Deadline for submissions: August 30, 2017

Full name / name of organization: The International Hemingway Society
Contact email: mattcnickel@gmail.com
XVIII International Hemingway Conference

HEMINGWAY IN PARIS

“Paris est une fête” . . . Hemingway’s Moveable Feast

JULY 22-28, 2018

Conference Co-Directors: H. R. Stoneback & Matthew Nickel

Paris Site Coordinators: Alice Mikal Craven & William E. Dow

Host Institution: The American University of Paris

Mark your calendars now for what promises to be an amazing conference in Paris, July 22-28, 2018. Paris is Hemingway’s moveable feast. A major concern of the conference directors is to make this a truly international conference. To that end, committees have already been established to ensure the input and participation of French, European, Asian and worldwide Hemingway scholars and aficionados. If you have special knowledge and expertise in the matter of France, or useful French and Parisian contacts, or you would like to serve on a Paris 2018 Conference Committee (or suggest on-site individuals who might serve on such committees), let us know as soon as possible. And please invite and encourage your colleagues and students and friends to be there with us—in Paris, with Hemingway.

Our Host Institution will be The American University of Paris, centrally located in the heart of historic Paris, in the 7th arrondissement near the Seine and the Eiffel Tower, yet far enough from the madding tourist crowd to guarantee an authentic and idyllic Parisian experience for Hemingway conferees. From our home-base academic sessions at AUP to special sessions at The Sorbonne, from a cocktail or dinner bateau mouche boat-ride on the Seine to a dazzling array of other special events now being investigated and considered from among l’embarras des richesses that Paris has to offer—an overabundant embarrassment of riches and choices—we promise that this conference is not to be missed. (And this word from an old Paris hand: don’t be scared by that word “riches”—Paris is inexpensive compared with some of our conference venues and our recommended hotel list in Paris 2018 will be less expensive than most hotels in Oak Park in 2016, Venice in 2014, etc.)

Enthusiasm for the Paris 2018 conference is running high, in the U.S. and abroad. One reason to be in Paris in 2018 is the truly once-in-a-lifetime opportunity to participate in the global commemoration of the First World War Centenary and to do so in Paris, at the heart of such commemorations. Papers and panels on all aspects of Hemingway studies are welcome. Stay tuned. Watch for the CFP coming soon. Follow the news on the Hemingway Society website <hemingwaysociety.org>.

CALL FOR PAPERS

Presentations and panels on all aspects of Hemingway Studies are welcome. The above description and following list are suggestive rather than definitive, though they do represent the broad scope of the conference and post-conference essay collection:

World War I, Wounds, Soldiers, Veterans, War Poetry, Battlefields; Armistice Day; The Centenary Retrospect; World War II, the Liberation of Paris, Memoir, Memory, Concussions, New Wounds, New Wives;
The Local: Paris, the Luxembourg Garden, Museums, Montmartre, Place de la Contrescarpe, Montparnasse, Latin Quarter, the Seine, Île St. Louis; Imagining Paris; Food & Drink; Hemingway’s uses of Parisian and French settings in his fiction, journalism, poetry, and memoir;
Travel throughout Europe: France, Spain, Italy, Austria, Germany; Sports: Cycling, Boxing, Skiing, Swimming, Toreo, Fishing, Hunting; Feasts and Festivals, Pilgrimages, Hikes;
Journalism, Reporting from abroad, Greco-Turkish War, Politics; Writing in Paris, Displacement, Roman à clef; Trains, Transportation; Borders, Symbolic-Landscape;
Expatriates, Writers, Artists, Musicians, Movements, Gossip; Away from home, Nostalgia; Religion, Conversion, Catholicism, Marriage, Divorce, Exile; Irony & Pity; Fashion;
Hemingway as Character: Movies, Novels, Pop-Culture; Influence, Resonance, Intertextualities;
One-page abstracts and 40-word professional bio to Matthew Nickel by email (mattcnickel@gmail.com) or post (Department of English, Misericordia University, 301 Lake Street, Dallas, PA 18612), by 30 August 2017.

Deadline for submissions: November 21, 2016
Full name / name of organization: ALA Symposium–Criminal America: Reading, Studying and Teaching American Crime Fiction
Contact email: lpennywa@purdue.edu
The hard-boiled in crime and detective fiction is frequently associated with a nostalgia for an imagined white, working-class, American masculinity. Yet, women writers and characters also address the hard-boiled, often in order to modify, critique, or resituate it within cultural frameworks.

This panel invites papers that explore how women writers and characters disrupt dominant understandings of the hard-boiled in US crime and detective fiction. What does hard-boiled femininity look like? Under what circumstances is it possible? What strategies do women writers use when writing within the genre of hard-boiled fiction? How does hard-boiled femininity intersect with or challenge popular representations of race and class within crime and detective narratives?

Please send 300 word abstracts by November 21, 2016 to lpennywa@purdue.edu.

“Goin’ Up Yonder”: Sounding a Secular/Sacred American South in Gospel Music Performance
Event: 04/08/2017 – 04/08/2017
Abstract: 12/31/2016
Categories: American, African-American, Comparative, Gender & Sexuality, Graduate Conference, Interdisciplinary, Cultural Studies, Popular Culture
Location: The University of North Carolina at Chapel Hill
Organization: Department of English & Comparative Literature

At times of great political unrest and/or aesthetic stagnancy, black artists and leaders often have looked to the church and its music to provide a source for renewed inspiration and spiritual reassurance. Both W.E.B. Du Bois’s descriptions of the early “sorrow songs” and Amiri Baraka’s designation of the black church as the “focal point” of the earliest black social life lend to an understanding of gospel music as a unique sonic space, historically, in which the black soul is made legible for public consumption. As such, the continuing place of gospel music as a key component of African American religious and cultural practice cannot be given enough scholarly attention. Recent reimaginings of gospel music within hip hop culture, including Kanye West’s Life of Pablo and Chance the Rapper’s Coloring Book, provide small glimpses into how the genre continues to define popular concepts of blackness in the United States—particularly in artistic renderings of black community, the South, and a more-inclusive future America.

This one-day symposium, to be held at the University of North Carolina at Chapel Hill, welcomes papers that examine gospel music performance in literary texts, widely imagined, particularly as they relate to experiences of belonging, as they mediate ideas of an “old South” and “new south,” and as they explore black identity at the cusp of these shifting landscapes. In particular, this symposium will consider gospel’s return to its “southern roots” as a stage for contemplating historical and contemporary black cultural performances, and as a necessary meditation on literary, musical, and artistic experimentation in the figuring of blackness/the South/America. We encourage examinations of gospel music or gospel soundings and/in the literary text that imagine the future possibilities of the genre as it might be used to figure race, gender, sexuality, and belonging in the United States. Papers are welcomed by authors from a diverse array of academic disciplines, including (but not limited to) American studies, English literature, comparative literatures, history, religious studies, ethnomusicology, and gender and sexuality studies.

Possible topics may include (but also are not limited to) the following:
-The idea of boundaries in gospel music: past/present/future, black/non-black, religious/secular, Southern/Northern, church/club, spiritual/non-spiritual, rural/urban/suburban
-Constructions of gender, race, nation, boundary, the South, the rural, the urban in gospel music
-Reimagining the American South through the discourse of gospel music
-The future of gospel and its ability to help imagine future possibilities for racialized identity
-The vexed site of secularization/popularization/commercialization within contemporary gospel music
-Intersections between gospel music and hip-hop culture, or other vernacular forms (blues, jazz, soul, funk, and so forth)
-The representation of gospel music and performance in literature
-Spirituality and the performance of blackness in music/literature of all genres
-Mergers of past and future in the discourse of gospel music
-Gospel music and Afro-Futurism
-Gospel music and Feminism
-Gospel music and Humanism
-Gospel music and Sexuality
-Gospel music in international contexts
-British Black gospel music
-Gospel music of the Caribbean
-Southern gospel music

Please submit an abstract of no more than 250 words, as well as a short biography that includes any academic title and/or affiliation, to [UNCGospelSymposium@gmail.com] by December 31, 2016. We strongly encourage panel presentations organized by applicants. If you wish to submit a panel presentation, please include the abstracts of all panel members together along with the contact information for the panel organizer. Decisions about acceptance will be sent by January 15, 2017, along with the announcement of our Keynote Speaker and symposium performances.

For more information, please direct all queries to the symposium’s organizers:
Andrew Belton (abelton@email.unc.edu) and
Kimberly Burnett (klgibbs@email.unc.edu)

NINE Baseball History & Culture Conference (1/3/17 – 4/3/17; proposals due 1/12/16)

Deadline for submissions: December 1, 2016

Full name / name of organization: NINE Journal of Baseball
Contact email: ninebaseballeditor@gmail.com
NINE: A Journal of Baseball History and Culture announces the 24th Annual NINE Spring Training Conference on the Historical and Sociological Impact of Baseball

Wednesday, March 1 – Saturday, March 4, 2017

DoubleTree by Hilton–Phoenix Tempe

2100 South Priest Drive

Tempe, Arizona

Call for Papers: The 24th Annual NINE Spring Training Conference invites original unpublished papers that study all aspects of baseball, with particular emphasis on history and social policy implications. Abstracts only, not to exceed 300 words, should be submitted by December 1, 2016, to the conference program committee of Rob Fitts (robertfitts@verizon.net), Steve Gietschier (sgietsch@gmail.com), and Trey Strecker (ninebaseballeditor@gmail.com). (We ask that you please copy your submission to all of us).

Following the submission deadline, authors will be notified as quickly as possible whether their papers have been accepted. Submission of an abstract indicates the presenter’s intent to register for and attend the conference. All authors are required to register for the conference and present their work in person.

Conference Registration: Conference registration forms are available online at http://www.nineregistration.com/

The conference registration is $250.00 ($295.00 after January 31, 2017). The conference fee covers all events including the Saturday evening banquet, excepting game tickets, which are optional. Game information including dates, times, and prices will announced after it becomes available, usually in late fall.

Please complete the registration form prior to January 31, 2017, and send it with your check payable to NINE Spring Training Conference to:

Jean Ardell

P.O.Box 482

Corona del Mar, CA 92625

For further information about conference registration, please contact Jean Ardell at jeanardell@yahoo.com.

Hotel Reservations: Registrants are responsible for making their hotel reservations directly with the DoubleTree (1-800-528-6481). Information on the NINE conference preferred rate is forthcoming.

Consider booking your airline tickets early. Hotel rates and conference registration are comparable with previous years, but we cannot control the airlines.

Keynote Speaker: Adrian Burgos, Jr., is Professor of History at the University of Illinois, specializing in US Latino history, sport history, and urban history. He holds a PhD from University of Michigan (2000) and a BA from Vassar College (1993). He is the author of Cuban Star: How One Negro League Owner Changed the Face of Baseball (Hill & Wang, 2011) and Playing America’s Game: Baseball, Latinos, and the Color Line (University of California Press, 2007), which won the Latina/o Book Award from the Latin American Studies Association and was a Seymour Medal finalist from the Society of American Baseball Research. His scholarly writings have appeared in the Journal of American History, Journal of American Ethnic History, and Social Text, among others; he also is a contributor to sportingnews.com and has written for MLB.com. His expertise on Latinos and baseball has resulted in being featured subject of Playing America’s Game documentary, serving as a consultant on the National Baseball Hall of Fame’s Viva Baseball exhibit, and as program advisor for numerous documentaries, including Bernardo Ruiz’s Roberto Clemente and Ken Burns’ The Tenth Inning and The Jackie Robinson Story: The Life and Times of Jackie Robinson.

Deadline for submissions: January 15, 2017

Full name / name of organization: John S. Bak / IDEA, Université de Lorraine
Contact email: john.bak@univ-lorraine.fr
Deadline for proposals: 15 January 2017

Working in partnership with various research centers – Oxford Centre for Life-Writing (Wolfson College, Oxford University, UK), Medill School of Journalism (Northwestern University, USA), ReSIC (Université Libre de Bruxelles, Belgium), and the Experimental Media Lab (Academy of Fine Arts Saar, Germany) – the research group I.D.E.A. (“Théories et pratiques de l’interdisciplinarité dans les études anglophones”) and the Universidad de Málaga are announcing a call for papers for the conference “Literary Journalism and Civil War.” The conference will be held at the Facultad de Ciencias de la Comunicación, University of Málaga. The keynote speakers will be Mirta Núñez Díaz Balart (Universidad Complutense de Madrid) and Alberto Lázaro (Universidad de Alcalá).

A Press Divided: Newspaper Coverage of the Civil War (2014), edited by David B. Sachsman, examines the impact that Northern and Southern presses had on the mediaization of the American Civil War, in particular how both sides’ lack of objective reporting on the people and events leading up to, during, and following the war capture a nation not simply divided but wholly fragmented. In the context of a civil war, journalists are faced with the paradox of covering the war’s tragedies and simultaneously celebrating its victories in some grand, national narrative typical of jingoistic war reporting. When brothers are killing brothers, whom do you choose to support and can you ethically demonize the Other?

Literary journalism – or journalism as literature – has proven over time to be one way of tackling the moral ambivalence of civil war reporting by transposing the complexity of values that are at stake. It is not enough to praise military victories – military interventions during civil wars cannot be separated from civilian ones – because the enemy cannot be entirely distinguished and thus dehumanized, since it would make reconciliation near impossible after the war has ended. This journalistic conundrum begs a subjective style of war reporting that can offer more than factographic details of a given battle, that can provide context, commentary and narrative, and that can reveal and heal simultaneously the nation’s gaping wounds.

Concerning the American Civil War in particular, Ford Risley, in Civil War Journalism (2012), demonstrates that journalism at the time was more than simply writing about people and events; it was also about writing for the people – civilians and soldiers alike – who are central to any civil war. Presses from the North and South alike did so not out on any political or journalistic ideology but out of the humanist need to speak to one’s own people behind the lines, emphasizing individuals’ stories over bipartisan agendas. Since many of accounts of the Civil War come from the American soldiers themselves, who captured their daily lives in the many troop newspapers published on both sides of the Mason-Dixon line, journalism scholars and historians today are recognizing the need to widen the scope of war reporting. Donagh Bracken even claims in The Words of War (2007) that Civil War reporting has laid the foundation for modern American journalism, and that the war has shaped the press as much as the press shaped the war.

Potential questions on American Civil War literary journalism that could be addressed include:

How did war reporters respond to censorship, particularly when it came from their own side?
Is literary war journalism separable from political beliefs? How much do those beliefs influence the authors in their writings?
Is literary journalism only a way to depict events of the moment or is it also a valuable testimony for the future generations on the way their country/nation was shaped?
Black correspondents, such as Thomas Morris Chester, who reported on the conflict along with his fight for abolitionism and racial equality, were under-represented in the American Civil War press. How were African American soldiers represented or self-represented in the press during the American Civil War?
Can literary journalism, like much of the journalism of the way, or of any war, be considered as propaganda given the humanist political beliefs of its author? Is it the sum total of one ideological point of view?
How does literary war journalism tell the stories inside history and give a voice to the people who lived the events of the Civil War?
How did journalism during the American Civil War influence the way American literary journalism developed?
Can journalistic accounts shape the outcome of the war, and can literary journalism (p)refigure the way that war is remembered?
The way journalism evolved during and after the American Civil War influenced the treatment of information in wars to come, from the First World War to the Spanish Civil War a few decades later. It is not by chance, then, that literary journalism as a genre evolved and expanded over time, evidenced in the accounts of the Spanish Civil War by literary authors of international fame, from Ernest Hemingway’s For Whom the Bell Tolls (1940) to George Orwell’s Homage to Catalonia (1938), and from prominent Irish socialist Peadar O’Donnell’s Salud! An Irishman in Spain (1937) to anti-communist Eoin O’Duffy’s The Crusade in Spain (1938). Spain’s civil war between the Bando nacional and the Bando sublevado raised the interest of numerous foreign war correspondents – including several female reporters (previously denied access to the front lines), such as Martha Gellhorn, Virginia Cowles, Andrée Viollis, Gerda Taro and Katharine Stewart-Murray, the “Red” Duchess of Atholl – who were drawn there as much if not more or their political beliefs than they were their professional obligations.

In Boadilla, Esmond Romilly writes: “There is something frightening, something shocking about the way the world does not stop because those men are dead.” While the majority of research on Spanish Civil War journalism has focused on these foreign literary journalists, interest is growing on those Spanish writers whose literary war reportages tell the stories from a domestic perspective less bipartisan than the foreign accounts because, as with the American Civil War, they were reporting on brothers and cousins and not Fascists or Communists. Josep Pla, initially tolerant with the Francoists, wrote for the Catalonian newspaper La Veu de Catalunya and distanced himself from the regime when his mother-tongue was banned to private spaces in Spain. Therefore there is not only one kind of literary journalism in Spain during the civil war there, but many, each dealing with a diverse aspect of a common event. The different stories collected from foreign journalists and Spaniards alike on the people affected and displaced by the war show that atrocities were enacted and suffered on both sides of political divide. Historical accounts of the war thus cannot legitimately pit hero against villain, but rather brother against brother, neighbor against neighbor, narratives which combine to overcome divisive ideologies and bind the nation’s collective memory.

Potential questions on Spanish Civil War literary journalism that could be addressed include:

Is the evolution of literary journalism noticeable from the accounts of the American Civil War to those of the Spanish Civil War?
How do the works of Spanish reporters differ from those of their foreign counterparts? How are they be related? How did they influence one another, if at all?
How were foreign reporters’ dispatches received in Spain? Were they considered as external points of view and therefore unavoidably biased?
How is patriotism expressed in literary journalism in the context of a civil war? Does it always have to be militant?
Are journalists working on both sides actually objective in civil wars?
Can literary war journalism be considered a means of reuniting the two halves of a single warring nation?
How did these civil wars influence the way journalism evolved in the decades that followed?
The diversity of viewpoints on these two civil wars is presented as a model for contributions on other civil wars, past and present (e.g., Syria, Afghanistan, etc.). This plurality will allow us understand how literary journalism evolved through civil wars and became a way of bringing together nations that were once – or still are – torn apart. English will be the conference’s principal language, but papers can also be presented in Spanish.

Please send abstracts of 300 words and a brief CV to John S. Bak (john.bak@univ-lorraine.fr), Antonio Cuartero (cuartero@uma.es) and Vincent Thiery (vincent8thiery@gmail.com) by 15 January 2017.

Freedom of Speech, c. 1550–c. 1850
Event: 07/04/2017 – 08/04/2017
Abstract: 23/12/2016
Categories: American, Colonial, Revolution & Early National, British, Early Modern & Renaissance, Long 18th Century, Interdisciplinary, History, Philosophy
Location: Ohio University, Athens, OH
Organization: George Washington Forum on American Ideas, Politics, and Institutions

The George Washington Forum on American Ideas, Politics, and Institutions, which has its home at Ohio University, invites paper proposals for a conference and subsequent edited volume on the history of the freedom of speech, c. 1550–c.1850.

The conference will be held at Ohio University in Athens, Ohio (7–8 April 2017). Debora Shuger (UCLA), Ann Thomson (European University Institute), David Womersley (Oxford) and David Como (Stanford) will deliver plenary lectures. This conference aims to promote academic discussion and to explore new research trends the history of freedom of speech. The conference organizers welcome the work of advanced doctoral students and both young and established scholars in the fields of history, intellectual history, law and literature and other fields in which the history of free speech is a topic of research.

Proposals — which should include a 500-word abstract, a brief curriculum vitae, and current contact information should be sent by 23 December 2016, to the conference organizers.

Professor Jason Peacey, Department of History, University College, London (j.peacey@ucl.ac.uk)

Dr. Alex Barber, Department of History, Durham University (a.w.barber@durham.ac.uk)

Dr. Robert G. Ingram, Department of History, Ohio University (ingramr@ohio.edu)

Notifications will be sent by 6 January 2017.

Deadline for submissions: January 1, 2017

Contact email: mmslocum@asu.edu
CFP: Indigenous Genocide in America

Special Issue to Appear in Transmotion: An Online Journal of Postmodern Indigenous Studies

http://journals.kent.ac.uk/index.php/transmotion

Transmotion is currently seeking submissions for a special issue on the topic of “Indigenous Genocides in America: Erasure and Survivance.” This issue aims to engage with the latest scholarship related to genocide (which deploys the concepts of social death, historical trauma, and erasure) and to further highlight the applicability of that scholarship in an Indigenous Studies context.

In a 2006 speech, Gerald Vizenor argues that indigenous experiences of genocide should be addressed in university settings (particularly in law schools) through what he calls “Genocide Tribunals.” While he concedes that these academic tribunals would not necessarily lead to actual prosecutions, Vizenor argues that they would yield new and better understandings of sovereignty issues and highlight the history of forced absences of American Indians from legal processes and the master narratives of U.S. settler colonialism. Vizenor further suggests that stories, particularly those passed down orally through Indigenous communities and families, should stand as important, accepted evidence of genocide. Genocidal structures remain in place, Vizenor contends, because the Unites States has been allowed to ignore and obscure its own actions, both past and present. Indigenous peoples have survived and continue to enact their own resilience, however, with their stories constantly working to contest literary and political erasure. Highlighting such acts of resistance in their varied forms is an important part of the critical discourse of survivance.

For this special issue on Indigenous Genocides in America, the editors of Transmotion will look for submissions that do any of the following:

–Interrogate and extend legal and theoretical models of genocide and social death within a U.S. context.

–Employ interdisciplinary and intersectional approaches to consider the historical impacts of genocide and strategies of survivance/continuance.

–Explore concepts of erasure/absence and survivance in and through a range of expressive forms and communal contexts (particularly those not typically examined in writing on genocide).

–Use indigenous theoretical texts/models/paradigms of genocide to read and/or interrogate Euroamerican texts/ideas/philosophies.

The journal will accept creative or hybrid work for this special issue, provided that such work aligns aesthetically with the aforementioned editorial emphasis.

Those interested in submitting essays and/or creative work for this special issue should contact Melissa Michal Slocum at mmslocum@asu.edu. Abstracts will be due by Jan 1, 2017 and full essays/creative pieces will be due by June 30, 2017.