Archives in Transit: From Personal Life Histories to Public Experiences as Academics

Northeast Modern Language Association

Submission Deadline: September 30, 2023, at: https://cfplist.com/nemla/Home/S/20713

Abstract

While life in the academy often precludes acknowledging one’s own personal and familial life histories and experiences, generative and embodied scholarship in the humanities requires a thorough reckoning with our positionality and intersectionality. In this creative session, participants traverse from the personal to the professional by paying homage to the roots that lead to routes.

North American History and Culture in Popular Media in the German-speaking Lands

Northeast Modern Language Association

Submission Deadline: September 30, 2023, at:  https://cfplist.com/nemla/Home/S/20712

Abstract

Research Colloquium for Graduate Students in German Studies

Northeast Modern Language Association

Submission Deadline: September 30, 2023, at: https://cfplist.com/nemla/Home/S/20710

Abstract

2023 marks the fortieth anniversary of the initial publication of Sweet Valley High. While Elizabeth and Jessica Wakefield may rank amongst the best-known teen romance heroines, the texts themselves exist within a much larger pantheon of series books intended for or read by teens, and featuring romance narratives. The Journal of Popular Romance Studies (JPRS) seeks articles for a special issue devoted to young adult series romance. These articles may focus on YA series romance from any historical period or language context, and may derive from any relevant discipline, including interdisciplinary approaches.

Possible topics may include, but are not limited to:

Call for Papers, Caribbean Literature at CEA 2024

March 21-23, 2024 | Atlanta, Georgia

The Westin Buckhead Atlanta

The College English Association, a gathering of scholar-teachers in English studies, welcomes proposals for presentations on Caribbean Literature for our 54th annual conference. Submit your proposal at www.cea-web.org.

The general conference theme is “transformations,” so we are especially interested in presentations that feature topics relating to our theme of confluence in texts, disciplines, people, cultural studies, media, and pedagogy.

The Will before Psychoanalysis

Co-organizers: Andrea Gadberry and Gerard Passannante

Long before the emergence of a conceptual vocabulary that named the unconscious and its wishes—that adumbrated a modern subject’s desires, repetitions, and obsessions—there was a robust conversation about the faculty of the will: its powers, its vulnerabilities, their sources, and their bearing on experience. This seminar investigates willed and unwilled experiences across habits of feeling, vicissitudes in thought, and activities of the soul in literary and philosophical works prior to the advent of psychoanalysis.

Call for Papers, CEA 2024: Atlanta

53rd Annual Conference | March 21–23, 2024

Westin Buckhead Atlanta

JOIN CEA IN ATLANTA!

TRANSFORMATIONS

ABSTRACTS DUE: NOVEMBER 1, 2023

Papers on Latinx Literature are especially welcome on our conference

theme of “Transformations,” although papers on other concepts are also

welcome. Topic suggestions include migration, exile, resident statuses,

memory, history, borderlands, and identities, among others.

Post45 Journal is pleased to announce that we are currently accepting submissions for two article prizes: the Mary Esteve Emerging Scholar Essay Prize and the Post45 Essay Prize for Contingent Scholars. The Emerging Scholar prize is named in honor of two-time Post45 Journal editor Mary Esteve to celebrate her commitment to the work of the journal and her generosity as an editor and reviewer. The two prize-winning essays will be awarded $500 each and—pending anonymous peer review—will be published in the journal.

Between the New Negro and Black Arts Movements

Langston Hughes's long career spanned these two movements, with his first collection, The Weary Blues, appearing in 1926, and his final collection, The Panther and the Lash, appearing two months after his death in 1967. The Langston Hughes Society invites papers related to the decades between the New Negro and Black Arts Movements, or to artists who are not typically associated with those movements.

In a world saturated with images in which audiovisual storytelling has dominated for decades shaping the aesthetics and expectations of the audience, and in which binge-consuming TV series on digital platforms and homemade videos on social media have become the trend of the last few years, it is quite unexpected to witness the reemergence of a storytelling that resists visual representation.  Of course, audio storytelling is not new; Stories voiced for the ear to listen have been with us since early on, for as long as there have been stories to share. What has changed in recent years, whetting our story-listening appetite anew, are the computing technologies ever rapidly developed for audio production, distribution and reception.

https://www.acla.org/poetic-language-now

Organizer: Rebecca Kosick

Co-Organizer: Nathan Taylor

Poetry has exploded off the page in recent decades, making a prominent home for itself in new semiotic and material environments. Poems circulate on subway systems, through platforms and apps, on placards at protests, in art museums, and the built environment. These poems, in turn, are composed in a variety of human and nonhuman languages, from Spanglish to mathematics, code to GPT-language models. 

Literary Druid is a journal that fosters research and creative writing in English. It welcomes all nationals to contribute for learning and research purposes. The perspective of Literary Druid is to create a niche platform for academicians and patrons to share their intellect to enrich the English language and Literature. I welcome all to learn and share.

What is the potential, liberatory or otherwise, of excess as a figure, motif, scene, or problem? Blake’s “road of excess” offers a counterpoint to an industrial-capitalistic ethos of productivity, frugality, and reason. Moreover, Bataille speaks of “excess” as a form of unproductive expenditure of energy under modernity. If “animatedness” (Ngai) operates as a racialized iteration of exaggerated affect, how does one read the overdetermined sentimentality of the lyric “I”? Lyric excess, then, invites an engagement with scenes of excess, or in other words exuberance, surplus, or waste, to rethink lyric poetry’s non-utilitarian possibilities in form and content.