(Re)Mixed Grooves: Disco, Hip-Hop, and the Poetics of Sampling (9/30/2011; NeMLA 3/15-18/2012, Rochester, NY)
43rd Annual Conference, Northeast Modern Language Association (NeMLA)
March 15-18, 2012
Rochester, New York
(Re)Mixed Grooves: Disco, Hip-Hop, and the Poetics of Sampling
If "disco is dead" and "hip-hop is in crisis" then what do we make of renewed and continued interest in these genres--and how are disco and hip-hop relevant to literary texts? Recent scholarship on disco culture (by Alice Echols, Peter Shapiro, Tim Lawrence, and Vince Aletti) and critical studies about hip-hop culture (by Tricia Rose, Bakari Kitwana, Adam Bradley, Gwendolyn Pough, and Jeff Chang) insist on examining the complexities within these musical genres, their cultures, and descendents.
Therefore, this panel seeks submissions addressing disco, hip-hop, sampling, and remixing which intersect--in theory, content, or practice--with literature and literary texts (whether fiction, memoir, prose, graphic novels, hypertext, paratext, experimental writing, poetry and poetics, film or television, etc).
Papers may engage such questions as: How does contemporary literature convey, change, or lose meaning in ways marked by the voices, beats, breaks, and rhymes of disco and/or hip-hop? In what ways do race, gender, class, and sexuality configure in the politics and poetics of disco and hip-hop? Do issues of intertextuality carry from literary texts--whether poetic or prose--to the layering and polyvocality we see in music production, DJ-ing, and (re)mixing of hip-hop and disco (whether in earlier decades or as recontextualized in today's music, literature, and culture)? How do narrative, timing, and temporality play a role in the semiotics of sampling and creating palimpsestic mash-ups? In what ways do models of language, writing, song, and spoken word parallel expressions in disco and hip-hop through attention to time, beat, speed, repetition, rhythmic intensity, change, alteration, and monotony? To what effect are voices, messages, and sonics foregrounded and backgrounded through sampling and mixing in texts musical and literary? How are we to understand disco or hip-hop as text? In what ways do personal narratives within the cultures of disco and/or hip-hop offer narratives of identity invention and reinvention, stories of composition and decomposition? Do popular culture proliferations like "Hip-Hop Lit" and "Discopoetry" play a role in education and activism today?
Please submit 250-500 word abstracts via email to Dr. Clare Emily Clifford at ccliffor[AT]bsc[DOT]edu by September 30, 2011. Details and the complete Call for Papers for the 2012 NeMLA Convention available at: www.nemla.org.
Dr. Clare Emily Clifford
Department of English