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<p class="MsoNormal">Esteemed Woolfians,<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Below please find a CFP that may interest members of this community.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b><span style="font-family:"Lucida Bright",serif">Proposal for a Modernism/modernity Print Plus cluster on Whiteness<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family:"Lucida Bright",serif">Call for Papers<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">Contacts: Jennifer Nesbitt (</span><a href="mailto:jpn12@psu.edu"><span style="font-family:"Lucida Bright",serif">jpn12@psu.edu</span></a><span style="font-family:"Lucida Bright",serif">)
and Sonita Sarker (</span><a href="mailto:sarker@macalester.edu"><span style="font-family:"Lucida Bright",serif">sarker@macalester.edu</span></a><span style="font-family:"Lucida Bright",serif">)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">Timeline:<o:p></o:p></span></p>
<ul style="margin-top:0in" type="disc">
<li class="MsoListParagraphCxSpFirst" style="margin-left:0in;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span style="font-size:11.0pt;font-family:"Lucida Bright",serif">500-word abstracts due July 10, 2020<o:p></o:p></span></li><li class="MsoListParagraphCxSpLast" style="margin-left:0in;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span style="font-size:11.0pt;font-family:"Lucida Bright",serif">Tentative due date for accepted papers (1500-2000 words): September 18
<o:p></o:p></span></li></ul>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">Anglophone modernist studies, despite explicit gestures of inclusion and scholarship addressing race and colonialism, maintains a speaking silence grounded in and attached to a largely unmarked
norm designated “whiteness.” The editors of this M/m Print+ cluster seek position papers between 1500-2000 words that reorient objects of study, methodologies, and pedagogies to name whiteness(es) as a category of analysis and, thus, to render it visible,
audible and legible in our field. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">The aims of this cluster have acquired greater urgency as the global pandemic highlights the harmful effects of uninterrogated white privilege on the security of peoples, cultures, and polities.
Recent protests against shelter-in-place orders join other manifestations of a </span>
<span style="font-family:"Lucida Bright",serif">violent white nativist-supremacist identity that has already named itself explicitly through national elections in 2016, Charlottesville in 2017, racially motivated mass shootings and racialized border enforcements.
Democratic and socially progressive potentials in Western institutional and cultural structures are simultaneously vulnerable to the correspondingly deep roots whiteness has in discourses of imperialism and fascism.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">If current crises reveal multiple fissures and name the hitherto unnamed, they also present opportunities to reset and redress by examining the impulses in modernism and modernity that lead
us to now. On the one hand, it may seem that Anglophone modernist studies has always been talking about whiteness, through careful analyses of race and ethnicity, among diverse forms of othering. There have been publications on whiteness and modernist writers
such as <i>White Women Writing White</i> and <i>Faulkner and Whiteness</i>. On the other hand, the continued centrality of white subjects (both as practitioners and objects of study) makes evident the persistence of privilege that is everywhere and nowhere.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">Are there influential works on race in modernist literature that need to be critiqued or revised because of a failure to consider whiteness? Of course. Are there canonical works that need
to be reread—or works from outside the canon that have been invisible because we weren’t thinking in terms of whiteness? Of course. Consider how Chinua Achebe’s indictment of Joseph Conrad’s
<i>Heart of Darkness</i> as colonialist could be further illuminated by an analysis of white English masculinity embedded in both Conrad’s own imagination and work, and in Achebe’s response. How would Oodgeroo Noonuccal and Doris Kerr appear if the White Australia
policy provide a frame for their works? Juxtaposing William Faulkner with Ella Cara Deloria would return the gaze onto formations and practices of whiteness. Similarly, much has been made of Ezra Pound’s anti-Semitism without explicating its foundations in
his interpretations of, and lived experience of, whiteness. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">Analyzing whiteness is not the same as analyzing race: the dynamics of legibility, visibility and positionality are different. For instance, revisiting the works of W. E. B. DuBois, Una Marson,
Aimé Césaire, Jessie Fauset, Cornelia Sorabji, or Mulk Raj Anand as analyses of whiteness returns us differently to histories of modernism and modernist studies. Studying modernist artefacts for the effects of whiteness(es) makes a difference because these
efforts trace a <i>différance</i> that reverberates through and unsettles habits of thinking about race and ethnicity as a property exclusively of all others but white. As literary scholars, the editors of this cluster draw examples from our field of expertise,
but similar productive juxtapositions arise in other media and in comparisons across media.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">Anglophone</span><span style="font-family:"Lucida Bright",serif"> Modernist Studies is premised, at least partially, on the teleological narratives of Western European and North American modernity,
and our field lags behind the advances in aligned fields such as cultural studies, critical history, sociology, and feminist/queer studies have made in studying Whiteness. The first-ever Whiteness seminar (MSA 2019) expanded the arena of such publications
on three fronts: 1) whiteness is mutually and dialectically formed with its racialized others, 2) naming racializations as constructs do not obscure their material and other consequences, and 3) ‘race’ is defined in relation to gender (including masculinity
and trans-identity), class, caste, sexuality, nationality, religion, and dis/ability. In other words, the seminar shifted the gaze from locating whiteness as property/attribute to the processes of experiencing and representing it.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif">This proposed M/m+ cluster will spark sustained studies of the myriad dimensions of Whiteness.
</span><span style="font-family:"Lucida Bright",serif">Essays may interpellate whiteness directly and explicitly as a concept and as lived experience in modernist identities and production, but they could also bring to the fore analyses of whitenesses that
have always already been present in the field of modernist studies. We invite colleagues working in and across various media and disciplines who are interested in (re)constructing whiteness from within and without to submit papers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Lucida Bright",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-bottom:10.0pt;line-height:115%"><span style="font-family:"Lucida Bright",serif">Scope of interest includes, but is not limited to, the following:<o:p></o:p></span></p>
<ul style="margin-top:0in" type="disc">
<li class="MsoListParagraphCxSpFirst" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Vocabularies of whitenesses<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Investments in whitenesses<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Feeling/sensing whitenesses<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Historicizing whitenesses<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Mediums of whiteness: How does whiteness emerge across artforms?
<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Strategic unity and plurality: whiteness and whitenesses, including theorizations and definitions in relation to ethnicity, Americanness, Englishness, and/or other dominant racialized
norms<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Methods of dominance: methodologies, theories, pedagogies, professional practices, institutions.<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">International comparative approaches to discourses of white dominance and whitenesses.<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Dialectical production of racial and ethnic identities as “other” and/or “white”<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Intersectionality in the production of white identities (gender, sexuality, age, ability, religion, ethnicity, class, nationality, indigeneity, nativism)<o:p></o:p></span></li><li class="MsoListParagraphCxSpLast" style="margin-bottom:10.0pt;margin-left:0in;mso-add-space:auto;line-height:115%;mso-list:l0 level1 lfo2">
<span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif">Disappearing/appearing acts of whiteness in studies of race and colonization
</span><span style="font-size:11.0pt;line-height:115%;font-family:"Lucida Bright",serif"><o:p></o:p></span></li></ul>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Sincerely,<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><span style="font-family:"Monotype Corsiva"">Jen<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Jennifer Nesbitt<o:p></o:p></p>
<p class="MsoNormal">Associate Professor of English, Penn State York<o:p></o:p></p>
<p class="MsoNormal"><span style="color:#C00000">S</span><span style="color:#FFC000">h</span><span style="color:yellow">e</span>/<span style="color:#00B050">h</span><span style="color:#0070C0">e</span><span style="color:#002060">r</span>/<span style="color:#7030A0">h</span><span style="color:#C00000">e</span><span style="color:#FFC000">r</span><span style="color:yellow">s</span><o:p></o:p></p>
<p class="MsoNormal"><u>Land Acknowledgement Statement:</u> Penn State York sits on lands inhabited by the Susquehannock people, whose last members were massacred by the Paxton Boys in 1763. The Pennsylvania State University, a land-grant university, built
its endowment in part on sales of land expropriated from indigenous people in multiple Western territories (see
<a href="https://www.landgrabu.org/"><span style="color:blue">https://www.landgrabu.org/</span></a>).<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
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