Category Archives: Calls for Papers, Articles, Translations

REMINDER: The closing date for the annual Jon Dryden Translation Competition is 10 February 2020

A reminder that the closing date for the annual John Dryden Translation Competition is February 10 2020.  The competition awards three prizes and commendations if merited,  for unpublished literary translations from any language. The translations may also draw on any source text comprising poetry, prose or drama from any period. The method of electronic payment for the prize-winners will be confirmed in January.

Prize-winners are announced in the summer on the BCLA website and prizes are presented thereafter every year at the BCLA ‘AGM and Colloquy’.  Winning entries are eligible to be published in full on the website, and extracts from winning entries are also eligible for publication in the journal Comparative Critical Studies.

Members of the BCLA are entitled to one entry free of charge; all three prize-winners are also entitled to BCLA membership.

For conditions of entry and further details download the 2019-2020 John Dryden Competition Entry Form.

Contact Richard Hibbitt for more information.

2020 Contemporary Women’s Writing Essay Prize: deadline February 1, 2020

2020 Contemporary Women’s Writing Essay Prize

Deadline for submissions:
February 1, 2020
contact email:

2020 Contemporary Women’s Writing Essay Prize

The journal of Contemporary Women’s Writing (Oxford University Press) is delighted to announce the launch of the 2020 Essay Prize.  The Contemporary Women’s Writing Essay Prize aims to encourage new scholarship in the field of contemporary women’s writing, recognise and reward outstanding achievement by new researchers and support the professional development of next generation scholars.

Contemporary Women’s Writing critically assesses writing by women authors who have published approximately from 1970 to the present, especially in essays that reach beyond a reading of a single text in order to challenge existing thinking or extend debates about an author, genre, topic, or theoretical perspective and relate literary analysis to wider cultural and intellectual contexts.

The winner of the 2019 Essay Prize was Ashwiny O. Kistnareddy (Gonville and Caius College, Cambridge) for “Against the Flow”: Exile and “Willful Subjects” in Malika Mokeddem’s Mes hommes [My Men] and Kim Thúy’s Vi.

Prize

The winning entry will be:

  • Submitted for publication in Contemporary Women’s Writing
  • Awarded one year’s free membership of the Contemporary Women’s Writing Association, including one year’s free subscription to Contemporary Women’s Writing
  • Awarded a choice of Oxford University Press books to the value of £100

Other entries of sufficient quality may also be considered for publication.

Entry Requirements

The Contemporary Women’s Writing Essay Prize is open to anyone currently registered for PhD study or within three years of completion.  Entrants may be asked to provide formal confirmation of their status.

Submission

Essays must be 7,000-9,000 words in length.  The deadline for submission is 1st February 2020.  The entry must not be under consideration for publication elsewhere.  Submissions must comply with the journal’s Instructions to Authors.  Entrants must submit essays by the standard Online Submission procedures.  Please ensure that you select ‘Essay Prize’ in the ‘Submission Type’ box.

Essays should meet the general aims and scope of the journal of Contemporary Women’s Writing.  Please note that essays submitted for publication will be subject to the standard Peer Review process.  Entries will be judged by members of the Contemporary Women’s Writing Editorial Board and a member of the Contemporary Women’s Writing Association Executive Committee.

Conference: Life-Writing in Translation, King’s College London, 27 May 2020

AHRI Centre for Life-Writing Research presents:
Life-Writing in Translation Conference – King’s College London, 27 May 2020

Deadline for proposals: 23 December 2019

As a one-day conference, Life-Writing in Translation proposes to address such topics as:

  • Stylistic approaches to translating life writing: using style to translate mind, foregrounding, ambiguous translation, belle infidèle, the implied translator
  • Translating as re-writing: reconstructing the author’s image and lived experience, the translator’s impact, re-translation
  • Cross-cultural translation of life writing: translator as the producer of relations – is the I international?
  • Becoming one: the translator’s melding with the author and its curious consequences
  • The translator-reader contract: the tole of the ‘active’ reader
  • Publishing perspectives: how publishers and booksellers tackle life writing in translation – the ‘three percent problem’

We welcome academics, translators, poets, writers, booksellers and publishers and invite proposals for individual papers, dialogues/interviews, panels, round tables and creative or reflective submissions.

Conference language: English

Suggested formats:

  • Individual paper (15 minutes slot, abstract max. 300 words)
  • Dialogue/Interview (30 minutes slot, 2 participants, abstract max. 300 words)
  • Panel (60 minutes slot, 3 participants including chair, abstract max. 600 words)
  • Round Table (45 minutes slot, 3/4 participants, abstract max. 600words)
  • Creative/Reflective Submission (15 minutes slot, fiction and non- fiction, proposal max. 300 words)

The full call for papers may be viewed here: Life Writing In Translation Conference, KCL 27 May 2020.

Please send your proposals via email to pia.prezelj@kcl.ac.uk

Deadline for proposals: 23 December 2019

The Centre for Life-Writing Research is a pioneering group producing some of the most innovative work in the field. Established in 2007, and now part of the KCL Arts & Humanities Research Institute, it enables experts and students to share, research and exchange ideas with a wider audience.

We work on all sorts of topics and periods covering a wide range of genres – biography, autobiography, autofiction, diaries and letters, memoirs, digital life writing including social media, blogs, audio and video, the visual arts (especially portraiture), poetry, and medical narratives. What connects us is an interest in the theory, history and practice of life writing.

Call for Papers: Cultural Literacy Symposium, 14-15 May 2020: Research in the Arts, the Arts in Research

Below is the Call for Papers for a Symposium, under the auspices of Cultural Literacy in Europe, to be held at the University of Łódź, Poland on 14-15 May 2020. The title is Research in the Arts, the Arts in Research. The Symposium is particularly designed for Early-Career researchers and the focus is on discussion and debate.

The closing date for proposals is Friday 29 November 2019. For all information about CLE and this Symposium, see http://cleurope.eu/

Please pass this CFP on to all relevant colleagues, students & artists.

Research in the Arts, the Arts in Research

A SYMPOSIUM

Thursday 14 – Friday 15 May 2020 at the University of Łódź, Poland

Artists study the reality they are surrounded by, people they live among, themselves, their instruments of work and how these areas are interconnected. Their work addresses complex issues, establishing dynamic relationships to a whole variety of other disciplines, from philosophy to new technologies. Their creative activity generates knowledge that could not be gained otherwise. Artistic knowledge is acquired through sensory and emotional perception and is practice-based, practice-driven, ‘felt’, ‘embodied’. It crosses the borders of different countries, languages, cultures, disciplines. Many artistic research projects are genuinely multicultural and interdisciplinary. Yet artists still often have to justify the idea that their practice is research.

Academic research too has become increasingly inter- and multidisciplinary. Cultural Literacy [CL] is the ability to think in literary ways about any topic or question, using the key concepts of textuality, fictionality, rhetoricity and historicity (see http://cleurope.eu/about/key-concepts/). How can the creative arts and CL come together to think about the contemporary world?

This Symposium is designed to generate active discussion, focusing on thinking and talking rather than formal presentations. If your proposal is accepted, it will be included in a ‘book of presentations’ that all participants will be asked to read in advance of the Symposium. The contributions will be grouped together into parallel break-out sessions of 90 minutes during which each presenter will briefly summarise their points and the subsequent discussion will aim to explore the key theme of the panel.

PROPOSALS ON ANY OF THE FOLLOWING – OR ALLIED – TOPICS ARE WELCOME:

  • Creative work as a source of cultural, social, psychological and political information;
  • Interpreting art works as cultural, political or pedagogical products;
  • Rethinking the role of art and the artist in society;
  • Art in multicultural and multilingual contexts (the questions of translation, cross-cultural understanding, multicultural conviviality, etc.);
  • The subjectivity and reliability of claims in artistic research;The relevance of artistic research for developing skills for cultural literacy and the potential of cultural literacy to inform artistic research;
  • The relationship between the artistic work, the critical text and the viewer/ reader/experiencer;
  • Objects of high culture and popular culture (for example, novels, poetry books, graphic novels, performances, events, films, memes, tweets, blogs, comic strips, tabloids, computer games, advertisements among others) as learning material about reality in which we live.

Researchers & artists who are either more senior or in early-career are welcome to submit a proposal, though preference may be given to the latter. ’Early-career’ includes postgraduates and academics up to 10 years after completion of the PhD, and artists in the first 10 years of their creative activity.

You are invited to submit a proposal in English for a 5-minute presentation. It should consist of your name, affiliation, email address, title, a 300-word statement on any area of the symposium topic and a mini-biography (max. 300 words). Please send this to Naomi Segal (n.segal@bbk.ac.uk) and Joanna Kosmalska (joanna.kosmalska@uni.lodz.pl) by the deadline of Friday 29 November 2019. Proposals that arrive after this date will not be considered.

A number of bursaries for Early-career researchers & postgraduates will be available to support attendance at the 2020 symposium. The competition for these bursaries will be announced in mid-December 2019.

Prior membership of CLE is required; see http://cleurope.eu/membership

CONFERENCE FEES

Standard                             €150 / PLN 650
Students (+ ID)/ Unwaged  €75 / PLN 330

The registration fee includes coffee breaks, lunch, and all conference documentation.

Booking will open on 16 December 2019 & close on 27 March 202o

For all information: see https://cleurope.eu/

Call for Papers: Literature and Event, University of Warwick, February 15 2020

Keynote Speakers:
 Call for Papers
 Deadline: 10th November, 2020
 

What is an event? From a theoretical perspective, events are irregular occurrences, moments of great change or interruptions that can potentially alter the already existing course of history, politics and thought. These changes also simultaneously remould, or at least aim to, human perception and language, which makes them an indispensable part of literature and literary thinking. While literature has referred to these calamitous changes directly, by way of description or through diegetic context, on numerous occasions literature has, for various reasons, failed to come to terms with these events or has actively resisted or undercut them. The literary has also been defined, particularly after the post-structuralist interventions, as an event in its own right, with its own strategy and ambitions to affect change. At the same time this relationship has also been entirely dismissed in readings where literature has been thought of as registering the non-events or the micro-events (madeleine cakes for Proust) that would otherwise pass unnoticed in a political or a historical discourse. This conference is addressed to all such relations between literature and its events, but more eagerly to the event that literature itself becomes and the non-event that it said to sometimes emerge from.

This dense, and often challenging, relationship between literature and event(s) has been, arguably, the driving force behind many of the reformulations of the literary carried out in the twenty-first century so far. These changing ‘definitions’ of the literary event or what the event, generally, entails have come from fields as diverse as literary studies, history, political theory, psychology, natural sciences and, more significantly, philosophy. The conference will appeal to scholars from all these diverse disciplines who at some point either have had to define literature/event or had to grapple with its new and elusive stipulations.The questions that this conference aims to address are three-fold:
What is literature’s approach to the event? How does literature respond to event(s), monumental changes, ruptures and transitions? Can literature be understood as an event in its own right?
 

1. Concept

The papers in the conference can address some of the pressing concepts related to the event directly, such as irregularity, chance, accident, hospitality and non-event, that have occupied literary studies, political theory and philosophy in the recent past. Addressing the literary fold specifically, the conference will be able to build on more recent research by scholars such as Derek Attridge, whose The Work of Literature(2015) understands events as having a singular, disruptive and yet formative presence in literary work, Ilai Rowner, who provides the event with a conceptual and literary history with his The Event: Literature and Theory (2015) and, written in a very different vein, Terry Eagleton’s The Event of Literature (2012).

2. Testimony

The question of testimony, or its lack, looms large when discussing literature’s response to event. The conference invites scholars to re-think literature’s response to the event and entropy that surrounds us, on the lines that it has been thought about in the last decade. If literature testifies, or tries to testify, to events of insurrections, it also testifies to sexual awakenings, to natural disasters, personal trauma and pain. These testimonies do not find an easy utterance, and despite finding a medium they can be a source of embarrassment, discontent and shame, as argued in Timothy Bewes’ The Event of Postcolonial Shame (2010). The papers in this conference could look at all such events and their importance for literary work, they could also simultaneously expose the impossibility of testimony itself, if not its need in the first place. Taking a cue from Heidegger’s use of the word Ereignis (event)—an event is as much a moment of revelation (Eräugnis) for the literary work as a site of appropriation (Eriegnung) and ultimately loss, which is how this conference wishes to broach the question of testimony too.

3. Literature as Event

Provocations of ideas such as plasticity and contingency, strongly forwarded by the philosophers Catherine Malabou and Quentin Meillassoux, are exciting new responses to the event and what it means for literature. While plasticity destabilizes our understanding of form, and thereby what constitutes as an event, contingency revokes the claims of reason and causal necessity that is often attached to events. In this segment of the conference, the experience of literature—as an act of both writing and reading—will be understood as an event in its own right. Despite the struggle to capture the intensity of the event, or remain faithful to it, literature can, and often does, become the site of change and alterity itself. Papers will be able to take forward the imaginings of a literary event put forward by influential thinkers like Derrida (on Celan) and Deleuze (on Proust), whereby literature is appraised for the transformative encounter it allows in the shape of an event.

The conference invites abstracts that address, but may not necessarily be restricted to, the following areas:

  • Theories of Event and Literary Event 
  • Questions of Testimony and Writing
  • Literature and Change
  • Plasticity, Contingency and Speculation
  • Practices of Reading
  • Fragility and Literature
  • Biopolitical Events
  • Climate‘change’asanundoingofallevents
  • Theories of Non-Event
  • Postcolonialiality and Event
  • Re-definition of event from a world-literature perspective 

Inviting proposals for 20-minute presentations. Please submit at least 350-word abstracts, along with a short biographical note (50-100 words) by November 10th, 2019 to litandevent@gmail.com.

We hope to support costs of attendance for international applicants. Please let us know if you wish to be considered.