Explores the "dynamic and performative process of dialogic engagement" (Katherine Lawson) as a collaborative, compositional methodology. Possible topics: synchronic vs. diachronic imitatio; conversational circles (interpersonal or intertextual); cognitive models. Please send 250-word abstracts to firstname.lastname@example.org or email@example.com. Deadline: 3/15/12.
Seeking papers for a panel exploring the interconnections of aesthetic and economic debt. What exactly does the trope of "literary debt" owe to the economic mind? Are economic narratives, e.g.- the narrative of money as "value itself," indebted to aesthetic principles?
Papers welcome on topics such as the post-collapse relevance of Harold Bloom's theory of literary influence, Marc Shell's deconstructions of the "Art & Money" binary, and Christian Marazzi's notion of the increasingly "linguistic" nature of capital.
Send 300-word abstract and brief bio by 15 March 2012 to Mark Schiebe, CUNY Graduate Center (firstname.lastname@example.org)
FLOOR: Poetics of Everyday Critique
We are writing to announce the first manifestation of FLOOR gathering together a group of works from a range of media, all of which address forms of criticality inherent to art practice. As the extended name suggests, we are interested in using the framework of the "everyday" to expand notions of what is counted as art while at the same time making specific cases for art's value, function, and endurance in our variously endangered world.
Conference Title: Shifting Tides, Anxious Borders(3rd Annual)
Theme: "Re-Imagining the New World(s)"
Dates: April 20th & 21st, 2012
Location: Binghamton University, Binghamton, NY
Keynote Speakers: Donald Pease, Dartmouth College
William V. Spanos, Binghamton University
Chapter proposals for an international collection on Scopophilia, Exhibitionism, Voyeurism, Phallus, Sexualities and the Politics of the Gaze. Topics under consideration include:
* Voyeuristic spectatorship and readership in contemporary cinema, television, art, literature, advertising and popular communications.
* Phallic delights, phallic traumas.
* Provoking and provocative texts and textures.
* Scenes, sins, senses, sensations and sensational spectacles.
* Perilous corporeality, physicality and embodiment.
* Sensational adaptations and transferred sensations.
* The politics of striptease cultures.
* Self exposure and exhibitionism as artistic device.
For the inaugural seminar of Mnemonics: Network for Memory Studies we invite paper proposals from graduate students on the relations between the aesthetics and ethics of memory. Mnemonics: Network for Memory Studies is a newly established international collaborative initiative for graduate education in memory studies (http://www.mnemonics.ugent.be/).
Seeking abstracts on fictional depiction of Muslim everyday life as an indeterminate space of negotiation between the sacral and the secular; theories of novel and indeterminacy of everyday life.
Please send in 250-word abstract by 15 March 2012
The United States has a storied past in which ideals of "proper" parenting have been disseminated through popular culture. This panel seeks to explore the ways in which the clash between the ideals and realities surrounding parenting has affected individuals while reflecting broader historical and cultural trends over time.
Scholars and graduate students in relevant disciplines including but not limited to History; English; Women's, Gender & Sexuality Studies; and Cultural Studies are encouraged to submit. Possible papers for this approved special session are not limited to:
• Advice - Doctors (Spock, Sears, Laura, Phil); Parenting Literature
Abstracts focusing on innovative ways of teaching Hughes's texts. Presenters must join the Modern Language Association and the Langston Hughes Society. 250 word abstract and CV by 10 March 2012 to Sharon Jones (email@example.com).
How do various ways of valuing objects and people—among them, moral philosophy, aesthetics, and political economy—emerge, conflict with, and complement each other during the Long Eighteenth Century (c. 1660-1830)? More specifically, how are these modes of valuation informed by narrative structures, and to what degree is narrative itself valued or devalued in their formation and/or reception and/or circulation?