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CFP: Reading Joyce’s ‘Aeolus’

London: Saturday, 2 March 2019

Of the 18 episodes of James Joyce’s Ulysses (1922), ‘Aeolus’ has claims to be among the most neglected. Conspicuously revised after its first appearance in The Little Review in October 1918, it belongs exclusively neither with the opening chapters of Joyce’s novel nor with the more radically experimental narratives of the later episodes. In this way, it presents a textual curiosity in the book, long overdue critical reappraisal.

This workshop, a collaboration between the James Joyce reading groups at the University of Leeds and the Charles Peake Ulysses reading group, hosted by the Institute of English Studies at Senate House, aims to offer new perspectives on this all too easily overlooked episode.

We welcome papers that focus on this episode exclusively, or explore its relationship with other chapters of the novel, or the rest of Ulysses more broadly, or other texts besides. Possible paper topics include, but are in no way limited to:

• Newspapers, popular media, and advertising
• Technology, trams, telegraphs, and printing presses
• Parnellism, the Irish language question, and political history
• Alcohol, socialising, and homosocial spaces
• Geography, city planning, urban infrastructure, architecture, and mapping
• Minor and ‘real-world’ characters
• The Little Review: adaptation, revision, and annotation

Papers should be no more than 20 minutes in length. 250-word abstracts and brief biographies should be sent to the organisers, Helen Saunders (helen.saunders@kcl.ac.uk) and Steven Morrison (steven.morrison@nottingham.ac.uk) by 30 November 2018.

When: Saturday 2 March 2019

Where: Institute of English Studies, Senate House, University of London

Reading Joyce’s ‘Aeolus’ (URL)

Reading Joyce’s ‘Aeolus’ (PDF)

The 64th BAAS Annual Conference
25–27 April 2019, University of Sussex

Keynote Speakers:
Barbara Savage (University of Pennsylvania/University of Oxford), Robyn Weigman (Duke University), Jonathan Bell (UCL)

Conference Themes
Proposals are welcomed on any subject in American Studies, and submissions are particularly welcome that address our two broad themes: LGBTQ+ History. Inspired by the 50th anniversary of the 1969 Stonewall Riots and the heritage of the Brighton area, the conference welcomes submissions relating to the American sexuality, civil rights and sexual dissidence. Activism and Radical Thought. Inspired equally by the East Sussex career of Thomas Paine, we also encourage papers exploring the history and culture of radical thought and activism from all sides of the political spectrum.

Submission Guidelines
Given the size and scope of the conference, we will give preference to fully formed panel proposals, but will also accept individual paper proposals where possible. All individual paper proposals should be for 20-minute presentations. All sessions at the conference will be a maximum of 1 hour 30 minutes. Proposals for panels should therefore consist of no more than three speakers, or, if more speakers are desired, should be conceived as roundtable discussions. BAAS is dedicated to fostering a culture of diversity and inclusion. We will give preference to panels that reflect the diversity of our field in terms of gender, ethnicity, sexual orientation, and institutional affiliation. We will also give preference to panels that include a mix of participants from across the career spectrum (i.e., from postgraduate to professor). All-male panel proposals will not be accepted. Equipment for the projection of visual presentations will be available in all rooms.

Special Funding for Targeted Research Panels
As a step towards building a more inclusive and diverse scholarly community, BAAS has made available funding for convenors to organise two successive annual conference panels that will support, promote, and feature the production of research by and about people of colour, LGBTQ+, and disability communities. Through Targeted Research Panels, BAAS seeks to provide opportunities to foster and forward research that attends to and includes historically marginalised communities and scholars without regularised institutional support. Convenors who apply for funding to organise a Targeted Research Panel must commit to coordinating a thematically cohesive panel for the 2019 and 2020 BAAS Annual Conferences. Each selected Targeted Research Panel will be awarded £5000 for a two-year cycle of BAAS annual conference panels. The panel convenor might, for example, use funds to subsidise the travel and accommodation of the panellists. The deadline for Targeted Research Panel applications is the same as the general CFP. For further details click here.

Instructions on Submission
Paper proposals should be 250 words maximum, including a title. Panel proposals should include a 250-word abstract for each constituent paper as well as an abstract of no more than 250 words describing the panel session as a whole. Please submit proposals, along with a brief CV and email address for each participant, to baas2019@sussex.ac.uk by the deadline of 15 November 2018.

Further details at: www.baas2019.org

Call for Papers: Modernist Art Writing / Writing Modernist Art

An International, Interdisciplinary Conference, University of Nottingham, 24–25 June 2019

The sometimes fruitful, sometimes fraught relationships between literature and the visual arts within modernism and the avant-garde have provided rich terrain for scholarly investigation, and for understanding both art and literature within the broader field of cultural production. And yet the various ways in which modernist writers respond to, object to, defend, query, and seek to represent the visual arts through writing have not yet been fully investigated. If, as Jennifer Pap (1997) has argued in relation to Cubism, modernist works of art are resistant to exhaustive explanation and to narrative entry, then how can writing – produced from within modernism or in response to it – best set about representing it?

Following Susan Harrow’s edited special issues of French Studies on New Ekphrastic Poetics (63.3 (2010)) and Thinking Colour-Writing (71.3 (2017)), Catherine Grant and Patricia Rubin’s special issue of Art History on Creative Writing and Art History (34.2 (2011)), experiments in creative art writing by T.J. Clark and others, and a renewed interest in creative criticism (as evidenced by Stephen Benson and Clare Connors’ 2014 anthology and guide), this conference will examine the relationship between modernism and art writing, both in the past and in the present moment. It will consider the ways in which different forms and genres of modernist writing responded to the visual arts; the legacy of modernism in contemporary practices of art writing; and the ways in which writers, whether academic, curatorial or creative, have engaged with modernist works of art. If, as Baudelaire claimed, the best response to a painting is a sonnet or elegy, then where does this leave art criticism, or the didactic gallery text? How have written responses to works of art sought (successfully or not) to provide equivalents to these, to capture the work of art in words, or to capture the experience of looking? What forms (ekphrastic poetry, artist stories, critical reviews, instructional guides, experimental forms of writing) have these responses taken?

We welcome various forms of intervention considering art writing produced within the modernist period broadly defined, and/or contemporary writing responding to modernist artworks, from a variety of disciplinary perspectives. We are keen to investigate the transnational dimension of modernist art writing and encourage submissions from those working on non-Anglophone cultures. The working language of the conference will be English but proposals for interventions in other languages will be welcome.

Papers may wish to respond to any of the following questions (which are presented as a set of prompts rather than an exhaustive list):

• How has art writing mediated the reception of modernist art across linguistic and cultural borders? What is its role in transnational artistic currents?
• How does modernist art writing ‘translate’ or mediate the visual arts for different audiences? Equally, how might it resist reductive models of intermedial translation?
• How does modernist art writing depart from traditional models of art criticism (‘describe and explain’), or indeed adhere to them?
• What has been the impact of modernist art writing (by figures such as Stein, Mallarmé, Moore, Schwitters, Apollinaire) on contemporary writing?
• To what extent might modernism permit experimental approaches to writing about art? And to what extent might modernist art writing overlap with other genres (poetry, fiction, criticism)?
• Where does art writing stand within the field of cultural production? How does it relate (in terms of its concerns, and its cultural status) to modernist writers’ other literary production?
• In what kinds of venue is art writing published, and how do editorial practices (including placement of images) affect its meaning and reception?
• Given the historical exclusion of women from concepts of artistic genius and from art-critical authority, in what ways have women used alternative modes of art writing as a space for self-expression and assertion, to explore text-image relationships, and (in the case of women artists) to assert critical authority over their own work?
• What differences can we perceive between modernist artists’ own writings about art, and the writings of those who approach the visual arts from a literary standpoint? What are the approaches adopted (during the modernist period and now) by professional critics, curators, creative writers and visual artists, and how might we most usefully interrogate their art writings? How do we approach the work of practitioners who straddle visual and verbal media?

We invite

– Proposals for complete panels (3 x 20 minute papers) or roundtables (5 x 8-10 minute papers)

– Proposals for individual scholarly papers, creative and/or critical interventions (20 minutes)

– Posters or digital exhibits (to be accompanied by 5 minute flash presentations)

We also plan to organise practice-based art writing sessions; proposals to run these are very welcome, as are other ideas.

Please send proposals and queries to the conference email address: modernistartwriting@gmail.com

The deadline for all proposals is Friday 30 November 2018.

Organising committee: Katherine Shingler, Lila Matsumoto, Lucy Bradnock (University of Nottingham Interdisciplinary Modernism Research Network); Emma West (Centre for Modernist Cultures, University of Birmingham)

Organised in conjunction with Nottingham Poetry Exchange and the Department of Modern Languages and Cultures, University of Nottingham.

There will be a fee to attend the conference; we will aim to keep this as low as possible to ensure that the conference is accessible to all. A reduced rate will be available for PGs/unwaged/unaffiliated delegates.

MSIA2

‘Modernism and Multiple Temporalities’

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

12–14 September 2019

Aoyama Gakuin University, Tokyo

Confirmed Keynote Speakers

Prof. Laura Marcus (Oxford)

Prof. Douglas Mao (Johns Hopkins)

Prof. Aaron Gerow (Yale)

Following its highly successful inaugural conference held in June 2018, the Modernist Studies in Asia Network (MSIA) calls for abstracts for its second annual international conference on the subject of ‘Modernism and Multiple Temporalities’.

The concept of psychological time has long been a central theme of modernist studies, particularly with reference to textual features such as the stream of consciousness and narrative fragmentation. In recent years, however, increasing attention has been paid to the ways in which the ‘politics of time’ (Peter Osborne’s term) has defined the very experience of modernity and generated a variety of modernist innovations such as the avant-garde rhetoric of rupture or attention to the communal rhythm of the everyday. Starting with Karl Marx’s observation on capitalism’s ‘annihilation of space by time,’ many critics have examined how the dominant versions of time (such as Walter Benjamin’s ‘homogenous, empty time’, or what E. P. Thompson called ‘time discipline’) colluded with capitalism, colonialism, and imperialism; meanwhile, they have also observed the ways in which the dominant ideologies were often contested through the multiplicity of temporality in various locations.

Building on these observations, we might revise the agenda of ‘New Modernist Studies’ formulated by Douglas Mao and Rebecca Walkowitz ten years ago—the agenda to expand modernism temporally, spatially, and vertically. While we continue to pursue the vertical expansion of modernism to include a variety of popular genres, we might now consider the temporal and the spatial in conjunction and note how the spatial expansion of modernism urges us to confront the multiplicity of experiential time across the world. We might also explore how the expanded field of global modernism is itself constituted by competing or conflicting temporalities that were lived or generated in the specific locations of modernity.

In this spirit, we invite papers that engage with multiple temporalities in the texts of modernism (literature, art, cinema, music, and other cultural products). How do they represent, reproduce, or reconfigure the experiences of time in modernity? How does the modernist obsession with innovation contain the utopian desire for the future while also being charged by a nostalgic longing for the past? How do the multiple temporalities of modernism challenge, contest, or sometimes conform to the dominant versions of time? Or how do the texts of modernism themselves travel across time and space, through the specific temporalities of transmission, reception, and translation? We welcome papers that tackle these questions with reference to modernism in its global as well as local—European, American, African, Oceanian, Asian, or elsewhere—manifestations.

Topics may include, but are not limited to:

Modernism and the Histories of Modernity

Modernism and the Uneven Development

Synchronicity and Non-synchronicity

Dominant/Residual/Emergent

Dailiness and the Everyday

Internal and External Time

Psychological and Physiological Time

Secular and Sacred Time

Linear and Cyclical Time

Global and Local Time

Deep Time

Time and the Modernist Narrative

Cinematic Time

The Ideas of Tradition and Innovation

Affect and the Perpetual Present

Gendered Experience of Time

Utopia

Nostalgia

Rhythm

Primitivism, Futurism, and Presentism

Temporalities of Transmission, Reception, and Translation

The Ideas of the Contemporary

Legacies of Modernism

Please send 200-word abstracts for 20-minutes papers along with a short bio to multipletemporalities@gmail.com by 25 December 2018.

Conference Organizers (in alphabetical order):

Fuhito Endo (Seikei University)

Asako Nakai (Hitotsubashi University)

Kohei Saito (Aoyama Gakuin University)

Motonori Sato (Keio University)

Kunio Shin (Aoyama Gakuin University)

Yoshiki Tajiri (the University of Tokyo)

Kyoko Yoshida (Ritsumeikan University)

The conference website will be ready by March 2019. For further information about MSIA, please visit our website:

https://modernismasia.wixsite.com/main

Please follow us on twitter @modernism_asia

Please also visit our facebook page

https://www.facebook.com/groups/1739367313039810/?ref=bookmarks

We are excited to announce the Call for Papers for Modernism in the Home. The conference is set to be held on Monday 1 and Tuesday 2 July 2019 at the University of Birmingham in collaboration with the Centre for Modernist Cultures. Studies of modernism and the home are wide-ranging; this international conference will reflect the broad scope of research, fostering interdisciplinary dialogue between literary, arts and cultural sectors. The conference invites scholars to interrogate the historical, theoretical and thematic intersections occurring in the domestic sphere in the early twentieth century. Panellists are invited to reconsider and discuss the aesthetic, social, political, technological, artistic, scientific, cultural and textual relationship between modernism and the home, in a global context.

We are delighted to announce that our keynote speakers will be Professor Morag Shiach (Queen Mary University) and Professor Barbara Penner (The Bartlett School of Architecture). Professor Shiach’s work focuses on the changing nature of domestic interiors in the early twentieth century, challenging traditional associations of modernity with public space. Professor Penner’s current research focuses on ‘cardiac kitchens’ in the post-war period, and more broadly looks at themes of domestic technologies, domestic labour and domestic bodies.

The conference programme will include a guided tour of Winterbourne House and Gardens in Birmingham.

The CFP closes 14 December 2018. Decisions will be made in early January.

Classic anti-domestic rhetorics of modernity have often aligned the domestic with the private, designating it a lesser to the democratic, masculine and thoroughly ‘modern’ public sphere. With its cries of ‘Make it New!’, modernism staged a bold protest against the constraints of Victorian domesticity. Yet as contemporary re-evaluations by scholars such as Chiara Briganti, Barbara Penner, Morag Shiach, Kathy Mezei, Clair Wills and Victoria Rosner suggest, the home remains a crucial space for the interrogation of our cultural relationships with technology, class, race, sexuality, and gender. The early years of the twentieth century saw this ubiquitous space evolve. No longer an emblem of Victorian patriarchy, the house became a more boundless entity whose shifting boundaries and notions of propriety were tied up with the rapidly changing cultures of consumerism and technology.

Modernism in the Home invites discussion that critiques, questions, and offers new readings of the home, challenging stereotypes surrounding the historical binary that posits the domestic realm as private, feminine, and anti-modern. We want to explore the symbiosis between architecture and literature, public and private, the house and the novel. By engaging with artists, architects and authors whose work intersects with the domestic, we hope to examine the evolving nature of the home and its inhabitants in the early twentieth century.

We welcome papers that examine the relationship between modernism and the domestic sphere. Topics may include, but are not limited to:

• Rooms
• Furniture
• Domestic life
• Domestic material cultures
• Home beyond the domestic
• Food and the kitchen
• Household technologies
• Home, garden and horticulture
• Items in the home (radio, kitchen sink, washstand)
• Domestic interior design (Omega workshop, Heals)
• Modernist homes (Charleston, Hayford Hall, 2 Willow Road)
• Domestic architecture (Le Corbusier)
• Domestic modernism (and the Middlebrow)
• Bodies in the home (human, pets, children, servants, lodgers)
• Childhood and the home
• Women’s place in the home
• Different types of homes (lodging house, boarding house, ‘digs’, country houses)
• Changing domestic spaces and the wars
• Utopian living
• Rest cures and illness
• Suburbia vs metropolis

Papers should be fifteen minutes in length. We also encourage scholars who wish to present in other creative ways to apply. To apply, please send an abstract of no more than 300 words, as well as a brief biography of 200 words, to modernisminthehome@gmail.com

We are delighted to be able to offer three travel grants of £50 for PGRs or ECRs speaking at the conference. If you would like to be considered for this, please include a separate indication of your estimated travel costs with your abstract. This will not be taken into account when assessing your proposal.

Website: https://modernisminthehome.wordpress.com/

Twitter: @homemodernism

Call for Papers: ‘Lewis and the Post-War, 1919–1921′

In his autobiography Blasting and Bombardiering (1937), Wyndham Lewis memorably assessed the world in which he found himself on returning from the western front:

“We were all in the post-war, but that period produced nothing but a lot of sub-Sitwells and sheep in Woolfe’s clothing, and we were not of it. I call us here ‘the Men of 1914’.”

 The Journal of Wyndham Lewis Studies seeks 7- to 10,000-word essays that engage with Lewis’s post-war writing, activities, and social networks. We are particularly interested in essays that:

• explore Lewis’s role in the literary, textual, and visual cultures that emerged and evolved in the post-war era
• examine the contexts and legacies of the post-war era across interdisciplinary boundaries
• address the intersections between Lewis’s post-war writing and his work as an official war artist
• reconsider, disrupt, or deconstruct Lewis’s famous “Men of 1914” pronouncement through the lens(es) of gender studies and/or queer theory
• document the types of collaborative post-war reconstructivism promoted by Lewis and his peers through their interacting publications and periodicals
• reflect upon the role that autobiography and retrospect play in shaping our readings of the post-war period and/or Lewis’s activity in this period
• develop existing scholarship that approaches Lewis and the post-war era through new angles (i.e. the medical humanities, disability studies, digital humanities)

We are also seeking 1- to 2,000-word book reviews of works of critical scholarship that broadly relate to the theme of Lewis and the post-war, 1919–21.

How to submit

To submit, or to discuss an idea for, an article or book review for the 2019 issue of JWLS, please contact the journal’s Co-Editor Nathan Waddell (n.j.waddell@bham.ac.uk)
Completed essays will need to be submitted to the JWLS co-editors (using the email address above) by 1 April 2019, to allow sufficient lead-time for peer review. Publication is anticipated for the fourth quarter of 2019.

‘Re-presenting David Jones’ 

(Proposed seminar at American Comparative Literature Association Annual Meeting, 7–10 March, 2019, Georgetown University, Washington, DC)

Organizer: Thomas Berenato (University of Virginia)

Co-Organizer: Anna Svendsen (University of York)

The centenary of the First World War has prompted new publications on and public interest in the life and work of the Anglo-Welsh poet and painter David Jones (1895-1974). In 2015 Chichester’s Pallant House Gallery devoted a major exhibition to Jones, its detailed catalogue by Paul Hills and Ariane Bankes attracting attention in the scholarly and popular press. English composer Iain Bell adapted Jones’s war poem In Parenthesis (1937) for the Welsh National Opera in 2016. BBC Radio 4 featured Thomas Dilworth’s biography of Jones, the fruit of three decades’ research, as a Book of the Week in April 2017. Chapters in recent monographs by Anthony Domestico, Matthew Griffiths, and W. David Soud, among others, have considered Jones alongside his better-known peers. In late 2017 Brill presented a collection of essays addressing the question of Jones’s status as a “Christian Modernist.” In summer 2018 the journal Religion & Literature released a David Jones Special Issue and Bloomsbury Academic included an edition of Jones’s unpublished prose in its Modernist Archives series, with an edition of his unpublished poetry to appear in December.

This seminar, convened with the cooperation of the new David Jones Research Center, calls students and scholars of Jones to capitalize on and contribute to this growing corpus. Some spurs:

– Investigations of Jones archives in North America and the UK

– Approaches to editing and exhibiting Jones’s work and correspondence

– Jones among his contemporaries

– Jones’s inheritance and legacy

– Jones’s cultural and aesthetic theories

– Jones and theology, religion, the Second Vatican Council, “the post-secular”

– Jones’s politics, political theology

– Jones’s women

– Jones’s wars

https://www.acla.org/re-presenting-david-jones

If interested in being a part of this seminar proposal, please submit an abstract via the ACLA website by 20 September. For more info about submission, see the guidelines on the ACLA website: https://www.acla.org/node/add/paper