Essay collection for Kent State University Press
Deadline for Submission of Proposals: September 30, 2018
Deadline for Accepted Papers: January 31, 2019
The Teaching Hemingway series presents collections of essays, each focusing on a certain topic that illuminates Hemingway’s work both in terms of scholarship and pedagogy. The books in the series are of interest to educators and students in secondary and private schools and at the undergraduate and graduate levels. Those who contribute to books are often teacher-scholars who have used Hemingway's work in domestic, international, and other settings.
In this CFP, we invite interested teacher-scholars to contribute to what will be a lively, innovative collection, entitled Teaching Hemingway and Film. Our goal in developing this volume is to delve into Hemingway’s work – particularly the teaching of his work – in a fresh way—one that relates his craft to (and sometimes through) film.
Some contributors may discuss how they dialogue with students to examine various cinematic dimensions in Hemingway’s writing, such as documentary storytelling, cinematography in prose, and use of point of view and voiceover.
Educators may also reflect on how they have explored Hemingway’s work in relation to the various adaptations that have emerged over the years, drawing from such films as The Killers (1946, 1964), The Breaking Point (1950), The Garden of Eden (2008), and so on.
Another possible topic to explore is the relationship between myth and film. Over the years, different films have perpetuated, parodied, and challenged various Hemingway myths. When exploring this topic, educators might draw from such films as Midnight in Paris (2011), Hemingway and Gellhorn (2012), and Papa Hemingway in Cuba (2015).
While we put forward these three approaches as possibilities, by no means do we intend to limit you to these ideas. Please feel free to go beyond these approaches in your proposals.
The ideal length of a contribution is between 10 and 15 pages. All accepted essays should balance theory/interpretation and concrete classroom practices. After all, this is a collection that focuses on literary/film scholarship and the art of teaching and learning.
We welcome proposals from both established and emerging teacher-scholars. We encourage you to tell your teaching stories, your pedagogical trade secrets, which explore Hemingway in relation to the art of cinema and/or the business of filmmaking.
Teaching Hemingway and Film presents a unique opportunity to discuss Hemingway’s work from different scholarly angles, including literary studies, film studies, and pedagogy itself. To be honest, this thrills us! Most excitingly, Teaching Hemingway and Film will point to new possibilities in the robust field of Hemingway scholarship.
Proposals of approximately 700 words and an abbreviated CV that indicates research and scholarly activity should be sent to the volume editors, Cam Cobb (Faculty of Education, University of Windsor, firstname.lastname@example.org), and Marc Dudley (Department of English, NC State University, email@example.com). Please c.c. series editor Mark Ott (firstname.lastname@example.org) by September 30, 2018, to ensure fullest consideration in the volume. Accepted authors should plan to deliver completed manuscripts (of 2,500-4,000 words) by January 31, 2019.