Aristotle in his Poetics outlines his theory of tragedy and gives readers a framework for assessing and understanding the genre; his treatise providing the equivalent analysis of comedy has sadly been lost, and as a result, it is difficult to find a unified theory of ancient comedy. Perhaps the closest we have is Democritus' statement that "Laughter is a complete conception of the world." Centuries later, Bakhtin would elaborate upon this sentiment by claiming that the carnivalesque comedy allows for dialogue between multiple genres and voices in order to create a world in which societal structures are upended.
CFP: Children in Popular Culture
The British Commonwealth and Postcolonial Studies Conference, inaugurated in 1992, is the oldest and longest-running annual meeting of its kind in the United States. It encompasses colonial and postcolonial histories, literatures, creative and performing arts, politics, economics, and all other aspects of the countries formerly colonized by Britain and other European powers.
We welcome a variety of approaches and viewpoints, and the generation of wide-ranging, productive debates. Thus we are particularly interested in interdisciplinary and/or cross-cultural panel proposals.
1816: Revisiting the "Year without a Summer"
Northeast Modern Languages Association Annual Conference
March 17-20, 2016
DEADLINE: 31 JANUARY 2016
Medieval drama taught its audiences not only about virtuous living but, more importantly, a good death and a joyful afterlife. Miracle plays re-played the most significant and most spectacular deaths known from the Gospels, while morality plays, such as Everyman, imagined the act of dying and the prospects for posthumous happiness of their main characters.
Ever since the early days of British occupation of Australia, there has been a major concern in finding a balance between the colonial ways of looking to the land and the difficulty, if not impossibility, of dealing with the vastness of the Australian territory and the diversity of its native peoples. Such tensions, far from being resolved, have created a literary and filmic system which reflects the multiplicity of approaches and constructions of Australian land and culture and whose examples, unfortunately, do not reach the non-English-speaking world as they should.
In her recent study, The Forms of the Affects (2014), Eugenie Brinkema announces, "We may well be at the beginning of what will eventually be called the twenty-first century 'return to form' in the humanities" (39). Brinkema marks MLQ's special issue, "Reading for Form" (2000), which was later published as a collection of essays under the same name (2006), both edited by Susan J. Wolfson and Marshall Brown, as the beginning of this return to form. Meredith Martin's The Rise and Fall of Meter: Poetry and English National Culture, 1860-1930 (2012) and Derek Attridge's Moving Words: Forms of English Poetry (2013), to name only two of the many recent publications that address form, seem to support Brinkema's claim.