Hortulus: The Online Graduate Journal of Medieval Studies
Special Call For Papers for 2010 Issue on
Exile in the Middle Ages
Hortulus: The Online Graduate Journal of Medieval Studies is a refereed journal devoted to the literature, history, and culture of the medieval world. Published electronically once a year, its mission is to present a forum in which graduate students from around the globe may share their ideas. Article submissions on the selected theme are welcome in any discipline and period of medieval studies. We are also interested in book reviews on recent works that reflect on some aspect of our theme: an abbreviated list of possible review titles appears on our website. Given the wide scope of the theme, we invite additional proposals for reviews. For further information please visit our website at http://hortulus.net/
Our upcoming issue will be devoted to representations and interpretations of exile – political, spiritual, or intellectual - in art, chronicles, letters, literature, and music from the Middle Ages. Expulsion, banishment, or prolonged separation from one’s homeland was experienced by many in the medieval world; it is likewise one of the earliest topics in literature. From the Biblical depiction of Adam and Eve, to the Life of St. Brendan, Grettir’s Saga, and the works of Dante, the pain and difficulty inherent in the experience of exile lent itself to metaphoric exploitation. Exile appears, too, in various religious traditions as a symbol of separation, alienation, and the need for redemption. Hence, an expanded definition of exile might encompass any forced displacement, be it political, social, cultural, or spiritual. Though loss is inherent in the experience of exile, it may also represent an opportunity for change and growth. Self-imposed exile could be a form of protest against, or a search for something in opposition to, known experience.
Possible article topics include, but are not limited to:
-Literary and artistic depictions of exile
-Kings, conflicts, and legal exile
-Cultural aspects of separation: ethnicity, religion, gender
-Christian exile in the Celtic tradition
-The depiction of Classical exile in medieval literature
-Exile in the Jewish imagination
-Exile in hagiography
-Religious exiles: interdict, excommunication, anathema, the expulsion of heretics
-Treatments of the Garden of Eden; the concepts of Heaven, Hell, and Purgatory
-Self-imposed exile: quest and transformation; exile as a form of political protest, as pilgrimage, in anchoritic monasticism
-Diseases, such as plague and leprosy, and exclusion
-Women as migrants and exiles
The 2010 issue of Hortulus: The Online Graduate Journal of Medieval Studies will be published in May of 2011. All graduate students are welcome to submit their articles and book reviews or send their queries via email to submit@hortulus.net by March 1, 2011.
Wednesday, September 29, 2010
Workshop on digital Shakespeare at the WSC in Prague
Ninth World Shakespeare Congress, Prague 2011
Call for Participants
Workshop: Global Shakespeares in the Digital Archive
Deadline: November 30, 2010
Conveners: Peter Donaldson, Ford Foundation Professor of Humanities, MIT, and Alexander Huang, Associate Professor at Penn State and Research Affiliate at MIT
Workshop description:
The age of global Shakespeares and digital video archive is upon us, and online video research tools have become indispensable when we research and teach worldwide performances of Shakespeare. It is an age when Shakespeare and world cultures foster symbiotic and antithetical relationships with equal force. This workshop serves two purposes:
(1) to introduce participants to the resources, research tools and new pedagogical possibilities afforded by the MIT Global Shakespeares digital performance archive and research space located at http://globalshakespeares.org/ The project provides global, regional, and national portals to Shakespeare productions within a federated archive. There are portals to Shakespeare performances in the UK and North America, the Arab World, India, Asia, and Brazil, containing full videos and video highlights.
and (2) to work with practitioners, users of digital archives, and any one curious about new pedagogical possibilities; to brainstorm about the practical and theoretical implications of a broad range of digital Shakespeare projects including video and textual archives. What can one do with these digital tools that has not been possible until now? Are there any limitations or drawbacks? What critical resources might we bring to thinking about the place of the archive in Shakespeare studies today?
Participants without any experience with digital archives are welcome!
Register online: http://www.shakespeare2011.net/
Please return Registration form (see website above) to
Dr Nick Walton,
by e-mail to isa@shakespeare.org.uk.
or to International Shakespeare Association, The Shakespeare
Centre, Stratford-upon-Avon, Warwickshire, CV37 6QW, UK
Call for Participants
Workshop: Global Shakespeares in the Digital Archive
Deadline: November 30, 2010
Conveners: Peter Donaldson, Ford Foundation Professor of Humanities, MIT, and Alexander Huang, Associate Professor at Penn State and Research Affiliate at MIT
Workshop description:
The age of global Shakespeares and digital video archive is upon us, and online video research tools have become indispensable when we research and teach worldwide performances of Shakespeare. It is an age when Shakespeare and world cultures foster symbiotic and antithetical relationships with equal force. This workshop serves two purposes:
(1) to introduce participants to the resources, research tools and new pedagogical possibilities afforded by the MIT Global Shakespeares digital performance archive and research space located at http://globalshakespeares.org/ The project provides global, regional, and national portals to Shakespeare productions within a federated archive. There are portals to Shakespeare performances in the UK and North America, the Arab World, India, Asia, and Brazil, containing full videos and video highlights.
and (2) to work with practitioners, users of digital archives, and any one curious about new pedagogical possibilities; to brainstorm about the practical and theoretical implications of a broad range of digital Shakespeare projects including video and textual archives. What can one do with these digital tools that has not been possible until now? Are there any limitations or drawbacks? What critical resources might we bring to thinking about the place of the archive in Shakespeare studies today?
Participants without any experience with digital archives are welcome!
Register online: http://www.shakespeare2011.net/
Please return Registration form (see website above) to
Dr Nick Walton,
by e-mail to isa@shakespeare.org.uk.
or to International Shakespeare Association, The Shakespeare
Centre, Stratford-upon-Avon, Warwickshire, CV37 6QW, UK
Jesters and Gestures: Irony at a Crossroads
The Students of the Department of Comparative Literature at the City University of New York Graduate Center present an interdisciplinary graduate student conference on February 24-25th, 2011.
Jesters and Gestures: Irony at a Crossroads
February 24-25, 2011
In the first chapter to her book Irony, Claire Colebrook writes, “We live in a world of quotation, pastiche, simulation, and cynicism: a general and all-encompassing irony. Irony, then, by the very simplicity of its definition [of saying something contrary to what is meant] becomes curiously indefinable.” This year’s conference proceeds for the assumption that it is irony’s very indeterminability that makes a central consideration in every act of interpretation. Because of this, acts of interpretation necessarily reflect the anxiety burrowed between understanding and misunderstanding, and meaning remains unsettled. The power of irony is that it skirts meaning, says what it does not mean, and means what it cannot exactly say. As a result, irony remains an illusive and adumbrated literary trope that requires an uneasy acknowledgement that “something” is going on that does not have clear definitions, limits, or guidelines.
We invite papers from all disciplines that focus on works from any period that explore the way irony functions as a trope in art, literature, film, or society. Some questions we seek to address include, but are in no way limited to:
-How does irony as rhetoric, trope, technique, and hermeneutic serve as the mirror-image of a world out of joint?
-Does irony as a self-reflective literary mode necessarily place all subjectivity, autonomy, and self into question?
-What role do ironic characters play in literature, film, or art?
-How does irony explore the representational limits of language?
-How does the definition of irony change throughout history or between cultures?
-Does irony as a technique that constantly reminds us of our linguistic contingency serve as a form of ideological critique, and post-universalist, post-metphysical aesthetics?
-How does the dialectical movement of irony question the ontological status of literature and the arts?
-What role does irony play in the much overlooked humor of the modernist period?
-What is the relationship between irony and other literary techniques, including but not limited to humor?
Please submit a 300 word abstract for a 15-20 minute paper by November 1st, 2010 to ironyconference2011@gmail.com. Proposals should include the title of the paper, presenter’s name, institutional and departmental affiliation, and any technology requests. We also welcome panel proposals of three to four papers.
This conference is co-sponsored by the Writers’ Institute at the City University of New York Graduate Center, an un-MFA program devoted to bringing together the country’s most talented writers and today’s most celebrated editors, and by the Center for the Humanities, an interdisciplinary public forum devoted to promoting the humanities programs both for CUNY students and for all New Yorkers.
To contact us by mail, please send queries to:
The Irony Conference Board
c/o The Department of Comparative Literature
The CUNY Graduate Center
365 Fifth Avenue
New York, NY 10016
Jesters and Gestures: Irony at a Crossroads
February 24-25, 2011
In the first chapter to her book Irony, Claire Colebrook writes, “We live in a world of quotation, pastiche, simulation, and cynicism: a general and all-encompassing irony. Irony, then, by the very simplicity of its definition [of saying something contrary to what is meant] becomes curiously indefinable.” This year’s conference proceeds for the assumption that it is irony’s very indeterminability that makes a central consideration in every act of interpretation. Because of this, acts of interpretation necessarily reflect the anxiety burrowed between understanding and misunderstanding, and meaning remains unsettled. The power of irony is that it skirts meaning, says what it does not mean, and means what it cannot exactly say. As a result, irony remains an illusive and adumbrated literary trope that requires an uneasy acknowledgement that “something” is going on that does not have clear definitions, limits, or guidelines.
We invite papers from all disciplines that focus on works from any period that explore the way irony functions as a trope in art, literature, film, or society. Some questions we seek to address include, but are in no way limited to:
-How does irony as rhetoric, trope, technique, and hermeneutic serve as the mirror-image of a world out of joint?
-Does irony as a self-reflective literary mode necessarily place all subjectivity, autonomy, and self into question?
-What role do ironic characters play in literature, film, or art?
-How does irony explore the representational limits of language?
-How does the definition of irony change throughout history or between cultures?
-Does irony as a technique that constantly reminds us of our linguistic contingency serve as a form of ideological critique, and post-universalist, post-metphysical aesthetics?
-How does the dialectical movement of irony question the ontological status of literature and the arts?
-What role does irony play in the much overlooked humor of the modernist period?
-What is the relationship between irony and other literary techniques, including but not limited to humor?
Please submit a 300 word abstract for a 15-20 minute paper by November 1st, 2010 to ironyconference2011@gmail.com. Proposals should include the title of the paper, presenter’s name, institutional and departmental affiliation, and any technology requests. We also welcome panel proposals of three to four papers.
This conference is co-sponsored by the Writers’ Institute at the City University of New York Graduate Center, an un-MFA program devoted to bringing together the country’s most talented writers and today’s most celebrated editors, and by the Center for the Humanities, an interdisciplinary public forum devoted to promoting the humanities programs both for CUNY students and for all New Yorkers.
To contact us by mail, please send queries to:
The Irony Conference Board
c/o The Department of Comparative Literature
The CUNY Graduate Center
365 Fifth Avenue
New York, NY 10016
Wednesday, September 22, 2010
SHAKESPEARE ON FILM, TELEVISION, AND VIDEO
CFP: SHAKESPEARE ON FILM, TELEVISION, AND VIDEO
PCA/ACA & SW/TX PCA/ACA
Joint Conference, San Antonio, TX
April 20-23, 2011
Submission deadline: December 15, 2010
Proposals are now being accepted for the Shakespeare on Film, Television, and Video Area. While any topic on Shakespeare and moving images is welcome, here are some to consider:
• Shakespeare and the genre film
• viral Shakespeare (viral videos)
• apocalyptic Shakespeares
• Shakespeare online
• Shakespeare and parody/homage
• Shakespearean auteurs
• foreign Shakespeare
• silent Shakespeare
• political Shakespeare
• transgressive Shakespeare
• Shakespeare and gender
• Shakespeare and race
• Shakespeare and class
• postmodern Shakespeare
Please send all proposals (approx. 250 words) and queries to
the Shakespeare on Film, Television, and Video Area Chair:
the Shakespeare on Film, Television, and Video Area Chair:
Kelli Marshall
The University of Toledo
Dept. of Theatre and Film, MS 611
2801 W. Bancroft
Toledo, OH 43606
kellirmarshall_at_gmail.com
Along with professors, independent scholars, teachers, and professionals, graduate students are particularly welcome at PCA/ACA conferences. Please note that PCA/ACA generally does not accept previously presented (or published) papers. Additionally, it permits only one presentation per person per year.
Online registration will take place from Dec. 31, 2010 through Jan. 13, 2011 (early-bird rates will be announced soon!). All participants MUST register online at the SW/TX website as soon as papers are accepted; more information and forms are available at http://swtxpca.org.
Book travel and reserve your room at the
Marriott Rivercenter San Antonio
101 Bowie Street
San Antonio, TX 78205 USA
Phone: 1-210-223-1000
Readings and Representations of the Seventeenth Century: 28th-29th January 2011
‘Such Total and Prodigious Alteration’ / ‘The Wounds May Be Again Bound Up’:
Readings and Representations of the Seventeenth Century
Chetham’s Library, Manchester, 28th-29th January, 2011
During the restoration and eighteenth century, the civil war period was consistently represented as a traumatic break in the history of England and the British Isles, separating the institutionally and culturally modern Augustans from either the primitiveness or idealised simplicity of the earlier epoch. Today, much academic practice silently repeats the period’s self-representation as a century divided between pre and post civil war cultures, whether in research, job descriptions or in undergraduate survey courses. Among the effects of this division of labour is a tendency for the earlier ‘Renaissance’ decades to be privileged over the restoration, which is frequently treated as a poor relation to the eighteenth century.
This conference provides a forum for researchers in all disciplines whose work spans all or any part of the long seventeenth century. As our titular quotations from Clarendon’s *History of the Rebellion* and Swift’s sermon ‘On the Martyrdom of King Charles I’ suggest, we also encourage papers on subsequent imaginings of the period that have contributed to or contested the ways in which it is read today.
Concerns include but are not limited to:
· The comparative study of seventeenth-century writing, sciences, visual arts and music before, during and after the civil war period; their material and intellectual dissemination; their relationship to ideas of what constitutes the early modern and the restoration.
· Constructions of the seventeenth century from the restoration to the present; representations in literature, art, history and film; the cultural influence of the seventeenth century on subsequent periods.
· The role critical theory can play in our reading of the period and/or narratives of the long seventeenth century from within literary criticism and critical theory; e.g. Leavis and Eliot on the Metaphysical poets, Walter Benjamin on the baroque, Foucault on madness, Habermas on the public sphere.
· The study of non-canonical and marginalized texts and materials, and nationally comparative readings of the period.
· The representation and reception of pre-seventeenth-century culture during the seventeenth century; the place of the past in the period’s self-representations.
Confirmed speakers include Rosanna Cox (Kent), Jeremy Gregory (Manchester), Helen Pierce (York), George Southcombe (Oxford), Jeremy Tambling (Manchester), Edward Vallance (Roehampton), Jerome de Groot (Manchester).
Please send abstracts of 300-500 words to James Smith (Manchester) and Joel Swann (Keele) by 15th October 2010: c17.conference@manchester.ac.uk. We particularly encourage the participation of postgraduate students, whose attendance will be generously supported by the Society for Renaissance Studies.
Go to http://www.chethams.org.uk/c17conference.html for more information.
Readings and Representations of the Seventeenth Century
Chetham’s Library, Manchester, 28th-29th January, 2011
During the restoration and eighteenth century, the civil war period was consistently represented as a traumatic break in the history of England and the British Isles, separating the institutionally and culturally modern Augustans from either the primitiveness or idealised simplicity of the earlier epoch. Today, much academic practice silently repeats the period’s self-representation as a century divided between pre and post civil war cultures, whether in research, job descriptions or in undergraduate survey courses. Among the effects of this division of labour is a tendency for the earlier ‘Renaissance’ decades to be privileged over the restoration, which is frequently treated as a poor relation to the eighteenth century.
This conference provides a forum for researchers in all disciplines whose work spans all or any part of the long seventeenth century. As our titular quotations from Clarendon’s *History of the Rebellion* and Swift’s sermon ‘On the Martyrdom of King Charles I’ suggest, we also encourage papers on subsequent imaginings of the period that have contributed to or contested the ways in which it is read today.
Concerns include but are not limited to:
· The comparative study of seventeenth-century writing, sciences, visual arts and music before, during and after the civil war period; their material and intellectual dissemination; their relationship to ideas of what constitutes the early modern and the restoration.
· Constructions of the seventeenth century from the restoration to the present; representations in literature, art, history and film; the cultural influence of the seventeenth century on subsequent periods.
· The role critical theory can play in our reading of the period and/or narratives of the long seventeenth century from within literary criticism and critical theory; e.g. Leavis and Eliot on the Metaphysical poets, Walter Benjamin on the baroque, Foucault on madness, Habermas on the public sphere.
· The study of non-canonical and marginalized texts and materials, and nationally comparative readings of the period.
· The representation and reception of pre-seventeenth-century culture during the seventeenth century; the place of the past in the period’s self-representations.
Confirmed speakers include Rosanna Cox (Kent), Jeremy Gregory (Manchester), Helen Pierce (York), George Southcombe (Oxford), Jeremy Tambling (Manchester), Edward Vallance (Roehampton), Jerome de Groot (Manchester).
Please send abstracts of 300-500 words to James Smith (Manchester) and Joel Swann (Keele) by 15th October 2010: c17.conference@manchester.ac.uk. We particularly encourage the participation of postgraduate students, whose attendance will be generously supported by the Society for Renaissance Studies.
Go to http://www.chethams.org.uk/c17conference.html for more information.
“‘What is bettre than gold?’: Economies and Values in the Middle Ages”
The Columbia University Medieval Guild is pleased to announce its 21st annual Interdisciplinary Graduate Student Conference, “‘What is bettre than gold?’: Economies and Values in the Middle Ages,” taking place on October 22nd 2010.
The aim of this conference is to explore the interface between medieval economies and societies in both literal and symbolic terms. Monetary exchange was only one of many forms of economic thought and activity in the Middle Ages. On the one hand, the language of the market permeated many other spheres of medieval life, such as spirituality, social relationships, and artistic production. At the same time, non-economic values and non-monetary currencies influenced the market and offered alternative avenues of exchange. We welcome papers from graduate students in all disciplines, in the interests of examining the variety of ways in which economic discourses and practices in the Middle Ages were themselves evaluated, converted, debased, counterfeited, multiplied, circulated, and exchanged.
Keynote Speaker:
Diane Cady, Mills College (English): "Damaged Goods: Selling Poetry in the Man of Law's Tale"
Methodology Panel:
Susanna Barsella, Fordham University (Modern Languages and Literatures-Italian)
Jessica Goldberg, University of Pennsylvania (History)
Derrick Higginbotham, Barnard College/Columbia University (English)
Joel Kaye, Barnard College/Columbia University (History)
Stephen Murray, Columbia University (Art History)
Topics may include but are not limited to:
poverty and wealth
gift-giving and gift exchange
need and charity
treasure and hoarding
luxury, largesse, and consumption
symbolic capital and cultural currency
social, cultural and artistic exchange
literary and artistic patronage
textual circulation and book production
redemption and spiritual economies
circulation and use of money
debt and usury
investment and credit
currency and coinage
numismatics
financial techniques (bookkeeping, money-changing, etc.)
commercial and commercialized spaces and communities
trade, markets, and fairs
merchants and merchant culture
guilds and networks (professional, national, etc.)
circulation of objects (commodities and non-commodities)
household economy
finance and institutional administration
labor, prices and wages
taxation
commercial law
mercenaries
tithes and benefices
ports and customs
Please send your proposal (no longer than 300 words) for a 15 to 20-minute paper to the organizers at medievaleconomies [at] gmail [dot] com by Tuesday, September 21st 2010.
Proposals should include the title of the paper, presenter's name, institutional affiliation (including department), email address, mailing address, telephone number, and any audio-visual equipment needs. Please also indicate if you would be willing to moderate a panel.
The aim of this conference is to explore the interface between medieval economies and societies in both literal and symbolic terms. Monetary exchange was only one of many forms of economic thought and activity in the Middle Ages. On the one hand, the language of the market permeated many other spheres of medieval life, such as spirituality, social relationships, and artistic production. At the same time, non-economic values and non-monetary currencies influenced the market and offered alternative avenues of exchange. We welcome papers from graduate students in all disciplines, in the interests of examining the variety of ways in which economic discourses and practices in the Middle Ages were themselves evaluated, converted, debased, counterfeited, multiplied, circulated, and exchanged.
Keynote Speaker:
Diane Cady, Mills College (English): "Damaged Goods: Selling Poetry in the Man of Law's Tale"
Methodology Panel:
Susanna Barsella, Fordham University (Modern Languages and Literatures-Italian)
Jessica Goldberg, University of Pennsylvania (History)
Derrick Higginbotham, Barnard College/Columbia University (English)
Joel Kaye, Barnard College/Columbia University (History)
Stephen Murray, Columbia University (Art History)
Topics may include but are not limited to:
poverty and wealth
gift-giving and gift exchange
need and charity
treasure and hoarding
luxury, largesse, and consumption
symbolic capital and cultural currency
social, cultural and artistic exchange
literary and artistic patronage
textual circulation and book production
redemption and spiritual economies
circulation and use of money
debt and usury
investment and credit
currency and coinage
numismatics
financial techniques (bookkeeping, money-changing, etc.)
commercial and commercialized spaces and communities
trade, markets, and fairs
merchants and merchant culture
guilds and networks (professional, national, etc.)
circulation of objects (commodities and non-commodities)
household economy
finance and institutional administration
labor, prices and wages
taxation
commercial law
mercenaries
tithes and benefices
ports and customs
Please send your proposal (no longer than 300 words) for a 15 to 20-minute paper to the organizers at medievaleconomies [at] gmail [dot] com by Tuesday, September 21st 2010.
Proposals should include the title of the paper, presenter's name, institutional affiliation (including department), email address, mailing address, telephone number, and any audio-visual equipment needs. Please also indicate if you would be willing to moderate a panel.
Games and Gaming in Medieval Literature, Kalamazoo 2011
[The deadline for proposals for this panel has been extended to September 25th.]
Game studies is quickly emerging as a popular, interdisciplinary field within the humanities and social sciences, yet medieval scholars are still only beginning to explore the relationship between recreational games and literature from a literary or cultural context. This session seeks to broaden this field of study by focusing on depictions of games and gaming in medieval literature and their relation to recreation in the Middle Ages.
As one of the most popular forms of entertainment in the Middle Ages, medieval recreational games were sometimes depicted in literature: from games of chance such as the Middle French dice poem Le Jeu D'Amour to depictions of social, courtly games such as the one described in the fifteenth-century Middle English dream vision The Floure and the Leafe, medieval recreational games were prominent in the cultural imaginations across Europe and beyond. This session welcomes papers on all aspects of games and literature, including but not limited to:
• Depictions of games such as chess, backgammon, or dice
• Books as board games
• Readers as "players," authors as "game designers"
• Mathematical puzzles, riddles, and word games
• Courtly love games
• Les Demaundes D'Amour tradition
• Gaming and exemplary literature
• Games that focus on gender and sexuality
Please send a 250-300 word abstract suitable for a twenty-minute paper, a CV or biographical note, and completed Participant Information Form (http://www.wmich.edu/medieval/congress/submissions/index.html#PIF) by September 25, 2010, to Serina Patterson, University of British Columbia, Department of English, serinap@interchange.ubc.ca
Game studies is quickly emerging as a popular, interdisciplinary field within the humanities and social sciences, yet medieval scholars are still only beginning to explore the relationship between recreational games and literature from a literary or cultural context. This session seeks to broaden this field of study by focusing on depictions of games and gaming in medieval literature and their relation to recreation in the Middle Ages.
As one of the most popular forms of entertainment in the Middle Ages, medieval recreational games were sometimes depicted in literature: from games of chance such as the Middle French dice poem Le Jeu D'Amour to depictions of social, courtly games such as the one described in the fifteenth-century Middle English dream vision The Floure and the Leafe, medieval recreational games were prominent in the cultural imaginations across Europe and beyond. This session welcomes papers on all aspects of games and literature, including but not limited to:
• Depictions of games such as chess, backgammon, or dice
• Books as board games
• Readers as "players," authors as "game designers"
• Mathematical puzzles, riddles, and word games
• Courtly love games
• Les Demaundes D'Amour tradition
• Gaming and exemplary literature
• Games that focus on gender and sexuality
Please send a 250-300 word abstract suitable for a twenty-minute paper, a CV or biographical note, and completed Participant Information Form (http://www.wmich.edu/medieval/congress/submissions/index.html#PIF) by September 25, 2010, to Serina Patterson, University of British Columbia, Department of English, serinap@interchange.ubc.ca
The King James Bible and Its Cultural Afterlife, Thursday, May 5th 2011 – Saturday, May 7th 2011
I would like to present in Dr. Vivienne Westbrook's seminar, "Translating the Bible and the Long Reformation," a paper on the way in which Christian theology affected the translation of the Hebrew Bible. I will look closely at particular passages in the HB (examining when necessary their rendering in the Septuagint and Vulgate), and their translation in the the KJV. For example, in Genesis 1:2, the "ruach elohim" becomes in English "the Spirit of God" - trinitarian language - even though "ruach" can also mean "wind" or "breath." The Greek Septuagint - a Jewish translation - uses "pneuma," which is equally broad in its semantic categories, but Jerome opts for "spiritus" in the Vulgate.
Biography, Autobiography, Memoir, and Personal Narrative
Paper proposals on any aspect of biography, autobiography, memoir, and personal narrative are welcome. Literary papers as well as creative works will be accepted. Please submit a 200-word abstract (or completed paper) and a short resume (e-mail preferred) by the registration deadline (December 15, 2010) to
Dr. Melinda McBee, Area Chair
Biography, Autobiography, Memoir and Personal Narrative Panel
SW/TX PCA/ACA
Department of Literature and Language
Grayson County College
6101 Grayson Drive
Denison, Texas 75020
903-463-8639 (office); 940-442-5340 (home)
mcbee58@verizon.net
To be considered for the Phyllis Bridges Award for Biography, graduate students must submit completed papers (e-mail preferred) by January 1, 2011, to the above address. For additional details, please visit http://www.swtxpca.org or http://swtxpca.org/documents/48.html.
NOTE: Occasionally, electronic glitches may occur. If you have not received a response to your sent e-mail within 5 days, please call one of the phone numbers listed above.
Conference dates and details:
April 20-23, 2011
Marriott Rivercenter San Antonio
101 Bowie Street
San Antonio, Texas 78205 USA
Phone: 1-210-223-1000
Dr. Melinda McBee
Grayson County College
6101 Grayson Drive
Denison, Texas 75020
903-463-8639 (office)
940-442-5340 (home)
Email: mcbee58@verizon.net
Visit the website at http://www.swtxpca.org
Dr. Melinda McBee, Area Chair
Biography, Autobiography, Memoir and Personal Narrative Panel
SW/TX PCA/ACA
Department of Literature and Language
Grayson County College
6101 Grayson Drive
Denison, Texas 75020
903-463-8639 (office); 940-442-5340 (home)
mcbee58@verizon.net
To be considered for the Phyllis Bridges Award for Biography, graduate students must submit completed papers (e-mail preferred) by January 1, 2011, to the above address. For additional details, please visit http://www.swtxpca.org or http://swtxpca.org/documents/48.html.
NOTE: Occasionally, electronic glitches may occur. If you have not received a response to your sent e-mail within 5 days, please call one of the phone numbers listed above.
Conference dates and details:
April 20-23, 2011
Marriott Rivercenter San Antonio
101 Bowie Street
San Antonio, Texas 78205 USA
Phone: 1-210-223-1000
Dr. Melinda McBee
Grayson County College
6101 Grayson Drive
Denison, Texas 75020
903-463-8639 (office)
940-442-5340 (home)
Email: mcbee58@verizon.net
Visit the website at http://www.swtxpca.org
Performing the Book: Multimedia Histories of Early Modern Britain, Rutgers University
Call for Graduate Student Papers
Performing the Book: Multi-Media Histories of Early Modern Britain
Rutgers University, New Brunswick
February 11, 2011
Sponsored by the Rutgers British Studies Center, the Rutgers Program in Early Modern Studies, the Rutgers Center for Cultural Analysis, and the Rutgers Medieval and Renaissance Colloquium.
Recent scholarship in media theory, digital culture, and the history of the material text has opened up new ways of thinking about intersections of pen, print, sound, and performance in the early modern period. The categories of “new” and “multi” media, in particular, gather special relevance in the multifarious literary and performative terrain of sixteenth-, seventeenth-, and eighteenth-century Britain. This conference offers an opportunity for graduate students in disciplines including English, Music, History, and Performance Studies, to address the following questions:
How can scholarship on acoustic and performative multi-media in early modern Britain contribute to or intervene in methodologies associated with the history of the book? How can we theorize the categories of “book” and “text” in relation to the circulation and performance of sound? How can studies of the early modern acoustic world nuance the received wisdom about bibliographic and literary cultures and traditions? What media technologies and protocols were understood as new during this period, and how were they associated with literary, musical, or theatrical collectives? What does early modern aural performance tell us, or ask us to reconsider, about the hybridity of media from Gutenberg to Google?
Visitors will include Bruce Smith (University of Southern California, English), Christopher Marsh (Queen’s University, Belfast, History), Leslie Dunn (Vassar College, English), Juliet Fleming (New York University, English), R. Malcolm Smuts (University of Massachusetts, Boston, History), and Gary Tomlinson (University of Pennsylvania, Music).
Graduate students are invited to submit 250-word abstracts for 20-minute papers by September 30 to Scott Trudell (trudell@eden.rutgers.edu).
Performing the Book: Multi-Media Histories of Early Modern Britain
Rutgers University, New Brunswick
February 11, 2011
Sponsored by the Rutgers British Studies Center, the Rutgers Program in Early Modern Studies, the Rutgers Center for Cultural Analysis, and the Rutgers Medieval and Renaissance Colloquium.
Recent scholarship in media theory, digital culture, and the history of the material text has opened up new ways of thinking about intersections of pen, print, sound, and performance in the early modern period. The categories of “new” and “multi” media, in particular, gather special relevance in the multifarious literary and performative terrain of sixteenth-, seventeenth-, and eighteenth-century Britain. This conference offers an opportunity for graduate students in disciplines including English, Music, History, and Performance Studies, to address the following questions:
How can scholarship on acoustic and performative multi-media in early modern Britain contribute to or intervene in methodologies associated with the history of the book? How can we theorize the categories of “book” and “text” in relation to the circulation and performance of sound? How can studies of the early modern acoustic world nuance the received wisdom about bibliographic and literary cultures and traditions? What media technologies and protocols were understood as new during this period, and how were they associated with literary, musical, or theatrical collectives? What does early modern aural performance tell us, or ask us to reconsider, about the hybridity of media from Gutenberg to Google?
Visitors will include Bruce Smith (University of Southern California, English), Christopher Marsh (Queen’s University, Belfast, History), Leslie Dunn (Vassar College, English), Juliet Fleming (New York University, English), R. Malcolm Smuts (University of Massachusetts, Boston, History), and Gary Tomlinson (University of Pennsylvania, Music).
Graduate students are invited to submit 250-word abstracts for 20-minute papers by September 30 to Scott Trudell (trudell@eden.rutgers.edu).
Gender and the Dynamics of Marriage in Medieval English Literature (Updated)
Representations of marriage pervade Medieval Literature and often these literary representations differ from the religious and/or secular expectations of this sort of relationship. Papers for the proposed session could explore:
• the gendered power dynamics within marriage
• the implications of marriage within the chivalric courtly tradition
• the insinuations regarding the reality of social attitudes regarding women
• the use of marriage as a metaphor to investigate the power dynamics within the larger societal institutions.
Abstracts between 250-300 words for papers of 15 minutes are invited by 31 August 2010. The abstract should also include a 50-word biographical note and AV requests.
Contact: Debbie Killingsworth, University of Oregon, Department of English, debbiek@uoregon.edu
• the gendered power dynamics within marriage
• the implications of marriage within the chivalric courtly tradition
• the insinuations regarding the reality of social attitudes regarding women
• the use of marriage as a metaphor to investigate the power dynamics within the larger societal institutions.
Abstracts between 250-300 words for papers of 15 minutes are invited by 31 August 2010. The abstract should also include a 50-word biographical note and AV requests.
Contact: Debbie Killingsworth, University of Oregon, Department of English, debbiek@uoregon.edu
Aphra Behn Online Journal
Aphra Behn Online: Interactive Journal for Women in the Arts 1640-1830
The Aphra Behn Online: Interactive Journal for Women in the Arts 1640-1830 is an online, annual publication which serves as a forum for interactive scholarly discussion on all aspects of women in the arts between 1660-1830, including literature, visual arts, music, performance art, film criticism, and production arts. The journal features peer-reviewed articles encompassing subjects on a global range and is intended for scholars and students. The online format will be comprised of four divisions: Scholarship (3-4 essays); Pedagogy (3-4 essays); New Media Applications/ Women on the Web (1-2 essays); and Reviews (4-5 essays). While the publication is open-access, it is associated with the Aphra Behn Society and its biannual conference. The journal, hosted by the University of South Florida, will make use of the Digital Humanities to ensure that all visual and auditory aspects of the paper can be easily accessed by the readership.
The editors invite submissions for the inaugural edition of this online annual to go live in January 2011. Submissions will be considered in four categories: scholarly articles, articles on pedagogy, book reviews and essays on new media/women on the web. In all areas, work should be related to women in arts between 1660-1830, including literature, visual arts, music, performance art, film criticism, and production arts. While Aphra Behn is our guiding figure, the journal encourages submissions on all women in the arts from all areas of the globe during this era.
In recognition of the landmark publication of the Johns Hopkins Press anthology, British Women Poets of the Long Eighteenth Century, edited by Paula Backscheider and Catherine Ingrassia, we would like to highlight women’s poetry for our first edition, and so articles, essays and reviews on women’s poetry from 1660-1830 are especially welcome.
General guidelines: submissions should be in electronic form, using MS Word or RTF formatting (unless otherwise noted). Text submissions should be 5,000 to 8,000 words in length (depending on section) and must be formatted according to the most recent edition of the Modern Language Association Style Manual. Specific guidelines for each section can be found on the website: http://www.aphrabehn.org/aphraonline/.
Because Aphra Behn Online is committed to community and interaction, names of the writers submitting work to the journal are withheld, but members of the editorial review board sign their reviews of all submissions. Responses to submitted work will be returned to the author within approximately ninety days of receipt of the work.
DEADLINE: October 30, 2010.
Please see http://www.aphrabehn.org/aphraonline/ for more specific information about the journal and submission guidelines!
The Aphra Behn Online: Interactive Journal for Women in the Arts 1640-1830 is an online, annual publication which serves as a forum for interactive scholarly discussion on all aspects of women in the arts between 1660-1830, including literature, visual arts, music, performance art, film criticism, and production arts. The journal features peer-reviewed articles encompassing subjects on a global range and is intended for scholars and students. The online format will be comprised of four divisions: Scholarship (3-4 essays); Pedagogy (3-4 essays); New Media Applications/ Women on the Web (1-2 essays); and Reviews (4-5 essays). While the publication is open-access, it is associated with the Aphra Behn Society and its biannual conference. The journal, hosted by the University of South Florida, will make use of the Digital Humanities to ensure that all visual and auditory aspects of the paper can be easily accessed by the readership.
The editors invite submissions for the inaugural edition of this online annual to go live in January 2011. Submissions will be considered in four categories: scholarly articles, articles on pedagogy, book reviews and essays on new media/women on the web. In all areas, work should be related to women in arts between 1660-1830, including literature, visual arts, music, performance art, film criticism, and production arts. While Aphra Behn is our guiding figure, the journal encourages submissions on all women in the arts from all areas of the globe during this era.
In recognition of the landmark publication of the Johns Hopkins Press anthology, British Women Poets of the Long Eighteenth Century, edited by Paula Backscheider and Catherine Ingrassia, we would like to highlight women’s poetry for our first edition, and so articles, essays and reviews on women’s poetry from 1660-1830 are especially welcome.
General guidelines: submissions should be in electronic form, using MS Word or RTF formatting (unless otherwise noted). Text submissions should be 5,000 to 8,000 words in length (depending on section) and must be formatted according to the most recent edition of the Modern Language Association Style Manual. Specific guidelines for each section can be found on the website: http://www.aphrabehn.org/aphraonline/.
Because Aphra Behn Online is committed to community and interaction, names of the writers submitting work to the journal are withheld, but members of the editorial review board sign their reviews of all submissions. Responses to submitted work will be returned to the author within approximately ninety days of receipt of the work.
DEADLINE: October 30, 2010.
Please see http://www.aphrabehn.org/aphraonline/ for more specific information about the journal and submission guidelines!
The Dialectics of Orientalism in Early Modern Europe, 1492-1700
Urbana-Champaign, October 7-8, 2011
In early modern Europe, discourses on and images of the Orient and Islam are inextricably tied to the rise of national consciousness and the formation of a European identity as several Western states were striving for imperial supremacy. The goal of this international and interdisciplinary conference is to explore the dialectical function of early modern Orientalism for the creation of different notions of a collective self: national, European, and/or imperial.
We invite proposals for contributions that analyze the multiple uses of an imaginary Islam and Orient and compare at least two national orientalist discourses and/or the intersection of nation-building and the invention of Europeanness catalyzed through these discourses. Beyond being simplifications, what role do stereotypes play in the complex and often contradictory rhetorical dynamics that served to articulate, implement and promote both internal policies and supranational endeavors of imperial supremacy? To whom are these stereotypical representations addressed and through what media? In what instances does the creation of a fictive homogeneous nation lead to the conceptual “islamization” of minority groups? Is there a competition among European nation-states for the hegemony in the representation of the Oriental, and in which ways does it feed into a transnational rivalry for imperial power? What does the comparison of different national accounts of Orientalism reveal about the supposed homogeneity of the stereotypical Muslim?
Proposals for presentations of 20-25 min that address any of these or related questions will be evaluated by an interdisciplinary organizing committee. The conference language is English.
Please send a 250-500 word abstract by November 15 to earlymodernorientalism@illinois.edu, along with information about your professional affiliation and a brief cv or a reference to your personal website.
For more information, visit www.earlymodernorientalism.illinois.edu or contact the organizers:
Marcus Keller (Department of French): mkeller@illinois.edu
Javier Irigoyen-García (Department of Spanish, Italian and Portuguese): irigoyen@illinois.edu
In early modern Europe, discourses on and images of the Orient and Islam are inextricably tied to the rise of national consciousness and the formation of a European identity as several Western states were striving for imperial supremacy. The goal of this international and interdisciplinary conference is to explore the dialectical function of early modern Orientalism for the creation of different notions of a collective self: national, European, and/or imperial.
We invite proposals for contributions that analyze the multiple uses of an imaginary Islam and Orient and compare at least two national orientalist discourses and/or the intersection of nation-building and the invention of Europeanness catalyzed through these discourses. Beyond being simplifications, what role do stereotypes play in the complex and often contradictory rhetorical dynamics that served to articulate, implement and promote both internal policies and supranational endeavors of imperial supremacy? To whom are these stereotypical representations addressed and through what media? In what instances does the creation of a fictive homogeneous nation lead to the conceptual “islamization” of minority groups? Is there a competition among European nation-states for the hegemony in the representation of the Oriental, and in which ways does it feed into a transnational rivalry for imperial power? What does the comparison of different national accounts of Orientalism reveal about the supposed homogeneity of the stereotypical Muslim?
Proposals for presentations of 20-25 min that address any of these or related questions will be evaluated by an interdisciplinary organizing committee. The conference language is English.
Please send a 250-500 word abstract by November 15 to earlymodernorientalism@illinois.edu, along with information about your professional affiliation and a brief cv or a reference to your personal website.
For more information, visit www.earlymodernorientalism.illinois.edu or contact the organizers:
Marcus Keller (Department of French): mkeller@illinois.edu
Javier Irigoyen-García (Department of Spanish, Italian and Portuguese): irigoyen@illinois.edu
Special Issue of Literature Compass on the Global Middle Ages
Literature Compass invites contributions for a special issue of the Global Circulation Project, edited by Geraldine Heng and Lynn Ramey, on the Global Middle Ages.
We define our period broadly as premodernity c. 500-1500 CE, always with flexible time horizons, and always with the understanding that the semi-convenient term "Middle Ages" is a heuristic category under erasure, and with diminished purchase for cultures and worlds outside premodern Europe.
Essays can focus on the circulation of a text, set of texts, ideas, themes, narratives, genres, or stories, and can take the form of broad surveys, or close readings of a particular motif, set of texts, or network of intercultural circulation. An interdisciplinary focus is especially welcome: in addition to literature and textuality, we are also interested in stories or themes that travel through fabrics, maps, sculpture, ceramics, clothing, edifices, or other cultural media, especially if they intersect with literary work. In like vein, we are equally interested in literary and cultural traces of how people and oral traditions traveled.
Contributions on cultural texts from other continents than the Americas and Europe are especially welcome. If you have an interest in an experimental approach or focus, please consult the issue editors at: heng@mail.utexas.edu and lynn.ramey@vanderbilt.edu
For more details on submission and the manuscript review process, please see: http://www.wiley.com/bw/submit.asp?ref=1741-4113
More information on LICO's Global Circulation Project can be found here: http://www.blackwell-compass.com/subject/literature/
and here: http://www.blackwell-compass.com/globalcirculationproject
More information on Literature Compass can be found here: http://www.blackwell-compass.com/subject/literature/about
We define our period broadly as premodernity c. 500-1500 CE, always with flexible time horizons, and always with the understanding that the semi-convenient term "Middle Ages" is a heuristic category under erasure, and with diminished purchase for cultures and worlds outside premodern Europe.
Essays can focus on the circulation of a text, set of texts, ideas, themes, narratives, genres, or stories, and can take the form of broad surveys, or close readings of a particular motif, set of texts, or network of intercultural circulation. An interdisciplinary focus is especially welcome: in addition to literature and textuality, we are also interested in stories or themes that travel through fabrics, maps, sculpture, ceramics, clothing, edifices, or other cultural media, especially if they intersect with literary work. In like vein, we are equally interested in literary and cultural traces of how people and oral traditions traveled.
Contributions on cultural texts from other continents than the Americas and Europe are especially welcome. If you have an interest in an experimental approach or focus, please consult the issue editors at: heng@mail.utexas.edu and lynn.ramey@vanderbilt.edu
For more details on submission and the manuscript review process, please see: http://www.wiley.com/bw/submit.asp?ref=1741-4113
More information on LICO's Global Circulation Project can be found here: http://www.blackwell-compass.com/subject/literature/
and here: http://www.blackwell-compass.com/globalcirculationproject
More information on Literature Compass can be found here: http://www.blackwell-compass.com/subject/literature/about
Gnovis Online Graduate Journal -- The Difference Issue
He who is reluctant to recognize me opposes me—Frantz Fanon
We are currently accepting submissions for our Fall 2010 Issue on “Difference.” We are soliciting papers that explore old questions of marginalization, access, identity, power and resistance—questions that some may be reluctant to recognize within scholarly writing—in the context of new questions about media, technology, politics and globalization. Specifically, we are soliciting papers that address the relationships between technology, society and race, ethnicity, gender, sex, sexuality, class, disability, nationality and/or age (among other things). We welcome submissions from all critical perspectives, including (but not limited to) feminist and womanist theories, critical race theories, queer theories, Marxist and other class theories; from all humanities areas of study such as film theory, cultural studies and English; as well as submissions reflecting qualitative and/or quantitative social science and technology research that focus on difference and technology. Papers may address a full range of topics and historical periods, and we welcome original research from any discipline in the humanities and social sciences.
But don't delay -- the deadline is October 15th.
To be considered for our Fall 2010 Issue, papers must be submitted by Friday, October 15, 2010, and must adhere to the submission guidelines available at: http://gnovisjournal.org/submit.
We are currently accepting submissions for our Fall 2010 Issue on “Difference.” We are soliciting papers that explore old questions of marginalization, access, identity, power and resistance—questions that some may be reluctant to recognize within scholarly writing—in the context of new questions about media, technology, politics and globalization. Specifically, we are soliciting papers that address the relationships between technology, society and race, ethnicity, gender, sex, sexuality, class, disability, nationality and/or age (among other things). We welcome submissions from all critical perspectives, including (but not limited to) feminist and womanist theories, critical race theories, queer theories, Marxist and other class theories; from all humanities areas of study such as film theory, cultural studies and English; as well as submissions reflecting qualitative and/or quantitative social science and technology research that focus on difference and technology. Papers may address a full range of topics and historical periods, and we welcome original research from any discipline in the humanities and social sciences.
But don't delay -- the deadline is October 15th.
To be considered for our Fall 2010 Issue, papers must be submitted by Friday, October 15, 2010, and must adhere to the submission guidelines available at: http://gnovisjournal.org/submit.
PSU Medieval and Renaissance Forum "Love, Marriage, Friendship"
Call for Papers and Sessions
“Love, Friendship, Marriage”
We invite abstracts in medieval and Early Modern studies that consider how secular and religious love, affection, and devotion were perceived and expressed in a variety of contexts.
Papers need not be confined to the theme, but may cover many aspects of medieval and Renaissance life, literature, languages, art, philosophy, theology, history and music. Student sessions with faculty sponsorship welcome.
This year’s keynote speaker is Dr. Thomas Luxon, Professor of English and Cheheyl Professor and Director of the Dartmouth Center for the Advancement of Learning at Dartmouth College.
Students, faculty, and independent scholars are welcome.
Plymouth State University
32nd Annual Medieval and Renaissance Forum
Friday and Saturday April 15-16, 2011
Abstract deadline January 21, 2011
Dr. Karolyn Kinane, Director
Medieval and Renaissance Forum
Plymouth State University
Dept. of English MSC 40
17 High Street
Plymouth, NH 03264
Email: psuforum@gmail.com
Visit the website at http://www.plymouth.edu/medieval
“Love, Friendship, Marriage”
We invite abstracts in medieval and Early Modern studies that consider how secular and religious love, affection, and devotion were perceived and expressed in a variety of contexts.
Papers need not be confined to the theme, but may cover many aspects of medieval and Renaissance life, literature, languages, art, philosophy, theology, history and music. Student sessions with faculty sponsorship welcome.
This year’s keynote speaker is Dr. Thomas Luxon, Professor of English and Cheheyl Professor and Director of the Dartmouth Center for the Advancement of Learning at Dartmouth College.
Students, faculty, and independent scholars are welcome.
Plymouth State University
32nd Annual Medieval and Renaissance Forum
Friday and Saturday April 15-16, 2011
Abstract deadline January 21, 2011
Dr. Karolyn Kinane, Director
Medieval and Renaissance Forum
Plymouth State University
Dept. of English MSC 40
17 High Street
Plymouth, NH 03264
Email: psuforum@gmail.com
Visit the website at http://www.plymouth.edu/medieval
The Cultural History of Emotions in Pre-Modernity II
Call For Papers
The Cultural History of Emotions in Pre-modernity II
Emotions East and West
İstanbul, Sept. 29-Oct. 01, 2011
Building on the momentum of the successful 2008 workshop held at Umeå University in Sweden, a new conference on the cultural history of emotions is now being organized, this time in İstanbul, Turkey. Developed jointly by historians at Sabancı University (İstanbul), Bilkent University (Ankara), University of Washington (Seattle) and the Network for Cultural History of Emotions in Pre-modernity (CHEP) at Umeå University, the program will run over three days and include six invited keynote talks and a full calendar of talks by established scholars, post-graduates and advanced graduate students in the arts and humanities, in addition to providing opportunities to sample life in one of the world’s most fascinating cities.
The conference’s general theme is Emotions in East and West. So far the history of emotions has been dominated by a western and European perspective. Our aim is to organize a first conference on this theme in Turkey which we hope will attract new scholars and students into the field and bring researchers from east and west together for discussions on how to develop comparative and multicultural analyses in the future. We welcome contributions on all aspects of the cultural history of emotions from as many disciplines and diverse approaches as possible, including (but not limited to) history, the history of ideas, art, literature, musicology, politics, philosophy, cultural anthropology, religion, and gender studies. The conference will continue to explore the broad themes of the Umeå gathering: for example, emotions as a historical concept, emotions in religious and political contexts, visual representations of emotions and emotional gestures, the language of emotions and its literary manifestations, music and emotions, the gendering of emotions, sensibility, sentimentalism, love, melancholy, and despair. In addition we will especially welcome papers dealing with inter-cultural representations of emotions (Easterners and Westerners representing each other’s emotions), emotions and cultural identities, multi-cultural and comparative perspectives.
The organizing committee is inviting submissions of one-page abstracts of papers to be summarized as 20 minute talks at the İstanbul conference. The papers should, in general, treat the topic of the history of emotions in the pre-modern period. For the Umeå workshop the “pre-modern period” was presumed to end at the turn of the 18th century, which is acceptable from a strictly western perspective but questionable when the focus of the conference broadens to take in the East, where the nature of “modernity” and the broad moment of its inception are contentious issues. Accordingly, papers dealing with non-western emotions in the 18th century (and even later) will be considered when a compelling argument is made for the “pre-modernity” of the emotional context. The language of the Conference is English.
Please send one-page abstracts before Dec. 01 2010, to: chep2011@bilkent.edu.tr
Conference website: http://www.chep2011.bilkent.edu.tr/
Conference Organizers:
Walter G. Andrews, University of Washington
Tülay Artan, Sabancı University
Mohammad Fazlhashemi, Umeå University, CHEP
Mehmet Kalpaklı, Bilkent University
Jonas Liliequist, Umeå University, CHEP
The Cultural History of Emotions in Pre-modernity II
Emotions East and West
İstanbul, Sept. 29-Oct. 01, 2011
Building on the momentum of the successful 2008 workshop held at Umeå University in Sweden, a new conference on the cultural history of emotions is now being organized, this time in İstanbul, Turkey. Developed jointly by historians at Sabancı University (İstanbul), Bilkent University (Ankara), University of Washington (Seattle) and the Network for Cultural History of Emotions in Pre-modernity (CHEP) at Umeå University, the program will run over three days and include six invited keynote talks and a full calendar of talks by established scholars, post-graduates and advanced graduate students in the arts and humanities, in addition to providing opportunities to sample life in one of the world’s most fascinating cities.
The conference’s general theme is Emotions in East and West. So far the history of emotions has been dominated by a western and European perspective. Our aim is to organize a first conference on this theme in Turkey which we hope will attract new scholars and students into the field and bring researchers from east and west together for discussions on how to develop comparative and multicultural analyses in the future. We welcome contributions on all aspects of the cultural history of emotions from as many disciplines and diverse approaches as possible, including (but not limited to) history, the history of ideas, art, literature, musicology, politics, philosophy, cultural anthropology, religion, and gender studies. The conference will continue to explore the broad themes of the Umeå gathering: for example, emotions as a historical concept, emotions in religious and political contexts, visual representations of emotions and emotional gestures, the language of emotions and its literary manifestations, music and emotions, the gendering of emotions, sensibility, sentimentalism, love, melancholy, and despair. In addition we will especially welcome papers dealing with inter-cultural representations of emotions (Easterners and Westerners representing each other’s emotions), emotions and cultural identities, multi-cultural and comparative perspectives.
The organizing committee is inviting submissions of one-page abstracts of papers to be summarized as 20 minute talks at the İstanbul conference. The papers should, in general, treat the topic of the history of emotions in the pre-modern period. For the Umeå workshop the “pre-modern period” was presumed to end at the turn of the 18th century, which is acceptable from a strictly western perspective but questionable when the focus of the conference broadens to take in the East, where the nature of “modernity” and the broad moment of its inception are contentious issues. Accordingly, papers dealing with non-western emotions in the 18th century (and even later) will be considered when a compelling argument is made for the “pre-modernity” of the emotional context. The language of the Conference is English.
Please send one-page abstracts before Dec. 01 2010, to: chep2011@bilkent.edu.tr
Conference website: http://www.chep2011.bilkent.edu.tr/
Conference Organizers:
Walter G. Andrews, University of Washington
Tülay Artan, Sabancı University
Mohammad Fazlhashemi, Umeå University, CHEP
Mehmet Kalpaklı, Bilkent University
Jonas Liliequist, Umeå University, CHEP
A Forgotten World: Florentine Patricians as Patrons, Collectors, Cultural Brokers under Medici Rule (1530-1743)
CALL FOR PAPERS
A Forgotten World: Florentine Patricians as Patrons, Collectors, Cultural Brokers under Medici Rule (1530-1743)
March 3-5, 2011
University of Groningen, The Netherlands
This first international conference on the cultural habitus of Florentine patricians during the principate of the Medici originates from a research project at the University of Groningen, started in 2007 by prof.dr. H.Th. van Veen.
The flourishing cultural life of the Florentine patricians during the principate of the Medici has either been forgotten or ignored for a long time. There has been little interest in patricians as commissioners of palaces, villas and chapels, as participants in academies and confraternities, and in patrician engagement in art, literature, theatre and music. In the twentieth century historians have systematically portrayed the patricians as sycophant courtiers, only interested in gaining noble titles and estates. The fact that reality was much more complex and dynamic, has become clear only in the last two decades. Through groundbreaking research in the field of socio-economic history, prosopography and political science, the image we have of the Florentine patrician is now changing, These studies show that patricians, as a group, were still holding on to most of the economic and institutional power they had obtained in the fifteenth century. The studies also show that patrician diplomatic missions played an important role in the arranging of marriages and foreign politics of the Medici. Remarkably, this historical revisionism is taken up by very few art historians, even though we now know that the contribution of patricians to the cultural dynamics of early modern Florence was highly significant.
The ambition of this conference is to discuss the cultural contribution of patricians to Florentine society and to approach it from an interdisciplinary perspective. The main question we will address is: how can we designate the dynamics, already observed in economical and political studies, in the cultural field? Other relevant questions are: how can we compare the cultural activities and ways of self-representation of the patricians, to those of the Medici? Did patricians facilitate or emulate the grand dukes? Or were they even seeking to rebel against them? Were the cultural objectives of the patricians homogeneous in character, or did they differ from one family to another? By stimulating the debate on an international level, we hope to shed more light on the nature and intentions of patrician art patronage and their collecting activities in this period.
We welcome proposals for papers addressing various aspects of Florentine patrician patronage. Applications from a variety of disciplines (Art History, Cultural History, History of Literature, Theatre and Music) and approaches are encouraged. Selected papers will also be considered for publication.
Please send proposals (paper title and a 200-300 word abstract) to Henk van Veen (vanveen.conference@gmail.com) by December 1, 2010. Please include a brief CV and a paragraph describing your area of study, institutional affiliation and full contact information (address, phone number, and email).
A Forgotten World: Florentine Patricians as Patrons, Collectors, Cultural Brokers under Medici Rule (1530-1743)
March 3-5, 2011
University of Groningen, The Netherlands
This first international conference on the cultural habitus of Florentine patricians during the principate of the Medici originates from a research project at the University of Groningen, started in 2007 by prof.dr. H.Th. van Veen.
The flourishing cultural life of the Florentine patricians during the principate of the Medici has either been forgotten or ignored for a long time. There has been little interest in patricians as commissioners of palaces, villas and chapels, as participants in academies and confraternities, and in patrician engagement in art, literature, theatre and music. In the twentieth century historians have systematically portrayed the patricians as sycophant courtiers, only interested in gaining noble titles and estates. The fact that reality was much more complex and dynamic, has become clear only in the last two decades. Through groundbreaking research in the field of socio-economic history, prosopography and political science, the image we have of the Florentine patrician is now changing, These studies show that patricians, as a group, were still holding on to most of the economic and institutional power they had obtained in the fifteenth century. The studies also show that patrician diplomatic missions played an important role in the arranging of marriages and foreign politics of the Medici. Remarkably, this historical revisionism is taken up by very few art historians, even though we now know that the contribution of patricians to the cultural dynamics of early modern Florence was highly significant.
The ambition of this conference is to discuss the cultural contribution of patricians to Florentine society and to approach it from an interdisciplinary perspective. The main question we will address is: how can we designate the dynamics, already observed in economical and political studies, in the cultural field? Other relevant questions are: how can we compare the cultural activities and ways of self-representation of the patricians, to those of the Medici? Did patricians facilitate or emulate the grand dukes? Or were they even seeking to rebel against them? Were the cultural objectives of the patricians homogeneous in character, or did they differ from one family to another? By stimulating the debate on an international level, we hope to shed more light on the nature and intentions of patrician art patronage and their collecting activities in this period.
We welcome proposals for papers addressing various aspects of Florentine patrician patronage. Applications from a variety of disciplines (Art History, Cultural History, History of Literature, Theatre and Music) and approaches are encouraged. Selected papers will also be considered for publication.
Please send proposals (paper title and a 200-300 word abstract) to Henk van Veen (vanveen.conference@gmail.com) by December 1, 2010. Please include a brief CV and a paragraph describing your area of study, institutional affiliation and full contact information (address, phone number, and email).
Tuesday, September 21, 2010
NEMLA, Shakespearean Adaptations and Appropriations
Shakespeare and his characters sell everything from fishing equipment to candy. Popular television shows and movies have been inspired by Shakespeare’s plays. This roundtable will explore the ways in which Shakespeare and his plays ‘appear’ in modern popular culture. Participants will consider how these appropriations and adaptations use Shakespeare and examine the impact of these variations in the modern world. Presentations at NEMLA, April 7-10, 2011, New Brunswick, NJ. Please send an proposal of 250 words to Pamela Monaco, Brandman University, pmonaco@brandman.edu.
Monday, September 13, 2010
"Bloodwork: the politics of the body 1500-1900"
Conference Organizers: Kimberly Coles , Ralph Bauer, Zita Nunes, Carla L. Peterson
This conference will explore how conceptions of the blood—one of the four bodily fluids known as humors in the early modern period—permeate discourses of human difference from 1500 to 1900. “Bloodwork” begins with the assumption that the concept of “race” is still under construction and that our understanding of the term would profit through an engagement with its long, evolving, history. Specifically, it asks how fluid transactions of the body have been used in different eras and different cultures to justify existing social arrangements.
Recent scholarship has opened up the question of the continuities and discontinuities between early modern and modern rationalizations of human difference. In early modern England, “race” commonly referred to family lineage, or bloodline, and relied upon pervasive notions of what were believed to constitute the properties of blood. The anxieties anatomized in Thomas Elyot’s Boke named the Governour (1537) about the degradation of “race,” or the corruption of noble blood, describe the physical technologies by which virtue—both physical and moral—was thought to be conveyed through bloodlines. Daniel Defoe’s later satire “A True-Born Englishman” (1708) echoes this rationale for difference. The language of his poem not only insinuates the crossover of the term “race” from family lines to national groups, but also supplies evidence that both kinds of racial ideology—whether affirming social hierarchy or national superiority—rest upon the invisible qualities of the blood. In late eighteenth-century Anglo-America, Thomas Jefferson invokes such notions as "White," "Indian," and "Negro" blood in order to suggest an essential difference between what he calls "the races," a difference that he sees as "fixed in nature," thereby anticipating modern racialism.
A comparative conference such as ours, that is trans-historical and transnational and draws literary critics and historians of cultures on both sides of the Atlantic world, will make a significant contribution to this ongoing debate about the “invention” of race.
Plenary Speakers:
Colin Dayan, Department of English, Vanderbilt University
Michael Hanchard, Department of Political Science, Johns Hopkins University
Ruth Hill, Department of Spanish, Italian & Portuguese, The University of Virginia
Mary Floyd-Wilson, Department of English, University of North Carolina at Chapel Hill
Questions:
•How does blood rationalize bodily difference in the period in which you work?
•How is blood used as a metaphor in your period? How is it contested?
•How—and why—is the idea of blood transforming? How does it operate in the body?
•What are the physical technologies of the body and how are these pressed into the service of difference? Conversely, how is the rationalization of bodily difference embedded in “scientific” discourse?
•Is religious difference figured in cultural or somatic terms?
•Does the body have a moral constitution?
PLEASE SUBMIT ABSTRACTS OF 500 WORDS FOR COMPLETE PANELS (ABSTRACTS PLUS PANEL DESCRIPTIONS), INCOMPLETE PANELS, OR INDIVIDUAL PAPERS BY OCTOBER 15, 2010 TO: bloodwork@umd.edu.
This conference will explore how conceptions of the blood—one of the four bodily fluids known as humors in the early modern period—permeate discourses of human difference from 1500 to 1900. “Bloodwork” begins with the assumption that the concept of “race” is still under construction and that our understanding of the term would profit through an engagement with its long, evolving, history. Specifically, it asks how fluid transactions of the body have been used in different eras and different cultures to justify existing social arrangements.
Recent scholarship has opened up the question of the continuities and discontinuities between early modern and modern rationalizations of human difference. In early modern England, “race” commonly referred to family lineage, or bloodline, and relied upon pervasive notions of what were believed to constitute the properties of blood. The anxieties anatomized in Thomas Elyot’s Boke named the Governour (1537) about the degradation of “race,” or the corruption of noble blood, describe the physical technologies by which virtue—both physical and moral—was thought to be conveyed through bloodlines. Daniel Defoe’s later satire “A True-Born Englishman” (1708) echoes this rationale for difference. The language of his poem not only insinuates the crossover of the term “race” from family lines to national groups, but also supplies evidence that both kinds of racial ideology—whether affirming social hierarchy or national superiority—rest upon the invisible qualities of the blood. In late eighteenth-century Anglo-America, Thomas Jefferson invokes such notions as "White," "Indian," and "Negro" blood in order to suggest an essential difference between what he calls "the races," a difference that he sees as "fixed in nature," thereby anticipating modern racialism.
A comparative conference such as ours, that is trans-historical and transnational and draws literary critics and historians of cultures on both sides of the Atlantic world, will make a significant contribution to this ongoing debate about the “invention” of race.
Plenary Speakers:
Colin Dayan, Department of English, Vanderbilt University
Michael Hanchard, Department of Political Science, Johns Hopkins University
Ruth Hill, Department of Spanish, Italian & Portuguese, The University of Virginia
Mary Floyd-Wilson, Department of English, University of North Carolina at Chapel Hill
Questions:
•How does blood rationalize bodily difference in the period in which you work?
•How is blood used as a metaphor in your period? How is it contested?
•How—and why—is the idea of blood transforming? How does it operate in the body?
•What are the physical technologies of the body and how are these pressed into the service of difference? Conversely, how is the rationalization of bodily difference embedded in “scientific” discourse?
•Is religious difference figured in cultural or somatic terms?
•Does the body have a moral constitution?
PLEASE SUBMIT ABSTRACTS OF 500 WORDS FOR COMPLETE PANELS (ABSTRACTS PLUS PANEL DESCRIPTIONS), INCOMPLETE PANELS, OR INDIVIDUAL PAPERS BY OCTOBER 15, 2010 TO: bloodwork@umd.edu.
The power of imagination in the early modern period
INTERNATIONAL CONFERENCE:
The power of imagination in the early modern period
Paris, 6-8 December 2010
This conference will explore the history of both orthodox and heterodox traditions concerning the power of the imagination during the 16th-18th centuries. Against the traditional idea of a limited and passive imagination, certain authors proposed a powerful, active and creative imagination. Contrary to the Aristotelian paradigm, for instance, philosophers argued that the imagination not only rearranged images but could create them as well. Mathematicians likewise believed that the imagination was not just tautological, but able to generate new knowledge. According to some physicians, the imagination also had a psychosomatic force, causing illnesses such as melancholy or lycanthropy, and some even believed that this power created the stigmata of saints. At the time, it was broadly accepted that the imagination of a pregnant woman imprinted and changed the foetus in her womb, but some authors speculated further that the imagination could act also on external bodies. The ideas about a powerful imagination were very complex and rich but also highly contested in the early modern period, and these notions circulated widely between disciplines of philosophy, literature, the arts, mathematics, medicine, the sciences, and popular traditions, divination, witchcraft, demonology as well as religion. In order to better understand the different traditions of the imagination in the 16-18th centuries, it is necessary to bring together scholars from different areas to establish an interdisciplinary exchange, which is the explicit aim of the present conference.
Conference languages will be English and French
Submission deadline: 27 September 2010
Please include ABSTRACT (max 250 words) and CV
Send to: powersofimagination@gmail.com
The power of imagination in the early modern period
Paris, 6-8 December 2010
This conference will explore the history of both orthodox and heterodox traditions concerning the power of the imagination during the 16th-18th centuries. Against the traditional idea of a limited and passive imagination, certain authors proposed a powerful, active and creative imagination. Contrary to the Aristotelian paradigm, for instance, philosophers argued that the imagination not only rearranged images but could create them as well. Mathematicians likewise believed that the imagination was not just tautological, but able to generate new knowledge. According to some physicians, the imagination also had a psychosomatic force, causing illnesses such as melancholy or lycanthropy, and some even believed that this power created the stigmata of saints. At the time, it was broadly accepted that the imagination of a pregnant woman imprinted and changed the foetus in her womb, but some authors speculated further that the imagination could act also on external bodies. The ideas about a powerful imagination were very complex and rich but also highly contested in the early modern period, and these notions circulated widely between disciplines of philosophy, literature, the arts, mathematics, medicine, the sciences, and popular traditions, divination, witchcraft, demonology as well as religion. In order to better understand the different traditions of the imagination in the 16-18th centuries, it is necessary to bring together scholars from different areas to establish an interdisciplinary exchange, which is the explicit aim of the present conference.
Conference languages will be English and French
Submission deadline: 27 September 2010
Please include ABSTRACT (max 250 words) and CV
Send to: powersofimagination@gmail.com
CFP: for Imbas, a postgraduate interdisciplinary medievalists' conference
We would like to invite all postgraduate students of medieval studies to Imbas, an interdisciplinary medievalists’ conference being held in the Moore Institute at NUI Galway, Ireland from November 12-14th 2010. This conference welcomes delegates at all stages of their research from all areas of medieval studies including languages, history, literature, art, archaeology, palaeography and philosophy.
The theme for 2010 is Representations: Image, Word, Artefact, and we are delighted to announce that Professor Michelle P. Brown of the University of London will be our keynote speaker.
Delegates are encouraged to view the theme as a broad suggestion rather than in any way restrictive, and all variations on this theme will be welcome.
A selection of papers will be published in our peer-reviewed Imbas Journal. This journal will be made available via our website and open-access journal databases. All panels will be recorded and made available as podcasts.
Abstracts of 250 words for a twenty minute paper must be submitted before September 30, 2010. Abstracts can be sent to imbasnuig@gmail.com or forwarded to Imbas/Trish Ní Mhaoileoin, c/o Roinn na Gaeilge, Áras na Gaeilge, Ollscoil na hÉireann, Gaillimh, Éire.
Further information can be found at our website http://medieval.starlight.ie/cms/view/63 and on our Facebook page http://www.facebook.com/home.php?#!/group.php?gid=324841995338&ref=ts .
The theme for 2010 is Representations: Image, Word, Artefact, and we are delighted to announce that Professor Michelle P. Brown of the University of London will be our keynote speaker.
Delegates are encouraged to view the theme as a broad suggestion rather than in any way restrictive, and all variations on this theme will be welcome.
A selection of papers will be published in our peer-reviewed Imbas Journal. This journal will be made available via our website and open-access journal databases. All panels will be recorded and made available as podcasts.
Abstracts of 250 words for a twenty minute paper must be submitted before September 30, 2010. Abstracts can be sent to imbasnuig@gmail.com or forwarded to Imbas/Trish Ní Mhaoileoin, c/o Roinn na Gaeilge, Áras na Gaeilge, Ollscoil na hÉireann, Gaillimh, Éire.
Further information can be found at our website http://medieval.starlight.ie/cms/view/63 and on our Facebook page http://www.facebook.com/home.php?#!/group.php?gid=324841995338&ref=ts .
Shakespeare: Sources and Adaptation
Shakespeare: Sources and Adaptation
The University of Cambridge
9th-11th September 2011
Currently in association with the Association of Adaptation Studies and the Cambridge Marlowe Society
Proposals for academic papers and practical and educational workshops are invited on various aspects on the topic on Shakespeare: Sources and Adaptation to include:
• Beyond Shakespeare Adaptation
• Shakespeare for children and young people
• Shakespeare’s Classical sources
• Shakespeare’s Historical sources
• Shakespeare in Art
• Shakespeare in Music
• Shakespeare on film and television
• Foreign language adaptations of Shakespeare
• Shakespeare’s influence on contemporary playwrights
• Shakespeare in 20th and 21st century fiction
The conference is aimed at academics, theatre and film practitioners and teachers with some exciting speakers and sessions confirmed, including Carol Ann Duffy, Michael Rosen, Professor Helen Cooper, RSC new writing department and Theatre Royal Bury.
Proposals for academic papers should be sent to Gabriel Egan, mail@gabrielegan.com by 1st December, 2010.
Proposals for practical workshops should be sent to Abigail Rokison, ar363@cam.ac.uk
Proposals for educational workshops should be sent to James Stredder, james.stredder@btinternet.com
The University of Cambridge
9th-11th September 2011
Currently in association with the Association of Adaptation Studies and the Cambridge Marlowe Society
Proposals for academic papers and practical and educational workshops are invited on various aspects on the topic on Shakespeare: Sources and Adaptation to include:
• Beyond Shakespeare Adaptation
• Shakespeare for children and young people
• Shakespeare’s Classical sources
• Shakespeare’s Historical sources
• Shakespeare in Art
• Shakespeare in Music
• Shakespeare on film and television
• Foreign language adaptations of Shakespeare
• Shakespeare’s influence on contemporary playwrights
• Shakespeare in 20th and 21st century fiction
The conference is aimed at academics, theatre and film practitioners and teachers with some exciting speakers and sessions confirmed, including Carol Ann Duffy, Michael Rosen, Professor Helen Cooper, RSC new writing department and Theatre Royal Bury.
Proposals for academic papers should be sent to Gabriel Egan, mail@gabrielegan.com by 1st December, 2010.
Proposals for practical workshops should be sent to Abigail Rokison, ar363@cam.ac.uk
Proposals for educational workshops should be sent to James Stredder, james.stredder@btinternet.com
Echoes: Across Disciplines, Texts and Times
Echoes: Across Disciplines, Texts and Times
March 18-19, 2011
When an echo sounds, be it spoken, written, or acted, the repeated content takes on a new character. The Echoes Graduate Student Conference at Duquesne University seeks to engage academic communities in polyvocal dialogues, exploring echoes as they appear across disciplines, texts, and times.
The Duquesne University English Graduate Organization welcomes proposals of academic papers from the humanities, arts, and sciences, as well as submissions of creative work. Our aim is to establish a space of intellectual inquiry in which scholars can explore the phenomenon of echoes as they reach across disciplines, genres, genders, religions, cultures, places, time periods, races, and classes.
Possible questions include, but are not limited to:
* How are echoes embodied and performed across the boundaries of gender, race, and class?
* How do the arts echo other disciplines?
* In what ways do collective memories of political bodies rely on or transform echoes of the past?
* How do texts and art echo performances of identity?
* In what ways is classical myth echoed in modern literature?
* In what ways do colonial or imperial endeavors echo throughout the literature, visual / performing arts, or cultural practices of post-colonial cultures?
* How do the productions of literature or the visual / performance arts echo innovations in the sciences and technology?
* How do changes in teaching methodologies and students’ learning processes echo advancements in the information age?
* How is social activism echoed in art and literature?
The keynote speaker will be Professor Linda Kinnahan, author of Lyric Interventions: Feminism, Experimental Poetry, and Contemporary Discourse and Poetics of the Feminine: Literary Tradition and Authority in William Carlos Williams, Mina Loy, Denise Levertov, and Kathleen Fraser.
Submissions must be received by November 1, 2010 and should include the participant’s name, institutional affiliation, email, phone number, and a proposed title. For academic papers, please send a 250 word abstract; for creative submissions, please send a 250 word abstract as well as a representative sample of creative work. Please submit your abstract via e-mail to collinsj@duq.edu and type “Echoes Conference Submission” in the subject line of the e-mail.
March 18-19, 2011
When an echo sounds, be it spoken, written, or acted, the repeated content takes on a new character. The Echoes Graduate Student Conference at Duquesne University seeks to engage academic communities in polyvocal dialogues, exploring echoes as they appear across disciplines, texts, and times.
The Duquesne University English Graduate Organization welcomes proposals of academic papers from the humanities, arts, and sciences, as well as submissions of creative work. Our aim is to establish a space of intellectual inquiry in which scholars can explore the phenomenon of echoes as they reach across disciplines, genres, genders, religions, cultures, places, time periods, races, and classes.
Possible questions include, but are not limited to:
* How are echoes embodied and performed across the boundaries of gender, race, and class?
* How do the arts echo other disciplines?
* In what ways do collective memories of political bodies rely on or transform echoes of the past?
* How do texts and art echo performances of identity?
* In what ways is classical myth echoed in modern literature?
* In what ways do colonial or imperial endeavors echo throughout the literature, visual / performing arts, or cultural practices of post-colonial cultures?
* How do the productions of literature or the visual / performance arts echo innovations in the sciences and technology?
* How do changes in teaching methodologies and students’ learning processes echo advancements in the information age?
* How is social activism echoed in art and literature?
The keynote speaker will be Professor Linda Kinnahan, author of Lyric Interventions: Feminism, Experimental Poetry, and Contemporary Discourse and Poetics of the Feminine: Literary Tradition and Authority in William Carlos Williams, Mina Loy, Denise Levertov, and Kathleen Fraser.
Submissions must be received by November 1, 2010 and should include the participant’s name, institutional affiliation, email, phone number, and a proposed title. For academic papers, please send a 250 word abstract; for creative submissions, please send a 250 word abstract as well as a representative sample of creative work. Please submit your abstract via e-mail to collinsj@duq.edu and type “Echoes Conference Submission” in the subject line of the e-mail.
ATHE Theatre History Focus Group, 2011 Conference in Chicago
ATHE Theatre History Focus Group Call for Proposals
The Theatre History Focus Group of the Association for Theatre in Higher Education invites proposals for next year’s conference, to be held at the Palmer House Hilton in Chicago, August 11-14, 2011. The overall conference theme, “Performance Remains, Global Presence: Memory, Legacy, and Imagined Futures,” advocates interdisciplinary and transnational investigations of how theatre and performance remember the past and imagine the future. The Theatre History Focus Group invites proposals for panels and roundtables about histories of theatre and pedagogies of theatre history that might engage the concepts of Memory, Legacy, and Possibility in the following ways:
MEMORY (PAST): How do we use evidence in writing Theatre History? When we encounter evidence that relies on the memory of an individual or a group (i.e., journals, memoirs, anecdotes, correspondence, oral histories), how do we interrogate this evidence? How do we teach our students about such kinds of evidence? How does memory change in translation? What remains when theatre crosses national and cultural borders?
LEGACY (PRESENT): How do we as teachers and researchers represent the legacy of theatre history in the present? To what extent should our pedagogical and methodological choices challenge narratives of national legacies? How do theatre libraries, archives, museums, and theatre buildings bear witness to the presence of history? What strategies are being used for creating archives of contemporary theatre and performance? What effects have interdisciplinary approaches to theatre history had on our work as scholars and educators?
POSSIBILITY (FUTURE): What is the future of Theatre History? What new approaches to theatre scholarship and pedagogy will we see in the next twenty-five years? What is the role of imagination in our research and in our teaching?
Panels that explore ideas across these categories are especially welcome, as are proposals on other topics that would be of general interest to our membership. The Theatre History Focus Group also welcomes queries about co-sponsorship of Multidisciplinary proposals. Questions should be directed to Theatre History Focus Group Conference Planner Dan Smith: dansmith_251@yahoo.com
We encourage you to use our listserv to network proposals, paper topics, and do other brainstorming. If you are not already signed up for the THFG ATHE listserv, you can sign up at http://www.athe.org/getinvolved/focusgroups/th and following the directions found on that page. Contact everyone on the listserv by e-mailing to thlist@lists.athe.org. We have a facebook group called “ATHE Theatre History Focus Group,” which might also facilitate this kind of networking. While we prefer to receive full session proposals, you may request assistance from the conference planner in developing a session from your idea for an individual paper. The earlier you ask for help, the more likely you are to receive it.
Complete proposals for sessions (with all presenters assembled) should be submitted directly to ATHE through the website at www.athe.org. The deadline for all proposals is November 1, 2009. Please forward a copy of your session proposal to THFG Chair and Conference Planner, Daniel Smith at dansmith_251@yahoo.com.
Tips for submitting proposals:
1. Submissions may be either discipline specific or multidisciplinary. In general, we are interested in panel topics that address the history of theatrical practice, historiography, or the relation of theatre to history in a larger sense. We encourage proposals that include both senior and junior scholars, as well as graduate students. A senior scholar could well serve as a respondent. We also encourage collaborations with other Focus Groups and Committees of ATHE to develop dynamic multidisciplinary sessions. Please see below for specific rules and guidelines for multidisciplinary proposals.
2. For Theatre History-Specific Proposals:
If your session addresses primarily Theatre History, then choose “Single Focus Group” in the first selection box of the online proposal form. For Session Sponsor, select number 18, “(TH) Theatre History.” When the selection process begins, all THFG-targeted proposals will be sent to the THFG conference planner. The THFG Executive Committee will rank the proposals, and the conference committee will use those rankings to make final programming decisions. It is not necessary to contact the conference planner before submitting a THFG proposal, but please do forward a copy of your proposal to the conference planner once you have submitted it. Also contact the conference planner with any problems or concerns or if you are curious as to whether or not your proposal is appropriate for THFG.
3. For Multi-Disciplinary (MD) Proposals
If your session addresses Theatre History but is also appropriate for another Focus Group or Committee, consider THFG as one of your target focus groups. You must select 3 targeted Focus Groups or Committees for an MD panel to be considered. To make an MD proposal you must contact the conference planners for each of the targeted Focus Groups/Committees by email before submitting online in order to receive feedback and to make sure the proposals are appropriate for each FG /Committee. If one of your targeted focus groups is not enthusiastic, better to know before submission and perhaps find another FG or committee. See www.athe.org for contact information for Focus Group conference planners and Committee chairs. As with the THFG-specific proposals, we receive a list from ATHE of all MD sessions, and we rank those that target TH and return that ranking for consideration by the program committee.
4. Notes for the 2011 Conference:
A. There will be a charge for AV equipment. Costs will be listed on the online session proposal form. Participants requesting AV equipment may apply for grants from ATHE to cover the charge for this equipment.
B. Participants will be limited to a maximum of two presentations. “Presentation” refers to the act of delivering a paper, serving on a roundtable, or serving in an equivalent role in a different type of session. There is no limit to the number of sessions that a person can Chair or serve as Session Organizer.
C. You should expect to hear whether or not your proposal has been accepted or rejected by mid-March, 2011.
The Theatre History Focus Group of the Association for Theatre in Higher Education invites proposals for next year’s conference, to be held at the Palmer House Hilton in Chicago, August 11-14, 2011. The overall conference theme, “Performance Remains, Global Presence: Memory, Legacy, and Imagined Futures,” advocates interdisciplinary and transnational investigations of how theatre and performance remember the past and imagine the future. The Theatre History Focus Group invites proposals for panels and roundtables about histories of theatre and pedagogies of theatre history that might engage the concepts of Memory, Legacy, and Possibility in the following ways:
MEMORY (PAST): How do we use evidence in writing Theatre History? When we encounter evidence that relies on the memory of an individual or a group (i.e., journals, memoirs, anecdotes, correspondence, oral histories), how do we interrogate this evidence? How do we teach our students about such kinds of evidence? How does memory change in translation? What remains when theatre crosses national and cultural borders?
LEGACY (PRESENT): How do we as teachers and researchers represent the legacy of theatre history in the present? To what extent should our pedagogical and methodological choices challenge narratives of national legacies? How do theatre libraries, archives, museums, and theatre buildings bear witness to the presence of history? What strategies are being used for creating archives of contemporary theatre and performance? What effects have interdisciplinary approaches to theatre history had on our work as scholars and educators?
POSSIBILITY (FUTURE): What is the future of Theatre History? What new approaches to theatre scholarship and pedagogy will we see in the next twenty-five years? What is the role of imagination in our research and in our teaching?
Panels that explore ideas across these categories are especially welcome, as are proposals on other topics that would be of general interest to our membership. The Theatre History Focus Group also welcomes queries about co-sponsorship of Multidisciplinary proposals. Questions should be directed to Theatre History Focus Group Conference Planner Dan Smith: dansmith_251@yahoo.com
We encourage you to use our listserv to network proposals, paper topics, and do other brainstorming. If you are not already signed up for the THFG ATHE listserv, you can sign up at http://www.athe.org/getinvolved/focusgroups/th and following the directions found on that page. Contact everyone on the listserv by e-mailing to thlist@lists.athe.org. We have a facebook group called “ATHE Theatre History Focus Group,” which might also facilitate this kind of networking. While we prefer to receive full session proposals, you may request assistance from the conference planner in developing a session from your idea for an individual paper. The earlier you ask for help, the more likely you are to receive it.
Complete proposals for sessions (with all presenters assembled) should be submitted directly to ATHE through the website at www.athe.org. The deadline for all proposals is November 1, 2009. Please forward a copy of your session proposal to THFG Chair and Conference Planner, Daniel Smith at dansmith_251@yahoo.com.
Tips for submitting proposals:
1. Submissions may be either discipline specific or multidisciplinary. In general, we are interested in panel topics that address the history of theatrical practice, historiography, or the relation of theatre to history in a larger sense. We encourage proposals that include both senior and junior scholars, as well as graduate students. A senior scholar could well serve as a respondent. We also encourage collaborations with other Focus Groups and Committees of ATHE to develop dynamic multidisciplinary sessions. Please see below for specific rules and guidelines for multidisciplinary proposals.
2. For Theatre History-Specific Proposals:
If your session addresses primarily Theatre History, then choose “Single Focus Group” in the first selection box of the online proposal form. For Session Sponsor, select number 18, “(TH) Theatre History.” When the selection process begins, all THFG-targeted proposals will be sent to the THFG conference planner. The THFG Executive Committee will rank the proposals, and the conference committee will use those rankings to make final programming decisions. It is not necessary to contact the conference planner before submitting a THFG proposal, but please do forward a copy of your proposal to the conference planner once you have submitted it. Also contact the conference planner with any problems or concerns or if you are curious as to whether or not your proposal is appropriate for THFG.
3. For Multi-Disciplinary (MD) Proposals
If your session addresses Theatre History but is also appropriate for another Focus Group or Committee, consider THFG as one of your target focus groups. You must select 3 targeted Focus Groups or Committees for an MD panel to be considered. To make an MD proposal you must contact the conference planners for each of the targeted Focus Groups/Committees by email before submitting online in order to receive feedback and to make sure the proposals are appropriate for each FG /Committee. If one of your targeted focus groups is not enthusiastic, better to know before submission and perhaps find another FG or committee. See www.athe.org for contact information for Focus Group conference planners and Committee chairs. As with the THFG-specific proposals, we receive a list from ATHE of all MD sessions, and we rank those that target TH and return that ranking for consideration by the program committee.
4. Notes for the 2011 Conference:
A. There will be a charge for AV equipment. Costs will be listed on the online session proposal form. Participants requesting AV equipment may apply for grants from ATHE to cover the charge for this equipment.
B. Participants will be limited to a maximum of two presentations. “Presentation” refers to the act of delivering a paper, serving on a roundtable, or serving in an equivalent role in a different type of session. There is no limit to the number of sessions that a person can Chair or serve as Session Organizer.
C. You should expect to hear whether or not your proposal has been accepted or rejected by mid-March, 2011.
Early Modern Women in the ARts
Call for Papers
Early Modern Women in the Arts
Saturday, April 16, 2011
West Chester University
The day-long symposium is sponsored by the College of Visual and Performing Arts, West Chester University, West Chester, Pennsylvania. The symposium is free and open to the public and is being held as part of a year-long Early Baroque Project at West Chester University. It is scheduled in conjunction with a student performance of Francesca Caccini's La liberazione di Ruggiero dall'isola d'Alcina (1625). All participants and attendees at the symposium are invited to stay for the opera performance later that evening. Tickets for the opera will be available for advance sale and at the door.
Papers (20 minutes in length) are invited on any aspect of Early Modern Women in the Arts (art history, literature, music, theater, dance, fine arts, etc.). Proposals may also be submitted for panel discussions or workshops (40 minutes).
We invite proposals on any topic related to early modern women in the arts, but especially encourage submissions addressing the period between 1550 and 1700.
Suggested topics might include:
* Early modern women as creators (music, fine arts, decorative arts, performing arts, etc.)
* Early modern actresses or dramatists
* The virtuosic female musician in the early modern period
* Early modern women as amateur performers
* Early modern teachers or educators in the arts
* Early modern female patrons of the arts
* Early modern female writers
Abstracts (300 words) for papers, panel discussions, or workshops must be submitted no later than November 15, 2010.
Proposals should be sent electronically to the program chair at mpurciello@wcupa.edu<mailto:mpurciello@wcupa.edu> with the subject title "Early Modern Women in the Arts Proposal."
The email should carry two attachments in Microsoft Word: the first should be an anonymous submission, including only your title and your abstract; the second document should contain the title and abstract, as well as your name, institutional affiliation, and contact information. If you are proposing a panel discussion, be sure to include the names, institutional affiliations, and contact information for all participants on the second document. If special equipment is necessary for your presentation, please include it in the second document.
Accepted presenters will be notified by email. Completed papers should be sent to the program chair by April 1, 2011.
For further symposium information please contact the program chair, Maria Purciello.
Early Modern Women in the Arts
Saturday, April 16, 2011
West Chester University
The day-long symposium is sponsored by the College of Visual and Performing Arts, West Chester University, West Chester, Pennsylvania. The symposium is free and open to the public and is being held as part of a year-long Early Baroque Project at West Chester University. It is scheduled in conjunction with a student performance of Francesca Caccini's La liberazione di Ruggiero dall'isola d'Alcina (1625). All participants and attendees at the symposium are invited to stay for the opera performance later that evening. Tickets for the opera will be available for advance sale and at the door.
Papers (20 minutes in length) are invited on any aspect of Early Modern Women in the Arts (art history, literature, music, theater, dance, fine arts, etc.). Proposals may also be submitted for panel discussions or workshops (40 minutes).
We invite proposals on any topic related to early modern women in the arts, but especially encourage submissions addressing the period between 1550 and 1700.
Suggested topics might include:
* Early modern women as creators (music, fine arts, decorative arts, performing arts, etc.)
* Early modern actresses or dramatists
* The virtuosic female musician in the early modern period
* Early modern women as amateur performers
* Early modern teachers or educators in the arts
* Early modern female patrons of the arts
* Early modern female writers
Abstracts (300 words) for papers, panel discussions, or workshops must be submitted no later than November 15, 2010.
Proposals should be sent electronically to the program chair at mpurciello@wcupa.edu<mailto:mpurciello@wcupa.edu> with the subject title "Early Modern Women in the Arts Proposal."
The email should carry two attachments in Microsoft Word: the first should be an anonymous submission, including only your title and your abstract; the second document should contain the title and abstract, as well as your name, institutional affiliation, and contact information. If you are proposing a panel discussion, be sure to include the names, institutional affiliations, and contact information for all participants on the second document. If special equipment is necessary for your presentation, please include it in the second document.
Accepted presenters will be notified by email. Completed papers should be sent to the program chair by April 1, 2011.
For further symposium information please contact the program chair, Maria Purciello.
2011-12 Newberry Library Fellowships in the Humanities
The Newberry Library, an independent research library in Chicago, invites applications for its 2011-12 Residential Fellowships in the Humanities. Research must be appropriate to the Newberry collections (excluding certain special awards). Long-term, postdoctoral fellowships for 6-11 months carry a stipend up to $50,400. Applicants for postdoctoral scholars or Ph.D. candidates form outside Chicago who have specific needs for Newberry collections. The tenure of short-term fellowships varies from 1-3 months, $1600 per month. Long-term applications are due 1/12/11; most short-term applications are due 2/10/11.
http://www.newberry.org/research/felshp/fellowshome.html
http://www.newberry.org/research/felshp/fellowshome.html
Wednesday, September 8, 2010
Newberry Library Graduate Student Conference
The Newberry Library Center for Renaissance Studies is pleased to announce:
Call for Papers for the 2011 Multidisciplinary Graduate Student Conference
Deadline for submissions: October 15, 2010
Conference dates: January 27-29, 2011
www.newberry.org/renaissance/conf-inst/gradstudents.html
www.newberry.org/renaissance/conf-inst/2011CFP.pdf: PDF flyer printable in color or black-and-white. Please distribute and post.
We invite abstracts for 15-minute papers from master's or Ph.D. students on any medieval, Renaissance, or early modern topic in Europe or the Mediterranean or Atlantic worlds. We encourage submissions from disciplines as varied as the literature of any language, history, classics, art history, music, comparative literature, theater arts, philosophy, religious studies, transatlantic studies, disability studies, and manuscript studies. We also hope to include at least one panel of papers dealing with the digital humanities.
Priority is given to students from member institutions of the Center for Renaissance Studies consortium.
Please feel free to forward this message to others who may be interested.
~
Faculty and graduate students from Center for Renaissance Studies consortium schools are eligible to apply for travel funding to attend Center for Renaissance Studies programs or to do research at the Newberry Library. Contact your school's faculty representative for details: www.newberry.org/renaissance/consortium/exec.html. The Center's main web page is: www.newberry.org/renaissance.
Call for Papers for the 2011 Multidisciplinary Graduate Student Conference
Deadline for submissions: October 15, 2010
Conference dates: January 27-29, 2011
www.newberry.org/renaissance/conf-inst/gradstudents.html
www.newberry.org/renaissance/conf-inst/2011CFP.pdf: PDF flyer printable in color or black-and-white. Please distribute and post.
We invite abstracts for 15-minute papers from master's or Ph.D. students on any medieval, Renaissance, or early modern topic in Europe or the Mediterranean or Atlantic worlds. We encourage submissions from disciplines as varied as the literature of any language, history, classics, art history, music, comparative literature, theater arts, philosophy, religious studies, transatlantic studies, disability studies, and manuscript studies. We also hope to include at least one panel of papers dealing with the digital humanities.
Priority is given to students from member institutions of the Center for Renaissance Studies consortium.
Please feel free to forward this message to others who may be interested.
~
Faculty and graduate students from Center for Renaissance Studies consortium schools are eligible to apply for travel funding to attend Center for Renaissance Studies programs or to do research at the Newberry Library. Contact your school's faculty representative for details: www.newberry.org/renaissance/consortium/exec.html. The Center's main web page is: www.newberry.org/renaissance.
Tuesday, September 7, 2010
Life, death, gods and magic
"Life, death, gods and magic"
Call for Papers
"Life, death, gods and magic"
In every time and everywhere, gods and magic have been strictly part of life and death of human beings. Papers will highlight specifically on how they influenced society from the perspective of political, legal, economic or social. Manuscripts may consider any region or historical period, but must have a well defined temporal and geographical significance."Life, death, gods and magic"
Manuscripts should be unpublished in any language and should not be under consideration for publication by any other journal.
All material should not exceed 8,000 words, including references and notes. Include an abstract of not more than 250 words.
Manuscripts can be written in Italian, English or Spanish.
Deadline for submission: October 31, 2010
Please send all submissions electronically to:
chronicamundi@chronicamundi.org
www.chronicamundi.org
Call for Papers
"Vida, muerte, divinidad y magia"
En cada momento y en cada lugar, lo divino y lo màgico han hecho estrechamente parte de la vida y la muerte de los seres humanos. Los artículos tendràn que destacar la forma en que han influenciado en la sociedad desde el àmbito político, jurídico, económico o social. Los trabajos, a pesar de que podrán examinar cualquier región o periodo histórico, deben tener una connotacion temporal y geográfica claramente delimitada.
Los manuscritos deben ser originales, no pueden haber sido publicados en nigun otro idioma y non pueden ser sometidos a ninguna otra revista para una eventual publicacion.
Los artículos no pueden superar una extensión de 8.000 palabras, incluyendo las notas. Adjunto a los artículos se debe enviar un resumen de màximo 250 palabras.
La fecha limite de presentación de propuestas es el 31 de octubre de 2010 y los artículos deben ser enviados al correo electrónico:
chronicamundi@chronicamundi.org
www.chronicamundi.org
Call for Papers
“La vita, la morte, la divinità e la magia”
In ogni tempo e in ogni luogo, il divino ed il magico hanno fatto strettamente parte della vita e della morte degli esseri umani. I manoscritti dovranno evidenziare nello specifico come il divino ed il magico hanno influenzato la società dal punto di vista politico, giuridico, economico o sociale. I lavori, pur potendo prendere in considerazione qualsiasi regione o periodo storico, devono avere una connotazione geografica e temporale ben delimitata.
I manoscritti inviati non devono essere mai stati pubblicati in nessuna lingua e non devono essere stati sottoposti ad alcuna rivista per l'eventuale pubblicazione.
I lavori inviati non devono eccedere le 8.000 parole, incluso le note. Oltre all’articolo è necessario inviare un sommario di non più di 250 parole. Gli articoli possono essere redatti in italiano, inglese e spagnolo.
Le proposte vanno presentate entro il 31 ottobre 2010.
Tutto il materiale deve essere inviato elettronicamente a:
chronicamundi@chronicamundi.org
www.chronicamundi.org
New book series: Material Readings in Early Modern Culture
This new book series provides a forum for studies that consider the material forms of texts as part of an investigation into early modern culture. The editors invite proposals of a multi- or interdisciplinary nature, and particularly welcome proposals that combine archival research with an attention to the theoretical models that might illuminate the reading, writing, and making of texts, as well as projects that take innovative approaches to the study of material texts, both in terms the kinds of primary materials under investigation, and in terms of methodologies. What are the questions that have yet be to asked about writing in its various possible embodied forms? Are there varieties of materiality that are critically neglected? How does form mediate and negotiate content? In what ways do the physical features of texts inform how they are read, interpreted and situated?
Consideration will be given to both monographs and collections of essays. The range of topics covered in this series includes, but is not limited to:
• History of the book, publishing, the book trade, printing, typography (layout, type, typeface, blank/white space, paratextual apparatus)
• Technologies of the written word: ink, paper, watermarks, pens, presses
• Surprising or neglected material forms of writing
• Print culture
• Manuscript studies
• Social space, context, location of writing
• Social signs, cues, codes imbued within the material forms of texts
• Ownership and the social practices of reading: marginalia, libraries, environments of reading and reception
• Codicology, palaeography and critical bibliography
• Production, transmission, distribution and circulation
• Archiving and the archaeology of knowledge
• Orality and oral culture
• The material text as object or thing
Proposals should take the form of either
1) a preliminary letter of inquiry, briefly describing the project; or
2) a formal prospectus including: abstract, brief statement of your critical methodology, table of contents, sample chapter, estimate of length, estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to each of the two series editors and to the publisher:
Dr James Daybell, james.daybell@plymouth.ac.uk;
Dr Adam Smyth, adam.smyth@bbk.ac.uk;
Erika Gaffney, Publisher, egaffney@ashgate.com
Consideration will be given to both monographs and collections of essays. The range of topics covered in this series includes, but is not limited to:
• History of the book, publishing, the book trade, printing, typography (layout, type, typeface, blank/white space, paratextual apparatus)
• Technologies of the written word: ink, paper, watermarks, pens, presses
• Surprising or neglected material forms of writing
• Print culture
• Manuscript studies
• Social space, context, location of writing
• Social signs, cues, codes imbued within the material forms of texts
• Ownership and the social practices of reading: marginalia, libraries, environments of reading and reception
• Codicology, palaeography and critical bibliography
• Production, transmission, distribution and circulation
• Archiving and the archaeology of knowledge
• Orality and oral culture
• The material text as object or thing
Proposals should take the form of either
1) a preliminary letter of inquiry, briefly describing the project; or
2) a formal prospectus including: abstract, brief statement of your critical methodology, table of contents, sample chapter, estimate of length, estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to each of the two series editors and to the publisher:
Dr James Daybell, james.daybell@plymouth.ac.uk;
Dr Adam Smyth, adam.smyth@bbk.ac.uk;
Erika Gaffney, Publisher, egaffney@ashgate.com
Thursday, September 2, 2010
The Art of Villainy: machiavelli and the Creation of the Fictional Villain
This panel will explore Machiavelli’s impact on villains from the early modern period to today, from Iago and Milton’s Satan to Lex Luthor, Voldemort and Tony Soprano. Machiavelli may have inspired these writers, but how have their own cultural backgrounds and historical contexts shaped their depiction of his ideas? This panel hopes to gain a better understanding of how our view of Machiavelli and our view of villainy have changed over the years. Please submit 250-300 word abstracts (MSWord) to Jackie Cameron at jackiec159@hotmail.com.
Narrative is the Essence of History: The History of the Historical Novel
This roundtable will explore the genre of historical fiction. Topics include: reception; historical context; historiographic and literary theory; fact and fiction; reappraisal of those who have not received their critical due; “serious” and “popular” historical fiction; recent subgenres within historical fiction, etc.
What is the essence of historical fiction? Why does it continue to be such a popular and resilient genre? What is its history? What is its future? Please submit 250-300 word abstracts (MSWord) to Jackie Cameron at jackiec159@hotmail.com.
What is the essence of historical fiction? Why does it continue to be such a popular and resilient genre? What is its history? What is its future? Please submit 250-300 word abstracts (MSWord) to Jackie Cameron at jackiec159@hotmail.com.
Journal o fDrama Studies
Research articles on world Drama in English (including translation) of 12-15 pages length are invited for Journal of Drama Studies, India for January 2011issue. The journal has International editorial board of members and most of the contributors are senior researchers or academics from all over the world. Articles typed in MS word or Rich text format with MLA style may be submitted on or before 30 October 2010 for the Jan 2011 issue. Send email attachment to bhimsdahiya@gmail.com and a copy to anand1040@gmail.com
Literary Dress: Fashioning the Fictional Self
Literary Dress: Fashioning the Fictional Self
Fashion, fabricate, artifice, make-up: all these terms have a double valence. Each term in noun form denotes a prosthetic application of something foreign atop something natural (usually a human body) with the intention of concealing or enhancing the natural item beneath. Each term in verb form, though, carries a connotation of constitution and creation: a sense of literal “becoming,” or even investiture. In some way, these terms gesture towards the ephemeral, frivolous, and the temporary AND towards a sense of ontological making.
Scholars in anthropology, sociology, psychology, art history, and material history have all taken fashion seriously. Literary critics, though, have paid scant attention to clothes, despite novelists' deep, vivid, and abiding interest in their characters' dress. Literary scholars have been much more concerned with the noun forms of words related to fashion – the concern with falsity and authenticity - than the verb forms.
This panel seeks to analyze the ways in which fashion operates in literature, with a particular interest in the concept of “fashion” as a verb. Paper topics might include, but are not limited to: fashion as a Foucauldian technology of self; the pro-consumerist "girl-power" movement as a reaction to second-wave feminism; self-fashioning in the biography and autobiography; theories and criticism of text and fashion (Barthes, Rancière, etc.); comparative study of illustrations and the written word; notions of visualizing the ineffable, etc.. Interdisciplinary work is invited.
Please send 500 word abstracts as MSWord attachments by September 30, 2010, to Heath Sledge and Helen Dunn at confabstracts@gmail.com. Inquiries may also be sent to this address.
Fashion, fabricate, artifice, make-up: all these terms have a double valence. Each term in noun form denotes a prosthetic application of something foreign atop something natural (usually a human body) with the intention of concealing or enhancing the natural item beneath. Each term in verb form, though, carries a connotation of constitution and creation: a sense of literal “becoming,” or even investiture. In some way, these terms gesture towards the ephemeral, frivolous, and the temporary AND towards a sense of ontological making.
Scholars in anthropology, sociology, psychology, art history, and material history have all taken fashion seriously. Literary critics, though, have paid scant attention to clothes, despite novelists' deep, vivid, and abiding interest in their characters' dress. Literary scholars have been much more concerned with the noun forms of words related to fashion – the concern with falsity and authenticity - than the verb forms.
This panel seeks to analyze the ways in which fashion operates in literature, with a particular interest in the concept of “fashion” as a verb. Paper topics might include, but are not limited to: fashion as a Foucauldian technology of self; the pro-consumerist "girl-power" movement as a reaction to second-wave feminism; self-fashioning in the biography and autobiography; theories and criticism of text and fashion (Barthes, Rancière, etc.); comparative study of illustrations and the written word; notions of visualizing the ineffable, etc.. Interdisciplinary work is invited.
Please send 500 word abstracts as MSWord attachments by September 30, 2010, to Heath Sledge and Helen Dunn at confabstracts@gmail.com. Inquiries may also be sent to this address.
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