The nineteenth century has long been understood as an era of industrial growth, scientific discovery, technological innovation, and imperial expansion. Such sweeping global transformations relied on a complex web of relations between humans and machines, individuals and systems, ideas and practices, as well as more efficient and frequent movement across increasingly connected networks of space. From railroad travel to advances in shipping, from the movement of immigrants, enslaved laborers, scientists and colonial settlers, to the circulation of ideas, bodies, and/as commodities, nineteenth-century mobilities challenged and reconfigured the very constitution of subjects, nations, and cultures across the globe.
I'm writing to invite you to submit proposals for a collection of essays that is tentatively titled The Good Life and the Greater Good in a Global Context. Please take a look at the brief description of the topic, its rationale, and research questions below. Feel free to add any other comments and questions and let me know if you are interested in contributing. My own essay examines the transnational dimensions of "that moral-intimate-economic thing called 'the good life'" (Berlant 2) as theorized by cultural critic Lauren Berlant and imagined by Pakistani novelist Mohsin Hamid in his latest novel, How to Get Filthy Rich in Rising Asia (2012).
Everywhere is a Classroom
Two-Year College English Association-Southwest
TYCA-SW ANNUAL CONFERENCE, Embassy Suites, Frisco, TX
October 23-25, 2014
International Conference - CALL FOR PAPERS
"UNCERTAIN SPACES: Virtual Configurations in Contemporary Art and Museums"
31 October | 1 November 2014, Calouste Gulbenkian Foundation, Lisbon, Portugal
Over the past decades, and especially since the generalization of the Internet, artists have been actively exploring the potentialities of new media languages and communities, often blurring artistic categories. Movements like Digital Art or Internet Art clearly demonstrate how these technological means came to shape challenging new territories for contemporary art, not only in terms of creation, reception and participation, but also regarding its preservation, collection, curatorship or exhibition.
While poetry itself has played a historically long and significant role in the discourse of love, the period of modernity seems to be largely associated with its opposites. As the standard narrative goes, citizens the world over felt overwhelmed and frightened by the sundry and rapid changes – literal, conceptual, moral, and beyond – brought about by industrialization, scientific developments, WWI, etc. And the poetry that characterizes this time period represents and reflects on some of the more devastating changes. But what happens to poetic love in the early 20th century? What specifically happens when love, loss, and poetry come together during such a fraught time?
Scenarios for the apocalypse seem to proliferate in popular culture. John R. Hall believes that numerous examples suggest that "an apocalyptic mood is no longer confined to cultures of religious fundamentalism" but is also demonstrated in "diverse mainstream apocalyptic references" (1). In the media, the apocalypse generates news headlines; in October 2013, the Sydney Morning Herald reported that scientists had found "evidence of an apocalypse on a planetary system similar to our own" (von Radowitz). In 2012, the belief that the end of the Mayan calendar on 21 December would mean the end of the world triggered thousands of blog posts. A poll of 16,000 adults showed 8 per cent suffered genuine anxiety that the world would end on that day.
LUCAS International Graduate Conference 2015
BREAKING THE RULES!
Cultural Reflections on Political, Religious and Aesthetic Transgressions
Leiden University Center for the Arts in Society
29-30 January, 2015
Kaleidoscope is a peer-reviewed, interdisciplinary journal edited by postgraduate researchers at Durham University. A key feature of Kaleidoscope is that it embodies and connects diverse subject areas in a single publication, whether in the Arts and Humanities, the Sciences, or the Social Sciences.
In his study Pastoral Cities (1987), James L. Machor gives the name "urban-pastoral" to a cultural myth of rural-urban synthesis, which he deems foundational to the moral geography of American life, from the Puritans' "City on a Hill" to Frederick Law Olmsted's "City Beautiful". To recognize and complicate this rural-urban dream, Machor argues, was one of the achievements of American writers through the nineteenth century. And yet, despite the recent pastoral turn in literary scholarship, few critics have analyzed urban-pastoralism in later or less canonical works.
Movie: A Journal of Film Criticism (http://warwick.ac.uk/go/moviejournal) is a peer-reviewed open-access journal, and a joint venture between the Universities of Warwick, Reading, and Oxford. Its particular commitment is to publishing rigorous but accessible critical readings of film and television that grant sustained attention to texts' detail, style, artistry, and aesthetic dimensions. We also welcome articles that illuminate concepts, analytical methods and questions in aesthetics that are of significance to the practice of criticism.
With the referendum for Scottish Independence scheduled for September 2014 and the Cornish having recently been granted minority status, questions about the dis-unity of the 'United' Kingdom are prominent in the contemporary debate regarding nationalism and regional identity. Regional Gothic will explore these fractures and the darker imaginings that come from the regions of Britain.
Venue: Falmouth University, Cornwall
William Hughes, Bath Spa University
Andy Smith, University of Sheffield
This panel will examine the picture of photography in literature since the nineteenth century to modern days. We especially invite papers concerned with the problem of various dangers associated with photography. This includes but is not limited to: photographers harming their models or injuring themselves; photographs causing problems in peoples' lives; cameras threatening people; and possessing photographers.
Please submit 200-250 word abstracts by September 30, 2014, directly through the NeMLA site. Here is a direct link to submit an abstract: https://nemla.org/convention/2015/cfp.html#cfp15189
Although Foucault declared that sexuality as an identity is a modern phenomenon dating from the medicalization of sexual impulses in the Victorian era, some recent scholarship has argued that queer sexualities per se existed, at least in proto- or nascent forms. For example, in Sex and the Eighteenth Century Man, Thomas Foster convincingly demonstrates that one colonial Massachusetts man whose sexual preference for other men was seemingly recognized as a sort of sexual identity by himself and his community. Moreover, in London, tales of female husbands continued to titillate and the existence of molly houses, with their elaborate rituals and lingo anatomized in canting dictionaries and criminal narratives.
Emily Dickinson International Society Scholar in Amherst Award, 2015