Continually being transformed, the humanities have expanded into a discursive field of trends, movements, and methodologies that have appropriated the thoughts, ideas, and viewpoints from social and other sciences by transgressing and crossing traditional boundaries, limitations, and demarcations. The humanities which traditionally include the study of disciplines such as language, literature, arts, history, culture, and philosophy rarely prove to be “disciplined” as each one often tends to encroach upon prescribed and reserved territories of other disciplines not traditionally humanities labeled.

The goal of this seminar is to provide a forum in which to discuss how TV shows (reality shows, true crime, documentary broadcasts, docufictions, and web series) bridge the gap between factual knowledge and myths, and how they facilitate the transfer of ordinary knowledge into the implausible, especially in Iberia and Latin America. Entertainment business and journalism intertwine to engage an audience-oriented to the consumption of serialized narratives.

OPEN CALL FOR PAPERS AND (AUDIO)VISUAL ESSAYS.

NEW DEADLINE: 10TH OF OCTOBER, 2022

Animation and Comics: In-between Panel and Frame 

Editors: Editors: Sahra Kunz (UCP-EA/CITAR); Ekaterina Cordas (UCP-CECC); Ricardo Megre (UCP-EA/CITAR).

This call aims to pioneer a cross-disciplinary discussion platform that would initiate a fruitful dialogue between the fields of Animation and Comics. Responding to a growing artistic and academic interest in these two media and to the new conceptual, practical and theoretical challenges they pose, we feel the need to provide a space for academics and artists to share ideas about these subjects.

To confront literary institutions means to confront paradoxes at every level. Institutionalization is the enemy of “real” literature and art, avant-gardists and critical theorists will tell you. Institutions standardize, constrain, and exclude while they assign value and invite critique. Conversely, there is no literature without institutionalization: it is only through institutional frameworks that we can communicate about literature as an observable phenomenon at all. And often, the fiercest critics of institutions are in turn the savviest institution-builders.

South Asian texts and cultures offer a panoply of terms that are difficult to translate. Consider bhāva — a keyword in premodern philosophy, dramaturgy, and poetics — which may refer to an emotion, a meaning, an essential characteristic, a physical object, a living being, or existence itself. In contemporary South Asia, numerous colloquial terms such as timepass, jugaad, and aunty evoke nuanced existential states, techniques, and relationships that call for careful (and playful) theorization. 

Though “posthumousness” takes a variety of forms, the texts within its ambit share a quality that Jean-Christophe Cloutier, in Shadow Archives, calls “a belated form of timeliness.” The editorial apparatus of posthumously published texts, such as Claude McKay’s Amiable with Big Teeth or Muriel Rukeyser’s Savage Coast, foregrounds these novels’ prior lostness and subsequent belated arrival in forms and contexts that their authors could not have foreseen.

Migration is broadly defined as the movement of people from one place to another and the people pursuing this journey are called migrants. However, there are various distinctions within the concept of migration that relates to factors that define if an individual should be considered a migrant, immigrant, refugee, or asylum seeker depending on their length of stay and motivation to migrate. Two major distinctions overarch all forms of movements that individuals make. First, voluntary, and involuntary; second, short term versus long term. Voluntary migrants include sojourners such as people who go abroad to study or visit for business purposes whereas involuntary migrants include refugees and asylum seekers seeking haven from ideology-based persecution.

Paper proposals on any aspect of biography, autobiography, memoir, and personal narrative are welcome. Literary papers as well as creative works will be accepted.  Send a 500 word abstract by November 14, 2022, to to conference's database at

http://www.southwestpca.org

Directions: Once you have accessed the above web site, you will have to creat an account.  After creating you account, on the web sicte choose Conference, then from the drop-down menu click Call for Papers/Submit Proposal.  Scroll down to the Language and Literature section to Biography, Autobiography, Memoir, and Personal Narrative.  Click the + sign under the Biography area, then choose Submit Proposal.  

In a world gradually opening itself to diversity, cultural perceptions are greatly influenced by translation of emotions, and their expressions in public discourse and art. But what happens when humor is translated? Humor in literary discourse harnesses amusement arising from perception of differences and/or contrasts, and as such, it is especially challenging to ensure that it retains its amusing quality despite the change in linguistic and cultural registers of perception.

A One-Day International Interdisciplinary Conference

on

Postcolonial Ecospheres: Principles, Policies & Politics

Conducted by

Department of English, Sadhan Chandra Mahavidyalaya

(Date of Conference- 15 November, 2022 (Tuesday))

Concept Note:

MEMORY AND REPRESENTATION  

CALL FOR PAPERS

The Memory and Representation area of the Popular Culture Association/American Culture Association invites submissions on any pertinent topic (see description below) for the 2023 National Conference in San Antonio, Texas, April 5-8, 2023.

Memory and Representation: Area Description

Our seminar “A Ponderous Hush: the Poetics and Politics of Silence” approaches silence in a way that can synthesize and deconstruct the overlaps between silence as a concept and as an act, aiming to confront silence's poetics and politics. In an attempt to disengage the topic from views which forefront silence's negativity (as in the "unsayable" or semantic contents which lie outside the sufficient operations of language), we want to interrogate silence as "tacere"/"Schweigen" (the voluntary act of remaining quiet) and "silere"/"Stille" (the absence of sound).

We seek presentations on any aspect of teaching the eighteenth-century within a global context. Presentations might focus on strategies for teaching transcultural and transnational encounters; travel, trade, or colonialism; eighteenth-century world literatures; or any text or set of texts—written, oral, visual, aural, or material—that “globalizes” students’ engagement with the eighteenth century. We welcome presentations on the teaching of subject matter that exposes, interrogates, unsettles, decenters, or displaces a Eurocentric world view.

October 24, 2022, is the extended deadline.

Laughter is a physical manifestation or, as Jean-Luc Nancy wrote, it is “a body shaken by a thought that is not possible”. In a performance of conceptual poetry you hear as much laughter as in a stand-up comedy performance. However, in the academic world, conceptual writing has been treated mainly as a rational endeavor or a cerebral and intellectual exercise. Enthusiasts and critics alike have often read conceptualist works very seriously.