Tag Archives: CFP

CFP: Archive, Canon, Clone, Copy at University of Minnesota, Sept 26th-27th, 2014


Intellectual Properties: Archive, Canon, Copy, Clone (2014)

The 3rd Annual Cultural Studies and Comparative Literature Conference at the University of Minnesota

Dates: September 26th-27th 2014

Keynotes Speakers: Jane Gaines of Columbia University


Contemporary debates on intellectual property rights encompass aspects of materiality that far exceed the scope of what has traditionally been associated with “the intellect.” In an era that witnesses the full development of the relations and forces of social production that Marx called “the general intellect,” questions of ownership are inseparable from epistemological and existential concerns. “Intellectual Properties” seeks to problematize the term itself by asking how its juridical meaning is informed by constellations of philosophical, literary, technological, social, historical, and political discourses. Our conference understands “intellectual properties” as a critical category for thinking the intersections between diverse disciplinary conversations on the ordering of knowledge and affect. What are the social and cultural preconditions that make the category of “intellectual property” salient at this historical moment?

If we consider the potential of this question to rearrange linear historiography, we must also reevaluate the objects through which we are able to form and understand these histories. The archive, the canon, the copy, and the clone are terms that determine the consistency of the intellect and its properties; they also provide models by which the intellect can be owned as “property.” The term “intellectual property” may help us to understand and position our own work as thinkers, scholars and teachers, and to map some of the possibilities and limits of contemporary work in the humanities. To whom do archives, broadly understood to include the spectrum from books to genes, belong? How do contemporary canonical formations (e.g. “world cinema,” “literature in global English,” “world music,” “French theory”) challenge and reinstitute the relations of property and propriety that were once called “tradition”? What is the relationship between media of technical reproducibility and increasingly elaborate regimes of intellectual property rights deployed in the sciences, humanities, and the public sphere? How does technical reproducibility work as a mode of biological and social reproduction in the age of digital convergence, cloning, and the proliferation of prostheses?  

We are interested in work that addresses the above questions and related concerns.

Possible paper topics include:  

  • Theoretical and historical perspectives on property and intellectuality

  • Communicative labor and general intellect

  • Materiality and embodiment of knowledge

  • Film, literature, music, their properties and property relations

  • Intersections between “local” “national” and “global” literatures, cinemas, and music.

  • The relationship between affect and intellect

  • Artificial Intelligence, cybernetics, self-organizing knowledge systems

  • Regimes of documentary evidence and the archive

  • Archive fever/desire for archives/the archival turn in film and literary studies

  • The politics of collective memory, institutional memory, and state memory

  • Subaltern and alternative archives

  • Virtual publics and virtual privacies

  • Cognitive mining and indigenous claims to knowledge

  • Exploitation of knowledge, knowledge as exploitative

  • Digital archivization and technologies of piracy

  • Intellectual prostheses in their technological, mechanical, or pharmacological modes

  • Hacking, culture-jamming, and graffiti

  • Institutional histories of intellectual property

  • Teaching, maieutics, the university under neoliberal restructuring

  • Politics of vernacular languages

  • Rights to digital commodities and virtual territory, concepts of virtual ownership

  • Mash-ups, slashes, re-mixes, parodies and communal repurposing

  • Economies and ecologies of social and biological reproduction

  • Intellectuals as a class and the role of the intellectual

  • Disciplinary history and genealogies of knowledge


Please submit your abstract of no more than 300 words to UmnCsclConference@gmail.com by June 1st. Include your name, e-mail address, brief bio (including school affiliation, position, and research interests), and any audio-visual requirements. Papers should be in English and no more than 20 minutes in length. We are also interested in panel submissions, which should consist of at least three participants and which should include the above information about each participant and a tentative title indicating the theme.


Anamesa Spring 2014: Call for Submissions! (deadline 3/2)


Anamesa, Spring 2014


Anamesa is a peer-reviewed, interdisciplinary journal of graduate student writing and art based at New York University. Tracing its conceptual origin to Platonic philosophy, Anamesa stands for the “in between,” and sets as its purpose to blur boundaries, re-imagine links, and explore the interstices of academia. Anamesa considers material from a variety of subject matters and selects creative, timely, and intelligent works that reflect the interdisciplinary nature of the global graduate community.


Current and recent graduate students across all disciplines are encouraged to send in their work by Sunday, March 2. Submissions may include but are not limited to visual art, academic essays, creative nonfiction, reportage, interviews, reviews, short stories, and poetry. In particular, and in keeping with our theme for Spring 2014, we encourage submissions that provoke thought or discussion about the following topic (off-topic submissions are also very welcome):





A man moves through time. It means nothing except that, like a harpoon, once thrown he will arrive. 

—Anne Carson, Autobiography of Red


From the Latin traiectus “thrown over or across,” a trajectory is a path we draw across mapped spaces, categories of time, and unconscious symbols of being. Trajectories help us make sense of chaos and the arbitrary, connecting two seemingly independent wholes, revealing a unique relation, and bridging a gap between what is hidden and what we know. Existentially, a trajectory is us, our personal identity, the narrative constant that weaves together our experiences. Trajectories manipulate the spatial and temporal, the past and the present, creating concepts of historical eras, human migration, biographical lifespans, momentum, and progression. If, in principle, a trajectory implies a beginning and an end, how do we (as individuals, societies, nations, humans) situate ourselves along multiple trajectories, both from within (during the journey) and without (in anticipation or retrospect)? Are trajectories necessarily continuous? Do they intercept? Are our attempts to map our lives necessarily traces or palimpsests of trajectories that have come before or that will come after?


Potential fields/topics for submission include: personal identity, memory, self-consciousness, economic and political power structures, borders and boundaries, diaspora, subalterns, trauma, temporality, spatiality, symbolism, literary/artistic influence, authorship, anthropology, gender, sexuality, identity politics, familial relations, class/racial/religious divisions and hierarchies, immigration, visual arts, film, painting, photography, technology, architecture, geography, sociology of space, phenomenology, neuroscience, psychoanalysis, history, post-modernism, post-structural theory, deconstruction, ecology, urban studies, language, translations, and communication.     




Written submissions should be 6,000 words or fewer. For nonfiction works, please include a 100-200 word abstract. Academic papers must adhere to the Chicago Manual of Style, 16th edition. All submissions are blind-reviewed, so no author-identifying information should be present in the text of the written work. Author’s contact information should be included in the cover sheet as detailed below.


Visual art submissions must be in digital format, with a minimum resolution of 300 DPI and minimum size of 5 x 7 inches.


The submission deadline is Sunday, March 2.


Send submissions and inquiries to anamesa.journal@gmail.com

Your cover page should include your:

• Name

• School and departmental affiliation

• Degree and (exp) date

• Telephone number

• Email address


We accept simultaneous and multiple submissions, but we ask that each submission be submitted individually (with an exception for multiple poems, which can be submitted together). For art and poetry, please submit no more than 5 individual pieces per author. All submissions should be emailed with the subject line listing the relevant genre (e.g., “nonfiction,” “fiction,” “poetry,” or “art”).


For further information about Anamesa, detailed submission guidelines, and to view previous issues, visit anamesajournal.wordpress.com. Printed copies of Anamesa are available at the office for the John W. Draper Interdisciplinary Master’s Program in Humanities and Social Thought at 14 University Place in New York City.


— an interdisciplinary journal —
Twitter — AnamesaNYU

Call for Papers and Creative Works – InVisible Culture, Issue 22: “Opacity”

“Opacity” – Issue 22


For its twenty-second issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that address the multiple meanings of opacity.


In the spring of 2013, former US intelligence contractor Edward Snowden began releasing documents pertaining to the wide-ranging data collection methods of the National Security Agency. Alternately hailed as hero and traitor, Snowden’s actions have fueled intense public debate regarding issues of privacy and transparency. For Issue 22, we would like contributors to consider the tension between transparency and opacity and reflect on the cultural and political contexts that gave rise to their connotations of openness and secrecy. What does it mean to claim either as a right? The late writer, poet, and critic Édouard Glissant (1928-2011) developed a model of opacity as a means of creating ethical relationships, writing in Poetics of Relation, “Transparency no longer seems like the bottom of the mirror in which Western humanity reflected the world in its own image. There is opacity now at the bottom of the mirror, a whole alluvium deposited by populations.” How could opacity be used as a tool of resistance? What stakes are involved in the revelation or obscuring of artworks’ racial, cultural, or gendered origins? How might we imagine opacity to be useful or limiting to the work of visual culture?


We also seek to address optical properties of opacity more broadly as a conceptual tool for approaching medium specificity, innovations in color theory, and other subjects. Does our understanding of opacity shift in regard to digital technologies as it may between cultural spheres and political territories? How might visual culture be invested in the theoretical and physical properties of opacity and transparency?


We welcome papers and artworks that further the various understandings of opacity. Possible topics of exploration include, but are not limited to:


●     Aesthetic and political dimensions of transparency and opacity

●     Identity politics, “the right to opacity”

●     Privacy and visibility, surveillance

●     The “transparent society” and digital panopticism

●     Scientific and medical visualization, the body, big data

●     Opacity of architectural traditions

●     Liminal spaces, borders, zones of conflict

●     Transparency and globalization, geopolitics

●     Emerging, established, and decaying democracies

●     Politics of clothing, fabric, screens, interstitial space and material

●     Camera obscura/lucida, properties of darkness and light, color, pigmentation

●     Transparency and opacity in the plastic arts (painting, film, sculpture)

●     Penetration and resistance


Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot]com by May 1, 2014. Inquiries should be sent to the same address.


Creative/Artistic Works
In addition to written materials, InVisible Culture is accepting work in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For questions or more details concerning acceptable formats, go to http://ivc.lib.rochester.edu/contribute or contact ivc[dot]rochester[at]gmail[dot]com.


InVisible Culture is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). To submit a review proposal, go tohttp://ivc.lib.rochester.edu/contribute or contact ivc[dot]rochester[at]gmail[dot]com.


The journal also invites submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details, please contact us at ivc[dot]rochester[at]gmail[dot]com with the subject heading “blog submission.”


InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a student run interdisciplinary journal published online twice a year in an open access format. Through peer reviewed articles, creative works, and reviews of books, films, and exhibitions, our issues explore changing themes in visual culture. Fostering a global and current dialog across fields, IVC investigates the power and limits of vision.


CFP Deadline Extended: CUNY Graduate Center Department of Comparative Literature

Deadline Extended: Abstracts for the Impression & Object critical theory conference, hosted by the Department of Comparative Literature at the City University of New York, are now due on Friday, February 14. For more information, please visit http://impressionobjectconference.wordpress.com 


Impression and Object

A Conference on Critical Theory

Keynote Speaker: Joshua Landy (Stanford University)


All experiences are moral experiences, even in the realm of sense perception. – Nietzsche, The Gay Science


The students of the Department of Comparative Literature at the CUNY Graduate Center present the third annual interdisciplinary conference on literary and critical theory to be held Friday, March 28, 2014. This conference is being given in celebration of the launch of the CUNY Graduate Center’s Certificate for Critical Theory, dedicated to the study of literary and critical theory.

This conference aims to explore and interrogate questions regarding the effects of conceptualizations of Mind, from the psychological to the metaphysical, on perception, expression, and selfhood. Specifically, it will focus on cognitive interactions between subject and object and aesthetic representations of these interactions, as well as the influence that these questions, interactions, and representations have had on literary and critical theory.

We invite papers from all disciplines centering upon any individual theorist, period, or school of critical theory that explore questions of perception, reasoning, and its ethics and aesthetics, as well as the effects that these have on self-fashioning, especially as they pertain to literary and critical theory. We welcome comparisons of various theoretical approaches, including, but not limited to, literary theory, psychoanalysis, philosophy, gender studies, psychology, and political theory. Some of the questions this conference seeks to answer include, but are not limited to:

  • How does reading and/or the experience of aesthetics affect us, whether morally, interpersonally, politically, or relating to questions of self-awareness, etc.?

  • How has the representation of mind changed throughout history and across disciplines?

  • In what ways does art inform our own experience of our minds and the way we perceive the minds of others? Is selfhood a product of aesthetic experience? What are the problems inherent in theoretical frameworks that present it as such?

  • How do specific processes of cognition, such as pattern recognition or memory recall, relate to creative processes, such as metaphor or prolepsis?

  • What are the consequences of different perceptions of mind between cultures? How have conceptualizations of mind informed relations of power in imperialist and post-colonial cultures?

  • In attributing certain beliefs and thoughts to others, how do we shape our perceptions of reality and ourselves? What happens when we doubt or lack faith in these attributions?

  • How does the interpretative impulse affect one’s experiences of art and literature?

  • How does mind govern space, and space govern mind?

  • How have conceptualizations of so-called mental disturbances (schizophrenia, hysteria, etc.) influenced critical methodologies?


Please submit a 300-word abstract for a 15-20 minute paper by February 14, 2014 (Extended Deadline) to GCCompLitConf@gmail.com. Proposals should include the title of the paper, presenter’s name, institutional and departmental affiliation, and any technology requests. We also welcome panel proposals of three to four papers.


This conference is co-sponsored by:

The Writers’ Institute, The Doctoral Students’ Council, and the Office of the Provost 


CFP: McGill East Asian Studies Grad Conference – Expanding (East) Asia: Movement, Territory, Exclusion


McGill East Asian Studies Graduate Symposium 2014


April 25-26, 2014


Keynote speaker: Prof. James Hevia (Dept. of History, University of Chicago)


Deadline for Abstracts: March 3, 2014


This conference seeks applicants for papers on the topic of EXPANDING (EAST) ASIA, both in terms of how areas, objects, and peoples of East Asia have expanded through migrations, conquests, and empires; but also expanding the study of East Asia beyond centers of cultural dominance to include border regions, ethnic minorities, sexual minorities, suppressed and illegal activity, and other peoples, objects, and spaces that are often suppressed or excluded in the region of East Asia or in academic discourses.


The conference is multidisciplinary, and, as such, we encourage submissions that bring together various theories, methods, and empirical findings in new and creative ways. We welcome submission from area studies, cultural studies, literary studies, media studies, history, religious studies, women’s studies, disability, studies, urban studies, communication studies, art history, philosophy, geography, sociology, anthropology, political science, and other academic disciplines.


Topics may include, but are not limited to:

  • Migrant networks and migrant labor

  • Imperial conquests

  • Concepts of space and place

  • Sites of resistance

  • Politics of popular culture

  • Circulation of media

  • Smuggled and counterfeit objects

  • Territory, boundaries, and borders

  • East Asian feminisms

  • Disability in East Asian contexts

  • Banned art and literature

  • Contesting Area Studies


Submit your application/abstract here.

Papers and abstracts can be written in English or French, and each presentation will be allotted 20 minutes. Submissions of abstracts are due March 3 and can be submitted here. The selection process will be completed in early March and the conference will take place on April 25-26, 2014. Further information will be posted on our website, http://blogs.mcgill.ca/easpgsa/symposium/. Any questions can be addressed to Ronald Chung-yam Po, Daniel Murray, or Ina Lo at  eas.mcgill@gmail.com.

This symposium is supported by the Department of East Asian Studies and the Institute for the Study of International Development.

Appel de résumés

Le Symposium sur les études est-asiatiques de McGill 2014


25-26 avril 2014

Conférencier principal : Prof. James Hevia (Département d’histoire de l’Université de Chicago)

Date limite pour la soumission des résumés : 3 mars 2014.

La conférence recherche des participants pour des présentations sur des sujets touchant à l’Asie de l’Est en expansion, non seulement en termes des façons dont les régions et peuples de l’Asie de l’Est se sont étendus à travers migrations, conquêtes et impérialisme, mais aussi en termes d’expansion de l’étude de l’Asie au-delà des centres de dominance culturelle, de manière à inclure les régions frontalières, les minorités ethniques, les minorités sexuelles, les activités illégales et réprimées ainsi que les autres peuples, objets et espaces qui sont souvent exclus des discours populaires, académiques et politiques sur l’Asie de l’Est


Cette conférence est multidisciplinaire; nous accueillons favorablement les soumissions qui regroupent différents discours théoriques, approches méthodologiques et résultats empiriques de manières nouvelles et créatives. Nous accueillons les soumissions d’études régionales, études culturelles, littérature, études des medias, histoire, études des religions, études des femmes, études des handicaps, urbanisme, communication, histoire de l’art, philosophie, géographie, sociologie, anthropologie, sciences politiques et autres disciplines scolastiques.


Les sujets peuvent inclure mais ne sont pas limités à:

  • Les réseaux de migrants

  • Les conquêtes impériales

  • Les concepts de place et espace

  • Les sites de résistance

  • La politique de la culture populaire

  • La circulation de médias

  • Le trafic de contrebande et les contrefaçons

  • Les territoires, frontières et peripheries

  • Les courants féministes de l’Asie de l’Est

  • Les handicaps dans des contextes est-asiatiques


 Soumettre votre application/résumés ici.

Les textes de conférences et les résumés peuvent être écrits en français ou en anglais et 20 minutes seront allouées à chaque présentation. Les soumissions doivent être envoyées avant le 3 mars et peuvent être soumises ici. Le processus de sélection sera complété au début du mois demars 2014 et la conférence se déroulera les 25 et 26 avril 2014. Plus d’informations seront publier sur notre site web http://blogs.mcgill.ca/easpgsa/symposium, toute question peut être adressée à Anne-Sophie Pratte à eas.mcgill@gmail.com.



Ce symposium est supporté par le département d’études est-asiatiques et l’Institut d’études du développement international de McGill.