Call For Papers:
The inaugural launch of this global research and publications project on Writing will explore the many facets of writing from an interdisciplinary perspective. It seeks to explore the many intertextual and intersemiotic facets of writing as they exists in the digital age but also taking into account the historical forces, process and mechanisms, their relationships to contemporary writing forms, and the possibilities of future directions. 'All writing comes from somewhere' and with this axiom in mind this project will not only examine the pragmatic elements of writing but also the complex issues concerning the metafunctions of writing as a creative and purposeful process across various disciplines.
Call For Papers:
> > Call for papers
> > International conference
> > Université François-Rabelais de Tours, France
> > November 17-19, 2011
> > In the United Kingdom, according to the canonical interpretation, the sixties were characterized by an almost revolutionary spirit of contestation: the thirst for freedom
and the strong wish to free oneself from social and moral constraints were illustrated in a rich, varied, often provocative and subversive artistic production, as well as in
many a societal phenomenon. There was to the "Sixties", or to what could be referred to as the golden age of youth, with its mods and rockers, but also to popular
Papers are invited for an international and interdisciplinary symposium entitled 'Nation States between memories of World War II and contemporary European politics', to be held in June 2012 in Nottingham .
"Bellies and Underbellies: Waste, Consumption, and the Eighteenth Century"
The Eighteenth Century has been dubbed the nascent moment of consumerism and consumer society. Yet, in an ever increasing world of goods, what becomes of the bad? How does an expanding Empire and an increasingly urbanized populace deal with the aftermath of its excesses? This panel seeks to ponder issues of waste in the Eighteenth Century. In seeking to understand how notions of excess and excrement might inform larger concerns of the period proposals considering both personal issues of waste and societal issues of waste are encouraged.
How did verse materialize in the long eighteenth century? This ASECS session will explore questions about the material contexts and conditions of British poetry between the Restoration and early Romanticism. Material should be construed broadly, as indeed should poetry. How was verse produced? What unexpected shapes did it assume? In what surprising and complicated ways was it embodied and performed?
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This panel provides an opportunity to explore the ramifications of the 2012 doomsday prophesiers on cultural behavior as witnessed within the genre of science fiction literature and cinema. The term apocalyptic may include any means of total or near-total destruction, whether it is caused by humans, aliens or Nature. Papers analyzing the role apocalyptic sci-fi and/or fantasy have played and continue to play in literature, cinema, theater and other aspects of culture will be the main emphasis of this panel. Focus can be on apocalyptic visual arts and cinema, but written literature is also appropriate.
Please send e-mail abstracts of 200-250 words in MS Word .doc or .docx.
Proposals are invited for a collection of essays on the topic of queerness in film and television. Please email inquiries asap with a short bio of the author, a working title of the paper, and a brief summary of the article. Deadline for completed abstracts is August 2011.
The Public Life of Literature
April 18-20, 2012, Calvin College, Grand Rapids, Michigan
Midwest Regional Meeting of the Conference on Christianity and Literature:
in conjunction with The Festival of Faith and Writing (April 19-21, 2012, Calvin College, Grand Rapids, Michigan)
Featured Speaker: Marilynne Robinson, author of Housekeeping, Gilead, Home, Mother Country, The Death of Adam, and Absence of Mind
Playful Interruptions in Recent Film
New deadline, July 1, and update.
In Jean-Luc Nancy's The Inoperative Community representations are not just works of art (oeuvre); they also, in fact, work. Representations present "community" and thereby give a disparate group of beings an identity, borders, and a body. If representations work, what happens when a work founders, when it falls apart, and opens onto something else? Would this opening then be the place or space of play, even serious play? What does this "absence of work" look like formally? What are the ethical consequences of such playful interruptions? Papers on non-mainstream directors are of particular interest.
Authors are encouraged to submit papers prior to the following deadlines
Full Paper Submission Deadline: August 1, 2011.
Final Print-Ready Version Due: October 1, 2011
Society for the Study of Cinema and Media Studies
Due Date: August 1, 2011
Conference Date: March 21-25, 2011 (Boston, MA)
Perspectives on Kelly Reichardt
This NeMLA seminar (March 15-18, 2012 in Rochester, NY) will examine Renaissance drama and poetry via the history of the lower sensorium—the senses of smell, taste, and touch. Though the lower senses were often relegated to a secondary position in medical and philosophical texts, they defined every moment of a subject's daily movements through his or her world. From the taste of the bread and beer that comprised most meals to the overwhelming range of smells that filled every crevice of the early modern city, men and women understood and maneuvered their bodies, encounters, desires, and labor through the three senses comprising the lower sensorium.
Call for Papers:
Commonalities: Imagining the Ordinary
2011 Rice University Symposium, sponsored by the English Department
Rice University in Houston, Texas
September 23rd – 24th, 2011
"Circulations between Art Forms: Questioning Intersemioticity"
The purpose of this conference is to investigate how one conceives or experiences the circulation of representation between codes in intersemiotic works. It aims at examining what is at stake when one moves from one art form to another, as in adaptations, or when works themselves circulate between semiotic codes and combine them (operas, films, graphic novels, installations, iconotexts…). Is trans-code circulation fluid, or does one code predominate? Is intersemioticity merely the illusion of circulation, with codes remaining hermetic to one another, or is it the "effect" of another code instead of an actual circulation between systems of representation?