This creative session seeks work that crosses, that inhabits several places or that moves relentlessly through and across places of genre, form, medium, and so on. It is meant as a partner and collaborator with the panel “Thinkings In and Out of Place,” though in this session the boundary-crossings activate and shape the works sought. The call is for scholarship|interpretive work projected into new forms with differently confluent streams of image and text, of prosaic and poetic, of academic and literary. Is there a way to project interpretation and theorization in such a way that resists or operates differently than the conventions of academic discourse, its unshakeable positivity and correlative thetic and agonistic stance?
Some texts resist the place(s) of genre classifications and are nevertheless—in spite of the resistances they perform—constituted as within these boundaries: Plato, Kierkegaard, Nietzsche, for example, tend to be held within disciplinary bounds of philosophy. In this panel, a focus will be on texts that seem to strive for displacement, for other places or, more radically, for a continual re-placement or release from place(s) of genre.
Now in its tenth year, the AUM Southern Studies Conference invites panel and paper proposals on any aspect of Southern literature. The conference will be held 9-10 February 2018. Topics may include but are not limited to:
Call for Papers
Department of French and Italian
October 20, 2017
In light of recent questions of immigration and terrorism, international politics has recently seen a surge in concern for “domestic” issues: the security, well-being, and unity of the nation. Increasingly, countries like France and the United States are “closing their doors” to the rest of the world, reasserting the boundaries of their “homelands.”
Ireland, Irish America, and Work is the theme of the 33rd annual meeting of the American Conference for Irish Studies-Western Regional [ACIS-West] for Oct. 19-22, 2017 at the Davenport Hotel in Spokane, Washington. Many prominent members of the American Labor Movement were Irish and Irish-American. Jim Larkin and James Connolly worked for the I.W.W in both Ireland and the United States, where, in 1917, the I.W.W. began to face vicious repression. By July 1917, federal troops began to be used to suppress industrial conflicts, to raid I.W.W. halls, to break up meetings, and to arrest Wobblies. In Spokane, Irish I.W.W. leader James Rowan was arrested and sent to Leavenworth.
As Holocaust survivors were liberated from concentration camps, prisons, and places of hiding—among other compromised milieus they were forced to inhabit from 1939–45—they brought the memories and the trauma of the Holocaust to the places they eventually came to call “home.” Bringing such emotional and psychological burdens with them, many survivors settled abroad—from Argentina to Canada and from the United States to Israel—and established families, rearing those who would later be called “second-generation” Holocaust survivors. These children of Holocaust survivors (and their children) have become the carriers and bearers of their parents’ memories and trauma that came to define the domestic experience of survivor households.
“New Directions in Africana Literature”
This panel welcomes papers that explore the contours and contexts of contemporary Africana Literature. We invite presenters to consider potential new scholarly directions for emerging writers of African descent as well as established writers whose recent works address the imperatives of the current moment. We especially encourage presenters whose work addresses the SAMLA 89 theme, “High Art / Low Art: Borders and Boundaries in Popular Culture.” Other themes that panelists might address in their work include, but are not limited to:
William Shakespeare’s oeuvre is comprised of multiple forms, including the play, the sonnet, and the narrative poem and spans a wide variety of genres, including comedy, tragedy, history, epic, and romance. Because of his contributions to the western canon, modern scholarship tends to focus on Shakespeare the writer. Yet, we often forget another aspect of his literary life: Shakespeare the reader. In crafting his work, Shakespeare borrows heavily from Classical, Medieval, and Renaissance literature of all genres, including poetry, epic, drama, and prose fiction, and incorporates references to mythological, religious, rhetorical and philosophical texts throughout his works.
Percy's practice and thoughts on art - and the human experience - range from high to low, from immanence to transcendence. Was Percy's philosophy an abstracted high art and his fiction, a low art, for conveying the same message, but in the humble context of physical life? Percy's first novel, The Moviegoer, talked of the low art of movies (as they were considered during his time) as escape, but also serving a higher purpose of self-realization. He writes of the movie magazine as the "low slick." But the Moviegoer ends with the high art of the church, a conduit for the divine. Percy wrote of the orbit and re-entry of the artist, going from high to low.
SAMLA 89th Annual Conference:
High Art / Low Art: Borders and Boundaries in Popular Culture
Westin Peachtree Plaza, Atlanta GA
November 3-5, 2017
Panel Title: Carson McCullers’ High/Low Artistic Influences and Successors
Call for PAMLA 2017 Conference Proposals: Film Studies Panel
Please consider submitting a proposal for the PAMLA Film Studies panel. You may submit a proposal on any topic, but below is the conference theme, in if you're interested in addressing it. Submit proposals using the online process at https://www.pamla.org/2017. Questions can be submitted to Dawn.Dietrich@wwu.edu.
“The Sense of Sight: Visuality, Visibility, and Ways of Seeing” (Deadline for proposals: May 21st, 2017)
RILEC 2017- Call For Entries
The PG CWWN (Postgraduate Contemporary Women’s Writing Network) are delighted to announce our next biennial conference, Fast Forward: Women’s Writing in the 21st Century, to be held at Sheffield Hallam University on 8th-9th September 2017.
Fast Forward: Women’s Writing in the 21st Century
“The past is always tense, the future perfect.” (Zadie Smith)