Mediating Things in Motion
(Audio)visual media structure and articulate our relation to speed, slowness, and mobility. In the arts, in the sciences, in the realms of commerce and government, as well as on the terrain of the everyday, they serve to organize perceptions and to ground understandings of various moving phenomena, of things and worlds in motion. The audio-/optico-technological capture and storage of such phenomena—accelerative objects and bodies, motive energies and materialities—have, in turn, enabled and impelled the reinvention or revaluation of certain media-aesthetic conventions and media-epistemic protocols.
Pocahontas and after: historical culture and transatlantic encounters, 1617-2017
The British Library and the Institute for Historical Research, London
March 16-18, 2017
A major international conference to commemorate the 400th anniversary of Pocahontas’ death. Co-hosted by the Eccles Centre for American Studies at the British Library and the Institute for Historical Research.
Additional support has been provided by the Omohundro Institute for Early American History and Culture and The University of Warwick.
CALL FOR ARTICLES ON RADICALISM
Call for Papers
ChLA Diversity Committee’s Annual Sponsored Panel
Children's Literature Association Conference 2017
Tampa, Florida, June 22-24, 2017
Florida: Past and Present State(s) of Empire in Children’s and Young Adult Literature
The 32nd Annual Meeting of the American Conference for Irish Studies Western Regional
“Her Exiled Children: Ireland and Irish America”
October 20 – 22, 2016
Submissions due July 29 at http://acisweb.org/regionals/western/submissions/
The William James Society and its peer-reviewed journal William James Studies invite abstract submissions from literary scholars with diverse interests and approaches to the life and work of William James for a special issue of the journal, "New Directions in William James and Literary Studies." Abstract paper proposals up to 300 words are due by August 15th. All submissions will conform to a strict timetable for publication for the May 2017 issue of William James Studies (for more see details below). Please submit abstracts or direct queries to both Dr. Todd Barosky (firstname.lastname@example.org) and Dr.
The second half of the nineteenth century was marked by the emergence of the global women’s movement. Feminist writer Sarah Grand (1854-1943) is considered to be the first to have coined the term “New Woman” in 1894 in England. New Woman writers (in Victorian literature the New Woman novel forms a separate genre) participated in the feminist debate. Feminism altered the course of literature by challenging those literary conventions that governed the portrayal of women and women's experience at the fin de siècle. Feminist texts explicitly advocated social change and discussed new women’s roles in society.
NeMLA Convention, Baltimore (23-26/03/2017)
In her study of L. M. Montgomery (1874-1942) in the “Extraordinary Canadians” series, Canadian author Jane Urquhart invokes comparisons of L. M. Montgomery’s life and work to that of her near-contemporary American peers, Edith Wharton (1862-1937), Willa Cather (1873-1947), and Mary Wilkins Freeman (1852-1930), among others. While the transatlantic connection among women writers is receiving increasing critical attention, the literary relationships among American and Canadian women writers offer a relatively recent area for scholarly explorations of the influences and alignments crossing North America.
Conflicting Memories: Arts, History, Commemorations
FAMAH Conference (3L.AM / CERHIO)
Université du Maine (Le Mans), 6-7 avril 2017
CFP for the "On Breath"-Panel at the ACLA Convention 2017, University of Utrecht, June 6-9 2017
“Under these conditions, the individual’s breathing is an observed, an occupied breathing. It is a combat breathing.” (Frantz Fanon)
“Das Gedicht bleibt [...] pneumatisch berührbar.” (Paul Celan)
“The HEART, by way of the BREATH, to the LINE.” (Charles Olson)
“Pas de parole sans air qui la véhicule.” (Luce Irigaray)
“Je suis un respirateur.” (Marcel Duchamp)