According to the OED, the word tourism enters the English lexicon at the dawn of the nineteenth century, thus institutionalizing the notion that travel is a necessary component of personal development. As crowds of earnest bourgeois travelers displaced the solitary young aristocrat on the Grand Tour a vast body of literature concerned with both mundane and exalted facets of foreign places cropped up to fulfill a new set of needs. Owing to the diversity of places to which individuals traveled and the many different reasons for doing so, these needs were diverse and multiform.
22–24 July 2015
Conference Theme: 'London in Love'
Hosted by the Institute of English Studies, University of London
Confirmed Plenary Speakers:
Imtiaz Dharker (poet, artist and documentary film-maker)
Dr. Gregory Dart (University College London)
Professor Kate Flint (University of Southern California)
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 email@example.com 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?