Session 49: “Hair in Motion: Victorian Affect and Biological Persistence in Walter Pater’s Studies in the History of the Renaissance”

Session 49 of our seminar will take place on Wednesday 31 January 2018 at the Université Paris Diderot-Paris 7 (Bâtiment Olympes de Gouges, salle 347, 18h30-20h).


Leonardo Da Vinci, The head of Leda, c.1504-6, pen and ink over black chalk, 17.7 x 14.7 cm (sheet of paper), Royal Collection.

Asimina Kaniari (Athens School of Fine Arts) will give a paper entitled “Hair in Motion: Victorian Affect and Biological Persistence in Walter Pater’s Studies in the History of the Renaissance.”

Her respondent will be Ariane Fennetaux (Université Paris Diderot).

We will work with extracts from the following texts:
– Walter Pater, chapter ‘Leonardo da Vinci; Homo Minister et Interpres Naturae‘ in  Studies in the History of the Renaissance (1873)
– Walter Pater, ‘Two Early French Stories‘ (1872)
– W. G. Sebald, Vertigo [1990], trans. Michael Hulse, New York: New Directions, 1999.


The seminar will takes place at 5.30 pm at the following address:

Bâtiment “Olympe-de-Gouges”, salle 347, 8 place Paul-Ricoeur, 75013, métro/RER Bibliothèque François-Mitterrand.

All are welcome!


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Decadence, Magic(k), and the Occult: CFP

The Victorianist: BAVS Postgraduates

Decadence, Magic(k), and the Occult

Goldsmiths, University of London, 19-20 July 2018

Keynote speaker: Professor Patricia Pulham (University of Surrey)

Call for Papers

Nineteenth-century Decadence coincided with a resurgence of esotericism, alternative religions, and a belief in magic as a rejection of secularism and science. Until now, this intersection has been most richly considered in relation to Catholicism. Most well-known is Huysmans’s tetralogy, which traces Durtal’s movement from the Black Mass to the monastery. However, Decadent literature has a much more complicated relationship with mystical, supernatural, and magical realms, one which extends beyond a simple rejection of Christian faith and has a legacy reaching beyond the long nineteenth century.

This two-day interdisciplinary conference is organized by the Decadence Research Unit at Goldsmiths. Our aim is to investigate the role of occultism and magic(k) in the Decadent literary and artistic tradition through a consideration of the relationship between Decadence and the…

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CFP: Victorian Interdisciplinarity International Conference 2018

Durham University

12 May 2018

CfP Deadline: 1 March 2018

Hosts: Leeds Centre for Victorian Studies & Centre for Nineteenth-Century Studies

Organising Committee: Rosemary Mitchell, Efram Sera-Shriar (Leeds Trinity University); Bennett Zon (Durham University); Helen Kingstone (University of Glasgow)

Keynote speaker: Gowan Dawson (University of Leicester)

The Victorian Interdisciplinarity project combines expertise at Durham and Leeds Trinity to build upon a current project called Victorian Culture and the Origin of Disciplines, led by cultural historian Bennett Zon (Durham) and historian of science Bernard Lightman (York University, Canada). Begun at Durham’s Centre for Nineteenth-Century Studies, that project explores the factors underpinning the coalescence of modern disciplines, while problematizing conventional notions of disciplinary crystallization and exposing deep channels of interdisciplinary interaction. Led by a combination of scholars at Durham and Leeds Trinity, including cultural historians Helen Kingstone and Rosemary Mitchell, historian of science Efram Sera-Shriar and Bennett Zon, Victorian Interdisciplinarity extends this project by magnifying focus on the dynamics of interdisciplinary interaction in the formation and promulgation of individual disciplines. It tests the nature of Victorian Britain’s interdisciplinary project by probing mutual implications in the genesis of arts and sciences, including hard and soft sciences, social sciences, humanities and performative arts. These topics are reflected in a series of three main events comprising two separate workshops: Victorian Disciplinarity and the Arts (Saturday 25 November 2017, Durham); Victorian Disciplinarity and the Sciences (Friday 23 February 2018, Leeds Trinity); and an international conference (Saturday 12 May 2018, Durham). Related events are also being planned, including a CNCS workshop and guest lecture led by Bernard Lightman, and activities at Leeds Trinity.

According to Joe Moran ‘‘interdisciplinarity’ provides a democratic, dynamic and co-operative alternative to the old-fashioned, inward-looking and cliquish nature of disciplines. And yet this straightforward interpretation begs a number of questions: how exactly does interdisciplinary research aspire to be warm, mutually developing, consultative? Can disciplinary divisions be so easily broken down or transcended? Is it not inevitable that there should be some means of ordering and structuring knowledge?’ (Interdisciplinarity, 2011)

This project seeks to probe the ways Victorian ordered and structured knowledge by viewing their intellectual landscape as non-disciplinary. Testing modern disciplinary and interdisciplinary configurations of professional disciplinary coalescence, Victorian Interdisciplinarity draws upon the methodology underpinning Peter’s Bowler’s transformative concept of the non-Darwin revolution. While Bowler argues that Victorian evolutionary ideas failed to produce crystalized ideological hegemonies, Victorian Interdisciplinarity proffers a transformative disciplinary landscape in constant flux – effectively a non-disciplinary revolution.

Within discussions of interdisciplinarity the Arts and Science have tended to reflect S.P. Snow’s dichotomous concept of Two Cultures. This project synthesises rather than separates our methodological insights to produce a holistic and comprehensive understanding of Victorian interdisciplinarity.

  • How was Victorian knowledge organized – is it disciplinary, interdisciplinary, multidisciplinary, transdisciplinary, cross-disciplinary, or even non-disciplinary?
  • Is interdisciplinarity a legitimate concept to apply to Victorian disciplinary interrelationships? What were the politics of disciplinary borders, and how did they facilitate/impede interdisciplinarity?
  • What were the processes, practices, mechanisms, discourses, and publication modes of Victorian interdisciplinarity?
  • What role did individuals and networks (such as learned societies) play in the coalescence of Victorian interdisciplinarity?
  • What were the counter-trends working against disciplinary formations, and what caused them – eg. tensions between elite and popular practitioners and forms, or peripheral/provincial v. central locations; issues of gender, class, and ethnicity/race; religion; rural and urban; colonial, imperial and global/transnational dimensions of knowledge?
  • How can studying Victorian interdisciplinary help to inform the theory and practice of interdisciplinarity for us today?

Individual Proposal abstracts for a single speaker (20 minutes + 10 discussion) should be 350 words and clearly describe the argument, evidence, and research findings, situate the work in relation to previous scholarship, and articulate how the research contributes to research into Victorian interdisciplinary.

Panel Proposal abstracts for 3 speakers (1 ½ hours) or 4 speakers (2 hours) should be 350 words and provide an outline of the main argument, evidence, and research findings of the panel, as well as situating the panel’s work in relation to previous scholarship and articulating how the research contributes to research into Victorian interdisciplinary. The panel organizer should also include an individual proposal abstract for each paper following the guidelines for Individual Proposals, along with each panelist’s contact information. Panel Proposals will be considered only as a whole, the session’s coherence being an essential part of the evaluation process.

Submission information

Please send your proposals as Word documents to no later than 1 March 2018. The following format should be used:

  • Name, affiliation (if applicable) and contact details (postal address, email and phone)
  • Type of presentation (individual or panel)
  • Abstract title
  • Audio-visual and other requirements (the following are available: Data projector or large plasma screen; Desktop PC; VGA, HDMI and 3.5mm audio inputs; CD player; DVD player; Visualiser; Piano)
  • Brief biography (150 words)
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CFP: “Female suffrage in British art, literature and history” (University of Toulouse, France, 24-25 May 2018)

CFP: “Female suffrage in British art, literature and history” (University of Toulouse, France, 24-25 May 2018)

Abstract deadline: 31 January

Organized by Catherine Delyfer and Catherine Puzzo (C.A.S. and “Jeudis du Genre”, U. Toulouse Jean-Jaurès)

Keynote speaker: Julie Gottlieb, University of Sheffield, author of _’Guilty Women’, Foreign Policy and Appeasement in Inter-War Britain_ (Palgrave Macmillan, 2015) and editor of _Feminism and Feminists After Suffrage_ (Routledge, 2015)

Though the 1832, 1867 and 1884 Reform Acts introduced wide-ranging changes to the electoral system in Britain, and organized campaigns for women’s suffrage began to appear as early as 1866, British suffragists had to wait until 1918 for the franchise to be extended to women (25 years after women obtained the right to vote in New Zealand). In the UK, 2018 will be marked by various festivities and cultural events, such as the unveiling of Gilliam Wearing’s memorial to Millicent Garrett Fawcett in Parliament Square, to celebrate the 100th anniversary of women’s suffrage. Yet in 1918 the “Representation of the People Act” was considered a controversial piece of legislation, even sometimes a failure, because it still discriminated between different groups of women, depending on class, age, and marital status. It was not until 1928 that a Conservative government passed the “Equal Franchise Act” which gave the vote to all women over the age of 21 on equal terms with men. Over the following decades, women’s participation in public life and the political arena grew, arguably reaching an important turning point in 1979, when Margaret Thatcher was appointed Britain’s first female Prime Minister. How is this trajectory viewed and assessed today?

Our 2018 interdisciplinary conference on “Female Suffrage in British Art, Literature and History” seeks to revisit the first female suffrage law of 1918, re-assess its long history and its controversial representations, and gauge its legacy today. How was women’s suffrage imagined, negotiated, criticized or supported in the press and the media, in political speeches, in fiction and painting, in the performing arts, or in photography and film? How did the role and image of women as legal and political agents evolve? How was female (non-)citizenship conceptualized and legitimized socially, culturally, morally, economically, aesthetically?

Possible topics include

–       Redefining the image, role and place of women in the public sphere in the 19th and 20th centuries
–       The suffragist in fiction, theatre, art, the press, the media, film etc.
–       The relationship between the “suffragette” and the fin de siècle “New Woman”
–       Suffragist texts and suffragist thought
–       Victorian, Edwardian and post-war discourses on women’s rights and responsibilities
–       Political activism and the transformative power of writing and art
–       Men’s involvement in the struggle for women’s political rights
–       Contradictory voices, performances, and political/textual strategies of Victorian and 20th-c. activists
–       Men’s and women’s (anti-)suffragist plots, arguments and rhetoric
–       International dimensions of British women’s suffrage history
–       Major, minor or forgotten supporters or opponents of women’s suffrage; networks of influence; leagues, societies and parties
–       Law-making and law-breaking in British women’s political history, art and literature

All papers will be presented in English. Please send your 300-word paper proposals to AND before 31 January 2018. A selection of papers will be considered for publication.

Catherine Delyfer
Professeur des Universités
Littérature, arts et culture britanniques XIXe
Université Toulouse Jean Jaurès

Research Center CAS (EA 801)

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CFP: International Interdisciplinary Conference The Fleeting Nature of Short Forms 18-20 April 2018

Location: Maison de la Recherche Germaine Tillion, University of Angers, France; Museum of Fine Arts, Angers France  (19 April 2018)

Research group: CIRPaLL, University of Angers

Organizers: Karima Thomas, Cécile Meynard

This event is the latest in a series of workshops and symposiums that have been organized in 2016 and 2017 by the University of Angers and the University of Nantes for the FOBrALC[1] project, and indicates a growing interest for short forms research in the newly formed conglomerate of Loire Valley and Brittany Universities, France.

The concept of brevity is, of course, not necessarily synonymous with shortness, and the question of the relationship between short forms and time deserves more critical attention. In the concept of fleetingness, time is seemingly unhinged. Between the unchangeable time of the maxim, the immediateness of the aphorism, the instantaneity of the fleeting image that, once retransmitted, “erases the trace of time”[2], the ephemeral time of performances (land-art, photos posted on Instagram, news briefs, news flashes…), precise time that shrinks, and/or extends into duration (diaries, Facebook posts, tweets, poetry collections), the fragmented time of television series proposing a story through a series of “micro-narratives” or the repetitive temporality of story loops, the concept of fleetingness creates a new dynamic in the short form. We propose to examine the poetics of fleetingness or even its ethics. We could consider, for example, photographic shots stolen by paparazzi or taken during natural catastrophes, or even demonstration banners or websites that overflow with maxims for our modern times. The diversity of these practices leads us to examine the strengths as well as the weaknesses of short forms: their effectiveness and moral relevance as well as the question of sustainability or long term conservation.

Perhaps the idea of fleetingness might also reveal the danger inherent to short forms, that of the unfinished, the risk of irrelevance or nonsense, or even of incomplete reception. It might also generate in short forms the force of shock, as laconic, lapidary bursts could serve as proof of semantic and semiotic effectiveness, and also as a promise of sustainability and conservation.

The notions of brevity and fleetingness could also be studied in association with the following:

1. Interconnected concepts:

The immediate, instantaneous, ephemeral

Intensity, violence: explosion, shock, impact

Tone and style: laconic, lapidary, dry, brusque, aggressive; changes in style brought about by changes in form (email, twitter…)

            Mysticism: revelation; myths and the sacred

            Creation and its energies: dazzling, overflowing

            Fragmentation, the relationship between the complete and the incomplete, the inexpressible

            Possible contradictions: finesse vs. coarseness, concentration vs. reduction, density vs lightness, the ephemeral vs. the sustainable

2. Artistic Forms

            Performances, land-art, street-art, bandes dessinées, comic strips, flashmobs, photography…

            Literary short forms: Flash-fiction, nano-fiction, embedded stories, anecdotes, poetry…

            Scenic and audiovisual short forms: theatre, cliff-hangers, television micro-narratives …

  1. Practices, receptions and uses: zapping, “teasers,” concentration/selection (abstracts, extracts, summaries), stylisation, synthesis, modes of knowledge and comprehension of the world, culture, of reality through short forms (pedagogical, therapeutic, and scientific uses), caricature, stereotype, etc.
  2. Forms of expression, of communication and information : manifestoes, slogans, posters, news briefs, media reports, promotional speeches, trailers …

In order to better understand the complex and multiform concept of the “short form” through the prism of temporality, we hope to have a wide-ranging interdisciplinary approach in areas as varied as literature, history, philosophy, information sciences, linguistics, didactics, sociology, medicine, psychology, the arts, performance, the economics of creative practice, etc.  

Proposals for papers in English or in French (350-500 words) should be sent to Karima Thomas  ( and Cécile Meynard (, along with a brief CV (3/4 — 1 page) by 21 January 2018. The scientific committee will examine proposals and send notice of acceptance by 25 January at the latest.

Scientific committee:

Ailsa Cox (Littérature britannique, université d’Edge Hill)

Elke d’hoker (Littérature britannique, université de Louvain)

Yvon Houssais (Littérature française, université de Franche-Comté)

Yannick Le Boulicaut (Traductologie, université catholique de l’Ouest)

Gérald Préher (Littérature américaine, université de Lille)

Michelle Ryan-Sautour (Littérature britannique, université d’Angers)

Walter Zidaric (Études italiennes, université de Nantes)

Shannon Wells Lassagne (Cinéma et télévision, Université de Bourgogne)

Anne Vincent (Arts Plastiques, Université Catholique de l’Ouest)

Martine Hennard Dutheil De La Rochère (Littérature comparée, Université de Lausanne)

Colloque international et interdisciplinaire

Les temps de la fulgurance.

Forces et fragilités de la forme brève

18-20 avril 2018 

Lieu(x) : Maison de la Recherche Germaine Tillion ; Musée des Beaux Arts d’Angers (19 avril 2018)

Laboratoire : CIRPaLL, Université d’Angers

Organisatrices : Karima Thomas, Cécile Meynard

Les formes brèves font l’objet d’un intérêt grandissant de la part des chercheurs[1].Notre colloque, international et interdisciplinaire, s’inscrira dans ce paysage selon un angle d’approche inédit[2].

Si la notion du bref n’est bien sûr pas synonyme de celle du court, il nous semble intéressant de questionner le rapport des formes brèves au temps, ou plutôt aux temps de la fulgurance, en nous intéressant tout particulièrement à leurs enjeux, leurs atouts et leurs limites, en lien précisément avec cette temporalité protéiforme.

« Les Cyclopes, fils de la Terre et du Ciel, forgèrent cette trinité Tonnerre-Eclair-Foudre qu’ils offrirent à Zeus en échange de leur délivrance – ils avaient été emprisonnés par C(h)ronos, le Temps[4]. » Tout se passe comme si la libération du temps, de la durée s’accompagnait de la fulguration de l’éclair, de l’intensité de la foudre. La libération du temps ne signifie pas pour autant son absence. Dans la fulgurance, le temps est hors des gonds. Entre le temps « immuable de la maxime »[5], l’immédiateté de l’aphorisme[6], le temps instantané de l’image fulgurante qui, une fois rediffusée, « efface l’empreinte du temps »[7], le temps éphémère  des performances (land-art, photos postées sur Instagram, brèves, flash-infos…) le temps ponctuel qui s’étiole et/ou s’étire pour s’inscrire dans la durée (les journaux intimes, posts sur Facebook, tweets, recueils de poèmes), le temps fragmenté des séries articulant une même histoire à travers plusieurs « micro-récits », ou encore la temporalité itérative des séries bouclées, la fulgurance instaure une nouvelle dynamique dans la forme brève. Il serait aussi pertinent sans doute de s’interroger sur une poétique de la fulgurance, voire sur son éthique. Pensons à ces photos volées par les paparazzi ou prises pendant les catastrophes naturelles ; ou encore, dans une autre logique, aux graffitis, aux banderoles de manifestants, mais aussi à tous les sites qui regorgent de maximes des temps modernes, que les gens publient ensuite sur leur mur Facebook… Autant de pratiques qui, dans leur diversité, peuvent également amener à s’interroger sur les forces et les fragilités de la forme brève (efficacité, pertinence, éthique, question parfois paradoxale de la pérennisation et de la conservation…).

La fulgurance ne peut-elle pas également inscrire dans la forme brève un scandale, celui de l’inachevé, du risque de l’impertinence et du nonsense ou encore d’une réception incomplète ? Ne peut-elle pas rendre possible dans la forme brève cette force de saisissement dont le jaillissement lapidaire et laconique serait un gage d’efficacité sémantique et sémiotique, une promesse de pérennisation et de conservation ?

Les notions de brièveté/fulgurance pourront ainsi être associées à

1/ Thématiques croisées :

L’immédiateté, l’instantanéité, l’éphémérité…

L’intensité, la violence : décharge, saisissement, impact…

Le ton et le style : le laconique, le lapidaire, le sec, le brutal, l’agressif ; les changements de style induits par les changements de forme (mail, twitter…)

Le mysticisme : aveuglement (dazzling)/ révélation ; les mythes et le sacré…

La création comme éblouissement, jaillissement…

La fragmentation, le rapport achevé/inachevé, l’indicible…

Les possibles contradictions : finesse / grossièreté ; concentration / réduction ; densité / légèreté ; éphémérité / durabilité…

2/ Formes artistiques :

Performances, land-art, street-art, bandesdessinées, comic strips, flashmobs, photographie…

Formes brèves littéraires : Flash-fiction, nano-fiction, Récits enchâssés, anecdotes, poésie…

Formes brèves scéniques, audiovisuelles : théâtre, cliff-hangers, microrécits télévisuels…

3/Pratiques, réceptions et usages : zapping, teasing, concentration/sélection (abstracts,  extraits, sommaires…), stylisation, synthèse, modalités de connaissance et d’appréhension du monde, de la culture, de la réalité par la forme brève (usages pédagogiques, thérapeutiques, scientifiques…) ; caricature, stéréotype, etc.

4/ Formes d’expression, de communication, d’information : manifestes, slogans, affiches, brèves, dépêches, flash-infos, discours publicitaires, bandes-annonces…

Afin de mieux cerner cette notion complexe et polymorphe de « forme brève »au prisme de la temporalité, nous souhaitons ainsi avoir une approche interdisciplinaire la plus large possible, dans des domaines aussi variés que les lettres, l’histoire, la philosophie, les sciences de l’information et de la communication, la linguistique, la didactique, la sociologie, la médecine, la psychologie, la photographie, les arts et arts du spectacle, l’économie de la création, etc.

Les propositions de communications (1 page) devront parvenir aux organisatrices Karima Thomas  ( et Cécile Meynard (, ainsi qu’un bref CV (3/4 de page à 1 page) d’ici au 21 janvier 2018. Les langues du colloque sont le français et l’anglais.

Les propositions seront examinées par le comité scientifique qui fera savoir sa réponse le 25 janvier 2018 au plus tard.

[1] Comme en témoigne par exemple l’organisation prochaine d’un colloque à l’université de Sfax (Tunisie) sur « La brièveté » (30 novembre-1er décembre 2017) et d’une journée d’étude à l’université de Bourgogne sur les formes brèves à la télévision (« Brevity and the short form in serial television », 2 février 2018.

[2] En 2015 a eu lieu un colloque à l’université Stendhal sur L’Imaginaire sériel, dont l’un des axes était « le temps et l’espace sériel » ; mais il reste encore beaucoup à faire sur la question des relations entre les formes brèves et la temporalité.

[3] Formes brèves dans les Arts, la Linguistique et la Culture, financé par le CPER, MSH- Ange-Guépin, Région des pays de la Loire.

[4] Florence Delay, Petites formes en prose après Edison, Fayard, 2001, p. 9

[5] Roland Barthes, « Réflexion ou sentence et Maxime », Degrès Zéro de l’Ecriture, Seuil 1972, p. 45

[6][6] Alain Montandon, Les formes brèves, Hachette, 1992, p.70.

[7] Alain Gauthier, « Le temps c’est l’image », Quaderni N°16, 1991-1992, p.46.

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The Victorianist: BAVS Postgraduates

Call for Papers

BAVS Annual Conference 2018

Victorian Patterns

University of Exeter, Streatham Campus

29-31 August 2018

Organised by the Centre for Victorian Studies, University of Exeter

Keynote Speakers: Professor Jason W. Moore (Sociology, Binghamton University); Professor Grace Lees-Maffei (Design History, University of Hertfordshire); Professor Marion Thain (Liberal Studies, NYU)

Global Victorians Roundtable Speakers: Professor Robert Aguirre (Wayne State University); Professor Nicholas Birns (NYU); Dr. Paul Young (University of Exeter)

Pattern in the nineteenth century was a much-debated topic. The execution of repetitive forms of design became both industrialized and institutionalized thanks to new techniques of mechanized production. Everywhere the surfaces of material culture were alive with a profusion of ornamental patterns. An insatiable appetite for pattern affected the appearance of public spaces, domestic interiors, clothing and the objects of everyday life. At the same time, revolutions in science and technologies, in the global circulation of people, commodities and ideas…

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CFP: ORIENTATIONS: A CONFERENCE OF NARRATIVE AND PLACE. 30-31 May 2018. University of Nottingham.

We are excited to announce the CfP for Orientations: A Conference of Narrative and Place, to be held on the 30th and 31st of May 2018 at the University of Nottingham. Orientations is an interdisciplinary, international conference exploring the relationship between narrative, space, and place.

We are further delighted to announce our keynote speakers. Our first keynote will be delivered by Kit De Waal, author of My Name is Leon (2017), which won won the Irish Novel of the Year 2017 and was shortlisted for numerous other awards including the Costa First Book Award and the Desmond Elliott Prize. Our second keynote will be delivered by Fiona Mozley, writer of the Booker Prize nominated novel Elmet (2017) and researcher at the University of York. More on our keynotes here.

Orientations will feature a screening of Nature in Mind (2017) by poet Jo Dixon, an important short film that examines mental health through the lens of Nottinghamshire allotments. Complementing this, the conference will close with a reading from poet Aly Stoneman. Aly writes about landscapes, journeys and myths, is the Poetry Editor at LeftLion magazine and has been poet-in-residence for Lyric Lounge (2011) and The Observatory (2016-17).

Conference registration will open in early 2018. Conference fees will be £5, with money going towards travel bursaries. If you wish to attend, but are unable to afford the conference fee, email our organisers and we will discretely waive the fee.

Our relationship to space and place is a continual, evolving, ever-pressing concern. Economic, social and political anxieties are once again being articulated through spatial forms of control: from the restriction of free movement and migration, to surveillance and the nation state, to debates regarding the ownership of space itself. Seemingly fixed markers of place, such as national boundaries or regional borders, are now threatened with increasing volatility. As such, this conference seeks to interrogate the connection between narrative, space and place across disciplines and timeframes.

Due to recent political events, space has once again become an intimate concern for citizens across the globe. These ruptures have deeply affected our relationship with place, as well as made us reevaluate our histories, communities, identities, and everyday conversations. As our sense of self becomes ever more spatially oriented, we invite discussion concerning narratives of lived and imagined experience; in this way the conference addresses the timely need for the convergence of critical practices attuned to both environmental and spatial relations.

This interdisciplinary conference is open to scholars working in Literature, Cultural Studies, Creative Writing, Classics, History, Archaeology, Film Studies, Media Studies, Heritage, Geography, Politics and Sociology. Presentations other than traditional academic papers – e.g. short films, photography, artwork and readings – are heartily welcomed.

Papers of twenty minutes on subjects that might include, but are not limited to:

  • Experiences of place and displacement
  • Psychogeography
  • Travel writing
  • (Post)Colonial spaces
  • Politics and place: Brexit, borders, Catalan, the Archipelago.
  • Ecocriticism
  • (Dis)ability and Space
  • Gendered or queer spaces
  • The domestic
  • The unknown
  • Public and private
  • Geocriticism
  • Classed Spaces
  • Indigenous perspectives
  • The rural and/or the urban
  • Race, citizenship, nation

Papers and Creative Work.

Individual papers and creative pieces should be twenty minutes in length. Please send send an abstract of no more than 250-300 words.


Panel presentations should be sixty minutes in length. Please send an abstract of no more than 800 words. All male panels will not be accepted.

Please email abstracts to with a biography of no more than 100 words per person.

The CfP closes on the 1st of February 2018. Decisions will be made in early March. If you have any access requirements, please email us and we will do our best to accommodate you.

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