In what ways does the repertory system condition the performance event? How has/does this production mode influence actorly practice or playgoing? We invite work from a range of periods and traditions; e.g., from sixteenth-century English London theatre to contemporary American showcases for new work.
CfP: 'All the World's a Stage': Performing Identity in Everyday Life, one-day inter-disciplinary conference, University of Bristol, 1st July 2016.
CFP: American Studies Association (ASA) 2016 Panel
November 17-20, 2016
No Duty to Retreat?: Defense and the Home/Land
The Legacy and Works of Frances Cress Welsing, M.D.: Queen Mother of Black Consciousness
Africology: The Journal of Pan African Studies
Call for Papers
Jahi Issa, Ph.D. (email@example.com)
Call for Presenters: The North American Conference for British Studies
Where: Washington, D.C.
When: November 11-13, 2016
Abstract due: January 30, 2016
Panel Topic: The Eighteenth-Century Transatlantic Britain
As part of the NACBS protocol, I'm soliciting for paper proposals to be submitted as a full panel to this year's conference in Washington. The panel will give focus to new scholarship on transatlantic Britain in the eighteenth century. As it strives to be interdisciplinary, scholars from all fields may submit an abstract.
Conference dates: Thursday-Friday, May 12-13, 2016
Interdisciplinary Humanities Center, UC Santa Barbara
Abstract deadline Monday, February 29, 2016
Teaching Matters' 14th Annual Interdisciplinary Conference
Gordon State College
April 1st-2nd, 2016
Critical Thinking as Radical Pedagogy:
Academic Freedom and Inclusion in the Classroom
Elizabeth Freeman (UC Davis, English) and Krystyna Michael (CUNY Graduate Center, Comp Lit) seek papers for an ASA 2016 panel proposal that asks questions about how rhythm has functioned to either create or disrupt a sense of place in time in American arts and social life. Most accounts of the experience of rhythm involve a conscious or subconscious expectation of return—a sense of one's place in a temporal series that lends time structure. Rhythm thereby has the capacity to constitute a reassuring orientation, a sense of being at home in the regular, predictable patterns of music, everyday life, or collective practices it shapes.
In his 1967 "Des Espace Autres" Michel Foucault wrote that in contrast to literary and cultural criticism's previous privileging of history, periodization, and time that "The present epoch will perhaps be above all the epoch of space." In the past generation scholars working across a wide variety of the humanities including literary theory, history, philosophy, cultural studies and religious studies have confirmed Foucault's prediction.
When is a text an impostor? When does it speak with a monstrous voice? How is authority conferred to texts? At what point does an imposition become a keystone text? How does a field change in relation to these emerging impositions? Is the revolutionary already normative? Is it possible to answer these questions within a developing field of study? How do you situate the individual vis-à-vis a field?