There is little doubt as to the importance that H.P. Lovecraft has played in the development of American horror. Additionally, the pulp magazine Weird Tales, which published much of Lovecraft's fiction, is also consistently recognized as a seminal publication for eerie and horrific texts. With these two givens in mind, we are actively looking for paper proposals that explore the way that Lovecraft and/or Weird Tales helped construct the American horror canon or the American horrific aesthetic. Papers will be presented at the College of St. Joseph's popular culture conference, held the last weekend in October [we are hosting the conference in October to help break up the conference jam that happens over Winter and Spring recess].
This panel seeks papers that explore the literary output, authors, genres, publication practices, or publics associated with Dave Eggers's McSweeney's books and magazines. How does the imprint's contemporary readerships and its publication practices influence or chafe against reading practices in the academy or popular culture? Does it suggest larger trends in the direction of contemporary fiction? What does the McSweeney's network reveal about the state of "serious literature" and the profession of academic reading?
Please submit a 300-word abstract and a brief bio to email@example.com by March 15, 2012.
Apollon eJournal announces its second issue and CFP. With six contributions from undergraduates scholars across the US, the current issue features expanded functions such as audio interviews and editorial pieces.
Apollon invites college and university undergraduate students to help edit or get published in a new peer-reviewed digital humanities publication.
Student submissions deadline is JUNE 15, 2012. Interested faculty should contact us by September 15, 2012.
2nd Global Conference
Storytelling: Global Reflections on Narrative
Wednesday 7th November – Friday 9th November 2012
The editors of the forthcoming book "Fan Phenomena - Twin Peaks" (Intellect Press) are seeking contributions centered around the iconic cultural influence of David Lynch's series "Twin Peaks". Topics suggested by the publisher include: Fashion, Fan Media, Language, Economics, Virtual, Influence, Philosophies, Character/Characterization. The book will be composed of ten essays, 3,000-3,500 words each.
We are particularly interested in contributions that address the following topics:
Language - linguistic analysis of the show (general or specific i.e. specialized topics such as language in the use of diaries, dictation, etc.).
After the very successful re-launch of IJOSTS, we are seeking articles on any aspect of Scottish Film and Television. Topics may include, but are not limited to, particular actors, directors, writers, producers; themes of nationhood, representations of Scottish history; questions challenging the notion of 'Scottish' film and television; tartanry in its various forms, language use; industrial contexts such as BBC Alba.
Proposals should be sent to Professor Matthew Pateman at Kingston University, London (firstname.lastname@example.org) with IJOSTS and your name in the title line.
JITP, The Journal of Interactive Technology and Pedagogy,
cordially invites submissions by May 1, 2012 for our upcoming second issue.
What kinds of subjects are you interested in?
We welcome any work that engages an audience in critical and creative uses of interactive technology in teaching, learning, and research. Submissions that focus on pedagogy directly should balance theoretical frameworks with practical considerations of how new technologies play out in the classroom. Research-based submissions should include discussions of approach, method, and analysis.
Papers are welcome that analyze individual classic film adaptations of Shakespeare or that compare two film adaptations from the same era or from different generations. Please submit paper proposals to the PAMLA website by April 22, 2012: http://www.pamla.org/2012/
The PAMLA 2012 conference will be held at Seattle University, in Seattle, Washington, on October 19-21, 2012.
materiality and interactivity in art and architecture
With the advent of New Modernist Studies came a call to rethink the assumption that modernist aesthetic innovations are "first produced in the great culture capitals of Europe and the United States and then exported to…colonies and postcolonial nations … where they exist in diluted and imitative form as 'trickle down' effects" (Friedman). However, the modernisms of Canada and Australia remain marginalized within modernist studies, and only preliminary work has been done in response to this call. Re-examining Commonwealth modernisms through the lens of New Modernist Studies has the potential to reconfigure them not as belated and mimetic, but as distinctive and localized modernisms that emerge in response to their specific cultures and geographies.
The panel will probe into the private and the public in contemporary American poetry by reading it in terms of political criticism, dealing with the mainstream and marginalia and how their relation affects the aesthetic.
Send us abstracts up to 300 words and a short bio to email@example.com
The deadline is 15 February 2012.
The University of Virginia's College Medieval-Renaissance Conference XXVI is pleased to sponsor a special session on Arthur in Art. Papers on representations of King Arthur in Art—including painting, architecture, and sculpture—from the middle ages to the present day. Send abstracts (300-350 words) and brief cv to:
Amelia J. Harris, Academic Dean
University of Virginia's College at Wise
1 College Ave.
Wise, VA 24293
BORDERLINES XVI – Site & Sound
20th-22nd April 2012
Queen's University Belfast
Special guest speaker: Prof. Paul Strohm (Columbia University)
For at least two decades, scholars have addressed the striking convergence between modernist writers and reactionary, right-wing, or fascist regimes. From Andrew Hewitt's Fascist Modernism and Fredric Jameson's Wyndham Lewis: the Modernist as Fascist to Leon Surette's just-published Dreams of a Totalitarian Utopia: Literary Modernism and Politics, critics have sought to determine why so many modernist innovators were drawn to right-wing or reactionary politics. Yet the discussion has still largely been confined to the political leanings of male modernists, adverting to a fairly standard set of usual suspects: Eliot, Yeats, Pound, Lewis, Marinetti.