Call For Papers: 2016 Native American and Literature Symposium
Panel Title: Teaching "Post-Modern" Native American and First Nations Literature
Many current (and not so current) Native American/First Nations texts exhibit the complex structures of post-modern literature, but are they really post-modern? And should we teach them as such?
Our world is a world of nations. The existence and fundamental importance of nations, national identities, or national boundaries is rarely questioned. Yet, the scholarly literature on nationalism has shown that national communities are socially constructed, that national identities are fluid, and that national boundaries are constantly contested. Clearly, maintaining nations requires a great deal of collective effort. How is it that this effort is rendered invisible? How have nations come to be seen as natural? Why do individuals buy into the idea of national identity?
This panel seeks papers that consider the role of objects in the production and study of Restoration and eighteenth-century drama. How might a consideration of the physical and material conditions of performance shed light on the texts through which we so often engage with the drama? What do textual artifacts reveal about production practices or even specific performances? Please send 300-word abstracts.
47th Annual Convention of the Northeast Modern Language Association (NeMLA)
Hartford, Connecticut, USA
17 March - 20 March 2016
SUBMISSION DEADLINE: Sept. 30, 2015
Society for Cinema and Media Studies Annual Conference
Hilton Atlanta, March 30 - April 3, 2016
The irony of the title A Star Is Born is no longer surprising, as new histories have examined the way that publicity before, during, and after the Hollywood Classical Cinema has changed and developed the reception of films, stars, and more. While studying films can tell us much about the way they figure into larger histories, studying the way studios, agencies, and other distributors have presented and sold their work to the public can reveal much about both the economic and social issues of the time.
The oft-remarked "spatial turn" in cultural studies (initiated in part by the reception of Michel de Certeau, Henri Lefebvre, and David Harvey) converged with a resurgence of interest in films that rest upon a depiction or evocation of a specific geographical entity: the "street film," the "city symphony" or the Bergfilm, to name a few oft-noted categories. Many scholars seem to agree tacitly that we might also speak about an "island film," although the term itself has yet to be properly articulated and circulated. In fact, the very concept of a discreet "islandology" is a brand new one (see Marc Shell, Stanford U.P. 2014).
Ruth Rendell, who has recently died, was one of the most prolific and important female authors of the C20th/21st centuries, achieving many literary awards and honours, plus a Labour peerage. Her literary output, both as Ruth Rendell and Barbara Vine, transcended generic boundaries and conventional assumptions about character, the police procedural novel, class and gender, amongst many of her other concerns.
In 2014 Cardiff University received a considerable donation of Artists' Books from Ron King of the Circle Press, one of the most influential practitioners of the Book Arts. In December of this year, the University's Special Collections and Rare Books (SCOLAR) will be hosting a major international conference to celebrate this bequest. Speakers will include Ron King (Circle Press), Sarah Bodman (University of the West of England), and Chris McCabe (Poetry Library).
Though Victorian interest in the Middle Ages has been well-documented, the particular motivations for that interest deserve fuller attention. This session seeks paper-proposals that will explore how what has often been called the Victorian "cult of the child" informed and complicated nineteenth-century fascination with the medieval period.
The rise of the modern museum was (and remains) a global event that resonates across literary cultures. Germain Bazin termed the nineteenth century the "Museum Age" for the myriad ways the new phenomenon of the public museum redefined the social status of art. This session investigates how this development was received by nineteenth- and twentieth-century Anglophone authors writing during and immediately following the rise of the modern museum.
Creative Nonfiction: Call for Papers–2015
"Make Good Art Out of It": Reaching Into a Violent Past and Reclaiming Your Story
We are calling on writers, artists, dabblers, and scholars to contribute work to an edited collection. The topic deals singularly with domestic violence, but the aim is to contribute nonfiction work that is not only compelling writing, but also stretches and challenges the nonfiction genre.
CFP: Congress 2016—Engaging Communities Comparatively
Knowledge and understandings of shared values are created based on our respect for difference and diversity and our engagement with the communities we live in. A focus on connections between the individual, the local and the global can provoke new ways of thinking.
Even before she won the Nobel Prize in 2013, Alice Munro was the source of much scholarly interest, in Canada and internationally, in part because of her profound sense of her literary predecessors and peers. Her fiction has been read in many ways, but we still need a sharper sense of her affinities with and differences from her contemporaries. She has been frequently cited by other writers as a key influence, but how does the influence work in particular stories? How does the sense of place differ in Margaret Atwood or Lorrie Moore? To what extent does Munro's engagement with metafiction in the 1970s reflect a wider trend, and how do other writers deal with the ethical issues that arise when they use their own lives as material for fiction?
This panel seeks to explore representations of futuristic cities from all periods in American literature, film, and other cultural mediums. In particular, it seeks papers responding to one or more of the following questions: In what ways have American writers and filmmakers envisioned future urban landscapes? In what ways have these visions changed over the course of American history and why? How have urban theorists, critics, and reformers as well as particular ideologies (Christian, technocratic, socialist, libertarian, environmentalist, etc.) shaped them? In what ways do the past and present (or the erasure of the past and/or present) affect their depictions?