Five days after 9/11, Republican Party activist James Pinkerton proclaimed that 'the World Trade Center has been destroyed, but this has also been a crushing defeat for irony, cynicism and hipness. Here in New York, the city that gave the world Seinfeld, Sex and the City and Studio 54, the victors now are sincerity, patriotism and earnestness' (Newsday, September 16th, 2001). Has Pinkerton's claim come true? If traditional values like sincerity, patriotism and earnestness are ascendant, what space is left for texts that risk to contest or query the status-quo? Should we abhor risk as the cause of the financial crash, or pine for risky artistic practices that might instigate change? Do we need the texts we study to be risky?
"Let me tell you something. There's no nobility in poverty. I've been a poor man, and I've been a rich man. And I choose rich every time" – Leonardo DeCaprio as Jordan Belfort, The Wolf of Wall Street (2013)
For the upcoming conference of the International Comparative Literature Association (ICLA), the Research Committee on Religion, Ethics, and Literature, invites submissions for the following panel, "The Text as Being: Ontologies of Redemption, Repair, and Regret." The conference will take place at the University of Vienna, Vienna Austria.
The Mystery & Detective Fiction Area of the Popular Culture Association invites proposals for our annual conference. We seek proposals for scholarly discussions on all aspects and periods of mystery and detective fiction, including history, criticism, theory, and current trends. We welcome a wide range of topics and approaches, but ask that proposals go beyond plot summary, extending existing scholarship in new directions. We seek proposals that have a clear and focused argument that can be developed adequately in a 15-minute presentation.
This panel invites papers exploring the production history, aesthetics, and legacy of CinemaScope films. The anamorphic technology, seized upon by Twentieth Century-Fox in an effort to revitalize studio finances, presented technical and formal challenges to Hollywood's established methods of filmmaking and spurred the creativity of many filmmakers. The early CinemaScope years therefore offer a prime case for studying how a phase of technological change might have influenced the work of classical studio directors.
47th Annual NeMLA Convention
March 17-20, 2016 Hartford, CT
Abstract Submission Deadline: September 30, 2015
This panel welcomes papers that examine the treatment of race and racial relations in comic books, whether in superhero narratives, graphic memoirs, web comics, or other forms of sequential art both inside and outside the United States. How are comics used to document and represent racialized identities? How have the medium and its surrounding fan communities adapted earlier content to speak to current topics?
The editors of Barzakh Magazine are proud to present our new RAGE issue, featuring new work by Lydia Davis and other talented writers! Our writers approach the question of RAGE in its varied iterations and demonstrate that creative inquiries into the topic can be as diverse as the contentious history of the word.
We'd like to thank all UAlbany's faculty, our staff, and our contributors for helping us to put together the issue. You can find it at barzakh.net under the "Current Issue" heading!
The Editors at Barzakh Magazine
The Lehigh English Department's second annual Literature and Social Justice Graduate Conference will take place on Lehigh's campus in Bethlehem, PA, on March 4th-5th, 2016. We will be accepting proposals from Master's and Doctoral students on this year's conference theme, public humanities. Public humanities takes literature and social justice out of the confines of the classroom or academic publication by balancing theoretical concepts with practical actions and projects that benefit others in order to expand participation in and appreciation for the humanities.
"Utopia on the Margins"
Northeast Modern Language Association
Hartford, CT, March 17-20, 2016
Utopian discourse has been a powerful tool for disempowered groups to critique the social norms of the present and imagine future equality. Yet recent scholarship has critiqued the limits of utopia itself. This panel will examine utopian, dystopian, and anti-utopian texts by people of color, women, and members of other disempowered groups in order to consider how writers on the margins continue, reimagine, or reject utopian traditions. Papers may address recent fiction or previously overlooked texts that engage with utopian conventions.
The city is a frequent topos in the literature of modernism and post-modernism, traceable from T. S. Eliot's "Unreal City" of The Waste Land to the imagined Guadalajara of John Ashbery's "The Instruction Manual," and yet, our sense of urban space grows less certain after 1945, when both the city and its literature change rapidly in step with the new post-war world. These times of mounting anxiety over city space and its expanding limits--from suburbs and slums to the growing insularity of neighborhoods--also give rise to a problem of literary periodization: where does modernism end, and what succeeds it? Should we speak of a "long modernism" (Amy Hungerford 2008), or do the aesthetics of the period demand another name altogether?