01/12/2019 – Call for papers “Memory of Captivity in 20th and 21st Century Italian Culture”

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31/1/2020 – CFP: “Unmade, Unfinished, Unseen: Shadow Histories of Cinema and Television”

What, when & where

Unmade, Unfinished, Unseen: Shadow Histories of Cinema and Television
 16 – 17 September 2020
De Montfort University, Leicester.

Keynote speakers: Dr Shelley Cobb (University of Southampton), Professor Andrew Spicer (University of the West of England), and others to follow.

Unmade films and TV programmes have become a subject of both academic and popular interest, driven partly by the opening of archives with significant holdings of unproduced screenplays. As well as books on Kubrick’s /Napoleon /and /The Greatest Movies You’ll Never See/, recent years have seen documentary films on ‘lost projects’ such as /Lost in La Mancha /(2002) and /Jodorowsky’s Dune/ (2013), radio adaptations of /Unmade Movies/ like Welles’s /Heart of Darkness/, and stage readings of unproduced Hammer scripts such as /Vampirella/. Yet, while much of this interest has centred on the unrealised films and TV programmes of significant directors and writers, research is needed into wider issues around ‘unproduction studies’, such as career breaks, cultures of script development, development hell, and the industrial logic of failure.

We invite papers for submission on any aspect of unmade cinema and television. Suggested topics include, but are by no means limited to:

·Gendered / racial inequalities and unmade projects
·Case studies of unrealised screenplays, screen treatments, passion projects etc.
·Gate-keeping in media industries (agents, script readers etc.)
·Methodologies for using unmade screenplays as a resource for scholarly research
·Actual or possible realisations of unmade projects
·Fandom and the resurrection of unmade projects
·The unmade as alternative or counterfactual media history
·The literary status of unproduced screenplays
·Industrial perspectives
·The ‘Black List’ of most liked unproduced screenplays
·Archival approaches to the study of the unmade
·Creative failure

Deadline & how to apply

Proposals for twenty-minute presentations to be emailed to Professor Ian Hunter: iqhunter@dmu.ac.uk and Dr James Fenwick: j.fenwick@shu.ac.uk with a submission deadline of 31 January 2020. Abstracts should be no more than 250 words and include a 100-word biography.
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20/1/2020- CFP: “Petrocultures 2020: transformations”

What, when & where

Norwegian Petroleum Museum, Stavanger, Norway.

In petrocultures2020 we will host presentations, exhibits and conversations regarding the transformations needed to influence the transition from our current culture and dependency on oil. Looming over these discussions we recognize the wealth and progress enabled by our exploitation and use of oil. We acknowledge the technical and structural solutions developed and renewable transitions initiated by parts of the petroleum industry. We also observe the linkages that exist between the burning of fossil fuels, human induced climate change and differing levels of socio-environmental conflict. We thus emphasize oil’s dual role as the basis of prosperity and implication in environmental destruction and global conflict. Accepting this we aim to create a forum for a constructive exchange about the way green transition initiatives are narrated – including the way oil is narrated in the past, present and future – across social and political divides. It is also of interest to investigate how the petroleum industry can/will be a part of this transition, and what consequences the transition will have for the workers presently depending on the industry. Worker participation in the industry has historically and may well also in the future be a central aspect to reduce the inherent conflicts of a transition.

Under the banners of 5 thematic sections, petrocultures2020 seeks to advance conversations about the multiple dimensions of oil. We do so, recognizing that oil is not only as a source of energetic power, but of political, economic and social power. It is in this light we question oil’s significance and remaining power in an era of impending transformation.

oil:narratives. From fairy tales to curses, from celebratory tales of pioneers to dismal accounts of victims, oil has inspired contrasting narratives around the world. These encompass origins, belonging, identity, progress and development, for oil has been rendered in ways that matter to not only oil companies and governments, but to most people on the planet. It has helped found our world and continues to modulate it, establishing not only the present of the people of the world, but also their past and future. This section invites scholars to engage with oil as a catalyst for narratives that have framed nations, corporations, groups and individuals. We seek contributions that grapple with the forms that narratives take around oil, that ponder how they shape history and the ways in which they shape imaginaries of post-petroleum worlds.

oil:nature. Oil has served as the main catalyst for the 20th century’s economic growth and exploitation of natural resources. Oil has re-defined our relationship to and understanding of the nature-culture divide. Extractive frontiers have continuously expanded, inspiring the recent scientific proposal that we are now living in a new geological epoch in which humans have left an indelible impact on the planet i.e. the Anthropocene. In this section we invite papers and presentations that seek to explore this symbolic proposal and the possibility of it signalling the need for a profound change in human-nature relations. We wish to encourage thought and discussion of its impacts on personal identity, and ramifications for how we address pollution, social justice, public health and rights to land, water streams and seascapes.
 
oil:conflict. Numerous historical and contemporary events – from the Chaco War to recent Saudi bombings in Yemen – remind us that oil has been and remains a catalyst of conflicts. International wars, civil war, criminal violence and varying forms of socio-environmental contestation are linked to control of oil production, indicating oil’s influence across scales and temporalities. We invite scholars to reopen and reframe taken-for-granted assumptions about the resource curse, and to consider anew the significance of oil in geopolitics, economic development and alliances over extractive energy sources. We provide a space for scholars who work on violent contexts and aim to attract analysts who focus on the dynamics of militancy and alternative forms of socio-political and legal action to question oil governance. While inviting papers that reveal the inner workings of large-scale conflicts, we also anticipate papers that unpack how social movements and community campaigns oppose, benefit and tame oil production and exploration – frequently in the face of repressive prosecution and potential assassination.

oil:work. While scholarship on the petroleum industry is vast, research on oil workers and their communities is rather limited. Yet, oil workers are intrinsic to an understanding of oil cultures as well as the politics of oil. Their history is as old and tortuous as the history of commodified oil, hence this section invites papers that analyse the embedding of labour histories of oil in wider global histories of labour. On the one hand, oil workers are relatively few and difficult to organise, considering the economic and technological intensity of the petroleum industry and the physical infrastructure, on the other, oil workers and their organisations have played important roles in democratic transitions and economic struggles. Papers on all kinds of cultural and political expression of oil, work and workers are welcome, as are those that tackle how oil workers constitute themselves as groups and in trade unions, how their work schedules influence their social lives, and how their trade interacts with their situated social status. We open for discussions and exploration on the role of workers in the petroleum industries in a green transition.

oil:visions invites all papers that plumb visions of the cultural and historical transformations wrought by the oil industry, and interrogate transformations away from oil based societies. These visions can be artistic, critical or otherwise creative, and can refer to the past, present, or future, including solarpunk and post-apocalyptic visions of desirable futures. We welcome contributions that explore how literature, film, the visual arts, and other narrative and aesthetic forms of expression render visible phenomena around oil and the many transformations that exist in ontological kinship with it. Papers will draw out how the arts visualize, channel and evoke concerns and enthusiasm about justice, progress, technology, ecology, prosperity, scarcity, abundance and capital in an age of transformation. Ingrained and reflected here is the vital question of how visions of oil – past, present and future – shape the politics of transformation in the present.

Deadline & how to apply

Individual Papers: Please submit a 400 word (max) abstract that identifies the themes your paper responds to along with a 200 word (max) bio by 20 January 2020.

Pre-Formed Panels, Workshops, or Roundtables: Please submit a two page panel description that identifies the themes the panel responds to as well as the institution, research group, or network organizing the panel, workshop, or roundtable by 15 December 2019. Panels must also include 250 word abstracts and brief bios for the individual papers that comprise the panel.

Other info, Links & conditions

All submissions and inquiries can be sent to the organizers’ email: petrocultures2020@gmail.com.

Please follow the conference website here for more details and updates.

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10/1/2020 – CFP: “World Weary: Cultures of Exhaustion”

What, when & where

World Weary: Cultures of Exhaustion

21-22 May 2020, University of York, UK

Keynote Speakers:
Claire Colebrook, Edwin Erle Sparks Professor of English, Penn State University, USA
Daisy Hildyard, author of The Second Body (2018)

How does contemporary culture make sense of weary worlds? Exhaustion can be used to describe both the depletion of planetary resources and a structural waning of social and economic equity. Similarly, the burden of exhaustion is increasingly justified by an ideology of resilience and ‘mindful’ ethical consumerism, even as its effects are carried disproportionately across populations. When it comes to conceptualising sequestration, burnout and extinction, what do these terms tell us about the limitations of the imaginary of exhaustion itself and how are they extrapolated through visual, literary or theoretical modes? This interdisciplinary conference welcomes papers from all disciplines and cross-genre work in the humanities, sciences and at the convergence of art and activism. We are interested in responses to the varied representations of exhaustion, particularly with regard to instrumental and coalitional axes that discern the shape and feel of exhaustion in contemporary life.

Deadline & how to apply

Please send a 250-word proposal and short biography to the conference organisers. The deadline for proposals is 10 January 2020. More information is available at worldweary2020.co.uk

Other info, Links & conditions

Conference organisers:

Gabriella Beckhurst – gabriella.beckhurst.19@ucl.ac.uk

Francesca Curtis – fc710@york.ac.uk

Cecilia Tricker-Walsh – ctricker-walsh1@sheffield.ac.uk

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7/1/2020 – CFP: “Camp/camp: the collision of style and biopolitics”

What, when & where

Camp/camp: the collision of style and biopolitics

The Department of Comparative Literature, Hispanic Studies, and The Centre for the Study of Theory and Criticism at Western University invite abstracts for the 22nd annual Graduate Student Conference on “Camp/camp,” which will be taking place March 26-28, 2020.

The ambiguous nature of ‘camp’ means that it summons different meanings dependent on one’s frame of reference. Camp as sensibility is described by Susan Sontag as using artifice and exaggeration to “convert the serious into the frivolous—these are grave matters” (1). A grave matter, indeed, when we consider the implications of covering over matters of biopolitics and totalitarianism with the study of aesthetics. Thus, to contrast the study of camp with the study of the camp, as exemplified by the work of Giorgio Agamben, is to reveal the intimate relationship between aesthetics and biopolitics. Following Agamben, we contend that the body is reduced to ‘bare life’ in the camp, “the space that is opened up when the state of exception begins to become the rule” (Agamben 168). Today, camp as sensibility and camp as the biopolitical are both ingrained in our current cultural moment as an aesthetics of distraction: we watch the MET Gala, binge RuPaul’s Drag Race and Queer Eye, and obsess over Lady Gaga and Barbra Streisand; at the same time children are locked in cages by ICE, we debate the refugee crisis, and conflict continues in places like Hong Kong, Catalonia, and the Middle East, as captured by Marjane Satrapi’s graphic autobiography, Persepolis (2000).

Although a definition of camp as an aesthetic mode often seems elusive, it is something which is found almost everywhere in our contemporary culture. Moreover, the contrast of the camp as a philosophical concept widens the scope of the culture of camp and brings together the intersection of the serious with the frivolous in ways that expose the binary. Camp exposes the dichotomies of art/kitsch and natural/artifice. This can take the form of examining literature, such as the carnivalesque-grotesque in Medieval, Early Modern, and Enlightenment literatures, for example Rabelais’ Gargantua and Pantagruel which makes use of scatological imagery in relation to the body politic. Many genres of literature employ biopolitical elements, especially science fiction, horror, speculative fiction, and trauma literature. In fact, Holocaust literature has itself become its own category, ranging from autobiographical works, such as Primo Levi’s If This is a Man (1947), Art Spiegelman’s Maus I & II (1980), and The Diary of Anne Frank (1947), to novels like The Boy in the Striped Pyjamas (2006).

Indigenous Canadian art and literature often combine these concepts with the biopolitical, such as in the art and performance of Cree artist Kent Monkman and his alter-ego, Miss Chief Eagle Testickle, whose work juxtaposes trauma with queer aesthetic performances interrupting idyllic vistas of Canada. The contrast between kitsch and camp also emerges in the literary works of Indigenous authors such as Sherman Alexie, Thomas King, Tomson Highway, and Joshua Whitehead, whose novels and poetry impress on the reader the importance of rebelling against the colonial body politic. On the other hand, distinct Canadian landmarks have also been tainted by a camp sensibility, as seen in Henry Hathaway’s Niagara (1953) starring  Marilyn Monroe.

Camp is also sensed through the work of many filmmakers, such as in Pedro Almodóvar’s signature style, where camp meets high art and has been popular from the 1960s through to the present. Other Hollywood films and Broadway productions have long embraced camp sensibility in many classic films such as Barbarella (1968), Valley of the Dolls (1967), The Rocky Horror Picture Show (1975), and Billy Elliot (2000). Many of these classics also embrace the tyrannical nature of biopolitics that deal with issues in sexuality, disease, abortion, mental illness, and drug use.

Deadline & how to apply

Formal papers should be designed to be delivered in no more than 20 minutes. Please send ~300 word abstracts, along with a 50 word biography, to gradconference2020@gmail.com by January 7, 2020. The abstracts should also include the following information: Presenter’s short biography (50 words), affiliation (Department and University), a presentation title, and an indication of any special media or other requirements.

Other info, Links & conditions

Conference queries should be sent to gradconference2020@gmail.com. Please also visit gradconference2020.home.blog for more information and updates, or follow us on twitter @camp_uwo

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01/02/2020 – CFP: 2020 Vision: Writing Tomorrow’s History Today”

The History Graduate Student Organization at Kansas State University is proud to announce that it will be hosting the Flint Hills History Conference in Manhattan, Kansas on Saturday April 18, 2020.  This conference serves as an opportunity for graduate students from the Flint Hills region and beyond to gain valuable experience presenting their original research in a friendly, low-pressure environment while still meeting rigorous academic standards. The theme of this year’s conference will be “2020 Vision: Writing Tomorrow’s History Today.”  Applicants are asked to submit proposals for presentations regarding scholarly work that makes the best use of modern research and presentation techniques, or research on a historical topic that may shed light on current events.  Graduate students in non-history fields may also apply if their work is relevant to the conference theme.

27/11/2019 – CFP: Woman Questions: Margaret Fuller and Louisa May Alcott in Their Time

In this year of the centennial of women’s suffrage in the US, the Fuller and Alcott Societies invite your participation in the Thoreau Gathering (July 8-12, 2020 in Concord, MA)Our focus will be on gender as part of the Gathering’s larger theme of “Thoreau and Diversity: People, Principles, Politics.”  What did Thoreau’s two most famous female contemporaries in the Concord circle have to say to him, to each other, or to their larger worlds about changing the legal and human status of women? 
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31/05/2020 – CFP: (De)automating the Future

Call for Papers
Tentative Title: (De)automating the Future Technology, it often seems, is our fate. Not only has capitalism’s fossil fuel-based industrialization led to global warming; for many on both sides of the political spectrum the only solution to climate change and other societal problems, such as world hunger and poverty, appears in the form of further technological “innovation.” The future—if there is to be one— seems to belong to technological systems that delegate collective political responsibility to machines and to a class alliance of capitalists and engineers. Leggi tutto “31/05/2020 – CFP: (De)automating the Future”

16/12/2019 – CFP: Conference “Authority and Trust: Comparative and Interdisciplinary Perspectives”

Conference “Authority and Trust: Comparative and Interdisciplinary Perspectives”

June 25–27, 2020, Heidelberg Center for American Studies

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