The postings below are all still active, and organized by deadline. Once the deadline has passed, they will be moved to the IABA Posting Archive, on the CBR Website
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Historicizing Experiences
7th Annual HEX Conference 2025
March 10–12, 2025
Deadline for Submissions Nov. 29, 2024
Research Council of Finland’s Centre of Excellence in the History of Experiences (HEX), Tampere University, Finland
The history of experiences is a burgeoning, interdisciplinary field of study that sets out to comprehend the manifold roles and meanings of experience in history. It charts the dynamic interplay between the individual, community, and society at large. The history of experiences reconsiders how experience is defined and used as a key element of historiographical practice. Historians of experience highlight the generative role of experience in shaping history and its vital importance to any comprehensive historical analysis. Rather than as an isolated, extraneous facet of historical study, experience is most fruitfully studied as situated within social structures and institutions, with which it is in constant interaction. Experience is deeply intertwined with the fabric of culture, and understanding cultural change requires examining experience within its context.Historians of experience constantly develop the approaches and concepts central to their field. They interrogate the specificities of their domain and self-reflectively ask how it is situated in the wider historiographical context. New sources help unravel the multilayered historicity of experience.
Within this framework, the seventh annual HEX Conference will reassess the premises on which this field rests and consider what historicizing experience entails. How is experience produced, and why is it crucial to understand it as a historical process?
We invite proposals for papers and panels that span a range of periods, methodologies, and disciplines with only one, all-encompassing methodical goal in mind: historicizing experiences. By encouraging diverse contributions, we aim to create a forum that engages in discussion about the state of the field through conceptual case studies and more theoretically oriented reflections.
Possible themes include but are not limited to:
- The contributions of the history of experiences to the discipline of history and other scientific fields.
- Historiography of the history of experiences.
- Problematizing the history of experiences.
- Novel theoretical and conceptual approaches to the history of experiences.
- Methodologies in the history of experiences.
- New sources for the history of experiences.
- Institutionalization of experiences.
- Intersectional perspectives on historical experience.
- Temporality and memory in experience.
- Collective experiences in history.
- Longue durée studies, case studies, and comparative studies.
- Lived experiences of religion, nations and nationalism, and the welfare state.
Panel Proposals and Individual Paper Proposals
We encourage proposals for coherent panels and individual papers from all scholars who examine historical experiences in any time period or geographical context. Panel proposals should consist of 3 to 4 papers. The conference broadly considers the history of experiences, but the organizers encourage scholars to focus rigorously on the central questions, theoretically oriented approaches, and novel methods and sources pertaining to the history of experiences. As a tribute to the three thematic teams at HEX, we also encourage scholars with an interest in the history of experiences of religion, nations and nationalism, and the welfare state to submit proposals.
Please submit your proposal by 29 November 2024 (via this link: https://www.lyyti.in/hex2025callforpapers) according to the following instructions. All proposals MUST address the concept of experience. The conference will take place in person only.
- For complete panels, send a joint 400-word abstract, together with brief bios and paper titles for each proposed speaker.
- For individual papers, send a 250-word abstract together with a brief bio.
Keynotes
Professor Stefan Berger, Institute for Social Movements, University of Bochum: “Experiences of deindustrialization and the role of memory in forging futures for places undergoing structural economic change: global perspectives”
Dr Ville Kivimäki, The Finnish Literature Society: “Experiences in history: some risky roads that could lead to interesting places but could also turn out to be dead-ends or even dangerous alleys where you are robbed of your academic credibility and laughed at”
Dr Karen McCluskey, The University of Notre Dame Australia: “Art and experience: aesthesis, intellect and the question of relationality”
Links and information
Further information on HEX Conference, please see the conference website: https://events.tuni.fi/historyofexperience/
More information on HEX, see: https://research.tuni.fi/hex/
Digital Handbook of the History of Experience: https://sites.tuni.fi/hexhandbook/
Contact Information
Conference Coordinator: PhD Mikko Kemppainen
Contact Email
URL
https://events.tuni.fi/historyofexperience
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PCA True Crime CFP – Special Topics 2025
Abstract Submission Deadline: November 30th, 2023
PCA/ACA will be held from April 16-19th, 2025 in New Orleans, LA
True Crime typically focuses on investigative journalism used to present a mystery or attempt to understand the psychology of a crime/perpetrator. It may include narratives of a case, victimology, forensics, or analysis of evidence, although each case is different. Much of True Crime focuses on serial killers/killings, although subsets of the genre may delve into topics such as kidnappings, cults, wrongful convictions, advocacy, white-collar crimes, trial proceedings, prevention of crime, survivor stories, or sensationalism/entertainment.
Covering a vast expanse of time and an array of potential topics, True Crime offers countless opportunities for academic study and debate. While opponents of the genre often critique crime stories as being exploitative and potentially traumatic for victims, society’s perennial fascination with stories of crime, murder, and mayhem also provide insight into our collective interests, motivations, and prejudices. Significantly, the presentation of crime stories provides insight into our changing perspectives on criminality, deviant behavior, and the treatment of victims over time. In his Introduction to True Crime: An American Anthology, Harold Schechter writes: “What differs strikingly from era to era is the way such transgressions are interpreted. Acts otherwise analogous have been seen at different times as arising from sin, or irrational thinking, or mental disease, or inarticulate protest against abuse or oppression” (xix). In other words, the study of True Crime is also the study of our culture and its behaviors and beliefs.
The True Crime area co-chairs invite papers and presentations on all aspects of True Crime, including but not limited to analysis and interpretations across a range of media such as podcasts, film/documentaries, and television. Papers may deal with particular case narratives, psychology of a crime, or investigative journalism.
We recognize the interdisciplinarity of the True Crime genre, and also welcome submissions that explore topics such as gender/demographics of audiences, perpetrators, or victims; sensationalizing high profile cases; criminology, victimology, and forensics; wrongful convictions and advocacy; prevention of crime and survivor stories; crimes against POC, indigenous groups, or marginalized peoples; and more. Presentations should be aware of and respectful to victims and their families as applicable to the specific topic being explored.
This year, we also would like to solicit proposals for a special joint panel with Mystery and Detective Fiction:
Fictional Truths and Truthful Fictions
Co-hosted by the True Crime and Mystery & Detective Fiction Areas, this special session will feature papers analyzing the mutual influence and generic exchange between true crime and crime fiction texts (e.g., televisual or literary adaptions of real-life crimes or the use of mystery archetypes and tropes in true crime texts etc.).
Please indicate in your proposal if you would like your paper to be considered for this panel. Papers that are not accepted for this special session will still be considered for regular panels.
Submission Requirements: Proposals for single papers and panels should be 150 to 300 words and must include the following:
1) a title reflecting your argument (or framing concept in case of a panel or roundtable)
2) a clear statement of your argument/thesis and/or key research questions
3) an identification of the corpus that will be the focus of your study
All paper proposals should be submitted directly through the PCA website. If you are organizing a panel of 3-4 speakers, or a roundtable discussion panel of 4-6 participants, please have your panelists submit proposals directly to the PCA website and contact the True Crime co-chairs with a panel proposal identifying your presenters. Otherwise, proposals will be arranged into panel sessions based on critical, disciplinary, or thematic connectivity.
Co-chairs for True Crime: Dr. Lauren Kuryloski, (lkurylos@buffalo.edu) and Dr. Samantha Przybylowicz Axtell, (samantha.przybylowicz@gmail.com).
Contact Information
Samantha Przybylowicz Axtell (samantha.przybylowicz@gmail.com) or Lauren Kuryloski (lkurylos@buffalo.edu)
Contact Email
samantha.przybylowicz@gmail.com
URL
https://pcaaca.org/page/submissionguidelines
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Call for paper for a special issue: “Medical Objects in Illness Narratives”
Volume 30 of the European Journal of English Studies (2026)
Deadline for abstracts: 30 November 2024
This special issue will explore the depiction of medical objects (speculum, needles, scan machines, surgical instruments, wheelchairs, ventilators, hospital beds, etc.) in pathographies, that is illness narratives from patients’ perspectives. We will consider both life writing and fictional pathographies in this investigation, and will seek to include essays on literature, art and film. The special issue’s main aim will be to investigate the ways in which encounters with medical objects disrupt the narrative, and how they become a useful focal point through which authors negotiate issues such as the self as a subject and/or object, embodied experience in unfamiliar medical environments, or the patient’s confrontation with new technologies.
We anticipate three major areas of interest within this overarching focus. The first of these is the encounter narrative, in which patients are confronted by, build relationships with, incorporate, or otherwise portray medical objects in their stories. The second will emphasize object theory, looking at the objectification of the patient’s body, as the process of illness and treatment moves it from the category of subject to being a part of the hospital apparatus. The third strand will focus on the disruption of narrative caused by medical objects, thinking through a narratological lens.
Possible topics include but are not limited to:
- The affective potential of encounters with medical objects
- Re-imagined/re-purposed medical objects (e.g. as artefacts)
- What is gained/lost in the encounter with medical objects
- The patient’s body as a medical object
- Re-imagining the relationship of the doctor to the medical object
- Medical objects and femininity/masculinity
- Medical objects in the European context vs in other environments
- The historical circumstances medical objects invoke and how they are negotiated/challenged (e.g. the medical object as a symbol of colonialism in (post)colonial spaces)
- The medical object as a symbol of knowledge/power
- Material encounters with medical objects focusing on physical contact
- Analysis of patients’ attachments or sense of dependency on medical objects
- Medical objects as symbols of transience
- How futuristic medical objects are imagined in science fiction or narratives focused on AI
Submission Instructions
Full manuscript deadline: May 30, 2025.
Detailed proposals (up to 1,000 words) for full essays (7,500 or more words), or 500 words for shorter pieces (ca. 2-3,000 words) discussing a specific position as well as a short biography (max.100 words) should be sent to all of the editors by 30 November 2024:
Polina Mackay: mackay.p@unic.ac.cy
Cristina Hurtado-Botella: cristina.hurtado1@um.es
Joanne ‘Bob’ Whalley: b.whalley@arts.ac.uk
This issue will be part of volume 30 (2026). All inquiries regarding this issue can be sent to the three guest editors.
Warm regards,
The editors
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France’s #MeToo in Film and Media:
Establishing an academic research subject
December 10, 2024 deadline for submissions
International conference celebrating the 10 year anniversary of Genre en séries, November 2025
https://journals.openedition.org/ges
Created in 2015, the Genre en séries journal has set itself the goal of exploring the way gender operates at the crossroads of media cultures. From the onset, its ambition was to participate in the late assimilation of these approaches and tools of analysis by film and media studies within the French academic context by collectively paying attention to issues of power dynamics, social structures and norms at work in media cultures.
Two years later, the rise of the #MeToo movement and its various avatars – like #MeToo Incest[1] or #MeToo Gay – within and beyond Hollywood, on an international scale (Chandra and al., 2021; Cavalin and al., 2022), only confirmed the urgent need to bring to light and establish as a real research subject the dynamics and mechanisms of domination, of harassment, of aggression, of control and of violence long prevalent in the cinema industry – and, more broadly, in all media.
This need was partly addressed in the English-speaking world. In the film industry, a healthy awareness resulted in new professional regulations. Within academic research, long-term research projects had already been initiated before #MeToo in order to look objectively at the working conditions of women by combining the methodologies of statistical analysis and oral history[2].
It is however obvious that much remains to do in France, whether in the field of film-making and distribution or in the field of academic research. The status of cinema as ‘Art’ within French culture still has discernible consequences on discourses and portrayals onscreen, as well as on practices and mindsets: the French #MeToo needs to be understood within these contexts of hierarchy and cultural legitimacy.
At this very moment, Judith Godrèche and many other workers in the French artistic and cultural fields, but also anonymous victims, or women perceived as less ‘legitimate’ and therefore less listened to (Souffrant, 2022), such as reality-TV personalities (Villanova, 2024), struggle to be heard and to participate in effective changes in modes of production, cooperation and work practices. Other testimonies have preceded Godrèche’s, whose autobiographical novel published in 1995 already referred to the abuse she was subjected to, and the “Depardieu affair” was not the first scandal to expose the French cinema industry[3]. The media coverage surrounding those two cases marked a turning point in the sense that they widened the small opening made by the ‘Polanski case’.
This opening happened when Roman Polanski gave up on presiding the Cesar in 2017 following a petition asking for his destitution. For the first time, a French film institution had to acknowledge feminist activism that resulted in a strong reaction within public opinion. But no real reassessment of the profession followed. What’s new about the Godrèche and Depardieu cases is therefore that they have helped to publicize (before justice takes its course) the omerta and impunity by bringing unprecedented attention to the public denunciation of systemic trends that have a lot to do with French cultural mechanisms of bourdieusian distinction that exclude women from the position of subjects (Coquillat, 1982; Burch & Sellier, 1998; Krakovitch & Sellier, 2001).
Those specificities of French cinema must therefore be questioned, documented, historicized in relation to other arts and media (television, journalism, literature, theater, etc.) and to other national contexts, such as the United States’. With this in mind, it matters that the academic world in general – our field is not devoid of sexual and gender-based abuse, that several recent scandals have exposed – and the social sciences and humanities in particular, make a contribution to public debate and collective examination of those – gendered, artistic, cultural, media, institutional – practices perpetrated in complicit silence up to now. Revisiting films henceforth perceived as questionable by replacing them into context seems to be a necessity if we are to build and pass on a watchful, sharp memory.
For those reasons, for the 10 year anniversary of Genre en series, we wish, as other fields before us[4], to make inroads into this investigation in cooperation with academic societies in film and media studies, but also with collectives, professional organizations and civil society. In line with several other research projects begun recently[5], we invite the research community in human and social sciences to explore the numerous issues, questions and challenges raised by the French #MeToo in the context of an international conference set to take place in Paris in November 2025.
All talk proposals and suggestions for special contributions (roundtable, workshop, testimony, etc.) will be reviewed in a serious and watchful way by the science committee, formed by editors of the journal and specialists of gender studies applied to film and media. We nevertheless suggest four topics of discussion that seem especially relevant in order to understand the mechanisms and grey areas of the French #MeToo:
– History
- Cultural and oral history of the modes of domination induced by working conditions.
- The evolution of reception of cases and media discourse over time.
- Writing French film history before and after #MeToo.
- Reinterpretations and contemporary transmissions of films through the prism of #MeToo.
- Examination of the links between portrayals on screen and power relationships (and abuse) off screen; matters of intersectionality.
– Media
- Similarities and differences between media environments.
- Testimonies and public debates related to sexual and gender-based violence.
- Media coverage of cases, scandals and controversies.
- Media legitimacy and cultural hierarchy.
- Film criticism in the face of #MeToo.
– Transnational perspectives
- The fluctuating importance of values that structure ‘legitimate’ taste in different media industries and/or cultural contexts.
- Historical, cultural, legal, socioeconomic and industrial differences and specificities.
- Differences and evolution in the reception of certain international scandals (Allen, Kinski, Polanski, Weinstein, Last Tango in Paris, etc.).
– Institutions and audiences
- Controversies that have plagued the history of French institutions (CNC, Film Archives, César, Festivals, etc.).
- Which values should the institutions stand for?
- Action/reaction/inaction of institutions in the face of sexual and gender-based violence.
- Mobilization of citizens, activists and public organizations.
- Industry/ audiences dialectics.
Proposals in English or French (a 500 word abstract and a short biography) should be sent before December 10 2024 to genreenseries@gmail.com, with the heads of the journal in cc (thomas.pillard@sorbonne-nouvelle.fr and gwenaelle.le-gras@u-bordeaux-montaigne.fr). An answer will be sent on February 1st 2025 by the planning committee. The conference is expected to last two days and to take place in November 2025 at the Sorbonne Nouvelle University in Paris. It will lead to the publication of a special issue of the Genre en séries journal.
[1] A study day on this topic was organized by the French research lab IRCAV in 2022 : https://ircav.fr/event/metooinceste-regards-pluriels-sur-une-campagne-de-mobilisation/
[2] We can refer, for instance, to the project « Calling the Shot: Women and Contemporary Film Culture in the UK », whose goal was to study women’s labour and the obstacles to which they are confronted to within the UK film industry,through a detailed statistical analysis of British films from 2000 to 2015. Sexual harassment emerged as a constant thread in the interviews led with 50 women working in six key professions of film production : https://callingtheshots138740090.wordpress.com.
[3] Let’s not forget the support given to Jean-Claude Brisseau by a large section of the auteur film industry in the early 2000s.
[4] Several theses have initiated this investment:
– in Literary Studies: Mathilde Hinault, “L’écriture du viol de 1945 aux années #MeToo : une histoire de luttes” (Université Sorbonne Nouvelle, since 2022); Pauline Schwaller, “Réécrire les mythes grecs à l’ère #MeToo : entre phénomène littéraire et phénomène de société” (Université de Lorraine, since 2023).
– in Information and Communication Sciences: Laure Beaulieu, “Une rédaction face à #Metoo. Appropriations des idées féministes et évolutions des normes et pratiques journalistiques” (Sorbonne Paris Nord University, since 2018); Warda Khemilat, “De #Metoo au Plan d’action national contre les violences sexuelles et sexistes. Analyse localisée d’un phénomène médiatique transnational” (Université Côte d’Azur, since 2018).
– in English Studies: Mariette Lalire, “Representations et sexualités féminines: comprendre l’impact du mouvement #MeToo sur les séries télévisées britanniques et américaines” (Université Paul Valéry-Montpellier, since 2020).
– in Legal Sciences: Martin Paumelle, “Contribution à l’analyse du traitement pénal des auteurs d’infractions à caractère sexuel : réflexion au regard du principe d’utilité” (Université de Caen Normandie, defended in 2022); Lucie Longuet, “Les réceptions des politiques de lutte contre les violences sexistes et sexuelles dans l’enseignement supérieur : une étude comparée” (Université Côte d’Azur, since 2021).
We should also mention, in Information and Communication Sciences, the symposium “Media and VSS. Informing, denouncing, raising awareness” organized in April 2023: https://www.sfsic.org/wp-inside/uploads/2023/03/colloque-medias-violences-sexistes-et-sexuelles_programme_fr_num.pdf
[5] We are thinking in particular of the ANR project “Female Filmmakers and Feminism in the Media (FEMME)”: https://anr-femme.univ-lemans.fr and the AVISA project “Historicizing sexual harassment”: https://avisa.huma-num.fr/
Planning Committee:
Fanny Beuré (Université de Lorraine)
Mélanie Boissonneau (Université Sorbonne Nouvelle)
Gwénaëlle Le Gras (Université Bordeaux Montaigne)
Maureen Lepers (Université Sorbonne Nouvelle)
Alexandre Moussa (Université de Poitiers)
Thomas Pillard (Université Sorbonne Nouvelle)
Jules Sandeau (Université Paul Valéry – Montpellier 3)
Célia Sauvage (Université Sorbonne Nouvelle)
Science committee:
Olivier Alexandre (CNRS/Centre Internet et Société)
Laurence Allard (Université de Lille)
Bérénice Bonhomme (Université Bordeaux Montaigne)
Teresa Castro (Université Sorbonne Nouvelle)
Hélène Fleckinger (Université Paris 8 Vincennes – Saint-Denis)
Réjane Hamus-Vallée (Université d’Évry Paris-Saclay)
Mary Harrod (University of Warwick)
Pierre Katuszewski (Université Bordeaux Montaigne)
Kira Kitsopanidou (Université Sorbonne Nouvelle)
Mélanie Lallet (Université Catholique de l’Ouest)
Delphine Letort (Université du Mans, head of the ANR FEMME project)
Marie-Christine Lipani (Université Bordeaux Montaigne)
Cristelle Maury (Université Toulouse – Jean Jaurès)
Raphaëlle Moine (Université Sorbonne Nouvelle)
Aurélie Pinto (Université Sorbonne Nouvelle)
Aurore Renaut (Université de Lorraine)
David Roche (Université Paul-Valéry Montpellier 3, co-head of the ANR FEMME project)
Giuseppina Sapio (Université Paris 8 Vincennes – Saint-Denis)
Geneviève Sellier (Université Bordeaux Montaigne)
Salima Tenfiche (Université Sorbonne Nouvelle)
Clémentine Tholas (Université Sorbonne Nouvelle)
Ginette Vincendeau (King’s College London)
Partners:
AFECCAV, Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel, https://www.afeccav.org
AFRHC, Association Française de Recherche sur l’Histoire du Cinéma, https://afrhc.fr
ANR Femme, “Female Filmmakers and Feminism in the Media”, https://anr-femme.univ-lemans.fr
AVISA, “Historicizing sexual harassment”, https://avisa.huma-num.fr
BAFTSS, British Association of Film, Television and Screen Studies, https://www.baftss.org
French Screen Studies, https://www.tandfonline.com/journals/rsfc21
Hystérique*, Association féministe queer intersectionnelle de l’Université Sorbonne Nouvelle, https://www.instagram.com/associationhysterique/?hl=fr
#MeTooMédia, https://www.metoomedia.org
Bibliography
ANGOT Christine, L’Inceste, Stock, 1999.
BACQUE Raphaëlle & BLUMENFELD Samuel, Une affaire très française. Depardieu, l’enquête inédite, Albin Michel, 2024.
BUISSON Charlotte & WETZELS Jeanne, Les Violences sexistes et sexuelles, Que sais-je ?, 2022.
BURCH Noël & SELLIER Geneviève, « Cinéphilie et masculinité I./ Cinéphilieet masculinité II », Iris, n° 26, 1998, p. 191-206.
CAVALIN Catherine et al (dir.), Les Violences sexistes après #MeToo, École des mines, 2022.
CHANDRA Giti & ERLINGSDOTTIR Irma (dir.), The Routledge Handbook of the Politics of the #MeToo Movement, Routledge, 2020.
COQUILLAT Michèle, La Poétique du mâle, Gallimard, 1982.
DEVYNCK Hélène, Impunité, Seuil, 2022.
FILEBORN Bianca & LONELY-HOWES Rachel (dir.), #MeToo and the Politics of Social Change, Palgrave Macmillan, 2019
FRAPPAT Hélène, Le Gaslighting ou l’art de faire taire les femmes, Éditions de l’observatoire, 2023.
GODRÈCHE Judith, Point de côté, Flammarion, 2015.
KOUCHNER Camille, La Familia Grande, Seuil, 2021.
KRAKOVITCH Odile & SELLIER Geneviève, L’Exclusion des femmes. Masculinité et politique dans la culture au XXe siècle, Éditions Complexe, 2001.
LE BESCO Isild, Dire vrai, Denoël, 2024.
MELLUL Yaël & BOUVET Lise, Intouchables ? People, justice et impunité, Balland, 2018.
MERLIN-KAJMAN Hélène, La Littérature à l’heure de #MeToo, Ithaque, 2000.
MURAT Laure, Une révolution sexuelle ? Réflexions sur l’après-Weinstein, Stock, 2018.
SOUFFRANT Kharoll-Ann, Le Privilège de dénoncer, Éditions du Remue-Ménage, 2023.
SPRINGORA Vanessa, Le Consentement, Grasset, 2019.
VILLANOVA Constance, Vivre pour les caméras, JC Lattès, 2024.
VINCENDEAU Ginette, ‘Daddy’s Girls, Oedipal narratives in 1930s French Films’, Iris, n° 8, 1989, p. 70-81.
VINCENDEAU Ginette, ‘Fathers and daughters in French cinema’, in Pam Cook and Philip Dodd (eds.), Women and Film: A Sight and Sound Reader, London: Scarlet Press, 1993, p. 156-163. [reprint of ‘Family Plots: The Fathers and Daughters of French Cinema’, Sight and Sound, vol. 1, n°11, 1992, p. 14-17]
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Special Issue — Bio-adaptations (Adaptation, Oxford University Press)
deadline for submissions:
January 30, 2025
Deborah Cartmell, De Montfort University
contact email:
This special issue will consider the features, issues, and the recent increase in the bio-adaptation which includes, bioplays, biopics, bionovels, and other forms of biographical adaptation. This special issue aims to introduce and interrogate the rise in the bio-adaptation, including but not limited to adaptations of forgotten lives, lives of fictional/mythological figures, the quest for authenticity, and the current trend, from Napoleon to Michael Jackson, for celebrities to be recreated. Submissions should be 4,000-8,000 words with a deadline of 30 January 2025. If accepted, articles will be published online in advance of the publication of the issue, so it’s advisable to submit before the final deadline. Submissions should be made to https://mc.manuscriptcentral.com/adapt
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CFP Victorians and Victorian Literature Abroad (2/25/2025) Special Issue of Sun Yat-sen Journal of Humanities
Victorian globetrotters were of different shapes and types, be they men or women of letters, scientists (such as geologists and plant collectors), artists, photographers, diplomats, military officers or soldiers, merchants or traders, medics, missionaries, or simply leisure tourists. Diverse as they were, they crossed national boundaries and travelled to far-off places worldwide. Victorian writings recorded their footprints and grasp of the world outside their homeland also break the geographical and cultural barriers. Among the best-known are Charles Dickens’s American Notes and Pictures of Italy, John Ruskin’s The Stones of Venice, Charles Darwin’s Voyages, R. L. Stevenson’s In the South Seas, Harriet Martineau’s Retrospect of Western Travel, Isabella L. Bird’s Unbeaten Tracks in Japan, just to name a few. Publishers such as John Murray, renowned for travel books, and periodicals such as Punch produced a prodigious amount of works related to other countries. Significantly, the many fictional narratives, personal diaries, travelogues, and journalistic publications have been inscribed with rich biographical and historical contexts, vigorous imaginativeness, and opportunities for cultural exchanges past and present. Readers are lured to travel to the “Victorian” world and to consider the numerous encounters with “abroad.” Meanwhile, Victorian Literature’s rich spatial and temporal distinctions also allow for extensions and afterlives in forms such as translation, adaptation and recreation in other countries or foreign languages. Victorian scholarship has thus attracted new critical focus in recent years. This special issue seeks contributions relating to the history and depictions of Victorian authors regarding travel, appraisals and revisiting from global perspectives, including how they are being received or taught outside the UK.
The Special Issue No. 59 of Sun Yat-Sen Journal of Humanities, to be published July 2025
(Submission deadline 28 February 2025), invites scholarly essays to explore Victorians
and Victorian Literature Abroad. Topics may include but are not limited to:
Victorian Literary Writers who Travelled Abroad and their Writings
Victorians Abroad and their Writings (Travelogues, Tales, Correspondences, Diaries, Memoirs)
Travels and Travellers in the Victorian Novel
Travel Writings and Illustrations in Victorian Periodicals
Victorian Women’s Travel Writings
Scientists, Medics, Missionaries, their Works, Reflections, and Impacts
Reception of Victorian Literature by Other Countries or Cultures Then/ After
Imperial Gaze, Cultural Interventions, Conflicts and Assimilations
Time Traveller, Armchair Traveller, Imaginative Traveller
Literary or Commercial Travel Writings
Teaching Victorian Literature Outside British Isles
Translations, Adaptations, Recreations in Other Countries or Foreign Languages.
New Critical or Theoretical Focus, Pedagogical Approaches, Virtual Reality
Manuscripts should be between 7500—10,000 words and follow The MLA Manual of Style.
Please submit one electronic copy, a 500-word abstract (as an attachment in Word), a
short biography and contact information to sysjoh@mail.nsysu.edu.tw and cc to the guest editors:
Professor Shu-Fang Lai,
Department of Foreign Languages and Literature, National Sun Yat-Sen University, Taiwan;
Professor Fumie Tamai,
Faculty of Global Communications, Doshisha University, Japan; ftamai@mail.doshisha.ac.jp
For more details about the journal, see https://sysjoh-la.nsysu.edu.tw/
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Call for Papers: Fashion, Style & Popular Culture
Special Issue: ‘Queer Celebrities: Fashion, Style and Influence in Popular Culture’
Deadline for Submissions: July 1, 2025
View the full call here>>
https://www.intellectbooks.com/fashion-style-popular-culture#call-for-papers
Fashion, Style & Popular Culture invites scholars, critics and artists to submit papers for a Special Issue exploring the intersection of queerness, celebrity culture, fashion and style. How are queer celebrities influencing, shaping and transforming popular culture through their fashion and stylistic choices? We are interested in contributions that critically engage with the roles of queer celebrities in fashion as agents of change, as symbols of resistance, and as architects of a more inclusive and diverse cultural landscape.
Topics of interest include, but are not limited to:
Iconography and Symbolism: Symbols, motifs in queer celebrities’ fashion choices.
Fashion and Activism: Queer celebrities using fashion for activism, advocacy, social change.
Queer Aesthetics and Design: Queer aesthetics in celebrity fashion designers and stylists.
Media Representation: Queer celebrity portrayals in film, tv, music videos, digital media.
Queer Influencers: Tension between self-commodification and contributing to queer culture.
Fan Culture and Imitation: Queer celebrity fashion in imitation, cosplay, fan communities.
Queer Celebrity Fashion Brand Collaborations: Impact on brand and consumer behaviour.
Body Politics and Gender Fluidity: How queer celebrities challenge conventional body. norms and gender binaries through fashion, including impact on societal norms.
Queer Celebrities and the Fashion Industry: Impact on fashion industry’s sizing, fit, gender neutrality.
Identity: Queer celebrity fashion and identity formation, self-expression.
Intersectionality and Global Perspectives: Global influence of queer celebrities on fashion and diverse expressions of queerness in different cultural contexts.
Queer or Queer baiting? Exploitation of the queer market through queer fashion and style.
Each topic invites contributors to delve into the multifaceted relationship between queer celebrities and the world of fashion. We encourage submissions that offer unique, including non-western, perspectives, interdisciplinary approaches and innovative methodologies.
The deadline for manuscripts of 5000–7000 words (using Intellect House Style) is 1 July 2025.
Please visit the journal website for Notes for Contributors:
https://www.intellectbooks.com/fashion-style-popular-culture#call-for-papers
Please submit full manuscripts for double blind peer-review to Dirk Reynders at dirk_reynders@hotmail.com.
Questions regarding journal standards and submissions should be sent to Hilde Van den Buck at hdv26@drexel.edu.
General questions regarding the journal can be sent to Joseph H. Hancock, II at joseph.hancockii@gmail.com.