postmoderncriticCFP Mash #2
May 16th 2007 01:39
I want to explore what constitutes "healthy" pleasure in texts from this era; what are the
cultural uses of pleasure and what risks attend overindulgence in pleasure; how can pleasure lead or metamorphose into such dysphoric states as madness, hysteria, hypochondria, and addiction for writers of this era? What are the risks that attend the communication of pleasure?
> Communicable Pleasures (4/23/07; CSECS, 10/17/07-10/20/07)
-Religion
What variety of religions rose in popularity because of the New Age?
How has Christianity incorporated the New Age Movement?
-Medical treatments
What medical treatments have developed in response to the New Age Movement?
What relaxation techniques are associated with the Movement? Has meditation and massage increased in popularity? How is yoga used in the daily life of the culture?
-Architecture
How do current architecture projects incorporate the New Age Movement and approach into building design?
Are intentional communities a result of the New Age Movement?
-Ethics of the New Age
Have business practices and patterns changed because of the New Age mentality?
-Does the New Age really exist or is it a farce?
-Is the term "New Age Movement" an applicable term? Should a new term such as Mind/Body/Spirit industry be added to the lexicon instead of the term New Age Movement?
-Food and Farming
How has farming practices changed to incorporate the New Age Movement?
Has the New Age Movement spawned holistic and organic grocery stores such as Whole Foods?
> CFP: New Age Movement in Popular Culture (11/15/07; SW/TX PCA/ACA, 2/13/08-2/16/08)
How do we meet the needs of students who are more skilled on a computer than we are? In what ways are canonical texts merging into media and attracting student attention? How does employing multi-modal techniques help teachers reach students? What can be the benefit of pairing multicultural subjects with these techniques? How can graphic novels, online texts, books on CD, blogs, email, wikis, teleconferencing, digital technologies, etc. be beneficial to teachers?
> The Multi-modal, Multimedia, Multicultural Classroom (7/10/07; journal issue)
* What is the role of historical research and critical reflection in art, design and architectural practice?
* How is historical research and critical reflection in art, design and architecture informed by debates around leisure and commodification, pleasure and sensation, technology and mobility?
* How is historical research in art, design and architecture manifest in independent practice, study beyond the academy, cultural criticism and journalism?
> The Past in the Present (UK) (5/1/07; 10/26/07-10/29/07)
Helene Cixous encourages women to "write through their bodies" as a return to embodiment purloined by male authors. But what happens when female authors write differently sexed or gendered bodies? Do representations of othered bodies conform to or challenge stereotypes? In short, what can we learn from women who write (about) men?
> Women Writing Men since 1900 (6/4/07; 20th-C., 2/21/08-2/23/08)
If, as Anderson says, nationalism is based on the idea of an imagined community, what exactly is a community and how does it relate to and complicate notions of national identity?
> Textual Nationalism(s): History, Community, Identity (grad) (8/15/07; 10/19/07-10/20/07)
What are the relationships between narrative and Lacan’s symbolic subject? What are the possibilities of understanding the basic principles of Lacan through children’s narrative? Can familiar tales help elucidate the complexities of theory? Can children’s texts be better understood as formative narratives using Lacan’s theory of subject formation? Do we risk reductive readings of both Lacan and children’s narrative through this method of analysis?
> A Lacan Primer (5/30/07; collection)
* How has living abroad informed the writer’s creative processes?
• How do authors theorize about movement, displacement, or dislocation?
• What contact has the writer had with other authors while abroad? Did he or she participate in foreign or native literary movements, artistic circles, and/or creative trends?
• How is the literature written by those authors received abroad and at home? Are there important differences in reception?
• Does time abroad lead writers to reject or to embrace foreign, hegemonic ideologies and literary forms?
• Does time abroad lead authors to revive local and regional aspects of (Spanish) Caribbean (or Latin American) culture so as to distinguish it from foreign models?
• Does time abroad raise concerns of authority and authenticity among readers at home and/or in the host culture?
• How does the writer address and/or overcome the “anxiety of influence” that can result from living abroad?
• How does the condition of travel, exile, or (im)migration inform the literature of Spanish Caribbean authors and what distinctions should be made between these “conditions?”
• What are the effects the processes of (1) travel and return, (2) exile and return, (3) permanent exile and foreign assimilation, (4) migration and return, or (5) immigration and foreign assimilation on the development of Spanish Caribbean (or Latin American) literature?
• What considerations and distinctions need to be taken into account when examining the Spanish Caribbean diasporas and its literary and cultural manifestations?
> Travel, Exile, Immigrant (6/15/07; collection)
How did Romantic period writers use objects to enter debates on revolution and comment upon the political situation, both in France and at home? To what extent did writing about objects re/define the Revolution? In what ways did these writers employ objects to gain political influence or establish public roles for themselves? How did objects persuade readers to buy into revolutionary views, and were objects also vilified as mere commodities to dissuade such ideas? How were texts about objects, and the objects themselves, circulated across national boundaries to help spread revolution? To what extent did texts about objects themselves become revolutionary objects for sale in the literary marketplace?
> Romantic Writers and Revolutionary Objects (6/1/07; ICR 10/18/07-10/21/07)
~ Who is self and who is other?
~ How to account for social membership and cultural identity?
~ What does it mean, today, to belong to a nation?
~ Are we living post-national realities?
~ What is the place of cultural claims in today’s forms of social membership?
~ Who am I if not the relation with others?
~ What is shared from cultures? How are cultures shared? Who has access to the sharing of cultures?
~ Living in a context with the cultural markers of a different context: Is that transculturalism?
~ What to do with historically old concepts like tolerance, acceptance and hospitality?
~ Should not we all be strangers? Should not we all be foreigners?
~ Is there any use for cosmopolitanism these days?
> Multiculturalism, Conflict and Belonging (UK) (5/25/07; 9/3/07-9/5/07)
How is gendered experience expressed through non-conventional texts and how might diverse literary strategies express or enact cultural resistance? What are the challenges of linguistic, formal, aesthetic innovation in terms of 'accessibility' and charges of elitism? How does contemporary women's writing address current conceptualizations of the body (citizen) in relation to nation or state?
> Transnationalism and Resistance (9/15/07; collection)
The question remains if, by its demise, BtVS turned all television series into potential Buffys. Is there a 'before and after' to television series, with BtVS occupying the point of transition? What are Buffy's successors? What are Buffy's predecessors? Have television series become Whedonesque? Is 'quality television' synonymous with Whedonesque? What is Whedonesque?
> Buffy Hereafter (Turkey) (6/15/07; 10/17/07)
How do poets reconstitute place––communal and psychic––along the axis of a working class, urban elite or middle class sensibility? Rethinking the gendered consumption of locality, how do poets reimagine the subgenre of the prospect poem and thereby undercut a
tradition of masculine aspirations including mastery, political authority and privileged vision? What are the consequences of travel and the consequences of staying home?
> Composing Place in a National Context (5/3/07; MSA, 11/1/07-11/4/07)
It seems almost as if the visual arts have reached the point that architecture arrived at in the early twentieth century, and now an auteurist concept of the architect genius has grabbed the public imagination so that we speak with few cautions of buildings as ‘art-works’. How much are these matters necessarily linked? To what extent is there an implicit ‘system’ of the arts, a ‘differential specificity’ of which Rosalind Krauss writes with regard to media in the visual arts? And how much should we understand the dynamics of such a system historically?
What is architecture, now, among the ‘system of the arts’?
> Architecture, Disciplinarity and the Arts (Australia) (5/15/07; 8/17/07-8/18/07)
Who are the writers we return to? And for what reasons? How do writers enter an alternative form of mentorship with writers they've only met on the page?
> Alternative Mentoring for People of Color (4/24/07; AWP, 1/30/08-2/2/08)
cultural uses of pleasure and what risks attend overindulgence in pleasure; how can pleasure lead or metamorphose into such dysphoric states as madness, hysteria, hypochondria, and addiction for writers of this era? What are the risks that attend the communication of pleasure?
> Communicable Pleasures (4/23/07; CSECS, 10/17/07-10/20/07)
-Religion
What variety of religions rose in popularity because of the New Age?
How has Christianity incorporated the New Age Movement?
-Medical treatments
What medical treatments have developed in response to the New Age Movement?
What relaxation techniques are associated with the Movement? Has meditation and massage increased in popularity? How is yoga used in the daily life of the culture?
-Architecture
How do current architecture projects incorporate the New Age Movement and approach into building design?
Are intentional communities a result of the New Age Movement?
-Ethics of the New Age
Have business practices and patterns changed because of the New Age mentality?
-Does the New Age really exist or is it a farce?
-Is the term "New Age Movement" an applicable term? Should a new term such as Mind/Body/Spirit industry be added to the lexicon instead of the term New Age Movement?
-Food and Farming
How has farming practices changed to incorporate the New Age Movement?
Has the New Age Movement spawned holistic and organic grocery stores such as Whole Foods?
> CFP: New Age Movement in Popular Culture (11/15/07; SW/TX PCA/ACA, 2/13/08-2/16/08)
How do we meet the needs of students who are more skilled on a computer than we are? In what ways are canonical texts merging into media and attracting student attention? How does employing multi-modal techniques help teachers reach students? What can be the benefit of pairing multicultural subjects with these techniques? How can graphic novels, online texts, books on CD, blogs, email, wikis, teleconferencing, digital technologies, etc. be beneficial to teachers?
> The Multi-modal, Multimedia, Multicultural Classroom (7/10/07; journal issue)
* What is the role of historical research and critical reflection in art, design and architectural practice?
* How is historical research and critical reflection in art, design and architecture informed by debates around leisure and commodification, pleasure and sensation, technology and mobility?
* How is historical research in art, design and architecture manifest in independent practice, study beyond the academy, cultural criticism and journalism?
> The Past in the Present (UK) (5/1/07; 10/26/07-10/29/07)
Helene Cixous encourages women to "write through their bodies" as a return to embodiment purloined by male authors. But what happens when female authors write differently sexed or gendered bodies? Do representations of othered bodies conform to or challenge stereotypes? In short, what can we learn from women who write (about) men?
> Women Writing Men since 1900 (6/4/07; 20th-C., 2/21/08-2/23/08)
If, as Anderson says, nationalism is based on the idea of an imagined community, what exactly is a community and how does it relate to and complicate notions of national identity?
> Textual Nationalism(s): History, Community, Identity (grad) (8/15/07; 10/19/07-10/20/07)
What are the relationships between narrative and Lacan’s symbolic subject? What are the possibilities of understanding the basic principles of Lacan through children’s narrative? Can familiar tales help elucidate the complexities of theory? Can children’s texts be better understood as formative narratives using Lacan’s theory of subject formation? Do we risk reductive readings of both Lacan and children’s narrative through this method of analysis?
> A Lacan Primer (5/30/07; collection)
* How has living abroad informed the writer’s creative processes?
• How do authors theorize about movement, displacement, or dislocation?
• What contact has the writer had with other authors while abroad? Did he or she participate in foreign or native literary movements, artistic circles, and/or creative trends?
• How is the literature written by those authors received abroad and at home? Are there important differences in reception?
• Does time abroad lead writers to reject or to embrace foreign, hegemonic ideologies and literary forms?
• Does time abroad lead authors to revive local and regional aspects of (Spanish) Caribbean (or Latin American) culture so as to distinguish it from foreign models?
• Does time abroad raise concerns of authority and authenticity among readers at home and/or in the host culture?
• How does the writer address and/or overcome the “anxiety of influence” that can result from living abroad?
• How does the condition of travel, exile, or (im)migration inform the literature of Spanish Caribbean authors and what distinctions should be made between these “conditions?”
• What are the effects the processes of (1) travel and return, (2) exile and return, (3) permanent exile and foreign assimilation, (4) migration and return, or (5) immigration and foreign assimilation on the development of Spanish Caribbean (or Latin American) literature?
• What considerations and distinctions need to be taken into account when examining the Spanish Caribbean diasporas and its literary and cultural manifestations?
> Travel, Exile, Immigrant (6/15/07; collection)
How did Romantic period writers use objects to enter debates on revolution and comment upon the political situation, both in France and at home? To what extent did writing about objects re/define the Revolution? In what ways did these writers employ objects to gain political influence or establish public roles for themselves? How did objects persuade readers to buy into revolutionary views, and were objects also vilified as mere commodities to dissuade such ideas? How were texts about objects, and the objects themselves, circulated across national boundaries to help spread revolution? To what extent did texts about objects themselves become revolutionary objects for sale in the literary marketplace?
> Romantic Writers and Revolutionary Objects (6/1/07; ICR 10/18/07-10/21/07)
~ Who is self and who is other?
~ How to account for social membership and cultural identity?
~ What does it mean, today, to belong to a nation?
~ Are we living post-national realities?
~ What is the place of cultural claims in today’s forms of social membership?
~ Who am I if not the relation with others?
~ What is shared from cultures? How are cultures shared? Who has access to the sharing of cultures?
~ Living in a context with the cultural markers of a different context: Is that transculturalism?
~ What to do with historically old concepts like tolerance, acceptance and hospitality?
~ Should not we all be strangers? Should not we all be foreigners?
~ Is there any use for cosmopolitanism these days?
> Multiculturalism, Conflict and Belonging (UK) (5/25/07; 9/3/07-9/5/07)
How is gendered experience expressed through non-conventional texts and how might diverse literary strategies express or enact cultural resistance? What are the challenges of linguistic, formal, aesthetic innovation in terms of 'accessibility' and charges of elitism? How does contemporary women's writing address current conceptualizations of the body (citizen) in relation to nation or state?
> Transnationalism and Resistance (9/15/07; collection)
The question remains if, by its demise, BtVS turned all television series into potential Buffys. Is there a 'before and after' to television series, with BtVS occupying the point of transition? What are Buffy's successors? What are Buffy's predecessors? Have television series become Whedonesque? Is 'quality television' synonymous with Whedonesque? What is Whedonesque?
> Buffy Hereafter (Turkey) (6/15/07; 10/17/07)
How do poets reconstitute place––communal and psychic––along the axis of a working class, urban elite or middle class sensibility? Rethinking the gendered consumption of locality, how do poets reimagine the subgenre of the prospect poem and thereby undercut a
tradition of masculine aspirations including mastery, political authority and privileged vision? What are the consequences of travel and the consequences of staying home?
> Composing Place in a National Context (5/3/07; MSA, 11/1/07-11/4/07)
It seems almost as if the visual arts have reached the point that architecture arrived at in the early twentieth century, and now an auteurist concept of the architect genius has grabbed the public imagination so that we speak with few cautions of buildings as ‘art-works’. How much are these matters necessarily linked? To what extent is there an implicit ‘system’ of the arts, a ‘differential specificity’ of which Rosalind Krauss writes with regard to media in the visual arts? And how much should we understand the dynamics of such a system historically?
What is architecture, now, among the ‘system of the arts’?
> Architecture, Disciplinarity and the Arts (Australia) (5/15/07; 8/17/07-8/18/07)
Who are the writers we return to? And for what reasons? How do writers enter an alternative form of mentorship with writers they've only met on the page?
> Alternative Mentoring for People of Color (4/24/07; AWP, 1/30/08-2/2/08)
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