mysteries, Australia, My Brilliant Career, Gallipoli, Anzac Girls, Emma’s War, and more.

This collection of scholarly essays will make an intervention in the field: it will be the first of its kind to make a comprehensive study of Australian screen period dramas, to explore whether or not there are characteristic features of the Australian history/histories, culture, and psyche; to establish a new and dynamic area of theoretical research in history, social history, gender studies, cultural and social studies, and the humanities in general; to point the way to possible future work in an ever-expanding field of cross-disciplinary fields through examining various portrayals of Australian histories and the peoples; and to permit scholarly consideration of the extent to which the producers of Australian history narratives for screen, establish popular representations of periods that are an intrinsic part of the Australian society and culture as a whole.
Submission instructions:
At this initial stage, in lieu of “chapters,” this proposed work, Writing Australian History on Screen, calls for extended abstracts for consideration for inclusion in the book.

1. The extended abstracts must be more than 1,000 and less than 1,500 words.
2. (Full-length chapters of 6,000 – 7,000words each (including notes but excluding references lists, title of work, and key words) will be solicited from these abstracts.)

· Please keep in mind that your essay-chapter will be written from your extended abstract. Your abstract will carry the same title as your essay-chapter.

·  To be considered, an abstract must be written in English, and submitted as a Word document.

·  When writing your abstract use Times New Roman point 12,and 1.15 spacing.

·  At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.

·  Use the Chicago Manual of Style 16th Edition.

·  Since this work is intended for Lexington Books, USA, please use American (US) spelling not English (UK) spelling, and not Australian English spelling;

·  Use the Merriam-Webster’s Collegiate Dictionary;

·  Use endnotes and not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible;

·  Do cite all your work in your extended abstract as you would in a full chapter.

a) in the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230);
b) fully reference all in-text citations in alphabetical order, in the References list at the end of your abstract;

·  Please send your abstract as a Word document attached to an email;

·  To this same email please also attach, as separate Word documents, the following:

·  Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone, your home address, and your email contact details;

·  A short bio of no more than 200 words;

·  Your C.V., giving your publications to date, and the publishing details and dates.

Editors: Professor Julie Anne Taddeo, Research Professor of History, University of Maryland, USA,
and Dr Jo Parnell, Conjoint Research Fellow, School of Humanities and Social Science, Faculty of Education and Arts, University of Newcastle, Australia. 
Papers should be forwarded to both editors:
Julie Anne Taddeo taddeo@umd.com
Jo Parnell Jo.Parnell@newcastle.edu.au  alternatively annette.parnell@newcastle.edu.au  or joandbobparnell@bigpond.com

Deadline for Submissions February 23, 2021

Women in the Nineteenth Century—Traveling, Writing, Speaking

Margaret Fuller Society American Literature Association Conference Boston, July 7–11, 2021 The writings of such women as Margaret Fuller, Catharine Sedgwick, Rebecca Cox Jackson, Betsey Stockton, Caroline Kirkland, Frances E. W. Harper, Eliza Potter, Susan B. Anthony, Ida B. Wells, and Anna Julia Cooper, to name only a few, show the wide range of women’s reasons for and responses to travel. This panel proposes to question ways of thinking about traveling, including theorizing as well as representations (or silencings) of travel in the writings of Fuller and other women travelers, especially women of color. Whether focused on genres traditionally thought of as travel writing or on other modes in which women wrote and spoke, we would like to interrogate how motivations, encounters, itineraries, geographical locations, traveling equipment, and audiences have shaped literary, cultural, and political expressions in Fuller’s works and in that of women of her century. We are especially interested in ways that race and class, as well as gender, might have impeded or influenced modes of traveling and modes of writing about it. By including writing by Fuller and 19th-century women travelers, this panel aims to explore how these writers conceptualize travel, how they approach it as a topic, and how they respond to travel’s capacity to register physical and imaginative experiences, or to highlight or circumvent obstacles and impossibilities.

We welcome papers from scholars at any career stage. Paper proposals of 250-500 words and a short vita should be sent to Sonia Di Loreto (sonia.diloreto@unito.it) and Jana Argersinger (argerj@gmail.com) by February 23, 2021. Please note if you will require A/V for your presentation.

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Deadline for Submissions, February 15, 2021

The Legacies of Exchange by 19th-Century Black Women

Society for the Study of American Women Writers
Triennial Conference November 4-7 2021, Baltimore, Maryland

We propose a panel for the SSAWW Triennial Conference “American Women Writers: Ecologies, Survival, Change” in Baltimore, Maryland, November 4-7, 2021:

This panel highlights forms of representation and exchange by black women that look beyond narratives of enslavement. We welcome papers that explore how nineteenth-century black women built networks of kinship and support through forms of correspondence (letters, periodicals, allusions) and materials that illustrate artistic intimacies (albums, scrapbooks, autograph books, marginalia, ephemera). Building on the work of scholars like Nazera Sadiq Wright and Jasmine Nichole Cobb, we ask: what ecologies and networks are illuminated when we look at these items? We are especially interested in discussions of archival resources, recovery work, sentimentality, citizenship, and writing as care-taking.

By February 15th, please send your abstract (250-300 words), institutional affiliation, contact information, and a brief bio (no more than 50-60 words) to Victoria Baugh at vlb57@cornell.edu or Charline Jao (cj422@cornell.edu).

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Call for Papers: 

Fragmented, Evolving, Precious: Scholarly Writing across Life Contexts 

500-word proposals with 50-word bios due 15 February 2021

Scholarly writing can be a scattered process, with research and composing time eked out in fits and starts as teaching, administrative, and familial responsibilities can overwhelm even the most dedicated scholars’ best intentions for scheduled writing time. Writing and research processes also change over time as circumstances change–as graduate student life morphs into tenure-track or adjunct life; as single life morphs into partnered life, or vice versa; as faculty have children who require different intensities of attention at different stages; as bodies are or become differently dis/abled; and/or as administrative roles replace writing time with back-to-back meetings. This collection seeks to examine, explain, and even exult in how writing processes change over time by exhibiting what is both lost and gained through successive rounds of transformation and adaptation. How do writers, in their own words, respond to significant disruptions of their established processes? How do they develop “writing workflows” (Lockridge and Van Ittersum) to meet new demands, or that are capable of responding to unstable conditions? How do they understand the variables that prompt changes and what resources do they draw on to meet that change?

This kairotic moment finds many scholars newly challenged to develop different writing processes as they wrestle with new ways to teach, administrate, parent, and navigate the world. As various researchers (Boice, Tulley) have demonstrated, scholars successfully produce scholarship even when their focus and time are fragmented. Boice recommends that faculty writers ensure their writing success in part by arranging “external situations to ensure regular writing productivity.” Boice’s advice articulates well with the “environmental-selecting and structuring practices (ESSPs)” Paul Prior and Jody Shipka describe in their study of scholarly writers’ processes. What this collection takes up in part is the current context in which many scholars are, due to pandemic restrictions such as school and library closures, unable now to “arrange external situations to ensure regular writing productivity” as they have in the past. These same pressures also call scholars to respond to the neoliberal demands of limitlessly increasing personal productivity.

Drawing inspiration from Jessica Restaino’s pledge to “determine anew [her] use value” as a scholar (137) after a devastating personal loss, this collection seeks to determine anew the use value of scholarly writing and the processes that produce it, both within and beyond the context of losses, constraints, and adaptations associated with Covid. We want to explore how scholars have navigated various workflow changes throughout various phases of their lives and careers. The pandemic context provides an opportunity to examine how writing processes can be adapted. When the most reasonable “normal” writing advice may be impossible to follow and writing is necessarily slowed and further fragmented, might writing activity be also deepened and made more precious?

We seek both personal and scholarly contributions that examine the advantages and possibilities as well as the frustrations concomitant with evolving scholarly writing processes. We invite proposals for chapters that take up, challenge, or augment questions such as these:

• How have you reinvented your writing process(es) at one or more stages of your scholarly career or for different types of projects?
• What resources or tools have you adopted for that reinvention? What was your affective experience before, during, and after?
• How does your personal engagement with writing processes shape your engagement with process scholarship or writing studies writ large, or vice versa?
• How does your teaching of writing shape your own writing processes?
• How does your scholarly writing occur within your home, work, and community context?
• How is your scholarly writing process affected by gendered, raced, and/or classed work-life expectations?
• What are the possibilities and challenges associated with your scholarly writing process?
• How could past examples of ideal and/or problematic scholarly writing processes speak to the present? How do you relate to your past processes?
• What do you see as the challenges of creating or sticking to a productive process, and/or how do you push back against a culture that over-values speed and “productivity”?

Submit 500-word proposals and 50-word bios no later than 15 February 2021. Notifications of acceptance will be sent by 15 March 2021. Full chapter drafts (6000-8000 words including Works Cited) will be due 1 July 2021. Requested revisions will be due 1 October 2021. Please send queries and proposals to: fragmented.writing@gmail.com.

Kim Hensley Owens

Derek Van Ittersum

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Deadline for Submissions, 15 February, 2021

Contemporary South Slavic Victimhood Narratives and Performances in Arts and Cultures

Founding myths of South Slavic nation-states have been centred around victimhood narratives since the emancipatory struggles within several occupying empires. Rarely have those narratives been stand-alone founding myths – they were interwoven with narratives of the heroic and the oppressed. Notions of being ‘a historic victim’ (or a victim of history) can be found among all South Slavs, not only in the post-Yugoslav region. The political function of such founding myths in in the construction of collective identities has been a research focus of South Slavic and South Eastern European Studies for quite some time already. The instrumentalization of victimhood narratives in the process of South Slavic nation-state formations, also in the context of Yugoslavia’s breakup and the Yugoslav Wars, has been explored, yet less attention has been given to victimhood narratives and performances in the very current South Slavic regions and contexts.

We are interested in narratives and performances of South Slavic victimhood in arts (literature, theatre, performance, film, music and art), in media and in places and performances of remembrance (memorial days, memory in public space, museums and memorials). Therefore, we are inviting scholars from different fields (South Slavic Studies, Film and Media Studies, Theatre and Performance Studies, Art History, Cultural and Memory Studies and other closely related disciplines) to contribute to the edited volume “Contemporary South Slavic Victimhood Narratives and Performances”.

Proposals for research articles will be peer reviewed for an edited book to be published by a reputed publisher in 2022.

Original and unpublished texts are invited (but not restricted to) the following areas and research questions:

• How have already established victimhood narratives changed after the end of the Yugoslav Wars?
• What new victimhood narratives have emerged in the 2000s until today?
• How are South Slavic victimhood narratives intertwined and are they mutually dependent?
• Are new narratives and performances of victimhood changing former constructions of collective identities?
• Who are perpetrators and victims in new victimhood narratives in arts and culture and what is the role of the spectator (bystander)?
• What are the aesthetic strategies in various art forms to de-construct and question those narratives?
• What are the roles of South Slavic victimhood discourses in the diaspora?

Proposals consist of a short abstract (250-300 words, including 3-4 keywords) and a short bio note of the author. Last date of submission of abstracts to the editors is February 15^th 2021, to be sent to: senad.halilbasic@univie.ac.at and miranda.jakisa@univie.ac.at

The authors will be notified within 4 weeks

The first draft of selected contributions is due in August 2021 (length: 5.000-7.000 words)
Contact Email:  senad.halilbasic@univie.ac.at URL:  https://suedslawistik.univie.ac.at/

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Deadline for Submissions–Feb. 5, 2021

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Interdisciplinary Studies in Diasporas
Irene Maria F. Blayer and Dulce Maria Scott

ISSN: 2378-0975
www.peterlang.com/view/serial/ISD

Interdisciplinary Studies in Diasporas opens a discursive space in diaspora scholarship in all fields of the humanities and social sciences. The volumes published in this series comprise studies that explore and contribute to an understanding of diasporas from a broad spectrum of cultural, literary, linguistic, anthropological, historical, political, and socioeconomic perspectives, as well as theoretical and methodological approaches. The series welcomes original submissions from individually and collaboratively authored books and monographs as well as edited collections of essays. All proposals and manuscripts are peer reviewed.

For more information, or if you’d like to discuss a proposal, please contact: :
Dr Irene Blayer, Series Editor, iblayer@brocku.c
Dr Dulce Scott, Series Editor, dmscott@anderson.edu
Dr Philip Dunshea, Acquisitions Editor , p.dunshea@peterlang.com.

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Deadline for Submissions, February 1, 2021

Biographers International Organization (BIO)

is pleased to announce the inauguration of the

Frances “Frank” Rollin Fellowship

$2000 for an Exceptional Biography-in-Progress

about an African American Subject

Named for the first African American biographer, the Frances “Frank” Rollin Fellowship awards $2,000 to an author working on a biographical work about an African American figure or figures whose story provides a significant contribution to our understanding of the Black experience. This fellowship also provides the recipient with a year’s membership in BIO, registration to the annual BIO conference, and publicity through BIO’s marketing channels.

The Rollin Fellowship aims to remediate the disproportionate scarcity and even suppression of Black lives and voices in the broad catalog of published biography. This fellowship reflects not only BIO’s commitment to supporting working biographers but to encouraging diversity in the field.

Deadline for applications: February 1, 2021.

To apply, go to https://biographersinternational.org/award/the-frances-frank-rollin-fellowship/#apply

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Deadline for Submissions, January 16, 2020

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Newsletter Biography Institute

November 2020

New series Biography Studies started successfully
In the new series Biography Studies (Brill) two first volumes have been published. Hans Renders and David Veltman edited the volume Different Lives. Global Perspectives on Biography in Public Cultures and Societies, whereas Maarten Zwiers and Jelte Olthof were responsible for the publication of Profiles in Power. Personality, Persona, and the U.S. President. On Biografieportaal.nl and in The Biographer’s Craft reviews were published in praise of Different Lives. Both parts are now available in the bookshops.
From the cover of Different Lives
Internationally acclaimed biographies are almost always written by British or American biographers. But what is the state of the art of biography in other parts of the world? Introduced by Richard Holmes, the volume Different Lives offers a global perspective: seventeen scholars vividly describe the biographical tradition in their countries of interest. They show how biography functions as a public genre, featuring specific societal issues and opinion-making. Indeed, the volume aims to answer the question: how can biography contribute to a better understanding of differences between societies and cultures? Special attention is given to the US, China and the Netherlands. Other contributions are on Australia, Belgium, Canada, the Czech Republic, Denmark, Iceland, Iran, Italy, New Zealand, Spain, and South Africa.

Hubert van den Berg hosts workshop at Biography Institute
Professor Hubert van den Berg (Palacky university, Czech Republic) will provide a workshop at the Biography Institute on Thursday 19 November, 13-16 hrs. via Zoom. During this workshop, he will discuss ways to avoid trodden paths in archival research. Van den Berg wrote extensively on the historical avant-garde in the Netherlands, Eastern Europe and Scandinavia. In 2017, his book Dada, een geschiedenis appeared at Vantilt publishers. People that are interested to attend the workshop online, can send a mail to the Biography Institute.

David Veltman publishes article on Les Plats Pays.com
The francophone website Les Plats Pays.com now features an article by David Veltman, PhD student at the Biography Institute, on the friendship between the Flemish painter, Felix de Boeck and the Walloon poet Maurice Carême.

More information can be found on the website www.biografieinstituut.nl.
For subscribing to and unsubscribing from this newsletter, please email biografie.instituut@rug.nl

Subject: Teaching Life Writing Conference Dec 10-11: Registration is Open

Dear Colleagues,
Registration for the December 10-11 Teaching Life Writing (virtual) Conference is now open! Register Here: https://subline.ualberta.ca/Registration/Create/57?eventItemDef=476

If your paper or round-table presentation has been accepted, please register now. The cost is $5 CD. Do you just want to attend the conference? You can! Register, pay the fee and you will have access to the whole conference.

The program is almost ready. When we release it, we will give you instructions about attending the conference in the Round the World format.

Promote the conference in your networks! Like us on our Facebook page (https://www.facebook.com/lwconf), follow us on Twitter (@lifewritingconf) and check the main conference page (https://subline.ualberta.ca/portals/57) for updates about the conference. We are looking forward to welcoming you soon!

The Teaching Life Writing Conference Team
(Orly Lael Netzer, Julie Rak, Amanda Spallacci)
email: lwconf@ualberta.ca

Dear IABA List Members,

We are working on Biography’s annual annotated bibliography of critical and theoretical works on life writing, the most extensive reference of its kind, and before finalizing it, we want to make sure it is as timely, inclusive, and extensive as possible.

So if during the last year (from December 2019 to December 2020) you have published, edited, or co-edited a book, written an article for a journal or an essay for an edited collection, or completed your doctoral dissertation, we would appreciate having that information, so that we can incorporate it into the list. (There is of course a very good chance that we have already included it—we work on this all year!—but this will make sure your work is noted.)

We would request the following information:

·      Full bibliographic information for each text, formatted as per MLA 8 style
·      A one-sentence annotation per text

We are especially committed to noting publications in languages other than English. If you could provide an annotation in English, however, that would be helpful.

We would appreciate getting the information by Friday, December 4. Please send your information to Zoë Sprott (gabiog@hawaii.edu).

Thanks in advance. This bibliography usually has between 1,400 and 1,500 entries, and represents the most extensive annual critical survey of the field. We want to make sure your work appears within it.
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Dear IABA-L Members

The Center for Biographical Research at the University of Hawaiʻi at Mānoa has been holding a weekly seminar series since 1987–this week’s talk will be session number 761.

COVID-19 has forced us online, but the upside is that the seminars can now be attended virtually from virtually anywhere, so we thought that especially for those in somewhat congenial time zones, and with an interest in the Pacific–though the topics range beyond that–it would make sense to tell when the seminars are, and also that they will be posted on the Center’s YouTube channel in a permanent archive.

Hope to “see” you, if something catches your interest.

Craig Howes, Director, Center for Biographical Research
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BROWN BAG BIOGRAPHY
Center for Biographical Research, University of Hawaiʻi at Mānoa
THURSDAYS, 12:00 NOON–1:15 PM Hawaiian Standard Time • ONLINE VIA ZOOM
DISCUSSIONS OF LIFE WRITING BY & FOR TOWN & GOWN
All are welcome to attend. For more information about the weekly events, please visit the Center for Biographical Research’s website http://blog.hawaii.edu/cbrhawaii/

FALL 2020 SCHEDULE

October 22: “Roots and Routes along Keaukaha’s Seashore: Tidalectic Repertoires of Place”

Halena Kapuni-Reynolds, Doctoral Candidate, Department of American Studies, University of Hawai‘i at Mānoa

Cosponsored by the Departments of History, Political Science, and Anthropology, the Museum Studies Program, and Hamilton Library

Meeting ID: 954 2305 5123
Password: EDV55r

October 29: “A Biography of Haunting: Crafting Historical Fiction Set in Post-Annexation Hawai`i”

Kristiana Kahakauwila, Assistant Professor, Department of English, University of Hawai‘i at Mānoa

Cosponsored by Hamilton Library

Meeting ID: 914 7320 9610
Password: 3KRqBF

November 5: “‘The Depth of Darkness’: Genealogies of Race and Sovereignty in Nineteenth-Century Hawaiian Literature”

Joyce Pualani Warren, Assistant Professor, Department of English, University of Hawai‘i at Mānoa

Cosponsored by Hamilton Library

Meeting ID: 939 8234 2880
Password: 001PS8

November 12: “James Macrae and the Voyage of HMS Blonde”

Brian Richardson, Hamilton Library, University of Hawai‘i at Mānoa

Cosponsored by the Departments of History and Political Science, and Hamilton Library

Meeting ID: 920 6909 2145
Password: VYh10D

November 19: “​Materializing Queer Genealogies at Horace Walpole’s Strawberry Hill”
Dr. Emily West, Assistant Professor, Department of English, University of Hawai‘i at Mānoa

Cosponsored by the Department of History and Hamilton Library

Meeting ID: 954 9489 9581
Password:  kZYY3y

November 24 (TUESDAY):​ “​Nationalism and the Transformation of Land into Sovereign Territory”

Nandita Sharma, ​Professor of Sociology and Co-Director of the International Cultural Studies Program, University of Hawai‘i at Mānoa

Cosponsored by the Departments of History, Political Science, and Anthropology, the Center for South Asian Studies, and Hamilton Library

Meeting ID: ​945 6312 3936
Password: 385314

December 3: “George Birdwood Before He Was ‘Sir George Birdwood’: The Bombay Years, 1854–1868”

Peter H. Hoffenberg, Associate Professor of History, University of Hawai‘i at Mānoa

Cosponsored by the Department of History, the Center for South Asian Studies, and Hamilton Library

Meeting ID: 965 3776 2074
Password: 354W83
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Deadline for Submissions, November 16, 2020

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Deadline for Proposals, November 16, 2020

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