Category: Call for submissions

BAMS ESSAY PRIZE 2019

Post author By modernistudies
Post date October 2, 2019

CLOSING DATE FOR ENTRIES: 31 JANUARY 2020

The British Association for Modernist Studies

Essay Prize 2019

The British Association for Modernist Studies invites submissions for its annual essay prize for early career scholars. The winning essay will be published in Modernist Cultures, and the winner will also receive £250 of books.

The BAMS Essay Prize is open to any member of the British Association for Modernist Studies who is studying for a doctoral degree, or is within five years of receiving their doctoral award. You can join BAMS by following the link on our membership pages: https://bams.ac.uk/membership

Essays are to be 7-9,000 words, inclusive of footnotes and references.

The closing date for entries is 31 January 2020. The winner will be announced in March 2020.

Essays can be on any subject in modernist studies (including anthropology, art history, cultural studies, ethnography, film studies, history, literature, musicology, philosophy, sociology, urban studies, and visual culture). Please see the editorial statement of Modernist Cultures for further information: http://www.euppublishing.com/journal/mod.

In the event that, in the judges’ opinion, the material submitted is not of a suitable standard for publication, no prize will be awarded.

Instructions to Entrants

Entries must be submitted electronically in Word or rtf format to modernistcultures@gmail.com and conform to the MHRA style guide.

Entrants should include a title page detailing their name, affiliation, e-mail address, and their doctoral status/ date of award; they should also make clear that the essay is a submission for the BAMS Essay Prize.

It is the responsibility of the entrant to secure permission for the reproduction of illustrations and quotation from copyrighted material.

Essays must not be under consideration elsewhere.

Enquiries about the prize may be directed to Tim Armstrong, Chair of the British Association for Modernist Studies, at T.Armstrong@rhul.ac.uk

Call for submissions Essay Prize Past Events Postgraduate

BAMS Essay Prize 2018

Post author By modernistudies
Post date July 31, 2018

Essays are to be 7–9,000 words, inclusive of footnotes and references.

The closing date for entries is 31 October 2018. The winner will be announced by 31 January 2019.

In the event that, in the judges’ opinion, the material submitted is not of a suitable standard for publication, no prize will be awarded.

Instructions to Entrants
Entries must be submitted electronically in Word or rtf format to modernistcultures@gmail.com and conform to the MHRA style guide.

It is the responsibility of the entrant to secure permission for the reproduction of illustrations and quotation from copyrighted material.

Essays must not be under consideration elsewhere.

Enquiries about the prize may be directed to Suzanne Hobson, Chair of the British Association for Modernist Studies, at s.hobson@qmul.ac.uk

Call for submissions CFPs Uncategorized

CFP, James Joyce Quarterly Special Issue: Joyce and the Non-Human

Post author By modernistudies
Post date May 17, 2018

James Joyce Quarterly Special Issue Call for Papers:

Joyce and the Non-Human

The idea for this issue began with a panel for the Toronto Joyce Symposium on “Our Funnaminal World,” which later turned into the theme for this year’s Zurich James Joyce Workshop (“Joycean Animals”). The topic came about as a result of our growing interest in animal studies and the nonhuman, specifically with reference to an increasingly technologically driven society. This theoretical context is one that intersects nicely with other theories — ecocriticism, Marxism, queer studies, gender studies, technology studies, postcolonialism, posthumanism, psychoanalysis, deconstruction — but it also transcends these frameworks, in that it is specifically relevant to 21^st-century issues. The lens of the nonhuman provides new insights into well-trodden pastures such as Bloom’s cat, Garryowen, and cattle, in addition to bestiality, animality, and the beastly. We anticipate the special issue consolidating and building on recent work in Joyce Studies, including Brazeau’s and Gladwin’s Eco-Joyce: The Environmental Imagination of James Joyce (2014), Lacivita’s The Ecology of Finnegans Wake (2015), and the special issue of the JJQ on Joyce and Physiology (2009); in addition to recent developments in literary theory, such as, Grusin’s The Nonhuman Turn (2015), and the works of Deleuze, Derrida, Haraway, Bennett, and Hayles (to name a few). We believe the ‘nonhuman turn’ is an especially appropriate methodology for the Joyce community (linking as it does animal studies, the posthuman and ecocriticism), allowing us to examine some neglected and unique aspects of Joyce’s oeuvre. The nonhuman turn provides a framework in which his interests in the potential sentience of rivers, machinery, and insects might speak to each other.

In furtherance of the increased importance of animal studies and the nonhuman turn, this issue seeks to place Joyce’s works alongside these developments in a conceptualization that prioritizes both aspects of this theoretical paradigm. We welcome papers related to all aspects of animals and animality — from fleas to behemoth; worms to gulls; beast to beastly — across the range of Joyce’s works. We particularly encourage papers that position animal studies/the nonhuman alongside ecocriticism, Marxism, queer studies, gender studies, technology studies, postcolonialism, posthumanism, psychoanalysis, or deconstruction.

Please send bios and abstracts of no more than 300 words to Katherine Ebury (k.ebury@sheffield.ac.uk) and Michelle Witen (michelle.witen@unibas.ch) by June 30, 2018.

Please find below our strict planned time scale for the issue – it goes without saying, but do only send us an abstract if this schedule looks doable for you.

May – June 2018 Open call for papers for issue (abstracts due June 30)

January 15, 2019 First submission of articles to editors

March 15, 2019 Editors return first round of submissions to contributors

May 15, 2019 Resubmission of articles to editors

May 31, 2019 Editors submit finalized issue to JJQ for Peer Review Process

August 30, 2019 Second round of revisions in response to editorial peer review

October 15, 2019 Final version of journal issue sent to JJQ (depending on peer review results)

Call for submissions CFPs Uncategorized

CFP – Edited Volume: The Modern Short Story and the Magazines: 1880–1950

Post author By modernistudies
Post date March 5, 2018

CFP – Edited Volume: The Modern Short Story and the Magazines: 1880-1950 – eds Elke D’hoker and Chris Mourant

This essay collection aims to bring together and represent the growing body of research into the close ties between the modern short story and magazine culture in the period 1880-1950 in Britain and Ireland.

That the rise of the modern short story in the late-nineteenth-century was made possible by the exponential growth of the magazine market is well-known. Following the famous example of the Strand, more and more magazines made it their policy to publish only self-contained works of short fiction rather than the serialized novels which had been popular for much of the nineteenth century. As a result, the number of stories published rose dramatically and so did the diversity of the short fiction output: different magazines preferred different genres, topics, and styles; writers and agents became adept at pitching their story at the most appropriate – and best-paying – magazine. The end of this “golden age of storytellers”, as Mike Ashley has called it, is similarly bound up with the periodical market. As TV took over as the most popular form of entertainment, the number of magazines that published short fiction declined dramatically around 1950 and this had a major impact on the overall popularity, production and publication of short fiction.

If most critics accept the intertwined fate of the short story and the periodical press, the actual interaction between short stories and the magazines in which they were published has only recently become an object of sustained scholarly attention. Short fiction studies, with its longstanding emphasis on canonical authors and on the modernist short story, is only now beginning to investigate the impact of periodicals on the generic and formal development of the modern short story as well as to take into account middle- and lowbrow forms of short fiction which flourished in particular in the magazine market. Research within periodical studies, on the other hand, is typically focused on the periodical as a single if fragmented textual whole with a specific ideological, political or social dimension rather than on the status of one literary genre within that textual whole.

Situated at the crossroads of these two research domains, this essay collection aims to investigate the presence, status, and functioning of short stories within various magazines – literary, popular and mainstream – from 1880 to 1950, in both Britain and Ireland. The perspective of this investigation will be two-fold: the impact of a given magazine context and co-texts on the production, publication and reception of short stories will be considered, as well as the specific status, positioning, function and role of the short stories within the textual and ideological whole of magazine text.

Specific research questions may be (but are not limited to) the following:

What opportunities did magazines afford short story writers? And what constraints (financial, formal, ideological) did publication in magazines place on short story writers?
How are short stories positioned and presented within a magazine, and how does this affect their meaning?
What is the relation between the ideological and thematic identity of the magazine and the ideological and thematic concerns of the short stories it published?
How does the periodical context influence the reception of the story?
How are authors presented in the magazines? How are their stories advertised? When, where and why are stories published anonymously?
How does a given author pitch his or her stories to a particular magazine?
How does a magazine set out markers (implicitly or explicitly) for specific genres or styles for the short fiction it publishes?

By addressing these questions, the book as a whole aims to illustrate (a) the impressive variety of short stories published in magazines in the period (from so-called literary stories in avant-garde little magazines or mainstream literary journals, the entertaining yet didactic stories published in women’s or family magazines, to the genre fiction that dominated a host of popular magazines); (b) the different methodological/theoretical concerns that are at stake in the study of periodical short fiction; and (c) the historical developments short fiction and the magazines in which they were published underwent between 1880 and 1950.

We invite chapters that address these issues through case studies and/or more general historical overviews. 500-word proposals for chapters can be sent to the editors (elke.dhoker@kuleuven.be and C.mourant@bham.ac.uk) by 30 March. Upon acceptance, the deadline for the full chapters is 1 September 2018. The editors will submit a book proposal to Edinburgh University Press

Call for submissions Postgraduate

CFP reminder: Roundtable Collaboration in Modernism, M/m Print Plus (deadline 5 Jan 2018)

Post author By modernistudies
Post date December 21, 2017

Contributions are sought for a prospective peer-reviewed cluster on the Modernism/modernity Print Plus platform (modernismmodernity.org) treating collaboration in modernist arts of the twentieth and twenty-first century.

Collaborative efforts pervade the arts and always have – to the degree that Howard Becker has called artistic production a ‘collective activity’ in his Art Worlds. In cinema studies, a lively debate on the meanings and possibilities of contribution, co-authorship, and collaboration has set the pace for rethinking twentieth-century creativity (Sondra Bacharach, Deborah Tollefsen, Paisley Livingston).

But research into other twentieth-century arts frequently concentrates on particular modernist artefacts as the products of great men or women. This roundtable is intended to address this gap, and to propose, define, theorise, and criticise concepts and limits of collaboration in modernism.

We invite proposals examining and challenging collaboration as a concept in modernist cultures. While starting points can be case studies, we seek papers that contribute explicitly to a theoretical and methodological enrichment of modernist art forms. The focus on modernist collaborations raises additional urgent questions for our research, for example about the balance of power in collaborative activity, or the need to move beyond a traditionally monolithic, highbrow, or, in some areas still simply masculine, idea of modernism.

Within this broad area, topics of interest include, but are not limited to

notions of ‘genius’ and ‘muse’,
Collaboration between intimate or romantic partners/spouses,
Relationships between mentors or supervisors and mentees or supervisees,
LGBT+ perspectives of collaboration,
Postcolonial aspects and issues,
Collaborative media,
Performance as a collaborative strategy.

The proposed cluster aims to address these, and other interrelated topics through a multi-disciplinary “roundtable.”

Contributions will be conference-paper length (approximately 3,000 words) and peer-reviewed as a unit.

Please send your proposal of 250 words length to Annika Forkert, af15976@bristol.ac.uk, by Friday, 5 January 2018.

Call for submissions CFPs

CFP: Special Issue (2018) of The Journal of Wyndham Lewis Studies (Tarr: 100 years on)

Post author By modernistudies
Post date October 7, 2017

Wyndham Lewis’s quintessentially modernist novel Tarr was published in 1918 (Knopf, USA; Egoist Press, UK). To commemorate the centenary of the novel’s publication, the 2018 volume of JWLS seeks 7- to 10,000-word essays reconsidering Tarr’s significance, legacy, and meaning. We are particularly interested in essays approaching Tarr from innovative angles and standpoints. All submissions should try to engage with the most relevant scholarship. Suggested topics include, but are not limited to:

the legacy of Tarr and its achievements;
the contexts of social satire and avant-gardism informing the novel;
Lewis’s self-questioning accounts of artistic and social ideals through Tarr;
connections between Tarr and contemporary art movements, especially Vorticism, Cubism, Expressionism, Futurism, and Impressionism;
the relationships between Tarr and other modernist and non-modernist texts, works, and creative disciplines and practices, across painting, sculpture, dance, and music;
Tarr and magazine history / the politics of serial publication;
the aesthetics of the novel in relation to Lewis’s work as a painter;
interdisciplinary approaches to the novel that situate it in various critical contexts (e.g. psychological explorations of Tarr’s characters; sociological analyses of Tarr’s institutions and settings; applications of contemporary gender studies and queer theories);
Tarr’s source materials and international influences;
the politics of studying, teaching, researching, and publishing on Tarr today.

How to submit

We are also seeking 1- to 2,000-word book reviews of works of critical scholarship. To submit, or to discuss an idea for, an article or Tarr-related book review for the 2018 issue of JWLS, please contact either of its Co-Editors: Dr Louise Kane (lkane@ccga.edu) and Dr Nathan Waddell (n.j.waddell@bham.ac.uk).

Completed essays will need to be submitted to the JWLS Co-Editors by 1^st April 2018, to allow sufficient lead-time for peer review. Publication is anticipated for the fourth quarter of 2018.

Call for submissions

Modernism/modernity: submit to a cluster on collaboration in modernist arts!

Post author By modernistudies
Post date October 2, 2017

Contributions are sought for a prospective peer-reviewed cluster on the Modernism/modernity Print Plus platform (modernismmodernity.org) treating collaboration in modernist arts of the twentieth and twenty-first century.

About the cluster

Collaborative efforts pervade the arts and always have – to the degree that Howard Becker has called artistic production a ‘collective activity’ in his Art Worlds. In cinema studies, a lively debate on the meanings and possibilities of contribution, co-authorship, and collaboration has set the pace for rethinking twentieth-century creativity (Sondra Bacharach, Deborah Tollefsen, Paisley Livingston). But research into other twentieth-century arts frequently concentrates on particular modernist artefacts as the products of great men or women. This roundtable is intended to address this gap, and to propose, define, theorise, and criticise concepts and limits of collaboration in modernism.

How to submit

Within this broad area, topics of interest include, but are not limited to

notions of ‘genius’ and ‘muse’,
Collaboration between intimate or romantic partners/spouses,
Relationships between mentors or supervisors and mentees or supervisees,
LGBT+ perspectives of collaboration,
Postcolonial aspects and issues,
Collaborative media,
Performance as a collaborative strategy.

The proposed cluster aims to address these, and other interrelated topics through a multi-disciplinary “roundtable.” Contributions will be conference-paper length (approximately 3,000 words) and peer-reviewed as a unit.

Please send your proposal of 250 words length to Annika Forkert, af15976@bristol.ac.uk, by Friday, 5 January 2018.

Tags modernism/modernity, print

Call for submissions CFPs Postgraduate

CFP: Austerity Gardens, edited collection

Post author By modernistudies
Post date November 7, 2016

The call for papers is now live for Austerity Gardens, an essay collection to be edited by Dr Naomi Milthorpe.

About the collection:

The editor seeks 500-word proposals for submission to an edited collection devoted to the politics and poetics of austerity gardening in literary and material cultures in the Anglophone world from the Second World War onwards.

Austerity gardening encompasses a diversity of places, spaces, practices, and actors: from suburban allotments to country house gardens, Victory diggers to urban foragers. Gardens are liminal spaces, private zones, and contested sites, mobilized against foreign invaders whether human or nonhuman. Gardens and gardening are gendered, and in place and practice revelatory of shifting, contingent, and multiple modes of gender and sexual identity. They are idealized, yet ever-incomplete, utopian sites. Gardening is also big business, with global market reports indicating increased demand for DIY products worldwide in the decade since the global financial crisis. Thus gardening and garden literature proffers rich soil for understanding the commodifications and uses of culture, whether highbrow or popular, in the mid-to-late 20th century and beyond.

Following the global financial crisis, there has been a parallel burgeoning scholarly interest in austerity. As Rebecca Brammall suggests, the discourses of austerity articulate a range of ideological, cultural, economic and social agendas. Most significant, however, is the way in which the agendas of austerity – many of them expressed in terms of utopian/dystopian anxieties about the self and society – are mapped upon representations of wild and human landscapes. Responses to austerity develop from a relationship with the environment; these responses in turn renovate the ways in which these spaces and places are imagined in literature and the arts from the Second World War onwards.

Landscape is material, but it is also as Denis Cosgrove argues a “cultural concept” and “way of seeing”. Nowhere is this more apropos than the garden, a pre-eminently human landscape in which desire and identity is embedded, nurtured and reflected. The garden is a site of nature and culture, an art which in the words of The Winter’s Tale“itself is nature.” Though the country house and pastoral traditions represent the garden as an unchanging, aristocratic, leisurely “green and pleasant land”, austerity seeks to reimagine the backyard as a dynamic, democratic space of self-sacrifice and toil.

From these roots sprout a range of interdisciplinary topics and questions related to austerity gardening. From the “Dig for Victory” campaign to contemporary cultures of ethical consumption, green living and gardening as entertainment, this collection invites proposals for readings of literature, film, visual arts, crafts, media, and cultural history, in order to explore the ways in which gardening is mobilised to contest and celebrate discourses of austerity, ethics, and responsibility in the Anglophone world from the Second World War to the present day. Chapters are invited on topics including, but not limited to:

Representations of austerity gardens in literature, film, visual arts and crafts
Gardening memoirs and personal narratives of committing to sustainability
Austerity gardens in popular media (television, magazine culture, blogs)
Theatrical performance in/and austerity gardening
Public or private austerity gardens and their relation to nationalist politics – allotments, national trust houses, community gardens
Identity politics and/ in the garden, including gendered and classed practices of both gardening and austerity
Gardens in/as war zones
The non/human in the austerity garden
Ethical consumption
The pastiching of WW2 and 1950s austerity garden practices in contemporary cultural products
Interdisciplinary approaches to reading austerity gardens and landscapes
Austerity gardens and post-human futures

For queries or to submit a proposal, please contact the editor at Naomi.Milthorpe@utas.edu.au

Call for submissions Events Lecture News Postgraduate

Upcoming: Comparative Modernisms Seminar, London

Post author By modernistudies
Post date September 30, 2016

The program of upcoming events for the Comparative Modernisms Seminar, held at the Institute of English Studies, London, is now available.

About the Seminar

The Seminars Series in Comparative Modernisms, launched by the Institute of English Studies in 2016, stresses both modernism’s continuing relevance in the present and its complex, relational nature which calls for a comparative perspective.

It provides a forum for groundbreaking multidisciplinary, transnational and inter-textual research in modernist studies by inviting English and international speakers as well as hosting a variety of associated events, such as roundtables, workshops and colloquia.

This term’s program

Monday 17 October 2016, Senate House, Room 246 time to be announced.

Ghostmodernism

Stephen Ross (University of Victoria)

Free

Contact: Dr Angeliki Spiropoulou, angeliki.spiropoulou@sas.ac.uk

——

Monday 21 November 2016, 18:00-20:00 Senate House, Room 246

Modernist and Avant-garde Urban Utopias

Tyrus Miller (University of California-Santa Cruz) | IES Comparative Modernisms Seminar

Free

Contact: Dr Angeliki Spiropoulou, angeliki.spiropoulou@sas.ac.uk

—–

Monday 12 December 2016, Senate House

Historical Modernisms

One-day International Colloquium | Part of IES Comparative Modernisms Seminar

Keynote Speaker:

Jean-Michel Rabaté (Pennsylvania University, Fellow of the American Academy of Arts and Sciences)

Fees applicable.

Deadline for submissions: 20 September 2016.

For information, please contact:

Dr Angeliki Spiropoulou, angeliki.spiropoulou@sas.ac.uk

Or read more information here.

Call for submissions Events Lecture Postgraduate

CFS: The Ivan Juritz Prize, 2017

Post author By modernistudies
Post date September 25, 2016

The 2017 Ivan Juritz Prize features a new collaboration with Cove Park, Scotland. This year’s prize is launched alongside a series of exciting events, including appearances from writers Deborah Levy and Eimear McBride, at King’s College London.

About the prize

Postgraduates from institutions throughout the EU are invited to submit projects that exhibit formal or creative daring. These might include creative writing (up to 2000 words), images, films (up to 15 minutes), digital artefacts, performances, or musical compositions.

The prize is a collaboration between the Centre for Modern Literature and Culture at King’s College London and Cove Park, Scotland’s International Artist Residency Centre. Winners receive £1000 and spend the first two weeks of September at Cove Park, engaging in a residency and showcase. All shortlisted works are given a public performance at the prize-giving and are written up in the journal Textual Practice.

The prize will judged by Lisa Appignanesi, Michael Berkeley, Rachel Cusk, Dexter Dalwood, Julian Forrester, Jeremy Harding, Deborah Levy, Stephen Romer, and Fiona Shaw.

Please do spread the word about the prize, see www.ivanjuritz.co.uk for more details and follow both the prize and the Centre on twitter:

@IvanJuritzPrize

@CMLC_KCL

Events

Playing and Reality

Tues 18 Oct, 6.30-8.00pm, Safra Lecture Theatre, Strand Campus, King’s College London WC2R 2LS

Olivier Castel, Brett Kahr and Deborah Levy in conversation with Kate Shorvon

Free discussion followed by a drinks reception

Book here.

Forty-five years ago the paediatrician and psychoanalyst Donald Winnicott published Playing and Reality, in which he suggested that play supplied the foundation of all human creativity. Rather more controversially, he thought play could not be reduced to fantasy, conscious or unconscious. The opposite of play is not reality but compliance and conformity, from which a ‘false self’ may result. It’s a notion that continues to be extremely enticing today not just for psychoanalysts but for artists and writers. Here, the Centre for the Humanities & Health and the Centre for Modern Literature & Culture join forces to bring together a novelist, visual artist, and psychoanalyst to discuss Winnicott’s ideas. Deborah Levy, Olivier Castel, and Brett Kahr will be in conversation with Kate Shorvon, discussing why Winnicott is so popular today? How important is play in today’s culture? What is the relationship between play and creativity? Visitors arriving at the event will have the opportunity to experience Winnicottian play for themselves, attempting his squiggle game on iPads.

***

Can we keep making it new?

Launch of the 2017 Ivan Juritz Prize

Wed,16 November 2016 6:30-8:00 pm Safra Lecture Theatre, Strand Campus, King’s College London WC2R 2LS

Dexter Dalwood and Eimear McBride in conversation with Lara Feigel

Free discussion followed by a drinks reception

To book please visit Eventbrite.

For more details see the prize’s website.

How important or possible is it for the contemporary artist or writer to keep breaking formal boundaries? Is this compatible with the demands of the marketplace and how does this differ in the art world and the literary world? How can we recognise the new when we are necessarily steeped in the old? Here acclaimed artist Dexter Dalwood and writer Eimear McBride will explore these questions in a discussion that launches the 2017 Ivan Juritz Prize.