Film adaptations of Victorian and Edwardian Novels and Short Stories Cahiers victoriens et douardiens 82 Deadline for proposals: 31 December 2015 <\/p>\n
Chief editor: Luc Bouvard The reasons for the great success of Victorian and Edwardian novels for producers, screenwriters, film directors, actors and spectators are many. The first that comes to mind is the international popularity of the source materials from Wuthering Heights to Dr Jekyll and Mr Hyde through Tess or Howards End. The other reasons for this predestination of Victorian and Edwardian texts to be adapted to the big or small screen are now well known: theatrical adaptations previous to film; Eisensteins theory according to which such a novelist as Dickens could have invented the fundamentals of cinema; the novelists (such as Conrad) and directors (such as Griffith) common wish to make the reader and spectator see what they have imagined; the importance of illustrations accompanying those texts. Adapters have a vast range of possibilities from the most faithful transpositions in mini-series, which the BBC still deems a viable and advisable model, to the substantial changes in space-time contextualisations (21st-century South Africa or Toronto for new versions of Oliver Twist for instance), through to stunning modifications concerning the ending or the moral of the story. These alterations are to be considered as the visible tip of the adaptive iceberg. There are in fact many different ways of revisiting the source texts and it is the aim of this new volume to allow new analyses to emerge. Contributions could focus on the newly acquired type of gender relationships (feminist and neo-feminist approaches), on the space-or time-shifts from hypo- to hyper-texts (cultural studies) or on a new narratological point of view in the transposition process (narratological and intermedial studies). Comparing and ranking adaptations according to their fidelity to the source text is really not on the agenda and simply accounting for what has been lost or gained in the adaptation process is not enough, but rather a close analysis of what the interpreting third party has wished to throw into relief will be necessary. Thanks to the processes of renewal, critique, extrapolation, popularization, transculturalization (Robert Stam), this appropriation will be seen from the more positive angle of the inflections brought to the initial text and of the renewed relevance of the work and its authors ideas and preoccupations, thus avoiding fixation and museification. In the introduction to her book Adaptation Revisited (2002), Sarah Cardwell drew a parallel between the Darwinian definition of the term adaptation and the film and television adaptive practices, thus suggesting that one had to adapt or perish. If the well-known reception theory may also be used, we shall most particularly encourage more recent intermedial types of analysis. The studies may be grounded in McFarlanes 1995 neo-structuralist comparative methodology, in Sarah Cardwells 2002 pluralist approach as well as in Linda Hutcheons fundamental 2006 A Theory of Adaptation. Finally, the cross-fertilization between cinema and the other arts (intericonicity) and interfilmicity itself may also be useful to sustain these analyses. Suggested bibliography : CARDWELL, Sarah. Adaptation Revisited: Television and the Classic Novel. Manchester: Manchester UP, 2002. ELSAESSER, Thomas & Malte HAGENER. Film Theory. An Introduction Through the Senses. Routledge, 2009. HUTCHEON, Linda. A Theory of Adaptation. 2nd revised edition. London: Routledge, 2012. MCFARLANE, Brian. Novel to Film: An Introduction to the Theory of Adaptation. Oxford: OUP, 1996. NAREMORE, James (ed.). Film Adaptation. London: The Athlone Press, 2000. STAM, Robert and Allesandra RAENGO. Literature and Film; A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005. Please send your submissions to luc.bouvard@univ-montp3.fr<\/a> Deadline for submissions : December 31st 2015. <\/p>\n (posted 4 September 2015) <\/p>\n This issue of Imaginaires will be dedicated to the study of British women travellers in the East, their accounts, their stories and their lives. The approach will be transversal (historical, sociological, literary). The orientalists, who were translators, adventurers, archaeologists, artists or writers embarked on the Oriental adventure, broke off their ties with their native country; some joined the secrets services and others decided to remain in the East. A few women took part in this mainly masculine circle, some were wives or sisters, and others only in search of adventure as artists or travellers. <\/p>\n To what extent were these women seeking independence, leaving and sometimes renouncing the West? What kind of discourse did these Westerners adopt facing the Orient? Did the orientalist vision reflect incomprehension, blindness, or envy and curiosity? This issue of Imaginaires seeks to reflect on these British women, from the XVIIIth to the XXth century, who experienced an Oriental adventure and were transformed by this elsewhere. What kind of voice did they choose? How did they look at this Other? And what description did they give of Oriental women? What did they see in the mirror of the Orient? What kind of Oriental experience did they have? What were their travelling conditions? In this issue, we exclude the Far East. We propose to explore the lives of these women, cut off from the Western society, who fled the British institutions, the class system and the strictness of English morals, in order to free themselves from a straightjacket. The word feminism, used at the end of the XIXth century, was associated with the protest movement of women and was often rejected by these travellers. However, these eccentric and free-minded women set themselves free thanks to their travels. Some lines are suggested in this study: Literature and exile. The Foucaldian dialectics of Knowledge and Power. The in-between state. The concept of nomadism introduced by Gilles Deleuze. Orientalism and imperialism in Edward Saids founding works. Feminism. The studies will go from travel stories and letters to biographies. They will also include the works of these women (translations, studies, archaeological discoveries, paintings, photographs). Various aspects of the Orient sometimes a reason for escape, sometimes an attraction toward the Other will be questioned. These orientalist visions could give rise to various micro-analyses. What is, in the end, these womens point of view? <\/p>\n Imaginaires is the review of the CIRLEP (Centre Interdisciplinaire de Recherches sur les Langues et la Pense), at the university of Reims. Please send your abstracts, in English or French, accompanied by a short biographical note by January 15th 2016 to: Laurence Chamlou laurence.chamlou@gmail.com<\/a> <\/p>\n (posted 7 October 2015) <\/p>\n Editors: David Banks (Universit de Bretagne Occidentale), Emilia Di Martino (Universit di Napoli Suor Orsola Benincasa) <\/p>\n Communication of science to the general public is progressively more often recognized as an equally crucial responsibility of scientists to research, and scientific writing is being looked upon as public discourse to an increasing extent. However, while scientists are explicitly taught research methodologies, they mostly seem to be expected to naturally acquire the ability to communicate with other scientists, and they usually receive inadequate explicit training and do not seem to easily develop the skills needed to communicate scientific concepts to lay audiences. The present collection of papers, which will be submitted to a journal in linguistics once a suitable number of high quality submissions has been reached, aims to discuss the linguistic and discourse issues of contemporary scientific communication in light of recent views on the role and functions of science and scientists in society with the aim of practically contributing both to its advancement and to broad dissemination. Contributions are solicited that address the interface between language and science or amongst language, science and education, particularly approaching it via such methodologies as genre analysis, discourse analysis, rhetorical analysis and multimodal analysis. <\/p>\n Topics of interest may include (but are not limited to) the following: The historical development of scientific discourse; Scientific discourse and its context; Aspects of contemporary scientific discourse; Scientific writing as public discourse; Strategies for the communication of uncertainty; English in scientific knowledge construction and local hybridizing practices; The place of translating in science communication; Authorship, identity and genre; Language and peer review; Content and Language Integrated Learning: linguistic implications. <\/p>\n Select Bibliography Alastru Ramn Plo, Prez-Llantada Carmen (eds.), English as a Scientific and Research Language. Debates and Discourses English in Europe, Vol. 2, De Gruyter Mouton, 2015 Banks David, The Development of Scientific Writing. Linguistic Features and Historical Context, Equinox, 2008 Bauer, Martin W., The Evolution of Public Understanding of Science. Discourse and Comparative Evidence, Science, Technology and Society, Vol. 14, No 2, 2009, pp. 221-240 Curry Mary Jane, Hanauer David I. (eds.), Language, Literacy, and Learning in STEM Education: Research Methods and Perspectives from Applied Linguistics, John Benjamins 2014 Halliday, M.A.K. (ed. Jonathan J; Webster), The Language of Science, Continuum, 2004. Kueffer Christoph, Larson Brendon M.H., Responsible Use of Language in Scientific Writing and Science Communication, BioScience, Vol. 64, No 8, 2014, pp.719-724 Prez-Llantada Carmen, Scientific Discourse and the Rhetoric of Globalization: The Impact of Culture and Language, Continuum, 2012 Wallace, Carolyn S., Framing New Research in Science Literacy and Language Use: Authenticity, Multiple Discourses, and the Third Space', Science Education, Vol. 88, No 6, November 2004, pp. 901914 Winter Stephan, Krmer Nicole C., Rsner Leonie, Neubaum German, Dont Keep It (Too) Simple. How Textual Representations of Scientific Uncertainty Affect Laypersons Attitudes, Journal of Language and Social Psychology, Vol. 34, No 3, June 2015, pp. 251-272 Yore Larry D., Marilyn K. Florence, Terry W. Pearson, Andrew J. Weaver, Written Discourse in Scientific Communities: A conversation with two scientists about their views of science, use of language, role of writing in doing science, and compatibility between their epistemic views and language, International Journal of Science Education, Vol. 28, Nos 23, 15 February 2006, pp. 109141 <\/p>\n Please send a 300-word abstract by 15 January 2016 (new extended deadline) to: david.banks@univ-brest.fr<\/a> emiliadimartino@gmail.com<\/a> <\/p>\n (posted 3 January 2016) <\/p>\n A collection of essays. Editors: Merritt Moseley (University of North Carolina, Asheville), Dieter Fuchs (Vienna University), Wojciech Klepuszewski (Koszalin University of Technology) <\/p>\n Kingsley Amis is predominantly famous for Lucky Jim, published in 1954, which remains a much-cherished classic, reprinted regularly and translated into many languages. This was, in fact, Amiss first published novel, as prior to writing Lucky Jim, he had written The Legacy, which remained unpublished. It seems that the title of his first, and failed, literary attempt, paradoxically heralded a long literary career, with a whole range of novels, poems, short stories, non-fiction, and other works. As a result, two decades after Kingsley Amiss death, we can reflect upon the legacy of one of the most distinguished English writers of the 20th century. Much has been written about Kingsley Amis and his oeuvre, be it in the form of numerous reviews, critical articles, and, most importantly, monographic volumes written by eminent scholars. What should also be mentioned are works of a biographical nature, the monumental biography and the edition of Amiss letters, both by Zachary Leader, being the case in point. However, Kingsley Amiss heritage is so rich and inspiring that there is still room for scholarly and critical analysis, room to discuss perspectives and voices. The aim of the volume is manifold and comprises predominantly Amiss literary works, all genres included, but also Amiss non-fiction, letters, and memoirs. A full picture of Amis and his achievement would not be comprehensive without including the people who influenced his life and works, such as his friend, Philip Larkin; his second wife, Jane Howard, also a writer; and his son, Martin Amis, who became an acclaimed writer himself. Possible areas comprise the following: -Amis as a poet -Amis and academic fiction -Amis in non-fiction -Amis and The Angry Young Men -Amis and women -Amis the critic -Amis in letters -The Bond Amis -Amis in film -Amis and friends -Amis and America -Amis and son -Amis on Amis -Amis in translation -Amis and SF -Amis and crime fiction -Amis on ageing -Amis on drink -Amis and politics -Amis in biographies -Amis and the English language However, any relevant contribution in the context of Kingsley Amis, his life and his works, is most welcome. <\/p>\n Please send a short proposal by 30 January 2016dieter.fuchs@univie.ac.at<\/a> and klepuszewski@poczta.pl<\/a> <\/p>\n (posted 12 November 2015) <\/p>\n An edited volume. Editors: gnes Gyrke, Senior Lecturer, University of Debrecen, Department of British Studies Imola Blgzdi, Senior Lecturer, University of Debrecen, North American Department <\/p>\n Affect studies has emerged as one of the most productive fields of analysis since the turn of the 21st century. Following in the footsteps of Teresa Brennan and Eve Kosofky Sedgwick, for instance, a number of scholars have explored the function of affect and emotion in literature, culture and social life. Relying on psychoanalytical as well as social theories, the affective turn has contributed to cultural studies in many ways: books focusing on gender, emotional politics, transnationalism, the moving image, political engagement and leadership theories from the perspective of emotion, empathy and affect were published, among many other studies that investigate the role of emotion in social life. Few critics, however, have investigated the intersections of emotion and location, particularly, urban space, in literary and visual texts. Henri Lefebvre has famously claimed that space expresses social relations, but does it also express emotional geographies? Can we talk about an urban sensitivity, as Heiko Schmid assumes, which provides a more sophisticated framework for city studies than Georg Simmels famous notion of the blas attitude, for instance? Can we read the moving image as a map that connects affects and space? <\/p>\n Our volume aims to explore these issues: we invite papers that investigate the affective dimensions of space in various post-1945 cultural contexts. We are particularly interested in comparative and cross-geographical analyses and encourage contributors to focus on the emotional geographies of iconic cities. Contributors are invited to explore one of the following themes: East-Central Europe as textual and spatial boundary Translocal empathy The place of trauma and aggression Urban geographies of sexuality Desire, utopia and the city Emotional border crossings Crime, guilt and the city Emotional geography of eating practices Obsession, addiction and city life Nostalgia and urban memory Marginalisation, exclusion and the city <\/p>\n Proposals are welcomed for papers within the field of literature, film, music, and the visual arts. Abstracts of no more than 500 words are due by January 30, 2016 and notification of selection will be made by February 15, 2016. Final papers of 7000-8000 words are due by May 30, 2016. Please send the abstract and your CV of no more than 3 pages to gyorke.agnes@arts.unideb.hu<\/a> and bulgozdi.imola@arts.unideb.hu<\/a> <\/p>\n For more information on the Gender, Translocality and the City Research Group follow the link: http:\/\/ieas.unideb.hu\/index.php?p=1519&l=en<\/a> <\/p>\n (posted 27 November 2015) <\/p>\n Western thinkers have long been fascinated by the possibility of creating new forms of organic and inorganic life. In Plato, Homer and Aristotle we read of the living bronze and gold statues modelled by the master craftsman Daedalus and the divine blacksmith Hephaestus, while in Ovids tales it is Pygmalion that fashions himself an ivory girl to love. Marking the beginnings of science fiction, Mary Shelleys Frankenstein imbues a patchwork monster with the breath of life, a fictional Thomas Edison creates what he believes to be the perfect female android in Tomorrows Eve, and in Karel apeks play from 1920, the Rossum factory churns out hundreds of thousands of robots that are indistinguishable from human beings. Influenced by Darwins revolutionary understanding of the notion of species and evolutionary change, other writers chose to turn their attention towards the human species itself and began to reflect on the possible evolution of the human into new forms of being. H.G. Wells contemplated the possible degeneration of man into creatures that descended from, but could no longer be recognised as, human, while in The Coming Race Edward Bulwer-Lytton created an elaborate fictional world in which mankind is succeeded by highly-technologised creatures whose capabilities far exceed those of Homo sapiens. In their dreams of extending the experience of human life to objects that were previously inanimate and in their portrayal of mankind as containing the germs of its own otherness, these texts disturb essentialist conceptions of the human and pre-empt our contemporary fascination with the figure of the posthuman. <\/p>\n Over recent decades several theorists have utilised the notion of the posthuman to describe a new phase in the history of humanity one that has evolved out of mans extended relationship with technology. In her now famous Cyborg Manifesto, Donna Haraway describes a new form of life emerging out of the congress of man and machine; a joint kinship that defies the perceived boundaries between the organic and the inorganic, the human and the non-human. N. Katherine Hayles, meanwhile, argues that the human is being transformed into an amalgam, a collection of heterogeneous components, a material-informational entity whose boundaries undergo continuous construction and reconstruction (How we Became Posthuman). Under the banner of transhumanism, other thinkers have foretold of the coming of a technological singularity that will utterly transform the nature of the human species. <\/p>\n In distinction to these visions of the post or after of the human, a number of other theorists have chosen to use posthumanism to investigate more specifically how our perception of the human has been transformed and to recognise that what we have defined as human has always been inherently other. Whereas some theorists have chosen to write about a post- to the human, others have sought to articulate what they conceive of as the post- of humanism. Bringing these two positions together, the notion of the posthuman prompts us to think of that which comes after the human or humanism, while also inviting us to look back upon the evolution of the human, of language and of technology, or, as Cary Wolfe describes it, the prosthetic coevolution of the human animal with the technicity of tools and external archival mechanism [] all of which comes before that historically specific thing called the human (What Is Posthumanism?). <\/p>\n Marked by a curious temporality, the posthuman comes both before and after (What Is Posthumanism?; my italics) the human and humanism and prompts us to look backwards and forwards to our past and our possible futures. The title of this journal issue adds one more layer to this temporal deferral, inviting contributors to think about how contemporary theories of the posthuman are pre-empted by philosophical, literary and scientific works from earlier periods. Contributors are invited to look back upon works from the past that project themselves into imagined futures, other past texts that in their old age reveal the germinal roots of a more contemporary understanding of the human, or perhaps contemporary texts that seek to inscribe the posthuman into our human past. <\/p>\n In one sense, then, this issue seeks to explore a genealogy of posthumanism, tracing its roots and origins into the past. In addition, however, it invites us to question the very notion of genealogy itself. The conflation of the two prefixes proto and post may be understood as an invitation to reflect more closely on how the temporal ambiguity opened up by our use of the term posthumanism is inherent to any possible thinking of it. According to R. L. Rutsky, the posthuman cannot simply be identified as a culture or age that comes after the human, for the very idea of such a passage, however measured or qualified it may be, continues to rely upon a humanist narrative of historical change (Mutation, History and Fantasy in the Posthuman). If one is to truly speak of or speak as the posthuman, then this must necessarily entail a new understanding of time and history. By drawing attention to the strange temporality of a post that is always already a proto and a proto that is always already a post the title to this issue urges us to rethink the very notions of human temporality, evolution, history and genealogy. <\/p>\n We invite contributions related, but not limited to, the following: Past literary, philosophical, religious and scientific texts that speak of the future of the human, the possibility of human obsolescence, or, indeed, the promise of a higher order of human being; Philosophical, literary and scientific works whose representation of the human pre-empts that of current posthumanist thought; Contemporary texts that seek to rewrite or reinterpret the past through the lens of posthumanism; Explorations of how the origins of the human species, of technology, and of language may be rethought through understandings of posthumanism; A rethinking of the notions of temporality, evolution, genealogy and history from the perspective of posthumanism. We welcome interdisciplinary approaches, ranging across critical theory, literary and cultural studies, linguistics, as well as other disciplines in the humanities and the sciences. Contributors are advised to follow the journals submission guidelines and stylesheet. The deadline for abstract submission is January 31, 2016. Please send 1,000 word proposals to the editor of the volume who will answer any queries you may have. Articles selected for publication must be submitted by April 30, 2016. All submitted articles will be blind-refereed except when invited. Accepted articles will be returned for post-review revisions by June 30, 2016, and will be expected back in their final version by September 30, 2016 at the latest. Proposals and articles should be sent as attachments to wordandtext2011@gmail.com<\/a>. <\/p>\n (posted 25 March 2015) <\/p>\n It has been sixty years since Lolita first appeared in its green-clad double volume in 1955 in Paris, published by Maurice Girodias (Olympia Press). During those six decades, the nymphet that Nabokov carved out of American poshlust made her way through all the clichs of magazines and tabloids, but also through the history of literature and the history of language (one can now look up the noun Lolita in dictionaries). Lolita also shaped a very specific way of being a reader, mainly because of its intertextual layering which plays with the stereotypes of Romantic poetry and detective novels, and because of its very unique narrative stance and traps. This way of being a reader has in its turn influenced writers, as can be traced in the novels numerous ripples in contemporary literature. <\/p>\n Yet, what could one hope to say about Lolita that has not been said in six decades of criticism, annotations and commentaries? As Brian Boyd states in his 2008 essay Lolita: What We Know and What We Dont (Cycnos, Volume 24 n1), critics have probably not yet unraveled all the threads of the delicate and intricate weave of the text: There is much, much more we need to learn about Lolita, Boyd claims. <\/p>\n This publication in Miranda (a peer-reviewed e-journal, following the double blind review standard) edited by the French Vladimir Nabokov Society thus offers to commemorate the sixtieth anniversary of Lolita with papers focusing on new readings or elements of research so far unknown or not yet exploited by critics. Contributors are invited to explore the following aspects, provided they deliver fresh elements and\/or analyses: the context and history of the composition, publication and translation(s) of the book throughout the world; the reception of the novel throughout the years: censorship, misreadings, and (mis)appropriations of the nymphet figure in popular culture; resurgences and re-uses of the novels plot, characterization, or narrative stance in contemporary literature; any other unstudied or under-analyzed aspect of the text (annotation and interpretation of a specific motif, or of a large-scale feature). <\/p>\n Paper proposals must be submitted by January 31, 2016 at the latest. Participants will be notified by February 15, 2016 whether their proposal was accepted. Completed papers will be due at the latest on May 31, 2016, so that the double-blind peer-reviewing process can begin. Important: please note that acceptance of a proposal does not necessarily entail its publication, since the final publication in Miranda will depend upon the peer-reviewing procedure. 500-word proposals accompanied by a short bio should be sent to agnes.edelroy@vladimir-nabokov.org<\/a> by January 31, 2016. http:\/\/www.vladimir-nabokov.org<\/a> <\/p>\n (posted 30 November 2015) <\/p>\n We welcome articles that focus on, but are not limited to, the following topics: Topics and areas for research that may be covered will therefore take into consideration: Theoretical and methodological openings and perspectives Convergences between literary texts and artistic media: hybridization and duality Literary creation arising from an extraliterary artistic element Works of art as mediators for writers The signifiers of artistic media within a literary text Other related topics proposed by those who wish to collaborate in the volume will be seriously evaluated by the Scientific Committee, in order to expand the exploration undertaken in the current issue of the Journal. <\/p>\n Submission Guidelines. If you are interested in contributing please submit an abstract (min. 10\/max. 20 lines) and a short Curriculum Vitae by February 1st, 2016 to redazione.polifemo@iulm.it<\/a> Authors will be notified by February 19th, 2016 and each accepted paper will have to be submitted (in either Italian, English or French) by June 1st, 2016. All contributions will be subject to a double blind peer review. <\/p>\n The issue, edited by Prof. Lorenzo Finocchi Ghersi and Dr. Laura Gilli, will be published in December 2016. Read the full call for papers. <\/p>\n (posted 30 September 2015) <\/p>\n The Journal of Teaching English for Specific and Academic Purposes announces the call for papers for the first 2016 special issue: ESP in Iran. The focus is on representing rich and diverse practice and research of English for Specific and Academic Purposes and the related fields. We hope to present the exquisite, scholarly work conducted in this country, which at the same time encompasses the specifics of the given environment, yet transcends it to universally applicable teaching and learning skills in this particularly demanding field of ELT. We invite scholars affiliated with institutions in Iran and elsewhere with the hands-on experience or research related to Iran, to contribute to this issue. The guidelines for contributions are available on the Journal website. The call for papers will be open until February 1st, 2016. It is our intention and hope that issues like this one will become our regular practice in our attempt to thoroughly represent this ever growing, ever more relevant, and already enormously rich area of language study. <\/p>\n Special issue editors: Reza Dashtestani (University of Tehran, Iran) Seyed Mohammad Alavi (University of Tehran, Iran) Majid Nemati (University of Tehran, Iran) Nadeda Stojkovi, Editor-in-Chief <\/p>\n (posted 30 November 2015) <\/p>\n The wonder opened up elsewhere. The things we dont do. Andres Neuman, The Things We Dont Do, The Paris Review (Summer 2015), 207-208 (p.208). <\/p>\n Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth See The Road Not Taken, in Robert Frost, The Road Not Taken and Other Poems (New York, NY: Dover Publications, Inc., 1993), p. 1 <\/p>\n Thanks to consciousness, am I not at all times elsewhere from where I am, always master of the other and capable of something else? Yes, this is true, but this is also our sorrow. Maurice Blanchot, The Space of Literature, trans. by Ann Smock (Lincoln, NE, and London: University of Nebraska Press, 1989), p. 134 <\/p>\n Find a map and spread it out on your desk. Close your eyes and pick a random spot. Open your eyes and find out whether the place you picked is any better than where you are now. The chances are it isnt, and yet, to think of elsewhere often comes with the unspoken addendum, anywhere but here. And of course, elsewhere is so appealing because of the implicit promise that, elsewhere, there must be something else. To want to leave here is to ask: Is this all there is? Is there nothing else? But this desire or demand can be easily disappointed, either because elsewhere is always inaccessible, or because (and this is not necessarily different), once we are elsewhere, it becomes here. <\/p>\n Though often associated with suspended desire, elsewhere can also, contrarily, be an undesirable possibility kept at bay on purpose, if not an impending peril threatening to defamiliarise the here and now. Our fears and anxieties of what is not (yet) here, however, can become familiar to the extent that they are no less real than what is here already. This is not always a thing of terror. If elsewhere can be the unmappable dreamscape for fantasy and whimsy, the forever-delayed escape, elsewhere can also be a very real and habitable place. If we combine temporal and spatial coordinates, we might find ourselves thinking of someone, somewherehow can the world contain so many lives? Jeffrey Eugenides asks. It is rather extraordinary to consider, for a minute, how life necessarily entails simultaneous, parallel, but entirely separate existences, to the point of mutual affirmation. And for each here, there is at least one elsewhere-and all this in one single world. Elsewhere can be both a testimony to potential and possibility, as well as to the disappointment that there is nothing else. Because elsewhere should, by definition, be other than what is there, its already precarious existence depends entirely on the binary formula of which it is part. The term elsewhere must, a priori, be evasive. Otherwise, why would we be interested in it in the first place? And what can be more appealing than elsewhere and otherwise? Conversely, here is definite and definitive. Where else can we be but here? If we were to follow the vague direction of elsewhere, we would never be able to get there. Where is elsewhere? Nowhere, or at least, nowhere in particular. And so elsewhere opens up the possibility of possibilities, while itself being impossible. What is this impossible heterotopia, and what are its possibilities? It can be Thomas Mores Utopia, or it could be George Orwells or Margaret Atwoods dystopias. But must one only imagine elsewhere? To return to maps, elsewhere is Africa, what was to Marlows imagination the biggest, the most blank of blank spaces, ready to be made here. Or perhaps elsewhere is the orient as presented in Forster, where Indias a muddle. Novels like Things Fall Apart may evidence the violence of transposing elsewhere. The reality of elsewhere, then, seems also to place an ethical onus on both the notion of elsewhere. And what happens when people from elsewhere come here, as with immigration? Is not their anxiety of displacement simultaneously ours as well? Can elsewhere be demarcated by political borders? If not, is travel and travel-writing even possible, in going from here to here? Elsewhere is another culture. The vagabond, the wanderer, the peripatetic, itinerant, nomadichow do these figures problematise ideals of settling down into a here and now? Elsewhere is another now in another time. Can biography, history, or archaeology grasp the elsewhere, and how do they do it? It is the future, too, one we so often meet in fiction, what we realise is not yet present. But is fiction the elsewhere of what is real, or is it its essence? Where exactly are the other worlds presented in science fiction and fantasy, and are they further from the other worlds of Jane Austen or Franz Kafka? What is a parallel universe, and is fiction here, between the covers of this book? Where else? How far can we stretch the notion of elsewhere? How far does elsewhere extend? And conversely, how local, inward and internalised can elsewhere be? Elsewhere is another feeling. Perhaps all one needs to do is to think otherwise than being. Who is elsewise? Is it the other gender, the other race, the other religion, the other demographic? Elsewhere sometimes speaks back, its discourse being reverse. Is elsewhere only what is different to the same, or am I also, biologically, psychologically, temporally, philosophically, other to myself? Arguably, you can be elsewhere right here, just a pill away, from the elsewhere of illness to the here of well-being, or from boredom to ecstasy and back. So how close is elsewhere, really? In todays world, elsewhere can be very close indeed, as far as the closest cinema. How does film, in all its manifestations from documentary to detective drama, represent other places, other scenarios? Elsewhere can be even closer, as the clicking shutter of a camera. Is photography a representation of elsewhere, or itself? Elsewhere can be at your hands right now: is going to a different website going elsewhere? What about video games? Is the person you are chatting with online elsewhere, just as you are? With GoogleMapsTM perhaps just one click away, what stops us from going to Brazil or Australia? And so, having come back to maps, we realise how elsewhere can sometimes encourage paralysis, simulate and situate inertia, so that, having gone everywhere, one has gone nowhere. <\/p>\n In light of the above, the editors of antae welcome submissions on or around the topic of elsewhere. The authorial guidelines are available on http:\/\/www.antaejournal.com<\/a>, and the deadline for submissions to antaejournal@gmail.com<\/a> is the 29th of February, 2016. Issues and topics relevant to this publication include, but are not limited to: Thinking Elsewhere: Alterity, Ethics, Existentialism, Phenomenology, Ontology and Ontologies Elsewhere on drugs Elsewhere in Postcolonial Studies Writing Time Elsewhere: Biography, History, Archaeology, determinism and fatalism, death Elsewhere and International Politics, migration, borders and displacement Writing Space Elsewhere: Travel Writing, Science Fiction, Fantasy, heterotopias, the exotic Digital Elsewhere: the other spaces of photography, the internet, gaming, technology Identities elsewhere: minorities, marginalisation, cultures, myself, friendship Elsewhere in Film Studies Elsewhere and love, among other feelings Quantum elsewhere: parallel universes, exoplanets, terraforming, fictions of space <\/p>\n antae is an international refereed postgraduate journal aimed at exploring current issues and debates within English Studies, with a particular interest in literature, criticism and their various contemporary interfaces. Set up in 2013 by postgraduate students in the Department of English at the University of Malta, it welcomes submissions situated across the interdisciplinary spaces provided by diverse forms and expressions within narrative, poetry, theatre, literary theory, cultural criticism, media studies, digital cultures, philosophy and language studies. Creative writing is also accepted. <\/p>\n (posted 18 November 2015) <\/p>\n The Human (issn: 2147-9739) is an international and interdisciplinary indexed journal that publishes articles written in the fields of literatures in English (British, American, Irish, etc.), classical and modern Turkish literature, drama studies, and comparative literature (where the pieces bridge literature of a country with Turkish literature). To learn more about The Human: Journal of Literature and Culture and its principles, please see our manifesto on this page: http:\/\/www.humanjournal.org\/index.php\/about-the-human-manifesto<\/a> <\/p>\n The Human is now inviting submissions for a special issue to be published in June 2016. The special issue will be devoted to the performance of masculinities on film in all of its diverse forms and multiplicity of cultural, social and historical situations. Interdisciplinary approaches are encouraged, as are treatments that deal with global (both Western and non-Western) film or that bridge East and West. Less-covered subjects are most welcome. Areas of inquiry can include documentary, feature film, short film, and\/or animation, focusing attention on the visual landscape of masculinity in world cinema and exploring the social, political and economic value of masculinities within global film production. Successful submissions will demonstrate originality, rigor and persuasive argumentation. View further details on the journals website: call-for-works. Completed essays of 4500-5500 words should be submitted no later than March 1, 2016, to guest editors, Robert Mundy and Jane Collins at jcollins@pace.edu<\/a> <\/p>\n (posted 9 October 2015) <\/p>\n Interactive, transmedial, multi-modal, adaptive, therapeutic or global, narratives have been revealing an extraordinary pervasiveness in the current scenario of literary and non-literary communication. As a consequence of the progressive and rapid broadening of the focus of research from the forms traditionally reputed as authoritative (like literature), to storytelling meant as a mode of thought, peculiarly characteristic of the human species, speculation about the act of narrating has been continuously enriched with contributions from various and different fields and disciplines. Not to neglect the analyses of the symbolic universe, of the processes of identity construction, of the various modes the Self shapes itself in relation to others. <\/p>\n On the theoretic side, for example, we are attending to a redefinition of narratology in the light of new methodologies of investigation and criticism, which take into consideration the discoveries of neuroscientists and cognitive psychologists and the new centrality conferred to the reader; studies are being developed which interpret original works in their potential for interaction with the user or for transcoding towards media different from native; possible answers are being investigated to the big question about the role narratives have played in the adaptive-evolutive process of the human species; hypotheses and speculations are being carried out about their impact on humans wellbeing and sociality. <\/p>\n Stirred by the new learned attention and by seven-digit sales, narrative production has been diversifying itself in countless blends of genre, with different modes of fruition and a gradient of potentials for immersive transportation into fictional worlds: from the fragmentation of fanfictions on the web to the unchallenged emerging of a dominant kind of global novel. <\/p>\n The first issue of Comparatismi, the official digital periodical of the Board of Literary Criticism and Compared Literature, aims at hosting contributes representing as widely as possible the current range of approaches to narrative thinking, both in theory and in the practice of criticism; including studies both in close and distant reading on the most significant narrative modes in the world today, in literature, advertising, life-stories, television serials, cinema and graphic novels. <\/p>\n Contributes, in the form of articles ready for publication and inclusive of an abstract, should be submitted within 31st March 2016, following the instructions available on this website (see Online submissions). The texts selected to be submitted to peer review will be notified within 15th April 2016. The articles accepted after reviewing will be published in June 2016. Submissions in languages other than Italian (preferably English, otherwise French) are encouraged and appreciated. <\/p>\n For further information, please write to Francesco Laurenti (francesco.laurenti@iulm.it) or to Stefano Ballerio (stefano.ballerio@unimi.it). <\/p>\n You can read the call for papers and submit your proposals here: http:\/\/www.ledijournals.com\/ojs\/index.php\/comparatismi\/index<\/a> <\/p>\n (posted 22 January 2016) <\/p>\n Edited by Marie Ruiz (Universit Paris Diderot, LARCA) <\/p>\n Migration in the Victorian era has been identified as a paramount feature of the history of worldwide migrations and diasporas. Contrary to popular belief, the Victorian era was not only marked by an extensive exodus from Britain to the USA and the British colonies, but the Victorians also experienced a great degree of inward migration with the arrival of Catholic Irish, and oppressed Jews and Germans, among others. Inward, outward and internal movements were sometimes a response to economic hardships and employment opportunities, but this cannot solely explain the extent of international migrations in the Victorian era. <\/p>\n In the Victorian period, mass migration played a significant role in shaping the nations identity, as well as Britains relationships with the outside world. This raises the question of the impact of migrations on the Motherland, as the Victorian migration trends also attracted numerous immigrants and transmigrants, who ended up remaining in Britain rather than emigrating to the USA or the British colonies. Yet, while the origins of these immigrants and transmigrants are now difficult to trace, the question of their potential impact on the Victorian society needs to be addressed. <\/p>\n This edited volume aims at offering a global perspective on international migrations in the Victorian era including emigration, immigration and internal migration within Britain. Papers relating to the following themes, though not exclusively, are welcome: <\/p>\n 350-word abstracts, along with short academic biographies, should be submitted to mariejruiz@yahoo.fr<\/a>. The deadline for submission of abstracts is April 1, 2016. <\/p>\n (posted 23 March 2016) <\/p>\n The first issue of the ESSE Messenger online (Volume 25, Issue 1, Summer 2016) will have Childrens literature as theme for professional articles. <\/p>\n Please note that contributions sent to the ESSE Messenger should observe the Editorial Code and the Stylesheet. <\/p>\n Proposals should be sent to Adrian Radu, editor of ESSE, by 1 May 2016 <\/p>\n See the ESSE Messenger website. <\/p>\n (posted 1 February 2016) <\/p>\n Special Issue Editor: Matthew J. Smith <\/p>\n This special issue of Christianity & Literature furthers the journals aim to investigate the complex relations between literature, drama, and Christian thought and history by bringing a critical eye to sacramental reading to examine its limitations, unseen investments, and unexplored promises. <\/p>\n DESCRIPTION: A dominant theme of recent years turn to religion in English studies has been the sacramental dimensions of texts and performances. Scholars have explored the interpretive deliverances of how texts enact and embody the cultural, epistemological, and metaphysical functions that Christian practice traditionally associates with sacramental devotion. Especially in their poetics and theatricality, texts and performances have been described as sacramental, incarnation, and eucharistic. Sometimes scholars connect these readings to an authors awareness of theological controversy, such that an author or playwright is thought to engage in theological debate through writing and performance. Other approaches focus on a broader cultural demand or gap in popular access to the transcendent, and literary production is understood to meet such demands for transcendence, justice, semiotic complexity, embodiment, or metaphysical depth. Yet these reading strategies e.g., sacramental drama, sacramental poetics, incarnational texts have been largely neglected from critical scrutiny and, at times, are only defined loosely or even analogically in connection with theological doctrines of penance, the trinity, and various historical versions of sacramental theology (transubstantiation, consubstantiation, memorialism, and so on). In fact, it has begun to be suggested that sacramental reading may in fact, almost ironically, contribute to a secularization thesis, where claims of literatures sacramental surrogation imply some sort of loss or dysfunction in sacred access in mainstream devotional culture. What do sacramental readings imply about the state of devotion in a given society? How, if at all, are such terms as sacramental, eucharistic, and incarnational any more than metaphorical when applied to literary production or to audiences? And does this reading strategy sometimes impose a sacred-secular binary anachronistically upon historical societies? Alternatively, does the language of sacramentality demand further investment and offer unique insight into semiotic and performative force of drama and poetry? <\/p>\n We invite essay submissions that question and explore the sacramental, incarnational, or eucharistic aspects of texts or performances from any historical moment. Submit essays (6,000-9,000 words) to Matthew Smith at cal@apu.edu<\/a> by June 1, 2016. Christianity & Literature is a peer-reviewed journal published by SAGE. <\/p>\n (posted 4 November 2015) <\/p>\n Ed. Jakub Lipski, Kazimierz Wielki University in Bydgoszcz <\/p>\n Image [&] Narrative is seeking papers for a special tercentenary issue devoted to the work of Horace Walpole (1717-1797). Articles covering all aspects of Walpoles literary career are welcome, though preference will be given to those focusing on the correspondences between word and image. Possible topics may include: <\/p>\n Prospective contributors are invited to send in 300-word abstracts of papers by June 1, 2016. Preliminary selection will be made by the end of June, 2016. Complete essays of about 5000 words should be submitted b February 1, 2017. Final selectdion, following double-blind peer review, will be made by the end of June 2017. The issue will be published in September 2017, in the month of Horace Walpoles birth. Questions, expressions of interest and article proposals should be addressed to j.lipski@ukw.edu.pl<\/a> <\/p>\n To read more on the journals aims and scope, as well as the author guidelines, see http:\/\/www.imageandnarrative.be<\/a> <\/p>\n (posted 29 January 2016) <\/p>\n The academic journal Meridian critic invites contributions which celebrate the global cultural legacy of Shakespeare and Cervantes, in a year which marks the fourth centennial of their death. Submissions might address any related issues including, but certainly not limited to, the following: <\/p>\n Deadline for article submission: 1 June 2016. Please send the abstracts (ca 200 words), the full paper (up to 7000 words), as well as a brief biographical note (ca 400 words) to the following addresses: l_turcu@yahoo.com<\/a>, corneliamacsiniuc@yahoo.com<\/a> <\/p>\n For details regarding style, please visit the following page: http:\/\/meridiancritic.usv.ro\/index.php?page=instructions-to-authors<\/a> <\/p>\n We also welcome book-length studies in the field of literature, linguistics, and cultural studies published in 2015, to be reviewed in our journal. Please send the books to the following address: Meridian critic, Facultatea de Litere i tiine ale Comunicrii, Universitatea tefan cel Mare Suceava, Str. Universitii nr. 13, 720229 Suceava, Romania <\/p>\n (posted 1 February 2016) <\/p>\n A special issue (Summer 2017) of Womens History edited by Marie Ruiz (Universit Paris Diderot, LARCA) and Mlanie Gru (Universit Paris-Est Crteil Val de Marne, IMAGER) <\/p>\n Historians face a difficult task when dealing with historical documents, testimonials revealing or concealing truth. As objects of enquiry, documents, sometimes limited in what they can disclose, have very often resisted historians intentions to show reality. This is even more vivid in the context of womens history, a subjected topic that has undergone invisibility through male domination. In Policing Truth (1994), Leigh Gilmore argues that the notion of truth is intertwined with the notion of gender: man is a judge who has historically defined the rules and standards of truth in order to perpetuate patriarchal authority and male privilege. Barbara Kanners work of bibliomethodology, Women in English Social History, 1800-1914: A Guide to Research (1988), has been a major contribution to unveiling the existence of documents informing the participation of women in all fields of British history. This special issue of Womens History intends to address the subjectivity of historical documents, and the place left to women in the course of history. It gives a special place to historical evidence and iconic documents revealing womens resistance to patriarchal rule, whether in history, photography, film, or artistic representations. This volume focuses on the nature of historical documentation and its gender bias. It intends to address the question of subjectivity in womens history. The articles that will constitute this special issue shall focus on what documents have shown about women. The role of historians, witnesses, artists and writers shall also be included, as well as questions related to reality and objectivity in womens history. Contributions dealing with women as producers of documents are welcome. As an oppressed group, women have indeed seized the opportunity to write their personal and collective history on their own terms, to document their lives and claim their worth against the patriarchal rule. They have produced a wide array of documents, from text to image and film, revealing the reality of female experience. The question of perception and reception is also of interest as it determines what documents tell us about womens ability to find a place in history through their disruption of dominant cultures. <\/p>\n Proposals dealing with what documents can reveal about womens personal and collective history are welcome. They may include the following themes, though not exclusively: <\/p>\n 5000-word articles, along with short academic biographies, should be submitted to both editors: mariejruiz@yahoo.fr<\/a> and melanie.grue@hotmail.com<\/a>. The deadline for submission of articles is June 1, 2016. <\/p>\n (posted 21 March 2016) <\/p>\n Legal Geography, a fairly recent phenomenon, investigates the interconnected, reciprocal and interdependent links between geography and law. This interdisciplinary field of study concerns the complex interrelations between law, space and society. Law can be geographically located, in physical settings and spaces it describes and codifies. Space affects law, in order words, geographies structure law, like the north-south divide in the UK between separate national English and Scottish legal systems within the same British state. On the other hand, law affects space in inverting the environment-law relation to look at how laws impact space. The perspective of critical legal geography\/-ies looks beyond these binary categories to examine and challenge deterministic views of these intricate interrelations. A third way, then, might be identified, which transcends the strictures of the law\/space space\/law binaries, and allows these complex interrelations of the legal, spatial and social to be explored. It becomes useful to recognise that there is no analytical separation of law, space and society, no passive spatial structure, no two discrete realms, and no higher sphere above politics. <\/p>\n This journals edition attempts to contribute to a critical legal geography, studying law as a site of a struggle over geography (Sad) from the premises that space is socially and politically produced (Lefebvre et al.). The following questions may be considered, notably whether spatio-legal dimensions create spatializations in France and abroad. Also, does legal-decision making stem from the jurisdiction of a state, a region, a supranational construct, or does it take place at the very margins of confined spaces? It is conceivable to reflect on new dialectical implications between geography and law based on spaces in which such ideas as concrete and abstract, memory and identity, passages and transgressions, chaos and order collide. This might also include the critical assessment that law is somehow above geography, in a higher sphere divorced from its environmental contexts. Spatial claims and representations in legal and linguistic constructs might be evaluated. In addition, it might be interesting to look at geopolitics of law. What kinds of theoretical approaches can be adopted to interpret the interdisciplinary relationship of geography and law in order to critically engage readers and researchers in a constantly changing geographical world? Articles may concern various fields of studies and disciplines (geography, law, linguistics, literature, etc.). <\/p>\n A selection of articles will be published in the Journal Geographie de lEst (Universit de Lorraine). For more information, please go to: http:\/\/rge.revues.org\/5660<\/a> Articles (max. 50 000 signs), along with short academic biographies, should be submitted to andreas.pichler@univ-amu.fr<\/a>. The deadline for submission of articles is 15 September 2016. <\/p>\n (posted 18 February 2016) <\/p>\n Guest Editors: Sarah Falcus (Huddersfield) and Maricel Or Piqueras (Lleida) <\/p>\n The final decades of the twentieth century saw the rise of humanistic or cultural gerontology, and this has continued apace into the twenty-first century. Interest in English Studies has ranged across the disciplines and beyond, establishing connections with biomedicine, sociology and politics. This work includes studies and creative projects that both analyse and produce visual representations of ageing, from photography to film. In linguistics, explorations of language attrition in Alzheimers Disease provide humanistic perspectives on the experience and treatment of this form of dementia. Literary studies has seen explorations of the affect value of literary and cultural texts and analyses of the intersections of ageing and gender, race, sexuality and disability. There is also much work on late-life creativity and late style. <\/p>\n This issue seeks to extend the variety and multiplicity of approaches in cultural gerontology, contributing to the dialogue between English Studies and Ageing Studies. We welcome contributions that explore old age across the full range of literary and cultural forms. <\/p>\n Topics may include, but are not limited to: <\/p>\n <\/p>\n Read more from the original source:<\/p>\n Calls for contributions to journals and books - ESSE<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Film adaptations of Victorian and Edwardian Novels and Short Stories Cahiers victoriens et douardiens 82 Deadline for proposals: 31 December 2015 Chief editor: Luc Bouvard The reasons for the great success of Victorian and Edwardian novels for producers, screenwriters, film directors, actors and spectators are many. The first that comes to mind is the international popularity of the source materials from Wuthering Heights to Dr Jekyll and Mr Hyde through Tess or Howards End. The other reasons for this predestination of Victorian and Edwardian texts to be adapted to the big or small screen are now well known: theatrical adaptations previous to film; Eisensteins theory according to which such a novelist as Dickens could have invented the fundamentals of cinema; the novelists (such as Conrad) and directors (such as Griffith) common wish to make the reader and spectator see what they have imagined; the importance of illustrations accompanying those texts. Continue reading