Mapping the imaginary has always been a challenge for world-building and storytelling alike. Map of the fictional world subverts the very essence of an actual cartography: it represents a territory that cannot be discovered or traversed in a non-fictional realm and yet it delivers much more than a usual map: a promise of the journey into unknown. An exquisitely quotable phrase coined by J. R. R. Tolkien, who claimed to "start writing with a map and [then] make the story fit" is only reprising what have always been evident to cartographers and creators of imaginary worlds: maps precede territories and are inevitably becoming the most essen¬tial part of modern and postmodern storyworlds.
Ever since the early days of British occupation of Australia, there has been a major concern in finding a balance between the colonial ways of looking to the land and the difficulty, if not impossibility, of dealing with the vastness of the Australian territory and the diversity of its native peoples. Such tensions, far from being resolved, have created a literary and filmic system which reflects the multiplicity of approaches and constructions of Australian land and culture and whose examples, unfortunately, do not reach the non-English-speaking world as they should.
The Confidential Clerk (ISSN 2454-6100), an open-access, peer-reviewed journal of the Centre for Victorian Studies, Jadavpur University, seeks contributions for its 2015/16 issue, 'Realizing the Unreal: Victorian Speculative Fiction in Context'. The issue will focus on Victorian speculative fiction and its generic, thematic, historical, and cultural contexts. Victorian speculative fiction is usually described as 'a flight from the real'; but we welcome submissions that go beyond this understanding to show how the Victorian imagination engages with the unreality of the real or creates alternative realities of the unreal in different forms of speculative fiction.
Through the creation of a bounded space, territory, as Stuart Elden points out, 'is already a violent act of exclusion and inclusion; maintaining it as such requires constant vigilance and the mobilization of threat, and challenging it necessarily entails a transgression' (Elden, Terror and Terrorism xxx). This organisation and maintaining of territorial limits as an enterprise fraught with violence is clearly apparent in the postcolonial world, the boundaries of which, ever since European imperial expansion began and right through to decolonisation and the present era, have been drawn and redrawn with little or no consideration for the cultural and historical affinities among the inhabitants of those places.
CALL FOR PAPERS
Queensland Review 23.2 (2016)
Special Issue, 'Queensland Modernism'
World Cinema and Television in French
September 9-10, 2016 ∙ University of Cincinnati, USA
Sponsored by Contemporary French Civilization, The University of Cincinnati & The University of Rhode Island
Confirmed Keynote Speaker: Bill Marshall (University of Stirling)
Confirmed Roundtable Participants: Joseph Mai (Clemson University), Mireille Rosello (University of Amsterdam), Sylvie Durmelat (Georgetown University), Thibaut Schilt (College of the Holy Cross)
In a lecture recently published in Public Books, Gayatri Chakravorty Spivak argues that answering the question "How can there be a feminist world?" requires moving "beyond the enforcement of the law" to "the creation of a society where the law becomes equal to a general social will." Imagining the formation of collectivities not premised on self-interest, Spivak yet cautions that an ethical other-directed society is distinct from current cultural practices, in which "servants and women have to work out constantly what the masters think." Sara Ahmed's Willful Subjects (2014) identifies a related dilemma in willing alternative collectivities.
In her recent study, The Forms of the Affects (2014), Eugenie Brinkema announces, "We may well be at the beginning of what will eventually be called the twenty-first century 'return to form' in the humanities" (39). Brinkema marks MLQ's special issue, "Reading for Form" (2000), which was later published as a collection of essays under the same name (2006), both edited by Susan J. Wolfson and Marshall Brown, as the beginning of this return to form. Meredith Martin's The Rise and Fall of Meter: Poetry and English National Culture, 1860-1930 (2012) and Derek Attridge's Moving Words: Forms of English Poetry (2013), to name only two of the many recent publications that address form, seem to support Brinkema's claim.