CFPs Events Uncategorized

CfP Women in Publishing symposium, Reading, 14 June 2019

Women in Publishing, a one-day symposium at the University of Reading, Friday 14 June 2019

“All publishing was run by many badly-paid women and a few much better-paid men”

(Diana Athill, Stet: An Editor’s Life, 2002)

Feminist book history and print culture is thriving. Recent books and projects exploring feminist publishers, modernist presses, and women’s work in periodicals and magazines has revealed the variety of ways in which women contributed to the circulation and production of nineteenth and twentieth-century print cultures. Academic interest in the value of networks and collaboration and the often overlooked aspect of women’s creative labour (#thanksfortyping) is at the forefront of some of this renewed interest in women’s diverse, deeply embedded work in publishing and the circulation of global print cultures.

This one-day symposium at the University of Reading will engage with the varied nature and roles of women’s work in twentieth and twenty-first century magazines and book publishing. Though high-profile women publishers and editors continue to attract public and scholarly attention, there are many aspects of women’s labour in the print and publishing trades, understood broadly, that are often overlooked. We invite papers exploring the broad and diverse ways in which women have shaped recent modern print cultures in a variety of roles: as translators, designers, illustrators, booksellers, advertisers, patrons, editors, travellers, office staff, publisher’s readers. We are particularly interested in work exploring transnational exchanges.

Papers may consider any of the following:

* Women’s work in the book, magazine, newspaper, and publishing trades

* Women publishers, editors, author-publishers, publisher’s readers, travellers, booksellers, office staff, printers

* Women translators, designers, illustrators

* Sex + gender + literary production and the literary marketplace

* Women as patrons, booksellers, feminist bookshops

* Archives, cataloguing, and women’s labour

* Women in publishing and the gender pay gap

* Politics and methodologies of recovery work

* Women and the suffrage press, feminist presses, lesbian presses, BAME press

* Networks/collaborations

* Women entrepreneurs and the creative industries

* Womens’ trade organisations in publishing and bookselling

Please submit abstracts (up to 200 words) and a short 2-line bio by 26 April 2019 to Dr Nicola Wilson at Speakers will be notified by 3 May.

The event will be held at Special Collections, University of Reading, UK, with no fees to attend.
Organising committee: Dr Nicola Wilson, Dr Sophie Heywood, Dr Daniela la Penna.

CFPs Events Uncategorized

CfP. Engaging with Twentieth-Century Pageants

Engaging with Twentieth-Century Pageants: Performance and Study

17 June 2019, Hosted by the School of English, University of St Andrews, Scotland

This conference seeks to foster scholarly dialogue on the methodologies of twentieth-century pageant research as well as generate discussion on the aesthetic, historical, and political significance of pageants. The conference will consider pageants’ preparation, staging, and performance; relationships to British Imperialism, gender, war, and social class; and understudied status within criticism and disciplinary study. A few topics are proposed below; additional areas of pageant scholarship are warmly encouraged.

  • Pageant-specific (e.g., The Pageant of Great Women, The Pageant of Empire)
  • Discipline-related (e.g., costumes, set and artistic design, book history, music)
  • Writer/composer/artist-specific (e.g., Louis N. Parker, Gustav Holst, Edith Craig)
  • Pageant eras or periods (e.g., Edwardian, inter-war, wartime, post-war)
  • Methodological practices (e.g., location and space, archive research)
  • Pageant themes (e.g., pastoral, historical, religious, suffrage, civic)
  • Genre (e.g., pageant plays, pageant novels, pageant films, radio pageants)

The study of pageants (primarily outdoor amateur historical drama but also other forms such as pageant plays, pageant novels, and pageant films) is steadily increasing as researchers explore the richness of this intermedial art form. There is much potential for interdisciplinary research, largely due to pageants’ combinations of literature, music, history, art, religion, and politics. Despite the pageant genre’s relative critical obscurity, many prominent British writers, composers, directors, and actors were involved in pageants and pageant-making: Virginia Woolf, T. S. Eliot, E. M. Forster, Charles Williams, Ralph Vaughan Williams, Gustav Holst, Edward Elgar, Martin Shaw, Frank R. Benson, E. Martin Browne, Gwen Lally, Edith Craig, Ellen Terry, and Sybil Thorndike.

The conference will feature a unique musical and spoken-word performance of selections from pageants including T. S. Eliot and Martin Shaw’s The Rock (1934). The University of St Andrews Special Collections Library will also give a presentation on some of their pageant materials, including related texts published by the Hogarth Press.

The conference organisers are pleased to welcome Professor Paul Readman (King’s College London) and Dr Angela Bartie (University of Edinburgh) as panellists and speakers for the conference. Both are researchers for the pageant database The Redress of the Past.

The conference will combine round table panel discussions and scholarly papers. In the first instance, indications of a proposed topic/area of interest should be emailed to the conference organiser Parker T. Gordon ( by 25 March 2019. Formal abstracts will be due on 22 April.

CFPs Events Postgraduate Uncategorized

CfP: Common Ground: Identifying Value(s) in Literature, Culture, and Society, 20–21 June 2019

Identifying Value(s) in Literature, Culture, and Society

20─21 June 2019

In November 2018, US Secretary of Defense Jim Mattis defended the deployment of thousands of troops along the Mexican border as an “obviously moral and ethical mission”. In doing so, he aligned the enforcement of sovereignty through rigorous policing of borders as a specifically moral value. However, the criticism of the Trump administration’s border policy for violating US and family values provides a contradictory interpretation of what constitutes moral values. Despite the implication that values constitute a set of universally agreed principles, the controversy over the US-Mexican border is only one example that value is anything but ubiquitous. Common Ground invites scholars to Queen’s University Belfast in June 2019 to explore what we value, who we value, and why we value them. We seek to pull apart the concept of value to expose the multifaceted ideologies and rationalities from which competing values are derived. At the most basic level, the nationalist rhetoric deployed by Mattis and by Brexiteers poses the question of who has value to a nation. And often the individual’s value is predicated upon the economic concern of how they can add value to the nation. As such, nationalist rhetoric reveals the tension between the two most prominent understandings of “value” that dominate political and ethical discourse—morality and economics.

We are delighted to confirm Dr Kevin Power of Trinity College Dublin and Professor Margaret Topping of Queen’s University Belfast as keynote speakers.

We seek proposals for twenty-minute papers from postgraduate and early career scholars across a diverse range of disciplines in the humanities to explore the negotiation between different conceptualisations of value and values in literature, culture, and society from the Medieval period to present day, including moral, economic, mathematical, linguistic, environmental, literary, and aesthetic values. We would especially like to encourage papers from MA students. Potential topics include but are not limited to:

  • What are the identifying values of a society and how are these conveyed, questioned, or challenged through literature and/or culture?
  • How does economic value influence questions of literary and artistic value?
  • The tension between economic value and environmental values.
  • Are values spontaneously generated by people in society or are values created and regulated by the state?
  • To what extent is the public value of the Humanities under threat? How do we measure literary value, artistic value, value of popular culture, etc?
  • The value and impact of religious thought and/or religion-derived morality in literary works and an increasingly secular society.
  • The negotiation of the conflict between artistic value and moral values: reading the work of authors whose behaviour is unacceptable.
  • The value of natural/artificial landscapes and boundaries as the result of a chain of social, historical and natural processes.
  • Family values and pedagogical values.
  • Post-truth and the value, exploitation, or weaponisation of “truth”.
  • The value and exploitation of emotions.
  • To what extent is the individual defined by the values of others, or defined by that which others value?
  • The valuation of gender/sexuality/queerness.
  • What value is given to identity and how does this change across historical time periods?
  • To what extent does literature shape moral, social, and individual values.
  • The value of politeness/manners/political correctness.
  • Value of progress how do we measure “progress” whether social, political or economic?

Please submit all proposals to by 31 March 2019.

Submissions should include:

  • 250-word abstract
  • Brief bio
  • Contact details (email address)

We aim to respond to all submissions by 12 April.

Please advise us of any technical or accessibility requirements at the time of submission.

Common Ground 2019 Committee

Lillie Arnott, Jaime Harrison, Niall Kennedy, Lee Livingstone, Irene Tenchini @Ground2019

Events Registration open Uncategorized

‘out of the air’: Women, Creativity and Intelligence Work, Bletchley Park, 8 March 2019

‘out of the air’: Women, Creativity and Intelligence Work | Bletchley Park | Friday 8 March 2019

This one-day symposium will bring together writers, artists, scholars and technologists to explore the role of women in surveillance, transcription, cryptography, espionage, translation, observation, visualisation and recording. It will consider how this work influenced and inspired creativity following World War II, in art, science, and literature, and how it continues to place pressure on emerging technologically-enhanced means of expression and creative practices. What new modes of seeing, speaking, reading or writing have arisen?  How have women creatives challenged and been challenged by this?

The day’s speakers and panellists will include Dr Khanta Dihal (Cambridge), Dr Natalie Ferris (Edinburgh), Dr Adam Guy (Oxford), Dr Julia Jordan (UCL), Dr James Purdon (St Andrews), Dr Sophie Seita (Cambridge), the artist Nye Thompson, the writer Joanna Walsh and a keynote lecture from Professor Laura Salisbury (Exeter).

Hosted by Bletchley Park in collaboration with the school of Literatures, Languages and Cultures, University of Edinburgh, the Leverhulme Trust, and Kellogg College, University of Oxford.

The Mansion, Bletchley Park
10am – 5.30pm
Followed by readings and wine reception.


CFPs Events Uncategorized

CfP: Transatlantic Studies Association 18th annual conference, Lancaster, 8–10 July 2019

Submissions are invited for the 2019 Transatlantic Studies Association Annual Conference.

Plenary guests confirmed include:

Professor Brian Ward (Northumbria University)

“The Beatles in Miami, 1964: Race, Class and Gender in the Atlantic World


Professor Kevin Hutchings (University of Northern British Columbia)

Transatlantic Romanticism and British-Indigenous Relations: 1800-1850


A Roundtable discussion on:

Transatlantic Relations in the Age of a Rising China


Following its first trip across the Atlantic for last year’s annual conference at the University of North Georgia, the TSA is returning to the UK for its eighteenth annual conference at the University of Lancaster.

The TSA is a broad network of scholars who use the ‘transatlantic’ as a frame of reference for their work in a variety of disciplines, including (but not limited to): history, politics and international relations, and literary studies. All transatlantic-themed paper and panel proposals from these and related disciplines are welcome.

The conference is organised around a number of subject themes, each of which is convened by members of the conference programme committee (indicated below). If you would like to discuss your paper or panel proposal prior to submission, please contact the relevant programme committee members. This year’s subject themes are:

  1. Diplomatic and international history

(David Ryan,, Chris Jespersen,, Thomas Mills,

  1. Political and intellectual history

(Gavin Bailey,, Philip Pedley,

  1. Social, cultural and religious history

(Kristin Cook,, Constance Post,

  1. International Relations and Security Studies

(Luis Rodrigues,, David Ryan,

  1. Literature, film, and theatre

(Donna Gessell,, Finn Pollard,, Constance Post,

  1. Business and finance

(Thomas Mills,, Philip Pedley,

  1. Latin America in a transatlantic context

(Thomas Mills,, David Ryan,

  1. Ethnicity, race and migration

(Kristin Cook,, Gavin Bailey,

Special subject theme: Transatlantic Romanticisms
Proposals are welcome for papers on any aspect of Romanticism in a transatlantic context. Possible topics might include (but are not limited to) comparative romanticisms, ecological romanticisms, romantic natural histories, romantic travel and exploration, romanticism and colonialism, romanticism and critical theory. Please send a 300-word abstract, 100 word author biography, and 2-page CV to Kevin Hutchings, University Research Chair, Department of English, University of Northern British Columbia (

In addition to the subject themes above, we welcome papers and panels on any aspect of transatlantic studies. Interdisciplinary papers and panels are particularly welcome, as are innovative formats, such as roundtables / multimedia presentations.

Submission Instructions
Panel proposals should constitute three or four presenters and a Chair (as well as a discussant if desired). Panel proposals should be sent by email as one document attachment, and include:

  • 300-word overview of the panel theme;
  • 300-word abstracts for each of the papers;
  • 100-word author biographies;
  • 2-page CVs for all participants.

The subject line of the email for panel proposals should read: ‘TSA Proposal-[Last name of panel convenor]-[Subject theme]” (state ‘Other’ if not falling under listed themes) (E.g. “TSA Proposal-Smith-Diplomacy and International History”).

Individual paper proposals should be sent by email as one document attachment, and include:

  • 300-word abstract for the paper
  • 100-word author biography;
  • 2-page CV.

The subject line of the email for paper proposals should read: “TSA Proposal-[Last name of presenter]-[Subject theme]” (state ‘Other’ if not falling under listed themes) (E.g. “TSA Proposal-Smith-Other”).

Travel Grants
The TSA particularly welcomes proposals from new members and junior scholars. Travel grants are available to support early career scholars presenting a paper at the conference. If wishing to apply for a travel grant, applicants should indicate this in the body of the email when submitting their paper or panel. In addition to the materials requested above, travel grant applicants should include a brief statement explaining why it is important for them to attend the TSA conference, and an outline of the principal costs entailed. For further details about TSA travel grants, see the TSA website:

All paper and panel proposals, and travel grant applications, should be sent to the conference email:

Deadline for panel and paper proposals: 20 January 2019

Contact details and further information
Vice-Chair of TSA / Local Organiser: Thomas Mills:

Chair of TSA: Christopher Jespersen:

CFPs Events Postgraduate Uncategorized

CfP: Shifting Notions of Modernity in Modern and Contemporary Scholarship, Birmingham, 21 February 2019

‘Shifting Notions of Modernity in Modern and Contemporary Scholarship’

University of Birmingham, 21 February 2019

A one day symposium hosted by the Modern and Contemporary Forum and the Centre for Modern and Contemporary History at the University of Birmingham.

The focus of this one-day symposium is to bring together experienced scholars, early career researchers, and postgraduate students, to facilitate interdisciplinary discussion and debate on shifting notions of modernity.

Papers on any aspects of history from the late-eighteenth century to the twenty-first will be considered. To encourage a broad range of papers the invited topics of the conference include, but are by no means limited to, those listed below.

  • Time and temporalities
  • Material Culture
  • Literature and literary influences
  • Place, space, and architecture
  • The state and structural hierarchies
  • Class/gender/race in the global context
  • Museum studies
  • Medical humanities
  • Newspapers and the media
  • Emotions
  • Senses
  • Popular culture, film, TV, music, fashion
  • Religion, spiritualism and occultism
  • Art history

Please send abstracts of up to 300 words along with a CV for 15 minute papers, or a 150 word abstract for a poster presentation, to by 14 December 2018.

The MAC forum is part of the Centre for Modern and Contemporary History at the University of Birmingham, and is run by postgraduate researchers from a range of disciplines within the university. The forum encourages discussion and networking across disciplines and institutions, for those who have an interest in modern and contemporary history.

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Joyce Without Borders, Mexico City, 12–16 June 2019

Joyce Without Borders, North American James Joyce Symposium, Mexico City, 12–16 June 2019


The 2019 North American James Joyce Symposium will be jointly hosted by the National Autonomous University of Mexico (UNAM) and the Metropolitan Autonomous University (UAM). This will be the first annual gathering of Joyceans in the global south, as well as the first to host panels in both English and Spanish, and will thus foreground the excellent work on Joyce being done in both languages. Joyce has had a major impact on Latin American writers, who have found much to admire in Joyce’s bold experimentalism; his fusing of experiential details with universal concepts; his baroque profusion of words, languages, and styles; his critique of hegemonic structures of family, nation, and creed; and his resistance to myriad manifestations of imperialism.

Borders, boundaries, barriers: Joyce bowed to none. That is why this year’s Symposium is dedicated to the many ways in which Joyce was an artist without borders; to the ways in which his work, like his life, transcended conventional divisions. As Stephen Dedalus famously puts it, “I will not serve that in which I no longer believe, whether it calls itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defense the only arms I allow myself to use — silence, exile, and cunning.” By celebrating Bloomsday in Mexico at this historical moment, the Symposium seeks to honor Joyce’s spirit of artistic freedom and exilic statement.

And yet, exile can have its pleasures. In 2016, the New York Times named Mexico City its number one tourism destination, atop a list of 52, calling it “A metropolis that has it all.” Among the many cultural, culinary, and architectural attractions the article describes, it mentions the “French-style 19th-century mansions of La Roma”, arguably the city’s most beautiful and cosmopolitan neighborhood. One of those mansions, the UNAM’s exquisite “Casa Universitaria del Libro”, will be the Symposium’s main venue. And since Mexico, like Ireland, is renowned for its hospitality, this Symposium aims to make good on that reputation, while also showcasing for attendees the deep influence Joyce’s work has had in this country.

The Symposium is proud to announce its confirmed keynote speakers:

• Luz Aurora Pimentel, Universidad Nacional Autónoma de México, Departments of English and Comparative Literature
• Michael Wood, Princeton University, Departments of English and Comparative Literature
• Terence Killeen, James Joyce Centre, Dublin

As with all annual conferences, this Symposium “without borders” is open to all kinds of contributions that address Joyce, directly or indirectly, in the form of scholarly papers as well as creative or multi-media presentations and installations. It welcomes proposals for paper presentations, fully-formed panels, and roundtables, as well as exhibitions of artistic, multimedia or digital work. Presenters are limited to one paper and one other type of participation (artist, panel-chair, respondent, etc.).

**The deadline to submit proposals is Monday, 25 February 2019**

We are particularly interested in contributions that engage with the transcendence of borders, broadly conceived, such as those pertaining to nation, language, identity, race, religion, gender, class, psychology, artistic form, literary genre, avant garde movements, historical periods, and popular culture. Possible topics include:

• Transnational modernism
• Comparative poetics
• Joyce’s influence on Mexican and other Latin American writers
• Migration of immigrants/transmigration of souls
• Recycling/recomposing/reframing
• Transcontinental intertextuality, influence, and erudition (south-north, east-west, etc.)
• Theology, theosophy, and other traditions in Western and Eastern thought
• Consumerist circulation, mass production, and globalization
• Popular culture in Joyce / Joyce in popular culture
• Diasporas, dispersions, dislocations
• Posthumanism and transhumanism
• Transcultural genetic criticism
• Gender studies, queer studies
• “Binomeans to be comprendered”: translating Joyce
• Postcolonial affinities: Ireland and the global south
• The individual writer and psychoanalysis
• Bioliterary or ecological propagations
• Intercrossings of writing, plastic arts, music, film, drama, dance, performance

The Symposium invites proposals for individual papers, fully-formed panels, and roundtables, in English or Spanish, as well as multi-media/digital exhibitions, and roundtable proposals. Please send to, beginning the subject line with the word “PROPOSAL” for English proposals, and “PROPUESTA” for Spanish proposals.

For individual papers (no more than 20 minutes in length), please submit the following information:

First and last names, academic affiliation (if applicable), title of paper, a brief abstract (maximum 300 words), and a brief bio (maximum 250 words).

For fully-formed panel proposals, the panel chair should submit the following:

Panel title, first and last names of all participants (no more than four), academic affiliations of all participants (if applicable), email addresses of all participants, titles for each paper, name and affiliation of chair (if applicable) and any respondents (maximum 2), a brief abstract for the panel as a whole (maximum 500 words), and a brief bio for each participant (maximum 250 words). Individual speakers on these panels need not submit abstracts separately. The panel chair has the option to present a paper, but please note it is customary for the chair to be scheduled last. Panels must be entirely in English or Spanish.

Most panel sessions will last 90 minutes. Certificates of participation in the conference will be made available to those who present and subsequently request documentation. We encourage participating scholars to be paid-up members of the International James Joyce Foundation.

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CfP: Forming the Future, 2–3 Sept 2019, University of Plymouth

Forming the Future, 2–3 Sept 2019, University of Plymouth

Confirmed speakers: Amy J. Elias (Tennessee, Knoxville); Daniel Innerarity (Ikerbasque); Sandra Kemp (Lancaster/Imperial)

Thinking about the future often focuses on its ‘content’: what might happen. Similarly, thinking about ‘future studies’ often concentrates on its goals, concepts and methods. But what about the forms in which the future comes couched? How does the medium in which the future is presented – its genres, structures, conventions – shape or influence what the future might include? What forms do representations of the future currently take in different disciplines and fields of practice – from fiction to non-fiction, the visual to the textual, science to politics – and to what effect? Can we make our representations of the future more efficacious, with a view to the current world situation? And what might different fields learn from each other, or how might they combine, in order to do this?

This interdisciplinary conference sets out to investigate these and related questions, and to trigger dialogue within and across different areas in which the future is being ‘formed’. 

Starting points may include, but are not restricted to:

·      forms old and new (e.g. fiction, report, manifesto, visual media, software …)

·      fact/fiction, realistic/unrealistic, mind/heart …

·      a future without apocalypse? continuity/break?

·      updating key terms (e.g. hope, optimism, pessimism, utopia, horizons …) 

·      instrumentality/openness, prognostication/becoming, fixed/alterable

·      the problems of scale (e.g. individual/collective, local/global, multiplicity/unity …)

·      interdisciplinary practice, thinking, potential

·      history <> future

Please send proposals for 20 minute papers or presentations to Proposals will be welcomed from researchers across the humanities, social sciences and STEM disciplines, as well as from those working outside the university sector.

Deadline for proposals: 1 May 2019.

Two £150 bursaries are available for those without institutional funding or equivalent; please describe in your proposal how you qualify. The full call for papers, along with further information, is available on the conference webpage:

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CfP: Canon? Practice? Commodity? The past, present and future of the literary anthology, QMUL, 14–15 June 2019

Canon? Practice? Commodity? The past, present and future of the literary anthology

A major International Conference, 14–15 June 2019

Queen Mary, University of London, Department of Comparative Literature, School of Languages, Linguistics and Film


Confirmed keynote speakers

Prof. Martin Puchner, Harvard University

Prof. Karen Kilcup, The University of North Carolina at Greensboro

Prof. Tom Mole, The University of Edinburgh


The power of the anthology as an instrument of knowledge production has long been recognised, and, since the 1980s, the genre has been problematised and contested both within specific instantiations and in scholarly research which takes the anthology as its subject. The anthology as such, however, has yet to be fully theorised, and this conference aims to move toward a more comprehensive conceptualisation of its forms, functions and cultural dynamics.

Whilst there has been much theorisation of the archive and the canon, for example in the work of Derrida, Foucault, and Guillory, the relationship of the anthology to these concepts still needs to be explored. Is the anthology a conceptual framework that defines its own truth criteria (Foucault 1972)? Is anthologising a hermeneutical tradition, carried out by those who have ‘the power to interpret the archives’ (Derrida 1995:10)? Are all anthologies ‘judgements with canonical force’ circumscribed by an institutional location (Guillory 1993: 29)? Or are the ‘so-called canon wars of the 1980s and 1990s’ a thing of the past (Baym 2012: xxvii)?

As well as probing what these ideas can tell us about the anthology, and vice versa, we also need to consider new approaches. At a time when there is increasing pressure on the Humanities to account for itself, this conference seeks to intervene in the broader discourse of literary studies. If anthologising is an activity which defines and validates the categories that are the object of the humanist gaze, can and/or should it be viewed as an act of composition, an instructive exemplar of the processes Latour outlines as common to the humanities and sciences (Latour 2010)? Along these lines, can the anthology be read as an example of curation, of the kind Felski recommends as a primary activity for the humanities today (Felski 2014)?

The anthology is still very much a live issue on the broader cultural scene, reflected in recent political debates about representation and inclusion, not least the boycott prompted by the exclusion of women writers from the 2017 Cambridge Companion to Irish Poets and the furore over Helen Vendler’s critique of the ‘Multicultural inclusiveness’ of Rita Dove’s 2011 Penguin Anthology of Twentieth-Century American Poetry. This renewed attention to anthologising speaks of the urgent need for a more thoroughgoing reflection, the stakes of which are being increasingly raised in the context of ever more global methods of distribution.

A re-evaluation of the anthology is particularly pressing in the light of a number of significant developments in literary studies and the literary field more broadly. As a codex technology, the anthology is coming under pressure from the extension of digitization and the growing accessibility of literary texts online. Because ready availability can also be experienced as overwhelming proliferation, it is not yet clear whether this pressure will destroy, reinvigorate and/or reconfigure the genre. Online platforms present interesting challenges and possibilities for the future of anthologising.

Moreover, advances in Digital Humanities techniques have created a new set of affordances which particularly suit the study of the anthology, presenting as it does both a vast potential dataset amenable to statistical analysis and visualisation and a highly visible paratextual apparatus circumscribed by a narrow set of formal conventions. These technologies mean that the anthology is more available as a significant object for our attention, whether close or distant.

Finally, the surge in the commercialisation of education and the spread of large providers of education services and products with global ambitions has implications for the anthology in its impact on the selection and dissemination of literary texts for the university module or school curriculum. The expansion of service providers who are also publishers, the increasing emphasis on the education market and on students as consumers, and the necessity to follow economies of scale, will inevitably shape the anthologies to come.

We welcome contributions in the form of 90-minute panel proposals or individual submissions for 20-minute papers from scholars at all stages of their careers who have work to present on anthologies or on the anthology genre, historical or current, in any language, and from any national context or geographical region.

Topics may include, but are not limited to:

The archive (Foucault, Derrida)

  • Knowledge and power
  • Anthologies generating and controlling discourse
  • Anthologising as colonisation
  • Anthologies defining territories: time, space and ideas

The canon, inclusion and exclusion (Guillory)

  • Canon formation
  • Alternative anthologies
  • Recovery anthologies
  • Linguistic, national or geographically defined parameters
  • Periodisation
  • Genre
  • The anthology and the literary movement

Print culture (Chartier; Genette)

  • The history of anthologising – from the commonplace book to the online anthology
  • Anthology in/as network
  • Readership and publication
  • The paratext


  • Legitimacy and reputation
  • Pedagogy
  • Taste formation

Anthologies now

  • Anthologising as composition/curation
  • Managing proliferation in the digital age
  • The death of the codex anthology?
  • The role of the anthology in the global education market
  • Digital approaches to anthologies and other new methodologies
  • Anthologies and translation
  • Anthologies and globalisation: whose ‘world literature’?


How to submit

Abstracts for papers, whether for individual submissions or as panel proposals, should be no more than 250 words, each accompanied by a short (100-word) bio.

Deadline for proposals: 28 February 2019

All proposals should be sent to

Decisions on proposals will be communicated by 31 March.

Attendance and fees

The conference is open to anyone, in any discipline, working on anthologies.

Prices for the conference, including reduced rates for postgraduate students, and details of how to pay, will appear shortly.

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CfP: Beastly Modernisms, 12–13 Sept 2019, University of Glasgow

Keynote Speakers
Kari Weil, Wesleyan University (US)
Derek Ryan, University of Kent (UK)

‘I still do not think La Somnambule the perfect title – Night Beast would be better except for that debased meaning now put on that nice word beast.’ – Djuna Barnes to Emily Holmes Coleman

​‘Once again we are in a knot of species coshaping one another in layers of reciprocating complexity all the way down’ – Donna Haraway

​If modernism heralded a moment of socio-political, cultural and aesthetic transformation, it also instigated a refashioning of how we think about, encounter, and live with animals. Beasts abound in modernism. Virginia Woolf’s spaniel, T.S. Eliot’s cats, James Joyce’s earwig, D.H. Lawrence’s snake, Samuel Beckett’s lobster, and Djuna Barnes’s lioness all present prominent examples of where animals and animality are at the forefront of modernist innovation. At stake in such beastly figurations are not just matters of species relations, but questions of human animality and broader ideas of social relations, culture, sex, gender, capitalism, and religion. Modernism’s interest in the figure of the animal speaks to the immense changes in animal life in the early twentieth century, a period where the reverberations of Darwinian theory were being felt in the new life sciences, as well as emergent social theories that employed discourses of species, and developing technologies and markets that radically alerted everyday human-animal relations. It was also a period in which new theories of human responsibilities towards animals were also being articulated with Donald Watson coining the idea of veganism in 1944.

The recent “animal turn” in the humanities invites new ways of thinking about the beasts that we find in modernist culture. Moreover, animal studies arrives at a point at which modernist studies is already in the process of redefining what modernism means. Turning to modernism’s beasts not only promises fresh ways of understanding its multispecies foundations, but also points towards how modernist studies might intervene in contemporary debates around animal life. Building on the foundational work on animals and modernism by Carrie Rohman, Margot Norris, Kari Weil, Derek Ryan and others, Beastly Modernisms invites papers on animals and all aspects of modernist culture. Topics may include, but are not limited to:

•    Animal Life, Species and Speciesism
•    Beasts, Beastliness and Bestiality
•    The Creaturely
•    Unstable Signifiers
•    Animal Rights, Ethics and Politics
•    Anti-Vivisection Movements
•    Bestial Ontologies and Materialities
•    Queer Animals and Sexuality
•    Anthropocentrism and Anthropomorphism
•    Human Animality and Social Darwinism
•    Animal Commodification and Capitalism
•    Race, Class, Sex and Gender
•    Religion, Myth and Animism
•    Wildlife, Imperialism and Hunting
•    Pets, Companion Species and Domestic Animals
•    Biology, Ethology, Ecology and the Natural Sciences
•    Animal Performance, Circuses and Zoos
•    Animal Trauma, Violence and Warfare
•    Extinction and the Anthropocene
•    Livestock, Agriculture and Working Animals
•    Meat Production and the Animal Industry
•    Vegetarianism, Veganism and Eating Animals
•    Modernist Animal Philosophy
•    Humanism, Posthumanism and Transhumanism
•    Early- and Late- Modernist Animals

Individual papers should be no more than twenty minutes in length. Please send an abstract of 300 words and a brief biography to by 31 January 2019.

We welcome proposals for panels or roundtables of 3 to 4 speakers. Please send an abstract of 500 words and speaker biographies to by 31 January 2019.

​Submissions are open to all researchers at every level of study. We particularly encourage submissions from postgraduate researchers.