Three Decades of British and Irish Poetry, 13-14 March 2015, Institute of English Studies, London

This two-day conference, organized by the Institute of English Studies (http://www.ies.sas.ac.uk) and Oxford Brookes Poetry Centre (http://www.brookes.ac.uk/poetry-centre/), addresses the three initiatives: New Generation Poets (1994), Next Generation Poets (2004), and Next Generation Poets 2014. It aims to examine important concerns of contemporary poetry arising from these projects, such as the relationship between poetry and the public, the promotion of poetry through initiatives such as these, and what the selection of the particular poets on these lists can tell us about the state and direction of British poetry at various stages over the past twenty years.

Thus, whilst the organizers encourage engagement with the individual poets and collections selected for each promotion (a full list of the 1994, 2004, and 2014 poets selected is available on the Poetry Book Society’s website: http://nextgenerationpoets.com), they are also keen to invite reflection upon the relationship between the works of these poets and the initiatives themselves, and will be very interested to receive paper proposals which consider how the work of the 1994 and 2004 poets has developed as a result of the promotion.

In addition to the focus upon these three groups of writers and the selection criteria for selection in the respective promotions, organizers will also be interested in papers which address the issues surrounding the publication of a first collection, as well as the relationship between poets and publishers, and encourage the participation of practising poets and working publishers from both independent and larger presses. In this way, we also encourage papers not just from those working in Literary Studies, but also from those within Publishing Studies and Creative Writing.

Other areas which might be explored in papers include:

- regional and national discourses created around the New, Next, and Next 2014 Generations
– the extent to which these poets are grounded in and shape a tradition of Britain and British poetry
– the long-term effects of these lists
– the actual or imagined ‘mentoring’ of a poet from a later ‘Generation’ by an earlier one
– the poets of these generations not included in these lists, particularly those of the ‘avant-garde’
– the influence of other contemporary poets upon those included in the promotions
– the relationship between the three initiatives and Creative Writing within universities
– the place of performance poets within these lists
– the work done by the selected poets in other media
– the particular engagement of these poets with political and/or ecological concerns
– issues of gender and sexuality which arise as a result of the lists
– issues of race and ethnicity which arise through the three initiatives
– the relationship between poetry magazines and the representation of poetry
– the possibilities and politics of reviewing poetry
– the production of new media in the promotion and reception of the lists
– the effect of promotional lists, marketing, and literary prizes upon the reading public.

Abstracts of 250 words should be sent to IESevents@sas.ac.uk and must be received by 15 November. Queries should be addressed to Niall Munro, niall.munro@brookes.ac.uk

pietmondrianredyellowblue

 

Dutch painter Piet Mondrian (1872–1944) is renowned as one of the most important contributors to the development of abstraction at the beginning of the 20th century, and his stunning and influential works are recognised by everyone from art lovers to students of architecture and graphic design. But what of the man himself? What factors led him to develop this familiar signature style?

Mondrian and his Studios marks the 70th anniversary of the artist’s death and considers not only Mondrian’s significance, but also the circumstances (in both life and painting) that led him to make the switch from successful figurative artist in his homeland to international radical innovator. Taking visitors through Paris, London and eventually New York, the exhibition tracks Mondrian’s personal and aesthetic journey, and finds threads between the two: a major highlight is the immersive life-size reconstruction of his Paris studio, which allows visitors to inhabit not only Mondrian’s creative world but also a three-dimensional version of his colourful experiments in painting.

More information: http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/mondrian-and-his-studios

Edward Rushton and Romantic Liverpool: A Bicentennial Conference

2014 marks the bicentenary of the death of poet Edward Rushton (1756-1814), Liverpool’s most radical voice in the Age of Revolution. Rushton was an uncompromising abolitionist and antislavery fighter, as well as a champion of human rights at large. In a varied career, he also kept a tavern, became a bookseller, edited a newspaper, campaigned against the use of the press gang and, as a blind person himself, he initiated local efforts to support the visually impaired. Liverpool is planning to celebrate his life, writing, and legacy through exhibitions at National Museums Liverpool and the Victoria Gallery & Museum, a theatrical production of a specially-commissioned biographical play, new publications from Liverpool University Press, public lectures, and other events. To coincide with these activities, University of Liverpool, in association with Università degli Studi di Bari “Aldo Moro” (Italy), is hosting a two-day academic conference (14-15 November 2014) which aims to evaluate critically Rushton’s life and works, and foster a new sense of the Romantic and radical writing that emerged within his home town during the eighteenth and early nineteenth centuries. The conference is centred upon Rushton but seeks to encourage more generally the study of Liverpool during the period of his life, when the town emerged as a place of importance in an international network of trade in objects, ideas and cultures. The conference will seek to expand our understanding of the relationship between cultures of writing, reading, publishing, bookselling, journalism and education in Rushton’s Liverpool, and explore the role of imaginative writing in the formation of local, global and civic identities. Confirmed speakers include: Professor John Oldfield (Director of the Wilberforce Institute for the study of Slavery and Emancipation, University of Hull), Professor John Whale (University of Leeds), Professor Lilla Maria Crisafulli (Director of the Centro Interuniversitario per lo Studio del Romanticismo, Università degli Studi di Bologna), and Professor Paul Baines (University of Liverpool). CALL FOR PAPERS Submissions for 20-minute papers from scholars of all disciplines are invited on subjects including: – the place of eighteenth/ early nineteenth century Liverpool and its writing within cultures of abolition, Romanticism, philanthropy, the maritime, scientific knowledge, radical politics – Liverpool as capital of the slave trade, and its writing of slavery, abolition and empire; Liverpool’s abolitionists; women abolitionists – Rushton’s contemporaries, in Liverpool (including William Roscoe and circle, Felicia Hemans, James Currie, William Shepherd, Hugh Mulligan, the Rathbones, Dr. Jonathan Binns) and beyond – the transnational (and especially Atlantic) exchange of thought and things, from and to Liverpool during the period – Liverpool’s emerging institutions and societies, and their role within medical practice, education, the commerce of letters, and cultures of reading and collecting – The politics of genre and form in Romantic Liverpool writing: ballad, eclogue, lyric – Theatrical culture in Romantic Liverpool – Music and the fine arts – Liverpool’s Black community and writing – Liverpool bookselling, journalism, pamphleteering, and radical culture during the period – Liverpool identities and spaces during the long eighteenth century – Romantic towns, ports, and provincial networks – Debating race, gender and class in Romantic Liverpool writing – Rushton and disability studies: eighteenth- and early nineteenth-century practices and perceptions of disability – Rushton’s legacy and the defence of human rights – Influences and afterlives of Romanticism in Liverpool Abstracts of around 250 words, together with a biography, should be sent to the organizers Greg Lynall, Franca Dellarosa and Alex Robinson via edwardrushton@liv.ac.uk, by 31st January 2014. Enquiries are welcome, and should be sent to the same address. A forthcoming conference website will provide information about costs, accommodation, travel and registration.

Edward Rushton and Romantic Liverpool: A Bicentennial Conference

rushton1Edward Rushton and Romantic Liverpool: A Bicentennial Conference
University of Liverpool, 14th November 2014 – 15th November 2014

2014 marks the bicentenary of the death of poet Edward Rushton (1756-1814), Liverpool’s most radical voice in the Age of Revolution. Rushton was an uncompromising abolitionist and antislavery fighter, as well as a champion of human rights at large. In a varied career, he also kept a tavern, became a bookseller, edited a newspaper, campaigned against the use of the press gang and, as a blind person himself, he initiated local efforts to support the visually impaired. Liverpool is planning to celebrate his life, writing, and legacy through exhibitions at National Museums Liverpool and the Victoria Gallery & Museum, a theatrical production of a specially-commissioned biographical play, new publications from Liverpool University Press, public lectures, and other events. To coincide with these activities, University of Liverpool, in association with Università degli Studi di Bari “Aldo Moro” (Italy), is hosting a two-day academic conference (14-15 November 2014) which aims to evaluate critically Rushton’s life and works, and foster a new sense of the Romantic and radical writing that emerged within his home town during the eighteenth and early nineteenth centuries.

The conference is centred upon Rushton but seeks to encourage more generally the study of Liverpool during the period of his life, when the town emerged as a place of importance in an international network of trade in objects, ideas and cultures. The conference will seek to expand our understanding of the relationship between cultures of writing, reading, publishing, bookselling, journalism and education in Rushton’s Liverpool, and explore the role of imaginative writing in the formation of local, global and civic identities.

Confirmed speakers include: Professor John Oldfield (Director of the Wilberforce Institute for the study of Slavery and Emancipation, University of Hull), Professor John Whale (University of Leeds), Professor Lilla Maria Crisafulli (Director of the Centro Interuniversitario per lo Studio del Romanticismo, Università degli Studi di Bologna), and Professor Paul Baines (University of Liverpool).

CALL FOR PAPERS

Submissions for 20-minute papers from scholars of all disciplines are invited on subjects including:
– the place of eighteenth/ early nineteenth century Liverpool and its writing within cultures of abolition, Romanticism, philanthropy, the maritime, scientific knowledge, radical politics
– Liverpool as capital of the slave trade, and its writing of slavery, abolition and empire; Liverpool’s abolitionists; women abolitionists
– Rushton’s contemporaries, in Liverpool (including William Roscoe and circle, Felicia Hemans, James Currie, William Shepherd, Hugh Mulligan, the Rathbones, Dr. Jonathan Binns) and beyond
– the transnational (and especially Atlantic) exchange of thought and things, from and to Liverpool during the period
– Liverpool’s emerging institutions and societies, and their role within medical practice, education, the commerce of letters, and cultures of reading and collecting
– The politics of genre and form in Romantic Liverpool writing: ballad, eclogue, lyric
– Theatrical culture in Romantic Liverpool
– Music and the fine arts
– Liverpool’s Black community and writing
– Liverpool bookselling, journalism, pamphleteering, and radical culture during the period
– Liverpool identities and spaces during the long eighteenth century
– Romantic towns, ports, and provincial networks
– Debating race, gender and class in Romantic Liverpool writing
– Rushton and disability studies: eighteenth- and early nineteenth-century practices and perceptions of disability
– Rushton’s legacy and the defence of human rights
– Influences and afterlives of Romanticism in Liverpool

Abstracts of around 250 words, together with a biography, should be sent to the organizers Greg Lynall, Franca Dellarosa and Alex Robinson via edwardrushton@liv.ac.uk, by 31st January 2014. Enquiries are welcome, and should be sent to the same address.

A forthcoming conference website will provide information about costs, accommodation, travel and registration.

POST SCREEN: International Festival of Art

The Artistic Studies Research Center of the Faculty of Fine Arts of Lisbon University invites you to submit a proposal for a paper or artwork to the upcoming POST SCREEN: International Festival of Art, New Media and Cybercultures to be held in November 2014 in Lisbon, Portugal.

1. Scope
Since the mid-20th century, technological development has been growing to such an extent, that it became an inescapable influence in everyday life of contemporary society. The use of portable cameras, the easy and widespread access to video and photo editing softwares, the use of social networks, as well as interactive games are part of the personal, professional and social daily routine of every individual.
The subject of the POST SCREEN Festival 2014 will be Device, Medium and Concept. Recognizing that these aspects exist in a hybrid territory whose borders are sometimes very faint and not always possible to distinguish, we intend to discuss the use of screen-based devices (traditional, analog or digital) as a tool used in artistic practices and social behaviours; the screen as medium, entails the production and archiving of works of art, cultural and social activities, exclusively generated through technological screens making use of intrinsic technological attributes that a given medium provides; the screen as a concept, refers mainly to the aesthetic, phenomenological and social aspects that involve the idea of screen. These are intended to reexamine the various problems concerning art and culture mediated by screens.
The Festival will comprise a cycle of conferences, a group exhibition of artworks in a virtual gallery and workshops. This event aims to gather a number of experts in diverse fields of research and artistic practice and promote an interdisciplinary discussion and an exhibition of creative productions on emerging issues related to the use of new technologies (moving image, sound, digital images, virtual reality, immersive environments, network cultures).

2. You may submit the following presentation types:
2.1 A paper to be presented at the conference;
2.1.1 The topics of interest for paper submission include, but are not limited to:
– The screen as Device, as Medium and as Concept;
– Theoretical and practical approaches to the screen-based art;
– Screen-based visual culture;
– From window-screen to the ubiquitous-screen;
– Virtual and immersive environments;
– The technological progress of the screen and its repercussion in the social, cultural, artistic, economic and political context;
– The historical, technological and artistic remediation of the screen;
– New definitions and proposals for the concept of screen and its role in art, technology and culture;
– Consumption and dependence of the screens as alienating social factor;
– Cyberculture as a system overpowered by the existence of screens;
– The relationship between the body and the screen;
– The screen as an interface between real/virtual spaces and private/public spaces;
– Production, archive and obsolescence of digital works;
– The screen as an artifact and as a mean of production;
– Virtuality and physicality of the screen;

2.1.2 We also encourage submissions within a variety of disciplines and fields, related to Art and Technology, including:
– Art and theory
– Art History
– Aesthetics
– Art and New Technologies
– Curatorial Practices
– Social Sciences
– Cultural Studies
– New Media

2.2 An artwork to be presented at the virtual gallery of the festival.
2.2.1 The themes for the submission of the works must comply with the overall theme of the festival that refers to the screen as Device, Medium and Concept.
2.2.2 Submissions are accepted in various genres, such as:
– Installations
– Interactive installations
– Video
– Audio
– Site-specific installations
– Multiple projections
– Immersive environments
– Video-performance
– Ciberarte
– Web-Art
– Videographic documentation of works with interactive and participative character
– Digital Platforms
– Visual Arts

3. Review and selection process:
The papers will be reviewed through a double blind reviewing process by the International Board.
The art projects will be selected through a single blind reviewing process (only the curator will know the identity of the artist) by the Curator Committee.

4. Important Dates
May 31  – End date for submitting the paper proposal / Art Project
July 25 – Notification of acceptance or rejection of the paper proposal /Art Project
August 31  – Submission of full paper for publication + full artwork high quality file for virtual gallery.

For more information, please go to Post Screen Festival website http://postscreenfestival.com or  http://postscreen.fba.ul.pt

The Representational Art Conference

TRAC2014_mainslide-920x300

The Representational Art Conference 2014 (TRAC2014) will focus on the aesthetic principles and values implicit in the representational art of the 21st Century. Having established at TRAC2012 that the representational art community has an important voice, it is timely to explore and articulate its distinctive aesthetic values, vision and philosophical outlook. Our purpose is not to establish a single monolithic aesthetic for representational art, but to identify commonalities, understand the unique possibilities of representational art, and perhaps provide some illumination about future directions. WHO SHOULD ATTEND:

Academic Studio Artists

Art Historians

Professional Studio Artists

Art Students

Critics

Gallery Professionals

Art Collectors

Museum Professionals

Crowne Plaza Hotel Ventura Beach, California

  • With a spectacular beachfront, an array of culinary delights and just the right blend of casual and cool, Ventura is a great destination for business or pleasure. The Crowne Plaza Hotel Ventura Beach is the only hotel on the beach and just two blocks from historic downtown Ventura, making it easy for guests to explore all the area has to offer.

    Ventura is a great place to escape. Take a surfing lesson on the beach or enjoy a scenic boat ride out to Channel Island State Park, where recreational activities abound. From art galleries, vintage shops to premium outlets, you’ll find it all within minutes of the hotel. Ventura has year-round temperatures averaging 70 degrees & over 250 sunny days a year!

    The Representational Art Conference is an international event
    hosted by the California Lutheran University Arts Initiative.

Happy Birthday Emily Dickinson

Black-white_photograph_of_Emily_Dickinson_(Restored)“I measure every Grief I meet
With narrow, probing, Eyes;
I wonder if It weighs like Mine,
Or has an Easier size.

I wonder if They bore it long,
Or did it just begin?
I could not tell the Date of Mine,
It feels so old a pain.

I wonder if it hurts to live,
And if They have to try,
And whether, could They choose between,
It would not be,  to die.

I note that Some –
gone patient long –
At length, renew their smile.
An imitation of a Light
That has so little Oil.

I wonder if when Years have piled,
Some Thousands — on the Harm
Of early hurt — if such a lapse
Could give them any Balm;

Or would they go on aching still
Through Centuries above,
Enlightened to a larger Pain
By Contrast with the Love.

Dickinson_children_painting

The Dickinson children (Emily on the left), ca. 1840. From the Dickinson Room at Houghton Library, Harvard University

The Grieved are many,
I am told;
The reason deeper lies, –
Death is but one
and comes but once,
And only nails the eyes.

There’s Grief of Want
and Grief of Cold, –
A sort they call “Despair”;
There’s Banishment from native Eyes,
In sight of Native Air.

And though I may not guess the kind
Correctly, yet to me
A piercing Comfort it affords
In passing Calvary,

To note the fashions of the Cross,
And how they’re mostly worn,
Still fascinated to presume
That Some are like My Own.”

Emily Dickinson (I’m Nobody! Who Are You?)

Ralph Ellison & Narratives of the Black Male Athlete

Multi-Ethnic Literature of the United States Convention

Ralph Ellison Centennial Celebration

Ralph_Ellison_photo_portrait_seatedThrough its multiple vamps, riffs, and leitmotifs Ralph Ellison’s Invisible Man delivers a vision of Black masculinity that includes a particular exploration of Black male athleticism. Addressing notions of physicality and competitive spirit, Ellison speaks back to a significant legacy of performance that had become evident to white America through the sporting exploits of African American men by the novel’s publication in 1952. Moments such as the battle royal and the arena speech bring the novel’s nameless narrator into conversation with a list of prominent Black athletes including Jack Johnson, Jessie Owens, Joe Louis, and Jackie Robinson.

A round table discussion at the 2014 MELUS Convention/Ralph Ellison Centennial Celebration in Oklahoma City will examine ways that Ellison articulates possibilities for Black male voices deployed in twentieth-century sports autobiographies, including those produced by Curt Flood, Jackie Robinson, Hank Aaron, Frank Robinson, and Muhammad Ali.

Recognizing Black male athletes as speaking an American vernacular, we recall that Ellison finds vernacular a “dynamic process [where]…refined styles from the past are continually merged with the play-it-by-eye-and-by-ear improvisations which we invent in our efforts to control our environment and entertain ourselves.” In addition to Invisible Man, participants may explore Ellison’s narrative play with respect to essays from Shadow and Act and Going to the Territory.

Send short 500-750 word abstracts for consideration by January 15, 2014.

Email: mantonucci@keene.edu

Music and Figurative Arts in the Twentieth Century

Music and Figurative Arts in the Twentieth Century

organized by

Centro Studi Opera Omnia Luigi Boccherini (Lucca/Pistoia)

14-16 November 2014 Lucca, Complesso Monumentale di San Micheletto

CALL FOR PAPERS

chagallThe Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music and Figurative Arts in the Twentieth Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 14 until Sunday 16 November 2014.         The relationship between music and figurative arts during the twentieth century is encoded in the links that exist between various composers and artists (such as Schönberg and Kandinsky, Stravinsky and Marino Marini or Picasso, and so forth), and particularly in the personal experiences of composers who produced graphic scores (namely Bussotti, Guaccero and Cage); the connections extend to installation art.         The present conference aims to explore this multifaceted world and will focus on artistic movements and political-sociological phenomena, including musical iconography associated with totalitarian regimes of the twentieth century.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The relationship between composers and artists, painters and sculptors
  • Concurrence of musical and artistic aestethics in the twentieth century
  • Futurists and “The Painting of Sounds, Noises and Smells”
  • Musical iconography of totalitarian regimes
  • Music, visual arts and institutions
  • Iconography and the representation of time in music and the visual arts
  • Rhythm, sound and silence in artistic creation
  • Rhetoric and the figurative arts
  • Musical notation as an artistic element
  • Cage and visual art
  • Sound spaces and the relationship with the musical architecture of Xenakis
  • New artistic expression: installations, performances, and so forth.
  • Popular music and pop art
  • Urban artistic movements: the convergence of art, music and architecture
  • The colour organ and the tradition of mechanical/electomechanical instruments to represent Sound

Programme Committee:

  • Germán Gan-Quesada (Universitat Autònoma de Barcelona)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Luca Lévi Sala (Université de Poitiers)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speaker:

  • Björn R. Tammen (Österreichische Akademie der Wissenschaften | Institut für kunst- und musikhistorische Forschungen)

Invited Speakers:

  • Germán Gan-Quesada (Universitat Autònoma de Barcelona)
  • Luca Lévi Sala (Université de Poitiers)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.         Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.         All proposals should be submitted by email no later than ***Sunday 6 April 2014*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.         The committee will make its final decision on the abstracts by the end of May 2014, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

        For any additional information, please contact: conferences@luigiboccherini.org http://www.luigiboccherini.org/conferences.html

- See more at: http://www.luigiboccherini.org/figurativearts.html#sthash.soXPGyHJ.dpuf

The Heraldic Imagination

Emblems and Enigma: The Heraldic Imagination

An Interdisciplinary Symposium to be held at the Society of Antiquaries of London on Saturday 26th April 2014

In his 1844 short story ‘Earth’s Holocaust’, Nathaniel Hawthorne sees heraldic signs reaching ‘like lines of light’ into the past, but also as encrypted and obsolete. Proliferating and arcane, unique, ubiquitous, and inscrutable, the heraldic has been a major presence across the arts since medieval times; yet it remains, culturally and critically, enigmatic.

The organisers of this interdisciplinary symposium, Professor Fiona Robertson (English Literature, St Mary’s University College) and Dr Peter Lindfield (History of Art, University of St Andrews), invite proposals for twenty-minute papers on any aspect of the employment and perception of the heraldic in literature, history, art, architecture, design, fashion, and contemporary and historical practice.

The symposium will take place from 9.30 to 5 at the Society of Antiquaries of London, Burlington House, Piccadilly, London. The programme will include a keynote address by Professor Vaughan Hart (University of Bath); a special session on the heraldry of Horace Walpole’s Strawberry Hill and William Beckford’s Fonthill Abbey; and papers on eighteenth-century antiquaries’ exploration of the heraldic, and on heraldry in nineteenth-century British and American literature.

Topics may include, but are not restricted to:

            – the languages and grammar of heraldry

            – armoiries parlantes, allusions and puns

            – imaginary and fantastical heraldry

            – decoration and display

            – blazonry and identity: nations, groups, individuals

            – mock- and sham-heraldics; parody and subversion

            – practices of memory and memorialisation

            – history, development, and modern practice

            – blazon and the body

            – heraldic revivalism; medievalism; romance

            – enigma, error, and absence: the bar sinister and the blank shield

            – individual designers, writers, and collectors

            – gendered identity

            – hierarchies of signs

            – international and interdisciplinary perspectives 

Proposals of 200 words should be sent to the organisers at heraldics2014@gmail.com by 10 January 2014.

Fiona Robertson and Peter Lindfield plan to edit a collection of essays arising from the symposium.

Further information will be available on the symposium website, http://heraldics2014.wordpress.com.