modernist studies

Two broadly anthropocene concerns—the ‘human’ condition along with the condition of this human planet, Earth—bear on all discursive practices central to contemporary areas of research in humanities, social sciences, and sciences. Both these concerns reconfigure ways in which humans have come to make sense of themselves and of the world which they share with other forms of life. The anthropocene—ramifications of Cartesian vision of human subject, the giver of meaning, that ultimately subdues all nature and co-existing life-forms—however is challenged by a posthuman turn in the latter half of 20th Century that trenchantly undercuts the foundations of humanism catapulting from the set boundaries established by the ideal of Enlightenment.

Cognitive Modernisms

Guest Editor: Paul B. Armstrong, Brown University

Deadline for Submissions:   8 January 2021

Modernism has long been associated with an interest in consciousness, psychology, and the inner life, but critics have also long disagreed about how to understand this interest and what to make of it.  The recent proliferation of cognitive approaches to reading and literature has renewed interest in questions concerning the modernist preoccupation with consciousness but has spawned new controversies about how to address them. 

PROPOSAL DUE DATE:                              May 10, 2020

FULL CHAPTER DUE DATE:                     July 23, 2020

SUBMISSION DUE DATE:                          October 31, 2020

EDITOR:                                                        Dr. Matthew Waritay Guah,

                                                                        Department Chair & MBA Director

                                                                        South Carolina State University,

                                                                        Orangeburg, South Carolina - USA

Writers have long used revision as a creative tool, well before writing classrooms institutionalized it as such. Think of Pound ruthlessly cutting Eliot’s Waste Land, Moore slashing most of “Poetry,” and Robert Lowell turning stories and letters into cinquains, sonnets, and blank verse--and then revising some of those poems again, into other forms. To many, such acts of revision are the markers of a serious writer, one who pursues perfection in multiple drafts.

The Modernist Studies in Asia (MSIA) research network is proposing an affiliated panel at the MSA conference in Brooklyn, October 22–25.

Global and planetary modernisms tend to map different modernisms according to countries and continents, implicitly imposing a static, area studies–inflected order on these divergent and discrepant artists, texts, and practices. Against this tendency, for this panel we seek papers that trace surprising movements of modernism (broadly understood) within, across, and beyond Asia. Put another way, we are interested in accounts of how Asian modernism won't stay still.

Modernist Studies Association Conference

Brooklyn NY, October 22-25, 2020

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Faulkner and Yoknapatawpha 2021

“Faulkner, Welty, Wright:  A Mississippi Confluence”

July 18-22, 2021

University of Mississippi

Announcement and Call For Papers

http://www.outreach.olemiss.edu/events/faulkner

Call for book chapters - Non-canonical British literature: 1890-1945 - abstracts by 20 March, papers due 30 June 2020 We are working on an edited book on non-canonical English literature between 1890 and 1945 to be published by a UK publisher by the end of 2020. The provisional title of the book is Non-canonical British Literature: 1890-1945, and topics might include (but are not limited to):

- theoretical background of non-canonicity;

- studying individual non-canonical writers and their work(s);

- reasons for exclusion from the canon;

- shift from non-canonical to canonical;

- the role of power, ideology and religion in exclusion from the canon;

- conventionality and tradition;

- reception studies;

The Carson McCullers Society is pleased to invite submissions for its annual prize for Outstanding Conference Paper. This award recognizes the best entry for a scholarly essay on the life and work of Carson McCullers presented at a conference the previous year. Entrants should provide evidence that the paper was presented at a national, regional or international academic conference during the 2019 calendar year (January 1 to December 31) and that the winner is an active member of Society at the time of receipt of the award (information on membership can be found here on our website).

 ****This is a CFP for MLA 2021*** In Habeas Viscus (2014), Alexander Weheliye invokes metonyms of Nazism, European colonialism, and American slavery, revising Paul Gilroy to argue, "the concentration camp, the colonial outpost, and the slave plantation suggest three of many relay points in the weave of modern politics, which are neither exceptional nor comparable, but simply relational." However, where Gilroy and Weheliye are particularly interested in how colonial practices preceded and underwrote fascism, they also raise the question of how fascism relates and returns to America.  Over the past six years, beginning with Christopher Vials's Haunted by Hitler (2014), there have been a number of significant scholarly works that

From ‘city symphonies’ to the German querschnitt or ‘cross-section’ films of the 1920s and 1930s, cinema and the modernist city are tightly bound in a catalytic dialogic.

The word boredom has been in circulation since Ancient times, in the shape of a variety of synonyms --acedia, taedium vitae, horror loci, melancholy, ennui, spleen-- and bearing a theological stamp, since it was believed to be a demonic sin in the Christian tradition. In modernity, however, for the “enlightened subject” (Goodstein, 4), as a response to social and economic transformations, boredom has become a secular experience concerned with temporality, signifying loss of meaning and feeling of emptiness in the pace of modern life. In critical circles, boredom remains a hybrid phenomenon that brings together a variety of contradictory definitions.

The International Harold Pinter Society welcomes papers that explore Harold Pinter and laughter. What is significant about laughter in Pinter's work and how might it concern or complicate the reception of his creative output. Please send abstracts of no more than 300 words and a CV to mjrii@illinois.edu