Hawthorne and Influence: Spenser, Shakespeare, Milton, and the Romantics
Panel Title: Dystopia and Race in Contemporary American Literature.
This panel is sponsored by College English Association (CEA).
Chapter proposals are invited for an edited volume on ecofeminist literary criticism titled Literature and Ecofeminism. Contributions covering a range of literary forms from diverse cultures and national traditions are welcome. Interested authors should send a 300-word abstract, 200-word biography, and sample of a previously published chapter or article to firstname.lastname@example.org by April 1, 2015. Proposers will be notified about whether their submissions are accepted for the book by April 15, 2015. For accepted proposals first drafts of full chapters (8,000 – 9,000 words) are due by September 1, 2015, and final versions are due November 1, 2015.
Non-guaranteed Special Session proposed for the 131 annual MLA Conference
In the preface to his Collected Poems, 1945, Robert Graves states: "I write poems for poets, and satires or grotesques for wits. For people in general I write prose, and am content that they should be unaware that I do anything else. To write poems for other than poets is wasteful."
These views reflect Graves's lifelong preoccupation with the complex question of a reading public—for whom should a writer write, and how does the notion of a reading public (even if only an idealized meta-public) inform an author's creative vision, the sense of his or her vocation and relationship to history.
Call for Papers
Roots and Routes: The Twenty-First-Century Southern Novel
Guest Editor: Christopher Lloyd
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.
MSA 17: Hearing Voices
How do we hear poetic voice? How do poems reflect and respond to language as spoken and heard? Moving beyond habitual equations of voice with sincerity, what perspectives might we bring to bear on the phenomenon of hearing and the idea of voice in the poetry of modernism and after?
This panel explores SAMLA 87's theme of "literature and the other arts" through the unique dynamic of word-image interaction situated in the poet-artist collaboration. Paper proposals addressing poet-artist collaborations found in book arts, broadside printings, and museum/site-specific installations and exhibits are welcome. By May 15, 2015, please submit a 300-word abstract, brief bio, and A/V requirements to Anne Keefe, University of North Texas, at email@example.com.
What do the works of John Gower have to say about systems in the twenty-first century?
The pluralistic, sophisticated and technocrazy nature of contemporary existence has blurred concepts like marginality and minority that are inherent in human existence. Because technology seems to have melted several existential boundaries, and because theories of global citizenry give the impression of free access to movement, the sense of being marginal is almost waning. However, the network of global philosophy and technological connectivity are themselves apparent mechanisms of marginalization especially in the postcolonial context. Postcolonial theorists, intellectuals and writers have taken the intellectual, political and moral authority to challenge representational claims made by dominant Western/imperial cultures.