The nineteenth century has long been understood as an era of industrial growth, scientific discovery, technological innovation, and imperial expansion. Such sweeping global transformations relied on a complex web of relations between humans and machines, individuals and systems, ideas and practices, as well as more efficient and frequent movement across increasingly connected networks of space. From railroad travel to advances in shipping, from the movement of immigrants, enslaved laborers, scientists and colonial settlers, to the circulation of ideas, bodies, and/as commodities, nineteenth-century mobilities challenged and reconfigured the very constitution of subjects, nations, and cultures across the globe.
I'm writing to invite you to submit proposals for a collection of essays that is tentatively titled The Good Life and the Greater Good in a Global Context. Please take a look at the brief description of the topic, its rationale, and research questions below. Feel free to add any other comments and questions and let me know if you are interested in contributing. My own essay examines the transnational dimensions of "that moral-intimate-economic thing called 'the good life'" (Berlant 2) as theorized by cultural critic Lauren Berlant and imagined by Pakistani novelist Mohsin Hamid in his latest novel, How to Get Filthy Rich in Rising Asia (2012).
International Conference - CALL FOR PAPERS
"UNCERTAIN SPACES: Virtual Configurations in Contemporary Art and Museums"
31 October | 1 November 2014, Calouste Gulbenkian Foundation, Lisbon, Portugal
Over the past decades, and especially since the generalization of the Internet, artists have been actively exploring the potentialities of new media languages and communities, often blurring artistic categories. Movements like Digital Art or Internet Art clearly demonstrate how these technological means came to shape challenging new territories for contemporary art, not only in terms of creation, reception and participation, but also regarding its preservation, collection, curatorship or exhibition.
Scenarios for the apocalypse seem to proliferate in popular culture. John R. Hall believes that numerous examples suggest that "an apocalyptic mood is no longer confined to cultures of religious fundamentalism" but is also demonstrated in "diverse mainstream apocalyptic references" (1). In the media, the apocalypse generates news headlines; in October 2013, the Sydney Morning Herald reported that scientists had found "evidence of an apocalypse on a planetary system similar to our own" (von Radowitz). In 2012, the belief that the end of the Mayan calendar on 21 December would mean the end of the world triggered thousands of blog posts. A poll of 16,000 adults showed 8 per cent suffered genuine anxiety that the world would end on that day.
Kaleidoscope is a peer-reviewed, interdisciplinary journal edited by postgraduate researchers at Durham University. A key feature of Kaleidoscope is that it embodies and connects diverse subject areas in a single publication, whether in the Arts and Humanities, the Sciences, or the Social Sciences.
Both science fiction and postcolonial theory are concerned with troubling normative understandings of movement, diaspora, and hybridity. Indeed, "The Stranger in the Strange Land" is an oppositional trope that is at the heart of both science fiction and historical colonial encounters. The other-worldliness and futurity of science fiction has offered numerous writers an effective (and increasingly popular) medium to critique political, social, and cultural issues, and in many ways presents an ideal literary landscape to interrogate the colonial enterprise. Even so, there is a relative lack of postcolonial voices in the mainstream SF genre. What accounts for this silence?
With the referendum for Scottish Independence scheduled for September 2014 and the Cornish having recently been granted minority status, questions about the dis-unity of the 'United' Kingdom are prominent in the contemporary debate regarding nationalism and regional identity. Regional Gothic will explore these fractures and the darker imaginings that come from the regions of Britain.
Venue: Falmouth University, Cornwall
William Hughes, Bath Spa University
Andy Smith, University of Sheffield
21 November 2014
Bankstown Campus, University of Western Sydney, Australia
Keynote Speaker: Prof. Brian Boyd (University of Auckland)
author of 'Why Lyrics Last', 'On the Origins of Stories', 'Vladimir Nabokov: The Russian Years' and 'Vladimir Nabokov: The American Years'.
The modernists were the most temporally-aware of artists. The innovations of Woolf, Mann and Joyce were focused on time: its elasticity, manipulability and centrality to human experience.
Are we what we eat? One's relationship to food is closely intertwined with many aspects of one's identity including ethnicity, social class, and gender, among others. Our perception of food production, preparation and consumption practices tends to influence how we see the people who are implicated in those practices. This session will consider, through the lens of food, works created by French and Francophone authors. The session will encourage reflection on how those artists are able to address questions of identity, assimilation, marginalization, and agency using food imagery.
VISUAL REPRESENTATIONS OF SCHOLARLY WORK
Intersections of Text, Image, and Research
SAMLA 86 Poster Session
Atlanta Marriott Buckhead Hotel and Conference Center
This panel seeks papers that focus on the representations of the city in the literature of the Arab Uprising and in all contemporary Arab women's writings, both fictional and non-fictional: travel narratives, autobiographies, memoirs, testimonials, etc. Possible topics include but are not limited to: rebel cities, Utopian cities, cities at war, cities of exile, foreign cities, World capitals, literary capitals, sacred cities.
Please submit your abstracts to Rania Said through the NeMLA website.
Second Call for Papers
(Open, Non-Thematic Issue)
[sic] – a journal of literature, culture and literary translation invites submissions for the upcoming 9th issue. We accept:
- original research papers: up to 9,000 words, including references and footnotes
- reviews and interviews: up to 2,000 words
- translations of literary texts: up to 9,000 words
- video essays (max 50 MB) – video submissions are welcome from all fields within the journal's focus