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Sunday, March 31, 2024

Call For Videos: 4th Annual Smartphone Short Film Competition-Talking Films Online (TFO)



**๐–๐ก๐จ ๐ฐ๐ž ๐š๐ซ๐ž**:
Talking Films Online (TFO), a forum for discussing cinema since 2020.
**๐–๐ก๐š๐ญ ๐ฐ๐ž ๐๐จ**:
Attempt to bridge the gap between those who make films and those who study them
**๐‡๐จ๐ฐ**:
Bring on the same platform teachers, students, researchers, reviewers, critics, cinephiles, etc. on the one hand and producers, directors, actors, cinematographers, screenplay writers, subtitlers, etc. on the other.
** ๐–๐ก๐š๐ญ ๐ฒ๐จ๐ฎ๐ง๐  ๐š๐ฌ๐ฉ๐ข๐ซ๐ข๐ง๐  ๐Ÿ๐ข๐ฅ๐ฆ๐ฆ๐š๐ค๐ž๐ซ๐ฌ ๐ฐ๐ก๐จ ๐ž๐ง๐ญ๐ž๐ซ ๐ญ๐ก๐ž ๐œ๐จ๐ฆ๐ฉ๐ž๐ญ๐ข๐ญ๐ข๐จ๐ง ๐œ๐š๐ง ๐ฅ๐จ๐จ๐ค ๐Ÿ๐จ๐ซ๐ฐ๐š๐ซ๐ ๐ญ๐จ, ๐›๐ž๐ฌ๐ข๐๐ž๐ฌ ๐ญ๐ก๐ž ๐ฉ๐ซ๐ข๐ณ๐ž๐ฌ**:
Their films will be viewed and feedback offered by experts on cinema from all over the world, as well as by those currently in the business of cinema.
**๐‡๐จ๐ฐ ๐ญ๐ก๐ž ๐ฐ๐ข๐ง๐ง๐ž๐ซ๐ฌ ๐ฐ๐ข๐ฅ๐ฅ ๐›๐ž ๐œ๐ก๐จ๐ฌ๐ž๐ง**:
By an independent Jury consisting of top filmmakers and film critics
๐‘บ๐’•๐’–๐’…๐’†๐’๐’•๐’”, ๐’”๐’†๐’๐’… ๐’Š๐’ ๐’š๐’๐’–๐’“ ๐’‡๐’Š๐’๐’Ž๐’” ๐’‡๐’๐’“ ๐’•๐’‰๐’† ๐’„๐’๐’Ž๐’‘๐’†๐’•๐’Š๐’•๐’Š๐’๐’, ๐’‚๐’๐’… ๐’•๐’†๐’‚๐’„๐’‰๐’†๐’“๐’” ๐’‚๐’๐’… ๐’‘๐’‚๐’“๐’†๐’๐’•๐’”, ๐’…๐’ ๐’†๐’๐’„๐’๐’–๐’“๐’‚๐’ˆ๐’† ๐’š๐’๐’–๐’“ ๐’”๐’•๐’–๐’…๐’†๐’๐’•๐’” ๐’‚๐’๐’… ๐’„๐’‰๐’Š๐’๐’…๐’“๐’†๐’ ๐’•๐’ ๐’”๐’†๐’๐’… ๐’•๐’‰๐’†๐’Š๐’“ ๐’†๐’๐’•๐’“๐’Š๐’†๐’” ๐’•๐’ ๐’–๐’”!

Saturday, March 30, 2024

CFP: International Conference "Literary transitions / Transitional literatures"


Vitoria-Gasteiz, Faculty of Arts, UPV/EHU,  Spain ,January 15-17, 2025

The concept of transition – characterized as a historical moment with a beginning and an end, encompassing a defined and significant period – awaits systematic reflection, according to Cristina Moreiras-Menor (2011). Although Richard (2001) points out that transition, as a proper noun, represents a temporal rationale, this term is generally understood as the shift between two times, a before and an after, presented linearly and laden with transformations. A transition is an evanescent stage that precedes another that emerges with remarkable power. This evanescent stage feels like an abyss that represents the ruin of a past and the emergence of an unwritten future.

We focus on the historical collapse that the transition entails, the landscape of change from one historical moment to another, and how that change is mirrored in literary and cultural documents. We specifically examine literary documents that contemplate the end of an era and explore the transition towards a new phase that accompanies this end. This transition is often portrayed as either innovative or as the dismantling of the preceding period. This time of transition – of change, uncertainty, and contradiction – is a time to confront the inherited legacy and transform it into something different, into a promise that implies several future directions. As Derrida (1995) suggests, a legacy is never univocal and natural; instead, it challenges interpretation by presenting itself as a secret to unveil. Thus, we are particularly interested in interpreting, deciphering, and reinterpreting that legacy on its emotional, subjective, political and ideological levels.

We understand transitions as a time of change in the historical trajectory – this trajectory can be collective and individual, vital, or literary – and as a stage in which new knowledge, new epistemologies, and new ways of understanding life and society are formulated. This separation between the past and the future opens a space for emerging discourses, new imaginaries, new expressions of experience and new individual and social identities. Besides, it affects all traditions. Precisely for these reasons, the members of the research group “IdeoLit: Literature as a historical document” have organized this conference, which is aimed at all those researchers who study the concept of transition in literature from the classical times to the present day.

  1. Personal/Individual Transitions:
    • Growth, coming of age or Bildungsroman
    • Gender transition (trans realities)
    • Childhood, adolescence, maturity, old age, relationship with death (our own or someone else's death and its effect on the individual
    • Change/awareness
  2. Collective transitions:
    • Political transition: regime changes and their implications in different fields
    • Social transition: revolutions, social movements, and other social transitions.
    • Changes in the emotional, family and community sphere
    • Ecology: structural changes to face climate disaster, collapse, degrowth or energy transition, among other aspects.
    • Transitional process of societies going through collective trauma
    • Technological transition: AI, posthumanism
  3. Literary transitions:
    • Generic or formal transition: exhaustion or appearance of literary genres, in new forms
    • Aesthetic transition: changes in aesthetic currents, ruptures
    • Thematic transition: in relation to the historical context, the appearance of new themes that represent that moment of transition
    • Comparatist transition: opening of new lines, new perspectives that break with the past

Bibliography:

Derrida, Jacques (1995): Espectros de Marx: el Estado de la deuda, el trabajo del duelo y la nueva internacional, Madrid: Trotta.

Jameson, Fredric (2000): Las semillas del tiempo, Madrid: Trotta.

Moreiras-Menor, Cristina (2011): La estela del tiempo. Imagen e historicidad en el cine espaรฑol contemporรกneo, Madrid-Frankfurt am Main: Iberoamericana-Vervuert.

Ranciรจre, Jacques (2006): Polรญtica, policรญa, democracia, Santiago de Chile: LOM.

Resina, Joan Ramon (ed.) (2000): Disremembering the Dictatorship: The Politics of Memory in the Spanish Transition to Democracy, Amsterdam: Rodopi.

Richard, Nelly y Alberto Moreiras (eds.) (2001): Pensar en la posdictadura, Santiago de Chile: Cuarto Propio.

Ricoeur, Paul (1980): “Narrative Time”, Critical Inquiry 7, 1 (On Narrative), autumn, pp. 169-190.

Subirats, Eduardo (2002): Intransiciones. Crรญtica de la cultura espaรฑola, Madrid: Biblioteca Nueva.

Vilarรณs, Teresa M. (1998): El mono del desencanto. Una crรญtica cultural de la transiciรณn espaรฑola (1975-1993), Madrid: Siglo XXI.

 

SUBMISSION OF PROPOSALS

Proposals must include the following information for ALL authors: name and surname, organization or institution, email, the title of the proposal, a 15-20 line abstract, and biographical information (maximum: 10 lines).

Proposals can be sent to the following email address in Word (or compatible) format until May 31: congresotransicion.ideolit@ehu.es

The organizing committee's decision will be notified by July 15.

Proposals will be accepted in Spanish, Basque, English, French or German. Each speaker will have 20 minutes for their presentation, followed by a brief Q&A session. All presentations must be made in person.

 

Contact Information

 

Main Organizers:

  • M. Carmen Encinas Reguero (University of the Basque Country, UPV/EHU)
  • Garbiรฑe Iztueta Goizueta (University of the Basque Country, UPV/EHU)
  • Natalia Vara Ferrero (University of the Basque Country, UPV/EHU)
Contact Email
congresotransicion.ideolit@ehu.es

Thursday, March 28, 2024

CFP: International #Conference on #Hermeneutics of #Divine Soundscapes: Decoding the #Musical Signatures of Sri #Guru #Granth Sahib -October 2024-#Punjab University, India

 About The Conference

The relationship between spirituality and music is deeply rooted in the sacred verses of Sri Guru Granth Sahib. This conference aims to interpret the divine soundscapes within Sri Guru Granth Sahib and uncover the layers inherent in its musical signatures. By bringing together scholars, musicians, theologians, and practitioners, this conference aims to foster the understanding of the spiritual and interpretative dimensions of Sikh musical traditions. The conference has several objectives, such as investigating the symbolic meanings and semiotic nuances embedded in the musical signatures of Sri Guru Granth Sahib and exploring how they contribute to the overall discourse. The role of music in the spiritual and normative practices associated with Sri Guru Granth Sahib and its impact on the spiritual experience of practitioners is another area that will be explored.

The conference aims to facilitate dialogue on how the various interpretations of divine soundscapes in Sri Guru Granth Sahib resonate with and influence diverse cultural and religious practices and contexts. Finally, it will discuss the contemporary relevance of the divine soundscapes in the context of evolving religious thought and cultural dynamics.






Sub-themes:

• Ragas in Sri Guru Granth Sahib
• Ghar in Sri Guru Granth Sahib
• Dhuniyan (melodies) in Sri Guru Granth Sahib • Chhant in Sri Guru Granth Sahib
• Pauries in Sri Guru Granth Sahib
• Partaal in Sri Guru Granth Sahib
• Poetic Signatures in Sri Guru Granth Sahib
• Sikh Musical Traditions (e.g. Gharane)

Guidelines for Abstract and Paper Submission

We invite abstracts between 200-300 words along with a bio-note of not more than 100 words. Full-length papers should be 3000-5000 words long. The Authors can present their papers in Punjabi/English. The abstract can be e-mailed at head_bvsc@pbi.ac.in or nmiannualconference@gmail.com

Accepted papers will be presented at the conference and included in the proceedings published by the Nad Music Institute in a dedicated volume. Lodging and boarding shall be covered for all the conference participants. Full or partial travel grants will be provided to the selected participants. The selected young researchers shall be encouraged with special rewards.

Important Dates:

Submission of Abstracts: 25th April 2024
Intimation of Accepted Abstracts: 30th April 2024
Full Paper Submission: 1st September 2024
Intimation of Acceptance of the complete paper: 15th September 2024

About Bhai Vir Singh Chair

Bhai Vir Singh Chair was formally established in 2013. Padma Bhushan Bhai Vir Singh, an acclaimed figure in the literary world, is widely recognised as the father of modern Punjabi literature. His contribution to Punjabi language and literature has been remarkable, having dedicated 50 years of his life to our traditional heritage through modern scientific idioms. Emulating the tradition of philosophy, knowledge, and experience set forth by Guru Nanak Sahib, Bhai Vir Singh created various forms of literature, including poetry, fiction, rhetoric, editing, interpretation, and research, all of which have played a significant role in shaping modern Punjabi literature.

About Nad Music Institute

Nad Music Institute, a non-profit organization headquartered in Washington (USA), established in 2018, is committed to advancing Sikh music through academic research, collaboration with musicians and musical societies, and the creation of educational resources.

Contact Information

Dr. Jaswinder Singh, In-charge, Bhai Vir Singh Chair, Punjabi University, Patiala 

Dr. Manjit Singh, Nad Music Institute, USA

Wednesday, March 27, 2024

CFP: International #Conference: #Comparative #Literature as #Alternative #Humanities #Ethics, #Affect and the Everyday Social-#Delhi #University- September, 2024







In the last few decades, scholars in the Humanities have found it necessary to examine the fundamental underpinnings upon which their disciplines are built. One of the primary questions that animated this re-examination has been regarding the very terms of our engagement with countries and communities that inhabit radically different social and moral life-worlds, living as they do outside the orbit of European Enlightenment values that still regulate both organisation and practice within and outside the academy, across the world. Instead of accepting difference as a defining feature of the human condition, the grand narratives of the Enlightenment were used as colonial and imperial tools to homogenize the diversity of experience, emotion and expression as the high tide of colonial modernity swept the world. The consequent otherness and alienation that characterised human society have deeply impacted literary and cultural production. We witness a disjunction between the objective, scientific discourse with its claim to truth and the everyday social experience of the human subject which Humanities seek to understand. These asymmetries compel us to rethink the Humanities from alternative positions and perspectives to embody and address the plural orders of reality and the differences between them. How can the collection of disciplines we call the Humanities recover the capacity of self-reflection and self-criticism? Much has been written about how stereotypes invade our imagination to contaminate our experience and knowledge.

Comparative Literature’s commitment to alterity and plurality gives it a foundational interest in

the non-stereotypical, non-canonized, un-heard narratives of “others” that constitute a radical sense of the literary. Such articulations can only emerge from the confluence of different locations, experiences and identities, demonstrating how our vision of “others” projects our own versions of ourselves onto the outside world.

An alternative view of the Humanities will have to come to terms with the ideas of relationality, plurality and cultural mobility as the defining features of all epochs including that of the pre-modern. Texts, ideas, images, metaphors, themes, modes, genres, tales are all human endeavours and like humans themselves these have the capacity to travel across constructed, eternally given or pre-fixed borders, thereby defying the exclusivist, essentialist ideas of culture and literature. The prevailing inclination towards connected sociologies and connected histories, while a step in the right direction, often reflects the dominant discourses which impose homogeneity and hierarchy, evincing a lack of empathy for the precarious endeavour of encountering alterity and a lack of understanding of the transient and the contingent.





Thus, we propose plurality as a conceptual framework to address this eco-system of interconnectedness and relationality in terms of their manifestations in the languages and literatures of all nations, regions and communities, regardless of their location in the hierarchy of political and economic regimes, or of their internal stratifications. We would like to recover the mutuality of interconnections and interdependence between literatures and cultures across the world. The assertion that we live in a post-human world prompts us, as humans to consider our experience in terms of relationality and plurality. These emerge as conceptual tools for recasting our relations with the other - be it humans, animals or the non- living.

Texts are actualised through their immersion in the shared ideological and affective worlds that constitute the everyday world. From orality to print to the visual media, modes of intersubjective engagement are implicated in structures of power relations within society and our response to them. The very practice of Comparative Literature is an acknowledgement of plurality and a willingness to engage with difference. The discipline emphasises upon relationality, heterogeneity, multivocal perspectives, and direct engagement with alterity that translation offers as a process and a product. Built into the discipline is the interaction between literatures in multiple languages both within the nation and in other countries of the world. Furthermore, it takes orality and performance in its ambit. It reaches out to all other disciplines by asking the existential question : can we open ourselves to the location of the other and view the world from the vantage point of difference that we encounter outside ourselves? Can we frame a dialogic mode of interaction that reading teaches us to our relations with the world, to expand our view of the world outside our own limited subjectivity ? Hence, we propose Comparative Literature as an alternate paradigm - and invite reflections upon the possibilities inherent in the conceptual frame structured by the reciprocal, the relational and the plural. It is our hope that it will help to grasp and address the nature of the crisis that afflicts the Humanities today both in intradisciplinary and interdisciplinary framework.




Sub-themes

Some of the sub-themes in the context of the main theme that can be taken up for discussion are as follows:

Interrogating categorial binaries (tradition/modernity, nature/culture, regional/national, east/west etc.)/ Literature after theory/ Shifting paradigms between Literary Studies and Social Sciences/ The Post-human as a paradigm in literary studies.

Worlding literature / Historicising canons/ Global and local as contexts of reading. The idea of the classic in modernity: circulation or creativity ?

Translation and the encounter with difference. Translating “dialects”/ The oral texts/ Archaic texts.

The plural nation: stratification and resistance/ Literary historiography and geopolitics/ Intertextuality and chronotopes.

Polyphony/ Polysemy in literature/ Poetry and cosmopolitanism.

Interrogating “Minor” literature as category/ Identity theories as critiques of the Humanities / Life-writing from the margins.

The performativity of literature/ Screenplay as literature/ Intermediality in literature. South Asian literatures and cultures: relations, reciprocity and ruptures/ Population movements and literature.

Papers are invited from scholars of Comparative Literature,
Translation Studies, Cultural Studies, Theatre Studies, Gender Studies, Black Studies, Dalit Studies etc. or on any aspect of literature and culture that will help us understand and practice the Humanities in accordance with the ethical perspectives outlined above.

Abstracts of about 250 words along with a short bio-note of about 100 words may be submitted to clai2024@admin.du.ac.in

Upon acceptance, participants will be provided with registration details through email. The Registration Fee will include workshop kit, certificate, lunch, and refreshments during the three days of the conference. Participants would need to become members of CLAI on receiving their acceptance letters in order to present papers, if they are not already members of CLAI.





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Important Dates:

Last date of abstract submission: 30th April, 2024

Selected participants will be notified by: 30th May, 2024

Last date of registration: 15th July, 2024



Registration Fee:

Faculty members: Rs.3500/-

Research scholars/students: Rs.2000/-

International participants: US$ 200


For further information please visit: https://www.clai.in/upcoming-event/

Organising Committee, XVII Biennial International Conference

Call for Papers - Journal of Comparative Literature and Aesthetics Vol. 47, No. 3, Autumn 2024



The Journal of Comparative Literature and Aesthetics is now accepting submissions for its forthcoming regular issue, Vol. 47, No. 3, Autumn 2024.


ABOUT THE JOURNAL

Wikipedia: https://en.wikipedia.org/wiki/Journal_of_Comparative_Literature_and_Aest...

The Journal of Comparative Literature and Aesthetics (ISSN: 0252-8169) is a quarterly peer-reviewed academic journal published by Vishvanatha Kaviraja Institute of Comparative Literature and Aesthetics, India, since 1977. The Institute was founded by Prof. Ananta Charan Sukla (1942-2020) on 22 August 1977, coinciding with the birth centenary of renowned philosopher, aesthetician, and historian of Indian art Ananda K. Coomaraswamy (1877-1947) to promote interdisciplinary studies and research in comparative literature, literary theory and criticism, aesthetics, philosophy, art history, criticism of the arts, and history of ideas. (Vishvanatha Kaviraja, most widely known for his masterpiece in aesthetics, Sahityadarpana, or the “Mirror of Composition,” was a prolific 14th-century Indian poet, scholar, aesthetician, and rhetorician.)

The Journal is committed to comparative and cross-cultural issues in literary understanding and interpretation, aesthetic theories, and conceptual analysis of art. It publishes current research papers, review essays, and special issues of critical interest and contemporary relevance.

JCLA is indexed and abstracted in the MLA International Bibliography, Master List of Periodicals (USA), Ulrich’s Directory of Periodicals, ERIH PLUS, The Philosopher’s Index (Philosopher’s Information Center), EBSCO, ProQuest (Arts Premium Collection, Art, Design & Architecture Collection, Arts & Humanities Database, Literature Online – Full Text Journals, ProQuest Central, ProQuest Central Essentials), Abstracts of English Studies, WorldCat Directory, ACLA, India Database, Gale (Cengage Learning), International Directory of Philosophy (PDC), Bibliography History of Art (BHA), ArtBibliographies Modern (ABM), Literature Online (LION), Academic Resource Index, Book Review Index Plus, OCLC, Periodicals Index Online (PIO), Norwegian Register for Scientific Journals, Series and Publishers, CNKI, PhilPapers, Google Scholar, Expanded Academic ASAP, Indian Documentation Service, Publication Forum (JuFo), Summon, J-Gate, MIAR (Matriz de Informaciรณn para el Anรกlisis de Revistas), United States Library of Congress, New York Public Library, BL on Demand and the British Library. The journal is also indexed in numerous university (central) libraries, state, and public libraries, and scholarly organizations/ learned societies databases.

The Journal has published the finest of essays by authors of global renown like Renรฉ Wellek, Harold Osborne, John Hospers, John Fisher, Murray Krieger, Martin Bocco, Remo Ceserani, J.B. Vickery, Menachem Brinker, Milton Snoeyenbos, Mary Wiseman, Ronald Roblin, T.R. Martland, S.C. Sengupta, K.R.S. Iyengar, Charles Altieri, Martin Jay, Jonathan Culler, Richard Shusterman, Robert Kraut, Terry Diffey, T.R. Quigley, R.B. Palmer, Keith Keating, and many others. Celebrated scholars of the time like Renรฉ Wellek, Harold Osborne, Mircea Eliade, Monroe Beardsley, John Hospers, John Fisher, Meyer Abrams, John Boulton, and many renowned foreign and Indian scholars were Members of the Editorial Board of the journal.

Manuscripts in MS Word (5,000–8,000 words) following the MLA style should be sent to editor@jcla.in by 31 May 2024.

Founding Editor: Ananta Charan Sukla (1942-2020), Vishvanatha Kaviraja Institute, India
Email: jclaindia@gmail.com
Website: jcla.in

Call For Articles: Special issue #CFP: #Women’s #Autobiographical #Filmmaking -Alphaville: Journal of #Film and #Screen #Media,

 Call for Papers

Women’s Autobiographical Filmmaking 

Special issue of Alphaville: Journal of Film and Screen Media, Summer 2026

Guest editors: Dr Felicia Chan (University of Manchester) and Dr Monika Kukolova (University of Salford)

Autobiographical filmmaking refers to films created by filmmakers that tell stories about their lives, experiences and memories. These may be truthful or partially fictionalised, remembered clearly or misremembered, or a combination of these, usually in ways that also explore how film as a medium itself can do this — a form of practice-as-research, if you like. We are interested in exploring with potential contributors whether there might be a gendered nature to this mode of filmmaking / life-remembering / self-narrating? Do filmmakers who identify as women tell different stories about themselves and their lives from those who identify as men, or do they do so in a different way? How do women filmmakers navigate their simultaneous objecthood and subjecthood in the eye of the camera (Everett, 2007)? Much of the canon in film studies is constituted by works of male auteurs, all in one form or another said to be exploring their lives, their pasts and their selves on screen: think of figures like Federico Fellini, Woody Allen, Franรงois Truffaut, Shane Meadows, the list goes on. This structural domination is being continually challenged (Gledhill and Knight, 2015) and moves to rehistoricise women’s filmmaking have seen increased attention on figures from Agnรจs Varda through to Greta Gerwig though much more remains to be done on women filmmakers in the global majority. 

There has been a longer history of scholarship on women’s literary life-writing (Smith and Watson, 1998; Neuman, 2016; Brodzki and Schenck, 2019) but less so on women’s life-writing on/through film as a mode of self-narration. How have women filmmakers had to navigate the industrial structures of filmmaking with all its gatekeeping mechanisms, including access to capital? To what extent are these gatekeeping mechanisms disproportionately discriminatory towards women?  

We are inviting proposals to explore any area of the subject, although we are especially keen to receive proposals from scholars studying the ways women in the global majority use cinema to write themselves and their memories into post/colonial histories. We would also like to invite proposals on alternative publication formats such as the video essay, and shorter provocations, interviews or reports.

Possible topics include (but are not limited to):

  • Filmmaker case studies
  • Close readings of individual films
  • Industry analysis
  • Autobiographical film as method
  • Challenges to theoretical orthodoxies, e.g. auteur theory, canon-making, etc.
  • Decolonial approaches to gender studies and women’s filmmaking 

Full-length articles: 5,500-7,000 words, including notes but excluding references

Video essay: Approx. 3-15 mins, plus accompanying text 500-1000 words

Short reports, provocations, reviews, interviews, reflections: 1,500-2,500 words

Full-length articles and video essays will be subject to full peer review. Guidelines here: https://www.alphavillejournal.com/Guidelines.html

Publication Timeline
15 May 2024, abstract due

31 May 2024, notification of editors’ decision
15 January 2025, full video essay / manuscript due 
Publication: Summer 2026


If you are interested in contributing to this issue, please send a 300-word abstract along with a brief biography, in the same file, to Dr Monika Kukolova (M.Kukolova@salford.ac.uk)

Feel free to contact us with any questions.

 Alphaville is a diamond open-access journal, and it requests no fee from authors or readers. Visit us at https://www.alphavillejournal.com

 

Contact Information

Dr Felicia Chan, University of Manchester, UK: Felicia.Chan@manchester.ac.uk

Dr Monika Kukolova, University of Salford, UK: M.Kukolova@salford.ac.uk

Contact Email
Felicia.Chan@manchester.ac.uk

Tuesday, March 26, 2024

CFP: First Conference on Global Indigenous Studies (CGIS 2024)

 The First Conference on Global Indigenous Studies is now accepting proposal submissions until June 15th, 2024! Visit the Call for Proposals page on our website to learn more. 

Conference description: Throughout the world, ethnic minorities and Indigenous people have strived to protect their rich heritages and linguistic characteristics against colonial powers, expanding nation-states, as well as the homogenizing forces of globalization. It is increasingly being recognized, exemplified by UNITED NATIONS' “Indigenous Languages Decade” (2022-2032) (https://en.unesco.org/idil2022-2032), that Indigenous languages and the epistemologies embedded in them are fundamental for the perseverance of biological and cultural diversities. The protection and promotion of linguistic diversity help to improve the human potential, agency, and local governance of native speakers of endangered languages, which is especially critical in the face of climate change and environmental degradation. 

The First Conference on Global Indigenous Studies (CGIS 2024) is a multidisciplinary, interdisciplinary, and transdisciplinary event that will bring together national and international scholars, educators, practitioners, students, policy makers, activists, academic institutions, Indigenous organizations, governmental and non-governmental organizations. The participants in this conference will be involved in a local and global dialogue and exchange of ideas, research, and experiences on the themes of the event.



Contact Email :  hlsindig@iu.edu