What secularism means and does, and which conceptions of secularism should be revisited, are questions that have become part of a larger interdisciplinary conversation in which this panel seeks to participate. Its questions include: what are the secularisms of the past? What negotiations with religion take place in eighteenth century texts? Under what conditions can a state, a mode of thought, a work, or a genre be called secular? This panel seeks abstracts for papers dealing with definitions of secularism in various eighteenth-century literary contexts. In particular, papers that discuss the relationship between secularism and Enlightenment, secularism and religious identity, or secularism and religious tolerance, are especially desired.
How do we appreciate affect and sympathy in the dramatic text without resorting to naïve, essentialist, old-fashioned liberal-humanist, and theoretically bankrupt readings? How do we read a "playscript" with a literary intelligence and rigor that informs rather than puts itself in opposition to performance. In spite of work by Peter Holland, Martin White, and Christie Carson and Farah Karim-Cooper, and performance organizations such as Poculi Ludique, there remains a distinct separation between literary studies of early modern drama that pays lip service to "performance" and actors and theater studies practitioners who dismiss the "obstacle" of scholarly glossarial notes and work with a very different set of theoretical parameters from literary scholars.
This issue of the Iowa Journal of Cultural Studies, dedicated to space, invites articles that investigate the way that spaces are defined, used, experienced, occupied, altered, constructed, or destroyed. These spaces can be physical, virtual or imaginary in nature.
Much like Italian premier Mario Monti did at the beginning of December, politicians are increasingly calling on citizens to make sacrifices for the future of their countries. Such public invocations of sacrifice place politicians and their constituents in a state of tension at least partly because of the difficult and often contradictory connotations of sacrifice. Sacrifice, a concept of religious provenance deeply embedded in European culture, can mean to offer for destruction and to make amends, to hurt and to heal, make whole, or sacred. Such oppositions at the heart of sacrifice make it a dangerous and much-fraught concept, as well as a fruitful and powerful one in numerous spheres of culture.
CFP: Hitchcock's Children, edited collection
Keynote Speaker: Lee Edelman (Tufts)
Roundtable Speakers: Judith Roof (Rice), Joseph Campana (Rice), Colleen Lamos (Rice), Timothy Morton (Rice), Renee Hoogland (Wayne State)
Rice University English Symposium
Sept. 14-15, 2012
After Queer, After Humanism
1st Global Conference
Tuesday 13th November – Thursday 15th November 2012
Call for Presentations:
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.
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."
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.
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?