Swords, Sorcery, Sandals and Space: The Fantastika and the Classical World. A Science Fiction Foundation Conference in 2013

Swords, Sorcery, Sandals and Space: The Fantastika and the Classical World. A Science Fiction Foundation Conference

At The Foresight Centre, University of Liverpool

Guests of Honour/Plenary Speakers: Edith Hall, Nick Lowe, and Catherynne M. Valente

Website: http://www.sf-foundation.org/conference

Call for papers

The culture of the Classical world continues to shape that of the modern West. Those studying the Fantastika (science fiction, fantasy and horror) know that it has many of its roots in the literature of the Graeco-Roman world (Homer’s Odyssey, Lucian’s True History). At the same time, scholars of Classical Reception are increasingly investigating all aspects of popular culture, and have begun looking at science fiction. However, scholars of the one are not often enough in contact with scholars of the other. This conference aims to bridge the divide, and provide a forum in which SF and Classical Reception scholars can meet and exchange ideas.

We invite proposals for papers (20 minutes plus discussion) or themed panels of three or four papers from a wide range of disciplines (including Science Fiction, Classical Reception and Literature), from academics, students, fans, and anyone else interested, on any aspect of the interaction between the Classical world of Greece and Rome and science fiction, fantasy and horror. We are looking for papers on Classical elements in modern (post-1800) examples of the Fantastika, and on science fictional or fantastic elements in Classical literature. We are particularly interested in papers addressing literary science fiction or fantasy, where we feel investigations of the interaction with the ancient world are relatively rare. But we also welcome papers on film, television, radio, comics, games, or fan culture.

Please send proposals to conferences@sf-foundation.org, to arrive by 30 September 2012. Paper proposals should be no more than 300 words. Themed panels should also include an introduction to the panel, of no more than 300 words. Please include the name of the author/panel convener, and contact details.

Swords, Sorcery, Sandals and Space is organised by the Science Fiction Foundation, with the co- operation of the School of Archaeology, Classics and Egyptology at the University of Liverpool.

Tony Keen
Chair, 2013 Science Fiction Foundation Conference

Conference on "The Influence of Greek and Latin Antiquity in Contemporary Science-Fiction & Fantasy Works", Paris, June 2012

I've recently become aware of the following Call For Papers.

http://colloque.antiquite-sfff.over-blog.org/pages/Call_for_papers-4933306.html

I stress that I have no connection with this conference, and am merely posting it in case it has been missed by others.

Some CFPs, etc.

It's my intention to be more active on this blog this year. But at the moment, I'm a bit short of content. So in the meantime, here are some notices.

Science Fiction Foundation: SF Criticism Masterclass for 2010

Class Leaders:
Istvan Csicsery-Ronay
Roz Kaveney
Justina Robson

The Science Fiction Foundation (SFF) will be holding the fourth annual Masterclass in sf criticism in 2010.

Dates: 11th June to 13th June 2010

Location: Middlesex University, London (the Hendon Campus, nearest underground, Hendon).

Delegate costs will be £180 per person, excluding accommodation.
Accommodation: students are asked to find their own accommodation, but help is available from the administrator (farah.sf@gmail.com)

Applicants should write to Farah Mendlesohn at farah.sf@gmail.com. Applicants will be asked to provide a CV and writing sample; these will be assessed by an Applications Committee consisting of Farah Mendlesohn, Paul Kincaid, Adam Roberts.

Completed applications must be received by 28th February 2010.


Democratic Inflections: Modern Performance of Ancient Drama

The Committee on Ancient and Modern Performance announces a call for papers for APA 2011 (San Antonio) exploring the relationship between democratic ideology and classical tradition in modern performance.

We invite papers that would explore the question of a 'Democratic Turn' in modern reception of classical drama. The word democratic is highly contested, but in our conception it seeks to draw attention the ways in which classical texts have been appropriated by diverse cultural groups and sections of society, both those in dominant positions but more particularly those that define themselves as disenfranchised.

The panel aims to engage in the international debate on the notion of a 'Democratic Turn' in classical reception, initiated by The Reception of Classical Texts Research Project at the Open University (UK). Papers may pertain to all aspects of the history of performance of ancient drama, as well as to performances of modern works drawing upon the classical tradition (e.g., Gide, Sartre, O’Neill), but should make clear how democratic discourse is central to their analysis. The element of performance heightens the challenge to the use of drama for political ends because in performance a director must decide to how to represent issues and acts that can be deliberately left ambiguous in the interpretation of texts (e.g. rape). Therefore, we especially welcome papers that explore how modern performances deal with the social inequalities inscribed in classical plays; we are interested in the question of how modern directors represent ancient phenomena that cannot be reconciled with modern democratic ideologies (such as slavery).

Papers could offer case studies of politically- or socially-engaged performances of classical drama (e.g. the Lysistrata project), analyze the implications of the transmission of classical drama (including translation and the place of classics in school and university curricula), or consider whether staging ancient plays can still raise those questions essential to modern democracies.

For the 2011 meeting, abstracts must be submitted electronically by February 1, 2010 to Nancy S. Rabinowitz (nrabinow@hamilton.edu) or Dorota Dutsch (ddutsch@classics.ucsb.edu).

Presentations will normally be limited to 20 minutes. Please follow the guidelines for abstracts in the Program Guide (one page in 11-point type; 1.25 to 1.5 line spacing; top and right margins 0.8", bottom 1", left 1.2"; title in upper right-hand corner in 12-point, Times New Roman font). Your name should not be on the abstract, which should be an attachment in Word. Also indicate whether you expect to need audio-visual equipment. Acceptance for the program requires that one be a paid-up member of the APA. Anonymous referees for the Committee on Ancient and Modern Performance will review the abstracts.


Call for Papers: 2011 APA Outreach panel on classical reception and musical texts

The Children of Orpheus: How Composers Receive Ancient Texts

The musical qualities of classical poetry, from the epic and lyric of Homer and Sappho to the hymns of Venantius Fortunatus, and the affective power of music described by ancient theorists, have inspired adaptations and innovations since the Renaissance, In Florence, Caccini and Peri invented operas with the poetry of Rinuccini on the subject of Orpheus. Monteverdi wrote madrigals on sonnets adapted from Ovidian elegy, and Henry Purcell composed incidental music for Dryden's Amphitryon.

Art songs such as Brahms' Sapphische Ode and Schubert's Lied des Orpheus set texts inspired by ancient literature and mythology, Orff's cantatas Catulli Carmina and Trionfo di Aphrodite set the texts of Catullus and Sappho, and Xenakis' Oresteia employs Aeschylus' Greek. Stephen Sondheim composed the scores for adaptations of Aristophanes and Plautus. In popular music, Led Zeppelin's "Achilles' Last Stand" and Bob Dylan's "Temporary Like Achilles" reference the heroes of epic.

The American Philological Association's Outreach Panel for the 2011 Annual Meeting in San Antonio invites papers that discuss texts set to music from 1400 to the presnt that are based on, or influenced by, ancient Greek or Latin literature, and analyze how their creators engaged with these texts through direct setting, adaptation, translation, or alteration. Subjects might include, but are not limited to, song-cycles, operas, oratorios, cantatas, hymns, film scores, or popular music.

This panel, organized by Professor Robert Ketterer of the University of Iowa and Professor Andres Simpson of the Catholic University of America, particularly encourages papers that discuss the structure or style of musical scores and texts in relation to their ancient sources, with the social, historical, or political conditions surrounding the creation of these works as secondary considerations.

Papers might productively ask such questions as:

To what extent--and with what significance--has the adaptation of the ancient work been altered to meet the requirements of its contemporary audience?

How do contemporary motivations--artistic, political, or otherwise--influence the musical works' structure and content as they interpret the ancient work?

Has the translation of a classical text into modern language and music impacted our interpretation of the ancient source?

Papers are to be no more than 20 minutes in length; presentations with strong aural and visual components are encouraged.

Anonymous abstracts of 500 words or less, should be submitted, by no later than January 26, 2010 to Judith P.Hallett, jeph@umd.edu. Please do not indicate your name on the abstract itself.

NOTE: the panel on Phi Beta Kappa and Classics originally announced as the 2011 APA Outreach panel will be taking place later in 2011, at another academic venue. If you are interested in taking part, please contact Professor Hallett at jeph@umd.edu before February 1, 2010.

Further things I've seen

Carnivalesque, the pre-modern history carnival, is searching for a host for August (ancient/mediaeval). Contact carnivalesque AT earlymodernweb DOT org DOT uk if you're interested. Now sorted.

Also, I saw another CFP on Wormtalk and Slugspeed:

We are issuing a call for papers for a proposed volume of scholarly essays on J.R.R.Tolkien’s The Lord of the Rings. Papers should address any aspect of the work, but the editors are especially interested in works which make connections among disciplines, demonstrating the richness of the trilogy as well as its continuing widespread appeal.
Papers should be between 20 - 30 pages, note key words, and include a 250 word abstract.

The deadline for papers is 15 September 2009; decisions will be announced by 1 November 2009.

Papers should be submitted to
Prof. Kathleen Dubs
Angol Intézet
Pázmány Péter Katolikus Egyetem
2087 Piliscsaba
Egyetem utca 1.
Hungary
kedubs AT axelero DOT hu

Dr. Janka Kaščáková
Katedra Anglického Jayzka A Literatury
Katolícka Univerzita v Ružomberku
Hrabovská cesta 1
023 01 Ružomberok
Slovakia
janka.kascakova AT fphil DOT ku DOT sk

CFP: Antiquity in Film – Gender on Screen

The following just popped into my inbox. Unfortunately, I'm trying to shed projects at the moment rather than add new ones, and I don't think I can afford the time or money to go to Berlin, so I shan't be doing an abstract myself; but it looks very interesting, and there might be people reading this who would want to be aware of it.

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Call for Papers

Conference: “Antiquity in Film – Gender on Screen”
December 10-12 2009 at the Freie Universitaet, Berlin, Germany

Contact: AntikfilmGender AT gmx DOT de

Prof. Dr. Almut-Barbara Renger
Department of History and Cultural Sciences
Institute for Religious Studies
Chair in Ancient Religion, Culture and the History of their Reception
Gosslerstr. 2-4, 14195 Berlin

This conference shall explore reception(s) of antiquity in film – from the silent era through to sound film and to present-day blockbusters. Film adaptations of ancient figures and material and what they have to say about the present, about culture and society will be examined in light of the specific significance of gender. Aside from the return of antiquity in cinema, we can also see an increasing interest in antiquity on television, in the form of miniseries or fantasy series.
“Gender” here is an analytic category that will serve as our methodological basis. This thus assumes that “femininity” and “masculinity” are not biologically determined, transhistorical constants. As this project is based primarily on the body and sexuality and their representations and reproductions in film, they will be examined as parts of gender constructs in the sense of nature as cultural text.
Approaches in recent film and gender theory look at the performance and negotiation not only of gender, but also of cultural background and national identities, using concepts such as “bricolage” to bring their various facets in contemporary film into sharper focus. The body’s boundaries and the transgression of these boundaries, e.g. in scenes of excessive violence, are often dominant motifs. In the last few years, the literature of antiquity has been adapted to film and turned into blockbuster Hollywood films, yet this has rarely been discussed. It is therefore all the more important to examine the significance of these films and their socio-political function, and thus develop interpretations that reach beyond what has been considered analytical common sense for the past several years.
To date, a few Classics scholars have written articles dealing with this topic area. These have touched on the historical figure of Cleopatra as film heroine and symbol of oriental culture, and the mythical figure of Helen in film history, as well as the connection between gender on one hand and domination, barbarism and slavery on the other. With this in mind, we will also look at gendered codes of representations of state sovereignty, (post-) colonial power relations and expressions of cultural superiority.
The goal of this conference is to attract papers that demonstrate to what degree the representations – constructions, destructions and reconstructions – of gender and gender roles have changed along with the changes in film (and societal structures).

We particularly welcome projects from the following fields:
– History, Classics and Modern Languages and Literature
– Cultural Studies, Religious Studies
– Theatre, Film and Media Studies, Art History
– Philosophy, Theology and Political Science

In addition to issues in gender theory, we also want to address:
– analyses of films based on media theories
– the Production Code, a mode of self-censorship current in film studios as a response to pressures from social and religious lobbyists
– the effects of the Cold War and the end of it on antiquity in film
– new approaches in Gender Studies such as Postcolonial Theory, Critical Orientalism and Critical Racism

We aim to publish representative results of the conference’s profile in an anthology.
Abstracts should not exceed 1 page and should be submitted together with a short biography of a few lines by 1 August 2009.


We are looking forward to an inspiring conference and lively discussion!