Abstracts for 20-minute presentations are invited on any topic--literature, music, biography, storytelling, and the expatriate experience in Morocco. Part of the re-invention of Bowles from beyond stereotypical avenues of surrealism and Orientalism will be his cross-cultural examination from the post colonial and postmodern, in a reassessment of his rhetorical ambitions and the displacement of modern reason in the changing East-West dynamic expression of man's social being.
As the historian Thomas Schlereth noted in an essay from which this panel takes its name, the memory and image of Christopher Columbus were appropriated by citizens of the United States for a wide variety of purposes during the long nineteenth century. A feminine personification of the new republic signifying liberty and progress was named Columbia in his honor; the exploits of a newly recovered historical Columbus were invoked in support of western expansionism and Manifest Destiny; and the naturalization of various ethnic groups was a process of Columbianism, whereby the Admiral's status as an immigrant to the New World rhetorically sanctioned the integration of Italians, Jews, and other groups into the American body politic.
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.
The quint's twenty eighth issue is issuing a call for theoretically informed and historically grounded submissions of scholarly interest—as well as creative writing, original art, interviews, and reviews of books.
The deadline for this call is 15th August 2015—but please note that we accept manu/digi-scripts at any time.
All contributions accompanied by a short biography will be forwarded to a member of the editorial board.
This proposed panel seeks to present new and challenging perspectives on the history of the slave narrative genre. Recent studies have sought to recontextualize and/or reconsider the generic contours of the Anglo-American slave narrative. For example, Daphne Brooks has suggested the development of a "sonic slave narrative"; Nicole Aljoe and Ian Finseth have drawn attention to the "journeys" of the form in the early Americas; Deborah Jenson has highlighted popular sources from the Haitian Revolutionary period; John MacKay has written comparatively about the autobiographical writings of American slaves and Russian serfs.
We are looking for a third contributor for a panel on "Localities" at Rice University in Houston, Texas. The idea is to examine Modernist narratives that theorize, explore, or trouble notions of the "local." If you have a project that might fit this theme please write up a 250 word abstract and send it to email@example.com by July 14th. I have included our panel's abstract (which will be amended once a third contributor is added), as well as the general conference CFP below.
StoryTelling is a peer-reviewed journal dedicated to analyses of popular narrative in the widest sense of the phrase and as evidenced in the media and all aspects of culture.
Manuscripts should be between 10-15 double-spaced, typed pages (approximately 3,300-6000 words), and follow the MLA style manual; see the narrative as a reflection of culture; use theory to analyze the work, not work to illustrate theory; employ scholarship; and be written for the general audience.
Longfellow, Writer of Books: Interpretations of the Single Volume or Collection
This panel for the NeMLA 2016 Annual Convention, to be held in Hartford, Connecticut, from March 17 to March 20, 2016, seeks papers that continue the renaissance in the study of Henry Wadsworth Longfellow (1807-1882).
As one of the biggest and most successful film franchises of all time, Marvel's approach to developing an interconnected film universe has seemingly revolutionized the way superhero films are being made. Creating a shared universe with elements that crossover and interconnect individual films (culminating in perhaps the ultimate "team-up" film, The Avengers), this approach to filmmaking changed the way characters and storylines are developed. Marvel's foresight has resulted in a long-term plan for the Marvel Cinematic Universe (MCU), which at this point consists of three distinct phases, each of which is to conclude with an Avengers film.