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MSA CFPs Ended in 2021







Modernist Constellations book series

Modernist Constellations <br />New series from Clemson University Press <br />Call for Proposals <br /> <br />This new series from Clemson University Press, Modernist Constellations, reflects the global dimension of modernist studies, while making space for explorations of the modernist world maps and the current ‘planetary turn.’ The series takes into account the many temporalities, spaces, and forms of literary modernisms. Its aim is to explore modernism’s multiple artistic and intellectual contexts, while paying attention to the realities of expatriation, translation, and less structured forms of dissemination and influence. It encompasses Anglo-American and European literatures, as well as titles dealing with modernism’s ties to empire and decolonization. <br /> <br />We seek proposals for books in the form of monographs, edited collections, editions and anthologies that fulfill the aims of the Clemson Modernist Constellations series. We encourage proposals for titles examining lesser-known international movements that have shaped the literary and artistic forms associated with modernism including and beyond the Anglo-American and European iterations. <br /> <br />Proposals should be formatted according to Clemson’s house style ( and submitted to Clemson’s Director, John Morgenstern at <br /> <br />Series Editors: <br />Lauren Arrington ( is Head of Department at the Institute of Irish Studies, University of Liverpool. <br /> <br />Emilie Morin ( is Senior Lecturer/Associate Professor in the Department of English and Related Literature at the University of York. <br /> <br />The series editors welcome email enquiries. Lauren Arrington and John Morgenstern will be at the 2018 Modernist Studies Association conference in Columbus and available for conversation. <br /> <br />Editorial Advisory Board <br /> <br />Derek Attridge (University of York) <br />Sara Crangle (University of Sussex) <br />David Dwan (University of Oxford) <br />Ziad Elmarsafy (King’s College London) <br />Marina MacKay (University of Oxford) <br />Cóilín Parsons (Georgetown University) <br />Jean-Michel Rabaté (University of Pennsylvania) <br />Jahan Ramazani (University of Virginia) <br />Susan Stanford Friedman (University of Wisconsin-Madison) <br />Olga Taxidou (University of Edinburgh) <br /> <br />

Conference Location: Liverpool, United Kingdom
Conference Starts: October 11, 2018
Conference Ends: December 31, 2021

CFP Submission Deadline: December 31, 2021

For more information, contact: Dr Lauren Arrington

Searching for the Modern Girl: Flappers and Bright Young Things Around the World

A Special Issue of The Space Between: Literature and Culture 1914-1945 <br /> <br /> <br />While the Bright Young Things of England and the flappers of the America remain fixed in cultural memory, their incarnations elsewhere around the world have all but disappeared from history. Affiliation with a feminized Anglo-European metropole may have contributed to their invisibility in the colonial peripheries, which constructed political identities around paradigms of masculine nationhood or were anxious to distinguish themselves from Anglo-European mass culture. Despite her iconic status in the interwar period, the Modern Girl was a stigmatized female figure in her own time, and that stigma seems to have carried over into the academy, inhibiting serious critical analysis of her role and function as an image for modernity. <br /> <br />In contrast to the earlier figure of the New Woman of the 1890s to the 1910s, the Modern Girl was less concerned about politics and more absorbed by issues of personal agency, pleasure, and desire, often as routed through commodities and popular culture. <br /> <br />In the last decade, scholarship of the Modern Girl has been stimulated by expanded conceptions of modernity and by easier access to digital runs of periodicals. Investigations of the figure in Japan, China, Australia, and Canada have begun to appear alongside renewed interest in her Anglo-American counterpart. For the most part, however, this work has been limited to magazine and commodity culture. Research on the figure of the Modern Girl in literature (even in American and British literature) remains rare, often confined to isolated studies of single authors or well-known narratives. Examining the Modern Girl as a figure for trouble of all kinds has the potential to open up new conversations in relation to cultural studies and market, audiences, readers, brows, genres, popular cultures, intermediality, and historiography. <br /> <br /> As we call for papers for this Special Issue of The Space Between, we are deep in a set of rolling crises triggered by COVID-19. What happens to the Modern Girl around the world when crisis looms? What was the relationship between the earlier New Woman and the Modern Girl of the 1920s to 40s, and how did she fare during the crises of Depression and subsequent World War, and thereafter? Was the Modern Girl a playful figure of frivolity, or a danger hidden in plain sight? How can we understand her historically and historiographically, around the world, in her own time, and thereafter? <br /> <br />Now is the time to reappraise the legacy of the Modern Girl in her various incarnations around the world. While focusing on the Modern Girl from the 1920s and 40s in print, literature, and media this issue encourages scholars to explore such tensions and questions in ways that draw on rich material approaches from a variety of global, transnational, and interdisciplinary perspectives. <br /> <br />Suggested topics include but are no means limited to: <br />• The Modern Girl across media forms in particular milieus around the world that place her in the context of an expanded understanding of colonial modernity <br />• The Modern Girl, mass culture, and empire <br />• Challenges to boundaries between popular and commercial print forms and highbrow literature enabled by the Modern Girl <br />• Attitudes toward Modern Girls in terms of repute or reputation (variously conceived) <br />• The effect of visual and leisure cultures, advertising, illustration, cinema, jazz, fashion, glamour, theatre, entertainment, and photography on the portrayal or reception of the Modern Girl in literature <br />• The Modern Girl in transnational or transmedial entertainment circuits and franchises <br />• Tropes of the Modern Girl: Ingenue, the starlet, the jazz singer, the bad girl, the working girl, the mobile girl (in planes, trains, and automobiles), the girl in trousers, or the party girl <br />• Famous flappers and/or their commentators: Zelda Fitzgerald (and F. Scott), Clara Bow, Coco Chanel, Joan Crawford, Theda Bara, Norma Shearer, Louise Brooks, Anita Loos, Edna Ferber, or Dorothy Parker; Noël Coward <br />• Stigmatizing the Modern Girl <br />• Modern Girls in times of crisis <br /> <br />Please submit inquiries and essays of 6,000-7,500 words in Times New Roman 12 pt. font, with MLA citation style, to the editors, Victoria Kuttainen ( and Jilly Lippmann ( by December 31, 2021 We welcome queries and proposed topics prior to submission and will provide advice and comment. All digital images, film stills, and media files should be sent separately (not embedded in documents or PDFs). For further details and past issues, see the general guidelines for submission. Note: Please include a brief bio, keywords, and abstract with your submission. The journal’s platform supports all types of files and media. <br />

Conference Location: n/a, n/a
Conference Starts: December 31, 2021
Conference Ends: December 31, 2021

CFP Submission Deadline: December 31, 2021

For more information, contact: Victoria Kuttainen

Labor in the Space Between

CALL FOR PAPERS <br /> <br />Labor in the Space Between <br />Case Western Reserve University <br />June 2-4, 2022 <br /> <br />Abstracts Due: December 15, 2021 <br /> <br />Hosted by the Space Between Society and the Medical Humanities Program at Case Western Reserve University, the 2022 Labor in the Space Between meeting will be held at Case Western Reserve University in Cleveland, Ohio. Our conference encourages prospective applicants to critically examine labor practices between 1914 and 1945 and the ways these practices have shaped our constructions of society, the body, and the self. While economics and the social sciences have been the privileged disciplinary frameworks for thinking about labor, this conference invites scholars working in the various humanities to imagine what our diverse disciplines have to contribute to contemporary critical thinking about labor. Some questions we hope to examine include: <br /> <br />-How does cultural production between 1914 and 1945 reflect cultural attitudes toward art and labor? <br />-How were cultural movements like Futurism, Modernism and the new Documentary affected by and engaging with labor movements? <br />-How do race, gender, class, disability, and national, ethnic and religious identities intersect with labor and its representations? <br />-What are the tensions between representations and constructions of labor -and the actual performance of labor? <br />-What can labor activism’s past tell us about casualization and union-busting in our own era? <br />-How can the intersectionality of the various fields of the humanities serve to enhance our understandings of and relationships to work and labor? <br /> <br />Cleveland, a major center of industrialization, has been a city defined by labor, and allows us to think of many of the intersections of labor and culture between 1914 and 1945. It is a city where Russian Jews fled to from the pogroms of the early 20th century and where Black Americans escaping harsh, Southern segregationist laws and racism sought new opportunities during the Great Migration. It is a city whose universities and hospitals were instrumental in medical and nursing advances in both the First and Second World Wars, and whose manufacturing industries profited hugely from WWII. It is a city that has always opened its arms to refugees, including 995 Afghans who have recently arrived to build new lives. Cleveland is but one illustration of how labor markets were disrupted in myriad ways between 1914 and 1945. These shifts and disruptions resulted in social and cultural upheavals that were addressed by writers, artists, journalists, and other individuals in a range of forms of cultural production. <br /> <br />Themes this conference will explore include Labor and <br /> <br />-Medicine: disability, reproductive, war and medicine, war nursing <br />-Migration <br />-War: military production, resistance, collaboration, propaganda, killing, memorialization <br />-Enslavement, indentured servitude, camps, forced, prison, concentration camps, ghettos, and gulags <br />-Communism, and its representation <br />-Postwar planning and rebuilding <br />-Foodways: culinary production, agriculture <br />-Technology: mass production versus individualism <br />-Creativity: literature, cinema, fashion, the arts, academic production <br />-Historicization <br />-Hierarchies: service versus creative/research/generative <br />-Domesticity: household economies, servants, gendered spheres <br />-Working class art and literature <br />-Invisibility: Hidden, silent, undocumented, emotional, and affective <br /> <br />Please note that, as of now, plans are for an in-person meeting. Case Western Reserve University requires meeting attendees to follow university COVID-19 protocols including masking and providing proof of vaccination. <br /> <br />Please submit a 300-word abstract and a 100-word bio to Ravenel Richardson at by December 15, 2021.

Conference Location: Cleveland, OH, USA
Conference Starts: June 02, 2022
Conference Ends: June 04, 2022

CFP Submission Deadline: December 15, 2021

For more information, contact:

Panel Proposal for the Southwest Popular / American Culture Association: Iconography and Iconoclasm in Twentieth Century and Contemporary American Poetry

Iconography and Iconoclasm in Twentieth Century and Contemporary American Poetry <br /> <br />From Langston Hughes’ \"Goodbye, Christ\" to Gertrude Stein’s \"If I Told Him, A Completed Portrait of Picasso,\" Marie Howe’s Magdalene to Sarah Blake’s Mr. West, cultural icons feature prominently across American poetry from the past century to the present. Now that social media affords endless and immediate access to living icons’ homes, bodies, and vulnerabilities (especially during the COVID-19 pandemic), poetic treatments of icons might offer timely and incisive considerations of iconography in popular culture then and now. What makes us identify with, or feel alienated from, an iconic figure? What challenges exist in depicting realistic and relatable icons in a medium necessitating a degree of craft? How do poets navigate the often-permeable borders between the sincere tribute and the iconoclastic takedown? What might poetry reveal about the persistent demand for icons, and the problems that such demand poses in our world today? <br /> <br />Proposals may consider American poetry of any style or period from the 1900s through the 2020s and any aspect of icons or iconography in poetry and poetics. Topics may include (but are not limited to) poetry depicting cultural and / or religious icons, iconoclastic treatments of cultural figures, poetry and / or poetic theory treating iconography as a concept more broadly, or poets themselves reflecting on their own status as cultural icons. <br /> <br />Please email abstracts of about 250-300 words to Annarose Steinke,, no later than 10/22. The Southwest Popular / American Culture Association Conference will take place from 2/23 - 2/26, 2022, in Albuquerque, New Mexico. <br />

Conference Location: Albuquerque, New Mexico
Conference Starts: February 23, 2022
Conference Ends: February 26, 2022

CFP Submission Deadline: October 22, 2021

For more information, contact: Annarose Steinke

Global South Cinephilias - Modernism/Modernity Print Plus Cluster

Modernism/Modernity Print Plus Cluster on Global South Cinephilias <br /> <br />While the term cinephilia simply refers to a love of cinema, conventionally it has been understood as a rarified appreciation of film, rooted in the imperative to legitimate the medium as a quintessentially modern art and reliant on sophisticated knowledge of its history and its unique aesthetic qualities. As such, it has often reinforced cultural hierarchies, but also opened up new possibilities in its foregrounding of the encounter between spectator and screen. Cinephilia is embodied not only by individual viewers’ passionate investment in the moving image, but by a set of social practices: seeking out hard-to-find films at cineclubs, arthouses, archives, and festivals; publicly debating their merits in post-screening discussions; and reading and writing film criticism. Over the past decade and a half, critics like Marijke de Valck and Girish Shambu have reimagined cinephilia’s functioning in a digital age while expanding its geographic horizons beyond Euro-American contexts. Yet historical reflection on non-Western cinephilias has remained limited. <br /> <br />We invite essays of approximately 3,000 words that explore cinephilic practices, institutions, writings, and film texts—that is, works that self-consciously delve into film history and aesthetics in ways that could be considered cinephilic—of the Global South. Contributions should examine how these cultural formations have engaged with local understandings of modernism and/or experiences of modernity. We are primarily seeking studies that deal in some fashion with material from the first half of the twentieth century; however, we recognize that Global South modernisms and modernities have their own temporalities which may not conform to Euro-American timelines, and will also consider studies of later periods. <br /> <br />Print Plus is Modernism/Modernity’s open-access digital platform; clusters are groups of thematically linked essays written in an engaging style. Submissions to Print Plus clusters are peer-reviewed and indexed by the Modern Language Association. Authors are encouraged to submit full-color images and multimedia elements to accompany their essays. <br /> <br />Please submit abstracts of 150-300 words to Rielle Navitski ( by May 1. Completed pieces will be due September 15, with publication of the cluster tentatively slated for Spring 2022.

Conference Location: n/a, n/a
Conference Starts: April 01, 2022
Conference Ends: April 01, 2022

CFP Submission Deadline: May 01, 2021

For more information, contact: Rielle Navitski

Transporting Modernism, Modernist bibliomigrancy

Transporting Modernism, Modernist bibliomigrancy: <br />Modernism’s itinerant qualities have been asserted repeatedly. The “spatial and vertical expansions” of the field (Mao and Walkowitz, 2008) have put into focus its latitudinal qualities. As Emily Ridge has recently argued (2017), portability remains a central feature of modernity, perhaps as a nod towards in Zygmunt Bauman’s phrase, its “liquid” turn. While modernists traveled, sometimes towards literary capitals they also sent, received, distributed textual fragments, excerpts, reviews, corrections, proofs from across the globe. Gertrude Stein collected American press reviews of her work at her residence in Paris, between and during World Wars. Fellow Parisian James Joyce had newspapers, magazines, books and ephemera sent by his patrons, friends and acquaintances in Europe. In parallel, beyond Anglophone contexts, as Isabel Hofmeyer and others have shown (2013), potentially seditious new items bypassed national boundaries and colonial authority as abridged compilations and summaries with “scissors-and-paste” journalism. This despite, as Eric Bulson (2016) has noted, transatlantic communication came under repeated interruptions with “everything from postal import regulations during World War I to the general unreliability of international mail delivery to the carelessness of booksellers slow to pay up […] to the dearth of overseas subscribers” in this era. Thus perhaps, mapping the contours of a global print network, B. Venkat Mani (2018) alerts us to a “diversity of circuits of communication” so that a study of “bibliomigrancy” that is sensitive to cultural, historical, and political aspects in the life cycle of books is in order. <br />This panel invites papers highlighting migrations of textual ephemera that contributed to the production and dissemination of modernism. Papers might address in specific terms how modernism was transported from centers to peripheries and beyond under (but not restricted to) the following heads: <br /> <br />•How did textual fragments travel around the globe bypassing censorship, challenges of transportation? <br />•How do concepts like “bibliomigrancy” and “communications circuit” help us track the trajectories of textual ephemera in the modernist era? <br />•How do the modalities of transportation help understand the transnational nature of modernism? <br />•How did summaries, excerpts, digests of news, fictional narratives help transport modernist texts? <br />•Archival studies of modernist textual ephemera <br />•Modernist correspondence <br /> <br />Please submit a 250-word abstract and a bio-note (not more than 150 words) to Dipanjan Maitra (PhD Candidate, SUNY at Buffalo), at by April 5, 2021. Accepted abstracts will be sent for evaluation by the MSA program committee. <br />

Conference Location: Chicago, United States
Conference Starts: November 04, 2021
Conference Ends: November 07, 2021

CFP Submission Deadline: April 05, 2021

For more information, contact: Dipanjan Maitra

New Ways of Thinking About Modernism and the Left

New Ways of Thinking About Modernism and the Left <br /> <br /> <br /> <br />Scholars have explored Modernism’s relationship both with the political Right, broadly construed (fascism, nationalism, etc.) and the political Left (feminism, pacifism, and Marxism in its time, how it anticipates disability studies in our time, etc.). This panel explores new paths for scholarship on Modernism and the Left. <br /> <br /> <br /> <br />In support of new conceptual models, I leave open the meaning of “the Left.” Papers on the following subtopics are especially welcome, as I am working toward proposing linked panels. But please submit anything concerning my umbrella topic of Modernism and the Left. <br /> <br /> <br /> <br />1) Rifts in the Left, e.g., between elites and masses. Perhaps concerning literary forms and platforms for mass communication. <br /> <br />2) Modernism and the Environment. Perhaps concerning literary styles as epistemologies for thinking about the environment. <br /> <br />3) Bringing invisible things into view. “Invisible” things could include environmental concerns, marginalized populations, emerging social movements, metaphysical forces, etc. <br /> <br /> <br /> <br />Submit 150-word abstracts and 50-word scholarly biographies to Jesse Wolfe at by April 5, 2021.

Conference Location: Chicago, USA
Conference Starts: November 04, 2021
Conference Ends: November 07, 2021

CFP Submission Deadline: April 05, 2021

For more information, contact: Jesse Wolfe

Modernist Studies in the Age of Black Lives Matter

Call for Papers (MSA 2021 Chicago): Modernist Studies in the Age of Black Lives Matter <br /> <br />Call for papers for a proposed session for the Modernist Studies Association Conference to be held in Chicago, November 4-7, 2021. <br /> <br />This proposed session considers how modernists are responding to Black Lives Matter in their scholarship. It asks, how has the field changed (or not) and how could, or should, it change? <br /> <br />The killing of George Floyd ignited a massive, popular protest against police brutality and systemic racism. While Black Lives Matter began in the US as a response to the particular configurations of American racism, it quickly became a global movement as activists in other nations adopted some of its strategies to confront their own histories of racism. While the movement and its influence extend beyond the US, its concerns also exceed the actions of police. BLM, like the systemic racism to which it responds, encompasses institutions of every sort, including the university and organizations like MSA itself. Other than heeding to calls to “decolonize” syllabi, how have modernist scholars responded to BLM? <br /> <br />Papers may, among other things: <br />-summarize the kinds of responses to BLM apparent in modernist studies. <br />-provide an example of modernist studies scholarship that engages with BLM. <br />-ask what our methodologies prohibit and what they allow. <br />-call for specific changes in modernist studies and/or in MSA to incorporate the lessons of BLM. <br /> <br />Please submit a 250-word abstract and a brief biographical statement to by March 31, 2021. <br /> <br />Please note that this is a proposed, not a guaranteed, session; it will be evaluated by the MSA Program Committee (myself recused). <br /> <br /> <br /> <br />Elizabeth F. Evans (she/her) <br />Department of Literatures in English <br />Cornell University <br />250 Goldwin Smith Hall <br />Ithaca, NY 14853 <br /> <br />Author, Threshold Modernism: New Public Women and the Literary Spaces of Imperial London (Cambridge University Press, 2019) ( <br />Book Reviews Editor, The Space Between: Literature and Culture, 1914-1945 ( <br />Program Chair, Modernist Studies Association ( <br /> <br /> <br />

Conference Location: Chicago, USA
Conference Starts: November 04, 2021
Conference Ends: November 07, 2021

CFP Submission Deadline: March 31, 2021

For more information, contact: Elizabeth Evans

&quot;Another Revolution: Building Modern Worlds&quot; -- A Modernism/modernity Print Plus Cluster

For a prospective peer-reviewed cluster on Modernism/modernity’s Print Plus platform, we seek proposals for original essays that analyze the role of art and culture in building modern worlds in the aftermath of revolutions. Situated within the discourse of global modernisms, the transdisciplinary cluster probes whether there is something intrinsic to the post-revolutionary reconstructive moment that can be teased out through focused studies on contemporaneous constellations between the aesthetic and the political around the globe during the twentieth century. <br /> <br />Demands for revolution emerge whenever the status quo makes an existing social order no longer tenable for a significant portion of the population. Revolution is often understood as a force from below, one in which a group exerts its will against an established governmental or political order. But revolutionaries usually have as their ultimate goal the establishment of a new social or political system—a new normal—rather than a perpetual state of upheaval. They envision new possibilities, and different worlds. The production of culture in various forms—fine art, literature, music, performing arts, visual culture, philosophy, and so on—are essential to their success, both in consolidating the revolution’s narrative, and in producing as well as sustaining the resultant new realities. Indeed, the expectation of their role as spearheads in revolution is embedded in the very phrase “avant-garde.” <br /> <br />If not an exclusively modernist phenomenon, localized revolutions in the modern era have been characterized as affirmative responses to Enlightenment values such as liberty and equality, and have frequently sought to overthrow absolutist, autocratic, and colonial rule. The establishment of new forms of government are often the result. But radical change is by no means guaranteed to be emancipatory, liberal, and egalitarian in character, nor is it always successful. As evidenced by Italian fascism, the so-called “conservative revolution” in Germany during the interwar-period, or the Chinese “Cultural Revolution,” a revolution might well slide into dictatorship, create a power vacuum in which multiple agents claim control, or engender oppressive political systems. Similarly, avant-garde art and culture are not immune from stifling and perverting critical, transgressive impulses. Indeed, their post-revolutionary impact has sometimes been framed as “propaganda,” or as “selling out” to become palatable to “the masses.” <br /> <br />Taken together, the articles chosen for this cluster will map out parallels as well as divergences in “avant-garde” or otherwise transformative cultural attempts to displace “old” worldviews, institutions, and forms of coexistence by asking questions such as “What political developments affected cultural production and vice versa, particularly in their contact with ideological shifts and technological innovations?”, “What factors and conditions enabled new cultural practices and perceptions to take root?”, or “What transnational mechanisms were at work in cultural attempts at building modern worlds?”. <br /> <br />Offering an alternative understanding of revolutionary worldbuilding through culture from the vantage point of an era that is itself characterized by a multiplicity of crises and by profound, though not always progressive transformations, this cluster aims at challenging the once widespread perception of the “failure” of twentieth century revolutions and, with that, of the “death” of the avant-garde. <br /> <br />Topics of particular interest include but are not limited to theoretically-driven case studies from: <br /> <br />- The Bolshevik Revolution and the Russian avant-garde <br /> <br />- The 1911/Chinese Revolution and end of the Qing Dynasty <br /> <br />- The German or November Revolution and the Weimar Republic <br /> <br />- The Mexican Revolution and cultural renaissance <br /> <br />- Societal transformation in Japan during the late Taish? period and the Mavo art movement <br /> <br />- Postcolonial/independence movements in the second half of the twentieth century from Cuba to Iran <br /> <br />The cluster seeks to bring into dialogue regionally-specific scholarship in the humanities, especially in the arts and design, in literary and film studies, and in aesthetic and political theory, to foster a global perspective. We particularly welcome submissions that draw on the unique possibilities afforded by Modernism/modernity’s Print Plus platform. For recent examples of essay clusters, see <br /> <br />Abstracts of 250 words accompanied by short biographies are due February 28, 2021. A total of five to seven proposals will be accepted; completed essays of approximately 3,000 words will be due June 30, 2021. Once essays are submitted, the entire cluster will undergo peer review. Please submit abstracts and inquiries to Monica Bravo ( and Florian Grosser (

Conference Location: N/A, N/A
Conference Starts: January 15, 2021
Conference Ends: February 28, 2021

CFP Submission Deadline: February 28, 2021

For more information, contact: Monica Bravo