CFP: Dandelion Journal – submission deadline 1 August 2020

Dandelion Journal

Call for Papers

Submissions are invited on the theme of

ANIMALS

“The main shortcoming of humanistic scholarship is its extreme anthropocentrism”, Edward O Wilson recently claimed, arguing that this was “a major cause of the alarming decline in public esteem and support of the humanities”. The humanities have begun to pay attention to the depredations of the Anthropocene and to our animality, our animal origins, in the work of Donna Harraway and Pierre Huyghe, to give two notable examples. However, it could also be argued that they have narrowed dramatically, to become obsessed with individual human identity, advancing the causes of particular, discrete groups of humans. A position one could say is hyper-Anthropocenic, one following the atomizing, conflict-generating logic of neo-liberalism, which one can in turn relate to an epidemic of self-obsession and narcissism in the mirror-world of the culture at large.

Can an increased concern in the humanities with animals and animality, and therefore with nature, and by extension science, offer a way out of this impasse? Animals are still at the centre of our culture; they have always answered out needs, and our attitude to them is as conflicted as it has always been. The anthropomorphism that still dominates our attitude to them often takes on sentimental forms, yet it developed as an entirely utilitarian way to aid hunting in prehistory. When we begin to consider animals and animality we enter a world of contradictions. We spend tens of millions on pet food, but still slaughter huge numbers of animals. We could not have survived the last Ice Age without their furs and skins, and it was increased consumption of their meat that led to the increased brain size that allowed our bipedalism to advance, and thus to the descent of the larynx, and thus language; in short, this almost-cannibalism, this never-ending slaughter, was essential to our becoming human.

George Bataille said that animals dwell in the world “like water in water”, in an unmediated, non-destructive, but utterly determined way, and that humans had also once dwelt in the world in this way. But at some point in prehistory, this changed, and our exploitation of Gaia began. Questions contributors may want to consider are where our differences from animals truly lay?  Where do we find what remains of our animalism? Are there times and privileged circumstances in which we too can dwell in the world ‘like water in water’, and how can we, and should we, create them? How much closer can we come to animals? Is there anything to be said for holding up something programmed to pursue its genetic interests, allowing nothing to stand in its way, without altruism, and beyond good and evil, as a redemptive model? What possibility is there of having genuine access to the umwelt of, and somehow experiencing the full ontological reality of what is biologically different in any case? Can insights about our animality help us exit the Anthropocene without disaster, and not just ensure our survival, but even our self-overcoming, and new way of being in the world?

The word ‘animals’ has many ramifications, various morphologies, histories, and synonyms and antonyms, all of which contributors are free to explore. Topics may be related, but are not limited, to:

  • Animal rights
  • The Anthroposcene/Post-Anthropocene
  • Anthrozoology
  • The post-human
  • The trans-human
  • Humanism and anti-humanism
  • Animal Studies
  • Animalism
  • Beastliness
  • Animal consciousness
  • The Chthulucene
  • The animal as trope
  • Anthropomorphism and totemism
  • The animal and animalism in philosophy
  • Anthropocentrism
  • Animal-human relations
  • Chimeras and monsters
  • The fabular
  • The apocalyptic and the revenge of nature
  • The animal in horror and science fiction
  • Becoming animal
  • Evolution
  • Extinction
  • Human as animal, animal as human

Submission guidelines

We welcome long articles (of 5000-8000 words), or shorter ones (of 3000-5000 words). We also welcome reviews of books, films, performances, exhibitions, and festivals (of around 1500 words).

We also publish interviews that you may wish to conduct with an author/artist, and artwork including visual art; creative writing; podcasts, and video footage (up to 10 minutes).

We would be happy to discuss ideas for submissions with interested authors prior to the submission deadline.

Please send your submissions to mail@dandelionjournal.org by 1st August, 2020

 

 

. . Category: Archived Call for Papers . Tags: , , ,

CFP: Glasgow International Fantasy Conversations deadline for submission 12 Jan 2020

Glasgow International Fantasy Conversations

Beyond the Anglocentric Fantastic

28th-29th May 2020

In “Surviving Fantasy Through Post-Colonialism”, Deepa Dharmadhikari writes that she grew up “speaking Marathi with my family, and Hindi with schoolmates and neighbours, but the only children’s books I read were in English. Less than a handful were written by Indian authors about Indian characters.  . . . I grew up with half a tongue.” Her essay invites us to question our own habits: What language do we use when we read, watch, write, or think about Fantasy and the fantastic? What cultural traditions tend to be represented in the “Fantasy canon”? What ethnic and racial groups dominate Fantasy texts, in terms of characters and writers alike? What power dynamics shape the production, distribution, and reception of Fantasy texts? Many of the texts that have been used to define Fantasy are written in English and either set in or inspired by white-dominated spaces in the United States and the United Kingdom, from The Lord of the Rings to the works of George MacDonald, William Morris, L. Frank Baum, Neil Gaiman, Terry Pratchett and J. K. Rowling. Fantasy scholarship has reinforced this tendency, dominated as it is by discussion of English-language texts.

This limited perception of Fantasy is reflective of two key concepts for this year’s symposium: Anglonormativity and Anglocentrism. Anglonormativity refers to the hegemony of the English language, which pressurizes creatives and scholars into using English and writing about English-language texts, and treats scholars and writers in other languages as niche and hence marginalised. Anglocentrism, in turn, refers to the practise of viewing the world through the lens of an English or Anglo-American perspective and with an implied belief, either consciously or unconsciously, in the preeminence of English or Anglo-American culture.

Anglonormativity and Anglocentrism can lead to either ignoring or appropriating the lengthy and rich traditions of Fantasy and the fantastic written in other languages and cultures, many of which predate the Anglophone tradition. Those non-Anglophone traditions have resulted in unique genres separate from Anglocentric Fantasy, others in subgenres like Afrofuturism, and still others in culturally-specific incarnations of Fantasy. Recent years have seen an increase in the publication and profile of works of Fantasy and the fantastic translated from a variety of languages (Chinese, Russian, Greek and Malay, to name but a few) as well as the output of English-speaking authors of colour such as Nalo Hopkinson and Kai Ashante Wilson, who bring their own backgrounds and language into their work. Within Anglophone countries, there has been a slowly growing tendency to centre the perspective of racially, culturally, and ethnically marginalised groups whose perspectives have historically been underrepresented in white Anglocentric fantasy. Indigenous authors are also starting to make their presence known in the fantastic, using the genre to examine the contested space of colonised land, and imagine escape from or alternatives to a history and present of oppression and erasure. Tolkien’s white British English may still be treated as the default for Fantasy, but as Dharmadhikari argues, “Dragons are not universal, and fantasies are not homogenous.”

GIFCon 2020 is a two-day symposium that seeks to examine and honour the heterogeneity of Fantasy and the fantastic beyond Anglonormativity and Anglocentrism. We welcome proposals for papers relating to this theme from researchers and practitioners working in the field of Fantasy and the fantastic across all media, whether within the academy or beyond it. We are particularly interested in submissions from postgraduate and early career researchers. We will also offer creative workshops for those interested in exploring the creative process.

We ask for 300-word abstracts for 20-minute papers, as well as creative presentations that go beyond the traditional academic paper. Regrettably, despite our desire to centre the non-Anglophonic, we are only able to accept papers presented in English.

Suggested topics include, but are not limited to, the following:

  • Non-Anglocentric histories and traditions of Fantasy and the fantastic in all forms of media
  • The postcolonial fantastic, by authors such as Helen Oyeyemi, Salman Rushdie, N. K. Jemisin, Nalo Hopkinson, and Zen Cho
  • The use of real non-Anglophone languages in Fantasy
  • Translation studies and the fantastic
  • Accounts of non-Anglophone scholarship on Fantasy and the fantastic
  • Influence of Anglocentrism and Anglonormativity on the non-Anglocentric and non-Anglonormative
  • The non-Anglocentric European fantastic, e.g. Slavic, Nordic, Mediterranean, Gaelic
  • The (mis)use, exoticism, and appropriation of non-Anglocentric cultural traditions and fantasy lineages into the Fantasy ‘canon’
  • Indigeneity and indigenous self-determination in Indigenous forms of Fantasy
  • Deconstruction, decolonisation, and counterappropriation as topics within and movements surrounding Fantasy texts
  • Postcolonial reception of Anglocentric texts, e.g. the success of Harry Potter in India
  • Implications of “writing back” to Anglophone genres
  • Diasporic Fantasy and the fantastic
  • Relationship between Fantasy and non-Anglocentric genres and forms, e.g. magical realism, masala films, Africanjujuism, shenmo xiaoshuo, fantastique, kaiju, etc.
  • Fantasy and the fantastic in a non-Anglocentric medium, e.g. Bollywood fantasies, manga, anime, jrpgs, Karagöz shadow plays
  • Fan efforts to create space for non-Anglocentric experiences in Anglocentric texts
  • Marginalised traditions within Anglocentric fantasy, i.e. works of the fantastic about and by immigrant communities, religious minorities, and racial and ethnic minorities
  • Relationship between non-Anglocentric Fantasy and the regional cultural industries that produce them
  • The presence or lack thereof of non-Anglocentric Fantasy in Anglocentric spaces
  • Relationship between Fantasy and religious or spiritual beliefs in non-Anglocentric cultures

Please submit a 300-word abstract and a 100-word bionote to gifcon-submissions@glasgow.ac.uk by 12th January 2020 at midnight UTC. For further submission details, visit https://gifcon.org/gifcon-submission-guidelines/

 

 

. . Category: Archived Call for Papers, Archived Events . Tags: , , , , , ,

GRiT: ‘Unruly Access’ 11 December 2019 4pm

Please see details below of this year’s first GRiT (Graduate Research in Theatre) event. 

Dr Lewis Church’s talk ‘Unruly Access’ will take place on Wednesday, 11 Dec  (4-5 pm) in Room 106 (43 Gordon Square).

‘Unruly Access’

This presentation will discuss how research on the experimental and sometimes seemingly inaccessible topics of experimental theatre practices of the twentieth century, contemporary live art, and subcultures can sit alongside a parallel professional practice as an arts writer and editor concerned chiefly with notions of access. Both have been enriched by the other, and the attempt to address structural issues in the creative sector, (particularly in relation to gender, race, class and disability) can perhaps benefit from a commitment and attention to the uncomfortable, unconventional and occasionally unruly.

Dr Lewis Church is an academic and writer based in London, who completed his Ph.D. in the Drama Department at Queen Mary University in 2017. In 2019/20 he holds the position of associate lecturer at Queen Mary and Birkbeck Universities, and has previously taught at Edinburgh University and the Royal Central School of Speech and Drama. His research has been published in PAJ, The First Line and Punk & Post-Punk. Other writing has been published in Something Other, The Art Story, Hackney Citizen, Exeunt and Loose Lips, and by SPILL Festival of Performance, the Live Art Development Agency and The Sick of the Fringe. He has worked as an artistic collaborator with Sh!t Theatre, Daniel Oliver, Ron Athey, Vaginal Davis, Franko B, Bobby Baker, Stacy Makishi and others. 

. . Category: Archived Events . Tags: , , ,