Author: modernistudies

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CFPs Postgraduate

CFP: Acting Out: The IV International Flann O’Brien Conference, Salzburg, July 2017

The call for papers is now open for the 2017 International Flann O’Brien Conference, to be held in Salzburg, July 17-21, 2017.

Submissions for papers and panels are invited by 1 February, 2017.

About the conference

The International Flann O’Brien Society is proud to announce Acting Out: The IV International Flann O’Brien Conference, an international conference on the theme of performance, theatricality, and illusion in Flann O’Brien’s writing, hosted by the Department of English Studies at Salzburg University, 17-21 July 2017.

In recent years O’Brien’s writing has been foregrounded as an integral site for testing the rise of new modernist studies, as it troubles critical commonplaces about modernism itself by virtue of its ephemerality and parochial energies. Recent publications of out-of-print English and Irish-language columns, short stories, non-fiction, dramatic works for the stage, and teleplays for Raidió Teilifís Éireann have not only made O’Brien’s broader canon accessible to a new generation of scholars, but have also highlighted its importance to an understanding of modernism which ‘has grown more capacious, turning its attention to previously neglected forms’ (Rónán McDonald and Julian Murphet).

Germane to these critical projects is the recurring concern with performance, theatricality, and illusion in O’Brien’s prose, columns, plays, and TV scripts. In establishing his (highly ironised) aesthetic manifesto in At Swim-Two-Birds, the student narrator notes that ‘the novel was inferior to the play inasmuch as it lacked the outward accidents of illusion, frequently inducing the reader to be outwitted in a shabby fashion and caused to experience a real concern for the fortunes of illusory characters.’ If, as Richard Schechner claims, ‘performances mark identities, bend time, reshape and adorn the body, and tell stories’, then few writers better demonstrate this shaping influence and potential of the performative and the fake.

This dynamic of O’Brien’s work has become all the more visible with the marked rise of creative adaptations of his writing for the stage and beyond. Building on the precedent of pioneering O’Brien performers such as Jimmy O’Dea, David Kelly, and Eamon Morrissey, recent years have seen numerous creative engagements with O’Brien’s work for the stage (Blue Raincoat’s adaptations of O’Brien’s major novels, Arthur Riordan’s Improbable Frequency and Slattery’s Sago Saga, Ergo Phizmiz’s electronic-1920s-Vaudeville adaptation of The Third Policeman, Stephen Rea’s musical dramatic reading of same), film (Kurt Palm’s In Schwimmen-Zwei-Vögel, Park Films’John Duffy’s Brother and The Martyr’s Crown) and the visual arts (John McCloskey’s graphic novel of An Béal Bocht, David O’Kane’s stunning O’Brien artworks). As well as demonstrating the significant weight O’Brien’s writing continues to carry in the present cultural moment, these adaptations emphasise its sustained creative dimensions and dramatic energies.

With these issues in mind, the conference aims to address the contours and concealments of performance in Flann O’Brien’s work as it relates to issues of identity, genre, pseudonymity, adaptation, and creative reception. Salzburg is the home of numerous internationally renowned and prestigious theatrical institutions and events, providing the perfect setting to this symposium, which will take place at the outset of the 2017 Salzburger Festspiele (Salzburg Music and Drama Festival).

Keynote Speakers
Anne Fogarty (University College Dublin)
Stanley E. Gontarski (Florida State University)
Maebh Long (The University of the South Pacific)
Guest Writers & Performers (more to be announced…)
Arthur Riordan (Improbable Frequency, Slattery’s Sago Saga, The Train)
The Liverpool-Irish Literary Theatre (The Glittering Gate, The Dead Spit of Kelly, Thirst)
How to submit

 

The organisers invite proposals on any aspect of O’Nolan’s writing, but are especially interested in papers that explore questions of performance, theatricality, and illusion in O’Brien’s prose, columns, plays, and TV scripts, including, but not limited to:

  • Becoming Other: Masks, Pseudonyms, Role-Playing in O’Brien
  • (Mis)Leading Men: Gender Performativity in O’Brien
  • Props/Performing Objects: The life of objects / Object as metaphor
  • The outward accidents of illusion: Sartorial style, costumes, & uniforms in O’Brien
  • Transmedialisation: Music, Performing Arts, Visual Arts, Illustration, Animation, Film
  • Come to your Senses: Sight, Sound, Smell, Touch, Taste in O’Brien
  • Comic & Tragic Passions: O’Brien & Genre
  • Puppets and Puppet-Masters: Agency, Post-Humanism; Author vs. The Authored
  • Creativity: Improvisation vs. learning by heart
  • Culture’s Scripts: Secular and Sacred Rituals
  • Dumb play: Playing dumb
  • O’Brien and the Theatre in Irish, European, & Modernist contexts (The Abbey, The Čapeks, Pirandello, modernist anti-theatricality, William Sayoran, etc.)
  • Creative Receptions / Adaptations of O’Brien’s work

Abstracts and Submissions

If you would like to propose a paper (not exceeding 20 minutes), or panel (maximum 3 speakers) please submit your title and an abstract of 250 words accompanied by a short biographical sketch toflannsalzburg2017@gmail.com or paul.fagan@sbg.ac.at by 1 February 2017.

Given the conference’s theme, the organisers also welcome alternative forms of presentation and dialogue, such as roundtables, workshops, debate motions (and debaters), performances, creative responses to Flann O’Brien’s writing, etc.

More information

Is available via the conference website, its Twitter, and its Facebook.

Organising Committee

Sabine Coelsch-Foisner (Salzburg University)

Paul Fagan (Salzburg University  University of Vienna)

Dieter Fuchs (University of Vienna)

Ruben Borg (Hebrew University of Jerusalem)

 

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CFPs Postgraduate

CFP: Ted Hughes & Place, University of Huddersfield, June ’17

The call for papers is now open for Ted Hughes & Place, to be held at the University of Huddersfield, July 15-16, 2017.

Abstracts are requested by December 31, 2016.

About the symposium

‘Place’ is key to understanding the work of Ted Hughes. The key geographical locations of Hughes’s life — Mytholmroyd, Mexborough, Cambridge, Boston, Devon, Ireland, and London (by no means an exhaustive list) — each contributed to the formation of the poet and have left indelible marks in his oeuvre. Recent critical and biographical studies have opened up new topographical trajectories into Hughes’s work, expanding the field and challenging received narratives and interpretations.

However, ‘place’ can also be understood more widely. Hughes seems often to be regarded as one of English poetry’s ‘outsiders’, a poet too singular and maverick to be easily placed within the canon and within the context of modern and contemporary English verse. Accordingly, Hughes’s relationships with his poetic predecessors, peers, and literary ‘movements’ — modernism, the Movement, or American, Eastern European and other international poets and artists, for example — are perhaps insufficiently explored, as is the extent of his own influence on poets and artists during his lifetime and after his death.

A third understanding of ‘place’ might be social and cultural: issues related to class and politics, and how these are reflected in Hughes’s work and its reception in the different stages of his life and career.

This two-day symposium will explore these different aspects of place in the writings of Ted Hughes, and in doing so help to develop a deeper understanding of the contexts of Hughes’s life and work.

Keynote speakers

Professor Terry Gifford (Bath Spa University)

Emeritus Professor Neil Roberts (University of Sheffield)

Dr Mark Wormald (Pembroke College, University of Cambridge)

Submissions

Proposals might address, but need not be limited by, the following topics:

  • the locations of Hughes’s life and work
  • Hughes and geography / topography / landscape
  • Hughes and the environment
  • Hughes and the canon
  • Hughes’s influences
  • Hughes’s influence
  • Hughes and post-war poetry
  • Hughes and the Movement
  • Hughes and modernism
  • Hughes and postmodernism
  • Hughes and world literatures
  • Hughes and society
  • Hughes and politics
  • Hughes and class

How to submit

Please send proposals of 250 words with a short biographical note to James Underwood (j.s.underwood@hud.ac.uk) by 31 December 2016.

Speakers will be notified in January 2017.

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CFPs

CFP: Modernisms and Modernities East, West and South: Comparing Literary and Cultural Experiences, Shanghai, July ’17

The call for papers is now live for Modernisms and Modernities East, West and South: Comparing Literary and Cultural Experiences,  to be held at Fudan University, Shanghai, July 19-22, 2017.

Abstracts are requested by 1 October 2016.

About the conference

Convened by Fudan University (China), Universität Hamburg (Germany), Macquarie University (Australia)

Modernism has often been critiqued for being homogenising and Eurocentric. Yet, modernity was experienced differently by different societies and cultures, each pursuing their own specific historical trajectory. Across the world in societies as different as China, Australia, the US and Europe, modernist literature and art were, in very different ways, crucial mediators of modernity. This conference will survey diverse experiences of modernity and the place of modernist art and aesthetics in those experiences. Implicit in this discussion is the question of what survives of modernist practices and modernity as a project beyond the known debates around modernism and postmodernism towards a new relevance in the era of globalisation and climate change.

Topics may include

Papers can discuss the experience of modernity in particular societies, literatures and cultures, or comparatively. Themes may include, but are not limited to:

  • Aesthetic strategies across different media (from the avant-garde to digital experi- mentation)
  • Intercultural encounters, transnational identities
  • Travel, migration, cosmopolitanism
  • Self and other, subjectivities
  • Gender and sexuality
  • Race, ethnicity, plurality
  • Class and social justice
  • Imperialism, decolonisation and post-colonialism
  • Metropolis, urban and suburban spaces
  • Shanghai as a site of cultural encounters
  • Nature, ecology, sustainability, ecopoetics
  • Scientific discourse, technology
  • Ethics, religion and spirituality

Further information

The conference language will be English.

Please send abstracts of 250 words for 20-minute presentations to: modernisms.iaa@uni-hamburg.de by 1 October 2016.

Conference Conveners

Prof. Dr. Susanne Rohr (Department for English and American Studies, Universität Hamburg)

Prof. Dr. Ute Berns (Department for English and American Studies, Universität Hamburg)

Prof. Dr. Zhu Jianxin (Vice Chair of English Department, Fudan University)

Prof. Dr. Jian Sun (Vice Chair Academic Committee of College of Foreign Languages & Literature, Fudan University)

Prof. Dr. Nick Mansfield (Dean, Higher Degree Research, Macquarie University)

Dr. Toby Davidson (English Department Internationalisation Representative, Macquarie University)

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CFPs Postgraduate

CFP: Virginia Woolf and the World of Books, Reading, July ’17

The call for papers is now open for Virginia Woolf and the World of Books, to be held at the University of Reading, June 29 – July 2, 2017.

Abstracts are requested by February 1, 2017.

About the conference

“Virginia Woolf and the World of Books” invites you to consider the past, present and future of Virginia Woolf’s works.
Attendees are invited to submit papers relating to all aspects of the Woolfs, the world of books, and print cultures, including topics related to Leonard and Virginia Woolf and the Hogarth Press; the production, reception and distribution of Woolf’s works; editing, revision and translation; periodicals and book publishing; Woolf and her readers; global and planetary modernisms; Bloomsbury and its networks; Hogarth Press authors and illustrators; modernist publishing houses and publishers; Woolf and the Digital Humanities.
Further details are available on the conference website. There will be day rates and reduced rates for students and the unwaged.
The e-mail contact is vwoolf2017@gmail.com
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Call for submissions Postgraduate

CFS: Special issue: “James Joyce, Animals and the Nonhuman”

The call for submissions is now open for a special issue of Humanities on the subject of James Joyce, Animals and the Nonhuman.

Deadline for proposal submissions: 31st October 2016

About the issue

Humanities, an international, scholarly, open access journal, and its Guest Editor, Dr Katherine Ebury (University of Sheffield), are seeking proposals for a Special Issue focused on ‘James Joyce, Animals and the Nonhuman’. The Special Issue is scheduled to appear in September 2017, with a manuscript delivery deadline of June 2017.

While ecocritical approaches to Joyce, in particular in Eco-Joyce (Brazeau and Gladwin) and The Ecology of Finnegans Wake (Lacivita), have recently generated interest in Joyce’s environmental imagination, connections between Joyce and animal studies, or Joyce and the ‘nonhuman turn’, have yet to be explored. In Portrait, Temple is credited with the idea that ‘The most profound sentence ever written…is the sentence at the end of the zoology. Reproduction is the beginning of death’. But although excellent critical work on Joyce and animals has certainly appeared, with perennial interests being Tatters of ‘Proteus’, the Blooms’ cat, Garryowen of ‘Cyclops’, and, of course, cattle disease, a sustained volume or special issue certainly seems necessary.

Equally, the voice of the printing press, which, Bloom reminds us in ‘Aeolus’, ‘speaks in its own way. Sllt.’ (7: 174–7) has been heard, but not so far in the sense of the ‘nonhuman turn’ which only emerged in 2012. This Special Issue seeks to offer a space for sustained consideration of how Joyce represents the animal and the nonhuman throughout his works. Contributions that suggest how we might feed Joyce’s example into contemporary conversations about animals and the nonhuman are also sought.

We welcome submissions that interrogate and interpret Joyce’s relation to the world beyond the human and are open to a range of approaches, including theoretical, textual, genetic and historical. We also welcome submissions from both emerging and established scholars.

We seek 250–500 word proposals for original contributions and a 100-word biography (included selected publications) by 31 October 2016; please email both the Guest Editor and the journal.

Contact email: k.ebury@sheffield.ac.uk, humanities@mdpi.com

Dr. Katherine Ebury
Guest Editor

Further details about the CFP and the journal are available on the journal’s website.
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Remaking the New: Modernism and Textual Scholarship 13-14 July 2017

Graduate Centre

Queen Mary University of London

London E1 4NS

Conference website

Provisional Programme

Contact: Scott McCracken s.mccracken@qmul.ac.uk

Keynote speakers

Dirk van Hulle (University of Antwerp) Samuel Beckett Editions

Jane Goldman and Bryony Randall (University of Glasgow), Susan Sellers (University of St Andrews), Virginia Woolf Editions.

Deborah Longworth (University of Birmingham) Dorothy Richardson Editions.

The last ten years have seen a textual turn in modernist literary studies. New editions of modernist authors are now in progress, transforming the materials with which critics have worked. Current projects include editions of T. S. Eliot, Joseph Conrad, Virginia Woolf, Henry James, Samuel Beckett, Katherine Mansfield, Ford Madox Ford, Dorothy Richardson, Evelyn Waugh, and Wyndham Lewis, Supported by the AHRC Dorothy Richardson Scholarly Editions Project and building on the AHRC New Modernist Editing network, this conference aims to bring together editors and critics working on modernist texts to discuss the implications for modernist studies of the textual turn. The organisers wish to give particular weight to the contribution of women writers and less canonical writers to modernist literature. The institutionalisation of modernism within the academy after 1945 created an overwhelmingly male canon and editions of women writers have followed slowly after those of figures such as Eliot, Joyce and Beckett. The Virginia Woolf and Katherine Mansfield editions are well under way and the Dorothy Richardsons editions are in process. However, the works of many key figures, such as Jean Rhys and Djuna Barnes, still await attention. The processes by which some authors get chosen and others are left out is complex and deserves scrutiny. New editions contribute to a gradual reconfiguration of the early twentieth-century literary field, transforming our understanding of literary and intellectual history. The result of remaking modernist texts is a new understanding of the past, which will inform how we read early twentieth-century literature in the future. This conference will discuss the key issues in the new modernist editing creating an opportunity for editors to pool and exchange knowledge

Organisers

Deborah Longworth (University of Birmingham)

Scott McCracken (Queen Mary University of London)

Laura Marcus (University of Oxford)

Jo Winning (Birkbeck College)

Abstracts to Scott McCracken by 20 January 2017

Email: s.mccracken@qmul.ac.uk

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CFP: Historical Modernisms, London, December 12

The call for papers is announced for Historical Modernisms, a one-day symposium to be held at the Institute of English Studies, London on the 12 December 2016.

Proposals are invited until September the 20th.

About the conference

Counter to the conventional perception of modernism as ahistorical, there have been recent academic and critical efforts to historicise it. The Historical Modernism Symposium seeks to contribute to this  trend by inviting readings of modern/ist literature and avant-garde art movements in the historical contexts of their production and reception, while assessing their entanglement with history and modernity transnationally.

The symposium aims to look at the history of modernism and the avant-gardes in relation to and their place in (literary and art) History, addressing questions of their relation with modern times, raised, for example, by colonialism; nationalism; globalisation; economics; politics; tradition; technology; urbanism, classicism; mythology; mysticism; religion; psychology/psychoanalysis.

Moreover, and importantly, it will examine pertinent philosophies of time, historiographical practices and representations of local and world historical events, such as the two World Wars, the Russian  Revolution and the rise of Fascism.

Finally, it will also investigate modernist concepts of the spirit of the times as well as new notions of and approaches to literary history.

A core question posed by the symposium topic is how a modernist aesthetics of  innovation transformed history in ways that make modernism not just a history of the present moment but also the history of our present.

Confirmed Featured Speakers:

Jean-Michel Rabaté, University of Pennsylvania

Laura Marcus, University of Oxford

More featured speakers and plenary events to be announced soon.

Submissions

Possible topics for proposals include:

  • Modernism/Avant-garde, Time and Memory
  • Modern Technologies, Modernism/Avant-garde and New Temporalities
  • History/ies of Modernism and Modern Times
  • Modernism Making History
  • Modern/ist Philosophies of History
  • Modernists as Historians
  • Modern Historiography and Literature/Culture
  • Modernist Historiographical Theories and Practices (Subjects/Objects, Methods, Sources)
  • Modernism and Bio-Historiographical Canons
  • The Everyday and the Historic
  • Issues of Periodisation
  • Novelty and Tradition
  • The Classic and the Modern
  • The Modernist Event

Please send abstracts of  approximately 200 words and a short paragraph of biographical information to Dr Angeliki Spiropoulou at  angeliki.spiropoulou@sas.ac.uk  by 20 September 2016.

Proposals for special panels and workshops, accompanied by topic description and full list of participants, are  also welcome by the same date.

Further information

The  Historical Modernisms Symposium  will be held at the Senate House, School of Advanced Studies, University of London and is part of the Comparative Modernisms seminar series at the Institute of English Studies, convened by Dr Angeliki Spiropoulou, IES/SAS Visiting Research Fellow and Assist. Professor at Peloponnese University.

For general enquiries, please send email to the above-mentioned address.

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Extended CFP: Redefining Allegory, London, 24 Sep

The Call for Papers is now open for a one day conference on “Redefining Allegory”, to be held at Queen Mary, University of London on the 24th of September, 2016.

Abstracts of 300 words are requested by August 24th.

About the conference

Even after “allegory studies” develops as a discipline in its own right, what allegory is and what allegory means is still a contentious issue. This conference aims to address 20th century and contemporary theoretical applications for allegory, most notably in the work of Walter Benjamin and Paul De Man, and contrast them with the voices of scholars who consider this allegory a misinterpretation of a historically bound category.

What persists in allegory is its investment in a hidden meaning beyond itself, as Angus Fletcher explains in a recent essay “Allegory without Ideas” (2006). This dominant feature is consistent from allegory’s historical function as a mediator between the individual and the divine. However, in modern art practices, literatures and discourse given to secular inspiration, the singular and universal category of “the divine,” which defined Medieval and Renaissance uses of allegory in religious practice, is recognised in contemporary allegorical incarnations only as a trace of the Platonic ideas that underpins a western Christian doctrine. With contemporary allegory, we are stuck on our side of what Fletcher calls “the semiotic wall” of allegorical signification that separates the represented object from its cognition. Rather than being overcome through hermeneutics, “the wall” of allegory resists interpretation and seems to transmute any reading into irony.

In this respect, Walter Benjamin described allegory as ‘a particular aesthetic form of understanding truth (Wahrnehmen)’ (Lacis qtd. in Buck-Morss 1989;15), where allegorical form is meant to reveal and devalue the methods of how truth is constructed. For Paul De Man, writing in The Rhetoric of Temporality, any ‘understanding’ of a text is only ‘the impossibility in all writing and speaking, of saying what is intended, and of having a single intention, as well as the impossibility of reading what has been written.’

This conference aims to provide a platform to address issues surrounding the more recent definitions of allegory. What could the defining features of allegory be? Are there any possible benefits of the later definitions for more traditional historical led discussions of allegorical art? And finally, can there be a unified definition fit for interdisciplinary cross-cultural application that is both relevant to allegory as such and the allegorical in theory?

Keynote speakers: Michael Silk (King’s College London) and Jeremy Tambling

Call for papers

We invite papers from practitioners (poets, performers, artists, educators) and scholars in a range of fields including, but not limited to, English and comparative literature, linguistics, drama, media studies, cultural studies, psychology and philosophy.

We encourage submissions for 20 min papers, panels and workshops which reflect on the value of allegory in contemporary culture as well as presentations that consider possible problems inherent in more recent definitions of allegory. We also welcome speakers interested in novel methodologies for devising allegorical meaning from any historical period or from cultural traditions beyond the western canon.
Possible themes include:

 

* Comparative religion – What continuities across faiths find allegorical expression?  

* Temporality – What happens to the subjective experience of time when allegory is invoked?  

* Morality and ethics – How does allegory function to regulate and instruct behaviour?   

* Affect – What aesthetic affects are persistent in allegorical works?  

* Ritual – Is all allegory theological and can it maintain relevance in secular form?  

* Historical continuity – How do we relate to allegorical meanings in artwork that no longer directly illuminates our daily life?  

* Allegory and revision – Are pastiche and irony are tools to mediate and complicate allegorical standards?  

* Psychoanalysis – Is allegory a form of ‘working through’ the past? Alternatively, is it an impulse of societal discontent?  

* Post-Colonialism – Is there an inherent hierarchical power structure in allegorical works and is preference given to allegorical expression when cultures come into conflict?

How to submit

Please send abstracts of 300 words toredefiningallegory2016@gmail.com by 24th August 2016.

More information is available on the conference website.

The conference is made possible by The Doctoral College Initiative Fund, Queen Mary University of London and is organised by PhD candidates John L. Dunn and Agnieszka Puchalska.

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CFPs Events

CFP: Ear Pieces: Listening, Diagnosing, Writing – Cambridge, 16-17 December

The call for papers is now live for Ear Pieces: Listening, Diagnosing, Writing to be held in Cambridge on the 16th and 17th of December, 2016.

About the project

Ear Pieces is a new interdisciplinary venture, hosted by the Faculty of English at the University of Cambridge, and funded by the Wellcome Trust. Building on the latest research undertaken in the environs of sound studies, it is the first initiative of its kind to assess the mutual legibility of medical and literary records, and so to kindle a dialogue between specialists from the humanities, neuroscience, and clinical medicine.

One aim of Ear Pieces is to illuminate, in the course of discussion, the definitional contours of harmful listening in the last 200 years, from colloquial strains of otitis – ‘glue ear’ and ‘swimmer’s ear’ – to peripheral kinds of hearing loss, impairment and excess, such as otosis, sound-blindness, melomania, and Involuntary Musical Imagery. How have such complaints been understood historically? Whose vocabulary are we drawing on when we speak of neurotological trauma? In what ways, and to what ends, have poets, novelists, and musicians addressed the challenges and opportunities of representing sonic modernity?

The conference

Over the course of 2 days in December 2016, a diverse group of listeners will meet in Cambridge to discuss some of these questions. In doing so, our aim is to excavate the parallel histories of otology and the humanities, broadly conceived, to evaluate their intersections and points of resistance, and to gauge their present affinities, in public policy and the popular imagination.

Established scholars, early career researchers, and graduate students are invited to propose papers of 20 minutes in length; panel proposals will also be considered. In the spirit of enabling interdisciplinary conversation, we hope to hear from anyone who’s interested in small or large ways in the medical humanities.

Keynote speakers

Carolyn Abbate (Harvard University)

Steven Connor (University of Cambridge)

Lennard J. Davis (University of Illinois at Chicago)

Mara Mills (New York University)

Submissions

Proposals might include, but are not limited to, the following subjects:

  • Fictional fantasies about, and aesthetic representations of, listening
  • Disabilities and disorders of the ear
  • Technologies of listening (sound telegraphy, telephony, phonography, radio, microphony, sound film, iPods and MP3s)
  • Medical techniques (auscultation, hearing tests, ultrasound)
  • Acoustical engineering
  • Music therapy, talking cures
  • Sound art and aesthetics
  • Muzak
  • Sound pollution, war, and the politics of noise abatement
  • Anthropologies and ethnologies of sound

Please send 300-word proposals for papers of 20 minutes, or 500-word proposals for panels of three papers, to Edward Allen – ejfa2@cam.ac.uk – by Monday 29 August 2016. We plan to publish a selection of essays stemming from the event in a special issue of Critical Inquiry in 2018.

Details regarding conference registration will be made available in due course. All enquires in the meantime should be directed to Edward Allen (organiser, University of Cambridge).

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CFS: Lucas Malet, Dissident Pilgrim: Critical Essays

The call for submissions is now open for an edited collection entitled  Lucas Malet, Dissident Pilgrim: Critical Essays. Abstracts are required by September 30.

About the collection 

Popular novelist, female aesthete, Victorian radical and proto-Modernist, Lucas Malet was a literary tour de force in her own day, yet her work has been largely neglected by contemporary readers and critics. A daughter of Charles Kingsley, Malet was part of a creative dynasty from which she drew inspiration but against which she rebelled both in her personal life and her published work. Scholarship by Talia Schaffer and Catherine Delyfer has reopened critical enquiry into the work of this fascinating author, and we are seeking contributions in order to expand this emerging field of study.

Provisionally titled “Lucas Malet, Dissident Pilgrim: Critical Essays,” the collection capitalises on the developing critical interest in Malet and aims to bring together some of the best new research on her life and work.

Submissions

Suggested topics may include, but are not limited to:

  • Imperialism
  • Modernism
  • Catholicism
  • The Gothic and/ or supernatural
  • The New Woman
  • Gender, sexuality and eroticism
  • Aestheticism
  • Decadence and degeneration
  • The damaged or disabled body

Please send abstracts of 500 words (for chapters of 6,000-8,000 words) along with a CV to Dr. Jane Ford (jane.ford@chester.ac.uk) or Dr. Alexandra Gray (alexandra.gray@port.ac.uk) by 30th September 2016.

The deadline for completed essays is 1st July 2017. Any queries are welcomed.