or Early Modern Women, the very act of seeing or being seeing was fraught. Whether in their domestic roles or later as they first appeared on English stages, much was talked about the gaze of the early modern woman and the sway she held over others' gazes. Whether she was catching the eye of a potential lover or looking longingly after her children, her freedom, her future, the language of sight surrounds these women. This panel will look for papers exploring the theatrical power within these depictions of women seeing and being seen. The performative nature of being a woman who must appear chaste while remaining sexually desirable.
If ecology is without nature, as Timothy Morton provocatively argued in 2007, then one may wonder of ecology without the feminine as a corollary. For nature, much like the feminine, has been fetishized, exoticized, and romanticized as a signifier emptied out—a sort of lacuna. If we can be at ease with the gap, vacancy, or interval and, perhaps, theorize about the unfilled space while sorting out the inconsistencies of what it means to represent nature, the feminine, and androgyny, then we might begin to trace the valuable contributions of 19th-century women writers to the development of the term oecologia coined by Ernst Haeckel in 1866 and beyond.
Navigate to https://www.cfplist.com/nemla/Home/S/16777 to submit your abstract to this panel, which is part of next year's NeMLA Convention in Pittsburgh, PA.
Abstracts will not be accepted via email, but you may contact the panel chair, Laura Feibush, at the email address listed above with any questions.
Go to https://www.buffalo.edu/nemla/convention.html for more information about the 49th Annual NeMLA Convention.
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?
NeMLA Convention, April 12-15, 2018 in Pittsburgh
24th AISNA Biennial Conference
The US and the World We Inhabit
University of Milan, September 28-30, 2017
Paper proposals (max. 300 words) should be submitted, together with a brief biographical note, to the Workshop Coordinators and carbon copied to the Conference Organizer, Paola Loreto (firstname.lastname@example.org), by June 15, 2017. Successful proponents will be notified by June 30, 2017. Workshops exceeding four participants will be split into two sessions.
1. The Wor(l)ds We Inhabit: Modes and Moods of Reading
Latina Outsiders: Remaking Latina Identity (CFP for edited anthology)
Deadline for submissions:
December 3, 2017
Description of the project:
We are currently seeking finished, previously unpublished articles, testimonios, essays, creative non-fiction, and poetry, for an edited anthology tentatively entitled Latina Outsiders: Remaking Latina Identity.
This panel seeks papers that address the disruptive role of clothes along with the possibility they provide the individual or a group to challenge a super-imposed set of rules and to create discontinuity within their community.
The purpose of this panel is to shed light on the many functions of clothes in literature and cinema but not only, and on how clothing and garments can become symbols of individual power and redemption. Throughout what they choose to wear or not to wear, men and women send a clear message against the passive acceptance of injustices and prevarications. Moreover, clothes may represent the ability for the subject to denounce the establishment and to assert their freedom and individuality.
Manisa Celal Bayar University
International and Interdisciplinary Environment and Literature Symposium
1-3 November 2017-Manisa, Turkey
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.
This panel explores the sense of place as part of the indigenous language of American artistic production of Modernism in the context of the European avant-garde. Though U.S. poets and artists were influenced by the formal techniques of Cubism, Futurism, Expressionism, Dadaism and Surrealism, they were also determined to search for the essence of an expressive language that defined its authenticity as opposed to European foreignness. One of their avenues of research was the exploration of the distinctive features of the American soil as a means of contributing novel aspects to modern aesthetics. The genuine character of the environment is closely linked to the strong attachment to rural or urban spaces and the value they acquire for the observer.
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).