Reiterating Urbanisms: Staging the City in Literature and Media from the Global South
In Season 3, Episode 11 of Apple TV’s Ted Lasso, Mae–the show’s matrimonial barkeeper– softly recited Philip Larkin’s “This be the Verse,” a poem about the emotional scars parents leave their children. Coming as it does near the end of the series run, the poem references the trauma(s) the main character has inherited from his parents, and ties together many of the themes of the series, namely how “hurt people hurt people.” In keeping with the tone of the series, however, the pub owner’s reading of Larkin’s poem does not serve as a moral repudiation of Ted’s parents or their generation.
We are seeking a complete essay draft (approx. 5000-7500 words) for possible inclusion as a chapter in New Essays on History and Form in Early Modern Literature, edited by Gail Kern Paster and Nick Moschovakis. This opportunity exists because serious health considerations have recently compelled the late withdrawal of an invited contributor. The volume is currently under contract with Routledge for publication in 2024.
Call for submissions: Willa Cather’s New York Intersections
Submissions are invited for volume 16 of Cather Studies, to be published by the University of Nebraska Press. The theme for the volume will be “Willa Cather’s New York Intersections.” Submissions may address New York City as Cather knew it but also the metropolis that was present around her, though perhaps not always visible to her.
Possible topics include, but are not limited to:
Many graduate students within the broader humanities and social sciences want to pursue a teaching career either inside or outside the boundaries of higher education. As such, the time they spend working as teaching assistants and instructors of record in the college classroom constitutes valuable experience to them in many ways. In the absence of insufficient pedagogical resources and curricular training, the processes of developing and creating original courses and assignments aside from working through classroom management issues become difficult for graduate students.
A professional career in the academy is perceived as a desirable, if not the only, outcome of doctoral study. Many students in the humanities are, however, keen to leverage the skills they acquire during graduate study to identify and apply to jobs in the creative and cultural industries. Lately, even students who are determined to become academics have been forced to reevaluate their plans owing to lack of adequate faculty positions for recent PhDs in academia and systematic attacks on pay as well as working conditions. Falling enrollment in the humanities has exacerbated precarity in the form of a below-inflation pay rise and increased casualization.
The decline of the humanities in recent years triggered by falling enrollment numbers and coupled with pandemic-induced budget crunches have ushered in various forms of economic precarity for graduate students across North America, Europe, and beyond. The importance of securing funding to finish a dissertation, a master’s thesis, and miscellaneous short-term and long-term research projects cannot, therefore, be overstated for graduate students across the board. As such, this GSC-sponsored roundtable will attempt to answer some pressing questions about mastering grant-writing and fellowship-application writing, a genre of academic writing about which graduate students often receive very little formal training at a departmental level.
How do authors describe the sensory reality of war? What are the sounds of war, the smells of war (the textures, visuals, taste of war)? How are these described and how do they differ? These are questions that remain of interest to historians and literary scholars as we try to understand past events and representations of violence and conflict. From world wars to the war on climate change, our relationship with bodies and spaces is shifting and the sensorium carries these shifts. This panel is looking for abstracts interested in the senses and war across mediums (film, texts, art), whether these represent real or imagined conflicts.