CFP: Virginia Woolf Miscellany special topics issue: Virginia Woolf and Indigenous Literatures This issue of the Virginia Woolf Miscellany seeks essays that consider Woolf’s oeuvre in dialogue with works by Native American, First Nations, Australian, and New Zealander authors, among others. What kind of dialogic emerges when placing Woolf’s writings alongside those of indigenous writers? How might indigenous literatures enhance interpretations of Woolf’s modernist, feminist, and pacifist poetics? How might such comparisons affect or inform understandings of subjectivity in women’s lives and literature, and the interconnections between narrative innovation and socio-political activism?
This book project tries to produce an outline for the diversification of literature and political writings. The book covers many disciplines ranging from political literature, gender politics, identity politics, minority politics, to ideologized writing, censorship, rhetoric and aestheticism of politics, and gendered literature.
For a long time now, Canadian poets (most notably bpNichol, but there are many others) have been credited with making significant initiatory experiments in the fields we now call electronic literature and digital poetics, but there has been relatively little work done examining what precisely constitutes a Canadian digital poetics, what kinds of writing constitute the genre, and what new reading practices are invited by these new projects in digital poetics. This panel looks at the emerging field of Canadian digital poetics and asks two primary questions: what is the role of a national literature in the increasingly boundary-less world of electronic literature? and, how do Canadian digital poetics change the way that we read and engage with these texts?
In their essay “Surface Reading: An Introduction,” Stephen Best and Sharon Marcus famously trouble the premises of ideological critique. Far from enacting political revolution, Best and Marcus contend, critique’s generally “excessive emphasis on ideological demystification” tends to lose the very object it aims to interpret in a welter of theoretical argument that the literary object ultimately must serve. To recenter the literary object in scholarship, Best and Marcus suggest, among other strategies, a reconception of the role of critic à la sociologist Bruno Latour. For Latour, the critic “is not the one who debunks, but the one who assembles”—most powerfully through what he calls Actor-Network Theory. As opposed to plumbing the depths of a text, A
Borges once cheekily wrote, “Writing long books is a laborious and impoverishing act of foolishness…A better procedure is to pretend that those books already exist and to offer …a commentary.” Indeed authors as varied as Borges, Lovecraft, Dick, Apollinaire, Lew, and Asimov placed completely fictional books at the center of their own literary universes. That would make a fascinating panel, but that is not this panel. Rather, what this panel seeks are academic-style works of literary theory and criticism which take as their primary texts completely fictional novels, stories, movements, authors, and films.
International Conference at the University of Zurich, 25-27 November 2016
This international conference responds to the recent return of phenomenological perspectives in literary and cultural criticism, and in the field of spatiality in particular. It aims to probe how a focus on sensory impressions and “the perspective of experience” (Yi-Fu Tuan) can enhance our understanding of literary and cultural spaces.
This panel intends to explore the function and value of the environment, ecology and nature, and the relation of humans with it in Italian literature and culture, both in contemporary and past times, through the lenses of eco-criticism, environmental ethic, ecological adaptation, and current notions of sustainability.
Wide Screen, a peer-reviewed, open-access journal dedicated to the study of cinema, television, and new media, calls for papers for inclusion in a special issue on the cinematic production of space.
Representations of Language Attrition and Loss in Film, Literature, and Popular Culture
WSQ, Call for Papers: Special Issue
Alyson Cole, Queens College & the Graduate Center, CUNY
Victoria Hattam, NSSR, New School
In the Holzwege version of “Der Spruch des Anaximander,” Martin Heidegger advances the need to translate oneself prior to undertaking any translation of early Greek thinking (303). At the level of perception Nietzsche locates foundational moments of translation (Übertragungen) at each stage of the movement from stimulation to concept-formation (Über Wahrheit und Lüge §1: 312-17).
CALL FOR SUBMISSIONS ‘CONTEMPORARY POETRY-AN ANTHOLOGY OF PRESENT DAY BEST POEMS (VOLUME-3)
1 Authors may submit up to five (5) poems.
2. ANTHOLOGY seeks honest, thoughtful, well-written poetry.
3. Poems must be submitted in the body of email.
4. While submitting your poems write subject line of email as “POETRY ANTHOLOGY (VOLUME-3) SUBMISSION”
5. Send your submission to email@example.com
6 No royalty will be paid to the contributors.
7. The anthology will be available in both e-book and paperback for public purchase on Amazon.com.
“Fantastika” – a term appropriated from a range of Slavonic languages by John Clute – embraces the genres of fantasy, science fiction, and horror, but can also include alternative histories, gothic, steampunk, young adult dystopian fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal is to bring together academics and researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invite discussion of all mediums and disciplines which concern the Fantastika genres.
This panel aims to explore the complex, layered horizon of landscapes in horror film culture to understand the use that the horror genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. Different theoretical frameworks are welcome, and relevant comparative studies among American, European, and/or non-Western cinema are strongly encouraged.