In his influential work The Structure of Scientific Revolutions, Thomas Kuhn explains "the reception of a new paradigm often necessitates a redefinition of the corresponding science. Some old problems may be relegated to another science or declared entirely 'unscientific'." This process of drastic redefinition is exacerbated not only due to scientific discoveries and technological advances, but also the professionalization of the field, a process that not only consolidated knowledge, but created new social capital. Critics like Kuhn, Bruno Latour, and Michel Foucault, among others, demonstrate the inherent upheaval that such restructuring of scientific knowledge causes.
Raymond Williams described his 1976 "Keywords" project as dealing with interdisciplinary terms that "bound together certain ways of seeing culture and society." In the last forty years new economic formations have generated a new vocabulary: late capitalism, neoliberalism, precarity, vulnerability. These terms are increasingly important to cultural and literary studies: scholars of the contemporary moment employ this economic diction to articulate a crisis in current affective and political arrangements. This panel aims to define these new keywords in terms of their provenance and their effects as they migrate from economic to cultural criticism.
Questions about Mark Twain's fascination with wealth have played a major role in Twain criticism from the very beginning. It might be argued, in fact, that the foundational disagreement in Twain studies hinges on whether his commercial inclinations fostered his artistic achievement (Bernard DeVoto) or bastardized his talent (Van Wyck Brooks). Rather than prolong the biographical debate, this volume of original essays will draw on recent work at the intersection of economic theory and literary studies (sometimes referred to as the New Economic Criticism) to reevaluate and deepen our understanding of Mark Twain's complicated relationship with money and issues of economy, broadly understood. Topics of interest might include Twain's engagement with:
"Bernard Shaw's Use of Language -- Artistic Innovation, Social Critique, and Political Argument. His Cultural Legacy.
Come to hear papers and talks from scholars/authors/actors/directors, participate in discussions, and see ShawChicago's concert reading of Shaw's Man and Superman.
Bloomsbury C21 Conference 2014: Towards A Twenty-First Century Literature
10-11 April 2014, Brighton, UK
Supported by: Bloomsbury Higher Education Academy UK Gylphi Myriad 3AM Magazine
Dr David James,Queen Mary London
Prof Philip Tew,Brunel University
Prof Lucy Armitt,University of Lincoln
Prof Robert Eaglestone,Royal Holloway
Call for Papers
The Conference will be jointly hosted by
The Department of English Language and Literature of
Muğla Sıtkı Koçman University, ELT Department of Muğla Sıtkı Koçman University and
The English Language and Literature Research Association of Turkey (IDEA).
The Conference will address topics from the fields of,
"British and Comparative Cultural Studies"
"Linguistisc and ELT"
Abstracts for proposed papers (maximum 250 words) should be submitted to:
Please include your name, affiliation, email address and a brief biography.
Add 5-6 keywords pertaining to your topic.
Representing tears in the theatre hinges on the paradoxical performance of an absence: while the lacrimal flow can usually be explained, its physical manifestation mostly eludes visibility. Yet the presence of tears cannot easily be dismissed, as it is far from anecdotal. Portrayals of and discourses on tears indeed abound in theatre history: whether meant to affect the performers or the spectators, this emotional outburst can express a wide range of affects, from sorrow to joy, to laughter and awe.
We welcome contributions from scholars working in the fields of theatre, performance, literary, and cultural studies across cultures and time periods.
Potential topics include, but are not limited to:
Cervantes' Don Quixote (1605/15), Montesquieu's Lettres persanes (1721), MacPherson's Ossian (1761), Mérimée's La Guzla (1827), Louÿs's Chansons de Bilitis (1894), Raja Rao's Kanthapura (1938), many of Borges' short stories, Makine's La Fille d'un héros de l'Union soviétique (1990), and Doubled Flowering: From the Notebooks of Araki Yasusada (1997) are only some of the numerous – often canonized – original texts that invite the reader to read them as if they were translations, to imagine a preceding original produced in a different language and for a different audience.
"'Masquerades, I have generally heard said, were more silly than wicked,'" declares one respectable character in Samuel Richardson's novel Sir Charles Grandison (1754), "'But they are now, I am convinced, the most profligate of all diversions.'" Richardson's disapproval of the bal masqué's vulgar dissipation represents just one incarnation of a rich and multivalent concept. In various guises masquerade capers and creeps through the humanities, eluding any single form or function: noun or verb? literal or figurative? sinister or celebratory? deceitful or mischievous? We are seeking papers, panels, and creative projects that are inspired by this panoply of meaning to address the idea of masquerade in any way – material and/or theoretical.