Preoccupation with theories and practices of representation and othering, across the breadth of various genres and disciplines, has moved forward debates about positioning in research and modes of constructing and producing knowledge. In Meatless Days (1989), a vivid memoir of her girlhood in postcolonial Pakistan, Sara Suleri Goodyear deplores being regarded as an “otherness machine”—a concern Kwame Anthony Appiah (1991) shares in his famous critique of postcolonial literature, culture and critical studies. A host of scholars who tend to conflate the post-isms as such contend that postcolonial theory and praxis are embedded in Western institutions that shape the field.
Accounts of migration and displacement often focus on the bounded terrains of specific cities and the navigation of certain rooted sites, places of origin and/or destination. At the same time, cartographic and spatial terminology (e.g. “mapping,” “space,” “place,” “orientation”) are used in increasingly metaphorical ways, at the possible expense of more historical and/or materialist approaches to theorizing the global, the planetary, and the transnational. This panel invites contributors to examine the affective as well as material dimensions of being ‘in transit,’ the enabling condition of more familiar narrative tropes of exile, migration, travel and displacement.
Today, when political misinformation abounds, nationalism and Fascism have reappeared, and we find ourselves contending with ideology in simple, complex and covert forms, Sylvia Townsend Warner’s writing seems ever more relevant. In turns insightful, comic, cutting, and poignant, her texts ask what art is for, and how we might navigate personal relationships, social change, belief and the past. Warner has an acute sense of the relationship between material conditions and human consciousness, of place and the ordinary. This conference seeks papers that analyse her importance for studies of, among other possibilities, modernism, politics (specifically communism), gender and sexuality.
"Trajectories: Travel, Migration and Exile in Literature" – e-journal: TrOPICS, University of Reunion Island (France)
T(r)OPICS is an annual peer-reviewed open access e-journal publishing scholarly essays and book reviews from diverse fields of humanities including Literature, Arts, Cultural Studies, Language learning, Linguistics, Anthropology and Sociology. It is administered by the multidisciplinary research center DIRE (Displacement, Identity, Revision, Expression) at the University of Reunion Island, located in the South-West Indian Ocean.
Irish Media Culture in Transnational Contexts
Society for Cinema and Media Studies: Toronto, March 14–18, 2018
International Conference March 21-22, 2018
Migration Rights between Public Policy, Civil Society, and Discriminatory Representations: The Case of Morocco
DECORATING DISSIDENCE: MODERNISM, FEMINISM & THE ARTS
CALL FOR PAPERS
3rd-4th November 2017
Queen Mary, University of London
‘FOR ME, THERE IS NO GAP BETWEEN MY PAINTING AND MY SO-CALLED ‘DECORATIVE’ WORK. I NEVER CONSIDERED THE ‘MINOR ARTS’ TO BE ARTISTICALLY FRUSTRATING; ON THE CONTRARY, IT WAS AN EXTENSION OF MY ART.’
Decorating Dissidence takes an interdisciplinary and intersectional approach to the work of female artists, designers, and writers to reassess the place of domestic art, craft, and the decorative in modernism.
Simon Lewis and Giusi Russo, guest editors of the Journal of Commonwealth and Postcolonial Studies are seeking manuscript submissions for a special issue on post-colonial nostalgia to be published in the spring of 2019.
CONFERENCE ANNOUNCEMENT AND CALL FOR PAPERS
PRECARITY, POPULISM AND POST-TRUTH POLITICS
1-3 February 2018
Universidad de Córdoba, Spain
In collaboration with Shri Ramswaroop Memorial University, Lucknow, India
Rhizomes aims to promote a reflection on the intersection between handicraft, design and art productions in insular spaces, in the context of globalization and increasing transnational mobility. Attention will also be given to new mainland cultural constellations resulting from these artistic migrations.