CFPs: Conferences

41st Annual Meeting of the International T. S. Eliot Society

2-3 October 2020 | Zoom

Keynote lecturer: Robert von Hallberg

Call for Papers

Because of continuing concerns regarding the coronavirus, the Society has decided to hold our 2020 annual meeting online, using the Zoom platform. Panels will still be structured around three papers, but the papers will be slightly shorter than the usual 20 minute slot, and the discussion following the papers will unfold over Zoom. We hope to have panel participants share drafts of these shorter papers a week before the conference, in order to facilitate the most coherent, robust discussion possible.

We welcome clearly organized proposals of around 300 words, submitted as Word or PDF documents, on any topic reasonably related to Eliot, along with brief biographical sketches. These should be emailed to tseliotsociety@gmail.com, with the subject heading “Conference Proposal,” by 15 June 2020.

For further information on the conference — including info on our awards for emerging scholars — please visit our website.

Call for Peer Seminar Participants

1. “Eliot and Racial Others,” led by Anita Patterson (Boston University)

2. “Eliot and the Avant-Garde,” led by Vincent Sherry (Washington University in St. Louis)

Participants will pre-circulate short position papers (5 pages) by 1 September; peer seminar groups will meet online to discuss the pre-circulated papers for two hours on the first day of the 2020 Society conference, Friday 2 October. Membership in each seminar is limited to twelve on a first-come, first-served basis. Please enroll by 15 July, by sending an email with the subject line “Peer Seminar” to tseliotsociety@gmail.com with your contact information.

For details on the two seminars — including info on our award for emerging scholars — please visit our website.


Pandemic, Crisis, and Modern Studies: The Intersection of Your Research with the Pandemic/Crisis – A Twitter Conference

Countervoices, Centre for Modern Studies, University of York

12 June 2020 | Twitter

Over the past few months, the spread of Covid-19 has profoundly impacted the lives of people around the globe. Whether politically, through the ever-shifting government policies, culturally, by virtual access to cultural artefacts, or socially, through individual isolation, the rapid spread of the pandemic has changed how one lives in the world. Undoubtedly severe as the consequences of the virus are, it boosts new insights into human relation(ship)s, communities, and environment, with imaginative responses such as singing on balconies, and considerable drops in air pollution. For individuals, communication has become confined to the virtual space, forcing us to find original forms of expression.

This conference attempts to initiate a robust and meaningful discussion on how the pandemic or crisis shapes our past, present, and future. We invite discussions about the pandemic as a global crisis from passionate and creative intellectuals in different disciplines of modern studies (from 1830 to present). Featuring an opportune interdisciplinary response to the contemporary changes and new experiences brought about by the crisis, this conference will spark new debates over ontological issues, shed new light upon research in humanities and sciences, and engage and inspire a broad range of audiences in and beyond this country.

The conference welcomes submissions of abstracts for twitter-papers consisting of 10-15 tweets (with pictures/slides) about the way your studies intersect with the pandemic or crisis. Topics may include, but are not limited to:

  • Physical and mental health: vulnerability, fragility, illness, health, care, death, and resilience, therapy, and recovery.
  • Cognition and memory: trauma, recollection, history, erasure, monument, and memorials.
  • Space: architecture, geography, regions, nations, transnation, and globe.
  • Identities, groups and agents: identities in relation to crisis (victim, survivor, volunteer, helper, expert, hero, scapegoat, whistleblower, etc.), groups and authorities in operation, effects on particular groups in the population (gender, race, class and human rights), creation of new groups and new identities.
  • Changes and reactions: changes to habits (shopping, behaviour, social norms), cognition, human relationships, cities, businesses, economies, and policies that initiate (or do not initiate) such changes.
  • Communication and language: rumours, fake news, instructions, slogans, hashtags, and new words.
  • Apocalyptic/post-apocalyptic, utopian/dystopian visions.
  • Material objects and metaphors: necessities (food, toilet roll), tools of self-preservation (masks, hand-sanitizer, vaccines, ventilators, and weapons).
  • Animals and the environment: non-human, ecology, environment, and post-human.
  • Representation in literature, music, art, cinema, documents, archive, or records.

Please send your abstract (200 words), a short bio (50 words), and your twitter account (@XXXX) to cmods-pgforum@york.ac.uk by 15 May 2020. Participants will be invited to present their papers (thread of tweets) on 12 June using the hashtag #Cmodspan2020 and tagging the Countervoices (@cmodspgforum1) and CModS (@cmods1) twitter accounts according to the conference programme and handbook, which will be updated at the end of May. We will host the conference and retweet your tweet-papers in a single thread, under the title of the conference. For those who don’t have a twitter account, we can help you tweet your discussion. The best papers presented in this conference will receive Amazon vouchers worth up to £50. We are grateful to the Centre for Modern Studies for making it possible for us to offer these awards.

Keynote Speakers: Dr. Fay Bound Alberti (York) & Dr. Beryl Pong (Sheffield)

Find us on Twitter , Facebook or our website.


Faulkner and Yoknapatawpha Conference 2021 

18-22 July 2021 | University of Mississippi

“Faulkner, Welty, Wright: A Mississippi Confluence”

The forty-eighth annual Faulkner and Yoknapatawpha conference will interrupt its long history of focusing on a single author to take up a trio of Mississippi giants who have left an indelible mark on American literature and modern intellectual life: William Faulkner, Eudora Welty, and Richard Wright. Together they have shaped, and moreover embodied, what we might call a “Mississippi modernism” that has yet to be fully reckoned with by literary scholars. And they have collectively bequeathed to us a bold imaginative encounter with history, society, power, and indeed the range of life in the state, region, nation, and beyond, over a timespan that reaches from settler colonialism and the Middle Passage to decolonization and the Civil Rights Movement. This legacy, still vital today, invites, and should richly reward, comparative study, so proposals that approach the authors’ work in dialogue and context will be particularly welcome. Topics might include but are not limited to:

Authorship

  • transnational currents in the authors’ lives and careers: itineraries, encounters, constellations
  • authorship, publishing, and the literary marketplace: negotiation, frustration, censorship, remuneration, etc.
  • histories and patterns of critical reception
  • the writer as public intellectual, as celebrity, as political figure
  • personal encounters, correspondence, or other exchanges between/among the three authors and/or their common contemporaries and shared cultural brokers

Aesthetics

  • convergent/divergent modernisms: aesthetics, themes, genres, commitments
  • structures of feeling: textual or authorial affects, emotions, temperaments
  • historical fiction, historical consciousness across/among the three writers
  • non-fiction: memoir, poetry, screenwriting, reviewing
  • nonliterary media in the creative life: painting, drawing, photography, film, music

History

  • representations of poverty and/or/in the Great Depression
  • literary and intellectual engagements with Cold War culture and politics
  • civil and human rights in the writer’s life, work, and world
  • intersections of racial, gender, class, and sexual identity; intersectional performances
  • accounts/experiences of war or other forms of global conflict; the role of violence and death in the authorial imagination
  • migration, mobility, rootedness in the lives and works of the three authors

Geography

  • senses of place: shared visions or competing versions of the plantation, the farm, the school, the prison, the church, the neighborhood, etc.
  • senses of (existing) place: shared visions or competing versions of Jackson, the Delta, the Natchez Trace, the Mississippi River, Memphis, etc.
  • glimpses of alternate, emergent, or possible Mississippis
  • Faulkner, Welty, Wright and/in the environmental humanities
  • scaling up: literature at geological, global, planetary, or cosmic scales

The program committee, which will consist of Wright, Welty, and Faulkner scholars, especially encourages full panel proposals for 60-minute conference sessions. Such proposals should include a one-page overview of the session topic or theme, followed by 400-500-word abstracts for each of the panel papers to be included. We also welcome individually submitted 400-500-word abstracts for 15-20-minute panel papers. Panel papers consist of approximately 2,500 words and will be considered by the conference program committee for possible expansion and inclusion in the conference volume published by the University Press of Mississippi.

Session proposals and panel paper abstracts must be submitted by 31 January 2021, preferably through e-mail attachment. All manuscripts, proposals, abstracts, and inquiries should be addressed to Jay Watson, Department of English, C-135 Bondurant Hall, University of Mississippi, P.O. Box 1848, University, MS 38677-1848. E-mail: jwatson@olemiss.edu. Decisions for all submissions will be made by 15 March 2021.


Between the Waves: British Women Writers 1930 to 1960 Redux

12 June 2020 | The University of Hull

This conference aims to rekindle the energy unleashed at the inaugural conference on British Women’s Writing 1930 to 1960: Revision, Revival, Rediscovery in 2016 at Hull University that was taken forward in conferences at Chichester University in 2017 and 2018. The fourth conference seeks to gather more research and discussion from scholars of women’s literature of this period and to continue the re-evaluation of women’s writing occupying a liminal place in ‘the canon’ of British literature as taught by the academy.

The conference will also launch the publication of Liverpool University Press’s essay collection British Women Writers 1930 to 1960: Between the Waves, that arose from the first conference, edited by Sue Kennedy and Jane Thomas.

This fourth conference in the series offers speakers and audience a forum to give new life to readings of more works by neglected women authors. We offer a space to consider the problems lamented by Kristin Bluemel and Phyllis Lassner in the first issue of the journal Feminist Modernist Studies in 2017 that are still faced by scholars of early and mid-twentieth-century writing by and about women that is ‘not modernist in terms of style, politics or coterie’ in the face of the preferences of publishers and academic institutions for research on topics admitted to a modernist canon.

The emphasis on the work of neglected women writers celebrates their non-canonical and middlebrow status; works that Elizabeth Maslen describes as among the ‘texts which we neglect to our very great loss’, of which there remain too many.

A distinguishing feature of these conferences has been the interest of an increasingly appreciative section of the reading public in women’s writing of this period, aided by the steadfast work of recovery performed by publishing houses, notably Virago, Persephone and most recently, Handheld Press and cultural commentators and journalists like Lucy Scholes.

Keynote speakers include Dr Kate Macdonald and Dr Lucy Scholes.

Call for papers

We welcome papers that approach a wide range of forms and genres: fiction, poetry, drama, life writing, film, particularly the lesser-known contributions of women writers to what might be seen as ‘untypical’ of female authors, extending and augmenting the excellent contributions to the first three conferences.

We invite abstracts of up to 250 words for papers of no more than 20 minutes or panels of 3 associated papers.

Examples might include the following, although other topics are most welcome:

  • Writing about war and the aftermath of two world conflicts
  • Writing against war; interwar political consciousness
  • Domestic fiction; gender, class, families
  • Race
  • Post-colonial writing
  • Queer writing; writing against the norm
  • Science fiction, speculative fiction and fantasy
  • Life writing/autobiography
  • Fiction for children
  • Historical fiction
  • Crime fiction
  • Periodicals/magazines
  • Poetry
  • Drama
  • Adaptation for film or stage

Please include a brief personal biography (about 50 words). The conference is co-organised by Dr Sue Kennedy and Professor Jane Thomas. Contact email: britwwredux@gmail.com

Closing date for submissions: 17 March 2020.


Katherine Mansfield on the French Riviera

An international symposium organised by the Katherine Mansfield Society, celebrating the 50th anniversary of the Katherine Mansfield Menton Fellowship. Hosted by the Town Hall of Menton, and supported by the Katherine Mansfield Menton Fellowship.

24-25 September 2020 | Menton, France

The New Zealand short story writer Katherine Mansfield (1888–1923) spent all her adult life in Europe, of which approximately three years in total were spent in France, where she later died. For much of this time she was on the French Riviera, firstly in Bandol and subsequently in Menton during the spring of 1920, and then staying at the Villa Isola Bella from September 1920 to May 1921.

Both Bandol and Menton proved fertile ground for Mansfield’s creativity. During two sojourns in Bandol (1916 and 1918), she completed ‘The Aloe’ and wrote ‘Je ne parle pas français’, ‘Sun and Moon’, and ‘Bliss’. The time she spent at the Villa Isola Bella in Menton resulted in ‘The Singing Lesson’, ‘The Young Girl’, ‘The Stranger’, ‘Miss Brill’, ‘Poison’, ‘The Lady’s Maid’, ‘The Daughters of the Late Colonel’, and ‘Life of Ma Parker’.

Mansfield’s life in the south of France also engendered comments in her notebooks and diaries, as well as in her letters. For example, near the end of a letter to her husband, John Middleton Murry, written from Menton, she wrote, ‘You will find ISOLA BELLA in poker work on my heart’. Domestic issues, friendships, visitors from England, descriptions of the Mediterranean, all feature in her personal writing. On her first visit to Menton, staying with her cousin Connie Beauchamp, she wrote to Murry: ‘Oh, could I bring the flowers, the air the whole heavenly climate as well: this darling little town, these mountains – It is simply a small jewel’. In January 1922, high up in the snowy Swiss Alps, she wrote in her new diary: ‘I love, I long for the fertile earth. How I have longed for the S. of France this year!’

In the fifty years since 1970, the Katherine Mansfield Menton Fellowship has celebrated the connection between New Zealand’s most iconic writer and the town of Menton, allowing a New Zealand writer to live and write for three months or more in the town which Mansfield loved so much. Previous recipients include C. K. Stead, Margaret Scott, Paula Morris, Carl Nixon, Kate Camp, Anna Jackson, Mandy Hager, Greg McGee, Justin Paton, Chris Price, Ken Duncum, Damien Wilkins, Jenny Pattrick, Stuart Hoar, Dame Fiona Kidman, Ian Wedde and other prestigious writers such as Bill Manhire, Janet Frame, Witi Ihimaera, Elizabeth Knox, Lloyd Jones, Roger Hall, Marilyn Duckworth, Michael King and Allen Curnow.

This two-day symposium will celebrate the 50th anniversary of the Fellowship in 2020.

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

  • The influence of the south of France on Mansfield
  • Mansfield, travel and France
  • Mansfield’s French legacy
  • The French reception of Mansfield’s works
  • Translating Mansfield
  • France and the French as sources for Mansfield’s imagination
  • Teaching and studying Mansfield in France today
  • The influence of French literature on Mansfield
  • Analysis of any of the stories Mansfield wrote in the south of France
  • The legacy of Mansfield in New Zealand writing today.

NB: All other topics relating to Mansfield will be considered.

Abstracts of 200 words, together with a 50-word bio-sketch, should be sent to the conference organiser, Dr Gerri Kimber (University of Northampton, UK), at kms@katherinemansfieldsociety.org

Submission deadline: 30 April 2020

The Symposium will feature a keynote panel of prestigious New Zealand authors, all former Mansfield Menton Fellows.

Full details: Menton 2020


Surrealisms Paris 2020

International Society for the Study of Surrealism (ISSS)

6-9 November 2020 | Paris

‘Surrealisms Paris 2020’ is the third conference of the International Society for the Study of Surrealism (ISSS). It is organized by the American University of Paris, Centre allemand d’histoire de l’art (DFK Paris), Université Lyon-Saint-Étienne, and Université Sorbonne Nouvelle-Paris 3.

Building upon the success of the inaugural ISSS conference at Bucknell University (Pennsylvania, USA, 2018) and the second at the University of Exeter (England, 2019), we seek proposals for SURRÉALISMES PARIS 2020. Along with academic sessions and roundtables, the conference will include film screenings, poetry readings, and exhibitions. ISSS aims to facilitate cross-disciplinary and inter-regional exchange by organizing events and facilitating channels of information worldwide. The mission of the ISSS is to incorporate and promote new scholarship on global surrealism, as well as to introduce new ways to approach its various literary and artistic expressions. In addition, we seek to foster exchanges between practicing artists, writers, surrealists, and the scholarly community for whom surrealism (past and present) is a field of ongoing inquiry.

The year 2020 is an anniversary year for surrealism, marking the publication of Les Champs magnétiques by André Breton and Philippe Soupault, as well as the second version of the journal Littérature which, inspired by Dada, provided the foundation for the surrealist avant-garde.

In 1935, Benjamin Péret wrote that “to avoid its own desiccation,” Surrealism had to “bypass the narrow borders of France and adopt an international presence.” Our transversal and interdisciplinary Parisian conference will be the occasion to interrogate broadly, without reducing it to a narrow theme, this internationalization of surrealism, up to and including the emergence of global surrealism on the globalized market today. The international audience of Surrealism, in Europe and beyond, raises multiple questions: Where and by what means did the movement spread? What resistance or adherence did surrealist ideas meet in different cultural contexts? What were the modalities of surrealism’s reception in Europe and on the other continents? How did the relations between the supposed “center” (Paris) and the “peripheral groups” develop? How did the ideas of surrealism evolve due to this international expansion? Did the latter contribute to the loss of its initial nature or, on the contrary, to its necessary and vital renewal? Did the progressive commodification, aestheticization and museumification of surrealism undercut the political revolt and the poetic exigency the movement embodied? In other words, what is surrealism today: what poetic subversion, political revolt, or opposition does it still nurture and express?

Proposals for individual presentations (20 minutes) must include an abstract of 250 words, a title, professional affiliation (if applicable), email and postal address, and a short bio of the presenter. We strongly encourage proposals for pre-organized panels consisting of 3-4 papers; these proposals must include a supplementary paragraph explaining the panel’s rationale with a title. Roundtables and other alternative formats are also welcome. We warmly encourage proposals from graduate students who work on topics related to surrealism, as well as from independent artists, filmmakers, poets, and writers interested to present their work in a scholarly context.

Presentations may be given in French, Spanish, or English. Please submit proposals to isssparis2020@gmail.com by 31 March 2020.

Full details: ISSS Paris 2020


Special Session on ‘Modernist Literature and Mathematics’ at MLA 2021

7-10 January 2021 | Toronto

Modernist Literature and Mathematics: Tropes, Forms and Discourses

How do mathematical modernisms encounter literary modernisms? Do they seek systemic autonomy? Let’s explore European and Non-European Modernist literatures’ appeal to mathematical tropes, forms and discourses to make/unmake knowledge-claims.

Please submit your 400 word abstract by 15 March 2020 to Arka Chattopadhyay (arkaless@gmail.com).

Full details of MLA Convention: MLA 2021


Spatial Modernities: Mapping the Physical and Psychological World Symposium

16 May 2020 | Centre for Modern Studies, University of York

Keynote Speaker: Professor Ian Gregory (Lancaster University)

Since the ‘spatial turn’ in the 1970s, scholars, theorists, scientists, and intellectuals across the globe have been carving out new critical, theoretical, and methodological concepts to expand and redefine the scope of space. Inspired by the fantastic ways that space and modernity interact, scholars have been bringing new experiences and interpretations to understandings of spatial modernity or modern spatiality. The borders of modernities and spatiality blurred and the spark of inspirations flickered.

This poses exciting opportunities and challenges to modern studies: What are ‘spatial modernities’ and how are they developed in and beyond humanities? How do the meanings and implications of space and modern evolve across the global world? How does the physical and psychological modernity respond to these modernities? How do we define, clarify, complicate, and push the debate over the borders forward? How does the map work or fail in the mysterious unfamiliar place?

The principle aim of this symposium is to encourage a robust, diverse, and interdisciplinary conversation on place, space, or map in the modern world. The CModS annual symposium invites proposals for 15-minute papers. We wish to push the limits of how we interpret and understand spatial modernity as a categorical term. We encourage physical or material perspectives on architecture, geography, landscape, territory, region, area, and city, discussions on the invisible, imaginative, and psychological worlds, explorations of psychological, psychoanalytical and affective space, and conversations about the roles of maps in the modern era.

As such, we welcome papers from PGs and ECRs working in literature, archaeology, language and linguistics, philosophy, history, music, art, media, geography, and other fields. Some thematic prompts include, but are not limited to:

  • physical, metaphorical, embodied ways to explore modernity and space, place, and/or map
  • critical and creative approaches to the connection between modernity and space
  • time and space in modern studies
  • spaces and places of the future or fantastical spaces
  • the commodification of place, space, and/or map
  • psychogeography and modernity
  • psychological, psychoanalytical and affective space
  • politics of place, space, or map (territory sovereignty, colonialism, and empire, etc)
  • space, place, and/or map & gender, sexuality, religion, race, migration, animal, and environment

We welcome proposals from postgraduates and ECRs. Please send an abstract (300-500 words) along with a brief bio (100 words) to (cmods-pgforum@york.ac.uk) by 8 March 2020. Queries can be directed to this email address also. We are open to receiving standard presentations and encouraging non-traditional forms of participation. HRC (Humanities Research Centre) has generously funded the travel bursaries of £150 for non-funded PGs (MA or Ph.D.) or precariously employed ECAs who are in need.

Full details: Spatial Modernities Symposium


Feminism and Technology: A Depth Psychology Enquiry

Endorsed by the Department of Psychosocial and Psychoanalytic Studies, University of Essex and the International Association of Jungian Studies with support of a grant from The Chase Feminist Network, London

25 June 2020 | Amnesty International Building, Shoreditch, London

Embodied life for the female body is compromised by the ways and means of giving birth, raising children, displaying and living out identities, and gender. We want to explore this in ways that include social media, fictional and dystopian future ways of living too within oppressed and colonised communications, and in difficult terrains. 

We learn from Donna Haraway about metaphors of cyborg life, and ‘situated knowing’ – algorithms of life generated by performative requirements, and by unconscious and unpredictable curves in agency. Does the very use of technological means impact on the psyche as Karan Barad insists? Cultural life including but not limited to the internet and AI, robotics, underpins contemporary living internationally, and Jung addressed ways these props impinged on life [the geography of imagination that runs alongside the everyday world of consensual reality?]- either facilitating or quashing genuine human living – are the technological tools infected by conventional and continued restrictive ways, for example, of how we give birth in hospitals with images of animal behaviour?

Jungian psychology accommodates the multiple personalities [personae?] that we all use to survive, and looks to collective tropes and Psychosocial cultural tools that legitimise multiple faces of embodied life especially for women.

We welcome approaches to technology as they impact on female life globally – from internet use, to invasive and biologically altering medical technology, and science fiction as female writers engage with medical applications to female life. The facility of interaction on social media – blurring female capacities and creativity, or enabling oppression more easily. Manipulation of pain as a side-effect in enhancing the body toward technologically enhanced ‘looks’. The ecologically aware use of technology has specific effect on females as they try to raise children in ways that will mean there is a habitable planet – in fact decisions about having children at all work in here.  Other themes might be:

  • Artificial intelligence, robotics, and the female
  • The female persona in social media
  • Feminism and social media influencers
  • The female “diva” icon in digital media
  • Female representation: photoshopping
  • Feminist movements and the internet
  • Anonymity protection and female voices in the digital world

We look for 300-500 word summary along with biography by the end of February 2020 for presentation at conference on 25 June 2020 – speaking length will be 15-20 minutes for maximum discussion time. Invitations will go out by end of February. Send proposals to gardner.leslie@gmail.com. Suggested donations to be announced.

Convenors: Catriona Miller (Glasgow Caledonian University, Glasgow, Scotland), Roula Maria Dib (American University, Dubai, Emirates) and Leslie Gardner (Dept PPS,University of Essex, England).

Full details: Feminism and Technology


Hope Mirrlees’ Paris: A Poem at 100

10 June 2020 | Maison de la Recherche Sorbonne Nouvelle in Paris, France

2020 marks the 100th anniversary of “modernism’s lost masterpiece,” Hope Mirrlees’s Paris: A Poem. Published by Hogarth Press in the spring of 1920, and typeset by Virginia Woolf herself, this ground-breaking long poem maps the range of continental avant-garde aesthetics of the 1910s even as it both engages and anticipates the mythical methods and epic conventions of James Joyce, Ezra Pound, and T.S. Eliot.

This one-day conference aims to present new work that reassesses the singularity of Mirrlees’s poem as well as its place within the broader network of literary modernism. While scholars such as Julia Briggs, who produced the first annotated edition of the poem in Gender in Modernism: New Geographies, Complex Intersections (2007), and Sandeep Parmar, who edited the first critical edition of Mirrlees’s Collected Poems (2011), have done the important archival and recovery work that restored Paris to critical attention, Peter Howarth solidified Paris’s position within the modernist “canon” with his chapter, “Why Write Like This?,” in The Cambridge Introduction to Modernist Poetry (2011), which introduces readers to the disorienting pleasures of modernism’s most famous poems through an extended analysis of Mirrlees’s “difficult” work (16). Building on these approaches, this conference seeks to initiate a “new” wave of Paris scholarship that complicates and extends the poem’s aesthetic, cultural, and socio-political import on the occasion of its centenary.

We therefore welcome papers that both pay tribute to the exceptionality of the poem and insist on the “complex intersections” that resist canonical trends of exceptionalizing marginalized writers like Mirrlees. We invite proposals that consider any aspect of the poem, its influences, or its legacies as well as papers focusing on Mirrlees’s work more generally and in relation to her contemporaries.

The conference will include a panel discussion with Deborah Levy, Sandeep Parmar, Lauren Elkin, and Francesca Wade as well as a reception celebrating the launch of a new edition of the poem (forthcoming May 2020 by Faber & Faber).

Abstracts due 15 February 2020 to Rio Matchett (R.A.Matchett@liverpool.ac.uk) and Nell Wasserstrom (wassersn@bc.edu).


Panels at the American Literature Association (ALA) Annual Conference: Ernest Hemingway, William Carlos Williams

21-24 May 2020 | San Diego, CA

Full details of ALA Conference: ALA CFP.

The Paratextual Hemingway

The Ernest Hemingway Society will sponsor the following panel at the upcoming ALA Conference:In his recent essay in the Hemingway Review, Michael Thurston argues that the paratexts (covers, title pages, dedications, chapter headings) and bibliographic texts (paper, typefaces, print layout) of Ernest Hemingway’s 1924 in our time “sometimes produce a hermeneutic effect, resonating with themes that arise from the texts, and sometimes produce what can be thought of as a positional effect, inviting certain protocols of reading that suggest to the reader the kind of book in her or his hands” (9). In light of this inventive new attention to the material features of in our time, this panel proposes to examine the paratexts and bibliographic texts of Hemingway’s literary production. What meaning can we draw from these physical artifacts? What signifying properties can be found in the dust jacket, the title page, or even the paper upon which Hemingway’s work is printed? How might these material features help us rethink Hemingway’s modernism and his place in the matrix of early twentieth-century modernist literary experimentation?Please direct your 250 word proposal and a short professional bio to Jace Gatzemeyer at  jace.gatzemeyer@gmail.com by 15 January 2020.

William Carlos Williams and Medical Humanities

To reflect the topic of the forthcoming special double-issue of WCWReview planned for late 2020, proposals, drafts, or abstracts on any aspect of the topic of Williams and medical humanities—including aging, disabilities, doctor/patient relationships, phenomenology of illness, etc.—are requested for a panel sponsored by the WCW Society at the ALA Conference. Please reply to Daniel Burke at dburke7@luc.edu by 20 January 2020 for consideration.

Williams and “Reading”

In his digressive essay on being the subject of the portrait by the painter Emanuel Romano, William Carlos Williams asserted that “[w]e do not read to gain, or not primarily to gain, knowledge of what we are reading—for we read fiction as readily as we read history or philosophy. We read to rescue ourselves from the befuddlement in which we exist between express commitments of our attention.”

How may recent discussions of “cultures of reading” in forums such as PMLA (October 2018, January 2019) and other journals, critical approaches developed on the basis of cognitive science, or more historically distant discussions based in American pragmatist philosophy and/or critical theories of the 20th century, inform our current approaches to Williams’s poetry and prose?

Proposals, drafts or abstracts for presentations on the topic of ‘Williams and ‘Reading”‘ are requested for a panel sponsored by the William Carlos William Society at the ALA Conference (San Diego, CA). Please reply to Stephen Hahn at hahns@wpunj.edu by 20 January 2020 for consideration.


Telepoetics Symposium

27 May 2020 | Dana Research Centre, Science Museum, London

From the ‘waves of sound, transmitted o’er the line’ in Jones Very’s ‘The Telephone’ (1877) to the ‘thin voice speak[ing] / from a drowning world’ in Imtiaz Dharker’s ‘Six Rings’ (2018), telephones have been calling in and across literary texts for almost one hundred and fifty years. But although considerable research on the smartphone has been undertaken in recent media and cultural studies, the relationship between telephony and literature remains largely neglected. In fact, as Nicholas Royle points out in Telepathy and Literature (1991), ‘really we have no idea what a telephone is, or what a voice is, or when or how. Least of all when it is linked up with the question of literature’. Taking the ‘question of literature’ as its starting point, this AHRC-funded symposium will address the telephone’s propensity to facilitate and mediate but also to interrupt communication on a local and global scale, as well the ways in which it taps into some of the most urgent concerns of the modern and contemporary age, including surveillance, mobility, resistance, power and warfare. Exploring its complex, multiple and mutating functions in literary texts from the nineteenth century to the present day, we will consider both historical and recent manifestations of the telephone, and its capacity to call across languages and cultures.

Celebrating the potential of the telephone to operate at the intersection between the literary, the critical, the personal and the political, we envisage a structure to the symposium that will facilitate a range of voices, conversations and modes of address: rather than keynote lectures, the day will consist of short 10-minute papers, variously ‘interrupted’ by creative and critical calls from invited speakers including Mara Mills (New York University), Eric Prenowitz (University of Leeds), Nicholas Royle (University of Sussex) and Will Self (Brunel University). Further speakers are to be confirmed.

We invite proposals for 10-minute critical and creative papers that explore the relationship between literature and telephony in a range of global contexts and from the nineteenth century to the present day. Topics might include (but are not limited to):

  • privacy and surveillance
  • communications warfare
  • mobility and globalization
  • technologies of desire
  • telephony as translation
  • textual interference, interruption or interception
  • lyric calling and texting
  • telephony and D/deaf experience
  • telephony and labour
  • ethics and answerability
  • voice and address

Please submit a 250 word proposal to sam.buchan-watts@ntu.ac.uk by 10 March 2020.

Travel bursaries to support independent early career scholars and under-represented groups in academia are available. See symposium website for full details.

Lates at the Science Museum

The symposium will be followed by a Communication-themed ‘Lates’ event at the Science Museum from 18:45 to 22:00 on 27 May. The Science Museum’s Lates are free and open to all, and typically attract more than 2500 visitors per night. Inviting members of the public to reflect on the history of telecommunications and to imagine its possible futures, our event will provide a space to think about the relationship between language, culture and technology. If you are interested in contributing to this ‘Lates’ event, please email sam.buchan-watts@ntu.ac.uk by 10 March 2020. For more information, visit Science Museum’s Lates.

This event is part of the Crossed Wires project led by Dr Sarah Jackson (Nottingham Trent University) and funded by the AHRC.


Making Connections: Women’s Writing 1918-1939

6 June 2020 | University of Bedfordshire (Bedford Campus)

‘Making Connections: Women’s Writing 1918-1939’ is a one-day conference which will be held at the University of Bedfordshire (Bedford campus) on 6th June 2020.

The interwar period was a time of experimentation in form, but also a time when networks enabled new writers to form connections with each other and with the publishing community. This conference will focus on those networks, both formal and informal, between writers and writers, and with publishers, film makers, and literary, political and artistic movements.

Abstracts are invited for papers on women writers from the UK, from Europe and across the world who were writing and publishing between 1918 and 1939.

Please send abstracts (300 words) for a 20 minute paper, together with your name, affiliation and contact information, and a short biography, to the organisers, Professor Alexis Weedon and Dr Nicola Darwood at nicola.darwood@beds.ac.uk by 28 February 2020. Notifications of acceptance will be sent by 31 March 2020.


Networking May Sinclair / Les réseaux littéraires de May Sinclair

18-19 June 2020 | Université de Nantes

This international conference explores the diversity of connections, inspirations and influences in the work of modernist writer, May Sinclair (1863-1946). It will be held at the University of Nantes (France) on Thursday 18th and Friday 19th June 2020.

In the first two decades of the twentieth century, May Sinclair was one of the most successful and widely known of British women novelists (Wilson, 2001). She produced over twenty novels and six collections of short stories and collaborated with many modernist writers and poets, including Ford Madox Ford, Ezra Pound, T. S. Eliot, H.D. and Richard Aldington. Her life was also exceptionally rich. She took an active part in the women’s suffrage movement and published several pamphlets for women’s rights between 1908 and 1917. In the early 1910s, she got involved in medico-psychological research, and wrote half a dozen psychoanalytical research papers. In 1915, she spent two weeks near the Belgian front with an ambulance unit and her Journal of Impressions in Belgium was one of the first wartime women’s diaries published in Britain (Raitt 2000, 163). She was also the acclaimed author of two major philosophical essays on idealism (1917 and 1922) that led to her election to the Aristotelian Society. Last, she was an influential literary historian and literary critic and wrote several much-quoted articles and prefaces on the stream of consciousness, the Brontë sisters and imagist poetry.

Many reviewers and critics have shown that May Sinclair’s modernism was not so much a derivation of other contemporary aesthetics but was rather a product of her idiosyncratic articulation of her many research interests and experiences. In addition, “the interdisciplinarity of Sinclair’s output […] eludes straightforward categorisation and this has arguably contributed to the traditional critical neglect of her writing” (Bowler & Drewery 2016, 1).

As May Sinclair is now “gaining critical legitimacy” (Raitt 2016, 23), this conference seeks to explore Sinclair’s texts and contexts and aims to shed light on her place in literary history and on her contribution to “the radical modernist challenge to traditional assumptions about what it means to be human” (Bowler & Drewery 2016, 14). Papers comparing Sinclair and other writers are thus particularly welcome; suggested topics might include (but are not limited to):

  • May Sinclair and her contemporaries: Thomas Hardy, Henry James, H. G. Wells, D. H. Lawrence, Ford Madox Ford, Charlotte Mew, H. D., Richard Aldington, T S. Eliot,
    Ezra Pound, Virginia Woolf, Dorothy Richardson, Katherine Mansfield, Elizabeth
    Bowen, Mary Butts, Olive Moore etc.
  • May Sinclair and modernity/the modern/modernism
  • May Sinclair & WW1 writers
  • May Sinclair and Victorian and late nineteenth-century authors: the Brontë sisters,
    George Eliot, George Meredith etc.
  • May Sinclair and romantic poets: Shelley, Byron etc.
  • May Sinclair and philosophy: Henri Bergson, Bertrand Russell, Baruch Spinoza, T. H. Green, Arthur Schopenhauer, Samuel Butler, Francis Herbert Bradley etc.
  • May Sinclair and psychology: William James, Sigmund Freud, C. G. Jung, Pierre Janet, Melanie Klein, Ella Sharpe, Joan Riviere, Alfred Adler, Charles Myers etc.
  • May Sinclair and mysticism: Evelyn Underhill, the Society for Psychical Research, etc.
  • May Sinclair and first-wave feminism
  • Contemporary reception of May Sinclair
  • May Sinclair and her literary legacy
  • May Sinclair in translation
  • May Sinclair and music
  • May Sinclair and films or TV adaptations

Proposals no longer than 350 words, together with a 200-word biography, should be sent to the conference organisers before 15 February 2020.

Conference organisers:
Leslie de Bont, Université de Nantes leslie.debont@univ-nantes.fr
Isabelle Brasme, Université de Nîmes isabellebrasme@gmail.com
Florence Marie, Université de Pau florence.marie@univ-pau.fr

Full details: Networking May Sinclair


Richard Aldington / Imagism Conference

International Aldington Society and International Imagism Conference, in joint sponsorship with Elizabeth Madox Roberts Society

20-22 June 2020 | Chavignol/Sury-En-Vaux, France

The XI International Aldington Society and VII International Imagism Conference will be held in Chavignol, France, near Sancerre and Sury-En-Vaux, the village where Aldington spent the last few years of his life.

The RA/Imagism conference will immediately follow a conference of the May Sinclair Society to be held at the Université de Nantes, June 18-19, and the proximity of the two conferences provides an opportunity for papers interrelating Sinclair’s work with that of Aldington and the Imagists. For the Sinclair conference, see here.

Call for Papers

We invite a wide range of possible papers dealing with any aspect of the life and work of Aldington, the Imagist Movement, May Sinclair, and Elizabeth Madox Roberts.

Topics may include but are not limited to the following suggestions:

  • Aldington in Sury-en-Vaux
  • Aldington’s France
  • Aldington and Imagism
  • Aldington and H. D.
  • Aldington and May Sinclair
  • Modernism and Modernity
  • Transatlantic Contemporaries: Richard Aldington, H. D., T. S. Eliot, Ford Madox Ford, Ernest Hemingway, James Joyce, D. H. Lawrence, Ezra Pound, Dorothy Richardson, Elizabeth Madox Roberts, May Sinclair
  • May Sinclair and Imagism
  • May Sinclair and Elizabeth Madox Roberts

Deadline for submissions is 5 January 2020. Please send a title and 250-word abstract to the conference co-directors: Daniel Kempton (kemptond@newpaltz.edu) and H. R. Stoneback (hrs714@gmail.com).

The conference site is La Salle Panoramique in l’Hôtel Restaurant Famille Bourgeois in Chavignol.

Full details: Aldington/Imagism Conference


American Association of Australasian Literary Studies (AAALS) Conference

Hosted by AAALS

15-18 April 2020 | Albuquerque, New Mexico

AAALS hosts an annual conference where members present their scholarly work on the subject of Australian and New Zealand literature and culture. The conference affords an opportunity for intellectual and social engagement with like-minded individuals from around the globe. In addition to the presentation of scholarly work, the conference features a keynote speaker and a reading by an Australian or New Zealand writer.

The 2020 AAALS conference will take place on Wednesday, April 15, through Saturday, April 18, in Albuquerque, New Mexico. Native American groups have inhabited the region for thousands of years, but Albuquerque was founded as a Spanish colony in 1706. Albuquerque now has a population of 500,000, and its modern downtown contrasts with Old Town, which is filled with historic adobe buildings, museums, and more. The conference will be held at the Hotel Andaluz, a historic boutique hotel in downtown Albuquerque.

The American Association of Australasian Literary Studies (AAALS) invites paper proposals for its 2020 annual conference. Papers addressing any aspect of the literature, film, and/or culture of Australia, Aotearoa/New Zealand, and other areas of Oceania are welcome. Papers on Aboriginal, Maori, or other indigenous topics are especially welcome, as we will be making connections to the local indigenous peoples. Proposals from current students are encouraged. Presentations are 20 minutes long; however, alternate presentation formats can be submitted. Please send a paper title and 250-word proposal by 20 December 2019, to Brenda Machosky (machosky@hawaii.edu). Please label the email subject line: AAALS 2020 proposal.

Full details: AAALS Conference


MSA Annual Conference: “Streets”

Hosted by the Modernist Studies Association

22-25 October 2020 | Brooklyn, New York

New York City has long been a stage for what Marshall Berman called “modernism in the streets,” a modernism that encompasses not only the speed and scale of modernity at large, but also the democratic energies of diasporas, migrant communities, and social movements that stake their claims at street level. MSA 2020 will consider the modernist street as a site of movement where the demand for new worlds has become legible in countless creative ways.

MSA 2020 will be held in downtown Brooklyn, at the base of the Brooklyn Bridge, itself an inspiration for the painter Joseph Stella, photographer Walker Evans, and poets ranging from Hart Crane and Marianne Moore to Vladimir Mayakovsky and Federico García Lorca. A separate city until 1898, Brooklyn’s relations with the other four New York boroughs invite renewed reflection on questions of development at street level. In particular, Brooklyn, whose “ample hills” Walt Whitman extolled, has undergone a dramatic population shift in the new millennium. Though people of color still make up the majority of Brooklyn’s residents, gentrification has not only made parts of the borough financially out of reach for many, it has also turned a borough famous for its working class and ethnic neighborhoods into an international brand.

“Streets” is a capacious rubric, inviting new perspectives on modernist cultural production at a local and global scale. Streets can be imagined as a way of thinking; as sites of overlapping temporalities; as networks; and as material, populated places.

As part of the MSA’s initiative to promote a more diverse Association, the 2020 conference will feature five streams of interrelated interdisciplinary panels, more than any previous MSA conference. Each stream solicits proposals for individual papers and aims to draw speakers and audience members from constituencies historically underrepresented within MSA.

Keynote events will include a presentation by novelist Zadie Smith and a plenary roundtable on “The New York Sound,” featuring Daphne Brooks (Yale), Brent Edwards (Columbia), Sara Marcus (USC), and Elena Martinez (Bronx Music Heritage Center).

Proposal deadlines:

Individual Paper Proposals: due 30 March 2020.

Seminar Proposals: due 7 February 2020.

Workshop Proposals: due 24 April 2020.

Panel Proposals: due 30 March 2020.

Roundtable Proposals: due 30 March 2020.

Digital Exhibits and Posters: due 24 April 2020.

Full information: MSA Brooklyn 2020


Beyond Time: Reading Eleanor Dark in 2020

Hosted by the Association for the Study of Australian Literature

1-2 May 2020 | Sydney and Blue Mountains (NSW, Australia)

Given Eleanor Dark’s signature experiment with temporality in the mid- century Australian novel, it is tempting to cite the timeliness of this call to address her rich body of work. However, this invitation is not merely timely, it is overdue. Overtime, urgent, arriving beyond and in excess of the appointed or expected time, we are more than ready for an expression of sustained and specialised work on Eleanor Dark.

Although Dark enjoyed critical and popular success in her lifetime, her key purchase in public memory has been anchored to her historical trilogy, which commenced with The Timeless Land in 1941. Her more recent critical profile has been generated in relation to assessments of her engagement with modernist aesthetics, and this has had the effect of securing her position as one of the pre-eminent Australian modernist novelists. Now, new critical frameworks offer exciting possibilities for reading Dark, so we invite participants to draw on a range of perspectives to rethink Dark’s body of work: its modernist mappings of place, time, body and/or self; its negotiations of literary value and readerships; its avant garde engagement; its mapping of gender and politics; its settler-colonial vision; its potential for decolonial thought; or the futurity of its archival re-imaginings. Critical frameworks may include, but are not limited to, the following:

  • new modernisms;
  • transnational literary studies;
  • ecocritical studies;
  • decolonial methodologies;
  • literary, book and cultural history;
  • literary feminisms

Conference details
The first day of the symposium will be held at UNSW (Kensington) and will include papers on Eleanor Dark’s work. This will be followed by an optional day in the Blue Mountains on Saturday 2 May, when interested participants can choose to partake in visits and walks related to the Darks, assisted by scholars and archivists and including a visit to Varuna (details to be confirmed).

Submission of abstracts
We invite abstracts for 20-minute papers exploring key aspects of Dark’s work. Abstracts should be no longer than 250 words and accompanied by a biographical note. Please send your abstract to Dr Fiona Morrison (f.morrison@unsw.edu.au), including DARK at the start of the email title, by 28 February 2020.

Conference organisers
Dr Fiona Morrison (ASAL President), UNSW; Dr Brigid Rooney, University of Sydney; Dr Melinda Cooper, University of Sydney; Dr Meg Brayshaw, University of Sydney.


John Dos Passos Society Conference

Hosted by the John Dos Passos Society

8-10 October 2020 | Instituto Cervantes in New York City

The John Dos Passos Society invites papers for its Fourth Biennial Conference, to be held 8-10 October 2020 at the Instituto Cervantes in New York City. The setting and venue are eminently appropriate, combining as they do two of the most important places in Dos Passos’s personal and artistic life: Spain and New York City.

Dos Passos first became fascinated by Spain during his time as a student in Madrid in 1916, immersing himself in the culture and traveling widely. Those early impressions of the country were reflected in the Cervantes homage Rosinante to the Road Again (1922), the poetry collection A Pushcart at The Curb (1922), as well as his letters, diaries, and artwork from the period. His understanding of Spanish history, literature, art, and politics turned him into an exceptional witness of the events that led up to the Spanish Civil War (1936-1939), as reflected in his non-fictional writings on 1930s Spain collected in Journeys Between Wars (1938). In the spring of 1937, he collaborated with Ernest Hemingway and Joris Ivens in the filming of the documentary The Spanish Earth. With his essay “Farewell to Europe” (1937) and his novel Adventures of a Young Man (1939), Dos Passos expressed his political disillusionment after the execution of his Spanish friend and translator José Robles during the war. He would later revisit Spain in his informal memoir The Best Times (1966) and the posthumous Century’s Ebb: The Thirteenth Chronicle (1975).

New York City was Dos Passos’s home and inspiration for several years. He first moved to the city in early 1924, living in a small apartment at 110 Columbia Heights in Brooklyn, which offered a majestic view of the East River and the Brooklyn Bridge. In the same apartment building lived poet Hart Crane, whom Dos Passos befriended. While the view from the building would inspire Crane’s epic poem “The Bridge,” Dos Passos was instead motivated to capture the pulse of the rapidly growing borough across the river. Crossing the bridge to meet with friends in Greenwich Village and to generally soak up the atmosphere of the city, Dos Passos always retreated to his apartment in Brooklyn for the focus and concentration required to write – and perhaps also to gain perspectival distance from the swarming metropolis that was his subject. The result was Manhattan Transfer (1925), and the formal innovations pioneered in that novel – enabled by the creative energy of the New York years – would sustain Dos Passos’s work for much of the rest of his career.

For the conference, we invite proposals on any aspects of Dos Passos and his work. In keeping with the setting and venue, we especially welcome contributions that relate the life and works of Dos Passos to Spain or New York City.

Possible topics may include Dos Passos and:

  • New York City
  • Spain
  • Latin America
  • Spanish-speaking writers
  • translation studies
  • the urban novel
  • trans-cultural dialogue
  • his ideological journey/changing politics
  • sex, sexuality, and gender
  • Ernest Hemingway, José Robles, and/or others involved in the Spanish Civil War
  • his relationships with other authors and artists
  • realist, modernist, and late-modernist aesthetics
  • genre: histories, travel writing, poetry, essays and so on
  • painting and the visual arts; technology
  • his own influences, his influence on contemporary literature

We will also hold a roundtable on teaching Dos Passos, and welcome short position papers on classroom experiences with his work.

Important dates in 2020:

30 April: Deadline for paper abstract submissions (250-300 words)

30 May: Notification of acceptance

1 June: Registration opens

30 June: Deadline of 1500-word draft of paper for those wishing to be considered for Graduate Student Travel Grant

15 July Registration closes

Venue: Located in Midtown Manhattan, the Instituto Cervantes is a non-profit organization that was founded by the Spanish government in 1991, present in 75 countries. Dedicated to universally promote the Spanish language, its aim is to spread Spanish and Hispanic-American culture across the world. While there is no official hotel sponsorship for the conference, the Instituto Cervantes itself is situated near a number of lodgings, such as Pod 51 Hotel, The Maxwell New York City, The Lexington Hotel, and the Vanderbilt YMCA, to name but a few.

Abstracts: For consideration, please send an abstract of 250-300 words and a brief CV to both Aaron Shaheen at aaron-shaheen@utc.edu and to Rosa Bautista at rosa.bautista@uam.es by April 30th, 2020. Graduate students must submit a 1500-word draft by 30 June in order to be considered for supplemental travel funds. Please make note of any A/V requests along with your proposal. While the main language of the conference will be English, proposals in Spanish will also be accepted.

For more information about the John Dos Passos Society and the 2020 New York City conference, please visit the website.


Politics and Desire in a Decadent Age: 1860 to the Present

Hosted by the Department of English and the Sexual Cultures Research Group

Friday 15 May 2020 | Queen Mary University of London

Keynote Speaker: Dennis Denisoff (McFarlin Chair of English, University of Tulsa, author of Aestheticism and Sexual Parody and Sexual Visuality from Literature to Film)

The symposium committee invites papers from a diverse range of disciplinary backgrounds, including literature, sexuality and gender studies, history, visual art, film, and environmental studies, that interpret any aspect of the symposium theme of ‘Politics and Desire in a Decadent Age’. Topics may include (but are not limited to):

  • Urban sexual communities and conflicts
  • The sexual imagination and colonial decadence
  • Sexual identity in mass consumerism
  • Desires and the environmental humanities
  • Trans politics
  • Feminist fantasies
  • Desires and the decadent movement
  • Science and medicine of decadence
  • Gendered and erotic ecologies
  • Cultural rot
  • Intersections of race, indigeneity, and gender
  • Ignored, invisible, and secreted desires
  • Decadent occultures

Proposals of up to 250 words for 15-minutes papers (along with a 100-word biographical note) should be submitted by 1 February 2020 to Catherine Maxwell: c.h.maxwell@qmul.ac.uk.


Mapping the Artist’s Mind: The Grail Mass, Modernism and Inscription

The Third Annual Seminar of the David Jones Research Center will be held from 3- 5 June, 2020 at The Catholic University of America, Washington, DC. To view the full call for papers and seminar details, see Mapping the Artist’s Mind.


CRiSiS: Conference of the European Network for Avant-Garde and Modernism Studies

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

17-19 September 2020 | University of Leuven, Belgium

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 Jan. 2020) should include:

1. Title of the roundtable and language (English, French, German – one only)

2. A 500-word summary of the roundtable’s topic and rationale.

3. The chair’s name, a one-page curriculum vitae, and contact information (address and email).

4. Name, postal address and email contact of at least 5 (maximum 6) participants in the roundtable.

5. Short biography of individual participants

Panel proposals (deadline 1 Febr. 2020) should include:

1. Title of the panel and language of the panel (English, French, German – one only)

2. Name, address and email contact of the chair

3. A summary of the panel topic (300 words)

4. A summary of each individual contribution (300 words)

5. Name, postal address and email contact of individual contributors

6. Short biography of individual contributors

Individual proposals (deadline 1 Febr. 2020) should include:

1. Title of the paper and language of the paper (English, French, or German)

2. Name, address and email of contributor

3. A summary of the contribution (300 words)

4. 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 information: CRiSiS Conference


Figuring out Feeling

1-2 July 2020 | Paris

Figuring out Feeling seeks work that explores the place of emotion in the arts and literature of the anglophone world (19th-21st c.), as well as in our own practices of creation, teaching and research.

Talking about feelings is no easy task, and yet it’s not for a lack of words. Feelings, emotions, affects, drives, humours, passions, sentiments? Labels don’t cut it: feelings are often confusing, elusive, overwhelming, inherently troublesome. Feelings are a thing of wonder: both palpable and hard to grasp (Naomi Greyser); communicative and illegible (Sianne Ngai); they are subjective, but prone to stick to objects (Sara Ahmed); intimate and yet profoundly public (Lauren Berlant); they look backwards and yet propel us forwards (Heather K. Love).​

Figuring out feelings can often be an uncomfortable and confusing process — whether we are reading feelings in a text or an image, as our own or someone else’s, pedagogically (‘reading the room’ whilst teaching) or personally (reading needs, reading faces). Discomfort arises from a feeling’s hard-to-graspness, when emotions don’t align with our expectations; it lingers in noncathartic or antagonistic affects; it surfaces in the silences that surround the working out of feeling, in emotions that persist and refuse to let go. Feelings are historical. The changing perceptions of emotions are deeply embedded within the evolutions of both history of thought (or criticism) and material history, and prompt us to reconsider (or collapse) the boundaries between the inner life of the self and its environment. Feelings are political. They can build up, bubble and explode: they have the power to build and break communities, resist authority, and effect change. Emotions ‘move’ us, because they shape the course of our actions, how our bodies (individual and collective) act in a given situation. They can also leave us passive and paralysed.

​Since the affective turn in the early 1990s, the humanities and social sciences have witnessed a profound and renewed interest in how feelings operate; their relationship to both the human, the nonhuman (or more than human), and other feelings. As researchers, teachers and artists, we often struggle with the place and status of emotions in creative processes, institutions, the workplace, classrooms, and in our own research. How do we feel about all of this?

The title of this conference favours the word ‘feeling’, because of its flexibility and ubiquity in everyday speech; we want to allow contributors the freedom to name, explore and redefine slippages and intersections between theoretical frameworks. ‘Figuring out’ suggests an ongoing process, a movement from the inside out, an attempt to image and imagine, to shape and bring into light; but it doesn’t carry the necessity of a resolution. This conference encourages you to stay with the trouble, sit with the discomfort, dwell in the in-between and embrace the slippage in a collective, open-ended process of figuring out feeling.

​We welcome papers on feeling across eras, genres and mediums, with a relation to the arts and literature of the anglophone world (19th-21st century)​.

How to apply​

​Papers: ​individual papers should be 15 minutes long. To apply, please send an abstract of no more than 300 words along with a short bio (max. 100 words) to f​iguringoutfeeling@gmail.com​ ​by 31 January ​2020​.

Panels and roundtables​: panels should consist of three 15-min paper presentations. To apply, please send a proposal of no more than 400 words along with short bios of participants (max. 100 words) to figuringoutfeeling@gmail.com​ ​by 31 January​ 2020​.

Non-traditional formats (​performance, screening, small exhibition, workshop): please feel free to contact us ahead of the deadline (​31 January 2020)​ with any thoughts or initial enquiries.

Email address: figuringoutfeeling@gmail.com

Paper guidelines​

​Papers should be written ​in English,​ with oral delivery in mind, in a clear, easily digestible style. The approximate length of a 15-min paper is 6 to 8 pages (double spaced), or about 2,000-400 words. If you would like to see examples of successful abstracts, check out the Modernist Review’s Community Resource Pack. We look forward to reading your work!

Full information: Figuring out Feeling CFP


Future States: Modernity and National Identity in Popular Magazines, 1890-1945

Hosted by the Centre for Design History, University of Brighton

23 March – 5 April 2020

Future States explores the projection of modern national identities in magazines from the late nineteenth to mid-twentieth century. The scope of enquiry is global: we are looking to capture the distinct and intertwined histories of magazines in all corners of the world, and to bring together a worldwide community of magazine researchers. But we are doing so in a radically new way.

The event is a nearly carbon-neutral conference (NCNC), a model pioneered by UC Santa Barbara in 2016, and developed in a series of environmental conferences over the past three years. This will, to our knowledge, be the world’s first NCNC in the history of art/visual culture. Running for two weeks (23 March – 5 April 2020), the conference has no physical venue, and its participants do not, on this occasion, meet in person. In place of the concentrated spatial and temporal unity of a conventional conference, Future States offers a more expansive (asynchronous) online event: panellists record a 20-minute video or PPT recording, which is submitted to the organisers in the weeks leading up to the launch. Over the two weeks of the live event, the conference website will host multiple keynotes, panel presentations and curated Q&As; web pages will include a comprehensive database of publications in magazine studies, links to global research centres and archives, and a noticeboard for worldwide research projects. Future States will be a landmark event in magazine studies, and provide a permanent online resource for twenty-first century scholarship.

In the early decades of the twentieth century, ideals of technological modernity and American consumerism had a normative influence on cultures across the globe: magazines in Europe, the US, Latin America, and Asia, inflected a shared internationalism and technological optimism. But there were equally powerful countervailing influences, of patriotic or insurgent nationalism, and of traditionalism, that promoted values of cultural differentiation. Future States explores these dialectical constructions of ideal modernity in the magazines of different countries, exploring how national cultures drew on – or resisted – currents in international modernism, and also informed and constituted this global culture: for example, Garcia Cabral’s extraordinary covers for the Mexican weekly Revista de Revistas brought Art Deco to Latin America, and also presented a distinctive Latin American modernism to an international audience. Modern magazines embodied these dynamic cultural dialogues in their visual images and textual culture, offering a vision of what Partha Mitter calls the “decentred” modernism of the global twentieth century.

Under the general theme of modernity and national identity, and the visual and textual projection of these ideals, Future States will present an eclectic, broad-based enquiry. Conference panels will explore periodicals from the late nineteenth century through to the end of the Second World War, taking in both mass-market and specialist titles.

Please send an outline (ca. 300 wds) of a 20-minute presentation, and a copy of your current CV to: t.m.satterthwaite@brighton.ac.uk by 4 November 2019. Conference presentations can be in any language (but would need to be professionally subtitled in English); Q&As will be in English. If you have any queries, please feel free to contact us at: info@futurestates.org

Further information can be found here: Future States


Literary Juvenilia, Material Imagination and ‘Things’

7th International Literary Juvenilia Conference

20-23 May 2020 | UNSW Sydney

The Seventh International Literary Juvenilia Conference will be held at UNSW Sydney from Wednesday 20 May to Saturday 23 May 2020. Following the success of the 2018 conference on ‘Minority Voices’ at St. John’s College, University of Durham, the International Society of Literary Juvenilia (ISLJ) and Juvenilia Press, welcome you to UNSW Sydney for a conference to discuss ‘Literary Juvenilia, material imagination and ‘things’.

Call for Papers

A young writer’s learning and creative experience is built around things. Drawing on Gaston Bachelard’s evocative phrase ‘material imagination’, this conference will explore the material culture of juvenilia: the relationship between ‘things’ and literary imagination and practice.

Young writers ranging from Pope, Chatterton and Burns in the eighteenth century, to Austen, the Brontës, Eliot and Dickens in the nineteenth, and Edith Wharton, C.S. Lewis, Judith Wright and J.K. Rowling in the twentieth and twenty-first centuries have found inspiration and example in the everyday context of their writing practice—in a materiality related to their physical, social and cultural worlds and in the material conditions of their play, learning, imitation and critique. They have also experimented with what might be termed the concrete forms of early writing, with the making of books and magazines but also with a variety of genres that manifest variously on the page, suggesting an early awareness of relationship between content and form. Thus we will consider especially questions of material agency: how things structure early lives and writing habits; and how young writers imagine place, space and history through literary and visual artefacts.

We welcome papers that address both theoretical issues and close readings, both general discussions and individual case studies. It is anticipated that these papers relating to literary issues may also have multidisciplinary implications that extend to cognate areas of cultural enquiry, such as history, art history, education, media, philosophy, politics and theology.

Suggested topics:

  • ‘Things’, imaginary or real, that have inspired or have a special relationship with literary juvenilia.
  • Ways in which the material world is imagined in literary juvenilia.
  • Landscapes of early literary practice (natural or built environment; imaginary or real).
  • The role of ‘things’ in imitation and experiment.
  • The materiality and/or cultural history of early writing: book making, writing materials, diaries, source books and the like.
  • Readings of aspects of the material world in early writings (aspects that may facilitate, inspire or constrain the child writer).
  • School magazines and journal culture.
  • Collecting juvenilia: past and present; the juvenilia archive.
  • The relationship of visual and verbal in juvenilia; the material image and written word; illustration and marginalia.
  • The juvenilia of the Brontës, Jane Austen, or other writers in relation to the above issues.
  • Australian juvenilia in relation to the above topics.
  • Other related issues.Early 17th Century Schoolbook

Potential presenters are asked to submit the following:

  • an abstract of at least 500 words for consideration
  • a brief Bio/CV paragraph, minimum 100 words

Papers will be 20 minutes, plus ten minutes for questions. Abstract submissions close 30 January 2020.

Please send any queries to juvenilia.conference@unsw.edu.au

Full information: Seventh International Literary Juvenilia Conference


Race in the Space Between, 1914-1945

4-6 June 2020 | University of Virginia, Charlottesville, Virginia

Hosted by The Space Between Society: Literature and Culture, 1914-1945

Join the Space Between Society in Charlottesville, June 4-6, 2020, for our 22nd annual conference, Race in the Space Between, 1914-1945. Our conference this year focuses especially on questions and problems related to race and racial formation in the years between 1914-1945. Please send abstracts (300 words) along with a short biographical statement (100 words) to conference organizer Carmenita Higginbotham at ch6sv@virginia.edu by December 1, 2019.

In the Space Between Society, scholars who study literature, history, media, art, society, and culture between 1914 and 1945, or between and during the two world wars of the twentieth-century, exchange ideas about their approaches and their objects of study. This year’s conference addresses the key roles that race—including racial formation, racial ideologies and racialist practices—played in creative, intellectual, ideological, and political conversations from 1914-1945. Self-consciously or not, interwar and wartime authors, artists, political figures, public intellectuals, and public officials around the world invested in the concept of race. For some, race was a means to assert social identity (white, black, Asian, American Indian, Pacific Islander). For others, race informed concepts of modernity and/or modernism. For still others, race shaped views of time and place, structuring how interwar and wartime cultures were interpreted, received, deployed, and exchanged.

We invite conference participants to consider:

  • What different cultural and scientific assumptions about race shape various sites during this period and our knowledge about it?
  • What methods can we utilize in our particular fields to analyze race as a component of cultural production?
  • What are the challenges of thinking about race and bringing such work into conversation with scholars in the wide range of fields represented in the Space Between Society?

We welcome paper and session proposals that engage with multiple forms, definitions, and investments in race in the space between and during the two world wars, across all disciplines and media, on research and/or pedagogy.

We welcome longtime Space Between Society participants and invite new members to join us in Charlottesville in 2020. Our conference will be supplemented with tours, museum visits, performances, and walks in the greater Charlottesville area (with proposed visits including Monticello, the Fralin Museum of Art, the Jefferson African American Cultural Center, and sites at the University of Virginia). The 2020 conference seeks to offer mentoring workshops and 1:1 mentoring sessions for its participants. Some travel grant funding will be available for graduate students and international and independent scholars; please indicate your interest in your cover letter.

Full information: The Space Between Annual Conference


Annual Conference for the Association for the Study of Australian Literature

29 June – 2 July 2020 | James Cook University at the Cairns Institute, Smithfield, Queensland, Australia

Hosted by James Cook University for the Association for the Study of Australian Literature (ASAL)

For more than forty years, ASAL annual conferences have offered a venue where creative writers and academic critics have come together in a convivial atmosphere, but the rise of university-based creative writing programs in Australia has sometimes called into question the relationship between creative writing and literary studies. This conference aims to address such questions and to extend the dialogue between these two disciplines in Australian literary studies.

We are seeking 20-minute papers or proposals for panels that address the challenges of reading and writing Australian literature in the past and the present, and welcome proposals from literary studies and practice-led research. Proposals may be a work of criticism or scholarship that engages with the conference topics in any way, or may be a creative work incorporating a scholarly framework to be presented along with a creative element.

Topics could include, but are not restricted to:

  • Writing ‘Australia’
  • Biography and life writing
  • Nature and landscape
  • Regional writing
  • Publishers and publishing
  • Representing diversity
  • Editors and editing
  • Creative and critical convergences
  • Authorship
  • Manuscripts: composition and revision
  • Versions and versioning
  • Writing genre
  • Exporting Australian literature
  • Literary criticism
  • Historical fiction
  • Digital literary studies
  • Writing for stage and screen
  • Readers and reading
  • The essay as Australian literature
  • Creative practice, craft and storytelling
  • Teaching Australian writing

Please submit your proposal to roger.osborne@jcu.edu.au using the subject heading ASAL2020 together with a 250-word abstract and a brief biographical note. Deadline for abstracts is 31 January 2020.

Travel bursaries are available for postgraduate students and early career researchers.

Full details: ASAL Conference Cairns


Reception, Production, Exchange: Conference 2019

9-11 December 2019 | University of Wollongong, NSW, Australia

Australasian Universities Languages & Literature Association (AULLA) and Australian Reception Network (ARN)

Texts live only by being read, yet in being read, they are also transformed. Texts may be read closely or distantly, critically or uncritically, deeply or hyperly, fast or slowly; for pleasure, profit, or piety; on the beach, in the library, or in the university classroom. Texts can have long afterlives, travelling far in time and space on circuits of communication and exchange. They can be given new life in new contexts of reception, interpretation, translation, or adaptation.

This conference examines the ways in which texts (both literary and otherwise) are produced, exchanged, and received. We encourage papers with a focus on engaged studies and discussions of teaching practice and of critical/exegetical responses to creative practice. Papers that respond to reception, production, and exchange in the fields of languages and translation studies; the literary study of languages other than English; and philosophical approaches to cultural expression, are expressly welcome. We also expressly welcome interdisciplinary angles on the theme, such as Cultural Studies, Indigenous Studies, Postcolonial Studies, ethnography, sociology of reading, History of the Book, studies in orality or performance, and comparative approaches.

Call for papers

The organisers welcome submissions for individual presentations of 20 minutes and panel sessions of 90 minutes.

All submissions are due by Tuesday 15 October 2019, and the program will be published in early November.

Submissions should include: name/s of author/s (including affiliations), title of presentation, an abstract of up to 200 words, and a biographical note of up to 50 words per author. Panel submissions should also include a short description of the panel theme (up to 150 words), in addition to titles, abstracts, and biographical notes for all papers.

Submissions should be emailed to aulla-conference [at] uow.edu.au.

Hosts

This conference is hosted by the University of Wollongong, the Australasian Universities Languages & Literature Association Conference, incorporating the inaugural Australian Reception Network Lecture, and will be held in Wollongong, Australia from 9th-11th December 2019.

Full information: Reception, Production, Exchange: Conference 2019


Radical Women: Jessica Dismorr and her Contemporaries

7-8 February 2020 | Pallant House Gallery, Chichester, West Sussex

Supported by the Paul Mellon Centre for Studies in British Art

The Radical Women Symposium at Pallant House Gallery will explore new ideas relating to modernist women in early twentieth-century Britain, and their connection to art, literature, gender and radical politics. It will take place during the first-ever museum exhibition of Jessica Dismorr (1885-1939), to be held at Pallant House Gallery from 2 November 2019 to 23 February 2020. The exhibition explores the work of Dismorr and the modernist women she was associated with throughout her career – taking Dismorr as a central figure with which to explore women artists in the Slade School of Fine Art in the 1900s, the Rhythm group and Vorticism, to modernist figuration of the 1920s, and the abstract paintings Dismorr showed with anti-fascist groups in the late 1930s. Other artists included in the exhibition are: Dorothy Banks, Anne Estelle Rice, Barbara Hepworth, Rita Kern-Larsen, Elizabeth Muntz, Winifred Nicholson, Betty Rea, Edith Rimmington, Helen Saunders, Dorothy Shakespear, Marguerite Thompson Zorach and Ethel Wright.

Dismorr’s was a ground-breaking career at the forefront of the modernist avant-garde in Britain, but art history has favoured her brief time as a Vorticist. While papers on this period are welcome, this symposium will also seek to broaden the focus, looking at Dismorr and her women contemporaries’ art and literature in relation to current issues and debates in art history. We welcome papers from all disciplinary and theoretical perspectives, and are looking for new research that engages with themes such as modernism and gender and radical politics and women’s art.

The accompanying book by Dr Alicia Foster will publish a collection of Jessica Dismorr’s poetry for the first time and we are particularly interested in research on the art of Dismorr and her contemporaries in relation to modernist literature, and in research on modernist women who worked across the boundaries of art and writing. The Radical Women exhibition will be accompanied by an exhibition of the American Pop artist and feminist Jann Haworth’s ‘Work in Progress’ mural, which pays tribute to women’s contributions to culture and society.

Please send abstracts of up to 400 words to Becky Lyle b.lyle@pallant.org.uk by 23 September 2019. Please include your name, affiliation, contact details (including phone number and email address) and a short biography with details of any recent publications. We will aim to contact successful speakers by mid-October 2019.

Full information: Radical Women Symposium – CALL FOR PAPERS.


Weimar in 20/20: Der Glanz der leeren Mitte ~ The Glamour of the Empty Centre

27-29 May 2020 | King’s University College at Western University, Canada

Abstract submissions are invited for an interdisciplinary symposium aimed at researchers engaged in the political, cultural, and social legacies of the Weimar Republic.

“Weimar in 20/20” tackles the insistent presence – in politics, culture, and social identities – of the Weimar Republic, whose foundational revolutionary impulses reach us today filtered through an intervening century of memory, nostalgia, regrets, and unfinished business. Weimar in the year 2020 is an urgent inspiration and warning: an uncertain blueprint for contemporary politics and values that even in hindsight, we struggle to evaluate clearly, with “20/20” vision.

As a starting point to interrogate this struggle, we propose as a key theme the fraught notion of the “centre”: the preoccupation with structuring a middle ground, of stimulating egalitarianism, of achieving republican consensus in the face of radicalization, partisanship, fragmentation, deep distrust, and disillusionment.

Topics addressing the potential, the successes, and the failures of Weimar’s pursuit of a stable political, cultural, and social “centre” might include:

  • The search for political middle ground against a background of polarizing, radical, divisive discourses; competing centrist campaigns;
  • Berlin as metropolitan hub: as cultural utopia, as decadent, as cosmopolitan, as commercial nexus;
  • Constitutional liberties and freedoms opening “space” for new social identities, aesthetic experimentation, cultural exchange;
  • Weimar’s “central” role in defining and critiquing contemporary notions of state, republicanism, nationhood;
  • The re-centering of German identity on historical and cultural consciousness;
  • The centre as a meeting point: a place of unity and/or consolidating authority; the centre as a gap, deteriorating into an indeterminate political vacuum;
  • The dissipation of the centre: the multiplication of discourses of critique; competing voices; frenzied activity in the press and mass culture; Weimar from inside and out; hollow protest; satire; Expressionism; horror;
  • Centralizing forces; propaganda; mediating technologies; mass audiences; popular culture;
  • Enlightenment optimism crushed by nihilism – the problem and discomfort of emptiness;
  • The call to reconstruct the centre; middle ground as a vacant site to (re)build and (re)imagine.

We invite proposals for 30-minute conference papers accessible to an interdisciplinary audience. Abstracts of 350 words should be submitted to weimar@uwo.ca by 30 September 2019. The conference’s working language is English. A peer-reviewed volume is planned as a continuation of the conference discussions. More information: weimar2020.wordpress.com


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/


Retrospective Modernism

The Third Annual International Conference of the Modernist Studies in Asia Network (MSIA)

14-16 May 2020 | Fudan University, Shanghai

Keynote SpeakersRebecca Walkowitz (Rutgers) | Simon During (Melbourne) | Matthew Hart (Columbia)

Modernism is often characterized by an acute sense of a break between the past and the present. “We are sharply cut off from our predecessors. A shift in the scale,” remarked Virginia Woolf, “has shaken the fabric from top to bottom, alienated us from the past and made us perhaps too vividly conscious of the present.” The aesthetic and political projects of modernism, however, remain inextricable from engagement with literary and intellectual traditions in various parts of the world. Ezra Pound’s phrase “make it new,” one of the most famous slogans associated with modernism, derives from renderings of Confucian thought and teachings. James Joyce’s reinvention of the Odyssey in Ulysses embodies much more than parodies and ironic gestures. And while T. S. Eliot advocated “the historical sense” that “involves a perception, not only of the pastness of the past, but of its presence,” many modernist writers in non-Western contexts such as Lu Xun, Premchand, and Yasunari Kawabata, to name just a few, have depicted with poignancy the clutches or ongoing ravages of the past.

Perspectives on modernism entail a retrospective effort of the imagination, even as they are inevitably informed by issues and concerns that are contemporary to ourselves. The continued growth of scale – spatiotemporally, archivally, and textually – in modernist studies at once paves the way and makes demands for understanding the complexities of cultural and intellectual history across geographical boundaries. It also calls for a renewal of attention to approaches to traditions and aesthetic practices that vitally strengthen or disrupt connections between the past, the present, and the future.

This conference invites papers that explore retrospective modernism from diverse angles and contexts. In what ways is modernism related to or disconnected from specific intellectual and living traditions? How do modernism’s revolt against and reconfiguration or revaluation of the legacy of the past bear upon its transcultural reception, adaptation, and evaluation? How do modernist scholars around the world today tackle modernism’s retrospective moments, themes, and practices? And how might a retrospective emphasis contribute to or complicate the development of global modernist studies? We welcome papers that focus on textual analysis, cultural studies, historiographical discussions, theoretical and methodological reflections, as well as interdisciplinary work on art, cinema, theater, and other cultural products.

Topics may include, but are not limited to:

  • Invention and evolution of ideas of Modernism
  • Modernism and tradition
  • Rupture, continuity, and resonance
  • History and memory
  • Formal experiment and innovation
  • Reform and revolution
  • War and violence
  • Nostalgia, imagination, and fantasy
  • Retrospect and prospect
  • Primitivism, Futurism, and Presentism
  • Personality and impersonality
  • Self, character, and identity
  • Globalization, modernization, and world systems
  • World, globe, and nature
  • Translation, communication, and confrontation
  • Modernism and the Enlightenment
  • Modernism and epistemology
  • Modernism and sentimentalism
  • Modernism and Romanticism
  • Modernism and realism
  • Modernism and feminism
  • Modernism and phenomenology
  • Modernism and liberalism
  • Modernism and conservatism
  • Modernism, socialism, and communism
  • Modernism, nation, and empire
  • Modernism and cosmopolitanism
  • Modernism and forms of humanism
  • Modernism and orientalism
  • Modernism and the Canon
  • Modernism and folklore
  • Modernism and the mass media
  • Modernism and pedagogy

Please send abstracts of approximately 250 words, together with short bios, to msiashanghai@fudan.edu.cn by 15 December 2019. Participants will be notified in January, 2020. Further information: https://modernismasia.wixsite.com/main/conference

Conference Organizers:

Nan Zhang (Fudan University)
Liang Chen (Fudan University)
Yuexi Liu (Xi’an Jiaotong-Liverpool University)


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

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 23 January 2020 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

Keynote Speakers: 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


Virginia Woolf: Profession and Performance

The 30th Annual International Conference on Virginia Woolf

11–14 June 2020 | University of South Dakota

“Profession and Performance,” the theme of the 2020 Annual Conference on Virginia Woolf, calls to mind not only Woolf’s sense of herself as a writer (her profession) but also the set of specialized occupations she takes up in A Room of One’s Own (1929) and Three Guineas (1938), areas of study and livelihoods traditionally reserved for the sons of educated men. It also invokes the ACVW’s commitment over the past three decades to the arts, to theater, to music, to the spoken word, and to the resonances of these media with the performance / performativity of Woolf’s life and writing. “Profession and Performance” might also encourage us to reflect on the ACVW’s rich history and to consider the ways in which the professions of those who support and attend the conference might be changing. As an event open to all scholars, students, and common readers of Woolf and Woolfian connections, we encourage 2020 participants to sound and explore echoes of past professions and performances in our present ones. The 30th Annual International Conference on Virginia Woolf invites papers addressing these issues as well as other topics addressing “Profession and Performance,” including, but not limited to:

  • contemporary adaptations of Woolf, her circles, or her work on stage / screen (e.g., Vita and VirginiaLife in Squares; etc.)
  • the dynamic link between Woolf’s social critique (what she professed) and her art (its performance)
  • the rich archive of scholarship that brings together studies of the avant-garde, modernism, and the middlebrow
  • intersections of modernist studies and performance studies
  • modernism’s role in the professionalization of literature and criticism
  • the livelihoods and lifestyles of Woolf and the Bloomsbury Group
  • investigations of identity and community
  • Woolfian meditations on professions (i.e., on occupations, commitments, allegiances, and declarations)
  • interpretations of Woolf-inspired performance art (e.g., music, dance, theater)
  • profession as (public) performance
  • questions of affect and attachment
  • strong and weak performances / professions / modernisms
  • reflections on the selves and the worlds we profess / perform in daily life, in politics, in ethics, in institutions, and in ongoing efforts to teach and learn
  • the performative life of professionalization (or the subversion of professionalization)
  • life-writing as performance of self, professionalization of self
  • gendered performances / performances of gender (on stage / page, in life)
  • professions for women (history of, literary treatments of, performances of)
  • Woolf and developments in medical sciences and psychology
  • teaching Woolf / Woolf as Teacher
  • performing Bloomsbury / performative Bloomsberries
  • the life of the feminist academic; the professionalization and/or institutionalization of feminism outside of academia

Abstracts of max. 250 words for single papers and 500 words for panels should be sent to the organizer, Benjamin D. Hagen, Ph.D. (he/him/his): Virginia.Woolf@usd.edu by 10 February 2020. In addition to traditional presentations, we encourage proposals for workshops (such as bookmaking, translation, publishing, forming writing groups, etc.) and proposals for roundtable or group discussions (such as feminist / queer perspectives, Woolfian pedagogy, staging / performing Woolf, etc.).

For accepted proposals, we ask well ahead of time that presenters bring access copies of their presentations to their panels. The conference welcomes proposals for presentations in languages other than English to foster a more open exchange at this international conference. A few caveats: the organizers ask that all abstracts and proposals be submitted in English. Also, to ensure a more effective exchange among all participants, we ask that non-English presentations be accompanied by a handout of main points in English as well as (if possible) a PowerPoint presentation in English. Note that Q&A sessions will be conducted in English as well.

Further details can be found here.