Modernism grew up alongside a range of revolutionary mind sciences. While modernism's engagements with what Nikolas Rose and Joelle Abi-Rached term the "psy disciplines"—including psychology, psychoanalysis, and psychiatry—have captivated literary critics for decades, recent critical inquiry has demonstrated how modernist texts inform or push against contemporary theories of cognition, including embodied and extended cognition. These approaches suggest that modernism's interest in subjectivity continues to inform and/or resist current scientific approaches to the mind.
The English department at the University of Bristol invites submissions for a 1-day conference to be held on the 29th of June, 2015, on the subject of 'Romanticism and the South-West'.
The conference aims to explore the importance of the South-West for Romantic writers, with a particular emphasis on the following topics:
1) ecologically aware writing and protoenvironmental thought;
2) the role of the South-West in an era of scientific development
3) the South-West as a centre for reform movements and radical politics, as well as a region connected to slavery and imperialism; and
4) Romantic afterlives in the South-West.
In 1963's The Machine in the Garden Leo Marx introduces the concept of technological pastoral, a space constructed to join modern industry to the ideals of rural harmony. While Marx's own historical reference point may have been the suburban "middle landscape," his notion of technological pastoral can lead into a more general understanding of how science has been mobilized in the pursuit of pastoral ideals. Examples of such mobilizations may range from ecosystem management and experiments with closed ecological systems (like biospheres) to theoretical applications such as terraforming. Virtual utopias may provide even another axis of analysis, as might some branches of bionics and bioengineering.
From 2014, ICOAH continues its momentum to capture the emerging areas in arts and humanities. Based on the theme, " Transformation Vs. Adaptation " the 2nd Annual International Conference on Arts and Humanities 2015 will use a keynote forum, paper sessions, an exhibition, an executive round table and a social networking dinner to explore new avenues and traditions in the arts and humanities.
The Midwest Modern Language Association invites proposals for the 2015 conference, which will take place in Columbus, OH, November 12-15, 2015.
Studies in Twentieth and Twenty-First Century Literature invites submissions for its next open issue, Winter 2016.
Founded in 1976, STTCL became an online, Open Access journal under the leadership of new editor Dr. Laura Kanost in 2014. It remains committed to publishing high quality, anonymously peer reviewed articles written in English on post-1900 literature in French, German, and Spanish. The journal is devoted to literary theory and criticism in the modern languages, and encourages interdisciplinary and collaborative submissions. All back issues have been digitized and are available at http://newprairiepress.org/sttcl/
This conference aims to explore the importance of the South West for Romantic writers, with a particular emphasis on the following topics:
- Ecologically aware writing and protoenvironmental thought;
-The role of the South West in an era of scientific development and discovery;
-The South West as a centre for reform movements and radical politics, as well as a region connected to slavery and imperialism;
-Romantic afterlives in the South West.
Please submit a 250-word proposal by 18 March to: firstname.lastname@example.org
2015 marks the thirty-year anniversary of the publication of Donna Haraway's "A Cyborg Manifesto." This groundbreaking essay has influenced a generation of scholars in diverse fields.
In "Tradition and the Practice of Poetry", T.S. Eliot states that "The perpetual task of poetry is to make all things new. Not necessarily to make new things." In a similar vein, in ABC of Reading, Ezra Pound famously argues that literature is "news that stays news". Years after its hey-day, how do we understand modernism's commitment to the "new"? From a contemporary standpoint, how has modernism's past been made new again? From W.B. Yeats' turning gyre, to Charlie Chaplin's persistent factory gears in Modern Times, we can gather that when it comes to modernism, "revolution" need not only mean change, but also the very cyclicality of change itself.