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Dramatizing the text and making the performance literary: Unifying the binary

Tuesday, May 15, 2012 - 1:38pm
Lloyd Edward Kermode / Renaissance Society of America

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.

Space (Deadline: October 1, 2012)

Tuesday, May 15, 2012 - 11:26am
Iowa Journal of Cultural Studies

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.

CFP: "Making Sacrifices": Visions of Sacrifice in European Culture (University of Salzburg, Austria; July 31, 2012)

Tuesday, May 15, 2012 - 8:32am
Salzburg Institute of Gordon College/University of Salzburg, Austria

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.

1st Global Conference: Transmedia Narratives

Tuesday, May 15, 2012 - 2:31am
Dr. Rob Fisher/ Inter-Disciplinary.Net

1st Global Conference
Transmedia Narratives

Tuesday 13th November – Thursday 15th November 2012
Salzburg, Austria

Call for Presentations:

SAMLA 2012: Beyond the Pleasure Principle?

Monday, May 14, 2012 - 4:43pm
Comparative Literature Division

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."

ICLA Convention, Paris, July 2013: Why Comparative Literature (Seminar)--Proposals Due 06/01/2012

Monday, May 14, 2012 - 10:16am
International Comparative Literature Association

Why Comparative Literature?

The loose boundaries of comparative literature have continuously raised questions about the scholarly value and practical use of the field. This seminar proposes to explore the significance of comparative literature as academic discipline where the worth of global literatures in the field of humanities is persistently challenged by the pragmatic orientation of public opinion.

Brave New World and its Legacies

Monday, May 14, 2012 - 9:21am
David Bradshaw / Worcester College, University of Oxford

Friday 12 October 2012

Institute of English Studies, London University

When Brave New World first appeared in 1932 it caused a sensation. It was obvious that Aldous Huxley was intent on testing the boundaries of propriety (sailing especially close to the wind in terms of sexual and religious obscenity), but what kind of novel had he published? A satire, like his earlier novels; a horrified warning of things to come, or a vision of how things might be, for better or for worse, following a number of scientific, political and social adjustments to the Britain of his day?

/UPDATE/: " 'FOUR-FOOTED ACTORS': LIVE ANIMALS ON THE STAGE " / University of Valencia, Spain / 12-14 December 2012

Sunday, May 13, 2012 - 6:42pm
Ignacio Ramos Gay / Universidad de Valencia (Spain)

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.