The modernists' innovations in art, literature, and design were not only aesthetic reactions to traditional forms—they were also critical responses to the idea of taste. Yet if the modernists were unable to endorse their predecessors' conceptions of "tastefulness," devising new models of taste proved equally difficult. This panel will explore the problems associated with articulating taste in the modern period. Rather than trying to capture a concrete "version" of modernist taste, however, the panel will focus on conceptualizing the process(es) of modernist tastes; in other words, how and why did various modernists arrive at their critical judgements? Questions to be addressed will include: What constitutes good/bad taste among the modernists?
Though the activity of editing the plays of Shakespeare and his contemporaries was for over two hundred years the principle scholarly method for investigating these works, many younger scholars today confront an academic establishment that relegates editing, bibliography, and text studies to secondary or peripheral positions in graduate, doctoral, and junior faculty programs. This is particularly unfortunate given the exponential increase in innovative technologies, methodologies, and theories that encourage fresh approaches to essential questions about these plays.
Early Modern Dis/Locations: An Interdisciplinary Conference,
Northumbria University, 15-16 January 2010
On 15-16 January 2010, Northumbria University in Newcastle (UK) will host an interdisciplinary conference on Early Modern Dis/Locations.
Confirmed Plenary Speakers include:
Tim Cresswell (Royal Holloway, University of London)
Patricia Fumerton (University of California, Santa Barbara)
Lisa Hopkins (Sheffield Hallam University)
Bernhard Klein (University of Kent)
Greg Walker (University of Edinburgh)
CALL FOR PAPERS
The Absent Center
A Graduate Student Conference on Contemporary Issues in Political Theology
University of Texas at Austin, Government Department
19-20 February 2010
Simon Critchley (New School for Social Research)
Eric Santner (University of Chicago)
The Secular enlightenment sought to replace religion as a foundation for political legitimacy and personal meaning. It led to a profound disappointment, one not specific to contemporary life. Even Spinoza, the great rationalist and philosopher of immanence, feared for a society lacking any belief in salvation whatsoever.
Though revenge tragedies preoccupied Elizabethan and Jacobean spectators, these plays received little to no critical recognition. Even today, revenge tragedies comprise a seemingly marginalized sector of Renaissance drama. Observing their current status, Stevie Simkin quips in Revenge Tragedy: "Consequently, they are (with some reluctance) permitted to join the established canon of classical works, occasionally dragged out like exotic creatures for a season to be observed by curious audiences and often patronizing theatre critics, and then locked securely away for another ten years" (4). Furthermore, these works – as a genre – have garnered a remarkably small amount of scholarly attention, particularly in the past ten years.
Oxford Literary Review, vol. 31.1 (July 2010), call for papers.
Deconstruction and Environmentalism
"Global warming ... is...traumatic ... in attacking the fundamental premises on which are based our capacity to understand or adequately respond" (David Wood, "On Being Haunted by the Future")
"the ecological facts of life threaten to challenge our most dearly held political values: justice, freedom, and democracy." (Bob Pepperman Taylor 'Environmental Ethics and Political Theory')
"The plain fact is that the planet does not need more successful people" (David W. Orr, Earth in Mind: On Education, Environment, and the Human Prospect)
In Capital: Volume One, Karl Marx writes that the commodity fetish develops when we "bring the products of our labour into relation with each other as values." In the process, we convert "every product into a social hieroglyphic. Later on, we try to decipher the hieroglyphic, to get behind the secret of our own social products; for to stamp an object of utility as a value, is just as much a social product as language." In the late nineteenth and early twentieth centuries, as disintegrating social structures allowed for new understandings of class-based identities, the hieroglyphic messages of commodities contribute to the construction of systems of social value.
Cultures of Recession
An Interdisciplinary Graduate Student Conference Hosted by The Program in Literature, Duke University
November 20 & 21, 2009
Keynote Speaker: Stanley Aronowitz (CUNY), author of How Class Works and Just Around The Corner: The Paradox of a Jobless Recovery
Teaching Science Fiction: History, Theory and Text
Edited by Geetha B. and Amit Sarwal
Collections and collecting occupy an important place in the development of modern culture, both at the personal and communal level. "Who collects?", "what does s/he collect?", "why does s/he do it?", and "what meanings are assigned to the act of collecting?" are questions which have significant implications for the construction of individual and communal identities, and in which the fields of aesthetics, ethics, politics, and erotics inter-cross. The next number of the journal "La Habana elegante" will include a special dossier with reflections on the topic of collecting, and it invites authors from the fields of literature, history, cultural studies, and other areas to send essays for their review, before the deadline of June 30, 2009.
An international conference on film theory and analysis held in Morelia, Mexico from October 1-3 in tandem with the Morelia International Film Festival.
Keynote: Robert Stam, New York University
"The Theory and Practice of Film Adaptation"
Where: The city of Morelia, in the state of Michoacán, Mexico
When: Thursday, October 1 to Saturday, October 3, 2009, in tandem with the 7th edition of the Morelia International Film Festival
Presented by: Sepancine/Mexican Society of Film Theory and Analysis, the Working Group "Expression and Representation" of the Metropolitan Autonomous University-Cuajimalpa (UAM-C), and the Morelia International Film Festival (FICM)
For all their complexity, recent discussions of cosmopolitanism, comparativism, and world literature have tended to privilege the global over the local, the macro over the micro, and the city over the country. These discussions have prompted us to ask some of the following questions: what constitutes a small town, region, province, village, settlement, or other small-scale community? How have these and other terms historically been used by the cultural centers from which most discourse is generated? What does it mean to speak or write from a local or regional community within the context of the world republic of letters? How is this related to or different from writing for a small-scale community?
European Journal of English Studies, Vol. 15
Matter and Material Culture
Deadline for proposals: 13 November 2009
Guest Editors: Maurizio Calbi & Marilena Parlati.
Cultural materialism has been adding much to our knowledge and understanding of the ways in which culture is informed by and conformed to and with matter, and so have the numerous analyses and histories of material culture from fields as varied as sociology, anthropology, museum studies, consumer studies, and so forth.
AILAE and UNIVERSITÀ DELLA CALABRIA
AILAE SUMMER SCHOOL© IN CULTURAL AND CRITICAL STUDIES
22-27 June 2009
(Rende, Università della Calabria - Italy)
IN BETWEEN NATIONS AND PUBLIC INTELLECTUALS:
EUROPE, MIDDLE EAST AND THE NEW WORLDS
You are invited to contribute to an edited volume entitled "The Literary Menagerie." The last decade has seen an intensive scholarly engagement with the question of the human-non-human animal relation, including its artistic and literary representation. This foundational scholarship has made it possible to pursue more focused areas of inquiry. One such area is suggested by Randy Malamud in his "Becoming Animal": "art has the potential to present a valuable . . . account of what it is like to be a different animal from ourselves" (7). Art makes it possible for us to imagine ourselves into another being and also to discover other ways of being human.