POST SCREEN: International Festival of Art

The Artistic Studies Research Center of the Faculty of Fine Arts of Lisbon University invites you to submit a proposal for a paper or artwork to the upcoming POST SCREEN: International Festival of Art, New Media and Cybercultures to be held in November 2014 in Lisbon, Portugal.

1. Scope
Since the mid-20th century, technological development has been growing to such an extent, that it became an inescapable influence in everyday life of contemporary society. The use of portable cameras, the easy and widespread access to video and photo editing softwares, the use of social networks, as well as interactive games are part of the personal, professional and social daily routine of every individual.
The subject of the POST SCREEN Festival 2014 will be Device, Medium and Concept. Recognizing that these aspects exist in a hybrid territory whose borders are sometimes very faint and not always possible to distinguish, we intend to discuss the use of screen-based devices (traditional, analog or digital) as a tool used in artistic practices and social behaviours; the screen as medium, entails the production and archiving of works of art, cultural and social activities, exclusively generated through technological screens making use of intrinsic technological attributes that a given medium provides; the screen as a concept, refers mainly to the aesthetic, phenomenological and social aspects that involve the idea of screen. These are intended to reexamine the various problems concerning art and culture mediated by screens.
The Festival will comprise a cycle of conferences, a group exhibition of artworks in a virtual gallery and workshops. This event aims to gather a number of experts in diverse fields of research and artistic practice and promote an interdisciplinary discussion and an exhibition of creative productions on emerging issues related to the use of new technologies (moving image, sound, digital images, virtual reality, immersive environments, network cultures).

2. You may submit the following presentation types:
2.1 A paper to be presented at the conference;
2.1.1 The topics of interest for paper submission include, but are not limited to:
- The screen as Device, as Medium and as Concept;
- Theoretical and practical approaches to the screen-based art;
- Screen-based visual culture;
- From window-screen to the ubiquitous-screen;
- Virtual and immersive environments;
- The technological progress of the screen and its repercussion in the social, cultural, artistic, economic and political context;
- The historical, technological and artistic remediation of the screen;
- New definitions and proposals for the concept of screen and its role in art, technology and culture;
- Consumption and dependence of the screens as alienating social factor;
- Cyberculture as a system overpowered by the existence of screens;
- The relationship between the body and the screen;
- The screen as an interface between real/virtual spaces and private/public spaces;
- Production, archive and obsolescence of digital works;
- The screen as an artifact and as a mean of production;
- Virtuality and physicality of the screen;

2.1.2 We also encourage submissions within a variety of disciplines and fields, related to Art and Technology, including:
- Art and theory
- Art History
- Aesthetics
- Art and New Technologies
- Curatorial Practices
- Social Sciences
- Cultural Studies
- New Media

2.2 An artwork to be presented at the virtual gallery of the festival.
2.2.1 The themes for the submission of the works must comply with the overall theme of the festival that refers to the screen as Device, Medium and Concept.
2.2.2 Submissions are accepted in various genres, such as:
- Installations
- Interactive installations
- Video
- Audio
- Site-specific installations
- Multiple projections
- Immersive environments
- Video-performance
- Ciberarte
- Web-Art
- Videographic documentation of works with interactive and participative character
- Digital Platforms
- Visual Arts

3. Review and selection process:
The papers will be reviewed through a double blind reviewing process by the International Board.
The art projects will be selected through a single blind reviewing process (only the curator will know the identity of the artist) by the Curator Committee.

4. Important Dates
May 31  – End date for submitting the paper proposal / Art Project
July 25 – Notification of acceptance or rejection of the paper proposal /Art Project
August 31  – Submission of full paper for publication + full artwork high quality file for virtual gallery.

For more information, please go to Post Screen Festival website http://postscreenfestival.com or  http://postscreen.fba.ul.pt

The Representational Art Conference

TRAC2014_mainslide-920x300

The Representational Art Conference 2014 (TRAC2014) will focus on the aesthetic principles and values implicit in the representational art of the 21st Century. Having established at TRAC2012 that the representational art community has an important voice, it is timely to explore and articulate its distinctive aesthetic values, vision and philosophical outlook. Our purpose is not to establish a single monolithic aesthetic for representational art, but to identify commonalities, understand the unique possibilities of representational art, and perhaps provide some illumination about future directions. WHO SHOULD ATTEND:

Academic Studio Artists

Art Historians

Professional Studio Artists

Art Students

Critics

Gallery Professionals

Art Collectors

Museum Professionals

Crowne Plaza Hotel Ventura Beach, California

  • With a spectacular beachfront, an array of culinary delights and just the right blend of casual and cool, Ventura is a great destination for business or pleasure. The Crowne Plaza Hotel Ventura Beach is the only hotel on the beach and just two blocks from historic downtown Ventura, making it easy for guests to explore all the area has to offer.

    Ventura is a great place to escape. Take a surfing lesson on the beach or enjoy a scenic boat ride out to Channel Island State Park, where recreational activities abound. From art galleries, vintage shops to premium outlets, you’ll find it all within minutes of the hotel. Ventura has year-round temperatures averaging 70 degrees & over 250 sunny days a year!

    The Representational Art Conference is an international event
    hosted by the California Lutheran University Arts Initiative.

Happy Birthday Emily Dickinson

Black-white_photograph_of_Emily_Dickinson_(Restored)“I measure every Grief I meet
With narrow, probing, Eyes;
I wonder if It weighs like Mine,
Or has an Easier size.

I wonder if They bore it long,
Or did it just begin?
I could not tell the Date of Mine,
It feels so old a pain.

I wonder if it hurts to live,
And if They have to try,
And whether, could They choose between,
It would not be,  to die.

I note that Some –
gone patient long –
At length, renew their smile.
An imitation of a Light
That has so little Oil.

I wonder if when Years have piled,
Some Thousands — on the Harm
Of early hurt — if such a lapse
Could give them any Balm;

Or would they go on aching still
Through Centuries above,
Enlightened to a larger Pain
By Contrast with the Love.

Dickinson_children_painting

The Dickinson children (Emily on the left), ca. 1840. From the Dickinson Room at Houghton Library, Harvard University

The Grieved are many,
I am told;
The reason deeper lies, –
Death is but one
and comes but once,
And only nails the eyes.

There’s Grief of Want
and Grief of Cold, –
A sort they call “Despair”;
There’s Banishment from native Eyes,
In sight of Native Air.

And though I may not guess the kind
Correctly, yet to me
A piercing Comfort it affords
In passing Calvary,

To note the fashions of the Cross,
And how they’re mostly worn,
Still fascinated to presume
That Some are like My Own.”

Emily Dickinson (I’m Nobody! Who Are You?)

Ralph Ellison & Narratives of the Black Male Athlete

Multi-Ethnic Literature of the United States Convention

Ralph Ellison Centennial Celebration

Ralph_Ellison_photo_portrait_seatedThrough its multiple vamps, riffs, and leitmotifs Ralph Ellison’s Invisible Man delivers a vision of Black masculinity that includes a particular exploration of Black male athleticism. Addressing notions of physicality and competitive spirit, Ellison speaks back to a significant legacy of performance that had become evident to white America through the sporting exploits of African American men by the novel’s publication in 1952. Moments such as the battle royal and the arena speech bring the novel’s nameless narrator into conversation with a list of prominent Black athletes including Jack Johnson, Jessie Owens, Joe Louis, and Jackie Robinson.

A round table discussion at the 2014 MELUS Convention/Ralph Ellison Centennial Celebration in Oklahoma City will examine ways that Ellison articulates possibilities for Black male voices deployed in twentieth-century sports autobiographies, including those produced by Curt Flood, Jackie Robinson, Hank Aaron, Frank Robinson, and Muhammad Ali.

Recognizing Black male athletes as speaking an American vernacular, we recall that Ellison finds vernacular a “dynamic process [where]…refined styles from the past are continually merged with the play-it-by-eye-and-by-ear improvisations which we invent in our efforts to control our environment and entertain ourselves.” In addition to Invisible Man, participants may explore Ellison’s narrative play with respect to essays from Shadow and Act and Going to the Territory.

Send short 500-750 word abstracts for consideration by January 15, 2014.

Email: mantonucci@keene.edu

Music and Figurative Arts in the Twentieth Century

Music and Figurative Arts in the Twentieth Century

organized by

Centro Studi Opera Omnia Luigi Boccherini (Lucca/Pistoia)

14-16 November 2014 Lucca, Complesso Monumentale di San Micheletto

CALL FOR PAPERS

chagallThe Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music and Figurative Arts in the Twentieth Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from Friday 14 until Sunday 16 November 2014.         The relationship between music and figurative arts during the twentieth century is encoded in the links that exist between various composers and artists (such as Schönberg and Kandinsky, Stravinsky and Marino Marini or Picasso, and so forth), and particularly in the personal experiences of composers who produced graphic scores (namely Bussotti, Guaccero and Cage); the connections extend to installation art.         The present conference aims to explore this multifaceted world and will focus on artistic movements and political-sociological phenomena, including musical iconography associated with totalitarian regimes of the twentieth century.

The programme committee encourages submissions within the following areas, although other topics are also welcome:

  • The relationship between composers and artists, painters and sculptors
  • Concurrence of musical and artistic aestethics in the twentieth century
  • Futurists and “The Painting of Sounds, Noises and Smells”
  • Musical iconography of totalitarian regimes
  • Music, visual arts and institutions
  • Iconography and the representation of time in music and the visual arts
  • Rhythm, sound and silence in artistic creation
  • Rhetoric and the figurative arts
  • Musical notation as an artistic element
  • Cage and visual art
  • Sound spaces and the relationship with the musical architecture of Xenakis
  • New artistic expression: installations, performances, and so forth.
  • Popular music and pop art
  • Urban artistic movements: the convergence of art, music and architecture
  • The colour organ and the tradition of mechanical/electomechanical instruments to represent Sound

Programme Committee:

  • Germán Gan-Quesada (Universitat Autònoma de Barcelona)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Massimiliano Locanto (Università degli Studi di Salerno)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Luca Lévi Sala (Université de Poitiers)
  • Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynote Speaker:

  • Björn R. Tammen (Österreichische Akademie der Wissenschaften | Institut für kunst- und musikhistorische Forschungen)

Invited Speakers:

  • Germán Gan-Quesada (Universitat Autònoma de Barcelona)
  • Luca Lévi Sala (Université de Poitiers)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.         Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.         All proposals should be submitted by email no later than ***Sunday 6 April 2014*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.         The committee will make its final decision on the abstracts by the end of May 2014, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

        For any additional information, please contact: conferences@luigiboccherini.org http://www.luigiboccherini.org/conferences.html

- See more at: http://www.luigiboccherini.org/figurativearts.html#sthash.soXPGyHJ.dpuf

The Heraldic Imagination

Emblems and Enigma: The Heraldic Imagination

An Interdisciplinary Symposium to be held at the Society of Antiquaries of London on Saturday 26th April 2014

In his 1844 short story ‘Earth’s Holocaust’, Nathaniel Hawthorne sees heraldic signs reaching ‘like lines of light’ into the past, but also as encrypted and obsolete. Proliferating and arcane, unique, ubiquitous, and inscrutable, the heraldic has been a major presence across the arts since medieval times; yet it remains, culturally and critically, enigmatic.

The organisers of this interdisciplinary symposium, Professor Fiona Robertson (English Literature, St Mary’s University College) and Dr Peter Lindfield (History of Art, University of St Andrews), invite proposals for twenty-minute papers on any aspect of the employment and perception of the heraldic in literature, history, art, architecture, design, fashion, and contemporary and historical practice.

The symposium will take place from 9.30 to 5 at the Society of Antiquaries of London, Burlington House, Piccadilly, London. The programme will include a keynote address by Professor Vaughan Hart (University of Bath); a special session on the heraldry of Horace Walpole’s Strawberry Hill and William Beckford’s Fonthill Abbey; and papers on eighteenth-century antiquaries’ exploration of the heraldic, and on heraldry in nineteenth-century British and American literature.

Topics may include, but are not restricted to:

            - the languages and grammar of heraldry

            - armoiries parlantes, allusions and puns

            - imaginary and fantastical heraldry

            - decoration and display

            - blazonry and identity: nations, groups, individuals

            - mock- and sham-heraldics; parody and subversion

            - practices of memory and memorialisation

            - history, development, and modern practice

            - blazon and the body

            - heraldic revivalism; medievalism; romance

            - enigma, error, and absence: the bar sinister and the blank shield

            - individual designers, writers, and collectors

            - gendered identity

            - hierarchies of signs

            - international and interdisciplinary perspectives 

Proposals of 200 words should be sent to the organisers at heraldics2014@gmail.com by 10 January 2014.

Fiona Robertson and Peter Lindfield plan to edit a collection of essays arising from the symposium.

Further information will be available on the symposium website, http://heraldics2014.wordpress.com.

Cinema and Multilingualism

CinemaaustraliaThe collection Cinema and Multilingualism takes its cue from two independent, but interrelated, ideas. Firstly, that the importance of linguistic difference and change in contemporary history has been vastly undervalued: an individual’s migration into a non-native linguistic environment, like the collective confrontation with foreign languages through the forces of immigration, urbanization and media globalization, bears a series of social, political, psychological and even ethical implications whose relevance to contemporary culture and society deserves a much closer look than it has so far inspired. Secondly, that transnationality and multilingualism are not recent phenomena whose impact on cinema has only just begun to be felt, but that cinema has been globalized and transnational from its very origins, and language and linguistic difference have shaped its history much more broadly than is generally acknowledged.     Although recent scholarship in film studies has begun to reevaluate the profound impact of displacement on film production and consumption – contributing to a paradigm shift that radically problematizes the concept of national cinemas, and to the establishment of the transnational as an interdisciplinary discourse – the question of language has so far occupied a marginal position. At the same time, the few recent studies that address multilingualism and linguistic difference have been largely focused on matters of translation and the representation of migrant languages and identities – as, for example, in the various reflections on dubbing and subtitling practices and the analyses of what have come to be known as “polyglot films.” Necessarily inspired by, but also moving beyond these studies, Cinema and Multilingualism is driven by the reflection that even a cursory glance at the history of film – that is, the history of its production, distribution, reception and theorization – reveals countless indications of the centrality of multilingualism in filmmaking practices. This is evident not only in the international co-productions that have always been a staple of the industry – a point that has begun to be examined – but also in the very birth of cinema, and of photography before it, in close correspondence with the consolidation of disciplines such as geography and anthropology, and the expansion of tourism. It is further evident in the medium’s popularity with (and popularization through) urban immigrant communities at the turn of the twentieth century; in the well-known fact that Hollywood itself was built in good part by immigrants, and classical Hollywood narrative and style consolidated through the work of countless displaced practitioners; and in the widespread influence of genres such as film noir, and national (but trans-regional and pluri-dialectic) cinema contexts such as that of postwar Italy, without which the medium’s history would hardly be the same. These indicators of multilingualism’s place in cinema have yet to be adequately addressed. At the same time, the further escalation of migration and globalization (and therefore multilingualism) in recent times, and its increasing relevance to areas of the world previously either untouched by such demographic and cultural shifts or without the means to confront them cinematically, is equally in need of scholarly attention.      The essays so far collected in Cinema and Multilingualism move through innovative historical debates (e.g. the impact of multilingualism on pre-cinema aesthetics); hitherto unexplored geographical areas (e.g. the minority-language films of North East India); emergent sociopolitical paradoxes (e.g. the negotiation of linguistic difference in recent European remakes of other European films); and fresh re-examinations of postcolonial discourse. The volume seeks to expand on these existing concerns with essays on the place of multilingualism in the development and dissemination of film theory (both past and current), as well as its impact on contexts such as avant-garde and silent cinema, and on the distribution, exhibition and teaching of multilingual films. It also welcomes essays that adopt a comparative and interdisciplinary approach to the study of multilingualism, particularly regarding the relationship between cinema and the other arts.     The volume Cinema and Multilingualism stands not only to provide a necessary contribution to the growing area of film studies broadly referred to as “transnational cinema,” and to re-evaluate – and re-invigorate – the question of cinema’s relation to language more generally, but also to stimulate further research into the place of multilingualism in the social and cultural history of the nineteenth, twentieth and twenty-first centuries.

Abstracts of 300-500 words should be sent to patti@hws.edu and tmamula@johncabot.edu by 1 December 2013, with a brief biographical statement. Accepted articles of 5,000-8,000 words, including notes and bibliography, should be sent to the editors by 1 June 2014.  Topics may include (but are not restricted to) the following:

- historical shifts in multilingualism and its cinematic expression (particularly the confrontations associated with moments of emerging urban and/or cosmopolitan scenes of multilingualism in the late 19th and early 20th centuries) – the place of multilingualism in areas of filmmaking generally excluded from research into this topic, particularly early and silent film, experimental/avant-garde cinema and video art – canonical or “hegemonic” filmmakers usually excluded from the discourses of transnational and migrant cinemas (e.g. Luis Buñuel, Andrej Tarkovsky, Raùl Ruiz, Straub and Huillet, Claire Denis) – linguistic concerns in the work of classical and modern film theorists working outside the context of their native language (e.g. Béla Balász, Sergej Eisenstein, Siegfried Kracauer) – the stylistic indices of multilingualism, both within the work of single individuals or across entire modes, genres or movements – cognitive approaches to the impact of multilingualism on film spectatorship – the relationship between language and visuality, particularly as it pertains to film theory – the impact of translation and mis-translation on the dissemination of film theory (e.g. Bazin in Anglophone academia) – interrelations between cinema and modernist literature, particularly with regard to the traces of multilingualism in the latter’s development – multilingualism and pre-cinema aesthetics – pedadogical approaches to cinema and multilingualism, in both monolingual and multilingual teaching contexts – multilingualism and screenwriting – multilingualism within distribution or exhibition practices – the circulation and transformation of multilingual cinema via new media – the reception of multilingual cinema within local, national, and transnational frameworks – multilingual stardom – forms or practices of multilingualism in any period of film/media history and any aspect of film theory

cfp categories:

Tales After Tolkien: Medievalism and Genre in the Twenty-First Century

Contributions are sought for an edited collection titled Tales After Tolkien: Medievalism and Genre in the Twenty-First Century. The collection explores the ways popular genres engage with the history and literature of the Middle Ages, and with the very idea of ‘the medieval.’ What are the intersections of medievalism and genre in modern popular culture?

The questions chapters might ask include, but are not limited to: how genre conventions shape the use of medieval material and vice versa? In what ways do contemporary social, cultural and political issues intersect with the medieval in popular genres? How do authors approach the Middle Ages and medieval material? What is the role of audience expectations and beliefs? Is historical authenticity important, to whom does it matter, and how is it defined?

Chapters may focus on any popular genre, but contributions exploring romance, horror, mystery, and historical, westerns, cross-genre works or comparing genres are especially welcome. They may focus on works in any medium, e.g. fiction, film, television, graphic novels, and games, or consider multi- or transmedia medievalisms.  Chapters exploring fan communities, audiences, and adaptations are also welcome. They should focus on works first published in the twenty-first century, although series which began before that date could also be considered, as could comparisons of recent works with earlier publications.

Chapters will be 6,000 to 7,000 words, including all footnotes, references etc, with first drafts due 1st June 2014, and final versions on 1st October 2014. The volume will be offered to Cambria Press, which has expressed interest in seeing the manuscript proposal.

In the first instance, an abstract of approximately 300 words along with a brief CV should be sent to Helen.young@sydney.edu.au by 8th January, 2014. Any queries may be directed to the same address.

Luce Irigaray International Seminar June 2014

irigaray-by-cathy-bernheimSince 2003, Luce Irigaray holds a seminar with researchers doing their PhD on her work. This way, they have the opportunity to receive personal teaching from Luce Irigaray and to exchange ideas, methods and experiences between them. The seminar was welcomed by the University of Nottingham during the first three years (see Luce Irigaray: Teaching edited by Luce Irigaray with Mary Green, and published by Continuum, London & New York, 2008), by the University of Liverpool the fourth year, by Queen Mary, University of London, the fifth year, by the Goodenough College of London the sixth year, by the University of Nottingham the seventh year, by the University of the West of England and the University of Bristol as co-hosts the eighth year, and by the University of Bristol the ninth and tenth years. The seminar will take place at the University of Bristol in 2014.

The framework of the seminar is this: A group of at most fifteen researchers, doing their PhD on the work of Luce Irigaray, stay one week on the university campus. The timetable includes a presentation by each researcher on the aspect of their PhD which most focuses on the work of Luce Irigaray, the discussion of this presentation by the group, the comments of Luce Irigaray herself and her answers to the questions asked by each one, and also sessions devoted to an explanation of some key-words or key-thoughts chosen by the participants. Personal meetings with Luce Irigaray are organized on the last day. The participants pay for their travel, but receive, at least in part, hospitality from the university. The language of the seminar is English. The participants in the seminar come from different regions of the world, they belong to different cultures, traditions and fields of research – Philosophy, Gender Studies, Religious Studies, Literature, Arts, Critical and Cultural Studies, etc. The themes of their research include, for example: the treatment of personal or cultural traumatic experience; the resources that various arts can offer for dwelling in oneself and with the other(s); the maternal order and feminine genealogy; the interpretation and embodiment of the divine today; the contribution of sexuate difference to personal and social development; new perspectives in philosophy etc. In each of these fields, diverse domains, approaches and methods are represented. To date, the participants came from Australia, Vietnam, Korea, China, India, Sri Lanka, South Africa, New Zealand, Canada, Latvia, France, Belgium, Pakistan, Spain, Italy, Ireland, Iceland, Romania and from different regions and universities of the U.S.A. and of the U.K. Beyond the multicultural teaching which results from such a gathering, the participants learn to live together and to share in difference during the time devoted to the work, and during meals, walks, personal meetings etc. The atmosphere of the seminar is intense but friendly and joyful, and its outcome highly successful for both the research and the life of each participant.

If you are interested and would like to participate in such a seminar please send as soon as possible a CV, a PhD abstract (1 page) and a presentation of the issues and arguments of your PhD that most focus on the work of Luce Irigaray (5 – 6 pages) to Luce Irigaray (by mail: 15, rue Lakanal, 75015 Paris, France). After receiving this material, Luce Irigaray will tell you if you can participate in the seminar of 2014. You will be in contact, for further practical information, in the Spring after the selection of the candidates.

Please visit http://workingwithluceirigaray.com for information about previous seminars and for the CFP details.

PLEASE NOTE, ALL SUBMISSIONS SHOULD BE MADE DIRECTLY TO PROFESSOR IRIGARAY BY POST, NOT VIA EMAIL.

World Literature and Film

The figure of the hero underwent a renascence in meaning, visibility, and cultural cachet in the twenty-first century, with the success of the Harry Potter, Lord of the Rings, and World War Z franchises;  the Batman, James Bond, and Marvel Cinematic Universe tent-poles; and the 24, Arrow, and Games of Thrones television series. Moreover, the hero took on new significance in other countries’ cultural productions, as with the film series Krrish in India, Zebraman in Japan, and Valley of the Wolves in Turkey. We should also consider the role of the heroine in both ancient and modern representations: Penelope, Shahrazad, and even with television heroines such as Charlie’s Angels or today’s Emily Thorne in the show Revenge (that capitalizes on Dumas’s novel, The Count of Monte Cristo and the Occupy Protests, as well as the Villainy of the One Percenters)
The 2013 World Literature and Film Conference at Kennesaw State University will therefore explore such reconceptualizations of heroism as they travel across different media, genres, cultures, milieus, genders, and audiences. We invite scholars from a number of disciplines to consider representations of heroism in relation to the following items:
• The hero as an intermedial figure, taking shape in film, comic art, literature, radio, and new media and merchandising channels
• Ethnic, racial, and intersectional constructions of the hero across different cultural and ideological constellations
• Gender mappings and the sexual objectification of the hero, especially in relation to the Bechdel and Hawkeye tests
• The impact of the hero on the cognitive, affective, and unconscious identifications and self-understandings of readers, viewers, and consumers
• The sociopolitical resonance of the hero in a post-9/11 context of drone attacks, terrorism, market imperialism, and controversies over American exceptionalism
• Neo-Jungian and neo-structuralist approaches to the archetypes of the hero and the hero’s journey
• The notion of secret identity in relation to issues of identity and multiplicity, “viral” memetics, and schizoanalysis
Conference papers should read no longer than 20 minutes. Please send a 300-word abstract and a 50-word biographical sketch to Larrie Dudenhoeffer at ldudenho@kennesaw.edu or Khalil Elayan at keleyan@kennesaw.edu by March 2, 2014. Kennesaw State University is in the north-metro Atlanta area. As of now, Friday, April 4th is the target date for the conference, with a reception taking place on campus the evening of Thursday, April 3rd.