Lewis University, Romeoville, Illinois, July 30 - August 2, 2019
With a focus at once sharp and wide, Gothic Terror, Gothic Horror will stimulate an eclectic and inclusive conversation about the essence of the Gothic.
We invite the submission of abstracts that explore the conference theme. We welcome proposed panels of three related papers. Since this IGA conference is the first to be held in the United States, we encourage proposals that consider the theme in relation to the American Gothic.
Chair and Organizer: Dewey W. Hall (California State Polytechnic University, Pomona)
The Parthenon Sculptures have long been a source of disparagement and fascination, especially since their arrival in London as early as 1803. Prior to that year, Thomas Bruce, seventh Earl of Elgin, procured a collection now housed in the British Museum as the Elgin Marbles, intensifying a transformation in which materiality of the marbles has been infused with seemingly vital force through an after-life of aesthetic representation. Whether through drawings, paintings, or poetry, the Elgin Marbles as objects have animated their subjects—pensive in gaze—to motivate, in effect, proliferation through aesthetic production.
This panel seeks proposals on theater and performance of the long eighteenth-century, especially those that address the theme of perspective. Essays might consider the way that perspective functioned thematically in plays and other public performances, such as opera, dance, and music, and the ways that perspective (e.g., perspective scenery) affected the material conditions of performance. What perspectives did eighteenth-century audiences have on theater and performance? How did these perspectives in the public discourse shape the drama and performances of the period, and how was eighteenth-century society shaped by these cultural institutions?
The paper submission deadline for SCSECS 2019 has been extended to Friday, December 14. A full list of panels can be found at scsecs.net. Please submit abstracts directly to the panel chair. If you don't see a panel that fits your paper idea, you can submit a proposal to conference co-organizer Ashley Bender at email@example.com.
JANE AUSTEN UPSIDE DOWN
A special issue of Persuasions On-Line
Beginning with the pamphlet wars during the Restoration and ending with authors serving as critics to one anothers’ writings in the Romantic period, the eighteenth century was rife was debates about how to define and identify good literature. Authors such as John Dryden, Alexander Pope, Thomas Gray, William Wordsworth, and many others served as adjudicators of good literature by chastising others’ work in their prefaces, poetry, pamphlets, and mock epics. Theater history and book history however, tells us that some of the works of these dunces were widely popular and important in their own right—regardless of how derided they were by their peers.
This year (2018) the Bronte Society, centres of Victorian Studies as well as Literature departments across the Anglophone world are commemorating the bicentenary of Emily Bronte's birth with several conferences and events. The three Bronte sisters, Charlotte, Emily and Anne, were born in Yorkshire between 1816 and 1820. They all died young, with the longest survivor, Charlotte, passing away in 1855, possibly from tuberculosis (like her sisters) or typhus. However, in their short literary life, the sisters published one volume of poetry and seven novels – many of them as the Bells – which have ensured their presence and influence in the English literary sphere to this day.
For at least the last half-century, theories of Blackness have challenged the foundations of modern critical thought. Theorists such as Fred Moten, Jared Sexton, Christina Sharpe, Hortense Spillers, Alexander Weheliye, Frank Wilderson, Achille Mbembe, and Sylvia Wynter variously interrogate the politics, discourse, and materialities of the imperial, capitalist experience of slavery (and its afterlife). One important avenue of consideration is how this perverse institution undermined possibilities for the Enlightenment subject not simply for those of African descent but for all people complicit in the imperial project.