Please circulate this cfp for the ACLA next spring. Thanks! acla.org/aesthetics-and-catastrophe-womens-transnational-narratives-21st-century Aesthetics and Catastrophe: Womens Transnational Narratives in the 21st Century--ACLA 2015 (26-29 March) Stephenie Young & Adele Parker/Salem State University & College of the Holy Cross contact email: Stephenie young [email protected] OR Adele Parker [email protected] The purpose of this seminar is to examine the varied ways that transnational narratives written by women since the late 20th century may create an aesthetics of catastrophe in response to traumatic global events that have occurred since the mid-20th century. If, for Deleuze, the value of catastrophe lies in its power to subvert existing systems, we might ask how this notion influences the kinds of texts that contemporary women produce in the face of traumatic events. Thus, we are seeking papers that draw connections between narrative form and the chaos of modern violence from a transnational perspective. By narrative we refer to different modes of storytelling including traditional texts, visual studies and performance art that address subjects such as war, mass atrocity, civil unrest—whether witnessed first-hand or through layers of generational witnessing (be it familial or social). We are particularly interested in papers that push the boundaries of narrative, but also the frontiers of other tricky terms such as national, transnational,” “global, and interact with concepts such as multidirectional memory. Papers that interrogate the geographical, social, and psychological spaces that create and sustain contested terms are especially welcome. Papers might consider any of the following questions (and others not listed here) that examine the dialogue between catastrophe and transnational narrative production by women: How does womens cultural production attempt to create an aesthetics of catastrophe and to what extent is a transnational narrative possible? What kinds of cultural productions are women constructing in different geographical or psychological spaces? How do these productions speak to the way that women might create/write differently? Do certain events call for different aesthetic criteria, especially when interpreted through the lens of a woman writer or artist? Are unique narrative forms necessary for the working through of these catastrophic events? What does it mean to bring aesthetics to bear on what is monstrous or inconceivable as a woman writer or artist working in the 21st century?
Posted on: Tue, 07 Oct 2014 11:24:04 +0000
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