Pacific Ancient and Modern Language Association (PAMLA) Conference
University of California, Riverside
November 10-11 2006
**Session on English Literature pre-1700**
Proposals welcome for 15-minute paper presentations concerning any aspect of British literature before 1700.
Please email 500-word proposals and 50-word abstracts (in text or attachment) to email@example.com.
Please include your name, institutional affiliation, and preferred contact information with your proposal.
Deadline for abstracts: April 6, 2006 (PAMLA deadline has been extended)
Conference website with details and membership information at: www.pamla.org Kendra Smith
Medieval Research Consortium
Department of English
University of California - Davis
One Shields Avenue
Davis, CA 95616
MLA Convention 2006
Special Session: Teaching the British Literature Survey The panel solicits proposals for papers on individual approaches to teaching the British Literature Survey or on topics related to this most widely-taught course, such as: the historical origins of the course; its place within English Department curricula; the major anthologies; canonicity and text selection; periodization; implicit or explicit meta-narratives; language, literature, and national identity; necessity or desirability of the course; student reception; pedagogical strategies; etc. All submissions to be considered for prospective volume on the topic.
Abstracts (300-500 words) by 3/27/06 to:
CFP for a proposed special session for the 2006 Midwest Modern Language Association convention in Chicago, November 9-12, 2006: A Popular Reconstruction: Imagining Reunion in Post-Civil War American Literature This panel will analyze the ways that American writers re-conceptualized the Union in literary works and reconfigured notions of race, family, citizenship, nationalism, perhaps even literature itself, following the upheaval of the Civil War. Papers might consider questions such as the following: How did texts shape or reflect the ways in which citizens imagined themselves and the nation? How did public policy intersect with reading and writing practices? How did the rise in national magazine publications following the war affect perceptions of authorship and audience? How did literary works recast the Civil War? This panel may include works that explore any aspect of literature of the American Reconstruction, broadly conceived, with special attention given to popular works and genres and elements of “high and low culture.”
Please send proposals (200-250 words) by April 15th to Martin Buinicki, English Department, Valparaiso University, Valparaiso, IN 46383; firstname.lastname@example.org.
All participants must be members of the M/MLA at the time of the conference. http://www.uiowa.edu/~mmla/ M/MLA; Chicago, 11/9/06-11/12/06
Conference theme: High & Low Culture
"After Highbrow/Lowbrow: Shakespearean Cultural Capital" (Proposed Special Session) In a conference centered on the theme of highbrow/lowbrow, it seems eminently appropriate to revisit the theme of Lawrence Levine’s seminal work of criticism, Highbrow/Lowbrow, which contextualized the shift in Shakespearean production from the nineteenth to twentieth centuries in America. As Levine’s work partly argues and continuing ‘lowbrow’ or popular adaptations of Shakespeare continue to show, ‘Shakespeare’ is a malleable value capable of bestowing cultural capital without being adulterated. This panel seeks to bring together considerations of the various editions, productions, adaptations, or corporations built on or building up Shakespeare’s status. What do these works tell us about the ways in which their audiences conceptualize and consume culture? Papers from all periods and genres are welcomed, including those focusing on the non-Anglophone world.
Please send abstracts (500 words max.) and brief vita by 4/15/06 to email@example.com Call for Papers:
Essays in Theatre/Ètudes théâtrales invites submissions in for a special issue on the subject of Shakespearean adaptations. Topics may include (but are not limited to): adaptations for the stage—including musical theatre, dance, and performance art—as well as adaptations into other media—including literature, film, and television.
Deadline for Submissions: August 1, 2006.
Essays in Theatre/Ètudes théâtrales is a refereed journal. All submissions considered for publication are anonymously assessed by at least two scholars with recognized expertise in the subject matter. Submissions (in English or French) should not exceed 5000 words and should follow the latest MLA Handbook. Send four copies, with the author’s name and address on a separate sheet, to: Essays in Theatre/Ètudes théâtrales, School of English and Theatre Studies, University of Guelph, Guelph, Ont., Canada N1G 2W1.
Call for Papers:
Pacific Ancient and Modern Language Association (PAMLA) Conference
University of California, Riverside
10-11 November 2006 *** Henry James on Politics, Culture and Society *** Proposals welcome for 15-minute paper presentations concerning Henry James's writings on politics, culture and society. This includes his creative work, literary essays, travel writing, and other non-fiction (e.g., essays on British geopolitics, WWI, etc.).
Please email 500-word proposals along with a 50 word abstract (in-message or as attachment) to: firstname.lastname@example.org
Please include your name, institutional affiliation, and preferred contact information with your proposal.
Deadline for abstracts: 6 April 2006
Multiple submissions of the same paper to different sessions are not allowed, but requests for declined submissions to be rerouted to another session are encouraged. Presenters must be members of PAMLA by April 15, 2006.
Further conference website with details and membership information at: www.pamla.org
Send proposals and abstracts to:
Assistant Professor of English
Department of English
California State University, Chico
Chico, CA 95929-0830
email@example.com Call for Papers The 27th Annual Meeting of The T. S. Eliot Society St. Louis, MO September 22-24, 2006 The Society invites proposals for papers to be presented in conference panels at the annual meeting in St. Louis. Papers on any topic related to Eliot are welcome. Proposals of approximate ly 500 words articulating clearly the central aim or direction of the paper or presentation should be forwarded to the President, Professor Benjamin Lockerd, Department of English, Grand Valley State University, Allendale, MI 49401, USA (or, preferably, by e-mail to firstname.lastname@example.org). Please include a brief biographical sketch or short curriculum vitae as well. To be considered, proposals must be received by June 1. Papers given at the conference by graduate students and scholars who received their doctoral degrees no more than two years before the conference date will be considered for the Fathman Young Scholar Award. If you are proposing a paper and fall within this category, please indicate that fact when you submit your proposal. The Fathman Award will be announced at the final session of the conference. It includes a monetary award.
Peer Seminars on T. S. Eliot 1. Eliot and the London Scene, 1914-19392. Eliot in the Theatre This year the T. S. Eliot Society is offering two peer seminars at its annual meeting in St. Louis, 21*24 September 2006. Vincent Sherry will lead a seminar on "Eliot and the London Scene, 1914-1939," in which participants are invited to consider the manifold ways in which Eliot interacted with the various cultures of London between the outbreak of the First World War and the beginning of the Second. The aim of the seminar is to project a composite picture of Eliot coming into his several roles as poet, critic, editor, and public intellectual in active exchange with the literary, political, and popular cultures of this particular locale, in this especially charged interval in history. Emphasis is expected to fall not only on the influence Eliot himself exerted on the London scene but on the impact a contemporary and developing public culture in London had on his maturing oeuvre. Sarah Bay-Cheng will lead a seminar on "Eliot in the Theatre." This seminar invites papers focused on any aspect of Eliot's dramatic writing, with particular interest paid to his full-length plays and theatricality (either textual or performative) in his poetry. Possible topics may also include considerat ions of his theatrical collaborations, his plays as performance, the influence of popular theatre in his drama, and the role of adaptation in Eliot's dramatic writing. Professor Bay-Cheng is Assistant Professor of Theatre and Film Studies at the University at Buffalo/SUNY. She is the author of Mama Dada: Gertrude Stein's Avant-Garde Theater (Routlege 2004) and essays on modernist drama, poetic drama, and avant-garde theatre and film. She is currently editing an anthology of modernist poetic drama. Professor Sherry is Distinguished Professor of English at Villanova University. His publications include The Uncommon Tongue: The Poetry and Criticism of Geoffrey Hill (1987), Ezra Pound, Wyndham Lewis, and Radical Modernism (1993), James Joyce: ULYSSES (1995, 2d ed. 2004), and The Great War and the Language of Modernism (2003). He has edited the Cambridge Companion to the Literature of the First World War (2005) and several volumes on post-Second World War British and Irish Poets for the Dictionary of Literary Biography (1984, 1985). The seminars are open to the first 12 registrants (each); registration will close July 1st. Seminarians will submit 4-5 page position papers to Professor Bay-Cheng or Professor Sherry by e-mail, no later than September 1st. To sign up for a seminar, or to inquire, please email Michael Coyle (email@example.com).
In-between: Essays & Studies in Literary Criticism Submissions are invited on any aspect on Wilde's _The Portrait of Dorian Gray_. Three short essays, 4000 words or less, will be included in an otherwise open issue. Submissions must be received by the end of April. Please contact the editor for any other information.
Gulshan R.Taneja / Editor,
Department of English, R.L.A. College, University of Delhi,
Post Box 5205, Chanakyapuri, New Delhi-110 021, India
firstname.lastname@example.org; email@example.com CFP: Second International Doris Lessing Conference (08/31/06;07/07/07-09/07/07)
Leeds Metropolitan University, United Kingdom Doris Lessing is a writer who, in her early career, concentrated on Africa and African politics then subsequently turned toward England, feminism, and speculative fiction. This panel will explore Lessing's continued engagement with African politics from "The Grass Is Singing" and "Going Home" to "Under My Skin" and "African Laughter," as well as her more recent journalism/reviews.
Submit one-page abstracts by August 31, 2006 to: firstname.lastname@example.org and email@example.com
The Annual H. G. Wells Society Conference 23 September 2006 Proposals for twenty minute papers, or for panels of 2-3 papers, are invited for this year’s Annual H. G. Wells Society Conference, to be held at Conway Hall, Red Lion Square, Central London, on 23 September 2006. The conference aims to reflect the current diversity of interest in Wells across a range of disciplines, so proposals might focus on, but are not restricted to, the following areas: Wells and Science (including the History and Philosophy of Science); Wells and Utopianism; Wells and Political Theory; Wells and the 1890s; Wells and the World State; Wells and Science Fiction (and genre more generally); Wells and Women; Wells and the emergence of Sociology; Wells and Religion; Wells and the Short Story.
Proposals of 300 words should be submitted, via email attachment, no later than June 16 2006. Please include a brief biographical note, and send proposals with ‘New Directions’ as the subject, to the Society’s secretary, Dr Steven McLean, at the following address:
Further information about the conference and the H. G. Wells Society can be obtained at:
http://www.hgwellsusa.50megs.com The New York Metro American Studies Association (NYMASA) invites papers for our annual one-day conference:
Crash / Landings: Friction and Flow in the American City
Saturday, October 28, 2006
Deadline for abstracts: Monday, May 1, 2006 As we've seen from the New Orleans flood, the NYC transit strike, and the Oscar-winning film "Crash," the U.S. city is a site of multiple collisions--of race, class, ethnicity, generations, desires, fears, and expectations. It is also, as Mary Louise Pratt and others have argued, a contact zone--an improvisational space of often surprising cultural exchange and creativity. To explore these contradictions, the 2006 NYMASA conference invites papers on the sometimes violent but always productive juxtapositions that occur in urban spaces.
We are interested in presentations that address the American city as a site of contact, collision, and community. What kinds of movements--of peoples, capital, knowledge, and culture--distinguish the city? What instant or enduring intimacies are generated from the friction of crowded streets, subways, freeways? How is the eco-system of the city reshaped by gentrification or zoning disputes--and enriched by aesthetic and political responses to specific socio-economic conditions? How have urban social movements shaped American cities historically, and how are they remembered, memorialized, replayed, and recast? How do images, narratives, histories, maps and other representations make urban friction and flow (in)visible?
We also invite considerations of American Studies as a site of collision, friction and flow. Are there zoning restrictions implicit in American Studies as an (inter)discipline, and how are they being contested? What methodologies and theoretical approaches are required to grasp the complexities of the city as a contested zone? How do urban challenges enable us to rethink the objects of study in American Studies?
We particularly encourage submissions that discuss urban spaces before the 20th century, and presentations that cross historical and disciplinary boundaries. We welcome presentations on transnational topics, but papers should demonstrate some connection to the study of the United States.
Possible topics include, but are not limited to:
--Landing in the city: migration/immigration, city as refuge and asylum, city as "mecca"
--Diaspora and the global city: transculturation, appropriation, tourism
--Crashing the party: social climbing, scandal and gossip, physical/economic accessibility
--Cities in transit: walking in the city, biking as resistance, commuting, car culture
--Urban intimacies: sex clubs, red light districts, queering the city, new domesticities
--Imagination or reality? Representations versus experiences of the urban environment
--Sensory experience and urban affect: feeling (in) the city
--Theoretical contact zones: intersectionality, activist theory, collisions of theory/practice
--Documenting urban flow: ethnography, journalism, film, indie media, activist video
Abstracts (300 words) for proposed presentations are due Monday, May 1, 2006
via email to Sarah Chinn (firstname.lastname@example.org_
Please note: The conference will take place in New York City; exact
location will be announced at a later date.
Call for Papers: Popular Literary Landscapes The Popular Literary Landscapes panel of the 2006 Mid-Atlantic Popular Culture/American Culture Association Conference welcomes abstracts of papers (200-250 words) that discuss literary descriptions of the American landscape. The descriptions may be factual or fictional, in poetry or prose; the focus may be on land or seascape, city or countryside. The chair is open to any thematic preference, but requires that the choice and treatment of subject matter establish a connection between land/seascape descriptions and the cultural ideals and values that inform them.
Choices of AV requirements are limited to DVD/VCR/monitor/audio cassette player/carousel and overhead projectors/screen.
Conference meets at the Wyndham Baltimore Inner Harbor Hotel
Meting dates are 27-29 October 2006
Please address e-mail abstracts to email@example.com
Hard copies of abstracts should be sent to the following address:
Penn State Abington
1600 Woodland Road
Abington, PA 19001
Include with your submission the following information:
Posted mail address
Mr. Toad, Wolf Larsen, Heidi, Phileas Fogg, Ichabod, Sherlock, Anne, Alice, Tweedledum, Tweedledee, Jacob Marley, Dr. Moreau, Long John Silver: in what ways do such literary characters and their distant cousins endure? How were these classics in dialogue with other canonical works? Were authors like Wilde and Eliot--in texts like The Selfish Giant or Old Possum's Book of Practical Cats--at liberty to engage the imagination in alternative ways in material purportedly "for children"? Have mediated versions of such characters replaced the mythical divinities in the "public imagination?" How can we engage critical, historical, linguistic, or dialectical analyses in exploring the enduring hermeneutical or pedagogical value of characters that have traditionally appealed to children? Abstracts on all related topics are most welcome. Please contact Gretchen Gurujal, firstname.lastname@example.org.
Children's Literature Association 34th Annual Conference
Newport News, Virginia
June 14 - 16, 2007
On May 13, 1607, three small English ships under the command of Captain
Christopher Newport arrived on the shore of the Virginia Peninsula to found Jamestown, the first permanent British colony in the Americas. The
mythology of American history, as taught to countless generations of schoolchildren, starts with that moment, as the colonists begin the work of transforming the American "wilderness" into "civilization." Fifteen miles northeast of Jamestown, 174 years later, General George Washington defeated the British army commanded by Lord Cornwallis at the Battle of Yorktown, thereby effectively ending British rule of the thirteen colonies and thus making possible American self-governance.
ChLA 2007 will be hosted at Christopher Newport University in Newport News,
VA. The conference theme, "Anniversaries, Histories, and Colonialisms,"
reflects the historical character of the local area and the 400th anniversary of the founding of nearby Jamestown, the first permanent English-speaking settlement in the Americas. This anniversary of the genesis of Anglo-American culture in 2007 offers a perfect opportunity to consider the constructions of history and colonialisms in relation to children's literature.
Paper topics might include connections between children's literature or culture and:
The ties between history and national or regional identity
The experiences or representations of immigrant peoples
The experiences or representations of indigenous peoples
Cultural clashes and meldings
Power and land
Dispossession and displacement
Wilderness vs. civilization
Representations of the past
Pocahontas as history and/or myth
Colonialist children's literature from around the world
Post-colonial views of children's literature
Adult attempts to colonize childhood
The desire to commemorate (or critique) past events
For questions about the conference, please contact the conference coordinators:
Kara Keeling (757-594-7952) email@example.com
Jennifer Miskec (757-594-7973) firstname.lastname@example.org Send panel proposals or paper abstracts (250-550 words) by e-mail to:
Kara Keeling: email@example.com (no attachments, please!)
or by regular mail to:
Kara Keeling, English Department, Christopher Newport University, 1 University Place, Newport News, VA 23606
Deadline for proposals and abstracts: November 30, 2006
"Children and Political Activism"
Modern Language Association
27-30 Dec. 2007, Chicago
The Children's Literature Division of the Modern Language Association is sponsoring a panel on Children and Political Activism. Inspired by the work of Susan Bartoletti's Kids on Strike and Growing up in Coal Country, this panel seeks submissions examining fictional, non-fictional, photographic, etc., depictions of children taking political action and/or texts that inspire child readers to take up direct political action. This can include examinations of the common trend of adults utilizing children to evoke emotions during national crisis (children selling lemonade) or examinations of less visible representations of radical children who demand their rights.
Deadline: 1 March 2007
1-2 page abstracts or 8-page papers may be sent by post or e-mail to one of the following two people:
Christopher Newport University English Department
1 University Place
Newport News VA
English and Modern Languages
201 High Street
firstname.lastname@example.org Congreso de la Asociaci F3n Espa F1ola de Estudios Canadienses 17 y 18 de noviembre de 2006 en la Residencia La Cristalera de la Universidad Aut F3noma de Madrid.
CALL FOR PAPERS
Panel: Ecocriticism and the Interaction between the Global and the Local in Recent Canadian Literature and Art.
This panel proposes to look at the Conference theme from the different perspective opened up by the relatively new interdisciplinary contexts of ecocriticism in Canada. It involves the investigation of a quintessentially national theme, the theme of Canadian nature, vis- E0-vis the undeniable internationalization of contemporary Canadian society and culture. Canadian writers and artists of different cultural backgrounds have often felt drawn to issues of wilderness and the land, literally and/or symbolically, establishing different relationships with the surrounding environment and providing equally diverse responses to it. The panel intends to be interdisciplinary both in its theoretical and its practical aims, exploring the possibilities of a framework of analysis such as ecocriticim to deal with and address the textual, filmic and artistic production of the past 30 years in Anglophone Canada.
Ecocriticism will be defined in the most encompassing sense as a broad field of study that focuses on the relationship between the arts and the environment. It connects with a long history of ecological thinking in Canada as well as with a literary, cultural and artistic production rich in examples of the interaction between nature and the human being. By definition, ecocriticism would break the opposition between nature and culture, going beyond the poststructuralist view of nature as a textualized object, and rather building bridges between space and text. It starts from the local and works towards the global, tracing numerous lines of encounter between the two both in the environmental and the cultural arenas.
Papers in this panel may address any issue within that general framework, from the immigrants' revisions of natured-based Canadian myths (such as the North, the Garrison Mentality, and so forth), to First Nations' critiques of those same myths and their reworking of the connection between Canada and the wilderness. Additionally, in recent years, the relationship between ecocriticism and gender, as in geofeminism or ecofeminism, has produced a whole body of theory, literature, film and art still awaiting to be analysed. Finally, theoretical papers that look at the possibilities of ecocriticism to articulate the increasingly global national context are also welcome.
Please send paper proposals to Eva Darias Beautell (U. de La Laguna): email@example.com
Norms for the submission of papers:
1. All paper proposals will be electronically submitted to the chair person(s) of the chosen Theme Panel with a copy to the Organizing Committee of the Conference: firstname.lastname@example.org 2. The deadline for submitting paper proposals is 15th May 2006.
3. Each paper proposal should include the following items: a) name, academic institution and e-mail of the paper author; b) Title and abstract of the paper (500 words max.)
Summer 2006 Fellowship Call for Proposals
Vectors: Journal of Culture and Technology in a Dynamic Vernacular The University of Southern California’s Institute for Multimedia Literacy is pleased to announce a third annual Fellowship program for summer 2006 to foster innovative research for its digital publishing venture, Vectors: Journal of Culture and Technology in a Dynamic Vernacular.
First launched in 2005, Vectors is an international electronic journal dedicated to expanding the potentials of academic publication via emergent and transitional media. Moving well beyond the text-with-pictures format of much electronic scholarly publishing, Vectors brings together visionary scholars with cutting-edge designers and technologists to propose a thorough rethinking of the dynamic relationship of form to content in academic research, focusing on the ways technology shapes, transforms and reconfigures social and cultural relations.
Vectors adheres to the highest standards of quality in a strenuously reviewed format. The journal is edited by Tara McPherson and Steve Anderson, with Creative Directors Erik Loyer and Raegan Kelly and Lead Programmer Craig Dietrich, and is guided by the collective knowledge of a prestigious international board.
About the Fellowships
· Vectors Fellowships will be awarded to up to eight individuals or teams of collaborators in the early to mid- stages of development of a scholarly multimedia project related to the themes of Difference or Memory. Completed projects will be included in Volume 3 of the journal in 2007. Vectors features next-generation multimedia scholarship, publishing work that can only be realized in an online format.
Volume Three, Issue One: Difference
From Charles Babbage's 19th century "Difference Engine" to Derrida's 1980s neographism "Différance," the notion of difference has served as a provocative metaphor for thinking about language, culture, politics, technology and identity. This issue of Vectors encourages diverse examinations of the notion of difference as it plays out in a variety of cultural spheres, discourses and practices. We are interested in a broadly-conceived notion of difference, one that engages technology and culture or that might be productively examined through the format of an interactive multimedia journal. In particular, we seek proposals that foreground the cultural or political manifestations of racial, gender, national, religious, ethnic, geographic, technological or economic differences.
Possible areas of investigation include but are not limited to:
-economic disparity and cultural differences
Volume Three, Issue Two: Memory
Jean Luc Godard's dictum that "only the hand that erases can write" underscores the ironic and contradictory status of memory in postmodern culture. In an age when both history and memory are routinely characterized as being at an end, it is more important than ever to closely examine the epistemological precepts and rhetorical strategies by which we engage, remember and speak about the past. This issue of Vectors explores a range of possible frameworks for thinking about memory as a phenomenon that is fundamentally entangled with the discourses of competing disciplines, political imperatives and cultural contexts. We are particularly interested in proposals that engage the eccentric, disruptive and dynamic potentials of memory as it relates to history, media, technology, and/or the sciences.
Possible areas of investigation include but are not limited to:
-the impact of proliferating technological and prosthetic forms of memory
-scientific and medical visualization
-visual memory, media and popular culture memories
-memorialization, reminiscence, recall
-the role of nostalgia, desire, psychology and narrative
-amnesia, displacement, erasure, regeneration
-the dynamic interplay of remembering and forgetting; "creative forgetting," "active forgetting"
-memory as practice, process and ritual
-reconstruction, reenactment, rescripting and remixing of memories
-counter-memory, chaos and resistance
-discontinuous, fragmentary or disruptive visions of the past
-individual vs. social, cultural and popular memory
About the Awards
All fellowship recipients will participate in a one-week residency June 19-23, 2006 at USC’s Institute for Multimedia Literacy, where they will have access to state of the art production facilities. Fellows work in collaboration with world-class designers and Vectors' technical support and programming team throughout the project’s development, typically during a span of 3-5 months.
The residency will include colloquia and working sessions where participants will have the chance to develop project foundations and collectively engage relevant issues in scholarly multimedia. Applicants need not be proficient with new media authoring, but must demonstrate familiarity with the potentials of digital media forms. Evidence of the capacity for successful collaboration and for scholarly innovation is required. Fellowship awards will include an honorarium of $1500 for each participant or team of collaborators, in addition to travel and accommodation expenses.
About the Proposals
We are seeking project proposals that creatively address issues related to the themes of Difference and Memory. While the format of the journal is meant to explore innovative modes of multimedia scholarship, we are not necessarily looking for projects that are about new media. Rather, we are interested in the various ways that 'old' and 'new' technologies suggest a transformation of scholarship, art and communication practices and their relevance to everyday life in an unevenly mediated world.
Applicants are encouraged to think beyond the computer screen to consider possibilities created by the proliferation of wireless technology, handheld devices, alternative exhibition venues, etc. Projects may translate existing scholarly work or be entirely conceived for new media. We are particularly interested in projects that re-imagine the role of the user and seek to reach broader publics. Work that creatively explores innovations in interactivity, cross-disciplinary collaboration, or scholarly applications for newly developing scientific or engineering technologies are also encouraged.
Proposals should include the following
· Title of project and a one-sentence description
· A 3-5 page description of the project concept, goals and outcome. This description should address questions of audience; innovative uses of interactivity, address and form. Please also detail the project’s argument and its contribution to multimedia scholarship and, more generally, to contemporary scholarship in your field.
· Brief biography of each applicant, including relevant qualifications and experience for this fellowship
· Full CV for each applicant
· Anticipated required resources (design, technical, hardware, software, exhibition, etc.)
· Projected timeline for project development
· Sample media if available (CD, DVD, VHS (any standard), or NTSC Mini-DV); for electronic submissions, URLs are preferred but still images may be sent as e-mail attachments if necessary)
Projects that articulate a clear understanding of the value of multimedia to their execution will be the most successful. Take seriously the questions "Why does this project need to be realized in multimedia? What is to be gained by the use of a rich media format for the argument or experience I aim to present?"
Electronic applications are preferred. Please submit to: email@example.com Mailing address
Vectors Summer Fellowships
Annenberg Center for Communication
746 W. Adams Blvd.
Los Angeles, CA 90089-7727
Priority will be given to applications received by April 15, 2006. Fellowship recipients will be notified in May 2006.
For additional information about Vectors and the Vectors Summer Fellowship Program, please visit http://www.vectorsjournal.org Questions may be directed to Tara McPherson firstname.lastname@example.org or Steve Anderson email@example.com
"Beyond Ground Zero": 9/11 and the Futures of Critical Thought
Saturday, October 21, 2006 McMaster University
Hamilton, Ontario, Canada In the wake of the September 11 attacks on the Pentagon and World Trade Center in 2001, and amid sweeping patriotic declarations that the suicide hijackers had waged a war on America as well as democracy, the energetic response by public intellectuals, academics, philosophers, and theorists has been to ask: what "America?? what "democracy?? what "war?" "for" and "against whom?" Today, in view of the unfolding catastrophe in Iraq, the growing presence of the Canadian military in Afghanistan, and the heightened anxieties over "state security," what does it mean?what could it mean?to conjure the specter(s) of "9/11?" In what ways does this event haunt the present day, not only as a moment of traumatic violence, but also as an occasion to change the very nature of how we think about events? As Jacques Derrida has argued, 9/11 means calling ?into question, at their most fundamental level, the most deep-seated conceptual presuppositions in philosophical discourse? (Derrida 100).
What quickens this one-day conference is a need not only to (re)visit and unsettle current discourses on "9/11," but also to engage the ethical, cultural, (geo)political, and pedagogical repercussions of the attacks in their immediate and long-term aftermaths. How has 9/11 complicated the relationship between (media) spectacle and terror? What are the new challenges and pedagogical implications of 9/11 and its myriad representations in the collective work of mourning and public remembrance? How are theories of alterity at once problematized and made even more vital by the racialized divides that the attacks (re)inforced or (re)configured? How are the concepts of "democracy," "justice," "freedom," "multiculturalism," "tolerance," and "diversity" put in the service of "empire" post-9/11? In what ways does the willful forgetfulness of past cultural traumas enable the public mourning of only those who died in the attacks? How is 9/11 reshaping our shared concept of "humanity" and of what constitutes the "human?" The conference will be animated by the conviction that critical thought and informed debate?far from being the morally equivocal "weak link"?are, today, never more urgently needed modes of intervention in the current and ongoing "War on Terror."
To reflect the breadth and vitality of current critical work in the discourses on 9/11, we invite submissions and participants from a wide range of disciplinary perspectives, including critical theory, cultural studies, postcolonial and critical race theory, literary studies, multimedia, peace studies, philosophy, critical pedagogy, queer theory, and gender studies. Possible subjects of conference submissions may include, but are not limited to, the following topics:
-(re)configuring the post-9/11 "human"
-specters of "empire" and the spectacle of terrorism
-teaching (after) 9/11: the Humanities and critical pedagogy
-spectacle, memory, and the work of (selective) mourning
-ethics, rights, and doing justice to/after 9/11
-race, gender, and the "alterities" of terror
-trauma, temporality, event: representation and the conceptual limits of "9/11"
-9/11 aesthetics/the aestheticization of 9/11
-the politics of (bio)power after 9/11
Dr. Marc Redfield is Professor of English and the John D. and Lillian Maguire Distinguished Chair in the Humanities at Claremont Graduate University. His fields of specialization include Romanticism, the nineteenth-century novel, aesthetics, literary theory, and comparative literature. His celebrated recent work focuses on the genealogy of the concept of ?terror,? and on the ways in which ?terror? has a complex history in political and philosophical discourse that inflects its use and abuse in the present day.
Dr. Roger I. Simon is a Professor at the Ontario Institute for Studies in Education cross appointed to the Department of Sociology and Equity Studies and the Department of Curriculum, Teaching and Learning. Simon is the Faculty Director of the Centre for Media and Culture in Education and Director of the Testimony and Historical Memory Project at OISE/UT. His most recent research has addressed questions of the pedagogical and ethical dimensions of practices of cultural memory in the context of our age of spectacle.
Sponsored by McMaster University's Department of English & Cultural Studies and made possible by the generous donations of the John Douglas
Please submit 500-word abstracts via e-mail to Karen Espiritu or Don Moore at: firstname.lastname@example.org by Friday, June 2, 2006. For more information, please visit our website:
Call for Papers
2006 Film and History League Conference on
"The Documentary Tradition"
November 8-12, 2006
Dolce Convention Center, Dallas, TX www.filmandhistory.org AREA: News and Satire
American television viewers have been treated with an ever-increasing visibility and popularity of shows that employ "news" for their content, such as The Daily Show, The Colbert Report, but that disavows any connect to the "traditional" business of news. As evidenced by programs like "Weekend Update" on Saturday Night Live and the opening monologues of The Tonight Show with Steve Allen, Ernie Kovacs, Johnny Carson and Jay Leno, The Late Show with David Letterman and The Jack Paar Show, satiric presentation of news is not a new invention. Yet, with the growing status of shows like The Daily Show as a "real news" source, what are the implications for the status of "news" in the 21st century?
Submissions are welcome on the topic of news and satire for shows
including but not limited to:
The Daily Show
The Colbert Report
Saturday Night Live / "Weekend Update"
The Tonight Show
The Late Show with David Letterman
The Jack Paar Show
Real Time with Bill Maher
Politically Incorrect with Bill Maher
For information on the conference, please refer to the Film and History website at www.filmandhistory.org Please submit an abstract of no more than 500 words along with a short biographical note or 1-page CV by July 24, 2006 via e-mail to email@example.com Karen Sichler
Grady College of Journalism and Mass Communication
University of Georgia
120 Hooper Street
Baldwin St. and Sanford Dr.
Athens, Georgia 30602-3018
firstname.lastname@example.org Midwest Popular Culture Association/Midwest American Culture Association
Indianapolis, October 27-29, 2006
www.mpcaaca.org Toys and Games The Toys and Games Area of the Midwest Popular Culture Association welcomes proposals for papers and presentations on toys and games, including board games, home videogames and video arcade games, MMORPGs, card games and CCGs, RPGs and LARPs, d20, Clix games, strategy games, traditional games like chess, gaming communities, dolls and action figures, toy collecting, designer toys and urban vinyl, licensed film and television toys, vintage toys, folk toys, advertising premiums and prizes, drinking games, game shows, party games, cell phone games, and so on . . .
Possible areas of inquiry or exploration include the role of toys and games in education and socialization, toys as art, toys and games in literature, film, television, or other media, toys in museums, videogame theory, the development of new media within the gaming and entertainment industries, toys and gender, the folklore of gaming, how toys create meaning.
Deadline for Submissions: May 15, 2006
Please send 150-word abstracts or proposals by e-mail or mail to:
Department of English
University of Pittsburgh
Pittsburgh, PA 15260
British Heavy Metal Essays are sought for a book project that takes a Cultural Studies approach to British Heavy Metal. Heavy Metal has developed from a British fringe genre of rock music in the late 1960s to a global market consumer good in the early twenty-first century. Early proponents of the musical style, like Black Sabbath, Deep Purple, Judas Priest, Saxon, Uriah Heep, and Iron Maiden, were mostly seeking to reach a young male audience. Songs were often filled with violent, sexist, and nationalistic themes but were also speaking to the growing sense of deterioration in social and professional life. At the same time, however, the genre was seriously indebted both to the legacies of blues and classical music as well as to larger literary and cultural themes. It also produced mythological concept albums and rewritings of classical poems. In other words, Heavy Metal tried from the beginning to locate itself in a liminal space between pedestrian mass culture and a rather elitist adherence to complexity and musical craftsmanship, speaking from a subaltern position against the hegemonic discourse. While direct political involvement remained the exception, it is precisely the hidden political and ideological agenda of Heavy Metal culture that deserves closer attention. This collection of essays will provide a comprehensive and multi-disciplinary look at British Heavy Metal from its beginning through The New Wave of British Heavy Metal up to the increasing internationalisation and wide-spread acceptance in the late 1980s, with the launch of MTV’s Headbangers Ball (1987) and Metallica’s winning of a Grammy (1990). Essays are invited from all the various fields that make up contemporary Cultural Studies. Individual sections of the book will focus on such issues as gender, class, race, and the nation. Authors should analyze British heavy metal from a textual perspective, providing critical analyses of the politics and ideology behind the lyrics, images, and performances of this highly successful genre of popular music. Rather than write papers on individual bands or songs, authors should strive to argue with the larger system of Heavy Metal music in mind, providing comprehensive analyses of their particular focus (like violence) that claim general validity and relate directly to the larger context of British life and culture.
Topics may include (but are not necessarily limited to):
Nation and Tribalism
* Racism and Xenophobia
* Celtic Metal
Class and Work
* Angry Young Guitarists
* High and Low Art
* Work Ethics and Pride
Mythology, Fantasy and Literature
* The Concept Album
* On Knights, Gnomes, Satan, and Monsters
* Metal Lyrics and English Poetry
Gender and Sexuality
* Love Songs & (Positive) Emotions
Violence and War
* Excessive Brutality
* Blood, Sweat, and No Fear
* Battlegrounds and Heroism
* Metal Movies & Video Clips
* Band DVDs
* Life Performances (Eddie and beyond)
Complete articles of 5-7,000 words will be due 15 January 2007. Interested
authors should send a 600-word abstract and a 1-2 page CV by 31 May 2006 to
Dr. Gerd Bayer
Department of English
University of Erlangen
91054 Erlangen, Germany
Women's Caucus for the Modern Languages/Midwest II: "Women in Rock: Gettin' High, Lookin' Low." The world of women in rock may be the busiest intersection of high and low culture. Do some female rockers participate in both high and low culture all along? How do women rockers appropriate and work elements of high and low culture into something they can call their own? Do the same race-and-class-based definitions of “high” and “low” operate in the female rock universe, or have other ways emerged? And how do we understand the high-and-low cultural borders and the ways—and reasons--rock women cross them? These panels will examine the relationship between the work women do in rock and pop music and the worlds of “higher” and “lower” culture, musical and otherwise.
200-word abstracts by April 20 to:
Patricia S. Rudden