electronic book review is currently seeking submissions for a new gathering on the theme of ‘Essayism’
“The logical outcome of fascism is an aestheticizing of political life,” writes Walter Benjamin in "The Work of Art in the Age of Its Technological Reproducibility," thus placing aesthetics at the center of the critical discourse on fascism. Employed in work as disparate as Klaus Theweleit’s Male Fantasies (1977/1987) and Erin Carlston’s Thinking Fascism (1995), Alice Kaplan’s Reproductions of Banality (1986) and Mark Christian Thompson’s Black Fascisms (2007), Benjamin’s concept has situated fascism as a historical and phenomenological phenomenon. Reproduced incessantly, this line of Benjamin’s refuses to resolve into a single tradition of thought, a crystallized image.
In explaining what inspired 1984, George Orwell wrote that what “frightens [him] much more than bombs” is imagining a future in which “some ruling clique controls not only the future but the past.” The retroactive curation of memory is an oft-undertaken project, practiced in ways as particular as the redaction of a text like Guantanamo Diary, and as absolute as the omission from history of the story told by Chester Himes’ If He Hollers Let Him Go, in which Robert Jones is punished for a crime he did not commit by being forced to enlist in the Army in order to fight, and likely die, in World War II.
One Writer’s Beginnings Reconsidered
2019 marks the 35th anniversary of Eudora Welty’s memoir One Writer’s Beginnings (Harvard UP, 1984). Loved and admired by a diverse readership, this book centers on the circumstances that sparked Welty's passion to become a writer. Originating from her presentations as inaugural speaker in Harvard’s Massey Lectures in American Studies (then the "Lectures in the History of American Civilization” ), the book chapters are based on her three lectures --“Listening,” “Learning to See,” and “Finding a Voice” --and they focus on Welty’s childhood and family life in Jackson, Mississippi.
Eudora Welty Society Call for Papers
In 1944, Eudora Welty remarked “if you click your camera at something, people from nowhere run up and ask ‘Why did you take that?’”
The motivational impulse, artistic composition, cultural context, and sociological importance of Welty’s photographs have all received scholarly attention since the 1971 first publication of her photobook One Time, One Place. Our 2019 ALA panel invites further new work on Welty’s photography. Proposals may include the relation of her photography to biography, literature, art history, to photographic technique, genre, and history, as well as to such topics as memory, location, and racial representation.
Special Issue (2019) of The Journal of Wyndham Lewis Studies ('Lewis and the Post-War, 1919-1921')
In his autobiography Blasting and Bombardiering (1937), Lewis memorably assessed the world in which he found himself on returning from the western front: 'We were all in the post-war, but that period produced nothing but a lot of sub-Sitwells and sheep in Woolfe’s clothing, and we were not of it. I call us here "the Men of 1914".' The Journal of Wyndham Lewis Studies seeks 7- to 10,000-word essays that engage with Lewis’s post-war writing, activities, and social networks. We are particularly interested in essays that:
‘Modernism and Multiple Temporalities’
The Second Annual International Conference of the Modernist Studies in Asia Network (MSIA)
12-14 September 2019
Aoyama Gakuin University, Tokyo
Confirmed Keynote Speakers
Prof. Laura Marcus (Oxford)
Prof. Douglas Mao (Johns Hopkins)
Prof. Aaron Gerow (Yale)
Call for Papers
International Conference on London Studies"Versions of Londonness"24 November, 2018 – London, UKorganised by London Centre for Interdisciplinary Research
Selected papers will be published in the post-conference e-Book.
Seminar at ACLA 2018, Georgetown University, Washington, DC, 7-10 March 2019
Co-organized by Thomas Berenato (Virginia) and Anna Svendsen (York) for the David Jones Research Center