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1st Global Conference: Transmedia Narratives

updated: 
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?

updated: 
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.

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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

updated: 
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

updated: 
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

updated: 
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.

[UPDATED] Being More than Ambivalent Towards Race: Class in Contemporary African American Literature

updated: 
Friday, May 11, 2012 - 2:54pm
Midwest Modern Language Association (MMLA)

In keeping with the theme of "Debt" for the 2012 Midwestern MLA conference, this panel is interested in the class implications that contemporary African American literature offers its readership. Since the first letters written in African American literature, money has had a central place in claims for independence, subjectivity, and resistance. How has this understanding of subjectivity and resistance changed in a late twentieth/ twenty-first century context? To what extent is contemporary African American literature invested in the American dream of financial well being that characterized earlier writing?

UPDATED: Those That Came Before: Black Literary Indebtedness

updated: 
Friday, May 11, 2012 - 2:52pm
Midwest Modern Language Association (MMLA)

In "The Site of Memory," Toni Morrison claims that as an African American writer her literary heritage is the autobiography, the slave narrative. Quoting Harriet Jacobs, Morrison claims that a central trope of the slave narrative is occlusion, leaving the unspeakable unspoken. However, for Morrison, a writer heavily indebted to her formerly enslaved precursors, "the exercise is very different. [Her] job becomes how to rip that veil drawn over "proceedings too terrible to relate." Morrison pays her literary debt to these authors by revealing that to which they were unable. In what ways do 20th and 21st Century black American authors struggle with or against their 19th Century literary heritage? Or even their early twentieth century heritage?

The Literature of Hurricane Katrina (essay collection)

updated: 
Friday, May 11, 2012 - 11:59am
Mary Ruth Marotte, Associate Professor of English, Graduate Director, University of Central Arkansas

Seeking critical essays (20-30 pages in length) on works of fiction that feature the disaster of Hurricane Katrina within the narrative.

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