Walter Benn Michaels's critique of materiality ("The Shape of the Signifier," 2004) argues that a materialist position is ultimately a subjectivist position because it relies on a person's perspective, and therefore identity, to read that text's material components. Michaels ultimately questions the deconstructive critique of the sign, which turned the "sign" into "marks" and "traces."
The 2012 Midwest Popular Culture Association (MPCA) conference will be held Friday-Sunday, 12-14 October 2012 at the Renaissance Columbus Downtown Hotel in Columbus, Ohio. Those interested should review the information here (http://mpcaaca.org/columbus-2012/2012-cfp/) to include relevant details on their submission entry. Submissions should be made electronically via our online submission system (http://submissions.mpcaaca.org/). Deadline for receipt of proposals is April 30, 2012.
From Cover to Cover: Reading Readers
Department of American Culture and Literature
30th Anniversary Conference
November 7 – 9, 2012
Documentaries such as Ross McElwee's Sherman's March, Agnes Varda's The Gleaners and I, and more recently Tiffany Shlain's Connected: An Autobiography about Love, Death & Technology have brought a self-reflective turn to documentary storytelling. How does the documentation of personal life in recent documentaries address larger cultural issues for the viewers? What is the nexus between the personal and political in the documentary form?
Please submit proposals through the online proposal system at http://www.pamla.org/2012/session-topics.
CONTAGION/CONTROL: Speculative Futures Graduate Colloquium
University of California, Santa Barbara
May 10-11, 2012
Keynote Speaker: Priscilla Wald
Updated & full details at: https://sites.google.com/site/hawaiiwomeninhighereduc/
Hawaii Women in Higher Education Conference
October 12 - 13, 2012
9am – 5pm
Location: Pacific Womens College, Honolulu HI 96825
The aim of this paper is to analyze the way Samuel Beckett constructs time through the pictorial elements of Ohio Impromptu (OI): its unique aesthetic singularity, which sums up a variety of visual references in a perfect collage of art history; the variety of literary references that range from Dante to twentieth century writers; the sophistication of his work of "unwording language" to which he aspired; the in-between spaces created by Beckett open the doors for an in-between time, the time of reverie. The contemporary time-space collage, present in OI, makes also possible a state-of-the-art level of simulacrum – a state of replica so close to the original that we cannot separate the real image from the fake.
We are accepting queries for our fifth themed anthology, Faith and Doubt. We've consistently tried, in line with our mission, to tackle big themes and enduring issues – obviously this anticipated anthology fulfills that goal. With the help of many talented writers, we have produced four anthologies on important themes, so let's see if we can do it once again. Details about the call are on the site, www.ebibliotekos.com behind the Calls/Guideline tab. If anyone should have any question not answered there, do not hesitate to contact us. You know we respond to queries (and polite hellos).
This Rough Magic is a journal dedicated to the teaching of Medieval and Renaissance Literature. We are seeking academic, teachable articles that can be used inside the classroom. Essays can focus on, but are not limited to, the following categories:
•Philosophy and Rhetoric
We are also seeking short essays that encourage faculty to try new texts inside their classrooms, as well as book reviews. For more information, please visit our website:
Vol. 1, no. 2: What is Geopolitics?
Deadline for proposals: April 30, 2012
Deadline for papers: July 15, 2012
The Italian journal of geopolitics GEOPOLITICA. Rivista dell'Istituto in Alti Studi di Geopolitica e Scienze Ausiliarie calls submissions for the Fall 2012 issue.
The issue's section theme is What is Geopolitics?. This issue will try to explain what Geopolitics is from a theoretical point of view and what are its practical applications.
This issue of GEOPOLITICA will examine in particular a series of topics including but not limited to:
- history of Geopolitics;
- definition of Geopolitics;
- actuality of Classical Geopolitics theories and categories;
Penumbra invites academic papers as well as creative and critical works that address any aspect of the journal's mission and scope. We seek submissions from graduate students, junior scholars,
and emerging artists, in addition to more established critical and creative voices. All submissions undergo double-blind peer review.
Penumbra aims to promote social change through theoretically informed engagements with concrete issues and problems. We publish socially engaged innovative, creative, and critical scholarship, with a focus on ethical, political, and aesthetic issues in the humanities, public policy, and leadership.
For our Submission Guidelines, please visit the homepage and click the ABOUT tab.
I am looking to form a panel on Merwin's The Shadow of Sirius for The Louisville Conference on Literature and Culture since 1900, Feb. 21-23, 2013.
This standing session at PAMLA welcomes papers analyzing the complexities of Children's Literature.
The theme at this year's conference is "Migration, Immigration, and Movement," so papers that incorporate this are particularly encouraged.
Conference Dates: 19-21 October 2012
Conference Venue: Seattle University, Seattle, Washington
Proposal Submission Deadline: 22 April 2012
Please submit proposals (approximately 300 words) via PAMLA's online submission form: http://www.pamla.org/2012/
In 1958, André Bazin asked: "What is cinema?" One of his objectives was to define the ontological specificity of the cinematographic art. In the following decades, this fundamental question was taken up and amplified. There were many answers to that initial question: most of them focused on the relation between screen and spectator. Today, in an era of digital images, with the democratization of cinematographic practices – in terms both of production and reception – it seems important to return to a definition of cinema in its technical specificity. One could approach the subject from three angles: