Call for Submissions – Destinations deadline 1 March 2020 (ORE)

OXFORD RESEARCH IN ENGLISH

CALL FOR SUBMISSIONS ISSUE 11: DESTINATIONS

Destination – the word itself concerns both journey and journey’s end. For this issue of Oxford Research in English, we invite articles that delve into arrival and setting forth in literature, as well as the textual, intertextual and extratextual ways one can examine literary places and spaces. “Destination” derives from the Latin dēstināre—to resolve, to determine, to destine— before journeying into French and arriving in English.

Literary destinations are spatial as well as temporal, with memory and narrative being integral to how we make sense of where we are, and how we come to be. Destinations may be metaphysical or institutional, lieux de mémoire, or itinerant sites that emerge and vanish, in ways that illuminate literary production and interpretation. Texts travel through time: from mind to page, mind to mind, bookstand to bookshelf.

We are interested in submissions from any period or focus within literary studies and related fields that engage with the following topics:

  • Travel writing and journeys evoked in literature
  • Pilgrimage, predestination and fate
  • Temporality of memory and remembrance
  • Diaspora, nation and homeland
  • Circulation of texts, translation and reading across borders
  • Literary traditions genealogies, and the arrival of texts in canons
  • Literary networks and internationalisation
  • Theoretical approaches to readership and authorship – the text as performative site
  • Evolution of literary forms and genre conventions
  • The writer’s oeuvre as teleology, and analyses of an author’s early vs. late styles

Oxford Research in English (ORE) is currently seeking papers of 5-8,000 words for its eleventh issue, to be released in Autumn 2020. Please submit papers for consideration to ore@ell.ox.ac.uk by the deadline of 1st March 2020. We ask that submitted articles be formatted using MHRA.

For our style guide and previous issues of the ORE, please visit our website https://oxfordresearchenglish.wordpress.com/

Oxford Research in English (ORE) is an online journal for postgraduate and early career scholars in English, Film Studies, Creative Writing, and related disciplines. All submissions are peer-reviewed by current graduate students at, or associated with, the University of Oxford

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CFP: Journeys Across Media 2020: Sharing Stories deadline 14 Feb 2020

Journeys Across Media 2020: Sharing Stories

University of Reading, 3rd April 2020

In the White Album, Joan Didion writes that “we tell ourselves stories in order to live […] We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices” (1). The act of storytelling involves a process of choice making – we choose the details to include and exclude, we shape narratives depending on who we share our stories with and how. This conference is interested in exploring methods and approaches to sharing stories in theatre, performance, film, television and literary practice. We are also interested in innovative ways of disseminating research stories. Through an interdisciplinary approach, we seek to investigate connections between different modes of storytelling through the varied forms of current postgraduate and ECR research.

The conference seeks to draw together panels on topics included but not limited to:

  • Stories and identity
  • False/misleading narratives (propaganda, self-mythologising, “Fake news”)
  • Re-sharing (translation, provocation, distortion, representation) Interpersonal connections in story-making
  • Human connections in sharing
  • Stories of exclusion and exclusion from stories
  • Stories as commodities
  • Sharing research stories: documentary and documented practice
  • Sharing across borders, cultures and communities through reflective practice.
  • Methods of storytelling in theatre and film
  • Digital and DIY storytelling

As a conference, we are open to applications for the following:

  • 20 minute papers
  • Shorter provocations of 5-10 minutes
  • Full panels of 3 x 20 minute papers
  • Participatory Workshops (up to 30 minutes in length)
  • Practice as Research disseminations (up to 30 minutes in length)
  • Video essays (Up to 20 minutes in length)

Please send proposals of 200 words to jamconference2020@gmail.com by 14th February 2020. We would welcome bios of up to 50 words along with your abstracts.

Journeys Across Media: Sharing Stories is organised by members of the postgraduate community at the University of Reading in the Department of Film, Theatre and Television.

The JAM Organising Committee (Mag Mosteanu; Chloe Duane; Sarah Byrne; John Whitney).

Citations

Didion, Joan. The White Album. London: 4th Estate, 2017.

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CFP: Critical Race Studies and the Premodern – deadline 24 Jan 2020

Call for Papers

Critical Race Studies and the Premodern: Archive and Seminar

Funded by the CHASE Consortium, the Universities of East Anglia and Sussex are hosting two postgraduate training workshops on critical race studies and the pre-modern. The first of these will be held at the University of East Anglia, 23-24 March 2020, and will focus on teaching and pedagogy; the second will be held at The University of Sussex, 8-9 June 2020, and will focus on research. Both events are designed to develop students’ professional skills. We invite expressions of interest from all postgraduates working in the Humanities (giving papers, designing and chairing sessions, attending).

This collaboration seeks to foster dialogue around race in the scholarship and pedagogy of medieval and early modern studies, within the context of decolonising the curriculum. Race is an area of intense interest and concern for academics and undergraduates, but also for doctoral students negotiating questions of race in their own research and early teaching experiences. It is often assumed that the initiative to decolonise universities and their curricula began with activist demands to remove a statue of Cecil Rhodes from the University of Cape Town (in 2015), a movement then rapidly taken up in Britain. Yet whether in explorations of the ‘post-colonial Middle Ages’ (Cohen, 2000) or the ‘darker side of the Renaissance’ (Mignolo, 1995), or earlier initiatives, the scholarly study of earlier periods has long confronted such questions (see, more recently Geraldine Heng, 2018). In medieval studies, following the lead of Medievalists of Color in light of recent controversies, these debates have started. For early modern studies, initiatives such as RaceB4Race are also opening the conversation in the US. Our initiative creates the opportunity for postgraduates to participate in an urgent conversation and to intervene at a critical moment for the discipline.  The events will reassert the importance of the medieval and early modern periods for any understanding of ideas underpinning conceptions of race and coloniality. They will explore how these periods can be taught and researched in ways that inform contemporary debates about the legacies of imperialism and slavery, and the historical construction of whiteness. This will involve questions of the coloniality of power, gender, and ideology, the nature and extent of the canon, critical languages, materiality and curatorial practices, as well as the histories, current states, and futures of our disciplines.

An indicative outline of session topics for each event is as follows:

East Anglia: Teaching Race:

Confirmed Plenary Speaker: Mary Rambaran-Olm

Critical Vocabulary

Decolonising The Curriculum (theoretical, conceptual, historical; disciplinary self-consciousness/history of the discipline)

Canonicity and Anthologising

Decolonising the Curriculum (Practical)

New Resources

New Directions (conclusion, summary)

Sussex: Researching Race:

New Perspectives on Research into Race

Recovering Race from the Archive

Race and Religion

Staging Race

Material Cultures

The Way Forward

Each session will be led by a postgraduate (or postgraduates), with a designated faculty member as support.

If you wish to attend either or both please send expressions of interest, ideas, comments, alternative themes the contact addresses below by Friday 24 Jan. Please accompany your comments with a statement of your research interests. We actively encourage and welcome proposals and enquiries from BAME students.

For the East Anglia event: W.Rossiter@uea.ac.uk

For the Sussex event: a.hadfield@sussex.ac.uk

  1. B. CHASE students are eligible for funding to attend this event: see the CHASE website for further details.

 

 

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CFP: British Orientalism at Royal Holloway and the Watts Gallery – deadline 31 July 2019

Call for papers

To coincide with Watts Gallery – Artists’ Village (WG-AV) exhibition John Frederick Lewis: Facing Fame (9 July – 3 November 2019) this interdisciplinary event aims to explore new perspectives on the intersection between Orientalism and visual culture across the nineteenth century. Alongside WG-AV’s John Frederick Lewis exhibition, the collection of so-called ‘uncomfortable pictures’ at Royal Holloway (which includes Edwin Long’s Babylonian Marriage Market) will act as a catalyst for wide-ranging debates around Orientalism’s place within British scholarship today. This conference invites contributions that explore the visual material of the Orient in the contexts of transculturation, imaginative geographies, and cultural border crossing in both directions. This event hopes to attract a wide range of perspectives and invites proposals from scholars in all sub-fields of the arts, humanities and social sciences.

Deadline for submissions: 31 July 2019

Please send submissions to Abbie Latham at Watts Gallery – Artists’ Village (curatorialtrainee@wattsgallery.org.uk) by 31 July 2019

Full details at:

https://www.wattsgallery.org.uk/eastern-questions-new-perspectives-british-orientalism/?edit&language=en-gb

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CFP: Limits of Cinema / Cinema Limited? – 27-28 Sep 2019

University of Pittsburgh

Film and Media Studies Graduate Conference CFP
Limits of Cinema / Cinema Limited?

September 27-28, 2019
Keynote: Jeffrey Sconce (Northwestern University)

 

The cinematic medium has been historically shaped through several negotiations with its own limits and those imposed on it. Regulatory scrutiny of the moving image began as early as the peepshows of the Kinetoscope parlors. Formal censorship was soon implemented in many countries as a legal infrastructure serving in the moral guidance of youth and other demographics deemed vulnerable to irresponsible depictions of crimes and sex, as well as political propaganda.

Over the past decade scholars of film and media have signposted the materiality and mobility of media images and objects by resituating the question of the juridical in the contemporary media landscape. The seemingly unlimited proliferation of images across media platforms raises questions as to whether anything and everything can now be shown, and what means are acceptable in identifying, evaluating, and constraining various forms of harm that media inflict. How do regulatory practices simultaneously threaten to bound media and generate new praxes that hoodwink and overwhelm all frameworks of ordered statecraft and corporate ownership? We encourage applicants to engage with the materiality and affects of the sensory infrastructure of cinema past and present. `Limits of Cinema / Cinema Limited?’ hopes to bring together scholarship that builds on existing interdisciplinary approaches to paradoxes of law and media.

The 2019 edition of the University of Pittsburgh’s Film and Media Graduate Student Conference invites papers that examine the limits of cinema and cinema as a limited object and image in a broad sense, from the powers of censorship to the practices of media piracy and the traffic in contraband, from policies of preservation and access to new forms of media activism, from the formation of media publics and counter publics to the algorithms of social media.

Proposals might include but are not limited to the following topics:
 Legal Gaze as Infrastructure and Institutions
 Film Rating Systems: MPAA (USA), National Centre for Cinema (France), British Board of Film Classification (United Kingdom), Central Board of Film Certification (India), etc.
 Contemporary Censorship Debates (re. gore, extreme cinema, porn)
 Auteurs and Controversy (Lars Von Trier, Gaspar Noé, Michael Haneke, Takashi Miike, Larry Clark, Quentin Tarantino, Anurag Kashyap, Deepa Mehta, etc.)
 Control of Film, Television and Media Images
 Debates on Obscenity, Sleaze, Transgression and Taboo
 Theorizing Affect, Desires, Guilt, Pleasures, and the Sensory Infrastructure
 Actors of Non-Official Censorship (parental and/or religious associations)
 Pre-Code Hollywood
 Hollywood Censored
 Non-theatrical Networks of Distribution and Circulation (streaming platforms, festivals, fandom and cult venues)
 Keepers of Morality (moralizing in cinema and gatekeeping)
 Limits of the Body (figurations and images)
 Copyright and Fair Use vs Creative Commons
 Histories of Contraband and Bootleg
 The Modern Media Pirate
 The Cinephile as the Technophile
 Archives and the Collector
 Bastard Films and Web-Based Orphan Media Files
 Fantasies of unlimited cinema

Interested graduate students may submit abstracts (maximum 300 words)- along with institutional/departmental affiliations and current email- to pittfilmgradconference@gmail.com by May 30, 2019. For more information, please contact the FMSGSO by email at the above address.

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CfP – CHASE PG Journal Brief Encounters (deadline: 17 June)

The editors of Brief Encounters are pleased to open a call for papers for the journal’s fourth issue and warmly invite research students and staff to submit a short article, review or creative piece of work for publication. Submissions deadline: Monday, 17th June 2019.

Brief Encounters is an open access, interdisciplinary, peer-reviewed, postgraduate journal organised by CHASE. All postgraduate research students, regardless of their funding status, are welcome to submit to the journal as are staff.

For students in particular, publishing in the journal offers the opportunity to experience the peer-review process, to give their research exposure, and to build their publication record.

……………………………………………………………………………..

Call for Papers – Brief Encounters – Issue 4

URL: http://briefencounters-journal.co.uk/BE/pages/view/call-for-submissions

Brief Encounters is now open to submissions from research students and staff at CHASE-affiliated institutions (see below for the list). We welcome submissions in the form of academically rigorous and original articles (500–4,000 words), reviews (500–1,000 words) and creative works.

The deadline for submissions is Monday, 17th June 2019.

Brief Encounters welcomes submissions from any field. The journal’s aim is to improve the exchange of ideas between geographical or disciplinary boundaries. The journal provides a space where researchers can publish short articles and share findings which might not be long enough for publication in another journal. We also aim to help students in creative disciplines share their work and engage with other researchers (see below for more information about this).

There is no theme and all submissions will be considered on their own merits. In the past, articles have reflected the academic diversity of our author-base, with work touching on concepts like belonging, embodiment, sustainability, change, identity, space, deviation and division.

Submitting to the journal provides a valuable opportunity for authors to experience the peer-review process in a constructive environment – something especially valuable for postgraduate students and early-career academics.

What is Brief Encounters?

Brief Encounters is an open access peer-reviewed postgraduate journal, run by doctoral researchers from the CHASE doctoral training partnership to showcase the work of research students, staff and alumni of CHASE-affiliated institutions (see here for the list).

About reviews

Reviews can cover new publications, films, theatre productions, documentaries, and major exhibitions engaging with any aspect of the arts and humanities. Reflecting the ethos of CHASE, we are particularly interested in emerging scholarship and innovative interdisciplinary publications and productions.

About creative works

The editorial board is especially keen to receive submissions for its creative section; potential submissions could include (but are not limited to): video essays, creative writing, documentaries, posters, musical interpretations, and photography. These must be accompanied by a critical commentary of no fewer than 500 words.

Who can submit?

  • CHASE-funded students (see a list of institutions)
  • Postgraduate students at CHASE institutions (regardless of funding status)
  • Alumni of CHASE institutions
  • Individuals employed by CHASE institutions
  • Individuals employed by Non-HEI CHASE partners

Submission guidelines

Submission should be made by the deadline, Monday, 17th June 2019, through the Brief Encounters on-line submission process (see our step-by-step guide).

All submissions will follow MHRA style guidelines (footnotes and bibliography). Please see our style guide for further details.

Authors need to register with the journal prior to submitting or, if already registered, can simply log in and begin the five-step process.

Along with your article, please submit an abstract (max. 300 words), and a list of key words (max. 5). When you register as an author on the website, please provide a brief bio statement (max. 200 words).

If you have any queries please contact journal@chase.ac.uk

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CFP: Productive Futures – Deadline 31st May 2019

Call For Paper: Productive Futures

12 – 14 September

The history of science fiction (SF) is a history of unreal economics: from asteroid mining to interstellar trade, from the sex-work of replicants to the domestic labour of the housewives of galactic suburbia, from the abolition of money and property to techno-capitalist tragedies of the near future.

 

LSFRC invites abstracts of 300 words, plus 50 word bios, addressing economic themes in SF, and/or exploring how SF can help to widen and evolve our sense of the economic. We encourage submissions from collaborators across disciplines and/or institutions.

 

For the full length call for papers, and more information, please visit www.lsfrc.co.uk or email lsfrcmail@gmail.com

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CFS: Close Writing – A Salon of Texture – 29 April 2019

Close Writing

Close Writing is a project that wants to explore our textured life through writing. We want to create a space in which contributors from all disciplines and backgrounds can come together to investigate, complicate and question the affects, repercussions and lived experience of texture.

For each salon, we will give a texture accompanied by some prompts, and ask our contributors to respond to it through writing, image, or sound. We will then share our work at a relaxed, critical reading salon, the first will be held in late Spring/early Summer (location and date tbc).

Our first texture is sticky. What does it mean to feel something sticky? Why is a sticky surface so repugnant but simultaneously so alluring? What does it mean for thoughts, ideas, or bodies to stick together? Below are some writing prompts that circle around the subject of sticky that you can use if you wish.

Please send your sticky writing as an attachment to closewritingsalon@gmail.com by the 29th April, labelling the attachment with your name and the title of your work. It can either be a finished piece of around 1300 words or in draft stages. Please also include a bio. Once we have selected we will get back to you to arrange our first reading salon.

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CFP: Journal of Arts Writing – Deadline 22 April 2019

JAWS: Journal of Arts Writing by Students Volume 5 Issue 1

JAWS is the only academic arts journal run by and dedicated to MA and PhD students (and those who have recently graduated). We have published work by students from India, China, Australia, North America, Canada and the UK, and maintain an international peer-review network.

What We Want:
Theoretical and discursive essays up to 6000 words.

Critical reviews of events, exhibitions or performances up to 3000 words.

Submissions of practice accompanied by text. The word count for this type of submission can be negotiated through the peer review and editing process, but we recommend between 3000–5000 words. We strongly recommend authors consult our peer review guidance for unconventional submissions on our website prior to submitting, please see the link below.

All work must be sent in as a Word document to
rob@jawsjournal.com, and be prefaced with a 100-word abstract and 6–8 keywords, followed by a short contributor biography. Please include your university affiliation, full name, course and year of graduation. All work must use Harvard referencing, following Intellect House Style. For full submission guidelines and information about the peer review process we employ, please refer to
www.jawsjournal.com/submissions.

Deadline for submissions: Monday 22 April 2019.

Volume 1 Issue 1 is available for free at:
www.ingentaconnect.com/content/intellect/jaws/

Our guest editorials from previous issues are also available, including those by Professor Arnold Aronson (Columbia University), Dr Sophie Hope (Birkbeck), Dr Inger Mewburn (the Thesis Whisperer), Professor Joseph Heathcott (The New School of Design) and Professor Malcolm Quinn (CCW Graduate School):
https://www.intellectbooks.co.uk/journals/view-Journal,id=243/

For all inquiries please email rob@jawsjournal.com.

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CFP: New Configurations of Contemporary Women’s Writing – 9 September 2019

New Configurations of Contemporary Women’s Writing

Postgraduate Contemporary Women’s Writing  Network 7th Biennial Conference

Monday 9th September 2019, The University of Hull

 

The last two years have seen a renewed vigour amongst women to testify to their experiences and protest their causes.  Shouts of #metoo and #timesup have chimed with quieter revisionings of a female-identifying imaginary.  These voices sound out in contemporary women’s writing just as the literature itself offers a language and a form with which to speak of the shifts – a back and forth between politics and women’s writing that is not new, but speaks of an enduring engagement with the current political mood.

New Configurations asks: How does contemporary women’s writing inhabit and convey the texture of our moment?  How does it envisage the future? And, how does current formal innovation shape the future of women’s writing? Alongside this the conference seeks to consider how we might rethink the scope of our field, regarding questions of inclusivity and critical methodologies.

The 2019 PG CWWN Conference invites proposals from Postgraduate and Early Career Researchers for 15 minute papers, creative or creative-critical contributions. We also welcome proposals for panels or round-tables involving 3-4 people. We explicitly invite papers on texts by female-identifying, femme, transgender and non-binary authors as well as cis-gendered women writers.

Abstracts (250 words) and biographical notes (150 words) should be sent by 7th June 2019 to pgcwwn2019conference@gmail.com

Confirmed Keynote: Joanna Walsh (Seed, break.up, Vertigo, Hotel, Grow a Pair).

Conference Fee: £30 including lunch, dessert and refreshments

Paper topics may include, but are not limited to:

  • Gender/Queerness/Reconfiguring binaries/Identity
  • Posthuman/Transhuman
  • Sexuality/Intimacy/Embodiment/Love
  • Maternity/Childlessness/Conjugality/Kinship
  • Utopia/Dystopia/Ecological/Post-Apocalyptic
  • Place/Migration/Nationalism/Cosmopolitanism
  • Disability/Mental Health/Trauma
  • Care/Self-Care
  • Pain/Disease/Gerontology
  • Precarity/Vulnerability/Mortality
  • Conflict/War/Genocide
  • Protest/Feminism/Activism
  • Memoir/Autofiction/Essay/Confessional
  • Experimental Writing/Innovation/Genre
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