Call for Contributors: Encyclopedia of Asian American Culture
Make Believe: Fact, Fiction, and Friction
Classic psychoanalytic film theory relies on two fundamental axioms: 1) That an audience that experiences film spectatorship as a form of voyeurism, and 2) That film characters must be diegetically unaware of their own textual and performative status. But such a framework must be modified with respect to films in which major characters are depicted in the act of manufacturing texts (e.g. Boogie Nights, To Die For, Benny's Video, Waiting for Guffman), and in which these secondary texts are made to supplant the film proper. In such instances, character authors understand precisely that they are operating in a performative capacity.
CONVERSATIONS: THE JOURNAL OF CAVELLIAN STUDIES
Shakespeare at Kalamazoo is accepting abstracts for two panels at the 48th International Congress on Medieval Studies in Kalamazoo, Michigan (May 9-12, 2013).
1. Shakespeare and Material Culture
2. The Merchant of Venice: Pre-texts, Texts, and After-Texts
If one is to speak, following the work of Jean-François Lyotard, of the power of the work of art, it is to be located in the gesture that it enacts. The gesture does not belong to the objective properties of the work such that they might be adequately articulated, but rather stands as the "absolutely emotive power of the work," that which "affects sensibility beyond what it can sense." Without being immediately thinkable, the gesture would give rise to thought, demanding it, precisely as thought would be caught unprepared. That is to say that the work of art always involves a certain performance, no less in case of the plastic arts than in others, not as a simple representation, but as through the demand exerted by the unpresentable.
CFP: Affect and Identity in Early Modern Performance
This panel seeks to explore the potential performative and affective power of early modern drama on group identities. The theater, as locus of communal and social performativity, is a fruitful site to investigate the shaping force of affective response on collective identities and their historical narratives. How does the drama model and orchestrate response, reaction, and construction of identity categories based on age, race, class, gender, religion, nationalism, bodies, or other criteria? Please submit 250-word abstracts to firstname.lastname@example.org.
An Invitation to an International Performing Arts Summit ON DIRECTING
Presented by the DiPA Research Network
In collaboration with Acadia University
Dalhousie Theatre and Humber School of Creative & Performing Arts
June 20-21, 2013
Humber College Lakeshore Campus
This International SUMMIT will explore DIRECTING as a uniquely interdisciplinary art form. We invite proposals from artists and researchers for papers, practical presentations and conversations. Our focus is on DIRECTING across the disciplines, from theatre to film/TV to dance to musical drama to new media. Topics include, but are not limited to:
Call for Papers
WSQ Special Issue: Engage!
Guest Editors: David A. Gerstner & Cynthia Chris
"I must decline your invitation owing to a subsequent engagement." — Oscar Wilde
"There is always something to do. There are hungry people to feed, naked people to clothe, sick people to comfort and make well. And while I don't expect you to save the world I do not think it's asking to much for you to love those with whom you sleep, share the happiness of those whom you call friend, engage those among you who are visionary and remove from your life those who offer you depression, despair and disrespect."
— Nikki Giovanni
The Conversations Project: Interdisciplinary Conversations About Comics, Literacy, and Scholarship
Dr. James Bucky Carter seeks abstracts/papers for an edited collection currently entitled The Conversations Project.