Humor was the original scaffolding upon which American comic books were built. We have not historically called them “funny books” for nothing. Today, however, humor-based comics and graphic novels have been relatively marginalized by both scholars and contemporary readers alike. The focus of this special issue of Studies in American Humor, ser. 4, 4, no. 2 (October 2018), will be the comic side of comics, the funny that helped make the funnies. We are looking for essays that discuss graphic humor in periodicals from historical, thematic, and theoretical perspectives.
*NEW: deadline for proposals extended to May 26 2017*
Craft Modernism: an assembly
Sussex University, 15 June 2017
We cordially invite you to come and take part in a new type of collaborative event: an assembly of thinkers and of ideas.
We want to gather a group of scholars and practitioners who are interested in instances or representations of craft in modernist writing, visual art, and sound.
We are open to inventive interpretations of the terms ‘craft’ and ‘modernism’. We welcome creatively imagined short presentations that will introduce an image or excerpt that the presenter will ‘speak to,’ and explain the connection to craft.
New Visits to Camelot: Reflecting on the Contemporary Matter of Britain on Screen (Roundtable) (MAPACA Philadelphia 11/8-11/2017)
Call for Papers
New Visits to Camelot: Reflecting on the Contemporary Matter of Britain on Screen (Roundtable)
Proposals no later than 29 June 2017
Session sponsored by the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture
For inclusion under the Medieval & Renaissance Area at the 28th Annual Conference of the Mid-Atlantic Popular & American Culture Association, Philadelphia, Pennsylvania, 8-11 November 2017
This CFP invites papers dealing with fictional representations of outer space, intergalactic travel, and other worlds. This panel is particularly interested in discussing why some texts about outer space remain central within scholarly and popular discourse while others fade into obscurity. Does the value of intergalactic fiction derive from its scientific and technological realism and its ability to, according to Hugo Gernsback, inspire “scientific fact and prophetic vision”? Or, does the staying power of these speculative fictions come from their complex worldmaking and engagement with empire and colonization (as in Isaac Asimov’s Foundation series)? What determines whether we return to someone’s vision of life beyond the boundaries of Earth?
CALL FOR PAPERS: APOCALYPTIC TELEVISION
Embodied Philosophy is an online educational portal dedicated to Indian, Chinese, and Southeast Asian philosophies and practices. We are currently in the process of building a more robust writing faculty of scholars and scholar-practitioners to educate our growing audience on the nuances of Eastern thought, practice and the intersection between these modes of praxis and the contemporary cultural milieu.
Independent one-off submissions are welcome, however EP is seeking regular monthly (or bi-monthly) contributors. Compensation packages will be offered to those who are accepted as regular writing faculty.
Academic journal CULTURAL INTERTEXTS invites proposals of original articles for its 7th volume.
The editors will consider for publication papers which tackle, among others:
- discourse of literature. text, pretext and context;
- history and his story;
- women’s voices;
- memory and (re)writing;
- dialogism and intertextualities;
- writing games;
- politics in and of fiction;
- representations of identity;
- sociological imagination in literature;
- literature in and of the new media.
Percy's practice and thoughts on art - and the human experience - range from high to low, from immanence to transcendence. Was Percy's philosophy an abstracted high art and his fiction, a low art, for conveying the same message, but in the humble context of physical life? Percy's first novel, The Moviegoer, talked of the low art of movies (as they were considered during his time) as escape, but also serving a higher purpose of self-realization. He writes of the movie magazine as the "low slick." But the Moviegoer ends with the high art of the church, a conduit for the divine. Percy wrote of the orbit and re-entry of the artist, going from high to low.
SAMLA 89th Annual Conference:
High Art / Low Art: Borders and Boundaries in Popular Culture
Westin Peachtree Plaza, Atlanta GA
November 3-5, 2017
Panel Title: Carson McCullers’ High/Low Artistic Influences and Successors
RILEC 2017- Call For Entries