Category Archives: Events

Dementia and Cultural Narrative Symposium

 

Dementia and Cultural Narratives Symposium

University of Aston, UK, 7-8 December 2017

dementia symposium 2017 cfp

This symposium will explore the growing body of cultural representations of dementia. We invite papers that analyse not only how forms of dementia are represented, but also how different texts and contexts may occasion innovative textual strategies and demand different ways of reading/viewing. We hope to instigate discussion of dementia in culture across a range of texts and contexts, insisting upon the specificity as well as the shared dimensions of narratives of ageing and illness in the construction of cultural heritage. We welcome papers that analyse cultural narratives and that consider the theoretical and political issues at stake in the area of dementia and cultural narrative.

This symposium is the inaugural event of the new international Dementia and Cultural Narrative network. During the symposium, time will be devoted to discussing the development of the network and we hope that symposium participants will consider becoming active in this network. We will, of course, send out a summary of discussion to potential network members unable to attend the symposium.

Proposals should be approximately 250 words and accompanied by a short biographical note. We welcome papers from scholars at all stages of their careers.

This is a FREE event.

Potential topics for papers include, but are not limited to:

Auto/biography: narrating the self with dementia;

Problematising personhood in narratives of dementia;

Care and care settings in film and fiction;

Family and generational identity in stories of dementia;

Adaptation and narratives of dementia;

Metaphor and imagery in dementia narratives;

Historicising narratives of forgetting;

Memory, forgetting and narrative;

Visualising the self with dementia;

Performing selfhood in narratives of dementia;

Encounters with otherness in narratives of dementia;

Reception of and audience for narratives of dementia

Politics and personhood in dementia narratives.

 

This symposium is co-organised by the University of Aston and the University of Huddersfield, in conjunction with the Dementia and Culture Network. Please send proposals by Friday 15th September 2017 to Raquel Medina (r.medina@aston.ac.uk) and Sarah Falcus (s.j.falcus@hud.ac.uk).

Dr Sarah Falcus
Senior Lecturer in English Literature
s.j.falcus@hud.ac.uk
01484 473083
 

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Invitation to the CWWA AGM – Friday 7 July 2017

 
Dear CWWA members
 
I am delighted to confirm that our 2017 AGM will take place at 3.30pm on Friday 7 July at theShared Futures conference in Newcastle, UK (venue TBC).
 
Our annual AGM is a valuable opportunity for CWWA members to meet together to share aspirations and ambitions and plan for the future.  I know that many of our UK-based members are attending Shared Futures, whether as presenters or delegates, and I do hope that you will join us for the AGM.  If you are unable to attend in person and would like to contribute in advance (by email) we will be very happy to hear from you.
 
The agenda and minutes will be circulated nearer to the date.
 
In the meantime, please find below details of workshops and panels sponsored by the CWWA  and convened by some of our members.  If any of you are convening or contributing to other panels please do get in touch and we will circulate details to all members.
 
I look forward to seeing you in July if not before!
 
Best wishes
Rachel
 
 
Reader in English, Teesside University
Chair of the Contemporary Women’s Writing Association
 
School of Design, Culture and the Arts
Teesside University
Middlesbrough
UK
TS1 3BA
 
01642 384029
 
 
 
 
The CWWA will be hosting a number of panels at the Shared Futures conference in Newcastle upon Tyne in July:
 
Generations of Feminism: Contemporary Women’s Writing Professional Development Workshops
Building on the successful AHRC-funded Contemporary Women’s Writing Skills Development Workshops which took place in 2013-14, these three workshops willencourage postgraduate research students and early-career researchers who work in the field of contemporary women’s writing to develop an entrepreneurial approach to their research and its dissemination. 
 
Creative Work and Critical Practice: A Roundtable.
How might we shape critical-creative – or creative-critical – practice? What exactly is it? How might we use creative practice to expand our critical horizons, and vice versa? What are the opportunities and the pitfalls? This roundtable aims to explore these questions, thereby treating creative work and critical practice as conjoined disciplines which, indeed, have a shared future in Higher Education.
 
In addition to the Workshops and Roundtable there will be two CWWA themed panels:
 
Contemporary Women’s Writing: Apocalyptic Narratives
The contemporary moment, it seems, lends itself to apocalyptic narratives. Environmental damage and extreme weather events; the shifting of the political mainstream to the far reaches of left and right; the financial crash and the exposed vulnerabilities of a globalised economy; the migrant crisis and mass displacement of populations: real world events repeatedly contribute to a pervasive sense of anxiety and crisis that is productively explored in contemporary women’s writing. From the commodification of the biosciences in Margaret Atwood’s Oryx and Crake, to the falling birth rate and falling temperatures of Maggie Gee’s The Ice People, contemporary women writers engaged in speculative fictions repeatedly utilise images of crisis and threat to explore political and cultural anxieties.
This panel brings together scholars interested in representations of apocalypse and apocalyptic scenarios in contemporary women’s writing.
 
Contemporary Women’s Writing: Archiving for the Future
How is contemporary women’s writing being remembered now and how will it be remembered in the future?  This panel will address current work on archival materials regarding contemporary women writers, addressing issues such as access to and availability of materials, copyright negotiations and archival absences.  What are the gender politics of archival work in contemporary literary studies, what is the role of the archive in canon formation and how does the technology of archives in an online environment shape our understanding of the past?

Angela Carter in 2017

 

 

 

Angela Carter in 2017

by Heidi Yeandle

February 2017 marks the 25th anniversary of Angela Carter’s premature death, and interest in Carter is consequently thriving. The Guardian is holding an Angela Carter Reading Group this month, and the ‘Strange Worlds: The Vision of Angela Carter’ exhibition is running at the Royal West of England Academy (RWA) in Bristol until 19 March 2017 (curated by Dr Marie Mulvey-Roberts from the University of the West of England, UWE, and Fiona Robinson, RWA). In line with this exhibition, an international conference Fireworks: The Visual Imagination of Angela Carter was held in January 2017 in Bristol, organised by Dr Marie Mulvey-Roberts and Dr Charlotte Crofts (UWE). A range of diverse publications have also emerged over the last few months, including Scott Dimovitz’s Angela Carter: Surrealist, Psychologist, Moral Pornographer (Routledge, 2016), Edmund Gordon’s The Invention of Angela Carter: A Biography (Chatto & Windus, 2016), Anna Watz’s Angela Carter and Surrealism: A Feminist Libertarian Aesthetic (Routledge, 2017), and Heidi Yeandle’s Angela Carter and Western Philosophy (Palgrave, 2017). There are still more publications in the pipeline: Mulvey-Roberts’ edited collection The Arts of Angela Carter: A Cabinet of Curiosities (Manchester University Press) is under preparation, and there is currently a call for book chapters for Pyrotechnics: The Incandescent Imagination of Angela Carter, edited by Mulvey-Roberts and Crofts. Bearing in mind the range of recent publications and events that celebrate Carter’s life and work, this piece discusses some of the developments in the current Carter world.

        The availability of the Angela Carter Papers Collection at the British Library has resulted in a new wave of work on Carter underpinned by archival material: research notes, diary entries, and plans for novels and short stories. Sir Christopher Grayling’s keynote lecture ‘ANGELA and ME: A Bath Literary Friendship’ at the Fireworks conference in January 2017 was particularly revealing about the content of these papers. Reflecting on his friendship with Carter in the 1970s when she lived in Bath, Frayling recalled reading her notebooks and coming across conversations that he’d had with Carter. Carter’s account of these conversations was far from factual though; she had fictionalised and in some ways gothicised Frayling’s words, and these alternative dialogues feature in her published novels. With a number of recent publications referring to the archived material and commenting on its self-consciousness and unreliability (Dimovitz, Gordon, and Yeandle), Frayling’s reflection illustrates the veiled nature of Carter’s personal notes and the importance of not taking her words at face value.

        Edmund Gordon’s 2016 biography of Carter demonstrates extensive engagement with the contents of the Angela Carter Papers Collection, but also references letters Carter wrote to friends and colleagues, as well as interviews with a range of people who knew Carter: family, friends, students, and ex-lovers. This publication therefore includes a range of new material, and is a useful resource for Carter scholars as well as wider readers. One particularly illuminating aspect of this publication is that it features extracts from the author’s interview with Sozo Araki, whom Carter had her ‘First Real Affair’ with in Japan (letter to Carmen Callil, Gordon 2016: p. 141), unveiling Sozo’s perspective on this formative time of Carter’s life. The biography also cites Sozo’s unpublished memoir, translated by Natsumi Ikoma from the International Christian University in Japan. Ikoma’s English translation of Sozo’s account is being published by Eihosha in Summer 2017, another exciting addition to the expanding body of literature related to Carter.

        While engagement with both the archival material and the biography was central to many of the papers at the recent Fireworks event, the wide-ranging interdisciplinary focus of the conference paid tribute to both the diverse influences on Carter’s work as well as the influence she continues to have, as illustrated by the ‘Strange Worlds’ exhibition. With papers discussing Carter’s oeuvre in relation to cinema, surrealism, and the Gothic, as well as philosophy, theatre, and folk music, and examining topics such as the medieval influences on Carter’s early novels, the significance of tattooing, and the depiction of ageing to name a few, the event showcased the wealth of innovative research on Carter at the moment. It wasn’t just a literary event though, with talks from curators, artists, and musicians as well. For instance, Catriona McAra (Leeds College of Art, UK) discussed how Carter has shaped her curatorial strategies, and artist Kim L Pace reflected on Carter’s influence on her work, and showcased her film ‘Fabulous Beasts & Comic Bodies’, which includes Pace’s images alongside extracts from The Magic Toyshop (1967), ‘The Loves of Lady Purple’ (1974, in Fireworks), and Nights at the Circus (1984). Works by a range of contemporary artists inspired by Carter are featured in the ‘Strange Worlds’ exhibition, from Ana Maria Pacheco’s dominating installation The Banquet to Tail of the Tiger by Eileen Cooper RA, contradicting Gordon’s claim that Carter’s reputation is confined within ‘scholarly sarcophagi’ (Gordon 2016: p. 130). 

     It’s now 25 years since Carter’s death, and there is no sign of interest in her beginning to diminish: quite the opposite. Alongside new publications, exhibitions and art installations, a number of public events are on the horizon. These include a ‘Shadow Dance puppet workshop’, a Drawing Master Class inspired by Carter’s work on fairy tales, and a Folksong and Music Session inspired by Carter’s role in the 1960s Folk Revival. More information about these and other events is available at getangelacarter.com, a website related to the Bristol-based events commemorating the anniversary of Carter’s death, designed and curated by Crofts. In addition, Carter-related news and interviews are available at angelacarteronline.com, run by Dr Caleb Sivyer. These public events and websites are making Carter more visible and accessible for contemporary readers, and foregrounding her importance in 2017, and, it seems, for years to come.

 

Gordon, E. The Invention of Angela Carter: A Biography. London: Chatto & Windus, 2016.

 

IMPORTANT! THE CWWA’S 2016 Annual General Meeting

THE CWWA’S 2016 AGM

Saturday 19 November 2016bs.h3
before the Weldon conversation with Professor Mary Eagleton

 

We’ll be holding our AGM at Leicester in the afternoon of 19 November, before the Weldon event. All CWWA members are very much welcome to attend (no need to book). As part of the meeting, we’ll hold elections for the executive committee roles of Chair, Fundraising officer, Membership Secretary, and Ordinary Member. Further details to follow.

If you’d like to stand for any of the following roles on the exec, or would like any further information about them, please do get in touch with the secretary Leanne Bibby:
Chair
Fundraising Officer
Membership Secretary
Ordinary Member (several positions available)

We very much hope you’ll save the date and join us in Leicester for both the AGM and this exciting event.

CWWA Secretary
Leanne Bibby
secretary@the-cwwa.org

Black British Women Writers: A Conversation

Black British Women Writers:
The Arts in Brixton in the 1980s, a Literary Conversation

University of Leicester
Wednesday 24 February 2016
3-5pm
Bennett Building, Lower Ground Floor, Lecture Theatre 3

Carol Leeming in Conversation with Dorothea Smartt, chaired by SuAndi. This exclusive event will document a literary conversation, between writers Dorothea Smartt and Carol Leeming, to recollect and highlight an exciting, challenging, and creative period, which spurred the development of Black Women’s writing in Britain, and which was centred on the artistic, social, and political milieu of Brixton London in the 1980s.