Announcements

CFP: The Interpretation of Nizami’s Cultural Heritage in the Modern Period

Abstract deadline: 18th December 2017
Notification of acceptance: 25th December 2017
Deadline for full paper submission for conference: 15th January 2018
Conference Date: 13th March 2018 
Arrival: 12th March 2018
The Nizami Ganjavi International is seeking paper, panel and roundtable proposals for an interdisciplinary conference to be held at the Nizami Ganjavi Centre, Baku, Azerbaijan on 13th March, 2018. We are looking for presentations within the broad topic of the interpretation of cultural heritage in the recent stage(s) of history based on the example of Nizami’s poetry. The topic encompasses questions of identity in cultural heritage: for example, the interaction of new identities with existing identities or the change in the parameters of identity over time – from the criterion of ethnicity to that of the state, from religion to language.
The conference aims to cover both theoretical and practical aspects of the topic, such as the criteria for the national attribution of literature and culture, irredentism, shared cultural past, and the aesthetics of Nizami’s poetry. We encourage consideration of irredenta within the literary-cultural framework rather than the political one, both from the point of view of the metropolis, and the peripheries, including in post-socialist countries,  and Canadian Quebec, Belgium,  from local and global perspectives. We welcome papers on all areas relevant to the topic, viewed through various spatial and temporal prisms, and from participants from different backgrounds, with special focus on the following topics:
  • Regional motifs, symbols in Nizami’s literary work (recycling cultures in literature, Khizr, the reversed love story of Shamash and Enkidu)
  • Ethical and philosophical values in Nizami’s literary heritage
  • Folklore elements and esoteric symbols; common elements and symbols
  • Islamic and regional elements
  • Nizami and his contemporaries
  • Nizami’s influence on modern literature (e.g. Ptisin’s “Khosrov and Shirin”, Khlebnikov’s “Medlum and Leyli”)
  • Collapsing countries, transitional periods and new approaches to cultural and national identity
  • Shared pasts, irredentism and new approaches to classical heritage
  • Splitting identities, migration and the rethinking of new identities
  • Established identities: between classical culture and folklore
  • Criteria for the identity of literary and cultural heritage
  • Interpretation and re-interpretation of the past based on the example of Nizami’s heritage
Paper proposals (no more than 150-word abstract for a paper to last 15 minutes, brief CV, contact information) should be sent by 18th December 2017 to: rahilya_g@hotmail.com
Prof. Dr. Rahilya Geybullayeva
Founding Head of Azerbaijani Comparative Literature Association
Head of the Azerbaijani Literature Department
Baku Slavic University
S. Roustam str., 25
Baku, Az-1014, Azerbaijan
Tel.: + 99 412 597 04 19 

New Publication from Eva Kushner

John Benjamin’s Publishing Company (Amsterdam) has just announced the publication of “La nouvelle culture (1480-1520)”, part II of the Renaissance sub-series of the “Comparative History of Literatures in European Languages”, edited by Eva Kushner.

For further information: https://benjamins.com

Keynote Announcement

Dear Colleagues,

I am pleased to announce that Professor Cheryl Suzack (Toronto) will be Keynote Speaker at our annual meeting next May 27-29, held during Congress 2018 at the University of Regina.

Suzack specializes in Indigenous law and literature with a particular emphasis on writing by Indigenous women. Suzack teaches courses on comparative Indigenous literatures, comparative Indigenous studies, and Indigenous decolonization with a focus on gender issues and Indigenous women.

More information: https://cherylsuzack.com/

Best wishes,

Joshua Synenko

Vice President and Program Chair, CCLA

Assistant Professor

Department of Cultural Studies

Trent University

CFP #19: The Artists’ Library: Uses of Literary Thought in Film and Visual Arts (1975-2015)

On July 31, 2017, we open the CFP for the nineteenth issue of 452°F. Revista de Teoría de la Literatura y Literatura Comparada, to be published on July 31, 2018. The CFP is open and addressed to anyone who wishes to contribute and who holds at least a BA degree.

The following criteria regulates the reception and publication of all works in line with the peer review system, the style sheet and the legal notice, which may be accessed in the Procedures section (www.452f.com).

  • Deadline for submissions is January 31, 2018. Any articles received after this date will not be considered for this issue – To be considered for the peer review process, articles must follow the rules described in the Style sheet: http://revistes.ub.edu/index.php/452f/about/submissions#authorGuidelines

  • The number of articles included in the nineteenth issue will range from 8 to 12. Articles will be divided according to the field of interest, in the corresponding section of the journal (monographic or miscellaneous).

Call for Papers:

  • The monographic section will be restricted to 4 to 8 articles and, in the nineteenth issue will bring together a body of texts dealing with the topic “The Artists’ Library: Uses of Literary Thought in Film and Visual Arts (1975- 2015).” A non-exhaustive list of topics includes:

a) Uses of literary theory in film and visual arts;

b) Artists’ libraries: both existing and those imaged by critics;

c) Representation of literary debates in visual creation;

d) Traces of the text in visual arts;

e) Literary criticism and film adaptations;

f) Function and uses of literary debates in the creation of video exhibitions, video theatre and other audiovisual media;

g) The rejected library: censored, concealed or destroyed texts.

  • All other articles will constitute the miscellaneous section. The theme and approach is open, within the boundaries of Literary Theory and Comparative Literature.

  • For online submissions and editorial guidelines, please follow the instructions at: http://revistes.ub.edu/index.php/452f/about/submissions#onlineSubmissions

Call for Reviews:

452°F is also accepting reviews to be published in a section of the journal devoted to newly published books.

  • Reviews must be original and unpublished.?- Books reviewed should be of new or recent (last 2 years) publication, and cover issues relating to Literary Theory, Literary Criticism and/or Comparative Literature.?- We would also consider reviews of relevant new editions or translations related to the field of study.?- Format, notes, quotations and references should follow the criteria of the journal’s style sheet.?- Reviews should include a title, the citation of the book and the number of pages, and will not contain an abstract or keywords.?- Reviews should not exceed 1500 words.?- Please send your proposals to http://revistes.ub.edu/index.php/452f/about/submissions#onlineSubmissions

Barcelona, July 31, 2017 Editorial board, 452°F.


Convocatoria #19:?La biblioteca de los artistas: usos del pensamiento literario en el cine y las artes visuales (1975-2015)

A día 31 de julio de 2017, se abre la convocatoria para la recepción de los artículos del decimonoveno número de 452°F. Revista de Teoría de la Literatura y Literatura Comparada, que se publicará el 31 de julio de 2018. Esta convocatoria está abierta y dirigida a todos aquellos que deseen participar y tengan los estudios mínimos de licenciatura.

Las bases que a continuación se exponen y que regulan la recepción y publicación de los distintos trabajos quedan sujetas a lo expuesto en el Sistema de arbitraje, el Manual de estilo y el Aviso legal. Todos ellos pueden consultarse en el área de Procedimientos de la página web (www.452f.com).

  • El plazo de entrega de los artículos termina el 31 de enero de 2018, siendo descartados para este número los artículos que sean recibidos con posterioridad a esta fecha.?- Es requisito indispensable para entrar en el proceso de evaluación que los artículos respeten las normas del Manual de estilo: http://revistes.ub.edu/index.php/452f/about/submissions#authorGuidelines

  • El número de artículos previstos para esta decimonovena publicación es de 8 a 12. Los artículos se inscribirán, según su temática, en la parte de la revista que le corresponda (monográfico o miscelánea).?- La parte monográfica queda limitada a la publicación de 4 a 8 artículos y, en este decimonoveno número, pretende reunir un cuerpo de trabajos que versen sobre el tema «La biblioteca de los artistas: usos del pensamiento literario en el cine y las artes visuales (1975-2015)». Un listado no exhaustivo de posibles temas es el siguiente:

  • a)  Usos de la teoría literaria en el cine y las artes visuales;
  • b)  Las bibliotecas reales de los artistas y las bibliotecas imaginadas por ?la crítica;
  • c)  Representaciones de los debates literarios en la creación visual;
  • d)  Huellas de lo textual en las artes visuales;
  • e)  Crítica literaria y adaptación cinematográfica;
  • f)  Función y usos de los debates literarios en la creación de ?videoexposiciones, videoteatro y otras formas audiovisuales;
  • g)  La biblioteca negada: textos censurados, ocultados, destruidos.
  • El resto de los textos constituirán la miscelánea y, rigiéndose por los límites de la teoría de la literatura y la literatura comparada, la elección del tema y el planteamiento son libres.?- Para envíos online y normas editoriales, por favor consulte el siguiente enlace: http://revistes.ub.edu/index.php/452f/about/submissions#onlineSubmissions

Convocatoria reseñas:

Se abre asimismo una convocatoria de reseñas críticas que serán publicadas en un apartado de la revista dedicado a las novedades editoriales.?- Las reseñas deben ser originales y no haber sido publicadas con anterioridad. – Los libros reseñados deben ser de teoría literaria, crítica literaria y/o literatura comparada.

  • Los libros reseñados deberán tener fecha de publicación del año en curso o de los dos anteriores. Se valorarán también reseñas de primeras traducciones o de reediciones significativas para el área de conocimiento, siempre que la fecha de su publicación siga los parámetros expuestos.

  • El formato y el sistema de notas, citas y referencias bibliográficas deben seguir los mismos criterios que los artículos, según el Manual de estilo de la revista.?- Las reseñas deberán tener un título, la referencia bibliográfica del libro reseñado y su número de páginas. No deben tener resumen ni palabras clave.

  • La extensión de las reseñas no podrá exceder las 1500 palabras.?- Las reseñas susceptibles de publicación se enviarán a la plataforma OJS de la revista a través del siguiente enlace: http://revistes.ub.edu/index.php/452f/about/submissions#onlineSubmissions

Barcelona, 31 de julio de 2017 Consejo de Redacción de 452°F.

CFP: Numbers – University of Manitoba

Mosaic

an interdisciplinary critical journal

___________________________________________________

Call for Submissions

Numbers

Mosaic invites innovative and interdisciplinary submissions for a special issue on Numbers. Nations rise and fall on fiscal models. Warfare, marketing, and global trade are driven by statistical analysis, probabilities, and the abstract calculus of Wall Street. Life, literature, and the visual arts are increasingly driven by speculative capital. And all have fought back. So too, philosophy, psychoanalysis, and critical theory: Alain Badiou equates mathematics and ontology; Jacques Lacan plumbs the correspondences between consciousness, language, and binary code; and in an anecdotal aside, Theodor Adorno finds the roots of 12-tone music and logical positivism in a fondness for number games in the coffee houses of Vienna.

How pervasive is the rule of numbers? What are the challenges to calculability? Out of what set of variable examples will the limits to the rogue power of numbers emerge? As a supplement to our own special issue on Letters, Mosaic invites submissions on numbers in literature, art, music, theoretical texts, and the world at large. Possible themes include: finitude, multitude, technics, contingency, and economy.

Mosaic follows an electronic submission process. If you would like to contribute an essay for review, please visit our website for details: www.umanitoba.ca/mosaic/submit. Email any submission questions to mosasub@umanitoba.ca. Submissions must be received by: March 9, 2018.

SUBMISSION GUIDELINES: We welcome submissions that conform to our mandate.

  • Essays may be in English or French and must represent innovative thought (either in the form of extending or challenging current critical positions). Mosaic does not publish fiction, poetry, or book reviews.
  • Mosaic publishes only original work. We will not consider essays that are part of a thesis or dissertation, have been published previously, or are being considered for publication in another journal or medium.
  • Preferred length of essays is 7,000 words, to a maximum of 7,500 words. Parenthetical citations and works cited must follow the conventions of the MLA Style Manual and Guide to Scholarly Publishing (3rd ed.) or MLA Handbook (7th ed.). Essays may feature illustrations.
  • Mosaic’s anonymous peer-review process requires that no identifying information appear on the electronic version of the essay itself. Submissions that meet our requirements are sent to specialists in the specific and general area that an essay addresses. Anonymous but complete transcripts of the readers’ reports are sent to the author.

Address inquiries by email to:

Dr. Shep Steiner

Mosaic, an interdisciplinary critical journal

University of Manitoba, 208 Tier Building

Winnipeg, Manitoba, R3T 2N2 Canada

Tel: 204-474-8597, Fax: 204-474-7584

Email: Mosasub@umanitoba.ca

Submissions: Submit online at www.umanitoba.ca/mosaic/submit

CCLA CFP: Gathering Diversities in Comparative Literature

Gathering Diversities in Comparative Literature

Comparatists have championed diversity as a mark of research excellence for generations. However, this commitment has been under threat from a broad revaluation of knowledge across the university, and by the demand, often voiced by outside forces, to legitimize our existence. As such, diversity in academic research has been framed as both the enemy and the antidote, increasingly subject to contradictory impulses and vested interests. Given these circumstances, collective assumptions regarding “diversity” as an end-in-itself should perhaps be at the forefront of our rethinking of what we do as scholars and researchers in the 21st century. Should diversity continue to serve as a foundation for our work in Comparative Literature, and if so, should we best position this foundation as a goal, expectation, platitude, or survival mechanism? Are there instances in the current conjuncture where diversity and uniformity co-exist? To what extent can diversity be refashioned as an important methodological insight, cornerstone of critical pedagogy, or model for engagement and participation in the wider world?

From May 27 to 29, 2018, as part of the Congress of the Humanities and Social Sciences of Canada hosted by the University of Regina, in Canada’s diverse heartland, the Canadian Comparative Literature Association (CCLA) invites scholars to consider and debate these questions and more.

Proposals for pre-arranged panels, roundtables, and innovative formats are strongly encouraged. Joint sessions with other organizations are also very welcome but should be arranged as soon as possible.

Please submit 250-300 word abstracts for 20-minute presentations, as Word attachments, to Program Chair Dr. Joshua Synenko (cclacongress2018@gmail.com) by December 15, 2017.

————

Diversités convergentes en littérature comparée

Depuis des générations, les comparatistes ont défendu la diversité en tant que marque d’excellence en recherche. Cet engagement continue cependant à être menacé par la réévaluation du savoir à l’université, et par l’exigence, souvent émise par des forces extérieures, de légitimer notre existence. La recherche universitaire a présenté la diversité tantôt comme l’ennemi, tantôt comme l’antidote, de plus en plus assujettie à des forces contradictoires ou à des intérêts personnels. Étant donné ces circonstances, l’idée de la « diversité » comme fin en soi devrait peut-être être placée au premier plan de notre réévaluation de ce que nous accomplissons comme universitaires et comme chercheuses et chercheurs au 21e siècle. La diversité devrait-elle continuer à servir de fondement à notre travail en littérature comparée, et si c’est le cas, est-il plus avantageux de présenter ce fondement comme but, comme attente, comme banalité ou comme mécanisme de survie ? Dans la conjoncture actuelle, y a-t-il des situations au sein desquelles la diversité et l’uniformité coexistent ? La diversité peut-elle être repensée comme concept méthodologique clé, comme pierre angulaire de la pédagogie critique, ou comme modèle pour l’engagement et la participation dans le monde?

Du 26 au 28 mai 2018, dans le cadre du Congrès des sciences humaines du Canada à l’Université de Regina, au cœur de la diversité canadienne, l’Association Canadienne de Littérature Comparée (ACLC) invite les chercheuses et chercheurs à examiner ces questions et à en débattre.

Les propositions pour des séances thématiques, des tables rondes ou des présentations au format novateur sont fortement encouragées. Des séances conjointes avec d’autres associations sont aussi les bienvenues et devraient être organisées dès que possible.

Veuillez soumettre vos propositions de 250 à 300 mots pour une présentation de 20 minutes, en pièce jointe en format Word, à l’organisateur du colloque, Dr. Joshua Synenko (cclacongress2018@gmail.com) au plus tard le 15 décembre 2017.

Call for Papers / Appel de communications – The Ocean and the Seas

Where are your monuments, your battles, martyrs?

Where is your tribal memory? Sirs,

in that grey vault. The sea. The sea

has locked them up. The sea is History.

            —Derek Walcott, “The Sea is History”

 

Call for Papers

The University of Toronto’s Centre for Comparative Literature’s 28th Annual Conference

The Ocean and the Seas

How do sea breezes set the ships of the imagination to sail? In literature from Homer to Melville to Walcott, the ocean and the seas have inspired madness and horror but also affiliation and solidarity. The world’s waters are sites of culture and labour. By allowing contact between peoples for travel, trade, war and colonization, access to the sea means access to wealth and power. The history of ocean travel has been inexorably linked with the material development of the modern world.

In “Submarine Futures of the Anthropocene” (2017), Elizabeth DeLoughrey explores how we are turning to the ocean to fuel our imaginaries as sea levels rise because of climate change; “sea ontologies” or “more-than-human temporalities of the ocean” are multi-species, multi-entity relations subject to the movement and erosion of the tides. In Our Mother Ocean (2014), Mariarosa Dalla Costa and Monica Chilese trace the effects of the globalization of the fishing industry in the global south and our failure to safeguard the oceans from environmental degradation and to protect those whose lives depend on it for survival. They draw on the ocean to chronicle the struggles from below and the building of solidarities across borders to resist these global capitalist forces. Finally, in Eating the Ocean (2016), Elspeth Probyn, by focusing on sustainable consumption and on the food politics of the human-fish relationship, gives agency not only to human actors but to the ocean as well.

The ocean is also a source of knowledge. For the Greeks and Romans in antiquity, the ocean and the coast represented the boundary of their world, which expanded as new forms of sea travel developed. Homer’s heroes set out across the wine-dark sea not only for resources and territorial expansion but also for wisdom. Today, by “shoving off from land- and nation-based perspectives,” Hester Blum suggests, “we might find new critical locations from which to investigate questions of affiliation, citizenship, economic exchange, mobility, rights, and sovereignty.”[1] In that spirit, the University of Toronto’s Centre for Comparative Literature is pleased to invite you to ask: when our critical sensibilities are at sea and unmoored from methodological nationalism, what forms might our critical and aesthetic representations of the ocean and the seas take?

We invite proposals for individual or group presentations, performances, visual art, poetry and spoken word, and film that imagine, theorize or refer to the ocean and the seas without the commonplace trappings of nationality or land-based conquest. We also invite proposals for writing workshops, joint panels, and roundtable discussions, in which case participants should submit their proposals together.

Suggested topics include but are not limited to:

  • Sustainability and the politics of consumption, the fishing industry
  • Migration, refugees, and the right to mobility; displacement, diasporas
  • Language contact, creolization, and translation
  • Travel narratives and nostos myths, contact literature
  • Literary representations of the sea, the poetics of the sea
  • Trade and commerce, the transatlantic slave trade
  • Pipelines and oil spills, access to clean water, environmental activism
  • Island studies, tourism, capitalist exploitation
  • Phenomenological accounts of the ocean
  • Mermaids and monsters, sea mythology
  • Indigenous creation stories, the role of the ocean in indigenous thought
  • Gender and the ocean, queer love and bodies of water
  • Oceanic agency, geontopower, water as sacred
  • Exploration and colonization, race and the boundaries of the sea
  • Hurricanes, tidal waves, natural disasters, climate change
  • Piracy, marronage, extralegal communities, matelotage

Proposals should be a maximum of 250 words. Individual talks should be 15–20 minutes in duration and altogether, panels and roundtables should not exceed 90 minutes. Please include a biographical statement of no more than 50 words and submit your abstract by e-mail to complitconference2018@gmail.com by October 20, 2017.

The conference will be held at the University of Toronto on February 23 and 24, 2018. Elizabeth Povinelli, from the Department of Anthropology at Columbia University, will be one of our keynote speakers.

We look forward to welcoming you to Toronto.


«?Où sont vos monuments, vos batailles, martyrs??

Où est votre mémoire tribale?? Messieurs,

dans ce gris coffre-fort. La mer. La mer

les a enfermés. La mer est l’Histoire.?»

– Derek Walcott, «?The Sea is History?»

Appel à communications

28e conférence annuelle du Centre de littérature comparée de l’Université de Toronto

L’océan et les mers

Comment le vent du large fait-il lever les voiles de l’imagination?? En littérature, de Homère jusqu’à Walcott en passant par Melville, l’océan et les mers ont inspiré la folie et l’horreur, mais aussi l’affiliation et la solidarité. Les eaux du monde sont des sites de culture et de labeur. L’accès à l’océan, qui permet le contact entre les peuples à des fins de voyage, de commerce, de guerre ou de colonisation, a toujours été une question de pouvoir. La navigation sur les océans et les mers est centrale au développement matériel du monde moderne.

Dans «?Submarine Futures of the Anthropocene?» (2017), Elizabeth DeLoughrey suggère que nous nous tournions désormais vers l’océan pour alimenter nos imaginaires, considérant que le niveau des océans monte en raison du réchauffement climatique, et que les rapports multi-espèces et multi-entités qu’entretiennent les humains avec le reste du monde dépendent du mouvement des marées. Dans Our Mother Ocean (2014), Mariarosa Dalla Costa et Monica Chilese retracent les effets de la mondialisation de l’industrie des pêches dans les pays du «?Sud global?» et constatent notre échec collectif pour ce qui est de protéger les océans ainsi que ceux et celles dont la survie en dépend. Elles font appel à l’océan pour illustrer la solidarité et les luttes populaires qui s’organisent pour résister aux forces capitalistes globales. Enfin, dans Eating the Ocean (2016), Elsepth Probyn, en explorant la consommation durable, les implications politiques de la pêche commerciale, ainsi que la relation entre les êtres humains et les poissons, concède de l’agentivité non seulement aux acteurs humains, mais également à l’océan.

L’océan est aussi une source de savoir. Pour les Grecs et les Romains de l’Antiquité, la mer et le littoral symbolisaient la limite du monde, jusqu’à ce que de nouvelles formes de navigation leur permettent d’explorer d’autres contrées au-delà des côtes. Les héros de Homère s’aventuraient sur les mers insondables à la recherche de ressources et de territoires à acquérir, certes, mais aussi en quête de connaissances et de sagesse. Aujourd’hui, en «?prenant nos distances des perspectives traditionnelles fondées sur le concept de nation ou reposant sur la terre ferme,?» suggère Hester Blum, «?sans doute trouverons-nous de nouveaux espaces critiques nous permettant de voir d’un nouvel œil les questions d’affiliation, de citoyenneté, d’échange économique, de mobilité, des droits, et de souveraineté.?»[2] C’est en ce sens que le Centre de littérature comparée de l’Université de Toronto vous demande : lorsque notre esprit critique prend la mer et s’éloigne des méthodologies nationalistes, quelles formes peuvent bien prendre nos représentations esthétiques et théoriques de l’océan et des mers??

Nous sollicitons les propositions de communications individuelles ou en groupe, de performances, d’art visuel, de poésie, de spoken word et de films qui imaginent, conçoivent ou analysent l’océan et les mers sans tomber dans les pièges de la nationalité, des frontières et de la conquête territoriale. Nous sollicitons également les propositions d’ateliers d’écriture, de panels et de tables rondes (pour ces deux derniers formats, nous demandons aux participants de soumettre leurs propositions conjointement).

Parmi les thèmes et les sujets possibles, mentionnons :

– La consommation de l’océan, la pêche commerciale et les pratiques durables

– La migration, les réfugiés, le droit à la mobilité, la relocalisation, les diasporas

– Le contact entre les langues, le métissage, la créolisation, la traduction

– Les récits de voyage et les écrits suivant la colonisation

– Les représentations littéraires de l’océan, la poétique de la mer

– L’échange et le commerce, la traite des esclaves transatlantique

– Les pipelines et les marées noires, l’accès à l’eau salubre, l’éco-militantisme

– Les îles, le tourisme, l’exploitation capitaliste

– Les analyses phénoménologiques de l’océan

– Les sirènes, les monstres marins et la mythologie marine

– Les récits autochtones de la création, le rôle de l’océan dans la pensée autochtone

– L’océan et le genre, l’amour queer et les étendues d’eau

– L’agentivité de l’océan, le concept de «?geontopower?», le caractère sacré de l’eau

– L’exploration et la colonisation, le racisme et les frontières de la mer

– Les ouragans, les tsunamis, les catastrophes naturelles et les changements climatiques

– Les pirates, le marronnage, les collectivités extralégales, le matelotage

Nous sollicitons les propositions d’au plus 250 mots. Le temps alloué pour les communications individuelles est de 15 à 20 minutes?; les panels et les tables rondes peuvent durer jusqu’à 90 minutes au total. Nous vous invitons à joindre à votre proposition un court texte biographique d’environ 50 mots. Veuillez nous envoyer votre proposition par courriel, au complitconference2018@gmail.com, d’ici le 20 octobre 2017.

Le colloque se tiendra à l’Université de Toronto les 23 et 24 février 2018. Elizabeth Povinelli, du département d’anthropologie de l’Université Columbia, sera notre conférencière invitée. D’autres détails suivront.

[1] Hester Blum (2013): “Introduction: oceanic studies,” Atlantic Studies, 10:2, 151-155

[2]Hester Blum (2013): « Introduction: oceanic studies, » Atlantic Studies, 10:2, 151-155 [notre traduction]

Monkey Business Book Launch

Dear Friends,

Since its first issue in 2011, Monkey Business: New Writing from Japan has showcased the best of contemporary Japanese and North American literature. Monkey Business is the in-translation offspring of the Tokyo-based magazine MONKEY. Creating a literary bridge between Japan and North America, the launch events allow writers to have a chance to read each other’s work and participate in dynamic cross-cultural dialogues. For more information about Monkey Business, http://monkeybusinessmag.tumblr.com/

Book Launch

Saturday, September 23 

3:00 pm – 5:00 pm

The Japan Foundation, Toronto

2 Bloor St E Suite 300 Toronto ON M4W 1A8

Help us celebrate the launch of the 7th issue of Monkey Business on Saturday, September 23, 2017 at 3:00pm at The Japan Foundation, Toronto. The launch will feature two dialogues. The first will be between award-winning Japanese author and illustrator Satoshi Kitamura, who has pioneered a modern version of Japanese “paper theatre”, or kami shibai, and Canadian novelist and master storyteller Rui Umezawa. The second will feature two heralded, cutting-edge young writers, Japanese Aoko Matsuda and Canadian Helen Guri. The event will be hosted by Monkey Business’s founding editors Motoyuki Shibata and Ted Goossen.

For more information about the book launch, and to RSVP, please click here:

Book Launch on Saturday @ The Japan Foundation Toronto & RSVP

Japanese and Canadian Literature at the Film Café

Sunday, September 24, 2017

8 pm

Eative Film Café

230 Augusta Ave Toronto ON M5T 2L8

On Sunday September 24, 2017 at 8:00pm, join us at the Eative Film Café in Kensington Market for storytelling, literary readings, and a performance of traditional kami shibai. Three contributors to the 7th and latest issue of Monkey Business – award-winning author and illustrator Satoshi Kitamura (Japan) and heralded young writers Aoko Matsuda (Japan) and Helen Guri (Canada) – will be joined by Canadian novelist and master storyteller Rui Umezawa for an evening you will never forget. It will be hosted by Monkey Business founding editors Motoyuki Shibata and Kensington’s own Ted Goossen.

For this Sunday event, no RSVP is necessary. Hope to see you all there at 8.

Warm regards,

Ted Goossen

Appel de communications / Call for Papers

L’art queer de la performance / Queer Art Performance

Colloque international

Université du Québec à Montréal, Canada

2, 3 et 4 mai 2018

Le rapport entre la théorie queer et les théories de la performance, du performatif et de la performativité a été marqué très fortement par la publication de Gender Trouble (1990) et de Bodies That Matter (1993) de Judith Butler. Si Butler reprenait et déplaçait les théories sur les performatifs proposées par J.L. Austin, John Searle et Jacques Derrida, son travail s’inscrivait aussi dans la critique des travestis, des drag queens et du camp propres aux milieux gays du 20e siècle. D’une certaine façon, Butler s’inspirait des problématiques explorées, entre autres, par Susan Sontag dans ses « Notes on Camp » (1964) et Esther Newton dans Mother Camp: Female Impersonators in America (1972).

Dans ce passage des études gays et lesbiennes vers la théorie queer, la problématique de la performance a été configurée de diverses manières comme en témoignent de nombreuses publications (voir la liste des références à la fin de ce document). Dans le cadre de ce colloque sur l’art queer de la performance, nous invitons des chercheurs universitaires, des critiques culturels, des activistes LGBTQ+, des artistes à questionner, à remettre en question et à (re)définir à partir de la plus grande diversité de points de vue possible la théorie queer, les théories de la performance, du performatif et de la performativité ainsi que le rapport queer/performance. Même si la théorie de la performance a été jusqu’ici particulièrement importante aux États-Unis – pensons aux travaux d’Erving Goffman, Victor Turner, Richard Schechner, Dwight Conquergood, Barbara Kirshenblatt-Gimblett, Marvin Carlson, Peggy Phelan, Rebecca Schneider, Jill Dolan, etc. – dans le cadre de ce colloque nous voulons explorer l’art queer de la performance de manière innovatrice, subversive et transgressive, et ce, à partir de perspectives interculturelles et transnationales. La performance queer devient ainsi toujours instable, insaisissable, changeante, en équilibre précaire, en déséquilibre, hétérogène, contradictoire, aporétique, multiple, diverse, polysémique, risquée, dangereuse, en état constant de résistance, etc.

Les présentations comme telles peuvent porter sur plusieurs domaines d’étude:

  1. le théâtre, la littérature, le cinéma, le documentaire, l’art performance, le multimédia
  2. les marches, les commémorations, les défilés, les émeutes, les descentes et les arrestations par la police
  3. les condamnations, les emprisonnements et les exécutions
  4. les quartiers gays, les lieux LGBTQ+ de rencontre, les saunas, les sexe-clubs, les bars, les clubs, les raves, les after-hours
  5. les espaces intimes, familiaux et domestiques
  6. les discours et les pratiques médicales, psychologiques, sexologiques et psychanalytiques
  7. les sites Web, les applications en ligne pour les personnes et les groupes LGBTQ+, les nouvelles technologies et l’Internet en général
  8. la performativité de l’état/nation face aux pressions revendicatrices des communautés LGBTQ+.

En somme, tout ce qui donne lieu à des relations et à des interrelations, à des actions et à des interactions, à des rapports, à des contacts, à des liaisons, à des commerces, à des échanges qui sont de l’ordre de ce que nous pouvons définir d’une manière ou d’une autre comme un type de performance queer – que cette performance soit artistique, culturelle, sociale, politique, médicale, technologique, virtuelle, etc. Nous pouvons aussi penser à l’intersectionalité queer, prenons par exemple le mouvement Black Lives Matter qui entrecroise les questions de sexualité, de racisme et de brutalité policière contre les personnes queer racisées.  

Pour ce colloque, nous acceptons des propositions de communication, de sessions, de tables rondes, de performances et d’ateliers en français et en anglais. Les propositions, d’une longueur maximale de 300 mots, doivent indiquer le nom du/de la chercheur.e ou du /de la performer, son affiliation institutionnelle, s’il y a lieu, et son courriel. Les propositions sont à envoyer au plus tard le 1er novembre 2017 par courriel aux professeurs

Domenico Beneventi < domenico.beneventi@usherbrooke.ca >

Luc Bonenfant < bonenfant.luc@uqam.ca >

Jorge Calderón < calderon@sfu.ca >

Pascal Michelucci < pascal.michelucci@utoronto.ca >.

 

Références sur le rapport entre la théorie queer et les théories de la performance :

Acts of Intervention: Performance, Gay Culture, and AIDS (1998) de David Román

Disidentification: Queers of Color and the Performance of Politics (1999) de José Esteban Muñoz

Cast Out: Queer Lives in Theater (2006) de Robin Bernstein

Feminist and Queer Performance (2009) de Sue-Ellen Case

Queer Political Performance and Protest (2009) de Benjamin Shepard

Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance (2011) de James F. Wilson

Contemporary British Queer Performance (2012) de Stephen Greer

Performing Queer Latinidad: Dance, Sexuality, Politics (2012) de Ramón Rivera-Servera,

Two-Spirits Acts: Queer Indigenous Performances (2013) de Waawaate Fobister et Muriel Miguel

Butch Queens Up in Pumps: Gender, Performance, and Ballroom Culture in Detroit (2013) de Marlon M. Bailey

Acts of Gaiety: LGBT Performance and the Politics of Pleasure (2013) de Sara Warner

Queer Dramaturgies: International Perspectives on Where Performance Leads Queer (2015) d’Alyson Campbell et Stephen Farrier

Queer Performance and Contemporary Ireland: Dissent and Disorientation (2016) de Fintan Walsh

The Queer Limit of Black Memory: Black Lesbian Literature and Irresolution (2016) de Matt Richardson

Blacktino Queer Performance (2016) de E. Patrick Johnson et Ramón Rivera-Servera

RuPaul’s Drag Race and the Shifting Visibility of Drag Culture: The Boundaries of Reality TV (2017) de Niall Brennan et David Gudelunas

Time Slips: Queer Temporalities, Contemporary Performance, and the Hole of History (2017) de Jaclyn Pryor.

Announcement from the American Comparative Literature Association

Dear Friend of the ACLA –

A quick reminder that you have just under 48 hours left to submit a proposal for a seminar at the 2018 Annual Meeting (UCLA – March 29th – April 1st, 2018).

The portal for submissions can be found at https://www.acla.org/node/add/seminar, and will be open until 9am Eastern Standard Time on the morning of Thursday, August 31st.

Once all seminars proposals have been submitted, paper submissions will open at noon (Eastern Standard Time) on Thursday August 31st and will run through Thursday Sept. 21st (at 9am EST). All seminars will have open calls for papers at this stage, and each member or prospective member may submit one paper proposal to the single seminar of their choice during these three weeks.

Posting a call for papers here does NOT guarantee the acceptance of your seminar.The ACLA Program Committee will review all seminar proposals during October/November and notify seminar organizers of acceptance or rejection shortly after November 1st, 2017.

A reminder that you do not have to hold membership in the ACLA to propose a seminar, or to submit a paper proposal to a seminar. You do, however, need to be a member and to register for the conference if you wish to present a paper, or moderate a seminar, at the conference itself.  Registration for the 2018 conference and 2018 ACLA memberships will be available for purchase on the ACLA website beginning Oct. 1st, 2017.

Please do be in touch via info@acla.org if you have any further questions about our submissions process, and we look forward to welcoming you to UCLA in March 2018!

Sincerely,

Andy Anderson

Administrative Coordinator

American Comparative Literature Association

info@acla.org