CFP Round-up, February 2018


With several CFP deadlines coming up, here are a selection of calls for proposals ending within the next month:

European Network of Avant-garde and Modernism Studies (EAM)

Realism(s) of the Avant-Garde and Modernism

Münster, Germany, 5-7 September 2018

CFP Deadline: 15 February 2018


Publics: A two-day workshop

Bishopsgate Institute and Kings College London, 18-19 May 2018

CFP Deadline: 16 February 2018

Modernist Studies Association (MSA)

Graphic Modernisms

Columbus, Ohio, 8-11 November 2018

Deadline for seminar proposals: 23 February 2018

Deadline for panel and roundtable proposals: 8 April 2018

Association of Welsh Writing in English (AWWE)


Gregynog Hall, 11-13 May 2018

CFP Deadline: 28 February 2018

Australasian Modernist Studies Network (AMSN)

Modernist Comedy & Humour

University of Melbourne, 26-28 October 2018

CFP Deadline: 30 March 2018


AWWE 2018: Home/Cartref


11-13 May 2018, Gregynog Hall

The Thirtieth Annual Conference
of the Association for Welsh Writing in English

Keynote Speakers

  • Keynote Speaker: Professor Jane Aaron, Emeritus Professor, University of South Wales
  • Creative Keynote Speaker: Alys Conran, winner of the 2017 Wales Book of the Year for Pigeon

The final keynote will be announced shortly: please visit the AWWE website for latest updates.

Call for Papers

​“‘Home’. When you say a word slowly it can seem suddenly strange. ‘Home’. Is that really how you spell it? And what does it mean? ‘Hoam’. ‘Hohm’.” – John Barnie, Footfalls in the Silence: A Memoir (2014)

Our thirtieth anniversary conference will ask what ‘home’ means within the context of the English-language literary traditions of Wales. In his 1977 volume Space and Place, Yi-Fu Tuan suggested that home is ‘the focal point of a cosmic structure’, and argued that ‘Human groups nearly everywhere tend to regard their own homeland as the center of the world.’ More recently, Michael Allen Fox has proposed that ‘Self and home are inseparable elements, with each depending on the other for its existence and properties.’ He has also emphasised concepts of familiarity and belonging: ‘In English, “home” stands for a place of residence, belonging, and attachment’ and is bound up with ideas of ‘familiarity, attraction, warmth of feeling, pride, a special sense of bonding’. The primary emotional content of home has similarly been articulated by Alison Blunt and Robyn Dowling who note that home is not just a ‘site’, but is crucially ‘an idea and an imaginary imbued with feelings’.

Conference Report: Word and Image

2017 Conference
Word and Image: The Second Modernist Network Cymru Conference
National Library of Wales/Aberystwyth School of Art, 12-13 September 2017
Emma West
Chair, Modernist Network Cymru (MONC)

On 12-13 September 2017, over 40 academics, curators, artists and enthusiasts gathered at the National Library of Wales to explore the connections between word and image in a range of modernist texts from Wales and beyond. The conference, the second organised by Modernist Network Cymru (MONC), had two aims: firstly, to bring together those engaging with (or making) literature and the visual arts; secondly, to bring those working on Welsh modernism into dialogue with works from other nations. The theme of Word and Image seemed a perfect way to bring together these different strands, not least because word-image crossovers seem especially pertinent to the art and literature of Wales. We could think of figures such as David Jones, Brenda Chamberlain and Margiad Evans who worked across art and literature, whether in poetry and painting or short stories and illustration, or texts such as Chamberlain and Alun Lewis’s Caseg Broadsheets, which juxtaposed modern poetry with experimental woodcuts. More recently, the photographer Aled Rhys Hughes and the Welsh National Opera have both produced multimedia responses to Jones’s prose poem In Parenthesis.

It was thus with great anticipation that the committee awaited the arrival of delegates on a stormy Tuesday morning in the National Library of Wales. Within a few minutes, the conference nerves subsided: the delegates were so enthusiastic and friendly that the area outside the Drwm was soon filled with excited chatter.

Accompanying Events

2017 Conference


Richard Pinkney, The Alphabet Twice, 1971

Please see below for information on exhibitions and activities taking place in Aberystwyth on 12-13 September. The Arts Centre, Aberystwyth University, and the School of Art, have both arranged to exhibit materials to accompany the conference.

National Library of Wales


  • Arthur and Welsh Mythology
  • Legends!
  • Cover to Cover
  • Fallen Poets: Edward Thomas and Hedd Wyn
  • Discover the Heart of Welsh Culture
  • Nanteos Cup

Weekly guided tours:

School of Art, Aberystwyth University 

Registration Open: Word and Image (MONC 2017)

2017 Conference

We’re delighted to announce that registration is now open for Word and Image: The Second Modernist Network Cymru (MONC) conference, to be held at the National Library of Wales/Aberystwyth School of Art on 12-13 September 2017.

Those interested can register via our Eventbrite page. So that we can confirm numbers with catering, registration will close on Friday 1 September 2017.

If you wish to attend after registration has closed, please get in touch with us at modernistnetworkcymru[at] and we will do our best to accommodate you.

We are grateful for the support of our sponsors, the Learned Society of Wales and Aberystwyth School of Art, for helping to make the conference and roundtable possible.

LSW-new logo-01



CFP: Queer Modernism(s)


Nottingham Trent University

3 April 2017

Keynote speaker:

Professor Gregory Woods (Nottingham Trent University)


‘Somewhat like Ariel / Somewhat like Puck / Somewhat like a gutter boy / Who loves to play in muck’ – Richard Bruce Nugent

Queer Modernism(s) is an interdisciplinary conference that aims to explore the place of queer identity in modernist art, literature and culture. How do modernist artists frame queerness within their work? How did writers reveal and conceal their sexuality? And, in ‘making it new’, how did modernism develop new modes of exploring gender and sexuality?