La 30e conf\u00e9rence internationale sur l’oeuvre de Woolf, organis\u00e9e par Benjamin D. Hagen, se tiendra \u00e0 l’Universit\u00e9 du South Dakota (Vermillion, South Dakota, USA) du 11 au 14 juin 2020. Vous en trouverez l’appel \u00e0 contributions ci-dessous :<\/p>\n\n\n\n
\u201cProfession and Performance,\u201d the theme of the 2020 Annual Conference\n on Virginia Woolf, calls to mind not only Woolf\u2019s sense of herself as a\n writer (her profession) but also the set of specialized occupations she\n takes up in \u00ab\u00a0A Room of One\u2019s Own\u00a0\u00bb (1929) and \u00ab\u00a0Three Guineas\u00a0\u00bb (1938), \nareas of study and livelihoods traditionally reserved for the sons of \neducated men. It also invokes the ACVW\u2019s commitment over the past three \ndecades to the arts, to theater, to music, to the spoken word, and to \nthe resonances of these media with the performance \/ performativity of \nWoolf\u2019s life and writing. \u201cProfession and Performance\u201d might also \nencourage us to reflect on the ACVW\u2019s rich history and to consider the \nways in which the professions of those who support and attend the \nconference might be changing. As an event open to all scholars, students\n and common readers of Woolf and Woolfian connections, we encourage 2020\n participants to sound and explore echoes of past professions and \nperformances in our present ones.<\/p>\n\n\n\n
The 30th Annual International Conference on Virginia Woolf invites papers addressing these issues as well as other topics addressing \u201cProfession and Performance,\u201d including, but not limited to: contemporary adaptations of Woolf, her circles, or her work on stage \/ screen (e.g., \u00ab\u00a0Vita and Virginia\u00a0\u00bb; \u00ab\u00a0Life in Squares\u00a0\u00bb; etc.)<\/p>\n\n\n\n
– the dynamic link between Woolf\u2019s social critique (what she professed) and her art (its performance)
– the rich archive of scholarship that brings together studies of the avant-garde, modernism, and the middlebrow
– intersections of modernist studies and performance studies
– modernism\u2019s role in the professionalization of literature and criticism
– the livelihoods and lifestyles of Woolf and the Bloomsbury Group
– investigations of identity and community
– Woolfian meditations on professions (i.e., on occupations, commitments, allegiances, and declarations)
– interpretations of Woolf-inspired performance art (e.g., music, dance, theater)
– profession as (public) performance
– questions of affect and attachment
– strong and weak performances \/ professions \/ modernisms
– reflections on the selves and the worlds we profess \/ perform in daily life, in politics, in ethics, in institutions, and in ongoing efforts to teach and learn
– the performative life of professionalization (or the subversion of professionalization)
– life-writing as performance of self, professionalization of self
– gendered performances \/ performances of gender (on stage \/ page, in life)
– professions for women (history of, literary treatments of, performances of)
– Woolf and developments in medical sciences and psychology
– teaching Woolf \/ Woolf as Teacher
– performing Bloomsbury \/ performative Bloomsberriesthe life of the feminist academic; the professionalization and\/or institutionalization of feminism outside of academia<\/p>\n\n\n\n