Today, when political misinformation abounds, nationalism and Fascism have reappeared, and we find ourselves contending with ideology in simple, complex and covert forms, Sylvia Townsend Warner’s writing seems ever more relevant. In turns insightful, comic, cutting, and poignant, her texts ask what art is for, and how we might navigate personal relationships, social change, belief and the past. Warner has an acute sense of the relationship between material conditions and human consciousness, of place and the ordinary. This conference seeks papers that analyse her importance for studies of, among other possibilities, modernism, politics (specifically communism), gender and sexuality.
The Human Body and World War II
University of Oxford, 23-24 March 2018
DECORATING DISSIDENCE: MODERNISM, FEMINISM & THE ARTS
CALL FOR PAPERS
3rd-4th November 2017
Queen Mary, University of London
‘FOR ME, THERE IS NO GAP BETWEEN MY PAINTING AND MY SO-CALLED ‘DECORATIVE’ WORK. I NEVER CONSIDERED THE ‘MINOR ARTS’ TO BE ARTISTICALLY FRUSTRATING; ON THE CONTRARY, IT WAS AN EXTENSION OF MY ART.’
Decorating Dissidence takes an interdisciplinary and intersectional approach to the work of female artists, designers, and writers to reassess the place of domestic art, craft, and the decorative in modernism.
Decorating Dissidence: Feminism, Modernism & the Arts - an interdisciplinary conference to be held at Queen Mary, University of London, 3rd & 4th November 2017
17-18 July, 2018 – University of Kent Keynote Speakers:Professor Helen Small, Pembroke College, University of Oxford
Professor Priscilla Wald, Duke University
Louisville Conference on Literature and Culture since 1900, February 22-24, 2018, at the University of Louisville
This critical panel or roundtable invites proposals from scholars working at the intersection of modernist and Anthropocene studies. Presentations might engage with the following quandaries and/or themes, as well as unlimited others:
We’ve just finished a successful Kickstarter that raised $660 from backers. That money will fund prizes for authors who submit the best “visions” (short essays of 800-1,000 words) of how we might (not) adapt to life in a climate-changed world.
Visions are “fictional” because they take place in the future, but they are based on the storyteller’s imagination or practitioner’s knowledge.
Anyone can submit a story or perspective no matter the author’s background, qualifications or job.
There will be four categories of prizes:
The E. E. Cummings Society and the Society's journal, Spring, invites abstracts for 20-minute papers for the 46th annual Louisville Conference on Literature and Culture since 1900, February 22-24, 2018, at the University of Louisville (http://www.thelouisvilleconference.com). Taking up what Cummings means by “my specialty is living said,” this session explores Cummings’ various modernist/avant-gardist experiments with rhythm and sound that came to shape his new art and new poetry.
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?