CFP: Performance, Politics, and Play (1/15/2018; 9/13-16/2018)
Performance, Politics, and Play
International Society for Cultural History
September 13-16, 2018
New York City
In response to the “performative turn” in the humanities, the ongoing interest in bio- and body-politics, and the growing attention to leisure, dance, and sport studies, the International Society for Cultural History invites paper and panel proposals for its 2018 annual conference on Performance, Politics, and Play. Scholars working on any historical period or location are encouraged to explore this theme. Topics may include (but are by no means limited to):
- performative/bodily practices of politics and play
- political performances
- substance candidates vs. performance candidates
- the relationship of performance studies to cultural history
- leisure practices (reading, cooking, hiking, feasts, travel, holidays, café culture, theater, opera, cinemas, and restaurants)
- the interconnection of labor and leisure (how the labor of some provides the possibility of leisure for others)
- performances of leisure (sports, dance, parades, colonial encounters mediated by theatrical/musical/danced “exchanges”)
- historical reenactment
- performances of health
- histories of sports/leisure and their relationship to cultures of health and/or to unhealth
- histories of gaming
- sports, spectatorship, and cultural practices of addiction (gambling, doping)
- sports and spectatorship (players and audiences, the sport star)
- global and local cultures of sport
The ISCH also welcomes panel and paper proposals on methods and theories of cultural history.
New York City is at the intersection of performance, politics, and play. The United Nations headquarters and Trump Tower call attention to the city’s inextricable links to global politics. The theaters of Broadway are renowned for their nightly shows. But performance also takes place in ballrooms and recording studios, in art galleries, as well as on city streets by activists, aspiring artists, and buskers. From Central Park to Coney Island, the city has long been associated with leisure. Reflecting the diversity of the city itself, conference events and prearranged cultural excursions will take place at a variety of different institutions.
Presentations should be no more than 20 minutes in length and delivered in English. Individual paper proposals should consist of an abstract (not exceeding 300 words) and a 1-2 page CV. Panel proposals should consist of the name of the organizer, an overview of the panel (not exceeding 500 words), abstracts for each paper (not to exceed 300 words), and 1-2 page CVs for each presenter. The deadline to submit proposals is January 15, 2018. Participants will be informed by February 5, 2018. Proposals and inquiries should be sent to ISCH2018@gmail.com.
Those whose abstracts are accepted for presentation will be expected to become members of the ISCH. Further details can be found on the society’s website: http://www.culthist.net/membership/.
Presenters are invited to consider submitting articles to the ISCH’s official peer-reviewed journal, Cultural History (published by the Edinburgh University Press), and monographs to the book series it publishes with Routledge. Links to each respective publication opportunity follow:
The main conference events will be held at Faculty House, 64 Morningside Dr., Columbia University. Further information, including hotels with discounted group rates, will be available soon on the ISCH website. This event is not affiliated with, endorsed by, or sponsored by Columbia University.
CFP: North American Conference on British Studies (3/30/2018; 10/25-28/2018)
Providence, Rhode Island
October 25-28, 2018
The NACBS and its affiliate, the Northeast Conference on British Studies, seek participation by scholars in all areas of British Studies for the 2018 meeting. They will meet in Providence, Rhode Island, from October 25-28, 2018. They solicit proposals for presentations on Britain, the British Empire, and the British world, including topics relating to component parts of Britain and on British influence (or vice versa) in Ireland, the Commonwealth, and former colonies in Asia, Africa, and the Caribbean (etc.) Their interests range from the medieval to the modern. The NACBS welcomes participation by scholars from across the humanities and social sciences, from all parts of the globe (not just North America), and from all career stages and backgrounds. They reaffirm our commitment to British Studies broadly conceived, and welcome proposals that reflect the diversity of scholars and scholarship in the field.
The NACBS invites panel proposals that address selected themes, methodology, and pedagogy, as well as roundtable discussions of topical and thematic interest, including conversations among authors of recent books, reflections on landmark scholarship, and discussions about professional practice. They are particularly interested in submissions that have a broad chronological focus and/or interdisciplinary breadth. Standard panels typically include three presenters speaking for 20 minutes each, a commentator, and a chair, while roundtables typically include four presenters speaking for 15 minutes each and a chair. They are open to other formats, though; please feel free to consult with the program committee chair.
The NACBS hopes to secure as broad a range of participation as possible and will thus consider individual paper proposals in addition to the standard full panel proposals. Their preference is for panels that include both emerging and established scholars; they welcome the participation of junior scholars and Ph.D. candidates beyond the qualifying stage. To foster intellectual interchange, they ask applicants to compose panels that feature participation from multiple institutions. In an effort to allow a broader range of participants, no participant will be permitted to take part in more than one session in a substantial role. (That is, someone presenting or commenting on one panel cannot also present or comment on another, though individuals presenting or commenting on one panel may serve as chairs for other panels, if need be.) Submissions are welcome from participants in last year’s conference, though if the number of strong submissions exceeds the number of available spaces, selection decisions may take into account recent participation.
As complete panels are more likely to be accepted, the NACBS recommends that interested participants issue calls on H-Albion or social media (e.g., @TheNACBS on Twitter or on the NACBS Facebook page) to arrange a panel. If a full panel cannot be arranged by the deadline, however, please do submit the individual proposal and the program committee will try to build submissions into full panels as appropriate.
In addition to the panels, they will be sponsoring a poster session. The posters will be exhibited throughout the conference, and there will be a scheduled time when presenters will be with their posters to allow for further discussion. The submission website (http://www.nacbs.org/conference) will open in early January; submissions will close as of 30 March 2018.
All submissions are electronic, and need to be completed in one sitting. Before you start your submission, you should have the following information:
- Names, affiliations and email addresses for all panel participants. Please note: The NACBS creates the program from the submission, so be sure that names, institutional titles, and paper titles are provided as they should appear on the program.
- A note whether data projection is necessary, desired, or unnecessary.
- A brief summary CV for each participant, indicating education, current affiliations, and major publications. (750 words maximum per CV.)
- Title and abstract for each paper or presentation. Roundtables do not need titles for each presentation, but if you have them, that is fine. If there is no title, there should still be an abstract – i.e. “X will speak about this subject through the lens of this period/approach/region etc.”
- Posters: Those proposing posters should enter organizer information and first presenter information only.
All communication will be through the panel organizer, who will be responsible for ensuring that members of the panel receive the information they need. All program presenters must be current members of the NACBS by September 28, one month before the conference, or risk being removed from the program.
Some financial assistance will become available for graduate students (up to $500) and for a limited number of under/unemployed members within ten years of their terminal degree ($300). Details of these travel grants and how to apply will be posted to www.nacbs.org and emailed to members after the program for the 2018 meeting is prepared.
Giacomo Puccini’s Tosca will be playing at the New York Metropolitan Opera from December 31st – May 12th.
Sir David McVicar’s ravishing new production offers a splendid backdrop for two extraordinary sopranos sharing the title role of the jealous prima donna: Sonya Yoncheva (pictured above in La Traviata) and Anna Netrebko. Vittorio Grigolo and Marcelo Álvarez alternate in the role of Tosca’s revolutionary artist lover Cavaradossi, with Sir Bryn Terfel, Michael Volle, and Željko Lučić as the depraved police chief Scarpia. Music Director Emeritus James Levine conducts.
Puccini’s melodrama about a volatile diva, a sadistic police chief, and an idealistic artist has offended and thrilled audiences for more than a century. Critics, for their part, have often had problems with Tosca’s rather grungy subject matter, the directness and intensity of its score, and the crowd-pleasing dramatic opportunities it provides for its lead roles. But these same aspects have made Tosca one of a handful of iconic works that seem to represent opera in the public imagination. Tosca’s popularity is further secured by a superb and exhilarating dramatic sweep, a driving score of abundant melody and theatrical shrewdness, and a career-defining title role.
On Friday 25th August there will be a one-off community performance of Pixerécourt’s melodrama La Forteresse du Danube (1805) in translation at the Georgian Theatre Royal, Richmond, North Yorkshire. It will have a professional director, Sarah Wynne Kordas, and orchestra, led by musicologist and violinist Dr Diane Tisdall, with Dr Sarah Burdett as dramaturge. We will be using the original score to the Lille performances of the play. The performance takes place during Richmond’s Georgian festival and is a great opportunity to experience a Napoleonic melodrama in Britain’s oldest working theatre.
The performance is the culmination of an AHRC-funded project on staging Napoleonic theatre and we hope you’ll be able to join us for a great night out.
Follow us on Twitter @actingmelodrama
More details about the project can be found here:
An online exhibition, curated by the University of Warwick, will provide a new angle on the Battle of Waterloo, whose bicentennial anniversary is commemorated this year.
Launching 23 February 2015, the exhibition will trace Napoleon’s return and defeat by releasing one object for each day of the period known as the ‘100 Days’. Go to http://www.100days.eu to relive the drama of Napoleon’s return day by day.
As part of the backstory already up on the site, you can find out what links Napoleon and Pixerécourt’s 1805 melodrama Robinson Crusoe.