english-education

250- to 500-word proposals, with title, for 15-minute papers/presentations on the challenges and opportunities in teaching students with disabilities in composition or literature courses.  Papers should address issues like the following:  teaching methods and resources, including universal design curricula, to support students with physical challenges (e.g., sight, hearing, paralysis), students with learning disabilities (e.g., cognitive impairment affecting reading, writing; attention deficit syndrome), and other disabilities; dealing with students susceptible to non-disclosure of disabilities; high school to college transition for English majors with disabilities; consideration of institutional liability risks of IT inaccessibility in F2F, online, and h

250- to 500-word proposals, with title, for 15-minute papers/presentations on the pedagogical use of service learning in composition or literature courses.  Papers should address issues like the following:  Determining whether service learning projects—and what kinds—are appropriate to course material; matching key components of one’s English course with appropriate service learning projects; establishing relations with off-campus service learning entities; framing project assignments that enhance service learning while maintaining course content integrity; developing an assessment model to measure outcomes.  How many different service learning projects within an English course?  How long should such projects be?  Level of difficulty?  Challenges, risks,

Short Description: This NeMLA panel invites participants to share their experiences engaging students with and through literature in spaces beyond the classroom, such as through common reading initiatives, student activities and clubs, and other co-curricular programming. It also welcomes speculative pieces proposing and evaluating possible new places in higher education for literature, literary study, and the humanities.

Adaptation studies was originally established with the intent to study  the manner in which cinematic texts altered their literary sources.  However, this concept has since expanded to engage with broader ideas of  how adaptation functions and the manner in which it has come to  interface with not only specific genres of literature, film, theatre,  media, and the digital, but also the narratives that underlie these in a  broader social, political, and historical sense (Raw and Gurr, 2013).  In fact, it is now maintained that the field is broad enough to be  conceptualised as an active determining process that affects almost  every aspect of our lives as we engage with the world around us.

“Culture” is not an object to be described, neither is it a unified corpus of symbols and meanings that can be definitively interpreted. Culture is contested, temporal, and emergent. Representation and explanation—both by insiders and outsiders—is implicated in this emergence.

James Clifford, Writing Culture