‘SUCH TOTAL AND PRODIGIOUS ALTERATION’ /

‘THE WOUNDS MAY BE AGAIN BOUND UP’

An academic conference

Chetham’s Library, Manchester,

 28th-29th January, 2011

For more details contact James Smith and Joel Swann at:
c17.conference@manchester.ac.uk

 

Call for papers

During the restoration and eighteenth century, the civil war period was consistently represented as a traumatic break in the history of England and the British Isles, separating the institutionally and culturally modern Augustans from either the primitiveness or idealised simplicity of the earlier epoch. Today, much academic practice silently repeats the period’s self-representation as a century divided between pre and post civil war cultures, whether in research, job descriptions or in undergraduate survey courses. Among the effects of this division of labour is a tendency for the earlier ‘Renaissance’ decades to be privileged over the restoration, which is frequently treated as a poor relation to the eighteenth century.

This conference provides a forum for researchers in all disciplines whose work spans all or any part of the long seventeenth century. As our titular quotations from Clarendon’s History of the Rebellion and Swift’s sermon ‘On the Martyrdom of King Charles I’ suggest, we also encourage papers on subsequent imaginings of the period that have contributed to or contested the ways in which it is read today. Concerns include but are not limited to:

  • The comparative study of seventeenth-century writing, sciences, visual arts and music before, during and after the civil war period; their material and intellectual dissemination; their relationship to ideas of what constitutes the early modern and the restoration.
  • Constructions of the seventeenth century from the restoration to the present; representations in literature, art, history and film; the cultural influence of the seventeenth century on subsequent periods.
  • The role critical theory can play in our reading of the period and/or narratives of the long seventeenth century from within literary criticism and critical theory; e.g. Leavis and Eliot on the Metaphysical poets, Walter Benjamin on the baroque, Foucault on madness, Habermas on the public sphere.
  • The study of non-canonical and marginalized texts and materials, and nationally comparative readings of the period.
  • The representation and reception of pre-seventeenth-century culture during the seventeenth century; the place of the past in the period’s self-representations.

Confirmed speakers include:
Rosanna Cox (Kent), Jeremy Gregory (Manchester), Helen Pierce (York), George Southcombe (Oxford), Jeremy Tambling (Manchester), Edward Vallance (Roehampton)

Please send abstracts of 300-500 words to James Smith (Manchester) and Joel Swann (Keele) by 15th October 2010, at c17.conference@manchester.ac.uk. Proposals from students are particularly welcomed, for whom attendance will be subsidized thanks to the generous support of the Society for Renaissance Studies.
 
 
 
 
 
 
 
 

 

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Dates:   14 to 16 October 2011
Venue: University of Toronto, Canada

Website http://booksandpublishing.com/conference-2011/:

Contact name: Emily Kasak

The conference explores the current role and future possibilities of the book, welcoming academics and practitioners from many areas, including publishing, librarianship, printing, education, literacy studies, and information technology.

Organized by: Common Ground Publishing

Check the website for full details

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Decadent Poetics
Centre for Victorian Studies,  University of Exeter, UK  –  1-2 July 2011
Deadline for proposals: 10 November 2010

Keynote speakers: Stephen Arata (Virginia), Joseph Bristow (UCLA),  Regenia Gagnier (Exeter), Catherine Maxwell (Queen Mary, London)
The initial reception of ‘decadent’ writing in both France and England was characterized by a focus on form and the importance of the poets of the late Roman Empire. From Theophile Gautier’s Preface to the 1868 edition of Baudelaire’s Les Fleurs du Mal to Arthur Symons’s ‘The Decadent Movement in Literature’ and Paul Borget’s famous delineation of decadent writing attempts to articulate a ‘decadent poetics’ were central to the definition of this new literature. Yet in recent years our understanding of decadence has been occluded by the focus on cultural politics and sexual transgression, which continue to dominate academic criticism of the fin de siècle. This conference seeks to return to the Victorian interest in language, poetics and form as the key to understanding decadence and aestheticism as literary phenomena. The focus here will be on both poetry and prose of the period and we particularly encourage those interested in marginal and forgotten writers of the period, along with the debates on the relationship between poetics and a culture in decline. In an attempt to outline a decadent poetics, we also seek to expand and complicate the canon of ‘’ecadent’ writers who dominate prevailing versions of the Victorian fin de siècle.

Possible topics include, but are not limited to:

– education and language;
– Victorians and Roman literature;
– Decadent prosody;
– Decadent and Modernist poetics;
– Aestheticist poetics;
– transatlantic Decadence;
– fin-de-siècle philology/linguistics;
– politics of Decadence and Aestheticism;
– satires of Decadent form;
– print/visual cultures of Decadence;
– Decadence and new technologies;
– genetic readings of Decadence;
– archival Decadence;
– material Decadence

Abstracts of 300-500 words should be sent to Dr Alex Murray and Dr Jason Hall via email at <decadent-poetics@exeter.ac.uk> by 10 November 2010.

Proposals for panels (comprising three speakers) are also welcome — please submit the title and a brief description of the panel as well as abstracts for the individual papers. Speakers (whether part of a proposed panel or not) are asked to include a one-page CV with full contact details, institutional affiliation (where applicable) and a list of relevant publications.

Please bear in mind that final papers should take between 15 and 20 minutes (maximum) to deliver.

UNIVERSIDAD DE LA LAGUNA

An Historiographical Analysis of Small Presses Publishing American Avant-Garde Poetry and Poetics between 1970-2000
A Research Project funded by the Spanish Ministerio de Ciencia e Innovación
FFI-2009-10786
Home Page Links People Publications
            • INTERNATIONAL CONFERENCE
                • Université du Maine, Le Mans, France
                  14-16 October 2010
        • “Poets and Publishers : Circulating Avant-Garde Poetry (1945-2010)”

Call for Papers

In the second half of the 20th century and the first decade of the 21st, the material conditions of avant-garde poetry’s circulation have come to the attention of critics. With the development of reader-response theory, research about the poets’ ways of informing the larger public of their experiments has come to encompass technical considerations, economic, social and political preoccupations. Small presses–not the vanity presses of former times–thus became the laboratories of the publishing world, picking up on the latest avant-garde movements.

How do these publishers, and the poets who entrust their works to them, contribute to poetic innovation in a publishing context marked by commercial decline of the book and the poem alike? To what extent do small presses convey aesthetic initiatives that would otherwise remain “readerless”? Could one talk, along with American poet Barrett Watten of a “systemic de-totalization” bringing about new configurations of the poetic landscape into networks and archipelagoes?

We are inviting papers that will risk answers to these questions in the context of a wider reflection on the publishing world, its margins and its objects, notably poetic texts inspired and shaped by the recent advances of sociology, philosophy and cultural studies. The aim is a global assessment of the circulation of avant-garde poetry.

300-word proposals in either English, French or Spanish to Hélène AJI (Université du Maine, France, Helene.Aji@univ-lemans.fr) and Manuel BRITO (Universidad de La Laguna, Canaries, Espagne, mbrito@ull.es) by 31 March 2010.

A carnival of feminist cultural activism

3-5 March 2011, York, UK.


This carnival is part-festival, part-conference. We seek to bring together artists, activists and academics from many nations to learn from each other, celebrate our creativity, and advance feminist work.

We ask, can feminist art save the world, and if so, how?

We warmly invite you to send in proposals and ideas for performances, academic papers, presentations, exhibitions & workshops. Informal enquiries welcome, and see the ‘Info’ link above for more details. The deadline for your plans and proposals to reach us is 31st October 2010. Feel free to distribute the CFS and this web site address freely.

WE

are women connected to the Centre for Women’s Studies at the University of York as students, alumni  and staff.

ASK

The call for submissions is framed in an open way to encourage a broad range of topics, perspectives and methods of presenting. Surprise us.

CAN

What is probable? Possible? Almost impossible?

FEMINIST

The event encourages cultural modes that address issues of power and gender in some way. These modes need not be defined as ‘feminist’, a word which has many specific meanings,

not all of which are liberatory in all circumstances. However, we use the word to attract papers and presentations that engage with women and/or gender in their cultural, social, symbolic, legal, sexual, representational, embodied and/or spiritual meanings via forms of art practices.

ART

For the carnival, ‘art’ includes: community theatre, poetry, music, knitting, blogs, song, writing, dance,

digital fiction, zines, podcasts, comedy, performance, puppetry, frockmaking, weaving, painting, gardening,

cooking, pottery,cartoons, sketching, sculpture, posters, comics, twitter and much more.

CHANGE THE WORLD

or even a little bit of the world. What kinds of changes are needed now, and how might they vary in different cultures?

and if so, how?

Can feminist art practices affect people in order to make changes?

Are art practices enough in themselves, or does art need to move people

to social action in order to be worthwhile? How does Third Wave Feminism deploy artistic and craft practices as part of its philosophy? What kinds of feminist community art practices are effective, and what does ‘effective’ mean?

TIMETABLE

31st October 2010:
Deadline for proposals.
20th November 2010:
All proposals assessed, and successful and unsuccessful presenters contacted.
Registration opens.
30th November 2010:
Confirmation of attendance from all accepted presenters (we recognise that in some cases this will be subject to funding).
15th December:
Draft programme published.
8th January 2011:
Registration for presenters closes.
Earlybird fee for attendees closes.
15th January:
Final programme published.
20th February:
Registration closes.
3rd -5th March:
A Carnival of Feminist Cultural Activism
31st March:
Final date to submit work to be considered for publication.

A publication timetable will be made available shortly after the conference, as this is dependent on the amount and format of the submissions. At least some work will be published by the end of 2011.

CALL FOR PROPOSALS

We welcome proposals for a three day conference
and festival of academic papers, presentations,
performance, exhibitions & workshops.
The event is designed to inspire, celebrate &
challenge understandings of women,
grassroots art and politics.
We ask: can feminist art change the world if so, how?
and we invite responses from activists, artists and academics.
street theatre :: poetry :: music :: knitting :: zines :: digital fiction :: podcasts :: dance :: performance :: painting :: puppetry :: frockmaking
aweaving :: gardening :: cooking :: sketches :: pottery :: bloggs :: song :: cartoons :: writing :: sculpture :: posters :: comics :: twitter ::
writing

Please send a 300-word proposal for
papers, panels, exhibitions, workshops and
performances plus a 50-word biography
by 31 October 2010 to:
carnival@feminist-cultural-activism.net
or post to:

Carnival of feminist cultural activism
Centre for Women’s Studies
University of York
Heslington
Yo10 5DD

UK

Website: http://www.feminist-cultural-activism.net

Contact name: Ann Kaloski

11th International Connotations Symposium

Poetic Economy: Ellipsis and Redundancy in Literature

Eberhard Karls Universitaet Tuebingen
Freudenstadt
Zollernblick-Lauterbad

July 31 – August 4, 2011

Call for Papers

What is it that distinguishes poetic language from ordinary kinds of utterance? We probably wouldn’t listen to poets if they weren’t any better at using language than we are. But then poets have always striven to speak the “real language of man,” or, as T. S. Eliot put it, “Every revolution in poetry is apt to be […] a return to common speech.” Accordingly, we wouldn’t listen to poets either (at least poets seem to think so) if they wouldn’t use language the way we do. In the history of poetics, the question of poetic language has frequently been addressed in what one might call economic terms. Sir Philip Sidney points out that the (musical) nature of verse demands “the words […] being so set as one cannot be lost, but the whole woorke failes,” which implies not only that there is, ideally, one right way of choosing and placing words but also that there is a right number: too many or too few words would destroy the work. This seems plausible and may provide an answer to our initial question: whereas most of us need too many or use too few words to make a point, poets get the number exactly right. But in practice, things aren’t perhaps quite so obvious. For what about the fact that poetry (and other forms of literature) is frequently elliptical? Only think of Emily Dickinson’s fragmentary syntax, which often lacks the function words that might establish a coherent utterance. And what about the notion that literary art deletes, condenses and compresses elements of language, that Dichtung is Verdichtung (as Kafka and others put it)? But there is also the contrasting notion that literature, and poetry in particular, is marked by an excess, superfluity and redundancy of words and other elements of language. There are not only baroque ideals of style with their emphasis on copia verborum, there is also Keats’s dictum that poetry “should surprise by a fine excess,” or there is the notion held in pragmatics that the effect of an utterance which is not primarily due to the proposition put forward but to a wealth of “weak implicatures” (such as attitudes, feelings and states of mind) should be called poetic.

One way of resolving these apparent contradictions would be to consider the question of “too little” or “too much” not in absolute but in relative terms. An aphorism may have too many words and a Victorian novel may lack the very words needed for a reader to regard it as a success. But this leaves us with the tricky question of decorum: what is the idea or purpose to which a particular number of words is appropriate and by which we measure the verbal economy of a literary work of art?

The venue will be a beautifully situated hotel in the Black Forest (near Freudenstadt), which is partly owned by Tuebingen University (see http://www.zollernblick-lauterbad.de).

As the emphasis of the Connotations symposia is on critical debate, talks will be 30 minutes, leaving another 30 minutes for discussion.

Please send your proposal by October 1, 2010 to symposium2011(at)connotations.de

CALL FOR PAPERS

The Fourth Annual Japan Writers Conference will be in Tokyo this year at the Ekoda Campus of Nihon University College of Art on October 9-11, 2010.

This is a call for presentation proposals. All published writers, translators, editors, agents and publishers who would like to lead a session are invited to submit proposals. Those who have presented at past conferences are (of course) welcome to submit new proposals. But we especially encourage proposals from new submitters. One of the strengths of the Conferences is its variety, and the best way to foster variety is to feature new presenters each year.
Please forward this to any friend or colleague who would be interested. If you know someone the conference organizers might approach—either living in Japan or planning to visit Japan next fall—please send us your suggestion. If you have contact information, that would be a great help.
Detailed information follows, but briefly, a proposal needs to include information a brief bio, including publication credits, the type of presentation you wish to make, a title, a summery of 50 words, a longer abstract (150 words) and any special requests you might have. Standard sessions are fifty minutes long, but if you have something special in mind, please let us know and we will accommodate if possible.
Presentations on all genres and all aspects of writing and publishing are welcome. The deadline for presentation proposals is June 1, 2010.
As in the past, the Conference will be free and open to all who wish to attend. This is possible because all the presenters and organizing staff volunteer their time and talent, and the use of the site is donated by the hosting institution. As a result, the Conference cannot offer any payment, reimbursement, lodging, or help in securing visas or travel permits. So please don’t ask.
Proposal Guidelines
When planning your proposal, keep your audience in mind. Your listeners will be writers and others concerned with creating the published written word, such as translators, editors, publishers, and agents. While teaching, literary studies and private self-expression are certainly worthy activities, they are not the focus of this Conference. Ask yourself as a writer or other word professional these questions:
What information do you have which could be useful to others?
What writing, rewriting, editing, or marketing techniques have worked for you?
What topic would make for a lively and enlightening discussion?
What publishing or other professional opportunities do you know about?
What will an attendee take away from your fifty-minute session that he or she will find worthwhile?
You may submit more than one proposal.
The only qualification one needs to be a presenter is to have published. This does not mean that you need to have published a lot or in some high-profile journal. Your book (if you have a book) does not have to be on a best seller list. You do not have to have won any awards or to have appeared on TV. You simply need to have written, edited, translated, or otherwise worked on a piece of writing which has made it to the public eye. That is, published.
Proposal Deadline and Format
Using the following format, please send your ideas for a presentation by June 1, 2010. Send your proposal in the body of an email (no attachments) to both these addresses:
In your subject line give your name, “JWC,” and the date.
In the body of the email, give:
1. Your name (or names)
2. Contact information (email, telephone. These remain confidential.)
3. Your publications (Need not be complete, but give names of journals and genre for short pieces; title, publisher and date for books; venues and dates for plays, and so on)
4. Title of presentation. (20 words or less)
5. Type of presentation (short lecture with Q&A, craft workshop, panel discussion, reading with Q&A, etc.)
6. Short summary of the presentation (50 words or less)
7. Abstract of the presentation (150 words or less)
8. Personal and professional biography (50 words or less. Include mention of your publications, as this will be part of the Conference program)
9. Anything else, such as special equipment needs or questions.
Your proposal doesn’t have to be a “finished” document to submit. There will be time to shape and polish your ideas for a presentation. But there are a set number of session slots available and if you are interested in having one of them, please let us know soon. Again, the deadline is June 1, 2010.
John Gribble
Bern Mulvey
Co Co-ordinators,
2010 Japan Writers Conference