This seminar/workshop seeks to spark a critical conversation about how historical subjects and historical texts within the African Diaspora get re-fashioned, re-animated, and re-articulated, as well as parodied, nostalgized, and defamiliarized, to establish an afterlife for African Atlantic identities and narratives. Participants will consider how—as transnational and transhistorical sites of memory—particular performances (textual, visual, or embodied) circulate and imagine anew the meaning of prior personal and textual narratives liberated from their originary context.
We seek essays that explore the intersection of literature and politics. This session is open topic. The deadline has been extended to April 6.
Share Your Best Practices with Colleagues Across the Disciplines and Around the World
The focus of our Fall issue speaks to a common problem on most college campuses today: "How Students Think (or not): Engaging the Disengaged."
Whether you're a new or a seasoned faculty member, your voice can make a difference in the success of your fellow-faculty as well as your students. The Atrium seeks your reflections of challenges and successes in your classroom. Our journal invites you to submit
• innovative, creative, and critical narrative essays
• research-based articles across the disciplines
• book reviews and website reviews
albeit invites scholarly articles, detailed lesson plans, book reviews, creative pieces, and nonfiction essays exploring the theme of "War."
Topics for this issue can include, but are not limited to:
Our panel explores the various temporalities at play within the binary realms of childhood and adulthood with the aim of rethinking its teleology of 'growing up' from temporal perspectives.
Interested panelists should submit a brief bio (50-100 words) and an abstract (250-300 words) to email@example.com by April 20, 2015.
Southern Humanities Council Conference
The Brown Hotel, Louisville, KY
January 28-January 31, 2016
"Public Bodies, Private Spaces: Private Bodies, Public Spaces"
From the early decades of the twentieth century the concept of 'revolution' has provided modernism with a powerful historical imaginary of rupture and change, encompassing phenomena ranging from overtly political manifestos through to radical challenges to established aesthetic forms and prevailing critical frameworks. Taking our cue from this year's MSA theme, this session seeks to rethink modernism's broader relationship to categories and modes of the historical. We invite papers that both broaden and complicate current understandings of the interrelation between conceptions of history and modernist artistic practice.
Othello's Island 2016
The 4th Annual Multidisciplinary Conference of Medieval and Renaissance Studies held at the Severis Foundation, Nicosia, Cyprus, March 2016
Professor James Fitzmaurice, Emeritus Professor of English (Northern Arizona University) and Director of Distance Learning in English (University of Sheffield)
Professor Lisa Hopkins, Professor of English Literature (Sheffield Hallam University)
Dr Sarah James, Senior Lecturer, University of Kent, School of English
Dr Michael Paraskos, Cornaro Institute, Cyprus
Benedict Read FSA, Research Fellow, University of Leeds School of Fine Art
About the Conference:
WSQ, Call for Papers: Special Issue
Amin Ghaziani, Associate Professor of Sociology, University of British Columbia
Matt Brim, Associate Professor of Queer Studies, College of Staten Island, CUNY
Queer Studies is experiencing a methodological renaissance. In both the humanities and the social sciences, scholars have begun to identify research protocols and practices that have been largely overshadowed by advances in queer theory. The fall 2013 "Queer Method" conference organized by Heather Love at the University of Pennsylvania indexed this shift toward methods by reframing the question "what is queer theory?" to "how is the work of queer theory done?"
For all its many urban topographies, the literary landscape of modernism contains a startling array of greens, from public and national parks to vacant lots, suburban gardens, and botanic displays. In drawing from recent interactions between environmental criticism and modernist studies, we propose that thinking with and through planned greens leads to a more complex understanding of modernismâs tangled engagements with arts, social protest, material culture, bodies, and the nature-culture divide. What new haptic, scopic or visual modes of experience were enabled when modernism entered the green? How were gendered and sexualized bodies redistributed? How was imperial ideology grafted together with colonial aspirations?