Books and Special Issues of Journals



Sound and Silence
Issue 4 of HARTS and Minds
Deadline for proposals: 17 February 2014

This call for papers invites submissions from postgraduates or early career researchers on the subject of Sound and/or Silence for the fourth edition of HARTS & Minds, an online journal for students of the Humanities and Arts, which is due to be published in Spring 2014.

Our second edition 'Space and Place' can be found at http://www.harts-minds.co.uk
You can get updates on our journal at http://www.facebook.com/hartsandminds

Submissions should include a short biography at the end and adhere to the guidelines available on our website and use the appropriate article template.
All submissions should be sent to <editors@harts-minds.co.uk> by Monday 17th February 2014.

We accept:
• ARTICLES: Send us an abstract (300 words) and your draft article (no longer than 6,000 words).
• BOOK REVIEWS: Around 1,000 words on an academic text that deals with the theme of Sound and/or Silence in some respect. This would preferably be interdisciplinary, but we will accept reviews of subject specific texts.
• EXHIBITION REVIEWS: Around 1,000 words on any event along the lines of an art exhibition, museum collection, academic event or conference review that deals with the theme of Sound and/or Silence in some respect.
• CREATIVE WRITING PIECES: Original poetry (up to 3 short or 1 long) or short stories of up to 4,000 words.

Subjects may include but are not limited to the following:
• Use of Silence in music, film scores, in performance art, installations;
• Movement and stillness;
• Conveying sound and silence in Art -- the void, colour and sounds/silence;
• Silence and sounds in literatures (English, Global, Comparative);
• The role of silence and solitude in religions: spirituality, memorial, obedience, mantra and hymn;
• Sounds of the urban vs. the rural;
• Changing sounds of musical instruments, the Orchestra, from Church to Chamber;
• Silent histories - the oppressed, the underprivileged, muting, censorship, exclusion;
• The Sound of Revolution;
• The physical loss of voice - the mute, sign language;
• Silence and Sound in relation to madness;
• Noise vs. Sound;
• Comedy and Silence;
• Technologies of sound and silence: Gags and muzzles, weaponry, isolation camps, radios, televisions, gramophones;
• Reading aloud.

Please consider that HARTS & Minds is intended as a truly inter-disciplinary journal and therefore esoteric topics will need to be written with a general academic readership in mind.
(posted 21 November 2013)



Neo-Victorian Humour: The Rhetorics and Politics of Comedy, Irony and Parody
Volume 5 in Rodopi's Neo-Victorian Series

Deadline for proposals: 28 February 2014

We invite contributions on the theme of Neo-Victorian Humour for the fifth volume in Rodopi's Neo-Victorian Series, to be published in 2015. This edited collection will examine the manifold modes, functions, and implications of humour across neo-Victorian media, such as literature, film, anime, graphic novels, videogames, visual art, performance and lifestyle (e.g. steampunk). The volume will explore neo-Victorianism in the light of contemporary aesthetics as the art of indirect speech, what Umberto Eco famously described as "accept[ing] the challenge of the past, of the already said” to “consciously and with pleasure play the game of irony" (Eco, Reflections on The Name of the Rose, 1994) -- but also to engage in more aggressive games of parody, aesthetic travesty, confrontation and denunciation. The omnipresence of a humorous awareness tends to insist on a crucial difference and distance between neo-Victorianism and its nineteenth-century referent, thus seemingly arguing against a nostalgic stance. Yet humorous devices can also be employed to recycle invidious ideologies (e.g. racism, imperialism, classism, sexism) under the politically correct guise of comical debunking or subversion, even to the point of carrying forward a pro-nostalgic agenda. From a technical point of view, humour also implies the establishment of a complicity with the audience, involving readers/viewers in complex games that may finally have less bearing on the diegetic world than on the textual, intertextual and metatextual nineteenth-century worlds being re-imagined. We encourage chapters to investigate the inherent contradictions of neo-Victorian humour's aims and  effects, both as a means of self-consciously creative experimentation and  adaptation of historical events, figures, and artefacts and as a self-defeating  nihilistic or anti-historical project.

Possible topics may include, but need not be limited to the following:
• humour's shaping of contemporary views of 'the Victorian' and the long nineteenth century
• the postmodern features and implications of neo-Victorian humour
• the technical distancing devices of neo-Victorian humour: anachronism, parody, comedy, irony, structural counterpoint, double or multiple narratives, mise en abyme, and all forms of metatextuality
• comic modes, audience complicity, and resistance
• neo-Victorian humour and the Gothic
• the politicisation of neo-Victorian humour
• neo-Victorian humour, empathy, and its limits
• comic innovation and the principle of ironic reprise
• the role of playfulness and narrative games
• ethical and non-ethical humour in neo-Victorianism
• humour's functions within and across neo-Victorian genres and media
• neo-Victorian humour and trauma
• the principle of humour  in adaptations and adaptive practice
• neo-Victorianism, symbolic justice, and having the last laugh

Please send 300-500 word proposals (for 8,000-10,000 word chapters) by 28 February 2014 to the series editors:
- Marie-Luise Kohlke <m.l.kohlke@swansea.ac.uk>
- and Christian  Gutleben <Christian.Gutleben@unice.fr>
Please  add  a  short   biographical  note  in  the  body of your email.
Completed chapters will be due by 1 September 2014.
(posted 17 June 2013)



Prominences and Spoken Language
Issue 30 of TIPA
Deadline for proposals: 28 February 2014

TIPA: Travaux interdisciplinaires sur la parole et le langage
http://tipa.revues.org/
 
The 30th issue of the TIPA journal is to appear in December 2014.
Invited editor: Sophie Herment, Laboratoire Parole et Langage, Aix-Marseille Université
 
 Following the TIPA tradition, the 30th issue of the journal will gather interdisciplinary works on speech and language. Articles dealing with prominences and spoken language will be welcome.
We invite submissions based on various backgrounds and linguistic fields: prosody, phonetics, phonology, syntax, morphology, pragmatics, dialectology, diachrony.
The term prominence encompasses many different meanings which will hopefully be dealt with in the various contributions. In spoken language, prominences can range from emphasis, focalisation, pitch accents, metric entities such as strong syllables or strong feet, etc.
Articles dealing with interfaces will also be of great interest: how are syntactic prominences realized in the spoken language? How is information structure related to prominence? Are certain morphological constituents more prominent than others? etc.
Papers building on different perspectives will be considered: corpus-based approaches, theoretical linguistics, psycholinguistics, neurolinguistics, automatic language processing, sociolinguistics, language teaching...
These aspects are by no means exhaustive, and all related issues or approaches that can shed light on the topic will be considered.
 
The language of publication will be either English or French. Each article should contain a detailed two-page abstract in the other language, in order to make papers in French more accessible to English-speaking readers, and vice versa, thus insuring a larger audience for all the articles.
 
Important dates:
February 28: deadline for abstract submission
March 30: notification of acceptance
June 30: deadline for submission of articles
December: publication.
 
Submission guidelines: Please send your proposal in 2 files to: <tipa@lpl-aix.fr>
- one in .doc containing the title, name and affiliation of the author(s).
- the other anonymous in .pdf: it should not be longer than one A4 page (in times 12) and contain: the title; ½ page introducing the subject of the research and the theoretical / methodological framework; ½ page accounting for the main results. This one-page abstract can be followed by a short bibliography (5 or 6 titles; the author(s) of the proposal should not appear more than twice).
Instructions for authors can be found at http://www.lpl.univ-aix.fr/index.php?id=27
(posted 31 January 2014)



The Essay: Forms and Transformations
Deadline for proposals: 1 March 2014

The Essay has constituted an important prose form from the sixteenth century until the present and constitutes an intriguing field for interdisciplinary study. Applied to such a heterogeneous range of writings as maxims, aphorisms and proverbs, letters, treatises in philosophy and the sciences, as well as criticism and journalism of different kinds, it has eluded clear definition. Not surprisingly, literary and cultural studies have been reluctant to tackle what appears to be a random array of prose texts straddling the boundaries between literature, philosophy and scientific writing, criticism and journalism.
The aim of this volume, which includes papers delivered at two international conferences held at the University of Salzburg in 2012 and 2014, is to explore this rich field from the 16th century until the present, focussing especially on how shifts and transformations of the essay as well as the uses to which it has been put in particular periods correlate with currents in culture and aesthetics, with emerging sciences and academic disciplines, as well as with socio-political developments.
To this end we invite papers dealing with:
- terminological and conceptual aspects across cultures in and outside Europe (mutual influences, developments, uses of the essay for political, academic, etc. purposes)
- theories of the essay
- major examples from Anglophone cultures, though not limited to them
- case studies (mainly dealing with major practitioners)
- interdisciplinary perspectives and transformations of the essay, especially in the respective historical and cultural contexts
- genre-shifts (generic frontiers and overlappings; the essay in other media)
- publishing strategies, forms of publication in the course of history

We particularly invite articles dealing with the early modern period, and / or covering the development of the essay in individual periods and covering more than one author.

If you are interested in contributing to this volume, please send a proposal with an abstract and brief biographical information stating your relevant research by March 1 2014 to:
- Professor Sabine Coelsch-Foisner, University of Salzburg, Department of English and American Studies, <sabine.coelsch-foisner@sbg.ac.at>
- and Dr. Markus Oppolzer, <markus.oppolzer@sbg.ac.at>.

The finished articles should be ready by the end of July 2014.
(posted 24 January 2014)



"Keep it New": Recent trends in Experimental Fiction in English
Word and Text - A Journal of Literary Studies and Linguistics, IV, 1 (2014)
New extended deadline for article submissions: 15 April 2014

'Fiction is called experimental out of despair' (Raymond Federman)

'Literature is news that STAYS news' (Ezra Pound)

Experimental literature, in its broadest sense, might be said to ask the following question: what more can fiction do than it currently does? It is a consideration that inevitably discloses both a sense of dissatisfaction with what we have, and a trusting optimism in the future’s ability to deliver new possibilities. The experimental has connotations of risk, excitement, innovation, and aesthetic progressiveness, but it also frequently contains a knowledge of its own possible failure: an awareness that experiments by their nature might go badly wrong. Experimental fiction is a series of attempts at change, and yet the last sixty years of literary history has been marked by an anxiety about its own possible exhaustion (John Barth). What if all experimentation has already been tried? Both the experimental, and its close relation the avant-garde, look forward – a potentially problematic stance given a contemporary scene that is preoccupied with its own ‘post’ness. Indeed, as Brian McHale has recently asked, can the literature of the postmodern be experimental at all?
Both the avant-garde and the experimental thus bear a combative relation to what has gone before, and to literary history as a whole. The avant-garde contains the promise of both an aesthetic and a political radicalness: remembering the term’s military etymology, we are cognizant of the neo or contemporary avant-garde’s aggressive potential. Perhaps for this reason, experimental or avant-garde fiction often rubs people (readers, critics) up the wrong way: it implies there’s something wrong what we already have, and seeks to usurp it. It refuses consolation, recuperation, all of the dulling and soporific effects of traditional narrative, and is subsequently accused, variously, of self-indulgence, political quiescence and solipsism. Sometimes it is too political -- the history of the avant-garde in the twentieth-century, especially French 'literature of commitment' (littérature engagée) -- and sometimes it is not political enough -- the characterization of experimental writers and audiences as aloof, anti-reader literary elites. Itself a marginal mode, experimental literature has obvious affiliations with other types of writing that have been pushed out, overlooked or ignored by the mainstream, in particular women’s writing. Nevertheless, as Christine Brooke-Rose has noted, many experimental novels are 'surprisingly phallocentric'. Does the stylistically experimental necessarily imply the politically subversive?
Experimental as a term is unavoidably evaluative: either as a synonym for unsuccessful, unreadable, or elitist; or with its positive but equally problematic associations of progressiveness and intellectual ambition. In its positive incarnation it contains an implicit condemnation of everything that is not experimental; it creates its own version of what it subverts or moves on from, conceiving the non-experimental as a homogenous mass. Keeping in mind Rita Felski's warning that those critics 'who proclaim the subversive power of formal experimentation, fail to consider that the breaking of conventions itself becomes conventional', we ask whether the paradox inherent in the canonization of experimental and avant-garde fiction means that postmodernism has incorporated and recuperated it to the detriment of experimental literature’s ability to fulfil its remit: that, is, as Eva Figes put it, 'What matters is that the writer should shock into awareness, startle, engage the attention: above all that he should not engage in the trade of reassurance.'

We invite contributions that will help to negotiate some of these complexities, including from a specifically linguistic or stylistic perspective. They might include, but are not limited to, the following:
• Postmodern experimentalism / neo avant-gardism
• Avant-garde genre fiction -- science-fiction, fantasy, horror
• Transgression, subversion, shock: the rise of 'transgressive fiction'
• Apocalypse and/or post-9/11 fiction
• Futurity, possible worlds and new dystopias/utopias
• Videogames into literature : 'ludic literature', ludology and gaming
• Multimodal literature, digital technologies, electronic 'code poetry', collaborative e-fiction
• Women’s experimental writing and nouvelle écriture feminine
• Visual experimentation, typography and the page as experimental surface
• Commodification and globalization, experiment as resistance
• Movements, manifestoes and influence -- Oulipo, Surrealism, Dada, Futurism

Although we do not wish to draw up a closed, let alone exhaustive list of writers whom we see as specifically representative of the above rubrics, and who would therefore appear as more desirable objects of analysis, the following will give a reliable illustration of the kinds of fiction we had in mind under the label "experimental":
- Christian Bök
- Mark Danielewski
- Chuck Palahniuk
- Lawrence Norfolk
- Charles Palliser
- Tom McCarthy
- Nicholas Royle (author of Quilt)
- Will Self
- Lydia Davis

We welcome interdisciplinary approaches, ranging across critical theory, literary and cultural studies, linguistics as well as other disciplines in the humanities. Contributors are advised to follow the journal's submission guidelines and stylesheet.


The extended deadline for article submissions is 15 April 2014.
Articles should be sent as attachments to <wordandtext2011@gmail.com> or directly to the editor of the volume:
- Laurent Milesi (Cardiff University) <senlpm@cf.ac.uk>
All submitted articles will be blind-refereed except when invited.
Accepted articles will be returned for post-review revisions by 30 April 2014 and are expected back in their final version by 15 May 2014.
(posted 14 June 2013, updated 13 March 2014)



Perspectives on Terror and the Literary
Sanglap: Journal of Literary and Cultural Inquiry
Deadline for proposals: 20 March 2014

Terror and terrorism are probably the most frequent catchwords of the contemporary times. At the turn of the century, Hardt and Negri warned us that we are living in a world of Empire as biopolitical production, where transnational corporations operate the mechanics of governance, and can wage ‘just war’ and resolve conflicts with the moral policing of the NGOs. Terror is part of the surveillance and regulation of life, while ‘terrorism’, in its delimited political use, is only one way of engaging with it. Agamben’s notion of ‘State of Exception’ in fuller picture indicates that the practice of life in contemporary times is a conscious response to fear of an unknown, unaccountable death which may not always be the death of the body as corpse. As Elizabeth Dauphinee and Christian Masters note, ‘Livings and dyings are ruptured by survivings that are neither livings nor dyings, but which are otherwise: liminal spaces of abjection that are dangerously difficult to recognize.’

The complexity of terror as an affect makes for an intricate field where the objective territory of a terrifying event encounters subjective history and makes an imprint on mind, body, self and memory. Not only does it combine the public and the private, the religious and the political; it is a site where the technological repertoire of the plotted event meets the inexplicably sacred rupture of its irruption. The experience of terror does not remain restricted to the terrifying event but consolidates itself over time running through a series of affects like trauma, fear, horror and anxiety. Terror establishes a socio-psychic structure if not an industry in which the psychic apparatus of traumatic repetition and phobic fixation is complemented by a ‘culture of terror’. Is then the mediatized dissemination of terror as an image verging on a spectacle another name for terror’s incessant reproduction? Terror is not only commoditized but also normalized in today’s world where everyone lives under the persistent shadow of its hypothetical recurrence. Terror has become the new name for the contingency of our contemporary world.

We understand the philosophical stakes in such an inquiry and do not define terror only as an event in itself, a unique, authentic experience, but also a figure and a response that can be perceived in different forms and practices of life. For example, the terror in 9/11 cannot be equated with the terror of the December 16 rape case in Delhi, or the terror of the body, produced by the phenomenon of ‘suicide bombing’, is quite different from the terror one perceives in the ancient ruins, and the historical residues. If our life is regulated by the perception of and response to terror, how do we perceive it? What are the different forms of terror? How do we encounter terror and the difference in perception?

This is where we see the ‘literary’ as an important term. By the ‘literary’ we understand a sensitized and perceptive dimension of every discursive experience. Following Rancière, we would like to revive the ‘aesthesis’ or the ‘sensual stimulation’ in the ‘aesthetic’ where the artistic realm opens up to the wide array of sensations and perceptions. In our world where each discourse is tied up with the other, the ‘literary’ is the name of a particular semiotic practice which seems to be embedded in various discourses like the social, the political, the cultural, the technological, the religious and so on. The literary is both the semiotic perception of an event taking place and the recognition of the conditions that produce it. And that is where the ‘literary’ operates as an analytical category which tries to address the interaction between an event and the response it generates in the minds of the witnesses, audience, or in turn readers.

What are the possible relations between terror and the literary? Are they intertwined only in a mimetic relation or is there something constitutive about this relation? Is terror constitutive of the discursive literary apparatus? Apart from the literary representation of terror, is there a literary becoming of terror and a terribly sublime becoming of the literary itself? If the literary is understood as a realm of sensations and perceptions, it automatically leads on to the affective realm where the experience of terror can be localized. Terror is not ubiquitous because it exists in sinister and deceptive fashion with the everyday; but it pervades the domain of perception and thus can be anything – from the fear of machines to the anxiety of ‘hate mails’. If the literary partakes of the symbolic power of language and the energetics of the sensual, how does it respond to the sensation of the terrifying event and its socio-political and psychic circulation? We are also looking forward to understandings that address the complicated relations in terror, fear, horror, trauma, anxiety and others. Our purpose is to locate the various cognizable domains of 'terror' and broaden the demarcated use of the literary in response to that. We welcome articles focused on but not limited to the following:
Terror and Affect (fear, anxiety, trauma, horror and others)
Terror and Everyday
Terror and Technology
Terror in Literature, Film, Theatre, and Media
Terror State and Justice
Terror and the Body
Terror and Law
Terror and Religion
Terror and Gender
Terror and History
Terror and Fantasy
Terror and the Ruins

The articles should be strictly within 6,000 words (excluding endnotes and references), sent with an abstract not exceeding 200 words and 5 keywords to <editors@sanglap-journal.in>. The last date for the submission of articles is 20th March 2014. The selected articles will be notified by 20th May. They have to be revised and sent back to the editors before 5th June.

For submission and formatting, please consult the guidelines on the journal's website: http://sanglap-journal.in
(posted 30 March 2014)



Scottish Studies: Where is the Field Now?
HJEAS (Hungarian Journal of English and American Studies), Volume 21, 2015
Deadline for proposals: 31 March 2014

The Hungarian Journal of English and American Studies (http://dragon.klte.hu/~hjeas/) is a peer-reviewed journal of the Institute of English and American Studies at the University of Debrecen, Hungary and is available from JSTOR and ProQuest. Editor: Donald E. Morse.
Part of volume 21 (2015) will be devoted to Scottish Studies; guest editor: Attila Dósa (University of Miskolc, Hungary).

In Scotland, the last few decades saw two referenda on the decentralisation of political decision-making and the country is now on the doorstep of a third referendum to gain independence. The growing self-confidence in politics has been matched with a growing confidence in fields of cultural production including, most notably, literature. Though political notions of nationalism seem to have been losing ground in certain contexts, it is hard to see the 2014 referendum as other than a wished-for (at least by some) culmination for the age-old struggle for self-determination. At the same time, literature seems to have entered a post-national phase and critical discourses currently in vogue have been using the rhetoric of hybridism and diversity with an aim to divest it of essentialist or nationalist undertones even though Scottish literature was especially rich in both in the 1970s–1980s. Due to recent changes in politics and an impressive growth of literary production, and with the expansion of the field of Scottish Studies over the borders of Scotland, in the past few decades criticism has followed suit and theoretical structures are being revised or done with altogether at great speed. But where is the field now?

HJEAS invites contributions exploring the present state of Scottish Studies with reference but not limited to the following topics
⋅Theory and reading: constructing, transforming, restructuring and transgressing critical frameworks in the study of Scottish literature
⋅Nation and identification: from national identity to trans-national reference points in Scottish literature and in Scottish literary criticism
⋅Narratives and counter-narratives of identity and independence: literature, sociology and journalism; oral, written and visual rhetoric; print and e-texts
⋅Theory and society: translating social realities to literary criticism and back
⋅The referendum of 2014: present political debates of independence in and outside Scotland; radicalism and conservatism; age groups; role of the popular media; humour and rhetoric of hate
⋅Text and image: textual and visual representations of aspects of social realities in Scotland in the present; institutions versus e-communities

Please send a proposal (200 words) accompanied by a short CV to the guest editor:
Attila Dósa <aitdosa@uni-miskolc.hu>

Other information:
Deadline for proposals: 31 March 2014
Notification of acceptance: 15 April 2014
Delivery of completed papers: 31 August 2014
Contributions should conform to the latest edition of the MLA Handbook. Contributions on history may use the latest edition of the Chicago Manual of Style.
Further information on formatting: http://dragon.klte.hu/~hjeas/submitting-manuscripts.html
(posted 15 February 2014)



'The dyer's hand': Colours in Early Modern England
A special issue of E-rea (13.1, Autumn 2015)
Deadline for proposals: 15 April 2014

Guest Editor: Sophie Chiari (LERMA, Aix-Marseille Université).

Scientific Committee:
Sophie Chiari, Aix-Marseille Université (France)
Line Cottegnies, Paris 3 – Sorbonne Nouvelle (France)
Tobias Döring, Ludwig Maximilians-Universität (Munich, Germany)
Roy Eriksen, University of Agder (Norway)
Stuart Sillars, University of Bergen (Norway)

As Michel Pastoureau has shown, the Middle Ages were a time when heraldry changed the names and the meanings of colours and when both stained glass and manuscript illuminations testified to the rich symbolism of the vivid medieval palette. In recent years, much attention has also been paid to the new approaches to colour which emerged in 18th-century England, in the wake of Isaac Newton's innovative ideas on the colour spectrum. Nowadays, a full range of highly saturated hues characterizes our daily environment, so much so that black and white convey both elegance andsophistication.

Yet, the function and the symbolism related to the use of colours in 15th-, 16th- and 17th-century England remain surprisingly unexplored, partly because the Aristoteliantheories of vision and colours have long been regarded as relatively limited ones, and partly because, until the 17th century, most skills related to the art and uses of colour were protected by a number of trade secrets and only circulated by word of mouth. Moreover, as a new black and white print culture was gradually taking precedence over the lavish colours of medieval manuscripts, the advent of Protestantism was at the origin of several violent reactions against the use of bright colours. Nevertheless, for all the exhortations of a handful of “chromophobic” Puritans zealots like Philip Stubbes against what they regarded as "artifice", the iconoclastic fever which swept across early modern England never really stopped the use of polychromy.

Indeed, in spite of the corruptibility of early modern pigments and of the limited range of available hues, cloth manufactures flourished and English artists continued to use many different hues in their works. The court miniaturist Nicholas Hilliard relied for example on vibrant blue, yellow, crimson, black, white, pink, orange and green shades in his paintings. In the meantime, Shakespeare's "dyer’s hand" (Sonnet CXI) exploited a whole range of colours in his plays and poems, from the Dark Lady of the sonnets and the black Moor of Venice to the white and red roses of the three parts of Henry VI, the yellow stockings of Malvolio in Twelfth Night or Autolycus's "ribbons of all the colours i' th' rainbow" in The Winter's Tale (4.4.206). Generallyspeaking, the circulation of clothes, cosmetics, gemstones, recipes, heraldic devices, botanical drawings, and university textbooks then partly depended on the colours which characterized them. Strikingly enough, an increasing number of dyes were marketed and, as a result, many early modern Englishmen wore red beards and dyed their hair. During the Civil War, the differentiated use of colours proved to be an important means of recognition of troops while, in the 1650s, philosophers eager to understand how their contemporaries perceived the world attempted to reconsider colour to question the reliability of senses and common sense. In his Leviathan (1651), Hobbes suggested that, like tastes and odours, colours were actually subjective (or "sensible") qualities that one could "discern" only "by Feeling".

Now, if early modern men and women enjoyed and promoted a variety of tinges, tones and tinctures, they were also disturbed by the uncanny power of colouring and dyeing. Theories about the significance of skin colour proliferated and contributed to the emerging construction of race which led to the creation of a series of binary oppositions between black and white. Researchers now acknowledge that colours may have served to crystallize the sexual, religious and political anxieties of an era when vivid tints were often seen as a transgression of sorts. More often than not, colours were indeed associated with poison, illness and pollution, and were therefore seen as potentially dangerous. Under Elizabeth I, the London Parliament tried invain to colour-code the citizens in order to facilitate the identification of subversive individuals. In the early 17th century, the Puritan Thomas Tuke won a lasting fame with his Treatise against Painting and Tincturing of Men and Women (1616) in which he warned his readers against cosmetic literature and attacked the "superfluous" painted faces of his time.

These examples tend to show that, in the early modern period, colour still codified gender as well as religious, political and social distinctions. In other words, colour was a symbolical and literary construct worth exploring for scholars interested in the multiple facets of identity construction in early modern England.

This special issue of the electronic journal E-rea (http://erea.revues.org/3363) aims at tracing the changing meanings of colour(s) in England from the Tudor era until the Restoration period (1485-1660). It will welcome papers dealing with the material, literary, aesthetic and sociological dimensions of colour in early modern England. Colours should thus be seen as part and parcel of the cultural codes followed or questioned by the early modern society.

Contributions might relate to but are not limited to the following questions:
- How were colours made and used in England at the time?
- Did their names actually refer to the same colours as those of today?
- What did the use of warm or cold colours aim at symbolizing in the artistic and literary works of the period?
- Did the circulation of prints and popular black and white engravings of the period change the perception of colours?
- To what extent did the English see and use colours differently from continental countries?
- What role did the Puritans play in the perception of glowing colours in early modern England?
- Which tones happened to be culturally andsocially unacceptable, and why?
- Could the restrictions imposed on coloursactually have raised the interest of early modern contemporaries in the use of a wide variety of tints?
- What were the main scientific theories developed on colour at the time?
- Which writers were then interested in the topic and to which ends?
- What was the function of colour in early modern literature and how was it used on stage?
- Was colour gendered and, if so, what were there specific masculine and feminine hues?

Please send your paper proposal (of nomore than 300 words) with a brief CV by April 15, 2014 to Sophie Chiari
<chiarisophie@hotmail.com> or <sophie.chiari@univ-amu.fr>.
Contributors selected by the scientific committee will be notified by mid-May 2014.
Final papers will be due on November 30, 2014.
(posted 27 January 2014)



The Risks of Metatextuality: On the Forms and Processes of Authorial Commentary
Interférences littéraires / Literaire interferenties: A Multilingual e-Journal of Literary Studies
Deadline for proposals: 15 April 2014

Special issue of Interférences littéraires / Literaire interferenties: A Multilingual e-Journal of Literary Studies
Edited by Karin Schwerdtner (University of Western Ontario) & Geneviève de Viveiros (University of Western Ontario)

This issue of Interférences littéraires / Literaire interferenties aims to explore the risks and problems involved in authorial commentary, whether in the form of prefaces, interviews, essays or letters: What risks are involved for authors who produce or leave traces of their reflections on their oeuvre and lives? What sorts of critique may they evoke?  What are the risks of specific paratextual genres, and how do authors acknowledge, anticipate and confront these particular risks? More broadly, how do these authors -- as well as their editors, readers, and critics -- conceive of or confront these risks? What uses do readers and critics make of authors' comments on their writing(s) and what problems might arise when using paratexts to accompany and help explain a particular oeuvre?
This special issue hopes to amass different critical perspectives on the risks of metatextual commentary as it has developed from the end of the 19th century to the present -- an era characterized by considerable public interest in the private lives and intimate writings of authors. Particular attention will be paid to how risks are perceived and assessed in relation to metatextuality and how these risks are managed and mediated.
 
Brief article abstracts of approximately 300 words, together with a short biographical note (name, affiliation and research areas), should be emailed by April 15, 2014 to both:
- Karin Schwerdtner <kschwerd@uwo.ca>
- and David Martens <david.martens@arts.kuleuven.be>.
Proposals may be written in German, English, Spanish, French, Italian or Dutch.  After the selection process is completed (by the end of May 2014), the editors will invite authors to electronically submit (email) completed articles (by September 1, 2014).
These articles will be rigorously peer reviewed. The issue will be published in February 2015.
For further information, see: http://interferenceslitteraires.be/node/265
(posted 13 February 2014)



Orality, Sounds and Sensations in the Translation of Poetry
Issue 28 of Palimpestes
Deadline for proposals: 20 April 2014

Center for Research in Translation and Transcultural Communication English/French - French/English

Call for papers for essays for issue 28 of Palimpsestes (website: http://palimpsestes.revues.org/)
or for the Conference: 17-18 October 2014

"Music first, above all else." Poetic discourse is a linguistic art form that affects all senses at a deep level. When reading a poem, the reader's awareness is suddently heightened and her/his perception of the world renewed, as s/he hears the accoustics of the words on the page resonate. Yet silence, which is the counterpart of orality and the spoken word, also informs poetry in a powerful way -- something is left unsaid, a pause, an aspiration towards an absolute. Poetic orality has many sensory ramifications -- violent synaesthesia, the sense of a void, feelings of vertigo, an array of emotions and sensations, the musical imagination, etc. How can these various manifestations be welcomed into another language?
Oral poetry is highly codified and, at the same time, free from the constraints of written form, but can it be translated in the same way as other poetic forms meant for silent reading? The traces of orality are manifold and include first person narratives, dialogues, ballads, vocal polyphony, etc. They are also perceptible in changes of register, aural images, stylistic effects, etc. How do these formal, stylistic features and linguistic markers translate into another language, especially when they are subverted? Are specific traits altered so as to strengthen the oral delivery and the oral dynamics of the written poem? Orality can be considered as indissociable from the present moment, the intrinsic characteristic of an immediate form of interaction. How does the aural reception of performative poetry like dub, rap or slam affect its translation?
When confronted with ‘oral poetry’ in translation will a reader's sensory response differ from her/his reaction to the original work? What can be made of Gadamer’s concept, that of the ‘inner ear’ which "apprehends the ideal structure of language -- something nobody ever can hear"? Will the reader be able to thread her/his way back to the source and origin of the poem, a place where, according to Paul Valéry, the French poet and critic, silence and sound precede writing?

Proposals (a half-page summary in English or French) plus a short CV should be sent, by 20th April 2014 at the latest to:
- Christine Raguet <c.raguet@univ-paris3.fr >
- Jessica Stephens <jessica.stephens@numericable.com>
(posted 10 February 2014)



Scottish poetry
A special issue of Études écossaises (nr 18, 2015)
Deadline for proposals: 1 June 2014

The 2015 edition of the journal Études écossaises will be devoted to poetry. Within the research project set by Grenoble 3 - Stendhal University's Centre d’Études sur les Modes de la Représentation Anglophone, we intend to focus on the major role that Scottish poets have played (and still play) at a local level as national writers, but also, on the wider international literary scene.

A historical overview shows that Scottish poetry is imbued with both political and poetical concerns and that it is permeated with the notions of identity, alterity, independence and universality. If most Scottish poets have written in English since the 17th century, it is undeniable that a literary counter-movement, originally initated by Allan Ramsay, soon asserted itself and gave momentum to the cultural and linguistic originality of Scotland. James Macpherson, among others, fully understood this potential and offered up to European readers (Chateaubriand was one of his admirers) his famous Ossian poems. With the same motivations, MacDiarmid in turn initiated the Scottish Renaissance movement at the beginning of the 20th century.
By contrast, the work of William Drummond does not deal with Scottish identity and the sonnets of the "Scottish Petrarch" (as some would have it) make use neither of dialect nor of nationalist sentiments. Rather, his poetry and his intellectual attitude constitute an opening of the frontiers and of the self and, as such, foreshadow the works of James Thomson -- himself an exile and an architect of the Sublime aesthetic -- who helped to lay the foundations of British Romanticism with The Seasons. Robert Burns, despite his propensity for realism and rural life, also reached across the frontiers of Scotland and became universally acknowledged as an authentic romantic figure like Coleridge and Wordsworth. Today, the Franco-Scottish poet Kenneth White, whose work shows strong concerns for open spaces and nomadism, is yet another model of opening.

In this way Scottish poetry always oscillates between the local and the global and its major works seem to celebrate the marriage of politics and poetics. We welcome papers of different natures -- monographical, comparative, interdisciplinary, text commentary -- which pay tribute to any Scottish poets from the 17th century up to the present day.

Papers (5,000-8,000 words) may be submitted in French or in English.
A brief proposal (c. 300 words) should be sent by 1st June 2014. The deadline for finished papers is 1st October 2014.

Contacts : <sebastien.scarpa@u-grenoble3.fr> or <christophe.roncato@u-grenoble3.fr>
(posted 22 October 2013)



Golden Epochs and Dark Ages: Perspectives on the Past
Studies in Literature and Culture (SILC)
Deadline for proposals: 15 June 2014

The ways in which we represent or reconstruct the past, or certain periods and epochs, reflect the values, trends and fashions of our own times, rendering any attempt at an "objective" picture of the bygone times bordering on the impossible. Projecting our own patterns of thought onto the past, we end up either idealizing some chosen periods in the nostalgic thing-are-not-what-they-used-to-be manner or, conversely, dismissing whole epochs as "dark ages" never to be repeated. And the whole process is dynamic: the appraisal of the same epochs changes with time and a yesterday's "golden era”" can, according to the changing needs of the new times, become a "dark age" of today.
The Victorians saw their age as the fulfilment of English history, a period of their country’s political, military and economic domination, and they drew inspiration for expressing that pride in the art and pageantry of the Middle Ages, idealised as a golden period of the yester-era. Later, however, both epochs were confined to that particular history drawer that was a depository of stale social mores and outdated intellectual and cultural conventions.
The terms "mediaeval" and "Victorian" have both come to epitomise the state of "outdatedness", which is reflected in their dictionary entries. English culture in general and the English culture of the postmodern era in particular are characterised by self-conscious forays into the past and imitations of past styles in an effort to define the present by reference to a particular past period. We invite proposals that discuss various aspects of reappraisal and devaluation of particular past epochs not only in literature but also mass media, material culture, narrative trails in museums etc.

Studies in Literature and Culture (SILC) is a publishing series affiliated to John Paul II University of Lublin, Poland, Faculty of Humanities, Institute of English Studies. The series publishes academic dissertations, articles and review essays whose purpose is the multi- and interdisciplinary analysis and understanding of British Culture, History and Literature, as reported by academics, scholars and researchers from Poland and around the world.

The series welcomes original high-quality papers, which debate erudite and contemporaneous ideas, topics and issues of academic relevance, to be published and disseminated. The editorial board of the series includes prof. Zofia Kolbuszewska, prof. Sławomir Wącior, Barbara Klonowska, PhD, Grzegorz Maziarczyk, PhD. The editors directly responsible for the upcoming issue are Tomasz Niedokos, PhD, and Anna Antonowicz, PhD.  The series is a peer-reviewed printed publication.

Proposals (500-word abstracts) should be submitted by June 15, 2014 to:
- <annaa@kul.lublin.pl>
- and <niedokos@kul.lublin.pl>.
Notifications of acceptance will be sent by June 30, 2014. Final papers (c. 20000 characters) will be expected by October 31, 2014.
(posted 27 March 2014)



Cultural Transfer
Word & Text 2 / 2014
Deadline for proposals: 27 June 2014

Eds. Dr Manuela Rossini & Dr Michael Toggweiler (IASH, University of Bern, Switzerland)

The editors of this planned issue of Word & Text conceptualize "cultural transfer" as the global mobility of words, concepts, images, persons, animals, commodities, money, weapons, drugs and other things (Stephen Greenblatt). Such a broad and pragmatic understanding might also be the starting point for an interdisciplinary debate on transfer processes that focuses on their textual and largely cultural mediation. However, the acknowledgement of the fluidity of words, texts and images etc., stresses not only the flow of objects but also the fluidity of the persons involved as well as the instability of the landscapes in which these processes take place. Borders and places, even if imaginary, are constantly ‘on the move’ so that it has become increasingly difficult to identify origins and ends or even signposts and directions of cultural processes, especially with regard to textual traces. Thus, culture itself may be read as transfer (Lutz Musner) and, more specifically, as an ongoing negotiation and differentiation.
Demarcations of borders, however, are very real. Discursive definitions of "culture" prove highly effective and "imaginary communities" (Benedict Anderson) are potent political agents. The analysis of cultural transfer and culture as transfer has to take into account the dramatic situations of contact zones, the dynamics of inclusion and exclusion as well as the conditions of selection, translation, adaption or mutation within unequal power relations.
The necessary acknowledgement of an oscillation between fluidity and stasis with regard to "culture" does neither stop short at an abstract diagnosis of rhizomatic lines of flight (Gilles Deleuze) of endless différance (Jacques Derrida) nor does it in any sense privilege a return to an understanding of culture as something coherent, substantial, or even metaphysical. This is why the present issue attempts to replace these mutually exclusive notions by the adjectival form "cultural" (as suggested by Arjun Appadurai) in order to allow for the analysis of differences, contrasts, hybridity as well as similarities, shared features and interstices between all sorts of categories (languages, classes, genders, roles, social fields, groups, and nations). Thus, cultural transfer does not mean transfer between static and essentialised “cultures” or the transfer of “culture” but rather a differing game and its very real yet unstable discursive effects (differences, identities) within the framework of the “cultural”.
Such an approach and conceptualization allows "cultural transfer" to become a heuristic device for talking about difference and similarity with regard to textuality in its broadest sense. What we need now is a stocktaking of more specific heuristic readings, the formulation of problems (Deleuze), models and terminology (genealogy, emergence, translation, adaptation, articulation, transfer, transit, empathy, difference, similarity etc.). The planned issue invites contributors to critically engage and take up a position in such a programmatic discussion of cultural transfer -- always grounded in specifics and singularities.

We welcome interdisciplinary approaches, ranging across critical theory, media studies, literary and cultural studies, linguistics as well as other disciplines in the humanities.
The deadline for abstract submissions is 27 June 2014.
Those selected are then expected to send the full article by 15 September 2014.
All submitted articles will be blind refereed except when invited.
Accepted articles will be returned for post-review revisions by 15 October and are expected back in their final version by 30 October.
Please send a proposal of 1000 words (including 1-2 paragraphs on your general understanding of "cultural transfer") to the editors of the volume who will also answer any question you may have:
- Manuela Rossini <rossini@iash.unibe.ch>
- Michael Toggweiler <toggweiler@iash.unibe.ch>
Contributors are advised to follow the journal's submission guidelines and stylesheet.
(posted 13 March 2014)



Contemporary Issues in Irish Studies. In Memoriam Paul Brennan
Études irlandaises: French Journal of Irish Studies, Spring 2015 issue
Deadline for proposals: 30 June 2014

This special issue seeks to explore research topics dear to Prof. Paul Brennan (+ 2003) who left such a mark in Irish Studies in France and in Europe -- State-building, public policy, Church issues, the peace process in Northern Ireland, and cultural life, whilst not forgetting contemporary literature. Although it has a 20th-century focus, this issue also seeks to present directions in which scholarship in those topics has developed in the early 21st century, and invites submissions on those themes regardless of whether authors were acquainted with Prof. Paul Brennan.
 
Contacts:
Please send all submissions by June 30, 2014 to:
- Prof. Bertrand Cardin <bertrand.cardin@unicaen.fr>
- and Dr Alexandra Slaby <alexandra.slaby@unicaen.fr>

Instructions to authors: http://www.pur-editions.fr/pdf/consignes_etudes_irlandaises.pdf (scroll down for English version)
 
(posted 15 February 2014)



Food on the Home Front, Food on the Warfront: Conflict and the American Diet
Edited by Tanfer Emin Tunc and Annessa Ann Babic
Deadline for proposals: 30 June 2014

Food has been an inextricable part of American warfare since the inception of the nation.  From the traveling cooks of the Revolutionary War, to the advent of canned provisions during the Civil War, to the renaming of German dishes such as sauerkraut (liberty cabbage) and hamburgers (liberty steaks) during World War I, to the rise of Asian cuisine during World War II and the Vietnam War, to the surge of Middle Eastern cuisine and the French fries/freedom fries controversy of the post 9/11 era, military conflict has impacted the American diet both on the warfront and on the home front.  While international politics and domestic propaganda ostensibly initiated and sustained many of these dietary changes, some outlasted the wars with which they were originally associated, becoming a permanent part of American culinary culture.
The consumption of canned food, for example, was originally designed for soldiers and travelers who could not always access a fresh cooked meal. Canned food was then sold to middle class consumers as luxury items which would facilitate their busy lifestyles. After World War II, however, canned food was democratized through mass production, becoming a generic and inexpensive part of American life. Today, it is a significant part of the national palate, spawning entire industries (tuna) and foodways (spam cuisine).
War has also prompted Americans to rethink their consumption of food, ranging from the improvement of domestic beer brewing (when patriotic Americans refused to consume German beer); to the conservation and home gardening movements of World Wars I and II; to more recent efforts centering on organic and green consumption after Americans witnessed what chemicals could do to the human body during the Vietnam and Gulf Wars.  Food has also served as points of contention between war-torn nations, with Hershey Bars and Coca Cola functioning first as soft power or cultural “"envoys of peace," and later as insidious portents of the American capitalism and imperialism that many associate with "hard power" US global interventions.

This edited volume seeks to explore the meaning of food in relation to American conflict and war.  The editors encourage the submission of abstract dealing with the ways in which war has impacted American foodways and culinary culture since the eighteenth century.  We are especially interested in submissions that consider material objects such as menus, posters, food packaging, recipes and cookbooks as well as media representations, including pamphlets, short films, and public service announcements produced by the US government, related agencies, and NGOs.
Topics may include, but are not limited to:
- representations of food and war in American literature;
- war and the scarcity of food;
- food conservation movements and grassroots activism;
- home production and canning;
- gender, class, race and food;
- the evolution of the American diet;-
 culinary creativity, food substitutions, and changes in cooking style;
- the American consumer and shopping habits;
- food, war, and children;
- propaganda and patriotism;
- cooking classes, textbooks and indoctrination;
- food rationing and hoarding; nutrition during wartime;
- and comparative/transnational approaches.
Essay abstracts of no more than 500 words and one-paragraph bios should be emailed by June 30, 2014 to:
-  Dr Tanfer Emin Tunc <tanfer.emin@gmail.com>
- and Annessa Ann Babic <annessababic@gmail.com>.
If selected, full-text essays of 8,000 words (maximum) will be due October 31, 2014.
(posted 10 April 2014)



Technology, Imagination, Narrative Forms
Between, vol. 4, n. 8 (2014)
Deadline for proposals: 10 July 2014

Edited by Lucia Esposito (University of Teramo), Alessandra Ruggiero (University of Teramo), Emanuela Piga (University of Cagliari – Bologna)
Journal websitse: http://ojs.unica.it/index.php/between/index

In the last decades, especially since the inception of digital literature, the impact of new technologies on narrative forms has been increasingly discussed: from George P. Landow's seminal work on early hypertexts (1997) to Katherine Hayles's ruminations on how we write and think in posthuman times (2012). State of the art enquiries growingly consider the way in which texts interface with technologies in a continuous process of ‘remediation’ (i.e. the 'refashioning' of old media by new media -- Bolter and Grusin, 2001), and the ‘radiant’ textualities (Jerome McGann, 2001) which are the outcome of this process, as well as the focus of a more 'media-conscious' narratology (see Marie-Laure Ryan, 2004; and 2014, forthcoming).
Taking into account the turning point represented, in the reflection on the interlacing of discourse and technology, by the birth of the Web 2.0, this issue of Between-Journal aims at proceeding along the route marked out by key theoretical works such as The Open Work by Umberto Eco (originally published in 1964, the same year in which Marshall McLuhan's analyses, summed up in the sentence "the medium is the message", became famous), Donna J. Haraway's Simians, Cyborgs, and Women (1991), on the technologies and biopolitics of postmodern bodies, Pierre Levy's Collective Intelligence (1994), later reworked as Connected Intelligence by Derrick de Kerckhove (1997).
In the third millennium new paths are being explored around the idea of participatory culture -- for example in Henry Jenkins's Convergence Culture (2006) -- and of creative audiences' interactivity -- for example in Manuel Castell's Communication Power (2009), whose focus on reception, rearticulating Roman Jakobson’s communication model and its reworking by Umberto Eco (1994), aligns it with the theoretical trends of the last forty years. In Italy, Letteratura e Tecnologia, the second volume of the series Studi in onore di Remo Ceserani (ed. by P. Pellini), was published in 2003; more than ten years later, its enquiries into the relationship between imagination and material life are being given a new start based on the premises of new 'convergences' (see Ceserani 2009) between literature, art and technology. Lastly, the publication of this issue of Between-Journal will coincide with the celebration of the fiftieth anniversary of Umberto Eco's Apocalittici e integrati (partially translated as Apocalypse Postponed 1994), which was crucial for the evolution of the discussion about culture, media and industrial society.
Based on the assumption that those which seem to be the most debated themes are no more than the latest manifestations in a long history of interconnections between technology and literary and cultural narratives, the next issue of the journal intends to develop a critical reflection on these intertwining connections in a historical perspective. In particular, the discussion will develop around the ways in which different forms of creation and reception of cultural products (literature, theatre, cinema, music, figurative arts) have responded across the centuries to the invention and circulation of innovative, revolutionary and unconventional technological processes and products. Among the possible topics to be addressed are the thematic or metaphoric representations of new or futuristic technologies; the effect of changing methods of production and transmission of culture on the ways in which different sectors of society and different geographical areas read, write and get in touch with literary texts (including issues of accessibility, usability and preservation); the interaction between digital culture and ‘traditional’ literary forms (e.g. digital versions of classics, or the use of IT technologies to facilitate experimental narrative techniques); the growth of studies on digital culture and the impact of digital technology on contemporary academic practice.

Articles on the following issues will be evaluated:
• Literary adoption of technological models: the influence of technology on the reconfiguration of literary writing and/or on the relationship between literary writing and the oral tradition
• Intertwinings and contaminations between literature and visual technologies, words and images
• Technologies of memory
• Innovation of narrative forms and impact on society: authorship, new reception models, copyright
• Literary models in media storytelling and 'remediations'
• Work of art reproducibility and rhetorics of connection: citation, reuse, parody, transmediality, criticism on the Web
• Impact of technologies and network protocols on narration: communities and Open source, collective writing and Fan fiction
• Reconfiguration of space and time in digital storytelling
• Technological imagination narratives
• Mapping of theories, practices, themes and forms of narration in the digital age
• Books without end or the end of books?

Proposals in languages other than Italian, and particularly in English, or bilingual versions (in Italian and another language) are highly appreciated and welcome.

The proposals (articles ready for publication and provided with abstracts) should be submitted by 10 July 2014 following the instructions available on the website: http://ojs.unica.it/index.php/between/pages/view/Submissions
The authors of the articles selected for peer review will be notified by 30 August 2014. The finally accepted articles will be published by 30 October 2014.

Contacts: <lesposito@unite.it>, <aruggiero@unite.it>, <emanuela.piga@gmail.com>
(posted 28 February 2014)



Writing Green, Reading Green
Meridian critic
Deadline for proposals: 15 July 2014

In 2014 we dedicate the 1st number of the academic journal Meridian critic to the ecocritical turn in literary and cultural studies, i.e. to the dialogue between environment and culture.
We therefore invite authors to focus on the following topics as well as on any other related subject:
• ecocriticism and its dynamics in contemporary humanities;
• the return of nature in recent critical theory: discarding the poststructuralist stance towards nature as a cultural construct;
• ecocriticism and the reconsidered interdisciplinary approaches of the critical discourse;
• the anthropomorphization of environment and the relation between human beings and nature in all kinds of cultural expressions;
• the interrelation between postcolonialism and ecological studies, such as environmental racism and imperialism;
• environmental studies at the junction of cultural and scientific discourse as well as of moral and political concerns;
• the correlation between ecological disasters and cultural impasses and the globalization of environmental crises;
• the trope of the ecological apocalypse in contemporary arts;
• the discourse of sustainability, postcolonialism and cultural memory studies.

Deadline for submissions: July, 15, 2014.
We welcome papers in English, German, French, and Romanian.
Abstracts (c. 200 words) and full papers (up to c. 7,000 words), together with a brief biographical sketch (c. 400 words), are to be sent to the following address: <l_turcu@yahoo.com>.

For further details regarding style, please visit the following page: http://meridiancritic.usv.ro/index.php?page=instructions-to-authors
(posted 27 March 2014)



Katherine Mansfield and Translation
Volume 7 of Katherine Mansfield Studies
Deadline for proposals: 31 August 2014

Katherine Mansfield Studies is the peer-reviewed yearbook of the Katherine Mansfield Society
Guest Editor: Professor Claire Davison (Sorbonne Nouvelle, Paris)

Two books to be published in 2014: Volume 3 of the Edinburgh Edition of the Collected Works of Katherine Mansfield – The Poetry and Critical Writing, edited by Gerri Kimber and Angela Smith, and Translation as Collaboration: Virginia Woolf, Katherine Mansfield and S.S. Koteliansky by Claire Davison, both reveal the extent to which Katherine Mansfield devoted much of her energy to the processes of translation. In addition, Mansfield's own books have been translated into many different languages, with new versions appearing all the time -- the latest being a Slovakian edition of her stories translated by Janka Kascakova.

This volume seeks papers that address all aspects of Katherine Mansfield and translation. Topics might include, but are not limited, to:
· Mansfield as translator
· Translating Mansfield
· Transformative effects of Mansfield in translation
· Mansfield reading translations
· Reading Mansfield in translation
· Mansfield’s translators
· Mansfield from a translation theory perspective
· Mansfield and her translation collaborators

Submissions of between 5000–6000 words (inclusive of endnotes), in Word format and using MHRA style formatting, should be emailed to the Guest Editor for this volume, Professor Claire Davison, accompanied by a 50 word biography: <kms@katherinemansfieldsociety.org>
A detailed MHRA style guide is available from the Katherine Mansfield Society website:

Creative Writing: Pieces of creative writing on the general theme of Katherine Mansfield -- poetry, short stories, etc., should be sent to the editors, accompanied by a 50 word biography: <kms@katherinemansfieldsociety.org>

Deadline for submissions: 31 August 2014
Editors: Dr Gerri Kimber, Professor Todd Martin and Dr Delia da Sousa Correa
Reviews Editors: Dr Melinda Harvey and Dr Kathryn Simpson
Editorial Assistant: Louise Edensor
 ----------------------------
The Katherine Mansfield Society is pleased to announce its annual essay prize competition for 2014, open to all, on the subject of:
Katherine Mansfield and Translation.
More information on the website of the Katherine Mansfield Society: http://www.katherinemansfieldsociety.org
(posted 4 February 2014)



Politics of Form
EJES (European Journal of English Studies) Volume 20
Deadline for proposals: 31 October 2014

Guest Editors: Sarah Copland (Edmonton, Canada) and Greta Olson (Giessen, Germany)

Chantel Mouffe argues that every artistic form has a political dimension. Fredric Jameson has written that narrative form is inherently ideological, representing a "sedimentation" of a historical moment’s social relations and modes of creation. This special issue seeks to unite the formalist analysis of aesthetic and in particular narrative texts with ‘readings’ that are aimed at uncovering how structures of social power and subordination are expressed in and by form.

Contributions might explore issues such as:
- How can narratological or other formalist analyses of text be reconciled with postcolonial, feminist, critical-race, class-sensitive, and intersectional reading strategies?
- How are specific concepts and models of formalist analysis challenged when they are opened to political and contextual issues?
- In which conditions did prevailing formalist and narratological models come to be; how might they also be viewed as historically contingent?
- How do the forms of specific narrative texts express political critique?
- How might regarding textual form as inherently political help critics to resolve current debates about the appropriate objects and methods of textual analysis?

Given the focus of EJES on English Studies as practiced in Europe, the editors welcome essay proposals that deal with the politics of form, particularly in connection with the critique or negotiation of Englishness in Anglophone or non-Anglophone cultures and contexts.

Detailed proposals (500-1,000 words) for essays of c. 5,000-6,000 words, as well as all inquiries regarding this issue, should be sent to both editors:
- Greta Olson <greta.olson@anglistik.uni-giessen.de>
- Sarah Copland <coplands2@macewan.ca>

Please note that the deadline for proposals is 31 October 2014, with delivery of completed essays by 31 March 2015.
Volume 20 will appear in 2016.
(posted 7 January 2014)



J.M. Coetzee and the non-English Literary Traditions
EJES (European Journal of English Studies) Volume 20
Deadline for proposals: 31 October 2014

Guest editors:  María J. López, (Córdoba, Spain), Kai Wiegandt, (Berlin, Germany)

In J.M. Coetzee's latest novel, The Childhood of Jesus (2013), Miguel de Cervantes and his novel Don Quixote are central, calling attention to gaps in the existing research on Coetzee's intertextuality. Research has mainly focused on English intertexts, although Coetzee enters a dialogue with a myriad of literary and linguistic traditions, especially, though not only, European ones. As Derek Attridge states in his introduction to Coetzee's collection of essays Inner Workings, Coetzee's "evident fascination with the European novelists of the first half of the twentieth-century suggests that, although he has never lived in continental Europe, he is, if looked at from one angle, a deeply European writer." In spite of substantial examinations of the echoes of different non-English writers in Coetzee, these critical analyses are scattered and some influences remain patently unexamined. Hence, this issue intends to cover an important critical gap by offering the first unified view of Coetzee's relation with non-English literary traditions both in his fictional and non-fictional works, focusing on Coetzee’s interaction with European literatures such as Spanish, Italian, French, Dutch, German, Polish, Greek or Russian, but also welcoming contributions on Latin American, Asian and other non-English influences.

Topics for papers may include:
- Thematic and formal influences of non-English literary traditions on Coetzee's fiction
- Coetzee's re-thinking of the novel form through non-English novels, for example, via Don Quixote, as opposed to the much-discussed Robinson Crusoe
- Coetzee's dialogue with specific authors, such as Kafka, Dostoevsky, Tolstoy, Milosz, Musil, Márai, Rousseau, Cervantes, Goethe or García Márquez 
- A broadening of the notion that Coetzee is influenced by modernism by including non-English modernisms
- Coetzee's representation of non-English languages in his fiction
- Coetzee's work as a translator, especially from Dutch, and its possible effects on his fiction

Detailed proposals (500-1,000 words) for essays of c. 5,000-6,000 words, as well as all inquiries regarding this issue, should be sent to both editors: 
- María J. López <ff2losam@uco.es>
- Kai Wiegandt <kai.wiegandt@fu-berlin.de>

Please note that the deadline for proposals is 31 October 2014, with delivery of completed essays by 31 March 2015.
Volume 20 will appear in 2016.
(posted 7 January 2014)



Formulaicity in Language, Literature and Criticism
EJES (European Journal of English Studies) Volume 20
Deadline for proposals: 31 October 2014

Guest editors:  Ian MacKenzie  (Geneva, Switzerland) and Martin Kayman (Cardiff, UK)

Formulaicity is widespread in language, literature and literary criticism, although these days, especially in the academy, it is frequently seen as an inferior alternative to genuine creativity. This issue welcomes articles on all aspects of formulaicity in these fields, describing, disparaging, rehabilitating or celebrating the use of formulas.

Possible areas of interest include:
- Language / linguistics: the formulaic aspects of language (or in this instance, the English language), the prevalence of formulaic sequences, fixed and semi-fixed expressions, prefabricated phrases, etc.; their importance for theories of language acquisition and learning (and teaching), translating, etc.; the differing functions of formulaicity in English used as a first language, foreign language, lingua franca, etc.; the relation between formulaicity and creativity in speech and writing; formulaicity and diachronic change; how routinely repeated formulas can become ritualized, stylized and freed from their original stimulus, etc.
- Literature: the inherent formulaicity of literary genres high and low, from traditional epics to sonnets to detective stories; the role of predictable structural, formal and narrative elements; the balance between predictability and innovation or creativity; formulaic and generic variation in different national traditions; etc.
- Criticism: the inescapably formulaic nature of articles produced by many critical schools or theoretical approaches (critical discourse analysis, cultural studies, deconstruction, gender studies, new historicism, post-colonialism, psychoanalysis, etc.), and once again, the delicate balance between predictability and creativity; the influence of different national traditions on critical work produced in English, and their impact on formulaic and generic features; etc.

Detailed proposals (500-1,000 words) for essays of c. 5,000-6,000 words, as well as all inquiries regarding this issue, should be sent to both editors:
- Ian MacKenzie <ian.mackenzie@unige.ch>
- Martin Kayman <KaymanM@cardiff.ac.uk>

Please note that the deadline for proposals is 31 October 2014, with delivery of completed essays by 31 March 2015.
Volume 20 will appear in 2016.
(posted 7 January 2014)


Permanently Valid Calls for Papers



The Journal of Cultural Mediation

The Journal of Cultural Mediation of the SSML Fondazione Villaggio dei Ragazzi "don Salvatore d'Angelo" focuses on the role of culture in perceiving and translating reality. The aim of this Journal is to promote research in communication, especially by investigating language, languages, cultural models, mediation and interculturality, welcoming contributions focussing on cultural mediation in modern society.
In particular manuscripts should concern:
- The role of the cultural mediator
- Linguistic/cultural mediation teaching methodologies
- Cultural mediation and identity
- Linguistic mediation in specialized discourse
- Analysis of text translations
- Quality interpreting - Interpreting as cultural mediation
- Professionalization and professional issues of interpreters
- Interdisciplinarity within Interpreting Studies
- Teaching methodologies in interpreter training
- Research on any aspect of interpreting in any research paradigm (including cognitive science, psycholinguistics, neurolinguistics, sociolinguistics, applied linguistics, discourse analysis, pragmatics, anthropology, semiotics, comparative cultural studies, cross-cultural communication, etc.)

All papers submitted to The Journal of Cultural Mediation should be original, neither having been previously published nor being considered elsewhere at the time of submission.
Papers can be written in Italian, English, French, Spanish or German, they should not exceed 6000 words and should be preceded by an abstract of 200-250 words. If the language of the paper is not English, please include a translation of the abstract in English as well. At the head of your abstract please indicate the title of the proposal, the name of the author/s, affiliation and email address. Please include five to six keywords.
The editor will select contributions for each issue and notify authors of acceptance or otherwise according to the dates below.
Authors wishing to contribute to the Journal of Cultural Mediation are welcome to submit their abstracts as email attachments to:
 <jcm.ssmlmaddaloni@yahoo.it>

For further information, contributors are encouraged to read the guidelines of the journal, given on our website:
IMPORTANT DATES (Issue 1)
March 31st: call for abstracts
April 15th: notification of acceptance
June 15th: paper submission
IMPORTANT DATES (Issue 2)
September 30th: call for abstracts
October 15th: notification of acceptance
December 15th: paper submission
(posted 16 February 2012)



The Brontës and the Idea of Influence
A thematic dossier in the “Writers, writings” section of LISA e-journal

In March 2007, Stevie Davies, Patricia Duncker and Michele Roberts gathered around Patsy Stoneman at Haworth in Yorkshire to talk about the influence that the Brontës had had on their evolutions as authors, and more generally, about the source of inspiration that the most famous family of writers in England could represent. Patsy Stoneman had already tackled the topic by publishing a book entitled The Brontë Influence in 2004 with the help of Charmian Knight. The issue of LISA e-journal "Re-Writing Jane Eyre: Jane Eyre, Past and Present" is further evidence of Charlotte Brontë's influence on the writers of the following decades or centuries. So far, these studies have been quite limited and this field of research, "the Brontë influence", offers a wide range of possible developments.
Moreover, if the four authors' poetry and novels have already been the object of numerous studies, there is much left to write about the influences which were exerted on the Brontës, whether religious, literary, philosophical or cultural. Taking account of the context of  a work is often a good way of understanding the issues underlying a text: the path taken by the Brontës, their journeys, their stays abroad, the books they read, etc. could prove to be very enlightening. Besides these external factors, one could also consider the interactions between the three sisters, who wrote in the same room and who read passages from their works aloud.
A final aspect to identify and study could be the influences which are exerted within the Brontës' works themselves. How can one account for the progress of the heroes and heroines? How is the influence that characters have on one another expressed? What role does nature play in the destiny of characters? Which other elements intervene in the novels?

This dossier devoted to the Brontës intends to analyse the works through the perspective of influence and three different fields of research can thus be considered:
-    influences on the Brontës
-    the idea of influence in the Brontës’ works
-    the Brontë influence on the writers of the 19th, 20th and 21st centuries.
Please send your proposals (one A4 page maximum) to Dr. Élise Ouvrard <ouvrard_elise@hotmail.com>.
Accepted articles will be published in the thematic dossier "The Brontës and the Idea of Influence" on the website of LISA e-journal:
(posted 10 January 2008, updated 3 November 2010)



Controversy: Literary Studies and Ethics
JLT-Journal of Literary Theory online

Submissions are continuously accepted.
Are literary scholars and critics supposed to voice their view on normative questions within their academic writings? How far should world views, political opinions and evaluations enter into the scholarly and critical work with literary texts? Is it even possible to exclude such judgements from literary studies? How and why do different traditions of literary studies treat these problems divergently?

Submissions are expected to refer to previous contributions to this controversy by Peter J. Rabinowitz and Marshall W. Gregory, which can be found here:
and here:
Please contact the editorial office for further details at
<jlt@phil.uni-goettingen.de>.
(posted 10 February 2011)