Call for Papers: Trauma Conference
Location: United Kingdom
Call for Papers Deadline: 2010-01-05
Date Submitted: 2009-10-29
Announcement ID: 171606
Can trauma be fully shared, or communicated? In all its characteristics and consequences
it is a kind of fuzzy black hole that can only be shared and represented through
metaphoric constructs. How can we feel trauma from the outside, how far can we
communicate trauma we are suffering from? We tiptoe at the edge of trauma, unable to
share our experience with others, incapable of fully comprehending others’ wounds.
During the conference, we will explore and discuss how, in specific areas, through
representation, metaphoric constructs and interplay we all enter into dreading and
exploring in turn the trauma of others and our own ones. Each zone is the subject of a
specific session. Fresh and original critical explorations of these themes will take place.
Date: 13-16 May 2010
Venue: West Dean Conference Centre, West Dean College, West Dean, Chichester, PO18
0QZ
Professor Lieve Spaas
c/o Kingston University
Penrhyn Road
Kingston
KT1 2EE
Email: [log in to unmask]
Visit the website at http://fass.kingston.ac.uk/activities/item.php?updatenum=1167
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"Spaces: Personal, Cultural, Urban" 2010 Annual Conference of the Middle Atlantic
American Studies Association
Location: Pennsylvania, United States
Call for Papers Deadline: 2010-01-15
Date Submitted: 2009-10-28
Announcement ID: 171585
The host of MAASA’s 2010 conference will be La Salle University (March 19-20, 2010). On
the La Salle campus, one finds a cultural site of interest to all students of American
culture: Belfield, the one-time estate of Charles Willson Peale. As a painter, civic leader,
inventor, educator, taxidermist, museum curator, military commander, paleontologist,
naturalist, and landscape gardener, Peale embodied the interdisciplinary ideal that
continues to shape the field of American Studies. Fittingly, it is the spirit of Peale that
inspires this conference theme. In the American Studies tradition, we seek
interdisciplinary papers that explore multiple and varied concepts of space: transnational
or intercultural spaces; public spaces; intellectual spaces; imaginary or fantastical
landscapes; rural, suburban, and urban America; retail and shopping venues; religious
spaces; city planning and architecture; artistic spaces; ethnic spaces; tourism; spaces
shaped by memory and nostalgia; and spaces of food creation and consumption.
Undergraduates interested in presenting their work in the Undergraduate Roundtable
should select a mentor and then contact Dr. Francis J. Ryan ([log in to unmask]). Accepted
graduate students will be encouraged to submit their work electronically several weeks
prior to the conference so as to be considered for our award – Most Outstanding Graduate
Paper. Deadline for Proposals is January 15, 2010. Please send a one-page abstract and
one-page CV to John R. Haddad either electronically ([log in to unmask] ) or by mail:
John Haddad
American Studies
School of Humanities
Penn State Harrisburg University
777 West Harrisburg Pike
Middletown, PA 17057
John Haddad
American Studies
Penn State University
(717)948-6196
Email: [log in to unmask]
Visit the website at http://www.hbg.psu.edu/research/maasa/index.htm
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CFP: AAH 2010: PICTURING THE SENSORIUM IN ART FROM ANTIQUITY TO 1800
Location: United Kingdom
***Call for Papers Deadline: 2009-11-09 (in 7 days)***
Date Submitted: 2009-10-17
Announcement ID: 171359
On the occasion of the AAH (Association of Art Historians) Annual Conference, 15-17 April
2010, University of Glasgow, we invite proposals for the following session:
PICTURING THE SENSORIUM IN ART FROM ANTIQUITY TO 1800
Deadline: 9 November 2009
In recent years, scholarship has become increasingly sensitised to the fact that historical
human interaction with the material world, as it still does today, engaged not only the
visual, but also the spectrum of the sensory and affective. The result has been a raft of
histories of tasting, smelling, touching and hearing – all of which, directly or indirectly,
work with and extend Baxandall’s concept of the “period eye”. Then, as now, these oral,
aural, visual, olfactory and haptic practices were not only culturally determined but also
often communicated without written explanation or in transitory form. We welcome
papers that explore the performance of the senses in art from Antiquity to 1800 (for
example hearing music, touching sculpture, smelling flowers, stroking animals, tasting
food) as well as affective responses, such as pleasure or disgust. Papers might discuss
sensorial engagement with art and/or its materials in contexts such as the artist’s studio,
domestic interior or gallery/museum. They could also consider how art reflects the
contingent medical and social contexts of the senses or how artistic media, for example
tapestries or objects to be handled, were viewed in times when contagion was feared.
Equally, contributions could relate to the inhibition or loss of the senses, such as the
depiction of blindness or the deterioration of an artist’s own faculties of sight and/or
colour as revealed in his/her writings or work. This panel welcomes contributions that
provide fresh interpretations of existing knowledge, or presentations of new material
emerging from research, conservation, or archival discoveries. Contributions will be
limited to ca 25 minutes in length.
To submit a paper, please send a 250 word abstract to the two session convenors (e-mail
addresses as below) before 9 November 2009. Your name, your institutional affiliation
and full contact details should also be included in the abstract.
Rachel King
Art History and Visual Studies
The University of Manchester, U.K.
[log in to unmask]
Christopher Plumb
Centre for Museology and CHSTM (Centre for the History of Science, Technology and
Medicine)
The University of Manchester, U.K.
[log in to unmask]
Rachel King
Art History and Visual Studies
The University of Manchester, U.K.
[log in to unmask]
Christopher Plumb
Centre for Museology and CHSTM (Centre for the History of Science,
Technology and Medicine)
The University of Manchester, U.K.
[log in to unmask]
Email: [log in to unmask]
Visit the website at http://www.aah.org.uk/page/3224
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We are seeking proposals for an anthology focused on gendered communication practices.
(Articles need not be completed at this time to submit).
This collection, accepted for publication by McFarland press, aims to update existing
theories of orality in the light of technological advancements which have altered
communication practices on a large scale. Although these shifts in communication
practices affect both genders, this book looks specifically at how the last century of
technological inventions have specifically affected women’s means of communication.
Women have long been stereotypically associated with the oral realm. We aim to
reexamine the so-called essentialist notion of women’s relation to oral culture by
attending to their shifting practices at the onset of the 21st century. Moreover we seek to
understand how women learn gendered talk/communication, how they have (historically)
utilized this in everyday practices, and how these practices now, when combined with
current technological apparatuses, allow gendered spaces to be co-opted by women to an
extent that gendered “talk” might, in fact, be eliminated and/or replaced by non-gendered
communication practices and androgynous “talk.”
This text will be organized into three sections representing three key arguments about
women and oral culture that have yet to be brought into conversation with one another.
Section one will deal primarily with performative spaces where women learn and act out
gendered ways of communication. Section two will delve into literary spaces, revising
theories of oral literacy and residual literacy by analyzing texts where print culture and
oral culture meet to further the needs of women’s communities. And section three will
focus solely on technological spaces where “talk” itself is transformed in the digital era
and narrative forms are forever altered.
For this contributed volume, the editors seek previously unpublished essays from a wide
array of disciplines and theoretical approaches. Writing may explore, but need not be
limited to, the following topics: (see link below)
http://call-for-papers.sas.upenn.edu/node/34815
***Deadline for Abstract (500 word maximum): November 15th, 2009***
Please send abstract and a brief biographical statement to Sarah Burcon & Melissa Ames
at: [log in to unmask] and [log in to unmask] The subject line should read: Submission
for Women and the Gendering of Communication.
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Modernism and Utopia: Convergences in the Arts
Confirmed plenary speakers:
Doug Mao, Johns Hopkins University
Patrick Parrinder, University of Reading
Darko Suvin, McGill University
Proposals are invited for 20-minute conference presentations that consider modernism in
relation to utopia and utopianism, in written, visual, aural, and plastic media.
The aim of the conference is to encourage debate between and across disciplines with a
focus on the varied historical, cultural, technological, and intellectual settings in which the
modernism/utopia nexus might be clarified and explained.
A principal goal of the conference is not just to engage with but to challenge, build on,
and extend current work in the new utopian and new modernist studies. Suggested points
of departure for these last two critical domains might include, but are by no means
limited to, all current and forthcoming volumes of the Ralahine Utopian Studies book
series and the latest articles in periodicals such as 'Modernism/Modernity' and 'Utopian
Studies'.
The conference organizers will be working towards a publishing outcome for this project:
an essay volume based on essays worked up from the best conference papers, as well as
specially commissioned articles (for which the organizers have already had talks with a
major academic publisher).
Suggestions for topics might include, but are not restricted to, the following:
- modernism and authors/painters of utopias
- sound/music, utopianism, and modernism
- modernist architecture/sculpture and utopia
- utopia, modernism, and modernity
- modernism, science fiction, and utopia
- specific traditions of utopian thought in relation to modernism
- modernism and philosophers of the utopian
- utopianists as modernists/modernists as utopianists
- modernism and utopianism as ‘isms’
- ethics in relation to modernism and utopia
The conference will be held in Birmingham, England, April 23rd – 24th 2010, and is being
organized by James Barnett, Alice Reeve-Tucker, and Nathan Waddell. Postgraduates are
highly encouraged to attend and/or give a paper. The conference website can be found
here: www.mod-utopia.bham.ac.uk
For further information or to offer a conference paper please contact Nathan Waddell by
email (preferred) or post.
Email:
[log in to unmask]
Post:
Department of English, College of Arts and Law, University of Birmingham, Edgbaston,
Birmingham, B15 2TT
PLEASE SEND PROPOSALS OF 250 WORDS BY DECEMBER 1st 2009
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THE EUROPEANNESS OF EUROPEAN CINEMA
Keynote Speaker: Thomas Elsaesser
Confirmed Plenary Speakers: Susan Hayward and Ginette Vincendeau
Studies in European cinema have often been focused on specific countries, genres or
auteurs. However, there has been, since the 1990s, a renewed interest in European film
as an entity with a significance beyond the sum of its parts. Promoted by the policies in
support of the audiovisual industry set in motion by the Council of Europe and the
European Union, this new interest led to an amplified debate on Europe and the cinema
that is produced and consumed there.
Meanwhile, top of the theoretical agenda, the issue of identity has surfaced as the prime
concern. As the framework shifts from national to transnational cinemas and concepts
such as ‘hyphenated identity’ and ‘double occupancy’ gather strength, this conference
seeks to explore the ongoing validity of Europe as a reference in film. Papers are
welcomed on any aspect of how European identity might define itself through cinema,
spanning issues of representation, industry and cultural policy. Areas of interest might
include:
- pan-European production and distribution strategies;
- the label ‘Europe’ in film distribution and exhibition, including festival circuits;
- examples of films that engage with the idea of Europe;
- how particular national cinemas might simultaneously identify themselves as European;
- the issue of language, dubbing and subtitling;
- and how any of these questions might have shifted historically and with the advent of
new European initiatives.
Please submit an abstract (max. 300 words), contact information and short bio (max. 100
words) to: [log in to unmask]
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Constructing and Defining the Cult Film Star: The Cult of Personality (Proposals due
January 29th 2010)
full name / name of organization:
Kate Egan / Sarah Thomas, Aberystwyth University, UK
contact email:
[log in to unmask], [log in to unmask]
cfp categories:
film_and_television
journals_and_collections_of_essays
popular_culture
Proposals are invited for contributions to an edited collection on cult film stars. The term
‘cult film star’ has been employed, and used as a common-sense term, in publicity and
popular journalistic writing for at least the last twenty-five years (for instance, in Danny
Peary's 1991 reference book, Cult Movie Stars). However, what makes cult film stars or
actors distinct or different from other film stars has rarely been addressed, with the cult
star label often being attributed to particular stars or actors in a rather arbitrary or
random way.
This edited collection aims to contribute to two key areas of debate and enquiry within
film studies - star studies and cult film studies - by bringing together contributions
focused on case studies of particular film stars/actors who have been considered to have
a particular ‘cult’ appeal (whether actors or stars associated with Hollywood filmmaking,
independent filmmaking or cinemas beyond Hollywood). The question that should unite all
contributions to the book is: what are the industrial, performance-related,
formal/aesthetic, cultural or discursive processes that inform the naming of particular
film actors as ‘cult actors’ or ‘cult stars’? Consequently, we are happy to receive
contributions that employ methods associated with: textual analysis, analysis of star
performance, star labour, historical reception studies and/or audience research.
Questions that could be addressed in contributions may include, but are not limited to:
1. What role do particular stars or actors play in films that have been designated as
cult? How do particular stars or actors relate to qualities that have been identified as
important to many cult films, such as generic hybridity, self-consciousness, reflexivity,
and excessiveness?
2. How are cult stars constructed and defined as alternative examples of stardom? Is
the status of particular stars/actors as ‘cult’ related to their marginal status as ‘other’ or
with other associations of ‘difference’ (for example, in relation to employment, race,
nationality, sexuality)?
3. How does the status of particular stars/actors as ‘cult’ relate to issues of cultural
capital or tie-ins (for example, the advertising of particular kinds of products)?
4. How are particular stars/actors employed in films to signify difference or off-
beatness or other such qualities (for example, through cameos or supporting roles)?
5. Does the status of particular stars/actors as ‘cult’ relate to their association with
particular genres or modes of filmmaking (for example, horror, art cinema or
independent American cinema)?
6. Do cult stars or actors employ particular performance styles that set them apart
from more conventional performances, such as self-conscious, non-naturalistic or
overplayed styles?
7. Are certain cult stars or actors designated as such because of the cult status of a
character they have played?
8. Does the designation of particular stars/actors as ‘cult stars’ occur retrospectively
(i.e. after their death, or through the rediscovery of particular stars via film festivals, the
internet or DVD re-releases)?
9. Is there an alternative star system associated with, for instance, straight to DVD
releases or films distributed via the internet?
10. Is the status of someone as a cult star or actor related to his/her associations with
other mediums outside of the cinema (for example, radio or the music industry)?
Please send proposals (of between 300-350 words) to Dr Kate Egan ([log in to unmask]) and
Dr Sarah Thomas ([log in to unmask]) by Friday 29th January 2010.
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