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CFP: Crossing the Atlantic

Posted on by James Hussey

Call for Papers

Crossing the Atlantic:  Visual Culture at the Crossroads of Ireland and the United States

Americans who travelled to Ireland, many compelled by familial connections, developed rich relationships with Irish artists that led to cultural exchange between the two countries, while social and political unrest in Ireland prompted Irish artists to leave their homeland, and that migration resulted in cultural exchange as well.

One of the best known examples, Irish painter John Yeats and Irish American art collector John Quinn facilitated cultural exchange between the two countries in the early twentieth century, including the advancement of Irish painting and design in America. In addition to his friendship with John Yeats, Quinn developed close ties with his children, including Jack Yeats, one of Ireland’s most celebrated painters and designers Elizabeth and Lily Yeats.  But there is much more yet to be explored by scholars in this area of study.

Thus, we are seeking articles for an anthology that will focus on Irish/American transcultural exchange as it relates to visual culture.  For this project, visual culture is being defined broadly to include the visual arts, images from popular culture, material culture, and craft.  If interested, please contact Cynthia Fowler at email:  fowlecy@emmanuel.edu.  A one-page abstract that describes your project should be sent by September 15, 2019.

CFP: Edith Wharton’s New York

Posted on by James Hussey

Edith Wharton’s New York

A conference sponsored by the Edith Wharton Society

New Yorker Hotel

June 17th-20th 2020

 

Please join the Edith Wharton Society for its upcoming conference marking the centennial anniversary of the publication of Edith Wharton’s Pulitzer-Prize winning novel, The Age of Innocence. We will celebrate this momentous year in New York, the setting not only of so many of Wharton’s works but also of much of her life.

While all topics are welcome, we are particularly interested in whole panels and individual papers that focus on New York as a geographical and thematic element in Wharton’s life and works. Papers could explore the role of New York City and/or the Hudson River Valley in Wharton’s works, Wharton’s own history with the region, or Wharton’s relationship to place and space more generally. Papers that offer new readings of The Age of Innocence—such as new historical approaches or legacies of The Age of Innocence, the novel’s relationship to other works by Wharton and/or her peers, and adaptations of the novel (for film, theater, etc.)—are also welcome.

Since 1920 marks the beginning of what many consider the “later years” of Wharton’s career, examinations of Edith Wharton’s works in the shifting literary and political foundations of postWWI society are also of interest. The 20s mark the centennial of other significant Wharton texts, and essays that examine these later works are of particular interest.

In addition, there will be a keynote speaker and opportunities for tours of local attractions. Further details forthcoming.

We welcome submissions for full panels of 4-5 participants and roundtables of 6-7 participants as well as individual paper submissions. Please submit proposals no later than August 1st, 2019 to whartonnewyork@gmail.com

For full panel and roundtable proposals, please submit 200-350-word summaries of each presentation included in the panel or roundtable as well as a brief 50-word bio and A/V requests for each presenter.

For individual paper proposals, please submit a 350-500-word abstract, a brief 50-word bio, and A/V requests as one Word document.

All conference participants must be members of the Edith Wharton Society at the time of registration.

For additional information, contact co-directors at email address above or individually:

Margaret Toth (Meg), Manhattan College margaret.toth@manhattan.edu

Margaret Jay Jessee (Jay), University of Alabama at Birmingham mjjessee@uab.edu

 

CFP: Narratives of (Un)sustainability: Assessing U.S. Oil Culture

Posted on by James Hussey

Narratives of (Un)sustainability: Assessing U.S. Oil Culture

Keynote Speaker: Prof. Stephanie LeMenager, University of Oregon

Until newly-elected Representative Alexandria Ocasio-Cortez propelled the “Green New Deal” into the public discourse following the 2018 midterm elections, ecological issues had remained largely absent in American political debate and agenda. Unsurprisingly, the US emerges as a longstanding contributor to the rising concentration of greenhouse gases in the atmosphere, one of the leading causes of climate change. The holder of one of the most important carbon footprints, the US ranks among the most unsustainable states. If the “American way of life” were to be replicated on a worldwide scale, its rate of resource consumption and waste production would require close to five planets to sustain itself. Since the end of WWII, the US has accumulated a colossal ecological debt at the expense of future generations, whose access to natural wealth is substantially jeopardized, and developing economies, which rely on a much lower resource supply.

Climate disruption is a symptom of this socio-economic matrix of unsustainability and of the unclaimed “check” or hidden cost of the US and other countries’ dysfunctional modes of existence. Specifically, unsustainability results from the harmful triad consisting of fossil fuels (coal, oil and natural gas), a high-energy society, and economic growth. The refusal to address pressing environmental issues by engaging the country in broad, systemic changes (for instance through a national plan for a fossil fuel phase-out) attests to the pervasiveness of oil culture and its coterminous ideology of perpetual growth in American society. That being said, counter-narratives that seek other ways of relating to the environment and of living on earth’s rhythms have emerged in the past years (from the US itself and from elsewhere), and they offer an avenue for moving past the oil predicament.

With Prof. Stephanie LeMenager (University of Oregon, author of Living Oil: Petroleum in the American Century), an expert on America’s petroleum culture, as our keynote speaker, we would like to invite scholars from various disciplines to reflect on the narratives surrounding the US oil culture. We conceive of this conference as an opportunity to explore both ends of the spectrum: from narratives of how unsustainability fuels the oil culture by disseminating ideas such as the existence of inexhaustible abundance or the possibility of a technological “fix” to all environmental ailments, to narratives of sustainability that demonstrate how American culture could be changed through an awareness of the fundamental incompatibility between a politics of infinite growth and a finite biosphere.

Interested in presenting something? Please submit an abstract of 200–300 words and a biography of 100–200 words by 30 June 2019 to the conference organizers:

Audrey Loetscher@unil.ch

Agnieszka.SoltysikMonnet@unil.ch

Contributions should be twenty minutes in length, followed by approximately ten minutes of Q&A.

Please note that there is no conference fee.

CFP: Alternative Realities: New Challenges for American Literature in the Era of Trump

Posted on by Jennifer Daly

Call for Papers

Alternative Realities: New Challenges for American Literature in the Era of Trump

Friday 13 – Saturday 14 December 2019

Clinton Institute for American Studies, University College Dublin

Watching the televised debates between then-presidential candidates John F. Kennedy and Richard Nixon in 1959, and reflecting on the growth of televisual media and the gradual transformation of politics into spectacle, Philip Roth observed that “the American writer” was now challenged “to understand, and then describe, and then make credible much of the American reality,” at a time when the actuality was “constantly outdoing our talents”. After the election of Donald Trump in 2016 it feels like, once again, reality is outpacing fiction, with the Trump presidency inaugurating a new stage in the process of aestheticization in which politics and entertainment converge as never before. This paradigm shift—which is not exclusive to the US, but that is especially acute given Trump’s celebrity status and his leadership style—has been sharpened by the disruptive impact of new and social media in the public sphere, bringing to the fore concomitant concerns about the derealization of political and cultural discourses. In a context where the relationship between fact and fiction has been deeply destabilized, writers are challenged to make sense of this new “American reality” that is troubling core assumptions about the purpose and value of literature.

This conference seeks to bring together scholars in literary studies and adjacent fields to consider literary responses to the new American realities.

We are delighted to confirm as Keynote Speakers:

Aleksandar Hemon

novelist, author of Nowhere Man and The Lazarus Project

Professor of Creative Writing at Princeton University

 

Karen E. Bender

novelist and short-story writer, author of Refund, The New Order, Like Normal People

Distinguished Visiting Professor of Creative Writing at Hollins University

 

Chris Beckett

novelist and short-story writer, author of America City and Dark Eden

Arthur C. Clark Award winner 2013

 Topics may include (but are not confined to):

  • Narrative strategies and innovations in the literary representation of American reality
  • Intersections between fiction and non-fiction
  • Fictional subversions of the “real”
  • The valence of realism in contemporary American literature
  • Literary criticism in the age of “Fake News”
  • Politics of representation, dissent, and resistance
  • Genre and gender in contemporary American fiction
  • Diasporic, minority, immigrant, and Native American literatures
  • Right-wing/conservative American literature
  • The resurgence of American protest poetry
  • The currency of dystopian and counterfactual literature
  • The role of irony, satire and parody in the era of Trump
  • The demands of writing the contemporary
  • Reading publics and the role of fiction
  • Shifting economies in the publishing industry
  • The currency of prior literature for making sense of the present

Please submit the paper title, an abstract of 300 words, a short bio and contact details to dolores.resano@ucd.ie and catherine.carey@ucd.ie. We also welcome applications for full panels of 3-4 papers. We will soon update information on www.ucdclinton.ie/, but don’t hesitate to contact us with any questions you may have.

The deadline for paper and panel proposals is 1st September 2019. (Note – we will make decisions on paper/panel submissions on a rolling basis to help facilitate participant’s planning for conference attendance).

2019 W.A. Emmerson Lecture

Posted on by Jennifer Daly

The IAAS is delighted to announce that Dr Aoileann Ní Éigeartaigh will deliver this year’s W.A. Emmerson Lecture.

You can listen to a recording of Dr Ní Éigeartaigh’s talk here:

 

Dr Ní Éigeartaigh is a Lecturer in Literature and Cultural Studies in the School of Business and Humanities at Dundalk Institute of Technology. Her research interests include American Literature, Irish Literature, and Cultural Studies. Aoileann is also a former chair of the Irish Association for American Studies.

Her lecture, “Liminal Spaces and Contested Histories in the novels of Juan Rulfo and George Saunders”, will take place at 4.30pm on Thursday, March 28th in room L4 in the Department of Business & Humanities, Dundalk Institute of Technology. Tea and coffee will be available from 4pm.

The W.A. Emmerson Lecture is named in honour of, Tony Emmerson, one of the IAAS’s founding members and is a highlight of the association’s events. Information on previous lectures can be found here. The lecture is free and all are welcome to attend.

Aoileann NíÉigeartaigh (centre) with IAAS Chair David Coughlan

 

 

2019 Annual General Meeting of the IAAS

Posted on by Jennifer Daly

The Annual General Meeting of the IAAS will take place during this year’s Annual Conference at University College Cork (April 12 & 13). All members are encouraged to attend if possible as your input helps to shape the future direction of the Association. The minutes from previous AGMs are available here. A number of positions on the Executive Committee will be open for election at this year’s AGM.

We are particularly keen to encourage nominations from members who have not yet had an opportunity to serve on the committee. The IAAS is run entirely on a volunteer basis, and it can only continue through the involvement of its members. We would also encourage members from disciplines that are currently under-represented on the committee (History, Politics, Film, Social Studies, Art etc) to consider putting themselves forward. The Association has seen remarkable growth in recent years. New voices and points of view need to be heard on the committee so that the Association can continue to be relevant for its members. If you are interested in standing for one of the vacant positions, please feel free to contact any members of the current committee for more information.

Positions open for election at this year’s AGM are as follows:

  • Chair
  • Secretary
  • Postgraduate & Early Career representatives
  • President
Other positions may become vacant as a result of these elections. If you are interested in serving on the Committee you must be a fully paid-up member of the Association before submitting your nomination. If you would like to nominate another member of the Association for any of these positions, you must have their written permission to do so.

Nominations should be emailed to the Secretary (dalyj5@tcd.ie) in advance of the AGM.

Should more than one nomination be received for any position, an election will be held during the AGM. Only members present at the AGM will be able to vote.

CFP:Special issue: ‘Horrific bodies: Surveillance, screens and screams’

Posted on by Web Intern

Call for Papers

Special issue: ‘Horrific bodies: Surveillance, screens and screams’ Edited by Susan Flynn, University of the Arts, London and Antonia Mackay, Oxford Brookes University

Body horror concerns narratives in which the corporeal uncanny is produced through the destruction or annihilation of the natural human body. The contemporary screen contains countless examples of horrified and terrified bodies; watched, tracked, analysed, transformed and degenerated, these ‘horrific’ bodies speak to the angst of the current social, cultural, political and technological world in which we reside. The practices of surveillance, both diegetic and non-diegetic, offer new versions of modern horror; while the horror genre itself has been generously theorized and analysed, its intersection with practices of surveillance opens up new avenues for discussion and the possibility for radical critique of representational systems. Surveillance, of and within horror narratives, offers a particular nuance to our readings of the genre, and the critique of surveillance itself may help us to excavate how we construct notions of gender, race and power, as well as the psychological terror and fear of surveillance itself. The focus of this special edition of Northern Lights, therefore, is the intersection between the horror genre and practices of surveillance, and this edition seeks to promote emergent approaches to screen analysis.

Notions of surveillance have long captivated the creative imagination and been envisioned at multiple sites, through narratives, images and performances. Whilst surveillance studies as a field of enquiry ostensibly concerns the production of new theoretical and empirical understandings of human behaviour vis-à-vis a burgeoning field of technological development, the project of this issue of Northern Lights is to employ cultural surveillance studies to better understand the human, psychic and bodily affects/effects and manifestations of the practices of surveillance. Operating within the paradigm of cultural studies, we seek to delve into the realm of surveillance as it is portrayed on screen so that we may explore the critical juncture at which surveillance renders bodies ‘horrified’.

The ubiquity of surveillance within horror narratives, one might argue, is perfectly placed to draw attention to cinematic processes, while at the same time, denaturalizing the human body. The editors are particularly interested in transgressive visions of surveillance from within the horror genre that also consider the ways in which the surveillant field emerges from beyond the lens. Areas of exploration may include architecture and horror (haunted houses for instance) as sites of surveillance; the body as a corporeal manifestation of visibility from within the discourse of slasher and gore narratives; the use of omnipotent watching as a dystopian motif in contemporary cinema (and its links to political and cultural change); and the manifestation of surveillant practices in horror that stem from geographical or topographical positions (prisons, schools, suburbia, cities, etc). Recognition of the prevalence of surveillance not only in our past but also in our future requires that we acknowledge the ubiquity of surveillance in our cultural products and psyche and attest to the manipulation of the gaze present in on-screen horror. We seek new and original approaches that move beyond traditional theories of surveillance, and of horror.

Potential topics may include, but are not limited to:

• Radical readings of horror through surveillance

• Feminist horror criticism for the digital age

• The new horror of digital interference

• The corporeal, biotechnology and the digital

• Slasher films and surveillance

• Contemporary psychological terror

• The abject and the corporeal

• Architectural constructions of the ‘horrific’

• The watching of othered bodies from within a transgressive surveillant lens

• Television series and use of the nostalgic as a lens by which to critique the contemporary

• Postcolonial readings of film that speak of the viewing of racial bodies and their ‘use’ and ‘appropriation’ within the horror genre

• Spoof horror and B-movies and their application of surveillant lenses from within the skewed and comedic

• Transitional spaces and the borders and territories of the horrific (motels for instance)

• Movement and the supernatural as a means by which to transgress the lens

Abstracts of 400–500 words, together with a brief biographical note, should be submitted by 10 February 2019.

Please email these directly to s.flynn@lcc.arts.ac.uk

Complete papers of 6500–7000 words are due on 1 July 2019.

Northern Lights: Film & Media Studies Yearbook is published by Intellect. Please refer to the style guide here: https://www.intellectbooks.co.uk/MediaManager/File/intellectstyleguide2016v1.pdf