’Vektor’ is Hungary’s first artistic and documentary VR-section, organized by Random Error Studio and Zip-Scene Conference. It will take place 13–16 November, in the frame of the 16th Verzió International Human Rights Documentary Film Festival. They are looking forward to creations that recreate the narrative concept in VR, and that take up the challenge of making use of different content types – for new immersive, interactive storytelling formats. The theme is ‘the Zone’, a nod to the 40th anniversary of Andrei Tarkovsky’s philosophical movie, Stalker.
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Reading Shaun Tan in Hong Kong:
Literature, Pedagogy, and Community
6-7 DECEMBER 2019 / The Education University of Hong Kong
Abstracts due 15 June 2019
Confirmed Keynote Speakers:
Candida Rifkind, Associate Professor of alternative comics, graphic narratives, and Canadian literature at the University of Winnipeg
Amy Stolls, Director of Literature at the National Endowment for the Arts.
NeMLA 2020: Boston, MA
In his 1961 essay “The New Lost Generation,” James Baldwin argues that Europe gave the “new” African American expats of the late 1940s and the 1950s “the sanction, if one can accept it, to become oneself. No artist can survive without this acceptance. But rare indeed is the American artist who achieved this without first becoming a wanderer, and then, upon his return to his own country, the loneliest and most blackly distrusted of men.” Indeed, Baldwin asserts that African American expats in Paris gained a kind of liberation through their experience with a culture wholly unlike their own.
The Relevance of the USIA/S Archives to the Field of Film and Media Studies
Special Issue Editors: Hadi Gharabaghi (NYU) & Bret Vukoder (Carnegie Mellon)
Call for Papers: Journal of e-Media Studies (email@example.com)
Since its emergence from the periodical press into the first mass-market novelistic craze, detective fiction has occupied a liminal position in the margins of aesthetic legitimacy—and critical study. Detection is a popular genre, a “literature of escape,” that nevertheless seems to make a claim to, and find purchase in, more rarefied aesthetic and intellectual precincts. Michael Holquist styles detection as a guilty pleasure of the reading classes: “The same people who spent their days with James Joyce were reading Agatha Christie at night.” This panel asks what that liminal position might show us about both the genre and the conditions—theoretical, professional, material—of its study.
Who We Are:
At During Office Hours, we’re a group of like-minded teachers in higher education who want to create an easy to use, open access, nonprofit source for teaching resources.
We want to be able to collect, share, and archive all the ideas, information, best practices, and advice that you’ve accumulated during your teaching careers. Whether you’re a seasoned veteran or a new teacher, a tenured professor or an adjunct or a TA, we hope that everyone can contribute to and benefit from this site.
Objective of the book: This edited research book focuses on audio disruption from a wide spectrum. While some industries have been more disruptive than others, none have probably been more transformational than music streaming (Spotify, Pandora, etc.). While the disruption of the music industry itself due to streaming has been well documented, the disruption of the industries that rely on popular music namely radio, advertising and retail have not. For radio (iHeartMedia, Beasley, Entercom, etc.), this includes the additional audio competition and ever expanding availability and transportability.
This area of the Mid-Atlantic Popular and American Culture Conference (MAPACA), November 7-9 2019, includes all novel genres, authors, time periods, cultures, and settings. Consider it a safety net for novels that don’t fit neatly into a specific genre or that cross genres. For example, consider the many sub-genres of Romance with a capital “R”—western, thriller, paranormal, religious, romance (with a small “r”), detective, urban fantasy, etc. From Pearl S. Buck to Lee Child, from Laurie King to Tony Hillerman, from Julia Spencer-Fleming to Emilie Richards—all are welcome.
NeMLA 51st Annual Convention
March 5-8, 2020
Marriott Copley Place
This CFP has expired.
This session is part of the 51st NeMLA Convention to be held in Boston from 5 - 8 March, 2020. Please submit your abstracts (300 words) through NeMLA's website: https://cfplist.com/nemla/Home/S/18094. In order to submit your abstracts, you will have to create an account on NeMLA's website.
PAMLA 2019 – Poetry and Poetics
Presiding Officer: Tom Jesse (University of Wisconsin-La Crosse)
Proposal Deadline: June 10, 2019
For this year’s “Poetry and Poetics” session, we are open to paper topics that span a wide range of (sub)genres, time periods, and critical approaches. Given the PAMLA 2019 conference theme of “Send In the Clowns,” we are especially interested in papers that engage with poetic “clowning” of all sorts—including but not limited to:
From Shakespeare’s King Lear to Flaubert’s Frédéric Moreau, who lives off of his uncle’s money, and Edward St Aubyn’s novels about the troubled heir Patrick Melrose, literature has always been occupied with inheritance and inherited wealth. The insights provided by this literary legacy are more important than ever. Once considered a relic from the aristocratic past superseded by liberal meritocracy, inherited wealth is now recognized as a source of rising social inequality. It therefore poses an important challenge for the present – and for the future. To meet this challenge, inheritance must be understood in all its historical and cultural complexity. For inheritance is more than a means of transferring wealth between generations.