The conference hopes to broaden the scope of American literature, opening it to more complex geographies, and to a variety of genres and media. The impetus comes partly from a survey of what is currently in the field: it is impossible to read the work of Toni Morrison and Junot Díaz, Yusef Komunyakaa and Carolyn Forché, Tony Kushner and Lynn Nottage without seeing that, for all these authors, the reference frame is no longer simply the United States, but a larger, looser, more contextually varied set of coordinates, populated by laboring bodies, migrating faiths, generational sagas, memories of war, as well as the accents of unforgotten tongues, the taste and smell of beloved foods and spices.
Call for Papers
Chicano/a Literature, Film, and Culture
Southwest Popular / American Culture Association (SWPACA)
39th Annual Conference, February 7-10, 2018
Hyatt Regency Hotel & Conference Center
Albuquerque, New Mexico
Proposal submission deadline: October 22, 2017
Popular Culture Association/American Culture Association (PCA/ACA)
2018 National Conference
March 28-31, 2018
Call for Papers: American Literature
Deadline: October 1, 2017
The American Literature Area of PCA/ACA seeks individual papers for presentation at our 2018 National Conference, to be held in Indianapolis, IN at the J.W. Marriot.
Call for Papers: An international conference investigating war, literature, and art at the United States Air Force Academy, Colorado on September 20-21, 2018 solicits both disciplinary and interdisciplinary presentations on "Representing and Remembering War.” The conference seeks a variety of genre submissions, both critical and creative, including literary criticism, journalism, rhetorical analysis, cultural studies, theory, fiction, non-fiction, poetry, film studies, photography, painting, and music.
Journal Imaginaires (CIRLEP, Université de Reims Champagne-Ardenne) Call for papers: Places of rupture Major works of art are often the result of a break or of several breaks with their time, which leads their authors to reconfigure their worldviews, reinvent their use of language, modify a genre, or conceive a new theory. But a work itself is also made up of flows and rhythms that delineate or destroy the main features of a man’s existence, a community or a territory for others to take form or be wiped out for ever.
This session welcomes papers that will investigate the range of comedic forms embedded within African American literature. On the heels of the twentieth anniversary of the release of Saidiya Hartman’s seminal monograph Scenes of Subjection, this panel’s exploration of the use of humor in black literature offers a new critical framework for exploring the ways that spectacles of violence have continued to undergird representations of black performance in contemporary critical thought. From the auction block to the jazz stage, “blackness” manifests epidermally and externally, often through public articulations of shared racial grief. As such, recent critical work has often framed humor as a tactical response to racial violence.
The proposed panel purports to explore the functions of ekphrasis and the poetic in rhetorical appeals. It welcomes papers based on the Classical appeals to logos, pathos and ethos, as well as Modern appeals to authority, evidence, data, time, place, the body, gender, race, literary tropes and narrative form. Within the context of the panel, the term ekphrasis is broadly interpreted in both its Ancient sense, as energeia, that is vivid sensuous description, or its more Modern sense as the verbal representation of visual representation. Another way to frame the intention of the panel would be to say that it purports to explore the persuasive power of both vision and language from Antiquity to the present.
This panel reflects on the place of confusion in British and American modernism. Confusion has not been traditionally considered a proper scholarly response to textual analysis; critics are supposed to interpret a text rather than allow themselves to experience its uncertainties. What happens when we explore the confusion we feel when reading not as something to be worked through, but as something to be worked with? Building on affect theorists’ work on how our feelings can influence the way we read, such as Eve Sedgwick’s reparative reading and Rita Felski’s reflective and post-critical reading, how can considering confusion change both our experience of reading and our critical practices?
Join us for the 32nd Annual MELUS Conference in Las Vegas
May 3-6, 2018
Hosted by the University of Nevada, Las Vegas
Call for Papers: “TransCulture”
Deadline: November 15, 2017
42nd Comparative Drama ConferenceText & PresentationCall for PapersApril 5-7, 2018Orlando, Florida 2018 Keynote Event
April 6, 2017 8 p.m. (followed by a reception)
A Conversation with Simon Stephens