The deadline for submitting papers to the New ELN (English Language =
Notes) has been extended to March 1. Please see the CFP below for =
details.

The New ELN Announces Its Second Issue:

Photography and Literature

A respected forum since 1962 for new work in English literary studies, =
ELN (English Language Notes) has undergone a change in editorship and an =
extensive makeover as a biannual journal devoted exclusively to special =
topics in all fields of literary and cultural studies. The new ELN is =
particularly determined to revive and reenergize its traditional =
commitment to featuring shorter notes, often no more than 3-4 pages in =
print, an attribute of the journal that will provide a unique forum for =
cutting-edge scholarly debate and exchange in the humanities.=20

=20

Volume 2 of the new ELN (43.2, September 2006) will address the
subgenre of photographic and literary collaborations that has emerged =
since Talbot's photographically-illustrated The Pencil of Nature first =
appeared in England (1844-46). This ELN issue welcomes consideration of =
literary texts that directly incorporate photographs as well as those =
whose engagement with photography's unique representational =
characteristics is central to their epistemology. We also invite =
analyses of photography that incorporates text. Finally, we solicit =
original poetry and photography that engages the intersection of text =
and the photographic image.

Contributors may address formal issues, such as: what sorts of =
instructions do texts provide for reading of images in texts and vice =
versa, and in what ways does each respectively comply with or resist =
those instructions? How does the alleged "truth" of the photograph =
infect the perceived status or genre of its accompanying text, and =
renegotiate its rules of recognition, authenticity, or artifice? How do =
photographic images delimit or enhance textual possibility and play? How =
is photography related to narrative? Under what conditions does
the text itself function as a graphical element, and with what effects? =
Or they may address issues more directly related to the historical =
development of photographic discourses and its dialectical engagement =
with optical truths and visual pleasures, such as: how does photographic =
"evidence," from the medical to the pornographic, work to redefine the =
truth of the body as a sight, or recodify the relations between self and =
other? How does the photographic capacity for preservation collaborate =
with imaginary possession, aesthetic consumerism, image addiction and =
fetishization, or the threat and promise of machine technology? How is =
the imbrication of text and photographic images tied to the projects of =
history making, memorialization, and nostalgia? How does the =
photograph's discourse of the real parallel or diverge from the history =
of the novel in its forms, its thematic preoccupations, and in the =
changing conventions of reading and perceiving?
=20
Position papers, notes, essays, and provocations are invited from =
scholars and artists in all fields of literary and visual studies; the =
editors would be delighted to consider together two or more related =
contributions engaging one another on particular themes to be published =
as topical clusters (for example, papers and responses presented at the =
MLA or other conferences, provided they have been formatted for =
publication).

Please send contributions and/or proposals to The Editors, English =
Language Notes, University of Colorado at Boulder, 226 UCB, Boulder, CO =
80309-0226. Deadline for final submissions is February 1, 2006. =
Specific inquires regarding volume two may be directed to the issue =
editor, Karen Jacobs, via e-mail (karen.jacobs_at_colorado.edu).

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Received on Mon Jan 30 2006 - 18:17:32 EST