Most handbooks on the subject of horror focus specifically on film, whereas books on the literary manifestations of horror tend to be bound to the idea of the “Gothic.” The current field of Gothic studies grows out of the study of Romanticism, and refers specifically to a late eighteenth-century genre, but has also come to denote a critical approach to literature, film, and culture, drawing on psychoanalysis, post structural criticism, feminist and queer theory. These perspectives are all to be included here, but the book responds to a growing sense that “horror” is itself a worthwhile focus of analysis.
The California Roundtable on Philosophy and Raceat EMORY UniversityOctober 6-7, 2017Keynote: José MedinaProfessor of PhilosophyVanderbilt University The California Roundtable on Philosophy and Race announces a call for papers for its 15th annual roundtable.
Transgressing Artistic Borders: The High/Low Portrayal of the African-American Experience in the Work of Langston Hughes and His Contemporaries
CALL FOR PAPERS
IASPM-US 2018 Annual Conference
Going To The Country: Pastoral-National-Musical
The International Association for the Study of Popular Music-United States Branch invites submissions for its 2018 conference, which will take place March 8-11, 2018, at Vanderbilt University in Nashville, Tennessee. All topics pertaining to popular music, broadly defined, including works, practices, and styles not explicitly created for mass reproduction, will be considered. The theme for the 2018 conference is “Going to the Country,” and we encourage submitters to incorporate this theme into their work.
American Literature Association Symposium
“Regionalism and Place in American Literature”
September 7-9, 2017
Hotel Monteleone, New Orleans, Louisiana
“Flâneur of the American Underclass: Lafcadio Hearn and the Invention of Place in Cincinnati and New Orleans, 1872-1887”
The Eudora Welty Review publishes scholarly essays, book reviews, and regular features for news and notes, textual analyses, checklists, and new archival materials. The editors of EWR are constantly seeking new information about such Welty news items as adaptations of her works, forthcoming conferences of interest to Welty scholars, and awards given to Welty in acknowledgement of her contributions to American literature. The EWR is an invaluable resource for Welty scholars and lovers of Welty’s work.
The title of this special issue draws inspiration from Gertrude Stein’s “lively words,” a style of experimental writing that has been influential for many queer and feminist experimental writers. The essays in this special issue will reconsider the “liveliness” of experimental writing in the twentieth and twenty-first century—not only how experimental poetics disrupt codified practices of reading, but also how experimental writers conceive of the relationship between their words and the social world more broadly.
The Editorial Collective of the National Poetry Foundation invites paper and panel proposals for the last in our sequence of "decade" conferences, to be devoted to the Poetry and Poetics of the 1990s, American and international, and to be held from Wednesday to Sunday, June 28 - July 1, 2017, on the flagship campus of the University of Maine System in Orono, Maine.
The pairing of voodoo and literature causes one to immediately think of writers like Charles Chesnutt, Zora Neale Hurston, Ishmael Reed, Toni Cade Bambara, and Jewell Parker Rhodes, as these authors use conjure unequivocally within their literary works. However, voodoo flows more freely in the veins of popular culture than one may realize. Though Christian cultures have largely shunned voodoo as a practice, Western literature has used voodoo as sites of spectacles, moments of revenge, and performances of Africanness. In fact, western literature has a nuanced relationship with voodoo or voodoo aesthetics.
Jordan Peele’s horror film, Get Out (2017) just became the highest-grossing debut project for a writer-director with an original screenplay (beating out the prior holder of that record, Daniel Myrick and Eduardo Sánchez’s 1999 film The Blair Witch Project).
Get Out is not only an enormous box office success but it has won a critical acclaim unusual for a horror film—currently (as of early April, 2017) standing at 99% on Rotten Tomatoes with 225 positive and only one negative review.