Postmodern CriticCFP Mash #6
May 21st 2007 06:39
In what ways has leisure participated in shaping knowledge? What exactly is the ontological
status of leisure in the 18th century? Is it a host of recreational activities or does it genuinely create new matters of inquiry? In this context, and along the lines of Dr Johnson's observation, the relation between 'prodesse' and 'delectare' should be negotiated: are the concepts 'prodesse' and 'delectare' relevant in the way that leisure activities present themselves or are presented? How does the opposition of 'otium' and 'negotium' inform and configure leisure activities?
> Leisure and the Making of Knowledge in 18th-century Europe (Germany) (3/16/07; 10/31/07-11/2/07)
How do historians of various political persuasions use political ideas and ideologies to understand the past? How do political ideologies conceived in the present shape history as an object and a practice? The crisis of Marxist history is well known. Have other political appropriations of the past--conservative, liberal, feminist, black radical, and so forth--undergone analogous turmoil? How have postmodern and postcolonial perspectives affected the deployment of political ideologies to understand and construct the past? What is the future of historical work on marginalized and subjugated peoples?
> Liberalism, Conservatism, Radicalism, and Historical Materialism (4/15/07; journal issue)
A second direction is to locate O'Neill's progressive "identity" within his time. For example, while now the tendency is to read O'Neill as part of the Modernist canon of writers, the avant-garde Provincetown Players adopted an ironic attitude towards Modernism. Thus, what does such irony say about the relationship between the avant-garde and Modernism? Further, how politically radical and how "bohemian" was O'Neill, in fact, especially as compared with the "radicals" of those he came in contact with during his early years-e.g., Benjamin Tucker, Emma Goldman, Jack Reed, and Louise Bryant?
> Bohemians, Radicals, Progressives, and Lefties: Eugene O'Neill and His Contemporaries (3/30/07; collection)
Papers might address why Japanese artists whose kawaii ('cute') art depicts children or children's literature references are receiving international recognition and top auction prices
when all other Japanese artists are virtually ignored. How does this change North American conceptions of multiculturalism? How and why are countries including Korea, China, France, and the United States consuming kawaii Japanese artists/products so happily and then changing these artists/products? How is this proliferation changing children's culture production and conceptions of "the child" internationally?
> Japanese 'Cute' Children's Culture 1995-Now (3/15/07; MLA '07)
Why have artistic works been censored throughout history, and why, in countries that pride themselves on freedom of speech like Canada and the U.S., do they continue to be? Have the reasons for censoring texts changed over history, or do they remain essentially the same? Who exactly are the "boob[s] and bigot[s]" that censor texts? Are there instances where O'Neill's characterization of the censor is too narrow-minded or even inappropriate? Are there cases where censorship is appropriate or justifiable? Can suppression act as an influence for creative expression or re-presentation?
> Expression, Suppression, and Censorship (6/1/07; 9/21/07-9/22/07)
What qualifies me as a translator of poetry?
> Poetry and Translation (6/15/07; journal issue)
What are the ramifications for import/export in the art world?
> Octopus: A Visual Studies Journal: Import/Export (4/15/07; journal issue)
Beyond the widely circulated pictures of jubilant kids dancing to the terrible beauty (to use a terribly memorable phrase from W.B. Yeats Easter, 1916) of commercial planes diving into the Twin Towers, what do we know about the Arab peoples reactions to 9/11? How have Arab public intellectuals, (diasporic) writers, artists, filmmakers, media and iconic cultural figures responded to 9/11 and to the ongoing war on terror? Has there been a coherent Arab intellectual response to 9/11 and its repercussions? Has that response been heard and reckoned with by audiences across the globe? More specifically, what are the broad strokes of such a response, if there is one, and what are its particular impulses and nuanced engagements?
> Narratives of 9/11: The Arab World and its Diasporas (3/18/07; MLA '07)
Metafictional devices are usually associated with anti-mimetic impulses that break the realistic illusion of the fictional world. In what ways have these techniques been used to expand the potentials of the short story? How-—if at all-—can these narrative devices be seen to enhance the representational qualities of a work, instead of simply calling them into
question? In recent articles both Monika Fludernik and Ansgar Nünning insist on distinguishing between metafiction (the act of foregrounded the fictionality of a text) and metanarrative (a self-reflexive comment that does not undercut the mimetic illusion, emphasizing only the constructedness of the discourse). How can this distinction help in
revising our understanding of the self-reflexive impulse in the short story? In disrupting the mimetic or aesthetic illusion, do the techniques of metanarrative and metanarration (each in its own way? differently?) affect only the story being told or also the discourse that gives voice to this story? Is there a line to be drawn between the realistic effects of the levels of story and discourse? What is the relation of metanarrative and/or metafiction to parody? Are there ethical dimensions to these techniques?
> Revisiting Metafiction and Metanarrative (4/15/07; M/MLA, 11/8/07-11/11/07)
What does it mean to be human? Is there some form of inherent priority to the disciplinary
structures that present notions of the human? Do disciplines rest circularly upon one another for the conception of "human"? In which direction are the conceptions of the human developing? How do the ways in which we mediate the human reflect themselves in our conceptions? Does economics affect our conception of the human? Is there a Red Shift or a Blue Shift in the articulation of the human? In other words, are we coming closer to a unified perspective or are the conceptions becoming irretrievably separated? Is the old literary
conception of the human lost to scientific authority? If so, can we reshape the category of the human to make it viable again for literary and cultural studies? How have methodological practices affected our notions of ourselves?
> Framing the Human: Mediated Notions through the Disciplines (4/10/07; e-journal issue)
The act of mapping spaces simultaneously solidifies realities while also offering up the possibility for creative departure; what narratives subsist in the liminal space between the amorphous life experience and the reality of pen on paper?
> Mapping the Victorian Novel (grad): (2/11/07; NACBS, 11/9/07-11/11/07)
--How do literary and visual texts interact with the understanding and processing of individual and communal guilt?
--Are guilt and shame expressed in texts differently?
--Does the expression of guilt in literature and visual media differ depending on historical
setting, time of composition, or geographical setting?
--How do different disciplines (anthropology, sociology, psychoanalysis, religious studies,
holocaust studies, law) theorize guilt in similar or different ways?
--In what ways has literature and film been explicitly used to process, overcome, or deny
guilt?
> Hetero-Textual Guilt (3/15/07; MLA '07)
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?
> The Internet, Publishing, and the Future of Literature (3/31/07; ALSC, 10/12/07-10/14/07)
What makes one group different from another? Who defines those differences? What are the consequences of such definitions? To what degree do these definitions create opportunities for conflict and for peace? And why do differences between groups so often lead to collective forms of violence such as war, genocide, terrorism and ethnic cleansing?
> Multiculturalism, Pluralism and Globalization (3/8/07; 10/4/07-10/5/07)
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)
status of leisure in the 18th century? Is it a host of recreational activities or does it genuinely create new matters of inquiry? In this context, and along the lines of Dr Johnson's observation, the relation between 'prodesse' and 'delectare' should be negotiated: are the concepts 'prodesse' and 'delectare' relevant in the way that leisure activities present themselves or are presented? How does the opposition of 'otium' and 'negotium' inform and configure leisure activities?
> Leisure and the Making of Knowledge in 18th-century Europe (Germany) (3/16/07; 10/31/07-11/2/07)
How do historians of various political persuasions use political ideas and ideologies to understand the past? How do political ideologies conceived in the present shape history as an object and a practice? The crisis of Marxist history is well known. Have other political appropriations of the past--conservative, liberal, feminist, black radical, and so forth--undergone analogous turmoil? How have postmodern and postcolonial perspectives affected the deployment of political ideologies to understand and construct the past? What is the future of historical work on marginalized and subjugated peoples?
> Liberalism, Conservatism, Radicalism, and Historical Materialism (4/15/07; journal issue)
A second direction is to locate O'Neill's progressive "identity" within his time. For example, while now the tendency is to read O'Neill as part of the Modernist canon of writers, the avant-garde Provincetown Players adopted an ironic attitude towards Modernism. Thus, what does such irony say about the relationship between the avant-garde and Modernism? Further, how politically radical and how "bohemian" was O'Neill, in fact, especially as compared with the "radicals" of those he came in contact with during his early years-e.g., Benjamin Tucker, Emma Goldman, Jack Reed, and Louise Bryant?
> Bohemians, Radicals, Progressives, and Lefties: Eugene O'Neill and His Contemporaries (3/30/07; collection)
Papers might address why Japanese artists whose kawaii ('cute') art depicts children or children's literature references are receiving international recognition and top auction prices
when all other Japanese artists are virtually ignored. How does this change North American conceptions of multiculturalism? How and why are countries including Korea, China, France, and the United States consuming kawaii Japanese artists/products so happily and then changing these artists/products? How is this proliferation changing children's culture production and conceptions of "the child" internationally?
> Japanese 'Cute' Children's Culture 1995-Now (3/15/07; MLA '07)
Why have artistic works been censored throughout history, and why, in countries that pride themselves on freedom of speech like Canada and the U.S., do they continue to be? Have the reasons for censoring texts changed over history, or do they remain essentially the same? Who exactly are the "boob[s] and bigot[s]" that censor texts? Are there instances where O'Neill's characterization of the censor is too narrow-minded or even inappropriate? Are there cases where censorship is appropriate or justifiable? Can suppression act as an influence for creative expression or re-presentation?
> Expression, Suppression, and Censorship (6/1/07; 9/21/07-9/22/07)
What qualifies me as a translator of poetry?
> Poetry and Translation (6/15/07; journal issue)
What are the ramifications for import/export in the art world?
> Octopus: A Visual Studies Journal: Import/Export (4/15/07; journal issue)
Beyond the widely circulated pictures of jubilant kids dancing to the terrible beauty (to use a terribly memorable phrase from W.B. Yeats Easter, 1916) of commercial planes diving into the Twin Towers, what do we know about the Arab peoples reactions to 9/11? How have Arab public intellectuals, (diasporic) writers, artists, filmmakers, media and iconic cultural figures responded to 9/11 and to the ongoing war on terror? Has there been a coherent Arab intellectual response to 9/11 and its repercussions? Has that response been heard and reckoned with by audiences across the globe? More specifically, what are the broad strokes of such a response, if there is one, and what are its particular impulses and nuanced engagements?
> Narratives of 9/11: The Arab World and its Diasporas (3/18/07; MLA '07)
Metafictional devices are usually associated with anti-mimetic impulses that break the realistic illusion of the fictional world. In what ways have these techniques been used to expand the potentials of the short story? How-—if at all-—can these narrative devices be seen to enhance the representational qualities of a work, instead of simply calling them into
question? In recent articles both Monika Fludernik and Ansgar Nünning insist on distinguishing between metafiction (the act of foregrounded the fictionality of a text) and metanarrative (a self-reflexive comment that does not undercut the mimetic illusion, emphasizing only the constructedness of the discourse). How can this distinction help in
revising our understanding of the self-reflexive impulse in the short story? In disrupting the mimetic or aesthetic illusion, do the techniques of metanarrative and metanarration (each in its own way? differently?) affect only the story being told or also the discourse that gives voice to this story? Is there a line to be drawn between the realistic effects of the levels of story and discourse? What is the relation of metanarrative and/or metafiction to parody? Are there ethical dimensions to these techniques?
> Revisiting Metafiction and Metanarrative (4/15/07; M/MLA, 11/8/07-11/11/07)
What does it mean to be human? Is there some form of inherent priority to the disciplinary
structures that present notions of the human? Do disciplines rest circularly upon one another for the conception of "human"? In which direction are the conceptions of the human developing? How do the ways in which we mediate the human reflect themselves in our conceptions? Does economics affect our conception of the human? Is there a Red Shift or a Blue Shift in the articulation of the human? In other words, are we coming closer to a unified perspective or are the conceptions becoming irretrievably separated? Is the old literary
conception of the human lost to scientific authority? If so, can we reshape the category of the human to make it viable again for literary and cultural studies? How have methodological practices affected our notions of ourselves?
> Framing the Human: Mediated Notions through the Disciplines (4/10/07; e-journal issue)
The act of mapping spaces simultaneously solidifies realities while also offering up the possibility for creative departure; what narratives subsist in the liminal space between the amorphous life experience and the reality of pen on paper?
> Mapping the Victorian Novel (grad): (2/11/07; NACBS, 11/9/07-11/11/07)
--How do literary and visual texts interact with the understanding and processing of individual and communal guilt?
--Are guilt and shame expressed in texts differently?
--Does the expression of guilt in literature and visual media differ depending on historical
setting, time of composition, or geographical setting?
--How do different disciplines (anthropology, sociology, psychoanalysis, religious studies,
holocaust studies, law) theorize guilt in similar or different ways?
--In what ways has literature and film been explicitly used to process, overcome, or deny
guilt?
> Hetero-Textual Guilt (3/15/07; MLA '07)
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?
> The Internet, Publishing, and the Future of Literature (3/31/07; ALSC, 10/12/07-10/14/07)
What makes one group different from another? Who defines those differences? What are the consequences of such definitions? To what degree do these definitions create opportunities for conflict and for peace? And why do differences between groups so often lead to collective forms of violence such as war, genocide, terrorism and ethnic cleansing?
> Multiculturalism, Pluralism and Globalization (3/8/07; 10/4/07-10/5/07)
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)
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