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Calls for Papers  

“The Continuous Thread of Revelation: Eudora Welty Reconsidered” An International Welty Society Conference, Charleston, S.C. February 21 to 23, 2019 (Deadline August 1, 2018)
The Eudora Welty Society is excited to host its conference for the first time in Charleston, a city Welty visited and photographed.  We invite colleagues in Southern Studies, American Studies, and all related fields of study to join us in investigations of this renowned Mississippi writer, her legacy, and her national and international reputation.  This conference, held at the College of Charleston, will examine Eudora Welty’s fiction, photography, letters, memoir, archival documents, essays, reviews, interviews, films, and more. Along with presentations of scholarly work, the conference will also offer a Charleston Writers panel, receptions, literary and historical tours, a dramatic reading of a Welty work performed by Welty scholars, plus free time in the evenings to enjoy Charleston on your own.

We invite individual papers on any aspect of Welty’s work. We expect that most submissions will be individual, but we will also consider proposals for complete panels.  Topic suggestions follow this cfp. We hope for a wide range of panels and presentations, new scholarship, connections and perspectives. We especially encourage graduate students to submit paper proposals.  Please send a 250-word abstract and, if you are new to the society, a CV to [email protected] by Aug 1, 2018.

Topics might include explorations of

- Memory: how memory is constructed, reconstructed, repressed in W’s work; competing subjectivities in her fiction and the differing memories that result, W’s works alongside other texts that explore similar relationships to past histories, times, places, people
- Attention to history and historical trauma:  Jim Crow, the Civil War, the Holocaust, the Great Depression, the Cold War, the 1960s, the effects of American class, gender, and racial hierarchies
- Did the writer crusade? social justice and political issues
- History, public culture, and performance; representations of performers, performances, audiences, and performativity in the fiction and photography
- Welty out of the South: travel and transnational perspectives, especially Welty & black literatures (African American, diaspora, global South) 
- Welty’s immigrants (German, Irish, Italian, Spanish) and the topic of immigration
- The MDAH: archival work, editing Welty and her archive
- Welty’s relationship to detective, crime, mystery, horror fiction (see related cpf announcing a future volume on this topic)
- Welty’s bookshelf: her reading habits, who she read, how they influenced her work, relationships with contemporary authors, books in her texts, etc.
- Bodies in her work: ugly, beautiful, othered, disabled, alive, dead, and undead
- Welty, gender, and sexuality
- Artistic, historical, and social movements / modernisms: gothic, grotesque, surreal / Welty and genre
- Multi-media interactions: music, theater, radio, art, film, photography, pulp fiction
- Welty characters: especially her supporting, forgotten, elusive, controversial, different, or queer characters. Are there Welty character prototypes?
- Teaching Welty, especially by and for high school teachers
- Eco-Welty: political ecologies and economies / Welty, weather, and water
- Speculative Weltys: gritty Welty, satiric Welty, sassy Welty and other alternatives to “Miss Welty”
- Welty’s personal and professional networks / friendship
- Welty’s literary legacy: her influence on and after-life in later writers
- Issues of print culture: publishing, translating, serializing, editing, anthologizing Welty
- Canonizing, de-canonizing, re-canonizing Welty
- Culinary culture in Welty’s work
… and more.

Hyphenations: Muslim Writers, Artists, and Performers in America (Deadline August 15, 2018)
Additional contributions are invited for an anthology of essays about Muslim American writers, artists, and performers engaging with their hyphenated identities in the quest for creative self-expression. Current contributions range from analyses of social media activists, creators of various visual media, and hip hop artists in relation to their Muslim American identity. Of particular interest are more contributions on Muslim American writers and musicians, or those whose work defies genres, in their articulation of assimilation, alterity, dissent, and transgression as Muslim Americans. Essays should analyze the intersection of the imaginative spheres of arts/literature/music and the domains of faith in the different media of expression used by Muslim Americans as they challenge the sacred and the secular.

Abstracts of 300 words should be submitted by August 15 to Mahwash Shoaib ([email protected]). Please include a short biographical note of 50-60 words along with the submission. Scholars will be notified of acceptance quickly after the deadline for submissions. Once accepted, finished essays (6000-6500 words) will be due by the end of November 2018. Note that acceptance of the abstract does not guarantee acceptance of the paper.

"Bad Boys" and Girls in Sports (Deadline October 1, 2018)
At their most basic level, sporting events are about numbers: wins and losses, percentages and points, shots and saves, clocks and countdowns. However, when it comes to sports narratives—the expert commentary before, during and after, the athlete interviews and press conferences, the fan debates around a television or in online forums, etc.—the stories quickly leave the realm of analytics and enter into mythos. The narratives we tell make sports so compelling. We shape athletes into heroes or scapegoats, Davids or Goliaths. We mold the sporting event into a comeback tale or a fall from grace. In other words, we make sports dramatic.

Just like any great drama, sports imply conflict, not just battles on the field of play, but clashes of personalities, goals, and strategies for accomplishing those objectives. Conflict creates heroes … but it also invites stories of villainy. Sometimes an athlete is villainized for a game or a season, but occasionally a player breaks from social expectations so often or in such a dramatic fashion that (s)he is labeled a “bad boy” in the sport. From John McEnroe and Pete Rose to Tonya Harding and Michael Vick, sporting history is punctuated by these bad boys, and what it takes to be placed in this category varies depending on many factors: the particular sport, social trends, race, gender, relationship with the fans or media, etc.

This collection will explore “bad boys” and girls in sports and their place in both the sporting world and broader culture. Each chapter will focus on a central figure within a specific sport, and it will use that figure as a way to explore larger sporting and social issues. For example, what does it take to be cast as a bad boy in a specific sport? What does that say about the values held in that sport during that time period? How does race, gender, social-media use, media/fan relationships, background, domestic versus international competition, social expectations, etc. play a role in the creation of a bad boy?

We are seeking chapter proposals that explore this topic. Any methodological approach is welcome, but the chapter should be geared toward an audience that could range from sporting enthusiast to critical scholar. Although there is some room for overlap, we would like each chapter to explore a different sport, and no two chapters will explore the same central figure. Proposals have already been accepted that examine John Daly, Collin Kaepernick, Ryan Lochte, and Jameis Winston. We welcome analysis of any sport, but we are particularly interested in chapters on Baseball, Tennis, Cycling, Basketball, Soccer, American Football, Boxing, Hockey, Auto Racing, and Olympic competitions.

Proposals should be between 400-700 words, and they should include a brief author bio. Please email proposals to Dr. John Lamothe at [email protected] by May 1, 2018. Completed chapters will be expected by October 1, 2018.

Rohingya Refugees: Identity, Citizenship, and Human Rights (Deadline October 15, 2018)
Issue 53: December 2018: Rohingya Refugees: Identity, Citizenship, and Human Rights

[Last date for submission: 15 October, 2018; Date of publication: 1 December, 2018]

Guest-Editor: Chapparban Sajaudeen Nijamodeen, Assistant Professor, Centre for Study of Diaspora (CSD), Central University of Gujarat, Gandhinagar, India.

Rohingyas are the ethnic native community of the Rakhine State, which is situated on the western coastal region of Burma, today’s Myanmar. The words ‘Rakhine’ and ‘Rohingya’ are known for their preservation of national and ethnic heritage from centuries but, unfortunately, they have been rendered homeless in their own country. Rohingyas have become stateless through sophisticated de-nationalization which automatically made them among the “most persecuted ethnic minorities in the world”. The ethnic, racial, cultural, linguistic identity of the Rohingyas was selectively and strategically excluded from the ‘national imagination’ of Myanmar state. They are denied citizenship and have become victims of structural violence, forced labor, confiscation of property, rape, gender abuse, human right violation, etc.

In this context, it is pertinent to ask the following questions: Who are the ‘Rohingyas’? What are their ethnic, linguistics, cultural, and religious identities that are not accommodated within the multiethnic national fabric of Myanmar? How have political parties responded to Rohingya crisis and refugees in India, a country which is not a part of 1951 Conventions relating to the status of refugees or the 1967 Protocol? What is the role of UNCHR-India in reaching out to the Rohingyas amidst the political tension over Rohingya refugees in India? How have the Asian countries accommodated the Rohingya refugees and what are their challenges and perspectives? How have lawyers, academicians and scholars on migration studies, social bodies, think-tank, civil societies, human rights activists, and NGOs taken up the issue of Rohingyas at both national (India) and at international level and facilitated these refugees?

The present issue of Café Dissensus aims to explore the following subthemes to understand the Rohingya crisis in general and their problems as stateless and refugees in other countries. Contributors are requested to focus on the following themes (but are not limited to these alone):

  • Identity, Culture and ethnicity
  • State, Citizenship, and Rohingyas
  • Arkan/Rakhine State and Rohingyas
  • Politics and Rohingyas in India
  • Rape, Sexual Violence, and Gender
  • Media and Rohingyas
  • Rohingyas and International Communities
  • Literature and Rohingyas
  • Media and Rohingyas
  • Rohingyas and Human Rights
  • Rohingya, Refugees, Refugee Camps
  • Legality, Illegality and Rohingyas
  • Refugee Conventions and Rohingyas
  • Civil Societies, NGOs, and Rohingyas

Articles, research papers/reports, narratives from people who are working with Rohingyas in refugee camps, first-first narratives from Rohingyas themselves are invited. Submissions should be of roughly 2000-2500 words. Some longer pieces would be considered, if they deserve more space. Submissions will be accepted till 15 October, 2018 and the issue will be published on 1 December, 2018. Please strict to deadline and email your submissions to the issue editor, Chapparban Sajaudeen Nijamodeen: [email protected]

About the Magazine

Cafe Dissensus is an alternative magazine dealing in art, culture, literature, and politics. It’s based in New YorkCity, USA. We DISSENT. The magazine also runs a blog, Cafe Dissensus Every day. Our ISSN No: ISSN 2373-177X https://cafedissensus.com/ 

Fabienne Kanor in TransgressionDocumenting, Performing, Writing, and Filming the Insufferable, A Multivolume Anthology (Deadline: October 15, 2018)
This multivolume anthology project centers on Fabienne Kanor’s performance, literary, filmic and journalistic works through critical examinations of their embedded transgressive aesthetic.
 
Intended Focus:
This timely contribution is the first anthology focused on the body of work of award-winning author, filmmaker, and journalist Fabienne Kanor. It tackles the transgressive aesthetics that inform/arise from her filmic, literary, performance, and journalistic engagements. The multivolume anthology will foster a reading together of the literary, visual, and performing arts to arrive at a transregional, trans-genre, and transdisciplinary conversation in Africana studies writ large.
Kanor’s body of work puts in place a complex connectedness and fragmentation of bodies that often tell, perform, and suffer repulsive, offensive and detestable behaviors. These experiences (of trauma, displacement, resistance, citizenship, de-civilization, healing, desire, gender, or sexual identity) go against bodily decorum and make tangible an epistemology that upholds a sense of collective identity and memory. Through her transgressive representations of propriety, consumption, and commodification, Kanor’s artistic works prevent the audience from looking away and establish an engaged witnessing and agency. Through multisensorial imagery (auditory, olfactory, gustatory, kinesthetic and tactile) Kanor emphasizes the transgressional manifestation of her protagonists/subjects; bringing the audience closer to her protagonists/subjects’ body revealed through its many smells, touches, densities, and forms. The artist rejects processes of beautification and does not follow classic ideals of representational ideologies concerning women, the Caribbean, or blackness (among others). She creates ambivalent paradigms of being instead of a set of normalizing principles through subjects bending the framework of canonical entelechy. Kanor’s works also take on the imperialist discourse of slavery and shift the national archives’ valueas illustrated in Humus (2006) where Kanor complicates the context of the archive and changes its significance and meaning, by reinterpreting the enduring archive from a March 23, 1774 captain’s report focused on justifying the loss of a valuable cargo of fourteen unnamed African women (who escaped from his ship’s hold to jump overboard) to reinvesting them with embodied experiences, identities, and voices as she narrates their own stories. In her artistic productions, Kanor unremittingly struggles both with how to give voice to these voiceless, insufferable, and unwatchable black experiences, and how to shoulder their legacy. As she traces what Francophone studies scholar Françoise Lionnet calls “Geographies of Pain” (1997), Kanor also performs a physical and transatlantic maroonage/passage into the spaces that witnessed the slave trade or the places that continue to reveal the brutalizing and dehumanizing effects of slavery on the inheritors across race, gender and class (Aimé Césaire, Discourse on Colonialism, 1950). Echoing Edouard Glissant, Kanor sees in places of confinement (whether geographical, psychological, emotional, or social) a space that holds embodied “fermentation, transformation, Creolization, dilution and exchange” (Francis, “Entretien avec Fabienne Kanor, ‘l’Ante-llaise par excellence,’” 2016). Kanor’s creative process is embodied through movement, development, and transformation or what Caribbean scholar, Dominique Aurélia theorized as a “poétique du chancellement” (2016). From Nantes to Saint-Louis Senegal, Martinique to Cameroon, Guadeloupe to Louisiana, or Haiti to Nigeria (to name but a few), Kanor’s cartography of creation marks her own acts of resistance as she refuses to lose sight of her own humanity. Her filmic, literary and performance outsets remain rooted in embodied “désontologue et réontologique” experiences (Anny Dominique Curtius, 2000).

This multivolume anthology exposes the multi-modal art forms, practices, and aesthetics found in Kanor’s works – inclusive of rituals, text-based works, visual art, sound art, and performance art. It uncovers her trans-genre texts as hybrid makings also signifying the hybrid bodies they represent. Hence, issues of commodity, Creolization, trace, site, body, or landscape (to only name a few) will be analyzed through their porous (rather than impenetrable) boundaries between the literary, visual, and/or virtual. Contributions will offer new theoretical and critical examinations of Fabienne Kanor’s creative process: How can we investigate, theoretically or critically, Kanor’s transgressive aesthetics? In what ways her transgressive works challenge Western conventional perception of genres, the standardization of cultures and the material archive? How do Kanor’s works historicize agencies of resistance, test moral sensibilities, sabotage the voyeuristic gaze and sexualized pleasures? How do they stimulate a new methodology for reading the black body? 

Field of Studies:
Transdisciplinary critical studies are highly encouraged: Africana Studies; Caribbean Studies; Conflict Studies; Cross-Cultural/Feminist Geography/Cartography; Ethnic and Cultural Studies; Film Studies; Francophone Studies; Visual and Performing Arts Studies; Women’s, Gender and Sexuality Studies; Post/colonial Studies.
 
Corpus of Study:
Fabienne Kanor’s Audio Documentaries; Documentary Films; Critical Essays; Performances; Movies; Novels; Plays; Short Stories
 
Topics/Themes of Interest:
Themes of study include (but are not limited to) the following:
-          Activism; (Caribbean/African Diaspora) Activist politics; Feminism; Community;
-          Archipelagoes; Islands; Trace; Site; Landscape; Ecosystem; Eco-criticism;
-          Body; Bones; Commodity; Propriety; Consumption; Commodification; Dis/possession;
-          Branding; Ethics and morals; Entertainment and interpretation;
-          Neo/Colonization; Decolonization; Bondage; (Police) Brutality; Alienation; 
-          Citizenship; Emancipation; Belonging; Nation; Homeland; Geopolitics;
-          Creolization; Créolité; Poétique of Relations; Caribbeanness; Négritude; Rhizome
-          Diaspora; Dis/placements; Im/migration; Transnationalism; Trafficking; Tourism;
-          Embodiment; Corporeality; Ancestral Voices; Memory; Knowledge;
-          Film; Documentary; Imaging and Imagining; Lens; Gaze; Recording;
-          Gender, sex and sexuality; Jouissance, Pleasure; Performance;
-          Marginal identities, desires, and negotiations; Polycentric and heterogeneous identities
-          Mass culture aesthetics; Shock culture aesthetics; Mediated representations;
-          (Global mass) Media; Mass dissemination; Capitalist confluences;
-          Monuments; Archives; (Afro/Caribbean) Historiography; (Living) Artifacts; Traditions;
-          Performatic repertoire (oral traditions, music, dance, rituals); Cosmology;
-          Power; “Power-knowledge;” “Microphysics of power;” Normalization; 
-          Re-counting; Recovering; Repetition; Circle; 
-          Transgression; Subversion; Unsoundness; Prohibition; Madness; Provocation; Aporia;
-          (Kanor in) Translation;
-          Trauma; Blès; Pain; (Gender-based) Violence;
-          Sea; Liquids; Blood; Middle Passage; Cale; Bateau négrier; Ventre; Confinement;
-          Polycentric/heterogeneous aesthetics; Multi/Sensorial; Polyvocal; Polyphony; Hybridity
-          Survival; Resistance; Empowerment;
-          Visual art; Sound art; Performance art; Symbolic drama; Ritualizing;
-          Witnessing; Participating; Ownership; Depicting; Representing
Guidelines and Important Dates for Contributors:
All articles will be subject to blind peer review.
  • Materials:
An abbreviated CV and a list of research interests
Abstracts/Proposals:
    • Word Limit: 550
    • Language: English or French
    • Due date: September 15, 2018
    • Late submissions will not be accepted
  • Notification of Acceptance:
  • Complete (Accepted) Articles Submission:
  • Main Contact Person:
    • October 15, 2018
    • Word Limit: 9,000 including notes and list of works cited
    • Language: English or French
    • Due Date: March 15, 2019
    • Late submissions will not be accepted
    • Send Materials/Inquiries to: Dr. Gladys M. Francis [email protected] 
"Thomas Wolfe and History": The Forty-first Annual Conference of the Thomas Wolfe Society (Deadline: January 7, 2019)
Gettysburg, Pennsylvania / May 24-25, 2019

Announcing Eugene Gant’s arrival on earth in the first year of a century that would be the millennium’s last, Thomas Wolfe heralded his protagonist as “borne in . . . upon the very spear-head of history.” And throughout accounts of the doings of Eugene Gant and George Webber (and others), Wolfe interweaves threads from ancestral and national stories and traces influences exerted on individual destinies by the tides of great events. As the 2019 Memorial Day weekend begins, we will gather near the New World home of Wolfe’s paternal ancestors and at the site of a fearful and decisive battle in this nation’s history. Gettysburg is an ideal place to consider Wolfe’s evoked intersections of public and private, of collective and individual, of past, present, and future.

Organizers of this forty-first annual meeting look forward to productive discussion of history--recorded, remembered, or in the making--as subject, backdrop, or concern in Wolfe’s writing. Those who wish to present papers are invited to submit proposals on any aspect of Wolfe’s writing on the past and its influence, or on the struggles of individuals to contend with events and forces that shape their times and lives. Wolfe’s consciousness was formed by Western philosophical and religious thought and by the English language and the literature it spawned. He was aware of the overshadowing of the present by the past and of the need to understand the history of one’s forebears--and of those of others. Wolfe’s world-view was additionally affected by impressions of the conquest of this continent, by the founding of a new kind of nation and its tearing apart in civil strife, by waves of immigration and the rise of large cities, by the evolution of capitalism and resulting social disparities, by the sufferings of the Great Depression, by hatred and prejudice in its several forms, by the abomination of slavery. The clash between attachment to Germany as ancestral land and impressions of World War I, the rise of Nazism, and the lead-up to World War II affected Wolfe’s understanding of his world and his delineation of the nature and destiny of the characters he created.

Please send 250-word (email attachment) proposals to Anne Zahlan at [email protected] by 7 January 2019.

Conference registration and sessions will be located in the Wyndham Gettysburg, 95 Presidential Circle, Gettysburg, PA 17325: www.wyndhamgettysburg.com. For more information, see www.thomaswolfereview.org/2019-conference., or contact Rebecca Godwin at [email protected] or Anne Zahlan at [email protected]

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