twentieth century and beyond

Depending on the institution, the department, the politics, and the history of a space, composition and literature faculty often face constant pressure to legitimize or explain the work that we do. However, few opportunities are available to do so in real and tangible ways with departments and faculty outside of our own. This panel seeks to explore the ways that writing and English courses function within and across institutions throughout the country in an effort to develop real-time strategies that increase the visibility of our work, including its interdisciplinarity. How can we increase collaboration with faculty outside of our own silos in order to foster a stronger writing culture across campuses?

NeMLA, Boston, MA. March 5-8

In a 2011 Economist Prospero blog entitled "After the Unthinkable," the effects of 9/11 on literature was compared to those of World War II in that it "will continue to be a marking point." As we approach the twentieth anniversary of September 11, 2001, this panel seeks to move beyond representations of the day itself to explore the various nuances of post-9/11 literature by looking at how the long political and cultural aftermath have left their mark on literary and visual culture. 

The International Lawrence Durrell Society requests proposals for 20-minute presentations on fictional, dramatic, or poetic cycles from the modernist era. Such cycles may include explicit trilogies (tetralogies, etc.) or works connected in more implicit ways. Potential subjects include:

We are seeking abstract submissions for a roundtable to be held at the 51st NeMLA Annual Convention during March 5-8, 2020 in Boston, MA. Abstracts are due September, 30th. 

Alternative Narratives of Trauma in Recent Latin American Cultural Production:

This panel within the March 5-8 2020 NeMLA conference in Boston is dedicated to a discussion of the ways that religion intertwines with fiction in the work of Jorge Luis Borges. 

Your presentation might consider one or several of the following questions:

How did Jorge Luis Borges draw from and transform different theological traditions in his fiction and poetry?

Are there interesting relationships between Borges's fictionalized theologies and literary theory? How do they correspond to his ideas about fiction? 

Do different religious traditions respond to separate aspects of the author’s literary project, or do they overlap and combine? What functions to they serve?