Interface has become an increasingly important area of research not only in the fields of communication and technology, but also in the study of culture and media more generally. Expanding from a focus on human-device relationships to encompass larger contemporary issues of habit, identity, embodiment, and social interaction, interfaces and interface thinking seem to be everywhere, producing what Alexander Galloway has called an “interface effect.” This panel will offer multiple perspectives on interface as a concept and condition, considering how it may extend from seemingly straightforward media and technology applications to impact wider socio-cultural activity and transactions.
Heidegger and the Western Literary Tradition.
This panel will investigate the complex relationships between the work of Martin Heidegger and Western literature from the Greeks until the 20th century. Three distinct questions or areas of investigation will be treated:
• How did Heidegger use a specific writer in one or more of his philosophical writings?
• How does Heidegger’s use of a given writer relate to our current understanding of the works and themes of this writer?
• Are there thematic points of contact between Heidegger’s work and literary authors that Heidegger may not have mentioned? Can we point out specific limitations that might result from Heidegger’s philosophical methodology?
In his lifetime, Nietzsche referred to over 150 nineteenth-century writers in both his published writings and Nachlaß. Nietzsche’s use of nineteenth-century fiction and poetry ranges from somewhat nonchalant to extremely systematic. Indeed, the cornerstone of his “Advent of European Nihilism” in the late 1880s is the decline or decadence of literature during Nietzsche’s lifetime.
The panel attempts to focus on passages, individual novels or poems, and complete bodies of work in order to assess Nietzsche’s use of these texts in his philosophical project.
World War I marked one of the great turning points in the political, social, and cultural history of Europe and the world. This panel explores the lived, daily experience of this war by looking at five different forms. Presenters can address these forms in isolation or show the relationships between them.
First, presenters may analyze and evaluate the experience of the Great War through its literary texts, diaries, or journals. Presenters are encouraged to choose a single passage or two in order to explore the concrete experience of the war. The texts may focus on soldiers, civilians or both. Any text—on the fronts or at home—are suitable for this panel.
Since 1945, Berlin has become a cultural Weltstadt in many ways; this panel would like to focus on three of them. First, the contemporary situation of Berlin in reunified Germany serves as a lens for the flow of people, ideas, rinfluences between Europe and the rest of the world. Second, from 1945-1989, most of the tensions of the Cold War converged in Berlin. Third, for both of these reasons, today a large number of films, novels, and TV programs are set in Berlin, thus making it a privileged place of cultural representation. The purpose of this panel is to study all three of these situations from an international and comparative point of view.
The present literary reputation of Albert Camus is both fascinating and instructive. It is fascinating because, on the one hand, his work is all but absent from global university curricula; yet, he is one of the most widely read authors on the planet. Who has not read The Stranger or The Myth of Sisyphus?
Moreover, Camus and his work are instructive for many reasons.
The aim of this roundtable is to present possible guidelines and book selections for a hypothetical undergraduate course in “Novels of the Holocaust.” The panel will be resolutely international and open to books originally published in any language. As this roundtable is sponsored by NeMLA’s comparative literature director, participants are not obliged to use or refer to English translations if they wish to use original texts. The course that might be called the “target course” may be for any undergraduate level and for any country.
While this is roundtable is meant to follow the interests of its participants and not impose any institutional rigidities, seven particular themes or questions seem especially important.
The International Margaret Cavendish Society is pleased to announce that the next biannual conference is set to take place on June 22nd-24th, 2017 at Bates College, Maine. Professor Carolyn Merchant from the University of California, Berkeley, will be the keynote speaker. Preference will be given to abstracts that closely relate to the conference theme, but all talks about Cavendish, her family, and related subjects will be considered. The conference theme is "Margaret Cavendish: Reception and Representations." Cavendish has increasingly garnered intense academic interest during the past twenty five years by scholars from a wide range of disciplines such as literature, history of science, philosophy, history and politics.
“[M]edievalism now features in hundreds of currently taught university and college-based courses, especially in English Literature departments across and beyond the English-speaking world...” writes Louise D’Arcens in the introduction to the new Cambridge Companion to Medievalism (2016). This session will explore the implications of teaching medieval studies through or alongside medievalism(s). How do students—many of whom are newly engaged with studies of medieval topics—perceive the distinction between medieval and medievalism? To what degree does medievalism affect/inflect non-literary studies of the Middle Ages (in history or art history courses, for example)?
APOCALYPTIC SOUND AND VISION: INTERSECTIONS OF LITERATURE AND MUSIC. SAMLA 88 Panel. MUSIC & FICTION
The onset of autumn is a solemn reminder that the world lost August Wilson in October 2005. It is also the harvest season--a time for taking stock of his life's work and for promoting new ways of analyzing, teaching, discussing, researching, and, ultimately, safeguarding the rich legacy that he bequeathed to us.
This much-anticipated AUGUST OCCASION and celebration, which also marks the August Wilson Society's 10th Anniversary, will feature an array of panels, roundtables, workshops, creative works, and performance pieces that test new theories and that introduce novel approaches to Wilson's art, his activism, and yet-undiscovered meaning in his ten-play American Century Cycle.
Confirmed keynote speakers:
David Kornhaber (University of Texas at Austin)
Martin Middeke (University of Augsburg)
Kerstin Schmidt (University of Eichstätt-Ingolstadt)
Tragedy as a dramatic genre, theatrical practice, and mode of affect is defined by its longevity and rich tradition and has developed into an extraordinarily dynamic genre, firstly as a mode of narration, secondly as a phenomenon of transition and transformation between text and embodied performance that implies the crossing of medial boundaries, and thirdly in a transnational sense that implies the crossing of geographical borders.
The editors invite contributions to Symbolism. An International Annual of Critical Aesthetics, an interdisciplinary, peer-reviewed journal dedicated to pursuing fundamental questions on the forms and functions of the symbolic. Symbolism publishes high-profile research on topics related to the use of figurative language, thought and signification in artistic expression and representation. While maintaining a strong literary focus, the annual also inquires into practices of the symbolic across discourses in media ranging from the cinema and painting to opera, sculpture and other arts.
The Anthropocene: Fiction and the End(s) of Human Ecologies
Guest Editor: Robert P. Marzec
Deadline for Submissions: 1 March 2017
Guest Editor: Laura Doyle
Deadline for Submissions: 1 June 2017
The editors of MFS seek essays that engage with the concept of inter-imperiality, as developed in the recent PMLA “Theories and Methodologies” cluster (March 2015) and elsewhere. The global turn in literary and cultural studies, although productive, sometimes elides the post/colonial, economic, and other historical or geopolitical conditions of literary-cultural production. We solicit essays that offset this tendency by reading literary-cultural texts within an inter-imperial framework.