After receiving an astounding feedback for the first issue of Elenchus Law Review (Elen.L.R), it is with pride and privilege that we call forth papers for the December issue (2nd issue of Volume I) of the journal.
A twenty-chapter collection of essays on confessionality (self-referencing, first-person and/or autobiographical stories, testimonies or performances) around sexual identity, desire and practices in moving image media over the last quarter-century, principally in the Global North.
In the spirit of ChLA 2016's theme of Animation, I was hoping to put together a panel on Animators as Authors/Auteurs. My own paper will focus on Don Bluth, but I'm interested in finding others working on key figures for discussing authorship, animation, and children's and youth media: Lotte Reiniger, Walt Disney, Ub Iwerks, the Nine Old Men, Mary Blair, Chuck Jones, Tex Avery, Ray Harryhausen, Rankin-Bass, Dianne Jackson, Hanna-Barbera, Floyd Norman, Glen Keane, Ralph Bakshi [more The Lord of the Rings than Fritz the Cat... :)], Hayao Miyazaki, Matt Groening, Sylvain Chomet, Gábor Csupó, Bruce W. Smith, Stephen Hillenburg, John Lasseter, Brad Bird, among others.
One hundred twenty years after the Lumiere Brothers' Arrival of a Train at Ciotat Station / L'arrivée d'un train en gare de La Ciotat and about 60 years after the insinuation of television...into living rooms across the industrialized world, contemporary societies are saturated with audiovisual culture. More recently, the rise of widely affordable techno-substrates for production (digital photography) and exhibition (youtube, proliferating film festivals) are clearly enabling toward the "democratization" of audiovisual sophistication, such that the committed college sophomore can readily produce polished short films. In other words, there is much to celebrate!
In their introduction to surface reading, Sharon Marcus and Stephen Best find in nineteenth-century American literature an analog to describe their method: "As Poe's story 'The Purloined Letter' continues to teach us," they write, "what lies in plain sight is worthy of attention but often eludes observation." Of perhaps of more immediate relevance to the members of C19, for Russ Castronovo, in his recent J19 essay "Occupy Bartleby," Occupy Wall Street's appropriation of "Bartleby, the Scrivener" invites a series of meditations on the transtemporal unsettlings of Melville's powerful story, the differences between professional criticism and public reading practices, and whether or not the public's commitment to reading Melville analogically unsettles critiq
White Buildings at 90: Revisiting the Art of the (Post)Modern Poetry Collection (Panel)
The editorial team at Studies in the Novel is seeking content for its online archive of indexed teaching tools on the journal's affiliate website. I am seeking pedagogical content that addresses teaching novels using digital humanities tools/perspective. Please consider submitting sample course syllabi, specific assignments, short narrative descriptions of your own experiences, or other appropriate content.
The rise of the modern museum was (and remains) a global event that resonates across literary cultures. Germain Bazin termed the nineteenth century the "Museum Age" for the myriad ways the new phenomenon of the public museum redefined the social status of art. This session investigates how this development was received by nineteenth- and twentieth-century Anglophone authors writing during and immediately following the rise of the modern museum.
Want to get started on a digital American studies project? We may be able to help!
At this year's American Studies Association annual meeting in Toronto, the Digital Humanities Caucus would like to help you get started on a digital project by offering one-hour consultations with experienced digital humanities practitioners. We'll hold these consultations from 6 to 7 p.m. on Saturday, October 10, in the conference hotel.
We can think your idea through with you, suggest useful tools and resources, and give you some suggestions about where you might go next.