Archived Postings

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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Register for the 2022 International Symposium on Autoethnography and Narrative
 
Registration for the 2022 International Symposium on Autoethnography and Narrative is now live! The conference will occur via Zoom on January 3-5, 2022. Eastern Standard Time (EST) will be used for all conference activities.

On January 4-5, there will be dozens of sessions featuring more than 150 individual submissions. Kitrina Douglas and David Carless will give the keynote address, and there will be spotlight sessions with Renata Ferdinand, Art Bochner, Sandra Faulkner, Norman Denzin, Carolyn Ellis, Robin Boylorn, Mark Freeman, Dan Harris, Ken Gergen, Mary Weems, Fetaui Iosefo, Elyse Pineau, Bryant Keith Alexander, Craig Gingrich-Philbrook, Alec Grant, Stacy Holman Jones, Ragan Fox, Keith Berry, David Purnell, Susan Krieger, Phiona Stanley, and Chris Poulos.

On January 3, there will also be four workshops led by Kakali Bhattacharya, Jonathan Wyatt, Marquese McFerguson, and Amy Arellano and Christina Ivey

Registration for the general conference [January 4-5] is $25 (USD). Only those who have registered for the conference will have access to the keynote and primary conference sessions. To participate in the workshops [January 3], there will be an additional $25 registration fee.

The times for the workshops, keynote, individual submissions, and spotlight sessions are still being finalized; the times and the conference program will be available on December 1, 2021.

For more information about the conference, including how to register, visit www.iaani.org.
 

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Cleopatra and the Celebrity of Infinite Vareity (edited collection)

 
deadline for submissions: 
December 31, 2021
 
Dr. Courtney A. Druzak (DigiPen Institute of Technology) and Margaret J. Yankovich, M.I. (Independent Scholar), editors
 
 

According to Stacy Schiff in her acclaimed 2010 biography of Cleopatra VII, Egypt’s last queen was “A goddess as a child, a queen at eighteen, [and] a celebrity soon thereafter.” That is to say, Cleopatra has lived on in the imaginations of scholars, artists, and storytellers to the effect that her multifaceted legacy– as, per Schiff, “an asteroid, a video game, a cliche, a cigarette, a slot machine, a strip club, a synonym for Elizabeth Taylor”–has long overshadowed her brief life as a mortal, and catapulted her into the stratosphere of celebrity. In the almost 2,000 years of history that have unfolded since her death in 30 BCE, her life and her person have been consistently appropriated and reappropriated, her celebrity and larger-than-life legacy performed in countless artistic imitations and interpretations. That Cleopatra has defeated the obsolescence of death and the passing of time to become one of greatest celebrity figures of both the Western and Eastern worlds is a subject that begs for further scholarly interrogation.

It is with this framework in mind that we invite scholars of diverse academic disciplines–literature, art, cultural studies, history, and more–to submit papers for inclusion in Cleopatra and the Celebrity of Infinite Variety, an edited collection of works on Cleopatra and legacy/performance of her celebrity in the popular imagination. We have strong interest from a publisher for this project.

Some topics for this interdisciplinary edited collection include, but are not limited to:

-Cleopatra as agentic subject

-Objectified Cleopatra / Cleopatra reproduced as object

-Intersections of race and sexuality in her portrayals in art and literature

-Cleopatra in children’s literature

-Western vs. Eastern perceptions of Cleopatra, particularly through a historical lens

-Readings of recent biographical works on Cleopatra (such as Schiff’s biography as well as Alberto Angelo’s 2021 biography)

-Commodifications of Cleopatra and her legacy

-Representations of Cleopatra in artistic/visual media (painting, sculpture, print, design, film, theater, video games)

-Cleopatra in fashion / fashion inspired by Cleopatra

Interested scholars should submit abstracts of approximately 300 words, along with brief author bios, to cleopatraandcelebrity@gmail.com by December 31, 2021 for review. Emerging and experienced scholars are both encouraged to apply. A decision regarding all submitted abstracts will be made no later than mid-January, with notifications sent by January 31, 2022. If an abstract is accepted for inclusion in the collection, the first draft of the proposed work will be due October 1, 2022. Works should be between 5,000-7,000 words, and citations should be in Chicago Notes-Bibliography style. A total of no more than five images can be used per essay, and contributors are responsible for attaining all rights and paying all fees for images used in their essays.

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Courtney A. Druzak holds a PhD in English from Duquesne University. She currently works as an Assistant Professor of English at DigiPen Institute of Technology in Redmond, WA, where she teaches writing and literature. Her work is focused on the early modern period and ecofeminism, although she also holds a special interest in Cleopatra as both historical figue and celebrity. She can be reached at courtney.druzak@digipen.edu.

Margaret J. Yankovich is a graduate of Rutgers University School of Communication and Information where she received a M. I. in Library Science. A public librarian, she is employed as the Head of Information at the Dorchester County Public Library in Cambridge, Maryland. Margaret also publishes and presents as an independent scholar of horror media.

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“Voicing ‘Woman’ across Media, 1500-1800”

University of California, Santa Barbara

Conference Date: February 24-25, 2022

Abstracts Due: December 31, 2021

The Early Modern Center at the University of California, Santa Barbara is excited to announce this year’s winter conference, “Voicing ‘Woman’ across Media, 1500-1800,” part of the Center’s theme for the year, ‘Woman,’ 1500-1800. The conference is open globally to faculty, graduate students, and independent scholars, and will feature a special panel of distinguished undergraduate students. It will be held virtually (via Zoom) on Thursday, February 24th and Friday, February 25th, 2022. We are also thrilled to announce our two keynote speakers, Dr. Simone Chess (Wayne State University) and Dr. James McNamara (UCSB).

 

“Voicing ‘Woman’ across Media, 1500-1800” invites presentations that query the early modern concept of ‘woman’ as it is variously constructed or performed by members of all genders in literature, (auto)biography, drama/the stage, music, art, religious texts, film and television, and other media. Instead of focusing broadly on gender, which we recognize has been a key issue of late, we instead want to focus specifically on ‘woman.’ What is ‘woman’? Who is privileged with voicing and defining ‘her’? How have adaptations (both within the early modern period and after the eighteenth century) appropriated and/or interrogated these early modern constructions?

 

Possible topics include, but are not limited to:

  • writing by and/or about women
  • ‘woman’ as dramatic character or caricature
  • women’s voices as depicted by male writers
  • digitizing ‘woman’ / ‘woman’ in the archive
  • the idea of ‘woman’ in relation(s) to race, sexuality, and/or nationality
  • transfemininity and transmisogyny in depictions of women
  • querying gender in terms of queering ‘woman’ (and vice versa)
  • ‘woman’ within and outside the European context
  • women as travelers and/or women depicted in travel narrative
  • ‘woman’ as icon/iconic
  • representations of women in pamphlet gender debates of the early 17th c.
  • women as unruly and/or resistant
  • ‘warrior’ women
  • women and disability
  • women in religion
  • women’s spaces/the space of (and for) women
  • technology and women
  • print history and women
  • feminist and/or female-centered adaptations of early modern drama

We invite and envision both panel presentations and ten-minute roundtable presentations. Please submit abstracts of 150 to 200 words and a one-page CV to emcfellow@gmail.com by December 31, 2021.

Registration is now open for the Southern Lives Workshop, which runs from Monday 6 – Tuesday 7 December. This is a hybrid event: attendees can choose to register for either online or in-person attendance. 

 

Click here to register: https://www.eventbrite.co.uk/e/southernlivesworkshop-tickets-194992727497

Location: Wolfson College, with sessions on 6 Dec at the Pitt Rivers Museum and TORCH.

Co-organised by Elleke Boehmer and Katherine Collins, this event brings together writers and scholars in the oceanic humanities, postcolonial and Global South studies and polar studies, to explore how the high southern latitudes are imagined through life-writing. With kind thanks to the British Academy Small Grants fund and the Leverhulme Trust for their support. 

Please see the Workshop Schedule, which is included below, for more information.

All the best,

The OCLW Team 

Schedule: Southern Lives Workshop

MONDAY 6 December 2021

 

13:30-14:30: Group visit to the Pitt Rivers Museum.

15:00-16:15: Welcome to the workshop & Southern Lives book proposal discussion.

16:15-16:30: Short break

16:30-17:30: First paper session: Knowing and unknowing the South (Elleke Boehmer, Katherine Collins, Bernhard Schirg) 

TUESDAY 7 December 2021

09:30-10:30: Professor Boaventura de Sousa Santos (Coimbra): Responses, On Southern Lives, followed by Q and A.

10:30-11:00: Tea/Coffee

11:00-12:15: Second paper session: ‘Far southern resonances and images’ (Elizabeth Leane, Carolyn Philpott, Joanna Price, Joe Shaughnessy, Priyanka Shivadas)

12:30-13:15: Lunch

13:15-14:30: Third paper session: ‘Perspectives on time, change, the environment’ (Confidence Joseph, Charne Lavery, Isaac Ndlovu, Emma Parker)

14:30-15:00: Coffee/tea

15:00-16:15: Fourth paper session: Imagining southern spaces (Sarah Comyn, Archie Davies, Porscha Fermanis, Cristóbal Pérez Barra, Pablo Wainschenker)

16:15-16:30: Short break

16:30-17:15: Feedback

17:15-18:00: Light buffet dinner

18:00-19:30: Final session: Creative-critical crossovers in the South (Elizabeth Lewis Williams, Khutso Mabokela, Louis Rogers)

Close

Oxford Centre for Life-Writing
Wolfson College
Linton Road
Oxford
OX2 6UD
https://www.oclw.web.ox.ac.uk

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CFP: Popular Culture Association Annual Conference-Biographies Area (Virtual Conference–April 13-16, 2022)–Submission Deadline Extension: 12/5/21

The Popular Culture Association will be holding its annual conference virtually  April 13-16, 2022.

The Biographies Area is soliciting papers that examine the connections between biography and popular culture. Papers and full panel presentations regarding any aspect of popular culture and biography are encouraged. Potential topics might include:

– Biography and entertainment, art, music, theater
– Biography and film
– Biography and criminal justice
– Television programs about biography
– Biography and urban legends
– Biography and folklore
– Biography and literature
– Scholarly Biography
– Controversial Biography
– Psychoanalysis and Biography
– Historical Biography
– Political Biography
– Autobiography

Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session.  Presentations should not exceed 20 minutes.

On your submission, please include title of paper, abstract, and contact information.

Submission Deadline Extension: 12/5/21

Please go to this link to submit your paper:

 https://pcaaca.org/conference/submitting-paper-proposal-pca-conference 

Please direct any queries to the Biographies Area chair:
Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries
Las Vegas, NV 89154

susie.skarl@unlv.edu OR susieskarl@gmail.com

Contact Info: 

Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries
Las Vegas, NV 89154

Contact Email: 

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Moving Biography Summer School

International summer school in Beirut, 1-8 June 2022

Deadline for Applications: 30 November 2021

The Orient-Institut Beirut (OIB) in collaboration with the American University of Beirut (AUB) and the Global (De)Centre (GDC) invites doctoral and postdoctoral researchers to apply for an international Summer School, entitled Moving Biography, that will take place in Beirut/Lebanon from 1 to 8 June 2022.

Our Summer School will explore the various etymologies and connotations that the term “biography” carries in different languages and their various complexities. The English term “biography” comes from the Greek words “bios” (life) and “graphia” (writing). As such, the word expresses a tension between conceptions of life as a narrative (everyone has a biography), and the actual practice of writing about particular lives. The genre of biography socializes us into expectations for our own lives. In contrast, the Arabic term “sīra” conceives of biography as a journey. Deriving from the verb “sāra” (to travel), it has been used, in particular, to refer to “al-sīra al-nabawiyya” (the prophetic biography), the life journey of the Prophet Muhammad. Al-sīra al-nabawiyya constitutes a key source of Islamic studies, next to the Qur’ān and the “ḥadīth” (tradition). Whose stories get written and what they include profoundly shapes how we understand the world and whose lives matter within it. Biographies tend to conform to notions of nation, ethnicity, religion, or class, despite the opportunity, articulated in the Arabic “sīra”, for following lives across boundaries. Probing the sometimes messy contradictions between real-life stories and conceptions of self, between personal and communal identities, Moving Biography brings together different perspectives from a range of disciplines (anthropology, art history, cultural studies, gender studies, literary studies, history, political studies, and sociology) to question disciplinary assumptions and decenter the genre.

Moving Biography will focus on three main themes: (1) questions of data (2) the act of creation, and (3) the importance of the social and historical context of biographies.

  1. We will use the topic of biography as a broad, generative umbrella under which to explore cultural and intellectual inequality. The destinations towards which lives move and their means of travel reveal not only the unequalness of infrastructures of circulation but also the radical inequalities characterizing the landscapes within which lives get lived. How do fiction and non-fiction merge in the writing of lives? How do biographies deal with uncertainties and gaps in the life stories/journeys that are recorded? These questions are all the more urgent when archival research is restricted, be it by war, other social and political conditions, or the very form of the archive itself. Biography forces us to rethink what counts as relevant data. Does an author’s fiction count as data? How do we conceive of autobiographical writing in works of fiction? Would records of quaint past-time activities or other ephemera count for a politician or a prophet? Observing the compliance of biography with certain scholarly boxes encourages new methodologies including considerations of ownership, archival management, and social infrastructure.
  2. Biography can shed an important light on creation. Two models dominate: creation as an isolated, personal act, or a connected, interactive, ongoing one that may or may not involve others. These lead, in turn, to two tactics: to embed the individual in the cultural/historical context in which he or she lived, or to tell the story of an intellectual, literary, or artistic movement or genre. Our interdisciplinary, comparative perspective suggests that creation is never purely individual. Methodologically, we explore how the circulation of ideas affected important thinkers, and wonder at how such networks have not been studied systematically for individuals who live(d) at the social margins. We also include the things an individual makes—the transient, ephemeral acts of imagination—as part of the biography of a person or community, even if no single stylistic motive or outcome unifies them.
  3. We will use the topic of biography to rethink disciplines and social institutions. How are biographies conceived in different spatial and temporal settings and in different academic disciplines? Biography offers a method for rethinking personhood/social being. What constitutes “a life” cross-culturally in and through time? How are sets of biographies related to “generational” contingencies and concerns? As C. Wright Mills argued, one cannot separate a biography from history and context. What notions of history and time does biography foreground? How do past, present, and future converge in real-life stories? In what ways are social persons or the idea of biographical founders essential to the endurance and effervescence of academic disciplines? An in-depth discussion about these questions will prompt greater reflexivity in each of our disciplines.

In order to explore the above, we invite the participation of 20 PhD students and postdoctoral researchers in the humanities and social sciences engaged in research relating to biography/sīra in the Middle East and in other regions, in particular in the global south, to join us in Beirut for a one-week Summer School in June 2022. The school will be preceded by a preparatory phase kicked off by a series of keynote lectures and the launch of an online platform, in which the selected participants can upload summaries of their ongoing projects, expand on their research questions, share literature and start an informal exchange in the run up to the Summer School.

The one-week school will convene an interdisciplinary group of students and faculty who will each bring their own disciplinary background and assumptions to the conversation. It will be organized around a combination of plenary talks by invited scholars, working sessions by the Summer School organizers about the theoretical issues at stake, and workshops where participants will present their ongoing research in small groups to get feedback and critique. Three field visits to institutions and initiatives in Lebanon that are implicated in the forming of biographies and one plenary discussion with practitioners from the field will form an integral part of the Summer School. We believe it is especially important to hold the Summer School in Beirut, to highlight the importance of international scholarly exchange at a time of crisis and to understand the challenges one faces when thinking about biography and the fragility of data.  

Confirmed speakers include Marilyn Booth (University of Oxford), Kirsten Buick (University of New Mexico), Wilhelm Hemecker (University of Vienna), Tarif Khalidi (American University of Beirut), Jean Said Makdisi (writer and scholar), Lina Saneh Majdalani (independent artist), Sherene Seikaly (University of California, Santa Barbara), Daniel Schönpflug (Institute for Advanced Study Berlin) and Salim Tamari (Birzeit University).

Travel to/from Beirut and accommodation will be covered. The program is aimed at researchers in the humanities and social sciences from the region and abroad who will present their ongoing projects in relation to the topic of biography. The researchers’ work should be clearly relevant to the themes of the Summer School and use original source material. The working language will be English. The application should be in English and consist of

  •  a CV
  • a 3 to 5-page outline of the project the applicant is currently working on
  • the names and contact details of two potential referees (no letters of recommendation required)

to be sent by Email in one PDF document no later than 30 November 2021 to movingbiography@orient-institut.org

The Summer School is funded by the Volkswagen Foundation and organised by
Peggy Levitt, Wellesley College/Harvard University
Nadia von Maltzahn, Orient-Institut Beirut (OIB)
Sonja Mejcher-Atassi, American University of Beirut (AUB)
Kirsten Scheid, American University of Beirut (AUB).

It is a partnership between the Orient-Institut Beirut (OIB), the American University in Beirut (AUB) and the Global (De)Centre (GDC).

The Orient-Institut Beirut (OIB)
The Orient-Institut Beirut (OIB) is an academically independent German research institute and part of the Max Weber Foundation. It is mainly funded by the German Federal Ministry of Education and Research. It conducts interdisciplinary research on the Arab world and the region of West Asia and North Africa at large. Its research community comprises long-term research associates from Germany and short-term visiting fellows from all over the world, who represent the major disciplines of the humanities and social sciences, including Islamic and Arab studies, history and anthropology of the Middle East, as well as sociology and political sciences. The OIB aims to foster academic relations across the MENA region and increasingly conducts its research in transregional perspectives. See https://www.orient-institut.org/about/

The American University in Beirut (AUB)
Founded in 1866, the American University of Beirut bases its educational philosophy, standards, and practices on the American liberal arts model of higher education. A teaching-centered research university, AUB has around 800 instructional faculty and a student body of around 8,000 students. The University encourages freedom of thought and expression and seeks to graduate men and women committed to creative and critical thinking, life-long learning, personal integrity, civic responsibility, and leadership. See https://www.aub.edu.lb/AboutUs/Pages/default.aspx

The Global (De)Centre (GDC)
The Global (De)Centre (GDC) is a platform bringing together a growing network of interdisciplinary scholars, creative practitioners and managers, and activists from across the world who are committed to challenging intellectual and cultural inequality. The GDC seeks to deconstruct and reconstruct by looking closely at how the methods and categories we have traditionally used to create knowledge bring to light certain “truths” while obscuring others. We are also committed to charting a constructive way forward—to create new ways of producing and disseminating knowledge and new social interventions—that unsettle longstanding cultural and intellectual hierarchies and bring a wider range of actors and epistemologies into conversation with one another (reconstruction). All four Summer School organizers are members of the GDC. See http://globaldecentre.world/gdc/about-gdc

Related date: 
November 30, 2021
 
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Call for Papers
International and Interdisciplinary Conference
 

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 19th century. According to him, nothing much happened before the beginning of the 20th 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 21st 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 

CFP – Gender and the Sea: Women and Men in Maritime History

Guest editor: dr. Djoeke van Netten

For centuries sailors thought that the presence of women on board would mean bad luck: rough weather, big waves, and other disasters were sure to follow. Through notions like these, women were supposedly excluded from the maritime domain. Therefore, the ship and the sea have predominantly been perceived as a space for men. Yet, the presence of women at sea has increased in the last century. This volume of the Yearbook for Women’s History therefore asks: to what extent was the sea ever a masculine space? This volume examines if and how women were part of seafaring communities, maritime undertakings, and maritime culture.

In the field of maritime history, the role of women and gender have long been understudied. To enlighten our understanding of the influence and presence of women in the maritime past, this volume of the Yearbook for Women’s History will bring together recent research to provide more insight into the contribution of women to the maritime world, including (but not limited to) maritime industries, seafaring communities, naval warfare, (cruise) tourism, art and literature, and imaginary worlds concerning the sea from antiquity to the twenty-first century.

Besides the role of women, this volume also wants to focus on the broader workings of gender and the role of femininity and masculinity in the maritime world. By doing so, this volume touches on different intersections of gender with other political, socio-economic and cultural phenomena in relation to people’s use, fear, and admiration of the sea.

We welcome contributions that employ different scales of analysis from all over the world. We are looking for articles that vary in length (3000-6000 words) and are written in Dutch or English.

Possible topics include:
– Masculinity and femininity at sea and/or in the maritime world
– The sea as a territory for men and/or women
– Gender and maritime metaphors and myths
– The sea, gender religion and/or superstition
– Women and/or men in flags and ship decoration, e.g. figureheads
– Paintings and portraits
– Women (and children) who travelled by ships, e.g. in a colonial context
– Women who worked in maritime industries (ashore)
– Sailor’s wives
– Female authors and publishers of poems and books regarding the sea
– Women who worked on board in a broad range of professions
– Women in the navy
– Female pirates
– Women on board dressed or disguised as men
– Sea monsters, mermaids and mermen
– Sex and sexuality on board
– Forced migration of women and men, e.g. slave trade

We invite authors from academia, museums and cultural and heritage institutions to submit an abstract. Abstracts (200-300 words) written in English or Dutch are to be submitted by 25 November 2021 to jaarboekvrouwengeschiedenis@gmail.com.

Important dates
25 November 2021 Deadline for abstracts
Early December 2021 Information concerning acceptance sent to the writers
1 April 2022 Submission deadline for articles to be submitted to editorial and peer review
End of August Submission deadline for final versions

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Upcoming Events from the Leon Levy Center for Biography, Oct.-Dec. 2021

Tuesday, October 19, 6 pm

Ruth Franklin on Scandalous Biographers & Their Publishers
in conversation with Laura Marsh, Tim Duggan, Katha Pollitt & Ian Buruma

To register, please click here:

https://us02web.zoom.us/meeting/register/tZ0lde6trTkuGdDE_mQm9OKMaCxM4tx…

When Philip Roth authorized Blake Bailey to write his biography, he told Bailey, “I don’t want you to rehabilitate me. Just make me interesting.” Last spring, when the biography was published, critics’ responses suggested Bailey had succeeded: while some questioned whether his portrayals of Roth’s relationships with women were fair-minded, most lauded the book’s comprehensiveness and verve. All that changed within days when allegations surfaced in the media that Bailey had engaged in sexual misconduct. Amid the resulting scandal, Bailey’s publisher, W.W. Norton, announced it would stop selling the book.

This and other recent literary scandals raise difficult questions for authors, publishers, and readers. Do we have an obligation to consider a writer’s personal conduct when making decisions about whether to publish or buy a book—or do we have an obligation not to? (“Read the book, not the author,” an Amazon reviewer pleads on Bailey’s behalf.) What is the appropriate response to allegations such as the ones raised against Bailey? Has the politicization of our cultural climate gone too far—or not far enough?

Former Leon Levy Fellow Ruth Franklin is a book critic and former editor at The New Republic. Her first biography, Shirley Jackson: A Rather Haunted Life (Liveright/W.W. Norton, 2016) won the National Book Critics Circle Award for Biography and was named a New York Times Notable Book of 2016, a Time magazine top nonfiction book of 2016, and a “best book of 2016” by The Boston Globe, the San Francisco Chronicle, NPR, and others. She is the recipient of a Guggenheim Fellowship in biography, a Cullman Fellowship at the New York Public Library, and the Roger Shattuck Prize for Criticism. She lives in Brooklyn, New York.

Laura Marsh is the literary editor of the New Republic, and co-host of the Politics of Everything podcast.

Tim Duggan is an executive editor at Henry Holt & Company, a division of Macmillan. The authors he has edited include Timothy Snyder, David Wallace-Wells, Michiko Kakutani, Karan Mahajan, Daniel Mendelsohn, William Boyd, Annie Dillard, and Uzodinma Iweala. The books he has edited include winners of the Pulitzer Prize, the National Book Critics Circle Award, the Women’s Prize for Fiction, and many finalists for the National Book Award.

Katha Pollitt is a poet, essayist and columnist for The Nation. She has written for many magazines and published numerous books, most recently Pro: Reclaiming Abortion Rights and The Mind-Body Problem (poems).

Ian Buruma, a regular contributor to and former editor of the New York Review of Books, is the author of, among other works: Behind the Mask, God’s Dust, Playing the Game and Murder in Amsterdam: The Death of Theo van Gogh and the Limits of Tolerance. Buruma has won several prizes for his books, including the Los Angeles Times Book Prize and the PEN/Diamonstein-Spielvogel Award for the Art of the Essay for Theater of Cruelty: Art, Film and the Shadows of War.

Friday, October 15, 2:30 pm:
Molly Peacock on Mary Hiester Reid

to register for this event, please click here:
https://www.92y.org/event/flower-diary.aspx

In her new book, Flower Diary, Former Leon Levy Fellow Molly Peacock weaves together elements of biography, memoir and art history to reveal the world of Mary Hiester Reid, a fascinating, complex woman who insisted on her right to live as a married artist, not as a tragic heroine. A foremother of Georgia O’Keefe, who lived in a subtle menage with her painter husband and a talented younger painter at both the Onteora Artists’ Colony in the Catskills and in Toronto, Heister Reid produced over 300 passionate paintings in which the figures of flowers and trees become like a diary of her life.

Monday, October 18, 4 pm
Victoria Phillips on Eleanor Lansing Dulles
Presented by the Center for the Study of Women and Society and Women Writing Women’s Lives, cosponsored by The Leon Levy Center

to register for this event, please click here:
https://www.eventbrite.com/e/women-power-and-intrigue-in-cold-war-berlin…

Victoria Phillips is the author of Martha Graham’s Cold War: The Dance of American Diplomacy (Oxford University Press, 2020), which uncovers the political life of Martha Graham and her particular brand of dance modernism as pro-American propaganda during the global Cold War. A Visiting Fellow in the Department of International History at the London School of Economics, Dr. Phillips is also the director of the Cold War Archival Research Project, History OnLine, and co-founder of the Global Biography Working Group.​

Tuesday, November 2, 6 pm

Debby Applegate on Madam: Polly Adler, Icon of the J​azz Age

in conversation with Gerald Howard

To register for this event, please click here:

https://us02web.zoom.us/meeting/register/tZItc-ioqDIjEtGfQK1VqdjsWceVj1e…

The compulsively readable and sometimes jaw-dropping story of the life of a notorious madam who played hostess to every gangster, politician, writer, sports star and Cafe Society swell worth knowing, and who as much as any single figure helped make the twenties roar—from the Pulitzer Prize-winning author of The Most Famous Man in America.

Simply put: Everybody came to Polly’s. Pearl “Polly” Adler (1900-1962) was a diminutive dynamo whose Manhattan brothels in the Roaring Twenties became places not just for men to have the company of women but were key gathering places where the culturati and celebrity elite mingled with high society and with violent figures of the underworld—and had a good time doing it.

As a Jewish immigrant from eastern Europe, Polly Adler’s life is a classic American story of success and assimilation that starts like a novel by Henry Roth and then turns into a glittering real-life tale straight out of F. Scott Fitzgerald. She declared her ambition to be “the best goddam madam in all America” and succeeded wildly. Debby Applegate uses Polly’s story as the key to unpacking just what made the 1920s the appallingly corrupt yet glamorous and transformational era that it was and how the collision between high and low is the unique ingredient that fuels American culture.

Debby Applegate won the Pulitzer Prize for Biography for her first book, The Most Famous Man in America: The Biography of Henry Ward Beecher, and is the author of Madam: The Biography of Polly Adler, Icon of the Jazz Age. She holds a Ph.D. in American Studies from Yale University and lives in New Haven, Connecticut.

Gerald Howard recently retired from Doubleday, where he edited two books by Debby Applegate: Madam and The Most Famous Man in America, her biography of Henry Ward Beecher. His essays and reviews have appeared in a variety of publications. He is currently at work on a biographical study of the editor and critic Malcolm Cowley.

Tuesday, November 9, 6 pm

Jason L. Riley on Thomas Sowell

in conversation with Robert A. George

To register for this event, please click here:

https://us02web.zoom.us/meeting/register/tZMpfuqtqjosGdXAhWuXlbiZWpOCYvW…

Thomas Sowell is one of the great social theorists of our age. In a career spanning more than a half century, he has written over 30 books, covering topics from economic history and social inequality to political theory, race, and culture. His bold and unsentimental assaults on liberal orthodoxy have endeared him to many admirers but have also enraged fellow intellectuals, the civil-rights establishment, and much of the mainstream media. The result has been a lack of acknowledgment of his scholarship among critics who prioritize political correctness. In the first-ever biography of Sowell, Jason L. Riley gives this iconic thinker his due and responds to the detractors. Maverick showcases Sowell’s most significant writings and traces the life events that shaped his ideas and resulted in a Black orphan from the Jim Crow South becoming one of our foremost public intellectuals.

Jason L. Riley is a senior fellow at the Manhattan Institute and a columnist for the Wall Street Journal, where he has written about politics, economics, education, immigration and social inequality for more than 25 years. He’s also a frequent public speaker and provides commentary for television and radio news outlets. After joining the Journal in 1994, Mr. Riley was named a senior editorial page writer in 2000 and a member of the Editorial Board in 2005. He joined the Manhattan Institute, a public policy think tank focused on urban affairs, in 2015. Mr. Riley is the author of four books: Let Them In: The Case for Open Borders (2008); Please Stop Helping Us: How Liberals Make It Harder for Blacks to Succeed (2014); False Black Power? (2017); and Maverick: A Biography of Thomas Sowell (2021). Born in Buffalo, N.Y., Mr. Riley earned a bachelor’s degree in English from the State University of New York at Buffalo. He lives in suburban New York City.

Robert A. George is a member of the Bloomberg Opinion Editorial Board and columnist. Previously a member of the New York Post and Daily News editorial boards, he has been writing about New York and national issues for more than two decades. He was born in Trinidad and lived in the United Kingdom before moving to the United States. A 1985 graduate of St. John’s College in Annapolis, Maryland, George worked for the Republican National Committee and, following the 1994 midterm elections, Speaker of the House of Representatives Newt Gingrich. George also has been a guest on MSNBC, CNN, and Fox and regularly appears on other political affairs programs. George has written for the conservative National Review, the libertarian Reason and the progressive Huffington Post. He is a cofounder of the Electoral Dysfunction podcast. In addition, George moonlights as a stand-up comic and improviser.

Wednesday, November 10, 5 pm (NB)

Claire Tomalin on HG Wells

in conversation with Edward Mendelson

To register, please click here:​​ https://us02web.zoom.us/meeting/register/tZcrdu2vqT4qHtLdKVoNn8_KT85eKGT…

Here for the first time, Claire Tomalin brings to life the early years of H. G. Wells, and traces his formation as a writer of extraordinary originality and ambition. Born in 1866, the son of a gardener and a housekeeper, Wells faced poverty and ill health from a young age. At 12, he was taken out of school, torment for a child with intellectual aspirations. Determined, Wells won scholarships and worked towards science degrees. Though he failed his final exams, he was soon writing text books, involving himself in politics, and contributing to newspapers. Still suffering from serious illness, as well as multiple physical breakdowns, Wells understood early on the impulse to escape – through books, art, and his imagination – and he began to make his name by writing short stories. But it wasn’t until the publication of his first novel, The Time Machine, in 1895, that Wells attained the great success he had so longed for. His book, which transformed the way readers saw the world, was hailed as an extraordinary accomplishment.

Until the period leading up to the first world war, Wells wrote books at an almost unprecedented speed – about science, mysteries, and prophecies; aliens, planets, and space travel; mermaids, the bottom of the sea, and distant islands. He chronicled social change, and forecasted the future of technology and politics; formed friendships with Winston Churchill, Henry James, and Bernard Shaw, and shaped the minds of the young and old. His most famous works have never been out of print, and his influence is still felt today. In this unforgettable portrait of this complicated man, Tomalin makes clear his early period was crucial in making him into the great writer he became, and that by concentrating on the young Wells, we get the best of his life, and of his work.

Claire Tomalin was born Claire Delavenay in 1933 in London. She was educated at Cambridge University and worked in publishing and journalism. Her first book, a life of Mary Wollstonecraft, came out in 1974, the year in which her husband, the journalist Nicholas Tomalin, was killed, leaving her with four children. She has written biographies of Katherine Mansfield, Jane Austen, Charles Dickens, Thomas Hardy, Samuel Pepys and the actress Mrs Jordan, and most recently a memoir of her own life. She is married to the playwright and novelist Michael Frayn.

Edward Mendelson is the Lionel Trilling Professor in the Humanities at Columbia University. He is the literary executor of the Estate of W. H. Auden and the author or editor of several books about Auden’s work, including Early Auden and Later Auden. He is also the author of The Things That Matter: What Seven Classic Novels Have to Say About the Stages of Life about nineteenth- and twentieth-century novels, and Moral Agents: Eight Twentieth-Century American Writers. His work on Thomas Pynchon includes Pynchon: A Collection of Critical Essays. He is the editor of annotated editions of novels by Thomas Hardy, George Meredith, Arnold Bennett, H. G. Wells, and Anthony Trollope. With Michael Seidel he co-edited Homer to Brecht: The European Epic and Dramatic Traditions.

Thursday, November 11, 6 pm

Julia Sweig on Lady Bird Johnson

in conversation with Debby Applegate

To register, please click here:​​ https://us02web.zoom.us/meeting/register/tZcudeyhqTorGtSnjx4K9jzwW3tbaew…

Perhaps the most underestimated First Lady of the twentieth century, Lady Bird Johnson was also one of the most accomplished and often her husband’s secret weapon. Managing the White House in years of national upheaval, through the civil rights movement and the escalation of the Vietnam War, Lady Bird projected a sense of calm and, following the glamorous and modern Jackie Kennedy, an old-fashioned image of a First Lady. In truth, she was anything but. As the first First Lady to run the East Wing like a professional office, she took on her own policy initiatives, including the most ambitious national environmental effort since Teddy Roosevelt. Occupying the White House during the beginning of the women’s liberation movement, she hosted professional women from all walks of life in the White House, including urban planning and environmental pioneers like Jane Jacobs and Barbara Ward, encouraging women everywhere to pursue their own careers, even if her own style of leadership and official role was to lead by supporting others.

Where no presidential biographer has understood the full impact of Lady Bird Johnson’s work in the White House, Julia Sweig is the first to draw substantially on Lady Bird’s own voice in her White House diaries to place Claudia Alta “Lady Bird” Johnson center stage and to reveal a woman ahead of her time—and an accomplished politician in her own right.

Dr. Julia Sweig is a scholar and author whose extensive short- and long-form work covers Cold War American foreign policy and diplomatic history in the Americas, especially Cuba. As a policy practitioner, she led the Latin American program at the Council on Foreign Relations for 15 years. Her new book, Lady Bird Johnson: Hiding in Plain Sight, a New York Times bestseller, shifts Julia’s focus to American history and politics. Moving into broadcast media, her ABC News podcast, In Plain Sight: Lady Bird Johnson, is an eight-episode, immersive audio documentary.

Debby Applegate won the Pulitzer Prize for Biography for her first book, The Most Famous Man in America: The Biography of Henry Ward Beecher, and is the author of Madam: The Biography of Polly Adler, Icon of the Jazz Age. She holds a Ph.D. in American Studies from Yale University and lives in New Haven, Connecticut.​

Wednesday, December 8, 6 pm

Kati Marton on Angela Merkel

in conversation with Eliza Griswold

To register, please click here:​​ https://us02web.zoom.us/meeting/register/tZUtdeqprD0sGdfUSbj-g3f9LmPxZzu…

Acclaimed biographer Kati Marton set out to pierce the mystery of how Angela Merkel achieved all this. And she found the answer in Merkel’s political genius: in her willingness to talk with adversaries rather than over them, her skill at negotiating without ever compromising on what’s most important to her, her canniness in appointing political rivals to her cabinet and exacting their policies so they have no platform to run against her, the humility to allow others to take credit for things done in tandem, the wisdom to stay out of the papers and off Twitter, and the vision to take advantage of crises to enact bold change.

Famously private, the Angela Merkel who emerges in The Chancellor is a role model for anyone interested in gaining and keeping power while holding onto one’s moral convictions—and for anyone looking to understand how to successfully bridge huge divisions within society. No modern leader has so ably confronted Russian aggression, provided homes to over a million refugees, and calmly unified Europe at a time when other countries are becoming more divided. But Marton also describes Merkel’s many challenges, such as her complicated relationship with President Obama, who she at one point refused to speak to.

Kati Marton is the author of True Believer: Stalin’s Last American Spy; Enemies of the People: My Family’s Journey to America, a National Book Critics Circle Award finalist; The Great Escape: Nine Jews Who Fled Hitler and Changed the World; Hidden Power: Presidential Marriages That Shaped Our History; Wallenberg; The Polk Conspiracy; and A Death in Jerusalem. She is an award-winning former NPR and ABC News correspondent. She was born in Hungary and lives in New York City.​

Eliza Griswold is the author, most recently, of Amity and Prosperity: One Family and the Fracturing of America, a 2018 Times Notable Book and a Times Critics’ Pick, for which she won the Pulitzer Prize for general nonfiction, in 2019. Griswold has been awarded various prizes, including the J. Anthony Lukas Prize, a PEN Translation Prize, and the Rome Prize for her poetry. Her second book of poems, If Men, Then, was published in 2020. She is currently a Distinguished Writer-in-Residence at New York University.​

Deadline for Submissions Nov. 30, 2021

Call for Papers

 

The conference is rescheduled to 14-17 June 2022 and opens the call for papers for NEW submissions.

PLEASE NOTE:

If you already have an accepted abstract in the IABA conference, please follow these steps:

  1. sign in to your Oxford Abstracts account, open your submission and click on “Amend” on the top of the abstract window
  2. reply on the added question (choose if you wish to modify your abstract, leave it as it is or withdraw it). If you wish to modify your abstract, you can make the modifcations immediately or come back and modify later, until 30 November 2021
  3. click “submit” at the bottom of submission form to submit your reply.

Oxford Abstracts: https://app.oxfordabstracts.com/stages/1230/submitter

PLEASE ALSO NOTE:

The conference team is aiming to have the conference as a live event in which participants attend the conference in person. The team is aware of the possible challenges of travel in June 2022 and is willing to discuss remote participation in cases where the travelling is hindered. Unfortunately, we are unable to offer the whole conference as an online event / in a hybrid format.

Call for papers (new submissions)

IABA World Turku 2022
Life-Writing: Imagining the Past, Present and Future
14-17 June 2022
Turku, Finland

SELMA: Centre for the Study of Storytelling, Experientiality and Memory warmly welcomes proposals to the 12th IABA World Conference, which will be held at the University of Turku (Finland), June 14-17, 2022. Through the theme of Life-Writing: Imagining the Past, Present and Future, IABA World 2022 will explore the multiple temporalities shaping the dimensions of life storying and life writing research. Temporality impacts the writing and shaping of life narratives, as well as the ways in which we analyze life narrative documents. The temporal is at the core of how we understand the centuries-long histories of how the self is written about and the genealogy of life writing research. Temporality, however, does not mean only gazing to the past, but also understanding how the present moment and orientation to the future are visible in life writing and/or how history makes its presence known in different moments and spaces. The temporal approach also invites us to explore how the future is imagined in life narratives and to discuss our visions for the future of life writing studies.

This interdisciplinary conference encourages dialogues across boundaries of theory, methodology, genre, place, and time. The Conference invites not only traditional conference papers and panels, but also unconventional presentation formats, creative sessions, as well as artistic performances. We encourage cross-disciplinary and transnational contributions. Proposed works may consider life storying through themes including for example:

  • Narrating and imagining life courses (for example childhood, youth, and aging in life writing)
  • Ethics of storytelling
  • Cultural memory and societal change
  • Non-human life storying / Life writing in posthumanism
  • Autobiography, diary, letters, and life writing in historical research
  • The histories and futures of different genres of life writing
  • Digital history and the future of biographical and prosopographical research
  • Sensory and/or Emotive narratives
  • Life storying in popular culture (music, film, theatre, games)
  • Visual life narratives (photography, graphics, visual arts etc.)
  • Hidden/forgotten lives vs. Public/celebrated lives
  • Interrelations: Family and life writing
  • Life storying migrations, displacements, and belongings
  • Life writing illness and wellness / disability and ability
  • Imagining futures in life narratives
  • Life writing and artistic research
  • The histories and futures of life writing studies across disciplinary boundaries
  • Methods, genres, and definitions in life-writing/autobiographical/life story/ego-document research

Submissions:

We invite both 20 minute individual presentations and 90 minute full panel, roundtable, or workshop sessions. We encourage proposed full sessions to be interdisciplinary and international. Creative sessions and performances can also be proposed and if you are uncertain about how to submit these, please contact the organizers: iabaturku2020@utu.fi

The conference language is English.

All presenters must submit a max. 300 word abstract and a 150 word bio.

Please note: when you propose a full session all the presenters must submit their own abstract to the system and mention that it is part of XXX session.

Abstract submission guidelines:

  • Register to Oxford Abstracts to submit
  • You may amend your submission until the final submission deadline. Please note that uncompleted abstracts will not be reviewed.
  • Remember to complete the abstract and answer all the required questions before the deadline.
  • If you have any questions regarding the submission process, please contact info@aboaservices.fi
  • Oxford Abstracts: https://app.oxfordabstracts.com/stages/1230/submitter

Practicalities and schedule:

Deadline for new proposals 30 November 2021
Notification of acceptance: by 22 December 2021

Deadline for confirming and modifying the submissions that are already in the OA system 30 Nov 2021

Registration (re)opens: 20 December 2021

Early bird fee until: 15 March 2022

Final registration by: 

30 April 2022 – abstract presenters
15 May 2022 – regular participants

The Conference Fees:

Participant type
Early bird fees
Late fees

Participant
270 EUR
320 EUR

Participant (reduced fee, dinner not included)
220 EUR
270 EUR

Student participant
220 EUR
270 EUR

Student participant (reduced fee, dinner not included)
170 EUR
220 EUR

Information about publication plans:

The conference team will publish a special issue of Biography in conjunction with the 2022 IABA Turku. More information on this during the conference.

Conference organizer: SELMA: Centre for the Study of Storytelling, Experientiality and Memory, University of Turku

Conference co-organizers:  Åbo Akademi University, the City of Turku, International Institute for Popular Culture, and the Finnish Literature Society

FAQ:

Individual proposal + panel: traditional academic session with 3–4 participants, 20 min presentation + 10 minutes discussion. In full panel, we propose that the chair is one of the presenters.

Roundtable: 4–6 participants, with short presentations and then questions from the round-table organizers, dialogue between participants and then open discussion from the floor

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What’s New? Topical Work in Transnational Life Writing 
Sixth Annual Symposium organized by Unhinging the National Framework: Platform for the Study of Transnational Life Writing 
 
Friday, 3 December 2021, 9.30 – 17.00
Campus Vrije Universiteit Amsterdam
Atrium, Medical Faculty
Van der Boechorststraat 7 (first floor)
 
Free of charge, but please register before Tuesday, 30 November 2021: b.boter@vu.nl
 
 
Speakers
Conny Braam, former Dutch anti-apartheid activist; writer of biographies, historical novels, travelogues, short stories. Interview about her recent work on Hendrik Witbooi (2016) and Jakob Witbooi (2020).
Interviewer: Dr. Barbara Henkes, Groningen University
 
Hermine Haman, PhD-candidate Vrije Universiteit Amsterdam: “Reconstructing the life and work of Eddy Bruma, Surinamese lawyer, author, politician”
Response: Dr. Lonneke Geerlings, independent researcher
 
Dr. Margriet van der Heijden, physicist, journalist and author of Denken is verrukkelijk: Het leven van Tatiana Afanassjewa en Paul Ehrenfest (2021): “A vibrant household and cosmopolitan oasis in ‘rainy’ Leiden”
Response: Dr. Abel Streefland, Delft University of Technology
 
Prof. dr. Kees Ribbens, NIOD, Institute for War, Holocaust and Genocide Studies: “Selling the Dutch WWII narrative abroad. Mapping the transnational republication of war stories”
Response: Dr. Marijke Huisman, Utrecht University
 
Prof. dr. Ugur Üngör, NIOD, Institute for War, Holocaust and Genocide Studies: “The Syria Oral History Project: A Transnational Perspective”
Response: Dr. Ernestine Hoegen, independent researcher
 
Dr. Suze Zijlstra, independent researcher, author of De Voormoeders: Een verborgen Nederlands-Indische Familiegeschiedenis (2021): “Raising Eurasian children under Dutch rule in eighteenth-century Makassar”
Response: Dr. Eveline Buchheim, NIOD, Institute for War, Holocaust and Genocide Studies
 
 
Research pitch
Four Dutch queens in a time of nation building (1774-1934)
 
Dr. Alpita de Jong, independent researcher, biographer of Wilhelmina van Pruisen (1774-1837)
Dr. Petra van Langen, independent researcher, biographer of Anna Paulowna (1795-1865)
Dr. Leonieke Vermeer, Groningen University, biographer of Sophie van Wurtemberg (1818-1877)
Dr. Monica Soeting, independent researcher, biographer of Emma van Waldeck-Pyrmont (1858-1934)
 
 
Bookstand
Utrecht-based bookshop Savannah Bay

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The Hazel Rowley Literary Fellowship, valued at $20,000, supports Australian writers working on biography projects.

 

Deadline for Applications, Nov. 16, 2021

 

The Fellowship is open to Australian citizens and permanent residents. Up to $20,000 is awarded for travel and research to further a writing proposal or work in progress. It may not be used to pay for a research assistant or to subsidise a publication.

The focus is on biography, but extends to an aspect of cultural or social history compatible with Hazel’s interest areas. Preference is given to projects that are about ‘risk-taking’ and expanding horizons, promote discussion of ideas, and make a significant contribution to public intellectual life.

Applications open each year on 1 October and close on 16 November, the shortlist is announced in the following January and the Fellowship is awarded in March. For more information and to make an application, visit Writers Victoria.

Previous applicants are eligible to apply again. If submitting a second application for the same project, any progress should be reflected in the proposal. The judges will take into account any progress that has been made.

Click here for the Fellowship Terms and Conditions.

COVID-19 changes

The Hazel Rowley Fellowship recognises the impact of the COVID-19 pandemic on writers’ ability to undertake travel and research. Accordingly, we have extended the time frames for the 2022 Fellowship to 18 months and priority will be given to those projects that do not involve international travel.

The Fellowship was established by the family and friends of Hazel Rowley, one of the world’s leading biographers, to commemorate her life and writing legacy following her death in 2011. Hazel left behind a legacy of great writing, a passion for words and for exploring the lives of exceptional men and women.

 

Following her award-winning biography of the Australian novelist Christina Stead in 1993 Hazel went on to establish an international career with a biography of the African-American novelist Richard Wright (2001), an examination of the relationship of the French philosophers Simone de Beauvoir and Jean-Paul Sartre, Tête-à-Tête (2005) and her last book, an insight into the marriage of the Roosevelts, Franklin and Eleanor: An Extraordinary Marriage (2010).
 
Although most recognised for these four outstanding biographies, Hazel also wrote and published many essays, articles and book reviews. She was well known as a lively and engaging public speaker, appearing at numerous book festivals and literary events around the world.
 
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  • CFP: Popular Culture Association Annual Conference-Biographies Area (11/15/2021; 4/13-16/2022) Seattle, USA
Biography, Film and Film History, Journalism and Media Studies, Music and Music History, Popular Culture Studies

The Popular Culture Association will be holding its annual conference in Seattle, Washington, April 13-16, 2022.

The Biographies Area is soliciting papers that examine the connections between biography and popular culture. Papers and full panel presentations regarding any aspect of popular culture and biography are encouraged. Potential topics might include:

– Biography and entertainment, art, music, theater
– Biography and film
– Biography and criminal justice
– Television programs about biography
– Biography and urban legends
– Biography and folklore
– Biography and literature
– Scholarly Biography
– Controversial Biography
– Psychoanalysis and Biography
– Historical Biography
– Political Biography
– Autobiography

Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session.  Presentations should not exceed 20 minutes.

On your submission, please include title of paper, abstract, and contact information.

Submission Deadline: 11/15/21

Please go to this link to submit your paper:

 https://pcaaca.org/conference/submitting-paper-proposal-pca-conference 

Contact Info: 

Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries 
4505 S. Maryland Pkway
Las Vegas, NV 89154 

Contact Email: 
 
FULL PAPERS: 15 February 2022
ABSTRACTS: 15 November 2021

 

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Special Issue: Life Writing & Persona

2022 Vol. 8 Issue 1 Persona Studies

Call For Papers:  

Persona Studies is seeking papers and creative projects that investigate the ways in which personas are produced, managed, used, and disseminated in the contexts of life writing. We take “life writing” here in the very broadest of senses to include written texts (published and unpublished; written, print and online) but also other forms and genres of representation/self-(re)presentation including film, art, theatre, publicity, social media and more.
In this issue we are interested in life writing as a site of persona production, persona performance, and persona dissemination. Whether vlogs and Facebook posts or celebrity memoirs, profiles or biopics, life writing texts are doing persona work – often quite intentionally and strategically in the cases of public figures and public texts. Indeed, life writing seems both an obvious and natural home for studying persona and there are productive sites of overlap in how these fields theorize performativity, authenticity, strategy, agency, and reputation.
But the study of life writing as a site of persona work also has the opportunity to stretch both fields in new directions: private life writing texts, for example, offer a challenge to the supposition in Persona Studies that personas are mechanisms for being public. Persona Studies in turn complicates distinctions between public and private mechanisms of self-(re)presentation that have historically structured Life Writing Studies. Theoretically, both fields have much to offer each other: how might theoretical work on the slash in auto/biography, truth-telling, and auto/biographical pacts be brought to bear on persona performances? How might life writing benefit from thinking about playability, mediatization, and role-playing?
This special issue on life writing and persona welcomes abstracts and papers related to these and many other issues including (but certainly not limited to):
·       Social media and other forms of presentational media as sites of persona work and life writing
·       Persona and biographical representational media forms: films, profiles, biographies, etc.
·       Self-presentation in representational media forms
·       Persona in public and private life writing texts
·       Referentiality and truth-telling in persona work
·       Issues of agency, performativity, and reputation in life writing
·       Strategic productions of persona in life writing
·       Personas in the publicity and marketing of life writing texts

 

Abstracts and Expressions of Interest (300-500 words) should be submitted by 15 November 2021 to katja.lee@wa.edu.au with the subject heading “Life Writing and Persona.” Full papers may also be submitted at this time.
Notification of acceptance will follow by 1 December 2021. Please note that final acceptance of the full paper and project is contingent upon the peer review process.
Full papers (6,000-8,000 words) and creative projects will be due 15 February 2022. 

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Call for Papers 

EXPERIMENTAL LIFEWRITING  

22-23 April 2022, Wrocław, Poland
University of Wrocław and École Normale Supérieure de Lyon 

Conference website: http://vanessaguignery.fr/ 

The capacious category of lifewriting accommodates conventional biography and autobiography – with their insistence on linearity, coherence and a stable sense of the self – as well as auto/biographical works that embrace digital media, mix genres and break down neat life narratives into fragments. In order to give a name to the disruptive strand of the auto/biographical tradition, Irene Kacandes has proposed the term “experimental lifewriting,” which encompasses texts employing an unconventional formal device “for the purposes of fact or of enhancing, reinforcing or drawing attention to the referential level.” They are driven by the desire “to convey some aspect of the ‘realness’ of certain life experiences that could not be conveyed as well without pushing at the form itself.” Kacandes distinguishes between experiments regarding time, medium, the relation between the author, subject and reader, and the work’s focus. Julia Novak goes on to define “experiments in lifewriting” as works that “push at the boundaries of existing forms to mould them into something that better suits the writer’s efforts of representation.” In her co-edited volume (with Lucia Boldrini) Experiments in LifeWriting (2017), she suggests an alternative classification, based on experimentation with the auto/biographical subject, generic composites, style, structure, intertextuality and metalepsis, names and pronouns, and media. 1975 – the year of the publication of Roland Barthes by Roland Barthes and Joe Brainard’s I Remember – can be viewed as the onset of that overtly experimental streak in auto/biographical writing, which has recently yielded such diverse works as David Clark’s 88 Constellations for Wittgenstein (2008), Joan Wickersham’s The Suicide Index (2008), Anne Carson’s NOX (2010), Maggie Nelson’s The Argonauts (2015), Una’s Becoming Unbecoming (2015) and Carmen Maria Machado’s In the Dream House (2019). However, as Max Saunders has argued, that tradition can be traced back to the Modernist practice of autobiografiction and claim such literary classics as Virginia Woolf’s Orlando (1928) and Gertrude Stein’s The Autobiography of Alice B. Toklas (1933). 

Our conference aims to theorize, historicize, and exemplify the still very fresh critical notion of experimental lifewriting. We have a particular interest in contemporary Anglophone writing and welcome comparative papers about works in English and other languages. Possible issues and forms to explore in conference papers include (but are not limited to):  

  • fragmentary lifewriting
  • genre-defying graphic memoirs, 
  • multimodal, multimedia and collage-like lifewriting
  • digital/online biography, 
  • conceptual (life-)writing
  • postmodern lifewriting and avant-garde autobiography, 
  • anti-biography, 
  • fake auto/biography, 
  • the self as archive/database, 
  • digital identities and the quantified self, 
  • auto/biography and social media, 
  • formal experimentation in the context of trauma, grief and/or radical vulnerability, 
  • queer lifewriting
  • autobiography in the second or third person, 
  • generic hybridity in lifewriting
  • unconventional relations between the author, narrator, subject and reader, 
  • playing with frames/framing, 
  • pedagogical implications of experimental lifewriting

Proposals (ca. 300 words), together with a biographical note, should be sent to Vanessa Guignery (vanessa.guignery@ens-lyon.fr) and Wojciech Drąg (moontauk@gmail.com) by 15 November 2021. 

Keynote speakers: Irene Kacandes, Teresa Bruś and David Clark.

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Call for Papers

Disability at the Intersection of History, Culture, Religion, Gender, and Health

Date: March 3-4, 2022

Place: Marquette University, Milwaukee, WI

 Submissions Due Oct. 31, 2021

Disability is a living human experience. It is not merely a medical or biological phenomenon, and it is not only the subject of sciences. Perspectives on disability have evolved historically, theologically, and medically. Academics and disability activists have increasingly come to view disability as more than an individual medical diagnosis, often highlighting it as an issue of social justice and equity. As such, there is a need for further collaboration between the sciences and the humanities to deepen our understanding of disability in all of its complexities. Using interdisciplinary approaches to examine disability as fluid and dynamic condition can help us understand it as an identity and as social construct.

This conference aims to encourage open discussion and better understanding as well as to breakdown stigma associated with disabilities. To accomplish that, the conference aims to generate inclusive dialogues and interdisciplinary interactions between academia, community organizers, social and legal activists, health care service/providers, and religious leaders. The conference will serve as a platform to foster collaboration between various groups engaged in understanding and improving disability conditions.

We invite papers that offer critical analysis of how disabilities have been viewed in historical terms as medical conditions, social/cultural constructs, and as the norms that produce and reproduce perceptions of normalcy or normative bodies. We particularly welcome papers dealing with normalcy narratives, discourse, and issues of stigmas evolving around disabilities in marginalized communities with an emphasis on the intersection of disability (as an identity and minority) with gender, culture, and religion.

Key Topics:

Core conference themes include, but are not limited to:

Disability and identity

Social and cultural construction of disabilities

Religious and cultural perspectives on disability

Bodies and construction of normalcy

Gendered disabilities and feminist approaches to disability

Language terminology and conceptualization of impairment and disability in literary, cultural, and artistic production

Disabilities as social and legal rights issue

Community activism, policy making, and service

Lived experiences, life-writing and narratives of people with disability

This hybrid conference will host both in-person and virtual sessions. We invite proposals of individual papers, panels, workshops, roundtables, and thematic conversation. Graduate student submissions are encouraged. Panels will be composed of 3- 4 presenters (time must be divided equally among panel presenters allowing 10-15 minutes for questions). Roundtable and thematic conversation may consist of more than three participants. The time for all panel types is one hour.

Keynote Speaker: Lennard Davis, Distinguished Professor, Disability and Human Development, The University of Illinois Chicago

Key Dates:

Abstracts up to 300 words in Word format must be submitted through the electronic system by October 31, 2021.

You will be notified of the decision by December 15, 2021.

Publication

Conference proceedings and selected papers will be published in a special issue of the Journal of Gender, Ethnic, and Cross-Cultural Studies

Preliminary organizing committee members:

Enaya Othman

Tara Baillargeon

Behnam Ghasemzadeh

Michelle Medeiros

Giordana Poggioli-Kaftan

Dana Fritz

Gülnur Demirci

Stefan Reutter

Submit your abstract at https://epublications.marquette.edu/icdi/2022/

For any inquiries, please contact

Dr. Enaya Othman at enaya.othman@marquette.edu

Gülnur Demirci at ggulnurdemirci@gmail.com

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Announcement: Call-for-Papers:
This call has been slightly revised.
This call is for abstract submissions for an international edited collection now entitled Taking Control: the use of critical and creative digital tools in the now and beyond, in  screen, literature, graphic texts, and visual culture narratives.
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.

Due to the coronavirus pandemic, the deadline date for abstracts has been extended:
Abstracts now due: 19  October 2021.
The aim of Taking Control is to highlight the human-AI blend in creativity as a vibrant multidisciplinary thematic area where we urgently need better understanding and clear parameters to judge success and failure.
Taking Control seeks to examine the current uses, and the potential for expansion and extension, and possible future uses of AI in relation to screen and literature, including e-books and electronic literature genres and graphic texts, and visual culture narratives; as well as the little explored angle of cultural criticism and cultural meaning in those human-AI assisted productions.
Suggestions for potential contributions to consider, but not limited to, are, how the use of AI in these productions may:

  • connect to the viewer’s/reader’s world to foster a new reality and encourage learning;
  • sharpen, and ask for answers to, big questions that intersect with our society and environment and worlds;
  • encourage further research that opens new possibilities as well as an open-mindedness in the quest for a deeper understanding;
  • create platforms that cross cultures and borders, to become inter- and multi- disciplinary;
  • provide immediate access to resources that we can trust to provide accurate information, and that is enriching and productive;
  • bring to the table a common “language” that can create a shared experience, with the potential to cross borders into other disciplines, and sustain our cultural heritage;
  • discuss how the human-AI blend can be used to highlight or determine the use of cultural criticism and/or cultural meaning in the relevant productions;
  • discuss the potential of the human-AI blend for extension and expansion, and possible future uses in the stated genres.

Technology can be misused, yet in the human-AI blend humans have the power to intervene. In these interactions, there is the potential to take things to a different level. The power of the human, the ability to think differently, and critically and creatively, together with the technical abilities of the immediate computer for holding, sorting, and providing masses of big data, hold out the possibility of expanded human creativity. When you choose and use information fairly, it makes the outcome compelling and accurate. AI affects what people look for; what they enter, and how they respond, and what that reveals and changes about the people, can affect our societies and cultures. Wherever you add questions about our environment, for instance, AI it sharpens it so we can relate to it.  Thus, how it relates to the human experience, to our world, and human society, much depends on how we manage it, where we take it and what we do with it.

Questions remain: In what ways can human-AI assisted screen, literature, graphic texts  and visual culture narratives expand, grow, and bring deeper understanding of ourselves, our worlds, our environment, our culture and society, and bring about change?  How do these works address cultural criticism, and social and cultural meanings, and add to our understanding of our cultures and society? What is the potential for exploring human experience and that connect to our world, and the possible import of these productions for the future? Admittedly, there are differing views and opinions on the future of AI. Some think an Artificial General Intelligence  can exist and others think not. What does all this mean for our future society and culture?  
At this initial stage, in lieu of “chapters,” this proposed work, Taking Control, calls for extended abstracts for consideration for inclusion in the book.
Submission instructions:

  1. 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.)

  1. 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.
  2. To be considered, abstracts must be written in English, and submitted as a Word document.
  3. When writing your abstract use Times New Roman point 12,and 1.15 spacing.
  4. 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.
  5. Use the Chicago Manual of Style 16th Edition.
  6. Use English spelling not American English spelling.
  7. Use endnotes, not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible.
  8. 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.
10. Please send your abstract and your documents as attachments to an email. At the same time as
submitting your extended abstract, in separate documents please send the following:

  • Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone, and 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.

Papers should be forwarded to:
Jo Parnell Jo.Parnell@newcastle.edu.au  alternatively annette.parnell@newcastle.edu.au  or joandbobparnell@bigpond.com 
Dr Jo Parnell. | Honorary Associate Lecturer
School of Humanities and Social Science
College of Human and Social Futures
M: +61 (0)421 993 253
E: Jo.Parnell@newcastle.edu.au
W: newcastle.edu.au/profile/Jo-Parnell 
International author and editor  
Latest books:
Representation of the Mother-in-Law in literature, film, drama, and television (Lexington Books USA, 2018).
New and Experimental Approaches to Writing Lives (Macmillan International Higher Education, Red Globe Press, 2019).
The Bride in the Cultural Imagination: Screen, Stage, and Literary Productions (Lexington Books USA, 2020).
Taking Control: the critical and creative uses of digital tools in the now, the foreseeable future, and beyond, in screen, literature, and the visual arts. culture (Palgrave Macmillan, forthcoming 2021/22).
Writing Australian History on Screen: cultural, sociological, and historical depths in television and film period dramas “down under,” with Julie Anne Taddeo (Lexington Books, USA, forthcoming 2021/22).
Cultural Representations of the Second Wife: Literature, Stage, and Screen (Lexington Books, USA, forthcoming 2021/22).
The University of Newcastle
University Drive, Callaghan NSW 2308 Australia

 

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Journal Articles for Special Issue: “Teaching Girlhood Studies

 
deadline for submissions: 
October 15, 2021
 
Girlhood Studies: An Interdisciplinary Journal
 
 

Girlhood Studies, as an academic discipline, is still growing. Since some educational institutions do include girls’ studies as part of a special curriculum, an academic program, a certificate course, a minor, or as part of Women’s Studies or Gender Studies, Girlhood Studies does have a presence in academia although at this stage rarely in an autonomous department. This interest in the pedagogies and practices of teaching Girlhood Studies is an important aspect of its growth as a field of study at university level, at school, and outside of formal academic settings.

Depending on these formal and informal educational contexts, the discussion of approaches to teaching girlhood can range from theoretical ones to outlining hands-on projects that invite and promote the discussion of girlhood so, for this special issue, we invite articles that address the teaching of Girlhood Studies in various contexts. The key questions that inform this special issue build on those that informed the creation of this journal: “What is girlhood studies”? How do we do girlhood studies? What is the relationship between women’s studies and girlhood studies? What is the relationship between girlhood studies and boyhood and masculinity studies?” (Mitchell et al. 2008: ix). 

Contributors might like to explore the following questions:

• Why teach Girlhood Studies?

• Are there girlhood pedagogies?

• Are girlhood pedagogies also feminist pedagogies?

• Are we working with girls as equal participants in teaching and learning Girlhood Studies?

• What is the status of teaching Girlhood Studies and in which new directions should it go?

• How has the landscape of teaching Girlhood Studies changed?

• Who teaches Girlhood Studies?

• Who are students in Girlhood Studies courses? Whose voices are highlighted or whose are silenced? 

 

Articles may address teaching girlhood studies from various perspectives and academic disciplines including historical studies, literature, cultural studies, media studies, the study of juvenilia art, material and virtual culture (for example toys and games), girls and science, geographies of girlhood, education, and girl methodologies and methods, among others. Articles may present case studies or empirical research, may include or focus on artistic representations, or may be about theoretical or conceptual frameworks related to girlhood pedagogies. Teacher perspectives as well those of students are welcome. In addition to conventional articles, we will also consider creative contributions and material produced by (former or current) students of Girlhood Studies courses. We are especially interested in contributions on teaching Girlhood Studies by and about Black, Indigenous, and People of Color (BIPOC). 

Abstracts are due by 15 October 2021 and should be sent to teachinggirlhoodstudies@gmail.com

Full manuscripts are due by 15 March 2022. Authors should provide a cover page giving brief biographical details (up to 100 words), institutional affiliation(s) and full contact information, including an email address.

For more information, please see https://journals.berghahnbooks.com/_uploads/ghs/GHS_cfp_TeachingGirlhood…

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“Ecce mulier”: Female celebrity culture and the visual arts around 1900

Call for papers Image and Narrative 24.2 (2023)

Guest edited by Carlijn Cober, dr. Floris Meens and dr. Tom Sintobin, this issue will focus on representations and self-representations of female key figures during the fin de siècle of the 19th century. By combining visual, narrative and historiographical analyses, we aim to gain insight into how female artists, authors, actors, musicians, salonnières, scholars and muses both functioned within the cultural field and have been ‘imagined’ or imagined themselves during their lifetime and beyond.

Research questions can concern either literal or figurative interpretations of terms relating to both ‘image’ and ‘narrative’. In the case of literal visual imaginations, possible questions would be: How are female figures depicted in visual media, such as photographs, films, paintings, sketches, or cartoons? Against which background, in what posture, in whose company? Does that depiction follow, establish or transgress norms? How – through what media and in which circles – were these images established, distributed or consumed, both synchronically and diachronically? What was the relationship between various forms of representations and the women’s fame? Who was responsible for these depictions: did women have agency and to what extent can they be seen as a coproduction?

In the case of figural forms of imagination, questions could be: How did famous or influential women construct or fashion their own image? How are they visible in literary texts, poetry, diary entries, biographies, letter exchanges, plays, operas, operettas and songs? What role did they play within the cultural imagination? How have they been imagined, within which framework, in what role or position, in relation to whom? How have either their image or narrative evolved over time, during their life or ours? How can we render them visible or highlight different perspectives of them?

We are looking for articles with an average length of 5000 words (including notes and bibliography) that together address a wide range of methods and approaches related to this topic, and original interpretations of both ‘image’ and ‘narrative’. Those interested to contribute can submit an abstract of maximum 250 words and a cv to eccemulier.cfp@gmail.com by October 1st, 2021. The deadline for the first drafts will be March 1st, 2022 the final deadline July 1st, 2022. 

Contact Email:  

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Deadline for Submissions 9/30/2021

2022 Magarey Medal for Biography Applications Open

The Magarey Medal for Biography is awarded biennially to the female person who has published the work judged to be the best biographical writing on an Australian subject. The 2022 Medal will be awarded for a book published in 2020 or 2021. For the 2022 round, the Magarey Medal will be administered by the Association for the Study of Australian Literature (ASAL).

Intentions to submit an application are due 30 September 2021 and applications close 31 January 2022.

Details here: https://theaha.org.au/awards-and-prizes/magarey-medal-for-biography/

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New Developments in 20th- and 21st-century Life Writing

 

(9/30/2021; 3/10-13/2022) Baltimore, USA

contact email: 
 

New Developments in 20th- and 21st-century Life Writing (Panel for NEMLA conference, March 10-13, 2022, Baltimore MD)

Forms and approaches to self-representation continue to diversify as the landscape of possible media, tools, subjects, and cultural accounts is growing. Historically, life writing genres such as biography, autobiography, memoir, correspondence and ancestral documentation have been used as archival, political and sociological resources. However, the value and use of life writing extends far beyond these textual forms and practical uses. In an increasingly mobile and interconnected world, issues of subjectivity, identity, belonging, self-constitution and dialog become more pressing, particularly in response to social and cultural upheaval. Examples include Walter Kempowski’s so-called collective diary Echolot or Katja Petrowskaja’s autofictional family history Vielleicht Esther.

The panel looks at voices and perspectives that have gained new traction in recent decades. In particular, we invite papers that consider genre developments within Life Writing with an eye towards methods, forms and interpretations that broaden the range of voices and subject positions we explore. While significant research regarding Life Writing has been undertaken within the field of German Studies in recent years, we also welcome proposals from other disciplines and fields.

Please submit a 250-300 word proposal through the NeMLA submission portal by September 30, 2021: https://www.cfplist.com/nemla/Home/S/19545
If you have any questions regarding the panel, please contact the organizers:
Friederike Eigler (eiglerf@georgetown.edu) and Samantha Grayck (scg86@georgetown.edu).

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Ethics of Witnessing

NeMLA (9/30/2021 3/10-13/2022 Baltimore USA
 
contact email: 
 

In the aftermath of mass atrocities, where the humanity is both the subject and object of a destructive process, the historical truth is almost impossible to access. On the one hand, perpetrators have tendency to deny their responsibility in committing atrocities, and on the other hand, victims’ experience remains unspeakable due to the impact of trauma. After the Holocaust, researchers from different disciplines focused on the possibility of transmission of the traumatic events related to the atrocities, as well as the obstacles that are faced during this process. One of the interesting areas of research in this regard is the victim-perpetrator encounter and the dynamics of witnessing in relation to the historical truth. This panel investigates the dynamics of witnessing and its representations through the artistic production.

Deadline for submissions–9/30/2021.

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Rock Music Icons

 
deadline for submissions: 
September 30, 2021
 
full name / name of organization: 
For the Record
 
contact email: 
 

Well-developed essays on major rock music artists are sought for publication in the For the Record book series. These essays should extend beyond biography into some aspects of the artist’s creative work. Of particular interest are essays on rock performers who have made an impact since 1980 and essays that discuss the artist’s music, iconic status, and cultural significance. Of course, essays on Elton John, David Bowie, Janis Joplin, Jimi Hendrix, and other major figures who made their mark before 1980 are also welcome. 

Proposals of about 200-300 words may be sent from July through September 30, 2021 and should indicate the direction of your essay. Essay proposals and inquiries may be sent to Dr. Robert Mc Parland at bmcparland@bobmcparland.com or mcparlandr@felician.edu

Complete essays of 5,000-6,500 words will be due by the end of 2021. 

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Legacies of Trauma: The Tragedy of Before and After
deadline for submissions: 
September 30, 2021

Language, Literature, and Interdisciplinary Studies
contact email: 
llids.journal@gmail.com

CALL FOR PAPERS For a Special issue Of Language, Literature, and Interdisciplinary Studies

Legacies of Trauma: The Tragedy of Before and After

In the last couple of decades, life-writing has come to be seen as a singular site of reclaiming unclaimed experiences of trauma. Despite the apparent crisis of representation, a wide array of strategies and innovations are employed in life-writings towards the cause of conveying trauma. Life-writing in its various avatars dealing with trauma foreground the insight that trauma is not only a “drama of past event, but also, even primarily, a drama of survival” (Rubin). For the autobiographical subject, modalities of articulation and testimony present grounds for recovery of selfhood, leading to a possibility of re-engagement with the lifeworld. In putting together the fragments of memory, life-writing potentially counters trauma through the enactment of witnessing one’s own trauma in telling and its transmissibility to the reader, through whom the questions of secondary victimhood come to be seen as another determinant in the complex signification towards the experience of trauma. However, language miserably gives way to its own splintering before the overwhelming traumatic experience and fails to remain a witness thereof. Nevertheless, across different genres of expression, including digital and hybrid ones, dilatation of conventional idiom of expression with a view to register creatively what resists or slips away is crucial.
Subjects living as survivors of life-threatening events take to different means of expression. The complexity of textualizing trauma is such that the narrative oftentimes betrays a great deal about how the subject re-constitutes itself to come to terms with the experience, thereby underlining themes of truth telling and reconciliation in the face of trauma. However, one of the complex threads of survivor’s narrative is the interpellation of memory in the act of composing a narrative. It also brings to fore an aporia inherent in the very enterprise of representing trauma that is typically taken as unrepresentable. Delayed response to trauma, fragmented memory, complexity of experience, denial, and fear of persecution dislocate the subject from its history, culture, and context.
This call for paper stems out of the realization that there is much to be reckoned with in the experience and imprint of traumatic experiences in life, which seem to be hinged to the tenor of (our) times. Representations of trauma abound in photography, cinema, paintings, memoirs, testimonials, etc., giving a spectrum of positions to engage and tease interdisciplinary lines of inquiry.
Scholars are invited to explore the area by engaging and going beyond the following thematics:

  • Partition Literature/Literature of Crisis and Trauma
  • Restorative Function of Art
  • Tropes/Metaphors and Articulation of Trauma
  • Modernity and Trauma
  • Memory Studies and Trauma
  • Disability Studies and Trauma
  • Trauma in Pre-modern Life-writing
  • Life-writing and Childhood Trauma
  • Construction of the Childhood/Figure of Child in the Survivor’s Narrative
  • Intergenerational/Transgenerational Trauma
  • Historical Trauma and Methods of Recuperation
  • Testimonial Projects and Legal Framework
  • Limits of Representation in Autobiography
  • PTSD in Non-Western Narratives
  • Construction of Trauma and Politics of Trauma
  • Pathography and Limits of Autobiography
  • Trauma and Scriptotherapy
  • Trauma and Public Memory
  • Pandemic and Trauma
  • Exile and Trauma
  • Refugee Crisis and Trauma
  • Representation of Trauma through Photographs

Submissions:
Only complete papers will be considered for publication. The papers need to be submitted according to the guidelines of the MLA 8th edition. You are welcome to submit full length papers (3,500–10,000 words) along with a 150 words abstract and list of keywords. Please read the submission guidelines before making the submission – https://ellids.com/author-guidelines/submission-guidelines/. Please feel free to email any queries to – editors@ellids.com.
Submission deadline: 30th September, 2021
Website – https://ellids.com/
Facebook – https://www.facebook.com/journal.llids/

 
 
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NEMLA 2022: Family Inheritance in Original Creative Work (9/30/2021; 3/10-13/2022) Baltimore, USA

Writers inherit much from their families: stories, material wealth, trauma, discipline, genetic traits, knowledge, and other legacies. What do we do with this heritage and how do we make it our own in our original creative productions? Will the legacy become a heirloom seed that produces exquisite blooms or a hereditary disorder that wilts inspiration on the vine? Bestselling memoirists Mary Karr, Sherman Alexie, Ocean Vuong, and many others have famously shaped family trauma into achingly poignant works of art, begging us to ask if such pain is a necessary ingredient of their success. On the other hand, poets such as Robert Hayden and Ruth Stone have eulogized family members through art, thereby immortalizing the positive aspects loved ones have left behind.

This panel will explore these positive and negative inheritances through readings of creative works followed by a panel discussion. Writers are invited to interpret the theme of inheritance broadly, to read a 10 to 15-minute excerpt of the poetry fiction, or creative non-fiction (including memoir) that showcases their inheritance, and participate in a discussion of how writers make use of what their families leave them. Please submit a 200-250-word abstract of your presentation, including how it applies to the theme of inheritance, and a two-page excerpt of the creative work you will read.  Submit to https://www.cfplist.com/ by September 30, 2021.

Contact Info: 

Dr. Betina Entzminger

English Department

Bloomsburg University

bentzmin@bloomu.edu

Contact Email: 
 

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#MeToo and Contemporary Literary Studies (NeMLA panel)

deadline for submissions: 
September 30, 2021 
Mary K. Holland and Heather Hewett, SUNY New Paltz
contact email: 
 

#MeToo and Contemporary Literary Studies: panel accepted for the 2022 NeMLA conference (March 10-13, 2022; Baltimore, MD)

While feminist literary scholars have been examining the relationship between literature and rape for decades, the #MeToo movement has reenergized this work. Building on recent scholarship (Serisier 2018; Field 2020; Holland and Hewett 2021), and along with forthcoming work (Gilmore; Hobbs), this panel considers the range of critical frameworks with which literary critics are addressing gender, identity, violence, and power. Reassessing these aspects of experience and representation in light of this movement calls for a rethinking of the critical practices we use to produce scholarship and theory about literature and culture, and requires rereadings of literature and authors whose participation in or critique of rape culture has yet to be made visible, or whose work can be revisited to shed light on the current moment.

The panel is particularly interested in transnational, transcultural, and intersectional approaches that attend to genre and genre-blurring; publication and reception; rape culture outside and inside academia; the interconnections between written literature and social media; narratives about sexual violence, racism, and colonialism authored by BIPOC authors; queer violence and survivorship; and the recent outpouring of published literature, particularly memoir and lifewriting, about sexual violence, testimony, trauma, and healing. Most broadly, this panel will ask how current theoretical and critical approaches are positioned in the long history of literary activism against sexual violence, and what role literature and literary studies can play in the project of ending sexual violence and rape culture.

More specific topics include (but are not limited to) the following:

  • Rethinking critical practices in light of #MeToo.
    • Ways in which intersectional analyses of #MeToo narratives might provide another context for interpreting creative work, particularly texts that explore bodily violence, trauma, and survivorship;
    • How #MeToo, and social media more broadly, interacts with traditionally published life narratives and changes the possibilities of creating, sharing, and using personal narratives;
    • Ways in which sexual politics in the university or publishing world inhibit critical work that unmasks misogyny and sexual abuse;
    • Ways in which critics might silence themselves when writing about misogynistic texts or texts that support rape culture;
    • Implications of authorial accusations of sexual abuse for critical readings of authors’ work (eg, Junot Diaz, Sherman Alexie).
    • Reconsiderations of canonical authors whose sexual politics have so far escaped scrutiny (eg, Coetzee, Updike; this list may include female authors);
    • Readings of lesser known texts that critique rape culture in effective ways;
    • How young adult literature treats sexual assault and rape culture (Erik Cleveland and Sybil Durand published on this topic in 2014);
    • How sexual assault is normalized even in otherwise female-empowering literature, film, or TV;
    • How depictions of sexual assault and rape culture in contemporary texts differ from those in earlier texts, because of changes in the law, cultural changes, political movements, etc;
    • Texts that draw parallels with the current political and social climate of backlash against women’s rights.Feminist rereadings of authors or specific texts whose misogyny, rape culture, and/or scenes of sexual harassment, abuse, or rape have yet to be identified and critiqued by critics.

Please submit your abstract using the NeMLA conference portal: https://www.cfplist.com/nemla/Home/S/19291

NeMLA 2022 – Representing Care and Being Together in Refugee Writing (9/30/2021; 3/10-13/2022) NEMLA, Baltimore USA

 

Please consider submitting an abstract for the following panel at the 2022 Northeast Modern Language Association Conference to be held from March 10-13, 2022, in Baltimore, MD. Abstracts are accepted from June 15 to September 30, 2021.

Submit abstracts at the NeMLA portal: https://www.cfplist.com/nemla/Home/login

This panel invites papers that attend to new perspectives on the representation of refugee histories and experiences in literature. The figure of the refugee has been the subject of much political and philosophical debate, ranging from discussions about the “bare life” of the refugee (Agamben 1995) to their being subjects of humanitarian violence (Nyers 2006). More recent investigations in literary studies have focused on the misrepresentation or absence of refugee histories in post/colonialism, diaspora studies and modernity such as with David Farrier’s Postcolonial Asylum: Seeking Sanctuary Before the Law, Lyndsey Stoneridge’s Placeless People: Writing, Refugees and Rights and Daniel Coleman’s et al. Countering DisplacementThe Creativity and Resilience of Indigenous and Refugee-ed Peoples. More can be said, however, about the representation of refugee experiences and histories of care, desire, and aspiration in literature. What experiences other than violence and trauma remain to be elucidated in refugee writing? How is refugee writing envisioning alternative ways of caring and being together?

Paper topics include but are not limited to: 

  • Representations of refugees in graphic novels and memoirs
  • Refugee memoirs and testimonials 
  • Refugees in film and television 
  • Collaborative writing projects 
  • Experiences and histories of refuge or asylum in opera and musical theatre

If you have any questions, please contact Jonathan Nash (Universisty of Victoria) at jnash33@uvic.ca

 
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CFP: Biographies as “Probes” of Transformation? ‘Agency’ of Nazi Perpetrators after 1945 in the Federal Republic, the GDR and Austria 

 

 

Workshop at the University of Vienna, 03-04 March 2022

The workshop focuses on political biographies of perpetrators of National Socialism after 1945, with a regional emphasis on West Germany, the GDR and Austria.

Research on Nazi perpetrators published in recent years has increasingly concentrated on the definition of the concept of perpetration, on the identity and agency of Nazi perpetrators, and on the conditions for their participation in the crimes. In doing so, however, the “prehistory” during the German Empire, World War I, the Weimar Republic, and the First Republic was incorporated into the political biographies of the perpetrators. Further activities of the perpetrators after the end of the “Third Reich” are only mentioned as the aftermath of National Socialism, in the “politics of the past”, and are rarely interpreted as the prehistory of post-National Socialist societies.

Moreover, transformation processes around the macro-historical caesura of 1945 are primarily analyzed from a structuralist perspective. Studies on this topic tend to focus on the examination of (federal) ministries, using the year 1945 as a marker of collapse and new beginning (which is also constituted in the biographies), and thus, contribute to the construction of a dichotomy of continuity and breaks. The individual perspectives of the biographical subjects, however, hardly become visible.

Adopting Thomas Etzemüller’s approach of viewing biographies as instruments or “probes” (“Sonden”), into an integrated social history “in order to understand the functioning of society”, we will consider and examine – on the basis the biographies of female and male perpetrators in National socialism – society and the individual not as separate entities, but as constituents involved in a reciprocal relationship. In this context, we will discuss and question in the workshop the dichotomy of macro- and micro-perspectives as well as the concepts of “structure” and “agency”.

Workshop papers may address, but are not limited to the following questions:

– Perpetration: How did individual perpetrators deal with their participation in Nazi crimes? How is their participation integrated into the narrative of their own biography? Did they hide, legitimise, or deny their participation? What strategies did they use?

– Careers and networks: How did perpetrators react to system collapses and changes? Who succeeded in integrating into new systems and who did not? Which agents were able to use their qualifications and “expertise” acquired under National Socialism and how? How did system changes influence private and professional networks and functional elites?

– Integration: How did former Nazi perpetrators integrate into new systems? How did integration possibilities differ for perpetrators, especially with regard to elites? Where did integration succeed, where did it fail?

– Structure: The conditions and norms of post-National Socialist societies influenced and confronted the perpetrators first in the occupation zones, later in Austria, the GDR and FRG. How did the developing societal structures, constitutional systems, and norms influence the perpetrators’ decisions to act?

– Legality and illegality: Who fled? Who maintained their legal existence and who entered illegality? What can be determined about the relationship between actual and feared prosecution and how did this influence the actions of the perpetrators? How did (feared) prosecution affect (dis)integration processes?

Application: We particularly encourage doctoral students in history and related disciplines to apply. Proposals should include an abstract describing the topic, relevance, empirical basis, and methodological approach of your paper, as well as a short CV of the applicant. Please send your proposal, which must not exceed two pages, as one PDF file to taeterbiografien.ifz@univie.ac.at by 30 September 2021. Conference languages are German and English. Travel and accommodation costs can be reimbursed to a limited extent.

Contact Info: 

taeterbiografien.ifz@univie.ac.at

Oliver Gaida / Kathrin Janzen / Stefan Jehne / Yves Müller


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Deadline for Submissions 9/15/2021

Announcement: Call-for-Papers

This slightly revised 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.

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 September 2021

The aim of this scholarly edited collection is to 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.

In any culture, religious and cultural beliefs are inseparable, and intrinsic one to the other, and are important to the marriage  customs and laws of that particular culture or society.
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?  

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?

  • How do class, ethnicity, culture, race, gender, and possibly history, shape representations of the second wife, as indicated in the popular screen, stage, and literary productions of any one particular culture?

  • What is the range of ways in which the second wifeis represented in the popular/social culture of the various societies?

  • 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?

  • 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.

 

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. 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.

  1. 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.

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

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

  4. 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.

  5. Use the Chicago Manual of Style 16th Edition.

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

  7. Use the Merriam-Webster’s Collegiate Dictionary;

  8. 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;

  9. 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 detail and in alphabetical order, in the References list at the end of your abstract;

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

  2. 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, PhD, Researcher and Honorary Associate Lecturer, School of Humanities and Social Science, College of Human and Social Futures, 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  

Dr Jo Parnell. | Honorary Associate Lecturer
School of Humanities and Social Science
College of Human and Social Futures
M: +61 (0)421 993 253
E: Jo.Parnell@newcastle.edu.au
W: newcastle.edu.au/profile/Jo-Parnell 
International author and editor  
Latest books:
Representation of the Mother-in-Law in literature, film, drama, and television (Lexington Books USA, 2018).
New and Experimental Approaches to Writing Lives (Macmillan International Higher Education, Red Globe Press, 2019).
The Bride in the Cultural Imagination: Screen, Stage, and Literary Productions (Lexington Books USA, 2020).
Taking Control: the critical and creative uses of digital tools in the now, the foreseeable future, and beyond, in screen, literature, and the visual arts. culture (Palgrave Macmillan, forthcoming 2021/22).
Writing Australian History on Screen: cultural, sociological, and historical depths in television and film period dramas “down under,” with Julie Anne Taddeo (Lexington Books, USA, forthcoming 2021/22).
Cultural Representations of the Second Wife: Literature, Stage, and Screen (Lexington Books, USA, forthcoming 2021/22).
The University of Newcastle
University Drive, Callaghan NSW 2308 Australia

 

Life Narrative Futures: 

An International Auto/Biography Association (IABA) networking event for graduate students and early-career researchers

Sponsored by the IABA SNS, and the IABA regional chapters

Friday 29th October, 2021 (Australian CST)

Call for Expressions of Interest

Dear colleagues,

On behalf of the IABA Americas, Asia-Pacific, and Europe chapter convenors, I am pleased to announce this on-line networking event aimed at linking graduate students and Early-Career-Researchers (ECRs) across the globe who are working on life narrative projects. 

In their special issue of a/b: Auto/Biography Studies “What’s Next? The Futures of Auto/Biography Studies” (2017) Ricia Anne Chansky and Emily Hipchen aimed to give “established and emerging scholars from multiple disciplines the time and space to enter into lively discourse on our possible futures.” The result was an incredibly timely multivocal, interdisciplinary conversation about where we are heading as a discipline. 

Such conversations seem even more important now. 2020/2021 have been especially challenging periods for graduate students and ECRs. Travel restrictions have affected networking opportunities, and IABA would like to acknowledge this by organising this event aimed at supporting and celebrating emerging scholars.

Format: Via Zoom conferencing, graduate students/ECRs will be placed in small groups and will make short, informal presentations about their projects. Each group will also contain an established IABA scholar who will act as a mentor in offering feedback on the projects in their small group.

The event will be held virtually in an ‘around the world’ format with the aim of accommodating different time zones in an inclusive way.

To participate in this event, please make a submission of approximately one page as a Word doc including the following information:

  • Your name;

  • University, Department/Faculty affiliation;
  •  
  • 50-word bio;

  • Thesis or current project title;

  • Short abstract for your project;

  • Two-three challenges emerging from your research project/topic;

  • Questions /issues you would like to discuss with your fellow graduate students/ECRs.

The extended deadline for submissions in September 10, 2021. Please make your submission to: iaba.asiapacific@flinders.edu.au

Any questions, or for more information, please contact the organizers: 

iaba.asiapacific@flinders.edu.au

Kind Regards, Kate Douglas (Flinders University, Australia), on behalf of the IABA regional chapters and IABA SNS.

International Auto/Biography Association Worldwide

https://sites.google.com/ualberta.ca/iaba/home

IABA Student and New Scholar Network (SNS)

https://iabasns.wordpress.com; on Facebook: facebook.com/IABASNS

 
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Call for Digital Submissions Proposals – Ongoing 

a/b: Auto/Biography Studies is building a YouTube channel dedicated to highlighting and extending the journal’s content, upcoming book releases, and projects and conversations related to life narrative and identity studies more broadly. 
We’re hoping that you’ll help us expand our online content and/or contribute to building a digital archive by submitting proposals for contributions to our new YouTube channel. We can support content in any language and are able to provide translation, transcription, and closed captioning services.  
Possible Topic Ideas include: 
· Trailers promoting upcoming book releases, special issues of journals, conferences, CFPs, and other happenings; 
· Interviews between scholars at any stage in their careers or between scholars and life narrators, especially as pertinent to publications, conferences, and other activities;
· Oral histories of the field; 
· Image-driven or other multimodal research relevant to life narrative; and 
· Issues that intersect with life narrative, especially those that relate to social justice and human rights. 
Have an idea? We’d love to hear it! Submit your proposals—300-500-words—in .pdf format to Jessica Lauer and Orly Lael Netzer at [abstudiesdigital@gmail.com]. Be sure to include your name, affiliation, email address, and a short bio with your proposal.
Don’t have an idea, but would still like to participate? No worries! While we’re glad to consider all submissions, we also have a wish list of projects that we’d like to undertake. If you’re willing to take on a topic from our wish list related to journal content or a publication in the Routledge Auto/Biography Studies book series, we’d be delighted to work with you.
Queries may be directed to the Digital Content Editors, Jessica Lauer and Orly Lael Netzer at [abstudiesdigital@gmail.com].
Thank you for being a part of our digital future!
 
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International Symposium | Digital Expressions of the Self

National Institute of Technology Silchar / University of Hyderabad / Goldsmiths University of London
contact email: 
 

Concept Note

This symposium engages with the digital forms of expressions of the self. It explores the ways in which, for instance, digital techniques now allow the construction of selves that often rely more on algorithms than any ‘original’ referent. Consider, for example, how algorithms simulate images, voices etc. and have become the basis for facial-biometric recognition, and similar datafication concerning the self. This shift is indicative of what we might term posthuman condition. Along these lines, we are interested in papers that engage with how expressions enhanced by algorithms produce multiple, fractured selves. Following Deleuze, we invite papers that engage with how the in-dividual has become ‘dividual’ in societies of post-control vis-a-vis the introduction of digital technologies. Finally we are interested in how people experiment with creative expressions of the self. ​Constructing the self in the digital sphere may involve processes of experimentation that in turn allow one to experience the self in multiple ways. This is mediated of course by the apparatus of the digital-codes and algorithms. Digital self-expression occurs both consciously and explicitly, and subconsciously and indirectly. Taking this as a point of departure, this symposium examines the broad range of digital expressions of the self.

Panel 1: Affect, Fandom and Liveness in Popular Culture, 8 Sep, 2:40–3:45 P.M. (Indian Time)

1)Live Performance and the Media: A Methodological Reflection on Analysing Stand-up Comedy in India — Madhavi Shivaprasad, Advanced Centre for Women’s Studies, Tata Institute of Social Sciences, Mumbai, India

2) Yo Yo Matlab Aapka Apna : Locating Affect and Gender in Online Fandom of Yo Yo Honey Singh — Prashastika Sharma, Ambedkar University, Delhi,  India

3) Digital Expression from the Shadow States: The in-betweeners in the Late-capitalist Era — Sagorika Singha, The Sarai Programme, Centre for the Study of Developing Societies, Delhi, India

Panel 2: The Self and/as Subject, 8 Sep, 4:45–6:00 P.M. (Indian Time)

1) Defining Our Google Self: Our Self Perception Meets The Platform Society — Oshri Bar-Gil,
The Program for Hermeneutics and Cultural Studies, Bar-Ilan University, Tel Aviv,  Israel

2) A New Normal: Social Media, Vanishing Cultural Values and the Digitalisation of Pregnancy among Nigerian  Women — Henrietta Eshalomi, Institute of African Studies, University of Ibadan, Ibadan, Nigeria

3) The Reality of the Internet and Its Effect on the Individual — Simran Tapaswi, Student, IIT Gandhinagar, Gandhinagar, India

Panel 3: Being Seen, Being Social, 9 Sep, 2:40–3:45 P.M. (Indian Time)

1) “Why do Indians Cry Passionately on Insta?”: Grief Performativity and Ecologies of Commerce of ‘Crying Videos’ — Soma Basu, Faculty of Information Technology and Communication Sciences, Tampere University, Tampere, Finland

2) Instagram and Ambiguities of Female Sexual Imagery — Cheshta Arora, National Institute of Advanced Studies, Bengaluru, India

3) (Re)Imagining the Khasi tribe on social media — Rajani K Chhetri, Department of Mass Communication, Assam Don Bosco University, Guwahati, Assam, India

Panel 4: The Performative and the Political, 9 Sep, 4:45–6:00 P.M. (Indian Time)

1) No Politics on My Island: Animal Crossing and Politics of Digital Self-expression in China — Lin Song
Department of Communication, University of Macau

2) “Revolution Will Not Happen on Facebook… but Propaganda can”: Political Practices, Strategies and Communities in Web 2.0 — Akansha Tyagi [1] & Abhishek Kumar [2]
[1] Department of Sociology, University of Mumbai, Mumbai, India; [2] Department of Humanities and Social Science, Indian Institute of Technology Bombay, India

3) “Azadi’s Political until You’re Pressing Play”: Digital Platforms and Hip-hop in India — Debarun Sarkar
Department of Sociology, University of Mumbai, India

Closing panel: Exploring identity and selfhood in digital spaces

Keynote

1) Prof Ayona Datta, University College London (4:00 – 4:30 P.M. IST, 8th Septemper, 2021)

2) Dr Nimmi Rangaswamy, IIIT-Hyderabad (4:00 – 4:30 P.M. IST, 9th Septemper, 2021

Register using this link: https://tinyurl.com/DigitalExpressions

You can find the Book of Abstracts here: https://tinyurl.com/DEBookofAbstracts

 
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Dear colleagues and friends, 

You are invited to the Emotional Culture and Society seminar “New Forms of Self-Narration one year on: A conversation on young women’s life narratives” on Wednesday 8 September from 9:30 to 11:00 CET. If you are in Pamplona, you are welcome to join us in room M05 in Edificio Amigos

You can also join us online via Zoom: https://unav.zoom.us/j/96186125471?pwd=RHYyY1B6a1l6SUQ3YkdObndOd0dUQT09

 

Author Ana Belén Martínez García will be discussing her book along with Dr. Kate Douglas from Flinders University. Roundtable chaired by Dr. Rosalía Baena.

 

About the book: 

This book is a timely study of young women’s life writing as a form of human rights activism. It focuses on six young women who suffered human rights violations when they were girls and have gone on to become activists through life writing: Malala Yousafzai, Hyeonseo Lee, Yeonmi Park, Bana Alabed, Nujeen Mustafa, and Nadia Murad. Their ongoing life-writing projects diverge to some extent, but all share several notable features: they claim a testimonial collective voice, they deploy rights discourse, they excite humanitarian emotions, they link up their context-bound plight with bigger social justice causes, and they use English as their vehicle of self-expression and self-construction. This strategic use of English is of vital importance, as it has brought them together as icons in the public sphere. New Forms of Self-Narration is the first ever attempt to explore all these activists’ life-writing texts side by side, encompassing both the written and the audiovisual material, online and offline, and taking all texts as belonging to a unique, single, though multifaceted, project.

 
We hope you can join us.
All the best,
Ana
 
 
 
Ana Belén Martínez García
Associate Professor of English

ISSA School of Applied Management

Amigos Building, Office 5090
31009 Pamplona – Spain
Tel. +34 948425600 (802814)

New Forms of Self-Narration

 
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Deadline for Submissions September 6, 2021
 

Finding Meaning: Oral History, Power and Emotions

21-22 April 2022, Université de Pau et des Pays de l’Adour, Pau – France

The history of emotions is one of the most notable progressions in the field of history in the last few decades, and in recent years an astonishing number of articles and books has focused specifically on emotions in history. With this “emotional turn” (Boddice, 2018: 72), historians have determined that emotions change over time, and are thus a subject deserving of historical inquiry. Perhaps more importantly, emotions are at the center of human experience and therefore at the center of our history: “human emotions are neither timeless nor universal, but rather shaped by historical and cultural circumstances” (Thomson, 2019: 1). Emotions are both the effect and active cause of historical events. In addition, as argued by Boddice, focusing on emotions enables “to rehabilitate the unsaid – the gestural, affective and experiential – of traditional historical narratives” (Boddice, 2019: 10). He even proposes to refer to various labels – such as “feelings” and “affective experiences” – so as to open possibilities for the expression and interpretation of emotions (14).

Feelings have also been the focus of oral historians for many decades before this historical turn towards emotions. The key findings of oral historians are not so much the events that narrators recall, but the “meanings and feelings” relating to those events, in line with Alessandro Portelli’s argument that it is the subjectivity of oral history interviews that constitutes an invaluable contribution to the field, as it allows the researcher to analyze how the interviewee gives meaning to personal experience; this, in turn, is indicative of the collective construction of meaning (Portelli, 1981: 96-107). Accordingly, the primary aim of this conference is to explore the relevance and possibilities of finding meaning in oral history interviews. The conference organizers wish to explore oral history’s potential to record, interpret and make sense of emotions in historical experiences in the Americas, the United Kingdom and Ireland, but also across global geographical and cultural areas. The narrative element becomes key to the understanding of these meanings, which cannot be revealed by any other type of source. The plot, the way narrators choose to organize their story, and shifts in the pace of the narration, as, for example, when only a few words are devoted to talking about experiences which lasted a long time, or the exact opposite, can unveil the subjectivity of human experience. Paying careful attention to language, particularly language used to express feelings and emotions can also help researchers to go beyond the constraints of internalized cultural boundaries, which shape memory (Anderson and Jack, 1991: 11-26). Feelings and emotions can give meaning to activities and events, as for example when certain emotions are silenced because they do not sit nicely with the prevailing collective narrative of a certain event.

The purpose of this conference is to re-center the role of oral history in the history of emotions on the one hand, as well as the role of emotions in history and oral history on the other. Indeed, oral history offers the unique possibility to study the way in which experiences are remembered as well as the relationship between individual and collective memory. “Individual remembering is affected by cultural narratives about the past” (Thomson, 2019: 2) and emotions are essential in this process because they are “impacted by social relations and cultural expectations” (Thomson, 2019: 2). Joanna Bourke focused on fear and anxiety in an article published in 2003 (Bourke, 2003: 111-133), in which she argued that humans narrate their emotions by conforming to certain narrative structures. Bourke shed light on the dialogical nature of the link between the personal emotion and the collective emotional environment of a society. This paves the way for further studies on the shifts in the way people narrate certain emotions and the subsequent ways in which these shifts may also alter their subjective experience.

The other facet of the study of emotions that the conference organizers wish to explore is its relationship with power which, despite its complexity, has yet to be fully problematized. Bourke writes: “emotions such as fear do not only belong to individuals or social groups: they mediate between the individual and the social. They are about power relations” (Bourke, 2003: 124). Fear – and emotions more generally – are the product of a society and of given “power relations”, but they may also contribute to reforming them, as shown by the history of the evolving status of women or minorities in society. More precisely, are emotions experienced differently because of one’s gender and/or one’s identity, as suggested by Boddice (2018: 100-122)?

It may also be argued that emotions can be empowering: in the context of war and conflict for example, oral testimonies indicate strong interrelations between affective experiences and agency. The organizers of the conference also wish to assess the extent to which oral history as a methodology is empowering when it gives agency to participants who have traditionally been excluded from more classic approaches to historical research. Paradoxically, emotions may also be indicative of situations of domination and subordination, and of a person’s powerlessness.

From a methodological perspective, how could historical analysis enhance the narratives which include expressions of feelings and emotions? Alistair Thomson offers some insight into this in his most recent work on emotions in oral history (Thomson, 2019: 1-11). The sound of personal testimony can further our understanding of the emotions and their historical and cultural meanings. Speakers can add emphasis by increasing volume, or adding well-timed pauses; excitement and emotion can be shown by a change in the speed of the speech, whereas slowing down might express difficult moments. Silences are widely studied by oral historians, as they often mean painful moments, a struggle with the narrator’s own memory, or even embarrassment or shame. Thomson writes: “the voice can suggest warmth and pleasure, anger and disappointment, sarcasm or disapproval” (4), and how would one interpret the meanings of laughter, sobs or tears?

Furthermore, the organizers propose to include both the interviewing process and analysis carried out by the same researcher as well as the so-called “secondary analysis”, or the analysis of pre-recorded interviews which have been (or are about to be) deposited in sound archives around the world by someone else. This practice of reusing past interviews is somewhat controversial and frowned upon on the basis that an oral history interview is not a “data-bank”, offering empirically neutral material that anyone at any moment in time can draw upon. This attitude has been referred to as the “naive realism” of the researcher, with the argument that interview data are “socially constructed”, and are not “simply facts that are free of theoretical presuppositions” (Bornat, 2010: 43-52). Yet, following Joanna Bornat’s argument in favor of the practice of revisiting past interviews, the organizers of the conference would also like to explore the possibilities for historical research offered by the exploitation of the many hundreds of hours of recorded interviews held in sound archives, some of which are even available on line. The underlying ambition will be to identify a scientific framework in which such a research method could become an interesting (re)source and could eventually open up new research prospects.

 

The themes to be investigated include (but are not limited to) the following:

  • The relations between emotions, history and oral history

Emotions as cultural, social, political and/or historical constructs

The role of emotions in the construction of memory; “memory composure”

The meanings and feelings of human experience

Emotions and historical experience

  • Historicizing emotions
  • Emotions and causation
  • Emotions, empowerment and activism; emotions and power relations (domination, subordination)
  • Emotions in the context of war and conflict
  • Emotions and gender
  • Emotions, racial and ethnic issues

Proposals seeking to explore methodological issues will be welcome, such as:

  • The advantages and drawbacks of reusing past interviews / interviews conducted by someone else; Methodological approaches to secondary analysis
  • Methods for finding and interpreting emotions; Interpreting silence / what is not said

The organizers will welcome proposals from specialists in History, Oral History, Geography, Civilisation Studies, Social Sciences, Political Sciences, Law and Transitional Justice. The geographical scope will include – but will not be limited to – the Americas, the United Kingdom and Ireland, and proposals taking a comparative and interdisciplinary approach will be particularly welcome. The proposals should preferably focus on the 20th and 21st centuries.

This international, cross-disciplinary conference will be held in English and French.

Please send a 300-word abstract in English or in French to Joana Etchart and Simona Tobia : joana.etchart@univ-pau.fr and stobia@univ-pau.fr bSeptember 6th 2021

The acceptance or rejection of proposals will be announced in October 2021

Contact Info: 

Simona Tobia – s.tobia@univ-pau.fr

Joana Etchart – joana.etchart@univ-pau.fr

Contact Email: 
 
 
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Deadline for Submissions September 1, 2021
 

Request from the editor of Markers: Annual Journal of the Association for Gravestone Studies

We are currently seeking article submissions for the 2022 issue of Markers, the scholarly journal of the Association for Gravestone Studies. 

The subject matter of Markers is defined as the analytical study of gravemarkers, monuments, tombs, and cemeteries of all types and encompassing all historical periods and geographical regions. Markers is of interest to scholars in anthropology, historical archaeology, art and architectural history, ethnic studies, material culture studies, American studies, folklore and popular culture studies, linguistics, literature, rhetoric, local and regional history, cultural geography, sociology, and related fields. Articles submitted for publication in Markers should be scholarly, analytical, and interpretive, not merely descriptive or entertaining, and should be written in a style appropriate to both a wide academic audience and an audience of interested non-academics. 

Authors are encouraged to send a query email outlining a project before sending a manuscript. Queries and submissions to Markers should be sent to Editor Elisabeth Roark, Professor of Art History and Museum Studies at Chatham University, at roark@chatham.edu, before September 1, 2021.

Contact Info: 

Elisabeth L. Roark

Professor of Art History and Museum Studies

Chatham University

Pittsburgh, PA 15232

Contact Email: 
 
 
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Teaching Women Travellers of the Eighteenth Century

 
deadline for submissions: 
September 1, 2021
 
full name / name of organization: 
ABO: Interactive Journal for Women in the Arts, 1640-1830
 
contact email: 
 

ABO’s pedagogy series, Concise Collections on Teaching Eighteenth-Century Women,seeks submissions for an article grouping on Teaching Women Travellers in the Eighteenth Century. 

This Collection: This collection focuses on the teaching of literary and historical texts, as well as other forms of artistic production, created by and about female travellers in the long eighteenth century. Articles should provide ideas on how a specific text or aspect of the artist/discourse/writer can be taught most effectively and to best impact in different university and college contexts, and thus increase the profile of women travellers in eighteenth-century studies classrooms. Submissions should focus on a strategy for teaching a single text or group of short texts, or will locate an approach or module within the context of a commonly-taught course or framing (in the context of a survey, for example, or course on the novel or theatre, on the sister arts, on gender and sexualities, on travel literatures, on transatlantic/continental dialogues, on studies of empire and colonialism).

The Series: ABO’s Concise Collections pedagogy series seeksto promote the teaching of eighteenth-century women writers and artists who remain underrepresented in university classrooms, beyond a small collection of now-canonical authors. Each issue will have a curated collection of 4-6 articles on teaching the work of a specific woman or group of female creatives, mixing essays focused around teaching individual works with pieces suggesting ways to bring these women into common course topics and syllabi. 

“Teaching Charlotte Lennox” will appear in Spring 2022; “Teaching Women Travelers” in Fall 2022; and “Teaching Mary Prince” in Spring 2023. We also welcome submissions on open topics in teaching 18C women, for inclusion in our regular Pedagogies section of the journal. 

Submit proposals by September 1 2021 to pedagogy editor tiffany.potter[at]ubc.ca, or complete articles by 15 March 2022 to the ABO platform: https://scholarcommons.usf.edu/cgi/submit.cgi?context=abo

ABO is peer reviewed and indexed in the MLA Bibliography

 
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Prose Studies Special Issue Call for Papers: “Struggle & Hustle: Queer Nonfiction Prose” (8/13/2021)

 

Prose Studies: History, Theory, Criticism invites submissions for a special issue devoted to exploring trans and queer mutual aid, support, and networks in all genres and periods of nonfiction prose. This issue seeks to delve into the ways in which trans and queer writers have mobilized nonfiction prose to make visible marginalized identities, disseminate underground knowledge, and fashion networks of care and family.

 

From Victorian pamphlets on “female husbands” to contemporary web-based grassroots medical guides like Trans Bodies, Trans Selves, trans and queer people have long both been written about and written popular nonfiction prose. Such writing has both served to create fraught narratives of pathology and, often simultaneously, enabled LGBTQIA+ people of diverse lived experiences to reflect their realities and write themselves and their communities into being.

 

Likewise, in memoirs like Janet Mock’s Redefining Realness and Jacob Tobia’s Sissy, nonfiction prose’s sense of immediacy and materiality works to insist on the self-defined reality of people who challenge conventional notions of the gender, sexuality, gender expression, race, disability, class, geography, size, immigration status, sex work, and to imagine what a thriving self and community can look like.

 

Moreover, in this context, LGBTQIA+ nonfiction prose must be considered in terms of the material conditions of its production, including queer and trans presses and editors.

 

Topics of interest might include, but are not limited to:

  • Social and medical advice manuals by, for, and/or about LGBTQIA+ people
  • LGBTQIA+ organizations and their publications
  • Colonial/post-colonial trans and queer identities
  • Writing the self in queer and trans memoir
  • Queer and trans networks in magazines, newspapers, pamphlets, and zines
  • Digital representations and networks of LGBTQIA+ identities
  • Historic and contemporary tensions between “queer” and “trans”
  • Queering and transing prose archives
  • Charting LGBTQIA+ genealogies through nonfiction prose
  • Legal and medical nonfiction prose and LGBTQIA+ people
  • LGBTQIA+ visual culture and nonfiction prose
  • Protest and activist ephemera from ACT UP to Black Lives Matter
  • Pandemic LGBTQIA+ isolation and/or networks of care

About the Journal:

Prose Studies (https://bit.ly/prosestudiesaims) is a peer-reviewed journal devoted to the study of nonfiction prose in all historical and contemporary contexts. The journal is committed to publishing rigorously argued scholarship from diverse theoretical and interpretive approaches.

 


To Submit:

Please send article proposal abstracts of 500 words to Lisa Hager (hagerl@uwm.edu) by the extended deadline of August 13, 2021. Early submission is welcome as are queries or letters of interest.
Completed manuscripts of 8,000–9,000 words will be due February 1, 2022.

Contact Info: 

Lisa Hager

Associate Professor of English & Gender, Sexuality, and Women’s Studies 
Director, LGBTQIA Resource Center
Co-Editor, Prose Studies: History, Theory, Criticism

Pronounsthey, them, theirs

University of Wisconsin–Milwaukee at Waukesha
1500 North University Dr.
Waukesha, WI 53188-2720 
Office: 129 Westview

hagerl@uwm.edu || http://www.lisahager.net/ || @lmhager

Contact Email: 

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Illness Writing in Lebanon: Converging Pathologies and Lived Narratives Since August 4, 2020

This is a call for creative critical personal texts, what Life Writing defines as essays, addressing the cultural ills in the Lebanese context. The solicited essays, unlike conventional academic works, allow for a more creative and self-reflexive approach, and are first-person, lived narratives.

The macro narrative of illness in Lebanon arguably consists of two synergistic categories of illness: first, the deep-seated disease of patriarchy and partisanship and its visceral consequences on economy and environment, which, second, are transposed into a spectrum of somatic and psychological diseases, including cancer, mental ailments, and most recently the widespread traumas of the August 4, 2020 blast. The combined narrative of both types of illness, their converging causes and effects, suggests that the people’s revolution that started in 2019 – later stymied by the pandemic, coeval with the apocalyptic Beirut Port explosion – was the route through which people’s efforts to voice their grievances and seek radical reforms were conjoined.

Knowing that illness writing ties inextricably to its culture of origin, an emerging corpus of Lebanese life writing concomitant with the revolution, pandemic, and Port explosion highlights the causal intersection between the physical and cultural ills that frame these narratives. Illness writing may therefore serve as a means of expressing and drawing attention to, if not also processing, the different facets of illness that currently shape the Lebanese predicament. As illness’s sundry roots (here, patriarchy) and the routes it fosters (here, revolution) are interrogated and celebrated, respectively, such lived stories gain pressing significance. Taking this mode of life writing as its focus, this special issue seeks to explore how writers in the Lebanese context engage with experiences of illness in its various permutations.

Contributors are invited to consider, but are not restricted to, the following themes:

  • The August 4, 2020 explosion and its aftermath
  • Writing the pandemic
  • Negotiating selves, challenging authority
  • Activist texts
  • Queerness and revolution
  • Gender and otherness
  • Bullying
  • (De)stigmatizing illness
  • Coming-of-age
  • Nonviolent micro-aggressions, non-normative behaviors
  • The Syrian refugee crisis
  • Ecological concerns and auto/biography
  • Migrant lives
  • Vicarious trauma and the Lebanese expatriate
  • The elision of sexual minorities from COVID-19 emergency workflows

 

Submission Instructions

Life Writing publishes both “essays” and “articles.” This special issue will focus upon essays and we particularly invite such submissions. These would be critically informed, creative personal essays, which differ from academic articles in that a high level of analysis and referencing is less important, but the reflexive ‘I’ should filter the subject matter. On the continuum from discursive/analytical to creative, these essays will fall somewhere in the middle. For an example of how this approach might be expressed, see Linus Hagström’s “Becoming a Traitor” (LW 18.1, 2021).

Production Timeline:

Deadline for abstracts (150-250 words): August 20, 2021

Notification of abstract acceptance: September 20, 2021

Essay submissions (3,500-5,500 words, not including notes and references): March 20, 2022

Essay acceptance (pending peer review): June 20, 2022

Revisions and resubmissions: July 20, 2022

Publication: Online first after acceptance, and later in a forthcoming issue of Life Writing.

If you are unsure if the particular form of creative writing that you have in mind would suit this special issue of Life Writing, please contact the guest editor, Dr. Sleiman El Hajj.

Queries, as well as abstract and essay submissions (as WORD documents), should be sent to the following address: sleiman.elhajj@lau.edu.lb. Submissions need to include a brief author bio and e-mail address.

 

https://think.taylorandfrancis.com/special_issues/illness-writing-lebanon/?utm_source=TFO&utm_medium=cms&utm_campaign=JPG15743

Sleiman El Hajj, Ph.D.

Assistant Professor, Creative and Journalistic Writing

Departments of English and Communication Arts

Beirut Campus/Lebanese American University

01-786 456 Ext. 1238

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Extended deadline: new deadline for submissions: 31 July 2021 

Life Writing: Transnationalism, Translingualism, Transculturalism

November 20-23, 2021, The University of Adelaide, in collaboration with the University of South Australia and Flinders University.

*please note: this conference can be attended online or in-person.

Website: https://arts.adelaide.edu.au/french-narratives/conference

Confirmed Keynote Speakers:
Prof. Ricia Chansky, University of Puerto Rico,
Prof. Anne Pender, University of Adelaide
Prof. Liu Jialin, Shanghai Jiao Tong University

Transnationalism is an increasingly popular phenomenon, reflecting and responding to the heightened interconnectivity between people and the receding economic and social significance of boundaries among nation states. The current global pandemic has brought issues of interconnectivity sharply into question. In this context, this conference will explore life narratives across a broad variety of contexts.
By discussing life narratives, including in a variety of languages, this conference aims to expand the boundaries of literary studies and its relationships with other media and nations.

Papers may consider themes such as: 

  • Narrating and imagining the migrant experience
  • Refugee and asylum seeker narratives 
  • Life writing in languages other than English
  • Life writing and translation
  • Translingual and multilingual narratives
  • Coming of Age narratives (especially across nations and media)
  • Childhood life writing
  • Ethics of storytelling
  • Activist narratives
  • Cultural memory across nations, languages and media.
  • Autobiographies, letters and diaries
  • Life narratives in popular culture (music, film, theatre, games)
  • Visual life narratives (photography, graphics, social and digital media, visual arts etc.)
  • The histories and futures of life writing studies across disciplinary boundaries
  • Methods, genres, and definitions in life-writing/autobiographical/life story/ego-document research

Submissions:
The conference will be held in two modes, incorporating face to face and zoom sessions. We invite both 20 minute individual presentations and 90 minute full panel, roundtable, or workshop sessions. We encourage interdisciplinary submissions that foster dialogues across theory, methodology, genre, place, and time. We invite not only traditional conference papers and panels, but also innovative presentation formats and creative sessions.

Please submit a max. 300-word abstract and a 150-word bio to Dr. Christopher Hogarth at iabaadelaide2021@gmail.com by 31 July.

Organising Committee: Professor Natalie Edwards natalie.edwards@adelaide.edu.au, Dr. Christopher Hogarth christopher.hogarth@unisa.edu.au, Dr. Kylie Cardell kylie.cardell@flinders.edu.au, Professor Kate Douglas kate.douglas@flinders.edu.au 

IABA Asia-Pacific emerges from the central disciplinary association for auto/biography scholars—The International Auto/Biography Association (IABA). IABA was founded in 1999 as a multidisciplinary network that aims to deepen the cross-cultural understanding of self, identity and experience, and to carry on global dialogues about life writing/narrative. IABA Asia-Pacific aims to foster new region-specific conversations and to encourage regional participation in the global IABA conference. Our goal is to develop scholarly networks between life narrative scholars and practitioners in the Asia-Pacific region that support the circulation and publication of high-quality life narrative theory, practice, and pedagogy. 

This conference forms part of an Australian Research Council funded Discovery Project on Transnational Narratives of Migration to Australia (Natalie Edwards and Christopher Hogarth, DP190102863). 

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CALLING ALL LIFE WRITERS!

 

Do you engage in, produce, teach, or write about any of the following?

  • Ethnography or duoethnography
  • Autoethnography or autotheory
  • Biography or educational biography
  • Autobiography or memoir
  • Life history or life narrative
  • Oral history or family history
  • Testimonio
  • Collective biography or prosopography
If so, we warmly invite you to submit a proposal for the
37th Annual Conference of the International Society for Educational Biography (ISEB)
being held in partnership with
The Society of Philosophy and History of Education (SOPHE) Annual Conference
September 30 – October 2, 2021 at the Clayton Plaza Hotel, St. Louis, Missouri

 

SUBMISSION INFORMATION:
We welcome all those who work with life writing—teachers, graduate students, academics, social workers, and independent scholars—to submit a proposal.  The Conference Program Committee invites presentations in the following formats:

  1. Paper or presentation (individual or co-authored) on completed or in-progress research or methodological approach.
  2. Panel consisting of at least three panel members with related papers or presentations.
  3. Roundtable discussion on an open pedagogical, methodological or research issue.
  4. Structured Posters
To be considered, please complete the Proposal Form and include an abstract of up to 300 words to describe your proposal. The Conference Program Committee will review your proposal and notify you promptly.  Those interested in previous conference information can find it at the ISEB Archive.

 

CONFERENCE INFORMATION:
Conference Dates:  September 30-October 2, 2021
Location: Clayton Plaza Hotel, St. Louis, MO: http://www.cpclayton.com/
Booking a Room:  When you contact the hotel, please register in the SOPHE room block.
Deadline for Proposals:  July 31, 2021.  Proposals received after this date will only be evaluated if there is room in the program.
Presenter deadline for ISEB registration: September 15th, 2021, after which time you will not appear in the program.

COVID-19 UPDATE:
While we recognize our members are extremely busy in these times, we remind you we welcome paper, panel, round table abstracts, and more.  We fully anticipate that the conference will take place as planned; at the same time, we are monitoring the plans and procedures recommended by the CDC for organizations staging large events and gatherings. The executive team is considering all possible options that will keep our membership safe, including the possibility of virtual sessions.

CONFERENCE REGISTRATION/DATES:
Advanced Registration: August 15, 2021.   
Registration Deadline: Only presenters who are current in ISEB membership dues and have paid the conference registration fee will be listed in the Conference Program.
Conference Registration: Members of both organizations will be responsible for paying separate conference registration and organizational membership fees.  Registration will include admission to both ISEB and SOPHE paper presentations, poster sessions, and workshops.
ISEB Membership: In addition to the conference registration fee, presenters must be members of ISEB.  Membership includes a one-year subscription to the ISEB journal Vitae ScholasticaePlease note:  If a presenter wishes to present as part of/at both ISEB and SOPHE, they will need to pay one conference fee, but both membership fees.
Registration Costs:

Registration Advance Late/On Site
Conference Registration + Full ISEB Membership $245 $280
Student Conference Registration + Student ISEB Membership (no journal) $50 $50
Conference Registration + Full ISEB + SOPHE Membership $295 $320
Student Conference Registration + Student ISEB + SOPHE Membership (no journal) $80 $80
Registration link: To register for the conference, please CLICK HERE.

 

ABOUT THE ORGANIZATIONS:
ISEB is an organization dedicated to the exploration of biography in writing, teaching, research, and other professional endeavors.

SOPHE is an organization dedicated to promote research and teaching in the historical, philosophical, ethical, and social foundations of education.

Please note:  When considering submitting your proposal, SOPHE and ISEB are small but historic organizations that maintain an important space for foundational and biographical scholarship. As the financial pressures and demands in higher education continue to shift, we are working to preserve these important spaces of community and scholarship. Acceptance to our conference means that we are reserving a space for you on the program and organizing the program accordingly. No-shows can have devastating effects for us and for other participants who might have attended in the space we have reserved for you. We ask for you to send early registration if possible and, if accepted, please prioritize your attendance to aid us in our mission of providing a venue for the important work of our members past, present, and future.

JOURNAL:
Participants have the opportunity to submit their papers for consideration for publication in our journal that we have been publishing for near 40 years, Vitae Scholasticae: The Journal of Educational Biography. We welcome all forms of work on life writing scholarship, teaching, and methodology.  

QUESTIONS?
For questions or concerns, please contact Dr. Edward Janak, Program Committee Chair, at Edward.Janak@utoledo.edu.  Please reference “ISEB” in the subject line of your email. 

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Fans, Fandoms, and Celebrity Studies for NEPCA 2021

 
deadline for submissions: 
August 1, 2021
 
full name / name of organization: 
Northeast Popular Culture Association (NEPCA)
 
contact email: 
 

The Fan, Fandoms, and Celebrity Studies area encourages submissions that focus on interrogating the ideas and the ideals of fans and fandoms, and why we idolize celebrities. We welcome submissions from all theoretical and philosophical perspectives. We are open to submissions in any area of fan and celebrity studies including but not limited to:

  • Creation and authenticity of fandoms
  • Fandoms, diversity and inclusion
  • Celebrity marketing, advertising, and public relations
  • Social media use and celebrity status
  • Defining fandoms
  • Fandoms and politics
  • Celebrities and illness
  • Sport fandoms and celebrities
  • Issues of fame and what it means to be famous in our culture
  • Fandom comparisons between cultures
  • Trust and value of celebrity
  • An individual celebrity

2021 Northeast Popular Culture Association (NEPCA) will be a virtual conference held between Thursday, October 21-Saturday, October 23, 2021. Please note that proposals are due by August 1, 2021.

Presentations will be limited to 15 or 20 minutes in length depending on the final panel size.

Singular presentations or full panels can be submitted for consideration.  Proposals can be submitted on the NEPCA Conference page or by going directly to the submission form here

Please select “Fan, Fandoms, and Celebrity Studies” as your designated area.

Please address any questions about submissions to the area chair, Shelly Jones, at jonesmc@delhi.edu

 

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CALL FOR PAPERS

Life Narratives: Prismatic World of the Author and Beyond, Special Issue of Language, Literature, and Interdisciplinary Studies (7/15/2021) India 

The interconnectedness between life and writing, explored in life narratives, subscribes to the axiom of endorsing a transparency regarding the nature of the self who is writing—not only to the readers, but to the author itself who may find a moment of oneness between life and writing. This generates multiple possibilities of interpretation embedded in the questions of truth, memory, and agency of the writing subject. While establishing the subject as the prism of narration, these narratives of subjectivity are punctuated with impulses to understand one’s own life, memorialize one’s experiences, record one’s encounters with the animate and the inanimate, or even a will to preserve the unity of one’s own identity. At the center of life narratives then are located the self-projections of the artist, either underscoring or playing with the apparent unity of author, narrator, and protagonist. But despite this focus on the artist-subject, life narratives keep engaging with epistemological enquiries that often go beyond what the author intends to promote—the act of personal recollection offering unintended consequences despite the concerns being focused upon individuality, subjectivity, interiority, or authenticity associated with the specular figure of the author.

Though overtly committed to personal memory, life narratives also uncover performativity inscribed in the very form, seen as the element of deliberate stylization, that draws attention to the limits of self-expression when structural and creative considerations come into play. Representation of subject, style of writing, or the pattern of self-disclosure gets reflected in plurality of forms that are both sedimented and fluid in structure. These innovative narrative structures are evolved to offer something which is an exception to the normative identification through overlapping of various genres: fiction, non-fiction, autofiction, poetry, memoir, autobiography, digital testimony, etc. Extending well beyond any coherent theoretical coordinates to streamline its disparate forms, life narratives are as much constructed by an individual artist-subject as they are the product of his intersecting textures of historical, social, political, economic, and cultural contexts.

Concerning the Issue 5.1 with the exploration of life narratives in different shapes and formats, LLIDS invites scholars to deliberate upon forms of articulation and presentation of life narratives by either focusing on the themes given below or branching beyond:

  • Forms of Expression and Configuring Autobiographical Subject
  • Ancient, Modern, and Postmodern Life Narratives
  • Narrativizing Memory in Life Narratives
  • Self-Portraits as Life Narratives
  • Life Narratives and Post Truth
  • Life Narratives as Metanarratives
  • Biomythographies
  • Thanatographies
  • Temporality in Life Narratives
  • Gendered Perspective in Self-Representation
  • Confession and Life Narratives
  • Figuring Reader in Life Narratives
  • Experiments with Language in Life Narratives
  • Formation of Identity through Life Narratives
  • Paratextual Elements in Life Narratives
  • Life Narratives in Translation

Submissions:

Only complete papers will be considered for publication. The papers need to be submitted according to the guidelines of the MLA 8th edition. You are welcome to submit full length papers (3,500–10,000 words) along with a 150 words abstract and list of keywords. Please read the submission guidelines before making the submission – http://ellids.com/author-guidelines/
submission-guidelines/
. Please feel free to email any queries to – editors@ellids.com.

Please make all submissions via the form: https://forms.gle/RpiCuga6g4igf2BW7

Submission deadline: 15th July, 2021

Website – http://ellids.com/

Facebook – https://www.facebook.com/journal.llids/

Contact Email: 
 

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REMINDER — Call for Contributions

Autobiography, Ethics, and Relations

Proposal deadline: July 15, 2021

Editor: Orly Lael Netzer (PhD), University of Alberta

Publisher: Wilfrid Laurier University Press 

The first two decades of the twenty-first century have seen a growing interest in personal stories across media and markets, from photo-journalism, to letters, social media posts, memoirs, documentaries, and performance or installation art. True accounts of experience have been used to protest sexual violence, institutional racism, and neo-colonial practices of occupation; personal stories have been situated as transformative acts of resiliency, healing, survivance, and resurgence; and autobiographical acts have been mobilized to call for humanitarian response to crises of forced displacement and migration. While these interventions are not unprecedented, they highlight two key aspects of auto/biographical acts and their use in contemporary cultures across the globe — namely, the pivotal roles of relationality and ethics.

Contending with auto/biographical ethics means interrogating the relationships and power dynamics that shape individuals’ and communities’ experiences, alongside the relationships embedded in the representation, mediation, and reception of these experiences. In other words, it means accounting for the intrinsic relations between ethics and politics, exploring what truths autobiographical texts speak to while also asking whose lives are represented, how, by whom, for whom, and for whose profit.

Autobiography, Ethics, and Relations — a peer-reviewed edited collection under advance contract with Wilfrid Laurier University Press — will interrogate the ethical challenges, risks, responsibilities, and potentialities embedded in local and global practices of auto/biography.

To explore these issues, I invite contributions attuned to questions of agency, responsibility, and accountability to true stories and to the individuals and communities whose lives have been represented in auto/biographical works across mediums, periods, and locations. The collection as a whole will not offer firm conclusions, nor will it readily solve ethical challenges or dilemmas. Instead, I encourage contributions that speak to wider issues and relationalities (rather than offer an analysis of a single work), offering provocations while carefully situating them in specific cultural, historical and material contexts.

The collection will be organized around three interlinked categories —production, circulation, and reception — and potential discussion topics may address (but are not limited to) one or more of the following:

Production

  • The ethics of telling, discovering, recording, or collaborating to represent lived experience 
  • The power dynamics and ethical concerns embedded in collaborative production of life stories 
  • Responsible practices of working with auto/biographical subjects, documents, and communities 
  • Producing life stories in/for community settings (e.g. community-based workshops or projects) 
  • Reproducing auto/biographical accounts in translation, restoration, or revised editions
  • Considerations of harm, exploitation, access, implication, consent, benefit, and agency of auto/biographical subjects and their communities
 

Circulation:

  • The ethics of archiving, curating, anthologizing, and promoting true stories 
  • The circulation and use of life stories for/ as social justice activism Life stories vis-à-vis human-rights discourse
  • Approaches to life stories in history, ethnography, sociology, archeology, etc.
 

Reception:

  • The use of life stories in discourses of state/ international recognition and redress 
  • The ethics of remembrance, memorializing lives, or commemorating trauma 
  • Ethical approaches to reading life writing (privately and publicly) 
  • Auto/biographical ethics in discourses of testimony and witnessing 
  • Audiences’ responsibilities to true stories and the communities whose experiences are shared

I welcome contributions from emerging or established scholars, artists, writers, curators, or activists, as well as educators, librarians, editors, publishers, and journalists, or archivists. Please send a short abstract (~300 words) and a brief biography (100 words) to Dr. Orly Lael Netzer (laelnetz@ualberta.ca) by July 15, 2021.

Those invited to submit full chapters will be notified by August 15, 2021. Please note the manuscript will undergo a full peer-review process. Complete chapter drafts should be approximately 7,500-9,000 words including endnotes and bibliography and will be due Jan. 30th, 2022. Citations will follow the Chicago 17th Manual of Style (Author/Date style).

If you have any questions, please don’t hesitate to reach out via email. I look forward to reading your submissions,

Orly

Call for Papers: Unknown stories of intermediaries in women’s migration: men, women and non-binary people (7/10/2021) Edited collection

Editors:

Alexandra Yingst (University of Iceland, Reykjavík, Iceland) Stellamarina Donato (LUMSA University, Rome, Italy)

Call for Papers:

Recent scholarship has promoted gender equality in the field of female migration. Although generally seeking to record stories on the experiences of migrant women, scholars are also working to uncover the lesser-known stories of men, women, and non-binary people who played a part in the migration of women. This collection of essays aims to record the forgotten stories of people who positively or negatively impacted female migration. Stories can be about social network formers/maintainers, migrant smugglers, human traffickers, and more.

We propose an edited collection of stories that show how everyone, no matter what gender they identify as, plays a role and is involved in female migration. Stories may be about people both past and present.

Following Donna Gabaccia’s work on gender in migration studies, we want to stress the importance of including literature on gender studies in this volume. This volume will present a strong theoretical focus with innovative research methods from multiple disciplines across the humanities, social, and political sciences. An example of such literature would be the work of social theorists like Butler, Fraser, and historians like Scott, who focused on gender as a subjective process and not a determinant natural factor. Gender identification is a crucial point to consider when addressing unknown stories of migrant women because it challenges the vulnerability paradigm that has populated the debate for decades (Reysoo & Verschuur, 2004; Grotti et al., 2018) and therefore goes beyond the complementarity between men and women as the status quo (Andaya, 2007; Grami, 2018) and limited male-female comparisons (Donato et al., 2006; Erdal & Pawlak, 2018). In this regard, this collection considers women’s migration and gender equality (O’Neil et al., 2016) as two issues that should always coexist and aims at stressing their ties throughout the essays.

Objectives:

In this edited volume, we will show how all genders (not only women) have importantly been involved in female migration. By studying their social networks and resources that assisted the migration process, we also aim to challenge the widespread belief that migrant women are always vulnerable. Finally, we will challenge the effect of gender constructs found in migration studies (i.e., how migrant issues are often dichotomized).

We also plan to bring together researchers from different disciplines who have a story to tell about the intermediaries, men, women and non-binary identifying people, who directly impacted the personal experiences of migrant women. Each chapter should also refer to those specific themes that are often related to women’s migration, such as stigma, vulnerability, determinism, double standard. Therefore, we would like to collect contributions that have the following elements:

a)  Present a lesser-known story of an intermediary who assisted in the migration of women.

b)  Briefly introduce the background of this person.

c)  Describe how this person positively or negatively changed the position of female migrants.

d)  Clearly specify how the unknown story of the intermediary provides new insights to women’s migration studies.

e)  Follow a bottom-up approach to storytelling, from the specific story to the theory.

We envisage this edited volume to present the lesser-known stories of people involved in women’s migration through a sectional division by the typology of migration (labor migrants and highly skilled and business migrants; irregular, illegal, or undocumented migrants; refugees, asylum seekers; constrained migration; family migration, etc.).

List of Potential Sections (3 chapters in each section):

Labor migrants, highly skilled and business migrants;

Irregular, illegal, or undocumented migrants;

Forced migration, refugees and asylum seekers;

Family migration

Submission Procedure:

Contributors are invited to send by July 10, 2021 an abstract proposal of approximately 350 words clearly explaining the relevance of their contribution to the edited volume, as well as a short biography of themselves. Abstracts should be sent to both Alexandra Yingst (aly3@hi.is) and Stellamarina Donato (s.donato@lumsa.it). Authors will be notified by August 30, 2021 about the acceptance of their proposal. Full chapters (ca. 6000 – 8000 words, including bibliography) are expected to be submitted by February 30, 2022.

Publisher:

The edited volume’s manuscript will be proposed for publication to Women on the Move’s book series at Manchester University Press or Palgrave Macmillan. It is expected to be published by mid-2023.

Contact Info: 

Alexandra Yingst (University of Iceland, Reykjavík, Iceland) and Stellamarina Donato (LUMSA University, Rome, Italy)

Contact Email: 

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Announcement: Call-for-Abstracts

Deadline for submission: 1st July 2021

SPECIAL ISSUE OF LIFE WRITING: CALL FOR ABSTRACTS

MERITOCRACY AND LIFE WRITING

Editor:  Professor D. L. LeMahieu

Lake Forest College, Lake Forest, Illinois, 60045, USA

lemahieu@mx.lakeforest.edu

Michael Young’s satire The Rise of the Meritocracy (1957) popularized a new term that gained wide currency in the late twentieth and early twenty-first centuries.  Both the social democratic Left and the neo-liberal Right endorsed the notion that intelligence plus effort equaled merit.  Intended to displace an elitism based on birth or social privilege, meritocracy promised upward mobility to those with the talent and work ethic to earn success.  Yet, as meritocracy congealed into a self-sustaining elitism, the concept has attracted intense criticism from meritocrats themselves as well as nativists and populists excluded from positions of power.  The life writing of meritocrats discloses the complex subjectivities of upward mobility during a period of accelerating social change and raises the question of what constitutes merit.

Abstracts are invited addressing any of the topics below.

Abstracts should be between 300 and 500 words and include the author’s institutional affiliation if any. Include 5 or 6 keywords for your approach to the topic.

Due date for abstracts: Thursday 1st July, 2021.

Abstracts should be emailed to the journal’s guest editor at lemahieu@mx.lakeforest.edu

Authors will be notified as to whether the complete paper would be welcome for submission by 16th August, 2021.

Final due date for completed papers if abstract is accepted: 1st December 2021.

Completed papers should be 6,000-8,000 words long, and must

follow the Instructions for Authors on the journal’s website for referencing, endnotes, UK spelling, etc.

Papers will be submitted for blind peer review. This may take about 2 months. Papers that are recommended for publication following peer review will be published online in Life Writing during 2022, with print publication in a special issue to follow.

Topics:

– Meritocratic life writing before the term was coined (Roman “new men”; beneficiaries of the Chinese examination system; Victorian self-help discourse)

– Education, scholarships, and social class in meritocratic narratives

– Gender and meritocracy

– Race and meritocratic life writing

– Structure and personal agency in meritocratic life writing

– Meritocratic virtue: the personal qualities it takes to succeed

– Marxism and meritocratic life writing

– Meritocratic medical doctors, lawyers and jurists

– Politicians and their advisors

– Business women and business men

– Childhood and the origins of personal ambition

– Meritocrats and personal trauma, including terminal illness narratives

– Typologies of meritocratic life writing

– Meritocratic academics and the transformation of higher education

– Meritocratic life writing and identity politics

– How meritocrats process, critique, or ignore their own privileges

– Meritocratic dissenters, including populists and nativists

– Meritocratic theologians and the challenges of secularism

– Ghost writing the lives of famous meritocrats including entertainers

– Neoliberal life writing

– Mentors in meritocratic life writing

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Being Out of Place: Deconstructing Travel Narratives in Postcolonial Arab Literature(via Zoom)

July 1, 2021
contact email: 
 

Conference Director

Dr. Soumaya Bouacida, University of 20th August 1955, Skikda, Algeria

Conférence Date:: 20 th Decembre, 2021

 

Keynote Speakers

-Dr. Robert Clarke is a senior lecturer in English studies, and Head of Discipline, English, in the school of Humanities at the University of Tasmania. He is the editor of several books and issues such as Celebrity Colonialism: Fame, Power and Representation in Colonial and Postcolonial Cultures(2009), “Travel and Celebrity Culture”(special issue in Postcolonial Studies), and The Cambridge Companion to Postcolonial Travel Writing (2018)

Dr.Nouri Gana is professor of Comparative Literature & Near Eastern Languages and Cultures at the University of California, Los Angeles (UCLA). He is the author of Signifying Loss: Toward a Poetics of Narrative Mourning, and the editor of The Making of the Tunisian Revolution: Contexts, Architects, Prospects and of The Edinburgh Companion to the Arab Novel in English.

The Head of the Conference Organizing Committee
Mr. Toufik Laachouri, University of 20th August 1955, Skikda, Algeria
Members of the Conference Organizing Committee
Dr.Soumaya Bouacida, University of 20th August 1955, Skikda, Algeria
Dr.Zeyneb Benhenda, University of 20th August 1955, Skikda, Algeria
Dr. Roumeissa Silini, University of 20th August 1955, Skikda, Algeria
Dr. Naima Harbi, University of 20th August 1955, Skikda, Algeria
Dr. Bochra Bouteraa, University of 20th August 1955, Skikda, Algeria
Ms .Assia Nekakaa, University of 20th August 1955, Skikda, Algeria
Ms. Fouzia Krim University of 20th August 1955, Skikda, Algeria
Mr. Malek Benkhalaf
Dr. Mounir Karek
Dr. Djihed Messikh University of 20th August 1955, Skikda, Algeria
Ms. Imen Bouchagour, University of 20th August 1955, Skikda, Algeria
Ms.Fatima Zohra Laidi, University of 20th August 1955, Skikda, Algeria
Ms. Fatima Bouglouf, University of 20th August 1955, Skikda, Algeria
Ms.Imen Chraita, University of 20th August 1955, Skikda, Algeria
Ms. Imen Achouri ,University of 20th August 1955, Skikda, Algeria
Ms. Selwa Hadibi, University of 20th August 1955, Skikda, Algeria
Msr. Nabila Dendani, University of 20th August 1955, Skikda, Algeria
Ms. Nour Elhouda Boudrouma, University of 20th August 1955, Skikda, Algeria
Mr. Zin El-din, University of 20th August 1955, Skikda, Algeria

The Head of Conference Reading Committee
Dr. Zeyneb Benhenda, University of 20th August 1955, Skikda, Algeria
Members of the Conference Reading Committee
-Dr.Soumaya Bouacida, University of 20th August 1955, Skikda, Algeria
-Dr. Roumeissa Silini, University of 20th August 1955, Skikda, Algeria
Dr. Hayette Harbi, University of 20th August 1955, Skikda, Algeria
-Dr. Hichem Souhali, University of Batna 02, Batna, Algeria
-Dr. Moufida Zaidi, University of Mentouri, Costantine, Algeria
– Prof. Nadir Kaouli, University of Batna 02, Batna, Algeria
-Dr. Leila Djaafri, University of Batna 02, Batna, Algeria
-Dr. Farida Lebbal, University of Batna 02, Batna, Algeria
-Dr. Mohamed Seghir Halimi, Ourgla University, Ouargla, Algeria
-Dr. Ahmed Bashar, Biskra University, Biskra, Algeria
-Dr. Nadir Idri, Bejaia University
-Dr. Youcef Awad, University of Jordan, Amman, Jordan
-Dr. Tahrir Hamdi, Open Arab University, Amman, Jordan
-Dr.Lina Saleh, Al Balqa Applied University, Salt, Jordan
-Dr.Samira Al-Khawaldeh, University of Jordan, Amman, Jordan
-Dr. Aba-Carina Parlog, West University of Timisoara, Roumania
-Dr. Mariam F. Alkazemi, Virginia Commonwealth University, USA
– Dr. Mounir Karek, University of 20th August 1955, Skikda, Algeria
-Dr.Salim Sista, University of 20th August 1955, Skikda, Algeria
-Dr. Camilia Bechiri, University of 20th August 1955, Skikda, Algeria
-Mr. Abdelmalek Ben khalef, University of 20th August 1955, Skikda, Algeria

                                                                                                                           Call for Papers 

 

I occasionally experience myself as a cluster of flowing currents. I prefer this to the idea of a solid self, the identity to which so many attach so much significance. These currents, like the themes of one’s life, flow during the waking hours, and at their best they require no reconciling, no harmonizing. They are “off” and may be out of place, but at least they are always in motion, in time, in place, in the form of all kinds of strange combinations moving about, not necessarily forward, sometimes against each other, contrapuntally yet without one central theme. Edward Said

In this passage that is taken from Out of Place(1999), a text that dovetails memoir with the travel narrative, Edward Said reads himself as an embodied form of diversity and as a celeberation of a heterogeneous identity since he is ‘a cluster flowing currents’: he is Arab and Christian, Palestinian and American, the Anglophone “Edward” and the Arabic “Said”. Such complex identification comes as a result of his geographical mobility and continuous travel between Cairo and New York, Beirut and London, Jerusalem and Boston, Dhour and Paris. More pointedly, travel is a vehicle through which one can explore how his relationship to a place can shape his own experiences and, thus, his own identity. Travel is not only limited to human beings, but also diseases can travel the globe. Travelling diseases become embricated with the history of different cultures and play a central role in travel writing. In the ongoing wake of COVID-19, the normative modes of travel have witnessed some interruptions, which leads to the mounting of paranoia among people who have been displaced from their homes like migrants, refugees and asylum seekers. Regulations on travel have left this category of people stranded; they face intense deprivations in their right to economic welfare, limited access to school, poor health care, and threats to their safety and protection.
Travel narratives were vital for Said’s Orientalist project because they include accounts of ‘other’ places and peoples that construct distinctions between “the Orient” and “the Occident” and that depict the “ East” as inferior and uncivilized. The description produced by the imperial eye is considered as a justification for colonial projects and imperial expansionism. However, for postcolonial writers and mainly Arab ones, travel texts can convey accounts that defy colonial discourses by deconstructing the binary oppositions of the colonial travel writings, decentering the Western eye and reconceptualizing the relationship between centre and periphery through creating contact zones .This conference, therefore, attempts to examine these debates by exploring the major scholarly works on travel writing by postcolonial Arab writers. This conference fosters a creative dialogue between leading academic researchers and scholars who are willing to exchange and share their experiences and results on all aspects of travel in postcolonial Arab writings and in case of serious situations such as the spread of pandemics (Corona virus is a case in point) . It also provides a premier interdisciplinary platform for researchers to discuss the most recent trends and concerns in the field of travel writing. We would like to take stock of the scholarship concerning travel in Postcolonial Arab literature and we kindly invite prospective authors to contribute to the conference through the submissions of their original research abstracts, papers and e-posters. The topics that could be explored in the conference include but are not limited to:

-Travel and constructions of race, class, and gender
-Constitutions of ‘self’ ad ‘other’ in travel writing
-Travel and diaspora
-Travel and transculturation
-Travel and displacement
-Travel and politics of exile
-Travel and gastronomic culture
-Travel and Topophilia
-Nostalgia/ Solastalgia ,Memory and Trauma in travel writing
-Travel and language
-Contact zones and the relationship between travelers and travelees
-Travel and Pandemics
Paper proposals of up to 250 words in English and a brief biographical note should be sent by 1st July 2021 to travelconference2021@gmail.com. The contributors will be asked to send their full papers by  Novembre, 15 th in order to submit them as a special issue in Quraterly Arab journal after going through a reviewing process..No fees are recommended for this conférence. 

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The Institute for the Study of Canadian Slavery, at the Nova Scotia College of Art and Design (NSCAD University), proudly announces a Call for Applications for:
Please note, the first cohort of Institute fellows in 2021-2022 will be virtual, and each fellowship is worth $10,000.00 Canadian Dollars. See further details in the links for each fellowship. For more information contact: theinstitute@nscad.ca

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The Transformative Experience of the Journey via Recollection and Reflection
 

deadline for submissions: 
June 30, 2021

 

Pacific Modern and Ancient Language Association
Nov. 11-14, 2021
Las Vegas, USA
 
contact email: 
 

The travel memoir offers an opportunity to examine a number of issues in terms of creative non-fiction. Travel stories focus on individuals who become strangers to themselves when they exile themselves from the environmental and cultural factors that have defined them thus far in service of self-discovery. They link up with the grand Odysseus-like impulse of traditional and modern literature that can profoundly alter identity when they travel and write about their experiences. Topics to consider include the issue of fact vs. fiction in creative non-fiction texts, the idea of the diary as an essential aspect of the transformative experience, and the collaborative relationship between readers and writers in this highly popular genre in terms of identity development.

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Deadline for Submissions June 20, 2021

“Narrating Lives”: International Conference on Storytelling, (Auto)Biography and (Auto)Ethnography

August 28, 2021 to August 29, 2021
Location: 
United Kingdom

Life-history approach occupies the central place in conducting and producing  (auto)biographical and (auto)ethnographic studies through the understanding of self, other, and culture. We construct and develop conceptions and practices by engaging with memory through narrative, in order to negotiate ambivalences and uncertainties of the world and to represent (often traumatic) experiences.

The “Narrating Lives” conference will focus on reading and interpreting (auto)biographical texts and methods across the humanities, social sciences, and visual and performing arts. It will analyse theoretical and practical approaches to life writing and the components of (auto)biographical acts, including memory, experience, identity, embodiment, space, and agency. We will attempt to identify key concerns and considerations that led to the development of the methods and to outline the purposes and ethics of (auto)biographical and (auto)ethnographic research.

We aim to explore a variety of techniques for gathering data on the self-from diaries to interviews to social media and to promote understanding of multicultural others, qualitative inquiry, and narrative writing.

Conference panels will be related, but not limited, to:

  • Life Narrative in Historical Perspective
  • Qualitative Research Methods
  • Oral History, Memory and Written Tradition
  • Journalism and Literary Studies
  • Creative Writing and Performing Arts
  • (Auto)Biographical Element in Film Studies, Media and Communication
  • Psychoanalysis and Psychotherapy
  • Storytelling in Education
  • Ethics and Politics of Research

Submissions may be proposed in various formats, including:

  • Individually submitted papers (organised into panels by the committee)
  • Panels (3-4 individual papers)
  • Posters

Proposals should be sent by 20 June 2021 to: life-history@lcir.co.uk. Please download Paper proposal form.

Registration fee – 90 GBP    

Contact Info: 

London Centre for Interdisciplinary Research

www.lcir.co.uk
info@lcir.co.uk

Contact Email: 
 
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Stories of Home, the Road, and the Host Country: Women Narrating Migration in Morocco

June 11, 2021

 

Centre for the Study of Contemporary Women’s Writing (CCWW)

INSTITUTE OF MODERN LANGUAGES RESEARCH

School of Advanced Study • University of London

 

Stories of Home, the Road, and the Host Country: Women Narrating Migration in Morocco

https://modernlanguages.sas.ac.uk/events/event/24070

 

11 June 2021

10.00am – 4.00pm BST

Online Symposium

Organiser: Keltouma Guerch (Mohamed I University, Oujda Morocco)

Judging by the late 20th and early 21st centuries movement realities, migration is no longer a choice nor is it an option among other options. It’s rather an economic, social, and political necessity. For millions of individuals and families around the world, migration is the ultimate survival decision and action. As a matter of fact, movement through unknown lands involves stories of home and the road.

Stories are our daily bread to communicate with others, express joys and sorrows, and survive trials and tribulations. Migrants’ stories help them share their experiences of the terrible journey and how they “survive” in the transit and/or destination countries. The geographic location of Morocco imposed a specific identity on the country as both a transit and destination land, hence, its notoriety as a place where migration plans and human trafficking are massively negotiated. Given the dramatic conditions in which movement from the southern to the northern coasts of the Mediterranean are carried out, migration tales are obviously not romantic ones. In this symposium participants share their scholarly work and research in the field of migration, particularly gendered migration, from different perspectives.

Programme

Panel One, 10.00 – 12.00 BST   (Chair: Keltouma Guerch)

Abdellah El Boubekri (Mohamed I University, Oujda Morocco); “Unconsummated belonging in Laila Lalami’s The Other Americans (2019) and Conditional Citizens (2020).”
Wissam Bitari (Cadi Ayyad University, Marrakesh Morocco); “The Intersection of Diaspora and Postmodern realities in Laila Lalami’s The Other Americans.
Tayeb Ghourdou (Sidi Mohamed Ben Abdellah University, Fes Morocco); “Identity Construction between Home and Exile: A Comparative Analysis of Laila Lalami’s The Other Americans and Murja Kahf’s The Girl in the Tangerine Scarf.”
Brahim Elaouni (Mohamed I University, Oujda Morocco); “Space and Women Consciousness in the Writings of Lalami the Novelist and Lalami the Essayist.”  

Lunch Break: 12.00 – 14.00 BST

Panel Two, 14.00 – 16.00 BST   (Chair: Abdellah El Boubekri)

Mimoune Daoudi (Sidi Mohamed Ben Abdellah University, Fes Morocco);  “Self-narration in Moroccan Women Diasporic Literature: Najat Elhachemi’s The Last Patriarch, as a case study.”
Zineb  Rabouj (Sidi Mohamed Ben Abdellah University, Fes Morocco); “Escaping to/from America: Roots and Routes in Anissa Bouziane’s Dune Song.”
Keltouma Guerch (Mohamed I University, Oujda Morocco); “Mothers and Daughters: Home, the Road, and the Host Country in the Narratives of Sub-Saharan Women Migrants Living in North-East Morocco.”
Fatima-Zohra Alaoui Mehrez (Mohamed I University, Oujda Morocco); “Narrating Sub-Saharan African Female Migrants’ Stories in Morocco.”

All are welcome to attend this free event at 10.00am BST on 11 June. You will need to register in advance to receive the online event joining link. To register go to: https://modernlanguages.sas.ac.uk/events/event/24070


This symposium is organised as part of the CCWW Seminar Series 2021/22: ‘Precarious Homes – Narratives and Practices of Home-Making in Turbulent Times’ which takes its cue from the CCWW Conference  “‘Where are you from?’ to ‘Where shall we go together?’ Re-imagining Home and Belonging in 21st-Century Women’s Writing“, hosted at the IMLR in September 2020. Dedicated to further exploration of literary and theoretical conceptualisations of home-making, the series considers women’s writing in context, using various formats –  reading groups, a symposium, and an author/translator conversation.

Contact Info:

Cathy Collins

Institute of Modern Languages Research

School of Advanced Study | University of London
Room 239 | Senate House | Malet Street | London WC1E 7HU | UK

Contact Email: 

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Event Held–June 3, 2021

Lives: Biography and Autobiography in New Writing on American Art

6/3/2021, 4:00-8:15pm. CEST

The John F. Kennedy Institute of American Studies, Freie Universität Berlin, and the Terra Foundation for American Art are pleased to invite you to this year’s Berlin Terra symposium, Lives: Biography and Autobiography in New Writing on American Art which will be delivered online via Webex on June 3, 2021, 4.00 pm – 8.15 pm (Central European Summer Time). (USA start times: 7:00 am PDT/8:00 am MDT/9:00 am CDT/10:00 am EDT.)

The origins of art history privileged the artist’s biography in the explanation and interpretation of artworks, but such narratives came to be rejected for their heroic and exclusionary narratives of the exceptionalism and isolated genius. In their place, questions of historical, social, and intellectual context took precedence, and the writing of an artist’s life came to seem conservative and unconnected to larger social, political, and aesthetic concerns. However, recent art historical scholarship has found a renewed interest in the details of the lives of artists as embedded in their social and artistic worlds, and these new approaches aim to create a more equitable and diverse narrative of art’s many histories. Biography and autobiography have come to be newly relevant as art history struggles with its legacies of exclusion based on race, gender, sexuality, class, and ability. This symposium will showcase some new biographical and autobiographical approaches to writing American art’s histories, with a view toward the ways in which the life experiences of artists and writers afford opportunities for counternarratives and new ways of understanding the diverse histories of American art. Lives: Biography and Autobiography in New Writing on American Art brings together scholars and curators who discuss the intertwinement and intersectionality of artists’ life experiences with the work they produced from them. 

Speakers include C. Ondine Chavoya, Joan Kee, Cyle Metzger, and Helen Molesworth. It is convened by David J. Getsy, 2020-2021 Terra Foundation Professor of American Art.

Please visit the event website for a detailed schedule and log-in details:
https://www.jfki.fu-berlin.de/faculty/culture/terra/Conferences/Getsy_2021/index.html

The symposium is free and open to the public. No registration required. Event language is English. 

Contact Info: 

Amalie Boye


Terra Student Assistant, John F. Kennedy Institute for North American Studies, Freie Universität Berlin 

Contact Email: 
 
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Deadline for Submissions June 1, 2021
 
CFP for SAMLA 93, taking place on November 4-6, 2021, in Atlanta, GA. 
 
LIFE WRITING 

The production of identities and subjectivities across narrative spheres and histories‚ from genres like captivity narratives, slave narratives, autobiographies, biographies, and commonplace books, to contemporary iterations in memoir, blogs, social media, and reality television‚ challenge expectations for how lives can be documented and shared. Life writing crucially expands the bounds of what lives and literatures can look like, demanding that readers attend to histories, lives, languages, and experiences that are often unfamiliar or different from their own. This panel welcomes presentations on any aspect of life writing, and those projects that are related to the conference theme, “Social Networks, Social Distances,” are especially welcome. By June 1, please submit an abstract of 250 words, along with presenter’s academic affiliation, contact information, and A/V requirements, to Nicole Stamant, Agnes Scott College, at nstamant@agnesscott.edu.

 

Nicole Stamant, PhD
Associate Professor and Chair | Department of English
SUMMIT Faculty Coordinator for Digital in the Curriculum
Pronouns: she/her/hers
404.471.6062 (phone)
nicolestamant.agnesscott.org
Agnes Scott College | 141 E. College Ave. | Decatur, Georgia 30030

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CALL FOR PAPERS 

The Multiple Lives of Memories: Materializing Experiences of Soviet Terror (5/15/2021)

Edited by Samira Saramo (Migration Institute of Finland) & Ulla Savolainen (University of Helsinki) 

Keywords: memory; life stories; experiences; materiality; emotion; mobility; violence; repression; Soviet Union  

This peer-reviewed international collection of articles focuses on the expansive reach of Soviet Terror through an analysis of the materialization of memories from multi-sited perspectives. The book examines the concrete mobility of life stories, letters, memoirs, objects, and bodies reflecting Soviet repression and violence across borders of geographical locations, historical periods, political regimes, and generations, while simultaneously paying attention to more abstract processes of textual circulation and (re)mediation. The collection asks: what happens to life stories, testimonies, and experiences when they travel in time and space and are (re)interpreted and (re)formulated through these transfers? What types of spaces for remembering, telling, and feeling are created, negotiated, and contested in these contexts? What are the boundaries and intersections of intimate, familial, and community memories?  

The book explores these travels as processes of becoming, which reflect productive entanglements of the material, social, and discursive qualities in people’s experiences and memories with Soviet repression and violence. By engaging with current discussions on mediation (e.g. Erll & Rigney 2009; De Cesari & Rigney 2014), reception (e.g. Sindbæk Andersen & Törnquist-Plewa 2017; Etkind 2013), life writing and life storying (Gilmore 2001; Adler 2002; Merridale 2000; Šukys 2017), and materiality (Hirsch 2012; Miller 2011) in (cultural) memory studies and beyond, the collection of articles aims to open new perspectives on the multiple lives of memories, and who and what gets to remember and be remembered. Through this focus, this collection contributes fresh methodological perspectives to the study of Soviet Terror.  

We invite article proposals (approx. 500 words) addressing the theme of the book to be sent to the editors (samira.saramo@migrationinstitute.fiulla.savolainen@helsinki.fi) by May 15th, 2021. The proposals should describe the case study, research materials, and methodological framework of the planned article, along with a short biographical statement.Prospective contributors will be informed of decisions by June 1st, 2021. The deadline for the first version of article manuscripts is December 1st, 2021.  

The book proposal will be sent with abstracts to an international academic publisher in September 2021 and the collection of articles will be sent for peer review in Spring 2022. 

References 

Adler, N. 2004. The Gulag Survivor: Beyond the Soviet System. London: Routledge. 

De Cesari, C. and A. Rigney, eds. 2014. Transnational Memory: Circulation, Articulation, Scales. Berlin: De Gruyter. 

Erll, A. and A. Rigney, eds. 2009. Mediation, Remediation, and the Dynamics of Cultural Memory. Berlin: De Gruyter. 

Etkind, A. 2013. Warped Mourning: Stories of the Undead in the Land of the Unburied. Stanford: Stanford University Press. 

Gilmore, L. 2001. The Limits of Autobiography: Trauma and Testimony. Ithaca: Cornell University Press. 

Hirsch, M. 2012. The Generation of Postmemory: Writing and Visual Culture After the Holocaust. New York: Columbia University Press. 

Merridale, C. 2000. Night of Stone: Death and Memory in Russia. London, Granta. 

Miller, N.K. 2012. What They Saved: Pieces of a Jewish Past.  

Sindbæk Andersen, T. and B. Törnquist-Plewa, eds. 2017. The Twentieth Century in European Memory: Transcultural Mediation and Reception. Leiden: Brill. 

Šukys, J. 2018. Siberian Exile: Blood, War, and a Granddaughter’s Reckoning. Lincoln: University of Nebraska Press.

Call for Chapters: Exploring Student Lives Through Photography, Oral History and Context-based Art

 

Editors

Lorenzo J. Torres Hortelano, Rey Juan Carlos University (URJC, Madrid), Spain.
Maida Gruden, Students’ City Cultural Center (SCCC, Belgrade), Serbia.

Andrija Stojanović, Students’ City Cultural Center (SCCC, Belgrade), Serbia.

 

Proposals Submission Deadline: May 15th, 2021
Full Chapters Submission Due: September 15th, 2021

Submission guidelines [link]

Submit your proposal (400-800 words) to lorenzojavier.torres.hortelano@urjc.es and book@theylive.eu

 

 Introduction

This will be an open access book to be published by an international reference indexed publishing company (which will be announced later in 2021). It is aimed to analyze the most relevant aspects of the Creative Europe Project ‘They: Live’Student lives revealed through context-based art practices (2020-2023), through three distinct parts that correspond to its different milestones.

 This call is limited to the first part of the book which seeks to involve reflections from various disciplines (history, sociology, anthropology, visual anthropology, political sciences, cultural and curatorial studies, oral history studies, history of photography, aesthetics of digital art and databases….) on the lives of students (University level) from Second World War to the present day. Within the project, photographs from private albums, archives, and oral history testimonies by current and former students will be collected, documented, and showed on Topothek open online platform.

 

Researchers are welcomed to use it, where other works as photographs, audio, texts databases and research are hosted.

 

 They: Live project focuses on the following topics: the everyday student life, campus-related life, cultural habits and free time, interpersonal relations, gender relations, socio-political engagement of students, from the end of the Second World War until contemporary days on the European level. The field of research can be expanded beyond assigned topics of the project and from different angles and disciplines on student’s lives.

 

 The second part of the book will encompass case studies about Artist in Residences programs on students’ campuses with essay contributions by selected artists and curators involved in the project. And the third part, written by members of the project consortium, will be a step-by-step manual with recommendations for implementation of the organizational methodology of this type of residential stay in student campuses and exhibits.

 

 So, it will be an edited book, a mix of essay, case study and methodology book emerging from the research results of the European project They Live.

 

 Objective

The objective of this book is to address a relevant issue that involves a multidisciplinary approach, that is, the relationships between students’ lives in the campuses, documentary vernacular photography, oral history, contemporary art, and students’ intangible heritage. It is aimed to offer a valuable contribution regarding the challenges and possibilities faced by contemporary art practices and the archiving of the everyday memory of student communities.

Student lives and their activities represent a live reservoir of innovative ideas and relationships, a source through which an evolutionary development of intellectual heritage can be followed, and a completely new view of the European culture and its future development can be established.

 

This is a relevant and current topic that makes the book suitable for scholars and professionals working in the areas of social sciences (history, sociology, anthropology, visual anthropology, political sciences, cultural and curatorial studies, oral history studies, history of photography, aesthetics of digital art, digital humanities etc). One of the strongest features of the book is the multi-national, trans-generational as well as multidisciplinary approach to the topic. 

Therefore, papers need to address both the scientific and practical implications of the research.

 

 Recommended Topics (but not limited)

Cultural studies on student lives – History of student culture, – Student lives from the perspective of sociology: everyday life in campuses, interpersonal and gender relationships –  Political engagement of students – Gender studies related to students’ life – Anthropology of students’ life- Students lives through photography  – Oral history related to students live – Genres of photography coming from students live – Art context-based practices and student lives – Digital archives related to student live photos – Art inspired by student lives – Aesthetics of the archive – Art from archives – Multimedia Art – Comparative view on students’ lives in different countries from the end of WWII until now

 

 This is a list of related papers and books: [link]

 

 Publisher

We are in discussions with international European academic high indexed publishers. This publication is anticipated to be released in Q1 2023.

 

 Inquiries

Lorenzo J. Torres Hortelano

Senior Lecturer professor (tenure)

Rey Juan Carlos University

lorenzojavier.torres.hortelano@urjc.es and book@theylive.eu

http://theylive.eu/kategorija.php?menu_id=15

 

Thanks and Best regards,

 

Lorenzo J. Torres Hortelano 

Vicedecano de Extensión Universitaria y Relaciones Internacionales

Vice-Dean of University Extension and International Relations

Profesor Titular/Professor

Universidad Rey Juan Carlos

Facultad de Ciencias de la Comunicación 

Departamento de Ciencias de la Comunicación y Sociología  

Edificio de Gestión – Decanato

Camino del Molino s/n, 28943 Fuenlabrada 

+34 91 488 73 11

lorenzojavier.torres.hortelano@urjc.es

gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano

researchgate.net/profile/Lorenzo_Torres

Lorenzo Torres Academia.edu

IP proyecto Europa Creativa http://theylive.eu/

 

Contact Info: 

Lorenzo J. Torres Hortelano 

Vicedecano de Extensión Universitaria y Relaciones Internacionales

Vice-Dean of University Extension and International Relations

Profesor Titular/Professor

Universidad Rey Juan Carlos

Facultad de Ciencias de la Comunicación 

Departamento de Ciencias de la Comunicación y Sociología  

Edificio de Gestión – Decanato

Camino del Molino s/n, 28943 Fuenlabrada 

+34 91 488 73 11

lorenzojavier.torres.hortelano@urjc.es

gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano

researchgate.net/profile/Lorenzo_Torres

Lorenzo Torres Academia.edu

IP proyecto Europa Creativa http://theylive.eu/

*

Call for Papers: FRAME 34.2, “Writing the Mind”

 

FRAME. Journal of Literary Studies

 

contact email: 

info@frameliteraryjournal.com

 

In Ellen Forney’s autobiographical comic Marbles: Mania, Depression, Michelangelo and Me (2012), the author narrates her journey following her bipolar disorder diagnosis, a journey that sets off an exploration into how her art is connected to that of the “crazy artists” of the past. Just like Vincent van Gogh and Sylvia Plath, whose work has been connected to their mental health status, Forney explores how her condition possibly influenced her art. Through her struggle with identity, medication, and periods of mania and depression, Marbles depicts how Forney arrives at the conclusion that her art is not dependent on her “bipolar brain”: “I’d say my ‘creative thought process’ is there whether I’m manic or stable… It’s just how my brain works” (217).¹ The ways our brains work inform the way we see, understand, and narrate the world we live in, as well as ourselves and others. 

The next issue of FRAME will focus on the topic of “Writing the Mind”. We invite scholars of literature and related fields to consider the connections between mental health, writing, and literary studies. How does mental health shape our understandings of literary practices? How does literature shape our understandings of mental health in different contexts? How has this artistic discipline informed the imagery about the way the mind works? And what can literature and literary studies offer to this field of medicine? Themes and topics related to these questions might include (but are not limited to):

  • Literary (mis)representations of mental illness and the usage of stereotypes
  • Literature and mental health stigma
  • The history of gender and sexuality as mental illness
  • The relation between the mental and physical 
  • (Life) writing as therapy
  • Disability studies perspectives on the mind
  • The role of literature in the training of medical professionals of the mind
  • Current approaches to mental health in the (medical) humanities
  • Intersections between mental health and other identity categories (e.g. gender, sexuality, race, nationality, religion, etc.)

The questions and concerns presented are only a few of the many themes that could be included in the upcoming issue. If you are interested in writing for FRAME, please submit a brief proposal of 250 words max. before May 21. The deadline for the submission of the full article is August 17. An article for the journal has a word limit of 5400 words, including bibliography and footnotes. For our Masterclass section, graduate students and Ph.D. students are invited to write up to a maximum of 3500 words. Please feel free to contact us at info@frameliteraryjournal.com, should you have any questions. More info can be found on our website: www.frameliteraryjournal.com.

Check our submissions guidelines here.

Please subscribe to our newsletter to stay updated with more news.

¹Forney, Ellen. Marbles: Mania, Depression, Michelangelo and Me. Gotham Books (2012). 

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Journal of Comparative Literature and Aesthetics (JCLA)
Vol. 44, No. 4, Winter 2021

SPECIAL ISSUE – Telling Lives, Signifying Selves: Life Writing, Representation, and Identity

Guest Editor: Mukul Chaturvedi
Associate Professor of English, Zakir Husain Delhi College, University of Delhi, India

CONCEPT NOTE

Stories have an irresistible charm, and they continue to fascinate us. In fact, stories or narratives are the only way we understand ourselves and our world. If, as Seyla Benhabib (1996) says, “we are who we are, or the ‘I’ that we are, by means of a narrative”, then the narrative of a life or writing about one’s own life may be a crucial way in which the writer can inscribe or access subjectivity. Life writing fundamentally embodies a crises of representation as it struggles to represent a life by ordering it in a narrative form and foregrounds ways of being in the world. As a discourse on the self, life writing traverses’ various disciplinary terrains like history, literature, journalism, ethnography, and pushes the limits of writing the self. Extending the traditional generic boundaries of autobiography and biography, life writing encompasses a vast array of self-induced narrative forms that have spawned in recent years. Other than life writing texts like memoirs, diaries, and testimonies there is also an upsurge in graphic memoirs and digital storytelling that have brought a new dimension to practices of narrating the self. In the field of cinema, biopics have spawned in recent years and there is a keen interest in adapting real-life stories.

Dismantling the notion of a coherent self and positing it as provisional and contingent, life writing acknowledges the complex nature of autobiographical acts and their performative nature in which ‘selves’ are constantly configured through experience, memory, location, identity, and ability. Also, life writing has emerged as a more inclusive genre which allows for collaborations, non-hierarchical connections to emerge as it gives voice to oral and marginalized subjectivities. Interestingly, one key aspect of life writing is how it circulates across languages, cultures, borders through translation and its various trajectories in transnational contexts. While translation of life writing texts as forms of testimonial acts or role of personal narratives in human rights (Gilmore 2017 Smith and Schaffer 2004) has been empowering as narrators find voice and reclaim agency, critics have cautioned towards the pitfalls and appropriation of these texts as they circulate beyond the locus of their origin. (Whitlock 2007)

Addressing the epistemological, ethical, methodological and translational issues in life writing scholarship across varying narrative forms and media, this special issue of JCLA envisages itself as an interface between life writing researchers/academicians, life writing practitioners, life writing translators and calls upon the contributors to examine the sub-themes mentioned below. These themes are only suggestive and in no way restrictive. Contributors are welcome to go beyond them and offer creative and critical insights from a range of life writing forms.

  • Pushing the Boundaries: the limits of life writing
  • Autobiography and Truth Claims
  • Life writing and Memory
  • Life Writing as Testimony
  • Life in Translation: Challenges and Responsibilities
  • Life Writing and Gender
  • Ethics of Authorship: Collaborative life writing
  • Life writing and Censorship
  • Queer & Trans Lives
  • Disability life writing
  • Life on Celluloid: Biopics
  • Digital Storytelling
  • Graphic lives/memoirs
  • Autoethnography

Please submit abstracts of 300 words with a brief bio note.

Last date for the submission of abstract: 15th May 2021
Intimation of selection of abstracts: 30th May 2021
Full Paper (5,000-6,000 words) submission: 15th September 2021

Please email your abstracts to jclaindia@gmail.com with a copy to drmukulchaturvedi0709@gmail.com

*

REMINDER–DEADLINE FOR SUBMISSIONS MAY 15, 2021
Stories of Change, Stories for Change

The International Auto/Biography Association, Chapter of the Americas
5th Biennial Conference: October 1, 2021

VIRTUAL

Co-conveners: Laura Beard, Ricia Chansky, Eva Karpinski, and Lisa Ortiz-Vilarelle

Abstracts are invited for the 2021 International Auto/Biography Association Chapter of the Americas 5th biennial conference, “Stories of Change, Stories for Change.” This virtual conference is hosted by the University of Alberta and co-sponsored by the University of Alberta Faculty of Arts’ Signature Area on Stories of Change. 

How do we use narrative to act for change on both personal and communal levels? As we navigate these early years of the twenty-first century what are some of the ways in which we parse through our lives by structuring them as stories? How have we historically crafted stories that enact/ed change? In what ways do our stories chronicle change or even act as change? And how does the circulation of our life stories enact change on local and global levels?  

The co-conveners invite lightning papers (5 minutes) on any aspects of the power of stories in our lives. We understand stories broadly, thinking of the larger stories of our cultures and the individual stories of our daily lives. What is your story of change? What is your story for change? 

Potential subjects include, but are not limited to, the following topics:

  • Storytelling in/as social activism and social justice

  • Storytelling and sharing as community building and acts of belonging 

  • Memory (and its fallibility) in stories of/for change, including collective memory, testimony, testimonio

  • Erasure and silencing in stories and storytelling as undermining erasure and silencing

  • Embodied stories of/for change

  • Stories of migration, diaspora, refugees, resettlement, and citizenship

  • Decolonizing lives through storytelling 

  • Bearing witness through storytelling

  • Telling stories of illness, mortality, disaster, and crisis

  • Storytelling in/through archives, genealogy, and genetics

  • Narrative facilitators — who collect, translate, edit, anthologize, curate and otherwise facilitate the circulation of stories of/for change

  • Stories as objects of collecting and objects that tell stories 

  • How are stories moving through modality, medium, and genre and for what purpose 

Please submit a 150 word abstract for a 5 minute paper and a brief biographical statement by May 15th, 2021. Abstracts must be submitted through the conference website: www.iabaa2021.ca. We expect to notify applicants by June 15, 2021. Inquiries are welcome at iabaa2021@gmail.com

We ask that abstracts be submitted in English or in English and a second language; however, we will assist with arranging translation for scholars who would like to present their papers in Spanish, Portuguese, or French. Please indicate in your abstract submission whether you will need assistance with translation of your paper.

The conference organizers gratefully acknowledge the support of the Kule Institute of Advanced Study, the Arts Resource Centre, the Department of Modern Languages & Cultural Studies at the University of Alberta, and a/b: Auto/Biography Studies.

At the University of Alberta, we acknowledge that we are located on Treaty 6 and Métis territory. These lands are and have been a traditional gathering place for many Indigenous peoples including the Cree, Blackfoot, Métis, Nakota Sioux, Iroquois, Dene, Ojibway/ Saulteaux/Anishinaabe, Inuit, and many others whose histories, languages, and cultures continue to influence our vibrant community.

 
Laura J. Beard
she/her/hers
 
Professor, Modern Languages & Cultural Studies, Faculty of Arts
Co-Lead, Arts Signature Area, Stories of Change
 
Associate Vice President (Research) 
Office of the Vice President (Research and Innovation)
2-51 South Academic Building (SAB)
University of Alberta
Edmonton, Alberta Canada T6G 2G7
780-492-5320
 
The University of Alberta is located in ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ / Amiskwacîwâskahikan on Treaty 6 territory, the territory of the Papaschase, and the homeland of the Métis Nation. 
 
 
 
 
 

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Biographers International Organization (BIO) and the Leon Levy Center for Biography

announce the 11th BIO Conference, May 14-16, 2021

Highlights of the conference include the keynote address on Saturday afternoon by the BIO Award winner David Levering Lewis and, on Saturday morning, the James Atlas Plenary with David W. Blight and Annette Gordon-Reed in conversation about “Overlooked Lives.” Registration is $99 ($49 for members).   On both Saturday and Sunday you can participate in up to six of twelve panel discussions on subjects ranging from how to choose a subject and conduct interviews to obituary writing and organizing your narrative kaleidoscopically. Registration will provide links to watch pre-recorded plenary events at your convenience and to participate in real-time panels and roundtables with Zoom. At a later date, your registration ticket will provide access to recordings of all twelve panels.   Friday includes the presentation of BIO’s various awards and fellowships plus short readings from new work by BIO members. Sunday will include roundtable discussions and the presentation of the Plutarch Award for the best biography of 2020. 
For a complete conference schedule, go here: https://biographersinternational.org/conference/2021-bio-conference/

To register for the conference, go here: https://www.eventbrite.com/e/2021-bio-conference-tickets-139035164921    To join BIO, go here: https://biographersinternational.org/member/signup

Dear colleagues,

You are warmly invited to this exciting online event on Friday 7 May, 14.00 – 15.30 (CEST / GMT+2) that brings together two acclaimed women in conversation – Zimbabwean writer Petina Gappah and South African writer and critic Elleke Boehmer – discussing Literature and the Politics of the Past in Southern Africa.

Award-winning author Petina Gappah recently published Out of Darkness, Shining Light (2019), a novel which writes back to the tradition of David Livingstone biographies by imagining the recollections of two of his bearers. Elleke Boehmer is not only a central postcolonial and life writing scholar, but also an acclaimed author in her own right, most recently of To the Volcano (2019). In this event, the authors will read from their recent works and discuss the role of literature in negotiations over the past in the Southern African region.

Register for free here.

You can also visit the event’s Facebook page here.

The event is convened by the project Literatures of Change: Culture and Politics in Southern Africa funded by the Nordic research councils and organised by Astrid Rasch, Norwegian University of Science and Technology; Amanda Hammar, University of Copenhagen; Minna Johanna Niemi, The Arctic University of Norway; Lena Englund, University of Eastern Finland; and Nicklas Hållén, Karlstad University.

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Presentation April 28, 2021

Save the Date!
Orient-Institut Istanbul Spring Lecture Series:
Life Narratives and Gender: Voices of Women in the Near East and Eastern Mediterranean

Leigh Gilmore (Ohio State University)
Autobiographics: Gender, Life Narrative, and Self-Representation

April 28, 2021. 9pm Turkish time (2pm EST)
Please click here to view the full program: 
https://www.oiist.org/wp-content/uploads/2021/04/LIFE_NARRATIVES_BOOKLET_SPREAD.pdf

To attend this virtual lecture series, prior registration is necessary. Please send an email specifying your name and academic affiliation to info@ mappinggenderneareast.org by April 27, 2021 (Tuesday) at the latest.

Dr. Richard Wittmann
Kommissarischer Direktor
Orient-Institut Istanbul
Susam Sokak 16-18, D. 8
TR-34433 Cihangir – Istanbul
Türkei
Tel: +90-212-293 6067
Fax: +90-212-249 6359
E-mail: wittmann@oiist.org
wittmann@post.harvard.edu

Editor – Memoria. Fontes Minores ad Historiam Imperii Ottomanici Pertinentes  
http://www.perspectivia.net/publikationen/memoria http://menadoc.bibliothek.uni-halle.de/menalib/nav/classification/2322084
Co-Editor – Life Narratives of the Ottoman Realm: Individual and Empire in the Near East (Routledge)
https://www.routledge.com/Life-Narratives-of-the-Ottoman-Realm-Individual-and-Empire-in-the-Near-East/book-series/LNOR

http://www.ferikoycemetery.org/
https://www.mappinggenderneareast.org/

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Deadline for Submissions, May 1, 2021

The Epistolary Research Network Second Conference (5/1/2021; 10/1-2/2021) Virtual

The Epistolary Research Network (TERN) is pleased to announce its second conference, to be held October 1-2, 2021. This virtual conference seeks papers from scholars everywhere who have an interest in letters and correspondence throughout history.

For thousands of years, in every region of the globe, letters brought people together when physical distance separated them. From princes to prisoners, letters could offer reports across time and distance – greetings and farewells, news from distant friends, consolation in times of anxiety, triumph against rivals, submission to fate. TERN is holding a virtual meeting to explore this aspect of letters and letter-writing in the broadest possible sense, across a range of disciplines and times. Who wrote letters? To whom, and for what reason? What did they discuss? What light do they shed on the human condition, and how are they different from simple conversation?

We seek papers to be read (approximate length, 20 minutes) and discussed at an online conference. We welcome proposals from anyone with an interest in letters and letter-writing, from graduate students to emeritus professors. Possible topics might include, but are not limited to:
– immigrants and emigrants keeping in touch with family
– the significance of correspondence in different historical periods
– forms of composition and their evolution
– email, Twitter, and Facebook in literary perspective
– letters meant for publication vs. private missives

Proposals (maximum 250 words) and a one-page c.v. should be sent to ternetwork@hotmail.com. Deadline is May 1, 2021. The conference language will be English. Publication of selected papers will be arranged following the conference.

https://journals.tdl.org/jes/index.php/jes/announcement/view/4

And for the Journal of Epistolary Studies website

https://journals.tdl.org/jes/index.php/jes/index

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CALL FOR PAPERS

International Workshop:

Narrated Lives, Remembered Selves –Emerging Research in Life Writing Studies

13 and 14 May 2021, online via Zoom

Conference Organizers: Verena Baier (Regensburg), Tamara Heger (Regensburg)

Confirmed Keynote Speakers and Discussants: Prof. Dr. Mita Banerjee (Mainz), Prof. Dr. Sidonie Smith (Michigan), and Prof. Dr. Julia Watson (Ohio State)

“If life writing was a “rumpled bed” in 2000, it is now a messy multi-sensorium, teeming with the potential—and the pitfalls—of vibrant self-presentations across media, geographies, and worlds.”

(Smith/Watson, Life Writing in the Long Run (2017), xlvii)

We invite early career scholars currently working on projects in the field of Life Writing Studies to meet and contribute to dialogues about the significance, potential and pitfalls of studying diverse forms of self-representation today.

In the past decades, Life Writing as a concept has proven a fruitful expansion opening up new perspectives to identify acts, forms, and media of self-thematization that allows to analyze the well-known forms such as autobiography, letters, and diaries, but has also included emerging new arenas of self-presentation and autobiographical discourse, also on the non-textual level.

Following Sidonie Smith and Julia Watson’s approach, Life Writing Studies challenge the ideas of a unified story and a coherent self. Rather, they acknowledge the complexities of autobiographical acts and subjectivities and their performative nature, in which “selves” are constantly produced and remade through memory, experience, identity, spatial location, embodiment and agency.

Thus, the study of Life Writing can be as complex as its materials, which is why in this workshop we want to discuss a number of ongoing international research projects in the field.

As we want to explore new trends and tendencies in Life Writing Studies and engage in open-minded discussions, we deliberately do not choose a thematic focus for this workshop, but will let emerging projects in the field of Life Writing determine the scale of our workshop. Thus, we invite contributions from all areas and disciplines of Life Writing Studies.

We are especially addressing early career scholars, i.e. PhD students and postdocs working on pertinent projects with life writing materials.

We are inviting proposals for short presentations of ten minutes that sketch the main research interests and the core materials, and also address problems and questions that propel and guide a stimulating and fruitful discussion of around twenty minutes.

Please send an abstract of 300 words and a short CV (no more than one page) to both Verena Baier (verena.baier@ur.de) and Tamara Heger (tamara.heger@ur.de), by Monday, 16 April 2021.

 

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Dear All,

you may remember that I contacted you last year about a biofiction conference in Leuven. The conference has been postponed to Sept 2021. While the organisers are planning for an actual physical conference in Leuven, they do realise that some scholars may be unable to travel and there will be “alternatives for participating online” if that is the case. So here we go:

 

Call for papers

As part of the conference Biofiction as World Literature Conference (Leuven, Belgium 15-18 September, 2021), I will convene a panel on

“Gendering Biofiction as World Literature”,

for which I am seeking contributions.

Biofiction is a genre that focuses on individual historical figures but often projects and negotiates larger social or political issues through the individual life. This panel, in keeping with the conference theme, proposes to examine the capacity of biofiction to reflect and, perhaps, to shift perceptions of gender. It asks how particular biofictions can be related to large-scale movements and systems of thought, such as second or third-wave feminism, intersectionality, gender performativity, or more traditional conceptions of gender that operate(d) across national boundaries. Transnational or transcultural biofictions (where the author takes on a subject from another culture or where the subject’s life crossed national boundaries or is thought to have transnational significance) will be of particular interest in this context.

Papers will be 20 minutes long.

The full call for papers for the conference can be found at

https://www.arts.kuleuven.be/biofiction-as-world-literature/call-for-papers

Please send an abstract of 250-300 words for a 20 minute paper, and a brief bio note (150w) to Julia.Novak@univie.ac.at, by 18 April 2021.

With kind regards,

Julia Lajta-Novak

Dr. Julia Lajta-Novak

Department of English and American Studies

University of Vienna

Campus Altes AKH Hof 8.3, Spitalgasse 2

1090 Vienna, Austria

+43(0)699 81761689

www.julianovak.at

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Life Writing as Political Voice

deadline for submissions: 

April 22, 2021

Nov. 11-14, 2021 PAMLA, Las Vegas USA

City dwellers have a unique opportunity to see and engage in group political activities that those in more rural areas do not. Their everyday lives can be impacted by political demonstrations whether they are actively participating or not. The perspectives that we usually get are from the government, press, or political leaders. These accounts miss how people actually experience and understand the protests they see and/or participate in. As such, examining the life writing of those who participated or observed city protests can be intriguing and add a personal element to group politics. This panel will focus on the experiences of those who planned, participated, and/or observed protests in various cities. Ideas to be examined include personal vs. public perception, the individual vs. government, and political activities as community building among others. For example, reading the personal accounts of British suffragists during the Black Friday protest highlights the very real danger the women encountered and the gendered opposition they faced through both physical and sexual assault. Entries can be historical or contemporary and involve any large metropolitan area. While memoirs could be useful in this discussion, pieces can come from online publications, articles as well as diaries and less public life writing.

contact email: 

sarah.n.macdonald@gmail.com

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Open positions at EuroStorie: 3 PhD students and 3 post-docs

Deadline 4/23/2021

Dear all,

We are happy to open 3 PhD student positions and 3 post-doctoral positions at the Centre of Excellence in Law, Identity and the European Narratives (www.EuroStorie.org).

We are considering applicants from a range of backgrounds (but not limited to): legal history, history, Roman law, politics, philosophy, political science, political theory, political history, intellectual history, law, theology, anthropology, sociology, and human geography.

The positions are both at the Faculty of Social Sciences and the Faculty of Arts at the University of Helsinki. The deadline for all is April 23rd. For details and how to apply, please see the open calls: https://www2.helsinki.fi/en/researchgroups/law-identity-and-the-european-narratives/open-positions

Please feel free to forward this message to anyone you think might be interested!

Best wishes,
Heta Björklund

— Heta Björklund Projektikoordinaattori / Project coordinator heta.bjorklund@helsinki.fi +358504482563 Eurooppalaisen oikeuden, identiteetin ja historian tutkimuksen huippuyksikkö / The Centre of Excellence in Law, Identity and the European Narratives (www.eurostorie.org) Law, Governance and Space: Questioning the Foundations of the Republican Tradition (www.spacelaw.fi) Siltavuorenpenger 1 A, huone / room 323 PL / P.O. Box 9, 00014 Helsingin yliopisto / University of Helsinki

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Autobiography Panel, 118th Annual PAMLA Conference (4/15/2021; 11/11-14/2021)

 

118th Annual Pacific Ancient and Modern Languages Association Conference

Thursday, November 11, 2021 to Sunday, November 14, 2021

Virtual and In-Person Panels, Sahara Las Vegas Hotel

Hosted by the University of Nevada, Las Vegas

PAMLA’s Autobiography panel is currently accepting submissions!

We are open to a wide range of paper topics dealing with subjectivity, authorship, auto-fiction, and identity, but are particularly interested in papers that take new interdisciplinary approaches to Autobiography. As such, papers that draw on cognitive science, psychology, phenomenology, critical race theory, gender theory, or intersectionality in their analyses of Autobiography are particularly welcome. Possible topics could include, but are not limited to: collective autobiography; techniques of self-narration; self-fashioning; neuroaesthetics; intersectional subjectivity; philosophy of race. We are also interested in papers attuned to some facet of the conference theme, “City of God, City of Destruction.”

Deadline for submissions: April 15, 2021

Submit an abstract directly through the Autobiography panel submission page, or search the PAMLA comprehensive Call for Papers. Contact Emily Travis (etravis@ucsc.edu) with any questions.

About PAMLA and this year’s theme:

The Pacific Ancient and Modern Language Association is a scholarly association designed for those teaching or conducting research in a diverse range of literary, linguistic, and cultural interests, both ancient and modern, in the United States and abroad. PAMLA members include faculty and students in language and literature departments in colleges and universities, as well as interdisciplinary scholars from other disciplines and independent scholars.

This year’s theme, “City of God, City of Destruction,” seeks to take the “form analysis” of Las Vegas in a religious direction, considering this shimmering city in the desert as both celestial emblem and den of sin. More broadly, the 2021 PAMLA conference, while welcoming paper proposals on a wide variety of topics, invites meditation on the connections between ideas of the city and the forms of fiction, and the way both may be informed by a religious poetics.

*

 

Jan Schroeder / Carleton University

 
 

Ordinary Oralities: Everyday Voices in History

Edited by Josephine Hoegaerts and Jan Schroeder

Histories of voice are often written as accounts of greatness: great statesmen, notable rebels, grands discours, and famous exceptional speakers and singers populate our shelves. This focus on the great and exceptional has not only led to disproportionate attention to a small subset of historical actors (powerful, white, western men and the occasional token woman), but also obscures the broad range of vocal practices that have informed, co-created and given meaning to human lives and interactions in the past. For most historical actors, life did not consist of grand public speeches, but of private conversations, intimate whispers, hot gossip or interminable quarrels. It also did not exclusively take place in the chambers of political power, or splashed across the columns of national newspapers. Most voices in history, as Arlette Farge notes in Essay pour une histoire des voix,[1] left their traces only unwillingly, or not at all. The longstanding project of “recovering” the voices of the silenced or marginalized has tended to privilege voice as a metaphor for (stolen) human agency, at the expense of a thorough understanding of the practical materialities of ordinary uses of the voice.    

In order to meaningfully include voices and vocal practices in our understanding of history, we suggest an extended practice of eavesdropping instead. Rather than listening out for exceptional voices, this volume calls for contributions that listen in on the more mundane aspects of vocality, including speech and song, but also less formalized shouts, hisses, noises and silences. Moving away from a narrative that centers the public voice, and its use as a political tool and metaphor, we aim to edge towards a history of voice as a history of encounter. Insisting on the intersubjective nature of voice, and its often uncanny ability to ‘travel’ across different personal, social and cultural divides, we aim toward an expansive history of everyday vocality, accounting for the multiplicity and materiality of historical voices. Along with Ana María Ochoa Gautier, we call for an “acoustically tuned exploration” of the archives,[2] on the understanding that ordinary voices in history are not neatly proffered up by single documents, but are often fleeting and muted, and dispersed across textual sites with different stated purposes. 

The volume therefore also aims toward geographical and chronological breadth, from any region of the globe, from roughly the seventeenth to the twentieth century. Contributors to this volume seek out spaces and moments that have been documented idiosyncratically or with difficulty, and where the voice and its sounds can be of particular salience. Although the voice, as Jonathan Rée has pointed out, can never be stored and preserved as it is,[3] it does leave traces – and stubbornly following those can lead us away from the conventional grain of the archives[4] and their (institutionalized) logic. Including methods and documents that defy the disciplinary constraints of the modern archives and its historiography[5] will also, we hope, help to make space for an exploration of the mundane encounters that took place throughout history across boundaries that historiography has both uncovered and amplified. Listening in on talks, shouts, and whispers between mistress and servant, adult and child, human and more-than-human, between speakers of different languages and inhabitants of different worlds – or hearing some voices failing to be heard by others  – the volume centers concrete practices of speech and sound. 

Rather than exploring what exceptional or symbolic voices have accomplished in the public sphere or for the historical record, our attention is geared towards vocal materiality: the sounding qualities of concrete human voices, as they were projected by concrete, tangible bodies in both public and private spaces: the home, the street, the schoolroom, the market, the prison, the chapel, the workplace. That also implies an interest in the visible and material characteristic of those bodies, and their changing cultural meaning over time: voices were produced not only in particular places and for particular ‘period ears’, but also at the intersection of culturally fluid corporeal practices of gender, age, ability, race and class. A focus on ‘who’ speaks has, in work historicizing ‘great speeches’ in the context of biography often served to obscure those characteristics, insisting on universalistic notions of authority instead. This volume, too, argues for a heightened attention to who speaks, and whose voices resound in history, but refuses to take the modern equation between speech and presence/representation for granted.

Proposals for chapters are welcome by early career scholars and established researchers alike. We invite abstracts of approximately 500 words, with final submissions of approximately 6000 words. Please send abstracts by April 15 to the editors.  De Gruyter has expressed interest in publishing this collection in both paper and e-book formats.

[1] A. Farge, Essay pour une histoire des voix, 2009.

[2] A.M. Ochoa Gautier, Aurality, 2014, p. 3.

[3] J. Rée, I See a Voice, 1999.

[4] A.L. Stoler, Along the Archival Grain, 2008.

[5] C. Steedman, Dust, 2002.

Proposal Deadline: 15 April 2021

Deadline for completed chapters: 15 October 2021

*

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 20th-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

*

“Digital Expressions of the Self” (Special Issue of Convergence: The International Journal of Research into New Media Technologies)

Deadline for abstracts: 16 April 2021 / Expected date of publication: June 2022

Guest editors: Avishek Ray (National Institute of Technology Silchar), Gabriel Dattatreyan (Goldsmiths),
Usha Raman (University of Hyderabad), Martin Webb (Goldsmiths)

This issue of “Convergence: The International Journal of Research into New Media Technologies“ engages with the digital forms of expressions of the self. We invite papers that explore the ways in which, for instance, digital techniques now allow the construction of selves that often rely more onalgorithms than any ‘original’ referent. Consider, for example, how algorithms simulate images, voices etc. and have become the basis for facial recognition, biometrics and similar datafication concerning the self. This shift is indicative of what we might term posthuman condition. Along these lines, we areinterested in papers that engage with how expressions enhanced by algorithms produce multiple, fractured selves. Following Deleuze, we invite papers that engage with how the in-dividual has become ‘dividual’ in societies of post-control vis-a-vis the introduction of digital technologies. Finally we are interested in how people experiment with creative expressions of the self. Constructing the self in the digital sphere may involve processes of experimentation that in turn allow one to experience the self in multiple ways. This is mediated of course by the apparatus of the digital-codes and algorithms. Digital self-expression occurs both consciously and explicitly, and subconsciously and indirectly. Taking this as a point of departure, this special issue examines the broad range of digital expressions of the self. The issue will pivot around, but not be limited to, these concerns:
 What, in the digital context, defines the self and its boundaries? How is the self articulated in digital culture and cultures of everyday life especially in relation to Web 2.0? When articulated digitally, where do we locate its forms and ontology?
 How is the digital expression of the self different from its analogue counterpart? What affordances of the digital, if at all, reconfigure the self? Consider, certain digital expressions can be evidential (eg: the selfie), viral, emotive or even tactile. How do the materialities of the specific platforms (eg: Instagram, MySpace.com, TikTok videos, Soundcloud, Tinder etc.) then impact the digital self or its expression?
 These platforms have become not only media of self-expression but also experimentation. How do users, especially youngsters, leverage these platforms to experiment with their gender, bodies, sexualities and identities, creating self-representations that often challenge normativity?
 How (im)proximate, in terms of referentiality, is the digital self to the so-called ‘real’ self? What does the digital expression entail epistemologically? How does it speak to the question of
referentiality? In other words, to what extent, if at all, can these expressions be perceived as simulacrum? What is the nature of the human-algorithm interaction involved here?
 How does the notion of the (in)dividual play out while articulating one’s self in the context of digitality, when the (post)human can be prosthetically ‘engineered’, Artificial Intelligence can govern societies, and robots can acquire personhood (or even citizenship)?

Please send a 300-word abstract and a 100-word bio-note to the guest editors:

avishekray@hum.nits.ac.in, g.dattatreyan@gold.ac.uk, usharaman@uohyd.ac.in, m.webb@gold.ac.uk

by 16 April 2021.

Decisions on acceptance will be communicated by 30 April 2021. Full papers will be due by 30 July 2021.

Contact Info: 

Dr. Avishek Ray

Assiatant Professor

Department of Humanities and Social Sciences,

National Institute of Technology

Contact Email: 

*

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

*Diversifying Persona Studies: Online International Conference and Special Issue*
-What is persona studies? What should persona studies be?
-How can the field be as inclusive and diverse as possible?
-What are possible futures for persona studies research and scholarship?
In 2021 we wish to ask hard questions about the assumptions and the scope of study that have hitherto grounded the field. We see this as a crucial opportunity to destabilise and to interrogate what we do and why we do it, to make space for new voices and areas of study, and to actively facilitate inclusive scholarship.

*Participation in the online conference is in two parts.
Accepted presenters pre-record a 10 minute research presentation and submit with an extended abstract of 800-1000 words. These will be collated into themed playlists, equivalent to a conference session. These playlists, extended abstracts and author bios will be circulated in a program to registered presenters and other participants for viewing throughout July and August.
Presenters will then be invited to participate in a webinar with others from their playlist or theme. The webinar will be broadcast live and be equivalent to a panel and Q&A discussion. Those watching the livestream will be able to ask questions, through the webinar chair, both before and during the panel. The webinars will be crucial opportunities to discuss, develop, and grow our work.
All presentation proposals can also be considered for inclusion in the special double issue of Persona Studies. This issue will be, as always, online and open-access, with no APCs.
All topics relate to Persona Studies will be considered but we particularly encourage and welcome submissions that address:

-understudied theories of persona
-challenging persona studies
-queering personas
-activism and persona
-indigeneity and persona
-race and persona
-disability and persona
-age and persona
-gender and persona
-exceptional personas
-contested personas
-personas and the banal
-persona and migration/diaspora
-other considerations of difference, diversity, and justice with a persona studies framework

*Call for Papers:*
Abstracts: In the first instance, submit a 300-500 word abstract outlining the proposed presentation and its connection to the theme of diversifying persona studies. Please include title, brief author biography, and indicate whether you’d like to be considered for the 2021 special issue.
Send abstracts to personastudies@gmail.com with the subject heading “Diversifying Persona Studies” by 31 March 2021.

Special Issue: Building on the pre-recorded presentations and the webinar discussions, Persona Studies will be issuing a special issue on the theme of Diversifying Persona Studies in late 2021. Invitations to submit full length (6000 words) papers will be based on abstracts submitted to conference. Full papers will be due 16 August 2021.

Key dates:
-Abstracts due: 31 March 2021
-Notification of acceptance to present, invitation to submit full paper; Registration opens: 15 April 2021
-Pre-recorded presentation and extended abstract due: 14 June 2021
-Registration closes: 5 July 2021
-Curated playlists and programs released: 5 July 2021
-Discussions with authors, livestreamed and recorded (dates indicative only): 16 July 2021, 23 July 2021, 30 July 2021, 6 August 2021
-Full papers due for peer review: 16 August 2021
-Special issue released: October 2021
Costs: This conference and webinar series is being run on a volunteer basis. We are asking a nominal registration fee for participants of AU$50 to offset the costs of administrative support. Contingent, unwaged, and student presenters can apply to have this cost waived upon notification of acceptance. Your capacity to pay will not impact your ability to participate.

*

Deadline for Submissions, March 22, 2021

CFP: Roundtable on Race, Religion, and Archives (3/22/2021; 1/6-9/2022)

Modern Language Association: Washington, D.C.

We invite topics that explore the relationships between race, religion, and archives for an approved session of the Religion and Literature Forum of the MLA. We welcome interdisciplinary work at the intersections of critical race theory, religious studies, cultural geography, health humanities, women and gender studies, and more. Proposals could include but are not limited to the following broad themes:

Archival theory and praxis

Politics of recovery

Digital projects

Reparative histories

Problems of genre

New archival research

Potential and limitations of archives

Decolonization

Silences and resistance

Memory

Orality

Presentations are expected to be brief. The exact time limit depends on the final number of panelists. The goal is to have plenty of time for robust discussion. Please send 250 abstract and cv to kdb13@psu.edu by March 22.

*

Deadline for Submissions, March 25, 2021

Autobiography: excess, self-expenditure

 

 

19th International Meeting of the Scientific Observatory of Autobiographical Memory in Written, Oral and Iconographic Form

30 June 2021, 1-2 July
Academia Belgica, Via Omero 8
00196 Roma

Deadline for Submissions: March 25, 2021

organised by the cultural association Mediapolis.Europa
http://mediapoliseuropa.com/

in collaboration with Mnemosyne, Magazine scintifique – Presses universitaires de Louvain
https://ojs.uclouvain.be/index.php/Mnemosyne

and

l’Academia Belgica
Via Omero 8- 00196 Roma
http://www.academiabelgica.it/

Preamble: In the current global situation due to Covid-19, the themes of excess, moderation, exaggeration, of ‘too much’, seem to be taking a particularly important place as we are forced to change our lifestyle. The limits imposed upon us may appear extreme to us, and yet even the old customs to which we compulsively adhered can be seen in a different light.

Proposals on this topic will be read with much interest. 

The excess

“Although an entire intellectual tradition sees the flight of the soul out of its material bonds to be a positive good, another learned tradition that also goes back to ancient sources appeals to a different sense of the word ‘excess’ to designate that which goes beyond the correct proportions in the material order itself.” (Starobinski J. 2008, p. 75).
Breaking boundaries and excess constitute the prime movers of different narrations in the first person. How are these behaviours delineated in self-narration? In what way do they construct a person’s identity? With which arguments and in which relationship with the idea of Power?
With this call for papers we intend to invite proposals that consider self-expenditure and excess in autobiographical writings. That is, autobiographies by both ordinary people and recognised individuals, which are not supported, legitimated, by ideological plaudit, be it political, religious, etc.
Every culture sets ethical boundaries with which every individual confronts oneself. Crossing  boundaries is allowed in certain liberating situations such as bacchanals or carnivals, but these are circumscribed in terms of time and space.
The unlimited and the infinite correspond to conceptions with different nuances: it is possible to go beyond recognised forms or to act in an infinite motus while denying the existence of boundaries.
Current parlance translates the idea of boundary using a vocabulary borrowed from geometry: measure, the right way, to be square, to be conclusive (that is, to remain within a circumscribed topic or area of action), etc. In medio stat virtus situates virtue in space. It is a locution of medieval scholastic philosophy that appropriated Aristotle’s conception.
Nicomachean Ethics, a posthumous publication by Aristotle (who lived from 384 or 383 to 322 BC), places at the centre of its reasoning endoxa, the common opinions of both ordinary and learned people. These endoxa are the boundaries that derive from society’s orientation. Aristotle does not necessarily share current opinions but appropriates them as the basis of social bonding. They appear as a behavioural diktat and have a pragmatic value. In Book II of Nicomachean Ethics, Aristotle writes that virtue develops pragmatically: one learns how to build by building, how to play cithara by playing it, etc.
How is ethics conceived of? “this is concerned with emotions and actions, in which one can have excess or deficiency or a due mean. […] Virtue, therefore is a mean state in the sense that it is able to hit the mean. […] so this is another reason why excess and deficiency are a mark of vice, and observance of the mean a mark of virtue (Aristotle, Nicomachean Ethics, II, 6).
Different autobiographies embody a willingness to go beyond the recognised and shared boundaries.
It is possible to establish a certain distinction between the behaviour whereby a boundary is recognised and overcome, and the practice of excess as complete rejection of the boundary, such as a way of acting ad infinitum.
As Jean Starobinski reminds us (Starobinski J., 2008, p. 76), the term ‘excess’ in the Bible refers to the exit of life, excessus vitae. An excess that does not recognise boundaries is a serious threat to the social system. “The myth of Dom Juan came about at a moment in European history when the subject of the inconstancy of the human heart and the related subject of its various drives—feeling, knowing, dominating (libido sentienti, libido sciendi, libido dominandi)—were intensely debated by the moralists of the day” (Ibidem).
The two great myths of modernity, Faust and Don Giovanni, are condemned due to two excesses: libido sciendi and libido sentiendi. Already the Middle Ages deplored sapiens mundi. Ulysses in Dante’s Inferno is an example of this.
In fact, excess practised ad libitum aims at laying claim to an eternalisation of one’s own behaviour, a transcendentality, replacing another power.
The exhibition held at the Musée d’Orsay, Paris, on the occasion of the 200 th anniversary of de Sade’s death (2014), which was organised on the basis of de Sade’s various epistolary evidence, was entitled Attaquer le soleil: that is, aspiring to deprive the universe of the vital star, using it to burn the universe itself. (Le Brun A., 2014, p. 19).
Many autobiographical narrations in Romanticism (relating to dandyism, satanism, alcoholism, and others) would make excess the centre of their own existential narration.
In “Être comme excès”, Rocco Ronchi writes: “what opens to me the immensity in which I lose myself is the being as excess, a being deprived of material reality, throbbing, rhythmical – a being which has in itself an integral transcendence, a being that is uncontainable in the shape of identity and exceeds the space that reveals apophantic judgement. This being is not immobile, its manner of being – its essence in the verbal sense – rightly resides in the fact of transcending, of rotating outside of itself (I am borrowing this sentence from Marc Bloch), of getting lost and challenging oneself” (Ronchi R., 2000, p. 8).
The term ‘self-expenditure,’ therefore, has a particular role and different significant values. In sport, self-expenditure can be identified with what is at stake, the challenge, the individual risk outside of the great apparatuses.
“The Notion of Expenditure” by Georges Bataille (1933) examines how society imposes productivity in its entire spectrum. Society recognises the right to acquire, conserve or consume rationally, but it excludes the principle of unproductive expenditure (Bataille G., 1985, p.137). It is the principle of loss, that is, of unconditioned expenditure (Ibid., p.169). Societies in general, and the Western one due to their economic structure, do not want to squander the essence of their own assets and regard the person as an asset, a capital.
Acting in itself must not be in the service of any return or recompense. These are arguments to which Bataille returns in various writings (e.g. On Nietzsche, 1945). Concepts such as useful/useless, gratuitous/interested, arbitrary/imposed, are involved.
Is this a form of revolt? According to Camus, revolt embodies the very identity of the individual, his cogito (Camus A., 1951). The rebel does not recognise impositions: he is not a revolutionary and does not conceive of systems (revolution meaning strategic and preconceived acting aimed at achieving an ideal that overturns the status quo). The rebel fights against any ideological barrier and cage. Camus evokes the figures of Cain, de Sade, Saint-Just, Lautréamont, Rimbaud, Bakunin, Nietzsche.

The idea of anti-utilitarianism is ennobling. Self-expenditure without concatenations is in many respects a chimera. A grade-zero behaviour, without residues, cannot exist.
Nevertheless, taking shelter in the necessity of being productive (in every sense) may in turn constitute a form of power. Being losers may mean annihilating the power that the Other exerts on ourselves (Lippi 2008, p. 62).
Years ago, in an article published in Il Tempo (Pasolini P. P., 1973), Pasolini reviewed the autobiography of a Russian pilgrim, associating him with Lazarillo de Tormes. The pilgrim about whom Pasolini writes (who we understand from the text was 33 years of age in 1859) wanders with the prayer book Philokalia (love of the beautiful) and recounts his wanderings to a spiritual father.
Pasolini writes that the pilgrim and Lazarillo remain invincible in their resigned nature that annihilates the very idea of power due to excess of passivity: “There is nothing that proves power wrong so much as Resignation, which is actually a refusal of power in any form (that is, it makes it what it actually is, namely an illusion)”.
The implications of self-expenditure and the practice of excess are manifold, as you can see.
With this call for papers we intend to investigate the relationship between autobiographical narration as an expression of going beyond, as a pursuit of the extreme in relation to the concept of boundary, or as a practice of excess, understanding how, stated or implied, these components constitute the framework of the argument of the writing examined.

Some biographical references

ANONYMOUS, The Way of a Pilgrim: Candid Tales of a Wanderer to His Spiritual Father, translated by Anna Zaranko with an introduction by Andrew Louth, Penguin Books, 2017.
ARISTOTLE, Nicomachean Ethics, translated by H. Rackham, Cambridge, MA, Harvard University Press; London, William Heinemann Ltd., 1934. [Fourth century BC].
Georges BATAILLE, “The Notion of Expenditure” in Visions of Excess: selected writings, 1927–1939, edited by Allan Stoekl, translated by Allan Stoekl with Carl R. Lovitt and Donald M. Leslie,
University of Minnesota Press, Minneapolis, MN, 1985 (Originally published in La part Maudite,
Paris, Points, 1933). http://itech.fgcu.edu/faculty/bhobbs/Bataille-the-Notion-of-Expenditure.pdf
Julien BEAUFILS, Solenne CAROF, Anne SEITZ et Philipp SIEGERT, « Excès et sobriété. Construire, pratiquer et représenter la mesure et la démesure. Introduction », Trajectoires [En ligne], 10 | 2016, mis en ligne le 01 décembre 2016, consulté le 18 octobre 2020. URL :
http://journals.openedition.org/trajectoires/2172 ; DOI : https://doi.org/10.4000/trajectoires.2172
Albert CAMUS, The Rebel, translated by Anthony Bower, London, Penguin Books, 2000.
Benvenuto CELLINI, Vita di Benvenuto Cellini, edited by Orazio Bacci, Firenze, Sansoni, 1901.
(Written between 1558 and November1562).
https://gallica.bnf.fr/ark:/12148/bpt6k1118599/f4.image
CASANOVA, Histoire de ma vie, Paris, Livre de Poche, 2004.
Mémoires de J. Casanova de Seingalt, écrits par lui-même, written in French, between 1789 and 1798, published posthumously in1825. https://gallica.bnf.fr/ark:/12148/bpt6k314854/f1.image vv. I-
Thomas DE QUINCEY, Confessions of an English Opium-Eater, 1821.
http://www.gutenberg.org/files/2040/2040-h/2040-h.htm
Annie LE BRUN, SADE-Attaquer le soleil, Paris, Musée d’Orsay-Gallimard, 2014.
Silvia LIPPI, “De la dépense improductive à la jouissance « bavarde»”, in Transgressions. Bataille, Lacan, edited by S. LIPPI, Toulouse, ERES, “Point Hors Ligne”, 2008, pp. 62-71.
URL: https://www.cairn.info/transgressions–9782749209753-page-62.htm
Marie José MONDZAIN, De l’excès, Théatre/Public 178.
P. P. PASOLINI, “‘Come pregare?’ ‘Come mangiare?’ Esperienze di un Prete e di un Letterato”, in Il Tempo, 11 February 1973.
Rocco RONCHI, “Une ontologie de l’excès”, Lignes, 2000/1 (n° 1), pp. 107-124. DOI : 10.3917/lignes1.001.0107. URL: https://www.cairn.info/revue-lignes1-2000-1-page-107.htm9
Jean STAROBINSKI, “Registers of Excess,” in Enchantment: The Seductress in Opera, translated by C. Jon Delogu, New York, Columbia University Press, 2008. (Originally published as Les
enchantresses, Paris, Seuil, 2005).
Lionel TERRAY, Les conquérants de l’inutile: des Alpes à l’Annapurna, Paris, Gallimard, 1961.

Autobiography: excess, self-expenditure
30 June – 1, 2 July 2021 – Rome

LANGUAGES ADMITTED FOR THE INTERVENTIONS: English, French, Italian, Spanish.

 

Every speaker will speak in their chosen language; there will be no simultaneous translation. A rough passive understanding would be desirable.
A) The deadline for the submission of papers is 25 March 2021. Candidates are asked to present an abstract of up to 250 words, with citation of two reference texts, and a brief curriculum vitae of up to 100 words, with possible mention of two publications, be they articles or books. These must be submitted online on the conference registration page of the http://mediapoliseuropa.com/ Website.
The scientific committee will read and select every proposal that will be sent to the conference registration page of the http://mediapoliseuropa.com/ Website. For any information, please contact the following: beatrice.barbalato@gmail.com, irenemeliciani@gmail.com,
Notification of the accepted proposals will be given by 30 March 2021.
B) In regard to enrolment in the colloquium, once the proposal is accepted the fees are the following:
Before 10 April 2021: 110,00€
From 11 April to 10 May 2021: 130,00€
Enrolment cannot be accepted in loco.
Ph.D. students:
Before 10 April 2021: 75,00€
From 11 April to 10 Mai 2021: 90,00€
Enrolment cannot be accepted in loco.
C) For information on registration fees, past symposia, the association’s activities, and the organising and scientific teams, please refer to our Website:
http://mediapoliseuropa.com/
The association Mediapolis.Europa contributes to the publication of the journal Mnemosyne, o la costruzionedel senso, Presses universitaires de Louvain, www.i6doc.com,
Indexed a scientific journal in:

https://dbh.nsd.uib.no/publiseringskanaler/erihplus/periodical/info?id=488665

Scientific Committee
Beatrice BARBALATO,
Mediapolis.Europa May CHEHAB,
Université de Chypre Fabio CISMONDI,
Euro Fusion
Antonio CASTILLO GÓMEZ, univ. Alcala de Henares
(Madrid)
Giulia PELILLO-HESTERMEYER, Universitat Heidelberg
Anna TYLUSIŃSKA-KOWALSKA, Uniwersytet
Warszawski

Management
Irene MELICIANI, managing director Mediapolis.Europa

 
Deadline for Submissions, March 5, 2021
 

Players and Pawns: Political Childhoods, Political Children
Children’s Literature Division, MLA
Special Session, MLA (Modern Language Association) 2022

Location/Dates: Washington DC, 6-9th January, 2022

Deadline for submissions: March 5, 2021

“Think of the children,” we say, again and again using the child as the object of political discourse. Policies and laws governing everything from education and public health to minimum wage and sexual relations are enacted with the intent of protecting children and improving their lives. So often, however, children are denied the ability to be perceived and accepted as political agents themselves. In fact, when children and teens, such as Malala Yousafzai, Greta Thunberg, Mari Copeny (Little Miss Flint), and David Hogg, among many others, become involved in politics, adults often criticize their efforts, arguing that children possess neither the experiences nor the knowledge to be involved in political discussions or to advocate for policy changes.

 As children’s and YA literature affirms, children and teens both are used for the political gain of others and are themselves interested in politics. Drawing on children’s and YA literature, as well as films and other forms of youth media, this panel considers what it means to be a political child and/or how children are used by politicians. In other words, in what ways are children players in the game of politics, and in what ways are they pawns?

 Papers might consider the following questions:

 What are the politics of the child?

How is the political child constructed by adults? By children?

What kinds of childhood are instrumentalized by people in positions of power, and to what end?

What does it mean to “fight for the children?” How does the desire to protect children affect political children?

What is the child’s role in politics?

In what ways do children and teens resist political power?

How does the political child embody agency?

How might children politicize themselves?

Which possibilities or which limitations of children’s agency are inherent in political discourse?

Who is included and excluded from being a political child?

How does the political child collaborate with the political adult?

What is the politics of childhood without the guise of futurity?

What is the connection between anti-fascism and children’s and youth media.

Please submit 300-word abstracts and a brief biography to Miranda Green-Barteet (mgreenb6@uwo.ca) by March 5, 2021.

*
 
Deadline for Submissions, March 4, 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 

 

*

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.

*

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 20th-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 15th 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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CFP: Promising Journeys, Perilous Roads: Women’s Journey Narratives in Neoliberal India (Edited Collection)

Deadline for Submissions: February 10, 2021

Call for chapter proposals (With a strong publishing interest from Lexington Books, USA)

Traditionally, men have had more access than woman to Indian public spaces, especially the cities, roads, and streets. Not surprisingly, then, the presence of women in patriarchal public spaces such as roads poses a threat to traditional spatial associations of the home and the woman that in turn are significant in the construction of Indian femininity. More important, women on Indian roads have felt threatened and experienced numerous and unbelievable instances of violence, some of which in the recent past have been globally and vocally condemned. Curiously, if narratives of traveling, self-sufficient women and their outdoor experiences remain scarce, what is rarer are theoretical and critical discourses surrounding and analyzing women’s predicaments on the road. Stressing this, academicians such as Manish Madan and Mahesh K. Nalla in their study tilted “Sexual Harassment in Public Spaces: Examining Gender Differences in Perceived Seriousness and Victimization” (2016) note that while a considerable amount of research has been done on  domestic violence in India, which mostly occurs indoors in private spaces, “the treatment of women in the public sphere, particularly with regard to sexual harassment (one of the most pervasive forms of violence against women)” (1) has only received public attention post the notorious Nirbhaya rape case (2012) due to media coverage and international outcry. Likewise, keeping mainly the Nirbhaya rape case and the gang rape of a young photo-journalist in Mumbai (2013) as a contextual backdrop, Shilpa Phadke in her article “Unfriendly Bodies, Hostile Cities Reflections on Loitering and Gendered Public Space” argues that the “overarching narrative appears to be that [Indian] cities are violent spaces that women are better off not accessing at all” (50). Arguably, while empirical and data driven research has to some extent taken into account the issue of women’s travel experiences, theoretical research dealing with fictionalized representations of women’s road journeys in millennial India is palpably missing. The present edited collection attempts to bridge this unfortunate gap in scholarship.

Where international research is concerned, the issue of women’s safety within public spaces such as the road has been a central problematic for space theorists and feminist geographers such as Linda McDowell, Gillian Rose, and Doreen Massey who declare that spaces are governed by patriarchal power relations which exclude women. Doreen Massey, for instance, in Space, Place, and Gender (1994) claims that “spatial control, whether enforced through the power of convention or symbolism, or through the straightforward threat of violence, can be a fundamental element in the constitution of gender” (180). According to feminist geographers therefore public spaces such as roads are inherently gendered and exclude women with the threat of sexual violence. In a deeply patriarchal society such as India, spatial politics along with explicit and implicit threats of violence plague millions of women who try to accesses public spaces, beginning with the roads.

In neoliberal India, especially after Nirbhaya rape case, one encounters a growing engagement with women’s travel narratives most significantly on several OTT (over-the-top) digital platforms including Netflix and Amazon Prime Videos. Many fictionalized series telecast on these platforms have presented the problem of female vulnerability within public spaces to expose physical, mental, sexual, and epistemic violence that traveling women face. Here Richie Mehta’s Delhi Crime proves to be a powerful case in point. Likewise, mainstream Hindi films such as Chhapaak (2020) in the recent past have also exposed how women are extremely vulnerable to the male gaze and to patriarchal violence, especially on the roads. Literature, too, has responded to this vexed issue and writers such as Janhavi Acharekar and Namita Gokhale have attempted to reveal how structural violence mars the outdoorsy experiences of many Indian women. Other fictionalized narratives that underscore women’s promising albeit perilous road journeys include films such as Nagesh Kukunoor’s Dor (2006), Leena Yadav’s Parched (2015), Aniruddha Roy Chowdhury’s Pink (2016), Ashtar Sayed’s Maatr (2017), Ravi Udyawar’s Mom (2017), and Gopi Puthran’s Mardaani 2 (2019). In addition, there are also well-received web series such as The Good Girl Show (2017) and She (2020) which unravel the regressive rape myths, stigma, victim-blaming, and misogyny that are entrenched in Indian society and channeled against women exploring the world outside their homes.

The present volume entitled Promising Journeys, Perilous Roads: Women’s Journey Narratives in Neoliberal India hopes to inaugurate a much-needed scholarly discussion on women and their experiences on the road in the present times. By focusing on the complex negotiations that women make with the challenges posed by the gendered space of the road, this edited collection hopes to bring together critical and scholarly voices that together address a deep rooted and pressing problem fettering Indian women’s mobility today. It invites essays that attempt critically informed analyses of literature, graphic novels, films, web series, and other popular cultural representations of Indian women’s experiences on the road, and ultimately initiate localized feminist interventions against gendered violence.

Themes addressed may include, but are not limited to:
•    Literary representations of Indian women’s vulnerability on the road
•    Graphic narratives of female road journeys
•    Films, web series, television, popular culture vis-à-vis violence and spatial politics
•    Sororities and female bonding in the face of violent road journeys
•    Wandering mothers: women, violence, and caregiving on the road
•    Women’s aging, destitution, and violence of the road
•    Rape myths, stigma, and sexual offences
•    Intrusive male gaze and objectified female bodies
•    Class, caste, female oppression, and violent roads
•    Female fortitude, resistance, and survival on gendered roads

Lexington Books, USA has expressed a strong interest in publishing this edited collection. Please submit an abstract of 750 words and a short CV by February 10, 2021 to Swathi Krishna S. swathi@iitrpr.ac.in and Srirupa Chatterjee srirupa@la.iith.ac.in The final articles will be 6000-7000 words in the latest MLA Handbook format and will be due by August 31, 2021.

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Deadline for Submissions–Feb. 5, 2021

The Register & Visitors’ Book in Historical Scholarship: A Virtual Colloquium, June 1, 2021

The value of the institutional guest book/register as a source has become evident in recent historical scholarship. Studies have engaged registers from a broad range of approaches and interests, including the histories of travel and tourism, book history, historical geography, literary tourism, and legal history.

The form, legal status, and uses of these books varied markedly by site and jurisdiction: in some, their completion was required by law. In others, the ‘visitors’ book’ was a site of whimsical inscription, filled with prose, verse, and illustration. The material affordances of the books, and the regimes of surveillance enacted over them, also varied widely. In many cases, institutions maintained both the legally compulsory register and a voluntary book for guests’ inscriptions.

As scholars have unearthed these books in local, regional, and national archives, explored the legal, economic, social, and cultural contexts in which they were used—as tools of surveillance, as business records, as tableaux for leisure travellers—and used them extensively as sources in historical scholarship, they have developed fruitful intellectual exchanges. Beyond places of accommodation, research has encompassed books that were at other institutions and sites—stately homes, museums, universities, and places associated with the lives of famous authors, for instance—in the early modern and modern periods.

On Tuesday 1 June 2021 a workshop will bring together scholars using these books as evidence in diverse historical research programmes. We invite participation (through pre-circulated papers to be discussed in the virtual event) from scholars working on a range of projects that employ these sources in historical research, including (but not limited to):

  • Hotel guest books and registers as legal and social instruments
  • Guest books and registers as sources for the study of mobility and tourism markets
  • Institutional visitors’ books and practices of inscription and reading
  • Cultures of travel illuminated by guest books
  • Practices of travel illustration as revealed in guest books and related sources
  • Transnational vs national dimensions of guest book use
  • Early modern forms of the institutional guest book

Please submit a title and 250-word proposal, as well as a one-page résumé, by Friday 5 February 2021 to Kevin James at kjames@uoguelph.ca, to whom any enquiries may also be directed.

Contact Info:

Professor Kevin James

Scottish Studies Foundation Chair and Professor of History

University of Guelph

Guelph, ON N1G 2W1

Canada

Contact Email:

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General Call for Papers

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, Feb. 1, 2021

Female Narratives of Protest: Literary and Cultural Representations from South Asia
deadline for submissions:
February 1, 2021
full name / name of organization:
Nabanita Sengupta
contact email:
nabanita.sengupta@gmail.com

Contemporary regimes of protest in South Asia are informed and injuncted by its ever shifting geopolitical modalities. With the rise of globalisation, neoliberalism and multiculturalism, South Asian geopolitics comprise a quest for redefinition of biopower and subjectivity formations. As hegemonies of Western  dominance are toppled, South Asian geopolitics are evolving as a complex assemblage of biopolitics, citizenship ethics and human rights concerns. In this evolving engagement with global politics, South Asia is fast emerging as a contending power itself with competent human and capital resources. An important consequence of this is the appearance of newer axes of fault lines in terms of polity, economy, religion, culture, art, and gender. This has transpired into multiple geopolitical fissures, one glaring example of which is the CAA, a politically manipulated definition of citizenship and the politics of belonging in the Indian subcontinent. South Asian non-unitary subjectivities dwell within the vectors of diverse vocabularies of protest that are social and political in nature.
In the light of this, protest narratives originate in a space of power conflict as a means to combat the exploitation of the weak by the strong –  as a means of survival for the unempowered and unprivileged. Therefore a longing for empowerment, a desire to topple the authoritarian and a quest towards a just society is embedded within any protest narrative. The journey of struggle gets recorded in such narratives and irrespective of the outcome, the cultural productions of the movements become important. Archiving of protest narratives is a significant task because such narratives dare to break away from the dominant cultural representations and present the voices of the marginalised. It critically enquires the heteronormative world of binaries bringing into limelight the fault lines in the dominant normative exclusivist discourses. An interesting hermeneutics of protest literature is its very fluid nature and multiple connotations. An important aspect is the moral and ethical relationship between aesthetics and political message informing the content of protest narratives. Protest as an agentive politics on one hand is hinged upon the philosophical question of individuality and the dynamics of social structure, while on the other, gains impetus from political issues. These political issues might be embedded within one’s location and therefore protest narratives are also deeply shaped by one’s embeddedness in specific geospatialities

Historically, gender has been identified as one such location of the genesis of protest narratives. Female voices have always been marginalised in a patriarchal social system.

Patriarchal politics of sexuality and gender identities have been conventionally partial to the heteronormative male voice. Females, both as a sexual identity as well as a gender construct have been involved in a long and tedious battle which still continues. Within the South Asian region too females have a long history of struggle, the trajectory of which can be traced to the emergence of the female Bhakti poets in the 16th century in the Indian subcontinent. While any form of protest poetry invites penalty in some form from the authority, when it comes to the female voices, discourses invading the body and sexuality further problematises the issue. In the South Asian context, these struggle narratives are various and multi-layered. They have different rationales of origin, varied historiographies andsocio-political consequences, depending on their geopolitical locations but they all together can be brought under the umbrella of intersectional feminist discourses. Whether it be the landais from Afghanistan, miya women writing from Assam, Dalit women’s narratives or narratives of queer women across the region, the modes of protest are against the dominant, monolithic, universalist ideology. The culminating point would be the ethical and humanitarian cartographies of protest narratives leading to formation of closely knit female communities of shared sufferings and solidarities resulting in a positive biopolitical production premised on affective frameworks of care, cooperation and collective political actions.
Within such a theoretical framework, the proposed anthology is interested in exploring the reconfiguration of female voices of protest in contemporary literature and popular culture and invites abstracts on but not limited to the following topics

Exploring various genres of narratives by women, focus may also be
on mixed genre interpretations
Need for such narratives
Socio-political consequences
Feminism and protest/ resistance narratives
Feminist postcolonialist perspectives
Protest, gender and the era of post truth
Queer narratives of protest
Protest shaped by the politics of location
Protest and the politics of belonging
Protest and Biopolitics
Protest and Necropolitics
Protest Memory
Protest and Citizenship Rights
Protest and Life-writings
Protest and Illness narratives/narrative medicine
Protest and Disability Studies
Protest in the age of electronic media
Cultural Representations of Protest (In films)

Submit your abstract of not more than 350 words to protestnarratives@gmail.com by 1st February 2021.
The edited anthology will be published by a reputed international publisher.

Editors

Dr. Nabanita Sengupta
Assistant Professor of English
Sarsuna College
(Affiliated to University of Calcutta)
Kolkata
West Bengal
India

Samrita Sengupta Sinha
Assistant Professor
Department of English
Sophia College for Women (Autonomous)
Mumbai
Maharashtra
India

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Deadline for Submissions, Feb. 1, 2021
Call for Papers

Comic Lives
A special issue of a/b: Auto/Biography Studies
37.2 Spring 2022
www.tandfonline.com/raut

Deadline for Submissions–Feb. 1, 2021

Guest Editors: Laurie McNeill and John David Zuern

Stand-up comics, comedians, and humor writers routinely draw material from their personal lives and play it for laughs. For this special issue of a/b: Auto/Biography Studies, we invite contributors to explore the personal, cultural, political, and ethical ramifications of this practice.
We seek essays examining all forms of comedic self-representation, from live stand-up performances to essay collections and memoirs, and we also encourage authors to reflect on the theoretical and methodological challenges auto/biographical comedy presents to scholars in life writing studies. We aim for a broad international scope and welcome projects that take a comparative approach to comic lives in different cultural contexts, and we particularly invite submissions that take up issues of diversity and inclusion in comedy. Studies of the work of specific comics are also welcome.

Essays should focus on the intersection of the comedic and the auto/biographic in these texts—in other words, on the role of comedians’ personal experiences in their performances and/or writing, and they should situate this work in the particular contexts in which audiences receive it. In many countries, comedians have come to play influential roles as cultural and political commentators, positioning themselves within national debates and taking sides in partisan politics. In doing so, how are they deploying comedy to reinforce or challenge their audiences’ opinions on key issues, and how are they constructing their own personas as models of informed and engaged citizenship?

We hope this special issue will also provide an opportunity for some authors to reflect on the public role of comedy in the Covid-19 pandemic, which has radically altered the conventional formats for live performances. In the United States, for example, social distancing has compelled comedians with popular television programs such as Samantha Bee, Stephen Colbert, and Trevor Noah to broadcast from home, which in turn has compelled them to incorporate aspects of their everyday private lives into their comedy. What are the implications of this fusion of comic performance and life in lockdown for their audiences’ own experience of social distancing and their sense of responsibility for protecting the health of others?

Other topics might include the following:

Comedy and identity: How do identity categories such as race, gender, sexuality, disability, nationality, and citizenship status figure in comedians’ work? How do they use their own alignment with or resistance to these categories to critique prejudice and advocate for inclusivity?

Comedy and trauma: How do comedians use their performances to represent and work through traumatic experiences? How does humor factor into recovery? How does comedy serve as a form of witness and testimony?

Comedy as labor: How do comedians represent the economic dimension of their work? Can comedy be understood as a form of affective labor?

The comic Künstlerroman: How do comedians who have produced memoirs describe the discovery and development of their comedic talent? How do they recount how being funny became an aspect of their self-conceptions?

Career comics: How do older comedians reflect on the course of their professional lives? How do they incorporate the aging process into their material? How have they negotiated their celebrity over time? How have they rebranded themselves in response to criticism and/or shifting social mores?

Comedy and truth: Do the same criteria for truth-telling in other forms of life writing apply to auto/biographical comedy? How (and why) might we identify and assess fiction, faction, fictiveness, and falsification when life stories are played for laughs?

Comedy, relationality, and ethics: How do comedians use their personal relationships with family members, friends, and fellow comedians as material? What are the ethical implications of this practice?

Genres of auto/biographical comedy: How do the affordances of particular modes and media such as live stand-up routines, comedy specials, television programs, YouTube and other social media, graphic memoirs, and books shape comedic self-representation? How do comedians working in various formats inhabit or depart from narrative? What challenges to genre theory does comedy present?

Please submit complete essays up to 7000 words in length—including notes and Works Cited, in Chicago Manual of Style 17 —by February 1, 2021 to both editors: laurie.mcneill@ubc.ca and zuern@hawaii.edu. Please also submit a brief abstract, keywords, and biographical statement with your submission.

Essays submitted for the special issue, but not selected, may be considered general submissions and may be selected for publication. In order to ensure a confidential peer review, remove any identifying information from the essay, including citations that refer to you as the author in the first person.

We welcome the inclusion of images and there are no charges to reprint in color. All images should be submitted as 300dpi tifs. Please submit images both pasted in the body of the essay with captions and submitted as separate files labeled with author last name and figure number. It is the responsibility of the author to procure all image reprint rights prior to publication. We are also able to link to accompanying digital materials from our website and encourage inclusion of these ancillary materials when appropriate.

Please note that acceptance of an essay by the guest editors does not guarantee publication. All submissions will undergo double blind peer review once completed articles are submitted.

About the editors:
Dr. Laurie McNeill is a Professor of Teaching in the Department of English Language and Literatures at the University of British Columbia, studies the production and reception of life narratives in digital and archival spaces. Her recent publications include Online Lives 2.0, a special issue of the journal Biography, co-edited with John David Zuern (2015),  Teaching Lives: Contemporary Pedagogies of Life Narratives, co-edited with Kate Douglas (Routledge, 2017), “Assumed Identity: Writing and Reading Testimony through and as Anne Frank” (Inscribed Identities: Life Writing as Self-Realization, Routledge, 2019), and “Reading Digital Lives Generously,” co-authored with John David Zuern, in Research Methods for Auto/Biography Studies (Routledge, 2019).

John David Zuern is a Professor in the Department of English at the University of Hawaiʻi at Mānoa, where he teaches courses in fiction, life writing, and research methods in literary studies. He is a co-editor of Biography: An Interdisciplinary Quarterly and coordinates the journal’s annual “International Year in Review” feature. His recent publications include Online Lives 2.0, a special issue of the journal Biography, co-edited with Laurie McNeill (2015), “Remedial Materialism: What Can Comparative Literature and Electronic Literature Learn from Each Other?” in Comparative Literature (September 2018), and “Reading Digital Lives Generously,” in Research Methods for Auto/Biography Studies (Routledge 2019), co-authored with Laurie McNeill.

John David Zuern
Professor, Department of English
1733 Donaghho Road
University of Hawai‘i at Mānoa
Honolulu, HI 96822
808-551-7627
fax: 808-956-3083
Pronouns: he, him, his

Deadline for Submissions, January 31, 2021

contact email:

22, 23 & 24 June 2021 (Le Mans University, France)

WAR MEMORIES (2020/21) – Sharing War Memories – From the Military to the Civilian

International Conference initiated by Professor Renée Dickason (Université Rennes 2), Professor  Stéphanie Bélanger (Canadian Institute for Military and Veteran Health Research, Royal Military College of Canada, Kingston, Ontario) and Professor Delphine Letort (Le Mans Université)

“War Memories 2020/21” is delighted to welcome Nobel Peace Prize Laureate Professor Doctor Denis Mukwege as a Guest of Honour.

https://warmem2020.sciencesconf.org/data/pages/CFP_warmem_2020_EN.pdf

War narratives are subject to emphases, orientations and points of view that give a particular flavour to wars fought by populations (anonymously, individually and/or hidden in an organisation, secret or not)  and by the military (from high command to the ‘unknown soldier’). Such accounts evolve with the benefit of hindsight, the writing of history textbooks and the constant (re)interpretations of archives (new or not) and the official version a country wishes to put forward according to its political agendas and visions of patriotism, citizenship and human rights, or its diplomatic or international policy objectives. The narratives of wars vary with the context and the need for men and women to express their inner feelings when faced with the torments and human atrocities of war; they also reflect the place of individuals within a group and the implications of group cohesion within the larger community.

Civilians’ knowledge of the war effort and the involvement of the military is informed by two types of documents: primary sources (letters, emails, photographs, videos, testimonies, trench gazettes, blogs, etc.) provide direct information about the war experienced at an individual level, whereas secondary sources mediate these artefacts by incorporating them into another narrative.

The artefacts of war become the original materials which museums and memorials turn into places of memory, while feature films provide a less direct approach as they often (re)mediate the original accounts of first-hand witnesses through documentary, ethno-fiction, docudrama or more generally through fiction. These documents show a possible encounter between the military and civilian spheres, especially when the two are separated either in time or space.

Civilians learn about past and distant wars through the narratives built on them and through the images produced either by the military themselves, by news reporters embedded with them or following in their footsteps, or by historians. Journalistic records often frame the understanding of war by shining light on events hidden from the public gaze, by illuminating the conflicts or the complicity between civilian witnesses and members of the military. Whether intended to win the ‘hearts and minds’ of the indigenous populations or to denigrate the enemy by reductive stereotyping, military strategies condition how armed forces regard the ‘Other’. Humanitarian groups approach war with a different goal in mind; their representations of war emphasize the dangers for civilian populations trapped by an ongoing conflict and reintroduce human concerns where war technology erases them. The case of civilian hostages is of particular relevance in this context.

This conference aims to explore zones of contact between the military and the civilian worlds – be they real or virtual. Zones of contact extend beyond the battlefields to civilian areas, where the enemy is sometimes conflated with undeclared combatants (especially in the age of terrorism). Soldiers may also find respite in the civilian life that wars disrupt but cannot completely annihilate. The contacts between the military and the civilians are often channeled by professional relationships. Doctors, nurses, drivers, journalists, artists… provide a link between two worlds that outsourcing has brought closer together in the contemporary era.

Both volunteers and conscripts undergo a change of status when they join the armed forces. The transition from the civilian to the military world may be a life-changing event, but it may also become part and parcel of one’s daily rhythm as war can increasingly be pursued without even leaving the home country (for example, with the development of drone technology). How do the military manage to attract civilians into donning the uniform? How do the veterans reintegrate into civilian life and overcome the trauma of waging war, especially when serious injury makes them unfit for further service.

The study of the relationships between the civilian and the military implies research into the artefacts of war, conveying the perception of combat by the military themselves or by the civilians observing them. This relationship is founded on a variety of objects aiming at boosting admiration for war heroes or condemnation of war criminals.

Reality turns into fiction as it becomes a political or romanticized narrative in film and on television, in literature and in the arts – and this transformation illuminates the civilians’ perception of war as well as soldiers’ perception of themselves.

In 2021, to mark the tenth year anniversary of the active and fruitful collaboration on the theme of war memories, our research groups – ACE (Rennes), the Royal Military College of Canada (Kingston, Ontario) and 3L.AM (Le Mans) – would like to offer researchers and members of civil society the opportunity to participate in workshop discussions on the subject of sexual violence and abuse perpetuated as a weapon of war, and on the fate of children in wartime, in addition to the themes in the non-exhaustive list given below.

Other possible workshops:
–  Remembering, transmitting war (commemorations, textbooks (paper or e-learning), museums…) and narrating war (children’s literature, graphic novels, essays, short stories, drama, poetry…)
– Drawing, photographing or filming war (documentaries, docu-fictions, ethno-fiction)
– Medialization of war (news bulletins, news reports, blogs, social media, websites…)
– War and the human dimension: testimonies of trauma and the management of emotions (from military to civilian points of view)
–  Childhood in wartime: mobilization of children in armed conflicts; staging children characters in, fictional and non-fictional, war narratives; writing or representing war for a young public
– Women civilians and the military in war; women as war weapons and victims

With keynote speeches by:
Jonathan Bignell (Professor of Television and Film, Reading University, United Kingdom)
Keynote provisional  title: Television and Ephemerality: Remembering and Forgetting War

Daniel Palmieri (Historian, International Committee of the Red Cross, Geneva, Switzerland)
Keynote provisional title: “Now, the World without me”.
Humanitarians and Sexual Violence in Time of War

Stéphanie Bélanger (Professor, Royal Military College of Canada, Kingston, Ontario)
Keynote provisional title: Voice or Loyalty? Dealing with Memories in the Armed Forces

Terence McSWEENEY (Southampton/London, UK)
Keynote provisional title: Film as Cultural Battleground: War, Conflict and Human Rights in Contemporary Global Cinema

SUBMISSION DEADLINE : 30 JANUARY 2021

All submissions will be considered after the deadline of 30 January 2021.

Please send your abstract (350 words) and biography (200 words) directly to the conference website. You will need to create an account in the Submission section before filling up the fields required and uploading your document (see information on the conference website).

We will not be able to give you any news concerning the acceptance of your work before 30 January 2021.

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Deadline for Submissions, Jan. 30, 2021

Making a Murderer: True Crime in Contemporary American Popular Culture

Crime Fiction Studies

“Everybody’s fascinated with the notion that there is a cause and effect,” claims notorious serial killer Ted Bundy, quoted in the Netflix original, Conversations with a Killer: The Ted Bundy Tapes (2019) – that we can “put our finger on it,” and reassuringly rationalise the genesis of the uniquely modern phenomenon of the American serial killer. But when there is “absolutely nothing” in the background of a serial murderer that would lead one to believe they were “capable of committing murder,” how do we begin to acclimatise ourselves to this violent defect of contemporary history? More challengingly, how do we bring depth to our collective portrait of what constitutes a murderer, so that we may then self-exempt our compulsion to look more closely at these perversely familiar figures?

Over the last 50 years, a plethora of books, magazines, film and television adaptations on the subject of true crime has captured – and held – the public imagination in a vice-like grip, ultimately achieving cult status in postwar-American society while furthermore granting the white male serial killer the kind of cultural capital usually awarded only to celebrities. With the enormous popularity of such series as Making a Murderer (2015) and Mindhunter (2017), however, it seems like now, more than ever, the uneasy question of why we continue to glorify killers by inserting them into mainstream media – and what exactly the appeal of this enduring genre and its mythologization of ultraviolent masculinities tells us about ‘who we are’ and the nature of American society itself – has acquired a new level of urgency, which, in turn, requires new depths of understanding. Likewise, with the growing Netflixisation of true crime, and the narrativization of true crime more broadly, now is the time to establish a study that evaluates the politics of the ever-increasing fine line between actual crime documentaries versus fictional shows that reference true crime.

Following the University of Edinburgh’s popular ‘True Crime’ workshop series, organised by Harriet Stilley and Victoria Madden and funded by the British Association for American Studies, we are delighted to announce the call for papers for ‘Making a Murderer: True Crime in Contemporary American Popular Culture.’ This special issue of the Edinburgh University Press Crime Fiction Studies journal capitalises on a recent swell of public interest in true crime narratives, offering informed analyses of the styles of violence, intimacy, sociality, and belief that constitute the abnormal normality of the world of true crime in the American cultural imagination. Specifically, this collection of essays will explore and evaluate the multiple, contested social and/or psychological significances of murderous crime in a range of discourses from the early twenty-first century, including – but not restricted to – film and television. In doing so, we seek to address a host of difficult moral, ethical, and social questions surrounding the study of true crime – questions that force us to confront both the cultural machinery of the genre as well as our role as consumers within this framework and yet, paradoxically, are often too easily ignored. We are thus asking for abstracts for this special issue that consider the correlations between recent true crime narratives and the broader culture within which they have become gravely significant in order to shed some more light on this important but often neglected area of study.

Possible topics for this special issue may include, but are in no way limited to:

  • True Crime and Neflix (the narrativisation of true crime more broadly)
  • True Crime as Contemporary Gothic Horror
  • The Legacy of the White Male Serial Killer
  • True Crime and Celebrity Culture
  • Hypermasculine Violence and Female ‘Victimhood’
  • The Female ‘Monster’ versus the Male ‘Icon’ (and the gender implications of this more broadly)
  • Abnormality versus Normality (and conceptions of the American family)
  • True Crime and Representations of Race

Abstracts of 400 words are due by 31st January 2021 and finished articles of 6500 words will be due in July 2021. This issue will be published in March 2022.

Please send abstracts and a biographical statement of 150 words to the editors Harriet Stilley and Victoria Madden at makingamurderercfs@gmail.com. We welcome all questions and inquiries.

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Wednesday 20 January 7:00 pm GMT

 Zoom Registration page link: Webinar Registration – Zoom

 This Spring Term, the Royal Drawing School’s Online Lecture Series hosts Creative Conversations; dialogues between artists, curators and writers, live on Wednesday evenings. The series is curated by Dr Claudia Tobin, lectures are held at 7pm live on Zoom.
Artist and activist Bobby Baker will be in-conversation with artist and writer Dr Sarah Lightman about a life of drawing. They will talk about how we have claimed time and space to make work, as women and mothers.
Bobby Baker studied painting at Saint Martins School of Art (now Central Saint Martins) between 1968-72, but felt disillusioned by the elitist and chauvinist culture of the art world, where she saw very few visible women artists. “Then I had this sudden and exciting idea – to make art out of cake. It was so funny, so rebellious, so interesting in its newness. And so liberating to discover my own language to make work about what it was to be a young woman in the modern world. In those days it was so normal to be patronised and underestimated as a woman that I found the only way to deal with it was by using humour and subversion in my work.”She became a performance artist but retained her huge love of the visual arts, and drawing in particular. She has made drawings in many places and on many surfaces throughout her career: on walls as part of installations, story boards for films, sketch books, and has made many diaries of drawings about her daily life – drawing wherever she is – at home, on holiday, in waiting rooms and on tour. Last year COVID propelled her into borrowing money to build a studio in her garden to finally have the space to focus on drawing, entirely. Baker’s feminist practice champions intersectionality and expressly aims to focus on the undervalued and stigmatised aspects of women’s daily lives. In a career spanning four decades, Baker has been widely commissioned, including by WOW – Women of the World Festival; LIFT; and the London 2012 Cultural Olympiad. Her highly acclaimed exhibition, Diary Drawings: Mental Illness and Me, premiered at the Wellcome Collection, London, in 2009 and continues to tours globally. The accompanying book of the same name won the MIND Book of the Year 2011. Baker’s most recent projects include the major commission Great & Tiny War for the 14-18 NOW arts programme for the First World War centenary. This site-specific work took over an entire house in Newcastle at the end of 2018, and in 2019, won Best Event Tyneside at the Journal Culture Awards. In 2019, La Casa Encendida in Madrid held a retrospective of Baker’s work, Tarros de Chutney. As part of this, Baker launched her new and on-going project: EPIC DOMESTIC – a Domestic Revolutionary Party fit for the Twenty First Century.
Baker’s most recent projects include the major commission Great & Tiny War for the 14-18 NOW arts programme for the First World War centenary. This site-specific work took over an entire house in Newcastle at the end of 2018, and in 2019, won Best Event Tyneside at the Journal Culture Awards. In 2019, La Casa Encendida in Madrid held a retrospective of Baker’s work, Tarros de Chutney. As part of this, Baker launched her new and on-going project: EPIC DOMESTIC – a Domestic Revolutionary Party fit for the Twenty First Century.
Dr. Sarah Lightman (b.1975) is a London-based artist and writer, and Honorary Research Fellow at Birkbeck, University of London. For the last 20 years her research and artwork has focussed on women’s visual memoirs. She studied at Central St Martin’s, The Slade School of Fine Art and the University of Glasgow. Her publications include Graphic Details: Jewish Women’s Confessional Comics in Essays and Interviews (McFarland 2014), and her autobiographical graphic novel, The Book of Sarah (Myriad Editions and Penn State University Press 2019). Over the last 12 years, she has published her writings on Bobby Baker’s work in books and journals, and in 2019 she was commissioned by The Wellcome Trust and Daily Life Ltd. to write the catalogue essay Great & Tiny War. She teaches Graphic Narratives at the Royal Drawing School.
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Deadline for Submissions, January 16, 2020

The Howard University Graduate English Student Association’s 5th Annual Conference

Forging Identities: Agency, Voice, and Representation in African American Literature and Beyond

Deadline for Submissions: January 16, 2021

Conference Date: March 26, 2021

Conference Location: Zoom

Keynote Speaker: Dr. Keith D. Leonard, Author of Fettered Genius

In her 1993 Nobel Lecture, the late Toni Morrison said, “Language alone protects us from the scariness of things with no names. Language alone is meditation.” Throughout the history of the African diaspora, Black people have demonstrated the power of language and cultural narratives to (re)envision, (re)imagine, and (re)articulate notions of identity. To interrogate and investigate the complex relationship between narratives of artistic production and identity formation, The Graduate English Student Association invites presentations, panels, and roundtables for its fifth annual conference on the theme Forging Identities: Agency, Voice, and Representation in African American Literature and Beyond.

We ask participants to consider how art and language both mediate the imposition of identity and continually birth new forms of identifying. How do literature and cultural creations aid in the crafting of multilayered, complex identities that represent Blackness beyond binaries and monoliths? How do Black artists both confront their oppression and envision their liberation? This conference, then, invites interrogation of cultural production from the Black Diaspora (e.g., music, drama, visual art, literature, and so on) as it conveys discourse on notions of identity (e.g., race, class, gender, sexuality, and so on).

Papers from a variety of disciplines and interdisciplinary approaches will be considered. Possible fields of study include literature, including African, African Amerian, and Caribbean literatures; history, performance studies, women and gender studies, and so forth. Possible topics include but are not limited to the following: identity formation in a transnational context; expressions of intersectionality within artistic practice; rhetorics of identity, including digital rhetoric; performing identity in virtual spaces; interrogating diversity, identity, and color blindness in “post”-racial America; identifying through speech acts, articulations, and spoken word; controlling images and misrepresentation; social media and autobiographical writing; navigating the intersections: race, gender, and sexuality; diversity and education, including literacy.

Send a 250-word abstract and a short bio to gesasecretary@gmail.com by the January 16, 2021.

Deadline for Submissions, January 15, 2020

Women of the Harlem Renaissance

Society for the Study of American Women Writers

Triennial Conference, Baltimore, Nov. 4-7, 2021

This panel will explore the multiple ways women participated in the Harlem Renaissance, a period during which women writers were particularly prominent. Paper proposals are welcome on women writing in any genre—novels, stories, poetry, journalism, drama, memoir, letters—as well as across genres. Possible topics include:

  • women’s networks during the Harlem Renaissance
  • the urban and the rural
  • Harlem and the nation
  • ecocritical perspectives on the Harlem Renaissance
  • women’s visibility and invisibility
  • lesser known women of the Harlem Renaissance
  • the Harlem Renaissance in the archives
  • teaching texts from the Harlem Renaissance
  • literature and other arts
  • abilities and disabilities in the Harlem Renaissance

Please send proposals to Lynn Domina at ldomina@nmu.edu.

Deadline: Jan. 15, 2021

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Deadline for Submissions, January 15, 2021

What do we talk about when we talk about queer death? Call for short contributions (Whatever Journal, issue 4))

Whatever. A Transdisciplinary Journal of Queer Theories and Studies (https://whatever.cirque.unipi.it/) is inviting submissions for short contributions (500-2000 words) to be collected in a multi-authored article entitled “What do we talk about when we talk about queer death?”. The article will introduce the themed section Queer thanatologies (edited by A.C. Corradino, C. Dell’Aversano, R. Langhi and M. Petricola) that will appear in Whatever’s next issue in summer 2021.

Queer death studies has recently emerged as a transdisciplinary field of inquiry investigating the cultural performances related to death, dying, grief, and disposal from the perspective of queer theory, defined as a hermeneutical stance whose premises could be summed up as follows: «queer states that any construction of identity (including LGBT ones) is a performance constituting a subject which does not “exist” prior to it, and encourages to bring into being (both as objects of desire, of fantasy and of theoretical reflection and as concrete existential and political possibilities) alternative modes of performance» (Dell’Aversano 2010: 74-75). Driven by the will to «reconceptualis[e] death, dying and mourning in relentlessly norm-critical ways» (Radomska, Mehrabi, and Lykke 2020: 82), the field of queer death studies is developing and expanding in a number of directions. Some center on an «overall attention to necropolitics and necropowers» (ibidem: 85); some focus on peripheral, non-normative, and anti-normative identities, among which are those falling within the LGBT+ spectrum; some devote to non-humans as both subjects and objects of grief; some explore the construction of corpses as objects of desire in literature and the arts, as well as their position in spiritual and other kinds of political activism; some are grounded in category theory and the social sciences and aimed at the theoretical deconstruction of the life/death polarity itself, considered as one of the most fundamental constructs for the development of every human culture; some critically-affirmatively take a posthuman and/or decolonial point of departure in life/death, considered as a spiritual-material continuum, encouraging an ecophilosophical focus on the vibrancies of all non/living matter beyond the dualisms (mind-soul/body, culture/nature, human/non-human), cherished by Western modernity.

We encourage scholars, activists, thanatologists, and other queer death friends working in any field to contribute to the ongoing development of queer death studies by answering the question “what do we talk about when we talk about queer death?” in a bite-sized format. Your theoretical reflections, case studies, notes, and thoughts are invaluable for mapping this ever-expanding field.

Short contributions should be sent to Mattia Petricola (mattia.petricola@gmail.com) by January 15, 2021. For any question or information, for expressing your interest in this publication or discussing your contribution, do not hesitate to get in touch.

References

Dell’Aversano, Carmen. 2010. ‘The Love Whose Name Cannot Be Spoken: Queering the Human-Animal Bond’. Journal for Critical Animal Studies VIII (1/2): 73–125.

http://www.criticalanimalstudies.org/wp-content/uploads/2009/09/JCAS-Vol-VIII-Issue-I-and-II-2010-Full-Issue1.pdf.

Radomska, Marietta, Tara Mehrabi, and Nina Lykke. 2020. ‘Queer Death Studies: Death, Dying and Mourning from a Queerfeminist Perspective’. Australian Feminist Studies 35 (104): 81–100.

https://doi.org/10.1080/08164649.2020.1811952.

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Deadline for Submissions: January 15, 2021

Call for Papers: Virtual Conference

HIDDEN HISTORIES: WOMEN AND SCIENCE IN THE TWENTIETH CENTURY

Organizers:

Dr Amelia Bonea (University of Heidelberg) & Dr Irina Nastasă-Matei (University of Bucharest)

7-8 May 2021

Submission deadline: 15 January 2021

The twentieth century has often been hailed as a period when women became important in science, but their participation in scientific inquiry and practice often remains buried, quite literally, in the footnotes of specialist publications and studies of the history of science. Even today, national statistics about women in science are not always easily available. The data that does exist suggests there is significant regional and cultural variation in how women engage with science globally. Recent UNESCO surveys, for example, point to a contrast between the former Soviet republics of Central Asia, where almost half of the researchers employed in science are female, and East, South and West Asia, where that proportion drops significantly to 23 percent or less. Similarly, in Eastern European countries female researchers tend to be better represented in science fields than their Western European counterparts. Perhaps ironically, that relationship is reversed when we turn our attention to studies of the history of science in the twentieth century: the scientific pursuits of women in Western contexts have consistently enjoyed more visibility than those in regions like Africa, Asia or Eastern Europe. The Biographical Dictionary of Women in Science (2000) is emblematic of these trends, listing as it does a mere 17 scientists from India, China and Japan, as opposed to more than 500 from Great Britain, and featuring entries up to the 1950s, a period that roughly overlaps with decolonization in Asia.

This two-day virtual conference, accompanied by a roundtable discussion, brings together scholars from different disciplinary backgrounds to address two main, interrelated questions:

  • How did women contribute to the making and communication of scientific knowledge in the twentieth century?
  • How do we study the history of women in science during this period?

We begin from the premise that encounters with science happened in a multitude of settings and that statistical data, while essential, provides only a superficial insight into the myriad experiences of women in science and, indeed, what science itself meant in different regional and cultural contexts. Our aim is to move beyond the popular ‘heroine’ model to investigate the many hidden figures who worked not only as professional scientists, but also at the periphery and even outside of scientific communities as lab technicians, amateur scientists, school teachers, librarians, journalists or science writers. In so doing, we hope to raise new questions and formulate new methods for writing the history of women in science. What, for example, do textbooks, forgotten footnotes in scientific papers, conversations about female colleagues in male scientists’ correspondence or photographs of Indian women toiling at archaeological sites teach us about the history of women in science?

Possible topics include:

  • Gender and the historiography of science: theories, methods and archives
  • Pedagogy of science: government policies around science and education, women in tertiary education, science clubs, science in the home, science education in religious institutions
  • Cultures of scientific practice: laboratories, fieldwork, secondary school teaching, scientific instruments, relationship between professional and amateur science
  • Scientific communication: scientific periodicals, mass media and science journalism, museum work, popular science writing, photography, the arts
  • Representations of women and gender in science
  • Women and scientific networks: personal and professional networks, associational culture

Keynote speakers: Prof Mariko Ogawa (Mie University) & Prof Andrea Pető (CEU)

We welcome contributions from both experienced and early career scholars. We encourage especially scholars working in/on countries and regions that are less represented to apply, in order to promote a global dialogue on this matter. Please send your proposals for 20-minute papers (abstracts of max. 300 words), along with a brief biographical note, to womeninscience2021@gmail.com by the deadline of 15 January 2021. Successful applicants will be notified by 15 February 2021. The conference will be held virtually via Zoom or heiCONF and participants will have the option of presenting their papers live or in pre-recorded format. For queries please do not hesitate to contact the organizers at the above email address.

Contact Info:

Dr Amelia Bonea (University of Heidelberg) & Dr Irina Nastasă-Matei (University of Bucharest)

womeninscience2021@gmail.com

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Deadline for Submissions January 10, 2021

Call for Papers

Samyukta: A Journal of Gender and Culture (ISSN: 2393-8013)

January, 2021 issue (online)

Special number on Life Writing

Life Writing in its conceptual, creative or hands-on versions articulates very intriguing reconfigurations. Writing about one’s own life/lives, writing about the lives of others- real or imagined, the living vs the not so much alive or the non-living has been loaded with the complexities of agency, perspective and cultural currency. The politics of non-human narratives in the age of the Anthropocene has evolved into an entire discipline. One has also to be mindful about the word writing and what sort of rhetoric and knowledge it entails and presupposes respectively. Lives ‘written’ through art, music, sometimes through graffiti or word of mouth has repopulated the significations of textuality.

Whose are these lives that are being presented? Why? By whom? And what facets of these lives swim to the surface? These questions have never been satisfactorily answered. And neither should they be. Because Life and the many meanings it has acquired does not allow one to settle for answers. Rather, the questions present interesting possibilities regarding the matrices and impulses that govern the world over time. The need to chronicle, to confess, profess, clarify, edify or to preserve for posterity, the possibilities, motives, methods are limitless, leading Life Writing to draw from diverse disciplines and speaks many dialects of knowledge.

This edition of Samyukta: A Journal of Gender and Culture looks at the possibilities that Life Writing presents- as an elastic genre, as an ongoing conversation between the agencies governing human interaction, as power, as knowledge and other associated slants and angles.

We are interested in critical examinations of how Life Writing evolved over time from being read as a clutch of diaries to the intense revelation of cultural and historic connects between philosophies, religions, languages and selves. Exclusionary politics and the subtle art of self- censorship are concerns that draw greater attention to glaring absences. These concerns also establish delicate bridges with the many positions that truths occupy -personally, philosophically, ethically and theologically. Intersections between the global, the local and the Anglophone and the issues of economic viability, visibility and contemporary geopolitics govern who gets written and read. The agency presented by social media to narrate lives and the issues of digital divide add yet another angle to the discourse. The way that Life Writing places people, the politics of gender and power, the stories of movements, nationhood and social systems through the accounts of the self and the times throws the spotlight on the many modernities that we experience and live through today.

Possible topics could include but are not limited to:

The archeology of Life Writing

The teleological, narrative and spatial politics of Life Writing

The many Subjectivities of Life Writing

The nuances of Text and Writing in Life Writing

Decoding ‘Life’ in Life Writing

Gender and Life Writing

Writing Lives, Writing History

Reading Social Movements through Life Writing

Reading Ideologies through Life Writing

Writing Life through Art: Performing Lives.

Survivor narratives

Writing the non-human

Life Writing and Social Media

Translating Vernacular Lives: Who gets Translated and Why?

Biopics as Life Writing

An abstract of 200 words should be sent to samyuktainfo@gmail.com by 10 January 2021

Selected abstracts will be intimated by 15 January 2021.

The full paper must be sent to samyuktainfo@gmail.com by 25 January 2021.

The paper must be between 3000-5000 words, in Times New Roman size 12 and must comply with the stipulations of the MLA Handbook (8th edition).

Guest Editor for the issue is Kukku Xavier, Assistant Professor, Department of English, All Saints’ College, Thiruvananthapuram.

Samyukta: A Journal of Gender & Culture is a bi-annual, peer-reviewed, academic journal published from Thiruvananthapuram, Kerala, India, since January 2001. Through incisive questioning of entrenched stances and deep biases, the journal has by now emerged as a leading publication from India in the field of Gender and Cultural Studies. Acknowledging the fact that our thinking, language and actions are defined by culture, papers published in Samyukta have consistently examined the cultural dimensions that impact gender roles. More recently the journal has foregrounded  the ethics of sexual difference in its papers as a matter of policy. A galaxy of scholars from India and abroad, Margot Badran, Uma Chakravarti, Imrana Qadeer, Sneja Gunew, Ritu Menon, Ilina Sen to name a few, have acted as Guest Editors for the journal.

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Deadline for Submissions, Jan. 8, 2021

The Art of Forgetting: Memory, Loss, and Revision

Department of English, Fourteenth Graduate Student Conference,

University of Ottawa, March 5-7, 2021

(1/8/2021; 3/5-7/2021)

The loss of memory can extend from the deeply personal to broader social and collective experiences. The art of ‘forgetting,’ or ars oblivionalis, allows us to reflect on how we memorialize this loss through both private and public monuments to our memories and shared pasts. Umberto Eco believed an ars oblivionalis was impossible: he maintained that deliberate forgetting couldn’t be achieved and that any framework erected to understand such an art would, paradoxically, forestall the natural processes of oblivion. For Nietzsche, ‘active’ forgetting could only be practiced as selective remembering. Nevertheless, many writers and theorists have examined forgetting in diverse and productive ways. In Forgetful Remembrance (2018), Guy Beiner has argued that forgetting is feasible, but Eco was not entirely wrong: forgetting exercises do not result in total obliteration of memory, but in its diminution. Forgetting therefore gives expression to the ethical responsibility memorializing confers on us in the present.

Forgetting exerts a considerable influence on storytelling. Writing about the holocaust, Paul Ricoeur has cautioned that forgetting will “kill the victims twice,” but remembering can “prevent life stories from becoming banal” (Figuring The Sacred 290). M. NourbeSe Philip sees significance in the “residue of memory” which remains after we forget, and draws an essential analogy between loss, what is left, and “the attempted erasure of the memories of the Africans brought as slaves to the New World”  (“A Long-Memoried Woman” 146-147). Dionne Brand, by contrast, narrates the conflict arising from deliberately forgetting trauma in her novel In Another Place, Not Here (1996). Forgetting in Yoko Ogawa’s novel The Memory Police (1994) creates possibilities for exploring the power of memory and the trauma of loss. These areas of inquiry prompt us to ask what further possibilities the art of forgetting generates.

For this year’s conference we hope to consider the ethical responsibility for remembrance and to probe the relationship between memory and forgetting generally. Broadly, we ask what is the textual relationship between cultural memory and forgetting? Do approaches to understanding ‘forgetting’ change when we examine collective remembrance rather than individual memory? Why do different groups of people interpret the same events differently—even when the facts are not disputed? What is the utility in exploring trauma and violence when we risk the activation of painful memories? What remembrance do we owe people we have lost and how is that reflected in the monuments we create to commemorate them? How does forgetting shape history, our stories, and narrative?

Potential topics can include, but are not limited to:

  • “Forgetting” as an aspect of memory
  • Collective Memory and Social Forgetting
  • Loss of Identity, Culture, and Geographical or Historical space, e.g. diaspora studies
  • Nationalism and Propaganda
  • Monuments, Commemoration, and Remembrance
  • Holocaust / Shoah
  • “Fake news” and Rumour
  • Narratology and the unreliable narrator
  • Vernacular/Alternative Historiography
  • Performance and Oral Histories
  • Uncovering untold histories (queer & BIPOC narratives, etc.)
  • Erasure
  • Archival studies
  • “Forgotten” stories, “Lost” narratives and experiences, e.g. disability studies
  • Memoir Studies
  • Trauma Theory, Psychoanalysis
  • Dementia and mental health narratives
  • Episodic memory/Misremembering
  • Sites of Oblivion
  • Literature of Memory / Mnemotechnic literature
  • Active Forgetting
  • Testimony Literature
  • Time & temporality

The EGSA invites proposals from graduate students and emerging and established academics working in any discipline, period, and geographical region to consider the art of forgetting in its various formulations. Please send 250-word abstracts and a short bio by 8 January 2021 to uottawa.conference@gmail.com.

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Deadline for Submissions, January 6, 2021

CFP: 2021 Popular Culture Association Annual (PCA) Conference–Biographies Area: Boston, MA, June 2-5, 2021: Submission Deadline Extension (1/6/21)

The Biographies Area is soliciting papers that examine the connections between biography and popular culture. Papers and full panel presentations regarding any aspect of popular culture and biography are encouraged. Potential topics might include:

– Biography and entertainment, art, music, theater
– Biography and film
– Biography and criminal justice
– Television programs about biography
– Biography and urban legends
– Biography and folklore
– Biography and literature
– Scholarly Biography
– Controversial Biography
– Psychoanalysis and Biography
– Historical Biography
– Political Biography
– Autobiography

Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session.  Presentations should not exceed 20 minutes. The deadline for submissions has been extended to January 6, 2021.

The Popular Culture Association is committed to holding the conference in June 2021. Given recent events, there will likely be a hybrid/virtual component.

To submit an abstract, please visit:
https://pcaaca.org/conference/submitting-paper-proposal-pca-conference

Submissions will only be accepted through the PCA website. Individuals must be current, paid members to submit to the conference.

Please direct any queries to the Biographies Area Chair:

Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries
Las Vegas, NV 89154
susie.skarl@unlv.edu OR susieskarl@gmail.com

Contact Info:

Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries
4505 S. Maryland Pkway. MS 7014
Las Vegas, NV 89154

Contact Email:

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Deadline for Submissions, December 30, 2020

Dissident self-narratives: radical and queer life writing

A Special Issue of Synthesis Journal   (12/30/2020)

Life writing is often considered to endorse a universalist liberal humanist ethics that encompasses a broad spectrum that goes from a neoliberal emphasis on self-sufficiency to theories of care that highlight our common vulnerability and interdependence. This universalist humanist ethics, even in its most progressive forms, may blunt life writing’s radical edge and even participate in the silencing and oppression of subaltern beings that fall outside its scope. Thus, diseased, displaced, dissenting, dis-integrated autobiographical voices and life-writing’s dissident potential and radical, queer promises need to be reassessed and reclaimed.

This special issue aims to examine critical and anti-normative explorations of the self as they become manifest in contemporary but also older forms of life writing that have challenged hegemonic discourses shaping human subjectivity, the sexual order and the political status quo. For instance, Marguerite Yourcenar’s ecological decentering of the human race and deconstruction of heteronormativity might outweigh the more traditional elements in her autobiographical triptych. In order to yield its full radical and oppositional possibilities, life writing often embraces public and private chaos and shuns the poise of hindsight. For instance, Louis MacNeice or Klaus Mann write their autobiographies during the Second World War, to foreground, rather than resolve, trauma, madness and the death-drive. Marginality, diseased bodies and ubiquitous death are pervading themes in the autobiographical works of Hervé Guibert, Derek Jarman, David B. Feinberg and Guillaume Dustan, whose writings stand on the threshold between testimony and political activism. As they try to survive AIDS, while also facing the social stigma associated with queer sexualities, they take to task liberal, compassionate readers, and construct a subaltern counter-public of queer alter egos.  Earlier, Claude Cahun’s fragmented Disavowals or René Crevel’s “inner panoramas” have wreaked havoc in “the old logical-realistic attic” and challenged not only the confessional tradition but also the binary structure of rational discourse. Another form of critical and anti-normative exploration of the self can be found in the way Roland Barthes keeps at bay psychological narratives of healing and mourning. More recently, in his account of his F to M transition through rogue self-medication, Paul B. Preciado bypasses psychology in order to foreground the biopolitical dimension of subjects shaped and invented by media images and pharmaceutical molecules, but also to map out possibilities of micro-resistance. In the different context of North-American structural racism, John Wideman’s “black rage” and multi-layered writing eschew a personal linear narrative of self-made success and integration.

While foregrounding certain writers standing at the margins of the current academic literary canon, this special issue also draws attention to the more highly profiled writers who can also be read as voices of dissent that oppose the tenets of liberal humanism. We invite submissions that examine life writing that disrupts canonical autobiographical paradigms that are informed by the nineteenth-century Bildungsroman, which has often centered on a socially integrated narrator who looks back with retrospective wisdom, pride, regret or nostalgia, consolidating thereby an identity grounded in dominant conceptions of what a life, a self and a reading public should be like. We welcome contributions that discuss the ways by which life writing challenges hegemonic paradigms of self-knowledge, subjectivity and reader reception, by radically questioning gender, racial and class norms.

–Abstracts of 300 words should be submitted to Aude Haffen at marie-aude.haffen@univ-montp3.fr andsynthesisjournal2008@gmail.com by 20 December 2020.

–Notification of acceptance will be delivered by 11 January 2021.

–Accepted articles are to be submitted by 30 June 2021.

–Final articles should be 6,000-9,000 words long and include an abstract of no more than 300 words.

Contact Info:

All enquiries regarding this issue should be sent to the guest editor, Aude Haffen, at marie-aude.haffen@univ-montp3.fr.

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Deadline for Submissions: 15 December 2020.

World Literature and the Minor: Figuration, Circulation, Translation” (12/15/2020; 5/6-7/2021) University of Leuven, Belgium (Online)

Conference website
https://www.arts.kuleuven.be/world-literature-and-the-minor-figuration-circulation-translation

Call for papers (abridged version)
The conference “World Literature and the Minor: Figuration, Circulation, Translation” will explore the multifaceted meanings of the minor from different disciplinary perspectives—as it is represented in literary texts (figuration), as it inflects patterns of mobility and reception (circulation), and as it marks processes of linguistic and cultural transfer (translation). The conference will work towards a critical, more inclusive understanding of the minor, both conceptually and methodologically.

Deadline for abstract submission: 15 December 2020. Please send your proposal to minorliterature@kuleuven.be

Keynote speakers
Michael Cronin (Trinity College Dublin)
B. Venkat Mani (UW-Madison)
Francesca Orsini (SOAS)
Lyndsey Stonebridge (Birmingham)

Online format
In order to stimulate as much interaction as possible, the conference panels will consist of small working groups based on pre-circulated papers. The participants will have 5 minutes to summarize their paper. The presentations will be followed by a short response and a general discussion.

We plan to publish a selection of the papers in a thematic special journal issue and a book. The aim of the discussions is to establish common threads between the different topics and to work towards expanded versions of the papers suitable for publication.

Important dates
15 December 2020: deadline for abstract submission
15 January 2021: notification of acceptance
1 March 2021: deadline for online registration
20 April 2021: deadline for paper submission
6-7 May 2021: conference

Contact email: nuria.codina@kuleuven.be

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Deadline for Submissions: 15 December 2020

Narrative Knowing in Heritage and Travel Online Conference

December 15, 2020 / May 27, 2021

Plymouth

Subject Fields:
Architecture and Architectural History, French History / Studies, Geography, German History / Studies, Literature

Writers such as W G Sebald and Sven Lindqvist employed literary travel writing to emotionally and psychologically translate their fieldwork experiences into their writings about place, while Walter Benjamin combined ideas of narrative knowing with practices that offer public engagement and impact for his ideas. This conference explores how methods of contemporary literary travel writing can be brought into the work of academic researchers, writers and professionals in the fields of cultural heritage interpretation.

Proposals for papers are invited from researchers and from heritage and tourism practitioners that explore narrative non-fiction as a literary form or as professional practice for writing about place. Established academics and postgraduate or doctoral researchers are encouraged to submit their proposals. Further, pedagogic approaches to teaching interpretative and writing practices for these fields are also encouraged.

We are delighted to announce our Keynote speaker, literary travel writer and pyschogeographer Gareth E Rees, author of Unofficial Britain: Journeys through Unexpected Places (2020), Carpark Life (2019) and the Marshland: Dreams and Nightmares on the edge of London (2013).
We expect to publish an edited collection of presented papers.
Deadline for Proposals is midnight UTC on December 15, 2020.

Proposals must include the title of the paper, author’s name, email and affiliation. Please include a description of the paper in up to 300 words plus two or three indicative bibliographic references.

Please email proposals to: Dr Charlie Mansfield, Co-Director, Cornerstone Heritage Research Centre, University of Plymouth. Email charlie.mansfield@plymouth.ac.uk
In addition, the conference plans to display posters digitally, in A0-size, single-slide landscape format in PowerPoint, for delegates to download and view offline. Please propose these by email in a Word document with the title of the poster, name, email and affiliation and brief description of the work plus two indicative bibliographic references.

Conference language: English. Zoom will be used.

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Announcement: Call-for-Papers

Deadline: December 15, 2020

This call is for submissions for an international edited collection entitled Taking Control: the critical and creative uses of digital tools in the now, the foreseeable future, and beyond, in screen, literature, and the visual arts.

Taking Control seeks to examine the current uses, and the potential for expansion and extension, and possible future uses of AI in relation to screen and literature and visual culture texts and narratives; as well as the little explored angle of cultural criticism and cultural meaning in those human-AI assisted productions.

Suggestions for potential contributions to Taking Control are: how the use of AI in these productions may sharpen, and ask for answers to, big questions that intersect with our society and environment and worlds; encourage further research that opens new possibilities as well as an open-mindedness in the quest for a deeper understanding; create platforms that cross cultures and borders, to become inter- and multidisciplinary; provide immediate access to resources that we can trust to provide accurate information, and that is enriching and productive; and bring to the table a common “language” that can create a shared experience, with the potential to cross borders into other disciplines, and sustain our cultural heritage. The aim of Taking Control is to highlight the human-AI blend in creativity as a vibrant multidisciplinary thematic area where we urgently need better understanding and clear parameters to judge success and failure.

Technology can be misused, yet in the human-AI blend humans have the power to intervene. In these interactions, there is the potential to take things to a different level. The power of the human, the ability to think differently, and critically and creatively, together with the technical abilities of the immediate computer for holding, sorting, and providing masses of big data, hold out the possibility of expanded human creativity. When you choose and use information fairly, it makes the outcome compelling and accurate. AI affects what people look for; what they enter, and how they respond, and what that reveals and changes about the people, can affect our societies and cultures. Wherever you add questions about our environment, for instance, AI it sharpens it so we can relate to it.  Thus, how it relates to the human experience, to our world, and human society, much depends on how we manage it, where we take it and what we do with it.

Questions remain: In what ways can human-AI assisted screen, literature and visual culture texts and narratives expand, grow, and bring deeper understanding of ourselves, our worlds, our environment, our culture and society, and bring about change?  How do these works address cultural criticism, and social and cultural meanings, and add to our understanding of our cultures and society? What is the potential for exploring human experience and that connect to our world, and the possible import of these productions for the future? Admittedly, there are differing views and opinions on the future of AI. Some think an Artificial General Intelligence  can exist and others think not. What does all this mean for our future society and culture?
At this initial stage, in lieu of “chapters,” this proposed work, Taking Control, calls for extended abstracts for consideration for inclusion in the book.
Submission instructions:

  1. 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.)

  1. 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.
  2. To be considered, abstracts must be written in English, and submitted as a Word document.
  3. When writing your abstract use Times New Roman point 12,and 1.15 spacing.
  4. 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.
  5. Use the Chicago Manual of Style 16th Edition.
  6. Since this work is for Palgrave Macmillan UK, please use English spelling not American English spelling.
  7. Use endnotes not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible.
  8. 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.

  1. Please send your abstract and your documents as attachments to an email. At the same time as submitting your extended abstract, in separate documents please send the following:
  • Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone, and 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.

Papers should be forwarded to:
Jo Parnell
Jo.Parnell@newcastle.edu.au  alternatively annette.parnell@newcastle.edu.au  or joandbobparnell@bigpond.com

Deadline for abstracts: 15 December 2020.

Editor:
Dr Jo Parnell,
Conjoint Research Fellow,
Faculty of Education and Arts,
School of Humanities and Social Science,
University of Newcastle, Australia.

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Deadline for Registration, Dec. 1, 2020

Unhinging the National Framework: Platform for the Study of Transnational Life Writing
Fifth Annual Symposium
Friday 4 December 2020 9.00 – 17.00

Location: Vrije Universiteit Amsterdam Main Building 5A00 + online via Zoom Webinar

Free of charge, but please register before 1 December. How to register: https://clue.vu.nl/en/news-agenda/news-archive/2020/okt-dec/201204-unhinging.aspx

Program
Keynote speakers:
Prof. dr. Halleh Ghorashi, Professor of Diversity and Integration, Vrije Universiteit Amsterdam
Dr. Anna Poletti, Associate Professor Comparative Literature, Utrecht University
Prof. dr. Gloria Wekker, Professor Emerita, Gender and Ethnicity, Utrecht University

Speakers:
Dr. Vera Alexander, Senior Lecturer in European Cultures and Literatures, Groningen University
Prof. dr. Susan Legêne, Professor of Political History, Vrije Universiteit Amsterdam
Dr. Vilan van de Loo, independent writer and researcher.
Prof. dr. Giles Scott-Smith, Professor of Diplomatic History, Leiden University

Speakers and abstracts (in order of appearance)

Anna Poletti, Associate Professor Comparative Literature, Utrecht University
Autobiography, mediation and transnationalism: Behrouz Boochani’s No Friend But the Mountains
Behrouz Boochani’s award-winning No Friend But the Mountains: Writing from Manus Prison is a hybrid work of life writing, composed on illicit mobile phones and secretly transmitted to a team of translators and supporters via WhatsApp. Documenting and theorizing the violence of Australia’s indefinite mandatory detention in camps on remote Pacific nations of people seeking asylum, No Friend But the Mountains is a uniquely transnational intellectual and aesthetic project. Its composition was enabled by digitally networked technologies that were able to evade the blanket of censorship imposed on Australia’s offshore detention centres by Government policies that limited access to the prisons by journalists, human rights organizations, and international monitors. The book’s title—a Kurdish saying that refers to the powerful connection between the Kurdish people and the mountains of their homelands—signals that the writing and thinking of the book is imbedded in and enabled by Boochani’s identity as a Kurdish journalist forced to flee Iran. At the same time, No Friend But the Mountains is a work of theory and life writing that is profoundly transnational; it responds to and seeks to understand the logics of the nation state, citizenship and border policing as techniques of power that produce new forms of violence which transcend national boundaries and jurisdictions, creating complex networks of implication, responsibility, and hierarchies.
Drawing on my arguments about autobiography and mediation in my recent book (Stories of the Self (NYU Press, 2020)), a forthcoming collection of essays I commissioned on No Friend But the Mountains for Biography: An Interdisciplinary Quarterly, and my experience teaching the book in an international classroom in the Netherlands, I will examine No Friend But the Mountains as a work that exemplifies the role of media technologies in the act of living—and the emergence of—transnational life.

Vera Alexander, Senior Lecturer in European Cultures and Literatures, Groningen University

Figures of Mobility and the Crisis of Connection
In this presentation I locate life stories of mobility in an ongoing crisis of connection and connectivity. I read figures of mobility such as the visitor, the tourist and the refugee as ambivalent signifiers of place and belonging that problematise any simple dichotomy of Self versus Other and Here versus There. Making reference to contemporary  poetic travel writings by Warsan Shire and Kapka Kassabova as well as photography and other media, I argue that the relational nature of life narratives needs to be considered not only in binary terms of social connections between human beings, but as a triad that embraces the precarious relationship that connects human beings to place as well as notions of time and duration. Place relations are subject to utopian idealisation and polarised affective projections as they are constitutive of identity construction. Since these are subject to constant change and reconfiguration, the notion of mobility and its obverse, stagnation, need to be reconceptualised as fundamental dynamic aspects of belonging.

Giles Scott-Smith, Professor of Diplomatic History, Leiden University

Between Colonial and Post-Colonial? Ivan Kats and the Perils of Cultural Diplomacy in Cold War Indonesia

Is it possible to overcome colonial legacies if you promote post-independence cultural autonomy? Ivan Kats was a Flemish/American cultural entrepreneur who developed a profound interest in Indonesia and the development of its national cultural identity. From the 1960s to the 1990s he pursued a book publishing project through his Obor Foundation, that looked to bridge the ethical gap between the resources of Western cultural imperialism and the poverty of the post-colonial culture industry. This presentation places Kats as a ‘double personage’ (Bourdieu) between different worlds, to explore both his projects and motivations.

Gloria Wekker, Professor Emerita, Gender and Ethnicity, Utrecht University
Families navigating Empire
In my presentation I will present excerpts from recent, autobiographical work, which emphatically is work – in – progress. These excerpts will eventually become part of a mixed genre work, based on historical and anthropological knowledge, on non- fiction and fiction. This type of work is currently understood under several different headings, among which “critical fabulation” is prominent. It is a term used by Saidiya Hartman, signifying a writing methodology that combines historical and archival research with critical theory and fictional narrative. Central in my presentation will be different migrations within my multi-ethnic Surinamese family, which encompasses enslaved people, Jewish plantation owners, Native Surinamese. I will talk about transnational, geographical migrations but also about migrations of the heart, where individuals overstepped ethnic boundaries which had long been understood as foundational to empire, to plural societies, which needed to be governed as if the boundaries around different ethnic groups were “natural”. Concretely I will read prose and poetry and reflect on the nature of “critical fabulation”.

Dr. Vilan van de Loo, independent writer and researcher
Exploring the New Political Correct: Colonial Violence in Aceh
Central in my presentation is the possibility of creating a transnational understanding of heroism. To answer this question I will focus on the military Aceh expedition of 1904.
Nowadays the Dutch East Indies seems to be reduced to a narrative of military violence during the process of decolonisation, although there is an awareness of the tradition of colonial violence as well, especially in Aceh. The framing of both histories of violence is the same: the officers of the KNIL were more or less war criminals, and the Acehnese were helpless victims. This leads to a postcolonial self-image of superiority among the Dutch: ‘look how good we are to be able to see how bad we have been’. With the exploration of contemporary sources and with the use of a specific military view, the original framing is now fading. My presentation will focus on a new way of looking at the history of the military Aceh expedition of 1904, commanded by Frits van Daalen (1863-1930). I will place this new approach in the context of the early twentieth century’s national need for colonial heroes—from which the Acehnese were excluded. I will also discuss how this related to the making of a civil servant (Van Daalen became governor of Aceh) and take a look at the vulnerable position of Van Daalen. As the highest-ranking Indo-European officer he stood out. What do we see, if we look at the expedition through his eyes, and what does that mean in the way the colonial past is judged? Would it be possible to create a transnational understanding of heroism during this expedition?

Halleh Ghorashi, Professor of Diversity and Integration, Vrije Universiteit Amsterdam
BLM: A transnational movement that changed the Dutch landscape
In this lecture I will discuss how Black Lives Matter, as a transnational movement, has changed the Dutch landscape regarding the existence of institutional racism and cross-racial solidarities. In the last 25 years, I have been engaging with the life experiences of refugee and migrant women (through various forms of narratives methodology). In these studies these women narrate a strong presence of exclusionary mechanisms (both blatant and subtle) within the Dutch context.  Yet, until recently, the existing implicit and growing explicit forms of racism in the Dutch public space had not led to a public recognition of the existence of structural forms of racism in the Netherlands. In an earlier work, I showed the historical and societal reasons behind the denial of racism in the Dutch context despite the fact that racist acts and statements in the public space had gained a strong presence. I argued that this was partly based on the historically rooted idea of the superiority of Dutch culture in the Dutch migration discourse (which Wekker conceptualized as cultural archive) and its link to the categorical framing of migrants as ‘a problem’ in Dutch society. This history together with a positive self-image of the Dutch as progressive had made it almost impossible for people to accept the notion that racism was part of the Dutch self-image. But something shifted with the arrival of the Black Lives Matter (BLM) movement in the Netherlands. I argue that Dutch society can take advantage of this momentum to transform its non-reflective progressive image into critical self-reflection and actions aimed at the inclusion of diverse groups by addressing institutional racism beyond “good intentions”.

Deadline for Submission: December 1st, 2020. 

Austrian Travel Writing (12/1/2020; 6/17-19/2021) Maynooth University, Ireland

Organisers: Florian Krobb, School of Modern Languages, Literatures and Cultures, Maynooth University

Caitriona Leahy, Department of German, Trinity College Dublin

On 24 February 1879, Empress Elizabeth of Austria (‘Sisi’), participating in a stag hunt out of Summerhill House, residence of the Viscounts of Langfort in Kilcock, County Meath, breached the walls of neighbouring St. Patrick’s College Maynooth. She was greeted by Acting President, Dr William Walsh, a future Archbishop of Dublin. On returning to Ireland one year later, she presented the College with a statue of St George, somewhat unfortunately the patron saint of England. Sisi’s visit – after all the visit of a Catholic monarch from a ‘dual’ monarchy – was otherwise welcomed by Irish nationalists as a potent statement of solidarity. The empress, perhaps contritely, later endowed the College with a set of vestments of gold cloth, decorated with gold and green shamrocks and the coats of arms of Austria, Hungary and Bavaria. The less welcome statue was promptly stolen.

Sisi’s visit to Maynooth highlights some of the aspects that make travel such a rewarding subject of academic investigation: the purpose, perception, political implications, symbolism and discourse that attend the actual activity of travelling form a potent, intriguing, often contradictory blend, sometimes in their own time, sometimes later.

The aim of the conference is to explore Austrian travel writing in the broadest sense, incorporating all German writing originating from Austria and the Habsburg lands from the Middle Ages to the present day. Travel writing is understood as any text, in fiction or non-fiction, that deals explicitly and substantively with journeys (understood as physical movement through space, not primarily in a figurative or metaphorical sense) and uses an itinerary as a prominent structuring device. As regards purpose, length or destination of the journey, however, engagement with all varieties of travel writing are welcome – internal and external travel, tourism and exploration, ‘discovery’ of the more remote parts of the Habsburg Empire and the core regions of the truncated Austrian republics, as well as regions further afield.

We welcome a plurality of methodological and theoretical approaches. We welcome engagement with a variety of genres from pilgrims’ or journeymen’s narratives, accounts of diplomatic or military travel, reports of ‘scientific’ travel (Novara expedition, Payer/Weyprecht Arctic expedition of 1872-74) and accounts of Afrikareisende such as Oscar Baumann, to genres such as travel journalism / reportage and travel poetry. Journeys undertaken in search of refuge and other kinds of migrations might also have found expression in forms of travel writing. We welcome engagement with noteworthy individuals such as Ida Pfeiffer, travel writing on specific destinations with specific agendas (e.g. Felix Salten’s evaluation of Jewish settlement in Palestine 20 years after Herzl’s Altneuland), fresh studies of classics and modern classics by (e.g.) Roth, Bachmann, Handke, Ransmayr, and of more recent postcolonial treatments of historical journeys in the works of (e.g.) Thomas Stangl and Franzobel. We wonder if contemporary attention to the anthropocene across the humanities is also making its mark on the writing of travel literature and on our ways of reading it…? The Coronavirus experience, too, might have opened up new perspectives on travel writing and travel discourse.

Conference languages are English and German. A selection of the English papers will be published as vol. 31 (2023) of the MHRA yearbook Austrian Studies. The publication of a selection of the German papers is also envisaged. Both publications will be fully peer-reviewed.

Please send an abstract of no more than 250 words and a short bio-blurb (both in the same document) in your chosen language to florian.krobb@mu.ie and cleahy@tcd.ie by 1 December 2020. Attempts will be made to secure some support for early career scholars / non-tenured colleagues, but no promises can be made with regard to funding. However, there will be no conference fee.

If public health considerations prevent us from going ahead on the dates indicated above, we will reschedule rather than cancel. In the meantime, we would encourage interested colleagues to submit proposals inevitable uncertainties notwithstanding.

Contact Info:

Prof. Florian Krobb, School of Modern Languages, Literatures and Cultures, Maynooth University / National University of Ireland Maynooth

Maynooth, County Kildare, Republic of Ireland

Contact Email:

Deadline for Submission: December 1st, 2020. 

CFP: Special Issue on Life Writing – Ilha do Desterro

Ilha do Desterro, one of the longest-running Brazilian journals devoted to English studies, is currently accepting submissions for a special issue on Life Writing to be published in May 2021. Even though the first recorded uses of “life writing” in English are found in the 17th century as rather straightforward translations of “bios” and “graphein”, we owe much of our current understanding of life writing to Virginia Woolf and her use of the concept in “A Sketch of the Past”. Differently from this earlier use, which simply meant “biography,” after not only Woolf and Lytton Strachey in Britain, but also in American literature with Gertrude Stein and Vladimir Nabokov, as well as Edmund Gosse and W.B. Yeats in Ireland, to name a few, life writing in English has come to encompass an array of genres and forms, across many media, that seek to represent a single life or multiple lives. According to Margaretta Jolly, the concept has gained “wide academic acceptance since the 1980s” because of “its openness and inclusiveness across genre, and because it encompasses the writing of one’s own or another’s life” (ix).

In this special issue of Ilha do Desterro, we intend to take a broad and inclusive approach to the concept of life writing and consider articles that cover a range of broadly conceived texts: auto/biographies, letters, memoirs, journals, and diaries all make relevant corpora for study. We are also interested in texts that may not have been published contemporaneously or circulated widely, as this opens “the way for the study, in particular, of a range of women’s writings from earlier periods and for a recognition of the significance of ‘personal’ or ‘private’ writing, including family memoirs, diaries, and journals” (Marcus, 2019, p. 2). This trans- and multidisciplinary issue of Ilha thus invites articles dealing with literary, intermedia, and intermodal genres and forms of life writing, in English speaking contexts or from comparative approaches, including:

• Life writing and ethics: truth-telling, mediation, pact-making

• Collaborative projects in life writing

• Life writing in diasporic movements, migration, and dislocation

• “Lives of the obscure,” no more: representation and intersectionality in disability studies, critical race studies, queer studies, and the writing of women’s lives

• Writing nonhuman lives: nature, animal, land, objects and life writing

• Wandering subjects in life and travel writing

• Historical, theoretical, and comparative approaches to life writing

• The aesthetics and rhetoric of life writing

• The role of the archive in life writing

• New platforms for life writing in the 21st, including social media

Reviews are also considered for books published in 2019-2021, under the scope of this literature issue. The journal’s scope is literatures in English—the geopolitical study of works and authors of Anglophone literatures in the light of contemporary critical theories; theoretical and cultural intersections, with a focus on the study of literatures, other arts and media, as well as their interrelations and/or theoretical and cultural specificities.

Deadline for Submission: December 1st, 2020.

More information: https://periodicos.ufsc.br/index.php/desterro/announcement/view/1599

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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

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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

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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.

Paige Rasmussen
Managing Editor
The Center for Biographical Research

Biography: An Interdisciplinary Quarterly
1960 East-West Road
Biomed B104
Honolulu, HI 96822
Tel: (808) 956-3774
Find us on Facebook and Twitter!

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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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XII IABA TURKU: postponement & updates

Dear IABA-World Conference Participants,

We would like to update you on plans for the IABA World conference, postponed from June 2020.

As you know, we had hoped to welcome you to Turku in June 2021, but as the global pandemic is still effecting every corner of the world and there is so much uncertainty, we have discussed the situation both with our Turku team and the international IABA group. We have made the extremely difficult decision to reschedule the World-conference to June 2022. As travelling will still be difficult next Spring and changing the conference to an entirely virtual form would require many changes in the programme and other practical difficulties, we think this is the only solution at the moment. However, the IABA-group is planning to offer platforms for area chapters to organise smaller scale virtual events next year – and you will be hearing about them soon.

We are planning to have the CFP open again next summer, and, at that time, you can confirm or update your abstract, propose a new paper, or withdraw your participation. Please wait for this follow-up information, as we cannot answer all individual emails right now.

We will update the website https://iabaturku2021.net/, and remember to follow us in Facebook and Twitter as well!

Regarding the registration and payment practicalities, our congress services Aboa (info@aboaservices.fi) will be in contact with you by the end of October.

Warm wishes,

Maarit and the whole IABA team from SELMA

@iabaturku2021
#iaba2021

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Deadline for Proposals, November 29, 2020

From Combat to Commemoration. Veteran Politics and Memory: A Global Perspective (11/29/2020; 4/16-17/2021) United Kingdom

Department of History, University of Warwick
16th and 17th April 2021

From the fields of Gettysburg to the beaches of Normandy, the participation and presence of former soldiers has been an integral part of the memorial culture of many conflicts. As survivors of war, veterans are often portrayed a group imbued with a unique knowledge whose experiences should not be forgotten. Yet while public commemorations have sought to establish consensus about the meaning of the past, veterans’ memories have also been a source of conflict and contestation, engaged in struggles over rights, recognition, and the authority to remember the past and speak for the future.

In a recent article in War & History,Grace Huxford et al. note that the historically unprecedented number of veterans across the world during the late nineteenth and early twentieth centuries has ensured not just that veterans ‘occupy a significant place in modern history but that they are also a vital lens through which to analyse the changing relationship between war and society’. Veterans, however, are from being a modern phenomenon –estimates suggest that a larger proportion of the English population fought in the Civil Wars of the mid-seventeenth century than in World War One. Moreover, though veteran studies has become a rich field of interdisciplinary enquiry, studies tend to be embedded in their own geographic and historical contexts: the transtemporal and transnational study of veterans remains in its infancy.

This conference seeks to bring together scholars from across time and space to explore the experience of veterans, and particularly the politics of veteran memory and commemoration, from a global, comparative perspective. We hope to publish the resulting papers in an edited collection that will approach veteran memory from a range of different disciplinary, temporal, and geographic perspectives.

Proposals are invited for 20-minute papers that discuss any aspect of veteran politics and memory, from the ancient world to the present. Complete panel proposals are also very welcome (panels/papers which seek to explore different conflicts/countries/periods are especially encouraged). Possible themes include, but are by no means limited to:

  • Commemoration and memory
  • Veteran social movements and associations
  • Veteran cultural contributions (documentary evidence, art, etc.)
  • Political power of veterans
  • Veteran trauma, health and emotions
  • Veteran protest and dissent
  • (Inter)national veteran networks
  • Family and intergenerational memory
  • Monuments, statues, and re-enactments
  • Travel and battlefield tourism
  • Museums and heritage

Please submit paper abstracts (max. 300 words) and brief bio(s) to both imogen.peck@warwick.ac.uk and timo.schrader@warwick.ac.uk by 29th November 2020. Participants will be notified of decisions by the end of December 2020.

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Deadline for Submissions, November 16, 2020

VIRTUAL IDENTITIES AND SELF-PROMOTING

Popular Culture Association/American Culture Association National Conference

June 2-5, 2021

Boston Marriott Copley Place 110 Huntington Avenue

Boston, MA 02116, US

Virtual Identities and Self Promotion seeks to examine, explore and critically engage with the issues surrounding creating a sense of self in online environments.   Undoubtedly, our experience of the web is changing and has changed our identity both on and offline. Many people have used online environments to explore the fluidity of self-expression as an “identity laboratory.” Almost everyone in today’s age has experienced some kind of online identity play, whether through playing an online game, participating in social networking sites, writing a blog, creating a website, commenting on an article, or contributing to updates on twitter. Many users present an idealized “me,” specifically shaped for various audiences. These new technologies have changed the way we think and how we have constructed our identities and consequently have informed our relationships and interactions within both online and offline arenas.

We invite submissions investigating and exploring virtual identity creation and self-promotion, including but not limited to the ways in which users:

  • Use social media to create identity professionally, personally, socially, academically
  • Socially construct (gender, race, sex, etc…) their identity in online environments including social media, and other online communities
  • Use online technology in order to study language, communication, and identity construction
  • Construct and reconstruct themselves in arenas promoting user-generated content, such as YouTube
  • Create digital artifacts as a way of self-discovery and identity construction
  • Negotiate online identity with physical identity socially,  professionally, and academically
  • Use online interactions for validation of self, emotionally and/or intellectually

Submission Information:

Please Submit:

  • the Title of Individual Paper
  • an Abstract of 250 words which describes the main concepts to be addressed by presentation
  • Please include, name, institutional affiliation, e-mail, and telephone
  • For guidelines on proposing a panel please contact the Chair of the session or visit the PCA/ACA website.

Abstracts Due:  November 16, 2020

Submission Portal:  https://pcaaca.org/

Submissions will only be accepted through the PCA website.

Individuals must be current, paid members to submit to the conference.

All presenters must be current, paid members of the PCA and fully registered for the conference.

Contact Info:

Monica S. Gallamore, Ph.D.

Contact Email:

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Deadline for Proposals, November 16, 2020

CFP: Popular Culture Association Annual (PCA) Conference–Biographies Area: June (11/16/2020; 6/2-5/2021) Boston, MA,

The Biographies Area is soliciting papers that examine the connections between biography and popular culture. Papers and full panel presentations regarding any aspect of popular culture and biography are encouraged. Potential topics might include:

– Biography and entertainment, art, music, theater
– Biography and film
– Biography and criminal justice
– Television programs about biography
– Biography and urban legends
– Biography and folklore
– Biography and literature
– Scholarly Biography
– Controversial Biography
– Psychoanalysis and Biography
– Historical Biography
– Political Biography
– Autobiography

Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session.  Presentations should not exceed 20 minutes. The deadline is November 16, 2020.

To submit an abstract, please visit:
https://pcaaca.org/conference/submitting-paper-proposal-pca-conference

Submissions will only be accepted through the PCA website. Individuals must be current, paid members to submit to the conference.

Please direct any queries to the Biographies Area Chair:

Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries
Las Vegas, NV 89154
susie.skarl@unlv.edu OR susieskarl@gmail.com

Contact Info:

Susie Skarl
Associate Professor/Urban Affairs Librarian
UNLV Libraries
Las Vegas, NV 89154
susie.skarl@unlv.edu OR susieskarl@gmail.com

Contact Email:

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Family and Conflict in Graphic Narratives

Special Issue for Studies in Comics

Call for Articles, Interviews, and Comics

Deadline–Nov. 15, 2020 (Final Notice)

Even though family relationships are at the heart of many graphic narratives, particularly relationships between parents and children (one can think of examples like Alison Bechdel’s Fun Home and Art Spiegelman’s Maus), few studies have examined how the family is used as a trope in graphic narratives.

Considering the role of family is important, as Anne McClintock reminds us, since the trope of the family ‘offers a “natural” figure for sanctioning social hierarchy within a putative organic unity of interests’ (63, original emphasis). In a similar vein, Sarah Harwood has argued the family has become ‘a primary way of organising and understanding [material] reality across all cultural forms’ (3).

Moreover, in discussing how popular literature depicts conflict, specifically the conflict in Israel/Palestine, Toine van Teeffelen has suggested that popular literature ‘tends to metaphorically understand political and social life through the experiences of persons and small groups’ (390).

This special issue asks how the trope of the family is used to understand and organise conflict, including how it functions as a way to illustrate material realities and ideologies.

Articles might address, but are not limited to, the following questions:

  • How is the family used as an allegory for the nation?
  • How is the trope of the family used to reflect wider concerns in relation to conflict, including the possibility of a resolution of the conflict?
  • How does the family work to make conflict accessible to outsiders?
  • To what extent are different family members used to illustrate contrasting (political) positions?
  • How is an emphasis on family used to counteract fears about change and fragmentation that are heightened during conflict?

Please submit

  • Either: an article of 4,000 – 8,000 words (including all quotes, footnotes, references and bibliography)
  • Or: an interview of 2,000- 3,000 words (including all quotes, footnotes, references and bibliography)
  • Or: 4 pages of comics (colour or black and white) 300dpi.
  1. The landscape-oriented format is 20x15cm (landscape) . It is not necessary to completely fill the white space if the images don’t perfectly correspond to those dimensions.
  2. The portrait-oriented images either presented alone or alongside one another – they will only be printed at a maximum of 15cm tall.
  • AND a separate document with the following metadata (labelled as ‘Title of your article’ metadata)
  1. Article title
  2. Author’s name
  3. Author’s postal and email address (the postal address is needed for your contributor’s copy)
  4. Author’s biography and affiliation (50-100 words)
  5. Abstract (200-300 words)
  6. Keywords (listed one per line, in lower case where applicable)
  7. Wordcount  (not necessary for comics contributions)

by 15th November 2020 to the special issue editors – Please send your submission to the appropriate editor:

Articles

Dr Isabelle Hesse, isabelle.hesse@sydney.edu.au

Lecturer, Department of English, The University of Sydney

The Politics of Jewishness in Contemporary World Literature: The Holocaust, Zionism, and Colonialism (Bloomsbury Academic, 2016)

Comics

Dr Sarah Lightman, sarahlightman@yahoo.com

Honorary Research Fellow, Birkbeck, University of London

The Book of Sarah (Myriad Editions, Penn State University Press 2019)

The editors will provide initial feedback by 15th January 2021. Revised articles and comics will be due by 1 May 2021 and will then be sent out for double blind peer-review by Studies in Comics.

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Deadline for Submissions, Nov. 13, 2020

CFP: Stardom and Fandom: Southwest Popular/American Culture Association Conference (11/13/20; 2/22–27/2021) USA

For the 2021 Conference, SWPACA is going virtual! Due to concerns regarding COVID-19, we will be holding our annual conference completely online this year. We hope you will join us for exciting papers, discussions, and the experience you’ve come to expect from Southwest.

Proposals for papers and panels are now being accepted for the 42nd annual SWPACA conference. One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels. For a full list of subject areas, area descriptions, and Area Chairs, please visit http://southwestpca.org/conference/call-for-papers/

The Area Chair for Stardom and Fandom invites paper or panel proposals on any aspect of stardom or fandom. The list of ideas below is limited, so if you have an idea that is not listed, please suggest the new topic. We are an interdisciplinary area and encourage submissions from multiple perspectives and disciplines. Topics might include:

Studies of individual celebrities and their fans, both current and historical

Studies focused on specific fandoms – films, television programs, books, bands, etc.

Fandom and loss – how fans cope when beloved things come to an end

The reciprocal relationship between stars and fans

Impact of celebrity and fame on identity construction, reconstruction and sense of self

Reality television, YouTube celebrities, Influencers and the changing definition of ‘stardom’

The impact of social media on celebrity/fan interaction

Celebrity/fame addiction as cultural change

The intersection of stars and fans in virtual and physical spaces (Twitter, Tumblr, conventions)

Celebrity and the construction of persona

Pedagogical approaches to teaching stardom and fandom

Fans, Stans, Antis and ‘haters’

Fan shame, wank, and fandom policing

Gendered constructions of stars and fans

Historical studies of fandom and fan/celebrity interaction

All proposals must be submitted through the conference’s database at http://register.southwestpca.org/southwestpca

For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at http://southwestpca.org/conference/faqs-and-tips/

Individual proposals for 15-minute papers must include an abstract of approximately 200-500 words. For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.

SWPACA will offer registration reimbursement awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due January 1, 2021. SWPACA will also offer registration reimbursement awards for select undergraduate and graduate students in place of our traditional travel awards. For more information, visit http://southwestpca.org/conference/graduate-student-awards/. Registration for the conference will be open and available in late fall. Watch your email for details!

In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org/

If you have any questions about the Stardom and Fandom area, please contact its Area Chair, Dr. Lynn Zubernis, Professor, West Chester University, at lzubernis@wcupa.edu.

We look forward to receiving your submissions!

Contact Info:

Lynn Zubernis PhD

Professor, West Chester University

Area Chair, Stardom and Fandom

Contact Email:
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Dear IABA List Members

We have a new research initiative on Life Writing launching at University College Cork next week and I’d be delighted if members of the IABA list could be alerted to it. A silver lining of the pandemic is the ease with which research events are accessible wherever we are in the world, so I’m hoping some IABA members might think of attending.

With all best wishes
Caitríona Ní Dhúill

Launch of new research cluster on Life Writing

Centre for Advanced Studies in Languages and Cultures (CASiLaC), University College Cork

Thursday 5 November 2020, 4-6 pm

Virtual launch on MS Teams: email d.fitzgibbon@ucc.ie for access

The Centre for Advanced Studies in Languages and Cultures at University College Cork is delighted to announce the launch of a new Life Writing research cluster, dedicated to exploring life writing in all its forms. The Life Writing cluster focuses on the inscription of ‘selves’ and ‘others’ and the recording of memories and experiences in auto/biography, autofiction and memoir, diaries, letters, new media and the visual arts. The launch will feature papers by Rebecca Braun (Lancaster University) and Helen Finch (University of Leeds), followed by a roundtable discussion. Researchers from all disciplines and career stages with an interest in Life Writing are warmly invited to attend.

Paper 1: The Past, Present and Future of Life Writing

Rebecca Braun, Lancaster University

This talk explores the different ways in which societies construct attitudes towards authors and authors construct attitudes towards society, both in literary texts and in the many interpersonal relationships beyond them. Drawing on the case-study of post-war Germany (particularly in the 1960s and 1970s), I outline four dominant modes of authorship that underpin these constructions on both sides: celebratory, commemorative, satirical and utopian. I then consider how the foundation of the modern European novel is driven by articulating ways of orienting ourselves in the world that make us better actors, individually and collectively, in the present and with a clear view to the future – authors of our own stories, as it were. This idea is explored through discussion of the genesis of Miguel de Cervantes’s Don Quixote (1605/1615). Analysing life, writing, chronology and resilience alongside one another like this allows us to trace shared core values and ethical blind spots that go well beyond an individual’s biography or a particular literary text and into the very fabric of society.

Paper 2: Life writing in the aftermath of the Shoah: an undisciplined genre?

Helen Finch, University of Leeds

What is a ‘life’ in the aftermath of severe trauma? What form might the writing of this life take? What uncomfortable links might life writing make between a time of extreme violence and the time of writing? This paper investigates the works of German-speaking survivors of the Shoah Fred Wander, Edgar Hilsenrath and Ruth Klüger to argue that life writing after the Shoah intertwines transgressive political criticism of the postwar world with the shadow of trauma. The world that the three Jewish survivors bear witness to after 1945 is structured by disturbing parallels, in their accounts, to the one they saw slip into catastrophe in the 1930s. At the same time, the survivors are constantly negotiating a shattering of selfhood in the wake of extreme violence. The person of the survivor-author is a haunted, elusive figure, and the survivors’ writing struggles to find a coherent standpoint from which to narrate a ‘life’.

Contact r.magshamhrain@ucc.ie for further information and d.fitzgibbon@ucc.ie to register for the launch.

Professor Caitríona Ní Dhúill
Department of German
School of Languages, Literatures and Cultures
O’Rahilly Building
University College Cork
Ireland
+353 21 490 2077
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Submission Deadline Nov. 1, 2020

Call for Papers
Domestic Politics: Women’s Private Lives and Public Writing in the Mid-Century.
Co-Editors: Melissa Dinsman, Megan Faragher, and Ravenel Richardson.

Deadline for Proposals, November 1

The mid-twentieth century saw seismic shifts for British women, including those living under British rule in the colonies, in the public and private spheres. These years are often imagined as a wave of expansion and constriction, with the swelling of economic and political freedoms for women in the 1930s, the cresting of women in the public sphere during the Second World War, and the resulting break as employment and political opportunities for women dwindled in the 1950s when men returned home from the Front. But this narrative needs  reexamining. This book aims to revivify studies of the female writers living or working in Britain, or under British rule, during the mid-century while also complicating extant narratives about the divisions between domesticity and politics.

We are looking for essays that explore how women represented the transformation of the quotidian, including the home, employment, family life, religious participation, etc. Specifically, we seek contributions that examine how women writers addressed political and wartime upheaval in the 1930s and 1940s along with the substantial shifts that occurred as war-torn countries attempted to adjust to a fraught peacetime in the 1950s, which also saw domesticity reconceptualized as a form of public duty.
We seek contributions to this volume that engage with a variety of fields including (but not limited to) journalism, photojournalism, fiction, archival discoveries, life writing, poetry, and film. We welcome abstracts that focus on single author or comparative, transnational approaches on the following topics:
  • How politics shaped, limited, and/or expanded women’s domestic experiences in the mid-century
  • The interactions between women and the public sphere, including industry, medicine, education, and politics
  • Transnational writing: travel writing, journalism, ex-patriate accounts
  • The intersectional politics of race, class, and gender in the domestic and public spheres
  • Reconceptualizing the public/private divide in the mid-century
  • Colonial and Commonwealth perspectives
If interested, please send a short bio and an abstract of 300 words to Melissa Dinsman (mdinsman@york.cuny.edu), Megan Faragher (megan.faragher@wright.edu), and Ravenel Richardson (mrr82@case.edu) by November 1, 2020. Final chapters of 6000-7500 words will be requested by August 15, 2021.
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Submission Deadline Nov. 1, 2020

Angelaki

Special Issue on Witnessing After the Human

Volume 27, Issue 2 (2022)
Deadline for indications of interest–Nov. 1, 2020.

Guest Editors

  1. Michael Richardson

Michael.Richardson@unsw.edu.au

Senior Research Fellow (ARC DECRA)

University of New South Wales

  1. Magdalena Zolkos

Zolkos@em.uni-frankfurt.de

Humboldt Research Fellow

Goethe University Frankfurt

Special Issue Description
Until recently, scholarship on testimonial practice in literature, media and culture has assumed that witnessing applies primarily to a human subject. This is evident in the evolution of the meaning of the word ‘witness’ in public discourses and scholarly literature alike: from representative of a persecuted minority who addresses a community of nations to testify to their plight, to the survivor of atrocity, to the figure of an empathetic humanitarian activist or social media user, who is proximate to mass violence, though not its direct target. In politics, law, religion and science, it has been taken for granted that bearing witness is a human capacity, often imagined as a verbal act of narrativization of violence. For some, that act included production of evidence and demonstration of truth; for others, it implied a proximity to catastrophic events, and had ethical implications of making demands on the listeners. Recently, witnessing has been extended to non-human subjects, such as plants, animals and artificial intelligences; re-imagined through diverse scientific and technological vistas; as well as applied to inanimate entities, such as cultural productions, geological items, or, as in the ‘forensic aesthetics’ approach, to human remains. This extension of the status of the witness and practices of witnessing to the nonhuman has profound implications for witnessing theory.

With this Special Issue of Angelakiwe seek to create a platform for articulating and exploring the meanings of witnessing ‘after the human’ from diverse disciplinary perspectives. We ask about the epistemological, aesthetic, political and ethical effects of extending the practice of witnessing from the human subject to diverse categories of non-human beings, such as animals, plants, cyborgs, machines, and inanimate objects, as endowed with a capacity akin to ‘testimonial affordance’ and as potential producers of testimonial knowledge. We explore the possibilities within contemporary theorizing of testimony to reveal and to work beyond the limits of the humanist imaginary of the witness as a historical agent, often in tandem with thinking from feminist, queer, Indigenous, disability, critical race and whiteness studies that has done so much to expose the limitations and violences inherent to ‘the human’ as a framework for subjectivity.  Finally, we seek to uncouple the association between witnessing and speech, or verbal articulation, through attention to the role of senses, silence, affect, gesture, code, materiality and other communicative modes in testimonial practice. From the perspective of witnessing ‘after the human’, testimony appears as a prosthetic practice, both because of the importance of technological and machinic mediations of testimony today, and, more generally, as an example of prosthetikos:the process of adding onto the body.

Possible Topics For Submissions 

We invite cross-disciplinary contributions, focusing on the practices, processes and subjects of witnessing from the angle of (broadly defined) post-humanities. We are interested in philosophic, literary, cultural, sociological, political, ethnographic, and other, engagements with the question of witnessing ‘after the human’. The topics for submissions include, but are not limited to:

  1. Animals and witnessing;
  2. Plants and witnessing;
  3. Inanimate witnessing, including ‘memory objects’ and ‘trauma objects’;
  4. Machines and witnessing; cyborg testimony;
  5. Environmental witnessing; climate change testimony, including ‘planetary grief’ and solastalgic perspectives on witnessing;
  6. Critical epistemology of witnessing; testimonial credibility and truth;
  7. The time of witnessing; non-/post-human testimonial temporalities;
  8. Testimonial aesthetics and poetics of the post-human;
  9. ‘Decolonizing witnessing’; critical race perspectives on testimony;
  10. Queering testimony;
  11. Sensorial perspectives on witnessing; non-occulocentric witnessing, testimony and listening, testimony and touch;
  12. Silence and witnessing; gestural witnessing;
  13. Imaginal testimony;
  14. Neuroscience and witnessing;
  15. Technology and witnessing;
  16. Science and witnessing; algorithmic witnessing; witnessing through data;
  17. Social media technologies and witnessing.

Time-line for Submissions

  • Indications of interest are invited by November 01, 2020. The indications of interest should include a title and ca. 500-words-long abstract.
  • The editors will communicate to the authors whether the abstracts have been accepted by December 01, 2020.
  • The authors are requested to submit their articles by June 01, 2021.
  • The editorial and blind peer-review process will take place after June 01, with final manuscripts to be completed by October 01, 20201.
Contact Info:

Magdalena Zolkos

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Deadline for Proposals, October 31, 2020

We are excited to announce a new call for papers on life writing and race.

See details below!

IAP 

CALL FOR CHAPTERS 

Racial Dimensions of Life Writing Research

Edited by:

Lucy E. Bailey, Oklahoma State University and KaaVonia Hinton, Old Dominion University

A volume in the Research in Life Writing and Education Series

Overview 

This call for chapters focuses on the racial dimensions of life writing in education, writ large. We welcome chapters that bring racial analysis and theorizing to bear on life writing research in all its forms (biography, oral history, narrative inquiries, testimonios, portraiture, auto/ethnographies, family inquiries, creative life histories) and in varied teaching and learning spaces (e.g. schools, homeschooling, playgrounds, digital environments, prisons, bookstores, museums, anti-racist protests).

Just as racialized laws, practices, and discourses have profoundly shaped educational institutions and the lives of people who move within them (e.g. Haney-Lopez, 2006), race can also profoundly shape research dynamics (e.g. Sefa Dei & Singh Johal, 2005; Winddance-Twine & Warren, 2000). Whether researchers are conducting an inquiry on an anti-racist activist teacher historically or engaging in a collaborative autoethnography on learning outside of traditional school spaces, those contributing to this collection should bring racial analysis or theorizing to bear on how they conceptualized, carried out, interpreted, and/or represented their life writing project. Both innovative and traditional approaches are welcome as we seek to capture the complexity of the methodological terrain of contemporary life writing.

Possible Themes and Approaches 

We are soliciting chapters (5000–7000 words, including references) that puzzle through racial dynamics, concepts, theorizing, insights, and experiences in carrying out life writing research. Chapters might focus on:

Educational Lives

  • Analyses of the racial contours and methodological dimensions of life-writing projects focused on educators, activists, and leaders;
  • Exploring complexities and creativity of life-writing research focused on lives with racial lessons to “teach,” whether leaders, elders, students, or community activists.

Methodological/Inquiry Innovations and Dynamics

  • Analyzing how race and its intersections shape the life-writing inquiry process, whether through research focus, researcher-participant relations, and/or contextual dynamics;
  • Innovative methodological approaches to engaging with projects concerning race and its intersections;
  • The contours and triumphs of carrying out research on under-represented educational actors historically in diverse contexts;

Theoretical Engagements

  • Racial theorizing or analysis of lives and life writing using (but not limited to) such theories as intersectionality (Crenshaw; Hill Collins; Nash) women of color theorizing (Keating, 2012), critical race theories, indigenous and decolonizing methodologies, LatinX theories, critical whiteness studies, or postcoloniality.

Writing and Representation

  • Diverse approaches and decision making processes in writing up (Wolcott) and (re)presenting life writing research.

Proposals Due: October 31, 2020 

Tentative Submission and Publishing Timeline 

  • Notification of Proposal Acceptance: November 15, 2020
  • Submission of Chapter Drafts: (by) January 31, 2021
  • Peer-Review Feedback to Authors: February 28, 2021
  • Submission of Revised Chapters: April 15, 2021
  • Anticipated Date for Publication: Late Summer, Fall 2021.

Please submit abstract to Lucy.bailey@okstate.edu and khintonj@odu.edu, using the subject line, “racial dimensions of life writing” in the email.

  • A single Word file using American Psychological Association, 7th Edition;
  • An abstract of approximately 500 words, with a working title, proposed components of the chapter, methodological approach, racial dimensions of the research, potential significance, a working bibliography of 5–10 sources; and a
  • Brief biographical note or 1 page CV from author(s).
Lucy E. Bailey, Ph.D.
Social Foundations and Qualitative Inquiry
Director of Gender and Women’s Studies
Oklahoma State University
215 Willard Hall
Stillwater, OK 74074
lucy.bailey@okstate.edu

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Deadline for Proposals, October 31, 2020

Call for Book Chapters for edited volume: Mountains and Memoir

deadline for submissions:
October 31, 2020
full name / name of organization:
Jenny Hall and Martin Hall

Mountaineering and Climbing have become extraordinarily popular lifestyle sports. More generally, mountain-going has been one of the fastest growing leisure activities of the past thirty years where an estimated, ‘10 million Americans go mountaineering annually’ (Macfarlane, 2004: 17) and In the United Kingdom 2.48 million people participate in recreational rock climbing and mountaineering (Mintel, 2018). The American Alpine Club, in their annual State of Climbing Report noted that in 2018 there were ‘7.7 million’ American climbers (2019: 6), ‘2,500 licenced USA climbing athletes’ (2019: 10) and that in 2017, ‘climbing as a whole contributed $12,450,000,000 to the economy’ (2019: 13), where in the UK, the British Mountaineering Council (BMC) membership currently stands at 76,000 individuals and 320 clubs.

Dr Jenny Hall and Dr Martin Hall are editing a volume exploring the relationships between mountains and mountaineering, literature, media, film and popular culture. At current, the edited volume which is being proposed focusses on mountains and memory in popular culture, particularly looking at the literary memoir and its closeness and association with film and other media forms. The mountaineering memoir has a long and rich tradition. Extreme adventure memoirs are the stuff of legend and Hollywood movies. In Memoir: A History, Ben Yagoda makes the salient point that, ‘Memoir has become the central form of the culture’ and it this centrality and significance which drives the call for this book. Yet there is a paucity of scholarship that explores the mountaineering memoir as a powerful social influence these texts have had on our understanding of how mountains are constructed, reproduced and performed.

Dianne Chisolm described the distinguished Lynn Hill’s 2002 book, Climbing Free as ‘the first history of free climbing and one of the first climbing histories ever to be presented from a woman’s perspective’ and mountaineers such as the eminently well-known Chris Bonington speak of a ‘boost in income from newspaper rights and the sudden rush of lectures’ (2017: 98) when as a result of his climbs, ‘every national newspaper ran a banner headline’ (2017: 97). Two central themes are covered, firstly, this book intends to interrogate is the relationship between these feats and the attention given them throughout the media and in the documented accounts by the climbers themselves. Secondly, we ask, to what extent do mountaineering texts create, rather than mirror reality, and how sustainable is this genre? Climbing and mountaineering texts from memoirs to documentaries are direct influencers for the ecological consciousness of athletes, authors, filmmakers and crucially their audiences. If more of these texts were as successful as Alex Honould’s Academy and BAFTA awarding winning film, Free Solo, the ramifications of influence could be enormous. Sustainability is a central theme of this book and concerns the body in the context of mountain spaces and places and as such considers the histographic influences of the sublime, and how and why this is embodied in living memory and performance through texts and films. The aim is to proliferate the powerful message that these books and films expound and problematize the neoliberal commercialisation of these highly sensitive mountain spaces and places through textual sources. Given that the UN Climate Change Summit is due to take place in Glasgow, United Kingdom in November 2020 this book will challenge the dominant narrative of consumption in these leisure and tourism spaces and how we engage with sensitive mountain environments and the communities.

Through a broadly interdisciplinary approach which calls for scholarship across philosophy, geography, social psychology, sport, literature, film studies and wider scope, the editors are looking for chapters which interrogate and elucidate upon the representation and prominence of mountaineering, in its widest meaning, in the memoir and its associated paratexts through film and television.

Concepts may include but are not limited to:

  • Gender
  • Sexuality
  • Race
  • Disability
  • Sustainability/Environment
  • Education
  • Fitness
  • Wellbeing/Mental Health
  • Widening Participation
  • Travel/Borders/Transnationalism
  • Genre
  • Reality/Truth/Authenticity
  • Reification of the mountaineering hero
  • Deviant leisure
  • Globalism/localism/Covid-ism
  • Spirituality/Sublime
  • Haptics/Sensuality
  • Emotion
  • Politics/Governance
  • Subversion
  • Elitism/Exclusivity
  • Femininity/Masculinity
  • Death/Risk/Exposure

Please submit a 300-word extract and a 200-word bio to mountainmemoirproject@gmail.com by October 31st

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Deadline for Proposals, October 30, 2020

Life Writing as World Literature, ACLA April 8-11, 2021 (Virtual)

deadline for submissions: October 30, 2020.

 This panel brings the fields of world literature and life writing together to explore social, economic and ideological contexts informing the circulation, translation and reading of auto/biographical texts. Redefinitions of world literature highlight the “effective life” of works “within a literary system beyond that of its original culture” (Damrosch 2003) or underscore that literature now “is unmistakably a planetary system” (Moretti 2000).

Similarly, scholars in life writing emphasize the role of narrated lives for “contemporary imaginaries” (Smith 2011), challenge the national and monolingual categorization of autobiographical texts, reveal the pitfalls of worldwide circulation (Whitlock 2007), the imbrications between autobiographical practices and markets (Rak 2013), the role of personal narratives in human rights (Smith & Schaffer 2004, Jolly 2014), and the relevance of life narratives as forms of testimonial acts (Gilmore 2017).

Participants are encouraged to explore: autobiographical works as they move in translation between national and global contexts and as they travel across media; forms of “minor transnationalism” that life writing enables; new perspectives gained from texts outside the Western and European canons; new understandings revealed through postcolonial and decolonial readings; life writing in the curriculum, its pedagogical role in transnational contexts; life writing and digital humanities, and large-scale paradigms of distant reading.

ACLA’s annual meeting will take place virtually between April 08 – 11, 2021. Please submit your paper proposal (350 words) and short bio (150 words) via ACLA’s online portal by October 30, 2020.

https://acla.secure-platform.com/a/

For queries, please contact the organizers Helga Lenart-Cheng hl4@stmarys-ca.edu and Ioana Luca ioana.luca@ntnu.edu.tw

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Deadline for Proposals, October 18, 2020

Call for Proposals: “Biographies and Politics. The Involvement of Jews and People of Jewish Origin in the Leftist Movements in the 19th and 20th Century Poland” a special issue of Jewish History Quarterly (10/18/2020)

Guest editor: Michał Trębacz (POLIN: Museum of the History of Polish Jews, Center for Jewish Studies Univeristy of Łódź)

Editor in Chief: Jan Doktór (Jewish Historical Institute)

This special issue seeks to evaluate to outline the actual involvement of Jews and activists of Jewish origin in the leftist movements of the 19th and 20th centuries from the perspective of individual motivations, ideological choices and personal biographies.

To explore the different paths which led Jewish individuals to engage in leftist parties and organizations, we suggest approaching the topic from a biographical perspective. We thus invite scholars to present their findings on the formation of Jewish political identities based on biographical sources, especially ego-documents like diaries, personal letters, memoirs or oral testimonies.

Possible questions to be addressed might be:

  • Was being Jewish an important factor in choosing a specific political path?
  • Which other factors led Jews and people of Jewish origin to affiliate with a particular political group?
  • How did their leftist involvement influence their attitude towards imperial settings, occupying powers, internationalist movements, as well as Poland and Polish identity?
  • How did they assess their leftist engagement later in their lives?

Please send a 250-word abstract of your proposed paper to mtrebacz@polin.pl by October 18, 2020. Decisions will be made in October 2020. If accepted, papers will be due in for peer review.

All email correspondence should be sent to mtrebacz@polin.pl

Contact Email:

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Deadline for Proposals, October 15, 2020

CALL FOR PAPERS FOR AN EDITED COLLECTION:

Writing HerStories: Women’s Rock Memoirs (Provisional title)

Editors: Cristina Garrigós (National University of Distance Education, UNED, Spain) and Marika Ahonen (University of Turku, Finland).

The last ten years have seen a significant rise in the number of published memoirs by female rock musicians. Patti Smith’s Just Kids (2010) came out in the same year that Kristin Hersch’s Rat Girl (2010) appeared, and others soon followed: Alice Bag’s Violence Girl: East L.A. Rage to Hollywood Stage. A Chicana Punk Story (2011), Kim Gordon’s Girl in a Band (2015), Carrie Brownstein’s Hunger Made Me a Modern Girl (2016), Chrissie Hynde’s Reckless (2016), Michelle Cruz Gonzales’s The Spitboy Rule. Tales of a Xicana in a Female Punk Band (2016), Cosey Fanni Tutti’s Art, Sex, Music (2017), and Viv Albertine’s Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys (2016). More recently, there are Debbie Harry’s Face It (2019), Liz Phair’s Horror Stories. A Memoir (2019), and Kathy Valentine’s All I Ever Wanted (2020). These examples – all from the U.S. and the U.K. – suggest that there is a growing interest in, and room for, women’s rock memoirs.

The commercial success of these memoirs attests to the rise of a new genre in which women’s voices have acquired a new significance. Aware that their public persona had previously been structured mostly through not only their music, but perhaps mainly through interviews and images, now they take up their pens – or computer keyboards – to deliver first-person narratives of their vision of themselves. In this volume, we ask how female rock musicians, or female-identified rock musicians, narrate and remember their experiences in memoir, and what type of knowledge these books offer.

Academic attention to musical memoirs has been growing of late, as the publication of Music, Memory, and Memoir (Bloomsbury, 2019) demonstrates. However, no attention has been paid specifically to the writing of women in rock music. The rise of studies of popular culture, autobiography studies, and cultural history, together with a gender perspective, are therefore fertile academic soil for works such as the one we are presenting here. As musical memoirs are fragmented and interdisciplinary, in this volume we specifically focus on female-identified rock musicians by emphasizing an intersectional understanding of the topic. Gender apart, we also want to consider how other factors, including ethnicity and socioeconomics, shape the authors’/musicians’ experiences and influence the remembrance and narration of their lives in memoirs. The tension between the public persona and the private, remembering and forgetting, telling and not telling, thus structures many of these works and deserves further exploration.

Possible subjects to be addressed include, but are not restricted to:

•       Memory and Forgetting.
•       Creation: reflections on musical and literary production.
•       Narrative strategies of life-writing in a memoir.
•       Being a woman in the music world.
•       Aging: the perspective of a mature woman looking back and considering the present.
•       Role models and cultural influences.
•       Maternity: wanted and unwanted maternity. Abortion. Children. Adoption…
•       Sex: Narrating sexual experiences and verbalizing sexual abuse.
•       Mental issues: eating disorders, depression, anxiety, etc.
•       Affect theory and the female musical autobiography.
•       Defense of or resistance to feminist ideas.
•       Punk/Rock aesthetics and politics.
•       Re-writing their stories: challenges of previous representations (reports, interviews, videoclips, pictures, …)
•       Life writing as performance.
•       The female memoir as a genre: topoi, tropes, traditions…
•       Ethics of storytelling in a memoir
•       The limitations and the politics of remembering
•       The therapeutics of writing a memoir

We are seeking English-language contributions that address female rock memoirs published in the past decade. We encourage contributors to think about the topic broadly, in the frames of the somewhat vaguely-defined “rock genre”. Although the examples mentioned above are all U.S. and U.K.-based, works written outside these frames are warmly welcome.

Please submit proposals (300 words) and a brief bio (100 words) by 15 October 2020 to Cristina Garrigós cgarrigos@flog.uned.es or Marika Ahonen mjahon@utu.fi
For accepted proposals, final essays between 5,000-7,000 words (inclusive of notes and bibliography) will be due 30 September 2021.

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Deadline for Submissions, October 2, 2020

The (Im)Possibilities of Bearing Witness:

The Intrinsic Value and Healing Power of Autobiographic Narratives
(10/2/2020; 7/5-9/2021) Warsaw, Poland

The Witnessing Working Group of the Memory Studies Association (MSA) is organizing a roundtable during the forthcoming MSA annual conference in Warsaw, Poland, July 5-9, 2021. Due to Covid-19, virtual participation will be possible. This roundtable will discuss the role of the researcher and the ways in which his/her testimony with traumatic experiences influences the course of research, but also the way in which the individual traumatic experiences of the researcher affect his/her trauma research methodology and narratives produced. Besides that, we would like to explore ways through which witness testimonies can influence researchers and ordinary readers and if (and to what extent) such testimonies may help post-trauma healing and recovery.

According to the psychiatrist Dori Laub, a victim needs the presence of  a witness (an empathetic listener or reader), to confront the darkness of painful memories and to organize and process traumatic experiences. “‘Arousers’ of memories” helped Holocaust survivor Primo Levi (1990) describe the horrors of Auschwitz and discover meaning in writing and literature. For him, the true witness is the one who does not survive. Hence the survivor bears the responsibility to speak for those who cannot speak, or to serve as a “moral witness,” to testify with a “moral purpose” (Margalit, 2002, 149). Often researchers are put in the position of the (moral) witness while investigating the impact of traumatic events. How does such implied moral purpose influence the scholarly endeavors? And how does the arousal of the scholar’s own memories in the process of witnessing shape the course of the research conducted? Can a researcher turn into “a witness to himself”/herself (Laub, 1991, 58), potentially working through his/her own traumatic past while witnessing the trauma of others? And how can such self-reflections and self-explorations—of the survivor and/or researcher—be productively integrated into scholarly writings, possibly exploring paths of healing, which reach a wider audience than the ivory tower of academia?

This roundtable is meant as a forum for researchers from various academic fields (including but not limited to anthropology, history, psychology as well as literary, film and media studies). We seek papers of 10 minutes length allowing for an extended discussion. Please submit a paper proposal (not exceeding 250 words) in addition to a short bio (no longer than 200 words including pertinent publications) via e-mail to Alma Jeftic (alma.jeftic@gmail.com) and Stefanie Hofer (hofer@vt.edu) by October 2, 2020. Please note that we aim to submit panels to the organising committee of the Memory Studies Association by October 15, 2020 and the final decision will depend on this committee. As in previous years, all presenters have to be members of MSA.

For more information please consult MSA webpage:

https://www.memorystudiesassociation.org/warsaw-conference-2021-cfp/

Proposals not limited to the following topics are invited:

  • How can traumatic narratives in scholarship be represented to adequately reflect the suffering of the victim?
  • (Im)possibilities of bearing witness and how to be addressed in qualitative research?
  • Witnessing and the dangers of appropriation
  • The overwhelming nature of autobiographical narratives
  • The healing power of trauma narratives
  • Cultural representations of trauma and recovery as catharses
  • (Moral) witnessing and activism
  • Postcolonial witnessing and non-Western healing paradigms

References:

Laub, D. (1992). Bearing Witness, or the Vicissitudes of Listening. In S. Felman and D. Laub, Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (pp. 57-74). New York: Routledge.

Levi, P. (1990). The Sixth Day and Other Tales. London: Simon & Schuster.

Margalit, A. (2002). The Ethics of Memory. Cambridge, MA: Harvard University Press.

Contact Info:

Alma Jeftic (alma.jeftic@gmail.com), Research Fellow, Peace Research Institute – International Christian University, Japan

Stefanie Hofer (hofer@vt.edu), Associate Professor, Virginia Tech, USA

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Sessions held on October 1, 2020

The International Society for Educational Biography (ISEB) presents
Professional Development Webinars–

Life Writing Methodologies in 2020: Writing and Sharing our Lived Experiences

The International Society for Educational Biography (ISEB) invites members new and current to its methodological, blended-format webinar.  Those who engage in life writing in all its forms (biography, auto/biography or memoir, ethnography or duoethnography, autoethnography or autotheory, life history or life narrative, oral history or family history, testimonio, collective biography or prosopography) are warmly welcomed to participate.

CONFERENCE INFORMATION:

Theme:  The year 2020 has proven to be incredibly tumultuous: we live in times which will be written about in historical accounts, archival and biographical.  Those who engage in life writing in all its forms are attentive to the impact of current events on all domains of human lives. The International Society of Educational Biography seeks to create a space for those who engage in life writing in all its forms to come together and begin to process the present.

Dates:  Methodological papers/presentations will be available for asynchronous review prior to the conference.  Two highly interactive synchronous sessions will take place Thursday, October 1 with a virtual social event held after.  Please note: attendees may choose to attend any or all of the three sessions as their schedules permit.

Schedule of Synchronous Sessions:
3:30-3:40: Welcome/introduction from ISEB President
3:45-5:15: Session I: Methodological Approaches to Life Writing in the Present:  Authors of methodological pieces will be available for synchronous conversation(s) regarding their work.
5:15 – 5:30: Break
5:30 – 7:00: Session II: Life Writing in 2020:  Attendees will come together in a moderated conversation regarding methodological issues during this time.  Attendees will be asked to prepare any brief statements or questions to be shared with the group at large and, when possible shared/posted in advance.
7:15 – ?: Optional Session:  Virtual Social Hour/Meetup:  Attendees are welcome to attend a virtual happy hour co-hosted by the ISEB President and President-Elect.

Cost:  Attendance is free to all members of ISEB.  All attendees must be members of the society by the time of the synchronous session to participate in these.  Annual membership is $95 and includes a one-year subscription to the ISEB journal Vitae Scholasticae.

Registration:  To register for the conference, click to please join or renew your membership.  You can also visit http://isebio.com/our/membership.html

Information:  For further questions or concerns please contact Dr. Edward Janak, Edward.janak@utoledo.edu

Technology/host:  The webinar will be hosted by the Department of Educational Studies, Judith Herb College of Education, University of Toledo.

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Deadline for Submissions, Sept. 30, 2020

Writing Our Wombs (9/30/2020; 3/11-14/2021) NEMLA, Philadelphia, USA

full name / name of organization:
Rachelann Lopp Copland/Northeastern Modern Language Association

Abstract:  Our literal and figurative wombs have been targeted, misunderstood, misrepresented, and used against us. The Oxford denotation itself seems to pin our bodies to one use–reproduction: “the organ in the lower body of a woman or female mammal where offspring are conceived and in which they gestate before birth; the uterus.” Here, language fails us; society’s synecdoche makes us walking uteruses. This session calls for submissions that reclaim womb with individual uniqueness, yet lend themselves to a collective voice of the womb.

This session calls for women and members of the LGBTQ community to submit work related to the function of their wombs and how the womb creates/destroys/changes identity. Ironically, the rhetoric we often use for the art of writing overlaps with the discourse associated with the womb.

By creatively exploring our histories of meaning associated with womb, this creative session aims to contribute to NeMLA’s 2021 convention theme, “Tradition and Innovation: Changing Worlds Through the Humanities,” by sharing unique writing experiences that challenge the traditional meanings associated with wombs and present new ways of looking at the literal and figurative womb.

Shortened Description:

This session calls for women and members of the LGBTQ community to submit work related to the function of their wombs and how the womb creates/destroys/changes identity. By creatively exploring our histories of meaning associated with womb, this creative session aims to contribute to NeMLA’s 2021 convention theme, “Tradition and Innovation: Changing Worlds Through the Humanities,” by sharing unique writing experiences that challenge the traditional meanings associated with wombs and present new ways of looking at the literal and figurative womb.

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Deadline for Submissions, Sept. 30, 2020

Call for Chapters: The Lived Religious Lives of Women in 21st Century Britain. (9/30/2020)

 

Little is written about the lived religious lives of women in 21st century Britain. I am describing the term, lived religion, as the ways in which people practice religion in their everyday lives. This may or may not include worship in a religious setting and can be formal or informal.

Vernon Press invites chapter proposals that look at this topic across religions and religious denominations. This may include subjects such as:

  • Food
  • Clothing
  • Prayer
  • Female Ordination
  • Navigating the patriarchy in conservative religious denominations
  • Ritual
  • Women only religious spaces
  • Solidarity and support through religion
  • Family worship and religious observation

Please submit an abstract no longer than 500 words. The proposal should also include a short biographical note. Complete chapter lengths should be between 6000-8000 words.

All submissions to Yvonne Bennett at yhb64a@gmail.com by September 30th, 2020

Contact Info:

Yvonne Bennett: yhb64a@gmail.com

William Whitehead: william.whitehead@vernonpress.com

Contact Email:

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Deadline for Submissions, Sept. 30, 2020

In Their Own Words: Voices of Kashmir (9/30/2020; 3/11-4/2021) NEMLA, Philadelphia, USA

deadline for submissions:
September 30, 2020
full name / name of organization:
Zachary Bordas/ Northeast Modern Language Association (NeMLA) 2021
contact email:

This heuristic panel seeks to examine the lived reality and creative representation of the political and ecological crisis in Kashmir. Spotlighting the voices of Kashmiri writers will continue the long and delicate process of shedding light on the current human rights crisis happening in Kashmir, as well as its global significance. This panel, therefore, solicits academic research that brings the persecuted voices of Kashmiri writers out of isolation (respecting anonymity on an individual basis) and into humanist discussions. The purpose of this panel involves both understanding the description of the Kashmiri lived reality, as well as providing space for hearing the specific tenants of their calls for change. As a scholarly body who believes in the praxis of the Humanities, I invite research that empirically focuses on the current situation in Kashmir as delineated in non-fiction prose; resources might include newspaper articles, pamphlets, blog postings, interviews, municipal and census records, and similar. Equivalently, I call for papers concentrated on creative works published by Kashmiri authors that might include novels, graphic arts, poetry, film, and alike. The objective of this panel centers on connecting the threads between demonstratable facts and their artistic representation, which as humanist scholars may better inform our understanding, reaction, and pedagogical practices on how we teach our students about the gaps and absences of the marginalized Kashmiri voice.

With the revoke of Article 370 in Jammu and Kashmir on 8 August 2019, most communication from inside their borders has become increasingly difficult to access thus leaving many speculations and concerns about the daily reality of those living inside the lockdown. Grassroots projects such as Video Volunteers provides a space where marginalized voices may “tell their stories and create change campaigns,” which as one of the organization’s volunteers states, “When no voice is too small or unimportant to be heard, only then, can we be a democracy in the true sense of the word.” Therefore, this session leans toward opening a rhetorical space to discuss the writings coming from Kashmir; specifically focusing on the appeals for social justice and global underrepresentation. This panel first and foremost concentrates on listening to the words of Kashmiri writers so as to let them speak in their own terms. This panel, therefore, welcomes papers from researchers around the world and writers living within Kashmir who, perhaps unable to obtain a passport or travel visa, may submit their paper (or short creative piece) that will be read by a stand-in on their behalf––maintaining anonymity per request.

This panel focuses on the crisis in Kashmir as understood empirically and represented creatively. How might empirical data inform our reading of creative texts coming from Kashmir, and vice-versa? What innovative practices are Kashmiri writers employing in making the voices of the marginalized heard? What are the dangers of assigning an author the burden of representation, how might multiple narratives intertwine so as to offer a borderer representation of the Kashmiri crisis, and most of all, how might we best let Kashmiri writers speak for themselves?

Direct link to this panel: https://www.cfplist.com/nemla/Home/S/18685

Please submit abstracts online via the NeMLA portal: https://www.cfplist.com/nemla/User/SubmitAbstract/18685

Deadline for Submissions, September 30, 2020

Dear Colleagues,

Our planning team at the University of Alberta is happy to announce that the abstract submission portal for the Teaching Life Writing Conference is open! Please consider submitting an abstract to our virtual conference.

Access the portal, and detailed information about the conference, here: https://subline.ualberta.ca/portals/57

The abstract and bio submission deadline is September 30, 2020 at 12:00 noon Mountain Standard Time.

Registration will open mid-October.

Questions? Please write to lwconf@ualberta.ca . We are looking forward
to reading your abstracts!

Regards,

Orly Lael-Netzer, Julie Rak, Amanda Spallacci
Planning Team, Teaching Life Writing Conference (virtual)

Julie Rak
Professor and Henry Marshall Tory Chair
Department of English and Film Studies
University of Alberta
Humanities Centre 3-5
Edmonton, AB T6G 2E6, Canada
ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ (Amiskwacîwâskahikan), Treaty 6/Region 4 Métis Nation

Website: https://sites.google.com/ualberta.ca/julie-rak/home

Deadline for Submissions, September 30, 2020

Addressing ‘The Memoir Problem’ (Creative Panel)

NeMLA 2021  March 11-14, Buffalo N.Y.
contact email:

Addressing ‘The Memoir Problem’: Blocked Memories, Documentary Traces, and Hybrid Forms (Creative Panel)

As memoir continues to be a wildly popular genre in our world today, there are many challenges to writing memory and many stakes to publishing a memoir. In many ways, writing a memoir may be a kind of mythical beast for emerging voices. How does one finish a memoir and what marks its timeliness and closure? This forum seeks to interrogate the expectation of a memoir to follow a traditional narrative arc, to expand genre definitions and to highlight cross-genre work. If memory is object-oriented, why do we expect memoir to be plot-driven? How may object or image centric work take a different approach to scene and narrative-telling? Contemporary innovations in creative nonfiction craft, comics, short forms and documentary poetics may reveal how cross-genre work offers a fruitful place to challenge readers’ expectations and incorporate other disciplines in writing. Many established and emerging voices, leading this work and creating new platforms for writers, are reclaiming their stories through traumas and against injustices and discriminations. As a space for writers to read their work and share in Q&A, a diversity of voices & styles are sought. Submissions of auto-fiction & auto-theory, somehow “memoir-esque,” are also encouraged.

Creative genres may include but are not limited to:

  • Memoir, Memoir-esque, Memoir Plus
  • Creative Nonfiction, Including Creative Nonfiction Comics & Diary Comics
  • Autobiography & Life-Writing
  • Poetry & Experimental/Hybrid Forms
  • Personal Essay
  • Auto-Theory
  • Auto-Fiction

Please submit an abstract of 200 to 250 words describing your proposed creative reading by September 30th, 2020, to the submission page: https://www.cfplist.com/nemla/Home/S/18874

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Deadline for Submissions, September 30, 2020

The Writer as Sociopath (9/30/2020; 3/11-4/2021) NEMLA, Philadelphia, USA

full name / name of organization:
Northeast Modern Language Association (NeMLA)
contact email:

This panel will consider the cases of writers who have used their platforms to create fictions of self—to misrepresent, self-justify, even blatantly lie about their own lives and realities. The panel is open to considering any act of writing sociopathy, from memoir (e.g., M.E. Thomas’s 2013 Confessions of a Sociopath or Donald Trump’s The Art of the Deal) to fictional works that inhabit the minds of sociopaths (e.g., A Clockwork Orange, Gone Girl) to literary fakers (e.g., James Frey, Danny Santiago, JT LeRoy, Caroline Calloway). Is writing in itself an act of misrepresentation bordering on psychopathy? This panel is asked to investigate such issues as literary hoaxes, memoir and identity, and question of whether writing is inherently a form of the “long con.”

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Deadline for Submissions, September 30, 2020

Call for Chapters: The Lived Religious Lives of Women in 21st Century Britain. (9/30/2020)

 

Little is written about the lived religious lives of women in 21st century Britain. I am describing the term, lived religion, as the ways in which people practice religion in their everyday lives. This may or may not include worship in a religious setting and can be formal or informal.

Vernon Press invites chapter proposals that look at this topic across religions and religious denominations. This may include subjects such as:

  • Food
  • Clothing
  • Prayer
  • Female Ordination
  • Navigating the patriarchy in conservative religious denominations
  • Ritual
  • Women only religious spaces
  • Solidarity and support through religion
  • Family worship and religious observation

Please submit an abstract no longer than 500 words. The proposal should also include a short biographical note. Complete chapter lengths should be between 6000-8000 words.

All submissions to Yvonne Bennett at yhb64a@gmail.com by September 30th, 2020

Contact Info:

Yvonne Bennett: yhb64a@gmail.com

William Whitehead: william.whitehead@vernonpress.com

Contact Email:

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Deadline for Submissions, September 30, 2020

Becoming the Obamas: Critical Approaches to Barack & Michelle Obama’s Memoirs

deadline for submissions:
September 30, 2020
Northeast Modern Language Association (NeMLA)
Convention in Buffalo, New York, Mar. 11–14, 2021
contact email:

This year marks the 25th anniversary of Barack Obama’s memoir Dreams from My Father (1995). Praised by Toni Morrison and Philip Roth, Obama’s memoir explores his life up to his admission to Harvard Law School in 1988. More recently, 2018 saw the publication of Michelle Obama’s best-selling memoir Becoming, which is the story of her life up through the end of her tenure as first lady. This panel seeks papers that critically explore the major prose works by Barack and Michelle Obama: Becoming, Dreams From My Father, and The Audacity of Hope.

Questions to consider include, but are not limited to:

How do the Obamas tell their story? What literary devices and/or rhetorical strategies do they employ in their respective works?

How are their memoirs rooted in the African American literary tradition? Ralph Ellison’s Invisible Man clearly influenced Barack Obama’s Dreams, yet who else did Obama invoke in telling his story? Who, if any, are Michelle Obama’s literary influences in Becoming?

How do the Obamas extend or complicate the specific category of Black Autobiography? How do their texts compare/contrast with other memoirs – either contemporary or canonical texts?

How does Becoming compare/contrast with Barack Obama’s Dreams of My Father?

How do the Obamas depict race/racism and/or intersectionality in their texts?

How can we teach Becoming, Dreams From My Father, and/or The Audacity of Hope to our twenty-first century students?

All submissions that explore the life writings of Barack and/or Michelle Obama will be considered. They do not need to be comparative in scope, though they can be. To submit to this panel, please upload your 250 word abstract to NEMLA’s submission portal
at https://www.cfplist.com/nemla/Home/Login.

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Deadline for Submissions, September 30, 2020

Dear Colleagues,

On behalf of the conference team, I am VERY pleased to announce the Call for Papers for the Teaching Life Writing conference. The CFP is pasted below and attached as a pdf. The conference is virtual in a Round the World format and organized around many opportunities for sharing and discussion. You can sign up to observe or you can participate.

Presenters from the IABA World conference which would have been in Finland are particularly welcome to repurpose their papers for this conference. We are excited to give you the opportunity to present your work, hear our amazing keynotes and talk together. The submission/registration portal opens in about two weeks, but we thought you’d like to start thinking about the conference now.  If you havequestions or need more information, please email lwconf@ualberta.ca . Weare looking forward to hosting you!

Regards, the Teaching Life Writing Conference Team

Julie Rak, Orly Lael-Netzer, Amanda Spallacci
University of Alberta, Canada

Teaching Life Writing: a conference on nonfiction and pedagogy

*Organizers: *Julie Rak, Orly Lael Netzer, Amanda Spallacci (University of Alberta, Canada)

*Dates:*December 10-11, 2020

*Keynotes*

**

Maarit Leskelä-Kärki

University of Turku

Joycelyn Moodie

University of Texas at San

Antonio

Anna Poletti

University of Utrecht

**

*Fee: $5 CD for all participants*

*Description*

Recently, life writing researchers in Canada, the United Kingdom,
Europe, the United States and Australia have been publishing handbooks, collections and special issues of journals on the teaching of life writing, including the collections Kate Douglas and Laurie McNeill’s /Teaching Lives /(2018), Desiree Henderson’s /How to Read a Diary/ (2019), and Dennis Kersten and Anne-Marie Mreijen’s essay cluster for the /European Journal of Life Writing /called “Teaching Life Writing Texts in Europe” (2015).Pedagogical issues in life writing studies have been important at least since Miriam Fuchs’ and Craig Howes’ landmark collection /Teaching Life Writing Texts /(2008). Sidonie Smith and Julia Watson’s /Reading Autobiography /(2010) has an emphasis on pedagogical strategies. In fields beyond life writing, nonfiction and other forms of personal narrative have begun to attract interest as part of teaching, including in education, reading studies, history, and social work. But there has yet to be a conference devoted specifically to thinking about life writing and the work of teaching. It is high time that life writing scholars and those in associated fields come together to think about the developments in the teaching of nonfiction, both from theoretical perspectives and from the practical experiences in the classroom. This conference is an opportunity to do precisely that — to ask what does
life writing pedagogy look like now?

In a year of dramatic global events — from the COVID 19 pandemic and the many changes it has brought to our teaching and learning lives, to social and politicalupheavals taking place around the world — it is imperative that life writing scholars come together to think about teaching and pedagogy in a variety of registers. /Teaching Life Writing/ aims to provide that opportunity in an online “Round the World” conference format that will allow learning, reflection and thinking together across many time zones, over two days.

*Abstract/Bio Submission Date*

September 30, 2020

*Submission Format*

/Two formats/: regular panels with 8 minute papers, loosely keyed to one of the four themes below (you can refer to the subtopics or make your own) OR you can sign up for a roundtable discussion based on one of the four themes (3 minute presentations and then a conversation). You cannot present in both formats.

/Submission: /100 word abstract and 50 word bio for the 8 minute paper option; 50 word abstract and 50 word bio for the roundtable option. Indicate the theme you wish to be part of in your abstract.

/Submission and Registration Portal: /The portal will open August 31, 2020 for registration and submission.

*Conference Themes:*

1.Methodology: teaching life writing strategies in the 21st century

●Archives, translation, documentary,interviews, data, life history,
autoethnography

●Online or remote teaching environments: challenges

●Teaching diaries, letters and oral history

●Teaching biography

●Neurodiverse teaching and pedagogy for disabled students

●New and classic life writing methods

2.Theory (connected to teaching)

●narrative and structure

●politics

●ethics

●pedagogy

●state of the field past/present

●witnessing

●genre

●ephemera

●medium

●new developments

3.Fields of Knowledge

●Life writing in history, sociology, Indigenous studies, political science

●Creative writing: teaching students how to create an autobiography, biography, or a diary

●New media: teaching digital topics

●Teaching graphic medicine and life writing in the medical humanities

●Graphic medicine

4.Life writing, teaching, social change

●Teaching trauma in life writing

●Life writing and marginalized communities

●Social justice, activism and personal narrative

●Teaching about COVID 19

*Round the World Format*

The conference will be online-only, but keyed to different time zones. You can participate in the conference in your chosen time zone, or just go to as much as you like. There will be gathering opportunities throughout the conference, so that you can meet each other and discuss ideas.

*Contact the Organizers*

If you need more information, please contact *lwconf@ualberta.ca*
<mailto:lwconf@ualberta.ca>

**

*Sponsors*

HM Tory Chair program, University of Alberta

Faculty of Arts, University of Alberta

Kule Institute for Advanced Studies (KIAS)

Julie Rak
Henry Marshall Tory Chair
Department of English and Film Studies
University of Alberta
Humanities Centre 3-5
Edmonton, AB T6G 2E6, Canada
ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ (Amiskwacîwâskahikan), Treaty 6/Region 4 Métis Nation

Website: https://sites.google.com/ualberta.ca/julie-rak/home
Board Member, Critical Gambling Studies:
https://www.criticalgamblingstudies.com/index.php/cgs

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Deadline for Submissions, September 30, 2020

The Routledge Handbook of Refugee Narratives

deadline for submissions: 
September 30, 2020

The Routledge Handbook of Refugee Narratives, currently under contract with Routledge, presents a transnational and interdisciplinary study of refugee narratives. In response to the oversaturation of sociological, governmental, and journalistic narratives about refugees, this anthology features academic essays that examine the narratives refugees tell to, for, and about themselves. Engaging a rich variety of genres—fiction, autobiography, prose, poetry, graphic novels, film, photography, performance, social media—the chapters will analyze how conditions of forced displacement and encounters with different asylum regimes shape, but do not circumscribe, the form and content of refugee cultural productions. Chapters will tentatively be organized around three key forms—storytelling, testimony, (auto)ethnography—and four key themes—memory (and forgetting), human rights (and its limitations), border-crossing (and nation-states), and cartographies (of displacement and diaspora).

This handbook aims to provide a comprehensive introduction to the range and overarching concerns of refugee narratives. We are seeking chapters that speak to wider issues and problematics, as opposed to an analysis of a single work. We envision chapters that discuss multiple texts, drawing out the themes that thread through or may resonate with different historical, national, and social contexts. This anthology will be of interest to researchers, teachers, students, and practitioners. As such, we encourage contributors to also touch on pedagogical issues that surround the teaching and reception of these narratives.

This handbook conceives of narrative broadly and encompasses a range of critical approaches, methodologies, and genres. We are particularly interested in chapters that address one or more of the following:

  • ●  Narratives that trouble the category or definition of “refugee,” including its intersections with migrancy, Indigeneity, exile, and citizenship
  • ●  Intersections between refugee flight and Black fugitivity
  • ●  Feminist and queer theory analyses of gender and sexuality
  • ●  Engagements with ecocriticism, posthumanism, food studies, and/or critical theory
  • ●  Questions of health, disability, and embodiment as they pertain to refugee migration
  • ●  Struggles with, and organizing against, detention, deportation, forced repatriation, andrefoulement
  • ●  The role of religion in refugee narratives
  • ●  The role of memory and forgetting in refugee narratives
  • ●  Histories of empire, colonialism, postcolonialism, settler colonialism, and/or slavery
  • ●  Refugee migrations within the Global South, including South-South trajectories
  • ●  Narrative representations of boat refugees, particularly in and around the Mediterraneanregion
  • ●  Historical and contemporary refugee migrations from and through East and South Asia,including but not limited to Tibetian, Rohingya, Kashmiri, and Pakistani refugees
  • ●  Historical and contemporary refugee migrations from and through the Middle East North Africa (MENA) region, including but not limited to Syrian, Iranian, Kurdish, Palestinian, Yemeni, and Afghani refugees
  • ●  Historical and contemporary refugee migrations from and through the African continent, including but not limited to Sudanese, Somali, and Eritrean refugees
  • ●  Jewish refugees and the Holocaust
  • ●  Refugee narratives on social media and in new media, such as video games, virtualreality, podcasts, selfies, TikTok and YouTube videos
  • ●  Refugee art, including music or visual art, such as paintings, sculptures, and installations
  • ●  Refugee life narratives, including memoirs, oral histories, and ethnographies
  • ●  Refugee performances, both theatrical/dramatic and experimental/activist
  • ●  Refugee literature, including novels, short stories, poetry, graphic novels, and comics

Final chapters will be approximately 7,500 words including endnotes and bibliography. Citations will follow the Chicago Manual of Style.

If interested, please send a short abstract (250 words) to Dr. Vinh Nguyen (vinh.nguyen@uwaterloo.ca) and Dr. Evyn Lê Espiritu Gandhi (elegandhi@ucla.edu) by September 30, 2020. We look forward to reading your submissions!

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Deadline for Submissions, September 30, 2020

British Travels to the Americas During the Long 19th Century (9/30/2020; 3/11-14/2021) Philadelphia–NEMLA

This panel seeks to investigate cross-cultural and intercultural exchanges in British literature produced by men and women who traveled to and from the Americas (North, Central, and South) during the long 19th century (1750-1900). It provides a critical examination of the ideological underpinnings and socio-political reasoning for the production of British travel narratives as well as the effects they had on the construction of identity, race, and gender in American and British territories during this period. In doing so, we hope to challenge established academic disciplinary boundaries and provide new insights into the intricate relationships between transatlantic literature, identity, and politics. Proposed essays may focus but are not limited to the following topics: the construction of the “I” and the “Other(s); gendered bodies and empires; British and US-American conflicts and expansions; representations of Amerindian, Afro-American, and mixed culture(s); interactions and negotiations between indigenous peoples and imperial powers; the economy and politics of slavery; and demonstrations of acceptance and resistance by newly-independent and/or formed nations.

We are particularly interested in papers that are interdisciplinary in nature, and that employ theoretical modes such as critical race studies, gender studies, transatlantic studies, and theories of empire-building.

Direct link to this panel: https://cfplist.com/nemla/Home/S/18950

Please submit abstracts online via the NeMLA portal by September 30, 2020: https://www.cfplist.com/nemla/Home/CFP

If you have any questions, don’t hesitate to contact Dr. Jose Lara, Chair of this panel, at j1lara@bridgew.edu

Contact Info:
José I. Lara, Ph.D.
Assistant Professor
Bridgewater State University
Department of Global Languages & Literatures
Bridgewater MA 02325
Contact Email:

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*

The editors of a/b: Auto/Biography Studies are absolutely delighted to welcome Lisa Ortiz-Vilarelle to our editorial team. She will be serving as our new Book Reviews Editor. Lisa is a longtime member of the auto/biography studies communities with interests in Latinx and Latin American life narratives. She is currently working on projects in autoethnographic research and academic narratives.
Lisa welcomes information regarding new theoretical texts on auto/biography, life narrative, and identity studies in any language. Please feel free to reach out to her at ortiz@tcnj.edu. Review copies may be sent to her institutional address: Professor Lisa Ortiz-Vilarelle, Department of English, The College of New Jersey, 2000 Pennington Road, Ewing, New Jersey 08628, USA.
Congratulations, Lisa, and welcome aboard!
We would also like to express our sincere gratitude to our outgoing Book Reviews Editor, Tanya Kam. Thank you for your organization, enthusiasm, and many kindnesses, Tanya! We’ll miss you!
Professor Ricia Anne Chansky, Ph.D.
University of Puerto Rico at Mayagüez
Research Affiliate, York University CERLAC
Fulbright Specialist in US Studies – Literature

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2021 PhD Scholarships Available in English and Creative Writing at James Cook University, Australia

Interesting in undertaking a PhD or MPhil in English or Creative Writing?

Applications for JCU Research Scholarships for 2021 are open for submissions now! See https://www.jcu.edu.au/graduate-research-school/how-to-apply

We’ve listed some potential topics below, but we are interested in discussing a range of projects with prospective applicants. Students who want to study externally are encouraged to apply.

  • Fairy tale and gothic narrative, especially Beauty and the Beast and related tales; retellings and adaptations of fairy tale in film, literature  and new media (talk with A/Prof Allison Craven allison.craven@jcu.ecu.au)
  • Australian Gothic film and literature – landscapes and monsters, colonial and contemporary (talk with A/Prof Allison Craven allison.craven@jcu.ecu.au)
  • Australian cinema, its histories and regional connections in the Asia-Pacific (talk with A/Prof Allison Craven allison.craven@jcu.ecu.au)
  • Teaching and/or performing Shakespeare in Australia (talk with Dr Claire Hansen claire.hansen3@jcu.edu.au)
  • Exploring the power of place in literature/drama through a framework of ecocriticism and the blue humanities (talk with Dr Claire Hansen claire.hansen3@jcu.edu.au)
  • How literature improves our wellbeing – linking the health humanities and literary studies (talk with Dr Claire Hansen claire.hansen3@jcu.edu.au)
  • Exploring zines and archives through a lens of self-representation (talk with Dr Emma Maguire emma.maguire@jcu.edu.au)
  • Digital life narratives of girls and women (talk with Dr Emma Maguire emma.maguire@jcu.edu.au)
  • Writing fiction, creative nonfiction, auto/biography or memoir (talk with Dr Emma Maguire emma.maguire@jcu.edu.au)
  • Exploring the relationships between authorship, editing, publishing, and reading of novels and short stories – Australian, British, American literature (talk with Dr Roger Osborne roger.osborne@jcu.edu.au)
  • Representation of cultural heritage texts in print and digital media – Australian, British, American literature (talk with Dr Roger Osborne roger.osborne@jcu.edu.au)
  • Grief or trauma literature and memoir (talk with Dr Victoria Kuttainen  victoria.kuttainen@jcu.edu.au)
  • Postcolonial approaches to literature (talk with Dr Victoria Kuttainen victoria.kuttainen@jcu.edu.au)
  • Early twentieth century 1914-1950 literature and/ or new media (magazines, photography, cinema) (talk with Dr Victoria Kuttainen  victoria.kuttainen@jcu.edu.au)

Information on PhD entry requirements, application procedures and scholarships is available from the JCU Graduate Research School website: https://www.jcu.edu.au/graduate-research-school

For general enquiries please contact Professor Sean Ulm, (Associate Dean of Research Education) at sean.ulm@jcu.edu.au

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Deadline for Submissions, September 15, 2020

Beyond Biofiction: Writers and Writing in Neo-Victorian Fiction

Guest Editors: Armelle Parey and Charlotte Wadoux

2021/22 Special Issue of Neo-Victorian Studies (http://neovictorianstudies.com)

Despite the death of the author famously announced by Roland Barthes in 1967, real-life writers as characters, sometimes intermingling with their own creations, feature prominently in neo-Victorian fiction and other media. Besides reprising historical writers’ careers and exposing their secret, sometimes disreputable lives, these neo-Victorian biofictions also engage, self-consciously or implicitly, with changes in writing modes, genres, and narrative conventions over time and with the theorisation of both creative practice and life-writing. The same holds true of depictions of wholly imaginary, professional or aspiring literary scribes without specific historical antecedents. Simultaneously, neo-Victorian portrayals of writers highlight dubious inequalities between celebrity and marginalised literary figures, implicated in perpetuating biased canons as well as selective forms of cultural commemoration, often privileging the same, predominantly white male writers (Charles Dickens, Henry James, Alfred Lord Tennyson) as the most suitable subjects for rewrites, with even the Brontë sisters suffering from tokenism in comparison and writers of other races going almost entirely unrepresented. This special issue aims to explore neo-Victorian representations of writers and writing in biofiction and beyond from new and innovative angles. We are particularly interested in contributions that pursue the following enquiries: Which actual nineteenth-century writers and their works are reimagined, which are not, and what accounts for such policies of differential remembrance and forgetting? How are writers deliberately misrepresented, and what present-day agendas does such misremembering serve? What accounts for the persistent fascination with the writer figure, real or imagined, in an increasingly digital age, where the book almost seems destined to relegation to the museum and the realm of virtual objects? How do neo-Victorian concerns with writing engage metafictionally with neo-Victorianism’s own processes of writing – and reading – the Victorians today? What new approaches to and techniques of intertextuality can be discerned in neo-Victorian depictions of authorship? Possible topics may include, but need not be limited to, the following:

  • rethinking and reworking the ‘cultural capital’ of nineteenth-century writers
  • innovations in neo-Victorian biofictions of writers: new orientations
  • the differential canonisation and depreciation of author figures (in terms of race, ethnicity, class, (trans)gender, sexual orientation, able-bodiedness, etc.)
  • neo-Victorian metafictional engagements with processes of writerly production, reception, and consumption
  • immersive neo-Victorian encounters with author figures: writing, empathy and affect
  • engagements with theory and its contestation in neo-Victorian writer fictions

We especially invite contributions on neo-Victorian fictions and biofictions featuring Victorian writers that have not yet attracted significant critical attention, as well as on texts featuring period scenes of non-Western writers and writing.

Please address enquiries and expressions of interest to the guest editors Armelle Parey (armelle.parey@unicaen.fr) and Charlotte Wadoux (cwadoux@gmail.com). Abstracts/proposals of 250-300 words, with accompanying brief bio note, will be due by 15 September 2020. Completed articles will be due by 1 March 2021. Abstracts and articles in Word document format should be sent via email to both guest editors, with a copy to neovictorianstudies@swansea.ac.uk. Please consult the NVS website (‘Submission Guidelines’) for further guidance.

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Deadline for Submissions, September 15, 2020

CALL FOR ABSTRACTS

ILLNESS, NARRATED

ON_CULTURE: THE OPEN JOURNAL FOR THE STUDY OF CULTURE

ISSUE 11 (SUMMER 2021)

In response to debates considering the relationship between illness and narrative, and the extent to which these concepts can be seen as mutually constitutive, this issue of On_Culture seeks to gather new approaches and critical perspectives to the intricate relationship between narrative and illness. We welcome (inter)disciplinary contributions addressing the concepts’ entanglement on an individual, societal, and global level.

Already in 1963, Michel Foucault linked (illness) narration to its discursive conditions in The Birth of the Clinic. Moving away from the politicized view on what narrative does, medical humanities today stresses the importance, and even healing aspect of telling an illness story. In this positive view on the redeeming aspects of illness narration, identity and narrative are understood as inextricably linked. Rita Charon asserts that narrative is a central instance of good medical practice, since “without narrative acts, the patient cannot himself or herself grasp what the events of illness mean” (Charon 2006, Narrative Medicine, 13). In this broad formulation, ‘narrative’ uncritically refers to the act of self-expression as such, without taking into account the conditions that set the parameters for it.

The scope of narrative has been a central concern of critical approaches to the medical humanities. Scholars like Angela Woods, in taking up Galen Strawson (2004, “Against Narrativity”), criticize the emphasis on narrative in the medical humanities, stating that “it has never been innocent” (Woods 2011, “The Limits of Narrative”, 75). Woods warns against understanding “a person’s narrative or story […] to be coextensive with their subjective experience, their psychological health and indeed their very humanity” (73). According to Brian Schiff, the focus on narrative reifies a Western, “arguably middle and upper class concept as a universal mode of shaping and articulating experience” (Schiff 2006, “The Promise”, 21). Moreover, historians of colonial and global history showed how those narratives were challenged and contradicted, leading to other conceptions of medical knowledge (e.g. Arnold 1993, Colonizing the Body). Other approaches broaden the concept of narrative, show how stories of illness might “reject the comforts of narrative” (McKechnie 2014, “Anxieties of Communication”, 121), yet still demand to be met with narrative engagement.

Beyond the immediate focus on narrative as illness mediation, the turn to affect in critical theory can prove productive in addressing the autonomy of the body. For the (critical) medical humanities, this opens up space with which to think of the bodily experience beyond narrative and to ask if this is even possible. Furthermore, expanding the scope of narrative beyond literary texts, internet culture, online media, and the increasing use of digital and technological innovations in healthcare can be seen to mediate both health and illness in different ways.

In response to these ongoing debates, we welcome innovative and interdisciplinary approaches in the (critical) medical humanities, narrative medicine, history of medicine, disability studies, narratology, literary studies, historiography, empirical social science, media, television and film studies, and other related disciplines that address how narrative is interlinked with illness experience and medical practice.

We welcome submissions including, but not restricted to, the following topics:

  • Illness/Narrative and self-expression
  • Narrative as mediation of bodily experience
  • Differences in discussing physical and mental illness
  • Narrating about vs. narrating with illness
  • Disease classification/taxonomy/nosology
  • Illness as metaphor
  • Subversive illness narration (e.g. chaos narratives)
  • Illness narratives in gender, queer and trans studies
  • Non-Western conceptualizations and narratives of illness
  • Illness narratives in different media (literature, newspapers, magazines, advertising, television (series), film, games, etc.)
  • Online support groups, blogging, confession stories, memes, fora (e.g. Spoonies and Spoon Theory)
  • Interfaces of the digital and medical realm (algorithms, digital data, and self-tracking apps)

If you are interest in having a peer reviewed academic article featured in this issue of On_Culture, please submit an abstract of 300 words with the article title, 5-6 keywords, and a short biographical note to content@on-culture.org (subject line “Abstract Submission Issue 11”) no later than September 15, 2020. You will be notified by September 30, 2020 whether your paper proposal has been accepted. The final date for full papaper submissions is January 15, 2021.

Please note: On_Culture also features a section devoted to shorter, creative pieces pertaining to each issue topic. These can be interviews, essays, opinion pieces, reviews of exhibitions, analyses of cultural artifacts and events, photo galleries, videos, works of art … and more! These contributions are uploaded on a rolling basis, also to previous issues. Interested in contributing? Send your idea to content@on-culture.org

View CfA online https://www.on-culture.org/submission/cfa-issue-11/

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Deadline for Submissions, September 15, 2020

CFP for Comparative Cinema: Biopic vs biopic: Cinematographic life as a place for comparison

deadline for submissions:
September 15, 2020
full name / name of organization:
Universitat Pompeu Fabra
contact email:

Over the last ten years, the biopic has been carried out by many relevant filmmakers —within and beyond the mainstream— and it has become a key genre in contemporary cinema. This fact is attested by titles like ‘Carlos’ (Olivier Assayas, 2010), ‘J. Edgar’ (Clint Eastwood, 2011), ‘Hannah Arendt’ (Margarethe von Trotta, 2012), ‘Camille Claudel 1915’ (Bruno Dumont, 2013), ‘Saint Laurent’ (Bertrand Bonello, 2014), ‘Steve Jobs’ (Danny Boyle, 2015), ‘Neruda’ (Pablo Larraín, 2016), ‘Snowden’ (Oliver Stone, 2016), ‘First Man’ (Damien Chazelle, 2018), ‘Loro: International Cut’ (Paolo Sorrentino, 2018), ‘At Eternity’s Gate’ (Julian Schnabel, 2018), ‘Bohemian Rapsody’ (Brian Synger, 2018), ‘The Traitor’ (Marco Bellocchio, 2019), ‘Judy’ (Rupert Goold, 2019), ‘Rocketman’ (Dexter Fletcher, 2019) and ‘A Hidden Life’ (Terrence Malick, 2019). At the same time, documentary biopics have increased, as in the case of ‘George Harrison: Living in the Material World’ (Martin Scorsese, 2011), ‘The Salt of the Earth’ (Wim Wenders and Juliano Ribeiro Salgado, 2014), ‘Amy’ (Asif Kapadia, 2015), ‘Diego Maradona’ (Asif Kapadia, 2019) and ‘Pavarotti’ (Ron Howard, 2019).

The diversity among these titles is proof of Belén Vidal’s statement in the prologue to the volume ‘The Biopic in Contemporary Film Culture’ (Belén Vidal and Tom Brown, eds., 2014): the term biopic —usually undervalued as a synonym of narrative restrictions and aesthetic conservatism— is also used to name a space that is open to formal experiments. That is the reason why, in the past decade, this genre has also received renewed attention in the academic world, with volumes like ‘Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre’ (Dennis Bingham, 2010), ‘Biopic: de la réalité à la fiction’ (Rémi Fontanel, ed., 2011) and ‘Invented Lives, Invented Communities: The Biopic and American National Identity’ (William H. Epstein and R. Barton Palmer, eds., 2016).

In this issue of ‘Comparative Cinema’, we want to approach the biopic from the specific perspective of comparative cinema. How much does the story of a lifetime allow to compare aesthetic and narrative differences between two separate works? Which biopic elements are especially relevant for a comparison? Rather than discovering what the comparison between two biopics reveals us, we are interested in how such comparison can be articulated and in finding out which of its elements can be the most fruitful. Some lines of work are suggested:

Biopic and life: biopics privilege certain moments of a trajectory. Which of the life chapters are the most revealing of narrative and aesthetic differences? Between the personal and the professional life, which one of them has a greater impact on the comparison between different biopics?

Biopic and film time: by its very definition, the biopic is developed throughout a long, well delimited period. How can the length of the portrayed period, the length of the film and the time dedicated to each event be compared between different works?

Biopic and star studies: biopics entail professional challenges for performers because they can strengthen or renew their star persona. How can a biopic be compared to other performances by the same actor? How can the real character and the previous roles of the performer be compared through specific gestures?

Biopic and authorship: some filmmakers have transformed the biopic into a sign of identity. Is it possible to find common elements between different biopics directed by the same author? How much do the author’s other films —not biopics— influence these biopics?

Biopic and documentary film: many characters have been biographed both in documentaries and fiction films. Moreover, the fiction biopic can sometimes include real images. How can comparison between a documentary biopic and a fiction biopic be articulated? How much does the biopic allow to approach methodologies about documentary film?

Priority shall be given to papers focused on cinema from the 2000-2020 period (or papers containing, at least, one film from this period in their comparison). Papers must be between 5000 and 6000 words long, including footnotes. The texts (in a Word format) and the images accompanying them must be sent through the RACO platform, available on the website of the journal.

This special issue is also open for publishing interviews that have been previously agreed with the editors. Suggestions can be sent to comparativecinema@upf.edu.

The time limit for receiving papers is the 15th of September 2020.

https://www.raco.cat/index.php/Comparativecinema/announcement/view/79

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Deadline for Submissions, August  30, 2020

Prose Studies is Seeking an Editor

About the Role

Prose Studies provides a forum for discussion of the history, theory and criticism of non-fictional prose of all periods. As the study of non-fiction prose transforms, Routledge are seeking to appoint a new Editor, or pair of Co-Editors, with suitable academic background as well as the passion to drive the journal forward. The journal and Routledge are dedicated to diversity, inclusion and fair process, and we therefore welcome scholars from all backgrounds and creeds to apply.

The successful candidate(s) will be responsible for editorial oversight and decision-making on submissions, using the Prose Studies Editorial Manager site. They will have authority to accept articles following peer review and will ensure that reviewers, authors and Editorial Board members adhere to the journal’s Code of Publishing Ethics. The new Editor(s) would initially work with the current Editor, Clare Simmons (Ohio State University) through an agreed handover period to ensure seamless transition. The new Editor(s) would be free to choose a team to support them and update the journal’s policies as relevant.

Routledge will provide training on systems and processes used as well as remuneration for the role to cover any journal-related expenses. Routledge will also be able to supply annual reports reflecting on the performance of the journal to support ongoing development.

Becoming the Editor of a journal is a rewarding and fulfilling experience where you will build your own networks, promote the research that you are passionate about, and be recognised as a leading figure within the research community.

Submitting your Application

Interested in applying? Here are the skills and attributes we would be looking for in a successful applicant:

  • Active within a relevant research community (including but not limited to literature, languages, rhetoric, media studies, communication and journalism);
  • Experience of/in academic publishing (special issues, peer review, edited collections, etc.);
  • Confidence to engage with authors and researchers to attract the highest quality submissions;
  • Strong organisational skills to ensure that submissions are handled in a timely manner;
  • Excellent communication skills and the ability to foster positive working relationships with colleagues such as reviewers, Editorial Board members, authors and Routledge contacts;
  • Time to devote to the journal’s development and act as an ambassador for the journal.

Submitting your Expression of Interest

If you are interested in the role, please send your CV(s) and a short vision statement to Becky Guest, Routledge, (rebecca.guest@tandf.co.uk) by 31st August 2020. Potential co-editors should express their interest jointly.

Your vision statement should be no longer than 600 words and should cover:

  • Where you believe the study of non-fiction prose is going, and the journal’s place within it;
  • What opportunities for development you see, and ideas for how you would enact these;
  • How you would maintain and increase the quality and diversity of submissions in a virtual environment.

Following receipt, suitable candidates will be selected to discuss the role in more detail.

Formal appointment and a transition timeline will then be mutually agreed with Routledge and the outgoing Editor.

If you have any questions about the role or application process, please contact the current Editor simmons.9@osu.edu and rebecca.guest@tandf.co.uk.

For more information

https://think.taylorandfrancis.com/fprs-callforeditor/

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CFP Autobiography Before Autobiography (1400-1700) (8/15/2020; 11/13-14/2020) Berlin, Germany

International Online Workshop at the Freie Universität, Berlin

Oranizer: Nicolae Virastau, PhD (Columbia University), Postdoctoral Fellow of the Dahlem Humanities Center, Freie Universität, Berlin

13 November and 14 November 2020

Jacob Burckhardt famously placed the birth of autobiography during the Renaissance in the context of the discovery of the individual, and the awakening of the self. Few scholars today would fully embrace this master narrative. Medievalists posit the existence of a sense of individual selfhood much earlier, in the High Middle Ages, while many literary theorists of autobiography employ a narrow definition of autobiography focusing on personal development and reflexive subjectivity. Thus, literary theory effectively excludes from the history of autobiography most of what was written before the eighteenth century. Conversely, more recent cultural historians and historians of private life have sought to recover neglected forms of self-writing that do not fit modern definitions of the literary genre of autobiography: account books, semiliterate diaries, or astrological almanacs. They proposed neologisms such as life-writing, egodocuments, and self-testimonies to avoid the teleological implications of the Burckhardtian grand narrative, and to include texts that have been neglected by the traditional literary history of autobiography.

The goal of this workshop is to bring together historians and literary scholars working on a wide range of late-medieval and early-modern self-writing forms that challenge the more common, postromantic ideas about autobiography, such as: family books, books of reason, almanacs, artisan autobiographies, but also prefaces and marginalia. Papers that can address the relation of these types of self-writing to the better-known genres of the vitae, commentarii, memoirs, confessions, essays, poetic autobiographies, etc. are especially welcome.

Papers should be given in English or French, and should not exceed 30 minutes. Please send an abstract (300 words max.) and a brief CV (2 pages max.) at NAV2110@COLUMBIA.EDU.

Due to the Covid-19 outbreak, the conference will take place online. The submission deadline has been extended to August 15, 2020.

Contact Info:

*

Deadline for Submissions August 15, 2020

CALL FOR PAPERS

Heroines of the Holocaust: Frameworks of Resistance

Wagner College Holocaust Center

June 2-3, 2021

“Nobody taught us how to fight or to perform our duties. We learned by ourselves not only how to clean and use a gun, but how to conduct ourselves in combat and battle, how to blow up a bridge or a train, how to cut communication lines and how to stand on guard.”

—Sara Ginaite, partisan, March 8, 1944 (International Woman’s Day)

The activities of women during the Holocaust have often been forgotten, erased, misunderstood, or intentionally distorted. Jewish women and those of all faiths fought with dignity, compassion and courage to save others from the murderous Nazi regime in over 30 nations. Often overlooked, women as well as men played critical roles in uprisings against the Nazis in over 50 ghettos, 18 forced labor camps and 5 concentration camps, including Auschwitz. Women were critical to the Jewish underground and other resistance networks both as armed fighters and as strategists and couriers of intelligence and false papers. Women played essential roles operating educational, cultural and humanitarian initiatives. In other genocides, women also faced horrendous atrocities, yet distinguished themselves with resilience and acts of moral courage. This symposium hopes to create a new narrative around agency in the Shoah and other genocides, which may inspire transformative activism today.

From the groundbreaking 1983 conference on “Women and the Holocaust” at Stern College to the 2018 symposium on “Women, the Holocaust and Genocide” at Seton Hill University, research on gender issues has grown exponentially. Innumerable books, conferences, panels, films, journal special issues, and groups such as Remember the Women Institute, now document the inspiring lives of female participants. Yet, there remain many untold stories of women fighting back against the Nazis with pistol or pen. The leadership strategies, networks of defiance and testimony of better-known activists, such as Vitka Kempner-Kovner, Zivia Lubetkin, Vladka Meed, Sara Fortis, Gisi Fleishman, Marie-Madeleine Fourcade, Nadezhda Popova, Haviva Reik, Edith Bruck, Friedl Dicker-Brandeis and Roza Robota, among others, still merit far more attention; their lives, too, should become part of the canon of Holocaust study. How is our understanding of the Shoah– and the central question of how it happened– impacted and re-conceptualized by knowing about the activities of female resisters and rescuers?  This symposium will bring together international scholars working on this topic to share new approaches, projects and information on well-known women, as well as those whose stories remain shrouded in obscurity.

We seek papers exploring women as rescuers and resisters of the Holocaust and genocide. Topics include, but are not limited to:

Leadership Lessons of Women in Resistance Networks

Women and Resistance in the Concentration Camps

Women Rescuers and Resisters in the Ghettos

Female Partisans in World War II

The Psychology of Rescue and Resistance

Women Doctors, Nurses and Social Workers

Female Artists as Resisters

The Power of a Photo of Women Resisters

The Role of Women in Zionist and other youth groups

Women as Resisters and Rescuers in Genocide

Resilient Bonds: Mother/Sister/Aunt/Daughter/Grandmother

Beyond Anne Frank: Women’s Journals, Memoirs and Archives

Films and Music of Women and Human Rights

Limits and Possibilities of Collection of Women’s Oral Testimony and Archives

Post-Holocaust Life of Female Resisters and Rescuers

Historiography of Jewish and non-Jewish Resisters and Rescuers

Illiberal Memory Politics and Selective Forgetting of Women

Teaching about Women, Resistance and Rescue

Please submit abstracts of 300 to 500 words outlining the focus and approach of your paper. Abstracts must include full name and title, institutional affiliation and email address. Please also attach a copy of your CV.

Subject line should be: LAST NAME Abstract Heroines

Submit to both Conference Organizers:

Laura Morowitz, Professor of Art History, Wagner College lmorowit@wagner.edu

And Lori Weintrob, Professor of History and Director, Wagner College Holocaust Center holocaust.center@wagner.edu.

Important Dates:

August 15, 2020: Deadline for submission of Abstracts

October 1, 2020: Notification of Acceptance

The two-day symposium on the campus of Wagner College, in Staten Island, New York, is sponsored by the Wagner College Holocaust Center. The Museum of Jewish Heritage in Manhattan will host a private visit for participants. Details on accommodations and travel will be sent following acceptance of paper. We will open up the conference on the second day to NY/NJ teachers and a general audience ensuring an even greater circulation of these ideas.

Contact Info:

Professor Laura Morowitz, Wagner College

Professor Lori Weintrob, Wagner College

Contact Email:

*

Deadline for Submissions August 15, 2020

CALL FOR PAPERS

Heroines of the Holocaust: Frameworks of Resistance

Wagner College Holocaust Center

June 2-3, 2021

Deadline for Submissions, August 15, 2020
“Nobody taught us how to fight or to perform our duties. We learned by ourselves not only how to clean and use a gun, but how to conduct ourselves in combat and battle, how to blow up a bridge or a train, how to cut communication lines and how to stand on guard.”

—Sara Ginaite, partisan, March 8, 1944 (International Woman’s Day)

The activities of women during the Holocaust have often been forgotten, erased, misunderstood, or intentionally distorted. Jewish women and those of all faiths fought with dignity, compassion and courage to save others from the murderous Nazi regime in over 30 nations. Often overlooked, women as well as men played critical roles in uprisings against the Nazis in over 50 ghettos, 18 forced labor camps and 5 concentration camps, including Auschwitz. Women were critical to the Jewish underground and other resistance networks both as armed fighters and as strategists and couriers of intelligence and false papers. Women played essential roles operating educational, cultural and humanitarian initiatives. In other genocides, women also faced horrendous atrocities, yet distinguished themselves with resilience and acts of moral courage. This symposium hopes to create a new narrative around agency in the Shoah and other genocides, which may inspire transformative activism today.

From the groundbreaking 1983 conference on “Women and the Holocaust” at Stern College to the 2018 symposium on “Women, the Holocaust and Genocide” at Seton Hill University, research on gender issues has grown exponentially. Innumerable books, conferences, panels, films, journal special issues, and groups such as Remember the Women Institute, now document the inspiring lives of female participants. Yet, there remain many untold stories of women fighting back against the Nazis with pistol or pen. The leadership strategies, networks of defiance and testimony of better-known activists, such as Vitka Kempner-Kovner, Zivia Lubetkin, Vladka Meed, Sara Fortis, Gisi Fleishman, Marie-Madeleine Fourcade, Nadezhda Popova, Haviva Reik, Edith Bruck, Friedl Dicker-Brandeis and Roza Robota, among others, still merit far more attention; their lives, too, should become part of the canon of Holocaust study. How is our understanding of the Shoah– and the central question of how it happened– impacted and re-conceptualized by knowing about the activities of female resisters and rescuers?  This symposium will bring together international scholars working on this topic to share new approaches, projects and information on well-known women, as well as those whose stories remain shrouded in obscurity.

We seek papers exploring women as rescuers and resisters of the Holocaust and genocide. Topics include, but are not limited to:

Leadership Lessons of Women in Resistance Networks

Women and Resistance in the Concentration Camps

Women Rescuers and Resisters in the Ghettos

Female Partisans in World War II

The Psychology of Rescue and Resistance

Women Doctors, Nurses and Social Workers

Female Artists as Resisters

The Power of a Photo of Women Resisters

The Role of Women in Zionist and other youth groups

Women as Resisters and Rescuers in Genocide

Resilient Bonds: Mother/Sister/Aunt/Daughter/Grandmother

Beyond Anne Frank: Women’s Journals, Memoirs and Archives

Films and Music of Women and Human Rights

Limits and Possibilities of Collection of Women’s Oral Testimony and Archives

Post-Holocaust Life of Female Resisters and Rescuers

Historiography of Jewish and non-Jewish Resisters and Rescuers

Illiberal Memory Politics and Selective Forgetting of Women

Teaching about Women, Resistance and Rescue

Please submit abstracts of 300 to 500 words outlining the focus and approach of your paper. Abstracts must include full name and title, institutional affiliation and email address. Please also attach a copy of your CV.

Subject line should be: LAST NAME Abstract Heroines

Submit to both Conference Organizers:

Laura Morowitz, Professor of Art History, Wagner College lmorowit@wagner.edu

And Lori Weintrob, Professor of History and Director, Wagner College Holocaust Center holocaust.center@wagner.edu.

Important Dates:

August 15, 2020: Deadline for submission of Abstracts

October 1, 2020: Notification of Acceptance

The two-day symposium on the campus of Wagner College, in Staten Island, New York, is sponsored by the Wagner College Holocaust Center. The Museum of Jewish Heritage in Manhattan will host a private visit for participants. Details on accommodations and travel will be sent following acceptance of paper. We will open up the conference on the second day to NY/NJ teachers and a general audience ensuring an even greater circulation of these ideas.

Contact Info:

Professor Laura Morowitz, Wagner College

Professor Lori Weintrob, Wagner College

Contact Email:

*

Deadline for Submissions August 15, 2020

CFP for Special Issue about African American Biofiction

for the journal African American Review

                Biofiction is literature that names its protagonist after an actual historical figure, and it has become a dominant aesthetic form since the late 1980s, resulting in stellar works from global luminaries as varied like Gabriel García Márquez, J.M. Coetzee, Margaret Atwood, Michael Cunningham, Joyce Carol Oates, Mario Vargas Llosa, Peter Carey, Olga Tokarczuk, and Hilary Mantel, just to mention a notable few. Studies about biofiction have surged over the last ten years, but what scholars have not yet noted is the African American contribution to the evolution, rise, and legitimization of biofiction.

There were some important biofictions published in the nineteenth century, such as Herman Melville’s Israel Potter: His Fifty Years of Exile (1855), Gustave Flaubert’s The Temptation of St. Anthony (1874) and “Herodias” (1877), Friedrich Nietzsche’s Thus Spoke Zarathustra (1883-85), and Oscar Wilde’s “The Portrait of Mr. W.H.” (1889). But the first real boom occurred in the 1930s, with influential publications from authors like Thomas Mann, Heinrich Mann, Irving Stone, and Robert Graves. Worth noting is that Arna Bontemps (Black Thunder) and Zora Neale Hurston (Moses, Man of the Mountain) published two of the more impressive biofictions from the decade.

But it would be two novels about African Americans in the second half of the twentieth century that would contribute significantly to the most important boom in biofiction, which is still underway. In 1967, William Styron published the hugely controversial novel The Confessions of Nat Turner, which won the Pulitzer Prize in Fiction, while in 1979, Barbara Chase-Riboud published Sally Hemings, a work that sold more than a million copies and led, in part, Eugene A. Foster to carry out DNA testing, which confirmed that Hemings’s descendants are related to Jefferson.

African Americans, either as authors or protagonists, are of crucial importance in some of the most impactful biofictions, including Chase-Riboud’s The President’s Daughter (Jefferson’s daughter Harriet Hemings) and Hottentot Venus (Sarah Baartman), Charles Johnson’s Dreamer (Martin Luther King, Jr.), Louis Edwards’s Oscar Wilde Discovers America, Caryl Phillips’s Dancing in the Dark (Bert Williams), Chika Unigwe’s De Zwarte Messias (Olaudah Equiano), and Colum McCann’s TransAtlantic (Frederick Douglass), just to name a few. It is for this reason that the African American Review is soliciting essays for a special issue about African American biofiction, by which is meant either biofiction by or about African Americans.

We welcome essays about the history of the aesthetic form in relation to African American literature and culture, African American innovations within the form, the role of African Americans within biofiction, studies about individual texts, and the recovery of lost historical figures through biofiction. More speculative essays are also welcome. For instance, we know that Toni Morrison encouraged Chase-Riboud to write Sally Hemings. Given the huge success of that 1979 novel, why did Morrison change the name of her protagonist in Beloved? How would Beloved signify differently had Morrison written it as a biographical novel? How would Sally Hemings function and signify differently had Chase-Riboud changed the protagonist’s name? Such contrastive and comparative studies could illuminate individual novels as well as African American biofiction more generally.

Essays will be due on August 15th, 2021.

For information about this special issue, contact Michael Lackey (lacke010@morris.umn.edu)

Michael Lackey

Distinguished McKnight University Professor

University of Minnesota, Morris

104 Humanities Building

600 East 4th Street

Morris, MN 56267-2132
320-589-6263

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Date for Submissions August 14, 2020

Women in Higher Education: A Compilation of Feminist Historiographies – CALL FOR BOOK CHAPTERS – Book proposal (8/14/2020)

We are pleased to invite chapters for an upcoming book proposal entitled, Women in Higher Education: A Compilation of Feminist Historiographies. The focus of the book will be on women who have significantly influenced higher education in the United States during the mid-19th to mid-20th centuries.

Nineteenth century women academics faced numerous tensions in their pursuit of higher education. Their persistence was scoffed at by contemporaries. Women of this time period influenced gender equity, however their contributions to the field of higher education have remained largely unrecognized. Their journeys and leadership strategies may be relevant to women seeking and securing educational roles.

The absence of women leaders in higher education has been noted by various scholars. An analysis of their leadership skills is needed within the current academic landscape. As female graduate students continue to enter into the field of higher education in increasing numbers, there is an urgency to revisit the experiences and contributions of female academics to avoid continuation of the grand narrative. Their lived experiences and educational contributions provide foundations and principles which can influence future women leaders in higher education. By bringing these women to the forefront, there is a possibility of diversifying and advancing the field of leadership in higher education.

Examining women’s contributions to the field of higher education is ethical and responsible and works toward affirming how past female leaders and the strategies they employed can inform current practices of leaders in higher education.

We recognize that there remain countless untold stories of their work that have remained unnoticed or disregarded. We welcome feminist historiographies highlighting

women from a wide range of national, ethnic, and cultural backgrounds to share the legacies of these female educational pioneers. If accepted, the final book chapters must document the subject’s relevant biography, her contribution to higher education and demonstrate an in-depth intersectionality of narratives between author and historical female figure.

This work is being advanced by doctoral students in a class on Women in Higher Education at the University of Hartford. We particularly invite graduate students to participate in this project. We have written feminist historiographies on five women who had a positive impact on the field of higher education prior to the 1950s. The five women are: Annie Howes Barus, Harriette J. Cooke, Alice Hamilton, Frances Willard and Sara Josephine Baker.

Submission Details:

Please send a two-page PDF summary of your proposed book chapter of a feminist historiography that includes the details outlined above. Please also denote a chapter title and include the affiliation(s) and degree(s) of the author(s).

After notification of acceptance of summaries, final book chapter submissions should be approximately 10 pages (double-spaced). Final book chapters must adhere to the guidelines within the 7th edition of the APA Publication Manual.

The timeline is as follows:

Submission deadline for summaries: August 14, 2020

Notification of acceptance of summaries: September 30, 2020

Submission deadline for full book chapters: January 8, 2020

Final submission of revised book chapters: March 1, 2021

Proposed Publication Date: Fall 2022

Proposals and submissions should be emailed to the Main Editor: Karen Case at kcase@hartford.edu

Contact Info:

Karen Case, Ph.D.

Associate Professor of Administration and Supervision

University of Hartford, Department of Education

200 Bloomfield Avenue, Auerbach 223C

West Hartford, CT 06117

Phone: (860) 508-4397

Email: kcase@hartford.edu

Contact Email:

kcase@hartford.edu

Contact Info:

Karen Case, Ph.D.

Associate Professor of Administration and Supervision

University of Hartford, Department of Education

200 Bloomfield Avenue, Auerbach 223C

West Hartford, CT 06117

Phone: (860) 508-4397

Contact Email:

*

Deadline for Submissions, August 7, 2020

CFP: Celebrity Studies Special Edition, “CHILDREN AND CELEBRITIES.” Deadline: August 7, 2020.

The entertainment industries create the most widely circulated popular images of children and childhood, and yet the role of children in celebrity studies warrants further study. As John Mercer and Jane O’Connor (2017) point out, the intersection between Childhood Studies and Celebrity Studies has been gaining traction in recent years, highlighting a tension between the dominant discourses of innocence surrounding children, and the highly competitive commercial imperatives of celebrity culture.

New participatory entertainment ecologies have created new opportunities for child performers, leading to the rise of new kinds of child celebrities and surrounding reception cultures. For instance, on YouTube, the world’s most popular user-generated video streaming service, some of the most successful celebrities are children: eight year old Ryan Kaji – a North American child who reviews toys for the channel ‘Ryan’s World’ (formerly ‘Ryan ToysReview’) – was the highest-earning YouTube personality of the year in both 2018 (Statista, 2019) and 2019 (Berg, 2019).

The child on screen, the child viewer, and the child star continue to be influenced by concepts of childhood that first emerged in the 19th century, eliciting discourses of harm and protection and attracting waves of moral panic in different eras. These public debates most often reveal more about adult sensibilities around often nostalgic notions of childhood than they do about children themselves. As Karen Lury puts it, “the essential understanding of the child here is the child as being rather than becoming”(2005: 314), a subject lacking agency, which leads Hugh Cunningham to caution “we need to distinguish between children as human beings and childhood as a shifting set of ideas” (2005: 1). In the current cultural moment and in prior eras, the categories of child and adult are mutually reinforcing ideals that are articulated and reflected in a range of distinctive ways through celebrity culture. For example, since the world went into lockdown, the family home has taken centre stage for live broadcasts and social media feeds, and as a result viewers have been inundated with images of celebrities in isolation with their children.

There is more cultural evidence around childhood as a cultural concept than the lived experiences of children, a distinction which becomes key when considering children as fans of child and adult celebrities. In the field of Fandom Studies, Kyra Hunting notes the tendency to examine adolescent and teen media fans at the expense of children. She suggests this is partly due to practical, methodological reasons around collecting data, but argues it also reveals a resistance to framing children’s participatory media engagement as a form of fandom. This is despite the fact that “the playing child” functions as a “model for fandom” studies (Hills, 2002: 9). As such, we need to be mindful of how the child audience is addressed by star vehicles and paratexts, compared with what children actually do as fans, even (or particularly) if this does not accord with teen and adult models of fandom, and what intergenerational modes might be in play.

We seek original essays of 6-8000 words that address children and celebrities through an interdisciplinary approach, across a range of media forms and eras, for a special issue of Celebrity Studies (prospective publication 2023, pending the journal’s review of abstracts).

We will be looking for internationalisation, a range of scholarly experiences, gender balance, and that each of the abstracts tackles their topic or research question through broad and dynamic celebrity intersections.

Topics that the articles may address include, but are not limited to:

  • Examination of specific child stars or celebrities
  • Fandom around child stars, among children and/or adults
  • Child fans of adult stars
  • On and off-screen dynamics between child stars and their co-stars
  • Child celebrities and their online persona
  • ‘Fur babies’: celebrity companion animals as ‘children’
  • Intersectional explorations of gender, race, and/or sexuality around child stars, fromtheir youth through to adulthood
  • Nostalgia around child stars of the past
  • Intergenerational spectatorship and child celebrities
  • Public discourses around child star breakdowns
  • Acting and screen performance
  • Ageing child stars
  • Children on reality TV
  • The child actor industry
  • Child actors in adult film and television
  • Celebrity families in music, film, television and social media cultures
  • Child labour and consent
  • Child stars and stalkers
  • Children of celebrities
  • Children, celebrity culture, and moral panic
  • Child stars and merchandising
  • Children, celebrities and genre
  • Adult stars who feature in children’s film and televisionPlease send proposals of 300 words and a 50 word author bio to Djoymi Baker djoymi.baker@rmit.edu.au, Jessica Balanzategui jbalanzategui@swin.edu.au, or Diana Sandars sandars@unimelb.edu.au by 7 August 2020.Djoymi Baker is a Lecturer in Media and Cinema Studies at RMIT University, Australia. She is a prize-winning writer on topics such as genre studies, fandom and myth in popular culture. Djoymi is the author of To Boldly Go: Marketing the Myth of Star Trek (I. B. Tauris, 2018) and the co-author of The Encyclopedia of Epic Films (Rowman & Littlefield, 2014). Her current research examines children’s film and television history.Jessica Balanzategui is a Lecturer in Cinema and Screen Studies at Swinburne University of Technology and a Chief Investigator at the Centre for Transformative Media Technologies. Her research examines screen genres across film, television and digital media for and about children, and the impact of technological and industrial change on entertainment cultures. Jessica is the author of The Uncanny Child in Transnational Cinema (Amsterdam University Press, 2018), and the founding editor of Amsterdam University Press’s book series, Horror and Gothic Media Cultures. Jessica is also an editor of Refractory: A Journal of Entertainment Media.Diana Sandars is a Lecturer in the School of Culture and Communication at the University of Melbourne, Australia, where she teaches courses in Screen, Gender, Digital Cultures, Social Justice and Cultural Studies. Diana has a research focus on the child in, and subject of,

screen media. Diana is the author of What A Feeling: The Hollywood Musical After MTV (Intellect, forthcoming).

References

Berg, M, 2019, “The highest paid YouTube stars of 2019.” Forbes 18 December. Available at: https://www.forbes.com/sites/maddieberg/2019/12/18/the-highest-paid-yout… stars-of-2019-the-kids-are-killing-it/#446f8a3338cd (accessed 19 December 2019).

Cunningham, Hugh, 2005, Children and childhood in western society since 1500, New York: Routledge.

Hills, Matt, 2002, Fan Cultures, London: Routledge.
Hunting, Kyra, 2019, “Finding the child fan: A case for studying children in fandom studies,”

Journal of Fandom Studies, Vol.7, No. 2, pp. 93-111.
Lury, Karen, 2005, “The Child in Film and Television,” Screen, Vol. 46, No. 3, Autumn, pp.

307-314.
Mercer, John, and Jane O’Connor, 2017, Childhood and Celebrity, London: Routledge. Statista, 2019, “Most popular YouTube channels as of September 2019, ranked by number of

subscribers (in millions).” Available at:

https://www.statista.com/statistics/277758/most-popular-youtube-channels… by-subscribers/ (accessed 01 December 2019).

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Deadline for Submissions August 1, 2020

“Living with loss: bereavement, grief, loneliness, and resilience”–call for papers for the special issue for the British Journal of Guidance & Counselling (8/1/2020)

The contemporary poet David Whyte invites his audiences to wonder with him why humans are almost solely focused on achievement and success and are frequently shocked by any ending to a relationship, job, or loved-one’s life. He proposes we would do well to “apprentice ourselves to loss” as much as we do to gain. This begs questions like: what do we already know about well-being and resilience, what essential questions do we need to ask to facilitate our learning in this area, and what new research is being done or should be done to improve guidance and counselling practice in this context?
This special issue invites perspectives on the range of reactions people have when faced with loss and change, and the potential for more healthful responses. It is also aimed at articulating ways in which we might serve those we support when they confront specific human challenges related to bereavement, grief, and loneliness.
Bereavement
Bereavement refers to the loss of a loved one and the sadness, struggle, and adjustment this profound change requires. In counselling and guidance theory and practice, we maintain that humans are innately relational: when someone we love dies (or we are faced with the bereavement of those we serve), we are reminded that our attachments provide security, safety, consistency, and even shape our identity. With the secularisation of society, many rituals for coping well with bereavement and providing comfort have disappeared and the onus is frequently on the individual to make meaning. This may be done through psychological, creative or spiritual approaches, and social support remains an essential element of being well when faced with the death of those closest to us. The Covid-19 epidemic poses additional issues for the bereaved; not only because of the complications of burials and the impossibility of visiting those who are seriously ill, but also the disturbance of cultural rituals that appease the living and ‘do right by the dead’ as part of meaning-oriented practices. We are interested in learning more about innovations, theories, new research, and perspectives on bereavement within the context of guidance and counselling.
Grief
“Grieving represents a form of psychosocial and perhaps spiritual transition from the initial onset of a life-altering loss through a period of frequently tumultuous adjustment to a point of relative stability beyond the period of acute bereavement” (Neimeyer & Cacciatore, 2016, p. 3).
We will all face grief, we will see our clients and students face grief, and we will see loss in all areas of human life, not just as it relates to the death of loved ones. We will likely all be confronted with one or more of the following losses: job loss, loss of relationships or connection, even loss of our freedom (e.g. through illness; the current pandemic; lack of autonomy at work). Facing grief demands of us that we adapt, make meaning, and respond to the changes that challenge our sense of safety and identity.
Loneliness
Loneliness is said to have the same “impact on mortality as smoking 15 cigarettes a day, making it even more dangerous than obesity,” writes researcher Douglas Nemecek (Tate, 2018). He and his colleagues found in their 2018 national survey in USA, that loneliness is correlated with social anxiety and self-reported overuse of social media. Findings in their study indicate that in order to reduce loneliness, guidance and counselling professionals should focus on, “improving social support, decreasing social anxiety, and promoting healthy daily behaviors” among their clients (Bruce, Lustig, Russell, & Nemecek, 2018). This is, of course, complicated by consistent findings that “lonelier people are more likely to have poor social skills, have difficulty in forming relationships, and hold negative or hostile opinions of other people” (Bevinn, 2011). In the current pandemic, which involves self-isolating and social distancing, there are additional causes of loneliness. We are interested in finding out more about loneliness in the context of bereavement and the range of other non-death losses, including Covid-19 related losses.
Resilience
In the context of bereavement, a surprising 68% of people show resilience; however, a minority does suffer from prolonged and complicated grief (Bonanno, 2009). Resilience is generally perceived as the ability to respond quickly and adaptively to difficult change. Most scholars agree that it is a combination of aptitude, attitude, and social connection. We are resilient to the degree to which we can ask for and receive the support of others, are able to honour our emotions and let them do their adaptive work, and have (or can develop) the ability to reorder our lives. We may even learn and transform through painful change through a phenomenon called benefit finding (Hall, 2014). Researchers have come to understand that our response to change in life is dependent on biological, personal, dyadic, and cultural forces (for a full overview see Neimeyer, Klass & Dennis, 2014).
For this special issue of the British Journal of Guidance and Counselling, we are looking for scholarly articles on the following topics:

  • Innovative perspectives and theories on bereavement, grief, loneliness, and resilience
  • Loneliness research, policy and practice
  • Theoretical and practical perspectives on resilience
  • Interdisciplinary research in relation to the theme(s) of this special issue
  • Psychology of bereavement/grief, loneliness and/or resilience
  • Cultural factors in bereavement/grief, loneliness and/or resilience
  • Loss, trauma, and counselling and beneficial approaches
  • Community factors in resilience
  • Creative methods in response to grief and loneliness (e.g. narrative therapies, life writing and creative writing, counselling, poetry therapy, embodied methods for learning through difficulty)
  • Bereavement, grief, loneliness, and resilience in the time of COVID-19

Submission Instructions

  • Proposals of no more than 500 words and list of authors, including contact details for the corresponding author can be submitted to the Special Issue Editor(s) Dr. Robert Neimeyer, Portland Institute for Loss and Transition neimeyer@portlandinstitute.org and Dr. Katrin Den Elzen, Curtin University, Perth, Australia katrin.denelzen@curtin.edu.au for feedback by August 1, 2020.
  • Full papers can (also) be submitted into the system without a proposal.
  • When submitting, please choose “Living with Loss” from drop-down tab when asked if you are submitting for a special or symposium issue
  • Please see general BJGC guidelines on word counts and referencing styles before submitting

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Deadline for Submissions August 1, 2020

Call for papers

7th international symposium of the Finnish Oral History Network FOHN 

Power, Authority, and Voice: Critical Reflections in/on Oral History

26–27 November 2020
Helsinki, Finland

The notions of power, authority, and voice have been at the center of oral history research and practice from its inception. Oral history research is emblematically distinguished by its preoccupation with the voices from ‘the below’, having dedicated itself to the recording, collection, and analysis of memories, personal narratives, and histories of individuals and groups that would not have been heard otherwise. The concept of voice has implicitly referred to the nature of oral histories as recorded interviews, but more importantly, to issues of subjectivity, representation, and authority. In addition to recorded interviews, there has been increasing interest in various forms of life writings, as well as other forms of vernacular mnemonic practices online and offline. Even though the dialogic nature of data and knowledge production has been emphasized, analyzed, and celebrated, we still need to ask who holds the power to decide which pasts and perspectives are recognized, and whose voices – and what kind of voices – are listened to and analyzed, how and why? Moreover, we need to critically reflect on the structures of power and authority that practices and methods of oral history research foster. 

The seventh international symposium of the Finnish Oral History Network FOHN will focus on the notions of power, authority, and voice in the context of oral history from critical contemporary perspective. The keynote speakers are Urvashi Butalia (Delhi, India), Erin Jessee (University of Glasgow, Scotland, UK), Jonna Katto (Ghent University, Belgium), and Riikka Taavetti (University of Helsinki, Finland).

We wish to invite contributions focusing on methodological and ethical questions as well as on case studies. Proposals may be submitted for individual papers or panels and they can address but are not limited to the following themes and issues:

  • Critical reflections on voices and silences
  • Authorities of knowledge production in oral history
  • Culturally dependent aesthetics of oral history and life writing
  • Ideologies and politics of oral history and life writing
  • Issues related to the nature of oral history as a social movement, form of activism, and academic practice
  • Materiality and medium of the ‘voice’ (i.e. sound, writing, image)
  • Dominance of the ‘tragic’, ‘traumatic’, and ‘devastating’ experiences
  • Oral history and other disciplines
  • Critical reflections on the geographies of oral history

Submissions of individual papers require a title and a maximum of 250-word abstract. Panel proposals should include a maximum of 250-word description of the panel and max 250-word abstracts of each individual papers. The conference language will be English. 

Please e-mail your proposal to fohn-symposium@helsinki.fi. The deadline for the proposals has been extended to 1 August 2020. The acceptance or rejection of proposals will be announced by 15 August 2020 and the registration will be opened in September 2020. The conference fee will be 70 euros (standard) / 35 euros (concession: students, unwaged).

The Finnish Oral History Network FOHN is still very much hoping that the symposium will be organised as originally planned, but participants will be kept posted on any possible changes.

Enquiries: fohn-symposium@helsinki.fi

Ulla Savolainen

Chair, FOHN

UNIVERSITY OF HELSINKI                                           

Further information on the symposium:https://www.helsinki.fi/en/conferences/7th-international-symposium-of-the-finnish-oral-history-network-fohn

FOHN’s webpage: http://www.finlit.fi/fi/fohn-en

Facebook: Finnish Oral History Network

Ulla Savolainen, PhD, title of docent

Academy of Finland postdoctoral researcher

Department of Cultures

Topelia, Room C214, P.O. Box 59,

00014 University of Helsinki, Finland

The editors of a/b: Auto/Biography Studies are delighted to announce that Margaretta Jolly is the recipient of The 2019 Hogan Prize for her essay “Survival Writing: Autobiography versus Primatology in the Conservation Diaries of Alison Jolly,” which was published in the special issue, “Engaging Donna Haraway: Lives in the Nature-Culture Web” (34.3, Autumn 2019). Congratulations to Margaretta, and thank you to our guest judge, Gillian Whitlock! Please find the full judge’s statement below.

The 2019 Hogan Prize Announcement

The editors of a/b: Auto/Biography Studies are very pleased to award the fifth annual Hogan Prize. This award is presented annually to a scholar in recognition of an outstanding essay published in the journal. Essays selected for this prize are carefully chosen by an independent judge. The 2019 judge is Gillian Whitlock, Emeritus Professor in the School of Communication and Arts at The University of Queensland. The prize includes publication in the journal and an award of $750. This award is generously supported by Routledge Journals.

The prize was named in honor of two of the journal’s founding editors, Rebecca and Joseph Hogan, who worked tirelessly and creatively to expand the field of auto/biography studies. This award, therefore, recognizes ingenuity in scholarly research and supports critical work that advances the field.

2019 Judge’s Statement
by Gillian Whitlock

This year contenders for the Hogan Prize share a common theme: Donna Haraway’s scholarship. To read them as a collection is to be reminded again of the extraordinary impact of Haraway’s writing on life narrative. The essays draw on diverse locations, conversations and concepts to capture Haraway’s constant return to relationality, to sympoetic action and thinking. These essays are to be read together, for they nurture each other, collectively, including Margaretta Jolly’s ‘Survival Writing: Autobiography versus Primatology in the Conservation Diaries of Alison Jolly’.
This is an arresting essay right from the start, as we move from ‘Haraway’ and ‘Jolly’ to the intimacy of ‘Donna previously wrote about Mum…..’.  Alison Jolly, who features in Haraway’s Primate Visions: Gender, Race, and Nature in the World of Modern Science, was one of a generation of female primatologists that transformed this science, and the pre-eminent researcher of the lemurs of Madagascar. This essay is matriography: a tribute to Alison Jolly as a scientist and mother by the daughter who inherited her diaries following her death in 2014, later published as Thank You, Madagascar: The Conservation Diaries of Alison Jolly.  Grief and loss remain palpable on the page as Jolly ‘tangles’ with her mother’s legacy, as her daughter and literary executor, and her academic successor. Here, matriography enables private mourning to engage with issues which are now more than ever of critical importance: species survival, environmental politics, and what life narrative can bring to our thinking on these issues. It also enables Margaretta Jolly, as literary executor and literary critic, to engage with the ethics and cultural politics of publishing diaries now, in a life-narrative market where the preference for ‘first contact’ story endures.
By returning to topics and texts that inspired thinking on posthuman lives a decade ago ‘Survival Writing’ suggests how far this project has travelled now, in the ‘late writing’ of both Donna Haraway’s Staying with the Trouble  and Alison Jolly’s Thank You, Madagascar.  Anthropomorphism, for example the ‘first contact’ of primatologist to primate trope, is displaced ‘by relishing many contacts, hands and gazes’ in the diaries (478).  Here, Margaretta Jolly argues, her mother becomes part of a movement of life narrators who respond to environmental crisis by recognising the worlds of other species, without simply extending human modes of personhood. In this ‘late writing’ Jolly finds consolation, a possibility of ‘more respons-able living and dying …in times yet to come (482).  As with other memorable essays in life narrative scholarship, we pause to admire the craft of both critical and creative writing here: layers of historical, cultural and intellectual interpretation, the memory and emotion that animates it, and its final powerful turn to the solace of Haraway’s vision of multispecies survival in the Chthulucene.

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Deadline for Submissions July 31, 2020

Call for Participation – Fourth version of “YoVeo” (“I see”), The Festival Of Word And Image In First Person (7/31/2020; 8/28/2020) Colombia

Dear colleagues,

I hope this message finds both you and your loved ones in good health.

I bring good news to you: this year, with the support of the Edumedia-3 Research Group and Seedbed, we will celebrate the fourth version of  “YoVeo (“I see”), The Festival Of Word And Image In First Person.”

This is an event in which we pay tribute to the different ways of representing and relating the Self, as an exercise and practice of freedom of expression with the purpose of generating a space for reflective exchange in relation to subjectivity, singularity and individualism.

The festival began in 2010 in Pereira (Colombia), a city in which we have gotten to fill four exhibition rooms of the Colombian-American Center, the Colombian-French Alliance, the University Foundation of the Andean Area and Comfamiliar Risaralda (the local family compensation office) with the support of Pereira’s Institute of Culture and Promotion of Tourism (today Secretary-of-Culture’s Office).

In this ten-year-long trajectory and in the three previous versions, artists, cartoonists, videographers, journalists, researchers, students, teachers and citizens in general from El Salvador, Guatemala City, Buenos Aires and Rio de Janeiro have taken part.

This year we have already opened the reception of works and with them we will make the exhibition, online this time, from August 28. We would like to have your participation in one or several activities that we describe below.

The way to do this may be either one of the ones listed below or in anuy other way that you consider pertinent. So, if you feel encouraged to join us, do let us know about your intention by responding to this email.

Participation:

– In a virtual chat on Facebook Live before August 28 on our page @LaFiestaYoVeo with a duration of between 30 and 60 minutes.
– With a video of a conference that you have already produced or that you would like to produce related to the ways of representing and relating the Self, to be published before August 28.

– With a short article (500 words approx.) about the Self to be published on the website www.edumedia3.co

– As a jury in charge of selecting among the preselected works the three best by category: Images of the Self, Words of the Self, Scenes of the Self, Objects of the Self and Other forms of the Self.

– With a work or paper on the Self: portrait, self-portrait, biography, autobiography, personal memory or life story in one of the four categories whose examples are given below.

– With the promotion of this call among your contacts from your personal, work and research networks of, as one of the peers joining us or through the organization or institution that you represent and that we will be involving through the logo and the media we have access to.

“Images Of the Self” Category: it can be any of these: selfie, photography, painting, drawing, caricature, plasticine, video, cinema. “Words of the Self” Category: poetry, chronicle, newspaper, memory, song, testimony, interview. “Scenes of the Self” Category: monologue, performance, choreography. “Objects Of the Self” Category: photo album, exlibris, t-shirt. “Other forms of the Self” Category: blog, body map, tattoo …

The organization will certify your participation, publish the preselected works digitally and on our media: website, YouTube channel and other social networks giving participants the due credits, as well as in media at the local, national and international levels.

We hope to be able to count on your valuable contribution and are already looking forward to your kind response.

If you decide to help us forward this call, please attach this information for those who wish to participate:

Prior to registration we must know something about the work or paper that will be evaluated by the selection committee and then by the jury of the event, for which we request the sending of a photograph or video (1 minute is enough) if you will participate in Images Of The Self, Scenes of the Self, Objects of the Self or Other Forms of the Self, or an audio (1 minute is enough), if you will participate in Words of the Self.

You must send the image, video or audio to fiestayoveo@gmail.com before July 31, 2020. We will reply as soon as possible with the instructions and conditions for participation in case you are pre-selected.

Thank you very much for your help and have a good day,

Best regards,

Diego Leandro Marín Ossa
Docente Titular e Investigador Asociado

Área de medios y educación

Escuela de español y comunicación audiovisual
Facultad de Ciencias de la Educación
Director del grupo y semillero de investigación
Ext: 7234 / Edificio Nº 7A (primer piso)

El contenido de este mensaje y sus anexos son únicamente para el uso del destinatario y pueden contener información  clasificada o reservada. Si usted no es el destinatario intencional, absténgase de cualquier uso, difusión, distribución o copia de esta comunicación.

Deadline for Submissions, July 15, 2020

118th Annual Pacific Ancient and Modern Languages Association Conference, Las Vegas, NV

Thursday, November 12, 2020 to Sunday, November 15, 2020
Sahara Las Vegas Hotel
Hosted by the University of Nevada, Las Vegas

*** Given concerns about the COVID-19 virus, organizers will be monitoring the situation as we continue planning for our conference in November.

Deadline for Submissions, July 15, 2020

PAMLA’s Autobiography panel is currently accepting submissions!

We are open to a wide range of paper topics dealing with subjectivity, authorship, auto-fiction, and identity, but are particularly interested in papers that take new interdisciplinary approaches to Autobiography. As such, papers that draw on cognitive science, psychology, phenomenology, critical race theory, gender theory, or intersectionality in their analyses of Autobiography are particularly welcome. Possible topics could include, but are not limited to: collective autobiography; techniques of self-narration; self-fashioning; neuroaesthetics; intersectional subjectivity; philosophy of race. We are also interested in papers attuned to some facet of the conference theme, “City of God, City of Destruction.”

Submit an abstract directly through the Autobiography panel submission page, or search the PAMLA comprehensive Call for Papers. Contact Emily Travis (etravis@ucsc.edu) with any questions.

About PAMLA and this year’s theme:

The Pacific Ancient and Modern Language Association is a scholarly association designed for those teaching or conducting research in a diverse range of literary, linguistic, and cultural interests, both ancient and modern, in the United States and abroad. PAMLA members include faculty and students in language and literature departments in colleges and universities, as well as interdisciplinary scholars from other disciplines and independent scholars.

This year’s theme, “City of God, City of Destruction,” seeks to take the “form analysis” of Las Vegas in a religious direction, considering this shimmering city in the desert as both celestial emblem and den of sin. More broadly, the 2020 PAMLA conference, while welcoming paper proposals on a wide variety of topics, invites meditation on the connections between ideas of the city and the forms of fiction, and the way both may be informed by a religious poetics.

Contact Info:

Emily Travis

Contact Email:
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Deadline for Submissions, July 15, 2020

Women, Life Writing, and Scandals of Self-Revelation

Women in French Panel at SAMLA Conference (7/15/2020; 11/13-15/2020) Jacksonville, Florida, USA

This panel is one of five Women in French sessions at the 2020 South Atlantic Modern Language Association annual conference, taking place this year in Jacksonville, Florida from November 13-15.

Presenters must be current members of Women in French and the South Atlantic Modern Language Association.

As life writing exposes purported truths about personal experience and identity, self-revelations in these accounts position these texts as potential objects of controversy as authors test the limits of telling all. Many authors have turned to life-writing practices to speak about intimate loss, family secrets, stolen childhoods, and physical, psychological, or historical trauma. In this way, autobiography, autofiction, and memoir, remain potentially perilous terrains especially regarding the implications of others on which such self-accounts unavoidably depend. This panel seeks to explore the scandals behind or beyond such self-revelation. How has scandal served as impetus for textual creation? In what ways has the publication of “scandalous” texts implicated others whether in accusation, in solidarity, or by engaging in broader controversies or social discontent? How have such texts responded to scandal? What role do legal proceedings play in (self)censoring self-accounts? Proposals on examples of women engaged with or implicated in scandalous self-revelations in literature, film, theatre, and other modes of representation from all time periods and all areas of Francophone literature are welcome. Please send 250-word proposals in English or French along with presenter’s name, academic affiliation, and email to Adrienne Angelo (ama0002@auburn.edu) by July 15, 2020.

Chair: Adrienne Angelo, Auburn University, <ama0002@auburn.edu>

Deadline for Submissions July 1, 2020

Self/Culture/Writing: Autoethnography in the 21st Century –
Special Issue of Life Writing

Deadline: July 1st, 2020
contact: Lisa Ortiz-Vilarelle, The College of New Jersey – ortiz@tcnj.edu

This special edition seeks to offer 21st century perspectives on the intersections of autobiographical and anthropological writing around the globe at this historical moment. It aims to examine autoethnography as both process and product of evocative, interpretive, analytic, interactive, performative, experiential, and embodied forms of writing self/culture.
Proposals are invited for critical essays and autoethnographic prose of between 7-8,000 words of original, previously unpublished work related (but not limited) to the following topics:

·       Creative nonfiction and fictionalized insider ethnography
·       Poetics of Autoethnography
·       Autoethnographic memoir
·       Connections between travel literature and autoethnography
.       Writing immigrant transnational, and diasporic lives
·       Embodied autoethnography
·       Duo-ethnographic and collaborative ethnographies of self
·       Indigenous representations of self/other and self as other
·       Digital humanities and autoethnographic modalities
·       Visual media and autoethnography
·       Autoethnography of queer and trans cultures
·       Oral storytelling traditions
·       Intersections of autobiographical and ethnographic memory
·       Ethics and Politics of autoethnographic method
·       Literary, performance, and journalistic ethnographies of self
·       Autoethnographic narrative in historical perspective
·       Autoethnographies of academia
·       Autoethnography as social-justice genre for vulnerable lives
·       Writing gendered self/culture
·       Racial identity and autoethnography
·       Autoethnography as a de/colonizing method

Special interest in meta-narrative approaches that push boundaries and rethink paradigms.

Procedure for Submission – Proposals of up to 500 words should be sent to ortiz@tcnj.edu by 1 July, 2020. Please include a brief biographical note of 50 words or less, institutional affiliation and 4-5 keywords. Full-length papers will be solicited from these proposals by 15 July, 2020 with final essays due 1 November, 2020. Final revisions due, 1 March, 2021.

Dr. Lisa Ortiz-Vilarelle

Professor

Department of English

The College of New Jersey
(609) 771-3231

Fax (609) 637-5112

PO Box 7718

Ewing, NJ 08628-0718

Deadline for Submissions, June 30, 2020

Scandal in Autobiography (6/30/2020; 11/13-15/2020) SAMLA Virtual Conference

Autobiographies establish the author’s own individual voice and the ability of that voice to display a social scandal or provoke a scandal. In so doing, authors aim to understand the social space around them, and in particular, their personal experience to provoke others within their narrative from the 19th to the 21st centuries.

How do we use autobiographical texts to examine the crossroads of public and private spaces? Phillippe Lejeune outlines a pact between writers and their readers, testified by the use of the author’s name as both protagonist and narrator. Autobiography has in this way been for centuries one of the most widespread prolific expressions and can be related to the larger tradition of the genre in terms of self-depiction in literary history. This panel therefore explores the impact of scandal in autobiographies of the nineteenth-twenty-first centuries.  Scandal as a social phenomenon examines speech acts. At times, scandal comes from the outside, in which a writer reflects upon an experience; scandal can also take the form of provocation. We encourage papers from a broad range of disciplines, and possible topics might include:

  • Scandal in Popular Culture
  • Autobiography in the Romantic Era
  • Politics and Scandal
  • Love, Heartbreak, and Sensual Writing
  • Scandal and Communication Studies
  • Global Female Testimonies

Please send abstracts of 250 words to Dr. Petra M. Schweitzer (pschweit@su.edu) and to Dr. Casey Eriksen (ceriksen@su.edu) by June 30, 2020.

Contact Info:

Dr. Petra M. Schweitzer, pschweit@su.edu

Dr. Casey R. Eriksen, ceriksen@su.edu

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Deadline for Submissions, June 30, 2020

Comparative American Studies: An International Journal Special Issue: Elizabeth Wurtzel (6/30/2020)

contact email:

Elizabeth Wurtzel (1967-2020) is most famous for her controversial bestselling autobiographies, Prozac Nation (1994) and More, Now, Again (2001). These works are often cited as seminal in the ‘memoir boom’ of the late 1990s and early 2000s and established Wurtzel as a cult classic and an icon of her generation. Her writing spans across almost 40 years and includes journalism, personal essays (most notably Bitch: In Praise of Difficult Women (1998)), and other non-fiction. In the aftermath of Wurtzel’s passing in January 2020, a reappraisal of her literary career seems both timely and a mark of tribute. We welcome articles exploring the following aspects:

– Reassessments of the impact of Wurtzel’s writing in the context of American literature and culture in the late 1990s-early 2000s

– Analyses of Wurtzel’s influence on contemporary confessional/autobiographical writing, especially by women

– Analyses of gender, sexuality, mental health and illness in Wurtzel’s work

– Situating Wurtzel as a Jewish woman writer, or a Generation X writer

– Wurtzel’s non-fiction, such as her music and online journalism

– Wurtzel’s literary influences

– Analyses of the systemic critiques of late 20th/ early 21st century America in Wurtzel’s writing

– Wurtzel and the cult of the individual

Articles which take a comparative focus (comparing Wurtzel to other writers and cultures, for example) are especially encouraged.

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Deadline for proposals 20 June 2020

AUTOFICTION AND HUMOUR

Special Issue of Life Writing (Autumn 2021)
Deadline for proposals 20 June 2020

One of the main features of autofictional literature is its so-called ability to “sit on the fence” (Lejeune) and be simultaneously fictional and referential. Throughout the theoretical discussions on autofiction this has overshadowed some of its other features. This special issue explores one of them, namely the as-of-yet rarely addressed humorous dimension of autofictional writing, including the aesthetic, narrative and social function(s) of humour in autofictional literature. In 1996, Marie Darrieussecq, a French scholar who almost overnight became a literary celebrity with the publication of Pig Tales (Truismes), published an article entitled “Autofiction, a non-serious Genre” (“L’Autofiction, un genre pas sérieux”) in which she ironically lauded autobiography only to better support autofiction’s creativity and its noncommittal attitude toward reality. Even if Darrieussecq meant “non-serious” to denote a less respected, frowned-upon subcategory of autobiographical discourse, now almost 50 years after Doubrovsky first coined the term, it’s worth considering if indeed autofiction is a non-serious mode of writing, although along a different understanding of the non-serious than Darrieusecq’s.

Freud defined humour as a defence mechanism, a way of keeping reality at bay while still focusing on it. This could also describe the way autofiction relates to autobiographical practices and their attempt to describe somebody’s reality. Judging for example by the grandiloquent buffoonery of Bret Easton Ellis’s Lunar Park, the wry self-deprecating tone of Ben Lerner’s 10:04, and by how J.M. Coetzee pokes fun at his alter-ego in Scenes from Provincial Life, at times verging on self-parody, it seems high time to consider autofiction’s humorous dimension.

One of the comic features of autofiction lies in its capacity to mock the seriousness of the genre it seemingly belongs to and, taking Darrieussecq’s rhetorical twist as a perfect example, seems to sneer at autobiography’s desperate dependence on facts and memory knowing that both have been shown to be fluctuating and labile (see for instance Mark Rowlands’s Memory and the Self: Phenomenology, Science and Autobiography, 2017). Even if a writer such as Mary Karr scathingly pointed out in The Art of Memoir (2015) that this aspect has often been regarded as carte blanche by some memoirists to publish blatant lies, she also rightfully reminded us that this inherent fallibility of our memory doesn’t call into question the validity of autobiography as long as it’s aware of this flaw. Another comic feature stems from an amused, sometimes ironic outlook on life and on those who try to put it on paper. In other words, autofiction often generates “ironic signals with regard to the reality of reported facts” (“signaux ironiques quant à la réalité des faits rapportés,” Colonna). Of course, this doesn’t imply that autofictional literature foregoes all claims to narrate any form of reality, but it frequently does so through tongue-in-cheek humour. As noted by Yves Baudelle, even in more serious autofictions such as Chloé Delaume’s or Camille Laurens’s, often conjuring up ghosts and the general theme of Thanatos, this “phantasmagoria is only tolerated in a humorous mode, which bestows upon it both its specificity and its function” (“cette fantasmagorie n’est tolérée que sur le mode humoristique, ce qui lui confère à la fois sa spécificité et sa fonction”). Thus, autofiction’s very referential logic could be described as “apotropaic.” In Ariadne’s Thread, J. Hillis Miller, focusing on realistic fiction’s essential flaw, wonders why “this dissolution of its own fundamental fiction [is] as constant a feature of realistic fiction as the creation of the fiction of character in the first place,” suggesting that “the function is apotropaic. It is a throwing away of what is already thrown away in order to save it.” Is autofiction trying to save autobiography and simultaneously make a joke out of it? This might be the very core of its ironical nature.

We encourage cross-disciplinary and comparative approaches and papers discussing primary texts in any language. Proposed articles may consider the humorous dimension(s) of autofictional literature through themes like, but not limited to, those listed above.

Practicalities and schedule:

Deadline for proposals (300 words): 20 June 2020

Authors will be notified if their proposal can be accepted for peer review by the end of July.

Deadline for sending in first drafts of papers: 1 November 2020

Peer-review process and corrections: January-March 2021

Final publication: Autumn 2021

All submissions need to be sent with a brief bio, which includes title, institutional affiliation and e-mail address.
Below is the link to the journal’s instructions for authors:
https://www.tandfonline.com/action/authorSubmission?show=instructions&journalCode=rlwr20

Please submit to: Alexandra Effe (alexandra.effe@wolfson.ox.ac.uk), Marie Lindskov Hansen (marie.lindskov.hansen@fu-berlin.de), Arnaud Schmitt (arnaud.schmitt@u-bordeaux.fr)

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Deadline for Submissions June 15, 2020

Call for Articles: Travel Narratives and Real-Life Fiction, The Lincoln Humanities Journal (6/15/2020)

The Lincoln Humanities Journal (ISSN 2474-7726) is requesting article submissions for its 8th special issue, to be published in December 2020, on the topic of Travel Narratives and Real-Life Fiction. Contributors are invited to examine specifically (a) the evolving forms of life-writings (biographies, autobiographies, memoirs, diaries, blogs, etc.) as they pertain to travel; (b) the intersection of fictional and factual travel narratives, and (c) the emotional, economic, socio-political, environmental, physiological, and literary aspects of travel (in reality and in fiction; by land, sea and air; on earth and in outer space). We welcome approaches across a broad range of disciplines such as literature, history, political science, anthropology, religion, popular culture, philosophy, visual arts, and social media. Topics may include but are not limited to:

  • The concept of travel: historical and philosophical perspectives
  • Travel writing, Life-writing as genre
  • Biofiction, biography, autobiography
  • Travel journalism
  • Travel in film, theater, literature, and television
  • The Internet of places: Pictures and videos of other places, cultures, etc.
  • Modern tourism
  • Adventure  and exploration
  • Travel for business, pleasure, family reunion, aid work
  • Travel for education (study abroad, etc.)
  • Pilgrimage & religious travel
  • Modes of transportation
  • Environmental  impact of travel
  • Travel to the moon and beyond; The sci-fi connection and influence
  • Tourism in international relations (migration, spying, etc.)
  • Temporary living and/or working abroad (mission, etc.)

Important Dates & Deadlines

  • Deadline for Full Article Submissions:    June 15, 2020
  • Acceptance Notification:                       60 days after submission
  • Projected Date of Publication:               December 2020

Submission Guidelines

  1. Include an abstract of 200-400 words (in MS Word)
  2. Include a biographical note of 50-250 words (in MS Word)
  3. The article should be 4000-6000 words, including the abstract, the footnotes and the works cited
  4. Include the following statement in the cover e-mail: “I solemnly confirm that the attached manuscript has never been published elsewhere, under this, or another title.”
  5. Include name, professional affiliation, phone number, and email address in the cover e-mail.

Formatting Guidelines

  1. Manuscripts should conform to MLA-style guidelines as detailed in recent editions of MLA Style Manual and Guide to Scholarly Publishing. For an MLA Style Works Cited format overview, please check the following web resource: https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formattin…
  2. Use font Georgia # 12. The entire article, including the abstract and the indented quotations, should be double-spaced, and in MS Word.
  3. The final submission must comply with other formatting guidelines, to be communicated upon notification of acceptance.

Submission & Review Process

  1. Manuscripts should be sent to the editor, Abbes Maazaoui (maazaoui@lincoln.edu)
  2. Articles undergo a double blind review and their publication depends on the peer-review process.

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Deadline for Submissions June 20, 2020

Representations of Refugee, Migrant, and Displaced Motherhood in a Global Context (6/20/2020)

Seeking abstracts or unpublished chapters looking at literary accounts of Latina and/or Indigenous motherhood experiences in the context of migration and displacement to fill a gap in scholarly edited collection. 

Please submit a 250-400 word abstract of your chapter and a 50-word bio by June 20, 2020.

Accepted and complete chapters due 15 August 2020 (6,000 words maximum with MLA format and references)

Contributions are invited for a scholarly edited collection that aims to explore literary accounts of migrant, refugee, and displaced motherhood in a global context. The collection will look primarily at contemporary writings about migrant motherhood. In a world marked by forced migrations, climate change, and wars, the collection aims to examine writings about the displacement of mothers at the American borders, in the Syrian conflict, and beyond.

This book seeks to examine writings by and about the displaced mother in both fiction and non-fiction.  Refugees and migrants are often unseen, or worse seen as an inconvenience or imposition.  Migrant mothers in particular are often overlooked, with their experiences, their needs, and their lives nearly erased. Vu Tran says that “for those who can never quite accept her, a refugee is like a ghost” (p. 154).  This collection is particularly interested in analysis of first-hand accounts of migrant motherhood, while also recognizing that the migrant mother is often silent. Therefore, analysis of both fictional and non-fiction accounts may be of importance as the collection pieces together the fragmented lives of migrant mothers.

Dina Nayeri has examined the refugee experience in both her fictional and non-fiction works, Refuge and The Ungrateful Refugee: What Immigrants Never Tell You. In the latter, her non-fiction account, Nayeri talks about how her own mother made the brave decision to take her small children and leave home to ultimately settle in America.  Nayeri says of the refugee, “A tortured mind, terror of a wasted future, is what enables you to abandon home; it’s a prerequisite for stepping into a dingy, for braving militarized mountains” (p. 8).

The journey of the migrant woman is made evermore complex by her status as a mother, a child-bearer, and a woman at-risk. The borders of motherhood to be examined in this collection can be linguistic, political, and geographical, along with the complex physicality of moving through liminal and transitory spaces. Chapters may explore a range of topics from the mother figure in refugee children’s literature to ethnographic studies of migrant mothers in detention facilities.

I am in talks with several highly reputable academic publishers that are interested in the collection.

Possible topics might look critically at (but not limited to):

  • Narratives about or by migrant or refugee mothers
  • Fictionalized accounts of migrant motherhood
  • Reproduction and migration
  • Rhetoric of migrant motherhood
  • Family separation
  • Family resettlement
  • Research and qualitative studies on women’s experiences as migrant or refugee mothers
  • Refugee children’s literature and the mother figure

References

Tran, Vu. “A Refugee Again” In The Displaced: Refugee Writers on Refugee Lives, Edited by

Viet Thanh Nguyen, Abrams, NY, NY, 2018

Nayeri, Dina. The Ungrateful Refugee: What Immigrants Never Tell You. Catapult, NY, 2019.

Refuge, Riverhead, NY, 2017.

Timeline

1 December 2020: Deadline for submitting 250-400 word abstract of your chapter and a 50-word bio.

1 April 2020: Accepted and complete chapters due (6,000 words maximum with MLA format and references)

Submissions and questions should be sent

to maria.lombard@northwestern.edu

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Deadline for Submissions June 5, 2020

Speculating Identities and Defying Stereotypes: South Asian Women Writers and Idealistic Mobilities (6/5/2020) Special Issue, Journal of Comparative Literature and Aesthetics

deadline for submissions:
June 5, 2020
full name / name of organization:
Journal of Comparative Literature and Aesthetics (JCLA)
contact email:

The issue intends to bring to the fore the writings of women from colonial and postcolonial era of South Asia, particularly exploring how these women writers addresses the issues of violence, speculating identity and belongingness while defying stereotypes in primarily male literary traditions as a focal point. Moreover, the proposed issue considers how different literary genres ranging from novels, poetry, novellas, short stories, memoirs to autobiographies by South Asian women writers present an exclusive and inimitable insight into varied understandings of pre-constructed gender roles and relations in the context of south Asian society and culture. Their works bear testimony to their personal as well as socio-political experiences struggling with the boundaries of centre and periphery, negotiating their identities and ideologies across different spatial and temporal domains.
This special issue, therefore, attempts to look into the literary tradition of South Asian Women writers and how it has developed into an alternative literary canon significantly upholding the (Her)stories, previously unacknowledged by the male writers. The issue is focused on identifying the narrative politics of the literary texts composed by the South Asian women writers, and how over the years their works have collectively shown a steady development of an emerging category of female writers struggling with the issues of identity, class, caste, gender, economic disparity and so on within an oppressive heteronormative social frame.
The issue intends to focus on the following sub-themes, but authors are also encouraged to explore other wide-ranging relevant and related critical writings.

The sub themes are:
1. Constructing nation through gender
2. South Asian Women’s narratives across continents
3. Interplay of tradition and modernity in South Asian Women’s narratives
4. Understanding class and caste in South Asian Women’s writing
5. Gender plurality in South Asian Women’s texts

Guest Editors: Raeesa Usmani and Ritushree Sengupta

Submission Guidelines:
1. Original scholarly and unpublished research papers of 5000-6000 words are invited.
2. A short author(s) bio-note (100 words) mentioning address of institution, email id, phone number and email address must be submitted along.
3. An abstract of 250-300 words will have to be submitted on or before 5th June, 2020 to email id: papers.jcla@gmail.com.
4. Once the author is notified about the selection of the abstracts, the full paper must be submitted by 1st October, 2020 to papers.jcla@gmail.com. Authors are requested to strictly abide by the deadlines and submission guidelines.
5. Authors must follow referencing style MLA 8th edition. Font: Times New Roman, Font Size: 12, Line Spacing: 1.5, Margin: 1 inch all sides, Page: A4
6. All papers will go through rigorous editing process and plagiarism scanning through Turnitin. Only 10% similarity will be accepted.
7. Should you have any query or confusion, please feel free to reach out to us on papers.jcla@gmail.com

ABOUT THE JOURNAL

The Journal of Comparative Literature and Aesthetics (ISSN: 0252-8169) is a half-yearly journal published by the Vishvanatha Kaviraja Institute of Comparative Literature and Aesthetics, India since 1977. The Institute was founded on August 22, 1977 coinciding with the birth centenary of legendary philosopher, aesthetician, and historian of Indian art, Ananda K. Coomaraswamy (1877-1947).

The Journal is committed to interdisciplinary and cross-cultural issues in literary understanding and interpretation, aesthetic theories, conceptual analysis of art, literature, philosophy, religion, mythology, history of ideas, literary theory, history, and criticism.

The Journal has already published legends like Rene Wellek, Harold Osborne, John Hospers, John Fisher, Murray Krieger, Martin Bocco, Remo Ceserani, J.B. Vickery, Menachem Brinker, Milton Snoeyenbos, Mary Wiseman, Ronald Roblin, T.R. Martland, S.C. Sengupta, K.R.S. Iyengar, V.K. Chari, Charles Altieri, Martin Jay, Jonathan Culler, Richard Shusterman, Robert Kraut, T.J. Diffey, T.R. Quigley, R.B. Palmer, Keith Keating, and many renowned scholars.

JCLA is indexed and abstracted in the MLA International Bibliography, Master List of Periodicals (USA), Ulrich’s Directory of Periodicals, Philosopher’s Index, EBSCO, ProQuest, and Gale.

Celebrated scholars of the time like Rene Wellek, Harold Osborne, Mircea Eliade, Monroe Beardsley, John Hospers, John Fisher, Meyer Abrams, John Boulton, and many renowned foreign and Indian scholars were Members of its Editorial Board.

Deadline for Submissions June 1, 2020
Call for Book Chapters: The Other #MeToos

Chapter proposal submission deadline: 01 June 2020

Since the inception of #MeToo, conversations have largely centered on the movement’s development in the United States. This edited collection focuses on the reception, translation, and adaptation of #MeToo in non-Western, indigenous, and/or postcolonial contexts; it aims to explore how #MeToo, a popularly Western-centric feminist movement, translates to politically, culturally, religiously, geographically, and academically Othered places and Othered genders and sexes.

This edited collection aims to explore the following ideas: (i) #MeToo has become a transnational feminist movement (ii) #MeToo works effectively through revisions rather than replication (iii) #MeToo assumes a different face in non-Western, non-White, postcolonial, transnational, and indigenous feminisms (iv) These other #MeToos require different theoretical approaches that need to be closely connected with feminist praxis and (v) #MeToo works in alliance with local progressive political forces.

We look for chapter contributions that, via eclectic, intersectional, and interdisciplinary approaches, bring together personal and academic experiences of and responses to #MeToo in diverse sociopolitical cultures and academic locations. Please submit a 250 word chapter proposal, 50-150 word long bio, and a CV at TheOtherMeToos@gmail.com by 01 June 2020.

Editor: Iqra Shagufta Cheema | University of North Texas

Contact information: TheOtherMeToos@gmail.com

Submission: Chapter title + chapter abstract (250 words) + bio (100 words) + CV

Submission Deadline: 01 June 2020

Acceptance Notification: 10 June 2020

Complete Chapters Due: 01 October 2020

Should you have any questions, please feel free to email me at the address given above.

Deadline for Submissions June 1, 2020

SAMLA 92: THE GENRES OF CELEBRITY SCANDAL (6/1/2020; 11/13-15/2020) Florida, USA, SAMLA

Given the evident command of the celebrity in 20th- and 21st-century media cultures and following modern trends toward trans-medial and inter-generic production, this traditional session calls for papers that explore the relationships between celebrity and generic scandals. How have filmmakers, television writers, tabloid/entertainment journalists, novelists, essayists, biographers, memoirists, and other cultural creators depicted celebrity scandal while pushing the limits of their given genre or medium? While the 20th and 21st centuries are the focus of this call, media and literary scholars of all periods are welcomed to apply. History-bending is happily encouraged alongside genre-bending. Scandals could involve:

  • Addiction/alcoholism
  • Mental illness and “nervous breakdowns”
  • Sexual controversy: sex tapes, infidelity, coming out, consent, rape, assault, doxing, incest, public sex, etc.
  • Censorship and privacy
  • Body image (fatness, thinness)
  • Crime (shoplifting, violence, DUIs)
  • Health spectacles: disease, cancer, HIV/AIDS, etc.
  • Slander
  • Cults

Potential topics/methods could include:

  • Documentary films or TV series that record a star’s scandal, or fictions that recreate such scandals
  • The biography of celebrity scandals, or autobiographies or memoirs written by scandalous celebrities
  • The relationships between identity and celebrity and/or identity and genre: age, religion, class, language, ability, race, sex, gender, nationality, geography, and intersectional approaches
  • The influence of contemporary “factual entertainment” (e.g. reality TV, talk shows) on genres of celebrity (A-list, D-list, elitist, populist, etc.)
  • Paparazzi and tabloid cultures
  • Historical approaches to “celebrity genres”
  • Celebrity scandal explored through genres of confession, witness, testimony, evidence, etc.
  • Political celebrity and election media
  • Celebrity affects, generic affects

Please send a 300-word abstract, brief bio, and A/V requirements to Blake Beaver at blake.beaver@duke.edu by June 1, 2020.

CFP Link: https://samla.memberclicks.net/calls-for-papers#filmstudies

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Deadline for Submissions June 1, 2020

The Transformative Experience of the Journey via Recollection and Reflection (6/1/2020; 11/12-15/2020) Las Vegas, USA–PAMLA

contact email:

The travel memoir offers an opportunity to examine a number of issues in terms of creative non-fiction. Travel stories focus on individuals who become strangers to themselves when they exile themselves from the environmental and cultural factors that have defined them thus far in service of self-discovery. They link up with the grand Odysseus-like impulse of traditional and modern literature that can profoundly alter identity when they travel and write about their experiences. Topics to consider would include a discussion of three particular aspects of this kind of storytelling. First, we must discuss the idea of fiction vs. fact and try to decide how much of each is essential in terms of crafting biographical material. Sometimes fiction can reveal truths more clearly than facts and so it could be said that truth lies in the interplay between these two critical aspects of storytelling. Further the idea of the diary as self-revealing and as an essential part of the transformative process journeying is meant to promote is a critical discussion as well. Experience is not fully integrated by writers and certainly not experienced by readers until it is written down and shared. This then leads to an analysis of the powerful draw travelogues’ mythological aspects have to audiences that, by in large, never travel but are rabidly addicted to this kind of story because these travel tales are vehicles for self-evaluation via contact with what we can call “others” (other cultures, other uncomfortable places, and travelers vs. nontravelers).

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Deadline for Submissions May 31, 2020

Written on the Body: Narrative (Re)constructions of Violence(s) (5/31/2020; 7/26-8/2/2020–
UPDATED AND ADJUSTED FORMAT

Call for Traces

July 26–August 2, 2020

Location: World Wide Web/Local initiatives

The Nordic Summer University 2020 will take place in an adjusted format because of the Covid-19 pandemic.

Invitation and Theme:
‘Written on the Body: Narrative (Re)constructions of Violence(s)’ was meant to be a week-long symposium organised by the study circle ‘Narrative and Violence’. Following the discussions on how to make sense of violence in the digital age, which took place last February at the University of Gdańsk, this was to be the second symposium of our Study Circle’s. However, due to the pandemic of Covid-19, the Nordic Summer University Summer Session 2020 will not be able to take place as a physical gathering, but will instead take place in distant and dispersed formats of encounter, sharing and connection. The participants are invited to create a trace (please see below for a more detailed description). Taking the advantage of the current environment, rather than collapsing under its restrictions, NSU is thus opening a space for traditional and unconventional collaborations, experiments, unusual meet-ups, creative interventions and other innovative approaches. In all this, documentation, accessibility and shareability aspects are crucial.

We therefore invite scholars, students, practitioners and activists from all disciplines to submit proposals for traces that will address how bodies becomes subjects and objects of violence and how, by simply ‘being’, they narrate their traumatic experience. But how do bodies narrate violence(s)? Our understanding of a body is purposefully broad and includes the human and nonhuman, the organic and inorganic, and their diverse material or corporeal forms. We are therefore engaging with bodies that are human, animal, vegetal, natural and technological; that are both singular and collective (i.e. the social body); that are situated in both the physical and virtual space; and that express naturecultural entanglements (Haraway 2003). To consider the materiality of violence implies attending to its trans-corporeal intersections and therefore addressing its inseparability from the ‘environment’—a network of relations (human and nonhuman), phenomena and space (e.g. the home, the neighbourhood, the city) that foster, produce, perform, and ultimately bear witness to violence. Hence, inspired by Catriona Sandilands (2019), we envisage the entangled forms of violence done to human and nonhuman bodies as metonymic and intersectional. Our ambition is to engage with the imaginative (re)constructions of (human/nonhuman/social/natural/technological) bodies that perform or experience violence; with how they reproduce the intertwining of gender, power, agency and heteropatriarchal capitalism; and with their contribution to ethics, aesthetics, and politics. Finally, in addressing how bodies narrate violence we wish to reflect on the implications and effects of such (embodied) practices—whether positive or negative—and on the possible strategies to counter-act or counter-story them.

We invite contributions exploring various practices of storying violence on bodies, and attending to ‘the wounds of the world’. Suggested themes relate to narratives addressing human and nonhuman bodies, within non-digital and digital realities, fictional or factual, and their multiple intersections. They include but are not limited to:

  • Self-inflicted violence (e.g. self-harm, eating disorders, suicide, etc.)
  • Other-directed violence (abuse, harassment, murder, genocide, etc.)
  • Technological representations/forms of bodily violence (e.g. social media, videogames, drones, etc.)
  • Aesthetic representations of bodily violence (e.g. art, literature, film, etc.)
  • (Neo)colonial labour and slavery
  • Appropriation of indigenous knowledge
  • Environmental violence and its effects on communities (e.g. natural catastrophes and their aftermaths, exploitation of indigenous/ancestral lands, etc.)
  • Entanglements of misogynist and anti-ecological violence
  • Micro- and macro-political violences
  • Governmental policing and rationalization of (public) spaces
  • Reconstructions of war-crimes (e.g. forensic architecture)
  • The effects of field-work violence: researchers, practitioners, activists, NGOs workers

The framework of the Study Circle is intersectional and open to multiple approaches and methodologies in humanities, social sciences and from the practicing field. The overarching intention of our three-year Study Circle is to contribute in particular to the fields of digital and environmental violence.

What is a trace?

A trace is defined as the outcome of our Study Circle’s activities in the Summer Session 2020. A trace is documented and can be archived or presented as a form of evidence. A trace can have a variety of formats: it can be an article written or co-written by you or a discussion held among our Circle’s members; it can be a virtual meet-up or a localised interdisciplinary micro meet-up between members of different circles in a form that is permitted; an online podcast or interviews. The format is not restricted in any way. As the Cricle’s coordinators we will evaluate the potential outcome, creative and academic contribution, quality and shareability of the proposed traces.

The Board of NSU has defined the following guidelines for the shortlisting of the proposed Traces:

  • produced by a single individual or group of participants;
  • sharable and open to all during the Summer Session time frame;
  • fitting to NSU’s overall goals, aims and vision;
  • related to the Circle’s theme;
  • created in its main language English or a Scandinavian or Baltic language;
  • those who make a trace must be members of NSU (pay membership fee) & participate in the democratic forum of NSU (may become a delegate for the General Assembly meeting);
  • the team or the individual creating a trace needs to provide some promotion material considered as an INVITATION to the trace, before the Summer Session with an image & description of 200-500 words;
  • those who make a trace need to provide a brief report of the trace to their coordinator (form to be provided by NSU, including number of participants, goals, etc.) after the trace has been produced.

As always, NSU is particularly interested in supporting people who are at the outskirts of the Nordic region – the Baltic and West-Nordic communities as well as those with special needs. So please inform us if your application for a Trace grant falls under the regional support or if the pandemic has had particular financial consequences to you.

Please send proposals for traces (200-500 words and an image, if appropriate) with a title and a short biographical statement (100 words) to narrativeandviolence@gmail.com by 31st May 2020. This is also the deadline for the application for grants of up to 7000.00 DKK per trace. Authors of accepted traces will be contacted after 15th June 2020.

More information about NSU can be found by following this link: http://nordic.university.

Contact Info:

Marta-Laura Cenedese

Contact Email:

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Deadline for Submissions May 31, 2020

Travel Writing/Writing Travel Session  (5/31/2020; 11/3-5/2020) Midwest Modern Language Association Convention, Milwaukee USA

Travel is a vehicle for which to explore the condition of living, how our relationships to place shape us and our experiences, how our identities and political histories inform place, how power structures inform how we migrate (or don’t) and how that affects the places we pass through. –Bani Amor, “Getting Real About Decolonizing Travel Culture” (2017)

In this spirit of this year’s theme, “Cultures of Collectivity,” the Travel Writing/Writing Travel permanent session invites essays that interrogate the relationship between culture, community, and narratives of travel. This session seeks to explore the multiple ways in which travel, broadly conceived, has a profound impact on place, society, and the formation of global networks of exchange and communication. Critical and creative submissions will be considered. Papers that explore a broad spectrum of genres, disciplines, time periods, and geographic regions in relation to the conference theme are welcome.

Potential topics and themes may include (but are not limited to):

  • Travel and travel writing as a collaborative act
  • The politics of travel and travel writing
  • Travel and literary genre
  • The impact of tourism on local communities
  • Travel and the promotion of solidarity between communities
  • Contact zones and the relationship between travelers and travelees
  • Histories of travel/Decolonizing travel
  • Transnational and global forms of cultural exchange
  • Travelling locally
  • Constitutions of “self” and “other” in travel writing
  • Travel and constructions of race, class, and/or gender

Please send abstracts of approximately 200-300 words and a brief bio to Shannon Derby at MMLATravelWriting@gmail.com by May 31st.

Deadline for Submissions May 30, 2020

Designing the Self

deadline for submissions: 
May 30, 2020
full name / name of organization: 
Humanities Graduate Student Association, York University
contact email:

Humans navigate personal and social relationships in the world through self-definition. Human nature is a capacious concept; one that has been challenged by diverse cultural revolutions in history. Today, as we stand at the crossroads of the human and the digital, technologies force us to reflect on how we view, create, and alter our selves through multiple media. As we enter the age of new media, and algorithms, the interpretations, perceptions, and representations of the self are continuously altered, while our identities become more fragile multiple and fluid.

Identities may be founded on varied cultural, biological, and physiological markers, but are also a source and product of social engagement, shared ideas, ideologies, and biases. Identities are both personal and social and are in the eternal process of construction. Our gender, race, ethnicity, sexual orientation, class, disability, religion, nation, and age consistently intersect and interrupt our process of identity construction in media including print, broadcast, and social media.

How does the forging of multi-layered, complex identities materialize in traditional and new media? How does the cultural production of the self occur in literature, television, music, blogs, or digital technologies? How does the self break out of its essential boundaries through various practices of writing, and how does it come to be represented? How does it traverse the binaries of gender construction using technology? How does it penetrate barriers towards an intersectional identity building? How are bodies constructed differently in different media? How do masculinity and femininity as concepts of gender identity manifest on platforms? How does individual and collective identity building occur, and how does identity construction enable the use of various media for community development and social activism for communities?

Humanities as a discipline is always deeply reflective of the changing world order and is consistently tasked with redefining the notions of the self. We are keen to address this humanities framework in relation to identity politics, representation, and embodiment of the self on various media. To interrogate and investigate the complex relationships between narratives of self-production, and identity formation in media, The Department of Humanities invites abstract submissions for its annual conference on the theme Designing the Self. We invite proposals for papers from a variety of fields and perspectives that engage with issues including, but not limited to:

  • How does cultural production of the self occur in various forms of media?
  • How does (dis)embodiment occur on social media?
  • How do representations of gender, masculinity, or femininity occur in media?
  • How is intersectional identity constructed, and how does gender intersect with class, race, disability, religion, nation, and age as other factors if identity building?
  • How can we rethink diversity, intersectionality, and identity politics in the age of technology?
  • How does identity construction vary in different cultures and historical traditions?

Our two-day conference will address these and related topics. It will be held virtually due to the COVID-19 situation. We welcome proposals for 15-minute paper presentations. Those interested are invited to submit an abstract of 250 words to  hugsaconf2020@gmail.com by 30 May 2020. Submissions must include the title of the paper, the author’s name, affiliation, and contact information. Applications must be accompanied by a short biography of 150 words.

For questions and inquiries, contact Nanditha Narayanamoorthy at nanditha@yorku.ca.

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Deadline for Submissions May 30, 2020

CFP for Oct 2021 symposium on Constructing Presidential Legacies: Critical Perspectives on American Presidential Libraries and Museums (5/30/2020; 10/8-9/2020)

We invite a wide range of scholars interested in any aspects of US Presidential Libraries and Museum’s to submit ~500-word abstracts by May 30, 2020, for a symposium to be held October 8-9, 2021, followed by an edited publication in early 2022. Presidential Libraries and Museums’ function as “memorials to individuals” and “memorials of their times” and over time have given rise to many questions across a variety of fields. Beyond the buildings, the exhibitions and narratives also contribute to the shaping, presentation and reinterpretation of presidential legacies.  Any critique of the thirteen existing libraries from Hoover to George W. Bush and future libraries (Obama and Trump) are welcomed. We also encourage potential participants to contact us prior to submitting to discuss possible subjects in order to achieve a wide range of paper topics and approaches.

Marie-Alice L’Heureux, Professor, Arc/D, University of Kansas, Lawrence, KS malheur@ku.edu

Kapila Silva, Associate Professor, Arc/D, University of Kansas, Lawrence, KS kapilads@ku.edu

December 2019: Call for abstracts
May 30, 2020: Abstracts due
June 30, 2020: Notifications of acceptance
January 25, 2021: First drafts of papers due and revisions circulated
May 31, 2021: Presentation drafts due
October 8-9, 2021: Conference and discussion.
January 31, 2022: Final revised papers due for publication.

Contact Info:

Marie-Alice L’Heureux

Contact Email:
A question from a list member

Greetings

I would like know if IABA members are aware of memoirs/biographies written in more than one voice. Two examples are Doris Brett’s Eating the Underworld: A Memoir in Three Voices, and Brian Matthews Louisa, a biography of Louisa Lawson.
I would be extremely grateful for this; please send personal responses to r.luckie@bigpond.com
Kind regards

(Dr) Rae Luckie

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NEW SERIES TITLE: Palgrave Studies in Mediating Kinship, Representation, and Difference

SERIES EDITOR/S: May Friedman, Ryerson University (Canada); Silvia Schultermandl, University of Graz (Austria)

This book series brings together analyses of familial and kin relationships with emerging and new technologies which allow for the creation, maintenance and expansion of family. We use the term “family” as a working truth with a wide range of meanings in an attempt to address the feelings of family belonging across all aspects of social location: ability, age, race, ethnicity, nationality, sexuality, gender identity, body size, social class and beyond. This book series aims to explore phenomena located at the intersection of technologies including those which allow for family creation, migration, communication, reunion and the family as a site of difference. The individual volumes in this series will offer insightful analyses of the representations of these phenomena in media, social media, literature, popular culture and corporeal settings.

Possible book topics include:

• the use of technology and migration and family composition and disjunction; the ways that technologies may both push and pull kin together/apart

• the range of technology use across literal and figurative space including intersections of geography, age, poverty, gender and beyond

• the impact of technological absence: the ways that technologies may be taken for granted in particular environments (privileged nations; privileged subject positions) and may be denied or inaccessible in other spaces or places

• technologies of family creation and maintenance: the use of alternate reproductive technologies; the use of communication technologies to share information;

• queer family creation and representation through technology; making queer family visible through traditional, popular and social media; alternate family connections including nonnormative parenting arrangements (more than two parents, multiple different shades of parenting); “new” family through donor sibling relationships;

• technologies of class mobility, including the impact of smartphone technology on mediating/curtailing aspects of the digital divide; shifting family relationships through generational moves in class status;

• fat family: the ways that narratives of obesity have had impacts on the creation and representation of family (for example: obese women who are denied reproductive technologies or access to international adoption); the ways these rhetorics have shifted differently in different jurisdictions; representation of fat family; intersection of fat and working class identities in popular culture;

• trans families: both in terms of gender identity but also in terms of other families that “confound”—families that do not “match” one another, or that otherwise transgress normative models;

• technologies of disability: the use of technology to enhance or bolster independence, the ways that disabled people are seen as incapable of parenting; on the other hand, the technologies which come into play around parenting children with disability, both prenatally and once children are born; representation of disability and family (fetishization and the perceived martyrdom of parents)

Please send inquiries to may.friedman@ryerson.ca AND silvia.schultermandl@uni-graz.at

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Deadline for Submissions May 29. 2020

CFVP Virtual Video Symposium – Poetic Justice: Narrating Personhood, Solidarity, and Citizenship (5/29/2020) Utrecht, Netherlands

deadline for submissions:
May 29, 2020
full name / name of organization:
Anne Kustritz / Utrecht University
contact email:

Poetic Justice: Narrating Personhood, Solidarity, and Citizenship

This one-day digital symposium brings together international colleagues for an interdisciplinary conversation on the use of narratives to make claims about (or foreclose the possibility of) social justice in both formal and informal political situations, for example in art, memoir, social media, protest movements, and legal documents.  As such, the event unpacks the vital role of storytelling within contemporary political struggles, including, for example, in films about restorative justice, in newspaper representations of the Dutch farmers’ strike, and ethnography regarding labor organization in the digital media industry.  Only by better understanding how stories shape who is included and excluded from social institutions may we thoughtfully narrate a more open and inclusive society, since policy and politics begin with an act of imagination.  Please feel free to interpret the theme liberally.

Talks can be between 5 and 30 minutes and must be submitted in digital video form.  The format is flexible and may consist of a recorded live reading, slides with an audio track, audio only, or something more creative or conceptual like montage or remix.  The symposium takes place on the 19th, meaning participants are encouraged to comment on each other’s presentations that day, and the event will end with a closing zoom call.  In these complicated times, we hope to offer a sense of connection between colleagues and an opportunity to remotely support each other’s research.  To present RSVP with your intent to Anne Kustritz at a.m.kustritz@uu.nl by 29 May.  The deadline to submit a video is the 16th of June.  To participate as a viewer and commenter RSVP by 18 June (a.m.kustritz@uu.nl).

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Deadline for Submissions, May 22, 2020

International Symposium

on

Digital Expressions of the Self

Organized by the Department of Humanities & Social Sciences

National Institute of Technology Silchar

7-8 December 2020

Pre-Symposium Workshop: 5-6 December 2020

This symposium engages with the digital forms of expressions of the self. We invite papers that explore the ways in which, for instance, digital techniques now allow the construction of selves that often rely more on algorithms than any ‘original’ referent. Consider, for example, how algorithms simulate images, voices etc. and have become the basis for facial recognition, biometrics and similar datafication concerning the self. This shift is indicative of what we might term posthuman condition. Along these lines,  we are interested in papers that engage with how expressions enhanced by algorithms produce multiple, fractured selves. Following Deleuze, we invite papers that engage with how the  in-dividual has become ‘dividual’ in societies of post-control vis-a-vis the introduction of digital technologies. Finally we are interested in how people experiment with creative expressions of the self. Constructing the self in the digital sphere may involve processes of experimentation that in turn allow one to experience the self in multiple ways. This is mediated of course by the apparatus of the digital-codes and algorithms. Digital self-expression occurs both consciously and explicitly, and subconsciously and indirectly. Taking this as a point of departure, this symposium examines the broad range of digital expressions of the self. The symposium will pivot around, but not be limited to, these concerns:

  • What, in the digital context, defines the self and its boundaries? How is the self articulated in digital culture and cultures of everyday life especially in relation to Web 2.0? When articulated digitally, where do we locate its forms and ontology?
  • How is the digital expression of the self different from its analogue counterpart? What affordances of the digital, if at all, reconfigure the self? Consider, certain digital expressions can be evidential (eg: the selfie), viral, emotive or even tactile. How do the materialities of the specific platforms (eg: Instagram, MySpace.com, TikTok videos, Soundcloud, Tinder etc.) then impact the digital self or its expression?
  • These platforms have become not only media of self-expression but also experimentation. How do users, especially youngsters, leverage these platforms to experiment with their gender, bodies, sexualities and identities, creating self-representations that often challenge normativity?
  • How (im)proximate, in terms of referentiality, is the digital self to the so-called ‘real’ self? What does the digital expression entail epistemologically? How does it speak to the question of referentiality? In other words, to what extent, if at all, can these expressions be perceived as simulacrum? What is the nature of the human-algorithm interaction involved here?
  • How does the notion of the (in)dividual play out while articulating one’s self in the context of digitality, when the (post)human can be prosthetically ‘engineered’, Artificial Intelligence can govern societies, and robots can acquire personhood (or even citizenship)?

Abstract Submission

To apply to present at the symposium, please submit an abstract of about 400 words and a bio-note (150 words) using this link <https://forms.gle/UwQkdJdkxxuE4jFM7>. Abstracts will be considered on a rolling basis until May 22, 2020. For those accepted, unpublished draft papers (~4,000 words) have to be submitted by August 15, 2020. Final decisions on acceptance, based on the draft papers, will be communicated by August 28, 2020. Those who would require to travel from relatively far are requested to submit their abstracts earlier than the deadline for the organizers to be able to get back within a shorter turnaround time. This way, you will have a greater window to arrange your travel logistics.

Pre-Symposium Workshop

The symposium will be preceded by a workshop scheduled during December 5-6, 2020. This is targeted mainly at postgrad students and research scholars, whose projects bear resonance with the symposium theme and, broadly speaking, concern Digital Humanities. Participants will be selected from the pool of symposium participants. During the workshop, experts will reflect on the state-of-the-art affairs in the field and advise informally on the students’ projects. If you wish to participate in the workshop — either as a scholar or as an expert, please express your intent during the abstract submission.

Financial Support

Limited subsidy to offset travel costs may be made available for a small number of participants. This is typically meant for postgraduate students, early-career and un(der)employed academics. Details about the travel bursaries will be communicated upon receipt of the draft papers.

Miscellaneous

Participants from outside the conventional Humanities & Social Sciences disciplines — for example, scientists who work on AI, image processing, biometrics etc., gamers, game-designers, coders — are encouraged to apply. Attendance at the symposium and the workshop will also be open to a limited number of non-presenters. There is no registration fee for participating or attending.

This event is a part of a SPARC (Scheme for Promotion of Academic and Research Collaboration) project funded by the Ministry of Human Resource Development (MHRD), with additional support from the UK-India Education and Research Initiative (UKIERI). The pre-symposium workshop is sponsored by the Northeast India Company (Silchar).

This event overlaps with the famous Hornbill Festival in Nagaland, relatively close to Silchar. Nagaland and Silchar are connected by rail route, but might require a transit at Lumding.

Contact Us

For questions and clarifications, write to <selfie2021@gmail.com>.

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Deadline for Submissions May 20, 2020

THE PSYCHOLOGY OF GLOBAL CRISES: STATE SURVEILLANCE, SOLIDARITY AND EVERYDAY LIFE May 20, 2020 at The American University of Paris, is a virtual conference and free of charge. You can participate from wherever you are. Full details below:

https://www.aup.edu/psychology-global-crises

The current global Covid-19 crisis is unprecedented in many ways. Yet, crisis” as a phenomenon is everything but new. In the past years, we have been in the middle of the so-called “refugee crisis” the European sovereign debt crisis, the subprime mortgage crisis and the 2007-2008 global financial crisis. Some attest to a more general crisis of liberal democracy, an eventual crisis of capitalism, or a “population change crisis.” Climate change is typically identified as a central factor in the emergence of future global crises. Beyond economically driven crises, we experience crises on the social and cultural levels: the Occupy movement, #MeToo, Black Lives Matter, Cambridge Analytica, the global surveillance disclosures, etc. On a smaller scale, we witness crises of various academic disciplines, famous among them perhaps the replication crisis in psychology. Some go further and argue that the social sciences are in a state of perpetual crisis at least since the beginnings of the 20th century. Last not least, psychologists identify and treat crises on an individual level: loss of workplace, loneliness, depression. Every crisis phenomenon maps its territory and calls for its experts and expert discourses, measures and publicly communicated courses of action. Sparked by current developments, the theme of this conference is “crisis” in all its varieties. Who is speaking to the current crisis and with what advice? Which voices are heard? What can the social sciences contribute to understand crises, the current global situation and expectations for the future? How can we critically examine the concept of “crisis.” Who defines a situation as a crisis? Who benefits from and who is negatively affected by crises? How do crises change local communities? How do they affect the individual agency and the relationship of citizens to one another? In times of crisis, let us come together in the virtual world and discuss the phenomena at hand.

The conference organizers hope you will be able to participate and help spread the word too.

With best wishes,

Ana

http://www.unav.es/

Ana Belén Martínez García
PhD Assistant Professor
ISSA School of Management Assistants
Edificio Amigos. Despacho 5090
Tel.: 948 425600 (802814)

Deadline for Submissions May 17, 2020

Life Writing as Political Voice

PAMLA Pacific, Asian, and Modern Language Association

Los Vegas 11/12-15, 2020

contact email:

City dwellers have a unique opportunity to see and engage in group political activities that those in more rural areas do not. Their everyday lives can be impacted by political demonstrations whether they are actively participating or not. The perspectives that we usually get are from the government, press, or political leaders. These accounts miss how people actually experience and understand the protests they see and/or participate in. As such, examining the life writing of those who participated or observed city protests can be intriguing and add a personal element to group politics. This panel will focus on the experiences of those who planned, participated, and/or observed protests in various cities. Ideas to be examined include personal vs. public perception, the individual vs. government, and political activities as community building among others. For example, reading the personal accounts of British suffragists during the Black Friday protest highlights the very real danger the women encountered and the gendered opposition they faced through both physical and sexual assault. Entries can be historical or contemporary and involve any large metropolitan area. While memoirs could be useful in this discussion, pieces can come from online publications, articles as well as diaries and less public life writing.

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Family and Conflict in Graphic Narratives – a Special Issue for Studies in Comics (5/15/2020)
Even though family relationships are at the heart of many graphic narratives, particularly relationships between parents and children (one can think of examples like Alison Bechdel’s Fun Home and Art Spiegelman’s Maus), few studies have examined how the family is used as a trope in graphic narratives.
Considering the role of family is important, as Anne McClintock reminds us, since the trope of the family ‘offers a “natural” figure for sanctioning social hierarchy within a putative organic unity of interests’ (63, original emphasis). In a similar vein, Sarah Harwood has argued the family has become ‘a primary way of organising and understanding [material] reality across all cultural forms’ (3).
Moreover, in discussing how popular literature depicts conflict, specifically the conflict in Israel/Palestine, Toine van Teeffelen has suggested that popular literature ‘tends to metaphorically understand political and social life through the experiences of persons and small groups’ (390).
This special issue asks how the trope of the family is used to understand and organise conflict, including how it functions as a way to illustrate material realities and ideologies.
Articles might address, but are not limited to, the following questions:
• How is the family used as an allegory for the nation?
• How is the trope of the family used to reflect wider concerns in relation to conflict, including the possibility of a resolution of the
        conflict?
• How does the family work to make conflict accessible to outsiders?
• To what extent are different family members used to illustrate contrasting (political) positions?
• How is an emphasis on family used to counteract fears about change and fragmentation that are heightened during conflict?
Please send submissions by 15th November 2020  to the appropriate editor.
The editors will provide initial feedback by 15th January 2021.
Revised articles and comics will be due by 1 May 2021 and will then be sent out for double blind peer-review by Studies in Comics.
Please see attached CFP for more details about submissions.
Articles
Dr Isabelle Hesse, isabelle.hesse@sydney.edu.au
Lecturer, Department of English, The University of Sydney
The Politics of Jewishness in Contemporary World Literature: The Holocaust, Zionism, and Colonialism (Bloomsbury Academic, 2016)
Comics
Dr Sarah Lightman, sarahlightman@yahoo.com
Honorary Research Fellow, Birkbeck, University of London
The Book of Sarah (Myriad Editions, Penn State University Press 2019)
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Deadline for Submissions May 15, 2020
Call for papers

7th international symposium of the Finnish Oral History Network FOHN

Power, Authority, and Voice: Critical Reflections in/on Oral History

26–27 November 2020
Helsinki, Finland

The notions of power, authority, and voice have been at the center of oral history research and practice from its inception. Oral history research is emblematically distinguished by its preoccupation with the voices from ‘the below’, having dedicated itself to the recording, collection, and analysis of memories, personal narratives, and histories of individuals and groups that would not have been heard otherwise. The concept of voice has implicitly referred to the nature of oral histories as recorded interviews, but more importantly, to issues of subjectivity, representation, and authority. In addition to recorded interviews, there has been increasing interest in various forms of life writings, as well as other forms of vernacular mnemonic practices online and offline. Even though the dialogic nature of data and knowledge production has been emphasized, analyzed, and celebrated, we still need to ask who holds the power to decide which pasts and perspectives are recognized, and whose voices – and what kind of voices – are listened to and analyzed, how and why? Moreover, we need to critically reflect on the structures of power and authority that practices and methods of oral history research foster.

The seventh international symposium of the Finnish Oral History Network FOHN will focus on the notions of power, authority, and voice in the context of oral history from critical contemporary perspective. The keynote speakers are Urvashi Butalia (Delhi, India), Erin Jessee (University of Glasgow, Scotland, UK), Jonna Katto (Ghent University, Belgium), and Riikka Taavetti (University of Helsinki, Finland).

We wish to invite contributions focusing on methodological and ethical questions as well as on case studies. Proposals may be submitted for individual papers or panels and they can address but are not limited to the following themes and issues:

  • Critical reflections on voices and silences
  • Authorities of knowledge production in oral history
  • Culturally dependent aesthetics of oral history and life writing
  • Ideologies and politics of oral history and life writing
  • Issues related to the nature of oral history as a social movement, form of activism, and academic practice
  • Materiality and medium of the ‘voice’ (i.e. sound, writing, image)
  • Dominance of the ‘tragic’, ‘traumatic’, and ‘devastating’ experiences
  • Oral history and other disciplines
  • Critical reflections on the geographies of oral history Submissions of individual papers require a title and a maximum of 250-word abstract. Panel proposals should include a maximum of 250-word description of the panel and max 250-word abstracts of each individual papers. The conference language will be English. Please e-mail your proposal to fohn-symposium@helsinki.fi. The deadline for the proposal is 15 May 2020. The acceptance or rejection of proposals will be announced in mid-June 2020. The conference fee will be 70 euros (standard) / 35 euros (concession: students, unwaged).Enquiries: fohn-symposium@helsinki.fi

Ulla Savolainen

Chair, FOHN

UNIVERSITY OF HELSINKI                                          

Further information on the symposium: https://www.helsinki.fi/en/conferences/7th-international-symposium-of-the-finnish-oral-history-network-fohn

FOHN’s webpage: http://www.finlit.fi/fi/fohn-en

Facebook: Finnish Oral History Network

Ulla Savolainen, PhD, title of docent

Academy of Finland postdoctoral researcher

Department of Cultures

Topelia, Room C214, P.O. Box 59,

00014 University of Helsinki, Finland

https://researchportal.helsinki.fi/en/persons/ulla-savolainen

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Deadline for Submissions May 10, 2020

“Narrating Lives”–International Conference on Storytelling, (Auto)Biography and (Auto)Ethnography (5/10/2020; 8/28-29) Malta

organised by London Centre for Interdisciplinary Research

Life-history approach occupies the central place in conducting and producing  (auto)biographical and (auto)ethnographic studies through the understanding of self, other, and culture. We construct and develop conceptions and practices by engaging with memory through narrative, in order to negotiate ambivalences and uncertainties of the world and to represent (often traumatic) experiences.

The “Narrating Lives” conference will focus on reading and interpreting (auto)biographical texts and methods across the humanities, social sciences, and visual and performing arts. It will analyse theoretical and practical approaches to life writing and the components of (auto)biographical acts, including memory, experience, identity, embodiment, space, and agency. We will attempt to identify key concerns and considerations that led to the development of the methods and to outline the purposes and ethics of (auto)biographical and (auto)ethnographic research.

We aim to explore a variety of techniques for gathering data on the self-from diaries to interviews to social media and to promote understanding of multicultural others, qualitative inquiry, and narrative writing.

Conference panels will be related, but not limited, to:

  • Life Narrative in Historical Perspective
  • Qualitative Research Methods
  • Oral History, Memory and Written Tradition
  • Journalism and Literary Studies
  • Creative Writing and Performing Arts
  • (Auto)Biographical Element in Film Studies, Media and Communication
  • Psychoanalysis and Psychotherapy
  • Storytelling in Education
  • Ethics and Politics of Research

Submissions may be proposed in various formats, including:

  • Individually submitted papers (organised into panels by the committee)
  • Panels (3-4 individual papers)
  • Posters

Proposals should be sent by 10 May 2020 to: life-history@lcir.co.uk. Please download Paper proposal form.

Standard registration fee – 160 GBP

Student registration fee – 140 GBP

Conference venue: University of Malta, Valletta Campus, St Paul Street, Valletta VLT1216, Malta

Deadline for Submissions May 1, 2020

The Miroslav Krleža Institute of Lexicography

is organising the

INTERNATIONAL CONFERENCE ENCYCLOPEDISTICS 2020 – ACHIEVEMENTS AND CHALLENGES

On the occasion of its 70th founding anniversary, the Miroslav Krleža Institute of Lexicography is organising the international conference Encyclopedistics 2020 – Achievements and Challenges, which will be held from 15 to 17 October in Zagreb.

The 70th anniversary of the Miroslav Krleža Institute of Lexicography, founded in 1950 on the centuries-old tradition of Croatian encyclopedistics and lexicography, has prompted us to consider the achievements, current state, and (un)predictable future of encyclopedistics in Croatia, Europe, and the world. Bringing together experts, not only in encyclopedistics and lexicography, but also in other academic fields, we wish to discuss topics that we have divided into three broad groups, regarding the state and possibilities of digital encyclopedistics, individual fields and terminology, and the encyclopedistic treatment of biographies (these topics are guidelines rather than fixed categories).

The topics of the conference are as follows:

  1. a)  Digital encyclopedias and knowledge networking: • Online encyclopedias and other reference works • Thematic portals
    • Digitisation and linking digital sources
    • Multimedia and interactive content• The role of digital reference works in science and education
    • Organisation, networking, and dissemination of knowledge
    • Encyclopedias in the age of greater accessibility of information • Digital lexicography and digital humanities
  2. b)  Fields and terminology in encyclopedistics and lexicography • Theoretical fundamentals (methods, approaches, specificities) • Concepts and production of professional encyclopedias
    • Treatment of specific fields in general/national encyclopedias • Selected topics from specific fields• Mircropedic and macropedic approach
    • Terminology between description and prescription • Terminology between internationalism and purism • Terminology in a diachronic perspective

enciklopedika 2020 – dosezi i izazovi encyclopedistics 2020 – achievements and challenges

c) Biography in encyclopedias

LEKSIKOGRAFSKI ZAVOD MIROSLAV KRLEŽA Frankopanska 26 Zagreb Hrvatska

• Conceptions of biographic encyclopedias and lexicons
• Biographies in professional, national, and general encyclopedias • Biographies in regard to specific fields
• Problems regarding biographic research and presentation
• Bibliography

The abstract (1000 to 1500 characters), in Croatian and English (the organiser shall secure translation into Croatian for foreign applicants), together with a short biography (400 to 600 characters) should be sent to the secretary of the Organising Committee, Iva Klobučar Srbić (iva.klobucar@lzmk.hr; enciklopedika2020@lzmk.hr).
The application deadline is 1 May 2020. The applicants will be informed whether their abstracts have been accepted by 1 June 2020, and the accepted abstracts will be published in a separate booklet.

Presentations should be in Croatian or English and up to 15 minutes long. Papers based on these presentations that are submitted by 1 March 2021 will be published, following the peer review process, in a thematic issue of the lexicography and encyclopedistics journal Studia lexicographica (http://studialexicographica.lzmk.hr/sl).

There is no participation fee, but applicants are expected to cover their own travel and accommodation expenses.

All information and notifications about the conference can be found on the webpage: http://www.lzmk.hr/ enciklopedika-2020.

Organising Committee: Ivana Crljenko, Vlatka Dugački, Filip Hameršak, Zdenko Jecić, Nataša Jermen, Iva Klobučar Srbić, Bruno Kragić

Programme Committee: Petra Bago, Vlaho Bogišić, Damir Boras, Irina Deretić, Peter Jordan, Stipe Kutleša, Janko Lozar, Nives Mikelić Preradović, Željko Pavić, Slaven Ravlić, Krešimir Regan, Hrvoje Stančić, Goran Sunajko, Domagoj Vidović, Antun Vujić

Contact: enciklopedika2020@lzmk.hr; iva.klobucar@lzmk.hr

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Deadline for Submissions May 1, 2020

“Autotheory”– Special Issue of ASAP/Journal (5/1/2020)

ASAP/Journal seeks critical and creative contributions for a guest-edited special issue on “autotheory.” Fusing self-representation with philosophy and critical theory, autotheory moves between the worlds of “theory” and “practice,” often exceeding disciplinary boundaries, genres, and forms. This special issue embarks on a rigorous investigation of the autotheoretical impulse as it moves across medial, disciplinary, and national borders from the 1960s to the present. In dialogue with scholars, artists, and activists, this issue will broach the central question: What are autotheory’s conditions of possibility, and what are the political, aesthetic, and cultural effects of this theoretical turn in contemporary cultural production? What are the underlying assumptions and implications of understanding autotheory as a genre, framework, performance, or practice? What kinds of reading might it invite or preclude? This issue is especially concerned with BIPOC, feminist, queer, trans and gender non-conforming, and anti-colonial and de-colonial approaches to autotheory, and the politics and ethics therein. From social media technologies and the publishing industry to the academic industrial complex and its varied, often ambivalent alternatives, autotheory’s escalating ubiquity serves as a critical provocation: why “autotheory” and why now?

Considering the rapid rise of popular and scholarly interest in works like Paul B. Preciado’s Testo Yonqui (Testo Junkie) (2008), Claudia Rankine’s Citizen (2014), Moyra Davey’s Les Goddesses (2011), and Maggie Nelson’s The Argonauts (2015), and renewed interest in Clarice Lispector’s Água Viva (1973), Gloria E. Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987), and Chris Kraus’s I Love Dick (1997), autotheory’s recent popularization suggests a pressing need for analogous critical discourse. Some have considered autotheory from transmedial perspectives, from Mieke Bal’s work on documentary filmmaking to Lauren Fournier’s work on conceptualism and video art. This special issue seeks to bring together leading articles that approach autotheory transmedially and transnationally, reflecting on its evolution and circulation as a way of bringing theory to life and life to theory. We seek contributions from artists, curators, filmmakers, writers, critics, scholars, activists, performers, composers, and other culture workers relating to the global contemporary arts in any medium. Autotheoretical approaches to writing are encouraged. Rather than entrench a single definition or approach, we aim to facilitate dialogue that parses autotheory from diverse critical perspectives and geographical contexts. ASAP/Journal invites 6,000-8,000 word articles exploring autotheory in ways that may include but are not limited to:

•Alternative modes of historicizing “autotheory”
•Alternative approaches to defining “autotheory”
•Indigenous autotheory and decolonial possibilities
•Autotheory in non-Western practices and contexts
•Trans, queer, feminist, and BIPOC autotheory
•Autotheory, ideology, and neoliberalisms
•Autotheory, accessibility, and questions of access
•Autotheory, canons, and anti-canonization
•Autotheory and pedagogy
•Autotheory and translation
•Autotheory and disciplinary boundaries and genres
•Autotheory’s theoretical legacies
•Autotheory and adaptation
•Autotheory and autofiction
•Autotheory and art criticism
•The ethical issues of autotheory
•The politics and aesthetics of narcissism
•Autotheory and identity politics
•Ideas of anti-memoir

Completed essays due by May 1, 2020. Please send queries or abstracts via email to the ASAP/Journal editor, Jonathan P. Eburne, at editors_asap@press.jhu.edu

Completed articles should be submitted to the journal’s online submission site at http://journals.psu.edu/asap/index.php/testJournal/announcement 

Full-length essay submissions of 6000-8000 words (including notes but excluding translations, which should accompany foreign-language quotations) in Microsoft Word should be prepared in accordance with the Chicago Manual of Style. All content in the journal is anonymously peer reviewed by at least two referees. If the contribution includes any materials (e.g., quotations that exceed fair use, illustrations, charts, other graphics) that have been taken from another source, the author must obtain written permission to reproduce them in print and electronic formats and assume all reprinting costs.Manuscripts in languages other than English (including Cree, French, Spanish, Portuguese) are accepted for review but must be accompanied by a detailed summary in English (generally of 1,000–1,500 words) and must be translated into English if they are recommended for publication. Essays in experimental or unusual formats are encouraged.

Authors’ names should not appear on manuscripts; when submitting manuscripts, authors should remove identifying information by clicking on “File”/“Properties” in Microsoft Word and removing identifying tags for the piece. Authors should not refer to themselves in the first person in the submitted text or notes if such references would identify them.

For additional submission guidelines, please see: https://www.press.jhu.edu/journals/asap_journal/guidelines.html.

Lauren Fournier is a writer, curator, filmmaker, and SSHRC Postdoctoral Fellow in Visual Studies at the University of Toronto. She is currently writing a monograph on autotheory as an artist’s practice, historicizing the autotheoretical impulse in relation to post-1960s feminist art, performance, and criticism. www.laurenfournier.net 

Alex Brostoff is a writer, teacher, and Ph.D. Candidate in the Department of Comparative Literature at the University of California, Berkeley. Her dissertation investigates how relations between human and textual bodies are autotheorized across the Americas, both within and against the contemporary identity studies from which they emerge.

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Deadline for Submissions April 30, 2020

Call for Papers, Abstracts, and Panel Proposals: Celebrity & Stardom Area

Chair: Scott Owen Chappuis (scott.chappuis@cuaa.edu)

Midwest Popular Culture Association/American Culture Association Annual Conference

Friday-Sunday, October 2-4, 2020

Minneapolis, Minnesota

Dear Celebrity and Stardom Scholars:

You are invited to submit to the Midwest Popular Culture Association/American Culture Association annual meetings being held in Minneapolis, Minnesota, at the Westin Minneapolis, from Friday-Sunday, October 2-4, 2020. More details about the conference, membership, travel matters, and the conference hotel and its rates can be found at the MPCA/ACA website http://www.mpcaaca.org/. Everything is explained here: https://mpcaaca.org/minn-2020/2020-cfp/

The Area Chair for the Celebrity and Stardom Area invites paper or panel proposals on any aspect of celebrity and stardom. A list of ideas below is limited, so if you have an idea that is not listed, go for it! We are an interdisciplinary area and encourage submissions from multiple perspectives and disciplines. Topics might include:
Impact of celebrity and fame on identity construction, reconstruction and sense of self

Reality television
YouTube celebrities
Influencers and the changing definition of ‘stardom’

The impact of social media on celebrity/fan interaction

Celebrity/fame addiction as cultural change

The intersection of stars and fans in virtual and physical spaces (Twitter, Tumblr, conventions)

Celebrity and the construction of persona

Pedagogical approaches to teaching stardom

Gendered constructions of stars and fans

Historical studies of fandom and fan/celebrity interaction

The deadline for submissions is April 30, 2020 – no exceptions, no bending of the deadline. Submissions are to be uploaded at http://submissions.mpcaaca.org/. This is the ONLY way to submit to the conference. Accepted panelists will be notified by me within two weeks of the submission deadline.

We look forward to seeing you in Minneapolis in October!

Contact Email:

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Deadline for Submissions, April 15, 2020

Biofiction as World Literature/ La biofiction comme littérature mondiale (4/15/2020; 10/29-31/2020)  – Leuven, Belgium

Biofiction (literature that takes a real biography as its point of departure) is powered by what Colm Tóibín has recently called “the anchored imagination”, which grants the fictional narrative a certain ambiguous (almost duplicitous) credibility. But what do biographical novels mean as world-making vehicles? Is the recent boom in stories that rely on the real past, yet project contemporary visions upon it, only a sign that we are trying to build a coherent world-image of centuries past, or is it also an attempt to bring into being a new way of seeing and/or being in the present? Furthermore, does it foster new visions and teach new lessons for the future?
In the light of theories of World Literature proposed by David Damrosch, Theo D’haen, and others, and using T. O. Beebee’s method of starting from particular areas (in this case, a genre) in our exploration of transnational dynamics, we propose several complementary angles for conceptualizing Biofiction as World Literature: biofiction’s capacity of cross-cultural representation (manifested in novels likeHassan Najmi’s Gertrude, where a writer portrays a famous figure from another cultural area), its world-shaping imagery (detectable in biofictions of explorers, translators, and other cosmopolitan figures), its strong link with cultural memory (which can be traced back to the interwar versions of the roman à clef, to Woolf’s and Schwob’s experiments, and even further back into the mid-nineteenth century), its protean adaptability (seen in its mixture of modernist and postmodernist elements), its appeal to large audiences (sometimes in the form of biopics), its power to address social and political issues (in the works of Javier Cercas, Peter Carey, J. M. Coetzee, Mario Vargas Llosa, and many others) or shifting gender norms (in fictions by Anna Banti, Margaret Atwood, Annabel Abbs, Janice Galloway, etc.), its parallel developments across wide spaces and far beyond the West (with the work of Anchee Min, Amin Maalouf, Bensalem Himmich, etc.), and its ability to fuel international theoretical debates. These are just some of the aspects that recommend this genre as a lens for analyzing world-spanning literary developments.
If you are interested in more details about our approach and/or you would like to contribute to the dialogue, please consult our website for the full-length version of the Call for Papers: https://www.arts.kuleuven.be/biofiction-as-world-literature/call-for-papers
You can send 300-word proposals for 20-minute papers or proposals for 90-minute panels (including a 300-word cover statement and three 300-word abstracts) to the following email address: biofiction@kuleuven.be. Please include a brief bio note for each speaker (around 150 words).
The deadline for submissions is April 15, 2020.
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Si elle relève en première instance de la littérature, la biofiction prend pour point de départ une biographie réelle. Elle est sous-tendue par ce que Colm Tóibín a récemment appelé « l’imagination ancrée », qui confère au récit fictionnel une crédibilité ambiguë touchant parfois à la duplicité. Mais que signifie ce genre en tant que vecteur de fabrication de mondes ? Ce boom des récits qui rejouent un passé réel, projetant sur lui un regard contemporain, est-il seulement un signe que nous cherchons à élaborer une image cohérente du monde des siècles passés ou s’agit-il plutôt d’une tentative de donner forme à une nouvelle manière de voir et/ou de se situer dans le présent ? Davantage, favorise-t-il de nouvelles conceptions et enseigne-t-il de nouvelles leçons pour l’avenir ?
A la lumière des théories relatives à la littérature mondiale développées par David Damrosch, Theo D’haen et d’autres, et utilisant la méthode de T. O. Beebee consistant dans une exploration de dynamiques transnationales à partir d’un domaine déterminé (en l’occurrence, un genre), nous proposons plusieurs perspectives complémentaires dans l’examen de la Biofiction comme Littérature mondiale : sa capacité de représentation trans-culturelle (manifeste dans des romans commeGertrude de Hassan Najmi, dans lequel l’auteur portraiture une figure célèbre d’une autre aire culturelle), ses liens forts avec la mémoire culturelle (qui apparaît dans les romans à clefs de l’entre-deux-guerres, dans les expérimentations de Woolf et Schwob et plus loin encore au XIXe siècle), son adaptabilité protéenne (dont témoigne son mélange d’éléments modernistes et post-modernistes), son attrait pour le grand public (parfois sous la forme de biopics), sa faculté à toucher des enjeux sociaux et politiques (dans les oeuvres de Javier Cercas, Peter Carey, J. M. Coetzee, Mario Vargas Llosa, et de nombreux autres) ou à affecter les normes touchant au genre (dans les fictions de Anna Banti, Margaret Atwood, Annabel Abbs, Janice Galloway, etc.), ses développements dans des espaces étrangers à l’Occident (avec les œuvres de Anchee Min, Amin Maalouf, Bensalem Himmich, etc.), et sa capacité à nourrir les débats internationaux. Il s’agit là de quelques-uns des traits par lesquels ce genre témoigne des évolutions littéraires à l’échelle mondiale. 
Pour découvrir plus de détails sur notre approche et/ ou pour participer au dialogue, veuillez consulter notre site web pour la version complète de l’argumentaire :
Nous accueillons des propositions de communications de 20 minutes (300 mots), ainsi que des propositions de sessions de 90 minutes (300 mots pour le descriptif général, tout comme pour chacun des trois exposés inclus).
Les résumés, accompagnés d’une note biographique d’environ 150 mots pour chaque participant, seront à envoyer à biofiction@kuleuven.be.
La date limite pour la remise des propositions est le 15 avril 2020.
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Deadline for Submissions, April 7, 2020

Cinematic Representations of Women in Modern Celebrity Culture (1900-1950) (edited collection) (4/7/2020)

We invite proposals for contributions to an edited collection on cinematic representations of women in works of art, poetry, fiction, theater and criticism of the avant-garde. The popularization of film stars such as Blanche Sweet, Mae Marsh, Mary Pickford, Greta Garbo and Brigitte Helm shaped the cultural imaginary of modernity to such an extent that they influenced the creative activity of artists and writers in the years 1900-1950. Questions centering on feminine stardom will set the background of this collection of essays examining the intersections of vanguardism with popular culture, publicity and performance. How are images of femininity circulated and consumed by the spectators of the cinematic medium? What position do the so-called high and low art forms take with regards to the presence of women in cinema celebrity culture? To what extent do stereotypical conceptions of feminine beauty reflect male ways of seeing, interpreting and writing?  We are interested in expanding the conversation to aesthetic, political, historical and cultural analyses from a perspective that integrates the written word and the animated image into constructions of femininity. Potential topics include but are not limited to:

Filmic types and stereotypes of femininity

Critical approaches to the male gaze

Fetishism and idolatry of women in cinema culture

Fashion, modernity and the commodification of feminine cinematography

The muse versus the male artist

Gender performativity, mass media and promotional value

Women stars in Hollywood and the independent film industry

Ekphrasis, iconology and iconography of feminine acting

Intersections of verbal and cinematic images of power, gender identity and race

Feminist theory and aesthetics of motion pictures

Abstracts of 300-500 words along with a 150-word bio should be emailed to María Cristina C. Mabrey (Professor Emerita, University of South Carolina) at rriopar@gmail.com and Leticia Pérez Alonso (Assistant Professor, Jackson State University) at leticia.p.alonso@jsums.edu no later than April 7th, 2020. We will notify authors of the acceptance by April 13th, 2020. Chapters (approximately 6,000-7,000 words, including notes and bibliography) will be due by September 18th, 2020.

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Deadline for Proposals April 5, 2020

Propose a 2021 Special issue of Ennen ja nyt: Historian tietosanomat (Before and Now: History Journal) (April 5, 2020) Finland

Propose a theme issue for 2021!

Ennen ja nyt: Historian tietosanomat (translated as Before and Now: History journal) was founded in 2001 as a non-profit history journal that publishes papers of high scholarly merit in three categories: research papers, reflections and essays, and reviews. The official languages of the publication are Finnish and English, but other languages are taken into consideration as well. The publication follows new and emerging research themes in the field of history and neighboring fields.

Publishing in the journal and reading it is completely free of charge, and there is no embargo in place.
The journal is currently looking for theme issues to be published in 2021. Any history-related theme will be considered. These are just some of the previously published issues:

Multidimensional Europe
Historical cinema
The study of digital history
History of France in Finland at the beginning of 2000

A theme issue consists of at least six articles of which some are refereed. These also include reflections and essays as well as book reviews.

A theme issue can be proposed in two ways:

A writer (who will later act as a visiting editor in chief of the theme issue) drafts a theme for an issue and invites other writers to contribute to the issue.

A theme can be proposed to editor in chief Lauri Keskinen after which a Call for papers will be released in order to find writers interested in the theme.

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