The early modern tavern was often conceived of as a place of misrule, a place of violence, prostitution, theft and deceit. This was a space that inspired great social anxiety, as much a result of the inebriating product it served as for the unchecked gossip it facilitated among female patrons. Alewives in particular were figures of great cultural resonance, appearing regularly (and in a negative light) in art and literature. This space and the people who ran it were socially necessary but often viewed with disdain and suspicion, operating in a liminal space even as they provide a vital nutritive function.
Papers are sought for a one-day conference in Manchester on representations and interpretations of Dorothy and Oz in popular culture. This conference seeks to address the perennial popularity of L. Frank Baum's creations, and to explore their most recent incarnations.
Possible themes may include (but are not limited to):
• Film, TV and animated adaptations
• Sequels and prequels (other than Baum's series); translations, editions and revisions
• Music and musicals
• 'Friends of Dorothy' and gay culture
• MGM and Judy Garland
• Graphic novels and visual art
• Merchandise, memorabilia and ephemera
CALL FOR PAPERS
Food of the Gods: The Mythic Poetics of Food, Drink, and Eating in Film and Television
An area of multiple panels for the biennial Film and History Conference on "Film and Myth"
26-30 September 2012
Milwaukee, Wisconsin, USA
First Round Deadline: 1 June 2012
Peggy Orenstein's "Cinderella Ate My Daughter" examines the ubiquitous Disney Princesses and their stranglehold on girl culture. Since 2000, when an executive altered the landscape of marketing strategies and revenue by creating the 'Princess' product line, the Disney Princesses have become role models for the majority of girls and young women. As Orenstein sums up, '…princesses avoid female bonding. Their goals are to be saved by a prince, get married…and be taken care of for the rest of their lives. Their value derives largely from their appearance.' In the face of such feminine disempowerment, is there an antidote to the plague of passive princesses dominating girl culture? The answer may lie in myth, through the Artemis archetype.
SouthIndian cinema, from its inception, has exhibited unique, yet subtle moves in technology, production, distribution, consumption, spectatorship, aesthetics, and representation. In a span of more than hundred years, South-‐Indian cinema has exceptionally formulated its own niche within the larger contours of World cinema and the Indian film industry and has evolved as a significant cultural expression which deserves meticulous critical attention.
South-Indian cinema, from its inception, has exhibited unique yet subtle moves in technology, production, distribution, consumption, spectatorship, aesthetics, and representation. In a span of more than hundred years, South-Indian cinema has exceptionally formulated its own niche within the larger contours of World cinema and the Indian film industry and has evolved as a significant cultural expression which deserves meticulous critical attention. Any contemporary approach to South-Indian cinema includes the enormous systems of stardom, fan-dom, image-nation, spectacle-spectator, economy of film production, technology, cultural politics of film production and viewership.
The interdisciplinary journal CASCA, which encourages the publication of articles in the fields of humanities, social sciences and arts, invites all interested authors to participate in the publication of its first issue. The first issue is not limited thematically. We are interested in publishing research papers, essays, book reviews, reviews of exhibitions, performing arts and other forms of artistic expression, etc. All interested researchers and practitioners can send their submissions to the web address firstname.lastname@example.org or email@example.com.
New York University's Medieval and Renaissance Center invites proposals for papers that address the topic of charisma in any of its multiple forms and cultural sites: from an attribute of an individual person--whether a god-given grace or personally cultivated aura--to a feature of a work of art that affords it the power to uplift or dazzle a beholder; and from the elite productions and practices of church and state--such as Gothic cathedrals and royal regalia and processions--to such cult objects of religion and secular art as icons, relics, stones, pilgrimage shrines, weapons, and portraits; and to such quasi-historical and literary characters as Lancelot of the Lake, Don Quixote, Mephistopheles, and Helen of Troy.
Scottophobia in mid eighteenth-century England
This panel considers representations of dirt in literary or cultural texts from the late 19th and early 20th centuries. How did modernist writers, thinkers, and artists represent various kinds of dirt, trash, and waste? In what ways can modernism be considered "dirty"? Papers may engage with issues of abjection, hygiene, sanitation, and material waste, or with more metaphorical forms of dirt such as obscenity, pornography, profanity, and queer sexuality. Send 200-300 word abstracts and a brief academic bio to Ian Scott Todd at firstname.lastname@example.org by September 30.
Interrogating the Romance of Community Theater and Performance
A Working Group for the 2012 ASTR Annual Meeting
The Lit&Tour: International Conference on Literature and Tourism will be hosted by the Centre for Comparative Studies of the Faculty of Letters of the University of Lisbon, in collaboration with the School of Management, Hospitality and Tourism of the University of the Algarve. The theme of the Conference is the relationship between literature and tourism. The Conference will focus on the various forms and approaches of this relationship.
The last three decades have been fruitful in studies and publications on travel literature. The relationship between literature and tourism has not, however, been the target of an intensive and systematic study.
For the EC/ASECS conference, I am looking for 15 minute papers that would fit the descriptions of the two sessions listed below. The deadline for abstracts is June 15.
The Aesthetics of This Buried Life
Frances B. Singh, email@example.com
NEW 2012 CALL FOR PAPERS
QUARTERLY REVIEW OF FILM AND VIDEO
PLEASE NOTE NEWS E-MAIL ADDRESS
The editors (Wheeler Winston Dixon and Gwendolyn Audrey Foster) of Quarterly Review of Film and Video are now seeking new submissions of manuscripts in film, video, and moving image studies.
The journal publishes five times per year (four regular issues, and one year-end special issue), and is now seeking selected articles for publication.
QRFV is devoted to providing innovative perspectives from a broad range of methodologies, including writings on newly developing technologies, as well as essays and interviews in any area of film history, production, reception and criticism.
The Midwestern American Society for 18th-Century Studies (MWASECS)invites paper and panel proposals for its annual meeting, Oct. 11-14 2012. Abstracts of 250-500 words should be sent by June 15 to Karen Ray (conference program chair) or Susan Spencer (MWASECS president).
The conference topic is Emergence / Emergents / Emerging in the Long Eighteenth Century. Among others, topics could include the novel, humane comedy, women's drama, travel literature, women travelers, slavery, democracy, Mozart, Romanticism, &c. We welcome traditional 20-minute paper presentations as well as more innovative formats such as round table discussions, and performances, &c.