RETHINKING THE HUMANITIES IN TWENTY-FIRST CENTURY AFRICA
This seminar will explore the uses and limits of dialectical thinking as a critical tool for contemporary humanistic inquiry. Engaging with a literary and philosophical tradition that is nothing else if not comparative, we argue for the persistent value in understanding textual oppositions, contradictions, and self-negations not as conceptual limitations, but as sites of productive restlessness.
ORGANIZATION: American Comparative Literature Association
CONTACT: Roberta Sabbath at Sabbath@unlv.nevada.edu
CALL FOR PAPERS OPEN/CLOSE DATE ON ACLA WEBSITE--ACLA.ORG: September 1-23, 2015
ANNUAL CONFERENCE LOCATION, DATE: Harvard University, March 17-20, 2016
PAPER SELECTION FOR SEMINAR PROPOSAL: End of September
SEMINAR ACCEPTANCE NOTIFICATION: October 2015
Sponsored by AVISTA
AVISTA Prize $200.
For Best original, well-researched and rigorous and best represents aspects of AVISTA's scholarly mission. All abstracts selected for the symposium will be eligible.
Medieval Graduate Student Symposium
The University of North Texas
March 3-4, 2016
"The Technical Details of Everyday Life"
"Behind the Scenes at a Medieval Entertainment"
Call for Papers
Topics from Any Discipline, Any Time-- Late Antique to Early Renaissance
Preference given to those that address the conference theme
The International Association for Robin Hood Studies (IARHS) is pleased to announce the creation of a new, peer-reviewed, open-access journal, The Bulletin of the International Association for Robin Hood Studies. The journal will be published bi-annually beginning in Spring 2016 and will be available on the IARHS' website, Robin Hood Scholars: IARHS on the Web: http://robinhoodscholars.blogspot.com/. Scholars are invited to send original research on any aspect of the Robin Hood tradition.
This seminar aims to focus attention on a segment of the English population that is often ignored or treated simplistically in scholarship on our period: the English Catholic community. Recent research by Gabriel Glickman, Alison Shell, and several other scholars has demonstrated that the Catholic community was active politically, socially, and artistically throughout the eighteenth century. This panel seeks papers from historians, art historians, literature scholars, and religion scholars on any subject related to the political or social activities or cultural productions of eighteenth-century English Catholics.
In the conclusion to her Christian Materiality (2011), Caroline Walker Bynum opens the door to an expansion of her discussion of medieval materiality and religion to Judaism and Islam: "Understanding the full materiality of Christian belief and practice," she says, "may help to clarify at least one of the ways [i.e., the material way] in which medieval Christianity (and, in certain aspects, its modern descendants) is similar to, yet differs from, its sister religions, Islam and Judaism" (273). This session proposes to go beyond Bynum's brief concluding survey, focusing specifically on the relationship between Judaism and Christianity.
It is generally accepted that there are few post-biblical Jewish women in medieval Christian art. When they are depicted, their Jewishness is usually unmarked; where they appear in narrative, they are often passive or eventual converts; they lack the anti-Jewish stereotypes so often associated with Jewish males. Sara Lipton has argued that this is partly because "the Jewess's femaleness trumped her Jewishness" ("Where are the Jewish Women?" in Dark Mirror, 2014). At the same time, Jewish women are ubiquitous in the legal and historical records of twelfth- and thirteenth-century England.
Doubles and doppelgangers abound in the Victorian Gothic novel and Miltonian readings have emphasized the inner monster as a nod to the period's desire to, in Tennyson's terms, "Move upward, working out the Beast, / And let the ape and tiger die" (In Memoriam). How does the trope of doubleness figure in other nineteenth-century contexts beyond the Gothic and its subterraneous influence?
The grief-stricken faces at Edward's deathbed in the Bayeux Tapestry; the ambiguous 'ofermod' in The Battle of Maldon; the body-crumpling anguish of the Virgin witnessing the Man of Sorrows; the mirth of the Green Knight; the apoplectic anger of the mystery plays' Herod and the visceral visionary experiences of Margery of Kempe all testify to the ways in which the medieval world sought to express, perform, idealise and understand emotion.