Category: Call for submissions

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Call for submissions

“Studies in Critical Poetics” – call for manuscripts and proposals

We’re actively seeking manuscripts and proposals for a prospective new series with Bloomsbury Press, “Bloomsbury Studies in Critical Poetics.”  Please find the series rationale below, and send all queries to d.katz@warwick.ac.uk

This series will publish books on modern and contemporary poetry and poetics, with a primary focus on texts written in English, while remaining open to work from other languages along with questions of translation, correspondence, and exchange.  If the main period under consideration will be 1945 to the present, we recognise the inherent untimeliness of poetic discourse, and are also interested in studies that move beyond this time frame in order to locate recent and contemporary situations.  Of special interest to us is how poetry and poetics have moved themselves to the forefront of many of the most fraught and complex theoretical discussions of the post-war era.  Here, the intersection of poetry with philosophy, linguistics, psychoanalysis, political and economic theory, various protest or liberation movements, as well as other art forms, including prose, are of particular concern.  Despite or by virtue of its largely marginalised position, post-war poetry has been a focal point of dissidence, resistance, and challenge to many  of the dominant discourses—political, social, erotic, and aesthetic—of the age.  We are particularly keen to publish work that examines the paradoxical force of poetry and poetics in these respects, while engaging productively with the specifities of the medium and its diverse histories.  We are also eager to publish work by specialists in other areas of inquiry (philosophy, psychoanalysis) for whom poetry has become a vital element in their thinking.

Daniel Katz, Series Editor

Co-Director, Centre for Research in Philosophy, Literature, and the Arts

Department of English and Comparative Literary Studies

University of Warwick

Coventry CV4 7AL

UK
http://www2.warwick.ac.uk/fac/arts/english/people/permanentacademicstaffstaff3/katzdrd

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Call for submissions Registration open

Translating Sounds in Proust / Traduire la sonorité dans l’œuvre proustienne

Université de Paris Ouest Nanterre La Défense

25-26 June 2015

Translation is inherent to Proust’s idea of literary creation, and his work develops a rhythmical, musical conception of literary language as foreign in and of itself. What then happens when Proust’s work is translated, and, more specifically, how does the practice of translation shed light on his understanding of the relationship between sound and language, between phonè and writing? Bringing together critics and translators, this conference draws on the English-language translations of Proust’s work in order to explore the way sound plays out in his work, disrupting the lines that separate the “original” or source text from its echo in translation. This, in turn, interrogates the distinctions in his work between silence, noise, music and language, and between experience, representation and memory.

PROGRAMME

Thursday 25 June (afternoon)

Salle des colloques, bâtiment B, Université de Paris Ouest Nanterre La Défense

Françoise Asso, Université de Lille III

Traduire “Zut, zut, zut, zut”

Margaret Gray, Indiana University, Bloomington

Voices Off: Translating the Sounds of Silence in Proust

Christopher Prendergast, University of Cambridge, editor, In Search of Lost Time (Penguin 2002)

Bells Across the Water: The Place of Sound in the Recherche

Stéphane Heuet, Illustrator

Title to be confirmed

Friday 26 June (all day)

Institut d’Etudes Avancées, Hôtel de Lauzun, 17 quai d’Anjou, Paris (75004)

Daniel Karlin, Bristol University

Translating “les cris de Paris” in Proust’s La Prisonnière

Lydia Davis, translator, Du côté de chez Swann (Penguin 2002), Author

Hammers and Hoofbeats

James Grieve, translator, Du côté de chez Swann (Canberra, 1982), À l’ombre des jeunes filles en fleurs (Penguin, 2002), Visiting Fellow, Australian National University

Voix proustiennes à l’anglaise : l’idiolecte des personnages de la Recherche selon treize traducteur

William C. Carter, translator, Du côté de chez Swann, University of Alabama at Birmingham

“Le Devoir et la tâche” : Proust, Montcrieff et nous (paper read by Elyane Dezon-Jones)

Translators’ round table with Lydia Davis, James Grieve, Ian Patterson (Cambridge University), translator, Le Temps retrouvé (Penguin 2002), and Christopher Prendergast

CALL FOR ARTICLES

Papers will appear in a publication (in French) following the conference. Please note that we welcome submissions of additional articles on this question for inclusion in the final volume. Abstracts should be sent to Emily Eells (emily.eells@u-paris10.fr).

REGISTRATION

There is no fee for attending the conference, however participants should register beforehand by sending an email to Emily Eells and Naomi Toth (emily.eells@u-paris10.fr, ntoth@u-paris10.fr)

This conference is organized by Emily Eells and Naomi Toth for CREA’s Confluences research group, as part of the Sounds Foreign seminar, with the support of the School of Foreign Languages and Cultures and the Doctoral College of Languages, Literature and Performing Arts at the Université Paris Ouest Nanterre La Défense, and the Institut d’études avancées de Paris.

For further details, please consult the conference website: http://anglais.u-paris10.fr/spip.php?article2199

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Call for submissions

CfP: “Art and Arts”, Nouvelle Revue d’Esthétique, April 20

Please find in attachment a call for papers for a special issue of La Nouvelle Revue d’Esthétique, Vol. 16 (Presses Universitaires de France).

We welcome contributions in English—although accepted papers will be published (and translated) in French.

The deadline has been extended to April 20 for potential contributors to submit abstracts (5000 characters, including spaces) to the editorial board. Full-length papers are expected by June 1.

The call for papers can be found here: http://www.fabula.org/actualites/l-art-et-les-arts-nouvelle-revue-d-esthetique-n-16_66938.php

With all best wishes,

Cécile Guédon

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Call for submissions

CFP for a Special Edition of Women’s Writing

Women’s Writings of World War I

Emma Liggins and Elizabeth Nolan, Manchester Metropolitan University

Feminist scholarship has already demonstrated that the experience of the trench soldier should not dominate our understandings of the First World War, recognising that women were involved in and affected by the conflict, and that significant numbers of them responded in writing. The centenary of the outbreak of the conflict provides an appropriate vantage point from which to reassess the complexity and diversity of women’s literary engagement with the war. Women’s wartime narratives are many and varied, authored not only by professional writers such as May Sinclair, Rebecca West, Edith Wharton and Vera Brittain, but also by lesser-known figures and private individuals. Women writers often occupied or focussed on the position of outsider in what is widely regarded as the ‘masculine’ business of conflict. War is the ultimate gendering activity: women are identified as non-combatant to men’s combatant, they are civilians not soldiers, associated with the home not the front. Simultaneously the extraordinary circumstance of worldwide conflict facilitates women’s entry into new spheres of experience.

The journal Women’s Writing invites papers for a special issue dedicated to the exploration of the ways women, particularly lesser-known writers, negotiate this outsider position to intervene in the recording of war. Questions for consideration might include: In what ways do the writings interrogate or reinforce traditional gender roles? Can traditional female literary forms accommodate the experience of war or do new models evolve? To what extent do women appropriate and re-work masculine forms? How does the female witness to war negotiate trauma in order to record her experience? How significant are national contexts to the woman’s war narrative?

We welcome contributions on war-related writings by British and American women from 1914 -1930. Topics may include but are not limited to:

  • Auto/biography (including diaries, journals, letters)
  • Fiction
  • Journalism and the popular press
  • Feminism and the suffrage movement
  • Pacifism
  • Patriotism
  • The home front and the frontline
  • Trauma and witnessing
  • War-work and women’s entry into the public sphere (munitions workers, nurses, women’s services, charity workers)
  • National contexts (British and American)
  • Gender roles
  • Sexuality
  • Family
  • War widows

Please submit articles for consideration between 4,000-7000 words to Emma Liggins (e.liggins@mmu.ac.uk) or Elizabeth Nolan (e.nolan@mmu.ac.uk), by August 31st, 2015.

Contributors should follow the journal’s house style details of which are to be found on the Women’s Writing web site http://www.tandf.co.uk/journals/titles/0999082.asp) This is the new MLA. Do note that instead of footnotes, we use end-notes with NO bibliography. All bibliographical information is included in the end-notes i.e. place of publication, publisher and date of publication in brackets on first citation of a book.

Categories
Call for submissions Postgraduate

CFP: American Literature and the Transnational Marketplace

The last fifteen years have seen substantial changes in the way scholars have engaged with US literature and culture. In particular, the rise of two methodological paradigms, TRANSNATIONALISM and PRINT CULTURE STUDIES, have paved the way for exciting new approaches to key questions that have always been at the heart of the discipline: the relationship between literature and nationhood, the role of writing in international circuits of knowledge and commodity exchange, and the artistic labour of the author.

The Open Library of Humanities is a unique platform for interdisciplinary work, and provides us with an opportunity to collect together a more diverse range of new work in this area than would be possible within more traditional publishing outlets. The aim of this special curated collection is to reflect on the history of international markets, copyright, and the book trade as shaping forces in American literature and culture. We seek work representing the entire history of the United States from the earliest instances of print culture in the colonies, to the market revolution of the nineteenth century and contemporary digital media and new publishing or distribution formats. Essays may be literary-historical in nature, focus on issues of academic methodology, or adopt forms of close reading informed by transnationalism and print culture studies. The American Literature Section Editor, Dr. Michael Collins, will then curate a special collection from work that passes the peer review process. Topics may include, but are not limited to:

  • American Literature and Copyright
  • Literary “Nationalism” and the International Marketplace
  • The Book as “Commodity”
  • Literature and Digital Media/ Digital Humanities/ Open Access
  • Representations of the Literary Marketplace in Fiction
  • Transnationalism and Literary Form
  • US Print Culture and Transnationalism (Magazines, Newspapers, Pamphlets, Chapbooks, “Little Magazines”, Broadsides)
  • Literary Labour in the Marketplace
  • The Politics of the Transnational Marketplace
  • American Studies, Transnationalism and The Academic Job Market
  • Review Essays

The special collection, edited by Michael Collins, is to be published in the Open Library of Humanities (ISSN 2056-6700). The OLH is an Andrew W. Mellon Foundation-funded open-access journal with a strong emphasis on quality peer review and a prestigious academic steering board. Unlike some open-access publications, the OLH has no author-facing charges and is instead financially supported by an international consortium of libraries. Work appearing in the Open Library of Humanities is compliant with funder audits, such as the UK’s Research Excellence Framework.

Submissions should be made online at: https://submit.openlibhums.org in accordance with the author guidelines and clearly marked for the AMERICAN LITERATURE AND THE TRANSNATIONAL MARKETPLACE CFP. Submissions will then undergo a double-blind peer-review process. Authors will be notified of the outcome as soon as reports are received. As per the Author Guidelines of the OLH, submissions should be no longer than 8,000 words. The publishing format of OLH allows for a uniquely expansive approach to publishing research. Consequently, shorter pieces, creative works, or hyperlinked article formats are encouraged. For advice, please contact the Editor.

Deadline for submissions: 1 August 2015.

To learn more about the OLH, visit: https://www.openlibhums.org.

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Call for submissions

THE SCHULMAN AND BULLARD ARTICLE PRIZE

The Association of Print Scholars invites applications for the first annual Schulman and Bullard Article Prize. The Prize is given annually to an article published by an early-career scholar that features compelling and innovative research on prints or printmaking. The award, which carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Following the mission of the Association of Print Scholars, articles can feature aspects of printmaking across any geographic region and all chronological periods. Articles will be evaluated by a panel of advanced scholars for the author’s commitment to the use of original research and the article’s overall contribution to the field of print scholarship.

The Association of Print Scholars invites nominations and self-nominations for the 2015 Schulman/Bullard Article Prize meeting the criteria outlined below:

Nomination Criteria:

  • Authors must have graduated with an MA, MFA, or PhD fewer than 10 years prior to article publication.

  • Authors must be current members of APS.

  • Articles must have been published in a journal, exhibition catalogue, or anthology between January 1, 2014 and December 31, 2014. Online publications will be considered on a case-by-case basis.

  • Articles must be between 3,000 and 10,000 words, inclusive of footnotes and references.

  • Entries for consideration must be in English, though the text of the original article may be in any language.

To submit an article for consideration, please send the completed nomination form along with an electronic or hard copy of the article to Angela Campbell, the APS Grants Coordinator.

The deadline for submissions is April 15th, 2015

APS Article Prize Guidelines

APS Nomination Form

Categories
Call for submissions Postgraduate

THRESHOLDS Feature Writing Competition

We are now inviting submissions

to the 2015 THRESHOLDS International Short Story Forum

Feature Writing Competition

1st Prize of £500

2 x Runner-up Prize of £100

DEADLINE:
29 April 2015, 11:59pm (BST)

 

THRESHOLDS is the only online forum dedicated to the reading,
writing and study of the short story form. Entries are welcome in either of the following feature categories:

Author Profile: exploring the life, writings and influence of a single short story writer.

We Recommend: personal recommendations of a collection, anthology, group of short stories or a single short story.

One overall winner will be chosen, followed by two runners-up. The judges hope to see a range of styles and approaches in the feature essays. They will be looking, above all, at the quality of the prose in each feature submitted, the insights offered, and the author’s ability to engage his/her readers. The winning and runner-up essays and shortlist will be published on the THRESHOLDS Forum during 2015.

Previous winning essays:
2014 winner: Wolves at the Hearthside by Sharon Telfer
2013 winner: A Trio of Irish Short Stories by Nuala Ní Chonchúir
2012 winner: H.P. Lovecraft by Geoff Holder

* PLEASE READ THE COMPETITION RULES (below) AND THE GENERALTHRESHOLDS Submission Guidelines CAREFULLY BEFORE SUBMITTING *

 

Competition Rules:

  • All entries must be submitted by email as a PDF or Word document (.doc, .docx or .rtf only) attachment and sent to thresholds@chi.ac.uk, with the subject line ‘Feature Competition’.
  • Entries must be received by 11:59pm (BST) on 29 April 2015.
  • There is no entry fee.
  • Maximum word count is 2,000, with a minimum of 750. Writers may submit a maximum of 3 essays.
  • Please note: the Competition is open for feature essayentries only. Short story submissions will NOT be accepted.
  • Work should be double spacedand in a minimum of 11 point font. All pages should be numbered.
  • The stories or collections under discussion may be either contemporary or classic, and can be in print or out of print.
  • Entries must be accompanied by a separatetitle page (i.e. saved in a separate document) containing the following information: name and email address of the writer; title of entry(ies); category of each entry — Author Profile or We Recommend.
  • Entries will be judged anonymously. Your name, address, or email address should NOT appear on the manuscript.
  • Entries cannot be altered once they have been submitted.
  • Entries must be original and unpublished. Work that has appeared on the internet (apart from in a personal blog) is considered published and therefore is not eligible. Simultaneous submissions are NOT accepted(i.e. features submitted to multiple journals/magazines simultaneously).
  • The entrant warrants to THRESHOLDS’ editors that the essay is original to him/her, that he/she has the full power to agree to the Competition rules of entry, and that he/she is the sole author of the feature essay.
  • The entrant warrants to THRESHOLDS’ editors that his/her essay is in no way whatsoever a violation of any existing copyright and that it contains nothing libelous.
  • The judges’ decisions are final and no discussion will be entered into once work has been submitted. The judges reserve the right not to make the award if the quality of entries does not merit it.
  • The Competition is open to writers of any nationality writing in English, 16 years old and over at the time of the closing date.
  • University of Chichester staff may not apply.
  • The names of the winners, runners-up, shortlisted and longlisted writers will be published on The Forum.
  • The shortlist will be announced in May, and the winning writer will be notified soon after.
  • Copyright of the submitted essay remains with the author, but THRESHOLDS has the unrestricted right to publish any winning or shortlisted feature essays on its website and in any related material for PR purposes.
  • THRESHOLDS reserves the right to edit the winning, runner-up and shortlisted articles prior to publication, as well as any other pieces selected for publication on the site.
  • By entering the competition, you are deemed to have agreed to the above rules.
Categories
Call for submissions Postgraduate

M/m (print-plus)- What is Sexual Modernity?

I am seeking submissions for a prospective special peer-reviewed cluster on theModernism/Modernity print-plus platform exploring the question: “What is Sexual Modernity?” Does modernity have a sexuality? We might follow Rita Felski’s lead in The Gender of Modernity (1995) to ask what is at stake in, or what changes occur when we define the sexuality of modernity as queer, sapphic, heteronormative, perverse, or otherwise? How might these nominations intersect with or alter formations of the color of modernity, colonial modernity, atavistic modernity, or the gender of modernity?

Recent work has taken a different tact, boldly ascribing a particular sexual content to modernity. In The Sexuality of History (2014), for example, Susan S. Lanser “invert[s] the conventional wisdom that modernity consolidates a heteronormative order to argue that modernity can also be read as the emergence of the sapphic as an epistemic possibility.” Lanser understands the sapphic as a particularly charged site for theorizing the modern — its power relations, styles of governances, literary forms, and much else. Her work helps us to query whether the sexuality of modernity changes over time and as it travels across space. Her claim for a queer and specifically sapphic modernity cuts against claims like Afsaneh Najmabadi’s assertion that: “In the nineteenth century, homoeroticism and same-sex practice came to mark Iran as backward; heteronormalization of eros and sex became a precondition for ‘achieving modernity.’” This cluster asks if it is possible to reconcile these competing contentions. Are they part of what Fredric Jameson calls a singular modernity or do they instead form multiple and overlapping modernities? In what relation does this modernity or set of modernities stand to modernism in its plurality? Can helping define the sexuality of modernity enable us to have a clearer sense of terms (and the sexual personhoods which attach to such nominations) like queer modernism, sapphic modernism, and modernist sexuality?

Please submit abstracts of 500 words on these questions and questions of adjacent interest to Benjamin Kahan (bkahan@lsu.edu) by June 30th, 2015. These abstracts will be reviewed in anticipation of the submission of polemical 3000 word short essays due by December 15th, 2015.

Categories
Call for submissions Postgraduate

The Wyndham Lewis Memorial Trust Essay Prize 2015

Submission deadline: 30th June 2015

To promote cutting-edge scholarly research, the Wyndham Lewis Memorial Trust funds a yearly essay prize aimed at scholars working at the forefront of Lewisian studies. Submissions are welcome from anyone working on Lewis in a scholarly context, though please note that the competition is not open to anyone who, on the date of submission, has held a PhD for more than two years. The prize is worth £200, and winning essays are published in The Journal of Wyndham Lewis Studies (JWLS; ed. Andrzej Gąsiorek). Entries can be on any aspect of Lewis’s life and work, though entries relating Lewis in new ways to his contemporaries or to fresh cultural-historical contexts are encouraged. Those submitting work to be considered for the prize should send their essays to the Assistant Editor of JWLS, Nathan Waddell, by email.

For more information about the prize please visit http://www.wyndhamlewis.org/

Categories
Call for submissions Postgraduate

CFP: The New Black and The New Negro: Generational Tensions between Blackness, Colorlessness, and Post-Black

Special Feature: Volume 8, no. 1, November 2015

Guest Editor: Kinitra D. Brooks, University of Texas, San Antonio

A class of colored people, the ‘New Negro’,  … have arisen since the War, with education, refinement, and money. – Cleveland Gazette, 28 June 1895

There are constructive channels opening out into which the balked social feelings of the American Negro can flow freely…. One is the consciousness of acting as the advance-guard of the African peoples in their contact with Twentieth Century civilization; the other, a sense of a mission of rehabilitating the race in world esteem from that loss of prestige for which the fate and conditions of slavery have so largely been responsible.

– Alain Locke in The New Negro, 1925

The ‘new black’ doesn’t blame other races for our issues. The ‘new black’ dreams and realizes that it’s not a pigmentation; it’s a mentality. And it’s either going to work for you, or it’s going to work against you. And you’ve got to pick the side you’re gonna be on.                                                                   – Pharrell Williams,Oprah Prime (2014)

I’m tired of being labelled. I’m an American. I’m not an African American; I’m an American … And that’s a colorless person.      – Raven Symone, Oprah Prime (2013)

The words of music producer Pharrell Williams and actress Raven Symone initiated what is now referred to as the ‘New Black’ or ‘Millennium Negro’ Movement. Critical race theorists have implied that these musings hearken back to another African American cultural movement of self-articulation, that of ‘The New Negro’.Transnational Literature is calling for scholarly papers and poems that critique and explore the themes and theories interrogating the possible connections between these two socio-political cultural projects. We welcome papers and creative works that include but certainly are not limited to the following topics:

·      The New Black v. The New Negro

·      Contemporary ahistorical manifestations of Blackness and questions of critical legitimacy

·      Global Perspectives of The New Black

·      Transnational Black Cosmopolitan Identity and Culture

·      The New Black’s connections to The Talented Tenth

·      The New Negro/Old Negro and The New Black/Old Black

·      The Importance of Class

·      Postcolonial/Neocolonial Blackness in the African Diaspora

·      Problematising prescriptive racial identities

Transnational Literature invites unpublished papers not currently under consideration by any other publisher. Article submissions should be 4000-6000 words in length and should include an abstract of approximately 150 words in addition to a brief author biography.

Please consult the submission guide –fhrc.flinders.edu.au/transnational/submissions.html

Please submit all finished works and queries to tnlthenewblack2015@gmail.comby May 10, 2015.

Transnational Literature is a freely accessible, fully refereed international e-journal published twice a year by the Flinders Institute for Research in the Humanities, Flinders University, Adelaide, Australia.​