Call for Papers for Edited Books with ISBN
Last Date 31st December 2015
Generally, most people have their own ideas of what literature is. When enrolling in a literary course at university, you expect that everything on the reading list will be "literature". Similarly, you might expect everything by a known author to be literature, even though the quality of that author's work may vary from publication to publication. Perhaps you get an idea just from looking at the cover design on a book whether it is "literary" or "pulp". Literature then, is a form of demarcation, however fuzzy, based on the premise that all texts are not created equal. Some have or are given more value than others.
Call for Papers for Edited Books with ISBN
Bakhtin For Tomorrow!
We seek additional presenters for a panel aimed at contributing to conference discussion about intersections between formally innovative poetry and recent findings in empirical linguistics speech research. Please send an expression of interest and 100-word bio by September 8 so that we can constitute a 4-5-member panel. Conference abstracts (250 words) for 10-12 minute papers would be due 15 September (extended deadline).
ICAF, the International Comic Arts Forum, invites proposals for scholarly papers for its eighteenth annual meeting, to be held at the University of South Carolina in Columbia, from Thursday, April 14, through Saturday, April 16, 2016. Confirmed guests include comics artists Howard Cruse, Keith Knight, Cece Bell, and Prof. Michael Chaney of Dartmouth College.
The deadline to submit proposals is November 6, 2015.
Text in Context is a graduate student and post-graduate journal published electronically by current graduate students and post-graduates of the English Department at Southern Connecticut State University.
This seminar seeks papers that interrogate, trouble, and (re)articulate the interrelations of performance, poetics, and community within a critical hemispheric lens. Papers that examine how publics enacted through poetry and/in performance can potentially reaffirm, realign, and reorganize themselves out from the obfuscations of contemporary living are particularly welcome.
India is one of the few countries in the world to have a film censor board. And one of its recent casualties is a lesbian film significantly titled "Unfreedom." The current government has upped the ante by extending the ban culture of censorship from the aesthetic realm to the realm of everyday consumption with the ban on beef. The ban on Jafar Panahi, the Iranian filmmaker, continues and he continues to express himself in his art form in house arrest. The recent Charlie Hebdo massacre in Paris has put the limelight back on censorship.
In their 1999 essay "Deformance and Interpretation," Lisa Samuels and Jerome McGann propose deformative criticism against a rigid, theoretical, informative mode of reading in humanities. Deformance is an action, an imaginative, creative poiesis that does not necessarily aim to set a meaning of a text but reimagines it as a performance. Usually perceived in opposition to the more analytical camp of Digital Humanities, deformative criticism or deformance seems to be one of the very real and material alleys that Digital Humanities has offered to the structured, institutional, and perhaps all too ossified forms of production and exposition of knowledge.
The Oswald Review is a refereed undergraduate journal of criticism and research in the discipline of English. Published annually, The Oswald Review accepts submissions from undergraduates in this country and abroad (with a professor's endorsement).
Submit each manuscript as a separate email attachment in Microsoft Word. TOR discourages simultaneous submission to other journals.
All text should be provided in current MLA format, justified left only and without headers and footers. Endnotes, if absolutely necessary, should be minimal.
Ever since the emergence of the modern marketplace for cultural goods, literary texts and art works have, on occasion, defied the expectations of its readers and audience, affronted their moral ethos, or flaunted a disregard for their sensibilities and norms. The potential power of art to disrupt the perceptions of its audience was foregrounded in the critical discourse of the modernists and the historical avant-garde and this possibility continues to animate critical debates, particularly those organized around some understanding of autonomy. With the all but complete commodification of every artistic and literary practice, it is more urgent than ever to pose the question whether we can still presume autonomy.