Call for Papers on #Edward #Said’s legacy in the context of current events-Edited Volume; MLA 2025 conference special session

Twenty years after his death and fifty years after the publication of Orientalism, Edward Said, the best-known Palestinian American public intellectual, seems more relevant and more controversial than ever before. As the middle-east is torn apart by the most horrific violence since the creation of Israel, Said has already been blamed for providing academic cover to Hamas’s murderous actions. Said, these critics say, was a rabid anti-Western, anti-Semitic, Arab extremist who legitimized the use of violence by terrorists calling themselves freedom fighters. But others have recalled the intellectual clarity and moral urgency Said brought to the Palestine question. Those who respect Said see him as a cosmopolitan, liberal, secular humanist who consistently critiqued colonialism, whether Western or Israeli. Both sides, however, acknowledge that something remarkable is happening in the West, particularly the United States: for the first time, a generational divide has opened up between the elders who stand steadfastly by Israel and the youth who are speaking up for Palestinians. This generational battle is being fought on elite college campuses where student protests against unconditional US aid for Israel’s war on Gaza have put college presidents in the crosshairs and upended careers. Articulated in a Saidian language of anti-colonialism and Orientalism, this youth protest is more aligned with the political position of the non-West/global South than the older West/global North which views the conflict largely in terms of its own troubled history of anti-Semitism and the holocaust. What should we make of Edward Said and his legacy at this global conjuncture? How have Said’s intellectual preoccupations and political commitments shaped today’s divided discourse about the middle-east? What is the long-term impact of Said’s literary preoccupations and cultural interventions within and beyond academia?

We invite original scholarly papers for a proposed edited volume that explores the legacy of Edward Said in the wake of the current Israel-Palestine war.

While we would like to include a wide range of topics and perspectives in the edited, the following areas will be of particular interest:Said, democracy, and decolonization in the context of (de)globalization, the rise of China, great power competition

Said, zionism, and the politics of Palestine today

Said’s influence on public opinion in America/the West/other regions about the Middle East

Said’s cosmopolitanism/secularism/humanism/liberalism: scope, relevance, limits

“Orientalism” today

Said’s influence on literary and cultural studies as practiced today

Please send abstracts of 300 words, a 100-word bio, and five keywords by March 15, 2024 to

revathi.krishnaswamy@sjsu.edu

or noelle.brada-williams@sjsu.edu

Let us also know if you’d like your abstract to be considered for inclusion in a proposed special session at the 2025 annual Modern Language Association conference scheduled for 9-12 Jan in New Orleans.

Full articles of 5000-8000 words should be submitted by November 30th, 2024.

revathi.krishnaswamy@sjsu.edu

CFP: Two Day Symposium on #Routes beyond #Roots: #Indian #Performing #Arts and Virtual Culture(s) Dublin, Ireland- June 2024

Over the last number of years, Indian classical dance traditions have seen major shifts in terms of practice, pedagogy, and performance, both ‘at home’ in India and in diaspora contexts. These changes have been intensified most recently by two primary and co-related phenomena; the global adoption of specific algorithmic social media and streaming platforms, and lockdown restrictions imposed in response to the Covid-19 pandemic. What happens to the embodied physical presence on virtual platforms? How has the format of the art form been modified to fit in digital spaces? What do these transformations mean for the future of the dance forms? How are socio-political issues embedded and addressed in such spaces?

Recognising these mediations on digital dancing bodies and the scope of such largely unexplored digital interventions in Indian classical dance, we call for a symposium to contribute to a growing body of dance research. This two-day symposium to be held on the 13th and 14th of June 2024 and hosted by University College Dublin (Ireland), aims to bring scholar-practitioners, artists, and researchers working with Indian dance together in order to explore these recent transformations. Dr Prarthana Purkayastha (Royal Holloway University of London), whose crucial work revolves around the intersections of Indian dance studies and transnationalism, identity, diaspora, and decoloniality, will deliver the keynote address.

We invite presentations, performances, and discussions that will help us to (re)imagine and (re)interpret Indian dance as it exists in digital cultures, both in India and in the diaspora. While we are particularly interested in the critical evaluation of Indian dance traditions transformed by or with social media platforms, our definition of digital culture is intentionally broad and we call for scholars working across disciplines to explore movement from various methodological perspectives. By facilitating multiple modes of thinking and learning together, we hope to encourage new pathways of engagement with an ever-growing and transnational Indian culturalscape. We invite proposals for one hour panels or roundtables (3-4 people), or single 30-minute presentations, film screenings, lecture-demonstration and/or workshops from scholar-practitioners, artists, and researchers. 

Topics include (and need not be limited to):

• Digital Dance Histories, Archives, and Documentation
• Post-Pandemic Dance Discourse
• Online Embodiment and New Ethnographic Approaches
• Practice-Research and Collaborative Research
• Technology and Digital Platforms in Dance making Processes
• Social Media, Trends, and Challenges
• Virtual Dance Festivals
• Digital Placemaking and Dance Communities
• Dance and AI
• Gender, Caste, Ethnicity, Nationality, and Race (Online and Offline)
• Dance and the Diaspora
• Pedagogical Transformations and Challenges

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The deadline for proposals is 10 January 2024. Please send in your proposals with the following information to digitalroutes2024@gmail.com:

Name

Institutional Affiliation (if any)

Type of Presentation

Abstract (Max. 300 Words)

Biography (Max. 100 Words)

Please note that this is an in-person event at University College Dublin, Ireland. Details on accommodation will be provided after proposals are accepted.

digitalroutes2024@gmail.com

CFP: Virtual International Conference on "Narrating Lives"- Storytelling, (Auto)Biography and (Auto)Ethnography: Rome- May 2024.

Life-history approach occupies the central place in conducting and producing (auto)biographical and (auto)ethnographic studies through the understanding of self, other, and culture. We construct and develop conceptions and practices by engaging with memory through narrative, in order to negotiate ambivalences and uncertainties of the world and to represent (often traumatic) experiences.

The “Narrating Lives” conference will focus on reading and interpreting (auto)biographical texts and methods across the humanities, social sciences, and visual and performing arts. It will analyse theoretical and practical approaches to life writing and the components of (auto)biographical acts, including memory, experience, identity, embodiment, space, and agency. We will attempt to identify key concerns and considerations that led to the development of the methods and to outline the purposes and ethics of (auto)biographical and (auto)ethnographic research.

We aim to explore a variety of techniques for gathering data on the self-from diaries to interviews to social media and to promote understanding of multicultural others, qualitative inquiry, and narrative writing.

Conference panels will be related, but not limited, to:

• Life Narrative in Historical Perspective
• Qualitative Research Methods
• Oral History, Memory and Written Tradition
• Journalism and Literary Studies
• Creative Writing and Performing Arts
• (Auto)Biographical Element in Film Studies, Media and Communication
• Psychoanalysis and Psychotherapy
• Narrative Medicine
• Storytelling in Education
• Ethics and Politics of Research

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Submissions may be proposed in various formats, including:

Individually submitted papers (organised into panels by the committee)

Panels (3-4 individual papers)

Posters

Proposals should be sent to: life-history@lcir.co.uk.

Deadline for Abstracts: March 01, 2024.

https://life-history.lcir.co.uk

life-history@lcir.co.uk

Dr. Elena Nistor

CFP: Contemporary Theatres of the Indian Sub-Continent: Perspectives and Prospects-Thespian Magazine(ISSN 2321-4805)

 In the introduction to her edited anthology, Modern Indian Theatre (2009), Nandi Bhatia pointed to the increasing number of critical works devoted to the history and development of modern Indian theatre. Such works, Bhatia argued, were crucial in reconstructing an Indian theatrical past and in dispelling oriental myths about modern Indian theatre. According to Bhatia, “. . . it indicates a growing interest in Indian theatre history and points towards the need for more work that subjects this highly pluralistic diverse field to critical scrutiny” (xii). The first decade of the twenty-first century saw the publication of crucial critical works on the historiography of Indian theatre which included Nandi Bhatia’s Acts of Authority/ Acts of Resistance(2004), Aparna Dharwadker’s monumental Theatres of Independence (2005), Vasudha Dalmia’s Poetics Plays and Performances: The Politics of Modern Indian Theatre (2006) and Erin B Mee’s Theatre of Roots: Redirecting the Modern Indian Stage (2008). Around the same time appeared Syed Jamil Ahmed’s Achinpakhi Infinity (2000), a major work in studying the indigenous theatre traditions of Bangladesh. These signposts have inspired theatre scholarship in diverse fields in the next decade leading to works that have addressed the plurality of theatre in the Indian sub-continent. The richness of theatrical and performative forms in the Indian sub-continent have expanded considerably in the contemporary times, manifesting a plural and vibrant theatrical culture that awaits further interpretation. 

While contemporary theatres and performances in the Indian sub-continent have been exploring the proscenium space in diverse ways, they have also moved out of the proscenium into alternative spaces, into the experimental realms of installation art and performance. These have resulted in greater engagement with immersive, intimate and interactive theatre practices where the ‘fourth wall’ has come down and the audience have been immersed into the play itself. What have been the ways in which audience reception has transformed in new experimental performance forms? How have contemporary theatres explored the proscenium space? How has alternative theatre spaces emerged? Did the widespread pandemic of Covid-19 foster the search for new spaces of performance? What emergent social and political issues are being addressed by the contemporary theatres? How ‘political’ is today’s theatre? How far do marginalised groups represent themselves and/or are being represented in contemporary theatre? How have the legacies of traditional and classical theatre been carried on in contemporary theatres? How far can the theatre discourse centring around Natyasastra be applied as a critical/theoretical context in today’s theatre? What are our theatrical ‘futures’ and ‘prospects’?                     

Premised on the above thoughts and questions, the proposed title invites scholarly articles on various issues related to contemporary theatre and performance in the Indian sub-continent. While we consider the phenomenon of performance as an inclusive concept ranging from daily life’s performance observations through indigenous tradition and classical to avant-garde initiatives, there are innumerable areas to be explored in the realm of the sub-continental performance tradition with the support of diverse theoretical tools from Natyasastra to recent theories. Once we see theatre and performance as a product of social process and its craft as a product of extensive enquiries to discover new expressive idioms, immense potential for further research and enquiry emerges. The frequent crossover of Indian theatre with various international criticism and streams of writing from the second half of the twentieth century onwards has also considerably impacted the contemporary scenario, which is a subject of intensive study. The call for papers and articles thus aims to address the plurality of Indian Sub-Continental theatre and drama, and its multiple streams that have variously contributed to the rich repository of Indian Sub-Continental performance practices.

 

Papers are invited (but not limited to) the following sub themes/ topics:

• Current trends in research on Indian Sub-Continental theatre, performance and drama
• Historiography and Post-Independence Indian theatre and drama
• Women in the theatre, performance and drama of the Indian sub-continent
• Queer identities in the theatre and drama of the Indian sub-continent
• Gender inclusivity in the theatre and drama of the Indian sub-continent
• Theatres of Protest
• Theatre In Education
• Political theatre
• Theatres of Alternative spaces: Immersive, interactive and intimate theatre experiences
• Relevance of Indigenous performance practices in Contemporary Theatre
• Beliefs and motifs of Tribal theatrical traditions and its relevance in contemporary practices  
• Urban-Folk theatre
• Theatres of Ritual/Ritual Theatre
• Covid-19 and the theatre and drama of the Indian sub-continent
• Theatre of Roots
• Environmental theatre
• Theatre from the Margins
• Contemporary Indian theatre and Drama
• Post-Independence Indian theatre and Pedagogy
• Regional theatre and criticism
• Playwrights and Theatre Directors of the Indian sub-continent.
• Wide practices of Amateur Theatre/Mobile Theatre in the Sub-Continent

 

Full articles within 5000 words (approx.) conforming to the latest MLA style guidelines should be sent along with a short bio-note (within 250 words) to thespian.articles@gmail.com.

Last Date of Submission

20 December 2023

 

For details, please strictly follow the guidelines provided on the website.

http://www.thespianmagazine.com/guidelines

 

Work Cited

Bhatia, Nandi, editor. Modern Indian Theatre: A Reader. Oxford UP, 2009.  

Call for Abstracts: “WHO’S IN, WHO’S OUT”: #COMMUNITY AND #DIVERSITY IN #SHAKESPEARE- Annual #Conference #German #Shakespeare Society 2024

 Time and again, Shakespeare demonstrates the frailty and contingency of the many historical and “imagined” communities (Anderson) that feature in his works. Many of his plays revolve around the conflict between individuals and society, depicting the bonds between friends, lovers, family members or even whole nations being put to the test by desire, jealousy, and ambition. If Shakespeare’s communities are unstable to begin with, then discussions of diversity bring to light that very instability even further. His works have been both hailed for showcasing the universality of human nature and critiqued for implicitly reinforcing a Western, Eurocentric world view. Shakespearean drama walks a fine line between incorporating diverse facets of early modern life – including gender and sexuality, race, and religion – and perpetuating insidious mechanisms of marginalisation and othering, as the fates of some of the figureheads of Shakespearean diversity, such as Shylock, Othello and Caliban, show. On Shakespeare’s stage, community and diversity are intimately but uneasily paired and expose the various ways in which “difference”, as Goran Stanivukovic writes in Queer Shakespeare: Desire and Sexuality (2017), is “based on suppression, occlusion and semantic difference of allied vocabulary” (24). Shakespeare thus makes us ponder the question “who’s in, who’s out” (King Lear 5.3.16) both in early modern times and in ours. While the dramatic representations of these conflicts are inevitably bound to the historical contexts that helped produce them, the theatre itself always had and still has the potential to renegotiate them and to newly create communities, just as it is capable of diversifying Shakespeare, and making his works more inclusive for 21st century audiences.

In light of this complex nexus, we invite short papers on how Shakespeare’s works, their performance, and reception engage with community, diversity, and the difficult dynamics between them. Topics may include, but are in no way limited to:

- Representations of inclusion and exclusion in Shakespeare’s works

- Community and diversity in the early modern period

- Shakespeare’s treatment of marriage, friendship, family, and kinship

- Intersectional Shakespeare

- Shakespeare and (trans)national communities

- Diversifying the Shakespearean canon through ‘non-canonical’ readings

- Adapting and appropriating Shakespeare’s works to build more inclusive communities

- Institutional (lack of) diversity and community in Shakespeare studies

- Teaching Shakespeare more ‘diversely’

- Accessible Shakespeare

Our seminar will address these issues with a panel of six papers during the annual conference of the German Shakespeare Association, Shakespeare-Tage, which will take place from 19–21 April 2024 in Bochum, Germany. As critical input for the discussion, we invite papers of no more than 15 minutes that present concrete case studies, concise examples and strong views on the topic. Please send your proposals (abstracts of 300 words) by 01 December 2023 to the seminar convenors:

Dr. Marlene Dirschauer, University of Hamburg: marlene.dirschauer@uni-hamburg.de

Dr. Jonas Kellermann, University of Konstanz: jonas.kellermann@uni-konstanz.de

The Seminar provides a forum for established as well as young scholars to discuss texts and contexts. Participants of the seminar will subsequently be invited to submit extended versions of their papers for publication in Shakespeare Seminar Online (SSO). While we cannot offer travel bursaries, the association will arrange for the accommodation of all participants in a hotel close to the main venues. For more information, please contact Marlene Dirschauer and Jonas Kellermann. For more information about the events and publications also see: https://shakespeare-gesellschaft.de/.