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.
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
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?
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?
Submission Deadline: Extended to September 30, 2011
Ishaan Literary Review is a new online journal of poetry, short fiction and dramatic works (including plays and screen plays).
We publish (roughly) 50% invited authors and 50% blind read/peer reviewed authors three times a year (Winter, Spring and Summer). We believe that readers should have a chance to see more than just one work by an author, so we will try to publish multiple works by the same author in each issue.
All submissions should be sent to our email address: email@example.com
Inarticulacy: An Interdisciplinary Early Modern Conference
University of California, Berkeley
November 12 - 13, 2011
**Abstracts welcome from graduates, post-docs, and faculty!**
CALL FOR PAPERS
MEARCSTAPA Session for the International Medieval Congress at Western Michigan University
May 10-13, 2012
Session II : "Eye of the Beholder: Perspectives on the Monstrous"
Language, literature and cultural studies
Call for papers
Deadline: 1 November 2011 for LLCS no.8 and no.9
The Department of Foreign Languages of the Military Technical Academy invites you to contribute to the seventh and eighth numbers of the Journal of Language, Literature and Cultural Studies.
LLCS publishes research articles and reviews in the following domains: literature, literature and civilisation, comparative literature and civilization, cultural studies, linguistics, applied linguistics, translation studies, foreign language acquisition, foreign language teaching.
The Art and Politics of Irony | L'art et la politique de l'ironie
12-14 April 2012 ~ Montréal, QC
An interdisciplinary conference hosted by the Institute for the Public Life of Arts and Ideas, McGill University in collaboration with Improvisation, Community and Social Practice (SSHRC-MCRI) and the Département d'études anglaises, Université de Montréal