It’s a commonplace to say that realism is having a moment again, or that realism has never left. This seminar recognizes both that realism is always important and that realist critical projects have proliferated in the past decade. The majority of these renew our interest in literary realism as an aesthetic tradition. Where realism was previously defined in contrast to modernism, naturalism, or more speculative genres, what distinguishes this recent revival in realism seems to be its increased interdependence with these other aesthetic categories and modes. Fredric Jameson’s The Antinomies of Realism, for instance, takes realism not as a static epistemological or narrative structure, but as an increasingly affective mode of estrangement.
CALL FOR PAPER PROPOSALS:
READING W.D. HOWELLS (1837-1920) A CENTURY LATER
NEMLA, Boston, MA, March 5-8, 2020
*FINAL REMINDER!* - DEADLINE 31st December
Extrapolating Nostalgia: Special issue of Science Fiction Studies
Transatlantic Literature at CEA 2020
March 26-28, 2020 | Hilton Head Island, South Carolina
Hilton Head Marriott Resort and Spa
The College English Association, a gathering of scholar-teachers in English studies, welcomes proposals for presentations on Transatlantic Literature for our 51st annual conference. Submit your proposal at www.cea-web.org
As the tides sweep both shores of the Atlantic, so do ideas, themes, and issues. All topics in Transatlantic Literature are welcome.
Following the success of previous ACLA seminars, “The Story of Memory: Remembering, Forgetting, and Unreliable Narrators” and “The Story of Remembrance: The Future of Memory and Memories of the Future” in 2018 & 2019, this seminar invites paper proposals to discuss the relationship between memory and photography and its representation in literature and film.
By the turn of the twentieth century, the ‘new astronomy’ had developed into a proper scientific discipline, with its own sets of instruments, its own journals, its own jargon, and its own interpretative authority. With the acceleration of new discoveries and insights into stellar phenomena, the emerging mass media ensured that this astronomical knowledge fascinated an even wider audience in the late 19th and early 20th century. At the same time, literature across Europe responded to the fascinating astronomical developments in a variety of modes, styles, and genres.
Scholarship credits Sarah Grand with devising the term “New Woman” in 1894, although occasional differing claims nod to others, Lady Mary Jeune, for instance, in 1889. The label, which characterized and categorized the independent, self-supporting woman, quickly became popular in late Victorian culture and has resurfaced in our fascination with the Neo-Victorian. In the 1890s the New Woman appeared as the nonconformist heroine in novels, in articles about women’s education, tracts about employment equality. Magazines satirized the bicycle-riding emancipated female; conduct books warned about an un-feminine type. In their variety and scope, representations of the New Woman were, as New Woman scholars like Lyn Pyckett have established, ambivalent.
How do we teach Dickens now? What do Dickens’s works have to do with the #MeToo movement; with social media; with the Anthropocene, extinction rebellion, and climate change; with racism and living, as Christina Sharpe has put it, “in the wake” of slavery; with technological rupture, the gig economy, and radical job transformation; and with other questions of modern life? What do we do with Dickens’s long prose and today’s allegedly shorter attention spans and alternative narrative forms?
This panel invites scholars to address what Dickens’s fiction offers the present and why Dickens matters now. The Dickens Society requests paper proposals (250-500 words) for the panel “Teaching Dickens Now” (ID 18079).
CFP: Victorian and Edwardian Mysteries
(Special Issue, Victorians Institute Journal)