DEADLINE EXTENDED: Brown French Studies Graduate Conference – Intermediality

CALL FOR PAPERS
Intermediality
April 8-9, 2016
Brown University | Providence, Rhode Island
Keynote: Morgane Cadieu
Assistant Professor of French, Yale University
Intermediality refers to the many ways in which different media may
encounter each other and interact with one another. This notion applies to a wide
variety of works of art; metalinguistic and descriptive texts; works whose structure
borrows from other forms of media; and the elaboration of or the rupture with a
specific artistic tradition; or even mere allusions to other works. These
characteristics may all contribute to a reflection on the interconnections between
different forms of art, and the essential role that these relationships play in the
production and the reception of these works.
From the ancient rhetorical tradition of ekphrasis famously illustrated by
Homer’s Iliad and its description of Achilles’s shield, to the contemporary utilization
of computer software in order to mechanically generate meaningful texts; from the
attempts of nineteenth century literary critics to create a hierarchy of the arts, to the
joint development of new art forms and techniques through an artistic movement
such as hip hop, intermediality emerges as a key concept that brings together
different art form in all of their diversity and complexity.
This Equinoxes conference aims to generate discussion about various art
forms — literature, cinema, music, the visual arts, the performing arts, etc. —
throughout the history of France and Francophone countries. We encourage
proposals from a variety of disciplines (French & Francophone Studies, Comparative
Literature, History, Philosophy, Postcolonial Studies, Art History, Media & Cultural
Studies, etc.). Potential avenues of exploration may include, but are not limited to:
ekphrasis
metaphor or visual effects in texts
illustrated books
art criticism
intermedial inspiration or mimetism
intermedial references, allusions
synesthesia
connections between art, philosophy, etc.
transpositions of art techniques
adaptations
artistic movements
artists’ correspondence
artistic collaborations, artists’ friendships
contemporaneous artists
transcultural influences
new media and their origins or relationship to other media
effects of a new medium on already existing art forms
Graduate students who wish to participate in the conference should submit
an abstract of no more than 250 words. Abstracts must be sent, as attachments, to
brown.equinoxes@gmail.com before January 20, 2016. Emails should include
the author’s name, institutional affiliation, and contact information. Presentations,
whether in English or in French, should not exceed 20 minutes.
APPEL À COMMUNICATIONS
Intermédialité
8-9 Avril 2016
Brown University | Providence, Rhode Island
Conférencière d’honneur: Morgane Cadieu
Professeure assistante au Département d’Études françaises à Yale
University
L’intermédialité renvoie aux nombreuses façons que peuvent avoir des
médias distincts de se rencontrer et de s’affecter les uns les autres. Cette notion
recouvre une large variété d’oeuvres d’art, les textes descriptifs ou
métalinguistiques, les emprunts structurels à d’autres médias, la continuation ou la
rupture vis-à-vis d’une tradition artistique, ou même les simples allusions à d’autres
oeuvres. Ces caractéristiques peuvent toutes contribuer à une réflexion portant sur
l’aspect essentiel des connexions entre les arts quant à leur production et à leur
réception.
Depuis la tradition rhétorique antique de l’ekphrasis, célèbrement illustrée
dans l’Iliade d’Homère et sa description du bouclier d’Achille, jusqu’à l’utilisation
contemporaine de logiciels informatiques afin de générer mécaniquement des textes
porteurs de sens; depuis les tentatives des critiques d’art du dix-neuvième siècle de
hiérarchiser les arts, jusqu’au développement conjoint de nouvelles formes et
techniques artistiques à travers un mouvement d’art comme le hip-hop,
l’intermédialité apparaît comme un concept clef pour approcher les arts dans leur
diversité et leurs complexités.
Cette conférence Equinoxes voudrait susciter des discussions sur les arts – la
littérature, le cinéma, la musique, les arts visuels, les arts du spectacle – et leurs
interactions à travers l’histoire de la France et de la francophonie. Nous
encourageons les propositions de disciplines variées (Études françaises &
francophones, Littérature comparée, Histoire, Philosophie, Études postcoloniales,
Histoire de l’art, Études des médias & cultures, etc.). Les différentes pistes à suivre
incluent, entre autres, ce qui suit :
l’ekphrasis
les métaphores ou effets visuels dans les textes
les livres illustrés
les critiques d’art
l’inspiration ou le mimétisme intermédial
les références ou les allusions intermédiales
la cynesthésie
les connexions entre arts, philosophie, etc.
les transpositions de techniques d’art
les adaptations
les mouvements artistiques
les correspondances d’artistes
les collaborations ou amitiés entre artistes
les artistes contemporains
les influences transculturelles
les nouveaux médias et leurs origines ou relations aux autres médias
les effets d’un nouveau médium sur les formes d’art déjà existantes
Les étudiants gradués qui souhaitent participer à la conférence doivent
soumettre un résumé de 250 mots au maximum. Les résumés doivent être envoyés
en pièce jointe à brown.equinoxes@gmail.com avant le 20 janvier 2016. Incluez
nom d’auteur, affiliation institutionnelle et contact dans votre email. Les exposés,
qu’ils soient en anglais ou en français, ne dépasseront pas 20 minutes.

Call for Papers: InVisible Culture, “Border Crossings”

“Border Crossings” – Issue 26

For its twenty-sixth issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that address the complex and multiple meanings of border crossings.

In September 2015, a photograph shocked the world by showing the body of a small boy lying facedown on a beach in Bodrum, Turkey. Later identified as Aylan Kurdi from Syria, he and other members of his family perished in a failed attempt to flee to Canada. The image became the focal point of the on-going refugee struggles, confronting us with the power of images, their affective potential, and the politics of representation.

IVC Issue 26 seeks to examine how border crossings can challenge the stable, ontological distribution of power, capital, and resources along constructed lines of demarcation. In considering the crossing of a border, we must first understand what constitutes a border and how it performs in the visual field. Globalization tries to dissolve borders through the decentralization of power, yet at the same time, it immanently and symbolically re-inscribes national borders through the unequal distribution of capital. In thinking about contemporary art, art historian Pamela M. Lee’s Forgetting the Art World utilizes theoretical concepts taken from Michael Hardt and Antonio Negri’s Empire, to critique globalization and its processes of cultural and social homogenization that “evacuate difference and distance”.

For Issue 26, we would like contributors to consider how border crossings can be a conceptual tool to understand acts of inclusion and exclusion of not just bodies and materials, but of ideologies and cultures. Against the backdrop of multiculturalism and neoliberal democracy, how do racial, class, and gender borders undermine the possibility of a unified political project? How do borders produce stateless subjects to perpetuate precarious conditions of labor? How can we think of borders as a form of infrastructural control and networked artificial intelligence? And if a visual object is a material manifestation of globalization, how does it negotiate borders through its circulation?

We welcome papers and artworks that further the various understandings ofborder crossings. Possible topics of exploration include, but are not limited to:

• Modern and postmodern conceptions of space, borders, and liminality
• Historical accounts of migration through visual culture (painting, photography, performance, film, etc.)
• Currency of images
• Critique of the so-called global turn in contemporary art
• The ideological practice of framing
• Border crossings as acts of negotiation and transgression
• Border crossings as an erasure of the self and the other
• Feminist and ecological critiques of nation-states
• Precarious, immaterial, and cognitive labor and labor as information
• Representations of systemic violence as it relates to border crossing
• Critical practices of border crossings and antagonism towards borders
• The bodily and material effects of immaterial borders

Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot]com by March 15, 2016. Inquiries should be sent to the same address.

Creative/Artistic Works
In addition to written materials, InVisible Culture is accepting work in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For questions or more details concerning acceptable formats, go tohttp://ivc.lib.rochester.edu/contribute or contact ivc[dot]rochester[at]gmail[dot]com.

Call for Papers: UCLA Comparative Literature Graduate Student Conference

CFPs: UCLA Comparative Literature Graduate Student Conference
Mad Love
February 19-20, 2016

(Ingmar Bergman’s 1966 film Persona)

The uneasy boundary between madness and love asserts itself throughout recorded history. The shifting relationship between these two phenomena exists across most (if not all) societies and epochs, particularly in literature and art. From lovesickness in the Middle Ages, to nymphomania and hysteria in the Enlightenment, to the stalker in modern-day horror films, the line between love and madness is continually conflated, contested, and blurred.

In keeping with recent critical attention to the history of the passions and the body, we are interested in the aesthetic representation – literary, visual, and oral – of love madness. How are these extreme states represented in literature and art? Where is the line drawn between passionate love and mad love? How has the representation of love and/or/as madness changed over time? What effect have these representations had on real-world treatment of the mentally ill? And how is space left for mad love as a positive force, if at all?

This year’s UCLA Comparative Literature Graduate Conference will explore the many manifestations of mad love in literature and cultural history. We invite graduate students to present papers on related issues. Topics on the intersections between social conceptions and artistic depictions of love and madness might include, but are not restricted to:

● Love as a disease
● Love, madness, and psychoanalysis
● Bodies performing desire
● Love, madness, and identity
● Gendering desire and/or madness
● Love, madness, and violence
● Monstrous love
● Creative production/inspiration and love/madness
● The role of the sensory in love and madness
● Mental Health and Human Rights

We are open to papers in all disciplines and treating material from all time periods. In addition to conventional panel presentations, we will offer performances and film screenings; interactive workshops on topics such as the history of psychiatry and an introduction to translation; and discussion sections on pre-circulated materials (primary and/or secondary).

Submission Guidelines:
Please submit your 250-300 word proposal/abstract and a CV to ucla.complit.conf@gmail.com by Monday, September 21st. Kindly mention “Submission: CLGraduate Conference” in the subject of the e-mail. All submissions should include the title of the paper, the abstract, and the name, affiliation, and contact information of the author. Please specify whether you are interested in (a) presenting a paper or (b) presenting/performing a creative work. If you are proposing a creative work, please specify any A/V needs and the length of the presentation.

Further information is available on the conference website at uclacomplitconf.com. For any additional queries, please contact ucla.complit.conf[at]gmail.com.

Call for Papers: InVisible Culture – Security and Visibility

“Security and Visibility” – Issue 25

For its twenty-­‐fifth issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that explore the concept of security and visual culture.

For almost two decades, both scholarly and public interests in matters of national security and the corresponding surveillance of public space have increased immensely. Notions of visibility figure prominently in these discussions. The  expanding  academic  fields  of  Security  and  Surveillance  Studies have successfully engaged with the multiple layers connecting (national) security, surveillance, and the visual. Focusing on present-­‐day phenomena, sociologists, political scientists, and culture and media scholars have already developed an integrative perspective when it comes to relating issues surrounding security to the field of visibility. Consequently, newer research on security has focused on decentralized practices of security, encompassing much more than just “official” government agencies and their mediaries.

For this issue, we seek to engage a historical perspective on issues of security and visibility through a close reading of texts in contemporary social sciences and cultural studies. With a special insert edited by scholars Barbara Lüthi and Olaf Stieglitz at the University of Cologne, this issue will focus on visual material as  a  source  of meaning  and  power, this  issue  will function  as  a  broad investigation  of both stable and changing notions of security over time and place. By bearing social and political dimensions of visibility in mind, a turn to images may prove helpful in asking how their performative power invokes securitization processes through immediacy (Moeller 2009; Mirzoeff 2011).

We welcome papers and artworks that further the various understandings of securitization through a consideration of the visual. Possible topics of exploration include, but are not limited to:

• methodological debates on using visual material
• the ethics of surveillance, big data, and the right to privacy
• history of national securities and surveillance
• counter-­‐visibilities, hacking, and the critique of security

Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot]com by September 20th, 2015. Inquiries should be sent to the same address.

Creative/Artistic  Works

In addition to written materials, InVisible Culture is accepting work in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For questions or more details concerning acceptable formats, go to http://ivc.lib.rochester.edu/contribute or contact ivc[dot]rochester[at]gmail[dot]com.

Call for Entries! The Debra E. Bernhardt Labor Journalism Prize, Deadline September 1

The New York Labor History Association is pleased to announce this Call for Entries for the First Annual Debra E. Bernhardt Labor Journalism Prize. The deadline for entries is Tuesday September 1, 2015.

The Bernhardt Prize is an award of $500 given to an article or series of articles that furthers the understanding of the history of working people. The work should be published – in print or online – in a union or workers’ center publication or by an independent journalist. By sponsoring this award we hope to inspire more great writing for a general audience about the history of work, workers, and their organizations. The award is co-sponsored by LaborArts; Metro New York Labor Communications Council; the NYC Central Labor Council, AFL-CIO; and the Robert F. Wagner Labor Archives at NYU’s Tamiment Library.

The winner will be announced at the Tamiment Library on October 15, 2015, during a forum about the history of labor journalism. We are guided by the vision of the late Debra E. Bernhardt, who worked in so many different realms to share the hidden histories of working people. As head of the Wagner Labor Archives she reached out to an astonishing number of people and organizations, to document undocumented stories and unrecognized contributions, and to make links between past and present. Guidelines The prize will be given to insightful work that contributes to the understanding of labor history; shows creativity; demonstrates excellence in writing; and adheres to the highest journalistic standards of accuracy. The work may be an article or a series of articles, published in a labor or a workers’ center publication or by an independent journalist – in print or online – between January 2014 and August 30, 2015.

Entries should include a cover sheet with name of the author and the place and date of publication. Five copies of each article (with cover sheet) should be submitted, to: New York Labor History Association, Tamiment Library, 10th Floor Bobst Library NYU 70 Washington Square South New York NY 10012. If you have any questions about the prize you can email info[at]LaborArts.org or call  212-966-4014 ext. 1703.