CALL FOR ESSAY PROPOSALS
Deadline: 1 December 2015
Visit the MLA Commons site dedicated to the development of this volume; you’ll find the book proposal, resources, opportunity to offer comment and feedback, as well as this call and a submission portal: https://modwomen.commons.mla.org
Essay proposals are invited for a volume entitled Teaching Modernist Women’s Writing in English, to appear in the Options for Teaching series published by the Modern Language Association. The purpose of the volume is to meet the needs of instructors seeking pedagogical strategies for teaching modernist women’s writing in English and the ways in which women were vital creators and participants in the works and networks of modernism. The volume aims to capture the multiplicity of artistic, political, and social networks of which women writers were a part, crossing gender, class, and national boundaries, and to share ways to teach these connections and concepts from a wide range of contributors who work from different critical orientations and in different types of institutions and classroom settings. The volume will include material relevant for specialists and generalists who are teaching at the undergraduate and graduate levels, as well as in alternative classroom and institutional situations. The teaching resources to be shared will include current scholarship, readings, and digital tools
Essays responding to four general areas through the lens of pedagogical theory and practice are sought: teaching modernism or modernist studies, thematic concerns, genre or form, and theoretical or methodological approaches. Contributions might cover topics related to issues and definitions in modernist studies, particularly as relevant to the study of women writers. These essays might focus on contexts and conceptual questions important to modernism and highlight the importance of women writers therein. Some essays might take up the teaching of a specific theme (e.g., trauma, colonialism, globalization, race, class, sexuality) or topic (e.g., suffrage, war, empire, socialism, communism, fascism, the workplace, little magazines, the literary marketplace). Other essays might look at the ways women writers used particular forms and genres (fiction, documentary, journalism, life writing, poetry, pamphlets or manifestos, “the middlebrow,” genre fiction, working-class writing, film, drama); these might consider teaching the tension between tradition and the avant-garde or the noteworthy contributions that women made to the avant-garde. Finally, essays might describe and exemplify teaching informed by particular critical or methodological approaches, such as theoretical perspectives (postcolonial studies, queer studies, narrative theory), interdisciplinary work (art, music, dance, science, technology) or intertextuality, the digital humanities, and the teaching of writing or multimodal pedagogy. A balance is sought among writers from the United States and the United Kingdom, as well as writers working in English from other regions of the world (e.g., the Caribbean, India)
Proposals should mention and define specific terms, concepts, techniques, and classroom contexts as appropriate. They should describe the intended topic, particularly the pedagogical approach taken to teaching modernist women’s writing, including methodology, evidence, theoretical or critical framework, and significance for those teaching in the field. The proposal should indicate the value of the intended topic to a broad range of instructors and should maintain a clear focus on teaching. Please note that any quotations from student papers will require written permission from the students.
Proposals of 500 words (for potential completed essays of 3,000–3,500 words) should be sent to Janine Utell (firstname.lastname@example.org) by 1 December 2015 via e-mail or in the message box below. Submissions in the message box will be sent to the editor and will remain private.
Edited by Emma Young and James Bailey
Essays tracing the evolving relationship between British women writers and the short story genre from the late Nineteenth Century to the present day
What is the relationship between the British woman writer and the short story? Considering the effect of literary inheritances, societal and cultural change, and shifting publishing demands, this collection traces the evolution of the genre through to its continued appeal to women writing today; from the New Woman to contemporary feminisms, women’s anthologies to micro fiction, and modernist writers to contemporary works.
- A foreword by Ali Smith and 11 chapters discuss a range of gender and genre issues since the fin-de-siècle to the present day
- Sets out a clear trajectory to map both the historical and literary connections
and divergences between British women short story writers
- Offers a comprehensive account of the genre’s development to provide scholars with a unique insight into a largely neglected aspect of women’s writing
- Includes new readings of canonical authors alongside more recent theoretical approaches, innovations and lesser-discussed writers
We are delighted to announce two events that celebrate the Contemporary Women’s Writing Association’s tenth anniversary. Please circulate the attached and the below as widely as possible, and to any students and colleagues who may be interested.
We’re looking forward to your abstracts and hope you will be able to join us in Brighton for one or both of these exciting events!
- Lecture by Professor Mary Eagleton (CWWA Founder), University of Brighton, 16 October 2015.
- Legacies and Lifespans: Contemporary women’s writing in the twenty first century, University of Brighton, 17 October 2015.
This promises to be a very exciting conference with contributors from all over the world. One highlight is the session run by the renowned Australian writer Alexis Wright. Looking forward to seeing you in Australia!
The Contemporary Women’s Writing Association is pleased to support the scholarly work of those working in contemporary women’s writing internationally. We established a competitive scheme for the award of 2 bursaries each of £750, for PhD students and Early Career Researchers who have had their abstracts accepted for the 5th International CWWA Conference ’Women’s Writing and Environments’: 3-5 July 2014, Melbourne Australia.
Applications for the bursaries consisted of extended abstracts of 1000 words. The standard of contributions was impressively high and the range of issues focused on offered an interesting glimpse into the interpretation of contemporary women’s writing in 2013/4.
A panel of international judges from the CWWA carefully read and assessed the applications and decisions were made against the following broad criteria :
- contribution to scholarship,
- evidence of original research,
- writing quality ie. a well organised, well argued and well written abstract which makes a contribution to the field.
The decisions of the judges are final.
The winners, runners up and highly commended are as follows:
Early Career Researcher
Winner – Maryam Mirza
Runner-up – Marina Mihova
Winner – Calum Gardner
Runner-up – Lara Buxbaum
Highly Commended – Lydia Saleh Rofail and Lisa Sheppard
We look forward to seeing everyone at the conference in July.
Women’s Writing and Environments: The 5th International CWWA Conference, 3-5 July 2014, Melbourne Australia
***Extended deadline for abstracts: 31st December 2013***
****ATTENTION ECRs and POSTGRADUATE STUDENTS****
CWWA is offering two bursaries (one ECR, one postgraduate) towards travel to Melbourne or conference fees, each of £750, for those who have had their abstract accepted for the conference in Melbourne in 2014. Any postgraduate or ECR who would like to apply for the bursary but has not yet put in an abstract and is a CWWA member has the opportunity to put in a 250-word abstract to Jessica Wilkinson email@example.com by 31st December 2013 and an EXTENDED ABSTRACT of 1000 words by Dec 31 to Gina Wisker, the current CWWA chair at firstname.lastname@example.org
The 5th biennial CWWA conference, ‘Contemporary Women’s Writing and Environments’ recognizes and investigates the importance of environments to women’s writing, and the contribution women’s writing makes to current thinking about environments. Taking an expansive view of ‘environment’, the conference will unite practitioners and scholars in discussion of the ways in which contemporary women’s writing engages with places, spaces, homes, cities, nature, workplaces, communities, publics, literary spheres and virtual worlds.
Papers and panels in English are sought on all genres of literary and popular writing since the 1970s, including: fiction, poetry, plays, nature writing, travel writing, life writing, theory, criticism, graphic novels, cross-media forms and writing for performance. The language of the conference is English, however the convenors welcome discussion of texts in any language (with translation). Papers and panels are also sought on the relation of writing on the environment to teaching and activism.
Possible topics might include:
· Environmental studies
· Women in academia
· Women’s writing environments
· Women’s writing and virtual environments
· The body as environment
· Literary architectures
· Women in the city
· Publishing environments
· Urban social geographies
· Gender and perception of the environment
· Ecological Feminism
· Activism and writing
· The page and the screen as environments
· Affective environments
Chris Kraus: cutting-edge LA-based writer of fiction and art criticism, Chris’ books include I Love Dick, Aliens & Anorexia, Torpor, Summer of Hate and Where Art Belongs. She was awarded the Frank Jewett Mather Award for Art Criticism from the College Art Association in 2008. She also founded the Native Agents series for Semiotext(e).
Lyn Hejinian: A founding figure of the Language writing movement in the 1970s, Lyn is one of America’s foremost experimental poets. Her books of poetry include My Life, Writing Is an Aid to Memory, Happily, The Fatalist andThe Book of a Thousand Eyes. She has also published a collection of essays, The Language of Inquiry. She teaches at the University of California, Berkeley.
Deborah Rose: an Adjunct Professor in Environmental Humanities at the University of New South Wales where her research focuses on multispecies ethnographies in this time of extinctions. She is a founding member of the extinction studies working group, and of Kangaloon – creative ecologies – as well as co-editor of the newly formed journal Environmental Humanities. Her influential books include Wild Dog Dreaming: Love and Extinction, Dingo Makes Us Human, Reports from a Wild Country, Country of the Heart, Nourishing Terrains and Hidden Histories.
Kate Rigby: Australia’s first Professor of Environmental Humanities (Monash University), founding member of the Australian Ecological Humanities network and founding president of the Australia-New Zealand Association for the Study of Literature and the Environment. Kate is a leading Australian theorist of ecopoetics, and is co-editor of Ecocritical Theory: New European Approaches (U of Virginia P 2011).
Conference website: http://artsonline.monash.edu.au/the-book/cwwa/
Submission of abstracts or panel proposals:
E-mail the conference contact (below) with the following information:
· A 250-word abstract in MS Word (doc or docx) format
· Your full name as you would like it to appear in the conference booklet
· Contact information (email)
· A short biography including academic affiliation
· Audiovisual requirements
Please note that all presenters are required to be members of the Contemporary Women’s Writing Association.
Applications and abstracts: 31 December 2013** (final extension)
Notification of acceptance: January 2013
Dr. Jessica Wilkinson
School of Media and Communication
State Library of Victoria
Dr Jessica Wilkinson (RMIT University)
Dr Anna Poletti (Monash)
Dr Melinda Harvey (Monash)
Dr Ann Vickery (Deakin University, Melbourne)
Dr Cassandra Atherton (Deakin University, Melbourne)
We are pleased to announce a call for papers for the fifth biennial international conference of the Contemporary Women’s Writing Association, hosted by RMIT, Monash and Deakin Universities (Melbourne, Australia) in July 2014. Please circulate to local lists and interested colleagues and students.
We are pleased to announce a call for papers for a day symposium on Contemporary Experimental Women’s Writing, to be held at the University of Manchester in October 2013. Please circulate to local lists and interested colleagues and students.
The CWWA Executive is delighted to announce that the winner of the £200 prize for the best paper presented by a postgraduate research student at the July 2012 conference in Taiwan is Renata Dalmaso.
A panel of three CWWA past and present committee members carefully scrutinised each of the essays submitted for the prize. The panel was very impressed with the quality of the scholarship, originality and expression of all of the papers submitted and would like to thank those who entered and congratulate them for their contributions to the field. It has been a difficult process to judge the work submitted and the panel would like to offer congratulations to the winning entry.
The judges were unanimous in their decision that the winning essay is that of Renata Lucena Dalmaso: ‘Queering the Gendered Body: The Performance of Masculinity and Femininity in Alison Bechdel’s Graphic Memoir Fun Home‘ and their comments on the paper are as follows:
Dalmaso’s reading of Bechdel’s graphic novel is intellectually complex, certainly increasing our understanding and appreciation of it. The essay is cogently argued and perceptively theorised. Dalmaso makes good use of Judith Halberstam’s ideas about ‘female masculinity’ and Butler’s observation that the formation of the subject in phallocentric society ‘requires an identification with the normative phantasm of sex’. However, she is not over reliant on either theorist. We like the way she takes into account the graphic aspect of the novel and discusses and illustrates it in detail. She also takes account of the novel’s skilful interplay of different genres and art forms; for example, she makes the point that, while reference to ‘journal entries, photocopies, letters etc. give authority to the narrative’, Bechdel nonetheless succeeds in ‘preserving a strong sense of fictionality’. Dalmaso refers to Judith Kegan Gardiner’s essay on the novel in a recent edition of the CWW journal but is not too dependent on it: she succeeds in constructing her own individual reading. The essay is also well written, presented and structured. It’s detailed, interesting, clearly theorised, and makes a sound contribution to the critical analysis of graphic novels/comics. It’s quite long, and needs to maintain pace towards the end, but is nevertheless of a very high standard.
There were 7 essays submitted and short focused feedback has been provided to to all those concerned as they consider any further writing before thinking of publication.
Again the panel would like to stress that the judging has been a difficult process and would like to thank everyone who put in the immense time and effort necessary to produce such strong papers, wish all the entrants well with the next step in their work and congratulate Renata Dalmaso on her prize winning essay.
Gina Wisker, Fiona Tolan and Paulina Palmer