2018年09月17日

CFP: The Melville Society


Pachecoさんより、米メルヴィル協会のCFPが案内されました。
以下に、全文を掲載します。


CFP: MELVILLE’S ORIGINS (UPDATED)

New York UniversityNew York, NY

June 17-20, 2019

Deadline for proposals: October 1, 2018


The Twelfth International Melville Society Conference will take place at New

York University to celebrate the bicentennial of Herman Melville's birth 

in lower Manhattan in 1819.  The conference will commemorate Melville's 

life, work, and legacies through a series of papers and conversations 

devoted to the theme of “origins” broadly conceived. We invite proposals 

for individual papers or panels organized around MELVILLE’S ORIGINS 

as it relates to historicist, theoretical, textual, biographical, and pedagogical 

approaches to Melville’s writings and to the history of their reception in 

criticism, adaptation, the digital world, popular culture, and the fine arts.

 

We are delighted to announce that our keynote speakers will be Rodrigo 

Lazo, Professor of English at UC-Irvine, and Wyn Kelley, Senior Lecturer 

in Literature at MIT. In addition to the regular panels and roundtables at 

NYU, there will be a number of special events and Melville-related 

excursions around New York City.  We are also planning an optional post-

conference daytrip to Mystic, CT, to tour the historic seaport and see 

the 1841 whaleship, Charles W. Morgan, on Friday, June 21.

 

For those traveling to New York City, we are working to procure reasonably 

priced suites in a residence hall on campus. More details will be available 

at our conference website, www.melville2019.weebly.com, scheduled to 

go live the last week of September.

 

Please submit proposals by October 1, 2018 to melvillenyc@gmail.com

Paper proposals should not exceed 300 words, and panel proposals should 

not exceed 1000 words. In addition to submissions for traditional panels and 

individual papers, proposals for roundtables, workshops, and sessions 

using new presentation formats are particularly welcome. 

Proposals for anything involving more than one person should indicate the 

names of all participants and the nature of their contributions. In the subject 

line please use the format [“proposal type, surname,” e.g. “Paper, Smith”] 

and name the file using the format [“surname, first name,” e.g. “Smith, 

John”].

 

We welcome proposals from independent scholars, creative artists, and 

academic scholars of diverse institutional affiliation, academic rank, and 

disciplinary background. We can accept two proposals from an individual 

so long as they involve two different roles (e.g. paper presenter as well as 

panel chair or roundtable discussant).

 

* Papers might focus on Melville’s works in relation to the terms "origins" 

and "original" as they were understood in various nineteenth-century 

discourses: for example, political and ethnological debates about national 

origins, racial lineage, or indigeneity; philosophical formulations of an 

essential or “aboriginal” self (to use Emerson’s phrase); scientific theories 

about the genesis of the cosmos, life-forms, and new species; proto- 

anthropological conversations about human origins, the origins of language, 

and the role of animals as intercessors between humankind and a primeval 

past; theological debates over “original sin” and human depravity; proto-

psychological theories about the roots of morality, sexual desire, mental 

faculties, and personality traits.

 

* “Originality” is also a hallmark of the Romantic artist, and papers might 

explore Melville’s attitudes regarding this aesthetic. What do we make of

Melville’s claim that “it is better to fail in originality, than to succeed in 

imitation,” especially in light of his own penchant for borrowing from other 

writers? Papers might explore Melville’s views of intellectual property and 

the publishing industry, his thinking about “original characters” in fiction, or 

his varied responses to Evert Duyckinck and Young America’s call for an 

original American literature. Likewise, papers might examine the 

importance assigned to artistic originality in popular and scholarly 

assessments of Melville’s writing.

 

* We also encourage papers that deploy “origins” as a key term for current theoretical approaches to Melville’s works. As a designation of both 

temporal and spatial starting points, the concept of origins might help us 

think about the commencement of narrative (“Call me Ishmael”) or the 

commencement of movement within an imagined geography−both of which 

might also be visualized through digital mapping. Scholars engaged in 

textual historiography, history of the book, or manuscript editing might discuss 

the problems of discerning an original text from the multiple versions and 

editions of Melville's works as well as explore the possibilities of using digital technology to present textual variants.

 

* We hope papers will use this anniversary to reflect on the 19th-century 

response to Melville’s works and on the origins and development of Melville 

Studies since its inception a century ago, to assess the current state of the 

field, and to think speculatively about new directions for scholarship and 

teaching.  What new insights might be gleaned from revisiting Melville's 

origins in New York City−a beacon for global migration and a center of arts 

and letters− as well as the myriad materials from which he derived ideas 

and inspiration?

 

* Scholarship has often worked in tandem with creative responses to Melville 

by artists of various media, and accordingly, we also invite papers that think 

about the role of Melville-inspired contemporary art in opening new avenues 

of interpretation. How do such artistic appropriations suggest the relationship 

of an adaptation to its original, and how are Melville’s works transformed 

by such borrowings, filmic, fictional, artistic, and otherwise?

posted by NHSJ at 10:38| 日記