“On Crime and Madness: Adultery in Woyzeck”, Theatralia. Revista de Poética del Teatro XVI. 2014, 227-235.
With this article I aim to introduce the topic of adultery in Georg Büchner’s work with a focus on female sexuality, and the relationship between sex, murder and madness. Adultery appears as a final trigger for madness and murder, which is seen as a substitute for the sexual act between the spouses, especially from the husband’s perspective, when the wife’s adulterous relationship with her lover avoids sexual contact with her legitimate husband. Behind that, the social context where the story develops is especially important for the author’s social critique of German politics in the 1830s under the kingship of Prince Metternich.
CfP: The History of Sexuality and Translation of the Classics, Durham University, 27-28 March, 2015.
This conference aims to explore the influence Classic conceptions of sexuality have had in Western society, especially in notions of prohibition and taboo. Many concepts and examples have been taken from Classic myths and philosophy by Western authors to deal with sexual issues when those were not openly accepted. In this context, translation of Classic texts worked as a means of disguise to enter a prohibited world: how did translations influenced modern and contemporary ideas on sexuality?
“Between the House and the Hut: An Erotic Approach of Space in Lady Chatterley’s Lover.” The Poetics of Space in Twentieth and Twenty-First Century Culture. University of Portsmouth, Portsmouth, 29 May 2014.
Lady Chatterley’s Lover (1928) is a novel mainly structured around two main spaces: Lady Chatterley’s domestic space, and her lover’s hut in the woods. These spaces articulate Lady Chatterley’s desire and sense of femininity making them highly erotic. In her domestic space Connie Chatterley lives with her impotent husband, almost always secluded in her room. Connie finds an emotional and sexual distance from her husband, which is also expressed through the magnificent architecture of the mansion. However, her relationship with Oliver Mellors, and their sexual encounters in the hut, gives her the human and emotional contact she desires. She finds her realization as a woman in the primitive: the hut in the woods. According to Gaston Bachelard, the hut is a symbol of primitiveness which gives us a high sense of protection and refuge far from the civilized and crowded houses. I argue that the hut embodies Lady Chatterley’s longing for intimacy, her refugee and sense of primitiveness where she meets again with her sexual being: the most primitive sense of femininity. Hence, body and space correlate with each other empowering the image of the hut through sexuality: Lady Chatterley inhabits the hut as well as she is inhabited by Mellors, a fact that leads from the origin of habitation to the origin of human life. In this context I will analyse the dialectics of desire in Lady Chatterley established around the domestic space and the hut.
“Contemplating the Male Body: From Aesthetics to Sexual Pleasure in Homosexual Literature”. Materiality and Corporeality: The Body in Popular Fiction and Visual Culture. University of Portsmouth, Portsmouth, 6 June 2013.
In this paper I analyse the representations of male bodies in André Gide’s The Immoralist (1902), Thomas Mann’s Death in Venice (1912) and D.H. Lawrence’s Women in Love (1920), with a particular focus on the perception with which the perceiving subject beholds the body. The male body is often turned into a voyeuristic spectacle when it is described in elaborate detail and perceived by an attentive subject whose gaze enjoys the contemplation of the object-body. On the one hand, the bodies that are objectified in that manner become objects of aesthetic contemplation. On the other hand, however, they also become potential sources for sexual pleasure. This article investigates the ways in which perceptions of male bodies are aestheticized and/or eroticised in these texts.
Yours Sincerely: The Rise and Fall of the Letter 28-29 June 2013 Manchester, United Kingdom
The tradition of communication through correspondence can be traced far back in the annals of ancient history, but the rise of technology is daily changing the face and format of the letter. This conference will explore forms of correspondence as they have evolved from simple letters between friends and literary personalities and their shared experiences to revelations, through correspondence, of scientists, statesmen and celebrities. It will also look at the language used in the traditional letter, the email, the text message and the tweet as well as the constant change and development in this form of dialogue from the past and into the future, examining related fields and the letter in its historical and literary contexts. Papers are sought from all disciplines, including but not limited to literature, history, anthropology, psychology, philosophy and other social sciences and arts. Proposals are sought for 20 minute papers. Possible themes may include (but are not limited to):
The changing language of digital correspondence
Victorian women writers
Challenges of editing letters
Evidential value for biographers, historians
19th century letter writers
20th century letter writers
21st century letter writers
Use of letters as a device in fiction
The epistolary novel
The lasting value of digital correspondence as an archival or primary source
The future of letter writing
Abstracts of 250-300 words (for a 20 min paper) should be sent via email to email@example.com or firstname.lastname@example.org by 1st April 2013.
Selected papers may be invited for inclusion in an academic collection of essays following the conference.
An exhibition surrounding the theme of the conference will run from 11th June to the 26th of July at The Portico Library and will tie in with Quarry Bank Mill’s ‘Best Wishes’ exhibition which begins in April and extends to the rest of 2013.
Jennifer Rushworth, Worcester College, Oxford, and Richard Mason, King’s College London
We are pleased to open the Call for Papers for an upcoming postgraduate study day especially dedicated to graduate students working on Proust. The aim of this venture is to encourage dialogue and collaboration between current students of Proust and to gain a greater awareness of trends at the cutting edge of Proust studies. Since postgraduate study in the humanities can often be an isolated affair, the motivation behind this study day is that of enabling discussion and the sharing of ideas within a friendly and informal environment, and the establishment of a network of early-career Proustians for the purposes of future events and research.
Papers, in either English or French, should be a maximum of 20 minutes and should aim to present a significant aspect of the speaker’s current research, however provisional or tentative. New theoretical approaches to Proust, as well as any other aspect of Proustian research (sources, intertexts, and so forth), are particularly welcome.
Please email 250-word abstracts (text only, no attachments please) by 1st March 2013 to both email@example.com and firstname.lastname@example.org. Please remember to include your name, affiliation, and thesis title.
There will be a registration fee of £10 payable on the day to cover the costs of organisation and refreshments.
CFP MDRN conference 1: Time and Temporality in European Modernism and the Avant-Gardes (16-18 Sept. 2013)
Call for papers
Time and Temporality
in European Modernism and the Avant-Gardes (1900-1950)
16-18 September 2013 – KU Leuven, Belgium
This three-day conference aims to canvass the breadth and depth of the issues of time and temporality in European modernist writing and classic avant-garde literature.
It has often been argued that so-called “high” modernist and avant-garde writing were perhaps the first to investigate in detail the problems of time and temporality. As a result, reflection on both issues in (“new”) modernism and avant-garde studies abounds. To date, however, we lack a systematic understanding of the different forms and functions of time and temporality in the writing from the period. It is this lacuna the present conference aims to fill. We are particularly interested in (general as well as innovative case-based) considerations of modernist and avant-garde writing and practices that tackle one of the following questions:
How was time represented? What genres, techniques and means were deployed to evoke time?
In what ways was the literary representation of time influenced by (changes in) other media and art forms?
Which temporalities (bodily and natural time, mechanical and machine time, private and public time, etc.) were evoked and how did they interrelate?
How was the flow of time conceived (teleological, multilayered and -directional, cyclical, etc.) and what temporal regimes (for example, favoring the present, past or future; continuity and tradition or rupture and revolution) were at work in modernism, the avant-garde, and cognate phenomena like the so-called arrière-garde? What hitherto ignored temporal modes require further scrutiny?
What were the ramifications of modernist and avant-garde conceptions of time for the practice of reading, the history of the book (classics, pockets, …), and more generally for the social and cultural legitimation of literature?
What other (perhaps less well studied) discourses (physics, biology, engineering, philosophy, etc.) informed literary reflection on time and temporality and how were insights from these other discourses translated in literary practice?
How was time experienced and what were its implications for our understanding of the modern body, identity and subjectivity?
Were there noticeable variations in how time was dealt with in modernist and avant-garde writing in different parts of Europe (and beyond)? What, more generally, were the implications of the views of time for the understanding of space and place (in writing)?
Does the conception of time change in the course of the period 1900-1950, and, if so, what are the (social, literary, philosophical, …) conditions of emergence and consequences of these changes?
We welcome paper and panel proposals before 15 February 2013 on these and other questions crucial to any mapping of the literary timescape between 1900-1950. By analyzing in-depth how modernist and avant-garde writing reflected on time and change, we ultimately aim to explore the ramifications of these ideas for the literary historiography of the period.
Proposals are welcome from individuals, and from panels of three or four. We especially welcome panel proposals and prefer panels where members are drawn from different institutions, preferably across national boundaries.
Panel proposals should include the following information.
Title of panel
Name, address and email contact of Panel Chair
A summary of the panel topic (300 words)
A summary of each individual contribution (300 words)
Name, address and email contact of individual contributors
Short biography of all contributors, incl. main publications and areas of expertise
Individual proposals should include the following information.
Title of paper
Name, address and email of contributor
A summary of the contribution (300 words)
Short biography of the contributor, incl. main publications and areas of expertise
Guided tours of the Husserl archive at KU Leuven will be offered to delegates upon request. A conference website is under construction. With proposals or any further questions at this stage email@example.com.