As the field of adaptation studies progresses away from questions of 'infidelity' and the 'betrayal' of source material, a new set of disciplines and theories have emerged to help us understand the relationship between texts. It is now understood that artistic works are not single entities created independently of culture, but can be understood as an amalgamation of influences, allusions, and borrowings from previous texts. This intertextual model for the mapping of texts and their influences provokes questions about the very nature of adaptation. What is adaptation, and how does it differ from intertextuality? Do boundaries between texts exist? How have multiplicity and intertextuality altered perceptions of storytelling across mediums?
American society in the aftermath of WWI is distinguished by an effort to define itself resulting from a desire of emancipation from the then prevailing European model. All over the country important transformations took place with industrialization and the growing impact of capitalism or multiple immigration waves. On cultural and artistic grounds, such an incentive can be exemplified by the emergence of new forms.
American Comparative Literature Association (ACLA) conference
March 31-April 3, 2011
Deadline for paper proposals: November 12, 2010
'Bodies in Movement: Intersecting Discourses of Materiality in the Sciences and the Arts'
The University of Edinburgh, UK, May 28-29 2011
Confirmed Keynote Speakers:
Dr. Patricia MacCormack (Anglia Ruskin University)
Dr. Luciana Parisi (Goldsmiths, University of London)
Dr. Johanna Oksala (University of Dundee)
This panel at the ACLA annual meeting (Vancouver, March 31- April 3, 2011) seeks to actively engage with the transnational, translational, affective, and transformative aspects of fandom communities, especially in (but not limited to) new media contexts. As Donna Haraway puts it, "when were love and knowledge not co-constitutive?" What are fan culture's canon and literacies? Who actively reads fandom's texts, and what does that literacy entail? What social constructs govern and emerge from these subcultural activities? And whose purposes do these questions serve?
Keynote Address by Dr. Shoshana Felman, Emory University
Apocalypse, post-apocalypse, atomic and nuclear narratives have increasingly shifted from the science fiction genre to pervade American literature as a whole. Authors such as Thomas Pynchon, Don DeLillo and Cormac McCarthy, among many others, consider historical or imagined catastrophes that usher in new sensibilities, while simultaneously shattering connections to the past. Traditionally, apocalypse narratives attempt to assert order and coherence where none previously existed. Does apocalypse literature still presume control over disaster? What has apocalypse literature come to signify in the U.S.? What does apocalypse literature offer? How have imagined or real endings come to be portrayed in American literature?
At the ACLA in Vancouver I am chairing a panel on Postcontemporary thought. Some presenters are interested in the possibility of publishing an essay collection on that subject. Of course, a good collection will need more essays than this panel would yield, and I would like diverse, even global, perspectives.
Proposals are now being accepted for the Children in Film Area of the 31st annual PCA/ACA & SWTX PCA/ACA joint conference April 20-23, 2011, in San Antonio, TX.(www.swtxpca.org). Proposals are sought that explore and interrogate the representations of children in Hollywood film, independent film, foreign film and/or children's film.
The University of Arizona New Directions in Critical Theory Conference
"Singularity: Transdisciplinary Explorations in Language, Culture, and Theory"
The University of Arizona (Tucson, AZ). April 29-30, 2011.
Keynote Speaker: Vincent B. Leitch, General Editor of the Norton Anthology of Theory & Criticism