This panel seeks submissions that explore the dialectical engagement between Godwin's philosophical or socio-political works and his fiction. The intertextual model for the mapping of texts and their influences provokes questions about the nature of textual production. Caleb Williams addresses the disaster of competing identities in servitude and autonomy, formally considered "natural" through aristocratic power structures, in a shifting political climate of radicalism that challenges Burkean ideology. Political Justice is his first response to Burke's Reflections on the Revolution of France, while Caleb Williams offers another answer to Burke's text.
Call for Papers and Creative Works
CODE - A Media, Games & Art Conference
21-23 November 2012
Swinburne University of Technology
Jussi Parikka - Reader, Winchester School of Art
Christian McCrea - Program Director for Games, RMIT University
Anna Munster - Associate Professor at the College of Fine Arts, UNSW
urbanculturalstudies.wordpress.com is a new interdisciplinary, multi-authored blog on the culture(s) of cities...space, time and urban everyday life the world over.
The site is characterized by short, readable, informative posts--ideally accompanied by several images and links--relevant to the growing interest in urban cultural studies.
The site also features calls for papers as well as information about upcoming workshops and conferences to those working on cities across both the humanities and the social sciences.
Please contact the blog's administrator (Dr. Benjamin Fraser at The College of Charleston) with any items of interest or questions at email@example.com.
Walter Benn Michaels's critique of materiality ("The Shape of the Signifier," 2004) argues that a materialist position is ultimately a subjectivist position because it relies on a person's perspective, and therefore identity, to read that text's material components. Michaels ultimately questions the deconstructive critique of the sign, which turned the "sign" into "marks" and "traces."
From Cover to Cover: Reading Readers
Department of American Culture and Literature
30th Anniversary Conference
November 7 – 9, 2012
CONTAGION/CONTROL: Speculative Futures Graduate Colloquium
University of California, Santa Barbara
May 10-11, 2012
Keynote Speaker: Priscilla Wald
The aim of this paper is to analyze the way Samuel Beckett constructs time through the pictorial elements of Ohio Impromptu (OI): its unique aesthetic singularity, which sums up a variety of visual references in a perfect collage of art history; the variety of literary references that range from Dante to twentieth century writers; the sophistication of his work of "unwording language" to which he aspired; the in-between spaces created by Beckett open the doors for an in-between time, the time of reverie. The contemporary time-space collage, present in OI, makes also possible a state-of-the-art level of simulacrum – a state of replica so close to the original that we cannot separate the real image from the fake.
This Rough Magic is a journal dedicated to the teaching of Medieval and Renaissance Literature. We are seeking academic, teachable articles that can be used inside the classroom. Essays can focus on, but are not limited to, the following categories:
•Philosophy and Rhetoric
We are also seeking short essays that encourage faculty to try new texts inside their classrooms, as well as book reviews. For more information, please visit our website:
Penumbra invites academic papers as well as creative and critical works that address any aspect of the journal's mission and scope. We seek submissions from graduate students, junior scholars,
and emerging artists, in addition to more established critical and creative voices. All submissions undergo double-blind peer review.
Penumbra aims to promote social change through theoretically informed engagements with concrete issues and problems. We publish socially engaged innovative, creative, and critical scholarship, with a focus on ethical, political, and aesthetic issues in the humanities, public policy, and leadership.
For our Submission Guidelines, please visit the homepage and click the ABOUT tab.
In 1958, André Bazin asked: "What is cinema?" One of his objectives was to define the ontological specificity of the cinematographic art. In the following decades, this fundamental question was taken up and amplified. There were many answers to that initial question: most of them focused on the relation between screen and spectator. Today, in an era of digital images, with the democratization of cinematographic practices – in terms both of production and reception – it seems important to return to a definition of cinema in its technical specificity. One could approach the subject from three angles: