In recent discourse on the ethical stakes of aesthetic representations of the Holocaust, the function of perpetrator figures has taken on a prominent role.  Moreover, recent literary texts, films and artworks about the Holocaust have focused prominently on perpetrator figures.

This panel takes the broad umbrella of “new media” as a frame for working through how queer subjectivities, and their relation to history, have been figured and re-figured by digital technology. Following Elizabeth Freeman’s call to ‘reimagine “queer” as a set of possibilities produced out of temporal and historical difference,’ it builds upon queer theory’s temporal turn in the 2000s –as exemplified by Ann Cvetkovich (2003), Lee Edelman (2004), Jack Halberstam (2005), Heather Love (2007) and José Esteban Muñoz (2009) – to ask what new modes of subjectivity and embodiment the digital has enabled for contemporary queer subjects, and how these might draw upon or engage with the queer past.

Inter-imperiality
Guest Editor: Laura Doyle
Deadline for Submissions: 1 June 2017

The editors of MFS seek essays that engage with the concept of inter-imperiality, as developed in the recent PMLA “Theories and Methodologies” cluster (March 2015) and elsewhere. The global turn in literary and cultural studies, although productive, sometimes elides the post/colonial, economic, and other historical or geopolitical conditions of literary-cultural production. We solicit essays that offset this tendency by reading literary-cultural texts within an inter-imperial framework.

CFP: Gender, Race, and Hollywood

Long Beach Indie International Film, Media, and Music Festival (August 31-September 4, 2016)

Abstract Deadline: July 17, 2016 (Notification within 48 hours of submission).

www.longbeachindie.hollywoodpost.com

This is a CFP on George Orwell, preferably on his dystopian themes and/or writing style. I am editing a collection of critical essays to be proposed for Routledge publishing. The book will be divided into chapters and the project requires at least 7 different contributors.

For a moment in time, a generation ago, apostrophe became for some scholars the embodiment of the lyric gesture itself. In Jonathan Culler’s words, apostrophe signals “not a moment in a temporal sequence but a now of discourse, of writing,” typified by the poetic “O.” Long the neglected step-sibling of lyric apostrophe, chiasmus (“a crosswise placing” from the Greek letter chi) embodies the boustrophedonic turns of repetition and reversal, which also might be seen at the heart of the lyric. Where apostrophe involves a turning away to address an absent person, thing, or idea, chiasmus seems to turn inward—to sound, form, image.