|
a service provided by www.english.upenn.edu |
FAQ changelog |
Creative Writing, Editing and Publishing / Cultural Studies and Media StudiesChair(s)
Mary Buchinger Bodwell (MCPHS University)
Abstract
Subject: Call for Papers: Creative Writing: Poetry and Fiction at CEA 2018
Call for Papers, Creative Writing: Fiction and Poetry at CEA 2018
April 5-7, 2018 | St. Petersburg, Florida
Hilton St. Petersburg Bayfront
333 1st St South, Saint Petersburg, Florida 33701 | Phone: (727) 894-5000
The College English Association, a gathering of scholar-teachers in English studies, welcomes proposals for presentations on fiction and poetry for our 49th annual conference. Submit your proposal at http://www.cea-web.org
CALL FOR SUBMISSIONS
New Texas Journal
Sul Ross State University
Alpine, Texas 79832
•Now Accepting: Poetry, fiction, articles, critical and creative non-fiction,
photography and multimedia published on-line at
newtexassulross.org and in a vibrant print soft-cover issue in Spring with selected
works.
•Complete works that have not been published elsewhere should be
submitted to Dr. Francine K. Richter at frichter@sulross.edu.
•Deadline for submission: December 1, 2017
•Submission guidelines: MLA format with cover letter, including a short
biography. No abstracts; only full-length presentations.
South Texas College’s publication Interstice is looking for Hispanic and Latino book reviews to incorporate in their upcoming 14th volume. Submissions are accepted by January 15, 2018.
The review must adhere to the following criteria.
In the Afterword to “Canicula di Anna” in Plainwater, Anne Carson asks the reader, “what is so terrible about stepping off the end of a story?” (88). “Stepping off the end of a story” might mean a variety of things; in this context, Carson points to a textual moment, the end, and our unwillingness to let it arrive and therefore accept our outsidership. We seek the end, the closure to the story, at the same time that we put it off, lingering along the edges of the cliff, knowing that the end means we will be cast out, dislocated at the moment of completion. We might seek other ways to fill the silence that follows the story, finding a means to perpetuate the story beyond its seeming departure: “Because you would always like to know a little more.
CALL FOR SUBMISSIONS 'Contemporary Dramatic Monologues’
(Dramatic monologue, also known as a persona poem, is a type of poetry
written in the form of a speech of an individual character. M.H.
Abrams notes the following three features of the dramatic monologue as
it applies to poetry
1.. A single person, who is patently not the poet, utters the speech
that makes up the whole of the poem, in a specific situation at a
critical moment
2. This person addresses and interacts with one or more other people;
but we know of the auditors' presence, and what they say and do, only
from clues in the discourse of the single speaker.
We are inviting submissions for December 2017 issue
of 'Literature Today'. Theme of our December 2017 issue is 'Escape'.
You can send us Poems, Short Stories, and One Act Plays on :
1. Escape from self.
2. Scape from society.
3. Escape from native place.
4. Escape from hope.
5. Escape from negative thoughts
6 Escape from values.
7. Any other relevant topic which explores the disassociation,
displacement, and angst of contemporary life
Submission Deadline: November 25, 2017
Call for Papers: Walt Whitman and the Press
Whitman Studies Association panel at the 29th annual conference of the American Literature Association (2018).
While his most famous crossdressing characters are women posing as men––including Rosalind from As You Like It, Twelfth Night’s Viola, and The Merchant of Venice’s Portia––William Shakespeare also twice imagines male characters posing as women: Falstaff in The Merry Wives of Windsor and the page playing Christopher Sly’s wife in The Taming of the Shrew. Male characters also pass (to varying degrees) as women in works by Sidney, Jonson, Middleton, Fletcher, and others. But while much has been made of the “squeaking” boy actors who played women’s parts on the early modern stage, very little critical attention has been paid to male characters wearing women’s weeds in early modern literature.
International Thomas Merton Society
at the
College English Association
49TH ANNUAL CONFERENCE
St. Petersburg, Florida, April 5-7, 2018
Call for Papers