Proposals are invited for an essay collection on Modernism and Affect, commissioned by Edinburgh University Press. The collection will comprise 10-12 original 7,000 word essays, and aims to present new scholarship in the fields of modernist literature, film, and visual arts emerging in the light of theory's 'affective turn'. The volume will consider the manifold ways in which theories of affect and theories of modernism might speak to one another. How might the reading practices suggested by recent work on the affects inform our critical engagement with modernist texts? How might a focus on affect might allow us to expand our definition of modernism?
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.
Essays are sought for an edited collection on the topic of sex and the fat body. The editors are looking for proposals which approach this theme from a range of disciplinary perspectives, and which take an original, critical, and body-positive approach to questions of fat and sexuality. Dr Samantha Murray will be contributing the Foreword to the collection. She is a lecturer in Cultural Studies at Macquarie University, and has published works such as 'The Fat Female Body' (2008), multiple journal articles, and special issues on fat studies.
CONVERSATIONS: THE JOURNAL OF CAVELLIAN STUDIES
Call for Proposals
Activism and Scholarship: A Conference Honoring Amy Swerdlow
Fifteenth Annual Women's History Conference at Sarah Lawrence College (15 minutes north of New York City)
Friday and Saturday March 1-2, 2013
Featuring: The keynote address by women's historian Alice Kessler Harris, distinguished professor at Columbia University and author of Difficult Women: The Challenging Life and Times of Lillian Hellman
Round table discussion about the life and work of Amy Swerdlow moderated by Blanch Weisen Cooke, author of The Biography of Eleanor Roosevelt Volumes 1 and 2.
Proposals are now being sought for review in the Film Theory and Aesthetics Area. Review begins immediately and continues until November 16, 2012. Listed below are some suggestions for possible presentations; other topics in the area are also welcome:
NATIONAL POPULAR & AMERICAN CULTURE
ASSOCIATIONS 2013 JOINT CONFERENCE
Submissions: All submissions should go through the database:
Due Date: The application due date for this year's conference is
November 30, 2012.
The Conference will be held at the
Wardman Park Marriott in Washington, D.C.
1 (800) HOTELS-1 (800 468-3571)
SUBMISSION DEADLINE: November 30, 2012.
We welcome papers and presentations on any aspect of the Gothic in film, literature, or other forms of cultural expression. All critical approaches are welcome.
Organizers of the 34th annual Southwest/Texas Popular Culture and American Culture Association conference seek paper and panel submissions to the "Literature (General)" category. This area will provide a forum for scholarly presentations on literary subjects outside of our more specific Literature areas. (Before submitting to the general area, please check the special area list, as you may find a home there: http://swtxpca.org/documents/123.html#Literature.)
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.