postmoderncriticCFP Mash #7
May 22nd 2007 02:19
What can be gained by uniting normally separate fields of study? How does one decide which points of disciplinary intersection will yield the richest, most creative results?
What are the dangers of too much interdisciplinarity? At what point do comparative projects attempt to pull in so many theories, fields, languages, or literatures that they sacrifice intellectual focus or cohesion?
Are there rules for interdisciplinary approaches? What should the guidelines and basic requirements be to ensure that projects which draw upon multiple disciplines do so in an academically rigorous manner?
Does Comparative Literature need to involve literature at all? Can pieces of music, paintings, films, etc. serve as texts? Does replacing a language requirement with fluency in another discipline bring about a crisis that has the potential to redefine Comparative Literature?
If decentralisation, decolonisation, and globalization have brought about a change in the Eurocentric territorialisation of knowledge, does Comparative Literature need to renegotiate a space for itself?
> Navigating Interdisciplinarity (grad) (2/10/07; 3/16/07-3/17/07)
How do borders hinder or instigate dialogue? Is dialogue possible across historical periods and cultural divides? Who sets the rules of a dialogue? Has the creation of new academic disciplines truly widened the scope of dialogue? How can we bridge the divide between academic institutions and the population at large?
> Dialogue and Borders: Rethinking Latin America and the Caribbean (2/7/07; 4/27/07-4/28/07)
How might one construct a genealogy of African Marxism? How has Marxism influenced political, cultural, and theoretical developments on the continent? How have political, cultural, and theoretical developments in Africa shaped Marxism itself? Is Marxism useful for understanding recent developments on the continent?
> Marxism and Africa, Africa and Marxism (3/16/07; MLG-ICS, 6/20/07-6/24/07)
What are the major cultural, historical, and literary connections between Blacks of Africa and of the Diaspora? How did forcefully imposed relations between haves and have-nots across the regions where Black populations live shape the inequalities that are plaguing the Black world? What roles do racism and prejudice play in constraining Africana populations? How could such challenges be overcome?
> Innovative Connections of Africana Cultures, Issues, and Literatures: Special Issue of The Journal of Pan African Studies (4/30/07; journal issue)
How do texts register these dynamics through moments of improvisation? Is improvisation
incorporated into the received version of a genre or institutionalized as its own form? How do literary, dramatic, musical, and other kinds of texts deal with and even resist improvisation? Are some art forms or scenes of artistic production more conducive to improvisation than others? Does improvisation always push formal or generic boundaries? And how do we, as
critics in perhaps the most capacious of disciplines, make use of improvisation?
> Improvisation and Text (3/5/07; 4/5/07-4/7/07)
What are some ways that you challenge students in considering and analyzing the ideas of culture?
> Practical Approaches To Teaching Culture (3/1/07; RMMLA, 10/4/07-10/7/07)
What cultures in the United States might already be following Foucault's advice? Is this drug use done in the same spirit that Foucault suggests?
> Foucault and Drug Use (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
Considering the fact that many “fictional” books contain autobiographical details and that “nonfiction’s” claims to truth have been undercut by poststructuralist criticism of many stripes, has the fiction/ nonfiction binary been rendered useless?
Is there such a thing as fiction?
Is there such a thing as nonfiction?
> The Fiction of Nonfiction (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
Is English a viable postcolonial language? Where does the Asmara Declaration of 2000
stand today?
> Resistance to English in Anglophone Literature (3/15/07; MLA '07)
Institutions within the conference purview include: museums, festivals, the performing arts, sporting events, multicultural and/or ethnically specific celebrations, gigs and club nights, and tourist spectacles. Of special interest is the menu of activities available in specific localities at any given moment: Of what is this menu comprised? To whom is it offered? And at what cost?
* How is the knowledge of cultural programming produced in and through institutions?
* How does cultural programming produce knowledge?
* How do cultural institutions interpellate performative identities of race, class, gender and sexuality?
* How do we understand labor in the context of cultural events?
* What are the ideological stakes of cultural programming and what is its political economy?
* What kind of subject and desire does cultural programming produce?
> Creative Writing Theory (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
Does critical theory have a place in creative writing studies?
How is teaching theory to creative writers beneficial?
Barthes/ Cixous/ Derrida and others on authorship.
Where do creative texts come from?
> Creative Writing Theory (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
This is a call for papers that address the topic of gay masculinity. Can there be such a thing, or rather, are there many types of masculinities or is there only one masculinity? Must a gay masculinity (which is usually labeled as inadequate or excessive) always be defined against the heteronormative definition of what is masculine?
> Gay Masculinity (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
What is a gay/lesbian novel? How is this defined? Is it more useful to use the term "queer," or does this erase the constructed identity that gay/lesbian implies?
> The Gay/Lesbian Novel (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
How do ideas interact in different fields of cultural production?
Where do those threads cross and what happens when they meet? What voices are on the margins of the conversation? How do parallel topics mirror each other and what is the effect of this relationship?
> Intersections, Marginality, and Parallels in Cultural Production (grad) (2/7/07; 3/9/07-3/10/07)
What are the dangers of too much interdisciplinarity? At what point do comparative projects attempt to pull in so many theories, fields, languages, or literatures that they sacrifice intellectual focus or cohesion?
Are there rules for interdisciplinary approaches? What should the guidelines and basic requirements be to ensure that projects which draw upon multiple disciplines do so in an academically rigorous manner?
Does Comparative Literature need to involve literature at all? Can pieces of music, paintings, films, etc. serve as texts? Does replacing a language requirement with fluency in another discipline bring about a crisis that has the potential to redefine Comparative Literature?
If decentralisation, decolonisation, and globalization have brought about a change in the Eurocentric territorialisation of knowledge, does Comparative Literature need to renegotiate a space for itself?
> Navigating Interdisciplinarity (grad) (2/10/07; 3/16/07-3/17/07)
How do borders hinder or instigate dialogue? Is dialogue possible across historical periods and cultural divides? Who sets the rules of a dialogue? Has the creation of new academic disciplines truly widened the scope of dialogue? How can we bridge the divide between academic institutions and the population at large?
> Dialogue and Borders: Rethinking Latin America and the Caribbean (2/7/07; 4/27/07-4/28/07)
How might one construct a genealogy of African Marxism? How has Marxism influenced political, cultural, and theoretical developments on the continent? How have political, cultural, and theoretical developments in Africa shaped Marxism itself? Is Marxism useful for understanding recent developments on the continent?
> Marxism and Africa, Africa and Marxism (3/16/07; MLG-ICS, 6/20/07-6/24/07)
What are the major cultural, historical, and literary connections between Blacks of Africa and of the Diaspora? How did forcefully imposed relations between haves and have-nots across the regions where Black populations live shape the inequalities that are plaguing the Black world? What roles do racism and prejudice play in constraining Africana populations? How could such challenges be overcome?
> Innovative Connections of Africana Cultures, Issues, and Literatures: Special Issue of The Journal of Pan African Studies (4/30/07; journal issue)
How do texts register these dynamics through moments of improvisation? Is improvisation
incorporated into the received version of a genre or institutionalized as its own form? How do literary, dramatic, musical, and other kinds of texts deal with and even resist improvisation? Are some art forms or scenes of artistic production more conducive to improvisation than others? Does improvisation always push formal or generic boundaries? And how do we, as
critics in perhaps the most capacious of disciplines, make use of improvisation?
> Improvisation and Text (3/5/07; 4/5/07-4/7/07)
What are some ways that you challenge students in considering and analyzing the ideas of culture?
> Practical Approaches To Teaching Culture (3/1/07; RMMLA, 10/4/07-10/7/07)
What cultures in the United States might already be following Foucault's advice? Is this drug use done in the same spirit that Foucault suggests?
> Foucault and Drug Use (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
Considering the fact that many “fictional” books contain autobiographical details and that “nonfiction’s” claims to truth have been undercut by poststructuralist criticism of many stripes, has the fiction/ nonfiction binary been rendered useless?
Is there such a thing as fiction?
Is there such a thing as nonfiction?
> The Fiction of Nonfiction (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
Is English a viable postcolonial language? Where does the Asmara Declaration of 2000
stand today?
> Resistance to English in Anglophone Literature (3/15/07; MLA '07)
Institutions within the conference purview include: museums, festivals, the performing arts, sporting events, multicultural and/or ethnically specific celebrations, gigs and club nights, and tourist spectacles. Of special interest is the menu of activities available in specific localities at any given moment: Of what is this menu comprised? To whom is it offered? And at what cost?
* How is the knowledge of cultural programming produced in and through institutions?
* How does cultural programming produce knowledge?
* How do cultural institutions interpellate performative identities of race, class, gender and sexuality?
* How do we understand labor in the context of cultural events?
* What are the ideological stakes of cultural programming and what is its political economy?
* What kind of subject and desire does cultural programming produce?
> Creative Writing Theory (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
Does critical theory have a place in creative writing studies?
How is teaching theory to creative writers beneficial?
Barthes/ Cixous/ Derrida and others on authorship.
Where do creative texts come from?
> Creative Writing Theory (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
This is a call for papers that address the topic of gay masculinity. Can there be such a thing, or rather, are there many types of masculinities or is there only one masculinity? Must a gay masculinity (which is usually labeled as inadequate or excessive) always be defined against the heteronormative definition of what is masculine?
> Gay Masculinity (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
What is a gay/lesbian novel? How is this defined? Is it more useful to use the term "queer," or does this erase the constructed identity that gay/lesbian implies?
> The Gay/Lesbian Novel (grad) (2/16/07; (dis)junctions, 4/6/07-4/7/07)
How do ideas interact in different fields of cultural production?
Where do those threads cross and what happens when they meet? What voices are on the margins of the conversation? How do parallel topics mirror each other and what is the effect of this relationship?
> Intersections, Marginality, and Parallels in Cultural Production (grad) (2/7/07; 3/9/07-3/10/07)
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