In "An Atlas of World Cinema," Dudley Andrew states that though "we still parse the world by nations," "a wider conception of national image culture is around the corner, prophesied by phrases like 'rooted cosmopolitanism' and 'critical regionalism'." Taking up the directions in which Andrew sees the concept of national cinema opening up, this panel explores the borders of, and within, French cinema. It does so along two main strands. First, it examines the role and visibility of the French regions (or provinces) in French national cinema. French cinema for a long time having been concentrated in only a few places (especially Paris, Nice, Marseille), in recent decades more and more films have been set, shot and produced in the regions.
Nineteenth-Century Aetiologies, Exoticism, and Multimodal Aesthetics
University of Liverpool, 2-4 April 2013
In his recent book The Lost History of Piers Plowman, Lawrence Warner concludes that Piers Plowman, "the most magnificent of poems," is also "one still in the process of becoming." This is not to imply that the poem will reach some final point of achievement, but rather that we must enlarge our understanding of the poem to include "innumerable acts of production and intervention from the 1360s to today." Taking a capacious view of our object of study, this panel invites papers that explore Piers Plowman in its many-versioned manifestations.
James Simpson has observed that Langland "often merges recognizable genres in one sequence of his poem . . . often with the effect of creating poetry that is distinctively Langlandian, and beyond the reach of traditional generic categories." How then do we talk about genre and Piers Plowman? As Simpson notes, the poem sows affiliations with a vast array of literary as well as expository and didactic forms of writing. This panel invites papers that examine these "neighboring genres" within Piers Plowman, among associated texts, and in its manuscript contexts. What is the effect of the layering or serial appropriation of genres within the poem? How does Langland's handling of genre compare to others of its kind?
This session addresses a vital and evolving field of research that comprises investigations into the history of emotion, theories of affect, and representations of cognition and sensory perception. "Feeling," a gerundive, is both a process and a thing, as Sarah McNamer reminds us. It integrates "the somatic, affective, and cognitive in a pre-Cartesian universe" where "'to feel' can mean 'to know.'" Coalescing around this inclusive term, this panel seeks to bring together participants from a variety of approaches to the textual representation, production, and management of "feeling," considered broadly.
Proposals are sought for a critical volume titled Form is Emptiness, Emptiness is Form: Buddhism and American Poetry. I am looking for a few additional essays complete the collection, which is already secured for publication.
Royal Holloway University of London & the University of Birmingham announce a one-day symposium
Dealing with Martin Crimp
Royal Court Theatre, London, 12 January 2013
To coincide with his new play In the Republic of Happiness, this event will bring together theatre makers and academics to discuss the work of Martin Crimp, one of the most important, original and challenging playwrights of our time.
FINAL DEADLINE FOR ABSTRACTS--July 16, 2012
KEYNOTE SPEAKER: Dr. Russell Berman (Stanford University)
How do various systems of authority (e.g. literary, political, sexual, cultural, economic, linguistic) seek to control individuals, groups, or cultural movements? How do individuals, groups, or cultural movements engage in resistance to subjection?
Medieval scholarship has been reinvigorated by the so-called nonhuman turn, exhibited in many fine recent engagements with materiality, objecthood, animality, and monstrosity. We invite participants in our panel to situate prosopopoeia – personification allegory – within this broad context. We ask whether and how the device of rhetoric can expand the arena of nonhuman agents and material entities and ecologies. We wish to consider the futures of allegory, medieval and modern. For some allegory is precisely what modernity has had to overcome to achieve the humanist outlook. What then are the capabilities of such figures in the wake of modern humanism? Does personification allegory have a place in creating or critiquing alternative, post-human futures?
Call for papers—The Financialized Imagination and Beyond
Special issue of TOPIA: Canadian Journal of Cultural Studies, Fall 2013
Proposals due September 14, 2012
Link to PDF version of the CFP: http://t.co/xcuw44bq
Edited by Max Haiven (New York University/Nova Scotia College of Art and Design University) and Jody Berland (York University)
Francosphères, the new journal of the University of London Institute in Paris (ULIP), seeks to define and question the presence of French language and culture across frontiers and borders, as defined by the Franco postcolonial presence, contact with French culture, and the 'France of the mind'. To this extent, Francosphères is intended as a journal of transcultural and intercultural French Studies. It is therefore a journal that is about liminal spaces rather than operating within the hierarchy of 'French' or 'Francophone' culture.
Ernest Hemingway is a writer we often associate with particular places and animals: Michigan's Upper Peninsula, Spain's countryside, East Africa's game reserves, Cuba's blue water, and Idaho's sagebrush all come to mind. We can also easily picture the iconic images of Hemingway with flyrod bent by hefty trout, with bulls charging matadors in the background, or of the famous author proudly posing with trophy lions, marlin, and a whole menagerie of Western American game animals. As Robert E. Fleming once put it—updating Gertrude Stein's famous quip that Hemingway looked like a modern and smelled of museums—Hemingway "was also a hunter, fisherman, and naturalist who smelled of libraries" (1).
44th Annual Convention, Northeast Modern Language Association (NeMLA)
March 21-24, 2013
Host Institution: Tufts University
When the Justice Department sued Apple and six major publishers for collusion, there were clear signs of anxiety over a publishing monopoly based in no small part on one party's dominance over the eBook market. That future may be debatable, what's less debatable is that book publishing has already changed dramatically. This roundtable will examine how new publishing models and electronic publishing will change our hiring practices, our tenure and promotions, our creative writing departments, and our writing. Please send 250 word abstracts to Scott Henkle at
The Sefi Atta Reader
Walter Collins, Editor