When the main announcement or cfp begins in English, the French version may follow, and vice versa.  /  Quand l’annonce principale ou l’appel à communications commence en anglais, la version française suit parfois, et vice versa.


CFP: New Perspectives on Imagology (University of Vienna, Austria)

April 3–5, 2018

Deadline for Proposals: January 7, 2018

Location: Department of Comparative Literature, University of Vienna, Sensengasse 3a, 1090 Wien, Austria

Organizers: Katharina Edtstadler, Sandra Folie, Andrea Kreuter, Sophie Mayr, and Gianna Zocco for the Department of Comparative Literature, University of Vienna

Confirmed Keynote Speaker: Prof. Dr. Joep Leerssen (University of Amsterdam)


Conference Website:

Conference Fee: regular: EUR 30 / reduced: EUR 10

In her widely known introduction to comparative literature, Angelika Corbineau-Hoffmann (2013, 195) relates the emergence of this discipline to the development of one of its most traditional fields: imagology. Both have their roots in the early nineteenth century when the academic study of literature along national categories was closely linked to political demands for national unity, and when comparisons between both different literatures and different nations as represented in literature were thought to contribute to the field of ‘Völkerpsychologie’. The ties of early imagology in an ethnically-deterministic way of thinking have led to a relatively problematic status of this field within comparative literature as studied after 1945. Although imagologists such as Marius-François Guyard, Hugo Dyserinck, and Joep Leerssen have long since introduced a constructivist approach, which studies representations of national character as “discursive objects: narrative tropes and rhetorical formulae” (Leerssen 2016, 16), imagology has hardly gained the prestigious status that fields such as intertextuality, intermediality, or world literature studies enjoy within comparative literature.

While twenty-first century imagology has developed into a fairly visible scholarly field, a certain “ambivalence of imagology” (Ruthner 2011) can be observed in many academic contributions: Ruth Florack, for example, argues that imagological interpretations still run the risk of conceiving a writer as the privileged voice of a collective and of viewing nations as “Kollektivindividuen” (2007, 18). Zrinka Blažević criticizes imagology’s “obstinate adherence to the tacit universalizing of Eurocentric orientation, and an uncritical metatheoretical promotion of the ‘supranational standpoint’” (2014, 356). Birgit Neumann notes that there is astonishingly little reflection on imagology’s key notion ‘image’/‘Bild’ (2009, 39), and Claudia Perner – who considers imagology’s relation to its “natural sister discipline” (2013, 30) postcolonial studies – concludes “that most basic assumptions of imagology require a fundamental ‘makeover’ before they can sensibly be employed” (30). Taking up these objections, Joep Leerssen – at this time one of the most proficient scholars in the field – lately combined his observation that ethnic stereotyping gained “new political virulence” (Leerssen 2016, 29) in the current ethnopopulist climate with the claim for the continuing urgent need of imagological analysis from a number of “recent and emerging perspectives” (2016, 21).

Drawing on the recent suggestions by Leerssen and others, the three-day conference in Vienna aims to promote academic discussion and exchange by focusing on what we consider four particularly promising ‘new perspectives on imagology’: (1) a cognitive-psychological view of stereotypes and images, (2) the ‘triangulation’ of ethnic framing with other identity categories, (3) a more global imagological perspective adequate to the changes in today’s societies, and (4) a more thorough awareness regarding the modes and influence of genres in articulating ethnotypes. We are glad to announce Joep Leerssen as our keynote speaker and we would like to invite both proficient imagologists and junior researchers – from comparative literature as well as from neighboring disciplines and interdisciplinary fields – to participate in the conference. Applicants are asked to submit a short biography (max. 100 words) and a brief abstract (200-300 words), both written in English and addressed to one of the four conference sections described in detail below (deadline: January 7, 2018). Notifications about the acceptance of proposals will be sent within two weeks after the deadline. A publication of the conference papers is planned.

Section 1: Rethinking Images: Imagology & Cognitive Sciences

Stereotype/ethnotype, image, and cliché are omnipresent terms in imagology. They point to complex interdisciplinary questions about how we make sense of the world, which are not only situated in the field of comparative literature, but also in psychology, (intercultural) philosophy, and cognitive sciences. Oscillating between hetero-images and auto-images, the tendency to schematize is probably as old as humankind itself and, therefore, suitable to be discussed in a broader context. This is reflected in a growing imagological interest in the underlying cognitive processes of social thinking and categorization. As Leerssen puts it:

The cognitive-psychological model of “frames” and “triggers” has deepened our understanding of ethnotyping, and of stereotyping in general. […] The experience of “triggers” activating pre-existing explanatory “frames” is close to the hermeneutics of reader response theory, the “frame” being fairly close to the social-psychological notion of prejudice, or what Jauss would call an Erwartungshorizont or horizon of expectation. (2016, 24)

Drawing on these expressions of interest in a direct interdisciplinary dialogue between scholars of ‘traditional imagology’ and those of related fields, it is the particular aim of this section to explore the cultural dynamics connected to the triad stereotype/ethnotype – image – cliché from various disciplinary angles. Findings in the field of implicit social cognition, for example, provide insights into related mental processes, which occur outside conscious awareness (cf. Gawronski 2010). In this context, scholars working on various forms of ‘otherness’ connected to either ‘culture’, ‘ethnic groups’, or ‘nations’ are equally welcome to contribute to a lively scientific exchange. Papers taking up on psychological, philosophical, or cognitive approaches to the terms are especially encouraged. The presentations may either give a general discipline-specific overview of the terminology or discuss a concrete example in order to introduce “recent and emerging perspectives” (Leerssen 2016, 21).

Section 2: Intersectional Approaches to Imagology: The Multiple Entanglements of Ethnotypes

Intersectionality describes overlapping or intersecting social identities and related systems of oppression, domination, or discrimination like gender, race, ethnicity, class, nationality, sex, age, religion etc. (cf. Cooper 2016). Recently, intersectional theory has found its way into literary studies (cf. Klein/Schnicke 2014), within which it might prove especially useful as an analytical tool for scholars moving between numerous philological and cultural areas. Despite rising globalization and transnational connectedness, languages as well as cultures have retained close links with the concept of ‘nation’. It can, therefore, be concluded that national auto- and hetero-stereotypes as key concepts of imagology continue to hold potential as analytical categories, if not as the only ones.

Manfred Beller and Joep Leerssen have already included various related working concepts and approaches like gender, orientalism, postcolonialism, or race in their critical survey on Imagology (2007). They describe their interdisciplinary positioning as “a difficult and open-ended” (xiii) – but nonetheless necessary – task. Whereas their list is meant to provide a broad outline for further interdisciplinary research, Ruth Florack delivered with “Weiber sind wie Franzosen geborne Weltleute” (2000; transl. “Women like Frenchmen are born sophisticates”) a case study on the linkage between gender clichés and national patterns of perception. Despite the gradual implementation of these approaches, the intersection of ‘nation’ and further identity-forming concepts still is an under-researched area; a fact Leerssen recently stressed when observing that ‘ethnotypes’ – the result of the temperamental characteristics stereotypically imputed to particular nationalities – “never function by themselves; they always work in conjunction with other frames, especially gender, age and class” (2016, 26). In the recent context of globalization, migration, and the occurring rise of nationalism, religion presents itself as another highly relevant frame for understanding today’s conflicts. However, rather than providing a fixed cluster of analytical categories we would like to keep the debate on this issue open and invite you to elaborate on whichever imagological intersection you may encounter in your research.

Section 3: Imagology in a Transnational, Post-Colonial, Globalized World

The historic entanglement of imagology with the European process of nation-building has led to a Eurocentric orientation, with imagological research projects typically investigating the representation of European nation A in the literature of European nation B. An exclusivist focus on such questions has become problematic for various reasons. It not only overlooks the hegemonic function of “imaginative geography” (Said 2003, 54) and stereotypical representations of the ‘Other’ in colonial and postcolonial contexts, but it also seems inadequate to the contemporary experience of living in a world in which ‘hybrid identities’ are rather the norm than the exception and in which the demarcation line between ‘foreign’ and ‘own’ has often become “indistinct and blurred” (Blažević 2014, 356). Combining theoretical insights from imagology, postcolonial studies, and ‘new’ world literature studies, this section aims to promote discussion on questions such as: Does it make sense to ‘synthesize’ imagology with concepts such as Bhabha’s stereotype theory, Said’s ‘orientalism’, or Mufti’s recent critique of world literature studies as a problematic variety of “one-world thinking” (2016, 5) – and how can this task be undertaken? How do national stereotypes function in literature describing migratory and post-colonial experiences, for which – according to Bhabha’s diagnosis – the ‘unhomely’, the confusion of borders between home and world, has become “a paradigmatic colonial and post-colonial condition” (Bhabha 1994, 9)? What is the role of national stereotypes in recently emerging genres of world literature, in which transnational comparison, global cities, and “multidirectional memory” (Rothberg 2009) play a major role? And how do stereotypes of national identity relate to images connected to ‘spatial’ identity categories of regional, urban, ethnic, or continental levels?

Section 4: Stereotypes, Nation Building, Landscape Depiction – How Different Genres Interact with Imagology

As Birgit Neumann (2009, 65-68) points out, every genre has its own modes of representation concerning images. The aim of this panel is to consider to what extent such generic conventions shape the literary depiction of ethnotypes or other social identity categories. Do certain literary genres predetermine how identities are articulated? And have today’s transcultural and transnational societies fostered the development of new genres dealing with questions of identity?

The answers have yet to be found regarding most literary genres. Referring to previous research, Emer O’Sullivan (2011) has presented an overview examining the relation between imagology and children’s literature. Marieluise Christadler, for example, examined the change of national stereotypes in pre-1914 French and German children’s literature and pointed to a militarization in the use of auto- and hetero-images (cf. O’Sullivan 2011, 6). Beyond that, cultural, national, or regional identity may often be conveyed through the landscape, e.g. the Alps in Swiss books, creating so called “Nationale Mythen” (cf. O’Sullivan 2011, 7-8). Further intersections between imagology and children’s literature include: the particular functions of these images, their role in contexts of cultural transfer and translation, as well as the topic of migration (cf. O’Sullivan 2011, 8-11).

Contributions to this section may consider the above-mentioned and possible other intersections between imagology and literary genres; on the one hand by examining genres traditionally analyzed in imagological contexts like travelogues, (post)colonial literature, or migration/hybrid literature. On the other hand, contributions may elaborate on less researched links between imagology and other genres, such as the regional crime novel (cf. Simonek 2015/16), science fiction (think of Star Trek’s famous proclamation of going “Where no man has gone before”), or (auto)biographical literature.


CFP: The Interpretation of Nizami’s Cultural Heritage in the Modern Period, 13th March 2018 

Abstract deadline: 18th December 2017

Notification of acceptance: 25th December 2017

Deadline for full paper submission for conference: 15th January 2018

Conference Date: 13th March 2018 

Arrival: 12th March 2018

The Nizami Ganjavi International is seeking paper, panel and roundtable proposals for an interdisciplinary conference to be held at the Nizami Ganjavi Centre, Baku, Azerbaijan on 13th March, 2018. We are looking for presentations within the broad topic of the interpretation of cultural heritage in the recent stage(s) of history based on the example of Nizami’s poetry. The topic encompasses questions of identity in cultural heritage: for example, the interaction of new identities with existing identities or the change in the parameters of identity over time – from the criterion of ethnicity to that of the state, from religion to language.

The conference aims to cover both theoretical and practical aspects of the topic, such as the criteria for the national attribution of literature and culture, irredentism, shared cultural past, and the aesthetics of Nizami’s poetry. We encourage consideration of irredenta within the literary-cultural framework rather than the political one, both from the point of view of the metropolis, and the peripheries, including in post-socialist countries,  and Canadian Quebec, Belgium,  from local and global perspectives. We welcome papers on all areas relevant to the topic, viewed through various spatial and temporal prisms, and from participants from different backgrounds, with special focus on the following topics:

  • Regional motifs, symbols in Nizami’s literary work (recycling cultures in literature, Khizr, the reversed love story of Shamash and Enkidu)
  • Ethical and philosophical values in Nizami’s literary heritage
  • Folklore elements and esoteric symbols; common elements and symbols
  • Islamic and regional elements
  • Nizami and his contemporaries
  • Nizami’s influence on modern literature (e.g. Ptisin’s “Khosrov and Shirin”, Khlebnikov’s “Medlum and Leyli”)
  • Collapsing countries, transitional periods and new approaches to cultural and national identity
  • Shared pasts, irredentism and new approaches to classical heritage
  • Splitting identities, migration and the rethinking of new identities
  • Established identities: between classical culture and folklore
  • Criteria for the identity of literary and cultural heritage
  • Interpretation and re-interpretation of the past based on the example of Nizami’s heritage

Paper proposals (no more than 150-word abstract for a paper to last 15 minutes, brief CV, contact information) should be sent by 18th December 2017 to:


SAHJ is an open access platform for reviewed articles, academic reflections, student studies, book, film and theatre reviews, cultural commentary and opinion pieces, as well as original photography and graphic art. [ ]

SAHJ is currently seeking contributions for Issue 5:1, which will be a single-themed issue on Sex, Sexuality and the Arts in the XXIst century, to come out in June 2019.

SAHJ invites contribution proposals from artists, academics and researchers in the fields of sex and sexuality, and their relation to all art forms in the XIXst century.

Topics related to art practices and productions, and their relationship to sex, and sexuality may include (but are not limited to) the following:

  • Sex, sexualities  and artistic innovations in the XXIst century
  • The politics of sexual identity and the arts in the XXIst century
  • New technologies, sex, sexuality and the arts in the XXIst century
  • Embodiment, disabilities and the arts in the XXIst century
  • Sexual artivism in the XXIst century
  • Sex, sexualities, taboos and the arts in the XXIst century
  • Myth, the Sacred and the Arts in the XXISt

Submissions may include:

  • Research articles for peer review (up to 12000 words)
  • Reflections on practice focused art projects or process (Use research articles guidelines editorial)
  • Single page A4 visuals – Practice, creative work, infographics, visual essay, illustration, etc.
  • Commentary, Opinion, Position articles (up to 12000 words)
  • Interviews (up to 12000 words)


  • 15 September 2018: A descriptive abstract to be sent to Editorial Board (max. 350 words in length)
  • 15 November 2018: Answers from Editorial Board
  • 15 January 2019: full draft contribution to be sent to editorial Board for peer re-view
  • 15 March 2019: Final contribution to be sent to editorial Board
  • 15 June 2019: Publication

Contact: Jean-Philippe Imbert, Dublin City University (guest-editor for SAHJ).


The first of the special issues and volumes to be published as proceedings of the 6th International Congress of the ENCLS, Longing and Belonging/Désir et Appartenance,  is out:  see Between.

This issue also offers an interview with Bertrand Westphal.

Le premier des numéros spéciaux et volumes à paraître en tant qu’actes du VIe Congrès International du REELC, Longing and Belonging/Désir et Appartenance, est paru : voir Between.

Ce numéro propose aussi un entretien avec Bertrand Westphal.


Colloque TSOcc: Circulations intellectuelles, transferts culturels et traductions dans la presse francophone durant la Seconde Guerre Mondiale

30 novembre et 1er décembre 2017 (Nantes)

Les années de la Seconde Guerre mondiale, ponctuées par des événements politiques et militaires majeurs, ont été abondamment documentées dans la presse de cette époque suivant des orientations politiques ou idéologiques diverses. Très soutenue aussi (et tout autant conditionnée par les circonstances du moment) a été l’activité intellectuelle et culturelle dans les pays en guerre ou ceux occupés par l’Allemagne nazie. Une activité qui s’est souvent accompagnée d’intenses mobilités, tant sur le plan humain (déplacements de populations, exodes, réfugiés), patrimonial (mise en lieu sûr des collections des musées les plus prestigieux, notamment du Louvre et de l’Ermitage), intellectuel (départ en émigration d’écrivains issus d’Europe centrale et orientale) ou littéraire (circulation des œuvres dans des espaces légaux ou clandestins, présence de relais par-delà les frontières – par exemple en Suisse).
Cette rencontre se propose d’interroger l’espace culturel européen au miroir de la presse des années de guerre, et spécifiquement l’espace francophone (France et Belgique) pendant l’Occupation allemande (1940-44). Il s’agira ici, en croisant les perspectives historique transnationale, comparatiste et traductologique, de questionner les modalités spécifiques de la circulation des biens culturels dans les revues et journaux de langue française, en interrogeant articles de fond sur les lettres et les arts, comptes rendus critiques d’ouvrages, d’expositions ou de spectacles, débats littéraires dont les journaux ont pu se faire l’écho ; de même, jamais dénuées d’arrière-pensées politiques, les traductions publiées durant la période et relayées dans la presse, révélatrices d’orientations ou de transferts littéraires à l’œuvre dans une Europe en guerre, seront d’intéressants vecteurs de transferts à sonder.
Le programme du colloque reposera sur les axes suivants – donnés à titre indicatif – en vue d’esquisser une cartographie du champ culturel et littéraire francophone durant les années 1940 :
  • Présentation de journaux et revues francophones à vocation littéraire et/ou culturelle dans le contexte de la guerre et de l’Occupation, et leur positionnement éditorial
  • Patrimonialisation de la littérature (de langue française ou traduite en français) en temps de guerre (création de collections littéraires dédiées, d’anthologies, manuels scolaires, etc.)
  • Discours sur l’art et la culture dans la presse de l’Occupation (orientations idéologiques, usage à des fins de propagande, etc.)
  • Chroniques/recensions d’ouvrages français et étrangers emblématiques parus dans la presse de langue française
  • Flux (genres, auteurs, œuvres) et pratiques de traduction dans la presse francophone européenne entre 1940-44
  • Propos sur la traduction dans les journaux ou revues (réflexions sur l’ethos du traducteur, comparaison de traductions, propos tenus par les traducteurs eux-mêmes sur leur pratique, etc.)

Comité scientifique du colloque

  • Bernard Banoun (Paris IV Sorbonne)
  • Christine Lombez (Université de Nantes/IUF)
  • Isabelle Poulain (Université Bordeaux III)
  • Ioana Popa (CNRS)
  • Elzbieta Skibinska (Université de Wroclaw)

Plus d’informations :

Site web


The second of the special issues and volumes to be published as proceedings of the 6th International Congress of the ENCLS, Longing and Belonging,  is also out: see The Wenshan Review.

Le deuxième des numéros spéciaux et volumes à paraître en tant qu’actes du VIe Congrès International du REELC, Longing and Belonging, est également paru : voir The Wenshan Review.


Récente publication :

 Romanesques. 2017, n° 9 – Le roman français vu de l’étranger (Classiques Garnier, Paris)
La revue Romanesques, semestrielle, a pour vocation d’explorer la notion de romanesque, à la croisée des interrogations sur la fiction, la lecture, l’histoire littéraire et la théorie des genres.
Rédaction et présentation  : Catherine Grall
  • Hyonhee Lee : Le Comte de Monte-Cristo en Corée, lectures plurielles
  • Andréas Pfersmann : Regards ibéro-américains sur le roman français
  • Brigitte Le Juez : Créativité et émancipation. La réception de Flaubert en Irlande au tournant du XXe siècle
  • Yves Clavaron : Edward Said. Pour une lecture comparée et postcoloniale du roman français
  • Petr Dytrt : Jean Echenoz (non) lu depuis la République tchèque
  • Isabelle Bernard et Waël Rabadi : La réception du roman français contemporain en Jordanie. Quelques pistes pour un état des lieux
  • Simona Modreanu : Le français, espace identitaire multiple. La patience franco-afghane d’Atiq Rahimi
  • Ylva Lindberg et Mickaëlle Cedergren : La lecture de la littérature francophone à la lumière d’un contexte nordique. Réflexions sur la recherche universitaire actuelle en littérature .
  • Hassan Sarhan : La réception du Nouveau Roman en Irak (1970-1990). Le cas de Robbe-Grillet
  • Lison Noël : The French New Novel.  Réception du Nouveau Roman aux États-Unis
  • Sándor Kálai : Les traductions du roman policier français et francophone en Hongrie sous le régime socialiste


CFP: Of Borders and Ecologies: Comparative Literature and the Environment

The NCLN 3 rd Annual Symposium, Hosted by the School of English, Birmingham City University (UK), 28 October 2017.The Northern Comparative Literature Network (NCLN) is a platform for scholars in the midlands and the north of the UK who study literature across boundaries of language, culture and nationality.The environment does not respect borders. The effects of ecosystems’ degradation cross all boundaries, including those of nations, cultures and languages. Among the questions raised by contemporary ecocriticism is that of borders, especially perhaps, the limitations of anthropocentrism and the boundaries between the human and the non-human. In terms of literature and the environment, Timothy Clark has articulated the question along the following lines: Can anthropomorphism, the tendency to attribute human qualities to nature, offer a way of understanding the non-human environment, or is it a form of solipsism wholly determined by human consciousness? To problems of epistemology come questions of ethics: Does the Anthropocene require, as Timothy Morton’s writings on ‘hyperobjects’ suggest, an extension of ‘personhood’ to aspects of the non-human world? Meanwhile, renegotiations of Marx’s ecological thought have sought to recognise the unacknowledged labour of the natural world in capitalist value creation, thereby breaching the apparently closed borders of economic systems (Foster: 2000), whilst McKenzie Wark’s Molecular Red (2015) has attempted to broach the perceived gap between high theory and individual ecological praxis.This one-day symposium, organised by the Northern Comparative Literature Network, invites papers that explore contemporary engagement with the environment in postcolonial, world and planetary literatures. How might Comparative Literature make a distinctive contribution to the understanding of literature and the environment? For this symposium, we are particularly interested in literary scholars working on questions of the environment and ecocriticism in the 20th and 21st centuries. Although it is not a strict requirement, preference may be given to comparative approaches that move across the boundaries of nationality, culture and language.

Topics may include:

  • Planetary and World Literature
  • Hybrid and creole literatures
  • The unsettling of species boundaries and post-humanism
  • Romanticism, eco-feminism, postcolonial eco-justice, animal welfare and deep ecology
  • Ecology vs ‘nature’
  • Planetary/world ecological history or memory, and its literary representation
  • ‘Eco-cosmopolitanism’ (Heise, 2009) and its representation in literature
  • Aesthetics, forms and themes of ‘world-ecological literature’ (Deckard, 2017)
  • The Anthropocene vs. ‘the Capitalocene’ (Moore, 2014).

We welcome abstracts and expressions of interest in NCLN from established scholars, postgraduates and researchers. Abstracts of 250 words for papers lasting around 20 minutes should be forwarded to Peter Jackson or Tom Knowles by Monday 11 September 2017.


Inverbis Special Issue (2018) Translating the margin: Lost voices in the aesthetic discourse

Guest Editors: Alessandra Rizzo (University of Palermo) and Karen Seago (City, University of London)
Copy-editor: Maila Enea (University of Roehampton)

This special issue aims at investigating and presenting concrete examples of translation as a linguistic and cultural expedient that reveals migrant and refugee experiences as counter-narratives. The objective is to demonstrate, on the one hand, how translation is involved in the production and dissemination of counter-narratives aiming at the re-telling of experiences of displacement as a result of conflict, persecution, and famine. And, on the other hand, how the migrant presence in the receiving country acts as a stimulus to the creation of an international network of filmmakers, musicians, artists and activists who are capturing and responding to individual stories of struggle and success in the migrant and refugee communities.
Deadline: 15 September 2017 for submission of proposals (approximately 700 words excluding references) and short bio-bibliographical profile to:
Alessandra Rizzo (University of Palermo),
Karen Seago (City University London),
More information is available here.



Colloque International/ International Symposium

Paysage(s) de l’étrange. Art et recherche sur les traces visibles et invisibles des conflits : approches interdisciplinaires et inter-artistiques des patrimoines de guerre

Landscape(s) of the strange. Art and research on visible and invisible traces of conflicts: interdisciplinary and interartistic approaches of war heritage

16 -17 novembre 2017   /  16 -17 November 2017

Université de Lorraine, Metz, France


Ce colloque s’inscrit dans le projet de recherche Paysage(s) de l’étrange. Sur les traces visibles et invisibles d’un patrimoine régional en transformation : (re)constructions artistiques et théoriques d’une histoire transfrontalière marquée par les grands conflits, amorcé en 2016. Le projet a abordé, dans un premier temps, la notion de trace dans ses dimensions matérielles (patrimoine, architecture, végétation) et immatérielles (mémoire, culture), notamment en rapport avec le paysage concret de la Lorraine, portant l’empreinte d’une histoire émaillée de conflits ayant opposé Français et Allemands, notamment lors des deux Guerres Mondiales. Le présent colloque, qui ne se limite pas à la situation spécifique de l’est de la France, souhaite avant tout mettre en avant les apports de la recherche-création, propre aux disciplines artistiques, autour de la thématique du paysage en tant que marqueur identitaire. Il entend donc combiner approches artistiques (y compris littéraires) et théoriques (géographique, sociologique, psychologique, etc.), afin d’apporter un éclairage supplémentaire sur le matériau historique, ainsi que sur les questions liées à la transmission et la (com)mémoration. L’exploitation de ce matériau au sein d’œuvres d’art contemporain qui jouent le rôle de témoin(s) ou de mémoire(s) vive(s) d’événements ayant entraîné des bouleversements géographiques, sociaux et culturels, y occupe une place de choix. Ce colloque international fait suite à deux journées d’études qui se sont déroulées à Metz en novembre 2016. Son ambition est d’ouvrir le projet vers l’international ; d’une part, vers les pays limitrophes du Grand Est (l’Allemagne, la Belgique, le Luxembourg), d’autre part, vers d’autres territoires européens ou extra-européens dont les bouleversements historiques font écho à l’histoire lorraine : territoires donc, qui sont, eux-aussi, marqués, par une ou des guerres, par des frontières instables ou par une identité qu’on peut qualifier d’« hybride ».


This symposium is part of the research project “landscape(s) of the strange. On visible and invisible traces of a regional heritage in transformation. Artistic and theoretical (re)-constructions of a cross-border history marked by major conflicts” started in 2016. To begin with, the project approached the notion of “trace” or ”mark” in its material (heritage, architecture, vegetation) and immaterial (memory, culture) dimensions, especially those related to the concrete landscape of Lorraine which bears the mark of a conflictual history opposing Frenchmen and Germans, especially during the two World Wars. This symposium is not limited to the specific situation in the eastern part of France [Grand Est]. Its ambition is to foreground the contribution of the research-creation trend [recherche-création] which is specific to the art-linked disciplines, to the theme of landscape as an identity marker. It intends to combine artistic approaches (including literature) with theoretical ones (such as geography, sociology, psychology, etc.) in order to throw a new light on the historical material, as well as on questions related to transmission and commemoration. One focus will be the use of this material within contemporary works of art which become “witnesses” or “memories” of those events that led to geographical, social and cultural disruptions. This international symposium follows up on two conference days, that took place in Metz in November 2016. Its ambition is to broaden the project to an international scale : to the countries bordering the “Grand Est” region (Germany, Belgium, Luxemburg) in France, but also to other European or non-European territories which underwent historical upheavals echoing the history of Lorraine. In other words, they are territories which are similarly characterized by war(s), unstable borders and an identity that might therefore be considered as “hybrid”.


Les récentes commémorations du centenaire de la Grande Guerre montrent que l’intérêt pour les traces des conflits caractéristiques des paysages de certaines régions le long des anciennes lignes de front, est prégnant. En France, on remarque par ailleurs une valorisation de plus en plus importante du patrimoine germanique issu de la première annexion de l’Alsace et de la Moselle par l’Allemagne (1871-1918), notamment au niveau architectural, ce dont témoigne la mise en lumière de la Neustadt de Strasbourg ainsi que du quartier impérial de Metz, ces derniers occupant d’ailleurs une place centrale dans les candidatures respectives des deux villes à l’UNESCO. Est-ce le signe d’une attitude éclairée face au passé douloureux, ou d’un oubli collectif qui s’installe au moment où les derniers témoins ont disparu ? Ou s’agit-il, au contraire, du symbole d’une (com)mémoration consciente de la nécessité de se renouveler sans cesse ? On pourrait citer des exemples d’autres régions en Europe ou ailleurs, où le regard porté sur un passé conflictuel s’est transformé au fil des décennies.

Le cadre temporel qui sert de support aux contributions que notre colloque souhaite réunir s’étend sur une période de cent-cinquante ans (de 1870 à nos jours), balayant les deux Guerres Mondiales et, en ce qui concerne Français et Allemands, la guerre de 1870/1871. La Moselle, et plus généralement, la nouvelle région Grand Est ainsi que les régions et pays limitrophes (les Hauts-de-France, la Sarre, le Luxembourg, la Wallonie etc.), apparaissent comme lieu(x) où se condense une déchirure historique au cœur de l’Europe centrale, qui peut représenter des fractures au sein même des familles (par exemple suite à l’enrôlement de force de soldats français dans l’armée allemande). Aujourd’hui encore, cette Histoire (et les histoires intimes qui lui sont associées) reste brûlante, tout en étant de moins en moins accessible, étant donné que les derniers témoins de la Seconde Guerre sont ont train de disparaître. Ainsi, l’approche de notre colloque revêt aussi une dimension éthique : il s’agit de questionner et de renouveler les formes d’une possible transmission aux générations futures de telles mémoires locales ou globales (malgré et à cause de leur caractère douloureux). Face aux crises européennes actuelles, il paraît en effet important de rappeler que ce sont des siècles de combats sanglants, qui ont motivé et rendu nécessaire la construction d’une communauté stable.

Ce colloque interroge le matériau qui subsiste des guerres et des mouvements de frontières dans le contexte des différentes annexions et occupations en France et ailleurs dans le monde, par le truchement des pratiques artistiques. On peut penser ici aux lignes de front des deux guerres mondiales, mais également à des zones, qui témoignent de conflits plus récents, y compris dans la sillage des colonisations, des génocides, de la guerre froide et dans le contexte de la reconfiguration de certains états en Europe même (par exemple suite à la guerre en Ex-Yougoslavie).

La création est capable de s’emparer de la mémoire et de ses récits parfois lacunaires pour en révéler les manques. En outre, elle prend appui sur une matière immédiate : le paysage. Pourquoi ? Parce que ce dernier porte les stigmates des affrontements, particulièrement intenses en Lorraine (champs de bataille de Verdun, parmi tant d’autres), mais tend aussi à effacer progressivement ces empreintes. En constante mutation, le paysage reflète, à chaque moment donné, l’histoire qu’il a traversée. La notion d’étrange, mise en rapport avec le paysage est envisagée comme ce qui fait rupture avec l’environnement connu, le bouleverse, l’inquiète et le transgresse (cf. das Unheimliche tel que défini par Freud). Suite à une guerre, une annexion, occupation ou autre forme de confrontation violente, le paysage garde des traces étrangement inquiétantes, qui font irruption dans un contexte paraissant familier.

Le paysage n’est pas seulement une étendue de territoire ou le point de vue qu’on porte sur cette étendue. Il est à considérer aussi bien dans ses perspectives physiques que mentales. La notion de paysage est une construction instable, qui s’élabore dans un intervalle constant entre les disciplines la questionnant. Ainsi que le souligne François Dagognet dans son avant-propos de la Mort du paysage : philosophie et esthétique du paysage, le « souci » pour le paysage apparaît vers le milieu du XIXème siècle et se renforce au XXème siècle avec la promulgation, en France, d’une loi (1930) qui soutient la préservation du paysage et l’établit comme patrimoine à part entière. Le rapport noué entre ce paysage en tant qu’émanation d’un patrimoine (les traces de guerre laissées sur un territoire) et les transformations visibles et invisibles des sites d’ancrage de ce patrimoine, lesquelles amènent souvent une sensation d’étrangeté, est prédominant. La notion de trace permet de matérialiser les lectures multiples de cet héritage et surtout, d’inscrire ces visions dans un contexte culturel, que les démarches de création soulignent par leurs différents angles d’approche. La trace enregistre la réalité d’un présent construit sur une histoire en strates et couches multiples. Elle constitue une preuve, un échantillon de quelque chose qui, tout en disparaissant, demeure dans une impression matérielle ou psychique. Ainsi, le projet scientifique engagé ici pose la question suivante : quelles sont les nouvelles formes de témoignage, de restitution et de transmission de l’histoire, de ses différentes strates, dont les traces sont parfois difficilement reconnaissables ?

Les propositions devront donc s’inscrire dans l’un des axes proposés ci-après :

  • Le paysage culturel ou les traces de transformation du patrimoine : Le patrimoine, compris comme héritage commun, transmis à une collectivité par les générations précédentes, que nous abordons sous ses formes matérielles (notamment architecturales) et immatérielles (notamment linguistiques). Ce qui nous intéresse ici, plus précisément, c’est la mise en valeur d’un patrimoine partiellement invisible, négligé, voire refoulé comme, par exemple en Moselle, les forts militaires construits par les Allemands à la fin du XIXe siècle ou les bunker, blockhaus et Flaktürme de la seconde Guerre Mondiale que l’on trouve à de nombreux endroits jadis occupés par les Allemands. Les questions de reconstitution, de retranscription des événements historiques par le récit seront posées sous l’angle du paysage et de ses traces. Rappelons également que la question de la mémoire et de la transmission (fidèle ou non) des faits contribue à la construction d’une identité multiple héritée des conflits dont témoigne le paysage concret.

  • Le paysage naturel, superpositions et camouflage : ici, la notion de patrimoine est interrogée par le biais des transformations opérées par la nature sur les sites caractéristiques des conflits. L’idée est d’étudier la construction des différentes couches formées par les actions combinées de la nature et de l’homme dans ces zones meurtries. Le concept de « camouflage » en tant qu’image de la dialectique entre le visible et l’invisible et comme phénomène à la fois naturel (mimétisme), militaire et artistique (cf. colloque Camouflage !, Heidelberg, 2015) interrogera donc l’inscription du paysage sur les territoires délimités. En effet, l’étude des traces des conflits au sein du paysage révèle une forme de morcellement des édifices, dont l’abandon (parce qu’inutilisables et symboliques d’une période de tumultes) renforce la dissimulation à l’intérieur du territoire de la région Grand Est notamment, mais également d’autres régions ayant subi des événements similaires.

  • Le paysage mental ou la représentation psychique comme trace de la mémoire et de l’oubli : cet axe vise à explorer les représentations psychiques de l’histoire, la ou les manière(s) dont le passé peut être réinterrogé, reconstruit, voire réinventé, notamment à la lumière des démarches de création s’appropriant cette histoire. En outre, la notion de survivance [Nachleben] (Warburg, 2012 pour la traduction française, Didi-Huberman, 2002), en tant que trace inscrite dans l’inconscient apporte un éclairage supplémentaire sur le rapport au paysage mental. La démarche qui consiste à utiliser des documents d’archives pour construire une œuvre, rapproche l’artiste de l’historien. Pourquoi certaines traces restent vivaces alors que d’autres disparaissent ? Cette dimension est entièrement solidaire d’une dialectique entre la mémoire intime et la mémoire collective, entre l’expérience sensible et l’appropriation des faits historiques, qui se trouve au cœur de nombreuses créations plastiques et littéraires.

Voici quelques pistes de possibles propositions :

  • une démarche personnelle de recherche-création, incluant la description et l’analyse de cette démarche au regard des notions proposées

  • l’étude d’une œuvre d’art (y compris photographique, cinématographique, littéraire, architecturale, musicale), qui s’inscrit dans le champ contemporain (de préférence à partir des années 1990) et qui aborde le paysage dans sa dimension actuelle, ainsi que les traces de conflits observable au sein de ce paysage

  • des approches, psychologiques, géographiques, sociologiques, dont les méthodologies propres viendront nourrir l’approche des notions définies plus haut

  • une étude historique apportant un éclairage nouveau sur un ou des épisodes spécifique(s) en lien avec des conflits armés caractérisant les paysages actuels d’une région spécifique

  • toute approche des conflits entre Français et Allemands, des traces concrètes de leur passé tumultueux dans les paysages transfrontaliers (Lorraine, Alsace, Sarre) ou de la situation particulière des autres pays situés sur le front de l’est (Belgique, Luxembourg, Pays-Bas) sera particulièrement bienvenue

Modalités de transmission des propositions :

Les propositions de communication sont à envoyer pour le 10 septembre 2017 au plus tard aux adresses suivantes :

Ces propositions (en français, anglais ou allemand) doivent contenir : une présentation du ou des auteurs et un résumé (d’environ 300 mots), précisant la thématique de la proposition, l’axe dans lequel elle s’inscrit et la ou les étude(s) de cas qu’elle développe.


The recent commemorations of the Centenary of the Great War show the vivid interest for the scars of conflicts attached to certain regions located along the front lines. Furthermore, in France, we can notice a rising emphasis on German legacy stemming from the first annexation of Alsace and Lorraine by Germany (1871-1918), an insistence particularly striking through architectural considerations, as shown by the focus on Strasbourg Neustadt and Metz Imperial area, both places playing a central role in the inscription of these towns as Unesco sites. Should we see this as the sign of an enlightened position towards a painful past, or as the symbol of a collective oblivion as the last witnesses are vanishing? Or on the contrary, does it reveal an inner awareness on the part of the necessity to constantly keep renewing itself of the commemorative approach. By way of comparison, one could look at other regions from Europe where the conflictual past is perceived under different lights over decades.

The time frame chosen as a basis for the lectures of our symposium covers hundred and fifty years (from 1870 to nowadays), including both World Wars (1914-1918, 1940-1945) as well as the War of 1870 which concerns French and German people. The Moselle, and more broadly, the new Grand Est region, as well as neighbouring countries and areas (the Hauts-de-France, Saarland, Luxembourg and Wallonia), appear as places in which a deep historical rupture occurred at the heart of Central Europe which provoked some dislocations in families (such was the case with French soldiers who were forced to enroll in the German army). Our aim here is to transmit such local or global memories to future generations despite but also because of their painful nature. As we are confronted to the current European crisis, it seems proper to remember that centuries of bloody battles were what made unavoidable the prospect of building a stable community.

This symposium will examine through art-based practices the remnants of wars and frontier movements in the context of annexations and occupations in France and anywhere else in the world. In this regard, we need to mention the Battle lines of both World Wars but also areas which in the wake of colonization, genocides or the Cold War evoke more recent conflicts and the ones concerns with states restructuration in Europe (for example following the war in Ex-Yugoslavia) as well.

Creation is able to take over memory and its potentially lacunary stories to reveal the shortcomings of the latter. Furthermore, it is built on an actual subject: landscape. Why so? Because landscape bears the marks of particularly intense battles in Lorraine (Verdun Battle Fields among many), but also strives to gradually erase these traces. In fact, as it is constantly evolving, it reflects at any given time the history it went through. The concept of strangeness, as applied to landscape suggests breaking off our familiar environment, transgressing it and troubling it (Cf. Das Unheimlich – The Uncanny, as defined by Freud). In the aftermath of a war, an annexation, an occupation or any kind of violent confrontation, landscape keeps strange traces that surge into a once familiar place.

A landscape is not only the extent of a territory, or the perception we have of it. It should be considered as much from its physical perspectives as from its mental ones. The concept of landscape is an unstable construct that shapes itself within a perpetual space ranging across disciplines which question it. As François Dagognet points it out in his foreword to Mort du paysage : philosophie et esthétique du paysage, a “concern” for landscape emerged during the mid-nineteenth century and got stronger in the twentieth century with the enactment of a law, in France (1930) which supported landscape preservation and defined it as genuine heritage. There is a most significant relation to be established between landscape thought as emerging from our cultural heritage (with the marks left by war on the territory) and the visible and invisible transformations on the actual sites of this heritage places which very often end up wrapped with strangeness. The concept of “mark” or “trace” helps give a concreteness to the multiple interpretations given to this cultural heritage and, above all it helps putting these visions into a cultural context which the acts of creation highlight from different angles according to the approach. Marks capture the reality of the present which is built on multiple strata and layers. They constitute a substantial evidence of something which, while it is bound to disappear, remains as a material or psychological impression. Hence, this scientific project asks the following question: what are these new forms of expression, restitution and dissemination of a layered history, whose marks are sometimes hard to fathom?

Proposals should explore one of the following themes:

  • Cultural landscape or traces in the transformation of patrimony: patrimony is understood as a common heritage passed to collectivities by previous generations. It is approached in material (particularly architectural) and immaterial forms (particularly linguistic). To be more precise, the issue for us is to foreground an invisible, partly neglected or even repressed patrimony, as, for example, in Moselle, forts built by German people at the end of the nineteenth century and bunkers, blockhouses and Second War Flaktürme that we find today in places once occupied by German people. The matter of reconstructing and transcribing historical events provided by storytelling will be tackled from the angle of landscapes and marks. We also refer to the question of memory and the transmission of facts (true or not), which contribute to the construction of a multiple identity inherited from conflicts revealed by concrete landscape.

  • Natural landscape, overlay or camouflage: the notion of patrimony is here questioned through transformations induced by nature on the characteristic sites of conflict. The idea is to study several layers formed by the combined action of human and nature in those bruised areas. The concept of “camouflage” as a dialectic figure between visible and invisible and as a simultaneously natural (mimicry), military and artistic phenomenon (cf. Camouflage! Symposium, Heidelberg, 2015) will question landscape in demarcated territories. Indeed, looking at the marks of conflicts through landscape reveals a subdivision/fragmentation of buildings whose abandonment (because one could not use them anymore and they reflect a tumultuous period) reinforces the concealment process within the territory of the Grand Est Region notably, but also within regions which were confronted to similar events.

  • Mental landscape or psychological representation as the mark of memory and forgetfulness. This axis aims at exploring psychic representations in history and the way or ways in which past can be reconsidered, rebuilt, or even reinvented in the light of artistic processes which appropriate this very history. Besides, the survival concept [Nachleben] (Warburg, Didi-Huberman) as a mark left on the unconscious sheds new light on the relation to mental landscape. The approach which consists in using archival documents to create a work of art brings the artist closer to the historian. Why do some marks remain while others vanish ? This outlook is entirely interdependent with the dialectic between private and public memory and between sensitive experience and appropriation of historic facts which is at the heart of many literary and artistic works.

Here are some possible lines of approach for your presentations:

  • a personal research-creation approach including a description and analysis focusing on the aforementioned notions

  • the study of a work (including photography, cinema, literature, architecture, music for instance) which belongs to contemporary art (from the 1990s on preferably) and which tackles landscape in its present dimension but also looks at the visible marks of conflict within it

  • approaches be them psychological, geographical, sociological whose very methodologies would feed the insight into the aforementioned notions

  • a historical study shedding a new light on one or several specific episodes related to armed conflicts which had an enduring impact on the current landscapes of a specific region

  • any approach on the Franco-German enmity, on the concrete marks from the tumultuous past of these two countries in the cross-bordered landscapes (Lorraine, Alsace, Sarre) or on the specific situation of the other countries located on the East Front (Belgium, Luxemburg, the Netherlands) will be particularly appreciated

Proposal submission:

Proposals are to be submitted to the following mail addresses: Submissions close on September 10, 2017.

The proposals (in French, German or English) should include: a biography of the author and a summary (300 words), with the title of the proposal, the chosen angle and the subject which will be tackled.


Le comité éditorial d’Artis Natura est à la recherche de contributions à sa plateforme collaborative culturelle en ligne. Le projet Artis Natura a pris la forme d’un blogue où les chercheurs, artistes, et écrivains peuvent partager leurs réflexions sur le thème de l’influence réciproque de l’humain sur la nature.

Ce second numéro s’intéresse à l’univers sylvestre et à ses représentations. La forêt s’est inscrite comme espace en tension entre le réel et l’imaginaire collectif, phénomène qui transparait dans la diversité de ses représentations. Les contributions de différents horizons sont les bienvenues :  l’approche n’est pas uniquement académique, et a pour ambition de regrouper articles, créations artistiques et littéraires abordant une thématique commune.

Liste non-exhaustive d’axes de réflexions potentiels :

  • L’imaginaire de la forêt : la forêt dans les contes et les fables, la forêt dans la religion, la notion de wilderness
  • Le rapport forêt/humain : le patrimoine, la forêt comme danger, perspectives autochtones…
  • La forêt comme espace : la lisière de la forêt, le parc, la biodiversité, la forêt comme lieu habitable…
  • Les cycles de la forêt : régénération, les saisons de la forêt, les feux de forêt…
  • La forêt comme ressource naturelle : exploitation forestière, durabilité, forêts protégées ou en danger…

Le projet est bilingue, en français et en anglais, et les contributions dans les deux langues sont acceptées. Les réflexions, entre 1 et 2 pages Word, sont publiées au fur et à mesure de leur soumission. Toute contribution doit être envoyée à l’adresse entre le 1er juin et le 31 octobre 2017 et accompagnée d’une courte biographie et d’une photographie de profil. Les contributions répondant à cet appel seront reliées ultérieurement dans une publication papier.

Vous pouvez visiter le site à l’adresse suivante :


Textimage (Revue d’étude du dialogue texte-image) : Varia 6

Outre ses numéros thématiques, la revue en ligne Textimage publie des ensembles de Varia. Varia 6, à paraître à l’été 2018, rassemblera des études originales concernant les multiples formes du dialogue texte-image.

Une présentation du projet avec son titre (une page maximum) accompagnée d’une notice bio-bibliographique est attendue pour acceptation à l’adresse en ligne de la revue avant le 15 octobre 2017.

Les articles retenus seront remis au plus tard le 1er mars 2018 et feront l’objet d’une expertise par le comité de lecture de la revue.

Plus de détails ici.


Le Comité de Rédaction de la revue académique Acta Iassyensia Comparationis – revue thématique semestrielle, interdisciplinaire, publiée par La Chaire de Littérature Comparée de l’Université „Alexandru Ioan Cuza” de Iasi, Roumanie – invite à collaborer au numéro 21 (1/2018), consacré au thème RĂDARE / TREASON / TRAHISON.

Langues acceptées : français, roumain, anglais, allemand, espagnol, italien.

La date limite pour l’envoi des articles et des comptes rendus est le 14 novembre 2017.

Pour plus d’informations :  en français / in English.



Newcastle University (UK), 9 – 11 April 2018

We invite proposals for papers treating the conference theme in relation to French and Francophone culture, history, literature, music and art history in the long nineteenth century.  Suggested topics include, but are not limited to:

  • Migratory displacements
  • Emigration and émigrés
  • Exile and expulsion
  • Displacement and identity
  • Diasporas
  • Resettlement, restitution, rehabilitation
  • Hospitality and sanctuary
  • Rootedness, home and belonging
  • Borders and the Nation State
  • Colonial relocations and dislocations
  • Urban renewal and new geographies
  • Industrialization and transportation
  • Rural and Urban
  • Earthquakes and tectonic shifts
  • Incarceration and deportation
  • Mobility and wanderlust
  • Dispersal, dispossession and circulation
  • Victory and defeat
  • Historiography and historical distance
  • Adaptation, translation & textual displacement
  • Displacement and condensation
  • Transference, doubling and the Uncanny
  • Metonymic displacements
  • Transposition and intermediality
  • Allegory and irony
  • Dislocation and disorientation
  • The Mal du siècle
  • Marginalization and alterity
  • Syntactic displacements
  • Displacements of power
  • Overthrow and revolution
  • Women’s and workers’ movements
  • Instability and destabilization

Proposals for individual papers or panels should be in the form of an abstract (c250 words) sent as an e-mail attachment in Word to

The deadline for proposals is 15 November 2017.


Jewishness and Postcoloniality in Literature, Culture and Theory
CFP – Special Issue of The Journal of Jewish Identities

Similarities between Jewish and colonial subjects in terms of exclusion and racism were identified in the immediate postwar years by thinkers such as Hannah Arendt and Aimé Césaire. Until recently, however, there has been little exchange between Jewish and postcolonial studies. On the one hand, this absence of comparative work can be attributed to postcolonial theory’s inability to “perceive Jews as anything other than as part of the majoritarian tradition” (Cheyette 2000: 54) or to “an unthinking association of Jews with a monolithic ‘Europe’” (Boyarin 1994: 425). On the other hand, as Bryan Cheyette argues elsewhere, there is a danger of universalizing and overwriting Jewish history by “construct[ing] Jews as ‘world-historical victims’ or the quintessential insider/outsider” (2013: 30).
Because of their tendency to perceive Jews either as conflated with victimhood or as part of the majoritarian culture, postcolonial theorists have largely overlooked the relationship between literary and theoretical representations of Europe’s internal and external Others. Similarly, Jewish studies’ insularity and the compartmentalization of Jewish and postcolonial studies has meant that postcolonial authors’ persistent engagements with Jewishness have been neglected. Indeed, literary and cultural texts have often crossed over such boundaries in ways that challenge what Bryan Cheyette refers to as “disciplinary thinking” (2013: 6). Taking up Cheyette’s recent call for “analogical thinking” (2013: 39) as well as Michael Rothberg’s influential theorization of “multidirectional memory” (2009), this special issue will explore different avenues for bringing the fields of Jewish and postcolonial studies into a productive dialogue.
We welcome papers that approach the intersection of Jewish and postcolonial studies from a literary, theoretical, or cultural studies perspective and that do one or more of the following:
• draw attention to “horizontal” relations among minority and subaltern communities, including Jews, rather than focusing exclusively on “vertical” relations between majority and minority cultures
• make a case for the importance of literary and cultural expressions as aesthetic modes that foreground these horizontal relationships between Jews and other Others
• challenge disciplinary boundaries, including those between Jewish, ethnic, and postcolonial studies
• broaden the purview of Jewish literary and cultural studies and expand the analysis of textual constructions of Jewishness
• foreground representations, theories, and discourses of Jewishness outside of / beyond Europe and the United States.

Please submit articles (7,000 – 10,000 words) and a short academic bio (100-200 words) by 1st December 2017 to the special issue editors:
Sarah Phillips Casteel
Anna Guttman
Isabelle Hesse

Submission Policies
Papers should be sent electronically as Word e-mail attachments. Manuscripts should be prepared using the Chicago Manual of Style. Please include an abstract of 150 words (or less) and a biographical note. Submissions must be in the English language and are considered for publication on the understanding that the author(s) offer The Journal of Jewish Identities the exclusive option to publish and that the paper is not currently under consideration for publication elsewhere. It is the responsibility of the author to obtain permission for using any previously published material.

Submission Checklist
1. Article text should be formatted in 12 point Times New Roman, double-spaced, ragged margins (that is, left justification, not full), one-inch margins all around.
2. The article will be copy edited to conform to Chicago Manual of Style guidelines in matters of form and usage, and Merriam and Webster’s Tenth Collegiate Dictionary in matters of spelling.
3. Citations must be in the form of endnotes, formatted in Chicago/Turabian style. In citations, all non-English source titles must be rendered in the original language. That is, Latin-alphabet sources must be in the original French or German, for example, following capitalization rules for that language. Non-Latin-alphabet source titles must be transliterated from the Russian or Hebrew, say, following the Library of Congress system. Translations of such titles into English is unnecessary.



Metacritic Journal for Comparative Studies and Theory
Volume 4, Issue 1 July 2018
CFP: Feminisms. Materialist, Transdisciplinary and Intersectional Approaches
Issue editors: Laura T. Ilea, Ana-Maria Deliu
Deadline proposals: (5,000-7,000 words for articles, 2,000-3,000 words for book reviews): 10 January 2018

Metacritic Journal for Comparative Studies and Theory is an open-access, peer-review, online publication for academic research, published twice a year by the Faculty of Letters, Babes-Bolyai University of Cluj, Romania. It promotes free-access for academic work and it welcomes authors who want to share their research and resources with their peers. It encourages, recognizes and rewards intellectual excellence in interdisciplinary and intermedial approaches of literary culture, visual culture and theory. The journal welcomes papers in English (or, for regionally oriented topics, Romanian) from the following domains: comparative studies, including digital and posthuman studies; literary studies, cultural studies, including social and gender studies; media and film studies, literary criticism and theory, cultural poetics.

The prevalent functioning model of the three-waved feminism has been questioned in the last decade for operating with Cartesian cuts that imply linear progression and sequential negation in constructing the narratives (Iris van der Tuin). The cut between the first wave (around 1900, focused on women rights) and the second wave (1968-1980, which aims at naturalizing the equal distribution of power in public discourse) – both of them localized in Northern America and Western and Northern Europe – establish a precedent for understanding the movements as crests within a linear progression. The third wave is still in the making, outclassing the dualist paradigm of a moral ideal (such as class, race, ethnicity, nationality) and theories of liberation which function within the grid of an oppressive or dominant other. We want to address the porous migration within the third wave between multiple feminisms: 1) One that goes beyond the approaches of dialectical phenomenology and poststructuralism and implies a materialist feminist concept of freedom (Elizabeth Grosz), as the capacity of the living bodies to act, not simply through deliberation or conscious decision, but rather through the indeterminate abilities they bring to the material world. The problem of feminism moves then from the lack of freedom or the constraints of the patriarchal order to the expansion of the knowledge-production, where women participate in creating the future. The metacritique negotiates this approach between a radical transdisciplinary space and a discipline in itself (Nina Lykke). 2) On the other hand, within the “hegemonic” model of feminism, there are tensions due to what is called a “situated epistemology,” based on the presupposition of non-neutrality. This position is sustained by decolonial feminism, that reopens the problem of legitimacy, primeval to the second wave agenda, and rearticulate it. Decolonial feminism recalls forms of injustice that are resistant to theoretical frames based on notions such as distributive justice, cultural acknowledgement, tolerance, equality or religious freedom. Decolonial feminism equally implies a dissociation from the “hegemonic” Western model, stating that multiculturalism theories in fact erase the particularities of different groups. In this sense, universalism is but particularism in disguise. We address the intersectional dimension (Chantal Maillé) of the feminist project, which urges the researcher to share their theoretical energy between two projects that are sometimes antagonistic.
This is why the next issue of Metacritic Journal for Comparative Studies and Theory, to be published  July 2018, encourages proposals that tackle the tension between a materialist, post-dialectical feminism and a decolonial feminism focused on nuanced analyses of power. Both theoretical and critical methodological approaches that understand the hybrid and intersectional character of the subject are welcomed. Articles should include, but not be limited to:
1. The Wave Model – a spatiotemporal/ epistemic rigid grid?
2. Women’s/ gender/ feminist studies as a trans/post-disciplinary space
3. The philosophical subject between social constructivism and agential realism
4. New materialisms and feminism
5. Bodies that matter: a post-dialectic approach
6. Technological reconfigurations of gender relations (utopian artificial uteri, surrogate mothers,
transgender transformations, prostheses etc.)
7. Decolonial feminism
8. Intersectional methodologies in feminism research
9. Intercultural dialogues on notions of taboo and acceptance
Please submit a 150-word original proposal that clearly explains how it will contribute to, revise, or depart from existing discussions on feminisms and feminist intersections.
Both proposals and final texts should be in English and should observe our guidelines as they appear on our website:
Final submission should include: 5,000-7,000-word article, including 150-word abstract, 5-7 keywords, list of references (only cited works), 150-word author’s bioprofile and the author’s photo-portrait (jpg,separate file). Proposals and final submissions should be formatted as Word documents and sent to


La littérature de jeunesse à l’époque romantique : une littérature européenne ?

26 janvier 2018 – Bibliothèque de l’Arsenal, Paris

Journée d’étude des Cahiers d’études nodiéristes organisée avec le soutien de la BNF, du Centre Pluridisciplinaire Textes et Cultures EA 4178 (Université de Bourgogne-Franche Comté) et de la structure fédérative de recherche Recherches en éducation Lyon – Saint-Etienne (COMUE Lyon-St-Etienne et ESPE de l’académie Lyon)

Appel complet ici.


«Spaced Out. Spatiality in Comics»: call for article in Between n. 15 (may 2018). All informations here.

Deadline for proposals: 30 Janvier 2018.