twentieth century and beyond

This special issue has a cluster of three terms at its center: metonymy, poetics, and performance. These three terms have to do with conventional structures and what it means to live in them. Metonymy, a trope in which common association lets one thing stand in for another, mobilizes conventional relations. Poetics, the theory of how a text’s elements work together, studies the structures through which artistic effects exist. Performance involves living out relations within structures like genre, medium, and circumstance. Together, these terms allow us to think through the metonymical relations among art, artist, and context.

Recent populist movements in the U.S., U.K., and around the globe suggest that the practices and theories surrounding dissent and civil disobedience are now more relevant than ever. With the Women’s March reaching nearly five million people world-wide, sparking protests not only across the United States, but in Europe, Asia, Africa, North and South America, Australia, and even Antarctica, it is clear that the praxis of protest will be a hallmark of this period in the twenty-first century.

estrema: Interdisciplinary Review for the Humanities is an on-line publication of the Centre for Comparative Studies (CEC) of the School of Arts and Humanities of the University of Lisbon (FLUL). Its exclusive goal is to publish the papers of both undergraduate and graduate students. Giving its interdisciplinary character, estrema accepts works developing comparative approaches to some of the following areas:

• Literature
• Music
• Cinema
• Critical Theory
• Visual arts

This session will be held at the 2018 NeMLA convention in Pittsburgh from April 12-15 (https://www.buffalo.edu/nemla/convention.html). Submissions must be sent through NeMLA's online database: https://www.cfplist.com/nemla/Home/S/16913. Deadline for submissions is September 30.

2018 marks the bicentennial of the publication of Mary Shelley’s Frankenstein. The 1818 edition was the first of three distinct publications (1818, 1823, and 1831), with the differences between the first and last made visible through the framed collation available in The Pennsylvania Electronic Edition [http://knarf.english.upenn.edu/], painstakingly edited by Stuart Curran during the 1990s. The differences between the 1818 and 1831 editions are the most dramatic, offering material for the ongoing debates over the editorial influence of William Godwin, Shelley’s father, and her husband, Percy Bysshe Shelley, as well as the Mary’s degree of creative control.