New Publication: Acoustic Entanglements by Sabine Kim

Acoustic Entanglements

Sound and Aesthetic Practice

Combining a cultural history of sound with media and literary studies, ‘Acoustic Entanglements’ presents a new perspective on the entangled affiliations of transnational mobility, diasporic cultural memory, embodied performance, and the material practices of aesthetic acts. Starting by reassessing Emily Dickinson’s poetry as participating in an emergent phonographic logic, this book proposes that sound in modernity assumes the capacity to cross time and space, ‘entangling’ past and present, living and dead, periphery and alleged center.

From this vantage point, the study examines Lillian Allen’s dub poetry as an ethical demand for economic justice made via sound, Janet Cardiff’s audio walks as renegotiating the cultural place of Europe for a North American imaginary, and Anishinaabe artist Rebecca Belmore’s performances as voicing indigenous resilience in the present. Focusing on Canada and the US, the book brings together the fields of sound studies and transnational American studies.

ISBN: 978-3-8253-6677-3, Fachgebiet: Anglistik/Amerikanistik, Reihe: American Studies – A Monograph Series, Band: 278, Preis: 40,00 €, Bestellung auf der Website des Verlags.

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Call for Articles: „The Life of Others: Narratives of Vulnerability”

for a special issue of Canada & Beyond: A Journal of Canadian Literary and Cultural Studies (Spring 2018 issue)

Guest Editor: Eva Darias-Beautell

In her Levinasian discussion of the functioning of ethical obligations in the face of global and local forms of precarity, Judith Butler links the production of vulnerability with a situation of “up againstness” or “unwilled adjacency,” of one’s involvement in a relation of proximity that has not been chosen (134). Vulnerability in those cases arises from the realization that “one’s life is also the life of others”, and that “the bounded and living appearance of the body is the condition of being exposed to the other, exposed to solicitation, seduction, passion, injury, exposed in ways that sustain us but also in ways that can destroy us” (141). Itself the site of production of various forms of violence and vulnerability, this adjacency also triggers the affective and creative engagements necessary for action (134).

These seem crucial issues in Canada, where contemporary debates over citizenship and social justice often take place within complex transnational, transcultural, and (post)colonial contexts as well as beside the historical experiences of settlement and migration, with their contested forms of national or cultural belonging. Additionally, Canada’s humanitarian tradition, itself marked by convoluted narratives, is increasingly challenged by new conditions of global violence, environmental threats, social and political unrest. Canadian literatures do not merely reflect on these conditions but engage with them, exploring the aesthetic possibilities of what could be thought of as a reconnection between the text and the world. How does cultural production articulate and propose strategies of resistance to the massive production of vulnerability? Are the examples of resilience offered by Canadian literature, film, performance and visual arts able to reactivate ethical responsibility and political activism?

This special issue invites contributors to offer a critical examination of Canadian cultural production with an emphasis on the discursive modes that deconstruct the hegemonic structures that produce vulnerability. We also wish to invite research articles that interpret the present condition of (un)willed adjacency in its real and metaphoric possibilities as a site of production of violence and vulnerability, but also (potentially) of lucid creativity, exposing, soliciting, seducing “in ways that sustain us but also in ways that can destroy us.”

Possible areas of interest include (but are not limited to): urban poverty, the medicalized body, indigenous activism, colonial violence, migration and war narratives, ecological vulnerability, the posthuman seduction, emotional precarity, sexuality and (trans)narrative desire, gender and agency, technological liquidity, queer creativities, precarious labour, (non)narratives of resistance, narrative ethics and the post-truth moment. Comparatist and interdisciplinary approaches are most welcome.

All submissions to Canada & Beyond must be original, unpublished work. Articles, between 6,000 and 7500 words in length, including endnotes and works cited, should follow current MLA bibliographic format.

Submissions should be uploaded to Canada & Beyond’s online submissions system (OJS) by the deadline of June the 1st, 2017. They will be peer-reviewed for the Spring 2018 issue.

Work Cited: Butler, Judith. 2012. “Precarious Life, Vulnerability, and the Ethics of Cohabitation.” The Journal of Speculative Philosophy 26.2: 134-151.

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Call for Papers: „Resurfacing: Women Writing Across Canada in the 1970s“

26-28 April 2018, Mount Allison University & Université de Moncton
Second and Last Call

This conference emerges from the growing sense that women who were writing in English and French across Canada from the end of the 1960s through the 1970s and into the early 1980s are poised to be recovered or recontextualized by our scholarly community. This period was seminal for the women’s movement and also for literature and literary criticism in Canada. As many literary scholars active in the 1970s reach the pinnacles of their careers, and as a younger generation researches that lively feminist period, it seems timely to come together to revisit this unique era.

Certainly, there are classics from the period that are alive and well in classrooms across the country. Atwood’s Surfacing (1972), alluded to in our conference title, is one example. We might also think of Anne Hébert’s Kamouraska (1970), Maria Campbell’s Halfbreed (1973), or Marian Engel’s Bear (1976). In addition there has been sustained and renewed interest in figures such as Claire Martin, Jane Rule, and Phyllis Webb. But what about lesser-known writers who were part of this vanguard of literary feminism? How might we remember and re-theorize texts like Constance Beresford-Howe’s The Book of Eve (1973) or the early poems of B.C. Indigenous writer Mahara Allbrett (formerly Skyros Bruce)? What about writers whose voices were marginalized at the time, whose work could be uncovered today?

Beyond particular writers and books, we wish to reflect more broadly on the literary and academic „scenes“ of the period in relation to writing and gender. The 1970s saw the founding of Women’s Press, La Nouvelle barre du jour, and Fireweed, and yet Barbara Godard recalled the „shock and incomprehension that greeted those first feminist critical analyses“ at literary conferences of the early 1980s („Women of Letters (Reprise)“ 260-261 in Collaboration in the Feminine). We look forward to critical reminiscences and historicized reconstructions of what it was like to be a feminist critic, writer, teacher, or student during this time.

To this end, the conference will feature special round-table keynote sessions with noted scholars and critics invited to reflect on and discuss women writers and writing of the late 1960s, the 1970s, and the early 1980s in Canada, and critical literary and cultural developments during the period. Please check the conference website from time to time for updates on confirmed keynote participants.

We invite proposals on any topic related to our conference theme. Here are some examples:

  • Revisiting texts by writers such as: Adele Wiseman, Helen Weinzweig, Bronwen Wallace, Aritha van Herk, Audrey Thomas, Donna Smyth, Carol Shields, Libby Scheier, Suzanne Paradis, Libby Oughton, Alice Munro, Mary di Michele, Claire Martin, Joyce Marshall, Louise Maheux-Forcier, Andrée Maillet, Gwendolyn MacEwan, Pat Lowther, Margaret Laurence, Betty Lambert, Anne Hébert, Madeleine Gagnon, Diane Giguère, Mavis Gallant, Sylvia Fraser, Marian Engel, Solange Chaput-Rolland, Joan Clark, Adrienne Choquette, Maria Campbell, Denise Boucher, Monique Bosco, Constance Beresford-Howe, Joan Barfoot, Jeanette Armstrong, Margaret Atwood, etc…
  • Recovering works by writers currently unknown
  • The importance of this period for Indigenous women writers
  • The work of researching women writers of this era: archival research, obscure texts, logistics, permissions, etc.
  • The interconnectedness of “second wave” feminist activism and literature across Canada
  • The literary industry at the time: feminist journals, publishers, reviews, magazines (examples such as Tessera, La Vie en Rose, F.Lip, Les Editions du Remue-ménage, among others)
  • The impact of feminist scholars and critics
  • Gender and literary events (readings, conferences, festivals) of the time

Proposals of 300 words, accompanied by a title, 50-75 word abstract, and a short biographical note
(~100 words) are welcome in English or French and for a variety of presentation formats.

  • Organized panel: participants present 15 minute papers on a chaired panel topic
  • Seminar workshop: participants complete their papers in advance and distribute them to other seminar participants prior to the conference. Participants offer 10 minute reflections responding to the papers, noting connections or tensions between them. Open discussion follows.
  • Pecha Kucha: participants present a brief visual representation of their research, following
  • Pecha Kucha guidelines (i.e. 20 slides x 20 seconds each)
  • Creative session: participants read short excerpts from works in the conference time period, with a brief response comment on the selection.

Deadline for proposals: August 1, 2017. Please submit to

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Call for Articles: „ReFocus: The Films of Xavier Dolan“

Ever since his first feature film J’ai tué ma mère premiered at Cannes in 2009, where it received an eight-minute standing ovation and three awards, every film from the prolific and precocious 28 year-old Québécois director Xavier Dolan has generated significant buzz. A recipient of numerous international awards, Dolan has recently taken his career into genre filmmaking (with Tom à la ferme, which premiered at Venice and garnered the prestigious FRIPESCI prize) and to an international level, with his first English-language feature The Death and Life of John F. Donovan now in post-production.

Dolan has undoubtedly been a crucial player in the film festival circuit of the past seven years, and an eloquent spokesperson for Québec’s national cinema within international spheres. Dolan’s involvement with directing, producing, screenwriting, editing, costume design and English subtitling and dubbing make Dolan an exemplar of auteur cinema. Meanwhile, his “very Québécois” profile, combined with the wide circulation of his films in foreign markets, continues to enhance the relevance of Québec’s cultural specificity in wider frameworks of film reception.

As the first book-length anthology on Xavier Dolan, this ReFocus International Directors volume seeks to make an intervention on the global reach of small national and subnational cinemas, and to use Dolan’s cinema as a departure point to reconsider the position of Québec film and cultural imaginary within a global cinematic culture. The Films of Xavier Dolan will be one of the scholarly editions to be published by the University of Edinburgh Press in the ReFocus series on international directors. Series editors are Robert Singer, PhD and Gary D. Rhodes, PhD.

The editor is accepting submissions on any aspect of Dolan’s oeuvre, but especially chapters on the following topics:

  • The international reception of Dolan’s films
  • Local/Global reception
  • Millennial filmmaking and reception, as it relates to Dolan
  • Millennial queer filmmaking
  • Millennial nostalgia in Dolan’s films
  • Specific films, as they relate to any of the above or the following additional topics: sexuality/intimacy, language/accents, women/motherhood, Québec cinema, international circuits/film festivals

Please send your 250-750 word proposal and CV to by May 30, 2017. I welcome initial email enquiries to discuss possible proposals.

Final submissions will be approximately 6000 to 8000 words, in English, referenced in Chicago endnote style, and submitted by October 15, 2017.

Andrée Lafontaine, PhD, Assistant Professor of American Studies, Aichi University, Nagoya

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Call for Articles: „Sydney Newman – Producing Television and Film Across Borders“

Probably best known as the creator of the long-running science fiction television series Doctor Who, Sydney Newman played a significant role in the production of television and film both in his native Canada and in the United Kingdom. The Museum of Broadcast Communications describes Newman as „the most significant agent in the development of British television drama.“ [1] But this is only one aspect of Sydney Newman’s (1917-1997) professional experience. Newman enjoyed a long and interesting career in broadcasting and films. While his ‚claim to fame‘ might very well be as creator of Doctor Who and Avengers, he also worked at the Canadian Broadcasting Corporation as Supervising director of features, documentaries and outside broadcasts (1952-1958), the Associated British Corporation as head of Drama (1958-1962), the British Broadcasting Corporation as head of Drama (1962-1967), and the National Film Board of Canada as a film editor (1941-1949) and as Commissioner (1970-1975). He then became a special advisor on film to the Canadian Secretary of State, and was Chief Creative Consultant for the Canadian Film Development Corporation (1978-1984).

His work at these institutions was critical in the development of Canadian and British broadcasting, and popular culture. His influence was far-reaching. But thus far, while there have been some studies which have taken into account the particular roles which he has played during his career, no study has taken his roles together, to provide a more complete picture.

This peer-reviewed collection seeks to understand Sydney Newman’s career in both Canada and in Britain by curating a number of studies on his various professional roles and works. This includes providing an understanding of the world of broadcast television and film, in both countries during the 50s-70s, and the visions of culture he articulated in his work. Articles can deal with specific aspects of his career, specific institutions, specific programs he developed, his influence as a producer/filmmaker, or administrator. Biographical articles are also welcome. The aim is that the collection taken as a whole will provide a balanced analysis of his varied career in two countries during periods of significant development and change in the entertainment industry of both.

[Please note that Sydney Newman’s Memoirs Head of Drama: The Memoir of Sydney Newman will be released by ECW Press on 5th September 2017.]

Proposals should be approximately two hundred words, and sent to by the 30th of September 2017.  A decision will be communicated by the 30th of November, and final articles should be submitted by the 15 July 2018.

Gillian I Leitch, PhD, Independent Scholar, Co-Chair, Science Fiction Fantasy Area, PCA/ACA

[1] [Accessed 2 April 2017]

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Bourse Jean Cléo Godin du du Centre de recherche interuniversitaire sur la littérature et la culture québécoises (CRILCQ)

La Bourse Jean Cléo Godin (anciennement Bourse du Cétuq) est offerte chaque année à une étudiante ou un étudiant à la maîtrise ou au doctorat de l’extérieur du Québec et dont les recherches portent sur la littérature québécoise. Cette bourse d’une valeur de 7 000 $ doit permettre à la gagnante ou au gagnant de défrayer le coût d’un séjour d’au moins trois mois au CRILCQ/site Université de Montréal pour y poursuivre ses recherches et profiter de l’ensemble des activités (cours et séminaires, colloques, conférences, etc.) relatives à la littérature québécoise. Le séjour doit être effectué au cours de l’année universitaire suivant l’obtention de la bourse. L’étudiante ou l’étudiant choisi(e) sera appelé(e) à participer activement aux activités et événements du CRILCQ/site Université de Montréal.

Détails du concours

Protocole de participation

Le dossier de candidature doit comprendre les documents suivants :

  • une lettre de présentation expliquant en quoi un séjour au CRILCQ – site Université de Montréal serait pertinent dans le cadre du projet (maximum de deux pages) ;
  • un curriculum vitæ universitaire ;
  • une description du projet de recherche (2 pages) ;
  • une lettre de recommandation du directeur de recherche.

Les candidat(e)s doivent faire parvenir leur dossier en format pdf à cette adresse :

La bourse est offerte pour une durée minimale de 3 mois.

Date limite pour le dépôt des demandes : 19 mai 2017.

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Reminder CfP: GeschichteN – HiStories – HistoireS

Reminder: The CfP for our 39th Annual Conference is still open until May 29, 2017!

39th Annual Conference of the Association for Canadian Studies in German-speaking Countries (GKS), February 16 – 18, 2018, Hotel am Badersee, Grainau, Germany

The Association for Canadian Studies in German-speaking Countries aims to increase and disseminate a scholarly understanding of Canada. Its work is facilitated primarily through seven disciplinary sections, but it is decidedly multidisciplinary in outlook and seeks to explore avenues and topics of, and through transdisciplinary exchange. For its 2018 annual conference, the Association thus invites papers from any discipline that speak to the conference theme of „GeschichteN – HiStories – HistoireS“ with a Canadian or comparative focus. (Papers can be presented in English, French or German.) We are particularly – but not exclusively – interested in the following aspects:

Writing History and writing stories are as closely intertwined as telling about the past and storytelling. Histories try to reconstruct the past in a narrative form, and stories are hardly conceivable without references to the past or to various pasts. Both construct and contain narratives and with them social, cultural, ideological, and physical landscapes. Narratives tell us of people(s) and their interaction, with each other as well as with the physical and social environment they live in. And narrative constructions form a basis of any kind of scholarship.

At the annual meeting of the Canadian Studies Association, we will explore differences, similarities, and interdependencies of narratives, stories and histories along these topics:

1) Are Canadian (Hi)Stories different?

Is Canadian history and writing about Canadian issues significantly different from that of other nations? Do Canadian authors, scholars, journalists and historians have different voices, are they voicing difference? How has the story of two “founding nations” and the fact that French Canada (and then Quebec) has developed its own national historiography influenced the writing of histories? How have Aboriginal oral and printed historical narratives influenced the perception of Canadian history? Are Canadian authors, scholars, journalists and historians looking beyond the arbitrary boundaries of the nation state or boundaries such as class, gender, and race? What are the narratives and ideas of the Canadian self, what is the nature of assumptions, (self-)images, narratives, maps, plans, documents and texts that construct Canada?

2) Authenticity, Historical “Truth” and beyond

How “authentic” can Canadian histories, stories of and about Canada be, how subjective need they to be? How do historians, scholars and other authors deal with multiperspectivity, contested and alternative histories, heterogeneous and plural forms of history? How do they deal with historiographic metafiction?

What is the relationship between “truth“ and “alternative“ facts in Canadian history, science, politics, media etc.? How do scholars and authors reflect upon the selection of their topics, their sources, their medium of expression, their own subjectivity and the goals they try to achieve?

3) Voices not Heard

Do Canadian historians, scholars, journalists and authors “lend their pen” to voices of those not heard and marginalized, of peoples that have no written record of their past, and possibly rely on transmediation? By what mechanisms are certain peoples and societal groups excluded and how do they gain a voice? How have these peoples and groups “taken the pen” and started “writing back”? And what role do alternative historical, cultural, societal, political, geographical, economic and literary discourses play?

4) Inscribing (Hi)stories – Authorship, Memories, City- and Landscapes

Do historians, scholars and authors and their narratives matter, and if so, how and for whom? How important are the specific medium (print, radio/television, internet, art etc.) and the genre (oral traditions, auto-/biographies, speculative fiction, historiographic metafiction etc.) they use for the narratives chosen? What are the (hi)stories that shape Canadian landscapes, cityscapes, cultural memories and public spaces? And how are these (hi)stories inscribed in images, maps, social and institutional structures, landscapes and environments of Canada?

Confirmed keynote speakers are:

Franca Iacovetta (University of Toronto)

Andrée Lévesque (Archives Passe-Mémoires, Montreal History Group – McGill University)

Glen Coulthard (University of British Columbia)

Contact and abstract submission

Paper proposals/abstracts of max 500 words should outline:

– methodology and theoretical approaches chosen,
– content/body of research
– which of the four main aspects outlined above the paper speaks to (if any).

In addition, some short biographical information (max. 250 words) should be provided, specifying current institutional affiliation and position as well as research background with regard to the conference topic and/or four main aspects.

Abstracts should be submitted no later than May 29, 2017 to the GKS Administration Office (

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Neue Publikation: Gefangen in Kanada von Judith Kestler

Gefangen in Kanada

Zur Internierung deutscher Handelsschiffsbesatzungen während des Zweiten Weltkriegs

Die Internierung deutscher Handelsschiffsbesatzungen ist ein kaum bekanntes Kapitel des Zweiten Weltkriegs. Judith Kestler zeichnet erstmals nach, was deutsche Seeleute in kanadischen Lagern erlebten.
Die kulturanthropologische Arbeit leistet eine differenzierte Rekonstruktion von Internierungsbedingungen und fragt nach der Entstehung retrospektiver Deutungen. Dabei verschränkt sie systematisch die Perspektiven von Internierten, Wachen und humanitären Helfern. Auf Basis archivalischer Quellen und Interviews wird Internierung als komplexe kulturelle Praxis greifbar. Die Studie bietet nicht nur Einblicke in ein faszinierendes deutsch-kanadisches Thema, sondern auch neue Perspektiven auf Gefangenschaft als transnationalen Möglichkeitsraum.

von Judith Kestler

ISBN 978-3-8376-3619-2, 02/2017, 546 Seiten, kart., zahlr. z.T. farb. Abb., Preis: 39,99 €, Bestellung auf der Website des Verlags

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Studierende für Interview zum Thema „Kanada-Studien in Deutschland“ gesucht

Die Botschaft von Kanada in Berlin möchte anlässlich Kanadas 150. Geburtstags eine Social-Media-Reihe zum Thema „Kanada-Studien in Deutschland“ starten. Das Ziel ist es, noch mehr Studierende für Kanada zu begeistern. 

Die Botschaft sucht dazu StudentInnen, die gerne ihre Erfahrungen weitergeben wollen und die bereit wären, ein kurzes, schriftliches Interview (3-4 Fragen) zu geben. Das Interview würde nach vorheriger Absprache zusammen mit einem Bild auf der Facebook Seite der Botschaft veröffentlicht werden (siehe .

Wir würden uns freuen, wenn sich für das Projekt KandidatInnen finden. Bei Interesse schicken Sie bitte eine Nachricht an:

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Inputs Forum: Changing Ecologies

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