Women’s corpses, such as those of Snow White or Ophelia, are often depicted as a beautiful and passive objects, which has led scholars to posit cultural reflections concerning tacit assumptions in the link between femininity and death. In relation to modern literature and art, scholars such as Elizabeth Bronfen (Over Her Dead Body), Elizabeth Grosz (Volatile Bodies), Sarah Goodwin (Death and Representation) argue that dead women are an nexus of morbidity, alterity, and beauty that unconsciously encapsulates the anxiety of the inexpressible event of death, and, as such, dead women are given the value of the “other” in the most macabre fashion.
Mash-up: “a mixture or fusion of disparate elements” (OED)
CFP for the 51st Annual NEMLA Conference in Boston, Massachusetts, March 5 - 8, 2019
The peer-reviewed e-journal Otherness: Essays and Studies is now accepting submissions for its next general issue, 7.3, forthcoming Winter 2019.
Otherness: Essays and Studies publishes research articles from and across different scholarly disciplines that examine, in as many ways as possible, the concepts of otherness and alterity. We particularly appreciate dynamic cross-disciplinary study.
The Soviet director Sergei Eisenstein initiated what has become a very long and multifaceted conversation about James Joyce in relation to film. He was the first director to contemplate an adaptation of Ulysses, for instance, and the only one to discuss such a project with the author himself. Although that adaptation project never came to fruition, Eisenstein was the first film theorist who used Ulysses and Finnegans Wake as reference points to describe how film worked and how it might continue to evolve in the future. He was also the first filmmaker to apply these concepts in practice.
Margaret Atwood is a world-renowned Canadian writer. Her identity as a Canadian is important to her and is reflected in her work, especially her earlier work. However, she is a well-travelled person as well and her works don't all take place in Canada. Over the years, she has set her work in urban, suburban and rural locations around Canada but also in the Caribbean and, in The Handmaid's Tale, in the Boston area. This panel would look at Atwood's various settings. How does she use place to reflect or cause either the comfort or the alienation of her characters? Why did she choose to set her first dystopian novel in Cambridge rather than in her home city of Toronto?
Theorizing Transmediality in its Transnational Contexts
Panel Co-Directors: Leonardo Nole’ and Joseph Boisvere (Graduate Center, CUNY)
Horror films have long held a place in cinematic history as an expression of the monstrous, the un-nameable, and the unknown. They are a powerful point of catharsis in which viewers see their deepest fears played out onscreen, whether the threat is fully embodied or less concretely defined. As a result, grief and loss have always figured heavily in this genre.
“Transsexualité, transidentité: un tabou français?” (“Transsexuality, transidentity: a French taboo?”): such was the title chosen by the online French news magazine France Info for an article published in 2015that discussed the lack of visibility trans(gender/sexual) people still experience in French society. Indeed, there has been an increasing visibility of trans individuals in film and TV in recent years.
2019 SituationsInternational Conference
Ethnicity, Race and Racism in Asia
School of the Humanities, Nanyang Technological University, Singapore
24 October-26 October 2019
Chua Beng Huat(National U of Singapore)
Sacrificing Cosmopolitanism for the Postcolonial Nation
Meaghan Morris (U of Sydney)
On "right-wing" identity politics: reflections between Australia and Hong Kong
Stephen C. K Chan (Lingnan U)