The Arthur Miller Theater at the University of Michigan
Calls For Papers:
The Arthur Miller Society is always looking for anyone who would like to organize Miller panels at conferences, such as ALA, SAMLA, NEMLA, CDC, American Studies, ASTR or ATHE–please contact our current President, Ramón Espejo Romaro with proposals/details.
In an ongoing effort to encourage Miller studies, The Arthur Miller Society will reimburse conference fees for students and independent scholars who deliver papers on Miller at established academic conferences. We encourage people to join The Arthur Miller Society, but you do not need to be a society member to apply for this reimbursement. To apply for a reimbursement, please email the following items to Ramón Espejo Romaro the current president of the Miller Society:
- A copy of the conference program showing the panel in which your paper was presented and your paper’s title.
- A brief abstract of your paper.
- A copy of your receipt from the conference organizers showing your payment of the registration fee.
- If you are a student, documentation of your student status.
- If you are an independent scholar, documentation of other work you have done that is related to the study of Arthur Miller.
The first time a student or independent scholar is approved for a reimbursement, the person also will receive a free one-year membership in the Arthur Miller Society, which includes a subscription to the two issues of The Arthur Miller Journal that the society publishes during that year. The journal is peer reviewed and is published by Penn State University Press. Its articles are included in major academic databases.
Ongoing CFP:
Arthur Miller Journal: Looking for papers on any aspect of the life and work of Arthur Miller for the Arthur Miller Journal which is published Spring (deadline end of previous Oct.) and Fall (deadline end of previous May). Go to the Journal page for more detail regarding submissions, subscriptions, contact e-mails for the various editors, and for contents of past volumes. You can make a submission to the Journal of an essay, performance review (and/or interview with director/actors etc), or book review, as well as offer material for the notes section–directly at this website. If a Miller play is being produced in your area (check the listings on our upcoming productions page)–please attend and upload your review through this link (AMJ submissions); we do print photographs of the productions, too, as long as you have permission–include a separate file that lists captions and alt text for each Fig. For the play review submissions you will need to register as an “author” (not “reviewer”), and once you submit any manuscript or review you will need to approve what you submitted before it gets sent on to the editors, but the process is explained on the submission page. Information about the journal and the submission process is available on the Penn State University Press website. Any other questions about the journal should be emailed to Stephen Marino, the journal’s current editor: arthurmillerjournal@gmail.com.
Hungarian Journal of English and American Studies: Special Arthur Miller Edition: Volume 11, Number 2 (2005): ISSN: 12 18-7364 contains several new essays on Miller’s work. The Journal is continues to look for further submissions: Manuscripts should conform to the latest edition of the MLA Handbook in all matters of style (parenthetical citations keyed to a works-cited list). The HJEAS Submission Guidelines are available for downloading in Microsoft Word format. All submissions should be uploaded to https://ojs.lib.unideb.hu/hjeas/about/submissions. Any correspondence should be addressed to the Editors, HJEAS, University of Debrecen, H-4002 Debrecen, Pf. 400.
JCDE: Journal of Contemporary Drama in English: published by De Gruyter (Berlin/Boston). A bi-annual, peer-reviewed journal that focuses on contemporary Anglophone dramatic literature and theatre performance. It renegotiates the understanding of contemporary aesthetics of drama and theatre by treating dramatic texts of the last fifty years, and welcomes essays on the work of Arthur Miller. Essays should be no longer than 8,000 words (including notes and bibliography). ESSAY CONTRIBUTIONS should be sent to: Prof. Dr. Anette Pankratz, Englisches Seminar, Ruhr-Universität Bochum, Universitätsstraße 150, 44801 Bochum, Germany. SUGGESTIONS FOR REVIEWS should be sent to: Prof. Dr. Merle Tönnies, Universität Paderborn, Institut für Anglistik und Amerikanistik, Englische Literaturwissenschaft, Warburger Str. 100, 33098 Paderborn, Germany.
The Journal of American Drama and Theatre: a fully online and peer-reviewed journal — is seeking submissions for upcoming issues. If you are working on an article related to theatre and/or drama of the Americas, consider submitting it to JADT. Full submission guidelines can be found here, and the most recent issue (guest-edited by ATDS) can be viewed here.
Theatre Annual,founded in 1942 by the Theatre Library Association, is published in the fall of each year in association with the American Theatre and Drama Society. For more information on Theatre Annual, see http://theatreannual.atds.org/. Submissions should follow the guidelines in The Chicago Manual of Style, 17th edition (endnotes, no Works Cited list). Authors should submit articles as Word attachments to the editor, Peter Reed, Department of English, University of Mississippi (preed@olemiss.edu). In order to assist in the anonymous peer review process, the author’s identity should not be revealed in the manuscript except on a separate title page that should also include full contact information (academic affiliation, mailing address, home, cell, and work telephone numbers, and email address). Articles should be 5,000 to 6,500 words long including notes (deadline usually mid-Feb.). Illustrations are highly desirable; authors are responsible for securing rights. Please allow at least eight weeks after the deadline for a response. Scholars wishing to write book reviews for Theatre Annual are invited to send an inquiry to the book review editor, Michael Lueger (mlueger@gmail.com). If accepted, reviewers are asked to prepare their manuscripts in conformity with the guidelines in The Chicago Manual of Style without footnotes and submit them as a Word attachment. Reviews (issue deadline usually the start of April) should be 750 to 800 words for a review of a single book, 1,000 to 1,200 words for a two-book review, and 2,500 words for a five- or six-book review essay. If publishers would like to send review copies, they should contact Michael via email to make arrangements. For more information on ATDS, see www.ATDS.org.
Theatre History Studies accepts submissions on the full range of topics in theatre history on a rolling deadline. Please submit articles for consideration as soon as they are ready for review. Please send manuscripts for the general section to: Dr. Jocelyn L. Buckner, Editor, Theatre History Studies. More details can be found on the Project MUSE website.
New England Theatre Journal (a publication of the New England Theatre Conference) invites submissions each year. A refereed publication, New England Theatre Journal is concerned with advancing the study and practice of theatre and drama by printing articles of the highest quality on a broad range of subjects, including traditional scholarship, performance theory, pedagogy, and articles on theatre performance, design and technology. New England Theatre Journal is indexed in the International Index of the Performing Arts and the MLA Bibliography. It can also be found via EBESCO and other sites. The deadline for submissions for the next issue is January 30, 2023 (and it is around then each year). You are, however, encouraged to submit contributions at the earliest possible date so that full consideration may be given to them. Inquiries and communications regarding the submission of articles are welcome. MANUSCRIPTS: All contributions should conform to the following guidelines:
- Papers should be submitted, between 15-30 pages in length. Author’s name should not appear on manuscript pages. Please send this as an email attachment to the address listed below. Contact the Editor if you have any questions.
- The Chicago Manual of Style, 17th edition should be followed strictly.
- Include a cover sheet with the title of the article, your name, your affiliation, title, mailing address, telephone numbers and email address, a 50-75 word abstract, and a brief biographical paragraph.
- Notes, references, charts, or figures should appear at the end of the article on separate pages.
NB: Articles pending disposition by NETJ should not be submitted to another publication unless released by the Editor of NETJ. Manuscripts are juried anonymously in order to assure the highest possible publication standards. If you have any questions please feel free to contact the editor directly: Stuart J. Hecht, Email: hecht@bc.edu.
Theatre and Performance Notes and Counternotes is the first and only journal in the broadly-conceived field of theatre studies to publish short-to-medium length research articles on any subject, as well as publish discussion and response articles. Placing a premium on clarity, readability, and rigor of thought, TPNC seeks articles that despite their brevity are significant and have wide appeal and applicability in the field and have a rolling submission. TPNC also welcomes interdisciplinary articles that reach across and/or beyond the field(s) of drama, theatre, and performance studies. Here are links to view the contents of the first two issues that make up volume one 1.1 [2024: https://scholarlypublishingcollective.org/psup/tpnc/issue/1/1 and 1.2 [2024: https://scholarlypublishingcollective.org/psup/tpnc/issue/1/2. To view the whole articles you will need to purchase. Their latest issue, TPNC 2.1 (2025), is currently production and will be out in the next few months, and they are starting to finalize TPNC 2.2 (2025).
Submit all manuscripts for TPNC to Penn State’s Editorial Manager. This online system will guide you through the steps to upload your article to the editorial office. Except in response or discussion articles in which the identity of the author is appropriate and/or required, in order to undergo the journal’s double-blind peer-review process, all articles should (1) be anonymized, (2) be between 1,500-4,000 words, and (3) conform to the latest edition of The Chicago Manual of Style. Original research articles can range from focused notes to medium-length articles. Articles can be on any subject(s) in the broadly-defined field of theatre studies, but the scope, ambition, and thesis should be appropriate to the length of the submitted article. Discussion articles can offer proposed solutions and/or problematize specific ideas related to, or emerging from, conversations or debates within the field. Discussions can also serve as a place to crystalize conversations or debates in the field, or to bring seemingly-disparate ideas into a more coherent conversation. Response articles are, most often, directed at either the theses of a specific scholar(s) and/or a specific conversation or debate within the field. Often, responses engage directly with the strengths and weaknesses of particular theses or broader ideas in the field in order to either strengthen, modify, or challenge these theses/ideas. The aim of these responses is not to create debates or arguments (and, certainly, never arguments or attacks of a personal nature) but to move the field to a clearer and more accurate understanding of the subject at hand. These response articles can also provide a space to revisit and/or modify one’s own previously-published ideas. Symposia: Finally, if you would like to discuss the possibility of proposing and/or curating a “Symposium” consisting of 3-5 related research, discussion and/or response articles, please send an email to the Editor of Theatre and Performance Notes and Counternotes, Prof. Michael Y. Bennett bennettm@uww.edu.
Studies in Theatre History and Culture series at the University of Iowa Press sent out a request for manuscripts. This series publishes scholarship on the historical contexts of theatre and cultural performance, and features a full spectrum of historiographical methods and perspectives. Topics have encompassed a wide range of fields, including Ancient Greek theatre, the American Chautauqua, Southeast Asian performance, Yiddish theatre, representations of race, gender, and ethnicity onstage, Shakespeare in performance, marionettes, ritual theories of performance, theatricality and antitheatricality. They are particularly interested in works that explore histories of race, gender, sexuality, class, and ethnicity in performance, and encourage submissions that bring a creative approach to these fields. So why not something related to Arthur Miller? Recent/forthcoming publications include: Collusions of Fact and Fiction: Performing Slavery in the Works of Suzan-Lori Parks and Kara Walker; Cracking Up: Black Feminist Comedy in the Twentieth and Twenty-First Century United States; Bloody Tyrants and Little Pickles: Stage Roles of Anglo-American Girls in the Nineteenth Century; The Song Is You: Musical Theatre and the Politics of Bursting into Song and Dance; and Staging Postcommunism: Alternative Theatre in Eastern and Central Europe after 1989. If you would like to discuss a book proposal for the series, please contact heather.nathans@tufts.edu and cc. the Associate Editor for the series, Dr. Dan Ciba at danielciba01@gmail.com. If you are interested in learning more about the Iowa series, please visit their website: https://www.uipress.uiowa.edu/search/browse-series/browse-STHC.htm.
The 53rd annual Louisville Conference
In 2026, the conference will feature two virtual days (2/16 – 17) followed by three in-person days on the University of Louisville’s Belknap campus (2/19 – 21). They welcome individual papers, full panels, roundtables, seminars, workshops, and creative sessions. Our programming spans poetry, fiction, theory, performance, visual media, translation, and interdisciplinary explorations—welcoming scholars and writers across all career stages and institutional affiliations. Submission date has been extended to 10 October 2025.
Participants may submit individually or collaboratively by organizing a scholarly panel, a creative session, workshops, and more. Registrants may also chair one or more panels, as well as participate in seminars, which will be announced in August. Submitters are limited to one (1) entry per category, and participants can appear on the program at most twice, as either presenters or seminar leaders.
The submission form consists of five sections. To prepare, please gather the following information:
- Your full name, institutional affiliation (if applicable) and best contact email
- Type of submission: individual presentation, full panel, roundtable/seminar proposal or vendor/exhibitor submission
- Preferred mode of presentation: virtual or in-person
- Type of presentation: critical, creative or critical-creative
- Presentation language (English, Spanish, French, or other)
- For each presenter: full name, affiliation and a biographical statement (max 250 words)
- An abstract or creative sample (1–2 pages max)
They accept submissions in the following categories: critical, creative and critical-creative presentations. Participants may submit individually or collaboratively — common formats include scholarly panels, creative sessions and workshops. Registrants may also chair one or more panels and participate in seminars.
Check their website for more information.
The Annual Tennessee Williams Scholars Conference.
This day-long conference will be held on Friday, March 27, 2026 at the Historic New Orleans Collection, 410 Chartres Street, New Orleans, LA. Panels are all in the roundtable format; why not consider a possible comparative panel on Williams and Miller? This event is also open to the public and therefore exemplifies public humanities in an exciting way! Presenters receive a $200 stipend! Proposals are due Monday, November 10th. Please find the CFP here: https://hnoc.org/events/tennessee-williams-scholars-conference-2026.
CFP: Edited Collection on Dramaturgy and Devising
Editors: Karen Jean Martinson, Arizona State University; Jane Barnette, University of Kansas, Oona Hatton, San Jose State University, and Jen Shook, Grinnell College
Devised theater is an exciting avenue of creating new work in the theatre, one that responds to a rapidly changing context and continues to develop and evolve. This collection considers the role of dramaturgy and the place of the dramaturg within this theatre-making approach. Because dramaturgy is often considered linked to existing dramatic texts (rightly or wrongly), there is a need to explore the dramaturgical techniques that have been developed through and for a devised theatre process. This collection ponders what dramaturgy can be when there is no text, or when the text is very much in development. It also considers how dramaturgical practice lies at the heart of the devising process. Devising, in its different forms and iterations, requires gracious collaboration and critical generosity – traits that also define dramaturgy. How might understandings of dramaturgy expand through the exploration of techniques developed to support devised theatre (for instance, the use of extra-textual production elements such as sets, costumes, lighting, sound, and projection alongside innovative directorial or choreographic methodologies)? By sharing the contributions and innovations made by dramaturgs working in devising spaces, we hope to inspire theatre artists and scholars to re-imagine the dramaturg’s sphere and scope, while also providing practical activities and approaches to expand our community’s collective toolbox.
We invite chapter proposals that address issues raised through the intersection of dramaturgy and devising and take up provocative questions about dramaturgy and the ethics of theatre-making. These questions include:
· How does devising, especially of pieces using non-traditional structures and approaches, expand conceptions of dramaturgy while also highlighting our unique skills?
· In a devised process, isn’t everyone a dramaturg? If so, is a dedicated dramaturg necessary? And, informed by this, what “training” might a dramaturg provide to an ensemble to foster a dramaturgical mindset?
· What are existing ways of structuring the room that decentralize the power and decision-making, while still working towards a shared vision? And how do we resolve conflict in such a decentralized space? What can the dramaturg add to this power configuration?
· How might a dramaturgical exploration be useful in other kinds of spaces? For example, how do process drama roles (with student and teacher in and out of role) break down traditional structures of teacher/student and by extension traditional roles of director/performer, and what might be the role for a dramaturg in these spaces?
· How do texts that offer extensive liberty in production (i.e., Love and Information, works by Sarah Kane, Chuck Mee, etc.) utilize dramaturgs and dramaturgy in ways that inform or are informed by devising dramaturgy?
· In many devising processes, the dramaturg may also serve as the de facto playwright, text assembler, and record-keeper. What might be some best practices for clarifying the distinctions between the work they engage in as part of a collaborative team of material-generators/refiners, and the work they do as scriptors?
· How does research function in a devised space? As skilled researchers, how can dramaturgs use research to broaden or break dominant narratives? Can we use source material to challenge our own assumptions? And if yes, how?
· Devised work often invites different relationships with audiences. Are devisors caretakers of audience experience? How much do we need to instruct an audience and how? If the piece prioritizes something over audience experience, how do we communicate that?
Please send a 500-word abstract to the editors at dramaturgy.and.devising@gmail.com by September 30, 2025. Tentatively accepted notifications will be sent by November 1, 2025. Once a contract is finalized, the editors will contact authors to set the first draft due date (which will be at least 3 months after we secure the contract). We envision chapters of approximately 3500-5000 words (inclusive), though shorter pieces will also be considered.
Theatre Topics Call for Papers: Special Issue on “Theatre in Extremis”
The Latin phrase in extremis signals calamitous circumstances, specifically the point at which death is probable if not imminent. While the term appears often in legal and medical discourse, Baz Kershaw applies it to theatre and performance inTheatre Ecology: Environments and Performance Events. By his charge, “theatre in extremis” describes a text or performance tradition that has reached the “end of its tether” and, therefore, requires extraordinary measures to “preserve it, restore it, or connect it to some other more urgently meaningful domain” (58). Though Kershaw is most interested in external ecological threats to theatre’s health and survival, such threats may take many forms—and may very well arise from within the theatre itself.
Because dramatic texts regularly reflect the cultural moment of their creation, their relevance and legibility can progressively erode as cultural values, tastes, mores, and politics shift over time. Furthermore, new ideologies, methodologies, and technologies developed, practiced, and perpetuated by both theatre scholars and artists canalsorender plays and performance
traditions obsolete. It should seem a natural consequence of time, then, that play, musical, and opera texts all will eventually cease to find audiences, and disappear from the collective cultural memory: that they will die. However, multiple stakeholders regularly undertake calculated extraordinary measures to circumvent such certain death for theatre in extremis. Such measures include, but are not limited to:
• archival extractions (such as Alice Childress’sTrouble in Mind)
• textual reconstructions (such as Stephen Greenblatt and Charles L. Mee’sCardenio),
• directorial interventions (such as Target Margin Theater’sShow/Boat: A River),
• dramaturgical rehabilitations (such as George C. Wolfe’s Shuffle Along, or, the Making of the Musical Sensation of 1921and All that Followed),
• contemporary adaptations (such as Steven Sater and Duncan Sheik’sSpring Awakening and Branden Jacobs–Jenkins’sEverybody), and
• critical reconceptualizations (such as Paula Vogel’sIndecent).
This special issue of Theatre Topics invites submissions—especially those centering marginalized identities and non–anglophone topics—that explicate, assess, critique, or complicate the ways in which such stakeholders rescue and, necessarily, revive theatre in extremis vis–à–vis scholarship, pedagogy, and/or production. Contributors might offer:
• a defense or rejection of a particular dramatic text’s (or performance tradition’s) continued presence in course curricula, scholarship, or the production repertoire,
• a directorial, dramaturgical, pedagogical, or historiographic intervention for a particular play or performance tradition “in extremis” presented as a case study,
• a proposed method for adapting plays or performance traditions in extremis undertaken with the deliberate intent to extend their stage lives, or
• an approach to directing or restoring otherwise moribund works.
We invite submissions taking these or other novel forms for the July 2026 print and online issues of Theatre Topics. The deadline for submissions is Wednesday, October 1, 2025. Early submissions are encouraged. This issue will be edited by Sukanya Chakrabarti (San Jose State University) and guest editors Bryan M. Vandevender (Bucknell University) and Brian D. Valencia (Wright State University/Florida International University). These submissions may take any of three formats: (1) Original Articles, limit 6,000 words, are formal pieces of scholarship that undergo peer review; (2) Online Submissions, limit 4,000 words, are mul’media–enabled, peer–reviewed pieces that share and reflect on production, pedagogy, and/or research; and (3) Notes from the Field, limit 4,000 words, are carefully considered and critically informed personal reflections, interviews, or from–the–trenches accounts. For submission instructions, visit our website: hVps://www.jhuptheatre.org/theatre– topics/author–guidelines.
Additionally, feel free to contact the editors with any questions or inquiries:
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- Sukanya Chakrabarti, Co–Editor, Theatre Topics at sukanya.chakrabar’@sjsu.edu
- Bryan M. Vandevender, Guest Editor, at bmv00@bucknell.edu
- Brian D. Valencia, Guest Editor, at brian.valencia@gmail.com
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Call for Papers: Embodied Historiographies
A Special Section of Theatre History Studies
Co-Editors: Vivian Appler and Vicki Hoskins
Artistic research is a powerful, multimodal, and multidisciplinary mode of inquiry that opens new pathways for scholarship in theatre and performance studies. What began in the United Kingdom at the turn of the millennium as Practice-as-Research (PaR) has since evolved into a constellation of related-yet-subtly distinct practices that combine creative inquiry with traditional research methods with varying emphases on art creation and scholarly product. These methodologies challenge and expand the boundaries of how we understand research, scholarship, and performance, centering the creative process itself as a verdant site of knowledge production. These trans-modal research methods can be critically creative acts of resistance; furthering the still-radical feminist notion that the personal is political by insisting that somatic experience, emotional memory, and subjective perceptions are more than anecdotal, and central to the research process.
Among the key platforms that supported and advanced this work was PARtake: The Journal of Performance as Research, co-edited by William Lewis, Niki Tulk, Sarah Johnson, Amanda Rose Villareal, and Erin Kaplan, which published innovative scholarship that aimed to “invite new ways of thinking, making and writing about process” before concluding its publication run. 2024 also marked the end of PAJ: A Journal of Performance and Art, famously edited by Bonnie Marranca, which sought to foreground performance process and practice in a scholarly volume with a nearly fifty-year print publication history. Practice-based and somatic researchers such as Baz Kershaw, Petra Kuppers, Pil Hansen, Robin Nelson, Bruce Barton, Ben Spatz, Annette Arlander, Natalie Loveless and others continue to publish scholarship that prioritizes embodied experience as a vital component of innovative theatre and performance research. Erika Hughes and Boyd Branch have defined “embodied historiography” as “the practice of regarding performers as historical documents, using the act of performance to expose the subjective processing of memory and historical events through the live layering of multiple perspectives.” Kim Marra has positioned PaR as a “queer mode of historiographical research” that disrupts linear historical narratives by exploring objects and their embodied practices, highlighting the significance of personal memory against public landscapes and traumatic histories. Embodied explorations of history can be equally appropriate for dramaturgy and for pedagogy, a connection drawn by several authors included in the collection Physical Dramaturgy: Reflections from the Field, edited by Rachel Bowditch, Jeff Cassazza, and Annette Thornton.
This special section of Theatre History Studies explores the emergent field of embodied historiographies as it applies to theatre studies broadly construed. Process-oriented research can support embodied, creative, and collaborative epistemologies that locate bodies at the center of history. Performers, designers, dramaturgs, directors, technicians, and audience all contribute to the formation of a work, and by extension, to the knowledge it produces. How can embodied practice productively disrupt the mythical archetype of the solitary scholar in an ivory tower? How might embodied research resist dominant historical narratives? What is the potential for embodied historiographical methods to revise patriarchal, racist, ableist, or colonial histories? In what ways does an embodied approach to theatre history better allow the historiographer to speculate about the lived circumstances of historical subjects? Why are physical gesture, memory, or intuitive exploration vital to historical analysis? And, how do the collaborative and processual dimensions of artistic research allow us to recognize not only forgotten or erased historical subjects but also the often-unacknowledged collaborators who shape performance and its scholarship? This section also seeks to foreground contributions that interrogate how knowledge is generated through making, doing, and being. How do different modes of embodiment affect our understanding of history? How might rehearsals, workshops, or performances function as acts of historical record and analysis? In what ways do creative collaborators engage with time, memory, and evidence?
We invite traditional essays of 5,000-8,000 words (including notes), as well as innovative research products such as performance documentation, artist statements, case studies, public histories, active learning pedagogies, and work in other formats that explore the potential of embodied historiography as both method and praxis. We welcome contributions from scholar/artists working at the intersections of practice, theory, and history that reflect on topics such as:
- Practice-as-Research (PaR) and artistic research as historiographical methods;
- Embodiment and the archive, or, the body as a living archive;
- Intersections of personal narrative, affect, and political history;
- Collaborative scholarship and collective authorship in artistic research;
- Pedagogical applications of embodied historiography in the classroom or studio;
- The ethics of representing historical trauma through embodied means;
- Queer, feminist, decolonial, or otherwise intersectional approaches to embodied research;
- Empathy, emotion, and positionality in performance scholarship;
- Reflections on the legacy of publications like PARtake and PAJ;
- Creative-critical writing that challenges conventional academic formats.
All submissions should be guided by clear research questions and articulate a critical engagement with historiographical issues. Please send completed manuscripts and inquiries to thsembodied@gmail.com by 1 January 2026.
Call for Proposals
2026 Hemingway Society Conference
Hemingway in Toronto
July 20-25, 2026 | Toronto, Canada
The Hemingway Society invites proposals for the 21st International Hemingway Conference, exploring Hemingway’s ties to Toronto and his broader literary legacy. Toronto was a pivotal stop in Hemingway’s early career—a place where he honed his craft as a journalist, earned his first bylines at The Toronto Star, and briefly settled to welcome his first child in 1923. The 2026 conference offers an opportunity to revisit these formative years and discuss Hemingway’s impact from multiple perspectives. We welcome innovative perspectives on any aspect of Hemingway studies, including literary, cultural, and theoretical approaches. Proposals exploring Hemingway’s early career, Toronto connections, and new angles on his work are especially encouraged:
- The impact of Hemingway’s journalistic training on his literary style
- Hemingway’s Toronto years in a global and transnational context
- Reconsidering Hemingway’s mentorship networks (e.g., Morley Callaghan)
- Hemingway and civic responsibility
- The role of sports, competition, and masculinity in Hemingway’s early work
- Rethinking Hemingway’s relationship with modernist movements in Canada and beyond
In addition to individual 15-minute papers, we invite panel proposals (up to 4 presenters + respondent), roundtables (5-6 participants + moderator), pedagogy sessions, and multimedia/creative arts presentations.
Submission Deadline: October 31, 2025. Early submission by July 31 is strongly encouraged.
- Proposals (300 words) should outline the topic and approach and include a Works Cited.
- Include a brief bio and A/V requirements.
- For panels/roundtables, provide bios for all participants.
- For multimedia/creative submissions, include a sample of work.
- Graduate students applying for a Hinkle travel grant should note their status, institution, degree sought, and expected completion date.
For details on the conference, accommodations, and to submit your abstract, visit hemingwaytoronto2026.com or email hemingway2026@torontomu.ca.
Submission Form: https://docs.google.com/forms/d/e/1FAIpQLSc9XL88s7zrRpR6yx9Xo6psiVCqD_CQX1kgBIl80HwRdB3J7w/viewform?usp=preview
Accepted presenters will be notified by December 31, 2025.
Below are photographs of Mr. Miller from the 9th International Arthur Miller Conference, taken by Dr. Jeffrey Mason, University of Oregon.
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Upcoming Conferences and Panels that will be featuring presentations on Miller:
Miller Conference 2025
6 p.m. – Theater Makers Interactive theater arts workshop and master classes with theater artists. Q & A and audience involvement.
Registration details will be forthcoming on our dedicated Miller conference page, so check back nearer the date; the conference will be free to attend but seats are limited due to the size of the building so you will need to register in advance.
Arthur Miller Society Panel Discussion*
The American Literature Association’s 36th Annual Conference
Thanks to all who came out to hear our Miller Society panels.
ALA for 2026 will take place in Chicago.
US Drama & Theatre Conference of Mutability and Malleability:
Re-imagining the Contours of US Theatre and Drama
10-13 June, 2026
University of Toulouse-Jean Jaurès, France
English will be the language for the submission and the presentation. for more information email: usdramaconf2026@gmail.com. Click here for the full description of the conference, panels are being notified by the end of 2025 after which we shall be able to publish the full program.
On Another Note:
While no Miller sessions have been organized for this year you might consider attending either: Association for Theatre in Higher Education (ATHE) (https://www.athe.org) or the American Society for Theatre Research conference (https://www.astr.org), and consider whether you might be able to organize a Miller session for either one for any future year.
(Link to AMS conference archive)
(Link to ALA archive)
Members, especially, please make every effort possible to attend any conference panels with papers on Miller and support the continuation of Arthur Miller scholarship. Here is a link to a recent virtual panel on Miller and New Perspectives that was presented at ALA in 2021.
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| Outside the William Inge Theatre they have planted a tree for each past Honoree of the William Inge Festival Achievement Award who has passed on. | The tree they planted in Miller’s memory right outside the William Inge Theatre in Independence, Kansas. | Here is the plaque at the base of the tree; planted in 1995, the year Miller was so honored. |