modernist studies

Henry James wrote to Grace Norton, his longtime friend:

CFP: NeMLA 2019 panel

Washington, DC: March 21-24, 2019 (deadline 9/30/18)

The boom in contemporary scholarship on transmedia storytelling, media convergence, and narrative remediation has largely focused on the interactions between old and new media modes in our digital age. But to what extent have literary narratives exhibited similarly transformative cross-media/cross-genre exchanges during earlier periods in media history? This panel examines how literary fiction was adapted, remediated, and remixed by popular media and performance platforms during the mass culture explosion of the late 19th and early 20th centuries.

CFP for a panel I am organizing at the 2019 meeting of NeMLA in Washington, DC (March 21 to 24). To submit a proposal, please go to https://www.buffalo.edu/nemla/convention/callforpapers.html. The panel description is as follows:

“The Continuous Thread of Revelation: Eudora Welty Reconsidered”                                         An International Welty Society Conference, Charleston, S.C. February 21 to 23, 2019

Even among the modernists with whom he is frequently grouped, Joseph Conrad, the Polish-born former mariner who, in his third language, reinvented himself as a British novelist, is a singularly resonant and deeply fraught figure.  Conrad’s biography and work anticipate both the figure and the preoccupations of the transnational and transcultural artist.  In a 1906 letter, Henry James wrote to Conrad, “No one has known – for intellectual use – the things you know.”  How Conrad rendered what he “knew” is critical to literary developments of the last century.  Much of the scholarship on Conrad, however, has focused on his impressionism or, more controversially, on his view of imperialism.  Was he, in his partial sympathy for subjugated people, and his attack