Our special issue "Writing Japan" encompasses writing from and/or about Japan, broadly imagined. We hope to feature work by Japanese writers and non-Japanese writers writing in relation to Japan, as well as work that challenges fixed ideas about Japanese identity and the Japanese experience. We are looking for idiosyncratic and intelligent work that explores the various meanings of "Writing Japan."
The second half of the nineteenth century was marked by the emergence of the global women’s movement.Feminism altered the course of literature by challenging those literary conventions that governed the portrayal of women and women's experience at the fin de siècle. Feminist texts explicitly advocated social change and discussed new women’s roles in society. This edited volume Liberating Herself: Emancipationist Writing at the Fin de Siècle (under contract with Cambridge Scholars Publishing) welcomes contributions on any aspect of nineteenth-century literary feminism. Comparative approaches are welcome. By March 8, please submit a 250-300 word abstract and your CV to Dr.
Two decades after the groundbreaking 1997 essay collection Novel Gazing: Queer Readings in Fiction, edited by Eve Kosofsky Sedgwick, no comparable volume of theoretical engagements with poetry has appeared. This is not because of a lack of significant, queer critical accounts of poetry, then or now. Yet this relatively small body of work in queer poetics has emerged piecemeal, rather than as part of a sustained, collective effort to consolidate a line of inquiry and further a dialogue between queer and poetic theories.
The Wrong Review is a journal of literary studies and creative writing. We are committed towards promoting poetry especially emerging poets. We invite poetry, reviews of poetry, essays on poetry and poetics and interviews with poets. We accept all genres of poetry and are open to submissions year-round. The Wrong review is strongly motivated to support its writers through small amounts of monetary gifts.
Authorial literary translation
The study of any national literary system cannot exclude a comparative approach and an investigation into the function of translations. Our aim in this monographic issue is to study works translated by leading writers in international literary cultures (not exclusively European), and then analyse the role of these translations in the formation of supranational literary canons.
The leading writers of various literary traditions have in fact very often translated foreign works themselves by turning, on occasions, to translation as a fundamental practice for personal enrichment to creative and stylistic ends.
CALL FOR PAPERS:
The 2017 Conference on John Milton
October 12-14, 2017, Birmingham AL
Papers (not to exceed twenty minutes reading time) are invited on any aspect of Milton Studies, from close readings of particular works to broader investigations of themes and trends.
Submit full papers (10 pages maximum) along with 150 word abstracts on the conference website:
Deadline for submissions: June 19th, 2017
John Rumrich, University of Texas at Austin
Elizabeth Sauer, Brock University
The conference will be held at the Doubletree Hotel in Birmingham AL.
The John Clare Society of North America invites proposals for its guaranteed session panel at the Modern Language Association Convention in New York City, NY, January 4th-7th, 2018. We invite scholarship on any aspect of “encounter” (mental or physical, human or animal), ecology, and/or interrelation in John Clare’s life, work, and legacy. Abstract and short bio by 10 March 2017 to Erica McAlpine at firstname.lastname@example.org
Leonard Cohen In Retrospect
12-14 January 2018, University of York
Il pubblico della poesia (Cosenza: Lerici), edited by Alfonso Berardinelli and Franco Cordelli, was published in 1975. It is the first anthology to consider the poetic generation that appeared after 1968. The novelty of these poets was characterised in three main ways: the interruption of the linear relationship with Tradition; the «tendency towards the fast dissolution of the sociocultural and ideological figure of the Author»; and a change in the literary field. As argued by Berardinelli in the introduction: «[...] The Self that produces poetic texts in these years no longer resembles that of the great tradition of the twentieth century, and probably not even that of the author’s fathers and older brothers of the preceding twenty years ».