Kategorie: Call for Papers

62e journée d’échanges scientifiques de l’AQÉI
Université de Sherbrooke, Campus de Longueuil
14 octobre 2022

Date limite :  1er juillet 2022

Pour cette journée d’étude de l’AQÉI, nous invitons les chercheuses et les chercheurs à réfléchir aux rapports entre l’université et l’imprimé au Canada. Les communications peuvent concerner à la fois les imprimés produits par (ou pour) l’université, les acteurs de l’imprimé qui œuvrent dans le cadre des institutions universitaires, et les représentations de l’université dans différents types de textes imprimés. L’objectif est de saisir l’université en tant que médiation éditoriale et comme objet de représentation.
Liberté créatrice et expertise scientifique sous–tendent l’université et sa mission. L’édition savante bénéficie de cette logique : sans l’université en effet, comment justifier la production des ouvrages spécialisés, qui apparaîtraient à la limite telles des anomalies du système–livre (inaptes à rejoindre un lectorat suffisant ou à générer des profits)? Certaines autres formes d’imprimés émanant de l’université répondent à des impératifs institutionnels (voire strictement administratifs). On peut penser au statut particulier des archives universitaires, qui échappent aux canaux habituels d’édition et de circulation. La diversité et l’hybridité de la littérature grise lui confèrent un intérêt particulier. C’est sans compter leur importance pour l’historiographie des campus ou l’histoire des départements
et institutions : il ne s’agit pas que des archives de l’université, mais de ce qui s’en est dit à différents moments et de ce qu’elles révèlent sur différents moments de l’histoire de l’éducation. D’autres documents encore, complètement étrangers à l’institution, sont ultérieurement repris par elle ou lui sont confiés : elle agit alors à titre de spécialiste du patrimoine et assure un service à l’ensemble de la société. Mais l’université a d’autres manières de s’inscrire dans le social. Elle a, de tout temps, fait l’objet de représentations littéraires ou médiatiques. On ne compte plus les essais qui annoncent la faillite de l’université ni les romans qui s’appliquent, dirait–on, à éventer les excentricités des membres de cette communauté. Non seulement l’ensemble de ces représentations nous informent quant aux mythes, aux croyances, aux pratiques de l’université; elles contribuent en partie à façonner ceux–ci. Si les empreintes textuelles du monde universitaire relèvent avant tout du domaine symbolique, elles participent néanmoins à instituer l’université, induisant certaines « lectures » sociales de l’université.

September 29 – October 1, 2022, Düsseldorf

https://www.postcolonial-participation.hhu.de/fileadmin/redaktion/Fakultaeten/Philosophische_Fakultaet/Anglistik_und_Amerikanistik/Ang5_Anglophone/Dateien/PoCo_Call_for_Papers.pdf

Deadline: June 30, 2022

Participation both depends on and produces agency. Therefore, it is always embedded in power structures and power remains unequally distributed. Though empires are long gone, neo-colonial structures of domination continue to exploit the so-called Global South, to privilege Eurocentric knowledge traditions over non-Eurocentric knowledge, and to exclude racialized subjects or people and communities from erstwhile colonized countries from power positions. For decades, postcolonial subjects have worked against imperial forms of oppression. They continuously labor to create space for local and hitherto marginalized world views and experiences. Processes of (self-)translation produce spaces of articulation and enable participation. Particularly in migratory contexts, knowledge and experience travel and are translated (or not), allowing for self-assertive and dynamic participation. Through complex practices of translation as well as a multiplicity of other strategies, postcolonial subjects reclaim their right to participate in diverse fields of global exchange such as economy, politics or discourse.

Although postcolonial literatures facilitate discursive and social participation of marginalized groups, the very access to literature also is subject to regulative forces such as the publishing industry, raising far-reaching questions concerning the rights and possibilities of participation in the literary field. Not only do books have to be considered marketable to enter the global literary field, but authorship as a form of participation in the broader literary and public sphere is entangled in normative structures. In this regard, factors such as race, class, sex, gender, and sexuality are highly influential: Only recently, Bernardine Evaristo became the first black woman to win the renowned Booker Prize. As she shared the prize with Margaret Atwood, a white male BBC journalist referred to the winners as “Margaret Atwood and another author”. Evidently, participation in the global literary market is marked by central institutions of the field, such as media, editors and publishing houses, which are often located in the Global North. Digital cultures and alternative forms of publishing offer platforms for participation from postcolonial cultures.

Together, Dr. Renae Watchman and Dr. ku’ualoha ho’omanawanui are co–editing an upcoming edition of Gale’s Dictionary of Literary Biography (DLB) that will focus on Contemporary Indigenous Writers (this is a working title once we finalize contributors).
Highlighting Indigenous writers is a magnanimous task. Because Gale has already published select biographies of authors up to 1999, and because of the recent publication of the Indigenous poetry anthology, When the Light of the World Was Subdued, Our Songs Came Through edited by Joy Harjo in 2020, we made the difficult decision to highlight writers who have published fiction and short stories in the 21st century. While we recognize the impossibility of acknowledging everyone who makes up the constellation of literary talent, we have come up with a working Table of Contents for the upcoming DLB and are seeking to fill many gaps (in terms of contributors). We hope to attract contributors who teach and work in Indigenous literary arts.

If you’re interested in this project, please refer to the working TOC below and send us your
name, institutional affiliation, and author preference. You may select more than one! We will respond and confirm your choice. In the event of overlaps, we will consult before deciding. Entry length will vary, but you can expect to write anywhere from 3000–10K words. For now, we have allocated most authors at 3000 words to allow for more coverage. If, by the end of April, some writers have not been assigned, we will rethink word–length and inclusion.
Proposed Timeline:
• confirmation of contributors May 15, 2022
• July 1, 2022: your draft contribution due.
• mid–September 2022: we will return these back to you with editorial comments.
• Mid–November 2022: final revisions due.
• We are aiming to submit a complete DLB anthology by the end of December 2022 for
publication in 2023.
If you commit as a contributor, we will follow up with more specifics, including a sample
biographic entry from a previous DLB edition, as well as a contract from Gale.
mahalo, ahéhee‘, thank you for your consideration,
Renae Watchman and ku’ualoha ho’omanawanui
renae@mcmaster.ca and kuualoha@hawaii.edu