If you are organising a conference on life-writing that you’d like to include in this list, please email us.
Locating Women in ‘the Folk’: Perspectives on women’s contributions to folk song, folklore, and cultural traditions
Saturday 9 June 2018
University of Sussex.
Women have always been central to the study and practice of folklore, arts and cultural traditions – as tradition bearers, performers, authors, collectors, storytellers and scholars. However, their contribution hasn’t always received the recognition it deserves; this symposium aims to redress the balance. We are inviting 20-minute papers/presentations and A1 poster presentations on relevant topics, which may include:
- Singers, dancers, musicians, storytellers, and other performance roles
- Performance styles, repertoire and source
- Facilitators, revivals and teaching
- Contributions to scholarship
- Legacies and archives
- Gender relations in folk cultures
- Life narratives, autoethnographies, biographies, and oral histories
- Depictions of women as subject matter in song and story
- Portrayals of women, gender roles, and identity
- Perspectives on the future for women in ‘the folk’
This conference is co-presented by Sussex Traditions, The Centre for Life History and Life Writing Research (University of Sussex), and The English Folk Dance & Song Society, and supported by The Centre for Memories, Narratives and Histories (Brighton University), and Sussex University’s Music Department.
To book your place, please click here.
Biography and Public History: Constructing Historical Narratives through Life-Writing
Wednesday 20 June 2018
University of Nottingham, Department of Music
Keynote: Professor Frances Spalding, CBE, FRSL (University of Cambridge)
Deadline: 9 February 2018
Call for Papers
From Plutarch’s Parallel Lives to Gordon Brown’s recent My Life, Our Times, life-writing has long dealt not only with individuals, but also with the times in which they lived. The discipline traverses historical, cultural, social, political and literary realms. As such, life-writing is a unique medium enabling authors to construct complex historical narratives through the eyes of a particular person. Memoirs, diaries, and other forms of life-writing can also fill gaps in the documentary record, offering historical information that may not be found elsewhere. This interdisciplinary conference aims to explore the myriad ways in which the medium of life-writing has and is being used as a means of constructing and understanding history. As a key characteristic of life-writing is its ability to cross disciplinary boundaries, proposals from a range of disciplines are welcomed.
Topics of interest include, but are not limited to:
- the relationship between the individual and society or broader events;
- constructing historical narratives through non-traditional media, eg. portraiture, exhibitions, multimedia, auto/biographical drama;
- the lives of institutions, places and objects;
- life-writing as a form of public history;
- life-writing and the scholarship of creative individuals (eg. Composers, writers, artists) and their works;
- life-writing and science;
- methodological issues and benefits in using life-writing as a historical source.
Further information is available on the conference website.
The conference is funded by the Leverhulme Trust.
Friday 29 June
Harris Manchester, Oxford
A day-long colloquium with speakers and discussion, in celebration of the MÆ Annual Lecture’s 60th Anniversary. Speakers include: Professor Janet Nelson, Professor Andy Beresford, and Professor Michael Clanchy.
Friday 26 October – Sunday 28 October 2018
Wolfson College, University of Oxford.
In partnership with the University of Valenciennes conference Owen and / in France, the Oxford Centre for Life Writing is pleased to be hosting this conference to mark the centenary of Wilfred Owen’s death.
This conference is concerned with Owen’s afterlife. How has his work been received, and how has it changed our view of the war? What effect has his verse had on writers, composers and other intellectuals, and how has Owen himself been portrayed, appropriated and discussed posthumously?