In his Funeral Oration, Pericles illustrates the low status of women in ancient Athens, saying “A woman’s reputation is highest when men say little about her, whether it be good or evil.” Despite Pericles’ admonition, women held a central place in Classical literature and mythology, which cast them in a diverse array of roles: goddesses, slaves, mothers, daughters, virgins, whores, and warriors. These depictions laid the groundwork for the representations of women in subsequent literature and have continued to shape our understanding of gender. This session will explore depictions of women and gender in Greco-Roman texts and its impact on the literature of subsequent periods. Possible approaches include by are not limited to:
Color and texture are often perceived as “wallpaper” – a humdrum backdrop against which the action of a literary work unfolds. Charlotte Perkins Gilman’s The Yellow Wallpaper; Ntozake Shange’s For Colored Girls…; and Alice Walker’s The Color Purple, among many others, purposely and effectively challenge such perception. This creative session (re)considers the author as artist, (re)casting color and texture as deliberate, meaningful components of literary experience. Open to considering a variety of authors and genres in relation to its theme, this creative session particularly welcomes papers highlighting color and/or texture as relate to either Gilman, or Shange, or Walker.
Chair: Anna Cellinese, Princeton University.
As a preamble to this call for abstracts, we want to specify that we are using the terms “transgender” and “trans identities” as umbrella terms for people whose gender identity and/or gender expression differs from what is typically associated with the sex they were assigned at birth. Our use of “transgender” or “trans identities” thus encompasses a variety of experiences within and outside the gender binary, and a range of expressions, as trans individuals pursue many different options (medical changes, clothing, make-up, etc.) to bring their appearances into alignment with their gender identity, or may choose not to.
Popular culture scholars often refer to a 40-year cycle of nostalgia, and so it is not surprising that there has been a recent wave of movies and television shows set in the 1980s. The Netflix series Stranger Things, the film IT: Chapter One, the interactive film Black Mirror: Bandersnatch, and the ninth season of American Horror Story, titled “1984,” all provide prominent examples of recent texts that have used the semantic texture of the 1980s as a dramatic setting. The fact that these texts all use the ’80s as a context for horror stories suggests the sense that an undercurrent of demonic violence undergirds the glittering fads, suburban affluence, and Reaganite yuppieism associated with the 1980s, even as these te
This volume intends to offer a systematic re-introduction to feminism’s intellectual legacy.
We encourage an ampler view of feminist theory which extends beyond its production in
the global North and beyond the problematics of location, with the North/South dichotomy
often resulting not only in oppositional notions of agency (active agents vs silent victims)
but also in competing for cultural interests (civil rights and queer theory vs decolonization,
economic justice, and disarmament). One of the aims in reintroducing feminist intellectual
traditions from the perspective of their multiple strands across the globe is to reflect, in as