The veil's ancient and modern history and its resurgence in our time is an important subject for discussion for those of us posing new questions about women and Islam in literature, film, and fine arts. In Europe and the U.S., the veil is often presented through errors of conceptualizations. The frequent and numerous discussions on the veil's role and function prove that the media, in particular, seems to be obsessed with it. Recurrently, these discussions run along essentialist and ahistorical lines associating Islam with the ideology of shame and honor. Moreover, the Muslim immigrant "problem" in Europe and the U.S. and the fear of Islam and Muslims in connection with terrorism has heightened the controversy on the issue of the veil.
16th Annual Craft Critique Culture Graduate Conference
April 8-9, 2016
University of Iowa
CRAFT CRITIQUE CULTURE is an interdisciplinary conference focusing on the intersections of critical and creative approaches to writing both within and beyond the academy. This year's conference will encourage an examination of the "inter" of interdisciplinary—as well as the construction and deconstruction of boundaries between and within academic, public, private, personal, critical, and creative discourses—through an inquiry into bridging divides.
This seminar seeks to examine the representation of violence, in its public and private manifestations, in contemporary European cinema. Brutality, cruelty, and aggressiveness permeate not only the lives of victims of war (as in Grbavica , Caché , etc.), of totalitarian regimes (4 luni, 3 saptamani si 2 zile , etc.), or of crime syndicates (Gomorrah , etc.), but also that of the ordinary individual confronted with racial and ethnic injustice, poverty, or familial conflict (Gegen die Wand , Lilja 4-ever , L'enfant , Entre les murs , Fish Tank , La Pianiste , Pozitia copilului , Leviafan , Urok , etc.).
Whether seen in signs and portents, or read in grimoires or magic books, the occult in the premodern world is both marveled at and feared. A significant amount of the description of occult and sorcerous activity, however, also functions as political commentary, whether as direct criticism of secular current events or as a voice or conceptual space for the spiritual "other" in medieval society.
"Foodies consider food to be an art, on a level with painting or drama" (The Official Foodie Handbook, Paul Levy, Ann Barr, 1984).
From the kitchen to the classroom, the preeminence of food has brought gastronomy to the forefront of mainstream culture as well as academic conversation. Devoid of the irony that may have once infused the Handbook statement, food is, and has always been, indeed 'an art, on a level with painting or drama.'
We invite abstracts from all academic disciplines that address the following themes or other related areas:
Encyclopedia of Spanish Literature Film Adaptations
This panel seeks to explore representations of futuristic cities from all periods in American literature, film, and other cultural mediums. In particular, it seeks papers responding to one or more of the following questions: In what ways have American writers and filmmakers envisioned future urban landscapes? In what ways have these visions changed over the course of American history and why? How have urban theorists, critics, and reformers as well as particular ideologies (Christian, technocratic, socialist, libertarian, environmentalist, etc.) shaped them? In what ways do the past and present (or the erasure of the past and/or present) affect their depictions?
47th Annual Convention of the Northeast Modern Language Association (NeMLA)
Hartford, Connecticut, USA
17 March - 20 March 2016
SUBMISSION DEADLINE: Sept. 30, 2015
This panel calls for papers that stake a claim in the cultural significance of representing alcohol or alcohol consumption. How do these representations relate to alcoholism as a disease and the alcoholic as an identity category? Does the text evaluate alcohol abuse morally or politically? Do communities organized around alcohol consumption facilitate social movements based on class, race, sexuality, or gender?
Worlding and sexual difference are generative forces that imply a process of appearance and concealment. For Martin Heidegger, worlding is the process by which something becomes unconcealed through its passing from earth to world. This aesthetic and phenomenological passing is constituted by strife. For Luce Irigaray, sexual difference is that which remains concealed through patriarchy. For psychoanalysis, sexual difference responds to the specular logic of sameness and is produced by the resolution of the castration complex. Elizabeth Grosz, on the other hand, understands sexual difference as irreducible to all humans insofar as human reproduction is only possible through the encounter of two gametes.