Call for Papers: Journal of Interdisciplinary Voice Studies

*Call for Papers: Journal of Interdisciplinary Voice Studies*


https://www.intellectbooks.com/asset/42557/1/Voice_Studies_cfp_2019.pdf

Special Issue: ‘Metaphoric Stammers and Embodied Speakers: Cultural,
Clinical, and Creative Approaches to Dysfluent Speech’

Guest editors: Daniel Martin and Maria Stuart

Deadline for submission of abstracts: 10 September 2019

This special issue of the Journal of Interdisciplinary Voice Studies
explores embodied experiences and cultural constructions of stammering from
the interdisciplinary perspectives of literary and cultural analysis,
speech therapy, neurological research and creative practice.

Despite the centrality of literary and cultural studies to the emergence of
Dysfluency Studies (Marc Shell, Stutter 2005; Chris Eagle, Dysfluencies
2014), the 2017 Oxford Dysfluency Conference had no humanities-based
papers. A recent conference at University College, Dublin (Metaphoric
Stammers and Embodied Speakers, 12 October 2018) sought to address this
imbalance, bringing cultural analysis into genuine exchange with scientific
and therapeutic practice, and negotiating the tension between a medical
model of ‘recovery’ and an emergent challenge (across disciplines) to
cultural constructions of ‘normal’ speech.

This special issue draws upon and expands the parameters of that event,
developing an interface between cultural, clinical, and creative practice
in the area of speech ‘disorders,’ and generating new forms of
communication and exchange across these fields. Although inviting a variety
of disciplinary perspectives, underlying this diversity is a shared sense
of dysfluency less as a ‘disorder’ to be treated (within an attendant
pathologizing vocabulary) than a form of communication that highlights the
intricate relationship between speaking and being heard, vocal agency and
cultural reception, vocal expression and philosophical systems, voice and
identity.

Of particular (and problematic) importance has been the cultural work
performed by the metaphoric stammer as a sign of various conditions (both
personal and collective) with little connection to actual dysfluency. Marc
Shell first drew attention to the metaphoric appropriation of the stammer
as a sign of multiple forms of ‘impediment’ – not only vocal, but social,
psychological, intellectual and metaphysical – and the societal assumptions
that underlie such usage (Shell 2005). More recently, Daniel Martin has
highlighted the way in which the ‘polymorphous metaphor of the stutter’ has
‘seduce[d] theorists from an awareness of the actual disability of
developmental dysfluency’ towards ‘seductive descriptions of the
“stuttering” rhythms of modern life, literature and aesthetics’ (Martin
2015). Following such interventions, even work that remains engaged with
Gilles Deleuze’s influential ‘articulation’ of the metaphorical stammer
(‘He Stuttered’, 1998) needs to balance such usage with a sense of the
corporeal experience of dysfluency (what Jay Dolmage has called ‘the
embodied struggle for expression’ [2014]), an experience historicised in
Eagle’s exploration of the interaction between literary practice and speech
pathology (2014). Issues of embodiment, performance and creative disruption
to normative speech have been the focus of work by Christof Migone (2012),
Brandon LaBelle (2014), and Steven Connor (2014), while Joshua St. Pierre
has explored the challenge posed by the dysfluent body to a post-capitalist
economics of labour, communication and temporal ‘efficiency’ (2013).

In terms of clinical practice, the embodied experience of dysfluency has
(in various forms) been at the core of therapeutic work. Recent innovations
in clinical practice have moved away from concepts of recovery based on
fluency towards models of collaboration in which ‘therapy’ is premised on
exchange and interaction between therapist and client rather than
hierarchies of expertise. Within such collaborative environments, both
Narrative Therapy and Acceptance/Non-Avoidance Therapies have emerged as
transformative structures that draw upon aspects of cultural and creative
practice to rewrite the terms of the clinical encounter and its ‘outcomes.’

This renewed focus on embodiment invites diverse, interdisciplinary
approaches that accentuate the embodied experience of stammering in its
therapeutic, cultural and creative forms.

*Proposals are welcomed for submissions in (but not limited to) the
following areas: *

• Narrative therapy (in clinical, cultural, or creative practice)

• Normative speech and counter voices of dysfluency

• Rethinking ‘recovery’

• Gender and dysfluency (the gendered experience and/or representation of
dysfluency)

• Ethnicity and the speech ‘disorder’

• ‘Histories’ of dysfluency

• Literary embodiment

• Contemporary creative practice: expressive dysfluency

• ‘Assistive’ technology and vocal agency

• Mapping the brain: neurological perspectives

• Visualising dysfluency

• The cinematic voice

*Submission Procedures: *

Abstracts of no more than 500 words should be e-mailed by 10 September 2019
to Maria Stuart ([email protected]) and Daniel Martin (
[email protected]). Successful authors will be invited to submit either
a 5000-8000 word article or a ‘Voicing’ to the editors by 10 December 2019.

Practitioner-scholars who work in the areas outlined in the CfP are invited
to contribute to the ‘Voicings’ section of the journal, which offers a
platform for experimentation with non-conventional forms of dissemination,
such as:

• Practitioners’ reflections

• Vocal scores and transcripts of music/sound/audio/multimedia artworks

• Annotated interviews

• Photographic essays

• Excerpts of rehearsals, workshops, performances

• Voice essays and blog-style contributions

• Academic discussions of voice in the form of poetic scripts, libretti,
mini lexicons, ethnographic notes

• Voice-related documents and archives

Please visit
https://www.intellectbooks.com/journal-of-interdisciplinary-voice-studies
for more information on the Journal of Interdisciplinary Voice Studies and
for Notes for Contributors.

*Editors’ bios: *

Daniel Martin is an Assistant Professor in the Department of English at
MacEwan University in Edmonton, Alberta, Canada. His work on Victorian
literature and culture has appeared in The Journal of Victorian Culture,
Victorian Review, Victorian Literature and Culture, and Blackwell’s
Companion to Sensation Fiction. He has a forthcoming chapter on
nineteenth-century dysfluencies in Bloomsbury’s A Cultural History of
Disability series.

Maria Stuart is an Assistant Professor in the School of English, Drama,
Film and Creative Writing at University College Dublin, where she teaches
nineteenth- and twentieth century American literature. She is co-editor of
The International Reception of Emily Dickinson and Ireland, Slavery,
Anti-Slavery and Empire. She has published on the dysfluent poetics of
Emerson and Dickinson, and Altered Auditory Feedback in The King’s Speech
and the work of Alvin Lucier and Victoria Hanna.

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