Conf/CfP - The Materiality of Modernisms, 2022, Centre for European Modernism Studies, Portugal

Publish Date: Jul 01, 2022

Deadline: Aug 31, 2022

Event Dates: from Dec 15, 2022 12:00 to Dec 17, 2022 12:00

The medial and material turn have radically transformed, in the last decades, the way we perceive,  describe, and understand literary codes, their form of production and transmission, and their relations to technology and the other arts. If this statement, in a broader sense, applies to every research into the literary forms of the past and of the present, it could not be more accurate when we think about how much it impacted modernist studies as well as the definition of “modernism” itself, within both the literary and artistic field.
The focus on the media, artefacts and connection between formal and cultural context allowed us to rethink the dichotomy between mimetic and non-mimetic practices, historicist and cultural approaches, ontological and epistemological paradigms. This produced a temporal and spatial expansion of the concept, challenging the univocal definition of “modernism” as an immutable literary canon, or as a specific formal project. Instead, this shift of paradigm contributed to broadening the concept of modernism by focusing on all the different ways in which modernity presented itself, thus providing the twentieth century with several complementary and contradictory modernisms.

Research dedicated to the medial and material aspects of literary and artistic productions was able to broaden the focus of academic studies towards objects and topics previously considered “minor” or “popular”.  The role of small press, magazines, design, publicity and decorative arts, has been considered more and more prominent in the development of the historical avant-gardes. This led to understanding how artists and authors of the so-called “high arts” were in fact involved with the processes of production of the more popular forms of culture, sometimes used as the vehicle for disrupting aesthetic and political statements, but also as the means for engaging the hegemonic forces of modern progress and political propaganda.
Modernisms, in literary, visual, and performing arts, arose and produced a significant social and public impact particularly within the avant-garde movements of the beginning of the twentieth century, i.e., during a period when the world experienced one of the most radical technological and epistemological revolutions in history. Plus, the development of photography, cinema, radio and performance introduced different key factors, such as sound and movement, into the forms of production and reception, and led to approaches that underline the importance of the humans’ medial condition and the related cognitive dimensions.

Within the framework of intertwining multiple approaches to the material and medial dimensions through which modernisms have been - and are being - studied, the conference will also offer an opportunity to revisit through this angle three events whose 100th  anniversary takes place in 2022. The publication of Joyce’s Ulysses, the organization of The Week of  Modern Art in São Paulo and the premiére of the Triadisches Ballett by Oskar Schlemmer, can be in fact set as clear examples of a broader and heterogeneous «discourse of the legitimation of change» (Osborne 2013), that only much later became known as “Modernism”. Round tables with guests and experts will be dedicated to these three topics as part of the conference program.

Given these premises, welcome proposals that focus on the following topics but are not limited to:

  • The material and medial turn
  • Media theory and Philosophy
  • Materiality of Communication
  • Typography and book design
  • Publishing and author/artist self-publishing
  • Artists books and journals
  • Archival and librarian studies
  • Performance art and theory
  • Body and embodiment
  • Sound and voice in literature
  • Cinema and Photography
  • Media, intermedia, and transmedia studies
  • Modernisms in the digital era
  • The impact of technology and science in literature and visual arts
  • Cartography and map-making
  • Visual and material artistic practices
  • Artists’ writings
  • Translations and appropriations
  • Networking and transnational circulation of artists and art practices

Abstract proposals should be in English (max. 300 words) for 20-minute papers, followed by a short biographical note (max. 150 words).  

All proposals will be peer-reviewed.
Acceptances will be announced in September.

Registration fee: 70 euros per person (lunch and coffee break for three days included).

Selected papers will be published in a post-conference volume. Further details will be given at the end of the Conference.

For more information click "LINK TO ORIGINAL" below.

Further Official Information

Link to Original

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