postmoderncriticCFP Mash #3
May 18th 2007 01:58
What is the specificity of psychoanalytic knowledge and the psychoanalytic method? What is the relationship of psychoanalysis to other established and emerging disciplines and contemporary deployments of categories such as race, class, and power?
> The Analytic Scene: Translations and Transferences (grad) (4/9/07; 5/26/07)
In its own time the Haitian Revolution (1791-1803) was a cataclysmic event that rivaled the French Revolution in its impact upon the Americas and Europe. But has it received the same literary treatment as that contemporary European event? What did the Haitian Revolution mean in
the early nineteenth-century, and what does it mean now? Has its significance been repressed by black Atlantic and/or Western writers?
> Marginalizing the Haitian Revolution (5/15/07; SAMLA, 11/9/07-11/11/07)
. Did novels identify themselves with or for a particular class or for
gendered audiences? How did audiences respond to such strategies?
> Transatlantic Reception of the Novel (4/26/07; Reception Studies Society Conference, 9/27/07-9/29/07)
What are the roles, forms and conditions of representation and exclusion in our culture and its diverse media?
> Absence and Presence in Cultural Texts and Images (UK) (grad) (5/7/07; 6/20/07)
- How are so-called 'underground' texts (literature, film, music, etc.)
and their authors affected by mainstream approval? Why might an author/artist
choose to stay 'underground'?
- To what degree is the dynamic of citizen participation and exclusion
fundamental to the existence of the nation-state?
- What is "inside" a text, and what is "outside"? How do marginal notes, early
drafts, a writer's biography, her correspondence, etc., relate to the "finished"
text?
- What are the stakes of membership in a religious, political, social, or
ethnic group? Of exclusion? What is at stake when a non-member becomes a member
of these groups (or vice versa)?
- Higher education: bastion of the elite or motor of social advancement?
- Is the distinction between 'insiders and outsiders' a false dichotomy?
What are some ways this distinction might break down? Is there such a thing as
an intermediate or liminal position?
- How does technology unite or divide people?
- What is the relationship between works in the literary or religious canon
and marginal, dissident or apocryphal works?
- How are so-called 'minor' languages spoken by minority
groups inside countries like Spain, France, Italy, Switzerland, etc. faring
in artistic/literary production?
- Does a language's status as a minority dialect confer special status on
those who speak/write it? Or does such status doom a language's speakers to
existence on the margins?
- How do peripheries define the center (and vice versa)?
- How do public spaces (museums, monuments, parks, etc.) baptize the citizen
into the national family? What are the implications of presence in or absence
from such places?
- In an age that has seen increasing globalization and the advent of "virtual
space," what is the significance of national/regional boundaries? Are
boundaries, and hence categories like 'citizen,' 'resident,'
'immigrant,' etc. losing their relevance?
> Insiders and Outsiders (grad) (6/15/07; 9/21/07-9/22/07)
So how do we begin to position Sontag in the constellation of twentieth century writers and critics? How can we begin to craft her literary memory? What enduring insights does her work afford?
> Susan Sontag and American Letters (6/1/07; journal issue)
As the United States is so large, and with so many variances among our States in dialect and regional subcultures, how can the study of the English language be equitably achieved?
> Are Changing Attitudes and Altered Standards among the States Compromising the Equality of the Study of English for International Students? (4/30/07; SAMLA, 11/9/07-11/11/07)
Would that be why Eliot chose the content for
Pound?s first volume of Selected Poems in 1928? What motivates the author to choose one poem over another? This question leads to another, that of the influence of the readers on the author, as far as choice is concerned, for example in The Selected Poems of Langston Hughes (1959).
How does the selection allow both familiar readers to approach a poetic corpus with new insights and new readers to become initiates of the work? How do the new reader and the familiar reader of a poet negotiate the poems that are left out of the selection? How does a specific selection reveal or obfuscate an author's overall writing style or thematic choices?
What are the methods of structuring the selection?
For example, the table of contents from Levine begins "From On the Edge (1963)," "From Not This Pig (1968)," "From Red Dust (1971)," but some poets prefer to avoid chronological order and group the poems thematically.
What advantages or disadvantages does such structuring offer?
Are selected volumes the ideal pedagogical tool?
More recently, what makes Charles Bernsteins's choice of Louis Zukofsky in Selected Poems (2006) the perfect introduction to a poet many have found difficult?
To what extent does a volume of selected poems guarantee a poet a place in the canon of received contemporary poetry? When is the best time for a poet to make a selection of his or her work?
> Selected Poems from Modernism to NOW (France) (9/15/07; 3/13/08-3/15/08)
What role will the Internet play in publishing, scholarly research, cultural journalism, and literary commentary in general? Do bloggers have a role to play in cultural and literary discussion comparable to their developing importance in political reporting and argument? How will e-publishing affect scholarship, university presses, promotion and tenure? What will become of the book? How has it already affected the publication of monographs, journals, and scholarly editions? To what extent has it made literature and critical discussion more available? Has it advanced or undermined fundamental skills in reading and writing? Has it begun to affect how literary writers actually write?
> Inet, Publishing, Future of Lit (4/30/07; ALSC, 10/13/07)
Is transformation to be understood as a departure from an initial, original state (in which case how can one decide with any certainty that the “source” was THE original? Difficult questions related to creation and authorship arise then)? Is it, conversely, part of a continuum, i.e. of an uninterrupted / on-and-off process? Lastly, should it be regarded as a truly personal breakthrough, a “flash of inspiration”, or as a move that is always absorbed by collective interactions?
> "Cultural Transformations" in the English-speaking World (France) (5/30/07; 3/14/08-3/16/08)
> The Analytic Scene: Translations and Transferences (grad) (4/9/07; 5/26/07)
In its own time the Haitian Revolution (1791-1803) was a cataclysmic event that rivaled the French Revolution in its impact upon the Americas and Europe. But has it received the same literary treatment as that contemporary European event? What did the Haitian Revolution mean in
> Marginalizing the Haitian Revolution (5/15/07; SAMLA, 11/9/07-11/11/07)
. Did novels identify themselves with or for a particular class or for
gendered audiences? How did audiences respond to such strategies?
> Transatlantic Reception of the Novel (4/26/07; Reception Studies Society Conference, 9/27/07-9/29/07)
What are the roles, forms and conditions of representation and exclusion in our culture and its diverse media?
> Absence and Presence in Cultural Texts and Images (UK) (grad) (5/7/07; 6/20/07)
- How are so-called 'underground' texts (literature, film, music, etc.)
and their authors affected by mainstream approval? Why might an author/artist
choose to stay 'underground'?
- To what degree is the dynamic of citizen participation and exclusion
fundamental to the existence of the nation-state?
- What is "inside" a text, and what is "outside"? How do marginal notes, early
drafts, a writer's biography, her correspondence, etc., relate to the "finished"
- What are the stakes of membership in a religious, political, social, or
ethnic group? Of exclusion? What is at stake when a non-member becomes a member
of these groups (or vice versa)?
- Higher education: bastion of the elite or motor of social advancement?
- Is the distinction between 'insiders and outsiders' a false dichotomy?
What are some ways this distinction might break down? Is there such a thing as
an intermediate or liminal position?
- How does technology unite or divide people?
- What is the relationship between works in the literary or religious canon
and marginal, dissident or apocryphal works?
- How are so-called 'minor' languages spoken by minority
groups inside countries like Spain, France, Italy, Switzerland, etc. faring
in artistic/literary production?
- Does a language's status as a minority dialect confer special status on
those who speak/write it? Or does such status doom a language's speakers to
existence on the margins?
- How do peripheries define the center (and vice versa)?
- How do public spaces (museums, monuments, parks, etc.) baptize the citizen
into the national family? What are the implications of presence in or absence
from such places?
- In an age that has seen increasing globalization and the advent of "virtual
space," what is the significance of national/regional boundaries? Are
boundaries, and hence categories like 'citizen,' 'resident,'
'immigrant,' etc. losing their relevance?
> Insiders and Outsiders (grad) (6/15/07; 9/21/07-9/22/07)
So how do we begin to position Sontag in the constellation of twentieth century writers and critics? How can we begin to craft her literary memory? What enduring insights does her work afford?
> Susan Sontag and American Letters (6/1/07; journal issue)
As the United States is so large, and with so many variances among our States in dialect and regional subcultures, how can the study of the English language be equitably achieved?
> Are Changing Attitudes and Altered Standards among the States Compromising the Equality of the Study of English for International Students? (4/30/07; SAMLA, 11/9/07-11/11/07)
Would that be why Eliot chose the content for
Pound?s first volume of Selected Poems in 1928? What motivates the author to choose one poem over another? This question leads to another, that of the influence of the readers on the author, as far as choice is concerned, for example in The Selected Poems of Langston Hughes (1959).
How does the selection allow both familiar readers to approach a poetic corpus with new insights and new readers to become initiates of the work? How do the new reader and the familiar reader of a poet negotiate the poems that are left out of the selection? How does a specific selection reveal or obfuscate an author's overall writing style or thematic choices?
What are the methods of structuring the selection?
For example, the table of contents from Levine begins "From On the Edge (1963)," "From Not This Pig (1968)," "From Red Dust (1971)," but some poets prefer to avoid chronological order and group the poems thematically.
What advantages or disadvantages does such structuring offer?
Are selected volumes the ideal pedagogical tool?
More recently, what makes Charles Bernsteins's choice of Louis Zukofsky in Selected Poems (2006) the perfect introduction to a poet many have found difficult?
To what extent does a volume of selected poems guarantee a poet a place in the canon of received contemporary poetry? When is the best time for a poet to make a selection of his or her work?
> Selected Poems from Modernism to NOW (France) (9/15/07; 3/13/08-3/15/08)
What role will the Internet play in publishing, scholarly research, cultural journalism, and literary commentary in general? Do bloggers have a role to play in cultural and literary discussion comparable to their developing importance in political reporting and argument? How will e-publishing affect scholarship, university presses, promotion and tenure? What will become of the book? How has it already affected the publication of monographs, journals, and scholarly editions? To what extent has it made literature and critical discussion more available? Has it advanced or undermined fundamental skills in reading and writing? Has it begun to affect how literary writers actually write?
> Inet, Publishing, Future of Lit (4/30/07; ALSC, 10/13/07)
Is transformation to be understood as a departure from an initial, original state (in which case how can one decide with any certainty that the “source” was THE original? Difficult questions related to creation and authorship arise then)? Is it, conversely, part of a continuum, i.e. of an uninterrupted / on-and-off process? Lastly, should it be regarded as a truly personal breakthrough, a “flash of inspiration”, or as a move that is always absorbed by collective interactions?
> "Cultural Transformations" in the English-speaking World (France) (5/30/07; 3/14/08-3/16/08)
| 27 |
| Vote |
Subscribe to this blog
