category: victorian

[UPDATE] (dis)junctions 2010 graduate conference, April 9-10

full name / name of organization: 
University of California, Riverside
contact email: 
disjunctions2010@gmail.com

The deadline for proposals to the (dis)junctions 2010 graduate conference at the University of California, Riverside has been extended to March 11.

London - (Dis)junctions 2010 - UC Riverside - Graduate Student Conference - April 9-10 - Due by Friday, March 12, 5pm Pacific

full name / name of organization: 
(dis)junctions 2010 - UC Riverside
contact email: 
raycrosby@gmail.com

LONDON:
Contributors are welcome to submit papers examining metropolitan London—in literature,
history, art, architecture, etc. Possible topics include:

Sirens - 10/7 - 10/10; deadline May 7

full name / name of organization: 
Hallie Tibbetts / Narrate Conferences
contact email: 
programming at sirensconference.org

CALL FOR PROPOSALS: Sirens
Vail, CO
October 7–10, 2010
A conference on women in fantasy literature presented by Narrate Conferences, Inc.

The Humane Reader: Friendship and Literature

full name / name of organization: 
John Lee / University of Bristol
contact email: 
j.lee@bristol.ac.uk

The Humane Reader: Friendship and Literature

Plenary Speakers: Peter McDonald, Christopher Ricks, Mark Vernon

Art History and Visual Culture Area Deadline April 30, MPCA/ACA October 1-3

full name / name of organization: 
Midwest Popular Culture Association/ American Culture Association
contact email: 
cbarko1@niu.edu

Art History and Visual Culture Area

2010 Midwest Popular Culture Association/American Culture Association Conference
Deadline: April 30, 2010

Friday-Sunday, October 1 - 3, 2010

[Update]: Philosophy of Language and Narrative (3/15/10; MLA 2011)

full name / name of organization: 
Jami Bartlett
contact email: 
j.bartlett@uci.edu

What can the philosophy of language contribute to narrative theory?

Edited Collection: Women in Journalism at the Fin de Siecle

full name / name of organization: 
F. Elizabeth Gray/ Massey University, New Zealand
contact email: 
F.E.Gray@massey.ac.nz

Submissions are invited for an edited collection of scholarly essays on women’s journalism between 1880 and 1910, entitled ‘Making a Name for Herself: Women in Journalism at the fin de siecle’,

The Asian Conference on Media - MediAsia 2010, 28-30 October, Osaka, Japan

full name / name of organization: 
IAFOR - The International Academic Forum
contact email: 
mediasia@iafor.org

Conference Theme: Brave New World

Special Theme 1: Brave New World: Challenges and Opportunities

The Asian Conference on Education - ACE 2010, 02-05 December, Osaka, Japan

full name / name of organization: 
The International Academic Forum
contact email: 
ace@iafor.org

Special Theme: Internationalization or Globalization?

[UPDATE] Spectacle! The Seduction of Illusion

full name / name of organization: 
Crisis Carnival 2010
contact email: 
sdsu.grad.conference@gmail.com

Crisis Carnival 2010: Spectacle! The Seduction of Illusion

What do the Olympic opening ceremony, drag queens, and Shakespeare have in common?

Linguistic theorists such as Judith Butler, Jean Baudrillard, and Guy Debord have all conjectured that we engage daily in performances that obscure the line between illusion and reality. These performances both re-affirm and challenge society’s values, boundaries, and taboos. By analyzing these spectacles, we can question the relationship between performance and the “real,” with the hopes of discovering the motivations behind these seductive visions.

In a society dominated by media constructions of our cultural values, it is more important than ever to evaluate the role that spectacle plays. What is the social significance of illusions – to inspire change, to help us distinguish the values most important to us, or to help us escape?

The goal of this conference will be to bring the conversation into a contemporary context. How are social anxieties personified in the spectacle of monstrosity? What role do today’s avatars, clones, and digital doppelgangers play in our conceptions of our “real” selves? How has the relationship between performance and the real changed since Shakespeare?

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