Author Archives: Sarah_Giles

Call for papers: EACWP VI Pedagogical Conference 2023

The deadline for submissions has been extended to March, 24 (2023).

The EACWP Conference is a biannual event devoted to foster a European and Worldwide dialogue on the different approaches to creative writing education. The VI EACWP conference will take place in Madrid, in the locations of Casa Árabe (The Arabic House) and in the context of Escuela de Escritores 20th anniversary, from Thursday 4 to Saturday 6 May 2023. The on-line format for proposals will only be accepted for the Multilingual Workshops. 

Central to the conference will be an acknowledgement of the importance of creativity and how enhance it through the practice of writing. In times of crisis – probably, the only possible times – writers can make creativity a permanent way of living as artists, continuously questioning, developing and reformulating our craft.

Visit the EACWP Conference website for further details.

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University of Canberra Vice-Chancellor’s International Poetry Prize

The Vice-Chancellor’s International Poetry Prize is running again in 2023.

The prize is now open until 30 June 2023, 23:59 GMT.

Enter here

About the Prize

The University of Canberra Vice-Chancellor’s International Poetry Prize has been offered annually since 2014. On behalf of the University, this is administered by the Centre for Creative and Cultural Research in the Faculty of Arts and Design.

The prize celebrates the enduring significance of poetry to cultures everywhere in the world, and its ongoing and often seminal importance to world literatures. It marks the University of Canberra’s commitment to creativity and imagination in all that it does, and builds on the work of the International Poetry Studies Institute in identifying poetry as a highly resilient and sophisticated human activity. It also builds on the activities of the Centre for Creative and Cultural Research, which conducts wide-ranging research into human creativity and culture.

The 2023 prize winners will be announced by November 2023 and the prize winners and short-list will be notified prior to that.

Important details are:

  • The winner will receive AUD$15,000
  • The international winner will receive AUD$5,000
  • The runner-up (second-placed poem) will receive AUD$5,000
  • Four additional poems will be short-listed
  • An online prize anthology of up to 60 longlisted poems will be published

Entry fees

  • Entrants may submit up to six poems, and will pay a separate fee for each poem.
  • First Entry: $AUD25 or $15 concession
  • Additional Entry (up to five additional entries): $AUD20 or $10 concession
  • See How to Enter for details and Early Bird fee options

Outline of prize rules and conditions

  • All poems entered for the prize will be single poems that have a maximum length of 60 lines
  • All entries will be in English
  • No simultaneous submissions will be allowed
  • Entries must be unpublished and original works of the author
  • Translations will not be eligible unless they are English translations from another language produced by the original author
  • Judges (To be confirmed for 2023)
  • Full Conditions of Entry

Please direct all enquiries to: vcpoetryprize@canberra.edu.au
Do not call the University, unfortunately they cannot address queries over the phone.

Call for papers

Editors Lili Pâquet and Rosemary Williamson (University of New England, Australia) invite submissions of chapters for an edited collection: True Crime and Women: Writers, Readers, and Representations.

Proposals due by Friday 26 August.

Research on true crime demonstrates that while it once was mainly targeted at male audiences (Punnett, 2018), in recent decades it has been consumed by women (Boling & Hull, 2018). This shift is significant in several ways. The representations of women as victims and perpetrators in true crime have had effects on cultural perceptions around crime and safety. True crime readers are less supportive of criminal justice institutions, and audience’s fears can have real effects on the public opinion of legal policies around crime (Kort-Butler & Hartshorn, 2011). Studies of true crime often aim to discover why audiences are drawn to true crime (see Harris & Vitis, 2020), finding that women look for survival strategies in the genre (Browder, 2006; Vicary & Fraley, 2010) and for a kind of informal justice outside formal institutions such as courtrooms (Pâquet, 2021). The genre also presents women with the issues related to their representation through media (Yardley, Wilson & Kennedy, 2017; Slakoff 2022).

Editors Lili Pâquet and Rosemary Williamson (University of New England, Australia) invite submissions for a peer-reviewed edited collection to be proposed for Routledge’s new ‘Studies in Crime, Culture and Media’ series. We are interested in chapters that investigate the intersections of the true crime genre, cultural perceptions of justice, media (both traditional and new media forms), and women (as readers, writers, or through representations within narratives).

We are looking for academic chapters on the following topics, but are open to other related topics:

  • The representation of women in true crime, as victims or criminals
  • Female audiences of true crime, their motivations and responses
  • Feminist true crime
  • Writing and structuring narratives in true crime
  • Rhetorical analyses of true crime
  • How true crime affects perceptions of gender-based violence
  • True crime podcasts
  • Historic true crime
  • True crime on screen: documentaries, TV series
  • Fictionalised true crime such as Inventing Anna, The Dropout, etc.
  • Institutional justice and its intersections with true crime
  • Quantitative and qualitative research of true crime audiences
  • True crime and biography, autobiography, memoir or biofiction
  • True crime from the writer’s perspective

Deadlines

Please send proposals of up to 500 words, plus short bios of up to 50 words to Lili Pâquet at lpaquet@une.edu.au by Friday 26 August 2022. We will notify authors of the outcome in September 2022. Full chapters will be 5000-6000 words length.

References

Boling, K. S. & Hull, K. “Undisclosed Information – Serial is my Favorite Murder: Examining Motivations in the True Crime Podcast Audience.” Journal of Radio & Audio Media 25.1 (2018): 92-108.

Browder, L. “Dystopian Romance: True Crime and the Female Reader.” The Journal of Popular Culture 39.6 (2006): 928-953.

Harris, B. & Vitis, L. “ Digital Intrusions: Technology, Spatiality and Violence Against Women.” Journal of Gender-Based Violence 4.3 (2020): 325-341.

Kort-Butler, L.A. & Hartshorn, K.J.S. “Watching the Detectives: Crime Programming, Fear of Crime, and Attitudes about the Criminal Justice System.” The Sociological Quarterly 52.1 (2011): 36-55.

Pâquet, L. “Seeking Justice Elsewhere: Informal and Formal Justice in the True Crime Podcasts Trace and The Teacher’s Pet.” Crime Media Culture 17.3 (2021): 421-437.

Punnett, I.C. Toward a Theory of True Crime Narratives: A Textual Analysis. New York and London: Routledge, 2018.

Slakoff, D.C. “The Mediated Portrayal of Intimate Partner Violence in True Crime Podcasts: Strangulation, Isolation, Threats of Violence, and Coercive Control. Violence Against Women 28.6-7 (2022): 1659-1683.

Vicary, A.M. & Fraley, R.C. “Captured by True Crime: Why Are Women Drawn to Tales of Rape, Murder, and Serial Killers?” Social Psychological and Personality Science 1.1 (2010): 81-86.

Yardley, E., Wilson, D. & Kennedy, M. “‘To Me Its [sic] Real Life’: Secondary Victims of Homicide in Newer Media.” Victims and Offenders: An International Journal of Evidence-Based Research, Policy, and Practice 12.3 (2017): 467–496.