In the last two decades we have seen a proliferation of what scholars like Wolfgang Hallet, Alison Gibbons, and others have called "multimodal literature." These texts, which include Mark Danielewski's House of Leaves, Steve Tomasula's VAS: An Opera in Flatland, Anne Carson's NOX, Jonathan Safran Foer's Extremely Loud and Incredibly Close, and Doug Dorst and JJ Abrams' S, among others, engage the verbal dimensions of narrative communication while incorporating modalities that have been conventionally omitted in genres like the literary novel and even poetry.

Call for Papers: Festival of Faith and Music

March 26-28, 2015 
Calvin College


Grand Rapids, Michigan

Calvin College's Festival of Faith & Music is a biennial conference that brings together musicians, journalists, academics, students and lovers of music and popular culture to discuss diverse forms of popular music and issues of faith.

The Charles Olson Society will sponsor a session at the annual Louisville Conference on Literature and Culture since 1900, to be held at the University of Louisville, February 26-28, 2015. We are interested in abstracts pertaining to poetry in the fifties and sixties, especially those that draw attention to uncommon readings. Though Donald Allen's influential anthology The New American Poetry divided American poetry into distinct schools (Black Mountain, San Francisco, Beat, New York) and contributed to its division into distinct styles (Experimental, Academic, and Confessional), Allen's model creates too many internal and external contradictions.

Call for Submissions

Research

Pedagogy

Reflection

Research Notes

Teacher-Scholar accepts submissions of articles offering original research, either qualitative or quantitative, on any facet of State Comprehensive Universities; articles focused on pedagogy that offer suggestions for either on-line or on-campus teaching at State Comprehensive Universities; and personal reflection essays focused on life at State Comprehensive Universities; as well as reports on research in progress or current trends at SCUs.

When the eponymous Sweet Charity (1966) realises somebody loves her, not only does the scene shift from dialogue into song, she acknowledges the largeness of her emotional response, singing "Now I'm a brass band." Such moments in musical theatre are at the heart of the form's appeal for many kinds of spectators, allowing them to vicariously live large for the duration of the musical and sometimes beyond. Raymond Knapp has investigated the persistence of identity formation as a process musical theatre facilitates for its creators, characters and audiences, and this special issue would build upon Knapp's work.

Non-human primates often play the role of "other" to the rational and civilized human animal in literature. As fictional foils, Darwinian traces, and anthropomorphic ruptures, the literary primate offers an existential challenge to the perceived supremacy of human evolution, to the social and biological experience of consciousness, and to epistemological models of truth and being. Recent representations of the non-human primate (Sara Gruen's Ape House, Colin McAdam's A Beautiful Truth, Kenneth Oppel's Half Brother) both contest and reinforce the dividing line between the human and animal, and situate the human within its own evolutionary history as animal.