When underground comix emerged in America in the 1970s, they were connected with the counter culture movement and rife with anti-establishment content. These comics participated in and addressed counterpublics, which queer theorist Michael Warner defines as "formed by their conflict with the norms and contexts of their cultural environment." Yet much of the scholarship of the underground comix movement has centered on straight white men located in San Francisco (e.g. R. Crumb, S. Clay Wilson).
Call for Papers
4th Annual Meeting of the European Beat Studies Network (EBSN)
28-31 October 2015, Université Libre de Bruxelles
Papers are invited for the 4th Annual Meeting of the European Beat Studies Network. In keeping with the inclusive spirit of the EBSN, we are open to submissions of scholarly papers, panels, and roundtables, as well as artistic/creative dialogues and performances devoted to any aspect of the Beat Generation.
Papers that theorize a construction of polylingual literary history in local, national, and global contexts are invited to imagine a manifesto for a transnational and transregional comparative literary historiography for this special session of MLA 2016 at Austin. We aim to examine literary historiography that takes into account more than one language tradition. Examples include world literary history, regional or imperial literary histories, literary histories of nations with a variety of literary languages (e.g., Belgium, Canada, India, Switzerland, the US), and histories that attempt to incorporate dialect with official versions of "a" language, or oral with written forms of literature.
Call for Papers (deadline, December 15, 2015)
Playing Offstage: Theatre As a Presence or a Factor in the Real World
I am issuing a call for papers for a collection to be called Playing Offstage: The Theatre As a Presence or Factor in the Real World. I have proposed an edition of some 8-10 essays (along with an introduction). This collection would complement an earlier issue of Comparative Drama I had the privilege of editing: The Audience As Player: Interactive Theatre Over the Years. There the issue was the real-life audience's leaving the house and, as actors, entering the illusory world onstage. Here, the theatre moves offstage and into the larger, everyday world.
The contemporary mediascape is characterized by continuous and endless remediation flows that re-shape and hybridize the contents, the forms and the vehicles of visual-based media experience. In such a scenario, over the last years photography has gained a central role in negotiating between the need for innovation propelled by digital media and the persistence of its original nature and purposes. On the one hand, the advent of photo-sharing websites and social networks, photography apps for mobile devices, portable hybrid devices for photo and video (e.g.
Indian Journal of Sports law(IJSL)
Confirmed keynote speakers: Professor Paul Wells (Loughborough University)
Dr James Walters (University of Birmingham)
liquid blackness is undertaking a long term research project on the legendary yet seldom seen film: Larry Clark's 1977 Passing Through. Studying the potential of the arts and politics of the jazz ensemble, we are developing an experimental project of collective research that will unfold throughout the year, and culminate in a public screening and symposium in Fall 2015.
In collaboration, The Western Literature Association and The Society for the Study of the Multi-Ethnic Literature of the United States invite proposals that bring together texts, broadly conceived, of multicultural futurism with the scholarly aims of the WLA, particularly as they involve issues of colonialism and resistance to the colonization of depictions of the future. Possible subgenres include alternative history, science fiction, speculative fiction, slipstream, new weird, and fantasy. Multicultural futurisms include Indigenous futurism, Afrofuturism, Chican@/Latin@ futurism, and Asian-American futurism.
This panel seeks to go beyond the territory opened by the spaghetti-westerns to explore the ways in which the themes and tropes of the West have been appropriated (or re-appropriated)/redeployed/repurposed in texts, broadly defined, with a transnational context. Please submit a 250 word proposal to Kerry Fine by March 15th.
Looking beyond the common meaning of "profane" this roundtable takes for its focus the theme of The 51st Annual Conference of the Western Literature Association, to be held in Big Sky, Montana. President Elect, Linda Karell, asks us to approach: "profane as that which is underrepresented, undervalued, censored, denied, shared in secret; unofficial and unsanctioned pleasures; profane as the necessary other side to sacred, as that which helps define sacred but undoes it, too; profane as in challenging rote and accepted ways of thinking about/defining/ celebrating the West, even though those ways might once have occupied the status of subversive.
Submission deadline extended!
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.
Romania stands apart from other Eastern European countries with respect to its Jewish ethnic minority. Before the Second World War, 800,000 Romanian Jews lived and thrived especially in the towns and cities of the country at the time; after 1945, more than half of the Jewish population was exterminated, and 350,000 more would eventually emigrate to Israel with the "help" of the communist authorities in the 1960s and 1970s. Today, the Romanian-Jewish community totals barely 10,000 people, the lowest number in Eastern Europe.
How do material histories of the book and print culture inform how we think about the novel (and its surprising stability) in the present? A number of recent literary-popular authors, including Jonathan Safran Foer, Mark Z. Danielewski, Chris Ware, Anne Carson, have experimented with the form of the codex while at the same time exploiting the limits of the technologies available in publishing. How do we conceive of the fetishization of the book as commodity, on the one hand, and the auratic privilege that such texts assume? This panel will consider how scholars negotiate the form and content of the contemporary novel with shifts in print culture. Are their analyses materialist, queer, Marxist, sociological?