Book project: Writing Morocco in Literature, Film, and Travel Writing
Book project 2023
- URL: https://www.academia.edu/83150602/A_call_for_book_chapters_Writing_Morocco_in_Literature_Film_and_Travel_Writing_
- Event Date: 2022-07-30 ~ 2023-09-30
- Abstract Submission Date: 2022-10-15
- Submission Date: 2022-10-15
- Organizer: Sidi Mohamed Ben Abdellah University, Morocco
African Studies & History Ethnic & Cultural Studies Feminism & Women's Studies Film Gender Studies Humanities, Literature & Arts (General) Literature & Writing Middle Eastern & Islamic Studies Drama & Theater Arts English Language & Literature
Laboratory of Psychological, Sociological, and Cultural Studies
Sidi Mohamed Ben Abdellah University,
Faculty of Arts and Humanities,
Dhar El Mahraz,
Fez.
CALL FOR BOOK CHAPTERS
Writing Morocco in Literature, Film, and
Travel Writing
BACKGROUND
Morocco as a richly and diversely cultural, linguistic, political, and geographic space has been a subject for writers from different parts of the world and in different disciplines. Indeed, the country has sparked off the interest of historians, anthropologists, travel writers, painters, filmmakers, novelists, journalists, as well as politicians, imagining, representing, scripting, painting, and writing it in a riveting and artistic mold. For these reasons, Morocco has become a shrine for these writers/artists to substantiate their scholarly interests and curiosity. The book we intend to edit includes studies in literature, film, and travel writing; these three interrelated fields proffer important insights into the often-fraught encounters and interactions taking place between cultures.
Literature and cinema are two creative and artistic means, which explicitly engage with cultural representations of different identities, ethnicities, and territories. The pen and the camera, have been used to accentuate the writer’s and the filmmaker’s fertile imagination. Whether purely fictitious or inspired by real events, the literary and visual imaginary has mostly been envisioned as serving imperialism and its ideological grandiloquence. The scope of this book project is not necessarily interested in bringing to a sharper focus this vision, but in how literary and cinematic productions (re)construct, dismantle, and question some tropes, such as gender, identity, space, home, memory, borders, to mention but a few.
Morocco was exposed to ‘primitive’ cinematography as early as the very beginning of the twentieth century. Thanks to Gabriel Veyre, one of the Lumière Brothers’ technicians, Sultan Moulay Abdelaziz managed to stand behind the camera and shoot his harem. Later on in the century, the kingdom has almost been a mecca for gigantic production companies and, hence, has witnessed the shooting of variegated international blockbusters, including some made by renowned filmmakers like Martin Scorsese, Pier Paolo Pasolini, David Lean, to name but a few.
During the 1940s, the self-educated Mohamed Osfour started making amateur but purely Moroccan films. Later on, starting from 1956, other filmmakers embarked on directing their works, either independent or produced by the cinema centre (CCM). Having a filmography that consists of around five hundred feature films, Moroccan cinema is nowadays considered one of the leading experiences in Africa, alongside Egypt and South Africa. National filmic productions have tackled a wide range of issues, including gender, identity, space, and politics.
Travel Writing Studies is a burgeoning field of academic enquiry. With many societies around the world confronting complex issues of globalization, cultural hybridization, and the large-scale flow of populations, both within and across national borders, scholars have been increasingly impelled to historicize and theorize these phenomena, among others. The rise of a ‘postcolonial’ agenda and methodology across many disciplines has similarly directed scholarly attention to how the knowledge of other regions and societies is acquired and circulated, and to the different forms of interaction and exchange that can exist between cultures. As a consequence, it is probably now impossible to study any branch of the humanities or social sciences without at some stage being required to deploy and reflect upon travel writing in one or other of its many guises, albeit this is of course also partly a result of the prolific and highly protean nature of the genre.
Travel writers, painters, photographers, globetrotting tourists, physicians, Christian missionaries, envoys, inter alia, mainly British, French, German, and American, have made their peregrinations into Morocco and recorded their memories, remarks and comments in forms as diverse as the genre itself: travel accounts, books, memoirs, essays, letters, tableaux, and extensive reports.
SCOPE OF THE BOOK
Chapters may consider, but are not limited to, the following axes:
- Morocco in Western Literature
- Spatial representations of Morocco
- The Self-Other encounters in literature, film, and travel writing
- Home, identity, memory, and belonging
- Borders and politics
- Trauma and narrative
- (Post)colonial cinema
- The image of Morocco’s space in foreign films
- Amazigh cinema
- Autobiographical travel writing: phenomenology of experience
- Travel writing as life writing
- Travel writing and imagined geography/cartography
- Travel and topophilia
- Travel and transculturation
- Travel writing, photography and painting
CHAPTERS
Submitted chapters should have the following structure:
Title of the chapter: 14 Times New Roman, bold, title case capitalization;
Name(s) of author(s): 12 Times New Roman, bold;
Institutional affiliation: 12 Times New Roman, bold;
The author’s/authors’ academic title/s, institutional address/es and email/s will be displayed in a footnote on the first page of the chapter;
Abstract: 12 Times New Roman, single-spaced, justified, no more than 300 words;
Keywords: 12 Times New Roman, no more than 6;
Text:
- 12 Times New Roman, justified, 1,5;
- all paragraphs, except for the first one, should be indented;
- headings (12 Times New Roman, bold) begin flush left, using title case capitalization.
References: 12 Times New Roman, single-spaced;
Endnotes: 10 Times New Roman; Arabic numerals;
Length: 6 000 – 8 000 words, including references and endnotes;
APA (edition 7) should be followed for in-text citations and the reference list.
DEADLINES
Abstract submission deadline: October 15th, 2022
Proposal acceptance notification: November 10th, 2022
Contributions submission deadline: April 30th, 2023
Contributions reviewed returned to authors: August 30th, 2023
Revised contributions submission: September 30th, 2023
The publication will be released at the end of 2023.
SUBMISSION GUIDELINES
Contributions must be original; it is not under consideration, accepted for publication, in press, or published elsewhere.
If you are interested in contributing to the collective book, please submit your proposals by providing:
- Title of your contribution;
- Abstract; around 300 words;
- A brief reference to the axis where you see your contribution fits: literature, film, or travel writing;
- Contact information (full name, institution, email, and phone number);
- A brief biographical note of no more than 100 words (in the third-person).
The proposals must be in English and submitted in doc. or docx. format, electronically, (only 1 file), to both said_chemlal@hotmail.com and ammarielho@gmail.com.
REVIEW PROCESS
Double-blind peer-review process will be used. The contributors will receive the results of the review process before November 10th, 2022, including the procedures for the full contribution submission.
EDITORS
Lahoucine Aammari, Faculty of Arts and Humanities, Dhar El Mahraz, Fez.
Said Chemlal, Faculty of Arts and Humanities, Dhar El Mahraz, Fez.
CONTACTS
For extra information/clarifications please contact:
Lahoucine Aammari, ammarielho@gmail.com;
Said Chemlal, said_chemlal@hotmail.com.
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