Text in Context is a graduate student and post-graduate journal published electronically by current graduate students and post-graduates of the English Department at Southern Connecticut State University.
CALL FOR PAPERS
Popular Culture Association/American Culture Association (PCA/ACA) National Conference
March 22-25, 2016
Subject Area: Latin Americans & Latinos - Identity Issues & Cultural Stereotypes
The Graduate Medieval Colloquium at the University of Virginia, along with organizers from the University of Pennsylvania and UC Berkeley, invites submissions for a graduate student conference and colloquium:
Method and the Middle English Text
April 8-9, 2016
The University of Virginia in Charlottesville
Keynote speakers: Andrew Cole (Princeton University), Alexandra Gillespie (University of Toronto), Patricia Ingham (University of Indiana, Bloomington), Steven Justice (UC Berkeley), Kellie Robertson (University of Maryland), Emily Steiner (University of Pennsylvania).
India is one of the few countries in the world to have a film censor board. And one of its recent casualties is a lesbian film significantly titled "Unfreedom." The current government has upped the ante by extending the ban culture of censorship from the aesthetic realm to the realm of everyday consumption with the ban on beef. The ban on Jafar Panahi, the Iranian filmmaker, continues and he continues to express himself in his art form in house arrest. The recent Charlie Hebdo massacre in Paris has put the limelight back on censorship.
In their 1999 essay "Deformance and Interpretation," Lisa Samuels and Jerome McGann propose deformative criticism against a rigid, theoretical, informative mode of reading in humanities. Deformance is an action, an imaginative, creative poiesis that does not necessarily aim to set a meaning of a text but reimagines it as a performance. Usually perceived in opposition to the more analytical camp of Digital Humanities, deformative criticism or deformance seems to be one of the very real and material alleys that Digital Humanities has offered to the structured, institutional, and perhaps all too ossified forms of production and exposition of knowledge.
Starting with the Global Financial Crisis of 2007, an already dwindling and tough job market for those who received a Ph.D. from humanities and social sciences became almost impossible to navigate especially for the new graduates. Even if the economy shows healing symptoms and the market some amelioration, with the use of the business and private enterprise models within academia along with the changes in the tenure system, careers alternative to the academic tenure became a real option and are not necessarily seen as failures.
On behalf of the Organizing Committee, we are pleased to invite the academic community to attend the 8th International Conference "Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects", which will be held on April 20-22, 2016 at Chelyabinsk State University (Chelyabinsk, Russia).
We welcome the submission of research papers related to the following topics:
–Innovative approaches to language studies in the XXI century.
–Linguistic image of the world and cross-cultural communication.
–Discourse as the object of interdisciplinary research.
–Current issues in translation and interpreting studies.
–Current issues in language education.
The official languages of the conference are Russian and English.
The proposed panel explores the development of a documentary film and video movement from the margins of the Spanish film industry during the early years of the twenty-first century.
The Oswald Review is a refereed undergraduate journal of criticism and research in the discipline of English. Published annually, The Oswald Review accepts submissions from undergraduates in this country and abroad (with a professor's endorsement).
Submit each manuscript as a separate email attachment in Microsoft Word. TOR discourages simultaneous submission to other journals.
All text should be provided in current MLA format, justified left only and without headers and footers. Endnotes, if absolutely necessary, should be minimal.
Ever since the emergence of the modern marketplace for cultural goods, literary texts and art works have, on occasion, defied the expectations of its readers and audience, affronted their moral ethos, or flaunted a disregard for their sensibilities and norms. The potential power of art to disrupt the perceptions of its audience was foregrounded in the critical discourse of the modernists and the historical avant-garde and this possibility continues to animate critical debates, particularly those organized around some understanding of autonomy. With the all but complete commodification of every artistic and literary practice, it is more urgent than ever to pose the question whether we can still presume autonomy.