AFFILIATED GROUP SESSIONS
ASSOCIATION OF ADAPTATION STUDIES
For its sessions at the South Atlantic Modern Language Association, the Association of Adaptation Studies welcomes proposals on this year’s conference theme, as well as all aspects of adaptation, including novels, films, games, plays, operas, digital media, etc.). Of course, theoretical musings are also welcome. This year’s overall conference theme is HIGH ART/LOW ART: BORDERS & BOUNDARIES IN POPULAR CULTURE, suggesting everything from low-brow adaptations of high-brow works (A.I.P.’s Wuthering Heights) to the opposite (Hitchcock’s The Thirty-Nine Steps)—and everything in between, outside, and around. As usual, our Association plans a series of interlinked adaptation panels. Please send queries and suggestions, or 300-500 word abstracts, A/V requirements, and brief bios to Dennis Perry (Brigham Young University) at firstname.lastname@example.org by June 1, 2017.
BORDERS AND BOUNDARIES IN POPULAR FRENCH CARIBBEAN CULTURE
WOMEN IN FRENCH
This panel welcomes papers focused on illustrations of borders and boundaries in popular culture in French Caribbean women’s writing or film. Papers may be in English or French and may not exceed 20 minutes. Please send 250-word abstracts and any A/V requests to Lisa Connell (email@example.com) by May 15, 2017.
CULTURE/NATURE: ART AND THE ENVIRONMENT
ASSOCIATION FOR THE STUDY OF LITERATURE AND ENVIRONMENT (ASLE)
The distinction between high and low art often parallels the distinction between nature and culture. The Association for the Study of Literature and the Environment (ASLE) invites papers that interrogate the borders between high and low art along the lines of culture and nature. Considerations of the ways in which the "natural" becomes "cultured" through gardening, the decorative arts, and through other media, including literature, are particularly welcome. Please send a 250-word abstract and a description of your A/V needs to Kelly C. Walter Carney at firstname.lastname@example.org by 1 June 2017.
D.H. LAWRENCE AND CULTURAL BOUNDARIES
D.H. LAWRENCE SOCIETY OF NORTH AMERICA
This panel welcomes papers about any aspect of D.H. Lawrence. Especially welcome are paper proposals addressing the SAMLA 89 theme of High Art/Low Art: Borders and Boundaries in Popular Culture. By June 1, please submit a 250-word abstract, brief bio, and A/V requirements to Adam Parkes, University of Georgia, at email@example.com.
DICKINSON AND POP CULTURE
EMILY DICKINSON INTERNATIONAL SOCIETY
The Emily Dickinson International Society welcomes projects that explore Emily Dickinson and popular culture. Topics can include but are not limited to: cinematic or dramatic representations of Dickinson’s life and work; Dickinson and music; realities versus popular myths; pop culture references within Dickinson’s work; Dickinson’s reception in popular culture in the nineteenth, twentieth, or twenty-first century. Creative works are encouraged. By June 2, 2017, please submit a CV, 250-word project description, and A/V requirements to Dr. Trisha Kannan at firstname.lastname@example.org.
ELIZABETH MADOX ROBERTS
ELIZABETH MADOX ROBERTS SOCIETY
The Elizabeth Madox Roberts society invites abstracts for our affiliate panel at the 89th annual conference of the South Atlantic Modern Language Association. Abstracts highlighting the theme of this year’s conference – High Art/Low Art: Borders and Boundaries in Popular Culture – in conjunction with Roberts’ life and works are of particular interest. By June 1, please send a 250-word abstract to Nicole Stamant, Agnes Scott College, at email@example.com.
FAILURE TO CONFORM: THE DEFIANT FEMALE BODY IN FRENCH AND FRANCOPHONE CULTURES
WOMEN IN FRENCH
This panel considers examples of French and francophone literatures, films, and other art forms, in which contemporary women articulate and/or embody nonconformist physicality which challenges social order. How do women speak against or otherwise resist socially defined borders and boundaries of normative corporeality? Presentations may address both thematic and formal examples of textual disruption that is enabled by bodies which run counter to socially constructed ideals related to women, gender, and race. Possible thematic avenues of inquiry include but are not limited to: pregnancy, aging, disability, beauty, and illness. Please send 250-word proposals in English or French to Adrienne Angelo (firstname.lastname@example.org) by May 15, 2017 along with presenter’s academic affiliation, contact information, and A/V requirements.
FLANNERY O'CONNOR AND LOW CULTURE
FLANNERY O'CONNOR SOCIETY
This panel on “Flannery O’Connor and Low Culture” for SAMLA 89 welcomes papers about any aspect of Flannery O’Connor’s works in relation to low, common, tacky, and/or popular culture. By 25 May 2017, please submit an abstract of 100+ words, a brief bio, and A/V requirements to Marshall Bruce Gentry, Georgia College, at email@example.com.
FROM TABLEUX VIVANT TO FLASH MOB: CULTURAL CONTINUUMS FROM EDITH WHARTON TO SPENCER TUNICK
EDITH WHARTON SOCIETY
The Edith Wharton Society invites proposals for a panel at the South Atlantic Modern Language Association Conference (SAMLA 89) to be held in Atlanta, Georgia, November 3-5, 2017. The conference topic is High Art / Low Art: Borders and Boundaries in Popular Culture.
Edith Wharton produced a range of cultural products, including canonical novels and short stories, fund-raising anthologies for wartime France, guides to interior design, and travel books. Current popular culture suggests a continuing interest in Wharton, her writings, and those decades that are the focus of her work. Julian Fellows, creator of Downton Abbey, admits that “It is quite true that Edith Wharton has been a tremendous influence on me. . . . I decided, largely because of her work, that it was time I wrote something.” On Wharton’s 150th birthday, Vogue magazine offered an 18-pages to celebrate, including photos by Annie Leibovitz. The Gossip Girl series draws on Whartonian inspiration. What has driven the renewed attention being paid to the Edwardian and WWI eras in contemporary pop culture?
The Wharton society invites papers that explore a broad range of responses to how Wharton’s art contributes to a continuum of cultural inquiry and commentary that persists to this day in high / low cultural expressions. One might consider such topics as how modern flash mobs reflect or rewrite the tableau vivants of The House of Mirth. How do Wharton’s texts and practices reflect a generational difference (or not) in attitudes toward privacy in (social) media? How might contemporary short forms or serializations (blog posts, film and music reviews, opinion pieces, etc.) draw on the form and content of her essays, cultural commentaries, letters, or short stories? Does Wharton's art bear narrative, formal, or thematic similarities to other forms of popular culture, such as soap operas or online TV dramas? Wharton’s travel writing about excursions via automobile might be compared to modern travel blogs, television programming, or websites. We hope to receive a range of submissions to create lively, even surprising, insights and conversation.
Please submit a 300-500 word abstract, one page CV, and AV requirements via email to Mary Carney, University of North Georgia, at firstname.lastname@example.org by May 12, 2017.
HAWTHORNE, ART, AND POPULAR CULTURE
NATHANIEL HAWTHORNE SOCIETY
This panel welcomes any papers about any Hawthorne, art, and pop culture and any intersection or interpretation of those topics. Paper proposals addressing the SAMLA 89 theme are especially welcome. By June 1, 2017, please submit a 300-word abstract, brief bio, and AV requirements to Steven Petersheim, Indiana University East, at email@example.com.
HEMINGWAY'S PERIODICAL PRESENCES: ERNEST WRITES, ERNEST IS WRITTEN ABOUT
For SAMLA 2017, we seek papers exploring any aspect of Hemingway’s appearances in periodicals. Within this broad subject, we particularly encourage assessing both the “public man” and the Nobel Laureate in Hemingway’s last decade. Two Overarching Questions: (1) in July 1961 and the period immediately following, the periodical press did/did not recognize Hemingway as the polymath man-of-letters he strove to be: journalist, sportsman, insider, teacher, connoisseur, celebrity, artist; (2) centering our inquiry on his periodical presences [particularly in his last years] is valuable for Hemingway studies because…?
Helpful context for the final years, 1949-1961, occurs in the oft-cited Malcolm Cowley, “A Portrait of Mr. Papa,” Life, 1949, and Lillian Ross, “How Do You Like It Now, Gentlemen?” New Yorker, 1950.
Paper topics for this session may address the dual-sided nature of “Hemingway’s Periodical Presences: Ernest Writes, Ernest Is Written About.” By 1 June 2017, please send a title and 250-word abstract to John Fenstermaker, Florida State University, firstname.lastname@example.org.
HIGH ART AND LOW ART IN THE WORKS OF MARK TWAIN
THE MARK TWAIN CIRCLE
The 2017 SAMLA conference theme is “High Art/Low Art: Borders and Boundaries in Popular Culture.” In a November 1885 Notebook entry, Twain stated, “My books are water; those of the great geniuses is wine. Everybody drinks water.” As is characteristic of Twain’s comments, they are often self-deprecatory and ironic. His comment reflects his notion that his work is low art or “water,” which “everybody drinks.” By the time of that Notebook entry, Adventures of Huckleberry Finn had been on the market for almost a year and had been banned from libraries, hardly considered high art at the time. We welcome proposals using the conference theme that apply to any of Twain works or his biography/autobiography. Send electronic proposals (300-500 words) related to the conference theme by May 15, 2017, to session chair, Joe Alvarez (email@example.com). SAMLA 89 will be held November 3-5, 2017 at the Westin Peachtree Plaza.
HIGH ART/LOW ART: BORDERS AND BOUNDARIES IN CONRAD'S FICTION
THE JOSEPH CONRAD SOCIETY OF AMERICA
In keeping with the conference theme of “High Art/Low Art: Borders and Boundaries in Popular Culture,” we are calling for papers on any aspect of Conrad Studies, but especially on aspects of Conrad that suggest “borders” or “boundaries.” This could be a consideration of his “greatest achievements” in literature considered against his “popular successes,” or it might involve crossing borders in the sense of the various settings of his fiction (the East, the Congo, South America, etc.). It could also involve focusing on one of the major national perspectives from which we can view Conrad or where we can consider reception on a national level (Polish Conrad, French Conrad, African Conrad, Japanese Conrad, etc.). Please send proposals of about 150 words by June 15, 2017 to Chris Cairney at firstname.lastname@example.org, along with presenter’s academic affiliation, contact information, and A/V requirements.
HIGH ART / LOW ART IN PULITZER-WINNING AMERICAN DRAMA
GEORGIA AND CAROLINAS CEA
The annual Georgia and Carolinas CEA (GCCEA) SAMLA panel invites abstracts considering the ideas of High Art and/or Low Art in any and all Pulitzer-winning American dramas. By June 2, please submit a 250-word abstract, brief bio, and AV requirements to Lee Jones, Georgia State University, at email@example.com).
HIGH ART/LOW ART: MOVIE, MUSIC, AND LITERATURE IN THE GERMAN-LANGUAGE CLASSROOM
AMERICAN ASSOCIATION OF TEACHERS OF GERMAN (AATG)
The AATG hosts a panel for the SAMLA 89 conference on the incorporation of German High Art and German Low Art into the foreign language classroom. The panel is interested in exploring pedagogical strategies for teaching the beauty, appeal, culture and much more through movies, music and literature and in doing so to foster critical thinking skills in today's learners. By June 2, 2017, please submit a 200-word abstract, brief bio, and A/V requirements to Angela Jakeway, firstname.lastname@example.org with “SAMLA 89: High Art/Low Art: Movie, Music and Literature in the German-Language Classroom “in the subject line.
HIGH MODERNS: LOW ART
ENGLISH V (MODERN BRITISH)
This panel welcomes papers about any modernist author(s) and how art is depicted/utilized in their work. The goal is to examine from diverse perspectives how the “high art” of the modernists utilizes art, low or otherwise, textually. Paper proposals addressing the SAMLA 89 theme are especially welcome, and should be a good fit for the session. By May 31, please submit a 250-word abstract, brief bio, and A/V requirements to Joanna Pierce, Mars Hill University, at email@example.com.
HUMOR IN AMERICA: HIGH ART/LOW ART
AMERICAN HUMOR STUDIES ASSOCIATION
This panel welcomes papers about either high art or low art, or a combination of the two, in American humor. By May 15, please submit a 250-word abstract, brief bio, and A/V requirements to John Bird, Winthrop University, at firstname.lastname@example.org.
INNOVATIONS AND TECHNOLOGY IN THE CLASSROOM
AMERICAN ASSOCIATION OF ITALIAN STUDIES
This panel welcomes papers about any innovative approach to teaching Italian, including but not limited to the use of technology. Paper proposals addressing the SAMLA 89 theme are especially welcome. By June 2, 2017, please submit a 250-word abstract, brief bio, and A/V requirements to Ioana Larco, University of Kentucky, at email@example.com and Silvia G. Byer, Park University, at firstname.lastname@example.org.
IT WAS FIFTY YEARS AGO TODAY: RECONSIDERING SGT. PEPPER
SOCIETY FOR CRITICAL EXCHANGE
The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, released in June, 1967, was the soundtrack of the Summer of Love, and thus a pop cultural force matched by few. The album is also recognized as an enduring artistic achievement; as such, it abolished boundaries between high and low art, melding pop clout with artistic ambition. The record redefined the idea of the longplaying album, not only with its music and conceptual modernism, but with its packaging and, for the first time, its printed lyrics. I seek proposals that reconsider Sgt. Pepper, particularly in regard to its dialectical engagements and conflicts between pop and rock, postmodernism and modernism, between the Beatles and their new incarnation(s), between Western and Eastern musics, between pastiche and sincerity, and the like. The aim is to imagine a new identity for Sgt. Pepper fifty years on. By June 1, send 250-word proposals, one-page CV, and A/V requirements to Mark Osteen, Loyola University Maryland, at email@example.com.
JAMES JOYCE AND THE BOUNDARY BETWEEN HIGH AND LOW ART
INTERNATIONAL JAMES JOYCE SOCIETY
James Joyce’s career spanned the Modernist period in which the difference between High and Low Art became so blurred as to disappear. Certainly Ulysses demonstrates Joyce’s concentrated effort to merge the two to create something new in fiction – a project he would carry even further in Finnegans Wake. This panel is open, of course, to any examination of Joyce’s work, and would welcome papers that explore Joyce’s mingling of High and Low Art, and the reception of his work by the reading public and his Modernist contemporaries. Please submit a 250-word abstract of your paper, your A/V requirements if any, and a brief biography and contact information, to Dan Marshall, Session Chair, at firstname.lastname@example.org. Abstracts should be submitted prior to June 2, 2017.
LAUGHTER IN HIGH ART/LOW ART: PLAYING WITH BOUNDARIES IN FRENCH AND FRANCOPHONE LITERATURES
WOMEN IN FRENCH
Throughout history, women writers and artists have had to navigate boundaries, whether they be boundaries imposed by society or expectations regarding their art. This panel will explore the different ways in which women use laughter as a means to break down, question, and subvert boundaries in both “high art” and “low art.” Among questions one may ask: How do women use satire, irony, clichés, pastiche, etc.? and for what goal? What stances do women writers and artists take in their use of humor? How do women use humor to address women’s experiences and concerns? The panel is also interested in exploring how women, through their use of laughter, rethink different genres within “high art” and “low art” in addition to rethinking the boundaries between “high art” and “low art.” Proposals on French and francophone literatures, films, and other art forms are welcome. Papers may be in English or French. Please send 250-word proposals in English or French to Cathy Leung (CLEUNG34@GMAIL.COM) by May 15, 2017 along with presenter’s academic affiliation, contact information, and A/V requirements.
MARXIST LITERARY GROUP
This session welcomes papers about any aspects of Marxism. Paper proposals addressing the SAMLA 89 theme are especially welcome. By May 31, please submit an abstract of no more than 300 words, a brief bio, and A/V requirements to Pinki Arora at email@example.com.
NABOKOV'S SHORT STORIES
INTERNATIONAL VLADIMIR NABOKOV SOCIETY
This panel welcomes papers about any aspect of Nabokov’s Short Stories. Paper proposals addressing the SAMLA 89 theme are especially welcome. By May 15, 2017, please submit a 300-word abstract, brief bio, and A/V requirements to Eric Hyman, Fayetteville State University, at ehyman@UNCFSU.edu.
COLLEGE ENGLISH ASSOCIATION
This year the College English Association solicits abstracts from its members on the special focus of the 89th SAMLA conference: “High Art/Low Art: Borders and Boundaries in Popular Culture.” From the selection of singer and songwriter Bob Dylan as the winner of the Nobel Prize for Literature last year to the election as President of a former reality-television star, the topic could not be more timely nor seminal. Please send abstracts and any A/V requirements to Prof. Lynne M. Simpson at firstname.lastname@example.org by May 22, 2017.
POPULAR CULTURE AND THE ENVIRONMENT
ASSOCIATION FOR THE STUDY OF LITERATURE AND THE ENVIRONMENT (ASLE)
The Association for the Study of Literature and the Environment (ASLE) invites papers on the portrayal of the environment and environmental issues in popular culture, including literature, film, television, and other media. Please send a 250-word abstract and a description of your A/V needs to: Kelly C. Walter Carney at email@example.com by 1 June 2017.
POPULAR HISPANIC CULTURE BEYOND BORDERS AND BOUNDARIES
The panel invites papers that examine the borders and boundaries in popular Hispanic culture as these are defined by race, gender, ethnicity, religious and/or political views. We are interested in discussing the influence, consequences and overall impact of these components on the society and individual. By May 5th, 2017 please submit a 250-word abstract, brief bio, and A/V requirements to Eugenia Charoni, Flagler College, at firstname.lastname@example.org. Panelists must be members of BOTH Feministas Unidas and SAMLA to participate in the panel.
POPULAR PRINT CULTURE
SOCIETY FOR THE HISTORY OF AUTHORSHIP, READING, AND PUBLISHING (SHARP)
Papers are invited for the Society for the History of Authorship, Reading, and Publishing (SHARP) affiliate session at the 2017 SAMLA Convention. Potential topics include print culture, history of the book, authorship, publishing history, ephemera, illustration, publishers’ archives, production, circulation, and reception. Papers addressing this year’s convention theme, “High Art/Low Art Borders and Boundaries in Popular Culture,” are especially welcome. What connections can be made between print culture/book history and the diverse world of popular culture? How has print culture reflected popular taste from the early modern world to the present?
Possible topics include:
Romance novels (Mills & Boon, etc.)
Ephemera (postcards, pamphlets, broadsides, advertising, etc.)
The evolving study of middlebrow writing
The borderlands of popular print culture (historical, geographical, etc.)
Proposers need not be members of SHARP to submit, but panelists must be members of both SAMLA and SHARP in order to present. By June 1, 2017, please send a 350-word abstract and short biography (together in one document) to SHARP liaison Dr. Melissa Makala, Spartanburg Methodist College, at email@example.com
PRUFROCK AND OTHER OBSERVATIONS: A CENTENARY
T.S. ELIOT SOCIETY
This special panel sponsored by the T. S. Eliot Society invites papers on Eliot’s life and work. In particular, papers on the 1917 volume Prufrock and Other Observations are especially welcomed. This year’s conference them is High Art/Low Art: Borders and Boundaries in Popular Culture.
Note: All submissions will be considered for a special cluster marking the centenary of Eliot's first poetry collection in volume 2 of The T. S. Eliot Studies Annual.
By June 1, 2017, please submit, please submit a 250-word abstract, brief bio, and A/V requirements to Craig Woelfel, at Flagler College (firstname.lastname@example.org).
This year's South Atlantic Modern Languages Association (SAMLA) conference will be held in Atlanta, GA, November 3-5, at the Westin Peachtree Plaza. For further information, please see the SAMLA website, https://samla.memberclicks.net
ROBERT PENN WARREN AND TIME
ROBERT PENN WARREN CIRCLE
The name of the story will be Time,
But you must not pronounce its name.
Most of Warren’s oeuvre concerns itself with Time in one way or another, whether through personal memory, metaphysical speculation, “official” history, cultural traditions, or prognostication. While the historical and socio-historical elements of Warren’s work remain of permanent interest, we particularly encourage studies that explore Time in its relation to Warren’s metaphysical quest, or “yearning,” and/or in its relation to his aesthetics. Possible topics include, but are not limited to:
- Classicism & Idealism
- The Western Tradition & Warren’s Forms
- Warren’s “vital image,” Memory, & Epistemology
- Warren & St. Augustine
- Personal & Collective Histories in Warren
- Narrative & Culture
- Warren as an Historical Personage
- Writers Who Influenced Warren, or Were Influenced by Warren
By June 2, 2017, please submit a 300-600 word abstract, brief bio, and A/V requirements to Kyle Taylor, RPW Circle Secretary, at email@example.com.
ROMANTICISM AND POPULAR CULTURE
KEATS-SHELLEY ASSOCIATION OF AMERICA
Romanticism and Popular Culture, an affiliated session of the Keats-Shelley Association of America at the South Atlantic Modern Language Association 89th Annual Conference in Atlanta, Georgia, USA (3-5 Nov. 2017)
In keeping with this year’s conference theme (“High Art/Low Art: Borders and Boundaries in Popular Culture”), this panel seeks papers that address topics related to popular culture and British Romantic-era literature, although other Romanticism-related topics certainly will be considered. Sponsored by the Keats-Shelley Association of America, this affiliated session especially welcomes papers related to second-generation Romantic-era British writers and/or their literary circles, namely those addressing the lives and/or works of John Keats, Percy and Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt.
See <http://k-saa.org> for more information about the Keats-Shelley Association of America.
Please send a 250-word abstract, bio or CV (no more than ONE page), and any audio-visual requests to Ben P. Robertson, Troy University (firstname.lastname@example.org), by 15 May 2017.
SPACE AND PLACE IN FRENCH AND FRANCOPHONE WOMEN'S WRITING
WOMEN IN FRENCH
Recent political events abroad and local are frequently framed around issues of place and, arguably, space. This session proposes to investigate space and place, and how these concepts play out in women’s narrative (texts or films). In what ways do women’s narratives create new understandings of space and place? In what ways might these spaces and places be gendered? And, in what way are they an experience of othering? Does women’s experience create a new space and place, and if so, in what ways? Please send a 250 word abstract in English or French to E. Nicole Meyer, email@example.com by 15 May 2017 along with presenter’s academic affiliation, contact information, and A/V requirements.
SPECTACLES AND PERFORMANCES: VOODOO AESTHETICS WITHIN LOW AND HIGH ART FORMS
The pairing of voodoo and literature causes one to immediately think of writers like Charles Chesnutt, Zora Neale Hurston, Ishmael Reed, Toni Cade Bambara, and Jewell Parker Rhodes, as these authors use conjure unequivocally within their literary works. However, voodoo flows more freely in the veins of popular culture than one may realize. Though Christian cultures have largely shunned voodoo as a practice, Western literature has used voodoo as sites of spectacles, moments of revenge, and performances of Africanness. In fact, western literature has a nuanced relationship with voodoo or voodoo aesthetics. Voodoo Aesthetics refers to the use of Vodun’s religious principles and iconography that adhere to a text’s purpose and develop the thematic effect. Undeniably, voodoo captures the imagination of black and white writers, which reveals both the obsession and reverence of it within American culture. For example, from Maurice Thompson’s poem “Voodoo Prophecy” to Zombie movies drawing on the horrors of conjure and rootwork, the use of voodoo reveals a white fear of blackness, even a repercussion for slavery while works like Bambara’s or Rhodes’ evoke a sense of empowerment, much like the way voodoo is credited for starting the Haitian Revolution. Moreover, voodoo or voodoo aesthetics also take on different roles when used in high and low art forms. Lower art forms may use voodoo aesthetics to create spectacles out of blackness or black suffering while higher art forms use voodoo aesthetics as an agent to evoke power and connect to an African past. The lower art forms perpetuate, exploit, or turn on racial stereotypes while the higher art forms dignify and legitimize African spiritual traditions that Western culture devalues and ridicules. The MELUS panel Spectacles and Performances: Voodoo Aesthetics within Low and High Art Forms seeks papers that explore the differing functions of voodoo or voodoo aesthetics in low and high art forms. We seek papers that examine a broad range of genres: movies, including the Blaxploitation films of the 1970s, comics/graphic novels, poetry, novels, short stories, and plays. How does voodoo or voodoo aesthetics interact with the text’s intended audience? What aspects of Africana culture are being exploited or exposed? What appropriations are made to create regional or racial identities? What are the differences between the spectacles drawing the audience’s gaze to blackness and the performances of African spirituality informing healthy black identities?
Please send 300-word abstract to Ren Denton at firstname.lastname@example.org and Kameelah Martin at email@example.com by June 2, 2017.
SOCIETY FOR THE STUDY OF SOUTHERN LITERATURE (SSSL)
This panel seeks work that engages with the U.S. South in science fiction, fantasy, and other forms of speculative fiction. Papers may consider speculative fiction by southern authors, texts that represent the South and conceptions of southern identity, or explore how such works redefine regional, national, or interplanetary boundaries. Examples may include papers on texts and other media that imagine alternate histories of slavery, the Civil War, and Reconstruction, as well as those that map imaginary Souths onto fictional worlds. Topics may include Afrofuturism, science fictions of the global South, utopias, and dystopias. To include a broad range of perspectives, we plan a roundtable with 6 -8 scholars offering 5-7 minute presentations. By May 31, please send a 250-word abstract, brief bio, and AV requirements to Erich Nunn, Auburn University, at firstname.lastname@example.org.
STEALING PAST THE WATCHFUL DRAGONS: YOUNG ADULT LITERATURE AND ALLEGORY
SOUTHEAST CONFERENCE ON CHRISTIANITY AND LITERATURE
In deliberating on how fairy stories inoculate us against our religious allergies, CS Lewis writes, “[S]upposing that by casting” truths about God and Christ “into an imaginary world, stripping them of their stained-glass and Sunday School associations, one could make” those profound religious truths “for the first time appear in their real potency. Could one not thus steal past those watchful dragons?” As a continuation of Lewis’s question, this panel welcomes papers that address the connection between Young Adult literature and the literary mode of allegory, specifically how YA literature can use allegory to reveal potent spiritual truths. Papers may address allegory as a method of writing or interpreting YA literature, the way in which Christianity informs allegorical methods of writing and reading YA literature, or the intertextual relationship between more traditional allegorical literature and YA literary adaptations. Proposals addressing the SAMLA 89 theme are especially welcome. This panel is sponsored by the Southeast Conference on Christianity and Literature. By June 1, please email a 250-word abstract along with a current CV, and audio/visual requirements, to Jonathan Sircy at email@example.com.
STORYTELLING IN THE LITERATURE OF EDWIDGE DANTICANT
EDWIDGE DANTICAT SOCIETY
The Edwidge Danticat Society invites papers for our affiliate panel at the 89th Annual South Atlantic Modern Language Association conference in Atlanta, Georgia. The theme of this year’s conference is High Art/Low Art: Borders and Boundaries in Popular Culture. We welcome papers that examine stories and storytelling in the literature of Edwidge Danticat, who has been referred to as “Haiti’s Storyteller.” Storytelling as an art, a family pastime, and a communal undertaking is ubiquitous in Danticat’s oeuvre, whether invoked in the artifice of her literature, represented through her characters, or discussed in her cultural commentary. The Edwidge Danticat Society invites proposals for 15-minute presentations, and possible topics addressing storytelling include, but are not limited to:
● Survival and/or resistance during precarious times
● Testimonio, dangerous creation
● Narrativity and form
● Tradition and/or collective memory
● Literary influence
● Audience and literary reception
● Identity and performativity
By May 20, 2017, please submit a 150 word biography, 300 word abstract (including working title) and any a/v needs to Megan Feifer, firstname.lastname@example.org or Maia Butler, email@example.com. Membership with the Edwidge Danticat Society (www.edwidgedanticatsociety.org) is required for panelists, but it is not required to submit proposals for consideration. South Atlantic MLA membership and conference registration (samla.memberclicks.net/conference) must be paid by August 31st, 2017, or papers/panels will not appear in the conference program.
STUDIES IN THE WORKS AND LIFE OF TRUMAN CAPOTE
TRUMAN CAPOTE LITERARY SOCIETY
This panel welcomes abstracts focusing on any aspect of the works and life of Truman Capote. Proposals addressing the SAMLA 89 theme are especially welcome. By June 2, please submit a 300-word abstract, brief bio, and A/V requirements to Stuart Noel, Georgia State University, at firstname.lastname@example.org
TRANSCENDING BORDERS AND BOUNDARIES THROUGH THE ACT OF WRITING
WOMEN IN FRENCH
Chères collègues, chers collègues,
Pour celles et ceux qui travaillent sur les écrivaines françaises et francophones et qui pensent participer au congrès annuel de SAMLA qui aura lieu à Atlanta, GA du 3-5 novembre 2017, je voudrais proposer une session WIF dont le thème général du congrès, “L’art noble et l’art populaire: Les frontières et les limites dans la culture populaire” fournira une occasion unique d’explorer ces pôles à travers des textes écrits par des femmes de lettres francophones. Je vous prie d’examiner ces délimitations, les zones tranfrontalières, les zones subtiles aussi bien que la possibilité de dépasser les frontières de nationalité, de classe, de race, de sexe et de langage grâce à l’acte d’écrire. Veuillez m’envoyer une proposition de 250 mots en français et anglais accompagnée d’une brève notice bio-biographique avant le 15 mai 2017 à Susan Crampton-Frenchik, email@example.com
Visitez https://samla.memberclicks.net/ pour des renseignements supplémentaires sur SAMLA et le congrès annuel.
Je vous remercie d’avance de votre considération. Bonne continuation et meilleurs vœux pour l’année 2017.
Bien cordialement, Susan
For those who specialize in French and francophone female writers who are considering participating in the 2017 SAMLA (South Atlantic Modern Language Association) Conference to be held in Atlanta, GA, 3-5 November 2017, I am proposing a WIF session based on the general conference theme “High and Low Art: Borders and Boundaries in Popular Culture.” Examinations of borders and boundaries, border areas, liminal spaces and the ways in which these texts transcend limitations of nationality, class, race, sex, and language are welcome. Please send a 250 word abstract in French or English to Susan Crampton-Frenchik, firstname.lastname@example.org by 15 May 2017. For more information about SAMLA and the annual conference, please visit https://samla.memberclicks.net/
Thank you in advance for your consideration. Best wishes for 2017.
THE UNCERTAINTY SOCIETY
New this year to SAMLA is The Uncertainty Society. A reflection of our times, the poets involved in the uncertainty movement first made themselves know in the USA in the anthology Poetry Facing Uncertainty, published in 2012. This year, we anticipate having guest poets from Spain, Mexico, Colombia and Central America. Presentations that deal with the poetry of uncertainty as it relates to societal issues, social media, electronic publishing, the visual arts and music will receive special consideration.
The special focus for SAMLA 89 is High Art/Low Art: Borders and Boundaries in Popular Culture. Please send presentations that will fit within the framework of this theme. The program will be crafted from the submissions received. The number of presenters will determine the length of the presentations; they are usually 15-20 minutes.
Please send proposals, representative selections, and AV requirements to: Dr. Gordon E. McNeer at email@example.com
Deadline for submissions is 2 June.
THE WORKS OF MIGUEL DE CERVANTES
CERVANTES SOCIETY OF AMERICA
This roundtable seeks presenters that engage with the theme of this year's convention, High Art / Low Art: Borders and Boundaries in Popular Culture, as it relates to the works of Miguel de Cervantes. Presentations may focus on one or several works. Please submit a 250-word abstract to Brian Phillips, Jackson State University (firstname.lastname@example.org), by May 30, 2017.