Migration, Diaspora, Circulation and Translation 

October 5-7, 2017

University College Dublin, Clinton Institute for American Studies

Dublin, Ireland

A conference sponsored by the Charles Brockden Brown Society

(www.brockdenbrownsociety.ucf.edu) 

Recent work in performance studies have trenchantly analyzed constructs of identity, gender, and race in the Long Eighteenth Century. In Rival Queens, for example, Felicity Nussbaum explores how actresses of the eighteenth century embodied and challenged femininity through their roles on and off the stage, roles that blended together in the mind of a public audience. But enlightening performance studies such as Nussbaum's do not often, however, account for age. Age cuts across gender, race, and class.

The recent global turn in modernist studies prompts timely questions about the intersections between global modernism and world literature, and the role that global modernism plays within the study of world and comparative literature. In their article “The New Modernist Studies,” Douglas Mao and Rebecca Walkowitz argued for an “expanded” vision of modernism that reconsiders canonical figures and texts, contests canonicity’s traditional limits, and redefines temporal and geographical coordinates beyond Anglophone traditions and Eurocentric frameworks.

Call for Papers for the 22nd Annual Dickens Society Symposium
Theme: “Interdisciplinary Dickens”
July 14-16, 2017, College of General Studies, Boston University

Co-Sponsored by the Dickens Society and The Center for Interdisciplinary Teaching & Learning at CGS, Boston University

The Cine-Files is now accepting submissions (4000-6000 words) for the featured scholarship segment of Issue 12 (Spring 2017), a special commemorative issue on Chris Marker and Jacques Rivette.

An aura of mystery surrounds Jacques Rivette and Chris Marker.  Little is known of the private identities of these reclusive and elusive figures, other than their mutual regard and affection for cats.  We remember them through their films, which continue to redefine the art of cinema around the world.

Call for submissions to a collection that interrogates the child image in popular post-WWII American television programming.  This collection seeks to trace the American cultural landscape and its impact on the ways popular television (re) imagined childhood and children during each decade.  We invite submissions that examine either children’s programming or programs that prominently feature children. These submissions will explore how US television has been a significant conduit for the public consumption of changing ideas about children and childhood, and will connect relevant events, attitudes, or anxieties in American culture to an analysis of children or childhood in American television programs.

Since Karen Barber theorized the notion of “African popular arts” nearly thirty years ago (1987), a rich field of scholarship has developed around the term, exploring forms of local African expression by the people, for the people, and most often, about the people. The concept of African popular culture has been applied to a vast array of cultural forms in Africa ranging from Onitsha pamphlet literature to Kenyan matatu minibus inscriptions, Ghanaian Concert party theatre, Angolan hip-hop, Nollywood video films, Cameroonian detective fiction, Congolese Sapeur fashion, South African cartooning, trans-continental TV shows like Big Brother Africa, and much more.