Most cultural representations of the Latinx community produced in the United States have historically reduced this population to stereotypes or caricatures. Nevertheless, there is a new wave of cultural phenomena (literature, films, tv series, etc.) that has not only challenged these exaggerated and erroneous representations but has also sought to breathe complexity into real Latinx subjectivities and experiences. This panel welcomes essays that discuss new forms and interpretations of the histories and traditions of the Latinx communities present in literature and film. We are particularly interested in works that delve into the intersections of race and identity in Latinx production and self/representation.
Australian Society for French Studies Conference 2021
8-10 December 2021
Un.sited: “Sites” in French Studies
Hosted by the French Discipline, School of Language and Cultures, University of Queensland
We acknowledge the traditional owners of the lands on which the university stands.
CALL FOR CHAPTERS /CFP for Edited Volume
Animal Heroes, Villains and Others: the Narrative Functions of Strange and Familiar Creatures in Film and Television
Deadline for Submission of Proposals: July 15, 2021
Name: Dr. Karin Beeler and Dr. Stan Beeler
Frank Herbert’s Dune (1965) is as celebrated as it is because of its depth and complexity, of course. It’s also, however, presumably, because its storyline, and that of its two initial sequels, Dune Messiah (1969) and Children of Dune (1976), of a crusade led by a prophet with superhuman abilities and its legacy, resonated with readers awash in social and political turbulence. It’s not difficult to imagine, then, that adaptations have emerged at regular intervals for similar reasons, beginning with David Lynch’s Dune (1984), John Harrison’s Dune (2000) and Children of Dune (2003), and now Denis Villeneuve’s forthcoming Dune (2021).
What determines the readership of a text or other medium, and how does such determination occur? Who are the imagined readers of a specific work, or a genre of literature or media, and how is this legible in textual features, modes of dissemination, implicit or explicit intentions of authors, or histories of reception? How do real readers encounter such assumptions or positionings and accept or resist them? Which works reach more homogeneous audiences, which garner multiple or intersecting ones, and how do audiences shift over time? Do readers have the power to choose their identities as readers? Abstracts for 15-20 minute papers: submit to https://www.cfplist.com/nemla/Home/login
53rd NeMLA Annual Convention - Baltimore, Maryland, 10-13 March, 2022
The theme of ghostliness is often present in modernist literature and boundaries between life and death are very often blurred. What can the recurrent invocation of spectrality say about modernism and modernists? How do modernist authors represent their characters who dwell a death in life (or a life in death)?