This panel reflects on the place of confusion in British and American modernism. Confusion has not been traditionally considered a proper scholarly response to textual analysis; critics are supposed to interpret a text rather than allow themselves to experience its uncertainties. What happens when we explore the confusion we feel when reading not as something to be worked through, but as something to be worked with? Building on affect theorists’ work on how our feelings can influence the way we read, such as Eve Sedgwick’s reparative reading and Rita Felski’s reflective and post-critical reading, how can considering confusion change both our experience of reading and our critical practices?
We seek short provocative essays addressing the topic of “Modernism on the World Stage” for a prospective, peer-reviewed cluster on Modernism/modernity’s Print Plus platform.
What did “Henry James” come to mean in the years between his death and the commencement of World War II?
Since the plays of Sean O'Casey are ripe for analysis beyond historical/new historical readings that examine them in light of Irish nationalism, I am seeking abstracts for a possible panel on O'Casey for the Louisville Conference on Literature and Culture since 1900 (http://www.thelouisvilleconference.com/) on February 22-24, 2018. O'Casey's work, both that which focuses on the years just before and after Irish independence and that written during his years in England, offers varied resources for scholarship from the perspectives of colonialism/postcolonialism, Marxist theory, and gender analysis.
In light of expanding literary theories contributing to a better understanding of emotions and affects in literary texts, this panel will provide participants with an opportunity to discuss various new and important perspectives on the representation of emotions in Italian literature and art.
Proposals that analyze early modern through contemporary Italian literary production are welcome. We seek papers exploring the manner in which writers convey emotions to their readers, to the literary community of their day and, to their society at large.
HIGH MODERNS: LOW ART
This panel at SAMLA 89 welcomes papers about any British modernist author(s) and how art is depicted/utilized in their work. The goal is to examine from diverse perspectives how the “high art” of the modernists utilizes art, low or otherwise, textually. Paper proposals addressing the SAMLA 89 theme of "High Art/Low Art: Borders and Boundaries in Popular Culture" are especially welcome, and should be a good fit for the session. By June 30, please submit a 250-word abstract, brief bio, and A/V requirements to Joanna Pierce, Mars Hill University, at email@example.com.
Please consider submitting a paper proposal to the panel "Marginally Modernist" for NeMLA's upcoming conference in Pittsburgh, PA, April 12-15, 2018 (description below).
Submit your 300-word paper abstract directly to the NeMLA website:
This panel seeks papers that address the disruptive role of clothes along with the possibility they provide the individual or a group to challenge a super-imposed set of rules and to create discontinuity within their community.
The purpose of this panel is to shed light on the many functions of clothes in literature and cinema but not only, and on how clothing and garments can become symbols of individual power and redemption. Throughout what they choose to wear or not to wear, men and women send a clear message against the passive acceptance of injustices and prevarications. Moreover, clothes may represent the ability for the subject to denounce the establishment and to assert their freedom and individuality.
This panel examines the imbrication of the avant-garde with mass-produced art in order to discern the relationships between the proliferation of images and capitalism in the advent of modern visual culture. Imitating the shock value of advertising, the avant-gardists appeal to the eye of the viewer to gain visibility in the domains of art and draw the consumer’s attention to its product, thereby revealing the profit-oriented motives of marketplace exchanges. Immaterialities such as images are thus transformed into commodities that blend high and low aesthetic genres that participate in the consumer society.
This panel explores the sense of place as part of the indigenous language of American artistic production of Modernism in the context of the European avant-garde. Though U.S. poets and artists were influenced by the formal techniques of Cubism, Futurism, Expressionism, Dadaism and Surrealism, they were also determined to search for the essence of an expressive language that defined its authenticity as opposed to European foreignness. One of their avenues of research was the exploration of the distinctive features of the American soil as a means of contributing novel aspects to modern aesthetics. The genuine character of the environment is closely linked to the strong attachment to rural or urban spaces and the value they acquire for the observer.