What counts as waste, materially and metaphorically, at the turn into the twentieth century? 300 word abstracts dealing with waste in any of its cultural, political, or literary/aesthetic manifestations: wasted time, effort, energy; dispossession and laying waste; wasted lives; cultural waste lands; surplus and profligacy; expropriation and erasure; refuse, junk, garbage; terror, shame, pollution. Send abstracts to Stephanie Foote (firstname.lastname@example.org) by March 20, 2011. All session participants need to be MLA members by 1 April, 2011.
The Projector is a peer-reviewed online journal dedicated to the study of the intersections between film, media and culture. We are currently seeking essays for our Fall 2011and Spring 2012 issues. We are particularly interested in scholarship that engages in interdisciplinary analyses of film and media texts, including those that examine them from a cultural studies, political economy, qualitative audience research, industry analysis, feminist, queer theory, or critical race theory perspective. We invite essays that engage with theoretical debates in film, media and cultural studies, as well as those that engage in critical examinations of aesthetic practices. We are also interested in essays that examine alternatives to corporate media.
Increasingly Shakespeare studies have included in their ambit performance both on stage and screen, and some of the most interesting recent critical studies have been in this area. We are no longer caught between the virtuality of the playscript and the ephemerality of the performance. Cinematic texts have a life all their own, dealing as they do with the international marketplace of culture and communication. In this seminar, while the paramount focus will be on Shakespeare in Indian cinema, be it successful Hindi films like Gulzar's Angoor or Vishal Bhardwaj's Maqbool and Omkara, attention will be paid to Shakespeare performed in regional language cinema—classics like the Bengali Bhranti Bilash or the Malaylam Kaliyattam.
For over a century, visual media have played a crucial role in how war and political conflicts are waged, presented, represented, and digested in sites around the globe. Film (in particular) has had a storied and fraught history in relation to conflict: it has commonly been used an instrument of propaganda, distraction, and entertainment, yet has also served as a tool for documentation and education. Our contemporary memories and perceptions of war have been filtered through the cinema, which has provided a visual means for creating coherent narratives out of the often senseless combat of cultural disputes.
Topics may include, but are not limited to: the dissemination of sexual "knowledge," lecture tours, public health education, schools & universities, homoeroticism and pedagogy, education & the New Woman, teaching the fin de siècle today. Not limited to Anglophone literature and culture. Abstract of 300 words and brief C.V. by March 10; Helena Gurfinkel (email@example.com)
This special session is subject to approval by the MLA; participants must be MLA members by April 7th, 2011.
1st Global Conference on Music and Mental Health
The Embassy Suites - St. Charles/St. Louis, MO
August 5-7, 2011, St. Louis, MO
"Music was my refuge. I could crawl into the space between the notes and curl my back to loneliness." Maya Angelou - Gather Together in My Name
It has been said that music is what feelings sound like. Music is powerful and yet soothing; it brings joy to the masses and provokes emotion. It is the goal of Global Research Studies to explore the realm of music and its effects upon emotion and feelings. We wish to delve further into the study of music and lyrics upon youth and the changing feelings of people as they age in relation to their music choices.
Research Areas of Exploration
This conference pursues two linked aims: first, to explore the Gothic's relationship with science – fact, fiction and fantasy – especially its fascination with the cognitive, psychological and biological underpinnings of sensation, reason and imagination; and second, to trace the evolution of the Gothic genre itself through history, architecture, literature, film, television and popular culture. We welcome the submission of 250 word abstracts for 20 minute papers that may address, but not be limited by, the following topics: the Gothic and science; the Gothic through history; the Gothic and literary theory; male, female and queer Gothics; Gothic fashions; goth culture; twenty-first century Gothic; the future of the Gothic.
Challenging Political Economy: Interdisciplinary Approaches
Emmanuel College within the University of Queensland, St Lucia, Brisbane, 8-9 December 2011
Frank Stilwell (University of Sydney, Australia)
Ella Dzelzainis (University of Newcastle, UK)
Since its inception in the late eighteenth century, Political Economy has been used as a lens through which to examine and address parochial and international social issues, from gender equality to class, abolitionism, environmental concerns, imperialism and globalisation. Throughout history, the response to Political Economy has often been controversial, from popularising and translating economic texts, to burning and banning them.
This is a proposed special session for the 2012 MLA convention.
Do the conditions of modernity engender psychopathological behavior? Do the changes wrought by industrialization cause new types of psychological stress? Do they bring about madness? How do characters in modernist fiction and/or poetry react to these changes?
This panel seeks papers that examine pyschopathology in single or multiple works of modernist fiction and/or poetry. While psychopathological tendencies are not unique to (post) industrial society, this panel will investigate how modernity (particularly in the transition from pre-industrial to [post] industrial, rural to urban, etc.) may lead to certain types of psychopathological behavior.
In the context of ubiquitous technology, the question of duration has emerged as a powerful interdisciplinary tool for investigating the interstices that both separate and sustain medial, technological, cultural, and artistic practices. Indeed, as claims to a post-media characterization of our digital landscape collide with deeply disciplined artistic and intellectual practices, questions of the body, the human, the flesh, the social, and even time become increasingly difficult to pose (let alone answer). Thus, duration—a concept with variegated genealogies in Bergson, Deleuze, Whitehead, and others, as well as in most artistic disciplines—suggests a point of intervention that avows the multiplicity of the problem: what happens to duration after media?