33.3329, Calls: English; Ling & Literature/France

[The LINGUIST List]

LINGUIST List: Vol-33-3329. Sun Oct 30 2022. ISSN: 1069 - 4875.

Subject: 33.3329, Calls: English; Ling & Literature/France

Moderators:

Editor for this issue: Everett Green <everett at linguistlist.org>
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Date: Sun, 30 Oct 2022 00:00:56
From: ELISE OUVRARD [elise.ouvrard at unicaen.fr]
Subject: Forms and Expressions of Slow Time in Contemporary English Picturebooks

 
Full Title: Forms and Expressions of Slow Time in Contemporary English Picturebooks 

Date: 29-Nov-2023 - 30-Nov-2023
Location: CAEN, France 
Contact Person: Elise OUVRARD
Meeting Email: elise.ouvrard at unicaen.fr

Linguistic Field(s): Ling & Literature 

Subject Language(s): English (eng)

Call Deadline: 31-Jan-2023 

Meeting Description:

The aim of this conference is to reflect on and discuss the role of SLOW TIME
in today’s picturebooks published in English (from 2000). SLOW TIME is the
opposite of cut-up time, or time divided into small units for the purpose of
carrying out numerous tasks, i.e. time spent struggling with time (Chalanset
et Danziger, 1994). There might be several ways of dealing with the topic:
slow time might be a theme in the narrative (cf. generations, nature, travel,
motion…) and its visual unfolding and aesthetics. Slow time might be
considered as the implied rule when reading a picturebook to or with children
and if so, how can a slow read involving the observation of pictures and a
form of exchange be explained and defined? How does the contact with
picturebooks influence the adult mind when it comes to reflecting on time?


Call for Papers:

As commercial objects and works of art, children’s picturebooks are designed,
produced, sold, given as presents, borrowed from libraries, listened to and
watched online, lent to friends or purchased by collectors. Picturebooks are
read and read again by the same children; they might be read from the back;
they are also felt and handled by curious hands as their material nature
suggests they should. (Van der Linden, 2006; Ouvrard, 2022).
In some cases, picturebooks are textless. In fact, a picturebook owes its
identity to the prominence of pictures in relation to text (Mickenberg et
Vallone, 2011). Felski (2020), in a recent book about art and attachment,
focuses on the time that it is necessary to spend to encompass the details of
a picture or a painting. Browne (2011) considers that an image is a riddle
requiring and stimulating observation skills, and Molly Bang (2016) unveils
some of the visual stratagems used by artists to communicate effectively.
The authors of picturebooks are aware first and foremost that they address
children but it has been shown that adults are never far away (Nodelman,
2008): it might be parents who read out stories to their children; it might be
adult librarians, booksellers, reviewers or teachers who read and select
picturebooks on behalf of children.
Children’s books, as specialists in the field (Prince, 2021; Mickenberg et
Vallone, 2011) remind us, are designed to instruct and entertain children.
They convey values (subject to historical change), ways of relating to and
experiencing the outside world as well as ways of perceiving other human
beings who may have different lifestyles and behaviours.
Artists and publishers working together make it their regular duty to adapt
and change the contents and the appearance of picturebooks to match the social
transformations at work in the world (Prince et Thiltges, 2018).
The aim of this conference is to reflect on and discuss the role of SLOW TIME
in today’s picturebooks published in English (from 2000). SLOW TIME is the
opposite of cut-up time, or time divided into small units for the purpose of
carrying out numerous tasks, i.e. time spent struggling with time (Chalanset
et Danziger, 1994). There might be several ways of dealing with the topic:
slow time might be a theme in the narrative (cf. generations, nature, travel,
motion…) and its visual unfolding and aesthetics. Slow time might be
considered as the implied rule when reading a picturebook to or with children
and if so, how can a slow read involving the observation of pictures and a
form of exchange be explained and defined? How does the contact with
picturebooks influence the adult mind when it comes to reflecting on time?
We would like the speakers to either draw our attention to aspects of SLOW
TIME in one particular picturebook (such as Fletcher and the Caterpillar
(2021), Little Sap (2021), Another (2019), Watercress (2021) etc.) or a group
of books that can serve to illustrate a particular point regarding SLOW TIME.
One specific author (Julie Fogliano, Lane Smith, Kevin Henkes, Nikki McClure
for instance) might also be selected and their work surveyed with SLOW TIME in
mind, or else several authors with various significant kinships relating to
SLOW TIME. We are interested in book features or reading processes that
encourage silence, contemplation and inventiveness and a different type of
connection – less hurried and pressurized – to the world. The conference
welcomes the study of books that have been translated from French into English
as in the case of Notre cabane de Marie Dorléans (2020) now entitled Our Fort
in English (2022).

Please send an abstract (in French or in English), with a short
bio-bibliography of a dozen lines, to Véronique Alexandre
(veronique.alexandre at unicaen.fr) and Elise Ouvrard (elise.ouvrard at unicaen.fr)
by 31 January, 2023.




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LINGUIST List: Vol-33-3329	
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