Professor Alison Findlay
Professor Edith Hall
Professor Alison Findlay
Professor Edith Hall
Papers that explore travel, movement, space, and even time in modern and contemporary drama are particularly desirable; however, essays that meander in engaging ways through these plays are most welcome as well. Please send abstracts of no more than 500 words to Lynne Simpson at firstname.lastname@example.org by June 30.
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?
SecurIT 2012 will address security in the areas of computing, communication, and control systems. Internet of Things now touches every aspect of our lives and with emerging newer security threats, SecurIT 2012 is the platform to bring together researchers, practitioners & "ethical hackers" from around the world for disseminating the latest advances in security in cloud computing, mobile networks, cyber-physical control systems, healthcare systems, etc.
"America Changed Through Music": Harry Smith's Anthology of American Folk Music at 60
UEA London, Saturday 15th September 2012
Keynote: Professor Geoff Ward, Royal Holloway, University of London
Call for Papers: Participations special issue: The Fan Studies Network: New Connections, New Research
Writing in 1899, Frederick Dolman argued in an article titled "Four-Footed Actors: About Some Well-Known Animals that Appear in the London and Provincial Stage" that the "growth of variety theatres and the decay of comic songs" had developed in "several kinds of diversion, not the least of which is furnished by the art of the animal-trainer" (The English Illustrated Magazine, Sep. 1899, 192, p. 521). Dolman was describing the large-scale entertainments starring animals that had taken over traditional spectator recreations for the last century in a manner not unlike the success of music-halls and professional sport.
The culture of the Classical world continues to shape that of the modern West. Those studying the Fantastika (science fiction, fantasy and horror) know that the genres have some of their strongest roots in the literature of the Graeco-Roman world (Homer's Odyssey, Lucian's True History). At the same time, scholars of Classical Reception are increasingly investigating all aspects of popular culture, and have begun looking at science fiction. However, scholars of the one are not often enough in contact with scholars of the other. This conference aims to bridge the divide, and provide a forum in which sf and Classical Reception scholars can meet and exchange ideas.
Steampunks and Times Trans-shifters: Histories, Genres, Narratives
An essay assemblage
Edited by Mark Houlahan, Kirstine Moffat and Fiona Martin
In these the best of times (and the worst), the age of wisdom (and the age of foolishness), the epoch of belief and incredulity, the season of darkness and light, the spring of hope and the winter of despair, steampunk has flourished. Airships circle the globe; clanking machines haunt the ocean's deeps. Fractals of history merge and re- combine. Babbage's quaint math reinvents the computer a century before its prime; of necessity, as the neo-Victorian knows no silicon chip, steampunk computers gleam and creak with wooden stylings and mechanically wrought interiors.
Ishaan Literary Review publishes works of poetry and short fiction. Our submission period for Issue #2 (Summer 2012) is: March 10 - June 16, 2012.
We are looking to "feature" two to three writers whose work really impresses us.
We publish (roughly) 50% invited authors and 50% blind read/peer reviewed authors twice a year (Winter and Summer). We encourage you to submit a good range of work to give you a better chance of being published with us.
All submissions should be sent to our email address: email@example.com
In keeping with the theme of "Debt" for the 2012 Midwestern MLA conference, this panel is interested in the class implications that contemporary African American literature offers its readership. Since the first letters written in African American literature, money has had a central place in claims for independence, subjectivity, and resistance. How has this understanding of subjectivity and resistance changed in a late twentieth/ twenty-first century context? To what extent is contemporary African American literature invested in the American dream of financial well being that characterized earlier writing?
In "The Site of Memory," Toni Morrison claims that as an African American writer her literary heritage is the autobiography, the slave narrative. Quoting Harriet Jacobs, Morrison claims that a central trope of the slave narrative is occlusion, leaving the unspeakable unspoken. However, for Morrison, a writer heavily indebted to her formerly enslaved precursors, "the exercise is very different. [Her] job becomes how to rip that veil drawn over "proceedings too terrible to relate." Morrison pays her literary debt to these authors by revealing that to which they were unable. In what ways do 20th and 21st Century black American authors struggle with or against their 19th Century literary heritage? Or even their early twentieth century heritage?
Seeking critical essays (20-30 pages in length) on works of fiction that feature the disaster of Hurricane Katrina within the narrative.