Postmodern CriticCFP Mash #4
May 18th 2007 23:53
The idea about our pivotal theme 'Theatres of Resistance' stemmed from a genuine interest in theatre˘s ideological efficacy; can theatre effectively challenge and/or change social institutions? Are the terms 'theatres of resistance' and 'political theatre' synonymous? Can theatre shake up the complacency of the audience and disrupt their habitual role as spectators/consumers?
> Platform eJournal of Theatre & Performing Arts: Reception (grad) (8/15/07; e-journal issue
How and why do literary genres emerge and change within and against fields of cultural production? Or, alternately: how and why do social discourses shape distinctive modes and forms of literary art? Or, antithetically: how and why do literary works evade generic/modal classifications and cultural narratives? Beyond such chiastic formulations, what other factors (e.g., audience, gender, identity, occasion, politics) also contribute to the synergy between
genres and cultures?
> APPOSITIONS, Studies in Renaissance / Early Modern Literature and Culture; Volume 1, Genres and Cultures (9/1/07; 12/1/07; 3/1/08; online journal)
How do the formal components of romance reflect global systems? How do romancers populate
their romance globes? How do romances both create and transcend vernaculars through composition and translation?
> Global Romance (5/20/07; RSA, 4/3/08-4/5/08)
Who is Black and who is White in U.S. literature? When is someone from the Asian continent an "other" or an "American"? Where do Latino and other characterization of dark-skinned immigrants fit in a literary tradition previously dominated by the "one-drop" definition of Black?
> Race and Literature in the United States (9/15/07; NEMLA, 5/11/08-5/13/08)
How does race operate in the rhetoric and discourses of writing center scholarship? How do
constructions of race shape the culture of literacy in the academy and the writing center? How do practitioners' and writers' racial identities influence their interactions in the center? How does the writing center cooperate, however unintentionally, in racist practices? How can we carry out needed changes—in our discourses and in our centers—illuminated by these discussions?
> Race in Writing Center Discourse and Practice (7/15/07; journal issue)
How is fear negotiated through literature and other art forms? Are fear and power inextricably linked? Finally, how can an analysis of fear help us to more fully understand larger collective institutions, whether that be family, community or country?
> Reading Fear (grad) (6/15/07; 11/8/07-11/10/07)
How has German culture reinvented itself through fantasy films? How has German SF, as a genre, reacted to the politics, the technology, popular culture and of its day?
> "Fantastisch" - German Science-Fiction Films Area (11/1/07; Film & History, 10/30/08-11/2/08)
Thomas Pynchon’s newest novel, _Against the Day_ (New York: Penguin, 2006), returns his readers to a familiar state of delight and befuddlement: how to understand and parse a book so massive and laden with esoterica?
> Thomas Pynchon's Against the Day (9/15/07; NEMLA, 4/10/08-4/13/08)
What positive value does nostalgia have? Does nostalgia merely idealize the good old days or does it reveal a more complicated picture of our investments in the past? Does it represent a yearning for a way to adequately represent loss? Or does it merely represent, as Frederic Jameson has argued, a crisis of history? Are there various types of nostalgia? Can nostalgia be a critical tool that can help us critique present problems and ways of being? In what way(s) does nostalgia reveal how memory works? Has recent criticism itself been nostalgic? How does nostalgia help create meaningful cultural and personal spaces? How does nostalgia conflate space and time and raise questions of historicity, the nation-state, and
utopian projection and promise?
> Critical Nostalgia (9/15/07; NEMLA, 4/10/08-4/13/08)
Can revolution and evolution coexist?
What is the nature of cultural R/Evolution? Can art change the world? Can the Arts and Humanities produce radical new knowledge? How can the effects of material and ideological change be traced? How do traditional research fields or areas approach changes in research theory and methodology? Can interdisciplinary methods in research better record innovation and change? How do R/Evolutions impact society and those who write about it?
> R/Evolutions: Mapping Culture, Community, and Change (grad) (UK) (7/15/07; 10/19/07-10/21/07)
Does cultural memory rely on memories of individuals and thus on cognitive principles, or does it take shape beyond the borders of the individual mind? What do stereotypes of Irish memory as extensive, unforgiving, begrudging, but also blank on particular, usually traumatic,
subjects reveal about the ways in which cultural remembrance works in contemporary Irish culture, and in Irish diasporic culture? Might 'Irish cultural memory' be said to differ from one time to another, from one place to another, or does something remain constant within the sphere of cultural memory?
> Joyce and Cultural Memory (7/31/07; collection)
How do we use humor in the classroom and in our writing and for what purposes? What are the benefits of employing humor and creating joy? What place do humor and joy have in view of the serious moral and political dilemmas we face today? In what ways are we performers,
balancing the tragic and the comic on the improvisational stage of the classroom? Are we willing to laugh at ourselves? How do we employ satire? How can the use of humor subvert power structures? What insights can you share about the significance of humor and/or joy in your pedagogy and your strategies for exploring contemporary humor, including comedic acts and films, with your students? What projects and activities do you create that give students the opportunity to laugh and enjoy their learning experiences? How do your students respond to such opportunities? What critical thinking strategies come into play in such endeavors?
> Humor, Joy, and Performance (9/10/07; MCEA, 10/12/07)
> Platform eJournal of Theatre & Performing Arts: Reception (grad) (8/15/07; e-journal issue
How and why do literary genres emerge and change within and against fields of cultural production? Or, alternately: how and why do social discourses shape distinctive modes and forms of literary art? Or, antithetically: how and why do literary works evade generic/modal classifications and cultural narratives? Beyond such chiastic formulations, what other factors (e.g., audience, gender, identity, occasion, politics) also contribute to the synergy between
> APPOSITIONS, Studies in Renaissance / Early Modern Literature and Culture; Volume 1, Genres and Cultures (9/1/07; 12/1/07; 3/1/08; online journal)
How do the formal components of romance reflect global systems? How do romancers populate
their romance globes? How do romances both create and transcend vernaculars through composition and translation?
> Global Romance (5/20/07; RSA, 4/3/08-4/5/08)
Who is Black and who is White in U.S. literature? When is someone from the Asian continent an "other" or an "American"? Where do Latino and other characterization of dark-skinned immigrants fit in a literary tradition previously dominated by the "one-drop" definition of Black?
> Race and Literature in the United States (9/15/07; NEMLA, 5/11/08-5/13/08)
How does race operate in the rhetoric and discourses of writing center scholarship? How do
constructions of race shape the culture of literacy in the academy and the writing center? How do practitioners' and writers' racial identities influence their interactions in the center? How does the writing center cooperate, however unintentionally, in racist practices? How can we carry out needed changes—in our discourses and in our centers—illuminated by these discussions?
> Race in Writing Center Discourse and Practice (7/15/07; journal issue)
How is fear negotiated through literature and other art forms? Are fear and power inextricably linked? Finally, how can an analysis of fear help us to more fully understand larger collective institutions, whether that be family, community or country?
> Reading Fear (grad) (6/15/07; 11/8/07-11/10/07)
How has German culture reinvented itself through fantasy films? How has German SF, as a genre, reacted to the politics, the technology, popular culture and of its day?
> "Fantastisch" - German Science-Fiction Films Area (11/1/07; Film & History, 10/30/08-11/2/08)
Thomas Pynchon’s newest novel, _Against the Day_ (New York: Penguin, 2006), returns his readers to a familiar state of delight and befuddlement: how to understand and parse a book so massive and laden with esoterica?
> Thomas Pynchon's Against the Day (9/15/07; NEMLA, 4/10/08-4/13/08)
What positive value does nostalgia have? Does nostalgia merely idealize the good old days or does it reveal a more complicated picture of our investments in the past? Does it represent a yearning for a way to adequately represent loss? Or does it merely represent, as Frederic Jameson has argued, a crisis of history? Are there various types of nostalgia? Can nostalgia be a critical tool that can help us critique present problems and ways of being? In what way(s) does nostalgia reveal how memory works? Has recent criticism itself been nostalgic? How does nostalgia help create meaningful cultural and personal spaces? How does nostalgia conflate space and time and raise questions of historicity, the nation-state, and
utopian projection and promise?
> Critical Nostalgia (9/15/07; NEMLA, 4/10/08-4/13/08)
Can revolution and evolution coexist?
What is the nature of cultural R/Evolution? Can art change the world? Can the Arts and Humanities produce radical new knowledge? How can the effects of material and ideological change be traced? How do traditional research fields or areas approach changes in research theory and methodology? Can interdisciplinary methods in research better record innovation and change? How do R/Evolutions impact society and those who write about it?
> R/Evolutions: Mapping Culture, Community, and Change (grad) (UK) (7/15/07; 10/19/07-10/21/07)
Does cultural memory rely on memories of individuals and thus on cognitive principles, or does it take shape beyond the borders of the individual mind? What do stereotypes of Irish memory as extensive, unforgiving, begrudging, but also blank on particular, usually traumatic,
subjects reveal about the ways in which cultural remembrance works in contemporary Irish culture, and in Irish diasporic culture? Might 'Irish cultural memory' be said to differ from one time to another, from one place to another, or does something remain constant within the sphere of cultural memory?
> Joyce and Cultural Memory (7/31/07; collection)
How do we use humor in the classroom and in our writing and for what purposes? What are the benefits of employing humor and creating joy? What place do humor and joy have in view of the serious moral and political dilemmas we face today? In what ways are we performers,
balancing the tragic and the comic on the improvisational stage of the classroom? Are we willing to laugh at ourselves? How do we employ satire? How can the use of humor subvert power structures? What insights can you share about the significance of humor and/or joy in your pedagogy and your strategies for exploring contemporary humor, including comedic acts and films, with your students? What projects and activities do you create that give students the opportunity to laugh and enjoy their learning experiences? How do your students respond to such opportunities? What critical thinking strategies come into play in such endeavors?
> Humor, Joy, and Performance (9/10/07; MCEA, 10/12/07)
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