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CFP: Isn’t It Ironic?: Receivership and Responsibility in Popular Culture (edited collection)
Ian Kinane and Elizabeth Parker (eds.)
“The surface is where most of the action is.”
--James Gibson, The Ecological Approach to Visual Perception
Loose Dresses, Loose Women:nPedagogies of Harlots and Whores from Hogarth to the Haus of Gaga
Chairs Tommy Mayberry (Office of Teaching and Learning, University of Guelph) and Debra Bourdeau (College of Arts and Sciences, Embry Riddle Aeronautical University-Worldwide)
Black Privacy
Ivane Javakhishvili Tbilisi State University together with James Joyce Association of Georgia will host a two-day international conference to celebrate the 80th anniversary from the publication of Finnegans Wake.
The dates of the venue are September 26-27, 2019. Location: Ivane Javakhishvili Tbilisi State University, Tbilisi, Georgia.
The Conference –JOYCE AND THE WORLD – will attempt to explore on the one hand all the diversity of cultures and languages which went into making his world and on the other hand Joyce’s impact on world literature.
Confirmed keynote speaker – Finn Fordham
Possible topics for the conference include but are not limited to:
CFP Deadline Extended to July 1, 2019!
Announcing a CMRC Conference in Collaboration with SIMAGINE:
Imagined Borders, Epistemic Freedoms: The Challenge of Social Imaginaries in Media, Art, Religion and Decoloniality
The Center for Media, Religion, and Culture University of Colorado Boulder
January 8-11, 2020
Confirmed Featured Speakers: Ann Laura Stoler, Catherine Walsh, & Glenn Coulthard
The Future of Film: Will Television Kill the Cinema Star?
This roundtable explores the collapsing of the separate media concepts of film and television as "TV" becomes more filmic than film, more cinematic than movies themselves. We are witnessing the confluence of production values, means of production, narrative form and style, and the ways in which content is consumed, reviewed, funded, and awarded. The two media have seemingly become synchronous, simultaneous and potentially interchangeable. This Roundtable will focus on film, television, and streaming content, and the places that they will inhabit and occupy in the future of visual media and the cultural imagination.
Although much has changed in the academy in recent decades, many struggles related to gender and the “traditional notions” of the roles women fulfill and the roles men fulfill in the academy have remained strikingly rigid, to the detriment of individuals as well as to the collective institution. Women still bear a service burden disproportionate to that of their male colleagues. Women in the academy still struggle with childbearing and child rearing choices that men in the academy do not face in the same way. Women still face sexism and sexual harassment that their male counterparts escape. For women of color, the burdens are magnified.
NEMLA, Boston MA, March 5-8, 2020
Panel, American Literacy Narratives
Panel chair, Dr. Filiz Turhan, Suffolk Community College
The Postgraduate English Journal, Durham University’s online peer-reviewed literary journal, is one of the longest-running online postgraduate literary journals in the UK. In recent years the journal has received reprint requests from academic publishers.
Early-career researchers/academics and postgraduates are invited to submit papers of 5,000–7,000 words (or book reviews of no more than 2,000 words) by 30th August 2019 for the journal’s 39th edition. Early submission is greatly encouraged.
The 26th Annual Gender & Sexuality Writing Collective
Susan B. Anthony Institute for Gender, Sexuality, and Women’s Studies
October 25-26, 2019, University of Rochester, Rochester, NY
The Susan B. Anthony Institute for Gender, Sexuality, and Women’s Studies at the University of Rochester will hold a two-day writing collective on October 25-26, 2019. The writing collective will provide a lively platform for graduate students to workshop a paper with fellow graduate students and faculty from multiple institutions.
“What I liked were: absurd paintings, pictures over doorways, stage sets, carnival backdrops, billboards, bright-colored prints, old-fashioned literature, church Latin, erotic books full of misspellings, the kind of novels our grandmothers read, fairy tales, little children’s books, old operas, silly old songs, the naïve rhythms of country rimes,” Arthur Rimbaud, The Alchemy of the Word (1873).
The call to empathize has become truly inescapable over the last decade. Feeling with others, so the claim goes, is an ever more necessary counterbalance to economic and political systems that appear to no longer attempt to obscure their inexorable cruelty. According to philosopher Jesse Prinz, more books have been published with the word “empathy” in their titles since 2010 than in all of the 20th century. Prinz’s metric reveals a cultural fascination with empathy in educational, therapeutic, media, and scholarly circles—a trend that we might call the “empathetic imperative.” Indeed, empathy is often presented as a panacea for the world’s woes, offered as both diagnostic tool and subsequent cure.
XXII Generative Art International Conference
deadline for submissions:
September 15, 2019
full name / name of organization:
Generative Design Lab, Argenia Association
contact email:
celestino.soddu@polimi.it
GENERATIVE ART 2019
GA2019 , the 22nd Generative Art Conference, Exhibition, Live Performances
Location: Italy, Rome, Villa Giulia, National Etrurian Museum, the 19, 20 and 21 of December 2019
Art&Science - Image&Space - Music&Poetry - Visionary Scenarios - Infinity&Identity
Diana Wallace and Andrew Smith note that the Female Gothic has been an ever-shifting category since its introduction into literary vocabulary by Ellen Moers in 1976, asserting that the Female Gothic “is shaped by...national identity, sexuality, language, race, and history” (The Female Gothic, 10). Gothic scholarship has long demonstrated that the mode varies across national and continental borders particularly drawing out distinctions between the American and the British. However, less attention has been paid to the concept of age. Keeping in mind the conference theme, how does the space of girlhood and/or adolescence complicate or further our understanding of the Female Gothic?