Call for Contributions to Edited Volume:
'Why Should This a Desert Be?'
Performing, Teaching, and Studying Shakespeare
in the Arabian Gulf
Contacts: Katherine Hennessey (Research Fellow, Global Shakespeare, University of Warwick/Queen Mary University of London) and James Lambert (Chair of the English Department, American University of Kuwait), email@example.com and firstname.lastname@example.org.
Call for Papers
Dealing With The Dead: Mortality and Community in Medieval and Early Modern Europe
Call for abstracts for chapters to be included in an upcoming volume on Death and culture in Medieval and Early Modern art, history, and culture.
In William Shakespeare and Thomas Middleton's problematic play Timon of Athens, the fate of Athens hangs in the balance as the eponymous character threatens the city with literal and figurative diseases from outside its walls. Timon thus embodies a nightmarishly pathogenic force, sending forth plagues and venereal diseases to "thatch your poor thin roofs/With burthens of the dead" (V.iii.143-145), even as the city's gates bar his physical entrance. Although Timon of Athens has traditionally been regarded as an anti-corruption allegory, the play thus presents fruitful opportunities for examination through the lens of quarantine and urban containment.
Love & the Word - AULLA Conference 2016
DEADLINE: Monday the 29th February 2016
Hosted by Victoria University, the Australasian Universities Languages & Literature Association Conference will be held in Melbourne, Australia from 7th-9th December 2016.
The conference theme draws on AULLA's origins as an association of scholars working in fields of philology. Thus we examine both philos (love) and logos (word). How does affection affect words? What do people mean by 'love' and its counterparts in the world's languages? Or perhaps: how does it 'do' those meanings?
Now accepting proposals for a panel on Second-Generation Cognitive Approaches to Literature at NeMLA 2016, to be held March 17-20, in Hartford, Connecticut.
The Sunflower Collective is looking for submissions. We celebrate the personal and the political - which we believe to be one and the same thing - in art.
We would like to mention at the outset that we are not interested in art that does not take risks. We do not mind if you have a degree but we are unlikely to be impressed by it. Nor do we care which journals have published your work before. All we are interested in is something that sings for itself without any props, something that grabs us by our throat and refuses to let go, something that shakes us out of our complacent stupor. Give us something hungry, not bellyful; something beat, if you get our drift.
Papers are invited for the Volume 3, Issue 2 of the Global Journal of English Language and Literature (ISSN 2320-4397) to be published in August 2015. The forthcoming issue will be an Open Issue. The journal features densely theoretical and analytical writings that focus on various aspects of English Studies which address/approach the research problems with methods of and insights borrowed from multiple established disciplines. Accepted papers will be published after peer-review process. This is an online electronic journal and there will be no hard copy of the issues. There are no publication fees or handling charges. The last date for submission is 10th August, 2015.
This panel seeks to explore the category of disability as something that is perceived and performed in the visual sphere. Papers might include discussions of voyeurism, spectacles and spectatorship, self-fashioning, visual art, undetectable or ambiguous disability, the body as evidence, erasure and exposure, sensory impairment, perception and interpretation, and questions of legibility and truth. Open to scholars working in any geographical region or period.
Please submit abstracts up to 300 words with a short (1-2 sentence) bio. DO NOT EMAIL YOUR ABSTRACT. You must go through the NeMLA site:
Devils are everywhere in medieval literature, disturbing, challenging, and violating conventional spatio-temporal constraints as they move freely between worlds in order to torment the holy, spread disease, and tempt good Christians by making sin seem sweet. They appear as enchanters, tempters, playful tricksters, masked tormentors, terrifying beasts, mankind's lawyerly accusers, and on occasion, as sympathetic figures who happened to be on the losing side of a cosmic war. Although much has been written about how devils are staged, their appearance, and their interaction with those they torment, very little has been written about what devils actually say. How do devils represent themselves and their spaces of punishment?