How do we appreciate affect and sympathy in the dramatic text without resorting to naïve, essentialist, old-fashioned liberal-humanist, and theoretically bankrupt readings? How do we read a "playscript" with a literary intelligence and rigor that informs rather than puts itself in opposition to performance. In spite of work by Peter Holland, Martin White, and Christie Carson and Farah Karim-Cooper, and performance organizations such as Poculi Ludique, there remains a distinct separation between literary studies of early modern drama that pays lip service to "performance" and actors and theater studies practitioners who dismiss the "obstacle" of scholarly glossarial notes and work with a very different set of theoretical parameters from literary scholars.
This issue of the Iowa Journal of Cultural Studies, dedicated to space, invites articles that investigate the way that spaces are defined, used, experienced, occupied, altered, constructed, or destroyed. These spaces can be physical, virtual or imaginary in nature.
Much like Italian premier Mario Monti did at the beginning of December, politicians are increasingly calling on citizens to make sacrifices for the future of their countries. Such public invocations of sacrifice place politicians and their constituents in a state of tension at least partly because of the difficult and often contradictory connotations of sacrifice. Sacrifice, a concept of religious provenance deeply embedded in European culture, can mean to offer for destruction and to make amends, to hurt and to heal, make whole, or sacred. Such oppositions at the heart of sacrifice make it a dangerous and much-fraught concept, as well as a fruitful and powerful one in numerous spheres of culture.
Keynote Speaker: Lee Edelman (Tufts)
Roundtable Speakers: Judith Roof (Rice), Joseph Campana (Rice), Colleen Lamos (Rice), Timothy Morton (Rice), Renee Hoogland (Wayne State)
Rice University English Symposium
Sept. 14-15, 2012
After Queer, After Humanism
1st Global Conference
Tuesday 13th November – Thursday 15th November 2012
Call for Presentations:
We are seeking proposals for the Comparative Literature regular session at this year's South Atlantic Modern Language Association meeting in Durham, NC from November 9 to 11.
Beyond the Pleasure Principle?
As Lionel Trilling once noted, justifying art by the pleasures it gives has fallen into disrepute since the 18th century. Wordsworth already registers this defensive posture in his Lyrical Ballads preface when he asks that the "necessity of producing immediate pleasure [not] be considered as a degradation of the Poet's art," but rather that artists pay "homage … to the grand elementary principle of pleasure, by which [man] knows, and feels, and lives, and moves."
Wayne Gretzky. Celine Dion. Rick Mercer. David Suzuki. Pierre Trudeau.
The list goes on and goes way back. Celebrity culture in Canada, although vastly under-estimated, continues to be a massive cultural and economic force to be reckoned with and such a reckoning is long overdue. This proposed edited collection seeks to uncover how celebrity operates in Canada when Canadian subjects, institutions, media, audiences and/or industries are involved.
Professor Alison Findlay
Professor Edith Hall
Papers that explore travel, movement, space, and even time in modern and contemporary drama are particularly desirable; however, essays that meander in engaging ways through these plays are most welcome as well. Please send abstracts of no more than 500 words to Lynne Simpson at email@example.com by June 30.
Writing in 1899, Frederick Dolman argued in an article titled "Four-Footed Actors: About Some Well-Known Animals that Appear in the London and Provincial Stage" that the "growth of variety theatres and the decay of comic songs" had developed in "several kinds of diversion, not the least of which is furnished by the art of the animal-trainer" (The English Illustrated Magazine, Sep. 1899, 192, p. 521). Dolman was describing the large-scale entertainments starring animals that had taken over traditional spectator recreations for the last century in a manner not unlike the success of music-halls and professional sport.