This panel invites papers that explore textual encounter and interaction within religion. For many religious traditions, their religious texts become paramount—questions of texts' creation, authenticity, authority, vision, revision, and reception, to name just a few, comprise a significant part of the field. So too are questions of interpretation of texts and their messages over centuries or millennia, or when transported into a diasporic context. Who owns a text? Who has the right to interpret, create, or modify texts? What changes over time? What should? What authority does the text itself have? All of these questions and more vary widely by time, place, and religious tradition.
Studies of celebrity, fame, notoriety, and stardom have become increasingly complex and important in our media saturated society. Beginning with studies of fame--which focused on a wide variety of figures that operated in the public sphere, including politicians, religious figures, and military heroes--and studies of stardom--which interrogated stars like Marilyn Monroe, Judy Garland, Frank Sinatra, Diahann Carroll and Lucille Ball as symbols of societal fears, prejudices, and desires--the field of celebrity studies has continued to evolve, accommodating the changes in media and the relationship between the individual and the public sphere in the 21st century.
The horror genre is structured around encounters with the unknown. Yet the meaning of these encounters (narratively, as well as in terms of race, class, gender, and sexuality) remains in flux, even within overarching myths such as that of the vampire. One example is the Swedish novel Let the Right One In, which centers around a boy's encounter with a MTF transgender vampire. This text simultaneously employs the threat of Cold War ideologies, with the possible invasion into Sweden by Soviet missiles triangulated around the drama of "encountering," and befriending, the vampire. This panel invites papers that analyze such complex modern encounters within horror, and how the genre stages encounters with social, political, and economic concerns.
Despite claims that modernity is disenchanted and secular, one encounters religion everywhere. References to religion appear in many different pop culture media, whether as themes and topics or as casual references, character building, or background elements. Conversely, religious groups or institutions appropriate pop culture forms in order to reach new subsections of believers, proselytize to outsiders, or provide general messages for society at large.
At the close of the twentieth century, the proliferation of networked digital technologies has led a number of critics to call into question the future of reading. However, in the last several years it has become increasingly clear that reading continues to be an important aspect of our cultural practice, even as it manifests itself in multiple forms. This panel invites papers that concern themselves with both the history and the future of reading. Paper submitted to this panel may address the following questions: How have reading practices changed over time in a given historical period? What kinds of reading practices are specific to print culture and/or networked digital culture and what practices span both?
This panel seeks papers that discuss different methods and effects of encountering language in its varying forms. These "varying forms" can be understood as different languages, in a translation studies context; as aural/oral language or visual/written language in an aesthetic, literary, or art historical context; or as a series of codes or coded information, as in a linguistic anthropology or computer studies context. Papers in this panel may consider questions such as: In what ways does the language itself inform our encounter of a text? What kinds of structures do we encounter as languages? How does the identification of a structure as "language" affect the encounter?
Video games are a space in which encounters are enacted on many different levels. There are encounters within the game's narrative space; encounters at the interface of player and narrative; and encounters within the external gaming space (think two-player games). These encounters can also be broken down into player-computer and player-player encounters. This panel invites papers that explore these different spaces of encounter in video games. How do these spaces disrupt normative discourses on sexuality, gender, race, ethnicity, and social class? How do these encounters disrupt or challenge the player's identity? What are some implications of network-mediated encounters in massively multiplayer online games?
On November 16, 2012, Hostess announced that, rather than cave to striking bakers' demands, they were closing their doors for good. Within hours of this official announcement reaching the digital environment, the information went viral, and people flocked to grocery stores to stock up on these iconic, American, cream-filled snacks. This panel invites papers that explore the cultural implications of this event within the context of encounters. Papers submitted to this panel may address the following questions: how does the Hostess corporation structure encounters of American culture and Americana? How does its long history of labor struggles contribute to or critique our understanding of laboring classes, peoples, and organizations in America?
Immigration and migration call into question the boundaries of American literature. As writers from all over the world reside in the United States and as writers from the United States often take on global themes, U.S. literature seems to be moving away from a national practice towards a global one. This panel invites papers that concern themselves with transnational American literature. Paper submitted to this panel may address the following questions: What differing or related perspectives on globalization emerge in American literature and postcolonial literature? How does the global flow of capital influence textual production, circulation and reception of texts?
The twentieth and twenty-first centuries have seen the explosion of new, experimental poetic forms within literary circles. From the highly restrictive forms of the Oulipo movement, to the blurring of lines between prose and poetry, to the rejection of the Lyric or narrative poem in L=A=N=G=U=A=G=E, sound, and concrete poetry movements, encounters with(in) this period's poetry offer fruitful sites for critical interrogation.
n keeping with this year's (dis)junctions conference theme, Encounters With(in) Texts, this panel invites papers that explore the notion of encounter within the context of Critical Digital Humanities. The conference theme theorizes that encountering is related to, but hardly synonymous with interaction and mediation - two theoretical lenses more frequently deployed within the Digital Humanities field. As such, one area in which papers on this panel might focus, then, is in further explicating the theoretical constellation made up by these three terms. How can we further theorize the differences and similarities within mediation, interaction, and encounter?
When we encounter dolls as grown-ups, what is it that we are encountering? What might personal and cultural doll-identifications betray about relationships with the past, with gender and sexuality, with play, with tenderness and with terror? This panel invites submissions which reflect upon the sociocultural meaning of the doll as text, as artifact, or, more traditionally, as an enduring literary and filmic obsession. In psychoanalysis as well as in the popular imagination, dolls have long played the role of uncanny object. This panel is particularly interested in the way in which new technologies, products and markets have uncannily reproduced, intensified and responded to anxieties and hauntings from the past.
This year's (dis)junctions conference at UCR invites papers that contribute to conversations around notions of "encountering," with particular focus given to the operation of texts, understood as representational media objects, within "scenes of encounter."
Encounter: transitive verb
1 a: to meet as an adversary b: to engage in conflict with
2: to come upon face-to-face
3: to come upon or experience especially unexpectedly
This panel invites submissions dealing with any aspect of circulation, distribution and discovery in the Romantic period. With the conference theme of 'encounters' and the the proliferation of global/local exchange in the late eighteenth and early nineteenth centuries in mind, the notion of cosmopolitanism, as addressing sites and narratives of encounter between the center and the periphery or the periphery and the center, offers one way of approaching these concerns.
In Rhetorical Power, rhetorical and literary theorist Steven Mailloux defines rhetoric as "the political effectivity of trope and argument in culture" (xii). Crucially, this definition resists the not uncommon understandings of rhetoric as mere "eloquence," as florid, deceptive language, or as "persuasive discourse," instead foregrounding rhetoric as a methodology or lens for identifying the roles of historical and socio-political power relations in shaping how and why certain tropes, arguments, and language use prove effective in the first place.