Study Day on Crime Fiction Lille Catholic University, France – 7 October 2022: New Date

 

Deadline for abstract submissions: 31 May 2022

Modern detective fiction is usually considered to have started with Edgar Allan Poe’s three Dupin short stories and it is certain that the Sherlock Holmes short stories in The Strand magazine brought the new genre to the attention of the world. Other notable writers who helped shape the genre in the early 20th century, including G. K. Chesterton and Melville Davisson Post, stuck to the short form and managed both to innovate and to produce works which are still appreciated today. For Ellery Queen, writing in 1942, it was still possible to state that “the original, the ‘legitimate’ form” of detective fiction “was the short story” and to perceive the detective novel as an inflated short story. According to Catherine Ross Nickerson, “[t]he mechanisms of a detective narrative are more apparent in a short story, since there is less upholstery for hiding the ropes and pulleys. The shorter form also forces writers to make a more clear decision about whether to focus on the puzzle or on the character.”

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However, today, some readers, writers and critics seem to prefer the longer form. For P. D. James, this is because novels give “opportunities for even more complicated plotting and more fully developed characters” and because writers “if visited by a powerful idea for an original method of murder, detective or plotline, were unwilling ̶ and indeed still are ̶ to dissipate it on a short story when it could both inspire and form the main interest of a successful novel.” In spite of this, short crime fiction still has enthusiastic readers, as has been proved by Martin Edwards’ and Mike Ashley’s numerous commercially successful anthologies, which combine long forgotten gems unearthed from various archives and stories on a particular theme written by contemporary authors. Two collections of P. D. James’s own short stories, published posthumously, have also sold extremely well; the prolific Joyce Carol Oates comes to mind as well for she regularly brings out collections of “mystery and suspense” stories which are instant successes on both sides of the Atlantic.

Short crime fiction is published in various contexts. Sherlock Holmes’s unexpected resurrection from the Reichenbach Falls is probably the reasons for many authors preferring the open series, with a beginning but no end except the author’s death, like Chesterton’s Father Brown stories. Several authors have however produced closed collections like Agatha Christie’s Labours of Hercules or Chesterton’s The Man Who Knew Too Much. Others, like Ellery Queen, have found the short format ideal for radio or television episodes. For authors who mainly write novels, like Ellis Peters and Kate Charles, a short story may provide a useful prequel or sequel to a series of novels. Equally, while detective novels are almost exclusively concerned with murder, authors frequently use the short story format to write about other, often less serious, crimes as Susan Pettigru King does in her series of stories, Crimes Which the Law Does Not Reach, published in Russell’s Magazine in 1857 and 1858.

We are looking for 20 to 25-minute papers about any aspect of short crime fiction in the English-speaking world including stories published individually in magazines, short story series, cycles or collections, anthologies, radio and television series or short plays. Papers on short crime fiction for young adults or children as well as adults are welcome.

How to Submit

Please send your proposals (approx. 300 words) to Suzanne Bray (suzanne.bray@univ-catholille.fr) and Gérald Préher (gerald.preher@univ-artois.fr)   for the revised deadline of 31st May 2022.

CfP Modernism and Matter

Conference “Modernism and Matter” 13-14 October 2022 Université Paul-Valéry Montpellier3

An International workshop organised by EMMA (Université Paul-Valéry Montpellier3) in collaboration with CIRPaLL (Université d’Angers) This workshop on modernism and matter is an incentive to interrogate the meaning of matter, and investigate its power in modernist literature. Proposals 1 June 2022.

Continue reading “CfP Modernism and Matter”

Alasdair Gray Conference Glasgow June 2022

A message from Dr Rodge Glass to all those interested in Alasdair Gray’s short fiction.  Follow the link below for further information about this exciting event.

The University of Strathclyde and the Alasdair Gray Archive, in partnership with the Glasgow School of Art, the University of Western Brittany (HCTI), Aix-Marseille Universite (LERMA), Edge Hill University, the University of Lausanne and the Tannahill Fund for the Furtherance of Scottish Literature, are pleased to invite you to the 2nd International Alasdair Gray Conference. The conference will take place from 16th to 17th of June 2022 at the University of Strathclyde.

This two-day interdisciplinary conference will examine the nature, value and legacy of Alasdair Gray’s artistic output, considering his literary work, and his visual practice, and the relationship between the two in Gray’s oeuvre. The conference is entitled “Making Imagined Objects” in tribute to Gray’s own repeated and modest claim that he was a “maker of imagined objects”.

This is the second International Alasdair Gray Conference. The first one, convened by Professor Camille Manfredi, took place in Brest in 2012 and resulted in the critical book, Alasdair Gray: Ink for Worlds (Palgrave Macmillan, 2014), which Gray himself contributed to. This second Alasdair Gray Conference, with some of the same organisers involved, intends to be its continuation a decade later, expanding towards an even greater validation of Alasdair Gray’s plurality of forms.

 

ENSFR Annual Conference — Lisbon October 2022: Short Fiction as World Literature

In Death of a Discipline, Gayatri Spivak mentions the problematic identification of “literature” with the novel form in comparative literature (2005: 123). Her concern with our general blindness to non-hegemonic forms recalls the consternation frequently shown in short fiction criticism toward the enduring novel-centrism of literary studies. This conference aims to bring together scholars with an interest in examining this tension and the different ways in which it may extend to the field of world literature. But our goal is not to look at the short form once again in stark opposition to the novel. Rather, we invite papers that interrogate the marginal spaces of short fiction from other angles and explore the underestimated potential of the short story as a cosmopolitan form, focusing on how it may tell an alternative history of literary circulation.

While brevity may well be an insufficient criterion to define the genre, it is, in the simplest sense, what makes the short story highly portable and translatable. With its ability to easily navigate distinct narrative registers, subgenres, styles, and literary traditions, the short story’s inherently movable nature is reflected in the rapidity and abundance of its publication. It often circulates in both literary and non-specialized sources that are more volatile and transmissible than books: journals, pamphlets, academic and cultural periodicals, and, increasingly, digital outlets such as websites, blogs, online magazines, and social media. It is also typically faster to translate than longer forms like the novel, as well as arguably easier to translate than more semantically and structurally complex forms like poetry. The short story is widely translated and disseminated in anthologies that frequently aim to introduce their readers to lesser-known or previously untranslated works. Additionally, the short story is the object of frequent adaptations to cinema, television and other audiovisual media.

But the short story also travels through language(s) by other means. On one hand, it is a migrant or a traveling form even within its linguistic and geo-cultural world, often appearing in collections that promote the categories of Lusophone, Anglophone, or Francophone short story. On the other hand, its portability also means that short-story writers are often influenced by, and respond to, international peers and predecessors. In this sense, the modernist short story is an apt example of an intrinsically transnational genre in which the influences of Chekhov, Kafka, Mansfield, Borges, and others, cut across national boundaries. Looking into post-modern and contemporary fiction we also have to consider emerging and renewed forms of migrant writing, with an increasing number of multilingual authors writing in a second language and sometimes acting also as translators of their own work.

Considering the diversity that characterizes the many genres of short fiction, the topics we hope to explore in the ENSFR Conference of 2022 through the theme of “Short Fiction as World Literature” include, but are not limited to, the following:

• The short story in motion: translation, adaptation, circulation

• The history of short fiction in connection to literary and social change •

• The short story as a portable form •

• Intermedial and transmedial approaches to short fiction

• Intertextuality and the short story

• The short story as a global and a local form

• Migration and the short story

• Reception theory and the reader’s response to short fiction

• Transnational styles and genres (e.g. novella, flash fiction, short story cycles)

• Multilingualism in short fiction and cross-cultural aesthetics

• The native, foreign, hegemonic, and peripheral languages of the short story

• Short fiction anthologies in world literature

• Creation and the short story: creative nonfiction, crossover fiction, multimedia storytelling.

Proposals of about 300 words for presentations in English, Portuguese, or French, together with a short biographical note (50 words) should be sent to ensfrconference2022@gmail.com by June 3.

We welcome interdisciplinary and creative presentations. Proposals from students and early-career researchers are especially encouraged. A selection of articles based on papers from the conference will be published in Short Fiction in Theory and Practice and in Journal of the Short Story in English.

The 2022 ENSFR Conference will take place in-person at the University of Lisbon School of Arts and Humanities (Faculdade de Letras da Universidade de Lisboa).

Organizers: Ailsa Cox (Edge Hill University) Amândio Reis (Universidade de Lisboa) Elke D’hoker (KU Leuven) Michelle Ryan-Sautour (Université d’Angers)

Journée d’études / Study Day on Short Crime Fiction – 14 October 2022, Université Catholique de Lille

Call for Papers

Modern detective fiction is usually considered to have started with Edgar Allan Poe’s three Dupin short stories and it is certain that the Sherlock Holmes short stories in The Strand magazine brought the new genre to the attention of the world. Other notable writers who helped shape the genre in the early 20th century, including G. K. Chesterton and Melville Davisson Post, stuck to the short form and managed both to innovate and to produce works which are still appreciated today. For Ellery Queen, writing in 1942, it was still possible to state that “the original, the ‘legitimate’ form” of detective fiction “was the short story”[1] and to perceive the detective novel as an inflated short story. According to Catherine Ross Nickerson, “[t]he mechanisms of a detective narrative are more apparent in a short story, since there is less upholstery for hiding the ropes and pulleys. The shorter form also forces writers to make a more clear decision about whether to focus on the puzzle or on the character.”[2]

Continue reading “Journée d’études / Study Day on Short Crime Fiction – 14 October 2022, Université Catholique de Lille”

Call for Contributors: Handbook of the Short Story

We are editing a Handbook of the Short Story in the World for Brill as part of the series Handbooks of Literary and Cultural Studies, and we are looking for chapters on some specific topics (see below).  We are well aware that the chapters are broad in their scope. Some of these chapters should have a comparativist approach that covers several countries. For that reason, we are looking for potential contributors who have expertise in the field to write a synthetical approach to the topic while at the same time being analytical in the discussion of concrete short stories. Ideally a chapter should offer an overview of the topic, and then discuss three or four authors and/ or stories.

The volume is aimed at non-specialist scholars and graduate (or otherwise advanced) students in literature and cultural studies and it offers balanced accounts, not axe-grinding or reckoning of grievances with other scholars. The chapters aim to provide full balanced accounts at an advanced undergraduate and graduate level, as well as a synthesis of debate, past and current methodologies, and the state of scholarship.  As editors, we are seeking purpose-written contributions, book chapters, between 6,000 and 8,000 words, aiming to explain what sources there are, what methodologies and approaches are appropriate in dealing with them, what issues arise and how they have been treated, indicating also the room for disagreement. In conclusion the chapter must be a guide to the graduate student approaching the material for the first time (focused not marginal, orienting, providing contextual information, pointing out leading or provocative questions).

Contributors should send an abstract (300 – 500 words) and a brief CV to both editors by March 15th 2022. Confirmation of acceptance by April 15th 2022. Final versions should be submitted in December 2022.

If you have any query, please do not hesitate to email us.

Santiago Rodríguez Guerrero-Strachan (University of Valladolid) guerrero@fyl.uva.es and  José Ramón Ibáñez Ibáñez (University of Almería) jibanez@ual.es

List of units to cover:

Theoretical approaches

The short story: from the Press to the Digital Age

The Folk Tale

The Fantastic/ Horror/ Gothic Short Fiction

The Science Fiction Short Story

History of Short Fiction

The Rise of the Modern Short Story: Poe, Hawthorne, ETA Hoffmann, J.P. Kleist, N. Gogol, Sir Walter Scott

The Realist Short Story: S. Crane, Henry James, G. Flaubert, G. Maupassant, I. Turgenev, T. Hardy, M. Twain, A. Chekhov

Fin-de-siècle Short Story: Gérard de Nerval, R. Kipling, R. L. Stevenson

The Modernist Short Story: James Joyce, V. Woolf, E. Hemingway, W. Faulkner, F.S. Fitzgerald, K. Mansfield, J. Conrad, Ford Maddox Ford

The Diasporic Short Story: Jhumpa Lahiri, Ha Jin, Sefi Atta, Ben Okri

Regions of the Short Story

The Hispanic and Francophone Caribbean Short Story: A. Carpentier, G. García Márquez, S. Ramírez, Marvel Moreno

The Río de la Plata Short Story: J. L. Borges and J. Cortázar

The North American Short Story in Spanish: J.J. Arreola and A. Monterroso

The Spanish Short Story: G.A. Bécquer, E. Pardo Bazán, I. Aldecoa, C. Fernández Cubas

Ethnic Fiction: M. Hong Kingston, H. M. Viramontes, Louise Erdrich

The Anglo-Indian Short Story: M. Raj Anard, R.K. Narajan and Raja Rao.

The Southeast Asian Short Story

The Arabic Short Story

The Short Story in German: F. Kafka, T. Mann, T. Bernhard

Eastern Europe Short Fiction: Sholom Aleichem, Shalom Asch, I. Bashevis Singer, I. Babel

The East Asian Short Story

The Israeli Short Story

LIST OF CHAPTERS:

Theoretical approaches: The short story: from the Press to the Digital Age

The Folk Tale

The Fantastic/ Horror/ Gothic Short Fiction

The Science Fiction Short Story

History of Short Fiction:

The Rise of the Modern Short Story.

The Realist Short Story.

Fin-de-siècle Short Story.

The Modernist Short Story.

The Diasporic Short Story.

Ethnic Short Fiction.

Regions of the Short Story:

The Hispanic and Francophone Caribbean Short Story.

The Río de la Plata Short Story.

The North American Short Story in Spanish.

The Spanish Short Story.

The Anglo-Indian Short Story.

The Arabic Short Story.

The Israeli Short Story.

The Short Story in German.

Eastern European Short Fiction.

The Southeast Asian Short Story.

The East Asian Short Story.

CFP: American short story writers and the American short story as cultural institution

The following call for papers has been selected by the organisers of the 53rd annual Congress of the French Association for American Studies, which will take place at the University of Bordeaux (Michel Montaigne) from 31st May to the 3rd June, 2022. The theme of the congress is “Legitimacy, Authority, Canons”.

American short story writers and the American short story as cultural institution

Maurice Cronin, (University Paris Dauphine)

The short story holds a paradoxical institutional and cultural status in the United States, where it has, by turns, been exalted as the ‘national art form’ and relegated to the role of poor relation to the novel. Since the 1890s, when Brander Matthews designated the “short-story” as a genre in its own right, quite distinct from, and implicitly superior to, the novel, seen as the canonical form of European fiction—a designation that Andrew Levy has described as “an informal declaration of independence from … cultural subservience to European literature” (Levy, 34)—the short story has frequently been accorded an exceptional place in U.S. culture. This is partly attributable to institutional factors specific to the country. The establishment of a modern Anglo-American literary canon to rival the classical canon was a key element in the endeavor to legitimize modern English departments emerging in the early twentieth century in the US. Establishing an American literary tradition was an important part of that endeavor throughout the first half of the century, and the designation of the short story as candidate for the role of “national art form” a notable feature of it (Levy 84).

The genre’s candidacy was subsequently bolstered by the appearance of the New Critical anthology-text books, such as Brooks and Warren’s influential Understanding Fiction (1943, 1959), which gave the short story an important role in high-school and college literature pedagogy, and the emergence of the first creative writing graduate programs, in which the short story was almost immediately adopted as the apprentice genre for aspiring writers of fiction. In the U.S. today, the short story is associated with prestige publications like the New Yorker, and is more than ever at the heart of creative writing pedagogy in graduate workshop programmes. And yet, despite this strong institutional presence—or perhaps even because of it—the short story still gives the impression of a genre caught up in a perpetual quest for legitimacy. This is precisely what makes it a rich subject for exploring the related questions of legitimacy, authority and canons in American studies. The genre’s paradoxical status is attributable partly to the nature of the institutions that have been instrumental to its development in the U.S., and partly to the specific nature of the question of legitimacy in the literary domain more generally. As Patrick Charaudeau shows, legitimacy can generally be defined as a form of social recognition that is always, in some way or another, institutional in nature and origin (Charaudeau, 3). In a sense, literature is itself an institution in the usual sense of the term, but it is also a strange, paradoxically “institutionless institution”, as Jacques Derrida puts it, insofar as “in principle” it “allows one say everything, in every way” (Derrida, 42, 36). As such, what is thereby ‘instituted’ is literary authors’ freedom “to break free of rules, displace them” (37). As a field, then, literature is a relatively weakly institutionalized one. Literary texts do not emerge in a situation in which the rules or norms governing their emission and reception are entirely pre-defined once and for all. As such, they must reflexively negotiate their own emergence, and as it were, legitimize themselves. It follows from this that in the literary domain there is always a potential tension between legitimacy, understood as a form of institutional recognition or sanction, and authority, which in this case must always have a more or less pronounced “charismatic” dimension, insofar as its source is not socially or institutionally visible. This tension between legitimacy and authority is especially relevant to the position of short story writers in the United States precisely because the short story is a genre in which the mediating role of the institutional structures crucial to its development is particularly visible, whether it be in the form of magazine or anthology editors, anthology text books or creative writing workshops. As such institutional factors do not merely surround works, but affect them in their very structure and “content”, this workshop seeks to explore the question of how writers in the U.S. negotiate and renegotiate them within their works. All approaches that help us understand how, since the post-war era, short story writers have managed to construct distinctive literary identities and gain canonical status in a so-called minor genre that has been so heavily institutionalized are welcome.

This question of authors’ negotiation and renegotiation of the cultural and institutional status of the genre is, of course, not just a textual matter. Mode of publication is a particularly crucial institutional factor that all short story writers have to contend with. As Bruno Montfort has argued, what truly distinguishes the short story from the novel is that the former is almost always published alongside other texts. Unlike the novel, its “verbal unit” (the text) very rarely overlaps with its “material unit of publication”, i.e. the book (Montfort 158, my translation). In a culture in which the single-author book still very much remains the prestige publication format for fiction, short stories and short story writers always potentially suffer from a deficit of legitimacy and cultural authority. Given that prior publication in magazines and journals is more than ever a pre-requisite for short-story writers to gain subsequent access to publication in more prestigious formats, contributions that deal with short story writers’ relations with magazine editors—through, for example, examination of author-editor correspondence—are of obvious relevance to this workshop.

The publication of single-author collections would appear to represent a form of consecration for short story writers. Yet whether re-publication of magazine-published stories in single-author collections offers a solution to the deficit of legitimacy and authority that short-story writers have to contend with is moot. Bruno Montfort points out, for instance, that the authority of such collections is more often than not quite restricted, an argument supported by the fact that, to a far greater extent than novels, they are subject to being “dismembered” (Montfort, 165, my translation) and subsequently republished in different formats. The chequered publication history of short story collections in the United States, even those of canonical writers like Hemingway and Faulkner, lends credence to this view. Yet the short story collection as a genre continues to enjoy a degree of presence and cultural prestige in the US today that is unrivalled in most other national literatures. Furthermore, one might wonder whether re-publication of magazine-published stories in single-author collections constitutes a re-assertion of writers’ authority over their texts. Proposals that involve comparative analyses of magazine and book-collection versions of authors’ stories would offer an interesting way of exploring this question.

Re-publication of their stories in short story anthologies may also represent a form of consecration for short story writers. National anthologies are frequently designed to ‘reflect’ a national tradition, or the cultural and social concerns proper to a nation, but in reality they are also instrumental in shaping the traditions they purport to reflect. Editorial selections, and the introductions or prefaces that usually present and justify them to readers, help shape or change readers’ conception of the genre and play an important role in the on-going process of canon formation. The short story anthology genre is no exception, but it has not as yet received the critical attention it undoubtedly deserves (D’hoker, 115). As the tradition of inviting short story writers to edit short story anthologies is very much alive today in the US, contributions that study the prefaces and editorial choices of such anthologies would add to our understanding of the role writers themselves have played in (re)shaping the canon and the short story as a genre.

The roles writers have played as anthology editors show, if it were necessary, that the relationship between writers and the institutions of the literary field is often a symbiotic one. U.S. writers’ widespread involvement as instructors or former students in university creative writing workshops provides further evidence of this. Mark McGurl claims to show that the presence of the workshop system is “everywhere visible … like a watermark” in post-war US prose fiction, manifesting itself most characteristically in the new forms of institutional self-reflexivity that he detects in the texts of novelists and short-story writers of the so-called “program era” (McGurl, 4). However, McGurl’s work is not focused specifically on the short story, and his account of the institutional effects of the workshop system on the genre and on the practice of short story writers is necessarily patchy. Contributions that either build on McGurl’s approach, or pay greater attention than he does to the shaping effects that writers themselves have had on the workshop system through their involvement in it would thus also be very welcome.

500-word (max) proposals for 25-minute conference papers related to the above topics, and a short biographical statement, are to be sent to Maurice Cronin (mcecronin@yahoo.fr) no later than 17th January, 2022.

 

Works cited

Brooks, Cleanth, and Robert Penn Warren. Understanding Fiction, 2nd edition, Prentice-Hall, 1959.

Charaudeau, Patrick. “Le charisme comme condition du leadership politique.” Revue Française des Sciences de l’information et de la communication [en ligne] 7, 2015. Web. 17 November 2021.

Derrida, Jacques. “This Strange Institution Called Literature: An Interview with Jacques Derrida.” Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1991. 33-75.

D’hoker, Elke. “The Short Story Anthology.” Ed. Paul Delaney and Adrian Hunter, The Edinburgh Companion to the Short Story in English. Edinburgh UP, 2019. 108-124.

Levy, Andrew. The Culture and Commerce of the American Short Story. Cambridge UP, 1993.

Matthews, Brander. “The Philosophy of the Short-Story.” Short Story Theories. Ed. Charles E. May. Ohio UP, 1976. 52-59

McGurl, Mark. The Program Era and the Rise of Creative Writing. Harvard UP, 2009.

Montfort, Bruno. “La nouvelle et son mode de publication, le cas américain.” Poétique 90, 1992. 153- 171.

CFP: Nomadic texts and subjectivities Metamorphic itineraries in/of Angela Carters’ works

University of Angers, France

22-24 June 2022

“The nomad has a territory; he follows customary paths; […] A path is always between two points, but the in-between has taken all the consistency and enjoys both an autonomy and a direction of its own. The life of the nomad is the intermezzo.” Gilles Deleuze and Félix Guattari, A Thousand Plateaus, 380.

“If the writer is a sorcerer, it is because writing is a becoming…” A Thousand Plateaus, 240.

“I’ve never believed that the self is like a mythical beast which has to be trapped and returned, so that you can become whole again. I’m talking about the negotiations we have to make to discover any kind of reality.” Angela Carter, in Edmund Gordon, xiii

 

This international conference under the aegis of the Angela Carter Society sets to explore the metamorphic itineraries of characters, genres, genders, philosophies, texts, and images (paintings, films, photos, postcards) in Carter’s fictional and non-fictional works as well as their creative reception and dissemination by twenty-first century writers and artists. Lorna Sage has already underlined Carter’s itinerant subjectivity: “[…] the role-playing and the shape-shifting, the travels, the choice of a man much younger than her, the baby in her forties –is the story of someone walking a tightrope. It is all happening on the ‘edge’, in no man’s land, among the debris left by past conventions.” This life on the edge, in between, is a metaphor of an essential mobility that inscribes the author, her characters, and her texts in a nomadic logic, where “the in-between has taken all the consistency and enjoys both an autonomy and a direction of its own” Deleuze, 380.

 

The physical or mental journeys of Carter’s characters often run parallel to trajectories of awareness informed by gender, race, class, human and posthuman issues. Dressing up, role-playing, and shapeshifting, like metaphoric journeys in the picaresque tradition, are both thematic and structural features of Carter’s work. They bear witness to the character’s boundless self-invention and the continuous becoming subject: “Becoming is a verb with a consistency all its own: it does not reduce to or lead back to, “appearing,” “being,” “equalling,” or “producing”” (Deleuze, 239). Becoming is the flux, the journey minus the destination. Through the study of the metamorphic itineraries of hybrid, fluid, mobile and problematic identities, contributors are invited to map out the manifestations of nomadic subjectivities in Carter’s work and the politics of becoming that underly their trajectories.

 

The conference will also be an opportunity to study the journey (and sometimes the trials and tribulations) of a rich cultural heritage into Carter’s work. Carter herself declares: “I feel free to loot and rummage in an official past, specifically a literary past, but I like painting and sculpture and the movies and folklore and heresies, too (“NFFL”, SL 41). The access to Carter’s journals, letters and notebooks in the Angela Carter’s Archives provides a precious source to explore her negotiation with Western philosophers, novelists, poets, playwrights, literary critics, painters, film producers etc., and to map out the metamorphic itineraries of this heritage in her work, by tracing lines of tension, lines of flight, dialogues, collusions, subversions, deconstructions and all the strategies that inscribe in her work a nomadic logic. While the formal aspect is important, it is inextricably connected to a politics of nomadism that Deleuze identifies as a “war machine” whose mobility, fluidity, and exteriority makes it at the antipode of the law, of the fixed conventions and rules, or what Deleuze calls the “state apparatus”. In other words, nomadism through its decentralizing metamorphic itineraries becomes essential to the boundless inventions of subjectivities and texts to which Carter’s work bears a witness.

 

The conference will also pay tribute to Carter’s legacy by analysing how Carter’s texts continue their nomadic journeys through the works of contemporary artists, screenwriters, novelists, painters, sculptors, literary critics, fan fiction and other media usages. (Charlotte Crofts, Lucy Wood, Helen Simpson, Ali Smith, Margo Lanagan, Rikki Ducornet, Kate Atkinson, Jeanette Winterson, Sarah Waters, https://lithub.com/50-fascinating-works-of-angela-carter-fan-art/).

 

Contributions could address, but are not limited to, one of the following areas:

  • Metamorphic subjectivities / bodies: the grotesque, the hybrid, the double, the transhuman, the vampire, the queer, liminal figures, the doll, the tattooed body, etc.
  • Textual nomadism/ epistemic metamorphosis: the journey of theory into fiction (Foucault, Barthes, Rousseau, Strauss, Lacan, Xaviere Gauthier, etc.).
  • Enunciative metamorphosis: the becoming of the feminist /gendered voice.
  • Metamorphosis of narrative conventions and genres (fairy tales, the picaresque, the gothic etc.). Given the long tradition of research on short stories and short forms at the University of Angers since the founding of Journal of the Short Story in English in 1983, proposals about short stories or short forms are particularly welcome.
  • Metamorphosis of facts, history, and geography in her work: the representation of Japan, USA, Bristol, bohemian Bristol, countercultural figures, Poe, Baudelaire, Lizzie Borden, Colette etc., the journey from fiction to facts and from facts to fiction in her autobiographical writings.
  • Metamorphosis of Angela Carter: How successful are critics and biographers in their effort to avoid inventing Angela Carter?
  • Nomadic spaces: theatre, carnival, circus, etc.
  • Metamorphosis of the authorial figure: Lorna Sage: “she went on for the proliferation rather than the death of the author”. (1994)
  • Mediated texts which were initially destined to travel through media: radio plays, films, documentaries. See how the metamorphosis/the nomadic principle is inscribed in the text through principles of intermediality. How important is the nomadic texture in the success of the journey over media?
  • Nomadic itineraries of original manuscripts and variants.

 

Knowing that Carter used to spend her holidays in France, French culture found its way into her works. Contributions about the metamorphosis of French culture in Carter’s work are particularly welcome. Angers is also the ideal destination for scholarly nomads who wish to explore Carter’s works against the backdrop of fine wine, castles, and a lush natural setting.

 

Guest speakers

Martine Hennard Dutheil de la Rochère (University of Lausanne, Switzerland)

Anna Kérchy (University of Szeged, Hungary)

 

Proposals of 300 words in English should be sent to michelle.ryan-sautour@univ-angers.fr and karima.thomas@univ-angers.fr before September 21st, 2021.

 

Registration fees

80 € for participants; 30 € for Ph.D. students.

Registration fees include all meals and cultural events except the banquet.

Contribution to the banquet: 30 €

 

Conference web page:

http://cirpall.univ-angers.fr/fr/actualites/colloques/colloque-nomadic-texts-and-subjectivities.html

 

 

 

The Other Side of Hope call for submissions

 

The Other Side of Hope is a new journal celebrating refugee and immigrant communities worldwide. Submission of fiction and poetry is open to refugees, asylum seekers and immigrants only. Non-fiction, reviews and interviews welcome from all, so long as the subject matter sheds light on refugee and immigrant life.

Deadline 31st July 2021.

More information available here