Children appear in James’s fiction in many different kinds of roles, from the annoying little brother in Daisy Miller to the impressionable girl of What Maisie Knew. He also wrote extensively about his own childhood and those of his siblings. None of these writings are, however, for child readers, unlike the work of Lewis Carroll or Robert Louis Stevenson or Mark Twain or Louisa May Alcott. What opportunities does James find in his representations of children? How does the development of his late style affect these possibilities? These topics are suggestions, but other approaches to the subject are invited.

Henry James scholarship has hesitated to engage with the challenges and opportunities presented by the rich and proliferating constellation of thought that is Trans Studies. How might the question of transgender revise, reinvigorate or transform our understanding of James’s writing, and / or of James as a biographical subject?

We welcome proposals addressing any aspect of the topic. Possible approaches might include:

-          Transgender subjects in James’s fictional worlds and nonfiction texts

-          Transgender and subjectless queer critique

-          Sex, gender, and narration

-          Transgender and sexuality

-          Transgender and sibling relationships

The Film Education Journal (FEJ) is the world’s only publication committed to exploring how teachers and other educators work with film, and to involving other participants – policymakers, academics, researchers, cultural agencies and film-makers themselves – in that conversation. The journal publishes a range of article types, aimed at reaching our diverse academic and practitioner audience. FEJ welcomes submissions for its eighth edition (to be published in November 2021). Full submission guidelines and information can be found here: https://www.uclpress.co.uk/pages/film-education-journal

The English theatre culture from the early Restoration to the early 18th century witnessed a marked shift towards increased commercialization and popularization of theatre. Gone were the post-1660 close association with the court, royalist productions, and prominently elite (well-off and upper-class) audiences. Instead, the experimentation with new genres, opening of new theatres, and a growing differentiation of the theatre programme into mainpieces, entr’acte entertainments and afterpieces revolutionized the established cultural hierarchies of the period.

INTERNATIONAL CONFERENCE

Women and music in the early modern age  

Queluz National Palace

July 2nd - 4th, 2021

Organization:

Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal 

Scientific Committee:

Cristina Fernandes, Giuseppina Raggi, Iskrena Yordanova,

Ricardo Bernardes, José Camões, Francesco Cotticelli, Paologiovanni Maione