The place and dates for NEPCA’s annual conference have been finalized for 2016. NEPCA will meet on the campus of Keene State College in Keene, New Hampshire on Friday October 21 and Saturday October 22, 2016.
Periodic updates and information will be made on this site and can be viewed by clicking on the Fall Conference tab above.
On Thursday, February 11, at 2pm Eastern U.S. time. the Football Scholars Forum is holding an online discussion of The Ugly Game: The Corruption of FIFA and the Qatari Plot to Buy the World Cup by Heidi Blake and Jonathan Calvert.
Blake and Calvert’s book draws on terabytes of leaked FIFA files received from a confidential source to explain how Qatar won the bid competiton to host the 2022 World Cup. The two British investigative reporters focus on the actions of Mohamed Bin Hammam, the Qatari businessman and now-banned FIFA Executive Committee member. The book sheds new light on specific individuals and actions, as well as the Machiavellian nature of international football governance. It also raises many important questions about FIFA governance and structure. With the special presidential election set for February 26 in Zurich, the Football Scholars Forum’s discussion of The Ugly Game should help spark a timely discussion about a post-Blatter FIFA and whether its new leadership will bring about meaningful and long-lasting institutional transformation.
For more information about the Football Scholars Forum and to join the February 11 online conversation, email Alex Galarza (firstname.lastname@example.org).
The American Antiquarian Society’s 2016 Center for Historic American Visual Culture Summer Seminar will run from July 11-16, on the topic “Seeing Nature: The Environment in American Visual Culture to 1900.” The seminar will be led by Kathryn Morse, Professor of History and Environmental Studies at Middlebury College, and Jon Coleman, Professor of History at the University of Notre Dame. Applications are due March 14, 2016. Further details are available at http://www.americanantiquarian.org/2016-chavic-summer-seminar.
The 2016 CHAViC seminar will address environmental history through visual culture. Through workshops, lectures, and field trips participants will learn how to see history in nature and nature in history. The seminar is open to both beginning and senior scholars across multiple disciplines. Seminar participants will together explore American environmental history as a way to understand evolving cultural, social, racial, gender, public health and economic ideologies in early America. Participants will have the opportunity to learn from the extraordinary collections at AAS, including prints, political cartoons, photographs, book illustrations, agricultural journals, newspapers, periodicals, and ephemera of all kinds. Topics will include ideas of culture and nature in representations of animals, forests, rivers, agricultural and pastoral landscapes, cities, industrial sites, parks, and the rural cemetery movement.
Director, Center for Historic American Visual Culture
American Antiquarian Society
2016 James P. Danky Fellowship
Applications are due May 1.
In honor of James P. Danky’s long service to print culture scholarship, the University of Wisconsin-Madison’s Center for the History of Print and Digital Culture, in conjunction with the Wisconsin Historical Society, is again offering its annual short-term research fellowship (http://www.slis.wisc.edu/chpcdanky.htm).
The Danky Fellowship provides $1000 in funds for one individual planning a trip to carry out research using the collections of the Wisconsin Historical Society (please see details of the collections at http://www.wisconsinhistory.org/libraryarchives/collections/). Grant money may be used for travel to the WHS, costs of copying pertinent archival resources, and living expenses while pursuing research here. If in residence during the semester, the recipient will be expected to give a presentation as part of the colloquium series of the Center for the History of Print and Digital Culture (http://www.slis.wisc.edu/chpchome.htm).
Preference will be given to:
-proposals undertaking research in print culture history
-research likely to lead to publication
-researchers early in their career
-researchers from outside Madison
Prior to applying it is strongly suggested that applicants contact Lee Grady at the Wisconsin Historical Society (email@example.com or 608-264-6459) to discuss the relevancy of WHS collections to their projects. Wisconsin Historical Society staff may be able to identify potential collections of which you may not otherwise be aware.
There is no application form. Applicants must submit the following:
1) A cover sheet with name, telephone, permanent address and e-mail, current employer/affiliation, title of project, and proposed dates of residency.
2) A letter of two single-spaced pages maximum describing the project and its relation to specifically cited collections at the society and to previous work on the same theme, and describing the projected outcome of the work, including publication plans. If residents of the Madison area are applying, they must explain their financial need for the stipend.
3) Curriculum vitae.
4) Two confidential letters of reference. Graduate students must include their thesis adviser.
Applications are due by May 1. The recipient will be notified by June 1.
Please use your last name as the first word of all file names (for example: Name CV.doc) and email materials to:
Coordinator, Center for the History of Print and Digital Culture
Call for Papers:
A special issue of ASAP/Journal Volume 2, Issue 1 (May 2017).
Edited by Kadji Amin, Amber Jamilla Musser, and Roy Pérez.
Submissions due May 1, 2016
Queer studies is currently undergoing a methodological renaissance. In light of this renewed focus on method, the editors of this special issue of ASAP/Journal propose a critical return to questions of form: how does formal analysis figure into methods of queer interdisciplinary analysis today? What is the relation between queerness and form in the post-1960s arts?
We seek essays that examine the ways in which form—understood as the expressive sum of various technical, plastic, figural, conceptual, and aesthetic operations—can enable or disable queerness. We understand queerness in two senses: as an umbrella term for non-normative sexual, gender, and racial practices and identities; and as a conceptual marker for that which does not fit within existing social categories and which might thereby become intelligible through formal techniques. In seeking new approaches to queerness and form we do not presume that certain forms are somehow “queerer” than others, or that we can meaningfully speak of “queer form” without reference to the social and political dimensions of queerness. Rather, we understand this special issue topic as a forum for posing new questions about the relation between form and its social, historical, and political contexts or content. With an eye toward recent interest in “new” formalisms, this special issue investigates how the practice of taking up, lingering on, or even getting stuck in the formal dimensions of queerness can help us reexamine the relations between contemporary art and politics, between aesthetics and ethics, as well as between cultural production and reception and the social world.
We seek essays that address, critique, or otherwise expand on the ideas about form at play in recent queer methodologies for approaching the arts of the present. Essays might address critical practices of close reading and description, performance studies, new materialisms, and affect studies. We are especially interested in work that reimagines how formal analysis contributes to the study and practice of queer artistic and social practices worldwide, particularly the work of non-Western, Asian American, Latina/o, Black, and Indigenous artists in any medium.
We seek essays on post-1960s arts or artists that:
· Examine contemporary art that mobilizes form against modes of social organization that might otherwise render queerness unintelligible;
· Explore how fugitive forms—flights from (or unexpected adherence to) particular formal conventions —manifest queer and/or feminist political imperatives, presuming that these imperatives are neither identical nor universal;
· Analyze how formalist practices in the post-1960s arts mediate the historical and social conditions of queer gender, sexuality, and race;
· Articulate the implicit theories of form at play within new queer methods;
· Theorize the role of formal analysis among interdisciplinary approaches to art and aesthetics in queer studies; and/or
· Locate queer structures of feeling within the formal prerogatives of post-1960s arts.
Essays should be between 6,000 and 8,000 words in length. Essays longer than 8000 words will not be accepted. It is the responsibility of the author to secure permissions and high-resolution scans for illustrations. The deadline for essay submissions is May 1, 2016. For additional submission guidelines, please see: https://www.press.jhu.edu/journals/asap_journal/guidelines.html
Information about ASAP and ASAP/Journal is available at http://www.artsofthepresent.org.
Please address inquiries to
Kadji Amin [firstname.lastname@example.org]
Amber Jamilla Musser [email@example.com]
Roy Pérez [firstname.lastname@example.org]
Call for Contributors – Abstracts by March 10, 2016.
Critical Insights: 2001: A Space Odyssey (1968)
Nearly fifty years after its release, Stanley Kubrick’s 2001: A Space Odyssey remains a turning point in the history of science fiction cinema, and one of the most critically acclaimed science-fiction films ever made. As such, it’s been chosen by Salem Press for its Critical Insights: Film series (an extension of Salem’s well known CI series in literature).
These volumes are intended for an undergraduate, or upper-level high school, readership – providing key background, context, and analysis for thinking about the film itself, its place in American cinema, and its influences across media.
The structure of the volume is set by Salem to include the following:
- A 4000-5000 word “Historical Background” chapter that addresses how the time period influenced the development of the film genre across different time periods and cultures, as well as what makes the film relevant to a contemporary audience.
- A 4000-5000 word “Critical Reception” chapter that surveys major pieces of criticism of the film and the major concerns that critics of the film have attended to over the years.
- A 4000-5000 word “Critical Lens” chapter that offers a close reading of the film, approaching the theme/genre from a particular critical standpoint.
- A 4000-5000 word “Comparative Analysis” chapter that analyzes the director in light of another director or offers a comparative analysis of the genre/style across two or three different films that embody the genre.
- Ten 5000-5500-word chapters on topics related to the film. These final 10 chapters typically have the normal “edited volume” flexibility in topics and approaches.
Initial drafts will be due July 15, 2016, with final drafts due October 1. The manuscript is due to the publisher in December 2016, for a mid-2017 publication. Authors of successfully completed essays will be compensated $250 by Salem Press.
Contact: A. Bowdoin Van Riper – email@example.com with inquiries or 200-word abstracts
12th Annual Indigenous and American Studies Storytellers Conference
Call For Papers
April 15 & 16, 2016
University at Buffalo
Visualizing Indigeneity: Reclamation Through Action
The 12th year of the Storyteller’s Conference focuses on the theme of visual sovereignty – the use of mass media to create new forms of Indigenous representation. This year we welcome activist and social worker Amanda Blackhorse (Dine’ of the Áshįįhí clan, born for the Yé’ii Dine’é Táchii’nii Clan). Blackhorse, founder of Arizona to Rally Against Native American Mascots and lead complainant in the successful case to cancel the federal trademark registrations of Washington’s NFL team, is an international speaker on the harmful effects of offensive Native mascots and colonization and historical trauma’s contribution to racism and oppression of Indigenous people.
The founders of our program, John Mohawk (Seneca) and Barry White (Seneca), amongst others, envisioned Native Studies as a framework to examine our varied histories, knowledges, and current realities, Indigenous and non-indigenous alike. This vision continues to center the Storytellers Conference as well as our department here at the University at Buffalo (SUNY). Maintaining this tradition, we see this year’s gathering as a celebratory renewal of our predecessors’ work and commitment to community, story, and scholarship.
We encourage abstract submissions from all academic disciplines. All scholars, activists, educators, and community members are invited to submit theoretical, practical, traditional, and non-traditional presentations that broadly address this theme.
Potential areas of interest include:
Addressing the colonial legacy, colonization, and decolonization
Issues concerning the representation of national identity, racism, whiteness, class, ethnicity, gender, sexuality, and ability
Indigenous traditional knowledge, sovereignty, nationalism, politics, citizenship, and border crossings
Contesting negative stereotypes, symbols, and signifiers
Land reclamation and use, ecological /environmental protection, and restoration
Using oral traditions, stories, culture, and history to promote activism
Community work and community development projects
Language recovery and revitalization
Art, media and technology as a tool of decolonization and activism
Physical, mental, emotional, and spiritual health and wellness
Please submit a 250 word proposal by February 15, 2016 via email to firstname.lastname@example.org
Note: This is a graduate student-run conference. We are unable to provide travel or lodging funds as this is outside of our ability and resources. Thank you.
LOVE BETWEEN THE COVERS: http://www.wmm.com/filmcatalog/pages/c924.shtml a film about women filmmakers, is now available.
Romance novels comprise over a billion dollars a year in book sales, outselling science fiction, fantasy, and mystery combined. So why is the genre so often dismissed as frivolous “scribble” rather than elevated as a radical literary form that pushes the envelope on gender, race, and diversity? The heroic characters, prolific writers, and voracious readers that dominate romantic fiction are primarily women. Witty and intelligent, these lovers of the written word form a collaborative, supportive, and dynamic community where readers and writers inspire one another. Emmy Award® Winning director Laurie Kahn (Tupperware!) takes a comprehensive look at what goes into publishing a romantic novel, from the author’s inspiration and writing process to the photo shoots for those distinctive cover designs. Speaking with literary scholars, romance fanatics, aspiring writers, and award-winning authors, including Nora Roberts, Eloisa James, Beverly Jenkins, and Radclyffe, this documentary offers fascinating insights into this female-centric literary world.
You can get more information from: Amy Aquilino, Women Make Movies, 115 W. 29th Street, Suite 1200LS, New York, NY 10001
WMM Catalog: http://www.wmm.com/filmcatalog/new_releases.shtml
Special Collections: http://www.wmm.com/filmcatalog/special_collections.shtml