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MSA CFPs Ended in 2020









Domestic Politics: Women’s Private Lives and Public Writing in the Mid-Century

The mid-twentieth century saw seismic shifts for British women, including those living under British rule in the colonies, in the public and private spheres. These years are often imagined as a wave of expansion and constriction, with the swelling of economic and political freedoms for women in the 1930s, the cresting of women in the public sphere during the Second World War, and the resulting break as employment and political opportunities for women dwindled in the 1950s when men returned home from the Front. But this narrative needs reexamining. This book aims to revivify studies of the female writers living or working in Britain, or under British rule, during the mid-century while also complicating extant narratives about the divisions between domesticity and politics. <br /> <br />We are looking for essays that explore how women represented the transformation of the quotidian, including the home, employment, family life, religious participation, etc. Specifically, we seek contributions that examine how women writers addressed political and wartime upheaval in the 1930s and 1940s along with the substantial shifts that occurred as war-torn countries attempted to adjust to a fraught peacetime in the 1950s, which also saw domesticity reconceptualized as a form of public duty. <br /> <br />We seek contributions to this volume that engage with a variety of fields including (but not limited to) journalism, photojournalism, fiction, archival discoveries, life writing, poetry, and film. We welcome abstracts that focus on single author or comparative, transnational approaches on the following topics: <br /> <br />How politics shaped, limited, and/or expanded women’s domestic experiences in the mid-century <br />The interactions between women and the public sphere, including industry, medicine, education, and politics <br />Transnational writing: travel writing, journalism, ex-patriate accounts <br />The intersectional politics of race, class, and gender in the domestic and public spheres <br />Reconceptualizing the public/private divide in the mid-century <br />Colonial and Commonwealth perspectives <br /> <br />If interested, please send a short bio and an abstract of 300 words to Melissa Dinsman (, Megan Faragher (, and Ravenel Richardson ( by November 1, 2020. Final chapters of 6000-7500 words will be requested by August 15, 2021. <br />

Conference Location: NA, NA
Conference Starts: November 01, 2020
Conference Ends: November 01, 2020

CFP Submission Deadline: November 01, 2020

For more information, contact: Megan Faragher

\&quot;Modernism in Comics\&quot;: Proposed Modernism/modernity PrintPlus cluster

Proposed essay cluster for Modernism/modernity Print Plus <br />“Modernism in Comics,” edited by Matthew Levay (Idaho State University) <br /> <br /> <br />Modernism and comics may have come of age at approximately the same time, but their affinities are far more than chronological. Both challenge longstanding notions of formal experimentation and tradition, offer idiosyncratic representations of individual experience and cultural change, push readers to engage with the work of art in unfamiliar and uncomfortable ways, and continue to inflect contemporary conversations about the affordances of textual and visual art. Likewise, modernism has long been a subject for comics, whether lambasted as an exclusionary object of ridicule or framed as a productive mode of grappling with the complexities of history, aesthetics, and culture. <br /> <br />This proposed cluster will feature a combination of position papers and case studies that argue for the mutually constitutive relationship between modernism and comics from the late nineteenth century through the present. Blending critical analysis with theoretical speculation, these essays ask what role modernism plays in comics, and why comics and modernism serve as such significant influences for one another. <br /> <br />Topics of particular interest include: <br /> <br />• The representation of modernism in contemporary comics <br />• The representation of modernism in early twentieth-century comics <br />• Comics, modernism, and cultural capital <br />• The circulation of comics in the public sphere (newsstands, libraries, subscriptions, readers) <br />• Comics, modernism, and the child reader <br />• Comics, modernism, and publishing <br />• Comics and/in translation <br />• Theorizations of comics as a modernist form <br />• Comics as an engagement with structures of modernity <br />• Avant-garde comics and modernist representation <br />• Comics, modernism, and the arts <br /> <br />While this cluster welcomes proposals that discuss works from a variety of national, temporal, and linguistic contexts, the editor is particularly interested in more global approaches that examine comics produced in languages other than English, particularly in East Asia, South America, and Africa. I also welcome proposals from early career scholars, NTT and adjunct scholars, and graduate students. <br /> <br />Abstracts of 300 words will be due by September 15, 2020; accepted essays of approximately 4000 words will be due by January 11, 2021. Please submit abstracts and inquiries to For recent examples of essay clusters, see the Print Plus website. <br /> <br />Abstracts due: September 15, 2020 <br />Final essays due: January 11, 2021 <br />

Conference Location: N/A, N/A
Conference Starts: September 15, 2020
Conference Ends: September 15, 2020

CFP Submission Deadline: September 15, 2020

For more information, contact: Matthew Levay

The Body Politic in Pain: A Modernism/Modernity Print Plus Cluster

The Body Politic in Pain: A Modernism/Modernity Print Plus Cluster <br />Editor: Jeremy Colangelo ( <br /> <br />Abstracts due: September 10, 2020 <br />Full papers due: February 1, 2021 <br /> <br /> This article cluster seeks thoughtful, theoretically engaged essays on the subject of pain and pain expression in modernism and modernist literature for a proposed cluster of peer reviewed articles on Modernism/Modernity’s Print Plus platform. Bodily experience was a central concern for modernist art, and pain has long been seen as the horizon of bodily representation, that limit where knowledge and symbol break down. Yet it is also a central, unavoidable fact of many of the most important political events to occur during the modernist period: the two world wars, most obviously, but also the lynching epidemic in the United States, the hunger strikes of Mahatma Gandhi, and the force-feedings of women’s suffrage activists in Britain and elsewhere, to name but a few examples. Likewise, where modernist authors specifically took up the question of pain (as for instance in Ernst Jünger’s On Pain) they often did so with socio-political effects in mind. The role of pain expression in political activism is a central, yet under-addressed, question of the era, one which this cluster intends to shed useful light on. <br /> <br />Central to the question of pain is the question of evidence, and of belief: who feels? how do they feel? how do we know that they feel? (And who is this “we”?) As Elaine Scarry famously writes in The Body in Pain, “to have pain is to have certainty; to hear about pain is to have doubt.” Yet Scarry’s oft-quoted maxim leaves more doubt than certainty. What is the location of this doubt? And what powers give this doubt relevance, the force and consequences that demand the doubting be appeased? These questions have been central to recent political debates and protests, which so often turn on the refusal of belief, or the exploitation of pain’s essential doubtfulness – on the cry of “I can’t breathe!” being met with the stony face of white supremacy’s implacable scepticism. Operative at the intersection of suffering and activism is what Miranda Fricker, in Epistemic Injustice, refers to as “testimonial injustice,” or an injustice which attacks the subject’s credibility. In light of this problem, as Saidiya Hartman asks in Scenes of Subjection, “how does one give expression to these outrages without exacerbating the indifference to suffering that is the consequence of this benumbing spectacle . . . [or] the narcissistic identification that obliterates the other or the prurience that is so often the response to such displays?” <br /> <br />This question, which is far from easily answered, appears throughout twentieth- and late nineteenth-century literature – from W.E.B. Du Bois’s essay on the “Sorrow Songs,” to Charlotte Perkins Gilman’s “The Yellow Wallpaper,” with its depiction of the misery of un-belief, to Franz Kafka’s “In the Penal Colony” and its inscriptive torture device, to the abstracted Cartesianism of Samuel Beckett’s writings, with his characters’ disembodied aches and agonies. In modernism, pain and the evidence of pain have always been closely intertwined concerns, linking political and aesthetic matters wherever they appear. In “On Being Ill,” Virginia Woolf observes that if “a sufferer tr[ies] to describe a pain in his head to a doctor . . . language at once runs dry,” yet the scene of the patient and doctor – of the medical gaze and the belief in patient testimony which it can either offer or deny – is but one of many scenes for pain expression, and perhaps the most limited one. The expression of pain is, in fact, everywhere in modernism, visible if one remains alert to its forms and contexts, and it appears with tremendous variety. <br /> <br />This cluster of essays seeks to bring attention to the role of pain and pain expression in modernist literature and culture, especially in terms of the works’ political contexts. It is especially interested in the intersection of activism, phenomenology, and epistemology (all three terms of course meant in an extremely broad sense). It is not limited to explicitly political writing (though essays on such works are of course welcome) but is interested as well in articles that seek to re-politicize pain and pain expression, removing it from the solipsism with which it has been read. The goal is to begin new discussions in modernist pain studies, developing on work already being done in disability theory, trauma theory, and the like, to create a more robust understanding of what it means for a work of literature to express the feeling of pain, and what then follows from that expression. <br /> <br />Possible subjects could include, but are not limited to: <br />• Pain and political spectacle <br />• The performance, or performativity, of pain and the role of unorthodox pain expression <br />• The racialization or gendering of pain <br />• Pain and neurodiversity <br />• Comparative approaches to pain writing (e.g. how does a Latin American modernist writing on pain compare to a European one?) <br />• Pain and abjection <br />• The political role of the avoidance of pain or, alternatively, of pain’s exaltation <br />• The distinction between pain and other forms of suffering, or the taxonomy of different types of pain <br />• Pain and medicine, or medicalization <br />• Pain and phenomenology <br />• Pain and trauma <br /> <br />The cluster is open to articles from all theoretical perspectives and methodologies, but prospective contributors are encouraged to read up on major texts in disability studies which touch on the topic. <br /> <br />Abstracts of about 300 words are due on September 10. Essays should be about 3,000 words long, cited according to the most recent edition of the Chicago Manual of Style, and will be due on February 1. All submissions should be addressed to Jeremy Colangelo via email, at Further details about Print Plus can be found at <br />

Conference Location: None, None
Conference Starts: September 10, 2020
Conference Ends: September 10, 2020

CFP Submission Deadline: September 10, 2020

For more information, contact: Jeremy Colangelo

Special Issue: The Global South and/in the Plantationocene

This special issue of The Global South examines the productive tensions created by the operative phrase "and/in" when thinking, writing, and living through climate change from the perspective of the global south and/in the plantationocene. Possible topics include: <br /> <br />• Theoretical and hermeneutical discussions of the plantation and/or the plantationocene; <br />• Examinations of the effects and the rise of natural disasters in the global south through the lens of the plantationocene; <br />• Feminist-, queer-, decolonial-, and critical race studies-based resistances to the legacies, structures, hierarchies, and effects of the plantationocene; <br />• Afro-, Arab, Asian, and Latinx futurisms in film, literature, and visual art which intersect with or document the (potential) effects of the plantationocene; <br />• Analyses of the plantationocene, its legacies, its imaginaries, and its contemporary neo-isms (such as border factories, globalized trade, non-government organization assistance programs, privatized detention and incarceration, and plantation tourism) as these relate to the global south; <br />• Empire-, refugee-, and military-studies discussions of plantationocene construction or deconstruction/resistance; <br />• The global south plantationocene and/in the global north; <br />• Interdisciplinary and comparative analyses of the plantationocene; <br />• Architectural legacies of monoculture crops and their profits; <br />• Ecological, animal studies, disability, medical studies, and women’s, gender, and sexuality studies approaches to this topic; and <br />• Investigations of the erasures of indigenous peoples through the plantationocene. <br /> <br />This issue is slated for publication in Spring 2023, so contributors will have a calendar year to draft their complete 7,000-10,000-word essays. Please send abstracts of up to 500 words (in MLA style) and a 100-word biographical statement to guest editors Isadora Wagner and Natalie Aikens, at and, by August 21, 2020.

Conference Location: Oxford, United States
Conference Starts: August 21, 2020
Conference Ends: August 21, 2020

CFP Submission Deadline: August 21, 2020

For more information, contact: Isadora Wagner

A Special Issue on Women Writers and Social/Political Activism

Call for Abstracts <br />\"Women Writers and Social/Political Activism” <br />A special issue of Women: A Cultural Review <br />Guest Editors: Lise Sanders and Carey Snyder <br />Deadline for Submissions: August 1, 2020 <br /> <br />The early twentieth century abounded with movements that reshaped women’s lives—including those for women’s suffrage, peace, birth control, and better working conditions, among others. Women writers addressed these issues not only in socially and politically engaged journalism, but also in feminist manifestoes, poetry, fiction, and drama. This special issue explores the relationship between women’s writing and social and political activism, from the 1890s to the 1940s. The collection will be comprised of a series of case studies, with a focus on non-canonical and ephemeral archival materials. In framing this focus, we are particularly interested in genres and forms of writing that are on the periphery of, if not totally excluded from, the purview of literary studies. Responding to recent calls for more scholarship on women writers in the period, this collection seeks to recover the place of social and political activism in shaping women writers’ relationships to modernity. With close attention to genre and literary form, our collection foregrounds neglected archival material by activist women, thus enriching our understanding of women\'s contributions to early twentieth-century literary and cultural history. <br /> <br />Prospective contributors are invited to submit a 500-word abstract and a brief bio to Lise Shapiro Sanders ( and Carey Snyder ( by August 1, 2020. Selected contributors will be invited to submit full articles by May 1, 2021. Acceptance and publication in the special issue will be subject to review by the journals’ editors and external peer reviewers. <br /> <br /> <br />

Conference Location: Athens, United States
Conference Starts: August 01, 2020
Conference Ends: August 01, 2020

CFP Submission Deadline: August 01, 2020

For more information, contact: Carey Snyder

Print Plus Cluster: Whiteness and Modernist Studies

Proposal for a Modernism/modernity Print Plus cluster on Whiteness <br /> <br />Contacts: Jennifer Nesbitt ( and Sonita Sarker ( <br /> <br />Timeline: <br />• 500-word abstracts due July 10, 2020 <br />• Tentative due date for accepted papers (1500-2000 words): September 18 <br /> <br />Anglophone modernist studies, despite explicit gestures of inclusion and scholarship addressing race and colonialism, maintains a speaking silence grounded in and attached to a largely unmarked norm designated “whiteness.” The editors of this M/m Print+ cluster seek position papers between 1500-2000 words that reorient objects of study, methodologies, and pedagogies to name whiteness(es) as a category of analysis and, thus, to render it visible, audible and legible in our field. <br /> <br />The aims of this cluster have acquired greater urgency as the global pandemic highlights the harmful effects of uninterrogated white privilege on the security of peoples, cultures, and polities. Recent protests against shelter-in-place orders join other manifestations of a violent white nativist-supremacist identity that has already named itself explicitly through national elections in 2016, Charlottesville in 2017, racially motivated mass shootings and racialized border enforcements. Democratic and socially progressive potentials in Western institutional and cultural structures are simultaneously vulnerable to the correspondingly deep roots whiteness has in discourses of imperialism and fascism. <br /> <br />If current crises reveal multiple fissures and name the hitherto unnamed, they also present opportunities to reset and redress by examining the impulses in modernism and modernity that lead us to now. On the one hand, it may seem that Anglophone modernist studies has always been talking about whiteness, through careful analyses of race and ethnicity, among diverse forms of othering. There have been publications on whiteness and modernist writers such as White Women Writing White and Faulkner and Whiteness. On the other hand, the continued centrality of white subjects (both as practitioners and objects of study) makes evident the persistence of privilege that is everywhere and nowhere. <br /> <br />Are there influential works on race in modernist literature that need to be critiqued or revised because of a failure to consider whiteness? Of course. Are there canonical works that need to be reread—or works from outside the canon that have been invisible because we weren’t thinking in terms of whiteness? Of course. Consider how Chinua Achebe’s indictment of Joseph Conrad’s Heart of Darkness as colonialist could be further illuminated by an analysis of white English masculinity embedded in both Conrad’s own imagination and work, and in Achebe’s response. How would Oodgeroo Noonuccal and Doris Kerr appear if the White Australia policy provide a frame for their works? Juxtaposing William Faulkner with Ella Cara Deloria would return the gaze onto formations and practices of whiteness. Similarly, much has been made of Ezra Pound’s anti-Semitism without explicating its foundations in his interpretations of, and lived experience of, whiteness. <br /> <br />Analyzing whiteness is not the same as analyzing race: the dynamics of legibility, visibility and positionality are different. For instance, revisiting the works of W. E. B. DuBois, Una Marson, Aimé Césaire, Jessie Fauset, Cornelia Sorabji, or Mulk Raj Anand as analyses of whiteness returns us differently to histories of modernism and modernist studies. Studying modernist artefacts for the effects of whiteness(es) makes a difference because these efforts trace a différance that reverberates through and unsettles habits of thinking about race and ethnicity as a property exclusively of all others but white. As literary scholars, the editors of this cluster draw examples from our field of expertise, but similar productive juxtapositions arise in other media and in comparisons across media. <br /> <br />Anglophone Modernist Studies is premised, at least partially, on the teleological narratives of Western European and North American modernity, and our field lags behind the advances in aligned fields such as cultural studies, critical history, sociology, and feminist/queer studies have made in studying Whiteness. The first-ever Whiteness seminar (MSA 2019) expanded the arena of such publications on three fronts: 1) whiteness is mutually and dialectically formed with its racialized others, 2) naming racializations as constructs do not obscure their material and other consequences, and 3) ‘race’ is defined in relation to gender (including masculinity and trans-identity), class, caste, sexuality, nationality, religion, and dis/ability. In other words, the seminar shifted the gaze from locating whiteness as property/attribute to the processes of experiencing and representing it. <br /> <br />This proposed M/m+ cluster will spark sustained studies of the myriad dimensions of Whiteness. Essays may interpellate whiteness directly and explicitly as a concept and as lived experience in modernist identities and production, but they could also bring to the fore analyses of whitenesses that have always already been present in the field of modernist studies. We invite colleagues working in and across various media and disciplines who are interested in (re)constructing whiteness from within and without to submit papers. <br /> <br />Scope of interest includes, but is not limited to, the following: <br />• Vocabularies of whitenesses <br />• Investments in whitenesses <br />• Feeling/sensing whitenesses <br />• Historicizing whitenesses <br />• Mediums of whiteness: How does whiteness emerge across artforms? <br />• Strategic unity and plurality: whiteness and whitenesses, including theorizations and definitions in relation to ethnicity, Americanness, Englishness, and/or other dominant racialized norms <br />• Methods of dominance: methodologies, theories, pedagogies, professional practices, institutions. <br />• International comparative approaches to discourses of white dominance and whitenesses. <br />• Dialectical production of racial and ethnic identities as “other” and/or “white” <br />• Intersectionality in the production of white identities (gender, sexuality, age, ability, religion, ethnicity, class, nationality, indigeneity, nativism) <br />

Conference Location: n/a, n/a
Conference Starts: September 18, 2020
Conference Ends: September 20, 2020

CFP Submission Deadline: July 10, 2020

For more information, contact: Jennifer Nesbitt/Sonita Sarker

Comics and Modernism Edited Collection

In The Autobiography of Alice B. Toklas, Gertrude Stein recounts a remarkable interaction with her close friend Pablo Picasso. As they are headed out the door, their conversation slipping between paintings, French lessons, and tea with Picasso’s wife Fernande, Stein pauses: <br /><br><blockquote>Oh I forgot to give you these, said Gertrude Stein handing Picasso a package of newspapers, they will console you. He opened them up, they were the Sunday supplement of american papers, they were the Katzenjammer kids. Oh oui, Oh oui, he said, his face full of satisfaction, merci thanks Gertrude, and we left.</blockquote> <br />These comments, while fleeting, bear witness to the myriad connections between the world of avant-garde art and literature and the burgeoning medium of newspaper comics, challenging the tired distinctions between “high” and “low” aesthetic forms. Indeed, Picasso and Stein were hardly the only modernist figures fascinated by the possibilities (and pleasures) of this strangely charming new mode of pictographic storytelling: T. S. Eliot and e. e. cummings adored George Herriman’s <em>Krazy Kat</em> (and the latter famously wrote the introduction for the first selected edition of Krazy comics, published just two years after Herriman’s death); the poet Dorothy Parker wrote astutely about the cultural value of comics in her columns for <em>The New Yorker</em>; even James Joyce, on entering a local bookshop, would often skip the literary reviews and head straight for the comics. <br /> <br />The connections between Picasso and Rudolph Dirks, Eliot and Herriman, Parker and Frank King are more than just anecdotal. As Jared Gardner has written, “it is hard not to see intimate connections between the formal experiments with the novel by Joyce or Faulkner and the fragmentary, looping narratives” that characterize so much comics art. Indeed, popular comics and avant-garde modernism had a lot to teach each other: the crowded, bizarre pages of Frank King’s comics (especially <em>Crazy Quilt</em>) are deeply inspired by cubism; Marcel Duchamp’s experiments depicting movement, evident in his famous <em>Nude Descending a Staircase, No. 2</em>, owe much to the motion lines of contemporary newspaper comics (to say nothing of the signature “R. Mutt,” which adorns his Fountain and refers in part to the popular <em>Mutt and Jeff</em> comic strip). <br /> <br />Scholars have not overlooked the important relationship between literary modernism and long-form graphic narrative. Critics such as Isaac Cates, Daniel Worden, Katherine Roeder, David Ball, Jackson Ayers, and Janine Utell, to name just a few, have offered compelling contributions to our understanding of how contemporary comics has carried on the legacy of high modernism. From Alison Bechdel’s frequent allusions to modernist writers to Chris Ware’s careful exploration of discursive consciousness, comics art is woven into the fabric of modernist aesthetic praxis. <br /> <br />While few scholars working today would question the connections between avant-garde modernism and comics art, there are still significant gaps in our understanding of their shared cultural, political, and material histories. How does comics art—early newspaper comics, superhero comics, long-form auteurist comics—refine our definitions of modernism? What formal characteristics of comics emerge, shift, or ebb when we position the history of the form alongside the avant-garde? What sorts of shared material and technological histories governed the mechanical modes of reproduction common to comics art, little magazines, and even finely printed editions of modernist novels? How have political formations—race, gender, class, sexuality, nationality—shaped the production, circulation, and reception of both comics and modernism? How do audience, readership, and accessibility converge or diverge to cultivate an aesthetics of taste? <br /> <br />This volume, which has attracted the interest of a major university press, seeks to address these and other questions, and contribute to scholarship in both modernist studies and comics studies. The collection is not just about taking comics seriously as a mode of aesthetic expression; it’s about coming to understand the ways in which comics <em>has always been taken seriously</em>, and how comics art forms a constituent part of our contemporary understanding of modernism. Proposals on any topic relevant to disentangling the complex shared history of literary and visual modernism and comics are welcome. Please submit 300-word abstracts and a current CV to by <b>10 April</b>. Drafts of completed manuscripts may be requested by 31 December 2020. <br />

Conference Location: Boston, USA
Conference Starts: April 10, 2020
Conference Ends: April 10, 2020

CFP Submission Deadline: April 10, 2020

For more information, contact: Jon Najarian

Queer Genre(s)

The recently revved-up interest in genre and forms has given modernist studies some very exciting work over the last decade. Genre study has tilted more towards historical approaches than theoretical ones, focusing less on what genre is than on what it does. This is like the approach to the queer, another concept that sounds classificatory, but is more valuable in its affect, its phenomenology, its off-kilter temporality. In his 2003 essay “The Genre of Postcoloniality” Peter Hitchcock posits that the “generic distinction [of postcoloniality] is to question genre ... as a means to dissolve the very classifications and divisions that have produced it” (NLH 32.2, 327). This might prompt us to ask about genre’s relation to queerness, which likewise categorically resists, well, categorization, fixity. Writers and readers who would not seek a definition of genre or queerness can nonetheless feel bound or guided by them. This panel will explore—as broadly as we dare, or as specifically as we like—what queerness has to do with genre’s function, whether we consider subgenres (“gothic fiction,” “cli-fi dystopia”) or older examples—tragedy, epic, lyric. There are many questions we might pursue, and the following are intended only as some possible points of departure: <br /> <br />-If genre fails as a classificatory system, what kind of epistemological power does it offer? <br />-When we queer a text, do we make a generic claim? An anti-generic one? <br />-Can we find queer iterations or versions of genres by looking differently at certain recognizable motifs, tropes, allusions? <br />-To what degree does a generic text address a reader whose practice will primarily be recognition—placing the work alongside its forbears? <br />-How does the expansiveness of modernist studies in encompassing new genres also bring new queer work into view? <br />-When we seek out a set of conventions and tropes in a text, what else are we looking for? <br />-How do generic markers orient readers to a text, characters to one another, and how does the representation of orientation (turning toward, turning away from) in the work inflect its genre, its relation to other texts of its kind? <br />-What kinds of queer pleasure can we attach to a genre as opposed to an individual text? How does a text’s generic identity change the pleasure it offers? <br />-What forms of queer literary kinship does genre hinder or make possible? <br />-How are genres gendered, and how do social and literary conventions relate to each other? <br />-Does queer genre involve its failure? Some kind of twisting around desires we attach to conventions? <br />-How do genres and subgenres affect the circulation and visibility of queer and queer of color intellectual work? <br />-How does genre inflect the contract between implied author and the queer reader? What does it mean to queer a generic convention? <br /> <br />Send a 500-word abstract and a brief bio to Lauryl Tucker ( by March 25. (Get in touch even if you have an idea that might be a stretch. If the best submissions skew in a new but related direction, the panel will shift its shape.)

Conference Location: Brooklyn, U.S.
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 25, 2020

For more information, contact: Lauryl Tucker

Didactic Modernisms

Approaching modernism as didactic-instructing, catechizing, disciplining-subverts canonical insistence on artistic originality and autonomy. This panel proposes to explore how modernists and their texts engaged in modeling, teaching, directing, overseeing, instructing (intended or otherwise) in relation to readers. How do didactic texts provide a counter-discourse within canonical modernism? How do they discipline readers' subjectivity? To what extent did modernist authors attempt to instruct audiences, and how did readers within the scene of the modern engage in subversive or creative pedagogies for themselves? Are specific texts "didactic" or does one merely read didactically? <br /> <br />Topics may include: intersections with gender, class, race, manners, sexuality, and/or specific genres (e.g. the bildungsroman or kildungsroman, sentimental fiction, self-help, behavioral texts); the middlebrow, highbrow, or lowbrow; circulation and reception of texts, including across boundaries (national, class, gendered, etc.) <br /> <br />Please submit a 250-300 word abstract and a short bio to Krista Daniel ( by March 25, 2020. <br /> <br />

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 25, 2020

For more information, contact: Krista Daniel

Make it Now: Teaching Modernism through Contemporary Literature - MSA 2020 Roundtable

As we approach the centenary of modernism’s annus mirabilis, this roundtable will assess how literary modernism is now situated and taught in relation to the literature of the first two decades of the twenty-first century. Is a shrinking space within the long twentieth century the new reality of modernism in the classroom (as well as in the job market)? If so, do we continue to position it as radically generative, the origin and enduring point of reference for formal and stylistic experimentation? Or are modernist works more productively linked to the contemporary by topical issues rather than form and style? Which contemporary writers engage modernist ones most productively, whether in contestation or filiation? What contemporary representations of modernist writers and their era are shaping the preconceptions of students? Can teaching modernism with and through contemporary literature advance the principles of the new modernist studies, or does modernism in the long view inevitably lose specificity and diversity? Speakers will focus on classroom practice, addressing, for example, pairings or groupings of texts and/or the uses of recent fictional, biographical, filmic, and graphic engagements; they may also address pedagogical methods and broader curricular contexts for the teaching of modernism today. <br /> <br />Please refer to the general conference CFP for a description of the roundtable format, and send a brief proposal (200 words) for a 10-minute position statement, and a brief bio, to by March 23.

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 23, 2020

For more information, contact: Ella Ophir

Modernism and the Market

Modernist Studies Association Conference <br />Brooklyn NY, October 22-25, 2020 <br /> <br />Modernism needs markets. Although authors and critics have reiterated various claims to autonomy from commercial life, recent scholarship has come to emphasize how modernist cultural production was inevitably entangled in the business of publishing, advertising, networking, and funding. This panel aims to explore these entanglements. Papers might consider how individual authors negotiated economic tensions in the cultural field of production; how editors, magazines, and publishing houses contributed to the shaping of modern literary history; and how the shifting market for modernism has shaped, and continues to shape, our understanding of the period. Particularly welcome are contributions which reconcile large-scale questions in modern intellectual history with granular attention to everyday life—which bring modernism’s economic history into the streets. <br /> <br />Please send 250-300 word abstracts to Ian Afflerbach at by March 21st 2020. <br />

Conference Location: Brooklyn, NY, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 21, 2020

For more information, contact: Ian Afflerbach

Street Hauntings

Many critics have noted the ghostliness that lies at the heart of modernism generally, while others, especially in the wake of Benjamin, have touched on the spectral properties of that flânerie that Woolf slyly calls “street haunting”. This panel seeks papers that address the hauntology of the modernist street – papers that loiter on the corners where the modern, the spectral, and the psychogeographic meet. <br /> <br />We are especially interested in papers in which the ghostly separates from the gothic; in which the experience of haunting and hauntedness arises less from the supernatural than from the material-yet-phantasmagorical effect of the crowds, fragmentary optics, and ghostly semiotics; the political occlusions of class, gender, or race; or the psychological attunement to the wavering temporalities and upwellings of memory and desire that characterize the modernist streetscape. <br /> <br />Please send 200 word abstract and 50 word bio statement to Graham Fraser ( by March 18.

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 18, 2020

For more information, contact: Graham Fraser

Trans*: Bodies, Texts, Lives in Modernism

Seeking papers that address modernist representations of transgender and non-binary experience, culture, and aesthetics. Authors/Texts may include (but are certainly not limited to) the following: Jennie June’s Autobiography of an Androgyne (1918), Gertrude Stein’s Q.E.D. (1902), Richard Bruce Nugent’s “Smoke, Lies, and Jade” (1926), Radcliffe Hall’s The Well of Loneliness (1928), Djuna Barnes’s Nightwood (1937). <br /> <br />Submit a 250-word abstract, together with a brief bio, to by March 16, 2020 for consideration.

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 16, 2020

For more information, contact: Stephanie Hawkins

Modernism from the Standpoint of Labor (Rountable; MSA Brooklyn)

Call for Proposals <br />MODERNISM FROM THE STANDPOINT OF LABOR <br />Modernist Studies Association <br />Brooklyn, NY <br />22-25 October 2020 <br /> <br />Organized by Pardis Dabashi (University of Nevada, Reno) and Matthew Hart (Columbia University, MSA President) <br /> <br />The last few years have witnessed the virtual disappearance of modernism as a hiring category across large swathes of the global neoliberal academy. At the same time, scholarly production in modernist studies remains vibrant. Much of that intellectual work, however, is now being produced by scholars with no academic job, an insecure academic job, or an academic job that doesn\'t pay the bills and so must be supplemented by other wage labor. This roundtable will ask what such working conditions mean for the production of knowledge about modernism. <br /> <br />-- How has the intellectual past and present of modernism been determined by the working conditions of artists, curators, scholars, and others? How will that history change in the years to come? <br />-- How has modernism, as an artistic and scholarly field, been affected by labor organizing, strikes, institutions such as tenure, etc? <br />-- From the standpoint of labor, what are the benefits and/or perils of modernist studies being subsumed under the broader category of \"the 20th century\" on the academic job market?  <br />-- How has the casualization of academic labor affected the concepts and methods already used to understand modernist culture? How will it do so in the future? <br />--How might we integrate discussions of the precarious professional conditions of early-career researchers (ECRS) into discussions of where modernist studies is going in the future? <br />-- Most urgently, how might academic workers organize so as to secure social and economic justice for workers in modernist studies and related fields? <br /> <br /> <br />Please email 200-word abstracts to and by 13 March 2020. The roundtable will include strictly time-limited 8 minute presentations from five participants representing a diverse range of academic workers and subject positions.  <br /> <br />Please note, per MSA rules, if you appear on this roundtable, you may not present your work on another panel or roundtable at the 2020 conference, though you may chair a session and/or present in a seminar. For the full MSA Brooklyn 2020 call for papers, see: <br />

Conference Location: Brooklyn, NY, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 13, 2020

For more information, contact: Matthew Hart

House Styles: Pulp, Periodicals, Publishing

House Styles: Pulp, Periodicals, Publishing <br /> <br />From the little magazines that gave a slew of early-twentieth-century authors their starts to the grassroots periodicals and zines of the 1970s that reintroduced forgotten or out-of-print writings, periodicals have consistently served as counter- and sub-cultural venues for literary production. This panel will consider the intersections between print cultural forms, mechanisms of dissemination, and the constitution of evolving twentieth-century literary canons and tastes. We welcome work on modernist and mid-century print cultures (periodicals, pulps, and beyond); the relation between public/“lay” consumption of mass-cultural forms and the institutionalization of texts as literary art; and the print processes that underlie institutional endorsement of literary genres, epochs, and tastes. <br /> <br />Please send 250-300 word abstracts and a brief bio to Alec Pollak ( by March 13th, 2020.

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 13, 2020

For more information, contact: Alec Pollak

Streets in and through Digital Modernist Studies

We seek papers that use digital approaches to explore and illuminate the conference theme of “streets.” <br /> <br />Modernist studies has developed a number of digital methods for reading metropolitan spaces and texts in new ways and at unprecedented scale. The MSA conference has showcased some of this work in its digital exhibits and poster session but, thus far, full presentations about the methods and findings of digital approaches have been few and scattered. This proposed panel will feature digital methods and results that illuminate long-standing questions about modernism’s streets in new ways. <br /> <br />Please send 250-word abstracts and a brief bio to Elizabeth Evans at or Gabriel Hankins at by March 11, 2020.

Conference Location: Brooklyn, NY, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 11, 2020

For more information, contact: Elizabeth Evans

Modernist Appropriation MSA 2020 Roundtable

Modernist Appropriation <br /> <br />If modernist streets are sites of movement, protest, influence, then this roundtable asks if those exchanges occurring at the intersection of official infrastructure and vernacular practices can be symbiotic or only predatory. This roundtable is broadly interested in how modernism as a field of inquiry and artistic practice has taken part in cultural appropriation, while at the same time opening space for resistance/conservation. More specifically, we are interested in thinking about what happens when you put Picasso, Eliot, Forster, Pound—known appropriators—into conversation with Zitkala-Sa, Wole Soyinka, Eric Walrond, Zora Neale Hurston-- creators working against imperial erasure. Examples might include The Sundance Opera by William Hanson and Zitkala-Sa, which presents an interesting case study in the examination of primitivism and appropriation in modernism, or Picasso’s Les Demoiselles d’Avignon, which mines African tribal aesthetics and repackages them as avant-garde European art. We also see the vernacular appropriated by the institution in the third reich and other fascist movements of the twentieth century. Similarly, we see the revival of Irish folk tradition in Yeats’ Irish revival. Questions of originality, authenticity, education, and assimilation will hopefully span roundtable submissions. Furthermore, examples of modernist appropriation leave us with the provocation of: Can modernist texts both appropriate and offer space for self-definition? Can the collision of the institutional and vernacular offer perspective on how modernism as a field can continue to grow in less appropriative ways?

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 11, 2020

For more information, contact: Katelyn Hartke

Politics of the Unreal

The Politics of the Unreal <br /> <br />Though we no longer view popular, pulp, or mass products as incompatible with modernism, we are a long way from fully understanding how they inter-implicate one another. Papers for this panel may address (but are not limited to) the following questions: <br /> <br />a) How did modernists use elements of the popular unreal to break with realism and experiment stylistically? How do popular writers themselves experiment in ways that access concerns more often linked to modernist seriousness? <br />b) How did these conventions get put to unconventional uses and/or enable unconventional explorations, both stylistic and conceptual? <br />c) How might we understand both conventional modernism and its popular counterparts to be aesthetically inter-implicated. <br />d) How might they both be understood to do the characteristically modernist work of indexing and engaging with the social and political dimensions of modernity? <br /> <br />200-word abtracts and 50-word bio-bibliographical notes to Glenn Willmott ( and Stephen Ross ( by 10 March.

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 10, 2020

For more information, contact: Stephen Ross

Caribbean Modernism and the City

Caribbean modernist novels of the 1950-70s are frequently deeply engaged with urban geography, from the streets of Port-of-Spain to the avenues of London. And they represent those city landscapes in strikingly different ways, from the departicularized, disorienting London of George Lamming’s The Emigrants to the carefully mapped Bayswater of Sam Selvon’s The Lonely Londoners, to name just a few. As critics like Peter Kalliney and Gail Low have recently explored, these writers were also involved in urban institutions, from universities like the University of the West Indies in Kingston, to mass media like the BBC, to government agencies like the office of the Commissioner of the West Indies. This panel seeks papers that examine the ways in which novels or poems by Caribbean writers and those of the Caribbean diaspora represent urban space, and how those representations fit within the larger institutional structures that made possible those representations. We’d welcome papers that focus on architecture, gender, urban planning, film and television, visual culture, etc. Please send 300 word abstracts and a brief bio by March 10th to <br />

Conference Location: Brooklyn, US
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 10, 2020

For more information, contact: Jesse Schotter

Modernism and the Smart Magazines

Modernism and the Smart Magazines <br /> <br />This panel considers the various ways in which the Smart Magazines of New York City—especially, The Smart Set, Vanity Fair, The American Mercury, and The New Yorker—variously engaged modernism in all its various manifestations during the 1920s and 30s. Hence papers for the panel might analyze any of the following topics or others: how modernism was discussed, debated, and critiqued in the smarts; how the smarts excerpted or published particular works by modernist writers and artists; how the smarts helped to explicate, legitimize, and promote modernism and modernists artists and writers; how smart writers themselves created works of popular or middlebrow modernism. <br /> <br />Please send paper abstracts of 350 words and brief bio-bibliographical statements by March 6th to Paul Peppis:

Conference Location: Brooklyn, NY, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 06, 2020

For more information, contact: Paul Peppis

Modernism in the Writing Classroom

As was widely acknowledged in discussions sparked by and at the 2019 MSA Conference, modernism is decreasingly a hiring field within English departments, and those trained in modernist studies often take positions with teaching focuses in other areas. <br /> <br />This roundtable will focus on scholars’ experience using modernist training/modernist texts in the writing/rhetoric/composition classroom. Please submit 200-300 word abstracts describing a specific example of your use of a modernist text and/or concept in the writing classroom. Please email abstract and a short bio to Nissa Cannon by 3/5/20. <br />

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 05, 2020

For more information, contact: Nissa Cannon

African Aesthetics and Modernist Studies

MSA 2020: Brooklyn, October 22-25, 2020 <br />CFP: “African Aesthetics and Modernist Studies” <br />Contact: Mark DiGiacomo, <br />Proposal Deadline: March 2, 2020 <br /> <br /> <br />Wole Soyinka’s new book, <i>Beyond Aesthetics: Use, Abuse, and Dissonance in African Art Traditions <I> (Yale UP 2019), places African art at the center of the arts of global modernity. Its subtitle, meanwhile, provides some key words that might be useful for thinking through the relationship between African aesthetics and modernism—the story of European modernism’s uptake of African art is replete with use and abuse, and the relationship between modernist studies and postcolonial African studies has been marked by dissonance. <br /> <br />Taking a cue from Soyinka, this panel will place the aesthetics of sub-Saharan Africa at the center of the conversation and ask how Africa aesthetic concepts might challenge or re-shape the field of modernist studies. This CFP invites papers on literature, visual art, performance, music or aesthetic theory from sub-Saharan Africa; papers that employ an aesthetic term or concept from an African language are especially encouraged. Proposals might reevaluate some of the binary oppositions that have long attended discussions of African aesthetics and modernism—tradition vs. modernity; form vs. function; aesthetic autonomy vs. cultural context—or set those debates aside in favor of new models and lines of inquiry. Please send proposals of approximately 200 words to Mark DiGiacomo at by March 2, 2020. <br />

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 02, 2020

For more information, contact: Mark DiGiacomo

MLA Panel: The Great War in the 21st Century

CFP for Panel for MLA Toronto (2021) <br />The Great War in the 21st Century <br /> <br />In The Legacy of the Great War: Ninety Years On (2009), Jay Winter identifies four generations of critics, historians, novelists, and other cultural producers that engage with the representation of the First World War: “the Great War generation,” who had first-hand experience of the First World War; “the generation ‘fifty years on’,” writing in the 1950s and ‘60s; the “Vietnam generation,” working pri-marily in the 1970s; and the “transnational generation,” which broadly encompasses the more contempo-rary representations of the Great War. Winter adds that “everyone writing today draws upon or reflects upon earlier publications in this field,” speaking to the importance of intertextual and cross-generational analyses of the war. <br />This panel invites papers that address the First World War in contemporary literature, film, tele-vision, memorial art, and other media, taking into consideration this crucial point: that, given the death of all the war’s survivors, contemporary representations of the War constitute memories of memories or responses to prior representations even as they resituate the war’s meaning in relation to current events and emergent conceptual paradigms. Given the recent centenary of the First World War, this panel in-vites papers that consider the conflict as it figures in our contemporary collective consciousness, and that address some aspects unique to the “transnational generation”: the recognition that the Great War’s ef-fects were “trans-European, trans-Atlantic, and beyond.” <br />Please send 300-word abstracts and brief bios to A. Irene Mangoutas ( or Stacy Hubbard ( by 1 March 2020. <br />

Conference Location: Toronto, CA
Conference Starts: January 07, 2021
Conference Ends: January 10, 2021

CFP Submission Deadline: March 01, 2020

For more information, contact: Stacy Hubbard

Race, Gender, and the Streets

We are seeking proposals for papers to be included in a panel on “Race, Gender, and the Streets” that will focus on the presence of women—and their reception--within public urban spaces in modernist literature, art and film. Papers might address issues of the female flaneur (the flaneuse), performativity, spectacle, fashion, safety and crime, harassment, racial violence or segregation in relation to activities on sidewalks, in parks, streetcars, stores, theaters, apartments or tenements and other public buildings. We welcome explorations of the topic through perspectives belonging to a variety of disciplines including architectural history, urban planning, crowd studies, race theory, visual studies, literary studies, queer theory and others. <br />Please send abstracts of 300 words and a one-paragraph bio by March 1st to or <br />

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 01, 2020

For more information, contact: Stacy Hubbard

Streets of the Sea

“Streets of the Sea” <br /> <br />This CFP is no longer active. If you have any questions please feel free to email me at the contact below. <br />

Conference Location: Brooklyn, USA
Conference Starts: October 22, 2020
Conference Ends: October 25, 2020

CFP Submission Deadline: March 01, 2020

For more information, contact: Alison Maas

Networking May Sinclair

Networking May Sinclair / Les réseaux littéraires de May Sinclair <br />Université de Nantes, 18th-19th June 2020 <br /> <br />Keynote speaker: Professor Suzanne Raitt, College of William & Mary <br /> <br />This international conference explores the diversity of connections, inspirations and influences in the work of modernist writer, May Sinclair (1863-1946). It will be held at the University of Nantes (France) on Thursday 18th and Friday 19th June 2020. <br /> <br />In the first two decades of the twentieth century, May Sinclair was one of the most successful and widely known of British women novelists (Wilson, 2001). She produced over twenty novels and six collections of short stories and collaborated with many modernist writers and poets, including Ford Madox Ford, Ezra Pound, T. S. Eliot, H.D. and Richard Aldington. Her life was also exceptionally rich. She took an active part in the women’s suffrage movement and published several pamphlets for women’s rights between 1908 and 1917. In the early 1910s, she got involved in medico-psychological research, and wrote half a dozen psychoanalytical research papers. In 1915, she spent two weeks near the Belgian front with an ambulance unit and her Journal of Impressions in Belgium was one of the first wartime women’s diaries published in Britain (Raitt 2000, 163). She was also the acclaimed author of two major philosophical essays on idealism (1917 and 1922) that led to her election to the Aristotelian Society. Last, she was an influential literary historian and literary critic and wrote several much-quoted articles and prefaces on the stream of consciousness, the Brontë sisters and imagist poetry. <br /> <br />Many reviewers and critics have shown that May Sinclair’s modernism was not so much a derivation of other contemporary aesthetics but was rather a product of her idiosyncratic articulation of her many research interests and experiences. In addition, “the interdisciplinarity of Sinclair’s output […] eludes straightforward categorisation and this has arguably contributed to the traditional critical neglect of her writing” (Bowler & Drewery 2016, 1). <br /> <br />As May Sinclair is now “gaining critical legitimacy” (Raitt 2016, 23), this conference seeks to explore Sinclair’s texts and contexts and aims to shed light on her place in literary history and on her contribution to “the radical modernist challenge to traditional assumptions about what it means to be human” (Bowler & Drewery 2016, 14). Papers comparing Sinclair and other writers are thus particularly welcome; suggested topics might include (but are not limited to): <br />- May Sinclair and her contemporaries: Thomas Hardy, Henry James, H. G. Wells, D. H. Lawrence, Ford Madox Ford, Charlotte Mew, H. D., Richard Aldington, T S. Eliot, Ezra Pound, Virginia Woolf, Dorothy Richardson, Katherine Mansfield, Elizabeth Bowen, Mary Butts, Olive Moore etc. <br />- May Sinclair and modernity/the modern/modernism <br />- May Sinclair & WW1 writers <br />- May Sinclair and Victorian and late nineteenth-century authors: the Brontë sisters, George Eliot, George Meredith etc. <br />- May Sinclair and romantic poets: Shelley, Byron etc. <br />- May Sinclair and philosophy: Henri Bergson, Bertrand Russell, Baruch Spinoza, T. H. Green, Arthur Schopenhauer, Samuel Butler, Francis Herbert Bradley etc. <br />- May Sinclair and psychology: William James, Sigmund Freud, C. G. Jung, Pierre Janet, Melanie Klein, Ella Sharpe, Joan Riviere, Alfred Adler, Charles Myers etc. <br />- May Sinclair and mysticism: Evelyn Underhill, the Society for Psychical Research, etc. <br />- May Sinclair and first-wave feminism <br />- Contemporary reception of May Sinclair <br />- May Sinclair and her literary legacy <br />- May Sinclair in translation <br />- May Sinclair and music <br />- May Sinclair and films or TV adaptations <br /> <br />Proposals no longer than 350 words, together with a 200-word biography, should be sent to the conference organisers before February 15th, 2020. <br /> <br /> <br /> <br />Conference organisers: <br />Leslie de Bont, Université de Nantes <br />Isabelle Brasme, Université de Nîmes <br />Florence Marie, Université de Pau <br />

Conference Location: Nantes, France
Conference Starts: June 18, 2020
Conference Ends: June 19, 2020

CFP Submission Deadline: February 15, 2020

For more information, contact: Leslie de Bont

Hope Mirrlees’s Paris: A Poem at 100

2020 marks the 100th anniversary of “modernism’s lost masterpiece,” Hope Mirrlees’s Paris: A Poem. Published by Hogarth Press in the spring of 1920, and typeset by Virginia Woolf herself, this ground-breaking long poem maps the range of continental avant-garde aesthetics of the 1910s even as it both engages and anticipates the mythical methods and epic conventions of James Joyce, Ezra Pound, and T.S. Eliot. <br /> <br />This one-day conference aims to present new work that reassesses the singularity of Mirrlees’s poem as well as its place within the broader network of literary modernism. While scholars such as Julia Briggs, who produced the first annotated edition of the poem in Gender in Modernism: New Geographies, Complex Intersections (2007), and Sandeep Parmar, who edited the first critical edition of Mirrlees’s Collected Poems (2011), have done the important archival and recovery work that restored Paris to critical attention, Peter Howarth solidified Paris’s position within the modernist “canon” with his chapter, “Why Write Like This?,” in The Cambridge Introduction to Modernist Poetry (2011), which introduces readers to the disorienting pleasures of modernism’s most famous poems through an extended analysis of Mirrlees’s “difficult” work (16). Building on these approaches, this conference seeks to initiate a “new” wave of Paris scholarship that complicates and extends the poem’s aesthetic, cultural, and socio-political import on the occasion of its centenary. <br /> <br />We therefore welcome papers that both pay tribute to the exceptionality of the poem and insist on the “complex intersections” that resist canonical trends of exceptionalizing marginalized writers like Mirrlees. We invite proposals that consider any aspect of the poem, its influences, or its legacies as well as papers focusing on Mirrlees’s work more generally and in relation to her contemporaries. <br /> <br />The conference will take place on June 10, 2020 at the Maison de la Recherche Sorbonne Nouvelle in Paris, France. It will include a panel discussion with Deborah Levy, Sandeep Parmar, Lauren Elkin, and Francesca Wade as well as a reception celebrating the launch of a new edition of the poem (forthcoming May 2020 by Faber & Faber). <br /> <br />Abstracts due February 15, 2020 to Rio Matchett ( and Nell Wasserstrom ( <br />

Conference Location: Paris , France
Conference Starts: June 10, 2020
Conference Ends: June 10, 2020

CFP Submission Deadline: February 15, 2020

For more information, contact: Rio Matchett


CRiSiS <br /> <br />7th biennial conference of the European Network for Avant-Garde and Modernism Studies <br /> <br />University of Leuven, Belgium <br /> <br />17-19 Sept. 2020 <br /> <br /> <br /> <br />with Boris Groys, Christine Poggi and more <br /> <br /> <br /> <br />CALL FOR PROPOSALS <br /> <br />Notions of crisis have long charged the study of the European avant-garde and modernism. Throughout their history, avant-gardists and modernists have faced crises, be they economic or political, scientific or technological, aesthetic or philosophical, collective or individual, local or global, short or perennial. Modernists and avant-gardists have in turn continually stood accused of instigating crises, whether artistic or cultural, sensorial or conceptual, incidental or intentional, far-reaching or negligible, representational or other. The very concepts of ‘avant-garde’ and ‘modernism’ are time and again subject—or subjected—to conceptual crises, leaving modernism and avant-garde studies as a field on the perpetual brink of a self-effacing theoretical crisis. <br /> <br />The 7th biennial conference of the EAM intends to tackle the ways in which the avant-garde and modernism in Europe relate to crisi/es. Although we welcome panel, roundtable and paper proposals on any aspect of this relationship, we are particularly interested in new research on three topics. <br /> <br />First, we want to explore the theoretical complexity of the notion of crisis. For what is a crisis, really? The term is defined very loosely at times in modernism and avant-garde studies, and a quick survey illustrates that we seldom talk about crises of the same scale, import or impact. By clarifying what exactly counts as a crisis, surely we can gain a better understanding of the European avant-gardes and modernism. So what precisely do we mean by ‘crisis’? Is crisis above all a narrative device? Is there ever no crisis? Are there types of crisis, artistic or otherwise, that we have thus far neglected in our study of the avant-garde or modernism? And what (other) view(s) of crisis do avant-gardists and modernists themselves project? <br /> <br />Second, we are interested in proposals that touch upon the crises-laden historical trajectory of the avant-gardes and modernism. For while we often claim that a notion of crisis is key to a proper understanding of (late) modernity, the European avant-gardes and modernists faced different historical crises throughout their development. To what extent do all these crises, which span several centuries, share common denominators? What role do national and regional differences play over time? Does the project of the avant-garde and modernism, along with their critique of crisis, change fundamentally over time or not? Proposals touching upon a historical case study or submissions comparing several historical cases from different times or regions in Europe are therefore particularly welcome. <br /> <br />Third and finally, we wholeheartedly encourage proposals that look at the practical side of things, across all areas of avant-garde and modernist activity: art, literature, music, architecture, film, artistic and social movements, lifestyle, television, fashion, drama, performance, activism, curatorial practice, design and technology. How do European avant-gardists and modernists give aesthetic shape to crises? What representational strategies and tactics do they use in their practices? What affective (and other) experiences of crisis does their work allow for? What crises do their experimental practices yield—in fact, do the avant-gardes and modernism create types or modes of crisis of their own? <br /> <br /> <br /> <br />The official languages of this conference are English, French and German. You may submit a proposal as a panel chair, as an individual or as a roundtable chair. <br /> <br />1. You may propose to be the chair of a panel. A panel consists of three or four speakers. One of the speakers is the chair who makes the submission and supplies the details and proposals of all of the proposed participants. You may also submit a double or triple panel. Panels should not consist only of doctoral students and panels composed of participants from a single department at a single institution are less likely to be accepted. <br /> <br />2. You may submit an individual proposal without specifying a panel and the organisers will assign your paper to a panel if accepted. <br /> <br />3. You may propose to be the chair of a roundtable. Roundtables consist of a maximum of 6 participants who each write brief “position papers” (4 pages) that are read and circulated before the conference. During the roundtable, participants briefly present position statements, after which a discussion takes place moderated by the chair. Roundtables can consist only of doctoral students yet roundtables composed of participants from a single department at a single institution are also less likely to be accepted. <br /> <br /> <br /> <br />Roundtable proposals (deadline 1 Jan. 2020) should include: <br /> <br />1. Title of the roundtable and language (English, French, German – one only) <br /> <br />2. A 500-word summary of the roundtable’s topic and rationale. <br /> <br />3. The chair’s name, a one-page curriculum vitae, and contact information (address and email). <br /> <br />4. Name, postal address and email contact of at least 5 (maximum 6) participants in the roundtable. <br /> <br />5. Short biography of individual participants <br /> <br /> <br /> <br />Panel proposals (deadline 1 Febr. 2020) should include: <br /> <br />1. Title of the panel and language of the panel (English, French, German – one only) <br /> <br />2. Name, address and email contact of the chair <br /> <br />3. A summary of the panel topic (300 words) <br /> <br />4. A summary of each individual contribution (300 words) <br /> <br />5. Name, postal address and email contact of individual contributors <br /> <br />6. Short biography of individual contributors <br /> <br /> <br /> <br />Individual proposals (deadline 1 Febr. 2020) should include: <br /> <br />1. Title of the paper and language of the paper (English, French, or German) <br /> <br />2. Name, address and email of contributor <br /> <br />3. A summary of the contribution (300 words) <br /> <br />4. Short biography of the contributor <br /> <br /> <br /> <br />Please submit your proposals in Word format only to Acceptance will be notified via email by the end of May. A detailed conference programme will be available on the EAM website before summer. With any questions, please always make sure to check this page first, as it will be updated in due course. <br /> <br /> <br /> <br />ORGANISING COMMITTEE AND SPONSORS <br /> <br />This conference is organised by Sascha Bru and hosted by the MDRN research lab ( based at the Arts Faculty of the University of Leuven. The local organising committee further includes Mark Delaere (Musicology), Leen Engelen (Film Studies), Hilde Heynen (Architecture), Kate Kangaslahti (Art History, principal co-organiser), Bart Philipsen (Theatre & Performance Studies), Anne Reverseau (UC Louvain, Photography), and Inga Rossi-Schrimpf (curator Royal Museums of Fine Arts Brussels, RMFAB). The conference is sponsored by the Lieven Gevaert Centre for Photography (LGC) and the Museum of Contemporary Art Antwerp (M HKA). <br />

Conference Location: Leuven, Belgium
Conference Starts: September 17, 2020
Conference Ends: September 19, 2020

CFP Submission Deadline: February 01, 2020

For more information, contact: Sascha Bru

Faulkner and Yoknapatawpha Conference 2020: Faulkner\'s Modernisms

Faulkner and Yoknapatawpha 2020 <br />“Faulkner’s Modernisms” <br />July 19-23, 2020 <br />University of Mississippi <br />Announcement and Call For Papers <br /> <br /> <br />Could anything be more uncontroversial than to identify William Faulkner as a modernist writer? And yet, in a contemporary moment characterized by the renewal, expansion, diversification, and general flourishing of modernist studies scholarship, we can no longer take for granted what that modernism was, is, or might have been, or in what it might have inhered. Where was Faulkner’s modernism—-amidst what competing or nested geographies of modernity should we locate it? When was that modernism—-how should we periodize it? Within or against what temporal scales? Were there specific periods or texts when Faulkner wasn’t a modernist, or when he was no longer one, and if so, what exactly was he then, how can we tell, and what might that mean for a better understanding of his work? Which literary, artistic, or intellectual contemporaries, precursors, or successors best illuminate what Faulkner’s modernism was, and wasn’t? And what new approaches to modernist aesthetics might be generated by taking Faulkner as Exhibit A? What did the modernization process, the modernizing of his various worlds, look like to Faulkner? Sound like? Feel like? And how might the new questions raised, conceptual tools employed, and cultural contexts highlighted by “new modernist studies” scholarship help shed light on these and other issues? The forty-seventh annual Faulkner and Yoknapatawpha conference will take up the venerable but also excitingly new question of Faulkner’s literary and other modernism(s). Topics might include but are not limited to: <br /> <br />--Faulkner’s place and achievement amidst “high,” “middlebrow,” “pop,” “pulp,” “mass,” or other print modernisms <br />--racial and ethnic modernisms/modernities in, against, or around Faulkner <br />--Faulkner’s writings as a window onto the modernity of chattel slavery, Jim Crow segregation, mass incarceration, and their concomitant modernisms <br />--Faulkner’s Hollywood work in the context of aesthetic and/or cinematic modernisms <br />--Faulkner’s creative life and work in the context of “media-made” modernisms <br />--Faulkner in light of other material modernities or modernisms <br />--modernist perception, the modernized sensorium, and Faulkner <br />--epistemologies or ontologies of Faulknerian modernism <br />--“melancholy,” “sensational” or other affective modernisms in Faulkner <br />--the modernization of gender in/and Faulkner; the gender of Faulknerian modernity <br />--modernisms, sexualities, Faulkners <br />--the modern/modernized/modernist family in Faulkner; modern/ist childhood, the modern/ist child <br />--rural modernization in Faulkner’s life and writings; the modernity of Yoknapatawpha County <br />--regional, national, transnational, global, or planetary scales of modernity in and around Faulkner’s work <br />--environmental modernization or “ecological” modernism as a Faulknerian problematic <br />--Faulkner’s modernism from/in Anthropocene perspective <br />--the modernization of politics in Faulkner’s life and world <br /> <br />The program committee especially encourages full panel proposals for 60-minute conference sessions. Such proposals should include a one-page overview of the session topic or theme, followed by 400-500-word abstracts for each of the panel papers to be included. We also welcome individually submitted 400-500-word abstracts for 15-20-minute panel papers. Panel papers consist of approximately 2,500 words and will be considered by the conference program committee for possible expansion and inclusion in the conference volume published by the University Press of Mississippi. <br /> <br />Session proposals and panel paper abstracts must be submitted by January 31, 2020, preferably through e-mail attachment. All manuscripts, proposals, abstracts, and inquiries should be addressed to Jay Watson, Department of English, C-135 Bondurant Hall, University of Mississippi, P.O. Box 1848, University, MS 38677-1848. E-mail: Decisions for all submissions will be made by March 15, 2020. <br /> <br />

Conference Location: Oxford, MS, USA
Conference Starts: July 19, 2020
Conference Ends: July 23, 2020

CFP Submission Deadline: January 31, 2020

For more information, contact: Jay Watson

Documentary Poetry, Popular Protest and Activism: An International Poetry and Poetics Seminar

“Documentary Poetry, Popular Protest and Activism: An International Poetry and Poetics Seminar” <br /> <br />The American University of Paris. <br />Co-Directors: Geoff Gilbert and William Dow. <br />June 11-13, 2020. <br /> <br />The American University of Paris announces a call for papers for a documentary poetry conference to be held 11-13 June 2020 at the American University of Paris. <br /> <br />How do contemporary poets in the US and France position themselves in relation to popular political protest and activism? What use are they making of experimental documentary traditions (whose practices can be placed along a continuum from “subjective” auto-ethnographies to “objective” documentary tendencies)? How does writing outside France and the US relate to these two centers for poetry and poetics? What challenges does this offer to conceptions of the relation between poetry as an art form and other social and political utterances and actions? The conference will also look at the history of documentary poetry traditions in France and the United States, locating this history in an international, transnational, and pluri-disciplinary context. <br /> <br />Topics may include but are not limited to: <br /> <br />-The documentary traditions of innovation and experiment in French and American poetry and how such traditions are articulated with political, economic, and social struggles; periodization and the documentary traditions <br /> <br />-Contradictory tensions: documentary poetry as resistance to and a haven for the personal. <br /> <br />-Documentary poetry takes as its primary subject historical events and the people who are theperpetrators and victims of such events. How might this poetry help readers to become “virtual witnesses”? What alternatives to the model of ‘temoignage’ and ‘witness’ can be proposed? <br /> <br />-How poetry works with pre-existing cultural documents to uncover hidden historical claims and voices. <br /> <br />-Documentary poetics and the question of appropriation. <br /> <br />-The relationship between documentary modalities and social resistance poetry. <br /> <br />-French and American documentary epistemologies and documentary poetry as alternatives to the viewpoints and subjects of mass media journalism. <br /> <br />-Documentary poetry as an “investigative poetics”; and as an “investigative poetry” (P. Metres). <br /> <br />-Documentary poetry as an international phenomenon. <br /> <br />-Documentary poetry and the forms through which collective life is imagined– class, gender,race, sexuality, and debates within the left about these formations <br /> <br />-Documentary poetry as forms of empowerment and rethinking reading practices. <br /> <br />-How French and American documentary poetry implicitly questions the status of both poetryand documentary materials; questions of the canon and the archive. <br /> <br />-Documentary poetry, the polyvocal, intertextual, and multimedia. <br /> <br />-Documentary poetry: articulations of collectivity and social justice. <br /> <br />Plenary speakers: Juliana Spahr, Mark Nowak, Franck Leibovici. Additional plenary speakers will be confirmed shortly. <br /> <br />Conference Fee: (includes coffee breaks and opening and closing receptions): 40 euros. Dinner Fee: 60 euros. <br /> <br />Proposal for papers should include <br />1. A brief (250-300 word) abstract <br />2. A one to two page vita. <br />Submissions to and <br />Deadline for Submissions: January 15, 2020.

Conference Location: Paris, France
Conference Starts: June 11, 2020
Conference Ends: June 13, 2020

CFP Submission Deadline: January 15, 2020

For more information, contact: Geoff Gilbert