Papers are welcome on any Slavic language, literature or culture, including film and comparative literature topics. By June 15, 2013, please send abstract (or enquiry for more information) to Karen Rosneck, University of Wisconsin-Madison (firstname.lastname@example.org)
International Vocal Arts Workshop, Jeunesses Musicales Croatia
Symposium: Grožnjan, Croatia, 22 June 2013
Papers: submit abstracts of up to 300 words to email@example.com by 20 May 2013.
Reflections: submit discussion topics to firstname.lastname@example.org by 10 June 2013
(including Workshop participants)
Playing in Time: Temporality in Performance and Performing Arts
In Hip Hop Wars, Tricia Rose argues that, "Hip Hop has become a primary means by which we talk about race in the United States." Rose's insight delves into the historical evolution of the genre and the sociological progression of the movement called Hip Hop. More importantly, Rose's inquiry of Hip Hop admits that Hip Hop has become an important apparatus by which critics, scholars, and artists can engage and examine the American social, personal, public, and private landscapes.
Entangled Children: Technology, Media-Enhancement, and Storytelling in Children's Culture
CALL FOR PAPERS
Early African American Children's Literature
An anthology of original essays
'Modern' Indian theatre is fashioned by western as well as indigenous theatrical traditions. This theatre as we know it is also urban, having evolved from its early avatars in 19th century Bombay and Kolkata, to the multifaceted, national and postcolonial construct that it is today. Current ideas of the 'modern' and 'modernity' become more complex and throw up remarkably challenging questions when looked at through the prism of Indian theatre and theatre criticism. It is difficult to define 'modern' Indian theatre as a discipline with specific inbuilt notions of modernity that renders it significantly different from its earlier phases.
Chairpersons of the 2012-2014 SAMLA 9/11 and Literature special sessions seek high quality, previously unpublished submissions to supplement a strong collection of essays emerging from the 2012 and 2013 annual SAMLA conventions, entitled New Narratives of Disaster and Crisis: Reflecting on 9/11in the Obama Era. The aim of this collection is to open discussion on a new wave of cultural response to 9/11 and we invite scholarly essays (6,000-7,000 words) on topics relating to the newer representations and/or interpretations of 9/11, including both visual and literary texts. These representations have moved beyond the commemorative and heroic becoming increasingly reflexive and politicized.
When the eponymous Sweet Charity (1966) realizes somebody loves her, not only does the scene shift from dialogue into song, but she, self-reflexively, acknowledges the largeness of her emotional response, singing, "Now I'm a brass band," conjuring an ensemble of dancers, and proceeding to sing and dance in celebration. Such moments in musical theatre are at the heart of the form's appeal for many spectators (including but not limited to bullied, closeted, or marginalized spectators), allowing them to vicariously live large, and loud, for the duration of the musical, and sometimes beyond.