At the end of the World War II, the British and the French territorial control over the colonies began to crumble and a new global condition emerged in which erstwhile colonies transformed into newly independent or created nation-states. The former colonial masters, having relinquished territorial occupation, devised cultural and economic models of control that divided the world into developed and developing parts, similar to the division into the civilized and the savage parts in the colonial era. Originally literary and cultural theorists favoured violence as a necessary part of decolonization and freedom.
CFP Women's Studies at MAPACA
Mid-Atlantic Popular/American Culture Association Conference
November 1-3, 2012
Women's Studies as a discipline acknowledges the interdisciplinary approaches to discussing issues that affect women. The Women's Studies area of MAPACA seeks papers, panels and roundtables that investigate and discuss any of the many overlaps between gender and popular culture. Topics for this area include, but certainly are not limited to:
Jacques Derrida argues that the dead other can speak and remain "in us." Additionally, he argues that to keep one alive is the ultimate sign of fidelity that is accomplished through acts of mourning that necessitate the interiorization of the dead other. In a way, then, Derrida suggests that the living owe a debt to the dead: we must keep them alive, we must keep them "in us." This particular panel seeks papers that attempt to formulate and read the gift of death and the living's debt to the dead in literature. How has literature reckoned with death? Can literature do the work of mourning? How has literature represented the livings' debt to the dead? These are some of the questions this panel seeks to investigate.
CFP: Urban Culture Area, MAPACA, 11/1-11/3/2012, Pittsburgh, PA (June 15th, 2012, deadline for proposals)
Affinities: A Journal of Radical Theory, Culture, and Action
Call for papers for Issue #6: "Challenging the rhetoric of non-State
actors, political violence and 'terrorism'"
Debts to the Moor: Influences, Adaptations, and Citations of Shakepeare's Othello
This panel invites theoretical inquiry and/or performance analyses of appropriations of William Shakespeare's Othello in film, popular culture and/or foreign non-English adaptations. Some questions to consider are: What methodologies are employed when considering the expectations of local audiences producing and consuming the adaptation? What contextual influences inform the reiteration of Othello in a range of performance venues? What literary debts are acknowledged when Othello is cited in popular culture, in widely distributed English films, and/or in foreign performances for non-English speaking audiences?
This is a call for papers for two related workshops which will take place in November 2012 (at the University of Manchester) and in March 2013 (in Cairo). This project is funded by the CBRL-BRISMES Research Network (UK), with the aim of emphasising the leading role of Egyptian women activists, writers, and artists in the revolutionary process. In this context, we perceive the 25th January Egyptian Revolution as a process in the making: there were many important catalysts for the revolution over the past decade in Egypt manifested in a significant rise in street protests and demonstrations by large sectors in the society (e.g.
Modernism and Affect essay collection (Edinburgh University Press)
Call for Submission Extended AGAIN
Due to unforseen circumstances, the April issue of Polari Journal will now be published in mid August 2012. As a result, the open call for submissions has been extended further (see below).
Polari Journal of queer writing is holding an open call for submissions for its next issue (published August 2012). There is no specific theme for this issue; however Polari tends towards the shorter forms: short stories, poetry, essays, scholarly papers, one act plays/scripts and reviews. In general, the word limit for fiction, plays and essays is 6000 words. Reviews should not be more than 1500 words. For poetry, the maximum is 100 lines.
At this time financial remuneration is not offered.
This panel considers the interplay between word and image in works of literature, or in works that defy categorization as either fiction or nonfiction. How does photography function as an "effet de réel" in works by André Breton or W. G. Sebald, for example? How do ekphrastic texts function in relation to an absent visual "other"? Please send 300-word abstracts to Gillian Pierce (firstname.lastname@example.org)by September 30, 2012.