Kategorie: Call for Papers

One way of telling the story of feminism is to tell it as a story of protest: protest against, protest for, protest within. In this issue, we invite contributors to reflect on the histories, presents, and futures of protest through a feminist lens.

The current moment is often hailed as „the age of protest,“ one in which the recent women’s marches, originating in the US but soon spreading globally, were seen to be a culmination. Such declarations, however, depend on a very particular notion of what counts as protest, and indeed feminist protest, often reifying the global North as an originary site of feminist protest; or disregarding movements that do not explicitly foreground gender or women as their primary agenda.

We contend that popular „age of protest“ narratives risk obscuring other key moments and sites of long standing protest, particularly when led by racialized or otherwise minoritized populations. The rich histories of centuries of protest by working class and poor women, immigrant women, women of color, and anticolonial, indigenous and transnational feminists still remain understudied. And yet, it is difficult to deny that globally, protest has been revitalized by mass participation on a larger scope than has been seen in the almost two decades since massive protests spawned global networks that came to be known as the alterglobalization movement. Such protests have been diverse in issues and tactics – from the revolutions of the Arab Spring, to the ceaseless protests in Kashmir against Indian occupation, to the anti-rape protests in India, to the #niunamas and anti-femicide movements in Latin America, to the Women’s Marches, BlackLivesMatter movement, Dalit women’s self-respect marches, Idle No More and the protests against the Dakota Access Pipeline in the US and Canada, to name only a select few of a plethora of protests globally that have thrown up key questions for feminism. Beyond the streets, the digital domain has been a lively site of protest and organizing, particularly in zones where the presence of protesting bodies on the streets may be met with deadly violence. We invite our contributors to think broadly and critically about the relationship between feminism and protest as one that emerges from multiple and overlapping locations and communities, on and beyond space of „the streets.“

See the full CfP here.

Deadline for submission of full articles: Sept. 15, 2017.

Call for Organizers of Working Groups, Curated Panels, Seminars, Workshops, and Praxis Events

Canadian Association for Theatre Research / L’association canadienne de la recherche théâtrale (CATR/ACRT), Isabel Bader Centre for Performing Arts, Queen’s University Kingston, Ontario, Tuesday 29 May – Friday 1 June 2018

Citing the famed televised boxing „scene“ in 2012 between future Prime Minister Justin Trudeau and Senator Patrick Brazeau in their groundbreaking book Performance Studies in Canada, Laura Levin and Marlis Schweitzer articulate the emerging relationships between theatre studies and performance studies in Canada not only as distinct from the US and the UK, but also as fields of contest with one another. Listing recent Canadian conferences and postsecondary programs that focus on performance studies topics, they assert that it is a „false dichotomy that positions theatre studies in opposition to performance studies,“ one that is „unproductive“ (15). Viewed in various ways, we might imagine these fields as invitations for conversation among „strangers,“ in the sense of Barry Freeman’s recent consideration of globalization on Canadian stages; as merging in Heather Davis-Fisch’s recent examination of „performance histories“ in Canadian Performance Histories and Historiographies; or as when Jill Carter describes „Indigenous templates“ „maintaining balance, arriving at consensus, avoiding conflict, and fulfilling responsibility for the good of all“ (2). In 2015 ‚The Other D: Locating Dance in Drama, Theatre and Performance Studies‘ conference hosted North American and international scholars who questioned the place of dance within theatre and performance studies in Canada. In other words, the meeting and confluence of fields in our scholarship and art can be made into sites of empowerment and further understanding.

CATR2018 seeks discussion that is cognizant of breaking down fortifications that separate fields, methodologies, and perspectives related to theatre studies, performance studies, dance studies, and dramatic literature. And we ask: How can we excavate aspects of conversation, contestation, confluence, and exchange from the work we do in our fields?

A hybrid site of human activity for 9000 years, the land that is now Kingston has been stewarded by Wendat, Haudenosaunee (Iroquois), and Ojibwa (Mississauga) peoples. Located at the junction of the Great Lakes and the St. Lawrence River on the resource-rich Canadian shield, upon European contact „Kingston“ became a strategic shipping port and military outpost, first for the French and then the British, adjacent to the United States. Garrison theatricals became an integral part of the town’s life and Fort Henry became one of the area’s most recognizable buildings following the War of 1812. The college that became Queen’s University was built in 1841.

We invite proposals for working groups, curated panels, seminars, roundtables, praxis workshops, and performances from scholars, artists, and scholar-practitioners. As always, CATR encourages all voices, including underrepresented or marginalized perspectives. We welcome a range of research subjects and approaches. Graduate students who have not yet presented at a major national conference are encouraged to submit. We encourage proposals focusing on the conference theme, but proposals that depart from the theme will also be considered. All accepted presenters and participants are required to join CATR. For more information on CATR, now in its 41st year, and to join or to renew your membership please visit http://www.catracrt.ca.

Please note: the calls below are for curated events only. A separate open call for papers will be circulated in early October.

For the full Call for Organizers here: http://bit.ly/2uY6VNu

Abstract Submission Deadline: Sept. 30, 2017

Research as Reconciliation

The edited book will profile stories of Indigenous and non-Indigenous researchers engaging in the process of reconciliation. Although coming from various disciplines and backgrounds, all their work is grounded in Indigenous world views. The overarching questions that guide this work are, what does research that advances reconciliation look like? What are the experiences of researchers and community members who are striving to do research that is responsible to communities and grounded in relationships (to people, land and spirit)?

We aim to highlight Indigenist research, methodologies and pedagogy as forms of knowledge production and transmission that extend beyond the theoretical into practical work that demonstrates reconciliation processes in action. The book will profile stories of Indigenous and non-Indigenous researchers from various disciplines doing work that is grounded in Indigenist world views. Contributors will include Métis, First Nations, Inuit, and Non-Indigenous voices from communities across Canada as well as a few international Indigenist scholars. The book will be comprised of research stories written in a variety of creative forms, such as stories, plays, twitter conversations and visual methodologies. By emphasizing stories rather than traditional academic chapters, we aim for the book to be reflective of individual voices, relevant to Indigenous traditions of storytelling, and interesting to practitioners, community members and others outside of academia who are engaging with research.

Submission deadline: August 15, 2017

Further details: http://bit.ly/2uyVFLD

Department of English, University of Toronto Scarborough, Canada, May 18-19, 2018

At a Q&A that followed a Toronto screening of Little Men (2016), a film about two families‘ battle over a lease and its impact on the lives of its central protagonists, director Ira Sachs reflected on the modern-day struggle of many families to remain in the middle class. Sachs’s film speaks to the primacy of economics in discourse. Recent scholarship has shown the value of reading film and literature economically. The enormously influential work of David Graeber, Mary Poovey, Margot C. Finn, Julian Hoppit, Sandford Borins, Audrey Jaffe, Margaret Atwood, and others have opened up new avenues for thinking about money and the humanities. This conference aims both to consolidate and to advance criticism in literature, film, philosophy, and cultural studies by attending to some incarnations of debt and analyzing their wider implications.

Further information: https://www.facebook.com/DebtinHistory/

Deadline for submissions: Aug. 1, 2017