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PSi Digest 36 (October 2008) Calls for Papers (Items 4 - 47) 4. CFP: ‘On Training,’ Performance Research Vol 14 No 2 June 2009 (due Sept 25) 5. CFP: ‘Collective Creativity,’ Sydney German Studies Symposium 2009, July 23-26 2009, U of New South Wales, Australia (due Sept 30) 6. CFP: ‘Mother,’ Special Issue Women Studies Quarterly (due Sept 30) 7. CFP: Journalism in the 21st Century: Between Globalization and National Identity, International Communication Association, July 16-17 2008, U of Melbourne, Australia (due Sept 30) 8. CFP: ‘Glocal Dramatic Theories,’ Journal of Dramatic Theory and Criticism, Spring 2009 (due Oct 15) 9. CFP: ‘Poor Theatre? Acting and Directing Symposium,’ 30th Annual Mid-America Theatre Conference, March 5-8 2009, Chicago, US (due Oct 15) 10. CFP: ‘Sites of Performance: Mapping/Performance/History,’ April 2-4 2009, U of Nottingham, UK (due Oct 15) 11. CFP: ‘Academic Autobiography, Intellectual History, and Cultural Memory in the 20th Century,’ An Interdisciplinary Conference, March 26-28, 2009, U of Navarra, Pamplona, Spain (due Oct 15) 12. CFP: ‘Traditions and Transformations: Tourism, Heritage and Cultural Change in the Middle East and North Africa Region,’ Centre for Tourism and Cultural Change and CBRL, April 4-8 2009, Amman, Jordan (due Oct 17) 13. CFP: ‘Web 2.0: before, during and after the event,’ Fibreculture Journal May 2009 (due Oct 31) 14. CFP: American Theatre and Drama Society, ATHE, Aug 8-11 2009, New York, US (due Nov 1) 15. CFP: Black Theatre Association, ATHE, Aug 8-11 2009, New York, US (due Nov 1) 16. CFP: Latino/a Focus Group, ATHE, Aug 8-11 2009, New York, US (due Nov 1) 17. CFP: Music Theatre and Dance Focus Group, ATHE, August 8-11 2009, New York, US (due Nov 1) 18. CFP: Performance Studies Focus Group, ATHE, August 8-11 2009, New York, US (due Nov 1) 19. CFP: Women and Theatre Program, ATHE, New York, August 8-11 2009 (due Nov 1) 20. CFP: ‘The American Artists as Collector, from the Enlightenment to the Post-War Era,’ March 6-7 2009, the Frick Collection, New York, US (due Nov 1) 21. CFP: ‘Local Memories in a Nationalizing and Globalizing World,’ Center for Political History, the Centre for Urban History, Oct 15-16 2009, U of Antwerp, Belgium (due Nov 1) 22. CFP: ‘Wartime Shakespeare in a Global Context/ Shakespeare au temps de la guerre,’ Sept 18-21, 2009, U of Ottawa, Canada (due Nov 1) 23. CFP: ‘Earth Matters: Ecodrama Symposium,’ May 21-31 2009, U of Oregon, US (due Nov 1/Jan 1) 24. CFP: ‘The Ethics of Representing Childhood: Popular Culture, Performance, and Pedagogy,’ March 507 2009, Arizona State U, US (due Nov 3) 25. CFP: ‘Intercultural Dramaturgy,’ Theatre-Art-Culture: Intercultural and Inter-ethnical Approaches, Dec 12-14 2008, U of Theatre, Târgu-Mures. Romania (due Nov 9) 26. CFP: ‘Censorship, Then and Now,’ Theatre Journal (due Nov 15) 27. CFP: ‘Remembering Family, Analyzing Home: Special Issue on Oral History and the Family,’ Oral History Forum (due Nov 15) 28. CFP: ‘American History and Culture,’ Southwest/Texas Popular Culture and American Culture Conference, Feb 25-28 2009, Albuquerque, New Mexico, US (due Nov 15) 29. CFP: Digital Culture and Education, inaugural issue (due Nov 15) 30. CFP: ‘Nutopia : Exploring The Metropolitan Imagination,’ April 2-3 2009, Cardiff, UK (due Nov 30) 31. CFP: Special Issues of Transformations: The Journal of Inclusive Pedagogy and Scholarship (due from Nov 30) 32. CFP: ‘Living Landscapes: Performance, Landscape and Environment,’ 18-21 June 2009, Aberystwyth U, UK (due Dec 1) 33. CFP: ‘Theatre Noise,’ the Central School of Speech and Drama, U of London, April 22-24 2009, London, UK (due Dec 5) 34. CFP: ‘Re:live,’ Third International Conference on the Histories of Media Art, Science and Technology, November 26-29 2009, Victorian College of the Arts, U of Melbourne, Australia (due Dec 19) 35. CFP: ‘The Prop’s the thing: Stage Properties Reconsidered,’ Southeastern Theatre Conference, April 3-5 2009, Wake Forest U, Winston-Salem, North Carolina, US (due Jan 12) 36. CFP: ‘Marie Clements,’ Special Issue of Theatre Research in Canada/Recherches théâtrales au Canada Fall 2010 (due Feb 1) 37. CFP: ‘The Figure of the Soldier’, Journal of War and Culture Studies Vol 2. 2 (due Feb 1) 38. CFP: ‘Gone Global? US Latino Studies and Comparative Latinidades: International Lessons and Links,’ Special Issue of Latin Studies Journal 2009 (due Feb 28) 39. CFP: Third International Conference on Consciousness, Theatre, Literature, and the Arts, Lincoln, May 16-18 2009, UK (due March 1) 40. CFP: ‘Digital Media and Performance,’ Theatre Journal (due April 1) 41. CFP: ‘African-American Theatre History,’ Theatre History Studies Vol 30 (due April 15) 42. CFP: The Second International Deleuze Studies Conference, Aug 10-12 2009, Cologne, Germany (due 30 April) 43. CFP: Material Culture Review (no date) 44. CFP: Nick Cave (no date) 45. CFP: ‘Mixing Metaphors.’ Western States Communication Association Performance Studies Interest Group, Feb 13-17 2009, Phoenix, US (no date) 46. CFP: ‘Changing the Climate: Utopia, Dystopia and Catastrophe,’ Fourth Australian Conference on Utopia, Dystopia and Science Fiction, Aug 30-Sept 1 2010, Monash U, Melbourne, Australia (no date) 47. CFP: International Review of Qualitative Research (no date) CALLS FOR PAPERS (CONFERENCES AND PUBLICATIONS) 4. CFP: ‘On Training,’ Performance Research Vol 14 No 2 June 2009 (due Sept 25) Issue Editors: Richard Gough and Simon Shepherd ‘Training’ - it’s a word that many university academics learnt early on not to use. They in the university did education while others, somewhere else, somewhere lesser, did – well – the other thing. For this issue of Performance Research interested specialists – who may of course include university academics – are invited to submit contributions on the matter of training. In its heyday at the turn into the twentieth century, with the founding of conservatoires and craft schools, training seemed both socially dignified and compatible with university education. From here, over the decades, the word and the activity gradually sank into disrepute within the sector of an education that was self-consciously ‘higher’. Now, however, training is coming to acquire a more serious, and sometimes challenging, nuance. In part this comes from government initiatives in various parts of Europe, with their emphasis on ‘skills’, vocationality and community impact. In part it comes from an intellectual reaction within the ‘higher’ domain against the overly theorised, and polemically print-based, academy of the 1980s. But most of all, and most provocatively, the fascination with training is prompted by the image which has come to haunt the new millennium – the training camp. It is in the training camp that earnestly dissident citizens become transformed into terrorists. ‘Training’ here is an activity which doesn’t so much equip people with socially useful skills, but instead transforms minds, manufactures identity. If liberal education prides itself on producing citizens capable of debate and dissension, training slides into place as a sort of deliberately illiberal education. And this, some would argue, is what constitutes its potency. Four general approaches to the matter of training suggest themselves, although these are not prescriptive: 1. as keyword: the term ‘training’ set among other terms, with links and differences noted: for example, calling, craft, discipline, practice, skill, technique, vocation. Contributors are invited to reflect on one or more of these approaches, or indeed to challenge their assumptions. Contributions can, as usual, take a variety of print-based forms and work in a range of reflective and analytic modes. Visual material could include diagrams of training exercises, photographs of training regimes, their bodies and contexts. The editors would like there to be a wide spread of disciplinary engagement with training, so that, for example, a reflection on the training of an actor, acrobat or dancer sits alongside a similar reflection on a priest, a soldier, an athlete. And these reflections may then sit alongside accounts of the training experience from a magician to a casualty nurse, a suicide bomber to a holiday rep. Deadlines are as follows: Proposals: 25 September 2008 ALL proposals, submissions and general enquiries should be sent direct to: Email: performance-research@aber.ac.uk Issue specific enquiries should be directed to: Richard Gough: rig@aber.ac.uk For complete guidelines for submissions please see: Performance Research is MAC based. Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should not exceed one A4 side. Please DO NOT send images electronically without prior agreement. Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research. 5. CFP: ‘Collective Creativity,’ Sydney German Studies Symposium 2009, July 23-26 2009, U of New South Wales and the Goethe Institute, Australia (due Sept 30) Gerhard Fischer, University of New South Wales (Convenor) in co-operation with Sabine Rossbach (University of Adelaide), Klaus R. Scherpe (Humboldt-University Berlin) and Florian Vassen (Leibniz-University Hannover) The Sydney German Studies Symposium 2009 is part of a series of scholarly conferences sponsored by the Department of German Studies at the University of New South Wales since 1980. The symposia are international, interdisciplinary academic conferences devoted to current issues in literary and cultural studies, with a focus on - but not exclusively restricted to – contemporary German literature and culture. Recent symposia have addressed themes such as ‘Writing since The Fall of the Wall’, ‘Adventures of Identity’, ‘The Play within the Play’ or ‘W.G. Sebald and Expatriate Writing’; others were dedicated to a critical analysis of aspects of the work of Walter Benjamin, Hans Magnus Enzensberger or Heiner Müller. The symposium is traditionally held bi-annually on the last weekend in July and organized in co-operation with the Goethe Institute Sydney which also offers the venue for the event. In 2009, the topic of he Symposium will be ‘Collective Creativity’. 1. Preamble 2. What do we understand by collective creativity? Does a dialogic process always already imply a collective creation? Does the connection between art and ritual suggest an a priori dimension of collectivity? Can we speak of the notion of Gesamtkunstwerk in terms of collective creation? Does it make sense to discuss certain forms of hybridity (as in recent discussions on postcolonial theory) in terms of collective artistic experiences? In what way do contemporary insights into psychological or neurological aspects of creativity support or dismiss claims of collective influences on individual creative development? Similarly, what can we learn from recent theories of memory (e.g. Maurice Halbwachs and the notion of ‘collective memory’)? Rather than focussing on seemingly irreconcilable concepts phrased in terms of traditional binary opposites, a contemporary discourse on creativity might be more productive if it searches out and questions the borders, intersections or interfaces of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other. A central issue of this debate might be the question of whether a collective creative enterprise can deliver an aesthetic or artistic surplus that exceeds an individual effort. How and where can such a creative surplus be located? 3. Thus, it seems possible to think of a multitude of answers which could apply to various forms of collaborative ventures and relationships: artistic or scientific partnerships, ensembles, Dichterkreise (poetic circles) and/or Dichterschulen, collaborative friendships, artists’ colonies, master workshops, teams, ensembles, etc. One could mention as examples the collectives of muralists (Mexico) or the experiments in communal performances characteristic of the 1960s. Indeed, there seem to be particular historical sites for collective creativity which may offer instances of paradigmatic case studies: Weimar and Jena of German Classicism, Vienna at the turn of the 20th century, Paris of the Surrealists, the Frankfurt School of the 1920s and 30s, the Living Theatre in the 1960s, the ‘Theatre of Development’ of P. Freire or the theatre of Augusto Boal . 4. Historically, the transitional period around 1800 may be of special importance: it is here that we witness the breakthrough of the concept of the modern individual. The disappearance of the old, feudal, rigidly structured society (Ständegesellschaft) gives way to a bourgeois, libertarian society in which a radical new experience of the Self becomes possible. The distinction between collective and individual creativity thus seems a characteristic feature of modernity, and it clearly reflects its historical dialectic: the disappearance of the communal bonds of old and of the coercive tradition of a divine absolute leads to a liberating experience of the Self, yet also brings about new forms of social division, isolation, dissociation and individualism along with the desire for new forms of collective experiences, solidarity, class consciousness, communal and social collectivism. New forms of a secular absolute (nation, class, race) and their respective moral and political legitimation emerge alongside attempts to formulate radical positions of an aesthetic opposition in which moral concept and argument are replaced in favour of an absolute of artistic creation. 5. In the different arts and academic disciplines, the question of collective creativity needs to be considered according to the specificities of the particular media. While it is common to identify collective efforts in areas such as the performing arts, in theatre/opera or film/tv production, and in some sciences (empirical or applied natural sciences, social sciences), it is much less commonly found in areas such the visual arts or in traditional forms of writing, whether scholarly or creative. Is there a “collective novel” or can we speak of “collective writing” in general? Are there “collective musical compositions”? In scholarly writing, are collective research productions more than the sum of individual contributions? How do such collective enterprises function? How do they come about? Where is the collective aspect located? Can collective creativity generate an aesthetic or scientific “surplus” that goes beyond an individual effort? 6. The very notion of collectivity is very often seen as a political/ideological issue, with collectivity assigned to the Left (see for example the 2005 exhibition in the Kunsthalle Friedericianum Kassel, entitled ‘Collective Creativity: Common Ideas for Life and Politics’ which heavily favoured a political notion of collective artistic endeavour as resistance against dominant capitalist art forms and as performative critique of social institutions and political structures). On the other hand, the primacy of the individual is claimed as a domain by the liberal/conservative Right. But are these distinctions necessarily meaningful, particularly in view of the disappearing relevance of traditional systems of political fractionalism in a postmodern cultural environment? More recently, as the first Yearbook for Cultural Studies and Aesthetic Practice (published by the Department of Cultural Studies and Aesthetic Communication at Hildesheim University, Germany) suggests, scholars in cultural studies – at Hildesheim and elsewhere – have focussed on a concept of creative collectivity as an overriding principle of organisation beyond the limiting socio-political perimeters of 20th century discourses. Taking as a cue the “explosive expansion of computer networks” made possible by digital technologies and the internet, the editors of the yearbook note the increasing interest in networking systems on the basis of which “‘individuals‘,‘groups‘,‘projects‘,‘enterprises‘,‘masses‘ and ‘societies‘ organise their thinking and learning as well as their [aesthetic as much as social and cultural] practice”. (Porombka, Stephan, Wolfgang Schneider and Volker Wortmann, eds., “Vorwort der Herausgeber”, Kollektive Kreativität [Jahrbuch für Kulturwissenschaft und ästhetische Praxis, 1. Jg, 2006], Tübingen: Francke Verlag, 2007, pp. 7,9; trans. G.F.). 7. The idea of collective artistic creation invariably raises a number of other questions, equally ethical and political, relating for example to problems of ownership, recognition and acknowledgement, hierarchy and control. Are the notions of collectivity and hierarchy incompatible? Does collective creation always imply democratic participation? Who owns a work of art created by a collective? Is there an inherent contradiction between individual ownership and collective imagination (e.g. in Aboriginal art)? In traditional communal societies the idea of individual artistic creation or authorship may largely be irrelevant; yet the production of such art today must take account of the existing mechanisms of a market economy. 8. How do recent developments in media theory and practice impact on the question of individual versus collective creativity? In what way are modernist concepts such as the ideas of Benjamin (Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit) or Brecht (Radio-Theorie) relevant in an age of digital creativity? Who owns a work of art created for the internet? Is digital art or writing inherently monologic or dialogic? How do digital innovations (hypertext, chatting, virtual environments) contribute to the creation of collective consciousness? The openness of the internet seems to transcend in principle the idea of a work of art anchored in artistic individuality. But can participation in internet sites generate a sense of collectivity that transcends the isolation of the individual Self in front of the computer monitor, or does it only create an illusion of communal identity? 9. In contemporary academic work, there seems to be a paradigm change away from individual research to team projects which are often favoured in grant competitions. Similarly, recent academic discourses clearly favour notions such as interculturalism or multiculturalism, interdisciplinarity or transdisciplinarity, which per se appear to require forms of collective practice. Again one could ask where is the surplus generated by such collective enterprises? And why is it that the idea of ‘collective creativity’ does not seem particularly fashionable nor at the forefront of current discourses on today’s creative or artistic avantgardes? CALL FOR PAPERS. Offers of papers that address the issues and questions suggested above are invited. Papers are to be 30 minutes in length (20 minutes presentation and 10 minutes discussion). The deadline for submission of proposals is 30 September 2008. Please send title and a one page abstract (MS-Word) to G.Fischer@unsw.edu.au and Florian.Vassen@germanistik.uni-hannover.de. 6. CFP: ‘Mother,’ Special Issue Women Studies Quarterly (due Sept 30) Guest Editors: Nicole Cooley and Pamela Stone ï Discourses around motherhood and how they are shaped by race, ethnicity, immigrant status and sexuality If accepted: Full papers should be no longer than 22 pages, and will be due by January 1, 2009. 7. CFP: Journalism in the 21st Century: Between Globalization and National Identity, International Communication Association, July 16-17 2008, U of Melbourne, Australia (due Sept 30) Journalism in the 21st century is transforming rapidly with the globalization of news organisations, convergent digital technologies leading to new audiences and content producers and to a profoundly changed public sphere. These are the crucial elements of transnational ‘network terrains’ which are shaping new journalistic formats and producers, and also new ways to mediate between ‘the global’ and ‘the local’, and between supra- and subnational spheres. It is therefore timely to address the changing role of national news media in such a landscape and to reposition journalism in the context of such a globalized public space. Our conference will provide a broad platform for the debate of a variety of emerging issues shaped by these new forms of transnational public communication, forms which affect journalistic practice and the meaning of news and news cultures, in Australia, the Asia-Pacific, and throughout the world. These new phenomena challenge academic discourses as well as news media, as the enormity of the changes demands fresh analysis. The conference invites academic papers but will also include representatives of leading international and Australian news media. Already confirmed speakers from news media are Malek Triki, Senior Journalist Al Jazeera (formerly BBC), London; Christoph Lanz, Director Television, Deutsche Welle, Berlin; and Christoph Wimmer, SBS, Australia. This truly international event will enable a much needed discussion of new journalistic forms in the transnational public sphere of the 21st Century. The conference will host about 300 participants. Key events of the conference will be recorded by SBS (Special Broadcasting Service), Sydney, Australia. Please submit a 800 word abstract by September 30, 2008. Notification of accepted papers will be sent out by the end of October, 2008. We encourage academic submissions from Australia and all parts of the globe. We invite your submission in the following broad areas: 8. CFP: ‘Glocal Dramatic Theories,’ Journal of Dramatic Theory and Criticism, Spring 2009 (due Oct 15) The field of performance studies, with its receptivity to non-Western practices and general inclination towards experimental forms, has now inspired several generations of scholarship on how performance practices travel across cultural and political borders. However, the global migration of theatre and performance is also evident within the reception and production of theory itself. One need only think of the extraordinary travels of Aristotle’s Poetics through ancient and early modern Europe and Arabia and of the Sanskrit Natyasastra through pre-modern Asia to recognize the role syncretism (synthesis of disparate cultural elements) and “glocality” (interpenetration of global and local) has played in the history of dramatic theory. While some recent anthologizers (e.g. Sidnell, Brandt) still present dramatic theory as a strictly European discourse, others (e.g. Gerould, Bial) modestly hint at global or glocal frameworks. A handful of major theories (Soyinka, Thiong’o, Boal) have circulated widely, and a growing body of studies (e.g. Balme, Fei, Dharwadker) recognizes theory itself as a fundamental site of glocal negotiation. For this special section of the Journal of Dramatic Theory and Criticism, we invite essays of 20-25 manuscript pages, exclusive of notes, examining writings produced within glocal or syncretic contexts outside Europe and the United States. These theories may be recent or historical, and need not necessarily be produced within an explicitly theoretical discourse (e.g. theoretical formulations produced within religious, literary, philosophical or other discourses). They may have been shaped through reception of Euro-American dramatic theory, e.g., local versions of Western dramatic aesthetics. They may attempt to recover or modernize pre-colonial aesthetics, or make radical statements seeking to move beyond both Western and local traditions. We seek articulations and treatments of articulations that take the form of theory, rather than of performance, whose intent is to lay out paths for future practice or new understandings of prior models. Areas of possible concern might include: • how difference is articulated, and how locality is framed within theory Inquiries may be directed to guest editor Evan Winet at evanwinet@gmail.com. To submit a manuscript, please send an electronic copy as a Word attachment (including mailing address, email, and phone number in cover message). Manuscripts may also be sent (with personal information indicated above) by mail to: Evan Darwin Winet, Guest Editor All manuscripts must be received by October 15, 2008 to receive full consideration. Jocelyn L. Buckner 9. CFP: ‘Poor Theatre? Acting and Directing Symposium,’ 30th Annual Mid-America Theatre Conference, March 5-8 2009, Chicago, US (due Oct 15) The Acting and Directing Symposium of the Mid-America Theatre Conference (MATC) is seeking proposals for papers, co-papers, presentations, round-table discussions, organized panels, and visual presentations that can be linked to the notion of “Poor Theatre,” broadly construed. In the 1960s, Jerzy Grotowski’s Polish Laboratory Theatre leveled a set of challenges at the theory and practice of theatre in the face of the shifting aesthetic, political, and economic landscapes of art in the twentieth century. For the Acting and Directing Symposium of the thirtieth-annual MATC conference we seek to examine current and emerging challenges in acting, directing, and the analysis of the creation and reception of theatre. Papers may be either personal explorations and analyses of specific theatrical events or theoretical investigations of the work of significant actors and directors. Areas of investigation may include: Applicants are asked to email 150-250 word abstracts that include the following information: applicant’s name, applicant’s rank, academic affiliation, address, telephone, email, presentation format (single paper, co-paper or co-presentation, panel presentation, round-table discussion, or other), title of presentation, and a two-three paragraph description of the paper, panel or presentation. Please be sure to include any special technology needs in your abstract, including slides, powerpoint, audio or video. (Please note that technology accommodations are extremely limited during the conference). Individual presentations should not exceed 8 double-spaced pages (approximately 2000 words) and will be limited to a 15 minute maximum. Round table discussions and organized panels will be limited to a 40 minute presentation period followed by a 25 minute audience discussion and question period. Applicants are also asked to indicate whether they would be interested in submitting their presentation for an external peer review; in exchange, applicants may be assigned to review another submission to the symposium. Deadline for submissions: October 15th, 2008 Please send submissions electronically as MS Word or PDF files to BOTH: Peter A. Campbell John C. Soliday 10. CFP: ‘Sites of Performance: Mapping/Performance/History,’ April 2-4 2009, U of Nottingham, UK (due Oct 15) Plenary Speakers: Proposals are welcomed for an interdisciplinary conference on Sites of Performance: Mapping/Performance/History. To mark the completion of the AHRC funded project, ‘Mapping Performance Culture: Nottingham 1857-1867’, which has involved a collaboration between theatre history and geography, this conference invites reflections on the multiple ways in which considerations of space, landscape and mapping can inform and offer new methodologies to theatre history and historiography. Moving beyond the idea of mapping as metaphor in creating theatre histories, papers are sought which emphasize spatial and temporal connections between different elements and events, examine ideas of repetition and duration, and highlight the importance of geographical, social and performative landscapes as interactive. We thus aim to bring together academics from a range of disciplines who are interested in the making/writing of theatre and performance histories and cultural geographies, as well as the potential of historical GIS in analyzing spatial-temporal patterns within a community, and to address the potentials and problems in turning to maps rather than narratives in the making of histories. Examples of potential areas for proposals might include:
Proposals for both papers and research posters are welcomed. Extended proposals of 1000 words should be addressed to the Conference organisers, Dr Jo Robinson, School of English Studies, University of Nottingham, NG7 2RD, Jo.Robinson@nottingham.ac.uk, and Dr Gary Priestnall, School of Geography, University of Nottingham, NG7 2RD, Gary.Priestnall@nottingham.ac.uk Deadline date: 15 October 2008 11. CFP: ‘Academic Autobiography, Intellectual History, and Cultural Memory in the 20th Century,’ An Interdisciplinary Conference, March 26-28, 2009, Uof Navarra, Pamplona, Spain (due Oct 15) Plenary Speakers: Ihab Hassan, University of Winconsin-Milwaukee Proposals are sought for an Interdisciplinary Conference entitled "Academic Autobiography, Intellectual History, and Cultural Memory in the 20th Century" to be held at the University of Navarra (Pamplona, Spain) on the 26-28 of March, 2009. This conference aims to engage the current paradigms of the debate on autobiographical writing by academics (historians, literary critics, anthropologists, and sociologists, among others) and analyze these in the interdisciplinary context of the consciousness of the ways intellectual history and cultural memory ma be developed, articulated, and promoted in the twentieth century. Autobiographies by academics who have played important public roles and whose scholarship have shaped the ways we think about disciplines, society, culture, or politics-such as Nancy K. Miller, Eric Hobsbawm, Clifford Geertz, Leila Ahmed, Edward Said, Jill Ker Conway, Ihab Hassan, Shirley Geok-Lin Lim, Yi-Fu Tuan, among others-may be explored as new approaches to the discourses of intellectual history and culture in our age. We invite proposals that offer new ways to read these autobiographies and analyze their discursive possibilities in the historical, cultural, and academic contexts in which they were written. Specific topics may include, but are not limited to: the academic as author/historian; academic life writing as history or cultural discourse; academic autobiography as intellectual history; life writing and the definitions of academic disciplines; the intersection between private and public lives in academic autobiographies; academic autobiography as a literary or historical genre; the ways in which the notion of literary or historical discourse may be rethought in the context of this form of writing; the ways academic autobiographies challenge our notions of historiography or literary analysis. 500-word abstracts and a 1-page CV must be submitted (email submissions preferred) before October 15, 2008 to the Conference Organizers at this address: Prof. Rocío G. Davis 12. CFP: ‘Traditions and Transformations: Tourism, Heritage and Cultural Change in the Middle East and North Africa Region,’ Centre for Tourism and Cultural Change and CBRL, April 4-8 2009, Amman, Jordan (due Oct 17) In April 2009, the Centre for Tourism and Cultural Change in partnership with the Council for British Research in the Levant (the CBRL is an overseas Institute of the British Academy) will hold a major international conference to explore the changing relationships between tourism, culture and heritage across the Middle East and North Africa Region. Delegates from across the Middle East and the North Africa Region, together with scholars from the rest of the world will assemble to discuss the critical relationships between tourism, heritage and culture. Members of the Conference Scientific Committee include: Dr Khaled Adham, (United Arab Emirates University), Dr Rami Daher (German Jordanian University), Professor Bill Finlayson (Council for British Research in the Levant), Dr Habib Saidi (University of Laval) and Dr Lina Tahan (Leeds Metropolitan University). 13. CFP: ‘Web 2.0: before, during and after the event,’ Fibreculture Journal May 2009 (due Oct 31) An issue of the Fibreculture Journal critically exploring the ontogenesis of Web 2.0 Issue Focus: In 2005 Tim O'Reilly famously used the phrase 'an attitude, not a technology' to describe the burgeoning experience of Web 2.0. After 3 or 4 years, the hype surrounding associated notions of user-generated content, the 'wisdom of crowds', 'the long tail' and social networking both continues and fades. Practices such as collaborative tagging and micro-blogging have become everyday online gestures, while YouTube, Facebook and Bebo comfortably colonise the network horizon as default interfaces. 'Objects', 'subjects' and 'content' are dissappearing on a massive scale – far larger and faster than in their much-touted postmodern demise – and 'environments', 'context' and 'worlds' become the key modes of online generation and production. This suggests that Web 2.0 may be more akin to a topology rather than attitude or technology – one which launches us in(to) the middle of things. If Web 2.0's cartography is topological (repeated production of selfsame space via variation), then its temporality might best be understood through considerations of 'the event'. As Maurizzio Lazzarato has suggested, everyday actions - going to bed, turning on the television, logging on – comprise our contemporary habitual corporeal events, but these are simultaneously and only the punctuation of the more continuous event of informatic flows. If Web 2.0 is an 'event' that somehow semiotically launched itself around 2004-5, its temporality has now become that of an 'always'. In this issue of the fibreculture journal, however, we invite contributions that critically and creatively rethink the event of Web 2.0. To adlib with Lazzarato, and following Deleuze and Guattari's articulation of the virtualities of events, another possible world/'web' is always there, in potential. Hence Web 2.0 is not simply what it is - attitude, technology or topology - but is still under production, in active ontogenesis and therefore up for grabs. We ask authors to address the actual and potential existence of genealogies, incompatabilities and new modes of making and thinking Web 2.0. For example, should the historical relations between Web 1.0 and Web 2.0 be thought in terms of radical break? Or can we – as Olia Lialina has suggested in her consideration of the recouped aesthetics of old homepages by the templates of MySpace – see Web 2.0 as a freezing of earlier more dynamic flows? What lies outside of Facebook, indeed beyond the additive logic of 'friends'? And after we break up with our 'friends', what other circuits might emerge? A number of key theorists such as Terranova, Lovink and Rossiter, Galloway and Thacker have begun to address the presence of incompatabilities, counterprotocols and conflict as constitutive of the network. We are seeking papers that take these and new concepts that biurficate the 'always' into rethinking the topology of Web 2.0. Specific Topics for address include: -ontogenetic approaches to network events Articles must be submitted in full fibreculture journal house style. You must first read the Guidelines for Submission at You can access information about house style at http://journal.fibreculture.org/polstyle.html#style. Please note, submissions not in house style will automatically be returned to authors for formatting. You will not be able to have your paper considered for publication unless you have formatted it correctly. The journal is peer reviewed and authors are expected to take readers reports into consideration when finalising their articles for Please submit articles no later than October 31, 2008 to either Anna Munster, a-dot-munster-at-unsw-dot-edu-dot-au, or Andrew Murphie a-dot-murphie-at-unsw-dot-edu-dot-au. You must use the phrase 'Web 2.0 event issue' in your subject header. 14. CFP: American Theatre and Drama Society, ATHE, Aug 8-11 2009, New York, US (due Nov 1) “Risking Innovation: New Questions” How has American theatre – both historically and on the contemporary stage – provoked new questions or compelled us to reconsider the place of theatre in society? What new questions in the field demand attention? How might scholars pose, define, or respond to new questions, materials, or challenges? In what ways has “American” theatre crossed global or disciplinary borders, both historically and in contemporary theatre? How has American theatre been adapted, reinterpreted or reimagined in the exchange? How have these border crossings reached back to and influenced theatre in America? What cultural, social, or economic conditions have induced revolution, challenged convention, or invoked new questions, forms, or approaches in American theatre and aesthetics? 2. Individual paper proposals may be submitted to ATDS Conference Planner, Dr. Beth Osborne, at bosborne@fsu.edu. Please note that individual proposals must be submitted by OCTOBER 15, 2008. Abstracts (250 words) must include paper title and contact information, and must specify any AV needs. ATHE does not accept individual paper submissions -- DO NOT submit your individual proposal on the ATHE website. Full panel proposals are strongly encouraged. 3. Members of ATDS wishing to identify colleagues to create panels prior to the November 1st deadline are encouraged to use the ATDS listserv: ATDS@LISTSERV.COFC.EDU to circulate questions or possible panel topics. 4. Please note that ATHE runs from Saturday-Tuesday in 2009. The majority of the panels will be scheduled on Monday and Tuesday. The application form will not accept scheduling preferences this year. 5. Presenters wishing to create multidisciplinary panels must contact the Focus Group Conference Planners for each of the THREE groups they propose as. Multidisciplinary panels MUST include at least one ATHE Focus Group sponsor AND at least one AATE Network sponsor. 6. Presenters proposing programs outside of the traditional panel format are asked to be specific in their proposals concerning the structure and number of participants so that ATHE can be notified about space/time needs. 7. Grants for AV support are not necessary this year. If you would like to use AV, simply specify it in your online proposal. 8. ATHE will notify ATDS concerning accepted or rejected panels by March 1st. Panelists should expect to hear from the Conference Planner or their Panel Chair by mid-March. 15. CFP: Black Theatre Association, ATHE, Aug 8-11 2009, New York, US (due Nov 1) The Black Theatre Association (BTA), a Focus Group of the Association for Theatre in Higher Education (ATHE), invites complete panel proposals and individual abstracts for ATHE’s 2008 conference. Although, preference will be given to complete panel proposals. In light of the conference theme, “Risking Innovation,” BTA is particularly interested in panels that consider new teaching and research methodologies for Black theater in the United States and abroad. Possible panel topics include (but are not limited to) the following: Complete panel proposals should be submitted online directly to ATHE at http://www.athe.org by 1 November 2008. Individual abstracts should be sent to soyica.colbert_at_dartmouth.edu by 10 October 2008. Please remember to submit requests for anticipated audiovisual needs, conference grants, or guest pass grants with your proposal or abstract. If you are interested in discussing potential panels with other scholars and artists prior to the submission deadlines, feel free to post an inquiry on the BTA listserv by emailing Beth Schachter, BTA Secretary, at bschacht_at_muhlenberg.edu. BTA Members who already subscribe to the listserv may post messages by sending an email to btanews_at_yahoogroups.com directly. 16. CFP: Latino/a Focus Group, ATHE, Aug 8-11 2009, New York, US (due Nov 1) The Latino/a Focus Group of the Association of Theatre in Higher Education invites panel proposals or individual paper proposals for the Association for Theatre in Higher Education/American Alliance for Theatre and Education 2009 joint conference in New York City. ³Risking Innovation.² We encourage panels and papers that bring together scholars and artists in dialogue, and alternative and innovative formats. While we welcome all panels and papers that address the conference theme broadly we also encourage submissions that address the following subjects: € Practical concerns with the pedagogy of Latina/o and Latin AmericanTheater: Producing, Directing, and Teaching Plays in educational settings. Innovative and risky ideas for expanding the awareness of Latina/o and Latin American Theater and Performance € The Future of Research and Methodological Innovations in Latina/o and Latin AmericanTheater and Performance Panel proposals should be submitted on-line using the ATHE website (http://www.athe.org <http://www.athe.org/> ) by Nov. 1, 2008, but we encourage all individuals who are considering submitting a panel to contact the Latina/o Focus Group Conference Planner, Jon Rossini (jdrossini@ucdavis.edu) well before the deadline so that the efforts of the focus group can be coordinated. Only complete panel proposals will be considered. Individual paper proposals for consideration for placement on a panel sponsored by the Latina/o Focus Group require a 250-word abstract (along with contact information and AV needs) e-mailed to the Latino Focus Group Conference Planner (jdrossini@ucdavis.edu) by October 15, 2008. Placement on a panel sponsored by the focus group does not guarantee acceptance by the conference. Unlike recent ATHE conferences, this conference runs from Saturday to Tuesday and many of the panels will be placed on Monday and Tuesday due to greater space availability at the conference site. Please read the instructions below so as to best prepare your paper or panel proposal. 1. You are encouraged to use the ATHE-LFG listserve (athe-lfg@ucdavis.edu )in order to circulate panel proposals, paper ideas, to ask questions and to brainstorm ideas. If you are not on the list and wish to be added, please contact Patricia Herrera (Patricia.E.Herrera@Dartmouth.Edu) or send a message to listproc@ucdavis.edu. The message should read: sub athe-lfg <last name> <first name> For example, sub athe-lfg Ybarra Patricia 2. Individual paper abstracts submitted to the conference planner must include paper title and contact information, and must specify any AV needs. ATHE does not accept individual paper submissions -- DO NOT submit your individual proposal on the ATHE website. 3. PLEASE NOTE THAT ALL GRANT REQUESTS MUST ALSO BE SUBMITTED BY NOVEMBER 4. Presenters wishing to create multidisciplinary panels must contact the Focus Group Conference Planners and the AATE Network Coordinators for each of the THREE groups they propose as sponsors. Because of the nature of the joint conference this year, a multidisciplinary panel must consist of a total of 3 groups, at least one of which should come from each organization (i.e. 1 Focus Group and 2 Networks, or 2 Focus Groups and 1 Network). 5. Presenters are limited to 2 appearances on the conference program. Exceptions are only made at the discretion of the Conference Committee. 6. Presenters proposing programs outside of the traditional panel format are asked to be specific in their proposals concerning the structure and number of participants so that ATHE can be notified about space/time needs. 7. Presenters who wish to submit grant requests are encouraged to contact the Focus Group Conference Planner well in advance of the November 1 deadline. 8. ATHE will notify the LFG concerning accepted or rejected panels by mid-February. Panelists should expect to hear from the Conference Planner or their Panel Chair by early March. Jon D. Rossini 17. CFP: Music Theatre and Dance Focus Group, ATHE, August 8-11 2009, New York, US (due Nov 1) The Music Theatre and Dance Focus Group of the Association of Theatre in Higher Education invites panel proposals or individual paper proposals for the ATHE 2009 conference with the theme “Risking Innovation.” While we welcome all panels and papers that address broad intersections of the theme and musical theatre and dance, we put forth the following topics that were raised at the MTD Business meeting in Denver in August 2008 as possible panel focus areas: Panel proposals should be submitted on line using the forms that will be posted soon on the ATHE website (www.athe.org). Completed panel proposals are due by November 1, 2008. Since only complete panel proposals will be considered, please e-mail ideas you have for individual papers dealing with these or other topics related to MTD to Conference Planner Ron Gingerich (ronald.gingerich@dickinsonstate.edu) by Oct. 15, 2008 so that he can attempt to match you with other interested parties. Note that if you have never presented on Music Theatre and/or Dance at a national conference before, MTD sponsors a competitive emerging scholars panel. Details regarding that panel will be circulated shortly. We would encourage those developing panels to stay in touch with MTD Conference Planner Ron Gingerich (ronald.gingerich@dickinsonstate.edu), who can also offer guidance on preparing MTD Paper/Panel submissions. Questions can also be addressed to Mary Jo Lodge, Music Theatre and Dance Focus Group Representative at lodgem@lafayette.edu. Please note that unlike other recent ATHE conferences, this conference is later in the summer and runs from Saturday to Tuesday. Many of the panels will be placed on Monday and Tuesday due to greater space availability at the conference site on those days. |
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18. CFP: Performance Studies Focus Group, ATHE, August 8-11 2009, New York, US (due Nov 1) The Performance Studies Focus Group (PSFG) of the Association for Theatre in Higher Education (ATHE) invites session proposals for the 2009 Conference at the Marriot Marquis in New York City, 8-11 August on the conference theme of "Risking Innovation." While the Performance Studies field has strived for innovation, we invite submissions that consider more deeply the notion of risk. What currently constitutes risk for us as scholars and as a field? Where does risk appear in our objects of study, methodologies, and personal investment in our work? In what way do institutional and disciplinary notions of power and control impact efforts to continue a legacy of innovation within Performance Studies? How can we apply risk to the presentation of our research at conferences, expanding possibilities for the communication of our discoveries to our broader community? What are the practical and pragmatic implications of our scholarship/practice? To approach these and many other questions, PSFG looks for panel submissions that combine the innovations of many fields and diverse scholars, challenging assumptions and raising awareness of how risk operates. All session proposals are filed electronically directly to ATHE. The session proposal form, along with full explanations, can be found at www.athe.org. All session proposals have a deadline of 1 November. Please note that this year's conference has some changes in format and scheduling: • We begin this year on a Saturday, and the conference runs through Tuesday evening. ATHE also accepts proposals for Multidisciplinary (MD) sessions. This year's conference is co-convened with the American Alliance for Theatre in Education (AATE). Multidisciplinary panels must be sponsored by three different groups: a combination of ATHE Focus Groups and at least one AATE network (akin to our Focus Groups). All MD session organizers must contact the Conference Planners of all three sponsoring groups before submitting their session directly to ATHE. If you would like to learn more about AATE Networks, go to: http://www.aate.com/networks.asp. If you would like to learn more about ATHE Focus Groups, go to: http://www.athe.org/getinvolved/focusgroups/index. All session proposals are due by 1 November. While individual papers will receive consideration, submissions that pull together a strong panel of participants are preferred. With individual papers, the Focus Group Conference Planner will curate panels, attempting to match up related papers. In order to facilitate this process, these papers must be received directly by the Conference Planner Peter Civetta at p-civetta@northwestern.edu, by October 15th. Individual paper proposals should include title, contact information, and an abstract of 250 words. If you have any questions or concerns, feel free to contact: 19. CFP: Women and Theatre Program, ATHE, New York, August 8-11 2009 (due Nov 1) This past summer, members of the WTP gathered at El Centro Su Teatro in Denver, Colorado for our 28th annual conference: Confronting the Silence: Building Bridges of Engagement. Our membership presented papers, performances, panels, roundtables, and workshops responding and reacting to this theme at both our own pre-conference, as well as at ATHE. Building on this collaborative work, the WTP invites session proposals for ATHE’s 2009 conference: Risking Innovation. In keeping with the activist and innovative nature of our collective work, and with the conference theme, we encourage you to risk innovation as you conceive of your session. Inventive and ground- breaking new modes of sharing and exchanged information are encouraged! Some topics suggested by our membership include:
SUBMISSION PROCESS: Submissions for WTP-sponsored sessions should be made on-line at the ATHE website at www.athe.org by NOVEMBER 1, 2008. Only complete sessions can be submitted. If you have an individual paper and are looking to form a panel, please contact Natka at ndb@umd.edu or put a query out on the WTP listserv. Further information on WTP, its membership and events, and the listserv, can be accessed at http://www.athe.org/wtp/. Please note these important changes:
Feel free to contact me with any questions, 20. CFP: ‘The American Artists as Collector, from the Enlightenment to the Post-War Era,’ March 6-7 2009, the Frick Collection, New York, US (due Nov 1) The Center for the History of Collecting in America at The Frick Collection and Art Reference Library is seeking proposals for papers to be presented at a symposium on "The American Artist as Collector, from the Enlightenment to the Post-War Era," scheduled for March 6 and 7, 2009. The purpose of this symposium is twofold: to examine the collecting tastes of specific artists who amassed collections of note, and to explore the impact of artist-advisers on the acquisition patterns of other collectors. 21. CFP: ‘Local Memories in a Nationalizing and Globalizing World,’ Center for Political History, the Centre for Urban History, Oct 15-16 2009, U of Antwerp, Belgium (due Nov 1) In academic discourse, the concept of 'collective memory' has migrated, since the 1950s from the field of the social to that of the cultural sciences. Maurice Halbwachs' intuition that collective memory was essentially a pre-existing social fact structuring individual past-relationships, gave way to the recognition that social memories are more or less intentionally construed with the aim of creating and consolidating identities. It was in this constructivist vein that the concept became successful among historians, thoroughly influenced by the cultural turn. Their focus was on the way memories were forged through stories, monuments and other cultural artifacts, that came to serve as lieux de mémoire within specific collectivities. Among these collectivities, nations have received the lion's share of the historians' attention. In spite of a recent re-orientation to the memories of other - most often smaller - 'milieux de mémoire', the central premise has remained that intellectual and political elites deliberately produced memories, which were consumed by the masses. Even when it is admitted that 'consumption' can consist of active and creative appropriation, the overall top-down perspective seems to be largely unquestioned. This conference opts for a more dynamic view of the creation and transmission of memories. It focuses on the ways in which memories were recurred to and used in the everyday discourses and practices of groups at a local level. These groups can be defined along different lines (socio-professional, geographic, generational, religious, ethnic, ...) and have various extensions (a neighborhood, a village, a town, a region); moreover, the discourses and practices can bear upon the most diverse aspects of life and take on the most diverse forms (textual, oral, visual, material). Not the straightforward creation of master narratives about the group's own past will be the main concern of the conference, but the way in which these groups more or less consciously - and more or less successfully - combined diverse, sometimes even conflicting memories. Doing so, the organizers hope fully to re-inscribe the concept of memory into the field of social history. The period that will be investigated - from 1750 until today - is characterized by the rise and the expansion of the nation state, and by the competing process of globalization. The efforts that were made during this period to create homogeneous national memories will serve during this conference as a background to the study of local memories. Did these local memories resist the growing prominence of national memory, did they incorporate aspects of it, or did they exist and develop without any interference of 'the national'? And how did local memories interact with globalizing processes Within this general framework, papers should address one of the following themes: Organizing committee: Contact: PLEASE SEND YOUR ABSTRACT (OF ABOUT 500 WORDS TO local.memories@ua.ac.be BEFORE 1ST NOVEMBER 2008 22. CFP: ‘Wartime Shakespeare in a Global Context/ Shakespeare au temps de la guerre,’ Sept 18-21, 2009, U of Ottawa, Canada (due Nov 1) Fought on every continent except Antarctica, the Second World War offers a unique, temporally limited but geographically inclusive period in which to analyse and probe the role and significance of the theatre in times of extreme social duress. As the most frequently performed and translated playwright in the world, Shakespeare is arguably one of the most useful touchstones for examining a range of issues and questions brought to the fore during wartime which this international conference -- coinciding with the 70th anniversary of the declaration of war --- aims to address: Yana Meerzon, Ph.D. 23. CFP: ‘Earth Matters: Ecodrama Symposium,’ May 21-31 2009, U of Oregon, US (due Nov 1 / Jan 1) Dear Friends & Colleagues, We are delighted also to announce that Una Chaudhuri, author of STAGING PLACE, will give the Keynote for the Symposium. Please see our website for continuing updates on speakers, performances and travel info: www.uoregon.edu/~ecodrama. ~ Earth Matters On Stage ~ Or by email: Theresa May at ecodrama@uoregon.edu with “symposium” in subject line. 24. CFP: ‘The Ethics of Representing Childhood: Popular Culture, Performance, and Pedagogy,’ March 5-7 2009, Arizona State U, US (due Nov 3) In March of 2009, ASU's School of Theatre and Film will host an intimate symposium exploring different interpretations of "childhood". Rather than understanding childhood in the Americas as static and/or natural state of being, this symposium will investigate childhood as a social category. Viewed in this light, the "child" becomes a metaphor-a pattern of meaning-created through culturally specific stories, beliefs, and customs. Given the above understanding, the symposium will unpack and explore the ethics of how adult culture shapes and represents children. In particular, we are interested in how these multiple understandings and shaded meanings influence adult relationships with and responsibilities to actual youth. The symposium's CENTRAL QUESTION is: Given that adults create, control, and distribute the vast majority of childhood representations, what are the ethical parameters of adult relationships with and responsibilities to children? The symposium depends on the term "representation" as a key structuring device allowing multiple perspectives and conversations. Here, we are interested in a broad definition which includes symbolic and metaphoric ideas; the civic and legal act of representing or speaking with authority on behalf of someone else (law, democracy, policy); the creation of a visual or tangible rendering of someone or something (fine art, print art, photography); and theatrical performance (theatre, film, television, advertising). If interested please submit a 300 word abstract of your paper/project proposal including contact information by November 3, 2008 to Stephani Etheridge Woodson, swoodson@asu.edu. Notification will be sent out quickly and full papers are due January 12, 2008. SYMPOSIUM STRUCTURE: Designed as an intense two days with a single program track, the symposium's primary goal is to advance understanding and knowledge of the ethical issues involved. * Each of the three strands (pop culture, performance, pedagogy) will have a keynote address. Arizona State Superintendent of Education Tom Horne, former Executive VP of Walt Disney Entertainment Anne Hamburger, and Professor Jack Zipes will be presenting on education and performance respectively. Pop Culture TBA All the best, Matt Omasta, M.A. Herberger College of the Arts (480) 727-9876 (telephone) matthew.omasta@asu.edu 25. CFP: ‘Intercultural Dramaturgy,’ Theatre-Art-Culture: Intercultural and Inter-ethnical Approaches, Dec 12-14 2008, U of Theatre, Târgu-Mures. Romania (due Nov 9) The Târgu-Mures University of Theatre announces the conference entitled Theatre - Art - Culture: Intercultural and Inter-ethnical Approaches. 26. CFP: ‘Censorship, Then and Now,’ Theatre Journal (due Nov 15) Theatre Journal is considering a special issue on the topic, “Censorship, Then and Now.” Censorship has been ubiquitous across time, people, place, genre, and media. Frenzied censors once railed against Corneille’s moral deviants in Le Cid. Today they reserve their fury for YouTube and the anonymous purveyors of Internet pornography. The editors invite full-length essays on topics pertaining to censorship in theatre and performance. Please send inquiries about this special issue to Catherine Schuler, Theatre Journal Coeditor, at cschuler@umd.edu. Submissions should be emailed to Bob Kowkabany, TJ Managing Editor, at doriclay@aol.com, by 27. CFP: ‘Remembering Family, Analyzing Home: Special Issue on Oral History and the Deadline: November 15th, 2008 - Abstracts and CVs "Oral sources," as Alessandro Portelli reminds us, "tell us not just what people did, but what they wanted to do, what they believed they were doing, and what they now think they did." In other words, oral histories are sources with multiple layers of meaning that help historians investigate complex questions of memory, myth, experience, identity, narrative, power, and the role of the historian in the construction of history. The Oral History Forum d'histoire orale is currently seeking contributions that engage with these issues as they relate to oral history and the family, broadly defined. University researchers, community organizers, educators, oral historians, public historians, and others who are working in this field are invited to submit theoretical and methodological papers, as well as empirically-based essays, reviews (books, new media, exhibitions, films, theatrical productions), and discussions for this special edition of the journal. We strongly encourage contributors to think outside the traditional box of the printed academic journal and thus their submissions may also include photographs, artwork, annotated transcripts, audio and/or video clips, field notes and any other additional research materials that may enrich our understanding of oral history and the family. The Oral History Forum d'histoire orale is the online journal of the Canadian Oral History Association (http://journal.canoha.ca <http://journal.canoha.ca/> <http://journal.canoha.ca/ <http://journal.canoha.ca/> > ), which serves as the online meeting place for scholars, community activists, librarians, archivists, and others who use oral history to explore the past. Through this open-access collection we hope to generate discussion on this important theme and provide a valuable resource for people interested in the study of oral history and the family, whether in the classroom or in their own research. Articles will be published as soon as they are ready, ensuring a quick turn around time for early submissions, and the collection will be launched in 2009. Please send queries and submissions to: Katrina Srigley & Stacey Zembrzycki Or by email: 28. CFP: ‘American History and Culture,’ Southwest/Texas Popular Culture and American Culture Conference, Feb 25-28 2009, Albuquerque, New Mexico, US (due Nov 15) The annual SW/TX PCA/ACA Conference is one of the nation's largest gatherings of interdisciplinary scholars. In honor of its 30th anniversary, the upcoming conference will feature the theme, "Reeling in the Years: 30 Years of Film, TV, and Popular Culture." The 2009 conference will take place February 25-28 at the Hyatt Regency in vibrant downtown Albuquerque, New Mexico, just steps from historic Route 66. Further conference details are available at http://www.swtxpca.org . Panels are now forming for all of the conference's numerous subject areas, including the American History and Culture area. Below are some suggestions for presentation / panel topics related to the area of American History and Culture. Topics not mentioned here are also welcome for consideration. Proposals do not have to relate to the overarching "30 Years" conference theme. However, all proposals for the American History and Culture area should have a historical focus and should emphasize culture. * American cultural history in general Email queries and proposals for individual presentations or full panels to American History and Culture Area Chair Kelli Shapiro (Department of American Civilization, Brown University) at Kelli_Shapiro@brown.edu . Include a 200-word abstract with a working title, as well as contact information and a CV or bio, for each potential presenter. Mention the conference or the American History and Culture area in the email's subject line. Professors, independent scholars, teachers, and professionals are encouraged to participate. Graduate students are particularly welcome at the conference, which offers awards for the best graduate papers. Please note that the SW/TX PCA/ACA generally does not accept papers previously presented elsewhere. Further, it permits only one presentation per person. The conference features numerous individual subject areas - each with its own Area Chair, and each typically including multiple conference panels. Therefore, please consult the area list at The priority submission deadline for the SW/TX PCA/ACA is November 15, 2008. The final deadline is December 1; however, area chairs will only accept proposals submitted between November 15 and December 1 if room still exists in appropriate panels. Additionally, presenters submitting proposals after November 15 will not be eligible for the Early Bird reduced registration rate. Kelli Shapiro 29. CFP: Digital Culture and Education, inaugural issue (due Nov 15) Digital Culture & Education (DCE) is currently seeking manuscripts for the inaugural issue to be launched early in 2009. We invite submission of manuscripts for peer-revision that follow the guidelines below. Please note thedeadline for the first issue is November 15, 2008. Manuscripts or works received after this date will be considered for subsequent issues. For further inquiries and submission of work, send an email to editor@digitalcultureandeducation.com Aims & Scope Submission Guidelines E-Access Subscription Editors Christopher Walsh Thomas Apperley Editorial Board Chris Abbott Tom Apperley 30. CFP: ‘Nutopia : Exploring The Metropolitan Imagination,’ April 2-3 2009, Cardiff, UK (due Nov 30) “Each epoch dreams the one to follow” The symposium will be a multi disciplinary platform for artists/ archaeologists/ social scientists/ architects/ urban planners/ developers/ people who work with people/ housing/ environmentalists/ activists, to meet and make visible their perspectives on the 21c city; the nature of community/ human narrative, the new – utopia’s which we may be able to find present amongst contemporary town planning and architecture. The aim of this symposium will be to map a multiplicity of perspectives and initiate conversations which seek to help us navigate and understand our position as individuals and communities within the new model of the ‘global city’. Submissions are invited from people who would like to present a 20 minute paper at the symposium/ to host a break out discussion or run a workshop/ event in response to the idea of new – utopias, the possibility of utopia’s, or ideas or responses to the notion of the Metropolitan Imagination in the 21st c. Please send 1 side of A4 outlining your responses to this question/ background to your interests, a CV and links to website/ blogs. All speakers will have the option of having their paper included in the Museum Of The Moment Archive* and also be featured in “The Arcades Project: A 3D Documentary” Publication (Jan 2010). UK travel costs will be covered/ free entrance and lunch/ dinner provided during the event. To make a submission email jennie@arcadesproject.org |