This seminar seeks papers that interrogate, trouble, and (re)articulate the interrelations of performance, poetics, and community within a critical hemispheric lens. Papers that examine how publics enacted through poetry and/in performance can potentially reaffirm, realign, and reorganize themselves out from the obfuscations of contemporary living are particularly welcome.
India is one of the few countries in the world to have a film censor board. And one of its recent casualties is a lesbian film significantly titled "Unfreedom." The current government has upped the ante by extending the ban culture of censorship from the aesthetic realm to the realm of everyday consumption with the ban on beef. The ban on Jafar Panahi, the Iranian filmmaker, continues and he continues to express himself in his art form in house arrest. The recent Charlie Hebdo massacre in Paris has put the limelight back on censorship.
In their 1999 essay "Deformance and Interpretation," Lisa Samuels and Jerome McGann propose deformative criticism against a rigid, theoretical, informative mode of reading in humanities. Deformance is an action, an imaginative, creative poiesis that does not necessarily aim to set a meaning of a text but reimagines it as a performance. Usually perceived in opposition to the more analytical camp of Digital Humanities, deformative criticism or deformance seems to be one of the very real and material alleys that Digital Humanities has offered to the structured, institutional, and perhaps all too ossified forms of production and exposition of knowledge.
The Charles Olson Society will sponsor a session at the annual Louisville Conference on Literature and Culture since 1900, to be held at the University of Louisville, February 18-20, 2016. We are interested in abstracts pertaining to any aspect of mid-Century American poetics, but in particular those that build on and problematize the mechanics of projective verse. While "Projective Verse" has received ample treatment in studies concerning major poets like Charles Olson and Robert Duncan, other poets built on projective verse in their own ways, fashioning distinctive styles that, while tangentially related to projective verse, also created new poetic forms.
The Oswald Review is a refereed undergraduate journal of criticism and research in the discipline of English. Published annually, The Oswald Review accepts submissions from undergraduates in this country and abroad (with a professor's endorsement).
Submit each manuscript as a separate email attachment in Microsoft Word. TOR discourages simultaneous submission to other journals.
All text should be provided in current MLA format, justified left only and without headers and footers. Endnotes, if absolutely necessary, should be minimal.
Ever since the emergence of the modern marketplace for cultural goods, literary texts and art works have, on occasion, defied the expectations of its readers and audience, affronted their moral ethos, or flaunted a disregard for their sensibilities and norms. The potential power of art to disrupt the perceptions of its audience was foregrounded in the critical discourse of the modernists and the historical avant-garde and this possibility continues to animate critical debates, particularly those organized around some understanding of autonomy. With the all but complete commodification of every artistic and literary practice, it is more urgent than ever to pose the question whether we can still presume autonomy.
New Critical Studies on Quaker Women: 1650-1800
Traditional format panel for NeMLA 2016 Convention in Hartford, CT, March 17-20, 2016.
This is a call for essay abstracts for an edited collection on depictions of children's play in nineteenth and twentieth-century literature.
***DEADLINE EXTENDED to September 20, 2015***
• What makes an environmental crisis common or uncommon?
• How do our understandings of environments depend on causes—both as ideas of causality and ideas of action?
• What ways of imagining, re-imagining and making our environments are held in common, or perhaps just as valuably, are uncommon?
• What can our common and uncommon cultures contribute in addressing environmental crisis?
• How might we understand culturing as an experiment, and thus as a means of creation and conversation? What might we seek to culture?
• What kinds of environmental commons and means of conversation do we already have, or should we create?