How does pedagogical strategizing work in teaching Global South Asian literatures in majority serving institutions located in areas where the student body is mostly white, or lacking in South Asian immigrant groups? How does South Asian literature find a place in general education core courses? What are some current practices and challenges that scholars of color specializing in and including South Asia as a text, experience in their classrooms? We are interested in sharing experiences on teaching, planning courses, writing curriculum development projects including South Asia centric courses both for the major and the general education classes that embrace the inclusion of literatures from the global South, especially from South Asia.
This call is for roundtable proposals for NEMLA's 2020 conference taking place in Boston.
Graduate programs are primarily configured to equip students with the tools to thrive within an economy of knowledge production, but such a pedagogical framework takes for granted the structural inclusion of opportunities for developing competencies that are corollary to academic skills. Many of these competencies—planning and organization, collaborative management, transparent communicativeness, fiscal accountability, conflict resolution, stress tolerance, tactful coaching and active mentorship, to name a few—are increasingly being valued as essential for workplace success and leadership.
While for many years, the literary canon was the province of “dead white men,” the past fifty years have dramatically altered that paradigm. Contemporary creative writers, too, would like their work to reflect the diversity and complexity of human experience in terms of race, gender, sexual identification, ethnicity, nationality, and culture. This panel invites creative writers of all genres, genders, races, sexual orientations, nationalities, cultures, etc., to consider the challenges of being more inclusive in their work. Some questions that will be considered: Is it possible to write from the perspectives of races, genders, etc., of whom one is not a representative?
This panel invites writers as well as literary scholars to address the question of political and literary engagement in our political age. In a political age, what happens to the novel or poem of interiority or introspection? Does literary material have to engage with the political? And if it doesn’t, can the political be read between its lines? What are the possibilities for creative work in an era that is increasingly in a state of emergency? Creative writers of all levels and genres are encouraged to explore these questions in the context of their own work. Paper proposals may be submitted on the NeMLA website. https://www.cfplist.com/nemla/User/SubmitAbstract/18240
Call for Chapters—Edited Volume
Unfurling Unflattening: Tracing Theoretical, Methodological, and Pedagogical Possibilities
Janine Utell, Widener University, Amanda O. Latz, Ball State University, Andrea Kantrowitz, SUNY at New Paltz, Editors
Despite an increasingly grim job market outlook, the humanities continues to produce PhDs in large numbers. Between 2007 and 2017, the number of available Assistant Professor positions in the field of English dropped from 879 to 320. During the same time period, the number of non-tenure-track positions increased from 21% to 34%. Yet in 2016, 5,500 doctorates were still awarded despite the massive post-2008 decrease in obtainable positions. As Vimal Patel wrote in a Chronicle article from September 2018, “The mirage has vanished.
Genre fiction (such as fantasy, sci-fi, suspense and mystery, thrillers, historical romance) has often been discouraged in creative-writing courses, even outlawed. However, in recent years, the popularity of genre fiction in the marketplace has challenged the boundaries of literary writing. This panel will consider some of the following questions: How do challenges to the traditional boundaries of genre impact the teaching of creative writing? How might fiction, drama, and even poetry address these challenges? How can the conventions and tropes of genre fiction be used fruitfully in literary writing? Both writers who work in or with particular genres and writers who have resisted the lure of genre are encouraged to share their work and ideas.
Since the development of the Iowa Writer’s Workshop at the University of Iowa in the 1930s, creative writing courses at both the undergraduate and graduate level have proliferated. In 2008, there were 156 MFA programs in Creative Writing in the U.S; in 2016 there were 244. This roundtable will consider the status of international creative writing courses and programs within the context of the evolving picture of higher education. Some questions to consider: What effects might the spread of online education have on creative-writing pedagogy? Is creative writing as a field sustainable? As higher education moves to encompass a variety of formats and economic models, how will creative writing courses have to evolve?
Print forms of poetry have traditionally been integral to writing and literature classes. However, for many students, especially those in first- or even second-year classes, the written word and the visual layout of poetic form can be foreign, even intimidating. This session will consider the possibilities offered by oral forms such as storytelling and spoken-word poetry. In addition to considering the pedagogical possibilities of oral performance, this session invites poets and storytellers to share their own original work.