CFPs: Conferences

Yeats and Eros / Yeats and Paris

The Annual International Yeats Society conference

12-14 December 2019 | Université Sorbonne Nouvelle, Paris

Keynote speakers: Prof. Elizabeth Cullingford (University of Texas at Austin) | Dr. Matthew Creasy (University of Glasgow)

Yeats and Eros:

The topic of this year’s conference, “Yeats and Eros”, invites reappraisals of Yeats’s manifold and often unconventional explorations of the erotic in all its guises. Papers may address the ways in which he toys with and renews the conventions of love poetry; the embodied representations of desire on the stage, in speech, song or dance; the space Yeats makes throughout his oeuvre for the visibility and audibility of unorthodox desires (the desire of the old; queer desire; illicit desires); the erotics of delay and frustration on page and stage. Equally of interest are biographically-oriented papers investigating, for instance, the erotics of collaboration in the writing of A Vision, or indeed in all of Yeats’s collaborative ventures with fellow artists, writers and performers of both genders.

Yeats and Paris:

Papers are also invited on the topic of Yeats and Paris. These can deal with any topic related to Yeats’ many visits to the city, including his formative stays in the 1890s. Papers can address his relationship to Symbolism or the life and/or works of French writers such as Paul Verlaine, Villiers de l’Isle-Adam or Stéphane Mallarmé. Also later movements and writers associated with France—including for instance fellow Irishmen such as Synge and Beckett, or Francophone writers responding to Yeats—may be a theme for papers. Another possibility is to look at references and allusions to Paris or France in Yeats’ poems or prose, or how his writings can be more generally contextualized in relation to Paris’s role as a geographical centre of literary modernism.

Proposals for 20-mn long papers (including performance papers) should be sent to Alexandra Poulain (poulain.al@orange.fr) before 9 September 2019. Please note that all speakers are required to be paid members of IYS.

Organising committee: Inès Bigot (Sorbonne nouvelle), Carle Bonafous-Murat (Sorbonne nouvelle), Claire Davison (Sorbonne nouvelle),Pierre Longuenesse (Université d’Artois), Clíona Ní Ríordáin (Sorbonne nouvelle), Alexandra Poulain (Sorbonne nouvelle) and Kerry-Jane Wallart (Paris-Sorbonne).


Lawrence’s 1920s: North America and the ‘Spirit of Place’

15th International D.H. Lawrence Conference

12-17 July 2020 | Taos, New Mexico

Keynote Speakers: Andrew Harrison (University of Nottingham) | Lois Rudnick (University of Massachusetts Boston) | James Moran (University of Nottingham)

Lorenzo and Frieda arrived in New Mexico in mid-September of 1922, with Dorothy Brett, at the invitation of Mabel Dodge Sterne (who would marry Tony Luhan in 1923, becoming Mabel Dodge Luhan) and stayed for about two years. The Ranch property where they lived from 1924 was given to them by Mabel and was the only property they ever owned during their marriage. Most of St. Mawr was written there, and The Plumed Serpent was begun. Frieda died in New Mexico in 1956 and is buried on the ranch. New Mexico, then, is a magical place in the journey of Lawrence and Frieda, where he wrote some of his most powerful work and where both of them felt a sense of belonging. Lawrence was prolific in the last decade of his life and arguably his talents were at their zenith. This conference encourages papers on all aspects of Lawrence’s life and work, but especially studies pertaining to his last decade and to his imaginative engagement with North America.

The 15th International D.H. Lawrence conference—while open to all considerations of Lawrence’s work and life–is especially interested in proposals reassessing Lawrence’s work 100 years earlier, in the 1920’s; in exploring Lawrence’s engagement with Mexico, New Mexico, North America, and ideas of democracy and “the open road”; in studying the immeasurable influence Lawrence’s criticism had on the study of American literature as late as the 1950’s and 60’s; in examining interconnectivity between artists—dance, ritual, music, visual arts as well as writing—and aspects of modernism across the arts; as well as interdisciplinary studies that deepen our sense of Lawrence’s engagement with Native peoples and cultures.

Papers are welcome from Lawrence scholars, graduate students, and the public. Papers should last no longer than 20 minutes and will be followed by 10 minutes of questions.

If you would like to contribute, please send an abstract of 350 words to the Executive Director, Dr. Nanette Norris, c/o dhlconf2020@yahoo.com, by midnight on 31 October 2019. Submissions will be assessed by the Academic Program Committee, and responses will be issued by  15 December 2019.The abstract should include the following information as part of the same file (in either MS Word or pdf format):

  • Your name, postal address, telephone number, and email address
  • The name of the institution (if applicable) at which you are registered
  • A short bio

The conference is being held at the Sagebrush Inn, Taos, New Mexico. The conference fee is $350 USD for the week (there is an early-bird special), and includes all meals and transport to special events.

Full details: www.dhlconf2020.org/


Katherine Mansfield: Germany and Beyond

An international conference organised by the Katherine Mansfield Society and hosted by the Bad Wörishofen Mayorality and Tourist and Spa Bureau

21-22 March 2020 | Bad Wörishofen, Germany

Keynote SpeakerProfessor Claire Davison (Sorbonne Nouvelle, Paris 3)

It is  well known that Katherine Mansfield’s first book of stories, In a German Pension (1911), was inspired by her eight months’ stay in the Bavarian spa town of Wörishofen in 1909 at the age of 21, but the importance of Germany and all things German in her writing has not been explored in any depth until recently. Although Mansfield did not return to Germany in the same way as she kept visiting France, her spiritual home in Europe, Germany continued to hold a fascination for her long after her 1909 sojourn, and myriad associations can be traced in her fiction as well as her notebooks and letters.

This two-day conference aims to open up to new scrutiny the impact of Germany on Mansfield’s work and life: its language, peoples and cultures. These range from the setting in Munich of her story ‘The Little Governess’, to her passion for music by composers such as Beethoven, Bruch, and Wagner, her love of the poetry of Heinrich Heine, and literary influences such as the fairy tales of the Brothers Grimm. Indeed, her longing for her German classes at Queen’s College in Harley Street because of the dashing Professor Walter Rippmann, reveals her early devotion. Another influence on her love of German and Germany is the writing of her cousin, the writer Elizabeth von Arnim, widow of Graf Henning von Arnim-Schlagenthin, a member of the Prussian aristocracy, and her friendship with Elizabeth, which developed during her stay in Montana,  Switzerland in the last two years of her life.

It is entirely fitting that this conference will be held in Bad Wörishofen, a Bavarian spa town that honours Mansfield as one of its most famous residents and a significant cultural icon, in fostering local civic pride and identity. Last year, on the occasion of her 130th birthday, a specially commissioned statue of Katherine Mansfield gazing out over the Iceberg Pond in the Spa Park, was unveiled.

The Katherine Mansfield Society is therefore delighted to host, together with the Bad Wörishofen Mayorality and Tourist and Spa Bureau, a conference that aims to explore and celebrate what Germany meant to Mansfield and what it points to in her vision of the world.

Suggested topics for papers might include (but are not limited to):

  • Wörishofen and artistic inspiration:  Mansfield’s In a German Pension 

  • Bavaria and the German Pension stories: nationality, gender and satire

  • German poetry in the works of Mansfield (e.g. Heinrich Heine)

  • German music: classical and modernist

  • German art, architecture and visual culture in Mansfield’s writing

  • German/Prussian family connections: Elizabeth von Arnim

  • Mansfield, travel, Germany and ‘beyond’

  • Mansfield and fairy tales

  • The gothic and fantastic: Germanic sources and influences

  • The legacy of Mansfield in German writing today

  • The German reception of Mansfield’s works

  • German influences in Mansfield’s education (e.g. Walter Rippmann)

  • Translating into German / German translations of Mansfield’s work

  • Teaching and studying Mansfield in Germany today

  • Mansfield, Sebastian Kneipp, naturopathy and other holistic therapies

  • The Germans and Germany as sources for Mansfield’s imagination

  • Mansfield and Frieda von Richthofen (wife of D. H. Lawrence)

  • Mansfield as icon and inspiration for German cultural production

NB: All other topics will be considered

Abstracts of 200 words, together with a 50-word bio-sketch, should be sent by 31 December 2019 to the conference organisers:

Dr Delia da Sousa Correa (Open University, UK), Dr Gerri Kimber (University of Northampton, UK), Monika Sobotta (Open University, UK) and Professor Janet Wilson (University of Northampton, UK) at kms@katherinemansfieldsociety.org

Further details: katherinemansfieldsociety.org/bad-worishofen-2020/



CRiSiS

7th biennial conference of the European Network for Avant-Garde and Modernism Studies

17-19 September 2020 | University of Leuven, Belgium

Keynotes: Boris Groys (NYU) | Christine Poggi (NYU) | and more…

Notions of crisis have long charged the study of the European avant-garde and modernism. Throughout their history, avant-gardists and modernists have faced crises, be they economic or political, scientific or technological, aesthetic or philosophical, collective or individual, local or global, short or perennial. Modernists and avant-gardists have in turn continually stood accused of instigating crises, whether artistic or cultural, sensorial or conceptual, incidental or intentional, far-reaching or negligible, representational or other. The very concepts of ‘avant-garde’ and ‘modernism’ are time and again subject—or subjected—to conceptual crises, leaving modernism and avant-garde studies as a field on the perpetual brink of a self-effacing theoretical crisis.

The 7th biennial conference of the EAM intends to tackle the ways in which the avant-garde and modernism in Europe relate to crisi/es. Although we welcome panel, roundtable and paper proposals on any aspect of this relationship, we are particularly interested in new research on three topics.

First, we want to explore the theoretical complexity of the notion of crisis. For what is a crisis, really? The term is defined very loosely at times in modernism and avant-garde studies, and a quick survey illustrates that we seldom talk about crises of the same scale, import or impact. By clarifying what exactly counts as a crisis, surely we can gain a better understanding of the European avant-gardes and modernism. So what precisely do we mean by ‘crisis’? Is crisis above all a narrative device? Is there ever no crisis? Are there types of crisis, artistic or otherwise, that we have thus far neglected in our study of the avant-garde or modernism? And what (other) view(s) of crisis do avant-gardists and modernists themselves project?

Second, we are interested in proposals that touch upon the crises-laden historical trajectory of the avant-gardes and modernism. For while we often claim that a notion of crisis is key to a proper understanding of (late) modernity, the European avant-gardes and modernists faced different historical crises throughout their development. To what extent do all these crises, which span several centuries, share common denominators? What role do national and regional differences play over time? Does the project of the avant-garde and modernism, along with their critique of crisis, change fundamentally over time or not? Proposals touching upon a historical case study or submissions comparing several historical cases from different times or regions in Europe are therefore particularly welcome.

Third and finally, we wholeheartedly encourage proposals that look at the practical side of things, across all areas of avant-garde and modernist activity: art, literature, music, architecture, film, artistic and social movements, lifestyle, television, fashion, drama, performance, activism, curatorial practice, design and technology. How do European avant-gardists and modernists give aesthetic shape to crises? What representational strategies and tactics do they use in their practices? What affective (and other) experiences of crisis does their work allow for? What crises do their experimental practices yield—in fact, do the avant-gardes and modernism create types or modes of crisis of their own?

The official languages of this conference are English, French and German. You may submit a proposal as a panel chair, as an individual or as a roundtable chair.

1. You may propose to be the chair of a panel. A panel consists of three or four speakers. One of the speakers is the chair who makes the submission and supplies the details and proposals of all of the proposed participants. You may also submit a double or triple panel. Panels should not consist only of doctoral students and panels composed of participants from a single department at a single institution are less likely to be accepted.

2. You may submit an individual proposal without specifying a panel and the organisers will assign your paper to a panel if accepted.

3. You may propose to be the chair of a roundtable. Roundtables consist of a maximum of 6 participants who each write brief “position papers” (4 pages) that are read and circulated before the conference. During the roundtable, participants briefly present position statements, after which a discussion takes place moderated by the chair. Roundtables can consist only of doctoral students yet roundtables composed of participants from a single department at a single institution are also less likely to be accepted.

Roundtable proposals (deadline 1 January 2020) should include:

  • Title of the roundtable and language (English, French, German – one only)
  • A 500-word summary of the roundtable’s topic and rationale.
  • The chair’s name, a one-page curriculum vitae, and contact information (address and email).
  • Name, postal address and email contact of at least 5 (maximum 6) participants in the roundtable.
  • Short biography of individual participants

Panel proposals (deadline 1 February 2020) should include:

  • Title of the panel and language of the panel (English, French, German – one only)
  • Name, address and email contact of the chair
  • A summary of the panel topic (300 words)
  • A summary of each individual contribution (300 words)
  • Name, postal address and email contact of individual contributors
  • Short biography of individual contributors

Individual proposals (deadline 1 February 2020) should include:

  • Title of the paper and language of the paper (English, French, or German)
  • Name, address and email of contributor
  • A summary of the contribution (300 words)
  • Short biography of the contributor

Please submit your proposals in Word format only to eam2020@kuleuven.be. Acceptance will be notified via email by the end of May. A detailed conference programme will be available on the EAM website before summer. With any questions, please always make sure to check this page first, as it will be updated in due course. Full details: www.eam-europe.be/2020-conference