Archive for the ‘CFP’ Category

Inviting submissions for the 2018 Perkins Prize

Sunday, March 5th, 2017

Established in 1994, the Perkins Prize honors Barbara Perkins and George Perkins, the founders of both The Journal of Narrative Technique and the Society itself. The prize, awarded to the book making the most significant contribution to the study of narrative in a given year, consists of $1,000 plus a contribution of $500 toward expenses for the winning author to attend the Narrative Conference where the award will be presented.

The Perkins Prize is conceived as a book prize rather than an author prize. Thus all books on the topic of narrative, whether edited collections, collaboratively written books, or monographs, are eligible to compete. If an edited collection or collaboratively written book is selected, the prize goes to the editor(s) or the collaborators. The winner of the competition for books published in 2016 will be announced at the New York MLA Convention in January 2018, and the prize will be presented at the Narrative Conference in Montréal, Québec, in April 2018.

To nominate books with a copyright date of 2016, please send an email with “Perkins Prize” in the subject line to The Chair of the judging committee:

Brian McHale mchale.11@osu.edu

Publisher, third-party, and self-nominations are all appropriate.  Copies of books must be sent to each of the three judges. Please indicate in the nominating email whether the publisher or the author will send the books. The deadline for nominations and for receipt of books by the judges is June 1, 2017.

Books should be sent by authors or their publishers directly to each of the three members of the judging committee:

Brian McHale
Department of English
The Ohio State University
421 Denney Hall
164 Annie and John Glenn Ave.
Columbus OH 43210
 
Porter Abbott
7271 Gills Pier Rd.
Northport, MI  49670
 
Sue J. Kim
Department of English
UMass Lowell
O’Leary Library 476
61 Wilder Street
Lowell, MA 01854

CFP Deadline Extended: Emily Dickinson’s Narrative Cartography

Thursday, December 1st, 2016

CFP Deadline Extended: Emily Dickinson’s Narrative Cartography
New Proposal Deadline: December 20th.

“The Emily Dickinson International Society and the International Society for the Study of Narrative invite papers for a proposed special session entitled “Emily Dickinson’s Narrative Cartography,” at the 2018 MLA conference in New York, scheduled for January 4-7. Participation on the panel will be open to all members of the MLA.

Narrative theory’s attention to plot, traditionally, has been more concerned with the temporal than with the spatial—more with sequences of events than their spaces. However, contemporary narratology’s “spatial turn” evinces an increasing concern for space, place, and geography. Recent developments in narrative theory direct our attention to a second meaning of “plot,” offered by the Oxford English Dictionary, where “plot” refers to “A fairly small piece of ground, esp. one used for a specified purpose, such as a building or gardening,” a definition that invites reflection on the intersection of narrative and space in ways that might usefully illuminate the study of both.

In June 1869, Emily Dickinson famously wrote to T. W. Higginson, “I do not cross my Father’s ground to any House or town” (L 330), then cultivated her “solitary Acre –” (Fr. 778) as a rhizomatic locality from which her imagination radiated. In poems and letters, as well as in her herbarium, Dickinson recurrently probed the intersecting zones of house, garden, and world. Revolving, on the one hand, around the particular experiences, memories, and artifacts attaching a life to a place, her writings seem, on the other hand, to call forth a vision of the world—this “Apocalypse of Green –” (Fr. 1356)—as a network or ecology of chaotically circulating voices and elements, a place where we cannot get our bearings. Following the spatial turn in Dickinson, mapping the immersive environments evoked in her writings, as well as reading her poems and letters as environments encourages the production of new, layered narratives—“plots”—broadly concerned with Dickinson’s relation to geography, cartography, memory, and genre.

Possible paper topics include the relationship between memory, space, and narrative; the dynamic between what Christine Gerhardt calls “near and far geographies”; and the poetics of cartography. More specific inquires into Dickinson's green narratives—her botanical imagination, her poetry of the garden, and, beyond it, the land- and sound- scapes—as well as narratives exploring the recent archaeological excavation and reconstruction of the garden site at the Dickinson Homestead are also welcome.

Proposals should be no more than 300 words, and include a title and a brief biographical note. Please submit your proposal to Dan Punday (dpunday@english.msstate.edu) and Marta Werner (wernerm@dyc.edu) by December 20th. Any questions can be directed to Dan Punday at dpunday@english.msstate.edu.”

CFP: Emily Dickinson’s Narrative Cartography

Thursday, November 3rd, 2016
Proposals Due: December 1st
“The Emily Dickinson International Society and the International Society for the Study of Narrative invite papers for a proposed special session entitled “Emily Dickinson’s Narrative Cartography,” at the 2018 MLA conference in New York, scheduled for January 4-7. Participation on the panel will be open to all members of the MLA.
 
Narrative theory’s attention to plot, traditionally, has been more concerned with the temporal than with the spatial—more with sequences of events than their spaces. However, contemporary narratology’s “spatial turn” evinces an increasing concern for space, place, and geography. Recent developments in narrative theory direct our attention to a second meaning of “plot,” offered by the Oxford English Dictionary, where “plot” refers to “A fairly small piece of ground, esp. one used for a specified purpose, such as a building or gardening,” a definition that invites reflection on the intersection of narrative and space in ways that might usefully illuminate the study of both.
 
In June 1869, Emily Dickinson famously wrote to T. W. Higginson, “I do not cross my Father’s ground to any House or town” (L 330), then cultivated her “solitary Acre –” (Fr. 778) as a rhizomatic locality from which her imagination radiated. In poems and letters, as well as in her herbarium, Dickinson recurrently probed the intersecting zones of house, garden, and world. Revolving, on the one hand, around the particular experiences, memories, and artifacts attaching a life to a place, her writings seem, on the other hand, to call forth a vision of the world—this “Apocalypse of Green –” (Fr. 1356)—as a network or ecology of chaotically circulating voices and elements, a place where we cannot get our bearings. Following the spatial turn in Dickinson, mapping the immersive environments evoked in her writings, as well as reading her poems and letters as environments encourages the production of new, layered narratives—“plots”—broadly concerned with Dickinson’s relation to geography, cartography, memory, and genre.
 
Possible paper topics include the relationship between memory, space, and narrative; the dynamic between what Christine Gerhardt calls “near and far geographies”; and the poetics of cartography. More specific inquires into Dickinson’s green narratives—her botanical imagination, her poetry of the garden, and, beyond it, the land- and sound-scapes—as well as narratives exploring the recent archaeological excavation and reconstruction of the garden site at the Dickinson Homestead are also welcome.
 
Proposals should be no more than 300 words, and include a title and a brief biographical note. Please submit your proposal to Dan Punday (dpunday@english.msstate.edu) and Marta Werner (wernerm@dyc.edu) by Dec. 1, 2016.”

CFP for MLA 2018

Monday, October 24th, 2016

Reminder: CFP for MLA 2018
Proposals Due Nov. 1
“The ISSN Program Committee (Dan Punday, Paul Wake, Kay Young) would like to remind you that we’re just about a week away from the deadline to submit a proposal for the Society’s guaranteed session at the 2018 MLA, scheduled for January 4-7 in New York City.

A topic may be proposed by any current member(s) of ISSN, who would also chair or co-chair the chosen panel. Participation on the panel will be open to all members of MLA. Proposals for the ISSN session at MLA 2018 should include a session title and a brief rationale not to exceed one page.

Please submit your proposal to Dan Punday (dpunday@english.msstate.edu) by November 1, 2016. The Program Committee will announce its selection by December 1, 2016.”

REMINDER: Narrative Conference CFP

Tuesday, October 11th, 2016

REMINDER

Deadline this Week

Narrative Conference

Lexington, Kentucky

March 23-26, 2017

Submission Deadline: October 15

CFP Narrative 2017

                 (Submissions accepted through Monday morning.)

CFP Narrative 2017

CFP: Dickinson and Narrative Cartographies

Thursday, October 6th, 2016

Call for Papers:
Proposal Due: December 1st
“The Emily Dickinson International Society and the International Society for the Study of Narrative invite papers for a proposed special session entitled “Emily Dickinson’s Narrative Cartography,” at the 2018 MLA conference in New York, scheduled for January 4-7. Participation on the panel will be open to all members of the MLA.

Narrative theory’s attention to plot, traditionally, has been more concerned with the temporal than with the spatial—more with sequences of events than their spaces. However, contemporary narratology’s “spatial turn” evinces an increasing concern for space, place, and geography. Recent developments in narrative theory direct our attention to a second meaning of “plot,” offered by the Oxford English Dictionary, where “plot” refers to “A fairly small piece of ground, esp. one used for a specified purpose, such as a building or gardening,” a definition that invites reflection on the intersection of narrative and space in ways that might usefully illuminate the study of both.

In June 1869, Emily Dickinson famously wrote to T. W. Higginson, “I do not cross my Father’s ground to any House or town” (L 330), then cultivated her “solitary Acre –” (Fr. 778) as a rhizomatic locality from which her imagination radiated. In poems and letters, as well as in her herbarium, Dickinson recurrently probed the intersecting zones of house, garden, and world. Revolving, on the one hand, around the particular experiences, memories, and artifacts attaching a life to a place, her writings seem, on the other hand, to call forth a vision of the world—this “Apocalypse of Green –” (Fr. 1356)—as a network or ecology of chaotically circulating voices and elements, a place where we cannot get our bearings. Following the spatial turn in Dickinson, mapping the immersive environments evoked in her writings, as well as reading her poems and letters as environments encourages the production of new, layered narratives—“plots”—broadly concerned with Dickinson’s relation to geography, cartography, memory, and genre.

Possible paper topics include the relationship between memory, space, and narrative; the dynamic between what Christine Gerhardt calls “near and far geographies”; and the poetics of cartography. More specific inquires into Dickinson’s green narratives—her botanical imagination, her poetry of the garden, and, beyond it, the land- and sound-scapes—as well as narratives exploring the recent archaeological excavation and reconstruction of the garden site at the Dickinson Homestead are also welcome.

Proposals should be no more than 300 words, and include a title and a brief biographical note. Please submit your proposal to Dan Punday (dpunday@english.msstate.edu) and Marta Werner (wernerm@dyc.edu) by Dec. 1, 2016.”

CFP: Geographical Narratology

Tuesday, September 27th, 2016

Call For Papers:
Geographical Narratology
Abstracts Due: October 1st

“In the past twenty or thirty years narratology has diversified into narratologies and we now commonly speak of cognitive narratology, for example, unnatural narratology, socionarratology, and historical narratology. Yet, despite the spatial turn that began to occur some time ago in the humanities and humanistic social sciences and despite the large amount of recent work on the inscription of (literary) texts in space and on the representation of space in (literary) texts, there has been no real attempt to develop a geographical narratology focused on examining the links between geography and narrative forms or traits.
A special number of Frontiers of Narrative Studies, to be published in 2018, will be devoted to the exploration of the program such a narratology might follow and will welcome, in particular, papers studying the (possible) links between geography and specific narrative features (e.g. free indirect discourse, external focalization, or anterior narration) and (possible) new exploitations of space by narrative. Please send your abstracts (300-500 words) to Gerald Prince (gprince@babel.ling.upenn.edu) by October 1, 2016. Papers will be due March 1, 2018.”

CFP: The Narrator in Theory and Practice

Tuesday, September 27th, 2016

Call For Papers
“The Narrator in Theory and Practice
Abstracts Due: September 30th

As Sylvie Patron writes, “The narrator … is a concept used widely in the teaching of literature, even though it is a subject of continued debate within narrative theory or theories” (“The Death of the Narrator and the Interpretation of the Novel” 253). While Patron interrogates the concept of the narrator in communicational models of narrative and takes up the question of whether one always needs to posit a narrator in fictional narratives, other points of debate concern the usefulness of the concept of “voice,” the relation between narrators and focalisation or the analysis of narrator unreliability, for instance. The postulation of the presence or absence of a narrator in certain texts ties in with fundamental narratological issues like, for example, our understanding of (fictional) narrative, the notion of fictionality, the cognitive processing of narrative or the historical development of fictional narrative.
This panel seeks to bring together papers that discuss and question theoretical approaches to the narrator concept in view of specific literary test cases. Papers on all kinds of narrators (both what is traditionally referred to as first and third person narrators) are welcome, as are papers with a diachronic focus.

Please submit abstracts for papers by Friday, 30 September to Rahel Orgis, University of Neuchâtel, rahel.orgis@unine.ch. Abstracts should be about 150 words long and accompanied by brief statement (no more than 100 words) about your work and your publications.”

Call for Papers: ACLA 2017 – History, Fiction, and Historical Fiction

Tuesday, September 27th, 2016

Call for Papers:
“ACLA 2017: July 6-9, 2017, Utrecht, Netherlands

Proposed Seminar: History, Fiction, and Historical Fiction

Organizers: Chris Chiasson, Indiana University Bloomington
Charles Chiasson, University of Texas at Arlington

Georg Lukács initiated a fruitful line of inquiry into the conditions of nineteenth-century realism with his pioneering study The Historical Novel (1937) and Hayden White has spawned an even more capacious literature about the narratological strategies of historical writing with his Metahistory: The Historical Imagination in Nineteenth-Century Europe (1973). Strangely, though, the connections suggested by these two seminal works between nineteenth-century historiography and literature have yet to be fully explored, and the general questions they raise about the relations between history and literature have been addressed in broad theoretical terms more often than in discussions of concrete examples. This seminar proposes to examine the generic and narratological interplay between literary and historical writing through close readings of particular works.

Beginning with Herodotus and Thucydides in the Western tradition, historians have borrowed large-scale narrative architecture, small episodes, and particular verbal formulations from literary genres high – ode, tragedy, and epic, among others – and low – folk tale, comedy, and novel, among many others. At the same time, literary writers have not only mined historians’ accounts for source material but re-plotted them, lifted anecdotes and exempla, and used them to adjust their notions of literary form in a general evolution towards more complex chronotopes and the more open-ended structures of the novel, if Bakhtin is to be believed. Each paper should address how a particular historical text adapts a generic or narrative strategy from a literary text or corpus, or vice versa.

Topics could include but are not limited to:
– the Greek and Roman historians’ use of epic, lyric, and tragedy, and the use made of them in turn by later literary writers
– the relationship of the Medieval chronicle to the Arthurian romance
– how 16th century writers used the Greek and Roman historians for micro-genres like the anecdote and the exemplum
– questions of verisimilitude relating to history and literature in the Italian Renaissance
– historical drama from Shakespeare to German Romanticism
– Hume, Gibbon, and the eighteenth-century British novel
– the relations between the 19th-century historical novel and the great 19th-century histories
– modernist and post-modernist historical novels, especially attempts to abandon traditional literary form and create radically open-ended structures in line with current theorizing about avoiding the imposition of narrative on history
– emplotment and endings in historical narratives according to White, Ricoeur, Kermode, D. A. Miller, and/or Peter Brooks
– micro-history’s relation to fiction
– thinking about literary form in terms of big history (e.g., Richard McGuire) and non-human agents in contemporary history and literature (e.g., Wendy Doniger)

Abstracts (~250 words) will be accepted through the ACLA website from September 1 to September 23, 2016. If you have any questions about the seminar, please contact Chris Chiasson (cchiasso@indiana.edu).”

CFP: Wolfgang Iser – Towards a literary anthropology

Tuesday, September 27th, 2016

Call for Papers:
Wolfgang Iser – Towards a literary anthropology

Enthymema, n. 15 (June 2017)
Deadline for proposals: 31st January 2017

“On the intersection of the tenth anniversary of his death (2007) and of the fortieth anniversary of the first publication of his most famous work The Act of Reading (Der Akt des Lesens, 1976), we would like to celebrate the critic and literary theorist Wolfgang Iser with a special section.
Our reflection can only start from the critical classic The Act of Reading that contributed in making reader’s response theories a cornerstone, generating a most lively debate, in the field of literary theory in the following forty years. Nevertheless, we would also like to provide a better focus on the arrival point of Iser’s critical and theoretical reflections.
In the thirty years that separated the issue of that fundamental work from his death, Iser never stopped expanding his research. First, he moved from the field of English literature on Spenser, Beckett, and Joyce to theoretical studies on the concepts – so relevant in the current debate – of the fictive and the imaginary. Eventually, Iser developed the project of a new discipline, namely literary anthropology, with which he aimed to provide an account of literature as a universal and human device for self-interpretation, as a tool for the relentless urge of human beings to become known to themselves.
Iser was aware of the fact that in order to analyse such a complex human activity, a single, fixed perspective is not enough: (self) interpretation is not just a practice, it is a human need that allows us to expand and shape ourselves. Literature works in the same vein. Indeed, the latter is nothing but interpretation at every level.
Such an enquiry of human life requires specific heuristic tools and cannot make use of frames borrowed from other disciplines. The risk would otherwise be that literature is merely used to provide illustrative examples. Which is why in his more recent works (especially in The Range of Interpretation, 2000) he pursued a self-contained heuristic framework within the new discipline. Still, he continuously kept an eye open on all possible intersections with hermeneutics, cybernetics, biology, and cognitive and evolutionary studies.
It is with the same spirit that we are inviting contributions for proposals on Iserian themes with the aim to reflect on his own theoretical production, and to continue his own project.
Article proposals in English, Italian, French, or German, must be sent to lauralucia.rossi@gmail.com and must contain the following details: the title of the contribution, a 350-500 word abstract, and a short bio-bibliographical profile of the author (including e-mail address and the university/institution of affiliation). The deadline for proposals is 31st January 2017.

Topics may include, but are not limited to:

– Reading and readers; theories of the interaction between the reader and the text; current relevance and need of aesthetical response theories; the implied reader.
– Indeterminacy, implied reader, and the narrative text.
– Indeterminacy as the mark of narrative genres.
– Literature and play. The interaction between the fictive and the imaginary.
– Fiction, fictive, and fictional.
– Towards a literary anthropology: problems, questions, and reflections.
– Literature as self-interpretation and self-poiesis.
– Wolfgang Iser as a literary critic and theorist.
– Influence of Iser’s theories in the current critical and theoretical debate.
– The application of Iser’s theories in the field of narrative studies.