Nome dell'autore: Anglistica

ESPRit Conference, Budapest Call for Papers Conference theme: Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press Time and venue: 8– 9 September 2022, Museum of Fine Arts – Central European Research Institute for Art History (KEMKI) – Artpool, Budapest, Hungary. The hybrid event is co-organized with the Petőfi Literary Museum (PIM) – Kassák Museum. Scientific committee: Gábor Dobó (PIM–Kassák Musem); Dávid Fehér (KEMKI); Emese Kürti (KEMKI – Artpool); Eszter Őze (KEMKI – Artpool); Evanghelia Stead (UVSQ Paris Saclay); Merse Pál Szeredi (PIM – Kassák Musem). Contact persons: Gábor Dobó (dobo.gabor@pim.hu), Merse Pál Szeredi (szeredi.merse.pal@pim.hu), and Eszter Őze (eszter.oze@szepmuveszeti.hu). Call for papers: For the first time in East-Central Europe, the European Society for Periodical Research (ESPRit) convenes its 2022 (10th) international conference in Budapest, Hungary, to focus on the following theme Periodicals beyond Hierarchies: Challenging Geopolitical and Social “Centres” and “Peripheries” through the Press The conference should reflect on how periodicals challenge, transform or interpret the notion of “centres” and “peripheries” in a context of permanently shifting and historically unstable situations. Papers should investigate these questions through essential forums of the public sphere, namely periodicals, from the mid-18th century to the present day. The generation of knowledge, social dialogue, and transnational communication (both textual and visual) hosted by periodicals gave visibility and platforms to politically and economically “peripheral” areas, as well as socially marginalized groups. At the same time, other journals provided means to maintain cultural and political hegemony of “central” social classes or global powers. We invite scholars to reflect on the ways periodicals represented, created, maintained, or challenged, even deconstructed the notions of “centre” and “periphery” as related to the status of their community, audience, editorial board or geographical areas. We are particularly interested in encounters, and negotiations between geopolitical or social “centres” and “peripheries” taking place in periodicals. The conference should focus on matters, including but not limited to, such as: • Theoretical reflections on “centres” and “peripheries” and the possible contribution of Periodical Studies to define the shifting meaning of this conceptual model • Circulation, adaptability and reworking of periodical models and genres, including the mainstream press; middlebrow periodicals and “little magazines” • Hybridity, performativity, materiality – how researching periodicals opens up new perspectives in literary, art and media history? • Shifting, emerging, and declining geopolitical centres and the press, from the Napoleonic wars to the end of the Cold War and beyond • Challenging the concept of “Eastern”, “Western”, “Southern” and “Central” – the periodicals in the entangled history in Empires – from a post-Empire perspective • Colonization, decolonization, and the periodicals – a postcolonial perspective • The effect of dominant discourses on marginal/”peripheral”/”provincial”/local contexts – and vice versa. • The role of journals in social conversation, including the voice of marginalized groups in/out of/against the mainstream press: the rise of counter-publics in periodicals • The diachronic and political dimension of artistic canons, and the role of periodicals in canonizing, theorizing, and financing art and culture • De-centring established cultural “centres” through a transnational network of “little magazines”. Establishing “imagined communities” (a term coined by Benedict Anderson) in periodicals The working language of the conference is English. We welcome proposals from researchers at all stages of advancement. Proposals of around 250 words (references not included) for 20- minute papers and a short CV (no more than 200 words) should be sent to 2022esprit@gmail.com by February 28 2022. We also welcome proposals for joint panels of three papers. Please include a brief rationale for the panel along with an abstract and CV for each presenter. Updates can be found on the 10th ESPRit Conference website, forthcoming. We look forward to welcoming you to the Museum of Fine Arts, Budapest!

Audiovisual Translation and Minority Cultures International Conference Sponsored by CenTras (Centre for Translation Studies @UCL – UK), AIA (Italian Association for English Studies) and CUSVE (The University Centre for Victorian and Edwardian Studies) Museo delle Genti d’Abruzzo Pescara, 3-4 June 2022 Call for Papers Within translation studies, minority has been the concern of scholars and translators whose interest has focused on language varieties (dialects, registers, styles, and discourses) linked to cultures that occupy subordinate positions in social formations, or what J.C. Catford defines as “states of language, ethnicity or sex with their own ghetto territorialities” (1987: 106). Minority languages and cultures challenge dominant, homogenising systems by posing resistance in the form of innovation, particularly when considered within the framework of our globalised world. This two-day conference aims to explore the unpredictable linguistic and cultural variations that minority might introduce in the study of audiovisual translation. We want to consider not only the uses of nonstandard linguistic items, multilingualism, and minor languages in audiovisual media, but also the range of cultural, social, and political issues raised by such uses, especially when affiliated with minor cultures. If we side with Abé Mark Nornes’s view that “to the extent that skilled translators disregard conventional practices and creatively work through translation problems – both typical ones and those arising from the specificities of dubbing and subtitling – the outlook and possibilities for moving image translation are both hopeful and intriguing” (Nornes 2007: 16), how might the study and practice of audiovisual translation be reformulated in relation to minorities in the 21st century? We particularly invite contributions that encourage interdisciplinary discussions between scholars and translators about how audiovisual media can give voice to voiceless cultures and how such media might redefine the identity and role of the translator in the 21st century. Suggested topics may include, but are not limited to: •       Standard vs. nonstandard language varieties, multilingualism, and minor languages in audiovisual translation •       Audiovisual translation and the formation of identity •       Translation activism in today’s global media landscape •       The social and political implications of translating humour in audiovisual material •       Dubbing and subtitling in world cinema understood as relations between film cultures positioned in global hierarchies, major and minor, central and peripheral •       The Cinema of Minorities: Film adaptation and minority cultures KEYNOTE SPEAKERS Jorge Díaz-Cintas (University College London – UK) Mona Baker (Oslo University – Norway) Delia Chiaro (University of Bologna – ITALY) INDIVIDUAL PAPERS (20 minutes) Please attach a single document including: •       Title and abstract of your proposal (300 words max.) •       5 keywords •       Author’s name, affiliation, email address and biography (100 words max.) Deadline for submissions: 7th May 2022 Conference fee: 150 EUR (standard) / 80 EUR (student) by 19th May 2022 All questions and submissions should be emailed to Eleonora Sasso (“G. d’Annunzio” University of Chieti-Pescara) to the following address: avt-minoritycultures@unich.it

Convegno internazionale online “Vulnerability and Resilience in English Literature of the Long Nineteenth Century” 16-17 dicembre 2021 co-organizzato da Raffaella Antinucci (Università di Napoli “Parthenope”) e Adrian Grafe (Université d’Artois, Arras) con il patrocinio del Centro Universitario di Studi Vittoriani ed Edoardiani (CUSVE) e dell’AIA. Link: bit.ly/VandRconf

Abbiamo il piacere di annunciare il lancio di una risorsa che speriamo sia di interesse, specialmente per studiosi di letteratura per l’infanzia e campi correlati in ambito inglese: il sito Children’s Literature in Italyospitato all’Università Ca’ Foscari di Venezia. Originariamente ospitato all’Università di Milano, dove è stato fondato e diretto dalla Professoressa Francesca Orestano, il sito nasce dal desiderio degli studiosi italiani di letteratura per l’infanzia di condividere il proprio lavoro con la comunità accademica nazionale ed internazionale. Poiché il gruppo di ricerca che ha supportato la Professoressa Orestano nella fondazione del sito era composto da anglisti, il sito si focalizzava sulla letteratura per l’infanzia anglofona; un tratto che mantiene tuttora, seppur affiancato da ulteriori prospettive ed aree di ricerca di diversa matrice. Col pensionamento della Professoressa Orestano, il sito è stato fatto migrare ad Università Ca’ Foscari, in modo da non perdere il prezioso lavoro della Professoressa e dei colleghi che vi hanno contribuito. Sarà Gestito dalla Professoressa Laura Tosi con la collaborazione della Dottoressa Anna Gasperini e del Dottor Alessandro Cabiati, rispettivamente Assegnista Marie Curie Plus One e Assegnista Marie Curie Global a Ca’ Foscari. Il nostro team si impegnerà a portare avanti l’importante lavoro iniziato a Milano, espandendolo ulteriormente verso aree emergenti e interdisciplinari. Noi stessi, come gruppo di ricerca, ci specializziamo in medicalhumanities, letterature transnazionali comparate, e studi sul cibo. Se siete correntemente impegnati in progetti, pubblicazioni, organizzazione di eventi, e ricerca di collaboratori su progetti di letteratura per l’infanzia e aree tangenti, saremo felici di avere vostre notizie e diffondere informazioni mediante i nostri canali. Potrete contattarci all’indirizzo di posta elettronica childrenslititaly@unive.it. Sperando di fare cosa gradita, vi segnaliamo anche la possibilità, per chi avesse piacere, di iscriversi alla newsletter mensiledel sito con la quale è possibile ricevere aggiornamenti, che saranno diffusi anche su Twitter, a@ChildrensLit_It, e su Facebook, a Children’s Literature in Italy. Saremmo felici di accogliervi tra i nostri destinatari della newsletter e tra i nostri followers sui social, e siamo naturalmente a vostra disposizione per rispondere ad ogni domanda o curiosità. https://pric.unive.it/projects/childrens-literature-in-italy/home

INTERNATIONAL CONFERENCE 1922/2022 – TOTAL MODERNISM: CONTINUITY, DISCONTINUITY, AND THE EXPERIMENTAL TURN Centro Studi “Arti della Modernità” 18-19-20 May 2022 – Torino (Italy) CALL FOR PAPERS The year 1922 signals neither the birth of modernism nor its comprehensive scope, but it can certainly point to a decisive divide marking ends and beginnings. Some key works of literary High Modernism were conceived, written, or completed in that year—T.S. Eliot’s The Waste Land, James Joyce’s Ulysses, Alban Berg’s Wozzeck, Rainer Maria Rilke’s Duineser Elegien, Kafka’s The Castle, Proust’s Sodome et Gomorrhe, just to name the most obvious ones. On the theoretical side, Arnold Schönberg published his Theory of Harmony, Viktor Shklovsky expanded on his idea of defamiliarization (“art as device”) in the direction of a theory of prose, Clive Bell and Roger Fry elaborated on “significant form”. Just as importantly, the year 1922 saw the emergence of other crucial cultural productions that the canon of modernism has been slow—or reluctant—to incorporate, such as cinema, cabaret, dance, popular music. A Dialogue between High and Low? Recent scholarship has drawn attention to explicit connections between high-brow modernist masterpieces and a host of other “low-brow” cultural forms, as the new arts were deemed then, which demand their inclusion into the canon of modernism, just as Benjamin, Kracauer and others were soon to point out. The year 1922 seems to highlight a historical watershed where traditional binary oppositions of high and low, old and new, order and chaos appear to be disrupted by the formation of more complex hierarchies. How did “high culture” uptake the popular arts and what was the meaning and outcome of such cross-fertilization? On the other hand, in what ways and to what results did the popular arts absorb modernist experimentation? Are those transformations, connections, and turns still of some interest to us today? What differentiates the high and the low? How do we define them? If we contrast the 2010s artistic productions and those ground-breaking experiments, do we find continuities or discontinuities and in what sense? Thinking back to 1922 from today, can we still talk of experimental art? Can a past revolution be inherited and in what way? The Centro Studi Arti della Modernità (http://centroartidellamodernita.it/) is organizing an International Conference on 1922/2022 – Total Modernism: Continuity, Discontinuity, and the Experimental Turn to be held in Turin in May 2022. The conference will be held in person unless circumstances change. We will keep updating should problems arise for international travel. This conference seeks contributions addressing these decisive aspects of modernism in its golden year of 1922, a year in which, as Jean-Michel Rabaté has suggested, “one might be tempted to replace ‘high modernism’ with ‘total modernism’” or argue that the main problematic “object of high modernism is totality just before it turns into totalitarianism” (Rabaté 2015). It is this claim for high modernism as “total modernism”, and its reverberations today, that this conference is committed to examine, exploring the ways in which “one sees a metamorphosis of the Wagnerian Gesamtkunstwerk into an artistic totality that combines all media (music, poetry, painting, staging, dancing, and film) and, moreover, superimposes the most experimental and the most popular” (Rabaté 2015). Academic Advisors: Alexander Etkind (European University, Florence), Marie-Laure Ryan (Independent Scholar), Jens Brockmeier (American University, Paris), Andrei Bronnikov (Independent Scholar), Roxana Preda (University of Edinburgh), Ann Banfield (University of California, Berkeley). Conveners: Franca Bruera (University of Turin), Giuliana Ferreccio (University of Turin), Roberto Gilodi (University of Turin), Luigi Marfè (University of Padova), Daniela Nelva (University of Turin), Massimiliano Tortora (University of Turin). Keynote Speakers: Jean-Michel Rabaté (University of Pennsylvania), Ann Banfield (University of California, Berkeley, possibly on zoom), Peter Nicholls (New York University), Thomas Macho (Humboldt, IFK Wien), Raffaele Donnarumma (University of Pisa), Hubert Roland (Université Catholique de Louvain), Sigrid Weigel (Zentrum für Literatur- und Kulturforschung, Berlin). The Conference Advisory Board will consider proposals for papers addressing, but not limited to, the following topics: • Form vs. Performance • Ends and Beginnings • The relation between words, things and ideas in literature and philosophy • Aesthetic autonomy / aesthetic totality • Citation, displacement, fragmentation • Plurilingual, Transnational modernism • Subjectivity and anti-subjectivism • Gesamtkunstwerk as the expression of an epoch • International Style: The Bauhaus, the Vhkutemas and others • Architecture: Le Corbusier and Frank Lloyd Wright • Classicism old and new • New music and the new visual arts • Photography and Cinema • Ballet, cabaret, popular music • Dada vs. Surrealism • Cosmopolitan diaspora • Conservative revolutions • East European Modernism • American vs. European Modernism • Expatriates in Paris, London, Berlin, Vienna • The city as total space Proposals of about 250 words may be submitted to convenors through centrostudiartimodernita@gmail.com, by 15 December 2021, together with a bio-bibliographical profile. Proposals will be read and evaluated by 15 January 2022. The time of delivery for each paper should be no more than 20 minutes. Registration fee for Participants: 70 euros; Graduate Students and PhDs: 40 euros. The conference languages will be English, French and Italian. A number of conference presentations will be selected for publication in Cosmo: Comparative Studies in Modernism (ISSN 2281-6658, http://www.ojs.unito.it/index.php/COSMO) the digital international, peer-reviewed journal of the Centro Studi Arti della Modernità. Accepted contributions will be published in Cosmo’s June 2023 issue.

Call for Papers The multitalented woman of letters, writer of fiction, and theoretician Vernon Lee (Violet Paget, 1856-1935) very early –and deeply—marked the field of fantastic literature. Many of her works, like those gathered in the collection *Hauntings* or such as “Prince Alberic and the Snake Lady”, make use of a background immersed in the supernatural, be it real or suggested, to deal with questions that are recurrent in her work. Art works (sculptures, portraits, music) or the *genius loci* (often the spirit of Renaissance or Eighteenth Century Italy, but also Greek and Roman Antiquity, or the great Jacobean houses in England), often provide in-between, liminal spaces that border on the present and the past, broken into by a fascination with the historic that disrupts all topographical and temporal landmarks. Readers familiar with Vernon Lee’s theoretical texts have identified narrative patterns such as the Apollonian being overwhelmed by the Dionysiac, or the frontier between past and present or between people being abolished. This conference hopes to ask, if we consider the fantastic as the irruption of the supernatural in everyday life, how can we then assess and understand Lee’s fantastic fiction when her own texts and theory suggest a complex, fundamentally psychological process, rather than supernatural phenomena as described in classic ghost stories? It is possible to argue that Lee’s chosen theoretical posture on the fantastic reveals itself when empathy is evoked by a work of art, a portrait, a natural place or a building which arouses a feeling of “hauntedness”. Yet at the core of so many ghost stories (some too, by Lee), there is the assumption that the powerful personalities of the past can be endowed with a supernatural existence being willed to do so by the dissatisfied living. So how should one interpret Lee’s fantastic texts? This conference would like to interrogate Lee’s position on, and place within fantastic literature. We would also welcome broader comparisons between Vernon Lee and other writers who shared similar geographical, historical or artistic predilections. Lee’s decadent and cruel celebration of the Renaissance may situate her within the “New Romance” movement whicb boomed in the late 19th century and is exemplified by another woman of letters, Marie Corelli. There may also be the inevitable parallels with Oscar Wilde, or resemblances drawn between Edgar Allan Poe and H. P. Lovecraft’s ancient drama having cast a curse on the initial protagonist’s descendants. Perhaps the resurgence and the revival of art works or of gods and goddesses from Antiquity may connect Vernon Lee with a literary galaxy gathering authors like Prosper Mérimée, Arthur Machen, Gabriele d’Annunzio, Wilhelm Jensen, Robert W. Chambers, Théophile Gautier and many others, while the fascination of Renaissance portraits or haunted portraits is reminiscent of Robert Browning, of Walter Pater’s meditations on Mona Lisa, not to mention, to different degrees, novelists like Herman Melville, Nathaniel Hawthorne, Henry James and James Branch Cabell, all of whom endowed old portraits suggestive of some great tragedy with quasi supernatural powers. We invite papers in French or in English. Please send you 300-word abstract and short personal resume no later that 14 April 2022 to Pr. Marc ROLLAND garryowen@wanadoo.fr Pr Marc Rolland, Professor at the Université Littoral Côte d’Opale, recently published *Epouser la déesse, Essais sur la femme, le surnaturel et l’hyperbole*, éditions Shaker Verlag, 2021 <http://shaker.de/de/content/catalogue/index.asp?ID=8&ISBN=978-3-8440-7730-8> . We are delighted to announce that the annual event of the International Vernon Lee Society, co-organiser of the conference, is scheduled during this conference most aptly taking place in Vernon Lee’s own birthplace. Conference website: AAP: Vernon Lee et le fantastique, Boulogne-sur-Mer, 13-14 Octobre 2022  

Informal language learning inside and beyond the classroom: New perspectives Online conference (Zoom platform), 12 November 2021 Università di Pavia With the constant expansion of L2 learning affordances, traditional language learning shades into informal language acquisition and novel combinations of formal and informal learning emerge. This change in linguistic landscape dramatically affects English but also involves other L2s, calling for ‘a new model of what constitutes a linguistic environment for learning’ (Arnbjörnsdóttir, Ingvarsdóttir 2018). The conference will explore informal learning as it arises in a variety of settings, as those created in schools and universities through CLIL and EMI, and beyond when accessing traditional and new media in online and mobile environments. Conference website: https://studiumanistici.unipv.it/?pagina=p&titolo=ling-Attivita Conference attendance is free upon registration at https://forms.gle/ockq RVg5mb7sgQJj6 Deadline for registration: 31 October 2021 Scientific and organizing committee: Maria Pavesi*, Maicol Formentelli*, Elisa Ghia°, Fabrizio Maggi*, Cristina Mariotti* *Università di Pavia °Università per Stranieri di Siena Contact email: maicol.formentelli@unipv.it