[Msa-discuss] Hemingway Conference in Lausanne,
Switzerland 6/25/10-7/3/10; Deadline 09/15/09
del Gizzo, Suzanne
delgizzos at chc.edu
Wed Dec 10 16:03:51 EST 2008
The Fourteenth International Hemingway Society Conference
Hemingway's Extreme Geographies - CALL FOR PAPERS
June 25- July 3, 2010 - Lausanne, Switzerland
For conference information and updates, please visit www.hemingwaysociety.org
Inspired by the dramatic landscape of Lausanne with its stunning views of the Alps and Lake Léman, the theme of the Fourteenth International Hemingway Society Conference is "Hemingway's Extreme Geographies."
Hemingway in Lausanne
Like many Anglo-American writers before him, Hemingway visited Lausanne and its surrounding areas many times, especially during his Paris years, and like many of them he used the Alpine landscapes of Lausanne as a setting for his fiction. Indeed, since the times of the Grand Tour, Lausanne had served as a crossroads and a place of inspiration for men and women of arts and letters. Painters, such as Turner, historians, such as Gibbons, poets, such as Shelley and Byron, food critic, M.F.K. Fisher, and many famous American writers, including James Fenimore Cooper, Henry James, Gertrude Stein, Vladimir Nabokov, and, of course, Ernest Hemingway himself have sojourned, lived, and worked in Lausanne or nearby. Lausanne and the surrounding areas are clearly associated with intense and extraordinary experience for Hemingway. As a journalist for the Toronto Star, he covered the international peace conference after the Greco-Turkish war, and later he visited the area with Hadley for winter sport. It was on the way to the Lausanne station that Hadley lost a valise with Ernest's early manuscripts, and as reported in A Moveable Feast, Hemingway associated the area with the beginning of the end of his marriage to Hadley. In his fiction, Hemingway set the end of A Farewell to Arms in Lausanne and the spectacular landscapes of Montreux only ten miles away. Swiss landscapes also provided the backdrop for some of his most memorable short fiction, including "Cross Country Snow," "An Alpine Idyll," and "Homage to Switzerland."
With "Hemingway's Extreme Geographies," the organizers wish to prompt a consideration of the ways the experience of space and geography-its physical, psychological, and emotional dimensions-informed Hemingway's writing. Hemingway had an acute sense of space and its evocative capabilities. One may easily recall many instances of this in his work: his claim in A Moveable Feast that he had to come to Paris to write about Michigan; the vivid description of the crossing of the Pyrenees in The Sun Also Rises; the evocation and subversion of masculine identity in his African or Cuban fiction and non-fiction; the charred landscape, clear streams, and swamp of "Big Two-Hearted River." Switzerland is similarly treated in narratives such as "Cross-Country Snow," where Nick Adams probes the limits of geography and of physical and psychological balance as a skier in the Swiss Alps and as an American father-to-be. By the same token, his autobiographical narration of the Paris years ends with considerations on marriage and train schedules, that is, on life, death, time and space: "when I got back to Paris I should have caught the first train from the Gare de l'Est that would take me down to Austria. But the girl I was in love with was in Paris then, and I did not take the first train, or the second or the third." Hemingway also wrote about the geography of the body-the way it imposes its own limits and topography by being marked, scarred, or gendered. Even Hemingway's sentences, grammar, and syntax suggest the importance of the material space of the story and the terrain of the words on the page.
Organizers encourage participants to interpret the conference theme broadly. We welcome proposals on all aspects of Hemingway's artistic and existential experience, but we are particularly interested in contributions that explore Hemingway's penchant for intense experiences in liminal spaces (physical and psychological) as a starting point for his writing.
Topics of the conference may include but are not limited to the following themes:
* Switzerland as a place of encounter and dis-encounter
* Africa, Cuba, Switzerland, Spain, France, and the place of the "other"
* The Gulf Stream, Key West, Michigan, The American West
* Ketchum, and the unhomeliness of home
* Warscapes (WWI, Spanish Civil War, WWII)
* Aviation, traveling
* Boundary crossing (literal and figurative)
* The bodily experience of space; the jubilant/sensual and the injured body
* The geographies of sports
* The gendering and the ethics of topography
* The carnivalesque
* Hemingway and the Romantic tradition
The literary space:
* Hemingway's sentences
* The art of omission
* Narrative lines and narrative interruptions
* The space of Hemingway's paragraph
* A room with a view: the construction of aesthetics in Hemingway's writing
The space identity (gender, racial, public):
* Remorse; or, the land of the past
* Regeneration through violence
* Masculine territories and the frontier of the "other"
* The construction of Authorship and the defense of authorial territory
* Materialism and idealism-the world here and now and worlds beyond
* Hemingway and religious sentiment
* The crisis of reality and unreality of reality
* Existentialism and mysticism
* The sublimation of injury and the extreme spaces of experience
* The experience of beauty and the sublime; or, Hemingway and the (post-) Romantic tradition
* The extremes of the reception of Hemingway
* Reading Hemingway in Africa, Europe, Asia
An Interactive Conference-Overview of the types of panels
The conference organizers are interested in creating a conference experience that stresses interaction and exchange. For this reason, we hope to mix traditional three-paper panels and plenary sessions with workshops and expert-led seminars. Of course, traditional panel proposals and individual paper proposals are welcome, but we encourage individuals or groups of aficionados to consider proposing a panel or a workshop.
All questions and proposals should be sent to the conference co-directors, Suzanne del Gizzo and Boris Vejdovsky, at hemingway2010 at comcast.net <mailto:hemingway2010 at comcast.net> . PLEASE MENTION "HEMINGWAY-LAUSANNE-PP" IN THE SUBJECT OF YOUR MESSAGE. All proposals are due by Sept. 15, 2009.
Traditional Panels: Panel chairs can propose a theme and indicate the main directions they would like their participants to explore (we can even run a "call for papers" for you on the conference website, if you wish-just send us a brief CFP well in advance of Sept 15, 2009 panel proposal deadline so you have time to receive and vet proposals). Alternatively, chairs can propose complete panels with three participants; such proposals should include brief descriptions of each paper as well as a statement about the panel's theme (approx. 500 words with names and affiliations of each participant).
Workshops: Workshops are meant to be a variation on the traditional panel; they should focus on practical issues and inquiries, such as strategies for teaching a particular text and /or a session on working through a particularly rich passage/set of passages in Hemingway's work. Workshops can be organized around short papers, a set of questions or prompts, or a shared inquiry and can be proposed by one person or by a group of people. As with the traditional panel proposals, the organizers can run a "call for papers" for you on the conference website, if you wish-just send us a brief CFP well in advance of the Sept 15, 2009 proposal deadline so you have time to receive and vet proposals. It is also possible to propose a complete workshop with participants already selected; such proposals should include brief descriptions person's contribution to the workshop as well as a statement about the panel's theme (approx. 500 words with names and affiliations of each participant)..
Paper Proposals: We are also happy to accept individual papers. Individual proposals should be aimed at 20-minute presentations in order to allow for a minimum of 10 minutes discussion for discussion during the session. Organizers will distribute papers in most appropriate panels and will put in contact presenters and panel chairs. Send 250-word paper proposals including your institutional affiliation to conference organizers by September 15, 2009.
NEW FORMAT! THE SEMINAR
In addition, at this conference we will also be featuring seminars on particular topics led by experts in Hemingway studies. The seminars are focused, intensive discussions under the guidance of an expert on the topic. A list of seminars will be advertised on the conference website in Fall 2009 (including titles, descriptions, and seminar leaders). Conference participants may sign up in advance to participate in these seminars. Readings will be assigned by the seminar leader in order to focus and enhance the discussion during the session.
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