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Interdisciplinary / Multidisciplinary Woolf, University of Saskatchewan, 7-10 June 2012

Monday, August 8, 2011 - 6:54pm
Dr. Ann Martin

Some collaboration has to take place in the mind . . . before the art of creation can be accomplished. Some marriage of opposites has to be consummated. The whole of the mind must lie wide open…. (A Room of One's Own)

We have come together…to make one thing, not enduring—for what endures?—but seen by many eyes simultaneously. (The Waves)

This conference invites explorations of Virginia Woolf's work from a range of different disciplinary perspectives and practices. We welcome proposals on any aspect of Woolf studies, and especially papers or performances that:

[UPDATE] CFP: Vanguard & Revolution / Bicentenary, 1 October 2011

Monday, August 8, 2011 - 12:58pm
Centro de Estudios Latinoamericanos "Rómulo Gallegos" (Celarg), Caracas - Venezuela

vanguardia & revolución/ tiempos bicentenarios

Cierre de la convocatoria: 15 de agosto de 2011

Para el segundo número de SUR/versión, proponemos, no una convocatoria doble, sino una convocatoria que se desdobla en vanguardia & revolución / tiempos bicentenarios. E identificamos, a partir de este desdoblamiento y cruce, las siguientes líneas de indagación:

What Happens Now: 21st Century Writing in English', 2nd International Conference, 16-18 July 2012, University of Lincoln, UK

Monday, August 8, 2011 - 12:01pm
Dr Sian Adiseshiah/University of Lincoln, UK

Following the success of the 2010 conference 'What Happens Now: 21st Century Writing in English – the first decade' there will be a theme for the second conference, which will form the focus of a special issue of the new journal devoted to 21st century literature, C21 Literatures: A Journal of 21st-century Writings. The theme is the title of Paul Gauguin's painting, 'Where Do We Come From? What Are We? Where Are We Going?'

[REMINDER] CFP 'States of Emergence, States of Emergency'

Monday, August 8, 2011 - 9:32am
Excursions Journal

Excursions Journal
Call For Papers
'States of Emergence, States of Emergency'
Deadline for articles: 15th August 2011
Submit online at:
'The tradition of the oppressed teaches us that the 'state of emergency' in which we live is not
the exception but the rule. We must attain to a conception of history which is in keeping with this
insight. Then we shall clearly realize that it is our task to bring about a real state of emergency,
and this will improve our position in the struggle against fascism.'

March 15-18, 2012

Sunday, August 7, 2011 - 3:38pm
Northeast Modern Language Association (NeMLA)

43nd Annual Convention, Northeast Modern Language Association (NeMLA)
March 15-18, 2012
Rochester, New York – Hyatt Rochester

Deadline for abstract submission: Sept 20, 2011

Love and Society in Giovanni Boccaccio: Comedy, Elegy, Tragedy
This session aims to explore the way(s) in which love and/or society are treated in Boccaccio's works. Papers concerning the relationship between Boccaccio and previous Italian/European traditions, or Boccaccio's influence on subsequent Italian/European generations of authors are also welcome.

Send your abstract of 150-250 words to Jelena Todorovic, at, by September 20, 2011.

O'Neill & Post-colonialism 36th Annual Comparative Drama Conference Stevenson University, Maryland March 29-31, 2012

Sunday, August 7, 2011 - 1:11pm
J. Chris Westgate / The Eugene O’Neill Society

Beginning with Eugene O'Neill's sea plays and continuing through much of his oeuvre are concerns with global themes, including the problematic encounters between cultures, ethnicities, and nationalities. Following recent trends in criticism that have sought to situate modernist writers within post-colonial discourse, this panel intends to consider how plays like Thirst, The Movie Man, Moon of the Carribbees, The Emperor Jones and others intersect with post-colonialism.

CFP: Drawing the Line(s): Censorship and Cultural Practices [Oct 31, 2011; March 1-3, 2012]

Saturday, August 6, 2011 - 4:40am
Nhora Serrano, California State University, Long Beach

47th Annual Comparative Literature Conference
California State University, Long Beach
March 1st-3rd, 2012
Drawing the Line(s): Censorship and Cultural Practices

Plenary Speaker: Ilan Stavans
Lewis-Sebring Professor in Latin American and Latino Culture, Amherst College

Special B-Word Public Lecture: An Evening with Azar Nafisi

"Freedom of speech means that you shall not do something to people either for the views they have, or the views they express, or the words they speak or write." ~ Hugo L. Black, U.S. Supreme Court Justice 1963

"There is more than one way to burn a book. And the world is full of people running about with lit matches" ~ Ray Bradubury, Fahrenheit 451

[UPDATE] Revenge of the Queers: Ethics and the Politics of Resentment (NEMLA 2012)

Friday, August 5, 2011 - 3:41pm
Emily King / NEMLA 2012

From Diane DiMassa's caffeinated homicidal heroine in Hothead Paisan to Lee Edelman's sinthomosexual who "chooses not to choose the Child," revenge – if only phantasmatic – invigorates queer narratives, theory, even politics. And given that oppression breeds resentment, it is no intellectual leap to consider why revenge becomes a popular trope. But is there something inherently queer about revenge? Could we envision distinctly queer forms of revenge? Or is such an essentialist application of "queer" its very antithesis?

[UPDATE] The Apocalypse in Literature and Film - October 1, 2011

Friday, August 5, 2011 - 9:21am
_LIT: Literature Interpretation Theory_

Alien invasion, viral outbreak, nuclear holocaust, the rise of the machines, the flood, the second coming, the second ice age—these are just a few of the ways human beings have imagined their "end of days." And someone's Armageddon clock is always ticking—we just dodged Harold Camping's rapture on May 21st of this year, and the Mayan-predicted doomsday of 2012 is just around the corner. In the end, what do we reveal about ourselves when we dream of the apocalypse? What are the social and political functions of these narratives in any given historical period? How do different cultures imagine the apocalypse, and what do these differences reveal? What is particular to the narratological design and content of apocalyptic texts?