This seminar seeks to explore the dialectical relationship between recent geopolitical crises and people’s responses to them. Once previous hermeneutical and epistemological frameworks and tools no longer work, global citizens need to devise original technologies to respond to and understand what are perceived as radically new experiences.
world literatures and indigenous studies
NeMLA Annual Convention - Pittsburgh, PA - 12-15 April, 2018
For a time, the Absurd was one of the chief literary movements of the day. When Martin Esslin published The Theatre of the Absurd he would frame various emerging playwrights such as Ionesco, Beckett and Pinter under one label. Though they would reject the term, the notion of the Absurd stuck and would invite a flurry of criticism from the academic world.
This proposed panel is concerned with satirical responses to corruption, injustice, disenfranchisement and economic crisis from across Hispanic cultural production. Papers may analyze dark comedy in film, comics and cartoons, narrative, theater, visual arts, social media, and so on from Spain, Latin America, and Latinx America and from any time period. The aim of this proposed panel is to explore the tragicomic sensibility in Hispanic cultural production with a focus on social critique and, where possible, to trace genealogies and compare/contrast satirical representations across the Spanish-speaking world. We ask: How do our proposed texts relate to the terms: dark comedy, grotesque, esperpento, farce, tragicomedy, humorism, wit?
This panel examines the imbrication of the avant-garde with mass-produced art in order to discern the relationships between the proliferation of images and capitalism in the advent of modern visual culture. Imitating the shock value of advertising, the avant-gardists appeal to the eye of the viewer to gain visibility in the domains of art and draw the consumer’s attention to its product, thereby revealing the profit-oriented motives of marketplace exchanges. Immaterialities such as images are thus transformed into commodities that blend high and low aesthetic genres that participate in the consumer society.
As Douglas Mao and Rebecca Walkowitz indicate in their article “The New Modernist Studies,” recent trends in modernist studies have operated a radical revision of the term “modernism,” moving away from the idea that modernism is confined to a single place (Europe, North America, and the West in general) or a single time (roughly 1890-1940). As the map of “transnational” and “global” modernisms expands, ever more attention has been given to new languages, phenomena of bilingualism and multilingualism, and translation as a fundamental practice in modernist writing (Yao, Rogers).
This panel will explore the complex and evolving relationships between tradition, transgression, and dialogue in South Asian Culture. Because of the complexity of these issues, we are not insisting on a specific time-frame. While the accent will be on contemporary life, participants may want to focus on the past, near or distant.
In 1993, Edward Said published—to great acclaim and critical discussion—what would come to be considered a signal achievement: Culture and Imperialism. Twenty-five years onward, Said’s text remains central to literary work from postcolonial studies to the Victorian novel, the New Historicism to World literature. Its endurance, it would seem, lay in its breadth: the magnitude of Said’s intervention, its power of synthesis, its inventive critical modes.
We seek proposals highlighting East-West literary connections, particularly interested in cross-disciplinary approaches which compare literary topics or methodologies with the fields of history, philosophy, religion, or film. Please see the link below for information on paper proposal submissions.
This panel seeks papers that analyze textual, visual, and/or performance-based media in which female, trans*, and/or genderqueer protagonists fight against injustice, whether through explicitly political acts (e.g. protest) or by living a life in opposition to oppressive hegemonic demands. How is this resistance coded aesthetically, linguistically, formally, and/or narratologically? How do intersecting aspects of the protagonist’s identity, such as race, ability, class, sexual orientation, religious affiliation, and/or nationality/citizenship status shape the kinds of resistance undertaken? How are these acts interpreted by other actors in the storyworld and what is their impact?
The passing in 2017 of Nigerian and Igbo novelist Buchi Emecheta, whose life and fiction memorably dramatize the deeply-rooted obstacles to women's emancipation and the strength and intelligence of women to face such obstacles, occasions a consideration of West African women writers. This NeMLA 2018 panel seeks to consider a variety of authors that might include Emecheta Flora Nwapa, Efua Sutherland, Ama Ata Aidoo, Mariama Ba, Chimamanda Ngozi Adichie, and others. The works of such authors raises many vital questions that are relevant today. We will ask what common threads are found in West African women's writing and what conflicts, challenges, and successes of women may be associated with West African space and its societies.